Heathrow airport

Official Websites

• https://www.heathrow.com/en
• https://www.heathrow.com/company
• https://www.heathrow.com/company/investor-centre
• http://www.heathrow.com

Brand Guidelines

2018

Brand Summary

Mission

• To give passengers the best airport service in the world. Making every journey better.

Core Values

• Keeping everyone safe
• Treating everyone with respect
• Giving excellent service
• Working together
• Improving every day
• Doing the right thing

Target Audience

• Passengers traveling through Heathrow, including a diverse global audience, as well as internal stakeholders and partners.

Personality Traits

• Warm
• Welcoming
• Helpful
• Caring
• Professional
• Honest
• Concise

Visual Identity Overview

• Heathrow’s visual identity is professional, stylish, and designed for maximum impact. It features a strong emphasis on purple as the core brand color, complemented by a palette of supporting colors. The logo is modern and minimalistic, with clear guidelines for usage, exclusion zones, and sizing. Imagery is confident, story-driven, and captures moments of intimacy and grandeur from airport life. Typography is primarily Frutiger for print and Arial for electronic communications, with clear rules for headlines and text styling. Iconography includes pictograms and vector-style illustrations to maintain consistency and clarity.

Categories

Brand Voice

• Heathrow’s tone of voice is the verbal and written expression of the Heathrow personality. If you can imagine Heathrow as a person, the tone of voice is the way that person would speak and write. It’s our collective tone of voice because we are all Heathrow. We are the real-life expression of the Heathrow brand and values.
• The easiest way to visualise the Heathrow tone of voice is to think how a Passenger Ambassador would speak. These are the attributes that stand out: warm welcoming helpful caring professional honest Concise
• Think of a busy passenger rushing through the terminal. Does your writing speed them on or slow them down? Can they get straight to the information they need or do they have to work their way through an irrelevant explanation? Are your words helping to achieve the Purpose or the Vision? Is your writing on the way or in the way?
• Do your words make for a better journey or contribute to the best airport service in the world? Example
• Does anyone need to know that you’re testing new equipment or that you’ve just installed a new carousel? If your story’s not useful, don’t say it.
• Big airports tend to think big: half a million air­transport movements a year, 200,000 passengers a day, 350,000 square metres of terminal. Passengers aren’t interested; they want to know about their one flight and their own time at Heathrow.
• Are you writing for your readers or yourself? Forget ‘airport’ think ‘passenger’
• Do your words make for a better journey or contribute to the best airport service in the world? Example:
• Forget about the speed or sophistication of baggage systems -tell passengers how soon they can be out of the airport and on their way. Example:
• Deal with the issues: tell passengers what’s happening to their flights instead of droning on about the volume of snow that fell overnight or how hard you’re working to clear it.
• Avoid jargon
• Your readers don’t know about ‘satellite piers’, ‘hub airports’ or ‘codeshares’. Try the parents-and­neighbours test: if your mum or the people next door wouldn’t understand a word or phrase, it’s probably jargon.
• Be polite
• Think in terms of ‘please’, ’thank you’, ‘after you’, ‘you’re welcome’, ‘would this help?’ etc. You don’t have to use the actual phrases, just put yourself in a polite and helpful frame of mind.
• Use contractions
• Contractions (‘it’s, ‘isn’t’, ‘you’re’, ‘you’ll’, etc) are part of everyday speech. They make your writing sound more natural.
• Add a dash of humour
• Don’t be afraid of humour. It shows you’re human and that you share your reader’s readiness to smile. Keep it gentle; don’t overdo it.
• Write for one person, not a crowd
• The best communications are personal. They’re simple, warm and relevant -they sound as if they were written specially for their readers.
• Imagine how you’d explain things if your reader was sitting next to you. No lecture, no grand announcement, no big words they don’t understand. Be human: make it a friendly conversation.
• ‘You’ and ‘us’
• Refer to your reader as ‘you’ and Heathrow as ‘us’. Describe the airport in personal terms: ‘what we can do for you’, not ‘what Heathrow can do for its passengers’.
• Think like a passenger
• Resist the temptation to quote dimensions and statistics. Passengers don’t care about the size of the terminal or the speed and capacity of the baggage tunnel. They want to know where they can get a coffee, how long till their flight and whether they can take baby milk on board with them.
• If you want to talk about the T2 roof, say how much brighter the terminal is with all that natural daylight flooding in.
• If you want to make a big thing of the baggage tunnel, explain how it saves time for connecting passengers.
• A popular airport -but never the busiest
• Yes, we all know that Heathrow is Europe’s busiest airport. But where’s the passenger benefit? Given the choice, who would fly from Europe’s busiest (and, by implication, most crowded and overstretched) airport?
• To describe Heathrow’s scale in a positive way, you could say that it helps more people fly to more places than any other airport in Europe.
• Vital information - keep passengers in the loop
• We sometimes have to pass on bad news: information about flight delays, operational difficulties or security issues. As always, put yourself in the passengers’ shoes. They want to know how the news affects them and what they can do to minimise the effect.
• Clear headlines: ‘Flight delays, 10 January’ is far more helpful than ‘Important information’. Go straight in with the facts: Say what’s happening and what passengers can do: ‘Please allow extra time.’, ‘Flights to X are running roughly Y minutes late.’, ‘Look for the coaches in the terminal forecourt.’ Give a brief explanation: Let passengers know why this is happening; help them feel that we are in control of the situation. If you know when it’ll end, say so. Don’t blame anyone. More information: Keep passengers in the loop. Tell them where to get more information -on the web, from their airlines, on terminal screens.
• Write for a diverse global audience Global English
• English is a second language for many of your readers. Don’t cut them out of the story. Strike a balance between a writing style that captures the colour and vibrancy of Heathrow and the UK, and copy that’s makes sense to people who live elsewhere or whose first language is not English. • Avoid idioms, colloquialisms and references to people, places or events that are unfamiliar to non-UK readers. • Avoid long or unusual words.
• Celebrate diversity
• Heathrow and its passengers are a gloriously varied group. In our terminals you’ll find every example of humanity. To be sure of including them all in the conversation, see the section on ‘Diversity and inclusiveness’ in the Heathrow editorial style.
• Reflecting the Heathrow brand The Heathrow brand is many layered. It incorporates our Purpose, Vision, Values, Behaviours, Service Signatures and Sustainability. This page deals with the Service Signatures and Sustainability.
• No piece of writing can cover all aspects, nor should it try. To convey a brand message at the expense of useful information is to be in the way instead of on the way.
• A better approach is to tell stories that demonstrate our brand attributes, or to use words that bring them to mind. Subtlety is better than a bland claim. Give readers information to help them make up their own minds.
• Our vision is to give passengers the best airport service in the world and success relies on everyone at Heathrow playing their part. Our three Service Signatures define Heathrow’s way of delivering service: Notice and care Share what we know Make things better
• These three simple Service Signatures are at the heart of how we deliver service at Heathrow, and when delivered consistently will set us apart from the competition.
• Service is all about how we make people feel, and it’s our people who really make the difference to someone’s experience.
• ‘Sustainability’ is a catch-all, corporate word that passengers distrust. Don’t use it. Focus instead on ideas that we know they warm to: honesty, doing the right thing, being a pioneer and working for a better future. Research tells us that honesty is a powerful trigger for sustainability. People want to know that we have clear and measurable targets, that we’re making progress and that we’re eager to push further ahead once we’ve achieved them. Avoid boasting: we should be humble about our achievements, confident in our current targets and inspirational when we look to the future.
• Writing for the web and social media Cut your writing back even more. Attention spans for web pages are shorter than for printed pages, and readers tend to scan. • Reduce complex ideas to short bullet points. • Make your headings clear and add plenty of cross-headings to help readers find what they want. • Bear in mind that many readers will only read headings and cross-headings.
• Use the relaxed immediacy of social media to let the Heathrow personality shine through. Just be sure to think your comments through before you post or tweet. Saying the right thing is more important than tapping out an instant response.
• Internal and stakeholder communications -the same rules apply (almost) Whether you’re writing for internal or external readers, your job is to keep it warm, helpful and to the point. The content and terminology may vary between audiences, but you’re still participating in a one-to-one conversation -and you’re still representing the Heathrow values and brand. Ask yourself that same telling question: Is my writing on the way or in the way?

Brand Imagery

• Our images should be confident and sigle-minded. Use them to tell stories -to share moments of intimacy and grandeur from airport life. These are the ‘magic moments’ that convey the humanity, the joy and the epic scale of Heathrow. We aim to use ‘magic moment’ images at every opportunity.
• Planes and places photography is one of the few areas where we think it’s OK to brag. Epic photos with impact and energy show Heathrow’s soul and scale.
• Cut-out images help us to maintain the high quality image standards we require, when time or budget won’t allow a location based photoshoot. Use them to reflect our diversity and emphasise passenger satisfaction. Just make sure you ground any full-length cut-outs with a shadow.
• Images should • Tell a story of ‘Making every journey better’. • Capture the buzz and excitement of Heathrow by showing genuine passengers using our terminals and facilities. • Show typical passenger behaviours without appearing posed or staged.
• Choose colour photographs every time. Use mono only if the original was shot in B&W.

Color Palette

• Professional, stylish and designed for maximum impact, our colour palette offers great visibility and quick brand recognition.
• We love purple. It’s the colour that we and our passengers identify with. We put a dash of Heathrow purple into everything we do.
• But we’re not a single-colour airport. For life and variety, we keep a palette of complementary colours. And we use colours in different ways to help distinguish Premium services from Core use.
• Heathrow purple Heathrow light purple C85 M100 YO KO PMS 267 EC r70 g33 b111 C60 M70 YO KO 462170 PMS 2587 EC r126 g93 b164 RAL D8 310 30 40 7E5DA4 White Black Highlight pink Heathrow grey Heathrow light grey CO MO YO K100 PMS Black rO gO bO 000000 Rich black CO MO YO KO C40 M40 Y30 K100 C40 M100 YO K7 C33 M18 Y13 K40 C21 M11 Y9 K23 PMS Black PMS Black PMS 2415 EC PMS 430 EC PMS 429 EC rO gO bO rO gO bO r1 59 g20 b123 r110 g117 b122 r165 g172 b175 FFFFFF 000000 9F147B 6E757A A5ACAF
• Our four Core colour gradients add depth and texture to Core communications.
• The Heathrow light grey + white colour gradient is a dynamic alternative to white. Use it full-bleed to unify page elements.
• The Heathrow light grey • Heathrow light purple colour gradient is a dynamic alternative to Heathrow light purple. You can use it full bleed, it works best when applied with a degree of opacity.
• The Heathrow purple + Heathrow light purple colour gradient is a dynamic alternative to Heathrow purple.
• The Heathrow purple + Heathrow highlight pink colour gradient is another dynamic alternative to Heathrow purple and works best when used full bleed.
• Overlaying a colour gradient with a vignette increases the intensity and depth of colour. The vignette is a radial gradient fill multiplied over a colour gradient.
• Our two Premium gradients add uniqueness and gravitas to our premium communications.
• The Heathrow grey + Heathrow rich black colour gradient can be used dominantly to create impact and clear separation from our Core communications.
• Overlaying a Premium gradient with a vignette increases the intensity and depth of colour. The vignette is a radial gradient fill multiplied over a Premium gradient.
• Black is the unique dominant colour. Do not use large areas of black on any Core materials.

