Blue Prism

Official Websites

• https://www.blueprism.com
• https://info.ssctech.com/blue-prism-acquisition

Brand Guidelines

2020

Categories

Brand Voice

• Bold. Colorful. Direct. Smart.
• These words are great descriptors for the people behind Blue Prism and the products and solutions we bring to market.
• Likewise, we have a look that reflects our people, voice and vision:
• A Friendlier, Simpler Blue Prism Voice
• Our tone of voice-combined with our brand attributes-informs every piece of external content we develop. We recently created a comprehensive guide for our content developers that spells out how we talk about our company and our products and how we communicate with our customers
• This is an internal document and should be treated as privileged company information.
• Rather than copying or repurposing the content within this guide, visit the following location for the most up to date guidelines: blueprism.sharepoint.com/sites/BrandDesign/SitePages/ Brand-Messaging-and-Ed itoria I-Gu idel i nes.aspx

Brand Imagery

• We’ve developed a new illustration style that can rapidly help us create bespoke visuals that speak to the powerful products that Blue Prism provides and the impact our innovations have in this evolving industry
• Changes are here for photography as well. Less canned, corporate smiles, and more fun, emotion­filled images that reflect people as people, not as resources.
• Welcome back to being human.
• Types of Illustrations -Abstract: These images are used as points of visual interest rather than trying to convey a specific concept or object. They provide emotion without context, making them versatile for use when concepts are tough to visualize. Visit our asset library for more examples and abstract illustrations that are ready to use.
• Representative illustrations are those that convey a specific person, place, thing, or concept. This imagery enables the viewer to rapidly understand what will be explored, or, alternately, serves as a purely artistic image.
• Informational images are used to directly convey a message or concept. Usually used in the context of infographics, these could include styled charts and graphs.
• Blue Prism has adopted either a flat orthographic or an isometric orientation for illustrations. There isn’t a hard and fast rule on which to use and when but in general, isometrics are more complex to make and are, therefore, more expensive. One should take the scope of a project and its length of use into account when deciding which way to go.
• Like our illustration style, photography should be fun, clear, and authentic. While most stock photos are setups, some images telegraph this more than others and should be avoided (see below). Likewise, follow the principle that things should not be too “on the nose.” This means you’ll want to seek out images that are related to the concept or thing, while not necessarily being a picture of it. If a concept is clear-a piece is about the medical industry, for example-choose art that aligns directly to that industry. But if you are discussing medical form-filling, don’t show a picture of a form.
• A final note; not every image can be “fun.” If a subject requires seriousness or somberness, go with what works in those situations. But as Monty Python said, “always look on the bright side of life.” It’s possible to be serious without being fatalistic.
• Blue Prism prefers a focus on solutions rather than problems, and all that the digital workforce makes possible. When in doubt, always select images that support this forward-looking approach.
• Abstract photography and non-illustrated abstract imagery has a place here and serves the same purpose as abstract illustrations. When you have a concept that defies reduction to a representative image, consider an abstraction.
• Aim for clarity and beauty. Consider macro closeups and ultra­expansive views, color washes and bands, and other images that speak to the heart, then let accompanying text handle the heavy lifting of explaining the specifics of your message.
• The examples shown here are just ideas; your imagery will depend on your specific concept or subject matter. For help, you can always reach out to Brand Review.
• Blue Prism operates worldwide, and so we need to choose our imagery carefully to reflect a global audience. For example, a thumbs-up might mean “all good” or “number one” in the USA, UK, and parts of Japan, but may have different connotations elsewhere. Whenever possible choose imagery speaks to your target audience, ensuring that it isn’t offensive in any way. If you aren’t sure, just reach out to Brand Review.
• Remember that, for the most part, a smile is universal.
• Our work is constantly evolving, so take what’s seen here as a general and in-process tone, rather than as a template for what to create with our design system.

Color Palette

• We’re still Blue Prism, but our prisms now refract every color, just as they do naturally. Here’s a larger spectrum from which to choose that matches our colorful thinking and diverse worldwide team.
• Primaries Most of the time, one of these colors will anchor a piece.
• Secondaries These colors are used as accents, or less commonly as focal points when they are used intentionally to complement an industry vertical, customer or partner logomarks, or other valid usage.
• Neutrals -The Eigengrays When content requires calm, somberness, drama, or elegance these are the colors you might incorporate.
• Eigengrau, also known as “intrinsic,” “mind,” or “own” gray­is the dark gray you see when you close your eyes.
• In addition to the main colors, each of these colors is available in a range of tints and shades. ASE swatches and Adobe® CC Templates containing all the color options are available through Creative Services.
• In general, these tints and shades are used in illustrations, as shown below. Additionally, the very light tints may be sparingly used as an alternate color backdrop (for example, as a sidebar or callout in a brochure).
• A handy chart to show what colors can be used on the others. For each column: Never use these text and color combinations. If you’re a pro, you might be OK with these combos, under some conditions, but be careful! You’re authorized to use this combo.

