Ogilvy

Official Websites

• https://www.ogilvy.com
• https://www.ogilvy.com/capabilities/consulting
• https://www.ogilvyhealth.com
• http://www.ogilvy.com
• http://www.instagram.com/Ogilvy

Brand Guidelines

2019

Brand Summary

Mission

• Ogilvy is a singular, creative network creating design, experiences and communications that make brands matter [^1].

Core Values

• Divine Discontent
• Relentless Curiosity
• Adaptive Connection
• Pervasive Creativity
• Eternal Craft

Target Audience

• Internal marketing, branding, design teams, subsidiary companies, vendors producing graphic applications, and clients seeking creative communications and brand experiences [^2].

Personality Traits

• Challenging
• Curious
• Adaptive
• Creative
• Craft-driven

Visual Identity Overview

• The visual identity is built on three major components: logo, color, and typography. The logo uses a proprietary serif typeface (Ogilvy Serif) and is primarily presented in Ogilvy Red, with secondary and accent color palettes. Typography includes Ogilvy Serif and Ogilvy Sans families, designed for flexibility and consistency. The overall style is bold, clear, and modern, emphasizing simplicity and visual unity [^3].

Categories

Color Palette

• Color plays a central role in Ogilvy’s brand system. It should be used pervasively, presenting Ogilvy as a lively, colorful brand. The full palette is divided into three major categories, shown on this page. ### Primary Palette Ogilvy Red — meaning that if only one color is to be used for the brand, it should be Ogilvy Red (which is als0 the default color for the logo). ### Secondary Palette Black, white and two shades of gray. These are commonly used with Ogilvy Red but there are some exceptions to how they are used, described later in this section. ### Accent Palette Three additional chromatic colors: lemon, pink and blue. There are no clear rules for these colors except with some specific color combinations and that the logo should never be set in these colors.
• In the spirit of our refounding we are introducing a new Ogilvy Red which replaces the old Ogilvy Red (Pantone 485). The new Ogilvy Red Pantone numbers are shown on the right, with CMYK and RGB equivalent. Note that the CMYK and RGB values have been adjusted manually and do not match the Pantone Color Bridge color builds. Use the color builds shown here, not Pantone’s. Ogilvy Red should be used in all possible brand instances. That means all public-facing corporate branding applications should be printed with this Pantone color. Accurate, color-consistent swatches have been created by Pantone specifically for this ink formulation, found in various Pantone color swatch books. It is the responsibility of individual Ogilvy offices to ensure current Pantone color books are available for production.
• Pantone Uncoated 1 788 Coated 1785 CMYK (nearest match) C 5 M 85 Y 53 K 0 RGB (nearest match) R 235 G 63 B 67 HTML / Hex EB3F43
• This page shows the approved color values for each color in the palette in Pantone inks (for solid color printing), CMYK (for 4-color process printing), and RGB (screens only). Always use the correct color mode and ink formulation for the appropriate application type to ensure color consistency across all mediums.
• OGILVY RED Pantone Uncoated 1 788 Coated 1 785 CMYK C 5 M 85 Y 53 K 0 RGB R 235 G 63 B 67 HTML / Hex EB3F43 BLUE BLUE 072 U 2746 C Pantone C 100 M 98 Y 0 K 0 RGB R 36 G 41 B 143 PINK 196 U 196 C CMYK C 0 M 28 Y 10 K 0 RGB R 245 G 186 B 197 LEMON 585 U 585 C CMYK C 12 M 1 Y 58 K 0 RGB R 214 G 217 B 114 BLACK PMS PROCESS BLACK U PMS PROCESS BLACK C CMYK C 60 M 40 Y 40 K 100 RGB R 0 G 0 B 0 DARK GRAY COOL GRAY 11 U COOL GRAY 9 C CMYK C 0 M 0 Y 0 K 80 RGB R 84 G 86 B 89 LIGHT GRAY COOL GRAY 7 U COOL GRAY 7 C CMYK C 0 M 0 Y 0 K 46 RGB R 166 G 166 B 168 WHITE CMYK C 0 M 0 Y 0 K 0 RGB R 255 G 255 B 255
• When coloring graphs, the full color palette can be used as shown. Simpler graphs, shown on the top left, can use monochrome palettes to show simple information. More complex graphs comparing multiple metrics over time, shown on the top right and bottom, are permitted to vary and combine colors. No drop shadows or other special effects are to be used. The finished graphs should have a flat effect.
• Type should always be in Ogilvy Red, or any of the secondary colors: Black, White, Light Gray, or Dark Gray. Type can be in the accent colors on complex labeling or color coding necessary for graphs.
• This page shows the acceptable background and foreground color combinations. The single color square represents the background color and the smaller tile pairs represent the acceptable foreground colors. Ogilvy Red is never to be used on black or on light gray because it becomes difficult to read. Otherwise the only major rule is to avoid two colors of the same value, which makes legibility difficult – putting yellow text on a white background would greatly reduce legibility.
• There are four basic things to avoid with color, shown in the four examples across the top: 1. Don’t use non-brand colors, ever. Not even for holidays. 2. Don’t use the wrong red for Ogilvy Red. 3. Don’t use gradients. 4. Don’t use the wrong logo color. The thirty color combinations below the four top examples show all color combinations to avoid, following the same logic described on the previous page.
• • Although we have introduced new accent colors to the Ogilvy brand system, there is no obligation to print any components of the stationery in the full suite of colors. The primary palette is Ogilvy Red, meaning that if you can print stationery in only one color, it should be Ogilvy Red.
• Type color Pantone Cool Gray 7 U Flood color Ogilvy Red: Pantone 1788 U Pantone Blue 072 U Pantone 196 U Pantone 585 U Pantone Cool Gray 11 U
• Logo color Ogilvy Red: Pantone 1788 U