Typography

• Primary Font is Frutiger (LT Std) Choose the Frutiger family for all printed communications apart from ATL. For headlines, tighten the appearance with minus tracking.
• All Heathrow PCs have the LT version of Frutiger installed. Always use this family for internal assets like letterhead templates, because other Frutiger families default to system fonts.
• Frutiger 45 Light Frutiger 45 Light Italic Frutiger 55 Roman Frutiger 56 Italic Frutiger 65 Bold Frutiger 66 Bold Italic Frutiger 75 Black Our Electronic Font is Arial
• Use Arial for PowerPoint and other electronic communications. With Arial, you can guarantee reproduction in locations and on equipment beyond your control.
• Arial Arial Bold Arial Black
• Primary Font is Frutiger
• Frutiger Frutiger Frutiger Arabic Approx £130 per weight oe BreH1Io Frutiger Cyrillic Approx £29 per weight MS YaHei True Type font -standard on PC Our Electronic Font is Arial Arial Arial ( • J1 BreHIO Arial MS YaHei True Type font -standard on PC
• Feel free to use capitals for headings on ATL, Premium and Governmental consultation communications, just make sure you have a relatively high degree of letter spacing to promote an open and friendly sentiment. Please continue to use sentence case for all other comms.
• We prefer headlines set in lowercase
• BUT YOU CAN SET HEADLINES IN CAPITALS
• Italicised type set in Caps may be rotated by twelve degrees to lend a dynamic “take-off” feel.
• ATL activity only
• Spell out uncommon abbreviations in full the first time you use them. If you’re using the term once only, there’s no need for an abbreviation. • No stops or spaces in abbreviations: BBC I IATA I Jan I Feb I Coronation St • If the abbreviation is well-known, there’s no need to write out the full name: M&S I NASA I EU I IMF I CAA • Don’t use the abbreviations eg and ie in passenger-facing literature. Spell things out in full using phrases such as: for example I that is to say I which means • Don’t use the abbreviation etc in passenger-facing literature. Explain what you mean: Take your bags and coats etc with you: Take your belongings -your bags, coats, laptops, mobile phones and other electronic items -with you. • An ampersand & is not an abbreviation for and. Use it only in formulaic names such as Fortnum & Mason.
• Begin the first word of each bullet point with a capital letter. • End each bullet point with a stop if it’s a full sentence or series of sentences -exactly like the list you’re reading now. • End without a stop if you’re bulleting a list or series of sentence fragments. • End with a colon if your bullet point introduces an example (like many of the bullet points in this editorial style) or a sub-list: • This • That • The other • For sentence fragments that look a bit like sentences, use your judgement. If the fragments are long and complex enough, end them with a stop. • Each set of bullet points should be consistent -all points ending in stops or none ending in stops. If you’re mixing full sentences with lists or sentence fragments, rethink your selection. Rewrite to make the points consistent or split them into two or more lists. • Apply the rules above to sub-lists.
• Use capital letters sparingly. Just because a word seems important isn’t a reason to give it a capital letter. • Reserve capital letters for proper nouns -names that refer to unique people, places and events:
• Spell, capitalise and punctuate personal and business names in the style used by their owners, even if it’s not Heathrow style:
• Take care to distinguish between a formal title and a general description of a job or role. Capitalise the title, but not the general description: The TV cameras were on hand when Jane Brown MP, the Secretary of State for Transport, became the first government minister to visit Terminal 2.
• Begin the first word of a caption with a capital letter. • End with a stop if your caption is a full sentence or series of sentences. • End without a stop if your caption is a sentence fragment. • For a sentence fragment that looks a bit like a sentence, use your judgement. If the fragment is long and complex enough, end it with a stop.
• Set headlines, subheadings, cross-headings and document titles in what’s known as sentence case. • The first word begins with a capital letter. • No other word is capitalised, apart from proper nouns (names like Hounslow, Boeing, Costa Coffee). • There’s no full stop after the last word. • Use other punctuation marks (commas, question marks etc) in the normal way.
• For headlines only, an alternative is to set them entirely in capitals. Be sparing in your use of all-caps. A long string of text in capitals is much harder to read.

Logo Usage

• The height of the H sets the minimum exclusion zone. The breathing space you give the logo is always proportionate to its size.
• The logo also comes in glowing black, glowing silver, and black (mono).
• The size of the logo depends on the size of publication or advert in which it’s going. Measure the logo size by the height of the H in Heathrow.
• A3 the ‘H’ height = 9mm
• A4 the ‘H’ height = 7mm
• AS the ‘H’ height = 7mm
• DL the ‘H’ height = 6mm
• AG the ‘H’ height = 6mm
• A7 (ID pass size) = 5mm
• 48 sheet poster = 85mm
• For exclusion zones, see page 7.
• A 5mm H-height is as small as you can go -but only on the equivalent of A7 (credit-card size).
• For non-standard or larger sizes, adjust the H-height proportionally and apply the same exclusion rules (page 7).
• Don’t forget to allow for the minimum exclusion zone. As with the logo, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three internal signatures: they all need the same H-sized breathing space above and below, and to right and left.
• The H-height also sets the minimum distance between the internal signature and the edge of an online or offline communication.
• Wherever you can, use our preferred primary purple logo. However, you could use white, glowing black or glowing silver signatures on coloured or dark backgrounds.
• Or you could pick the black (mono) version if you’re worried about legibility or working with a tricky substrate such as vinyl.
• Always use the artwork provided. Please don’t alter or distort our logo, or place them within text.

Tone And Messaging

• Heathrow’s tone of voice is the verbal and written expression of the Heathrow personality. If you can imagine Heathrow as a person, the tone of voice is the way that person would speak and write. It’s our collective tone of voice because we are all Heathrow. We are the real-life expression of the Heathrow brand and values.
• The easiest way to visualise the Heathrow tone of voice is to think how a Passenger Ambassador would speak. These are the attributes that stand out: warm welcoming helpful caring professional honest Concise
• Think of a busy passenger rushing through the terminal. Does your writing speed them on or slow them down? Can they get straight to the information they need or do they have to work their way through an irrelevant explanation? Are your words helping to achieve the Purpose or the Vision? Is your writing on the way or in the way?
• Do your words make for a better journey or contribute to the best airport service in the world?
• Does anyone need to know that you’re testing new equipment or that you’ve just installed a new carousel? If your story’s not useful, don’t say it.
• Are you writing for your readers or yourself? Forget ‘airport’ think ‘passenger’
• Forget about the speed or sophistication of baggage systems -tell passengers how soon they can be out of the airport and on their way.
• Deal with the issues: tell passengers what’s happening to their flights instead of droning on about the volume of snow that fell overnight or how hard you’re working to clear it.
• Avoid jargon
• Your readers don’t know about ‘satellite piers’, ‘hub airports’ or ‘codeshares’. Try the parents-and-neighbours test: if your mum or the people next door wouldn’t understand a word or phrase, it’s probably jargon.
• Be polite
• Think in terms of ‘please’, ’thank you’, ‘after you’, ‘you’re welcome’, ‘would this help?’ etc. You don’t have to use the actual phrases, just put yourself in a polite and helpful frame of mind.
• Use contractions
• Contractions (‘it’s, ‘isn’t’, ‘you’re’, ‘you’ll’, etc) are part of everyday speech. They make your writing sound more natural.
• Add a dash of humour
• Don’t be afraid of humour. It shows you’re human and that you share your reader’s readiness to smile. Keep it gentle; don’t overdo it.
• Write for one person, not a crowd
• The best communications are personal. They’re simple, warm and relevant -they sound as if they were written specially for their readers.
• Imagine how you’d explain things if your reader was sitting next to you. No lecture, no grand announcement, no big words they don’t understand. Be human: make it a friendly conversation.
• ‘You’ and ‘us’
• Refer to your reader as ‘you’ and Heathrow as ‘us’. Describe the airport in personal terms: ‘what we can do for you’, not ‘what Heathrow can do for its passengers’.
• Think like a passenger
• Resist the temptation to quote dimensions and statistics. Passengers don’t care about the size of the terminal or the speed and capacity of the baggage tunnel. They want to know where they can get a coffee, how long till their flight and whether they can take baby milk on board with them.
• If you want to talk about the T2 roof, say how much brighter the terminal is with all that natural daylight flooding in.
• If you want to make a big thing of the baggage tunnel, explain how it saves time for connecting passengers.
• To describe Heathrow’s scale in a positive way, you could say that it helps more people fly to more places than any other airport in Europe.
• Vital information - keep passengers in the loop
• We sometimes have to pass on bad news: information about flight delays, operational difficulties or security issues. As always, put yourself in the passengers’ shoes. They want to know how the news affects them and what they can do to minimise the effect.
• Clear headlines: ‘Flight delays, 10 January’ is far more helpful than ‘Important information’. Go straight in with the facts: Say what’s happening and what passengers can do: ‘Please allow extra time.’, ‘Flights to X are running roughly Y minutes late.’, ‘Look for the coaches in the terminal forecourt.’ Give a brief explanation: Let passengers know why this is happening; help them feel that we are in control of the situation. If you know when it’ll end, say so. Don’t blame anyone. More information: Keep passengers in the loop. Tell them where to get more information -on the web, from their airlines, on terminal screens.
• Write for a diverse global audience Global English
• English is a second language for many of your readers. Don’t cut them out of the story. Strike a balance between a writing style that captures the colour and vibrancy of Heathrow and the UK, and copy that’s makes sense to people who live elsewhere or whose first language is not English. • Avoid idioms, colloquialisms and references to people, places or events that are unfamiliar to non-UK readers. • Avoid long or unusual words.
• Celebrate diversity
• Heathrow and its passengers are a gloriously varied group. In our terminals you’ll find every example of humanity. In our terminals you’ll find every example of humanity. To be sure of including them all in the conversation, see the section on ‘Diversity and inclusiveness’ in the Heathrow editorial style.
• The Heathrow brand is many layered. It incorporates our Purpose, Vision, Values, Behaviours, Service Signatures and Sustainability. This page deals with the Service Signatures and Sustainability.
• No piece of writing can cover all aspects, nor should it try. To convey a brand message at the expense of useful information is to be in the way instead of on the way.
• A better approach is to tell stories that demonstrate our brand attributes, or to use words that bring them to mind. Subtlety is better than a bland claim. Give readers information to help them make up their own minds.
• Our vision is to give passengers the best airport service in the world and success relies on everyone at Heathrow playing their part. Our three Service Signatures define Heathrow’s way of delivering service: Notice and care Share what we know Make things better
• These three simple Service Signatures are at the heart of how we deliver service at Heathrow, and when delivered consistently will set us apart from the competition.
• Service is all about how we make people feel, and it’s our people who really make the difference to someone’s experience.
• ‘Sustainability’ is a catch-all, corporate word that passengers distrust. Don’t use it. Focus instead on ideas that we know they warm to: honesty, doing the right thing, being a pioneer and working for a better future. Research tells us that honesty is a powerful trigger for sustainability. People want to know that we have clear and measurable targets, that we’re making progress and that we’re eager to push further ahead once we’ve achieved them. Avoid boasting: we should be humble about our achievements, confident in our current targets and inspirational when we look to the future.
• Writing for the web and social media Cut your writing back even more. Attention spans for web pages are shorter than for printed pages, and readers tend to scan. • Reduce complex ideas to short bullet points. • Make your headings clear and add plenty of cross-headings to help readers find what they want. • Bear in mind that many readers will only read headings and cross-headings.
• Use the relaxed immediacy of social media to let the Heathrow personality shine through. Just be sure to think your comments through before you post or tweet. Saying the right thing is more important than tapping out an instant response.
• Internal and stakeholder communications -the same rules apply (almost) Whether you’re writing for internal or external readers, your job is to keep it warm, helpful and to the point. The content and terminology may vary between audiences, but you’re still participating in a one-to-one conversation -and you’re still representing the Heathrow values and brand. Ask yourself that same telling question: Is my writing on the way or in the way?

Brand Values

• Our brand values are the foundation of our vision and purpose
• Our values Keeping everyone safe Treating everyone with respect Working together Improving every day Doing the right thing