Typography

• Blue Prism uses two primary typefaces for communications. The first is Gotham from Hoefler & Co. This typeface is used on all major Blue Prism collateral as well as on the corporate website.
• Secondly, we use Arial Nova in documents that remain as native Microsoft Office® files, like Word® .docx and PowerPoint® pptx. This near-neighbor typeface allows viewers to see our visuals as intended without font-substitution concerns.
• DO NOT use Arial Nova outside of Microsoft Office products except in rare occurrences (as when referenced in this brand guide.)
• From a licensing standpoint, if IT has given you access to our corporate typeface, Gotham, DO NOT distribute the font files containing the typeface, either internally or externally. Fonts are software and subject to similar EULAs associated with other software.
• For fairness to the artists who created the font, and for Blue Prism’s legal well-being, treat fonts as you would any licensed software.
• Our corporate typefaces are available in a wide range of weights and widths, and some guidance on how to employ them will be useful.
• In Headlines, Be bold and use color when you have a term that you want noticed. Emphasis text should be the text that has color added, not the other way around. Use title case for headlines; sentence case (without period) for subheads (unless it is aesthetically required).
• In large format subtext copy, we tend to use Gotham Narrow Book or Arial Nova Condensed Regular. You can use black/eigengrau with medium weight, or emphasis/italicized text to call attention to key words or points, but don’t do it so much that you–and your readers–lose focus on what the key points really are.
• In body copy on a printed page or PDF, use Gotham Narrow Light or Arial Nova Condensed Light. Narrower fonts allow you to fit more text on a line, but don’t fill the page with it; remember to simplify relentlessly to avoid crowding your page with too much text. Font sizes should not be smaller than 12pt (preferably 14pt, 18pt or more).
• When considering the size of text you plan to use, like this 12pt type remember that your audience will likely prefer a larger size like this 14pt type or even more, like this 18pt type.
• Also remember that while we still use various paper sizes as containers for our content, most of your content will be read only on-screen—often a small one. Text that would look great in a professionally printed piece might not have the same effect on a screen.
• Used in paid social ads and the web, CTA buttons have the following features: The relationships and spacing here are based on Gotham Medium at 18pt type using title case, which will produce the desired shape based on the settings below in Adobe Illustrator®. These buttons are included as single-click graphic styles in the official Blue Prism Illustrator template. Usually this CTA will be Persimmon in marketing materials, but within our application the colors will vary based on UX needs.
• 18pt type
• 2.5px padding top & bottom
• 4.5px padding per side
• 3px corner radius
• Other colors are acceptable when designs may call for it.

Logo Usage

• The current Blue Prism wordmark is shown below in its three acceptable uses. Earlier multicolored variants of this wordmark are retired from future use.
• Deep Blue can be used on on white, or on very light colors. For use when a subtle color pop is required or when otherwise complementary to a design.
• Eigengrau or black can be used on white or light colors or when there is already an abundance of deep or bright blue on a page.
• Reverse letters are permitted on a dark background or on any Blue Prism primary or secondary colors or their shaded partners.
• NOTE: When (rarely) used on Saffron, the logo must be much larger than on other colors for accessibility. Do not present the logo reversed on a free-floating color field though, as if it were inside a box; a field must always connect to an edge (See the Logo Usage on Photography example).
• A ‘clear zone’ is defined around the logo to help maintain balance and clarity. Within the Blue Prism logo, the width of the ‘b’ is used to determine the minimum amount of space between the logo and other graphic elements, type or margins.
• On screen : 90px
• High-DPI Print: .75 inch or 19mm
• While we don’t want to stifle your creativity, we do have to tell you some things you shouldn’t do with the logo. See the examples below and to the right.
• Special Note: When making motion graphics, some of these rules will be temporarily broken. As a general rule though, if a logo is in a rest state (no animation processing), then it should resolve to an approved logo state.
• If you have a question that isn’t addressed by the examples here, contact Brand Review and we’ll help.
• Don’t trap the logo in higher dimensional space such as a tesseract or calabi-yau manifold.
• Don’t use the blue logo on other colors.
• Don’t use a dark logo on dark colors.
• Don’t make the logo into a pattern.
• Don’t add effects.
• Don’t tilt or rotate the logo.
• Don’t use colors other than Eigengrau, Black, Deep Blue, or Just White-on-reverse.
• Don’t make the logo too small.
• Don’t try to recreate the logo.
• Make sure there are readable contrast levels.
• Don’t create unofficial sub-brands and offerings
• Don’t remove trademark symbols.
• Don’t use an outlined logo.
• Don’t try to add tranforms like shears, arcs, or distorts
• Don’t place the logo on frenetic backgrounds.
• Don’t squeeze or squish the logo.
• Don’t create unintended associations with other groups.
• When a program needs to be “locked up” with the Blue Prism wordmark, The Creative Services team will produce an official version. Please don’t create your own lockups. We are One Brand, One Blue Prism and need to maintain ownership and consistency of our wordmark.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines).
• When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line:
• Ensure that the placement of the logo is in a quiet, high-contrast position:
• If no quiet location exists, you may use solid color blocks, corner fades, global or local opacity changes, and other techniques to create one (left). Or, you can change the composition to eliminate the issue (right). Do not place the logo on a color field that does not connect like a tab to an edge. The logo should not be containerized in a floating field.