Typography

• There are two Ogilvy type families: Ogilvy Sans and Ogilvy Serif. They were designed with proportional, structural and stylistic similarities to work as a matching set. Consequently they occupy roughly the same amount of space and can be used interchangeably without harming a layout design.
• The typefaces are found in the Identity Library on the Intranet. They should be made available to all staff and vendors (when necessary). These fonts supersede any pre-existing Ogilvy brand fonts and should be used for all internal and external brand applications.
• These fonts are not to be freely distributed or shared outside the company except with vendors who need them for Ogilvy-specific marketing or production services. Consult the legal documentation for full distribution and licensing information.
• This is Ogilvy Sans.
• Ogilvy Sans is available in three weights: Light, Regular, and Bold; each has a companion italic.
• Light can be used for large text.
• Regular is for all general text applications.
• Bold is for headers and subheaders.
• This is Ogilvy Serif.
• Ogilvy Serif is available in three weights: Light, Regular, and Bold; and each has a companion italic.
• Ligatures are pairs of letters that connect either for typographic or decorative reasons. There are two kinds, standard and discretionary.
• Note that while there is a gi ligature in the logo, there is no gi ligature in the Ogilvy fonts. This is to prevent the accidental creation of something too closely resembling the logo.
• The standard ligatures are usually the f ligatures – fi and fl. Ogilvy Serif includes these and several other f ligatures, shown large on the right and described below. The following Ogilvy Serif ligatures are recognized as standard ligatures when they are turned on and off in the OpenType features in software:
• Ogilvy Serif includes a full set of discretionary ligatures for a full range of expression – to be used judiciously. The following Ogilvy Serif ligatures are recognized as discretionary ligatures when they are turned on and off in the OpenType features in software:
• Ogilvy Serif and Sans provide for comprehensive coverage of most languages using the Roman alphabet. Most European languages are well-represented.
• When a language is not supported by the Ogilvy typefaces, use Arial Unicode for Ogilvy Sans and Times New Roman OS for Ogilvy Serif. These are the two largest and most common fonts in existence, and are very likely installed by default on every device on the planet.
• For alphabets using Chinese, Japanese, Korean or other writing systems using logographic alphabets, please use the most visually similar serif or sans-serif font available in the language used. We recommend Google Noto fonts, which come in both serif and sans-serif.
• Times, which is a system font available universally on all computers, is a good substitute for Ogilvy Serif – the proportions are similar, but Times takes up less space.
• Arial is another universal system font that can be used when Ogilvy Sans is unavailable. Arial takes up almost exactly the same amount of space.
• Font substitution is for general internal use in a pinch by employees for emails, internal newsletters, internal presentations, digital applications and other routine concerns. For example, substitute fonts should be used when sending a live PowerPoint or Keynote file to a client. Another option is to save the document as a PDF which will preserve the Ogilvy fonts. The substitute fonts are close enough when needed.
• The substitute fonts are never, ever to be used for any official marketing, investor relations, press releases, or for anything else that anyone outside the company might see. In other words: neither for anything of importance to the outside world, nor for anything professionally printed.
• Use only the Ogilvy Sans Regular font in Caps.

