MacMillan Cancer Support

Official Websites

• https://www.macmillan.org.uk
• https://www.macmillan.org.uk/en
• https://community.macmillan.org.uk
• https://my.macmillan.org.uk
• http://www.macmillan.org.uk

Brand Guidelines

2012

Brand Summary

Mission

• Macmillan’s ambition is to reach and improve the lives of everyone living with cancer – and inspire millions of others to do the same. The brand acts as a lifeforce for everyone affected by cancer, providing energy, optimism, knowledge, and support through a team of specialists, volunteers, campaigners, and fundraisers [^1].

Core Values

• personal
• demand better
• practical experts
• open
• inspire others

Target Audience

• Everyone affected by cancer, including patients, their families, supporters, volunteers, fundraisers, and campaigners. The brand aims to be inclusive and accessible to all individuals seeking support, information, or involvement [^2].

Personality Traits

• bold
• hand-made
• energetic
• clear
• warm
• approachable
• sincere
• authoritative

Visual Identity Overview

• The visual identity is defined by bold, hand-made, energetic, and clear designs. It uses a simple color palette dominated by green, distinctive graphic silhouettes, clear and friendly typography (Macmillan Headline and Futura BT), and a logo that is straightforward and honest. The style is lively, approachable, and always aims for simplicity and impact [^3].

Categories

Brand Voice

• Please see the guidance on be.Macmillan.org.uk
• Created just for us, it’s how Macmillan’s ‘voice’ looks. It feels warm and approachable, but speaks with sincerity and authority. When things are written in Macmillan Headline they feel like they’re from Macmillan, so be aware of what’s being said.

Brand Imagery

• • Photographic with detail inside • No midtones • Simple as possible • Detail, and interesting shapes, create standout • 80/20 shadow and highlight split
• Our graphic silhouettes help us stand out in a busy world. When people see them they instantly think ‘Macmillan’. They allow us to be abstract about ideas, but also tell real stories with case studies. They are straightforward, honest, and real. We like to use objects (as opposed to people) wherever possible because they can express concepts really strongly, and generally are more inclusive to a wide audience, as well as being very visually engaging.
• By combining our silhouettes and a powerful headline, we can express ideas that wouldn’t be possible, or appropriate literally. Eg on a leaflet about cancer and children we might use a silhouette of a teddy bear to communicate the idea of childhood.
• We can tell personal stories with real people, but these need to be case studies to be believable. Combined with a direct quote or personal statement, they can bring to life the emotional side of what we do -make things more tangible. Eg on a booklet talking about radiotherapy we might use a silhouette of a radiotherapist (then we’d find out more about her and her role inside).
• Our silhouettes come from real photos, they have detail inside them, but should still be kept simple. About 70% (or more) should remain in silhouette. They should have a recognisable, identifiable shape, either from their outline or a key detail. Eg the laces on a pair of trainers would be detailed, leaving the rest of the shoe in silhouette.
• Our silhouettes are big, bold and impactful. Where a photograph would be visually complex, our silhouettes are singular and bold. This is how we stand out.
• • Use them big. They have more impact that way. • Use them with Macmillan Headline (inside, beside, breaking over) • Use real photographs • Use real people who feature in the communication (for people silhouettes) not stock imagery • Get some interesting detail in there
• • Use them in the same colour as logo and text -the simplicity makes the design more impactful
• • Use them like clipart (small or as icons) ¼ of a page is about as small as they go • Use illustrations (instead of photographs) • Use stock images of people
• All our silhouettes come from photographs. It’s an easy process, but you can make it even easier if you start with the right photograph.
• • Always start with a photograph • Select images with plain or light backgrounds (this makes it easier to silhouette) • Find images that are very flat in tone (no harsh shadows as these will be accentuated) • Look for areas of detail that will stand out and add interest • Consider layout -flat on isn’t always the most interesting • Objects should be instantly recognisable/iconic • They should have an interesting shape