Visual Style

• The height of the H sets the minimum exclusion zone. The breathing space you give the logo is always proportionate to its size.
• The logo also comes in glowing black, glowing silver, and black (mono).
• The size of the logo depends on the size of publication or advert in which it’s going. Measure the logo size by the height of the H in Heathrow.
• A3 the ‘H’ height = 9mm
• A4 the ‘H’ height = 7mm
• AS the ‘H’ height = 7mm
• DL the ‘H’ height = 6mm
• AG the ‘H’ height = 6mm
• A7 (ID pass size) = 5mm
• 48 sheet poster = 85mm
• For exclusion zones, see page 7.
• A 5mm H-height is as small as you can go -but only on the equivalent of A7 (credit-card size).
• For non-standard or larger sizes, adjust the H-height proportionally and apply the same exclusion rules (page 7).
• Don’t forget to allow for the minimum exclusion zone. As with the logo, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three internal signatures: they all need the same H-sized breathing space above and below, and to right and left.
• The H-height also sets the minimum distance between the internal signature and the edge of an online or offline communication.
• For variety and ease of alignment, you have three versions of the internal signature. The ranged-left version goes on the left-hand side of a piece, the centred one in the middle and the ranged-right internal signature on the right­hand side. No other alignments are possible.
• Wherever you can, use our preferred primary purple logo. However, you could use white, glowing black or glowing silver signatures on coloured or dark backgrounds.
• Or you could pick the black (mono) version if you’re worried about legibility or working with a tricky substrate such as vinyl.
• Always use the artwork provided. Please don’t alter or distort our logo, or place them within text.
• Professional, stylish and designed for maximum impact, our colour palette offers great visibility and quick brand recognition.
• We love purple. It’s the colour that we and our passengers identify with. We put a dash of Heathrow purple into everything we do.
• But we’re not a single-colour airport. For life and variety, we keep a palette of complementary colours. And we use colours in different ways to help distinguish Premium services from Core use.
• Our four Core colour gradients add depth and texture to Core communications.
• The Heathrow light grey + white colour gradient is a dynamic alternative to white. Use it full-bleed to unify page elements.
• The Heathrow light grey • Heathrow light purple colour gradient is a dynamic alternative to Heathrow light purple. You can use it full bleed, it works best when applied with a degree of opacity.
• The Heathrow purple + Heathrow light purple colour gradient is a dynamic alternative to Heathrow purple.
• The Heathrow purple + Heathrow highlight pink colour gradient is another dynamic alternative to Heathrow purple and works best when used full bleed.
• Overlaying a colour gradient with a vignette increases the intensity and depth of colour. The vignette is a radial gradient fill multiplied over a colour gradient.
• Our two Premium gradients add uniqueness and gravitas to our premium communications.
• The Heathrow grey + Heathrow rich black colour gradient can be used dominantly to create impact and clear separation from our Core communications.
• Overlaying a Premium gradient with a vignette increases the intensity and depth of colour. The vignette is a radial gradient fill multiplied over a Premium gradient.
• Core communications are identified as either Factual or Influential depending on their purpose and type of content used. We like to keep Factual comms such as guides, plans and operational documents clean and prodominatly white.
• When a communication is required to be more Influential in tone such as a campaign or retail sales piece, then the purple gradients can be applied.
• Premium denotes a select range of ‘pay­for’or ‘high-end’ offerings. Black is the unique dominant colour. Do not use large areas of black on any Core materials.
• Don’t let the logo get lost in a full-bleed image. Here’s how to keep it visible and looking at its best.
• When you choose an image, crop it to create a clear, uncluttered area where the logo can shine. If that’s not possible, try one of the techniques to the right.
• Contain the image inside a picture box creating clear space.
• Introduce a delicate white linear fade from the bottom of the page.
• Introduce a Heathrow purple linear fade from the bottom of the page and use the white logo.
• Introduce a Heathrow purple to Heathrow highlight pink gradient, multiply over the image and use the white logo.
• Our images should be confident and sigle-minded. Use them to tell stories -to share moments of intimacy and grandeur from airport life. These are the ‘magic moments’ that convey the humanity, the joy and the epic scale of Heathrow. We aim to use ‘magic moment’ images at every opportunity.
• Images should • Tell a story of ‘Making every journey better’. • Capture the buzz and excitement of Heathrow by showing genuine passengers using our terminals and facilities. • Show typical passenger behaviours without appearing posed or staged.
• Cut-out images help us to maintain the high quality image standards we require, when time or budget won’t allow a location based photoshoot. Use them to reflect our diversity and emphasise passenger satisfaction. Just make sure you ground any full-length cut-outs with a shadow.
• Choose colour photographs every time. Use mono only if the original was shot in B&W.
• Pictograms make life easy for everyone. They also comply with our Wayfinding Performance Standard. Don’t recreate them or design new ones without permission from the Brand team.
• Illustration and animation is a neccessa ry pa rt of our day to day communications on and off airport. It can be used to convey a process, support photographic imagery or used in it’s own right as a communication format. There is such a diverse range of illustration styles, so it’s important we ensure everything we do follows a basic criteria to maintain brand consistency.
• Avoid clip art style imagery at all costs -it simply doesn’t fit the quality parameters of Heathrow. Similarly avoid overly stylised, ‘cartoon’ style imagery as well as artistic effects such as watercolour and pencil sketches. Highly detailed, realistic illustration should be avoided as this blurs the lines between photography and illustration -simply use a photograph or live action film instead.
• As a guide we like to see ‘vector’ style illustration and animation as it has a clean and contemporary feel that works well on and off line.
• Primary Font is Frutiger (LT Std) Choose the Frutiger family for all printed communications apart from ATL. For headlines, tighten the appearance with minus tracking.
• All Heathrow PCs have the LT version of Frutiger installed. Always use this family for internal assets like letterhead templates, because other Frutiger families default to system fonts.
• Use Arial for PowerPoint and other electronic communications. With Arial, you can guarantee reproduction in locations and on equipment beyond your control.
• Feel free to use capitals for headings on ATL, Premium and Governmental consultation communications, just make sure you have a relatively high degree of letter spacing to promote an open and friendly sentiment. Please continue to use sentence case for all other comms.
• We prefer headlines set in lowercase

Iconography

• Pictograms make life easy for everyone. They also comply with our Wayfinding Performance Standard. Don’t recreate them or design new ones without permission from the Brand team.
• Pictograms make life easy for everyone. They also comply with our Wayfinding Performance Standard. Don’t recreate them or design new ones without permission from the Brand team. Terminal examples Transport examples Toilet & associated examples Assistance & care examples Prohibited examples Health & safety /Construction examples Office/Property /Sustainability examples Security examples Medical examples
• Recycling examples Technology examples Catering/Food and beverage examples
• Avoid clip art style imagery at all costs -it simply doesn’t fit the quality parameters of Heathrow. Similarly avoid overly stylised, ‘cartoon’ style imagery as well as artistic effects such as watercolour and pencil sketches. Highly detailed, realistic illustration should be avoided as this blurs the lines between photography and illustration -simply use a photograph or live action film instead.
• As a guide we like to see ‘vector’ style illustration and animation as it has a clean and contemporary feel that works well on and off line.

Layout And Composition

• The height of the H sets the minimum exclusion zone. The breathing space you give the logo is always proportionate to its size.
• The size of the logo depends on the size of publication or advert in which it’s going. Measure the logo size by the height of the H in Heathrow.
• A3 the ‘H’ height = 9mm
• A4 the ‘H’ height = 7mm
• AS the ‘H’ height = 7mm
• DL the ‘H’ height = 6mm
• AG the ‘H’ height = 6mm
• A7 (ID pass size) = 5mm
• 48 sheet poster = 85mm
• For exclusion zones, see page 7.
• A 5mm H-height is as small as you can go -but only on the equivalent of A7 (credit-card size).
• For non-standard or larger sizes, adjust the H-height proportionally and apply the same exclusion rules (page 7).
• Don’t forget to allow for the minimum exclusion zone. As with the logo, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three internal signatures: they all need the same H-sized breathing space above and below, and to right and left.
• The H-height also sets the minimum distance between the internal signature and the edge of an online or offline communication.
• For variety and ease of alignment, you have three versions of the internal signature. The ranged-left version goes on the left-hand side of a piece, the centred one in the middle and the ranged-right internal signature on the right­hand side. No other alignments are possible.
• We have 5 predefined grid layouts. Choose the grid that resembles the partner identity closest. Only use the below grid configurations. ■ 4x4units ■ 4x5 ■ 7x3 units ■ 8x5 units ■ 16x3 units
• Scale your partner identity until either the width or height reaches the edge of your chosen grid.
• Alignment depends on the height or length of the partner identity and common sense should prevail to exact sizing and balance. However, we do use a series of simple preset grids to help you maintain sizing consistency when using partner identities.
• General lock-up size and position General lock-ups come in black (mono) or white in a ranged-left format only. Place them in the top left-hand corner of relevant communications when the Heathrow logo is present. Choose the version that gives the best effect.
• Don’t let your General lock-ups get too big on covers. The size of the word ‘Heathrow’ in the lock-up is width of ‘Heath’ in the Heathrow logo.
• The logo also fixes the distance of the lock-up from the edge of the document. The spaces above and to the left of the lock-up are the same as the spaces below and to the right (the exclusion zone) of the logo.
• When the Heathrow logo is not present on the same page, frame or spread, a General lock-up may be placed anywhere at any size.
• Although you can place a General lock-up 10px 70px min anywhere within a banner, our preferred position is top left. 10px I Heathrow Shop & Collect I 70px minimum I Heathrow Shop & Collect The word ‘Heathrow’ should be at least I 70px minimum I 70 pixels long (for Parking lock-ups, the 70 pixel minimum includes the Picon). Ideal padding is 10 pixels, although you can reduce to a minimum of 5 pixels.
• Enhanced lock-ups come in glowing black, glowing silver, black (mono) or white. Place them anywhere at any size throughout a communication providing the Heathrow logo is not present on the same page, frame or spread. If you need to show both Heathrow logo and an Enhanced lock-up on the same page, frame or spread, follow the simple sizing guide below.
• The size of Enhanced lock-ups is fixed when they appear with the Heathrow logo. The size of the word ‘Heathrow’ in the lock-up is always half the length of the Heathrow logo.
• Correct sizing relationship when using both the Heathrow logo and Enhanced lock-up.
• Sizing relationship is not applicable as the lock-up and Heathrow logo are on opposite faces.
• For easier service recognition online, drop a glowing silver or glowing black enhanced lock-up into the page header.
• Our Parking lock-ups have service text much bigger than the Heathrow logo for long-distance readability. They carry a parking P icon for easy identification. In most cases, the P is embedded in the lock-up (Fig a).
• Sometimes it’s simpler and clearer to identify a batch of Parking lock-ups with a single P icon (Fig b).
• Do not attempt to create these lock-ups yourself or alter the size relationship between ‘Heathrow’ and the service name. We set strict criteria for lock-ups. For the services or divisions that qualify, we have already prepared lock-up artwork.
• To keep all parts of the airport firmly on-brand, we’ve given every externally facing division a lock-up.
• Don’t let the logo get lost in a full-bleed image. Here’s how to keep it visible and looking at its best.
• When you choose an image, crop it to create a clear, uncluttered area where the logo can shine. If that’s not possible, try one of the techniques to the right.
• Contain the image inside a picture box creating clear space.
• Introduce a delicate white linear fade from the bottom of the page.
• Introduce a Heathrow purple linear fade from the bottom of the page and use the white logo.
• Introduce a Heathrow purple to Heathrow highlight pink gradient, multiply over the image and use the white logo.

Co Branding

• We do this with dual branding. It shows who’s involved, and allows everyone involved to share the credit and the responsibility. If Heathrow is taking the lead, our logo should appear in the bottom right-hand corner­allowing the partner brand to occupy the bottom left corner. When Heathrow is in a supporting role, we are more flexible as to where our logo is positioned.
• Alignment depends on the height or length of the partner identity and common sense should prevail to exact sizing and balance. However, we do use a series of simple preset grids to help you maintain sizing consistency when using partner identities.
• The space below the Crossbar of the ‘H’ denotes 1 unit. We have 5 predefined grid layouts. Choose the grid that resembles the partner identity closest. Only use the below grid configurations. ■ 4x4units ■ 4x5 ■ 7x3 units ■ 8x5 units ■ 16x3 units
• Scale your partner identity until either the width or height reaches the edge of your chosen grid.

Social Media Guidelines

• We don’t allow personal social media handles in email signatures. Your email account represents Heathrow so all social links should be to Heathrow’s official accounts.
• Use the relaxed immediacy of social media to let the Heathrow personality shine through. Just be sure to think your comments through before you post or tweet. Saying the right thing is more important than tapping out an instant response.

Merchandising

• Don’t put internal initiatives on merchandising. If you’re spending money on customising pens, lanyards and mugs, it’s better to invest it in the Heathrow brand by applying the logo. Use the primary purple version where possible.
• Embroidery logo Embroidery reproduction can be tricky. To get the Heathrow best result we have a version of the logo that’s reserved just for embroidery. Its wider Horizon creates a clear separation throughout its sweep.
• But you do need a supplier who can produce a stitch count of around 7,000. Please specify embroidery only. silver or dark grey thread (instead of black or white) as they stay looking cleaner for longer.

Media Sting

• A seamless transition
• Start all video content and animations with our centred Primary Purple signature.
• You can create an end-frame sting that emphasises content ownership by masking within the Heathrow logo.
• To add intrigue and dynamism, apply the masking effect to a still image or preferably a moving sequence.
• Heathrow horizon sting Available from the Brand Team in resolutions up to 4K.

Accessibility Guidelines

• Heathrow is for everyone, regardless of race, ability, gender or sexual orientation. Our language should be fully inclusive to reflect the diversity of the world and the team at Heathrow. • Avoid gender-specific terms: actor / actress [ business person / businesswoman ] police officer / policeman storekeeper /storeman • A man is a nurse not a male nurse; a woman is an engineer not a female engineer. • Don’t use he, him or his when talking about people in general. To avoid clumsy formations like he or she, him or her, s/he, he/she or his/her, use the plural pronouns they, them and their to refer to a single person, or recast your sentence in the plural: If you see a passenger looking lost, ask him or her if they need help: If you see a passenger looking lost, ask them if they need help. Give your passenger the respect he or she deserves. Give your passengers the respect they deserve. • Avoid assumptions about gender identity and sexual orientation. LGBT+ is a useful and inclusive term because it covers all sexual orientations and gender identities. • If you don’t know the details of a specific relationship, or you’re writing about relationships in general, write partner instead of wife, husband, girlfriend or boyfriend. • Disabled people are individuals not an amorphous group. As individuals they can be be blind, deaf or partially sighted; be wheelchair-users or have sight loss, learning difficulties or reduced mobility. But collectively they’re never the blind, the deaf, the handicapped or the disabled. • Disability isn’t a barrier to leading a happy and fulfilled life. Phrases that imply suffering or sadness are inappropriate: disabled people are not of, victims suffering from or afflicted by their disability. • Be sparing with the long-winded term person with reduced (or restricted) mobility. The short-hand form PRM reduces people to a label. Don’t use it. • Never refer to someone’s age, gender, race, religion or ethnicity unless it’s directly relevant to the point you’re making. • Take care with catch-all terms because they’re often loaded with unwanted meaning. Compare overseas visitors with foreigners, or seniors with pensioners. Other acceptable age-related terms are older adults and young adults. • Watch out also for diverse. A group can be diverse, but individuals are just being themselves. Phrases such as diverse colleagues or diverse passengers are another way of labelling people as different.