Logo Usage

• The width-to-height ratio is approximately 330 : 129. When a logo is copied and pasted endlessly between documents, minor distortions – squishing, rotating or stretching – can accidentally occur. Knowing the correct ratio allows the user to check the logo for distortion errors. To verify the proportion, select the logo and change the width to 330. If the height is any number other than 129.04, then something is wrong with the logo.
• The default logo color is Ogilvy Red.
• The logo color is always either black, white, or Ogilvy Red. Appropriate color combinations are described in the color section of this manual.
• The logo should never be the most prominent thing on the page, except on stationery. It should be prominent when used for internal applications like publications and posters. On presentation slides it should be small.
• .5” (13mm) wide for print
• 72 pixels wide for digital
• The logo is somewhat larger when it appears on Ogilvy corporate stationery, where it is the sole graphic on the most important physical manifestation of the brand.
• When the logo is incorporated into architecture it should be modestly sized. Resist the temptation to make it very large or to allow it to dominate spaces.
• Branding of geographies, disciplines and practices is not permitted. All offices that currently have signage tying these entities with the Ogilvy brand must remove such signage and replace with the Ogilvy Wordmark by September 23, 2018.
• Digital projection of the logo for presentations or event signage is one of the most publicly visible manifestations of the Ogilvy brand, therefore we must be especially vigilant that the logo be correctly represented in these instances. There is a tendency to make the logo as large as possible in projections; this should be avoided at all times. As with all other formats, the logo should be used at the proper visually proportionate scale to that specific application. A certain amount of space is needed around the logo so it is not too close to the edge of the screen on any side.
• The logo should appear on its own on the screen. It should not appear with any other artwork, images, titles or logos.
• The logo should be centered vertically and horizontally, and scaled at 1/3 of the width of the screen. The recommended color combinations are white over red and white over black.
• A certain amount of space is needed around the logo to prevent it from becoming cluttered by surrounding artwork, images or the edge of a page. The minimum padding is equal to the x-height of the v, measured from the baseline, extending out from the logo in each direction. This measurement is a little more than 1/5 the total width of the logo, and is the minimum size for spacing, not a fixed amount.
• In every application, the distance from the logo to the page edge should be different on all four sides, essentially creating a subset of margins. The example on this page shows a ratio of 2 : 3 : 4 : 5 in the various distances to the edge.
• The logo should never be tilted or rotated except in animation or in places without a definite orientation, such as the spine of a book.
• The trademark symbol (™), when needed, is measured according to the diagram shown on the right. The total symbol width should equal the width of right most serif on the y. It is placed starting from the extreme right edge of the logo and centered between the x-height and the top of the logo.
• Trademark symbols are generally placed only on commercially sold Ogilvy products.
• When the logo is paired with another brand’s logo as equals, the two logos are separated by two clearspaces (as described previously) with a solid vertical stroke between them, as shown on the right. The weight of this stroke is rationalized on the following page.
• When the logos have been placed, the horizontal position of the other brand should be optically adjusted so the vertical stroke appears exactly between the two logos.
• Ogilvy is always first when hosting the other brand.
• When the logos are in color, the Ogilvy logo should always be in Ogilvy Red and the other brand’s logo should always be in the brand’s preferred brand color. If this color is not known, the other brand’s logo should be set in black.
• The stroke weight is 2.5% the logo height, or 2.5 points for every 100 points of logo height. A 200-point high logo would have a 5-point stroke. A 600-point high logo would have a 15-point stroke. The competing logo is scaled to a proportional visual size so that neither logo is larger or smaller than the other.
• This page shows examples of various crimes that are never to be committed against the logo. 1. Don’t distort the logo 2. Don’t make the logo unreadable by orienting it weirdly 3. Don’t use a non-brand color for the logo 4. Don’t use the wrong brand color for the logo 5. Don’t break the logo or move parts around 6. Don’t miscolor the logo 7. Don’t apply special effects to the logo 8. Don’t fill the logo with images or patterns 9. Don’t make your own logo with the brand typeface 10. Don’t make your logo with any other typeface
• The distinctive Ogilvy Wordmark is the primary graphic symbol of the Ogilvy masterbrand.
• Do not develop new logos, marks or other graphic elements for departments, programs, teams and internal campaigns regardless of whether Ogilvy is part of the name.
• Existing logos for internal departments, initiatives and programs should be phased out. Collateral materials (e.g., program brochures and promotional items) may be used until existing stocks are depleted.