• Simple, clean backgrounds make silhouetting much easier.
• Look to see where highlights will come out (here along the edge of the waterbottle giving it shape).
• Dark areas help retain the silhouette feel (don’t be afraid to paint them in if necessary).
• Look for areas of detail to keep when silhouetting -here filling in the cup means we can fill it with a strong and impactful headline.
• Underexposing images makes getting an even tone easier.
• Use the objects that people interact with to say something about that person (without necessarily showing a person).
• • The person must be someone who features in the communication • Consider appropriateness of expressions and subject matter • Faces should be clearly visible and evenly lit • Avoid images where the eyes or the face are in heavy shadow • You should be able to see the real person (we’re not removing blemishes etc) • Always start with a photograph • Select images with plain or light backgrounds (this makes it easier to silhouette) • Find images that are very flat in tone (no harsh shadows as these will be accentuated) • Look for areas of detail that will stand out and add interest • Consider the composition or pose -flat on isn’t always the most interesting.
• • Two stops underexposed • Use a white background or sheet • Use even spot lighting from front left and right.
• Shoot even skin tones avoiding strong shadows.
• People don’t need to look directly into the camera to feel engaging. Try to keep them feel real and honest instead.
• Carefully consider expressions and gestures. And NEVER use stock models. Yes this means you! The blur on the hand and the dark shadows on the face and hand don’t help either.
• Look for areas to paint in (here we painted in the stripes in the jumper to simplify).
• Look for areas of detail to keep when silhouetting -the wrinkles on this mans face tell a rich story of who he is. We don’t want to lose this.
• Watch out for areas of detail. Too much (eg patterns in clothing) lessens the impact of silhouettes. They are made from highlights and shadows, not patterns.
• • Open your image in Photoshop. @ Add a ‘Hue/Saturation’ adjustment layer, desaturate the image (make it greyscale). f) Add a ‘Levels…’ adjustment layer. Increase the contrast from the image by moving the shadow/ highlight sliders together. Focus on getting the outline of the silhouette. We want to end up with no midtones so no grey in the image, just black and white. E) If you’ve lost detail specific areas of the silhouette, repeat the process. Creating masks to pull out the different areas of tonality. (Here we’ve masked everything but the face as this needed to be much lighter than the clothing.) 0 At this point you might like to create two layers (paint in white and black) to tidy up the image. • Select all layers and convert to a Smart object (this preserves all the layers). • Convert this to greyscale and save as a Tiff so colour can be applied in layout applications.
• Select image with even tone and without strong shadows.
• Convert image to greyscale and isolate skin areas.
• Increase the contrast in the mid and dark tones.
• Adjust the skin areas to high contrast, reducing shadows and mid tones.
• Save image as greyscale tif and apply colour in layout application.
• Do think about where to put our logo (be clever/witty).
• Don’t let the logo (or any other element) overpower the silhouette.
• Do use as few colours as possible (keep things simple).
• Don’t be tempted to use lots of colours. Silhouettes are more powerful in their simplicity.
• Do reverse the image (white on green) -if it works (or else it might look like an x-ray).
• Literal silhouettes aren’t always the best solution, they can feel fake and hackneyed.
• Get the detail right. There should be no mid-tones…
• …only highlights and shadow for maximum contrast. Aim for about 70% in silhouette.
• …consider if you’re highlighting the right details.
• …big, bold and a nice dynamic angle adds to the composition.
• Do think about expressions -huge things eg bridges and mountains look like toys. Keep them ‘human’ in scale.
• Don’t use them as clipart -they lose their immediacy and impact.
• Nice silhouette, just way too much detail…
• …ahhhh, much better. Don’t forget these are still silhouettes, they should still remain mostly dark.
• Don’t use loads of silhouettes or use them small Hate to say it, but this just looks like poor design. Nothing more, nothing less.