Editorial Style

• Heathrow is for everyone, regardless of race, ability, gender or sexual orientation. Our language should be fully inclusive to reflect the diversity of the world and the team at Heathrow. • Avoid gender-specific terms: actor / actress [ business person / businesswoman ] police officer / policeman storekeeper /storeman • A man is a nurse not a male nurse; a woman is an engineer not a female engineer. • Don’t use he, him or his when talking about people in general. To avoid clumsy formations like he or she, him or her, s/he, he/she or his/her, use the plural pronouns they, them and their to refer to a single person, or recast your sentence in the plural: If you see a passenger looking lost, ask him or her if they need help: If you see a passenger looking lost, ask them if they need help. Give your passenger the respect he or she deserves. Give your passengers the respect they deserve. • Avoid assumptions about gender identity and sexual orientation. LGBT+ is a useful and inclusive term because it covers all sexual orientations and gender identities. • If you don’t know the details of a specific relationship, or you’re writing about relationships in general, write partner instead of wife, husband, girlfriend or boyfriend. • Disabled people are individuals not an amorphous group. As individuals they can be be blind, deaf or partially sighted; be wheelchair-users or have sight loss, learning difficulties or reduced mobility. But collectively they’re never the blind, the deaf, the handicapped or the disabled. • Disability isn’t a barrier to leading a happy and fulfilled life. Phrases that imply suffering or sadness are inappropriate: disabled people are not of, victims suffering from or afflicted by their disability. • Be sparing with the long-winded term person with reduced (or restricted) mobility. The short-hand form PRM reduces people to a label. Don’t use it. • Never refer to someone’s age, gender, race, religion or ethnicity unless it’s directly relevant to the point you’re making. • Take care with catch-all terms because they’re often loaded with unwanted meaning. Compare overseas visitors with foreigners, or seniors with pensioners. Other acceptable age-related terms are older adults and young adults. • Watch out also for diverse. A group can be diverse, but individuals are just being themselves. Phrases such as diverse colleagues or diverse passengers are another way of labelling people as different.
• Spell out uncommon abbreviations in full the first time you use them. If you’re using the term once only, there’s no need for an abbreviation. • No stops or spaces in abbreviations: BBC I IATA I Jan I Feb I Coronation St • If the abbreviation is well-known, there’s no need to write out the full name: M&S I NASA I EU I IMF I CAA • Don’t use the abbreviations eg and ie in passenger-facing literature. Spell things out in full using phrases such as: for example I that is to say I which means • Don’t use the abbreviation etc in passenger-facing literature. Explain what you mean: Take your bags and coats etc with you: Take your belongings -your bags, coats, laptops, mobile phones and other electronic items -with you. • An ampersand & is not an abbreviation for and. Use it only in formulaic names such as Fortnum & Mason.
• Mention a person’s age only if relevant, for example when writing a news story about a child. • Put the age in numerals in brackets after the name, or write it out in full: Josh Smith (9) from Staines Congratulations to 6-year-old Holly Brown
• Begin the first word of each bullet point with a capital letter. • End each bullet point with a stop if it’s a full sentence or series of sentences -exactly like the list you’re reading now. • End without a stop if you’re bulleting a list or series of sentence fragments. • End with a colon if your bullet point introduces an example (like many of the bullet points in this editorial style) or a sub-list: • This • That • The other • For sentence fragments that look a bit like sentences, use your judgement. If the fragments are long and complex enough, end them with a stop. • Each set of bullet points should be consistent -all points ending in stops or none ending in stops. If you’re mixing full sentences with lists or sentence fragments, rethink your selection. Rewrite to make the points consistent or split them into two or more lists. • Apply the rules above to sub-lists.
• Use capital letters sparingly. Just because a word seems important isn’t a reason to give it a capital letter. • Reserve capital letters for proper nouns -names that refer to unique people, places and events: Queen Elizabeth I Winston Churchill Hillingdon I River Crane I Easter Sunday the National Gallery I the London Marathon I Notting Hill Carnival • Spell, capitalise and punctuate personal and business names in the style used by their owners, even if it’s not Heathrow style: The Dalai Lama ] Beyonce [ Jay-Z will.i.am I easyJet I EVA Air I TAROM WHSmith ] Hermes ] Tod’s ] Marks & Spencer ] Ca’puccino ] Caffe Nero • Take care to distinguish between a formal title and a general description of a job or role. Capitalise the title, but not the general description: The TV cameras were on hand when Jane Brown MP, the Secretary of State for Transport, became the first government minister to visit Terminal 2. Heathrow CEO, John Holland-Kaye, was one of several chief executives who met the Prime Minister yesterday. There was excitement at Heathrow as presidents and prime ministers from across Europe passed through on their way to a conference in London.
• Begin the first word of a caption with a capital letter. • End with a stop if your caption is a full sentence or series of sentences. • End without a stop if your caption is a sentence fragment. • For a sentence fragment that looks a bit like a sentence, use your judgement. If the fragment is long and complex enough, end it with a stop.
• The default currency for values and prices is pounds sterling: £3.60 I £2,000 I £2 billion • If you quote a value in dollars, make it clear which dollars: US$10 million I C$2,500 A$500 million I NZ$50 I HK$50 I S$5 • Follow references to non-sterling currencies with the sterling equivalent in brackets: €4 million (£3.5 million)
• Write dates in the order day month year without the ordinals (1st, 2nd, 3rd, 4th): and with no leading zero for the first nine days of the month: Two dates stand out: 3 April 2017 and 16 June 2018. • But it’s fine to include ordinals in phrases such as: The 16th of the month was the busiest day.
• Write decades as words or as four numerals followed by an s: the sixties I the 1960s
• In text, describe ranges of dates in words; don’t use dashes: From March to June 2018, between 12,000 and 15,000 passengers landed at Heathrow. • In tables or captions, use an en dash to express ranges. For ranges of years, display the final two digits of the end year unless the range crosses the millennium. When the range represents a single financial year, use a forward slash: 14-16 January I March-September 2019 2017-19 I 1998-2002 I 2018/19 • Note that a range that mixes months or years in a table or caption needs a space either side of the en dash: 14 January -16 February November 2018 -March 2019
• Use the 24-hour clock, displaying times in numerals with a colon to separate the hours and minutes. Insert a leading zero for times earlier than 10:00. Do not write am, pm or hours after the time: 06:45 I 16:15 • When quoting times for non-technical off­airport consumption, for example when communicating to Heathrow’s neighbours via a newspaper ad, it may be better to display them as am or pm • If you’re writing for an international audience, make it clear that the times are for the UK.
• Spell out the numbers one to ten: Roughly four out of every ten passengers come from the UK. • Express higher numbers (from 11 onwards) in numerals up to a maximum of five digits: The new car park will have 1,340 spaces. • Long strings of numbers -six digits or more -are difficult to take in. Make it easier for your readers by calling them millions or billions. Use a mixture of numerals and words: 4.76 million I three billion I 3.6 billion • If you begin a sentence with a number, always spell it out: Thirty-six colleagues volunteered for the mentoring project.
• In text, express simple fractions as words: half I two-thirds I three-quarters • Express more complicated fractions as decimals. Add a leading zero if the fraction is less than one: 26.2 hectares I 0.65 kilometres
• Follow the same rules as for numbers. Spell out first to tenth in words; use ordinals for the 11th onwards.
• Use numerals followed by the percentage symbol in text and tables: 0.35% I 60% • In tables, use an en dash to express a range. Write the percentage symbol once at the end: 7-9%
• Use commas to indicate thousands in numbers containing four or more digits: 1,260 I 25,000 I 370,000 • Don’t use the abbreviation k to refer to thousands in passenger-facing literature. • If space is tight in tables, use the abbreviation 000s.
• Commas help your readers make sense of what you write. They put your thoughts in order by marking breaks in speed, direction or emphasis. • No serial commas -meaning no comma before the ‘and’ at the end of a series: At World Duty Free, you can buy wines, beers and spirits. • Use commas to introduce quoted speech: The CEO said, “This is one more way to make every journey better.”
• Take care not to confuse en dashes with hyphens: an en dash is longer than a hyphen. • Use en dashes in pairs -much like these here -to emphasise asides. Set them with a space either side • Use a single en dash to show a change of pace or direction -it’s a bit more emphatic than a comma or a colon • Use en dashes without spaces either side to indicate ranges of data in tables, but not in text.
• Use an ellipsis (three stops in a row: …) to indicate a pause or a trailing off, as well as for text that has been cut out from a quote. Place single spaces before and after the ellipsis, but none between the stops: The CEO said, “I’m delighted with the results … Everyone has worked hard to make this our best year yet.”
• Use sparingly -and not for adding excitement to mundane information or for reminding readers that you’ve written something humorous.
• End every sentence with a full stop. But don’t put stops at the end of headlines or subheadings. • Insert one space only between a full stop and the start of the next sentence.
• Hyphens make your meaning clearer, especially when you’re using several words to describe something: A small child-discount A small-child discount A lost luggage-claim A lost-luggage claim The pilot’s drinking water The pilot’s drinking-water Twenty six-metre lengths Twenty-six metre lengths The aircraft stands near Terminal 5 The aircraft-stands near Terminal 5
• Use double quotes for reported speech. • Use single quotes for quotes within reported speech: A spokesperson said, “A passenger told me this morning that Heathrow was ’the best airport’ in Europe.” • Use single quotes for introducing unusual or specialist terms: Behind the scenes we talk about ‘wayfinding’. But when we’re talking to passengers, the words to use are ‘signs’ or ‘directions’. • Don’t use single quotes to hold a modern or colloquial word at arm’s length.
• Square brackets contain text that you have inserted into quoted speech to help readers make sense of it. • Use them to explain something that the speaker has not made clear or to join two sections of the quote that were previously separated by text that you have cut out. The cutting and pasting should never distort the meaning of the original quote: Heathrow’s CEO said, “I congratulate the team for overcoming a challenge [halving CO2 emissions] that would have daunted most of us.” Heathrow’s CEO said, “I congratulate the team [they] deserve our praise for halving CO2 emissions.”
• To keep spellings consistent, you should follow the online version of the Oxford Dictionary. Add it to your favourites now. • Where the dictionary offers a choice of spellings, pick the one it lists first: adviser /advisor cooperate /co-operate focused /focussed • For a global audience, use British English spellings. If you’re writing specifically for an American audience, use American spellings.
• Some words or phrases that we use at Heathrow aren’t in the Oxford Dictionary: gate-room I handling agent I holding point I unmin • Some words we spell in our own way: arrivals I departure lounge airbridge I glidepath • And some words have a meaning that’s particular to us: passenger instead of customer or traveller (Note: We use passengers to mean the individuals that we serve, and customers when referring to business partners such as airlines. Although passengers is always our preferred term for individuals, it’s not right in every context. For example, in communications to retailers, it makes more sense to talk about customers. And business travellers is a commonly used term.) • And there are plenty of abbreviations that your colleagues -maybe even you -will not be familiar with: CPI I FCC I Fl I NOx I NTK I RZ SPI I TSOL I WDF
• You’ll find them all in the Heathrow dictionary and jargon-buster. If there’s a conflict between the Oxford Dictionary and the Heathrow dictionary, go with what’s in the Heathrow dictionary.
• Words like digitise / digitize, mobilise / mobilize, prioritise / prioritize, itemise /itemize have a choice of endings. No need to look them up; go with the … ise spelling every time.
• Display telephone numbers in groups of digits corresponding to area codes. Separate them with spaces. Do not use hyphens or brackets: 0844 335 1801 • If you’re writing for an international audience, add the +44 prefix and put the leading zero in brackets: +44 (0)844 335 1801
• Use metric measures of weight, length, size, speed, energy • In text, express the amount in numerals, and spell out the units in full: 6 kilograms I 3 kilometres 0.2 millimetres The runway is 45 metres wide and 3.9 kilometres long. • In tables, use the standard SI abbreviations with no space between the numerals and the units: 8kg I 3.2m2 • In tables, use an en dash to express ranges. Write the units once at the end: 250-300mm I 5,000-10,000kg 15-20°C
• Express temperatures in degrees Celsius. In text and tables, write the value in numerals with the °C symbol for the units: 17.3°C

Naming Conventions

• Spell, capitalise and punctuate personal and business names in the style used by their owners, even if it’s not Heathrow style:
• Heathrow is an international and multicultural airport. Respect the accents, spellings and name forms of the people who travel through it:
• Be especially careful with east Asian names. In many countries the family name comes before the given name. Check the style of the country; don’t make a guess at the order.
• We are Heathrow, not Heathrow Airport, Heathrow Airport Limited, HAL, LHR or BM. In all general contexts, describe us, the airport and the brand as Heathrow.
• The legal entity that operates the airport is Heathrow Airport Holdings Limited, a term used in legal or contractual contexts and governed by separate legal definition conventions
• HeathrowAirport is a long-winded way of saying Heathrow.
• BM was dropped from all references to Heathrow or its operating companies in October 2012. Our publicly owned predecessor, British Airports Authority, ceased to exist in 1987.
• Restrict references to LHR to documents for the air-transport industry or explanations of baggage tags.
• Heathrow colleagues, teams, Departments and business units • People who work anywhere at Heathrow are colleagues, not staff or employees. • Use initial capitals for the names of divisions, departments and teams:
• When talking about a named departmental team, you should only capitalise the unique part of its name. Non-specific teams are not capitalised: The presentation team at the event are volunteers from the Expansion team.
• Don’t confuse an internal team name with the general use of the term: Our human resources are a valuable asset, managed by Human Resources. Capital is the division that controls our capital spending, while day-to-day operations are run by the Operations teams. This naming style differentiates between the team and the work it does. It makes your meaning clearer.
• Team Heathrow is a non-specific team that covers everyone who works at the airport.
• When you refer to documents, publications and brochures in body copy, set the name in italics, not between quotation marks. That way you can follow the capitalisation style of the original document without causing ambiguity.