Tone And Messaging

• Bold. Colorful. Direct. Smart. These words are great descriptors for the people behind Blue Prism and the products and solutions we bring to market. Likewise, we have a look that reflects our people, voice and vision: A Digital Workforce for Every Enterprise
• Our tone of voice-combined with our brand attributes-informs every piece of external content we develop. We recently created a comprehensive guide for our content developers that spells out how we talk about our company and our products and how we communicate with our customers
• This is an internal document and should be treated as privileged company information.
• Rather than copying or repurposing the content within this guide, visit the following location for the most up to date guidelines: blueprism.sharepoint.com/sites/BrandDesign/SitePages/ Brand-Messaging-and-Ed itoria I-Gu idel i nes.aspx

Brand Values

• Bold. Colorful. Direct. Smart.
• These words are great descriptors for the people behind Blue Prism and the products and solutions we bring to market.
• Likewise, we have a look that reflects our people, voice and vision:
• A Digital Workforce for Every Enterprise

Visual Style

• Blue Prism uses two primary typefaces for communications. The first is Gotham from Hoefler & Co. This typeface is used on all major Blue Prism collateral as well as on the corporate website.
• Secondly, we use Arial Nova in documents that remain as native Microsoft Office® files, like Word® .docx and PowerPoint® pptx. This near-neighbor typeface allows viewers to see our visuals as intended without font-substitution concerns.
• DO NOT use Arial Nova outside of Microsoft Office products except in rare occurrences (as when referenced in this brand guide.)
• From a licensing standpoint, if IT has given you access to our corporate typeface, Gotham, DO NOT distribute the font files containing the typeface, either internally or externally. Fonts are software and subject to similar EULAs associated with other software.
• For fairness to the artists who created the font, and for Blue Prism’s legal well-being, treat fonts as you would any licensed software.
• Our corporate typefaces are available in a wide range of weights and widths, and some guidance on how to employ them will be useful.
• In Headlines, Be bold and use color when you have a term that you want noticed. Emphasis text should be the text that has color added, not the other way around. Use title case for headlines; sentence case (without period) for subheads (unless it is aesthetically required).
• In large format subtext copy, we tend to use Gotham Narrow Book or Arial Nova Condensed Regular. You can use black/eigengrau with medium weight, or emphasis/italicized text to call attention to key words or points, but don’t do it so much that you–and your readers–lose focus on what the key points really are.
• In body copy on a printed page or PDF, use Gotham Narrow Light or Arial Nova Condensed Light. Narrower fonts allow you to fit more text on a line, but don’t fill the page with it; remember to simplify relentlessly to avoid crowding your page with too much text. Font sizes should not be smaller than 12pt (preferably 14pt, 18pt or more).
• When considering the size of text you plan to use, like this 12pt type remember that your audience will likely prefer a larger size like this 14pt type or even more, like this 18pt type.
• Also remember that while we still use various paper sizes as containers for our content, most of your content will be read only on-screen—often a small one. Text that would look great in a professionally printed piece might not have the same effect on a screen.
• Used in paid social ads and the web, CTA buttons have the following features: The relationships and spacing here are based on Gotham Medium at 18pt type using title case, which will produce the desired shape based on the settings below in Adobe Illustrator®. These buttons are included as single-click graphic styles in the official Blue Prism Illustrator template. Usually this CTA will be Persimmon in marketing materials, but within our application the colors will vary based on UX needs.
• 18pt type, 2.5px padding top & bottom, 4.5px padding per side, 3px corner radius.
• Other colors are acceptable when designs may call for it.
• The current Blue Prism wordmark is shown below in its three acceptable uses. Earlier multicolored variants of this wordmark are retired from future use.
• Deep Blue can be used on on white, or on very light colors. For use when a subtle color pop is required or when otherwise complementary to a design.
• Eigengrau or black can be used on white or light colors or when there is already an abundance of deep or bright blue on a page.
• Reverse letters are permitted on a dark background or on any Blue Prism primary or secondary colors or their shaded partners.
• NOTE: When (rarely) used on Saffron, the logo must be much larger than on other colors for accessibility. Do not present the logo reversed on a free-floating color field though, as if it were inside a box; a field must always connect to an edge (See the Logo Usage on Photography example).
• A ‘clear zone’ is defined around the logo to help maintain balance and clarity. Within the Blue Prism logo, the width of the ‘b’ is used to determine the minimum amount of space between the logo and other graphic elements, type or margins.
• On screen : 90px
• High-DPI Print: .75 inch or 19mm
• Don’t trap the logo in higher dimensional space such as a tesseract or calabi-yau manifold.
• Don’t use the blue logo on other colors.
• Don’t use a dark logo on dark colors.
• Don’t make the logo into a pattern.
• Don’t add effects.
• Don’t tilt or rotate the logo.
• Don’t use colors other than Eigengrau, Black, Deep Blue, or Just White-on-reverse.
• Don’t make the logo too small.
• Don’t try to recreate the logo.
• Make sure there are readable contrast levels.
• Don’t create unofficial sub-brands and offerings
• Don’t remove trademark symbols.
• Don’t use an outlined logo.
• Don’t try to add tranforms like shears, arcs, or distorts
• Don’t place the logo on frenetic backgrounds.
• Don’t squeeze or squish the logo.
• Don’t create unintended associations with other groups.
• When a program needs to be “locked up” with the Blue Prism wordmark, The Creative Services team will produce an official version. Please don’t create your own lockups. We are One Brand, One Blue Prism and need to maintain ownership and consistency of our wordmark.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines). When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line: Deloitte blueprism blueprism
• Free the Prism! Here, we distill the previous prism and create a shape unfettered by its direct attachment to the wordmark. The refined prism has been moved into the role of a supporting device for our illustrations.
• Ensure that the placement of the logo is in a quiet, high-contrast position: If no quiet location exists, you may use solid color blocks, corner fades, global or local opacity changes, and other techniques to create one (left). Or, you can change the composition to eliminate the issue (right). Do not place the logo on a color field that does not connect like a tab to an edge. The logo should not be containerized in a floating field.
• We’re still Blue Prism, but our prisms now refract every color, just as they do naturally. Here’s a larger spectrum from which to choose that matches our colorful thinking and diverse worldwide team.
• Most of the time, one of these colors will anchor a piece.
• These colors are used as accents, or less commonly as focal points when they are used intentionally to complement an industry vertical, customer or partner logomarks, or other valid usage.
• When content requires calm, somberness, drama, or elegance these are the colors you might incorporate.
• In addition to the main colors, each of these colors is available in a range of tints and shades. ASE swatches and Adobe® CC Templates containing all the color options are available through Creative Services.
• In general, these tints and shades are used in illustrations, as shown below. Additionally, the very light tints may be sparingly used as an alternate color backdrop (for example, as a sidebar or callout in a brochure).
• A handy chart to show what colors can be used on the others. For each column: Never use these text and color combinations. If you’re a pro, you might be OK with these combos, under some conditions, but be careful! You’re authorized to use this combo. These are just R reference swatches showing colors against each other.
• Blue Prism has adopted either a flat orthographic or an isometric orientation for illustrations. There isn’t a hard and fast rule on which to use and when but in general, isometrics are more complex to make and are, therefore, more expensive. One should take the scope of a project and its length of use into account when deciding which way to go.
• Like our illustration style, photography should be fun, clear, and authentic. While most stock photos are setups, some images telegraph this more than others and should be avoided (see below). Likewise, follow the principle that things should not be too “on the nose.” This means you’ll want to seek out images that are related to the concept or thing, while not necessarily being a picture of it. If a concept is clear-a piece is about the medical industry, for example-choose art that aligns directly to that industry. But if you are discussing medical form-filling, don’t show a picture of a form.
• A final note; not every image can be “fun.” If a subject requires seriousness or somberness, go with what works in those situations. But as Monty Python said, “always look on the bright side of life.” It’s possible to be serious without being fatalistic.
• Blue Prism prefers a focus on solutions rather than problems, and all that the digital workforce makes possible. When in doubt, always select images that support this forward-looking approach.
• Abstract photography and non-illustrated abstract imagery has a place here and serves the same purpose as abstract illustrations. When you have a concept that defies reduction to a representative image, consider an abstraction.
• Aim for clarity and beauty. Consider macro closeups and ultra­expansive views, color washes and bands, and other images that speak to the heart, then let accompanying text handle the heavy lifting of explaining the specifics of your message.
• Blue Prism operates worldwide, and so we need to choose our imagery carefully to reflect a global audience. For example, a thumbs-up might mean “all good” or “number one” in the USA, UK, and parts of Japan, but may have different connotations elsewhere. Whenever possible choose imagery speaks to your target audience, ensuring that it isn’t offensive in any way. If you aren’t sure, just reach out to Brand Review.
• Remember that, for the most part, a smile is universal.