Color Palette

• • Simple use of our three greens • Secondary colour palette for navigation • The overall impression should always be green
• In the words of Henry Ford ‘You can have any colour, so long as it’s black’ -well green really. When people think ‘green’, we want them to think ‘Macmillan’ -or vice versa, it doesn’t really matter, as long as it’s GREEN. Our greens give our communications energy -especially when you throw in some white space to help the green elements stand out. Overall we’re simple and straightforward. In a busy, high-gloss, colour saturated world, we can stand out more by going back to basics -honestly it really works. We also have a secondary colour palette that’s used for adding information where just green would be impractical (eg wayfinding or sections in a long document).
• Using our colours in a consistent way gives our designs authority and assures our users that we are who we say we are. It fosters trust and recognition.
• • Keep It Simple Stupid! Don’t feel the need to use all three greens. One is preferable. Two is normally enough. All three will look busy or cluttered • Use them randomly. Our logo, fonts and silhouettes appear in any of our greens. This keeps our communications fresh • Use lots of white space -it helps make things more readable and gives us stand out • Silhouettes and headline should only be in green (or white on green) • Green should always be the first choice of colour for any design • When using the secondary palette, the overall impression should still be ‘green’ • Don’t use too much white text on green background (be especially careful using white body text out of our light green)
• Macmillan is known to be ‘green’ and it’s important for our brand recognition that green remains the overall impression. It’s crucial for our stand out. So don’t use our secondary colours unless it’s absolutely necessary. And they shouldn’t clash or shout, they’re there to complement the green, not overpower it.
• • For differentiation of information if 3+ sections • Way finding • Charts or infographics
• • Always use up the greens first • Never use the secondary colours on their own • Start with the greens, then aqua, stone, rust, and finally orange • Never use them for silhouettes or Macmillan Headline
• NB For web you might need a background colour RGB 247/247/247 Hex #F7F7F7
• Light green Uncoated PMS 382U CMYK 43/0/100/0 Coated PMS 376C CMYK 50/0/100/0 Screen RGB 140/198/63 HEX #8CC63F
• Mid green Uncoated PMS 354U CMYK 85/0/100/0 Coated PMS 355C CMYK 94/0/100/0 Screen RGB 0/162/70 Hex #00A246
• Dark green Uncoated PMS 341U CMYK 100/0/75/32 Coated PMS 342C CMYK 100/0/75/45 Screen RGB 0/92/70 Hex #005C46
• Light aqua Uncoated PMS 565U CMYK 32/0/18/0 Coated PMS 571C CMYK 40/0/25/0 Screen RGB 174/207/197 Hex #AECFC5
• Mid aqua Uncoated PMS 570U CMYK 53/0/33/0 Coated PMS 563C CMYK 54/0/29/2 Screen RGB 93/173/164 Hex #5DADA4
• Dark aqua Uncoated PMS 568U CMYK 91/13/62/23 Coated PMS 562C CMYK 85/12/53/36 Screen RGB 56/122/123 Hex #387A7B
• Light stone Uncoated PMS 7535U CMYK 16/14/22/2 Coated PMS 7535C CMYK 10/11/23/19 Screen RGB 191/189/175 Hex #BFBDAF
• Mid stone Uncoated PMS 7530U CMYK 9/16/22/26 Coated PMS 7530C CMYK 10/18/25/32 Screen RGB 161/159/145 Hex #A19F91
• Dark stone Uncoated PMS 7532U CMYK 14/23/33/52 Coated PMS 7531C CMYK 16/29/38/53 Screen RGB 123/122/109 Hex #7B7A6D
• Light rust Uncoated PMS 7521U CMYK 12/36/38/1 Coated PMS 7521C CMYK 6/32/32/12 Screen RGB 192/146/142 Hex #C0928E
• Mid rust Uncoated PMS 7524U CMYK 26/63/64/9 Coated PMS 7523C CMYK 10/67/49/23 Screen RGB 167/119/107 Hex #A7776B
• Dark rust Uncoated PMS 181U CMYK 13/73/78/35 Coated PMS 7629C CMYK 23/87/73/61 Screen RGB 135/67/70 Hex #874346
• Light orange Uncoated PMS 143U CMYK 0/36/81/0 Coated PMS 1375C CMYK 0/32/87/0 Screen RGB 232/155/66 Hex #E89B42
• Mid orange Uncoated PMS 717U CMYK 0/53/97/6 Coated PMS 716C CMYK 0/68/100/0 Screen RGB 211/127/66 Hex #D37F42
• Dark orange Uncoated PMS 167U CMYK 5/58/97/14 Coated PMS 167C CMYK 5/77/100/15 Screen RGB 177/100/56 Hex #B16438
• Keep it simple. One colour works best…
• …if two colours can add emphasis and still look bold, then you can use two, but simplicity is key…
• …three (or more) means you’re struggling -could the design be simpler?
• Don’t use the secondary colours (or any other colour) for silhouettes or Macmillan Headline.
• Don’t use black unless there’s no alternative, eg press ads (it’s not exactly full of life is it?).
• You can use tints if you need to, but try to remember we’re bold and simple not cluttered and fussy.
• Don’t use secondary colours unless you have to.
• Don’t use the wrong colour breakdowns…
• …yes this means the right breakdowns for coated and uncoated.
• Do use as few colours as possible (keep things simple).
• Don’t be tempted to use lots of colours. Silhouettes are more powerful in their simplicity.