Internal Communications Guidelines

• Our internal signature is the paired set of logo and purpose statement. We attach it to all internal communications. We don’t use it on anything passenger facing (external) or Above-The-Line activity.
• Don’t forget to allow for the minimum exclusion zone. As with the logo, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three internal signatures: they all need the same H-sized breathing space above and below, and to right and left.
• The H-height also sets the minimum distance between the internal signature and the edge of an online or offline communication.
• Do not use the internal signature on external passenger facing comms.
• For variety and ease of alignment, you have three versions of the internal signature. The ranged-left version goes on the left-hand side of a piece, the centred one in the middle and the ranged-right internal signature on the right­hand side. No other alignments are possible.
• There may be occasions where internal sub-divisions or initiatives require unique treatment. In special cases a ‘Typographic identity’ may be created with the approval of the Brand team.
• Always use this family for internal assets like letterhead templates, because other Frutiger families default to system fonts.

Sustainability Guidelines

• ‘Sustainability’ is a catch-all, corporate word that passengers distrust. Don’t use it. Focus instead on ideas that we know they warm to: honesty, doing the right thing, being a pioneer and working for a better future. Research tells us that honesty is a powerful trigger for sustainability. People want to know that we have clear and measurable targets, that we’re making progress and that we’re eager to push further ahead once we’ve achieved them. Avoid boasting: we should be humble about our achievements, confident in our current targets and inspirational when we look to the future. Supporting facts you can quote: • Heathrow runs on 100% renewable energy. It’s our first step towards operating a zero-carbon airport by 2050. • Heathrow will create 10,000 apprenticeships by 2030. We’re building careers, not just jobs. Since 2004 the Heathrow Academy has helped over 1,500 people into apprenticeships. • Heathrow is a Living Wage employer. Now we’re encouraging other airport businesses to become accredited.’

2016

Brand Summary

Mission

• We’re here to help our passengers get to where they want to be, as smoothly and swiftly as possible. Our commitment is to make every passenger’s journey through our airport better, every minute, every hour, every year, and every decade, through constant service delivery and improvement [^1].

Core Values

• We care
• We’re getting better – every day
• We are modern Britain

Target Audience

• Passengers traveling through Heathrow, including airline customers, service partners, employees, and the broader British public and local community [^2].

Personality Traits

• Warm
• Engaging
• Competent
• Confident
• Creative
• Helpful
• Modern
• Polite
• Approachable
• Human

Visual Identity Overview

• Heathrow’s visual identity is defined by a professional, modern look with a prominent use of purple, white, and grey. The brand uses the Frutiger font for print and Arial for electronic communications. The logo and signature (‘Making every journey better’) are central, with strict guidelines for usage, alignment, and exclusion zones. Visual style includes dynamic curves, gradients, and the ‘Connecting Spheres’ motif, with clear differentiation between core and premium communications. Imagery focuses on real passengers and airport life, avoiding staged or clichéd photos, and illustrations favor clean, vector styles [^3].

Categories

Brand Voice

• One airport, one warm and engaging personality, one way of expressing it
• Put yourself in your readers’ shoes Ask yourself: how does what you’re saying make the journey better?
• If you don’t read beyond this page, here’s the one big idea you should take away: Forget ‘airport’ think ‘passenger’
• Don’t write about the volume of snow that fell overnight or how hard you’re working to clear it -tell passengers what’s happening to their flights today.
• Don’t write about the speed or sophistication of baggage systems -tell passengers how soon they can be out of the airport and on their way.
• Write for one person, not a crowd
• The best communications are personal. They’re simple, warm and relevant -they sound as if they were written specially for their readers.
• Imagine how you’d explain things if your reader was sitting next to you. No lecture, no grand announcement, no big words they don’t understand. Be human: make it a friendly conversation.
• ‘You’ and ‘us’
• Refer to your reader as ‘you’ and Heathrow as ‘us’. Describe the airport in personal terms: ‘what we can do for you’, not ‘what Heathrow can do for its passengers’.
• Avoid jargon
• Your readers don’t know about ‘satellite piers’, ‘hub airports’ or codeshares’. Try the parents-and­neighbours test: if they wouldn’t understand a word or phrase, it’s probably jargon.
• Be polite
• Think in terms of ‘please’, ’thank you’, ‘after you’, ‘you’re welcome’, ‘would this help?’ etc. You don’t have to use the actual phrases, just put yourself in a polite and helpful frame of mind.
• Use contractions
• Contractions (‘it’s, ‘isn’t’, ‘you’re’, ‘you’ll’, etc) are part of core speech. They make your writing sound more natural.
• Add a dash of humour
• Don’t be afraid of humour. It shows you’re human and that you share your reader’s readiness to smile. Keep it gentle; don’t overdo it.
• In a busy world, say less
• You don’t have time to read everything that comes your way; neither do your readers. Concentrate on what they really need to know.
• Think of a busy passenger rushing through the terminal. Does your writing speed them on or slow them down? Can they get straight to the information they need or do they have to work their way through an irrelevant explanation?
• Does anyone even need to know that you’re conducting a three-month trial or that you’ve i nsta I led a new ca rouseI?
• Here’s a simple test Is your writing on the way or in the way?
• Think like a passenger
• Big airports tend to think big: half a million air-transport movements a year, 200,000 passengers a day, 350,000 square metres of terminal. Forget it. Passengers don’t care about the size of the roof on the new T2 or the speed and capacity of the baggage tunnel. They want to know where they can get a coffee, how long till their flight and whether they can take baby milk on board with them.
• Resist the temptation to quote dimensions and statistics. If you want to talk about the T2 roof, say how much brighter the terminal will be with all that natural daylight flooding in. If you want to make a big thing of the baggage tunnel, explain how it saves time for connecting passengers.
• Ask yourself: what’s in it for passengers?
• A popular airport, yes, but not the busiest
• One fact that keeps popping up is that Heathrow is Europe’s busiest airport. But where’s the passenger benefit? Given the choice, who would fly from Europe’s busiest (and, by implication, most crowded and overstretched) airport?
• To describe Heathrow’s scale in a positive way, you could call it Europe’s most popular airport or you could say that it helps more people fly to more places than any other airport in Europe.
• Vital information -keep passengers in the loop
• We often have to pass on information about flight delays, operational difficulties or security issues. It’s rarely good news, but it is vital. As always, put yourself in the passengers’ shoes. They’ll want to know how the news affects them and what they can do to minimise the effect.
• Clear headlines
• ‘Flight delays, 10 January’ is far more helpful than ‘Important information’.
• Start with the facts: what’s happening and what they can do
• ‘Please allow extra time.’, ‘Flights to X are running roughly Y minutes late.’, ‘Look for the coaches in the terminal forecourt.’ etc.
• Give a brief explanation
• Let passengers understand why this is happening and that we are in control of the situation. If you know when it’ll end, say so. Don’t blame anyone.
• More information
• Keep passengers in the loop. Let them know where they can get more information -on the web, from their airlines, from the screens.
• Trust your readers to make up their own minds Reasons to believe
• The airport that says it’s dedicated to customer care, committed to recycling or passionate about community involvement is making big, unproven claims. The airport that describes how it turns its food waste into soil conditioner is doing something about recycling. Which would you believe?
• Instead of writing about, say, our commitment to biodiversity (a grand but unsubstantiated claim), talk about the work we do on our wildlife habitats and mention the award we’ve won for it (practical action supported by independent verification).
• Write for a diverse global audience
• English is a second language for many of your readers. Don’t cut them out of the story. Strike a balance between a writing style that captures the colour and vibrancy of Heathrow and the UK, and copy that’s meaningful to those whose home is elsewhere or whose first language is not English.
• • Avoid idioms, colloquialisms and references to people, places or events that are unfamiliar to non-UK readers • Avoid long or unusual words
• Writing for the web and social media
• Cut your writing back even more. Attention spans for web pages are shorter than for printed pages, and readers tend to scan.
• • Reduce complex ideas to short bullet points • Make your headings clear and add plenty of cross­headings to help readers find what they want • Bear in mind that many readers will only read headings and cross-headings.
• Use the relaxed immediacy of social media to let the Heathrow personality shine through. Just be sure to think your comments through before you post or tweet. Saying the right thing is more important than tapping out an instant response.
• Internal and stakeholder communications -the same rules apply (almost)
• Whether you’re writing for internal or external readers, your job is to keep it simple, friendly and brief. The content and terminology may be different, but you’re still participating in a one-to-one conversation.
• The detail’s in the appendix
• Maintaining a style is all about consistency. That includes the minor details -the capitalisation, bullet points, weights and measures, date formats and spellings that identify your document as a Heathrow document.
• Ask yourself that same telling question: is my communication on the way or in the way?

Brand Imagery

• Our imagery captures moments in airport life on an intimate and grand scale. Real passengers enjoying real environments and services show how we’re making every journey better.
• Avoid images showing hi-vis vests unless you’re working on a communication that deaIs with construction.
• Cut-out images help us to maintain the high quality image standards we require, when time or budget won’t allow a location based photoshoot. Use them to reflect our diversity and emphasise passenger satisfaction. Just make sure you ground any full-length cut-outs with a shadow.
• Our images should never feel overly staged or cliched.
• Planes and places photography is one of the few areas where we think it’s OK to brag. Epic photos with impact and energy show Heathrow’s soul and scale.
• Images should • Tell a story of ‘Making every journey better’. • Capture the buzz and excitement of Heathrow by showing genuine passengers using our terminals and facilities. • Show typical passenger behaviours without appearing posed or staged.
• Choose colour photographs every time. Use mono only if the original was shot in B&W.
• Supergraphics are super high-resolution images big enough to cover a wall or hoarding.
• Premium communications look much richer. We use full-bleed images and Heathrow Purple colour gradients for cachet and standout.
• For premium communications, photography should have a slighlty desaturated, vignetted appearance. This approach reflects the photgraphic styling of many premium fashion brands and helps us communicate with the target audience in a way that they are used to and expect.
• As well as full colour images, photography can be treated in several different ways to help maintain a premium feel. Black & White, Duotone and Heathrow Purple multiply allow a certain amount of flexibility when creating imagery.
• Existing Heathrow image treated in the premium style and then converted to Black & White.
• Existing Heathrow image treated in the premium style and then converted to Black & White with a Heathrow Purple multiply added. The multiply can be used at any tint between 10-60% to suit the image.
• Existing Heathrow image treated in the premium style and then converted to Duotone using Black and Heathrow purple.