Iconography

• Icon creation is underway. In the interim, we are using icons from Flatlcon and similar providers. A selection of hundreds of icons for day-to-day use will be made available in the new company PowerPoint® template.

Layout And Composition

• The relationships and spacing here are based on Gotham Medium at 18pt type using title case, which will produce the desired shape based on the settings below in Adobe Illustrator®. These buttons are included as single-click graphic styles in the official Blue Prism Illustrator template. Usually this CTA will be Persimmon in marketing materials, but within our application the colors will vary based on UX needs.
• 18pt type
• 3px corner radius
• 2.5px padding top & bottom
• 4.5px padding per side
• Other colors are acceptable when designs may call for it.

Co Branding

• We treat our partners’ brands as carefully as we treat our own. Accordingly, the system at the right defines how to use the Blue Prism wordmark alongside our partners in automation.
• Since use of this lockup implies a connection between brands, please do not create your own lockups.
• Single Partner Lockup Used when a formal relationship exists between Blue Prism and another company, either long term or temporarily (for instance, when co-hosting an event).
• Multi-Partner Lockup Used when a formal relationship exists between Blue Prism and multiple other companies, as above. The order of the companies will vary and could be determined by alphabetical or effort contribution.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines).
• When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line: Deloitte blueprism blueprism

Brand Architecture

• Don’t create unofficial sub-brands and offerings
• Don’t create unintended associations with other groups.
• When a program needs to be “locked up” with the Blue Prism wordmark, The Creative Services team will produce an official version. Please don’t create your own lockups. We are One Brand, One Blue Prism and need to maintain ownership and consistency of our wordmark.
• Since use of this lockup implies a connection between brands, please do not create your own lockups.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines). When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line:

Brand Partnerships

• One of Blue Prism’s greatest strengths is the amazing partnerships we have with some of the biggest names in business.
• We treat our partners’ brands as carefully as we treat our own. Accordingly, the system at the right defines how to use the Blue Prism wordmark alongside our partners in automation.
• Since use of this lockup implies a connection between brands, please do not create your own lockups.
• Single Partner Lockup Used when a formal relationship exists between Blue Prism and another company, either long term or temporarily (for instance, when co-hosting an event).
• Multi-Partner Lockup Used when a formal relationship exists between Blue Prism and multiple other companies, as above. The order of the companies will vary and could be determined by alphabetical or effort contribution.
• Where Blue Prism is acting as a partner …Of another companies initiative or event.
• The height of the middle line () is based on 80% of the letter “e” in “blue:” the width of the separator line is equal to the width of the “b” in the logo. The width (E): E + 2(Ex0.8) of the separator is equal to 1/2 the width of the lower-case “i” in “prism.” So, if e=60px, the height of ( is 60+2(48) = 156px.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines).
• When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line: Deloitte blueprism