Typography

• Our typography is clear, easy to read and friendly. We break text down (into headings, bullets etc) as much as possible. It’s easy to access information.
• In print we use only two typefaces for all communications. These are Macmillan Headline and Futura BT.
• Where this isn’t possible, we use Arial, eg viewing on screen, in emails, presentations etc.
• Always used for the single most important message -the headline
• Always used sparingly -once or twice only
• Can be used inside silhouettes, beside silhouettes or breaking out of silhouettes
• Used for all other copy: • subheads • pull quotes • body copy • T&Cs
• Use Extra black, Bold, Heavy, Medium, Book
• Only use italics for published works (books, films etc)
• Use as few different font sizes as possible (usually around three)
• Use as few colours as possible (one is usually enough, sometimes you’ll need two, three is too much)
• Break up layouts with pull quotes and statistics
• Don’t use a lot of Headline (it loses its impact and isn’t readable at smaller sizes
• Created just for us, it’s how Macmillan’s ‘voice’ looks. It feels warm and approachable, but speaks with sincerity and authority. When things are written in Macmillan Headline they feel like they’re from Macmillan, so be aware of what’s being said.
• A great example of Macmillan Headline in use is our logo. It’s a strong message, well laid out. Again keep it simple, it shouldn’t be too shouty.
• Headlines. That’s why it’s called Macmillan Headline
• The most important statement in your communication
• The title of a booklet
• Event names (eg the Great South Run 2012)
• Use inside a silhouette
• Use next to a silhouette
• Use it breaking out of a silhouette
• Use on its own
• But no more than twice in something
• Macmillan Headline can only be used in fully Macmillan branded communications – it can’t be used on its own within a partner’s (branded) communication. Macmillan must authroise all use of Headline
• There are actually three versions of each character in Macmillan Headline – this helps it feel more handmade.
• The three versions use uppercase, lowercase, and small caps. To make things easier we’ve made it automatic through OpenType. You can also access them using the Glyphs pallette if you want a bit more control.
• In the Character Palette menu (top right) select OpenType>Contextual Alternatives
• In the menu bar go to Window>Type & Tables>Glyphs
• From the drop down menu select ‘Alternates for Selection’
• Double click on your chosen letter
• When sending to print make sure to outline anything in Macmillan Headline (it can be temperamental)
• In the menu bar go to Type>Create Outlines
• DON’T USE PUNCTUATION UNLESS YOU HAVE TO!!!!!!!!
• Don’t use punctuation unless you have to -it’s a headline so shouldn’t need it.
• Do use quotes (and single quotation marks). It makes things feel more personal and real.
• Do use alternate characters -they enhance the ‘hand-drawn’ feel.
• Do consider leading and kerning. They should be nice and tight…
• …not too tight or loose though.
• Most important of all, don’t write too much in it. Eight words is usually all it can take. And don’t use it small (24pt minimum).
• Don’t change the size of words mid-line (keep it simple and stick to one size per line of text).
• Never mess with the proportions - so no squashing…
• …or stretching…
• Never use it in any other colour - not even our secondary colours.
• Use it left aligned. Well, leftish but with an extra large, ragged left edge (our logo’s a good example of this).
• Use alternate characters They’re such a key part of using Macmillan Headline well, we’ve even given them their very own page.
• Don’t use too much Macmillan Headline Too much of a good thing can be bad, especially when it’s Macmillan Headline. The key’s in the name ‘Headline’, far better to be more impactful and use it less.
• While Macmillan Headline sets the warm and friendly tone of our products, Futura BT is the ‘no-nonsense’ workhorse of our typography. We use it for everything that’s not a headline. It feels honest and straightforward. Geometric and simple.
• All copy that’s not in Headline
• Keeping things chunky – use the ‘extra black’, ‘bold’, ‘heavy’, ‘medium’ and ‘book’ weights of Futura BT
• Extra black for infographics
• Bold is only used for numbers eg phone numbers or statistics
• Heavy for subheadings
• Medium for short paragraphs and key information
• Book for longer text
• Italics is only used for titles eg Understanding radiotherapy
• We don’t use light
• When reversing out (eg white copy on green), you may need to go up a weight
• Futura BT is a commercially available font. So you’ll need to purchase it from a type supplier eg type.co.uk – make sure to buy the Bitstream cut.
• DON’T Never WRITE IN underline CAPITALS! words
• DON’T WRITE FUTURA IN CAPITALS! (It looks like we’re shouting).
• Never underline words (it makes them more difficult to read).
• Minimum point size for body copy is 11pt on 13pt leading, ideally 12pt where possible.
• Always use it left aligned.
• Do use the Bitstream cut of Futura – there are subtle but noticeable differences.
• Don’t write in black, it looks loads more Macmillan if it’s in green.
• Keep your eyes peeled for odd spaces in Futura (after apostrophes when they’re big is a bad one).
• Do go up a weight and don’t write lots if using white out of green. Avoid body copy sized futura out of our light green.
• Use the right version of Futura If you’re not sure, ask. Really, we do know the difference and will always pick it up.

Logo Usage

• Try not to make it the same size as anything else written in Macmillan Headline font (it will compete - so use it significantly larger or smaller)
• Don’t use our logo smaller than 22mm or 70px across its width
• Use it in any of our greens
• Use it in white out of green
• Only use it in black if it’s on something black and white
• Use it on its side (rotated 90° in either direction), but not upside down
• Designers rejoice! There is no clearspace
• Don’t overlap it with anything else on the page
• Use it close to our silhouettes…
• …or even in our silhouettes
• Never ever cut anything off (‘we are’, ‘cancer support’ or the full stop)
• Never recreate it out of Macmillan Headline (download it from be.macmillan.org.uk/logo)
• Available as JPEG/EPS/PSD (in English and Welsh)
• Please don’t delete this. It adds punch to our bold statement. We are Macmillan (the team), we provide cancer support (every one of us).
• Use it on its side
• At least 22mm or 70px across
• Don’t mess about with our logo Honestly, it’s fine the way it is!
• Do use our logo in any of our three greens, but…
• …where that’s not possible use it in white out as long as it’s clearly legible.
• Do use it discreetly if it’s clear that this is about cancer (eg if it’s got cancer in the title). But never smaller than 22mm or 70px across its width.
• Do think about where to put it -here it’s inside the silhouette and suggests the shape of the girl’s leg, but could be outside ‘supporting’ the silhouette.
• Never ever ever ever take away any of the words (or full stop) from our logo. It always appears in full.
• Never redraw/rewrite our logo, you can download it from be.macmillan.org.uk/logo
• Don’t stick it in the corner, it needs to have a relationship with the silhouette…
• …yes, much better!
• Do use our logo on its side, but don’t… …use it upside down.
• …there should be a definite difference in size and placement so people can see it’s from Macmillan.
• The same principles around our logo’s usage still stand (please don’t ever change it, use it big, and use it in green).
• Remember, never alter or redraw our logo ever. ‘We are Macmillan Cancer Support’ IS the logo, it must always be used in full.
• Please don’t redraw the logo in any colour other than green.
• One more time NEVER ALTER THE LOGO.
• And keep it big