Tone And Messaging

• Welcome to the Ogilvy brand guidelines and graphic standards. Here you will find everything you need to successfully maintain the Ogilvy brand system and avoid visual and tonal inconsistencies across all major brand applications. Ogilvy’s approved brand system and its guidelines are the product of months of strategy, problem solving, trial and error, and design thinking, along with decades of real-world brand experience.
• They describe the correct design practices necessary for preserving the integrity of the brand. If the guidelines are not followed, the promise of the Ogilvy brand will cease to be upheld, and Ogilvy’s brand integrity will erode. Therefore, careful attention must be paid to the rules outlined in this document. It is to be distributed to internal marketing, branding, design and related teams within Ogilvy; to its subsidiary companies; and to any vendors producing graphic applications for Ogilvy.
• Certain aspects of the brand system are straightforward and will require you only to familiarize yourself with simple formulas and apply them consistently. Other aspects of the brand system may initially appear vast and intimidating. But by immersing yourself in the system, keeping a critical eye, and – above all – actively seeking to improve your understanding, the system will soon feel like a second language.
• Our brand architecture reinforces our simple, clear positioning: Ogilvy is a singular, creative network creating design, experiences and communications that make brands matter.

Brand Values

• Our brand architecture reinforces our simple, clear positioning: Ogilvy is a singular, creative network creating design, experiences and communications that make brands matter.

Visual Style

• The brand graphic system consists of three major components: logo, color and typography. These three basic elements combine to make a flexible system with ample room for experimentation. Each element is described in detail over the following pages.
• Logo Brand Color: Ogilvy Red Proprietary Serif Typeface Ogilvy Serif / Light / Bold & Italic / Light / Bold Proprietary Sans Typeface Ogilvy Sans / Light / Bold & Italic / Light / Bold Accent Colors
• The look of the Ogilvy correspondence is simple, bold and clear. The use of Ogilvy Red is immediately apparent.
• • Use only the Ogilvy Sans Regular font in Caps.
• • The Ogilvy Wordmark on stationery can be printed offset in Ogilvy Red.
• • Although we have introduced new accent colors to the Ogilvy brand system, there is no obligation to print any components of the stationery in the full suite of colors. The primary palette is Ogilvy Red, meaning that if you can print stationery in only one color, it should be Ogilvy Red.
• Paper Specifications In the U.S., letterhead and memo pads are printed on Mohawk Superfine Ultrawhite, Eggshell 80lb text. Envelopes are printed on Mohawk Superfine Ultrawhite, Eggshell 100lb text. Business cards and note cards are printed on Mohawk Superfine Ultrawhite Eggshell 150lb cover. Internationally, we suggest using an uncoated paper of comparable cover weight with a 97% brightness. If Ogilvy Red covers a large area, a double hit of Pantone 1788 is required.
• Business Card Dimensions 3.5 × 2.25" / 88.9 × 57.2 mm Scale shown 100% actual size Paper stock Mohawk Superfine Ultrawhite, Eggshell 150lb cover Type color Pantone Cool Gray 7 U Flood color Ogilvy Red: Pantone 1788 U Pantone Blue 072 U Pantone 196 U Pantone 585 U Pantone Cool Gray 11 U
• 3.5 mm margin 4.4 mm margin 7.8 mm margin 12.7 mm margin
• Letterhead: 8.5" x 11" Dimensions 8.5 × 11" / 215.9 × 279.4 mm Scale shown Not actual size Paper stock Mohawk Superfine Ultrawhite, Eggshell 80lb text Pantone Cool Gray 7 U Logo color Ogilvy Red: Pantone 1788 U Note: there is no flood color on the back of letterhead; it should be white.
• 6.35 mm margin 33.3 mm to text 12 mm to logo edge 12.8 mm logo height 32.7 mm logo width 18 mm from logo to bottom edge
• Letterhead: A4 Dimensions 210 × 297 mm Scale shown Not actual size Paper stock Mohawk Superfine Ultrawhite, Eggshell 80lb text Pantone Cool Gray 7 U 6.35 mm margin 33.3 mm to text
• 3.83 mm margin at the top and bottom, 17 mm area on the right designated as the logo edge, and a 12.5 mm area on the right labeled as the logo margin.
• Note Card Dimensions 3.75 × 9” / 9.5 × 22.9 mm Scale shown Not actual size Paper stock Mohawk Superfine Ultrawhite, Eggshell 150lb cover Logo color Ogilvy Red: Pantone 1788 U 6.35 mm margin 12.7 mm margin
• Memo Pad Dimensions 8.5 × 5.5” / 215.9 × 139.7 mm Scale shown Not actual size Paper stock Mohawk Superfine Ultrawhite, Eggshell 80lb text Pantone Cool Gray 7 U 6.35 mm margin 8.45 mm margin 11.3 mm margin