2020

Categories

Brand Voice

• Bold. Colorful. Direct. Smart.
• These words are great descriptors for the people behind Blue Prism and the products and solutions we bring to market.
• Likewise, we have a look that reflects our people, voice and vision:
• A Friendlier, Simpler Blue Prism Voice
• Our tone of voice-combined with our brand attributes-informs every piece of external content we develop. We recently created a comprehensive guide for our content developers that spells out how we talk about our company and our products and how we communicate with our customers
• This is an internal document and should be treated as privileged company information.
• Rather than copying or repurposing the content within this guide, visit the following location for the most up to date guidelines: blueprism.sharepoint.com/sites/BrandDesign/SitePages/ Brand-Messaging-and-Ed itoria I-Gu idel i nes.aspx

Brand Imagery

• We’ve developed a new illustration style that can rapidly help us create bespoke visuals that speak to the powerful products that Blue Prism provides and the impact our innovations have in this evolving industry
• Changes are here for photography as well. Less canned, corporate smiles, and more fun, emotion­filled images that reflect people as people, not as resources.
• Welcome back to being human.
• Types of Illustrations -Abstract: These images are used as points of visual interest rather than trying to convey a specific concept or object. They provide emotion without context, making them versatile for use when concepts are tough to visualize. Visit our asset library for more examples and abstract illustrations that are ready to use.
• Representative illustrations are those that convey a specific person, place, thing, or concept. This imagery enables the viewer to rapidly understand what will be explored, or, alternately, serves as a purely artistic image.
• Informational images are used to directly convey a message or concept. Usually used in the context of infographics, these could include styled charts and graphs.
• Blue Prism has adopted either a flat orthographic or an isometric orientation for illustrations. There isn’t a hard and fast rule on which to use and when but in general, isometrics are more complex to make and are, therefore, more expensive. One should take the scope of a project and its length of use into account when deciding which way to go.
• Like our illustration style, photography should be fun, clear, and authentic. While most stock photos are setups, some images telegraph this more than others and should be avoided (see below). Likewise, follow the principle that things should not be too “on the nose.” This means you’ll want to seek out images that are related to the concept or thing, while not necessarily being a picture of it. If a concept is clear-a piece is about the medical industry, for example-choose art that aligns directly to that industry. But if you are discussing medical form-filling, don’t show a picture of a form.
• A final note; not every image can be “fun.” If a subject requires seriousness or somberness, go with what works in those situations. But as Monty Python said, “always look on the bright side of life.” It’s possible to be serious without being fatalistic.
• Blue Prism prefers a focus on solutions rather than problems, and all that the digital workforce makes possible. When in doubt, always select images that support this forward-looking approach.
• Abstract photography and non-illustrated abstract imagery has a place here and serves the same purpose as abstract illustrations. When you have a concept that defies reduction to a representative image, consider an abstraction.
• Aim for clarity and beauty. Consider macro closeups and ultra­expansive views, color washes and bands, and other images that speak to the heart, then let accompanying text handle the heavy lifting of explaining the specifics of your message.
• The examples shown here are just ideas; your imagery will depend on your specific concept or subject matter. For help, you can always reach out to Brand Review.
• Blue Prism operates worldwide, and so we need to choose our imagery carefully to reflect a global audience. For example, a thumbs-up might mean “all good” or “number one” in the USA, UK, and parts of Japan, but may have different connotations elsewhere. Whenever possible choose imagery speaks to your target audience, ensuring that it isn’t offensive in any way. If you aren’t sure, just reach out to Brand Review.
• Remember that, for the most part, a smile is universal.
• Our work is constantly evolving, so take what’s seen here as a general and in-process tone, rather than as a template for what to create with our design system.

Color Palette

• We’re still Blue Prism, but our prisms now refract every color, just as they do naturally. Here’s a larger spectrum from which to choose that matches our colorful thinking and diverse worldwide team.
• Primaries Most of the time, one of these colors will anchor a piece.
• Secondaries These colors are used as accents, or less commonly as focal points when they are used intentionally to complement an industry vertical, customer or partner logomarks, or other valid usage.
• Neutrals -The Eigengrays When content requires calm, somberness, drama, or elegance these are the colors you might incorporate.
• Eigengrau, also known as “intrinsic,” “mind,” or “own” gray­is the dark gray you see when you close your eyes.
• In addition to the main colors, each of these colors is available in a range of tints and shades. ASE swatches and Adobe® CC Templates containing all the color options are available through Creative Services.
• In general, these tints and shades are used in illustrations, as shown below. Additionally, the very light tints may be sparingly used as an alternate color backdrop (for example, as a sidebar or callout in a brochure).
• A handy chart to show what colors can be used on the others. For each column: Never use these text and color combinations. If you’re a pro, you might be OK with these combos, under some conditions, but be careful! You’re authorized to use this combo.