Tone And Messaging

• Macmillan’s ambition is to reach and improve the lives of everyone living with cancer – and inspire millions of others to do the same.
• Cancer is the toughest fight most of us will ever face. But people don’t have to go through it alone. The Macmillan team is there every step of the way.
• Macmillan is a lifeforce for everyone affected by cancer. This is our ‘brand idea’ that underpins everything we do. It’s about a team of people coming together to be a source of energy, optimism, knowledge and support for people affected by cancer.
• Lifeforce is not a strapline – we don’t use it in our communications. It’s something we demonstrate in our words and actions.
• Our values are a springboard for how we all act, as individuals and as an organisation. They are distinctively Macmillan and they shape our culture.
• We treat everyone we come into contact with as an individual and with care. We listen to their experiences and needs and provide them with the personal support that’s right for them. That’s true whether they’re a person living with cancer, someone who wants to raise money or a potential volunteer.
• Whatever we do, we always believe there’s room for improvement. So we demand better – from ourselves and others. We’re constantly looking at the bigger picture and for better ways of doing things so we can stay one step ahead and shape a better future for everyone affected by cancer.
• We are recognised for our expertise in everything we do – from providing cancer care, to fundraising, to campaigning. Our reputation is based on constantly improving our skills and involving people affected by cancer – the real experts – in all areas of our work. We’re action-focused, so we use our expertise to deliver tangible improvements to peoples’ lives.
• We understand that collaboration is the only way we can help improve the lives of everyone affected by cancer. We are open-minded and inclusive.
• That is why we share our expertise and experience with each other and the wider world. We’re not afraid of letting go and enabling others to build on our work.
• Our shared commitment to what we do inspires us to do our best. Our positive energy inspires people affected by cancer to cope with their experience. And our passion will inspire millions of people to get involved, to change the lives of everyone living with cancer.
• All our communications have the same look and feel to them -an overall ‘style’. We have several principles to describe this style.
• Bold: We want to stand out from the crowd. We want to make a statement and, most of all, an impact. That’s because we really believe in what we do -improving the lives of people affected by cancer. We want people to notice us, use our services and inspire millions to get involved.
• Hand-made: Despite their boldness, our designs always have a human, hand-made feel to them. Macmillan is for everyone.
• Energetic: Our designs are lively and spirited, never static, rigid or institutional -they show that Macmillan has the drive and energy to improve lives.
• Clear: Our designs are always simple, easy to read and understand. We keep the number of elements (colours, fonts etc) to a minimum. Nothing is decorative, every element used is there for a reason. This makes sure that our important messages always stand out.
• Our logo -an overview: It’s so much more than just our name in Macmillan Headline font, it’s a statement about who we are and what we stand for. It’s everything we are; simple, straightforward and honest.

Brand Values

• Our values are a springboard for how we all act, as individuals and as an organisation. They are distinctively Macmillan and they shape our culture.
• Using them in all we do will help us to achieve our ambition of reaching and improving the lives of everyone living with cancer, and inspiring millions of other to do the same.
• We are personal We treat everyone we come into contact with as an individual and with care. We listen to their experiences and needs and provide them with the personal support that’s right for them. That’s true whether they’re a person living with cancer, someone who wants to raise money or a potential volunteer.
• We demand better Whatever we do, we always believe there’s room for improvement. So we demand better – from ourselves and others. We’re constantly looking at the bigger picture and for better ways of doing things so we can stay one step ahead and shape a better future for everyone affected by cancer.
• We are practical experts We are recognised for our expertise in everything we do – from providing cancer care, to fundraising, to campaigning. Our reputation is based on constantly improving our skills and involving people affected by cancer – the real experts – in all areas of our work. We’re action-focused, so we use our expertise to deliver tangible improvements to peoples’ lives.
• We are open We understand that collaboration is the only way we can help improve the lives of everyone affected by cancer. We are open-minded and inclusive. That is why we share our expertise and experience with each other and the wider world. We’re not afraid of letting go and enabling others to build on our work.
• We inspire others Our shared commitment to what we do inspires us to do our best. Our positive energy inspires people affected by cancer to cope with their experience. And our passion will inspire millions of people to get involved, to change the lives of everyone living with cancer.