Color Palette

• Heathrow Purple, Highlight Pink and Heathrow Grey can deliver a strong brand feel.
• The illustration colour palette gives the added flexibility of light and bright range tones. Working in harmony with the Heathrow colours, they are used for illustration only.
• It is important that all our illustrations are recognisably Heathrow. This is achieved by employing Heathrow Purple to certain aspects of your image were possible. Support this with Heathrow Grey and careful use of the Illustration palette to ensure your image is on brand.
• If there is an opportunity to use our main brand colours (Heathrow Purple and Heathrow Grey etc) then please do so as this helps the illustration look recognisably Heathrow.
• There may be occasions where you have to describe a particlarly complex process or journey and feel you need extra colours than are described here. In this case, please contact the Brand Team who will be able to advise you further.
• Heathrow Purple Highlight Pink (No more than 10% coverage) Heathrow Light Purple
• Our two Core colour gradients add depth and texture to Core communications.
• The Heathrow Light Grey+ White colour gradient is a dynamic alternative to white. Use it full-bleed to unify page elements.
• The Heathrow Purple + Heathrow Light Purple colour gradient is a dynamic alternative to Heathrow Purple.
• If you’re mixing colours and colour gradients, make sure you stick to the colour weighting (page 25).
• To add richness to Premium communications, you can call on a further set of colour gradients and special treatments. If you overlay your colour gradient with a vignette, you can increase the intensity and depth of colour.
• The vignette is a radial gradient fill multiplied over a colour gradient.
• The two colour gradients below are the default choice for Premium service communications. The example on the right shows how they look with the addition of a vignette.
• Use this colour gradient in place of white with full bleed to unify page elements.
• When we work with luxury brands (eg Heathrow Boutique, Heathrow Personal Shopper), we turn to the colour gradient and vignette below for a darker, more formal palette. To make sure you get it right, talk to the Brand team before you start.
• Heathrow Grey+ Rich Black + vignette
• Full bleed colour gradient To distance Premium designs even further from Core ones, you can place Premium colour gradients full-bleed on covers and spreads. It’s not compulsory, but it does work Heathrow Grey Highlight Pink (No more than 10% coverage) Heathrow Light Purple
• Core colour weighting: 80% white space, 20% purple accent for text and images for reversing out text or graphic highlighting Heathrow Purple White Black Heathrow Grey Highlight Pink (No more than 10% coverage) Heathrow Light Purple

Typography

• Primary Font is Frutiger (LT Std)
• Choose the Frutiger family for all printed communications apart from ATL. For headlines, tighten the appearance with minus tracking.
• All Heathrow PCs have the LT version of Frutiger installed. Always use this family for internal assets like letterhead templates, because other Frutiger families default to system fonts.
• Frutiger 45 Light Frutiger 45 Light Italic Frutiger 55 Roman Frutiger 56 Italic Frutiger 65 Bold Frutiger 66 Bold Italic Frutiger 75 Black
• Our Electronic Font is Arial
• Use Arial for PowerPoint and other electronic communications. With Arial, you can guarantee reproduction in locations and on equipment beyond your control.
• Arial Arial Bold Arial Black
• Do not compromise the uniqueness of our logotype by mimicking its glowing Horizon within other pieces of text. Even if you apply fades like the one to the right, you risk diluting the strength and character of the logotype.
• The same goes for colour gradients. Don’t apply them to headlines or body copy. The only time we place colour gradients within letterforms is for Service lock-ups.
• Don’t set text in capitals. For headlines and titles, use sentence case to keep a friendly and approachable tone.
• Set headlines, subheadings, cross-headings and document titles in what’s known as sentence case.
• The first word begins with a capital letter
• No other word is capitalised, apart from proper nouns (names like Hounslow, Boeing, Costa Coffee)
• There’s no full stop after the last word
• Use other punctuation marks (commas, question marks etc) in the normal way.

Logo Usage

• Our Primary Purple logotype Make it your first choice every time. To choose another style, you need a very good reason.
• The logotype also comes in Glowing Black, Glowing Silver, black (mono) and white.
• The height of the H sets the minimum exclusion zone. The breathing space you give the logotype is always proportionate to its size.
• The size of the signature depends on the size of publication or advert in which it’s going. Measure the signature size by the height of the H in Heathrow.
• A3 the ‘H’ height = 9mm
• A4 the ‘H’ height = 7mm
• AS the ‘H’ height = 7mm
• DL the ‘H’ height = 6mm
• AG the ‘H’ height = 6mm
• A7 (ID pass size) = 5mm
• 48 sheet poster = 85mm
• For exclusion zones, see page 7.
• A 5mm H-height is as small as you can go -but only on the equivalent of A7 (credit-card size).
• For non-standard or larger sizes, adjust the H-height proportionally and apply the same exclusion rules (page 7).
• Don’t forget to allow for the minimum exclusion zone. As with the logotype, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three signatures: they all need the same H-sized breathing space above and below, and to rig ht and left.
• The H-height also sets the minimum distance between the signature and the edge of an online or offline communication.
• Wherever you can, use our preferred Primary Purple signature. However, you could use Glowing Black or Glowing Silver signatures on coloured or dark backgrounds.
• Or you cold pick the black (mono) or white versions if you’re worried about legibility or working with a tricky substrate such as vinyl.
• Accurate reproduction Always use the artwork provided. Please don’t alter or distort our logotype or signature, or place them within text.
• Please do not attempt to create these lock-ups yourself or alter the size relationship between ‘Heathrow’ and the service name. We set strict criteria for lock-ups. For the services or divisions that qualify, we have already prepared lock-up artwork.
• Core lock-ups come in black (mono) or white in a ranged-left format only. Place them in the top left-hand corner of relevant communications when the Heathrow signature is present. Choose the version that gives the best effect.
• Don’t let your Core lock-ups get too big on covers. The size of the word ‘Heathrow’ in the lock-up is always half the length of the strapline in the signature.
• The signature also fixes the distance of the lock-up from the edge of the document. The spaces above and to the left of the lock-up are the same as the spaces below and to the right (the exclusion zone) of the signature.
• When the Heathrow signature is not present on the same page, frame or spread, an Core lock-up may be placed anywhere at any size.
• Although you can place an Core lock-up anywhere within a banner, our preferred position is top left.
• The word ‘Heathrow’ should be at least 70 pixels long (for Parking lock-ups, the 70 pixel minimum includes the Picon). Ideal padding is 10 pixels, although you can reduce to a minimum of 5 pixels.
• Premium Labels always bleed off the page to the left, online and offline.
• On literature and above-the-line (ATL) communications, give the Premium Label a bit more room to breathe. The gap between it and the upper edge of the document should be twice the H-height of the signature.
• The Premium Label is a device for endorsing messages and supporting images. Place it on all Premium service collateral. But don’t double up. If you have to place a Premium lock-up in a prominent position on items such as bags, name tags or cards, don’t add a Premium Label as well.
• The minimum height of a Premium Label is 45 pixels. The minimum distance between the border and the Hof Heathrow is 10 pixels.
• Minimum top and bottom padding is 5 pixels from the banner border.
• Our Parking lock-ups have service text much bigger than the Heathrow logotype for long-distance readability. They carry a parking P icon for easy identification. In most cases, the P is embedded in the lock-up (Fig a).
• Sometimes it’s simpler and clearer to identify a batch of Parking lock-ups with a single P icon (Fig b).
• Please do not attempt to create these lock-ups yourself or alter the size relationship between ‘Heathrow’ and the division name. We set strict criteria for lock-ups. For the services or divisions that qualify, we have already prepared lock-up artwork.
• Do not compromise the uniqueness of our logotype by mimicking its glowing Horizon within other pieces of text. Even if you apply fades like the one to the right, you risk diluting the strength and character of the logotype.
• The same goes for colour gradients. Don’t apply them to headlines or body copy. The only time we place colour gradients within letterforms is for Service lock-ups.
• Don’t set text in capitals. For headlines and titles, use sentence case to keep a friendly and approachable tone.
• Don’t put internal initiatives on merchandising. If you’re spending money on customising pens, lanyards and mugs, it’s better to invest it in the Heathrow brand by applying the logotype or signature. Use the Primary Purple version where possible.
• Embroidery reproduction can be tricky. To get the best result we have a version of the logotype that’s reserved just for embroidery. Its wider Horizon creates a clear separation throughout its sweep. But you do need a supplier who can produce a stitch count of around 7,000. Please specify silver or dark grey thread (instead of black or white) as they stay looking cleaner for longer.

Tone And Messaging

• One airport, one warm and engaging personality, one way of expressing it
• Put yourself in your readers’ shoes Ask yourself: how does what you’re saying make the journey better?
• If you don’t read beyond this page, here’s the one big idea you should take away: Forget ‘airport’ think ‘passenger’
• Don’t write about the volume of snow that fell overnight or how hard you’re working to clear it -tell passengers what’s happening to their flights today.
• Don’t write about the speed or sophistication of baggage systems -tell passengers how soon they can be out of the airport and on their way.
• Write for one person, not a crowd
• The best communications are personal. They’re simple, warm and relevant -they sound as if they were written specially for their readers.
• Imagine how you’d explain things if your reader was sitting next to you. No lecture, no grand announcement, no big words they don’t understand. Be human: make it a friendly conversation.
• ‘You’ and ‘us’
• Refer to your reader as ‘you’ and Heathrow as ‘us’. Describe the airport in personal terms: ‘what we can do for you’, not ‘what Heathrow can do for its passengers’.
• Avoid jargon
• Your readers don’t know about ‘satellite piers’, ‘hub airports’ or codeshares’. Try the parents-and­neighbours test: if they wouldn’t understand a word or phrase, it’s probably jargon.
• Be polite
• Think in terms of ‘please’, ’thank you’, ‘after you’, ‘you’re welcome’, ‘would this help?’ etc. You don’t have to use the actual phrases, just put yourself in a polite and helpful frame of mind.
• Use contractions
• Contractions (‘it’s, ‘isn’t’, ‘you’re’, ‘you’ll’, etc) are part of core speech. They make your writing sound more natural.
• Add a dash of humour
• Don’t be afraid of humour. It shows you’re human and that you share your reader’s readiness to smile. Keep it gentle; don’t overdo it.
• In a busy world, say less
• You don’t have time to read everything that comes your way; neither do your readers. Concentrate on what they really need to know.
• Think of a busy passenger rushing through the terminal. Does your writing speed them on or slow them down? Can they get straight to the information they need or do they have to work their way through an irrelevant explanation?
• Does anyone even need to know that you’re conducting a three-month trial or that you’ve i nsta I led a new ca rouseI?
• Here’s a simple test Is your writing on the way or in the way?
• Think like a passenger
• Big airports tend to think big: half a million air-transport movements a year, 200,000 passengers a day, 350,000 square metres of terminal. Forget it. Passengers don’t care about the size of the roof on the new T2 or the speed and capacity of the baggage tunnel. They want to know where they can get a coffee, how long till their flight and whether they can take baby milk on board with them.
• Resist the temptation to quote dimensions and statistics. If you want to talk about the T2 roof, say how much brighter the terminal will be with all that natural daylight flooding in. If you want to make a big thing of the baggage tunnel, explain how it saves time for connecting passengers.
• Ask yourself: what’s in it for passengers?
• A popular airport, yes, but not the busiest
• One fact that keeps popping up is that Heathrow is Europe’s busiest airport. But where’s the passenger benefit? Given the choice, who would fly from Europe’s busiest (and, by implication, most crowded and overstretched) airport?
• To describe Heathrow’s scale in a positive way, you could call it Europe’s most popular airport or you could say that it helps more people fly to more places than any other airport in Europe.
• Vital information -keep passengers in the loop
• We often have to pass on information about flight delays, operational difficulties or security issues. It’s rarely good news, but it is vital. As always, put yourself in the passengers’ shoes. They’ll want to know how the news affects them and what they can do to minimise the effect.
• Clear headlines
• ‘Flight delays, 10 January’ is far more helpful than ‘Important information’.
• Start with the facts: what’s happening and what they can do
• ‘Please allow extra time.’, ‘Flights to X are running roughly Y minutes late.’, ‘Look for the coaches in the terminal forecourt.’ etc.
• Give a brief explanation
• Let passengers understand why this is happening and that we are in control of the situation. If you know when it’ll end, say so. Don’t blame anyone.
• More information
• Keep passengers in the loop. Let them know where they can get more information -on the web, from their airlines, from the screens.
• Trust your readers to make up their own minds Reasons to believe
• The airport that says it’s dedicated to customer care, committed to recycling or passionate about community involvement is making big, unproven claims. The airport that describes how it turns its food waste into soil conditioner is doing something about recycling. Which would you believe?
• Instead of writing about, say, our commitment to biodiversity (a grand but unsubstantiated claim), talk about the work we do on our wildlife habitats and mention the award we’ve won for it (practical action supported by independent verification).
• Write for a diverse global audience
• English is a second language for many of your readers. Don’t cut them out of the story. Strike a balance between a writing style that captures the colour and vibrancy of Heathrow and the UK, and copy that’s meaningful to those whose home is elsewhere or whose first language is not English.
• • Avoid idioms, colloquialisms and references to people, places or events that are unfamiliar to non-UK readers • Avoid long or unusual words
• Writing for the web and social media
• Cut your writing back even more. Attention spans for web pages are shorter than for printed pages, and readers tend to scan.
• • Reduce complex ideas to short bullet points • Make your headings clear and add plenty of cross­headings to help readers find what they want • Bear in mind that many readers will only read headings and cross-headings.
• Use the relaxed immediacy of social media to let the Heathrow personality shine through. Just be sure to think your comments through before you post or tweet. Saying the right thing is more important than tapping out an instant response.
• Internal and stakeholder communications -the same rules apply (almost) Whether you’re writing for internal or external readers, your job is to keep it simple, friendly and brief. The content and terminology may be different, but you’re still participating in a one-to-one conversation.
• The detail’s in the appendix Maintaining a style is all about consistency. That includes the minor details -the capitalisation, bullet points, weights and measures, date formats and spellings that identify your document as a Heathrow document.
• Ask yourself that same telling question: is my communication on the way or in the way?