Typography

• Blue Prism uses two primary typefaces for communications. The first is Gotham from Hoefler & Co. This typeface is used on all major Blue Prism collateral as well as on the corporate website.
• Secondly, we use Arial Nova in documents that remain as native Microsoft Office® files, like Word® .docx and PowerPoint® pptx. This near-neighbor typeface allows viewers to see our visuals as intended without font-substitution concerns.
• DO NOT use Arial Nova outside of Microsoft Office products except in rare occurrences (as when referenced in this brand guide.)
• From a licensing standpoint, if IT has given you access to our corporate typeface, Gotham, DO NOT distribute the font files containing the typeface, either internally or externally. Fonts are software and subject to similar EULAs associated with other software.
• For fairness to the artists who created the font, and for Blue Prism’s legal well-being, treat fonts as you would any licensed software.
• Our corporate typefaces are available in a wide range of weights and widths, and some guidance on how to employ them will be useful.
• In Headlines, Be bold and use color when you have a term that you want noticed. Emphasis text should be the text that has color added, not the other way around. Use title case for headlines; sentence case (without period) for subheads (unless it is aesthetically required).
• In large format subtext copy, we tend to use Gotham Narrow Book or Arial Nova Condensed Regular. You can use black/eigengrau with medium weight, or emphasis/italicized text to call attention to key words or points, but don’t do it so much that you–and your readers–lose focus on what the key points really are.
• In body copy on a printed page or PDF, use Gotham Narrow Light or Arial Nova Condensed Light. Narrower fonts allow you to fit more text on a line, but don’t fill the page with it; remember to simplify relentlessly to avoid crowding your page with too much text. Font sizes should not be smaller than 12pt (preferably 14pt, 18pt or more).
• When considering the size of text you plan to use, like this 12pt type remember that your audience will likely prefer a larger size like this 14pt type or even more, like this 18pt type.
• Also remember that while we still use various paper sizes as containers for our content, most of your content will be read only on-screen—often a small one. Text that would look great in a professionally printed piece might not have the same effect on a screen.
• Used in paid social ads and the web, CTA buttons have the following features: The relationships and spacing here are based on Gotham Medium at 18pt type using title case, which will produce the desired shape based on the settings below in Adobe Illustrator®. These buttons are included as single-click graphic styles in the official Blue Prism Illustrator template. Usually this CTA will be Persimmon in marketing materials, but within our application the colors will vary based on UX needs.
• 18pt type
• 2.5px padding top & bottom
• 4.5px padding per side
• 3px corner radius
• Other colors are acceptable when designs may call for it.

Logo Usage

• The current Blue Prism wordmark is shown below in its three acceptable uses. Earlier multicolored variants of this wordmark are retired from future use.
• Deep Blue can be used on on white, or on very light colors. For use when a subtle color pop is required or when otherwise complementary to a design.
• Eigengrau or black can be used on white or light colors or when there is already an abundance of deep or bright blue on a page.
• Reverse letters are permitted on a dark background or on any Blue Prism primary or secondary colors or their shaded partners.
• NOTE: When (rarely) used on Saffron, the logo must be much larger than on other colors for accessibility. Do not present the logo reversed on a free-floating color field though, as if it were inside a box; a field must always connect to an edge (See the Logo Usage on Photography example).
• A ‘clear zone’ is defined around the logo to help maintain balance and clarity. Within the Blue Prism logo, the width of the ‘b’ is used to determine the minimum amount of space between the logo and other graphic elements, type or margins.
• On screen : 90px
• High-DPI Print: .75 inch or 19mm
• While we don’t want to stifle your creativity, we do have to tell you some things you shouldn’t do with the logo. See the examples below and to the right.
• Special Note: When making motion graphics, some of these rules will be temporarily broken. As a general rule though, if a logo is in a rest state (no animation processing), then it should resolve to an approved logo state.
• If you have a question that isn’t addressed by the examples here, contact Brand Review and we’ll help.
• Don’t trap the logo in higher dimensional space such as a tesseract or calabi-yau manifold.
• Don’t use the blue logo on other colors.
• Don’t use a dark logo on dark colors.
• Don’t make the logo into a pattern.
• Don’t add effects.
• Don’t tilt or rotate the logo.
• Don’t use colors other than Eigengrau, Black, Deep Blue, or Just White-on-reverse.
• Don’t make the logo too small.
• Don’t try to recreate the logo.
• Make sure there are readable contrast levels.
• Don’t create unofficial sub-brands and offerings
• Don’t remove trademark symbols.
• Don’t use an outlined logo.
• Don’t try to add tranforms like shears, arcs, or distorts
• Don’t place the logo on frenetic backgrounds.
• Don’t squeeze or squish the logo.
• Don’t create unintended associations with other groups.
• When a program needs to be “locked up” with the Blue Prism wordmark, The Creative Services team will produce an official version. Please don’t create your own lockups. We are One Brand, One Blue Prism and need to maintain ownership and consistency of our wordmark.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines).
• When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line:
• Ensure that the placement of the logo is in a quiet, high-contrast position:
• If no quiet location exists, you may use solid color blocks, corner fades, global or local opacity changes, and other techniques to create one (left). Or, you can change the composition to eliminate the issue (right). Do not place the logo on a color field that does not connect like a tab to an edge. The logo should not be containerized in a floating field.

Tone And Messaging

• Bold. Colorful. Direct. Smart. These words are great descriptors for the people behind Blue Prism and the products and solutions we bring to market. Likewise, we have a look that reflects our people, voice and vision: A Digital Workforce for Every Enterprise
• Our tone of voice-combined with our brand attributes-informs every piece of external content we develop. We recently created a comprehensive guide for our content developers that spells out how we talk about our company and our products and how we communicate with our customers
• This is an internal document and should be treated as privileged company information.
• Rather than copying or repurposing the content within this guide, visit the following location for the most up to date guidelines: blueprism.sharepoint.com/sites/BrandDesign/SitePages/ Brand-Messaging-and-Ed itoria I-Gu idel i nes.aspx

Brand Values

• Bold. Colorful. Direct. Smart.
• These words are great descriptors for the people behind Blue Prism and the products and solutions we bring to market.
• Likewise, we have a look that reflects our people, voice and vision:
• A Digital Workforce for Every Enterprise