Visual Style

• All our communications have the same look and feel to them -an overall ‘style’. We have several principles to describe this style. Bold We want to stand out from the crowd. We want to make a statement and, most of all, an impact. That’s because we really believe in what we do -improving the lives of people affected by cancer. We want people to notice us, use our services and inspire millions to get involved. Hand-made Despite their boldness, our designs always have a human, hand-made feel to them. Macmillan is for everyone. Energetic Our designs are lively and spirited, never static, rigid or institutional -they show that Macmillan has the drive and energy to improve lives. Clear Our designs are always simple, easy to read and understand. We keep the number of elements (colours, fonts etc) to a minimum. Nothing is decorative, every element used is there for a reason. This makes sure that our important messages always stand out.
• • Simple use of our three greens • Secondary colour palette for navigation • The overall impression should always be green
• • Photographic with detail inside • No midtones • Simple as possible • Detail, and interesting shapes, create standout • 80/20 shadow and highlight split
• • Used for the single most important message (the headline) • Not too many sizes (two font sizes) • Not too large and shouty (too much and it gets in the way of our simplicity) • Arranged appropriately to silhouette/panel layout
• • Used in a simple and straightforward way for body copy and any non ‘headline’ text. We only use the heavier weights.
• • Used simply and with wit, when appropriate
• • Used with Macmillan Headline to highlight words and phrases • Used in place of a silhouette (never together with a silhouette)

Iconography

• • Photographic with detail inside • No midtones • Simple as possible • Detail, and interesting shapes, create standout • 80/20 shadow and highlight split
• • Use them big. They have more impact that way. • Use them with Macmillan Headline (inside, beside, breaking over) • Use real photographs • Use real people who feature in the communication (for people silhouettes) not stock imagery • Get some interesting detail in there
• • Use them in the same colour as logo and text -the simplicity makes the design more impactful
• • Use them like clipart (small or as icons) ¼ of a page is about as small as they go • Use illustrations (instead of photographs) • Use stock images of people
• • Always start with a photograph • Select images with plain or light backgrounds (this makes it easier to silhouette) • Find images that are very flat in tone (no harsh shadows as these will be accentuated) • Look for areas of detail that will stand out and add interest • Consider layout -flat on isn’t always the most interesting • Objects should be instantly recognisable/iconic • They should have an interesting shape
• Simple, clean backgrounds make silhouetting much easier.
• Look to see where highlights will come out (here along the edge of the waterbottle giving it shape).
• Dark areas help retain the silhouette feel (don’t be afraid to paint them in if necessary).
• Look for areas of detail to keep when silhouetting -here filling in the cup means we can fill it with a strong and impactful headline.
• Underexposing images makes getting an even tone easier.
• Use the objects that people interact with to say something about that person (without necessarily showing a person).
• • The person must be someone who features in the communication • Consider appropriateness of expressions and subject matter • Faces should be clearly visible and evenly lit • Avoid images where the eyes or the face are in heavy shadow • You should be able to see the real person (we’re not removing blemishes etc) • Always start with a photograph • Select images with plain or light backgrounds (this makes it easier to silhouette) • Find images that are very flat in tone (no harsh shadows as these will be accentuated) • Look for areas of detail that will stand out and add interest • Consider the composition or pose -flat on isn’t always the most interesting.
• • Two stops underexposed • Use a white background or sheet • Use even spot lighting from front left and right.
• Shoot even skin tones avoiding strong shadows.
• People don’t need to look directly into the camera to feel engaging. Try to keep them feel real and honest instead.
• Carefully consider expressions and gestures. And NEVER use stock models. Yes this means you! The blur on the hand and the dark shadows on the face and hand don’t help either.
• Look for areas to paint in (here we painted in the stripes in the jumper to simplify).
• Look for areas of detail to keep when silhouetting -the wrinkles on this mans face tell a rich story of who he is. We don’t want to lose this.
• Watch out for areas of detail. Too much (eg patterns in clothing) lessens the impact of silhouettes. They are made from highlights and shadows, not patterns.
• • Open your image in Photoshop. @ Add a ‘Hue/Saturation’ adjustment layer, desaturate the image (make it greyscale). f) Add a ‘Levels…’ adjustment layer. Increase the contrast from the image by moving the shadow/ highlight sliders together. Focus on getting the outline of the silhouette. We want to end up with no midtones so no grey in the image, just black and white. E) If you’ve lost detail specific areas of the silhouette, repeat the process. Creating masks to pull out the different areas of tonality. (Here we’ve masked everything but the face as this needed to be much lighter than the clothing.) 0 At this point you might like to create two layers (paint in white and black) to tidy up the image. • Select all layers and convert to a Smart object (this preserves all the layers). • Convert this to greyscale and save as a Tiff so colour can be applied in layout applications.
• Select image with even tone and without strong shadows.
• Convert image to greyscale and isolate skin areas.
• Increase the contrast in the mid and dark tones.
• Adjust the skin areas to high contrast, reducing shadows and mid tones.
• Save image as greyscale tif and apply colour in layout application.
• Do think about where to put our logo (be clever/witty).
• Don’t let the logo (or any other element) overpower the silhouette.
• Do use as few colours as possible (keep things simple).
• Don’t be tempted to use lots of colours. Silhouettes are more powerful in their simplicity.
• Do reverse the image (white on green) -if it works (or else it might look like an x-ray).
• Literal silhouettes aren’t always the best solution, they can feel fake and hackneyed.
• Get the detail right. There should be no mid-tones…
• …only highlights and shadow for maximum contrast. Aim for about 70% in silhouette.
• …ahhhh, much better. Don’t forget these are still silhouettes, they should still remain mostly dark.
• Don’t use loads of silhouettes or use them small Hate to say it, but this just looks like poor design. Nothing more, nothing less.