Brand Values

• Heathrow brand values are the foundations to ‘passenger principles’
• Deliver a noticeably better “hub of choice” passenger experience through Heathrow
• Show we care
• Easier journey
• Delight
• We care
• We’re getting better – every day
• We are modern Britain
• We care about our impact beyond our perimeter fence
• Running one of the world’s great airports is about more than control and competence. It’s about care and responsibility, too. Care for every one of our passengers. Care for our airline customers, service partners and employees; and care that extends way beyond our perimeter fence, for the consequences our business has on the local community, on employment, on regional businesses, on the environment - and the British public as a whole.
• Think
• Consider
• Care
• We only succeed when we succeed operationally
• Our purpose is simple: we’re here to help our passengers get to where they want to be, as smoothly and swiftly as possible. Operational success in making that happen is down to every one of us employed on the airport. That is why our commitment to making every passenger’s journey through our airport better. Better every minute, in our constant thought for service delivery. Better every hour, in the way we manage our operation. Better every year, in the way we trial and prove service enhancements; and better every decade, in our steadily improving infrastructure. It’s a mission everyone here is engaged in.
• Commit
• Improve
• Enact

Visual Style

• Our Primary Purple logotype Make it your first choice every time. To choose another style, you need a very good reason.
• The arching curve is known as the Horizon. It represents the earth’s curvature with the atmosphere fading away above.
• The logotype also comes in Glowing Black, Glowing Silver, black (mono) and white.
• The height of the H sets the minimum exclusion zone. The breathing space you give the logotype is always proportionate to its size.
• The size of the signature depends on the size of publication or advert in which it’s going. Measure the signature size by the height of the H in Heathrow.
• A3 the ‘H’ height = 9mm
• A4 the ‘H’ height = 7mm
• AS the ‘H’ height = 7mm
• DL the ‘H’ height = 6mm
• AG the ‘H’ height = 6mm
• A7 (ID pass size) = 5mm
• 48 sheet poster = 85mm
• A 5mm H-height is as small as you can go -but only on the equivalent of A7 (credit-card size).
• For non-standard or larger sizes, adjust the H-height proportionally and apply the same exclusion rules (page 7).
• For variety and ease of alignment, you have three versions of the signature. The ranged-left version goes on the left-hand side of a piece, the centred one in the middle and the ranged-right signature on the right-hand side. No other alignments are possible.
• Don’t forget to allow for the minimum exclusion zone. As with the logotype, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three signatures: they all need the same H-sized breathing space above and below, and to rig ht and left.
• The H-height also sets the minimum distance between the signature and the edge of an online or offline communication.
• Wherever you can, use our preferred Primary Purple signature. However, you could use Glowing Black or Glowing Silver signatures on coloured or dark backgrounds.
• Or you cold pick the black (mono) or white versions if you’re worried about legibility or working with a tricky substrate such as vinyl.
• Accurate reproduction Always use the artwork provided. Please don’t alter or distort our logotype or signature, or place them within text.
• Core lock-ups come in black (mono) or white in a ranged-left format only. Place them in the top left-hand corner of relevant communications when the Heathrow signature is present. Choose the version that gives the best effect.
• Don’t let your Core lock-ups get too big on covers. The size of the word ‘Heathrow’ in the lock-up is always half the length of the strapline in the signature.
• The signature also fixes the distance of the lock-up from the edge of the document. The spaces above and to the left of the lock-up are the same as the spaces below and to the right (the exclusion zone) of the signature.
• Although you can place an Core lock-up anywhere within a banner, our preferred position is top left.
• The word ‘Heathrow’ should be at least 70 pixels long (for Parking lock-ups, the 70 pixel minimum includes the Picon). Ideal padding is 10 pixels, although you can reduce to a minimum of 5 pixels.
• Premium Labels always bleed off the page to the left, online and offline.
• On literature and above-the-line (ATL) communications, give the Premium Label a bit more room to breathe. The gap between it and the upper edge of the document should be twice the H-height of the signature.
• The Premium Label is a device for endorsing messages and supporting images. Place it on all Premium service collateral. But don’t double up. If you have to place a Premium lock-up in a prominent position on items such as bags, name tags or cards, don’t add a Premium Label as well.
• To aid online service identification and orientation, you can replace the Primary Purple logotype with a Glowing Silver or Glowing Black Premium lock-up. Putting the lock-up in the masthead reinforces the service’s premium status.
• Since Premium Labels only come in ranged-left format, they always go on the left-hand side of a banner. Choose the version -Glowing Silver on Purple or Glowing Black on Silver -that produces the best effect.
• The minimum height of a Premium Label is 45 pixels. The minimum distance between the border and the Hof Heathrow is 10 pixels.
• Minimum top and bottom padding is 5 pixels from the banner border.
• Our Parking lock-ups have service text much bigger than the Heathrow logotype for long-distance readability. They carry a parking P icon for easy identification. In most cases, the P is embedded in the lock-up (Fig a).
• Sometimes it’s simpler and clearer to identify a batch of Parking lock-ups with a single P icon (Fig b).
• Colour
• 80% 20% white space purple accent for text and images for reversing out text or graphic highlighting Heathrow Purple White Black Heathrow Grey Highlight Pink (No more than 10% coverage) Heathrow Light Purple
• Our two Core colour gradients add depth and texture to Core communications.
• The Heathrow Light Grey+ White colour gradient is a dynamic alternative to white. Use it full-bleed to unify page elements.
• The Heathrow Purple + Heathrow Light Purple colour gradient is a dynamic alternative to Heathrow Purple.
• If you’re mixing colours and colour gradients, make sure you stick to the colour weighting (page 25).
• To add richness to Premium communications, you can call on a further set of colour gradients and special treatments. If you overlay your colour gradient with a vignette, you can increase the intensity and depth of colour.
• The vignette is a radial gradient fill multiplied over a colour gradient.
• The two colour gradients below are the default choice for Premium service communications. The example on the right shows how they look with the addition of a vignette.
• Heathrow Purple + Heathrow Light Purple + vignette
• Heathrow Purple + Heathrow Light Grey + vignette
• Use this colour gradient in place of white with full bleed to unify page elements.
• Heathrow Light Grey+ White
• When we work with luxury brands (eg Heathrow Boutique, Heathrow Personal Shopper), we turn to the colour gradient and vignette below for a darker, more formal palette. To make sure you get it right, talk to the Brand team before you start.
• Heathrow Grey+ Rich Black + vignette
• To distance Premium designs even further from Core ones, you can place Premium colour gradients full-bleed on covers and spreads. It’s not compulsory, but it does work Heathrow Grey Highlight Pink (No more than 10% coverage) Heathrow Light Purple
• Connecting Spheres provide structure and flow; use them to frame text or image or to add standout and interest.
• Connecting Spheres give your designs a three­dimensional, global feel. Their intersecting curves suggest travel, flight lines and the connectedness of a hub airport. The crossing point could be where worlds meet -Heathrow.
• Connecting Spheres come in two sizes for larger and smaller documents.
• CS_xxxx_SML.eps For artwork up to A4 portrait in size.
• CS_xxxx_LRG.eps For artwork A4 landscape upwards.
• Connecting Spheres always bleed. To get the right effect, choose a small section (rarely more than 25% of the whole) containing a crossing point-never two or none. Don’t over or underscale them. We’re looking for shallow dynamic curves rather than great, near-circular loops.
• For even more flexibility, try flipping Connecting Spheres horizontally or vertically.
• Premium and Core applications each have two colour versions of the Connecting Spheres.
• You can add further depth and texture by giving Connecting Spheres a subtle drop shadow (Figs a and b).
• Make sure the drop shadow is well-diffused, is multiplied and has a maximum opacity of 35%.
• Connecting Spheres are versatile devices. Use them on their own in pure graphic form, or as a mask or container for images.
• If you’re updating existing literature, you don’t have to retrofit with a Connecting Sphere unless it makes a significant improvement to the look.
• Connecting Spheres don’t overlay images, but they do contain or mask them.
• Connecting Spheres give you plenty of options. You can create larger or smaller areas of white space for text or signature, or alter the way an image bleeds off the page.
• Don’t let the signature get lost in a full-bleed image. Here’s how to keep it visible and looking at its best.
• When you choose an image, crop it to create a clear, uncluttered area where the signature can shine. If that’s not possible, try one of the techniques to the right.
• Crop your picture to give the signature breathing space.
• Create clear space with a masking Connecting Sphere.
• Introduce a delicate white linear fade from the bottom of the page.
• Our imagery captures moments in airport life on an intimate and grand scale. Real passengers enjoying real environments and services show how we’re making every journey better.
• Avoid images showing hi-vis vests unless you’re working on a communication that deaIs with construction.
• Cut-out images help us to maintain the high quality image standards we require, when time or budget won’t allow a location based photoshoot. Use them to reflect our diversity and emphasise passenger satisfaction. Just make sure you ground any full-length cut-outs with a shadow.
• Our images should never feel overly staged or cliched.
• Planes and places photography is one of the few areas where we think it’s OK to brag. Epic photos with impact and energy show Heathrow’s soul and scale.
• Images should • Tell a story of ‘Making every journey better’. • Capture the buzz and excitement of Heathrow by showing genuine passengers using our terminals and facilities. • Show typical passenger behaviours without appearing posed or staged.
• Choose colour photographs every time. Use mono only if the original was shot in B&W.
• Pictograms make life easy for everyone. They also comply with our Wayfinding Performance Standard. Don’t recreate them or design new ones without permission from the Brand team.
• Avoid clip art style imagery at all costs -it simply doesn’t fit the quality parameters of Heathrow. Similarly avoid overly stylised, ‘cartoon’ style imagery as well as artistic effects such as watercolour and pencil sketches. Highly detailed, realistic illustration should be avoided as this blurs the lines between photography and illustration -simply use a photograph or live action film instead.
• As a guide we like to see ‘vector’ style illustration and animation as it has a clean and contemporary feel that works well on and off line.
• It is important that all our illustrations are recognisably Heathrow. This is achieved by employing Heathrow Purple to certain aspects of your image were possible. Support this with Heathrow Grey and careful use of the Illustration palette to ensure your image is on brand.
• If there is an opportunity to use our main brand colours (Heathrow Purple and Heathrow Grey etc) then please do so as this helps the illustration look recognisably Heathrow.
• Heathrow Purple, Highlight Pink and Heathrow Grey can deliver a strong brand feel.
• Heathrow offers passengers and third parties a variety of services. To help simplify them, they are segmented into two distinct areas; Services that are considered as Core and services that are considered more Premium. There are two distinct look and feels to help communicate this.
• Most airport communications follow the Core look and feel. They’re mostly white, often accented with the Heathrow Light Grey to White colour gradient. Core communications rarely feature full-bleed photography. Don’t let an image cover more than 50% of the piece without approval from the Brand team. Connecting Spheres are optional. Use them to add structure and form. Place images within picture boxes to leave plenty of white space.
• Premium communications look much richer. We use full-bleed images and Heathrow Purple colour gradients for cachet and standout.
• For premium communications, photography should have a slighlty desaturated, vignetted appearance. This approach reflects the photgraphic styling of many premium fashion brands and helps us communicate with the target audience in a way that they are used to and expect.
• As well as full colour images, photography can be treated in several different ways to help maintain a premium feel. Black & White, Duotone and Heathrow Purple multiply allow a certain amount of flexibility when creating imagery.
• Existing Heathrow image treated in the premium style and then converted to Black & White.
• Existing Heathrow image treated in the premium style and then converted to Black & White with a Heathrow Purple multiply added. The multiply can be used at any tint between 10-60% to suit the image.
• Existing Heathrow image treated in the premium style and then converted to Duotone using Black and Heathrow purple.
• Primary Font is Frutiger (LT Std) Choose the Frutiger family for all printed communications apart from ATL. For headlines, tighten the appearance with minus tracking.
• All Heathrow PCs have the LT version of Frutiger installed. Always use this family for internal assets like letterhead templates, because other Frutiger families default to system fonts.
• Our Electronic Font is Arial Use Arial for PowerPoint and other electronic communications. With Arial, you can guarantee reproduction in locations and on equipment beyond your control.
• Do not compromise the uniqueness of our logotype by mimicking its glowing Horizon within other pieces of text. Even if you apply fades like the one to the right, you risk diluting the strength and character of the logotype.
• The same goes for colour gradients. Don’t apply them to headlines or body copy. The only time we place colour gradients within letterforms is for Service lock-ups.
• Don’t set text in capitals. For headlines and titles, use sentence case to keep a friendly and approachable tone.