Visual Style

• Blue Prism uses two primary typefaces for communications. The first is Gotham from Hoefler & Co. This typeface is used on all major Blue Prism collateral as well as on the corporate website.
• Secondly, we use Arial Nova in documents that remain as native Microsoft Office® files, like Word® .docx and PowerPoint® pptx. This near-neighbor typeface allows viewers to see our visuals as intended without font-substitution concerns.
• DO NOT use Arial Nova outside of Microsoft Office products except in rare occurrences (as when referenced in this brand guide.)
• From a licensing standpoint, if IT has given you access to our corporate typeface, Gotham, DO NOT distribute the font files containing the typeface, either internally or externally. Fonts are software and subject to similar EULAs associated with other software.
• For fairness to the artists who created the font, and for Blue Prism’s legal well-being, treat fonts as you would any licensed software.
• Our corporate typefaces are available in a wide range of weights and widths, and some guidance on how to employ them will be useful.
• In Headlines, Be bold and use color when you have a term that you want noticed. Emphasis text should be the text that has color added, not the other way around. Use title case for headlines; sentence case (without period) for subheads (unless it is aesthetically required).
• In large format subtext copy, we tend to use Gotham Narrow Book or Arial Nova Condensed Regular. You can use black/eigengrau with medium weight, or emphasis/italicized text to call attention to key words or points, but don’t do it so much that you–and your readers–lose focus on what the key points really are.
• In body copy on a printed page or PDF, use Gotham Narrow Light or Arial Nova Condensed Light. Narrower fonts allow you to fit more text on a line, but don’t fill the page with it; remember to simplify relentlessly to avoid crowding your page with too much text. Font sizes should not be smaller than 12pt (preferably 14pt, 18pt or more).
• When considering the size of text you plan to use, like this 12pt type remember that your audience will likely prefer a larger size like this 14pt type or even more, like this 18pt type.
• Also remember that while we still use various paper sizes as containers for our content, most of your content will be read only on-screen—often a small one. Text that would look great in a professionally printed piece might not have the same effect on a screen.
• Used in paid social ads and the web, CTA buttons have the following features: The relationships and spacing here are based on Gotham Medium at 18pt type using title case, which will produce the desired shape based on the settings below in Adobe Illustrator®. These buttons are included as single-click graphic styles in the official Blue Prism Illustrator template. Usually this CTA will be Persimmon in marketing materials, but within our application the colors will vary based on UX needs.
• 18pt type, 2.5px padding top & bottom, 4.5px padding per side, 3px corner radius.
• Other colors are acceptable when designs may call for it.
• The current Blue Prism wordmark is shown below in its three acceptable uses. Earlier multicolored variants of this wordmark are retired from future use.
• Deep Blue can be used on on white, or on very light colors. For use when a subtle color pop is required or when otherwise complementary to a design.
• Eigengrau or black can be used on white or light colors or when there is already an abundance of deep or bright blue on a page.
• Reverse letters are permitted on a dark background or on any Blue Prism primary or secondary colors or their shaded partners.
• NOTE: When (rarely) used on Saffron, the logo must be much larger than on other colors for accessibility. Do not present the logo reversed on a free-floating color field though, as if it were inside a box; a field must always connect to an edge (See the Logo Usage on Photography example).
• A ‘clear zone’ is defined around the logo to help maintain balance and clarity. Within the Blue Prism logo, the width of the ‘b’ is used to determine the minimum amount of space between the logo and other graphic elements, type or margins.
• On screen : 90px
• High-DPI Print: .75 inch or 19mm
• Don’t trap the logo in higher dimensional space such as a tesseract or calabi-yau manifold.
• Don’t use the blue logo on other colors.
• Don’t use a dark logo on dark colors.
• Don’t make the logo into a pattern.
• Don’t add effects.
• Don’t tilt or rotate the logo.
• Don’t use colors other than Eigengrau, Black, Deep Blue, or Just White-on-reverse.
• Don’t make the logo too small.
• Don’t try to recreate the logo.
• Make sure there are readable contrast levels.
• Don’t create unofficial sub-brands and offerings
• Don’t remove trademark symbols.
• Don’t use an outlined logo.
• Don’t try to add tranforms like shears, arcs, or distorts
• Don’t place the logo on frenetic backgrounds.
• Don’t squeeze or squish the logo.
• Don’t create unintended associations with other groups.
• When a program needs to be “locked up” with the Blue Prism wordmark, The Creative Services team will produce an official version. Please don’t create your own lockups. We are One Brand, One Blue Prism and need to maintain ownership and consistency of our wordmark.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines). When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line: Deloitte blueprism blueprism
• Free the Prism! Here, we distill the previous prism and create a shape unfettered by its direct attachment to the wordmark. The refined prism has been moved into the role of a supporting device for our illustrations.
• Ensure that the placement of the logo is in a quiet, high-contrast position: If no quiet location exists, you may use solid color blocks, corner fades, global or local opacity changes, and other techniques to create one (left). Or, you can change the composition to eliminate the issue (right). Do not place the logo on a color field that does not connect like a tab to an edge. The logo should not be containerized in a floating field.
• We’re still Blue Prism, but our prisms now refract every color, just as they do naturally. Here’s a larger spectrum from which to choose that matches our colorful thinking and diverse worldwide team.
• Most of the time, one of these colors will anchor a piece.
• These colors are used as accents, or less commonly as focal points when they are used intentionally to complement an industry vertical, customer or partner logomarks, or other valid usage.
• When content requires calm, somberness, drama, or elegance these are the colors you might incorporate.
• In addition to the main colors, each of these colors is available in a range of tints and shades. ASE swatches and Adobe® CC Templates containing all the color options are available through Creative Services.
• In general, these tints and shades are used in illustrations, as shown below. Additionally, the very light tints may be sparingly used as an alternate color backdrop (for example, as a sidebar or callout in a brochure).
• A handy chart to show what colors can be used on the others. For each column: Never use these text and color combinations. If you’re a pro, you might be OK with these combos, under some conditions, but be careful! You’re authorized to use this combo. These are just R reference swatches showing colors against each other.
• Blue Prism has adopted either a flat orthographic or an isometric orientation for illustrations. There isn’t a hard and fast rule on which to use and when but in general, isometrics are more complex to make and are, therefore, more expensive. One should take the scope of a project and its length of use into account when deciding which way to go.
• Like our illustration style, photography should be fun, clear, and authentic. While most stock photos are setups, some images telegraph this more than others and should be avoided (see below). Likewise, follow the principle that things should not be too “on the nose.” This means you’ll want to seek out images that are related to the concept or thing, while not necessarily being a picture of it. If a concept is clear-a piece is about the medical industry, for example-choose art that aligns directly to that industry. But if you are discussing medical form-filling, don’t show a picture of a form.
• A final note; not every image can be “fun.” If a subject requires seriousness or somberness, go with what works in those situations. But as Monty Python said, “always look on the bright side of life.” It’s possible to be serious without being fatalistic.
• Blue Prism prefers a focus on solutions rather than problems, and all that the digital workforce makes possible. When in doubt, always select images that support this forward-looking approach.
• Abstract photography and non-illustrated abstract imagery has a place here and serves the same purpose as abstract illustrations. When you have a concept that defies reduction to a representative image, consider an abstraction.
• Aim for clarity and beauty. Consider macro closeups and ultra­expansive views, color washes and bands, and other images that speak to the heart, then let accompanying text handle the heavy lifting of explaining the specifics of your message.
• Blue Prism operates worldwide, and so we need to choose our imagery carefully to reflect a global audience. For example, a thumbs-up might mean “all good” or “number one” in the USA, UK, and parts of Japan, but may have different connotations elsewhere. Whenever possible choose imagery speaks to your target audience, ensuring that it isn’t offensive in any way. If you aren’t sure, just reach out to Brand Review.
• Remember that, for the most part, a smile is universal.