Layout And Composition

• All our communications have the same look and feel to them -an overall ‘style’. We have several principles to describe this style.
• Bold We want to stand out from the crowd. We want to make a statement and, most of all, an impact. That’s because we really believe in what we do -improving the lives of people affected by cancer. We want people to notice us, use our services and inspire millions to get involved.
• Hand-made Despite their boldness, our designs always have a human, hand-made feel to them. Macmillan is for everyone.
• Energetic Our designs are lively and spirited, never static, rigid or institutional -they show that Macmillan has the drive and energy to improve lives.
• Clear Our designs are always simple, easy to read and understand. We keep the number of elements (colours, fonts etc) to a minimum. Nothing is decorative, every element used is there for a reason. This makes sure that our important messages always stand out.
• • Simple use of our three greens • Secondary colour palette for navigation • The overall impression should always be green
• • Photographic with detail inside • No midtones • Simple as possible • Detail, and interesting shapes, create standout • 80/20 shadow and highlight split
• • Used for the single most important message (the headline) • Not too many sizes (two font sizes) • Not too large and shouty (too much and it gets in the way of our simplicity) • Arranged appropriately to silhouette/panel layout
• • Used in a simple and straightforward way for body copy and any non ‘headline’ text. We only use the heavier weights.
• • Used simply and with wit, when appropriate
• • Used with Macmillan Headline to highlight words and phrases • Used in place of a silhouette (never together with a silhouette)

Infographics

• Cancer is tricky to visualise. The numbers involved are huge and the concepts can be abstract. To break this information down to a more human scale we’ve developed a unique and ownable style of infographics, using the ‘hand-drawn’ language of Macmillan Headline typeface.
• • Use it to tell a story -it needs to have a purpose beyond data
• • Use it to show relationships between data
• • Use it to breakdown large numbers (eg billions), or complex ideas (eg different types of experiences after cancer)
• • Focus only on the information that matters (it’s about telling a story not an essay).
• • It should feel hand-drawn -use our Graphic panels or a character from Macmillan Headline as a guide
• • Use silhouettes if they help explain the subject (but not for eye-candy)
• • Use our secondary colour palette -start with the greens, then aquas, stones, and so on. Starting with a mid, then light then dark
• • Use Macmillan Headline for the headline or key finding (not numbers as it gets a bit unreadable)
• • Use Futura BT for any data or numbers. But keep it chunky {Futura BT Bold or even Extra Bold)
• • Keep it simple, clear and descriptive. It needs to say something, not show everything.
• • Make it easy to understand but intriguing and engaging
• • Consider a key or legend
• • Explain the important bits
• • Avoid using a lot of text {but don’t be afraid of an asterisk to hide the detail).

Technical Illustrations

• Most technical illustrations (especially medical ones) are overloaded with inconsequential information. Ours are clean, crisp, clear and to-the-point. We’ve cut out anything that’s unnecessary.
• They are to be used only in Macmillan products
• Always use them at l 00%
• Don’t distort them in any way
• Lines should be drawn on horizontal if possible, in dark green, at l pt.
• For further information on our technical illustrations please email marketing@macmillan.org.uk

Animation

• As our presence in the digital environment grows there is an increasing need to stand out and be easily recognised. We have created an ownable approach to animated content that will be used in web banners, on our website and in other digital applications.
• Our style feels hand-drawn which give us standout on screen. The digital world is all about opacity and drop shadows and stuff which you just couldn’t do by hand, we’re bucking that trend and making our animations really painterly and handmade.
• We don’t literally make our silhouettes or headline typeface ‘move’. We think it’s simpler and more effective to have an ownable method of revealing and removing them. We have created a simple and easy to implement method for doing this.
• We have built on the handmade quality of our headline typeface and created a brush stroke technique that reveals our silhouettes and headline typeface. It’s a simple animation that can be adjusted to allow the direction, weight and speed of the brush strokes to vary depending on the application.
• The brush strokes can be altered to reflect the length and tone of the message. For example a few words or simple sentence may use a smaller brush with a more vigorous motion, while a longer headline may use a larger brush with fewer strokes to reveal the message.
• Our graphic silhouettes of people and objects are revealed in a two-step process. Firstly a simple outline defining the basic shape is traced around the image. This is then brushed in using the same technique as the type.
• Graphic panels can be used in conjunction with type to provide emphasis to key messages. The panels are brushed in first, followed by the type which appears on top of the graphic panel.
• Regardless of whether you are simply animating a line of copy, or a series of images the approach is the same. The key elements of the animation are separated onto individual layers: 1 The brush effect is on the bottom layer 2 Imagery is positioned on the second layer (acting as a mask) 3 The outline on the image is on the third layer (only when working with an image). 1 Base layer – Brush motion NB we have this set up as template for standard web banner sizes. 2. Layer 2 – Image mask 3. Layer 3 – Outline
• Longer animations may require a quicker method of revealing and removing elements. This can be done by using a larger brush to reveal and remove text and images: l Brush stroke reveals text and image together 2 Single brush stroke clears screen 3 Green brush can also be used to remove imagery and text 4 Text is removed as new text is appears simultaneously 5 Secondary font appears in a more functional way as if it’s being typed onto the page, and does not use the brushed effect.