Iconography

• Pictograms make life easy for everyone. They also comply with our Wayfinding Performance Standard. Don’t recreate them or design new ones without permission from the Brand team.

Layout And Composition

• The height of the H sets the minimum exclusion zone. The breathing space you give the logotype is always proportionate to its size.
• The size of the signature depends on the size of publication or advert in which it’s going. Measure the signature size by the height of the H in Heathrow.
• A3 the ‘H’ height = 9mm
• A4 the ‘H’ height = 7mm
• AS the ‘H’ height = 7mm
• DL the ‘H’ height = 6mm
• AG the ‘H’ height = 6mm
• A7 (ID pass size) = 5mm
• 48 sheet poster = 85mm
• For exclusion zones, see page 7.
• A 5mm H-height is as small as you can go -but only on the equivalent of A7 (credit-card size).
• For non-standard or larger sizes, adjust the H-height proportionally and apply the same exclusion rules (page 7).
• For variety and ease of alignment, you have three versions of the signature. The ranged-left version goes on the left-hand side of a piece, the centred one in the middle and the ranged-right signature on the right-hand side. No other alignments are possible.
• Don’t forget to allow for the minimum exclusion zone. As with the logotype, the height of the H in Heathrow determines its size. The exclusion zone is the same for all three signatures: they all need the same H-sized breathing space above and below, and to rig ht and left.
• The H-height also sets the minimum distance between the signature and the edge of an online or offline communication.
• Accurate reproduction Always use the artwork provided. Please don’t alter or distort our logotype or signature, or place them within text.
• Core lock-ups come in black (mono) or white in a ranged-left format only. Place them in the top left-hand corner of relevant communications when the Heathrow signature is present. Choose the version that gives the best effect.
• Don’t let your Core lock-ups get too big on covers. The size of the word ‘Heathrow’ in the lock-up is always half the length of the strapline in the signature.
• The signature also fixes the distance of the lock-up from the edge of the document. The spaces above and to the left of the lock-up are the same as the spaces below and to the right (the exclusion zone) of the signature.
• When the Heathrow signature is not present on the same page, frame or spread, an Core lock-up may be placed anywhere at any size.
• Although you can place an Core lock-up anywhere within a banner, our preferred position is top left.
• The word ‘Heathrow’ should be at least 70 pixels long (for Parking lock-ups, the 70 pixel minimum includes the Picon). Ideal padding is 10 pixels, although you can reduce to a minimum of 5 pixels.
• Premium Labels always bleed off the page to the left, online and offline.
• On literature and above-the-line (ATL) communications, give the Premium Label a bit more room to breathe. The gap between it and the upper edge of the document should be twice the H-height of the signature.
• The Premium Label is a device for endorsing messages and supporting images. Place it on all Premium service collateral. But don’t double up. If you have to place a Premium lock-up in a prominent position on items such as bags, name tags or cards, don’t add a Premium Label as well.
• Since Premium Labels only come in ranged-left format, they always go on the left-hand side of a banner. Choose the version -Glowing Silver on Purple or Glowing Black on Silver -that produces the best effect.
• The minimum height of a Premium Label is 45 pixels. The minimum distance between the border and the Hof Heathrow is 10 pixels.
• Minimum top and bottom padding is 5 pixels from the banner border.
• Connecting Spheres always bleed. To get the right effect, choose a small section (rarely more than 25% of the whole) containing a crossing point-never two or none. Don’t over or underscale them. We’re looking for shallow dynamic curves rather than great, near-circular loops.
• For even more flexibility, try flipping Connecting Spheres horizontally or vertically.
• Make sure the drop shadow is well-diffused, is multiplied and has a maximum opacity of 35%.
• Don’t let the signature get lost in a full-bleed image. Here’s how to keep it visible and looking at its best.
• When you choose an image, crop it to create a clear, uncluttered area where the signature can shine. If that’s not possible, try one of the techniques to the right.
• Crop your picture to give the signature breathing space.
• Create clear space with a masking Connecting Sphere.
• Introduce a delicate white linear fade from the bottom of the page.
• Place images within picture boxes to leave plenty of white space.
• Core communications rarely feature full-bleed photography. Don’t let an image cover more than 50% of the piece without approval from the Brand team.
• Premium communications look much richer. We use full-bleed images and Heathrow Purple colour gradients for cachet and standout.

Brand Architecture

• Heathrow may be more than the sum of its parts, but its parts are all enormously important. So sometimes the team thinking behind our partnerships, whether with airlines, retail outlets or developers, needs to be expressed visually.
• We do this with dual branding. It shows who’s involved, and allows everyone involved to share the credit and the responsibility. If Heathrow is taking the lead, our signature should appear in the bottom right-hand corner -allowing the partner brand to occupy the bottom left corner. When Heathrow is in a supporting role, we are more flexible as to which signature should be used. Examples are shown here.
• Alignment depends on the height or length of the partner brand and common sense should prevail to exact sizing and balance. The usual sizing rules apply.
• Only passenger-facing services (eg Shop & Collect) or divisions (eg Engineering) can have lock-ups. The list of lock-ups is fixed. No one but the Brand team can authorise the creation of a new lock-up.
• The Core style is for divisions and core passenger­facing services; the Premium style is for premium passenger-facing services.
• For internal initiatives (eg Heathrow Commuter, Be a Star) and places or buildings such as the Heathrow Consolidation Centre, set the name in text underpinned by our logotype or signature.
• Please do not attempt to create these lock-ups yourself or alter the size relationship between ‘Heathrow’ and the service name. We set strict criteria for lock-ups. For the services or divisions that qualify, we have already prepared lock-up artwork.
• Core lock-ups come in black (mono) or white in a ranged-left format only. Place them in the top left-hand corner of relevant communications when the Heathrow signature is present. Choose the version that gives the best effect.
• Don’t let your Core lock-ups get too big on covers. The size of the word ‘Heathrow’ in the lock-up is always half the length of the strapline in the signature.
• The signature also fixes the distance of the lock-up from the edge of the document. The spaces above and to the left of the lock-up are the same as the spaces below and to the right (the exclusion zone) of the signature.
• When the Heathrow signature is not present on the same page, frame or spread, an Core lock-up may be placed anywhere at any size.
• Although you can place an Core lock-up anywhere within a banner, our preferred position is top left.
• The word ‘Heathrow’ should be at least 70 pixels long (for Parking lock-ups, the 70 pixel minimum includes the Picon). Ideal padding is 10 pixels, although you can reduce to a minimum of 5 pixels.
• Premium Labels always bleed off the page to the left, online and offline.
• On literature and above-the-line (ATL) communications, give the Premium Label a bit more room to breathe. The gap between it and the upper edge of the document should be twice the H-height of the signature.
• The Premium Label is a device for endorsing messages and supporting images. Place it on all Premium service collateral. But don’t double up. If you have to place a Premium lock-up in a prominent position on items such as bags, name tags or cards, don’t add a Premium Label as well.
• To aid online service identification and orientation, you can replace the Primary Purple logotype with a Glowing Silver or Glowing Black Premium lock-up. Putting the lock-up in the masthead reinforces the service’s premium status.
• Since Premium Labels only come in ranged-left format, they always go on the left-hand side of a banner. Choose the version -Glowing Silver on Purple or Glowing Black on Silver -that produces the best effect.
• The minimum height of a Premium Label is 45 pixels. The minimum distance between the border and the Hof Heathrow is 10 pixels.
• Minimum top and bottom padding is 5 pixels from the banner border.
• Our Parking lock-ups have service text much bigger than the Heathrow logotype for long-distance readability. They carry a parking P icon for easy identification. In most cases, the P is embedded in the lock-up (Fig a).
• Sometimes it’s simpler and clearer to identify a batch of Parking lock-ups with a single P icon (Fig b).
• To keep all parts of the airport firmly on-brand, we’ve given every externally facing division a lock-up. Here are a few examples.

Co Branding

• We do this with dual branding. It shows who’s involved, and allows everyone involved to share the credit and the responsibility. If Heathrow is taking the lead, our signature should appear in the bottom right-hand corner -allowing the partner brand to occupy the bottom left corner. When Heathrow is in a supporting role, we are more flexible as to which signature should be used. Examples are shown here.
• Alignment depends on the height or length of the partner brand and common sense should prevail to exact sizing and balance. The usual sizing rules apply.
• Max height of logo= height of signature Heathrow BRITISH AIRWAYS Making every journey better…. …. Max width of logo= width of strapline

Merchandising

• Don’t put internal initiatives on merchandising. If you’re spending money on customising pens, lanyards and mugs, it’s better to invest it in the Heathrow brand by applying the logotype or signature. Use the Primary Purple version where possible.
• Embroidery reproduction can be tricky. To get the best result we have a version of the logotype that’s reserved just for embroidery. Its wider Horizon creates a clear separation throughout its sweep. But you do need a supplier who can produce a stitch count of around 7,000. Please specify silver or dark grey thread (instead of black or white) as they stay looking cleaner for longer.

Media Sting

• Start all video content and animations with our centred Primary Purple signature.
• You can create an end-frame sting that emphasises content ownership by masking within the Heathrow logotype.
• To add intrigue and dynamism, apply the masking effect to a still image or preferably a moving sequence.

Hoardings Styling

• To be the best, we have to keep improving our terminals and the passenger experience -and that often means rebuilding or refurbishing. Hoardings give us a chance to explain the benefits of what’s going on behind them.
• This is one area where you can use a greater proportion of Heathrow Purple. It gives great standout and hides wear and tear very well.
• Hoardings have just one purpose: to shield passengers from the work you’re doing to make their journey better. Whether you’re revitalising a terminal, replacing a lift or refurbishing toilets, you are helping to make their next trip through Heathrow that little bit better.
• In general any hoarding that will be up for three weeks or more should be branded.
• A hoarding in a high profile or high traffic position must be branded no matter how long it’s up for. The message a hoarding carries is dependent on its location.
• The size of the hoarding may influence the length of message. If the hoarding is very long you may wish to consider breaking up the space with panels of white and purple.
• Keep hoarding messages relevant and tailor them to the passenger’s journey to maximise their effectiveness.
• If a hoarding blocks sightlines to existing wayfinding signage, you must use the space to provide clear additional signage. Information includes ‘bookend’ panels, directories and ‘which terminal?’ guides. All site doors must have Heathrow­approved health and safety notices.
• The ‘Making every journey better’ approach turns a potential message about disruption into a story of how their journey will be better when the job’s done.
• Internal hoardings may have to cater for the needs of retailers and caterers by featuring shopping maps and signs to outlets that continue to operate during the improvements.
• Arriving and departing without the coming and going A forecourt redesign to speed you in and out of the terminal

Hoardings Considerations

• Hoardings have just one purpose: to shield passengers from the work you’re doing to make their journey better. Whether you’re revitalising a terminal, replacing a lift or refurbishing toilets, you are helping to make their next trip through Heathrow that little bit better.
• Duration In general any hoarding that will be up for three weeks or more should be branded.
• Location A hoarding in a high profile or high traffic position must be branded no matter how long it’s up for. The message a hoarding carries is dependent on its location.
• Dimension The size of the hoarding may influence the length of message. If the hoarding is very long you may wish to consider breaking up the space with panels of white and purple.
• Attention Keep hoarding messages relevant and tailor them to the passenger’s journey to maximise their effectiveness.
• Information If a hoarding blocks sightlines to existing wayfinding signage, you must use the space to provide clear additional signage. Information includes ‘bookend’ panels, directories and ‘which terminal?’ guides. All site doors must have Heathrow­approved health and safety notices.
• Making every journey better message The ‘Making every journey better’ approach turns a potential message about disruption into a story of how their journey will be better when the job’s done.
• Passenger benefit message
• Additional maps and retail hoardings Internal hoardings may have to cater for the needs of retailers and caterers by featuring shopping maps and signs to outlets that continue to operate during the improvements.

Hoardings Messaging

• The diagram to the right shows the stages of the journey through Heathrow for arriving and departing passengers. For each stage, we have suggested a message that would be relevant to the location. = g=x> .. easie, check-ic NOTE: We do not place messages on Fhoardings at customs after baggage reclaim. Open Welcome toolkit [,_::.C, be so fa, ce time • More luggage carousels for a faster grab and go .!!."!!ycomirq soon -improved connections Open Connections toolkit
• Arriving and departing without the coming and going A forecourt redesign to speed you in and out of the terminal