Iconography

• Icon creation is underway. In the interim, we are using icons from Flatlcon and similar providers. A selection of hundreds of icons for day-to-day use will be made available in the new company PowerPoint® template.

Layout And Composition

• The relationships and spacing here are based on Gotham Medium at 18pt type using title case, which will produce the desired shape based on the settings below in Adobe Illustrator®. These buttons are included as single-click graphic styles in the official Blue Prism Illustrator template. Usually this CTA will be Persimmon in marketing materials, but within our application the colors will vary based on UX needs.
• 18pt type
• 3px corner radius
• 2.5px padding top & bottom
• 4.5px padding per side
• Other colors are acceptable when designs may call for it.

Co Branding

• We treat our partners’ brands as carefully as we treat our own. Accordingly, the system at the right defines how to use the Blue Prism wordmark alongside our partners in automation.
• Since use of this lockup implies a connection between brands, please do not create your own lockups.
• Single Partner Lockup Used when a formal relationship exists between Blue Prism and another company, either long term or temporarily (for instance, when co-hosting an event).
• Multi-Partner Lockup Used when a formal relationship exists between Blue Prism and multiple other companies, as above. The order of the companies will vary and could be determined by alphabetical or effort contribution.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines).
• When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line: Deloitte blueprism blueprism

Brand Architecture

• Don’t create unofficial sub-brands and offerings
• Don’t create unintended associations with other groups.
• When a program needs to be “locked up” with the Blue Prism wordmark, The Creative Services team will produce an official version. Please don’t create your own lockups. We are One Brand, One Blue Prism and need to maintain ownership and consistency of our wordmark.
• Since use of this lockup implies a connection between brands, please do not create your own lockups.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines). When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line:

Brand Partnerships

• One of Blue Prism’s greatest strengths is the amazing partnerships we have with some of the biggest names in business.
• We treat our partners’ brands as carefully as we treat our own. Accordingly, the system at the right defines how to use the Blue Prism wordmark alongside our partners in automation.
• Since use of this lockup implies a connection between brands, please do not create your own lockups.
• Single Partner Lockup Used when a formal relationship exists between Blue Prism and another company, either long term or temporarily (for instance, when co-hosting an event).
• Multi-Partner Lockup Used when a formal relationship exists between Blue Prism and multiple other companies, as above. The order of the companies will vary and could be determined by alphabetical or effort contribution.
• Where Blue Prism is acting as a partner …Of another companies initiative or event.
• The height of the middle line () is based on 80% of the letter “e” in “blue:” the width of the separator line is equal to the width of the “b” in the logo. The width (E): E + 2(Ex0.8) of the separator is equal to 1/2 the width of the lower-case “i” in “prism.” So, if e=60px, the height of ( is 60+2(48) = 156px.
• For partners logos that are primarily wordmarks, size them to fit the height of the Blue Prism wordmark’s letters (the bright blue lines).
• When companies have large ABBYY logomarks attached to their wordmarks are balanced visually by designers. No partner logo should exceed the height of the sep line: Deloitte blueprism

Additional Properties