Co Branding

• We partner with a huge range of organisations: companies, the NHS and other charities. The usual way they show their partnership with us, is by simply using our logo.
• It’s important that people know who a communication is coming from. So when it’s from us, it should look like us (with any partners’ logos and a description of how they’re working with us). When it’s from them, it’s in their identity, but includes our logo and a description of how we are working together.
• The simplest way a partner can show that they are working with us is to put our logo on their communications. By using our logo organisations are saying they are part of the team of people working together to improve the lives of people affected by cancer. Just by doing this simple act (and doing it across all communications) a partner organisation can help us spread our message as widely as possible. A descriptive line saying what the partner is doing to support Macmillan can help.
• Sometimes what a partner is doing is in effect ‘from’ or entirely ‘for’ Macmillan. In these cases the communication (or section of a communication) can be created in Macmillan’s style.
• In these cases it must be fully in Macmillan’s style. It should use all our identity elements, including our tone of voice, and follow our guidelines. People will then understand it’s endorsed by Macmillan.
• It may not be a ‘hybrid’ using bits of our identity and bits of the partners’ identity. Doing that would give a poor quality result, and confuse the readers as to who the communication is from.
• Our partners should use our logo on their products and materials as much as possible -even non­fundraising ones. When they do they’re showing that they’re part of the team that is Macmillan Cancer Support.
• If it’s part of a campaign
• If there’s a potential for confusion of what’s being offered (for example a bank offering a savings plan in Macmillan identity might suggest that this was a savings plan for people affected by cancer).
• The same principles around our logo’s usage still stand (please don’t ever change it, use it big, and use it in green).
• Depending on the relationship, you might also need a short description about the partnership.
• Never create a hybrid identity. It’s unclear who this is from (it’s using bits of both brand’s identities so is damaging for both brands). Never mess about with our logo, it is what it is.
• We happily allow our partners to use our brand identity on their products, but need to be very careful about how it used.
• If it helps promote a service more than the partner’s brand would
• When the ask is only fundraising and nothing more (eg a collection tin)
• If promoting a Macmillan event (eg the World’s Biggest Coffee Morning)
• If promoting a Macmillan service (eg Macmillan mobile centre)
• If the partner has a very weak or nonexistent identity
• Can the partner’s logo be used in a Macmillan green, or white out? It could make our printing cheaper.
• We have to be explict with where money will be going
• Depending on the relationship you might need a short description about the partnership
• Anything using Macmillan’s visual identity needs to be approved. If you don’t have a Macmillan contact email brandreview@macmillan.org.uk
• The partners logo should not be used too large or overpower Macmillan’s logo -these should look like they’re from Macmillan
• Colours should be kept to a minimum - all Macmillan elements should definitely be in green
• These should look like Macmillan products with a partner logo, and potentially a supporting description of the relationship.
• When you use our logo or identity with another company it’s really important to be clear who’s providing the service, information, or where the money’s going.
• You can use our logo on any products in partners’ brand identity. It’s designed as a statement of partnership (anyone working with us is already part of Macmillan). If the relationship is confusing sometimes it will be necessary to add a description of how we’re involved. In these cases it’s best to write out Macmillan Cancer Support in full, and then include the logo.
• Fundraising for Macmillan Cancer Support / Fundraising for WE ARE MACMILLAN. CANCER SUPPORT Remember, never alter or redraw our logo ever. CANCER SUPPORT ‘We are Macmillan Cancer Support’ IS the logo, it must always be used in full.
• In support of Macmillan Cancer Support / WE ARE MACMILLAN. CANCER SUPPORT Please don’t redraw the logo in any colour other than green.
• In partnership with Macmillan Cancer Support WE ARE MACMILLAN. CANCER SUPPORT One more time NEVER ALTER THE LOGO.
• In aid of Macmillan Cancer Support / WE ARE MACMILLAN, CANCER SUPPORT And keep it big CANCER SUPPORT

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