Layout And Composition

• The width-to-height ratio is approximately 330 : 129. When a logo is copied and pasted endlessly between documents, minor distortions – squishing, rotating or stretching – can accidentally occur. Knowing the correct ratio allows the user to check the logo for distortion errors. To verify the proportion, select the logo and change the width to 330. If the height is any number other than 129.04, then something is wrong with the logo.
• The logo color is always either black, white, or Ogilvy Red. Appropriate color combinations are described in the color section of this manual.
• The logo should never be the most prominent thing on the page, except on stationery. It should be prominent when used for internal applications like publications and posters. On presentation slides it should be small.
• Minimum sizes .5” (13mm) wide for print 72 pixels wide for digital
• The logo is somewhat larger when it appears on Ogilvy corporate stationery, where it is the sole graphic on the most important physical manifestation of the brand.
• When the logo is incorporated into architecture it should be modestly sized. Resist the temptation to make it very large or to allow it to dominate spaces.
• Branding of geographies, disciplines and practices is not permitted. All offices that currently have signage tying these entities with the Ogilvy brand must remove such signage and replace with the Ogilvy Wordmark by September 23, 2018.
• The logo should appear on its own on the screen. It should not appear with any other artwork, images, titles or logos.
• The logo should be centered vertically and horizontally, and scaled at 1/3 of the width of the screen. The recommended color combinations are white over red and white over black.
• A certain amount of space is needed around the logo so it is not too close to the edge of the screen on any side.
• A certain amount of space is needed around the logo to prevent it from becoming cluttered by surrounding artwork, images or the edge of a page. The minimum padding is equal to the x-height of the v, measured from the baseline, extending out from the logo in each direction. This measurement is a little more than 1/5 the total width of the logo, and is the minimum size for spacing, not a fixed amount.
• In every application, the distance from the logo to the page edge should be different on all four sides, essentially creating a subset of margins. The example on this page shows a ratio of 2 : 3 : 4 : 5 in the various distances to the edge.
• The logo should never be tilted or rotated except in animation or in places without a definite orientation, such as the spine of a book.
• When the logo is paired with another brand’s logo as equals, the two logos are separated by two clearspaces (as described previously) with a solid vertical stroke between them, as shown on the right. The weight of this stroke is rationalized on the following page.
• When the logos have been placed, the horizontal position of the other brand should be optically adjusted so the vertical stroke appears exactly between the two logos.
• Ogilvy is always first when hosting the other brand.
• When the logos are in color, the Ogilvy logo should always be in Ogilvy Red and the other brand’s logo should always be in the brand’s preferred brand color. If this color is not known, the other brand’s logo should be set in black.
• The stroke weight is 2.5% the logo height, or 2.5 points for every 100 points of logo height. A 200-point high logo would have a 5-point stroke. A 600-point high logo would have a 15-point stroke. The competing logo is scaled to a proportional visual size so that neither logo is larger or smaller than the other.
• Don’t distort the logo Don’t make the logo unreadable by orienting it weirdly Don’t use a non-brand color for the logo Don’t use the wrong brand color for the logo Don’t break the logo or move parts around Don’t miscolor the logo Don’t apply special effects to the logo Don’t fill the logo with images or patterns Don’t make your own logo with the brand typeface Don’t make your logo with any other typeface

Brand Architecture

• Our brand architecture reinforces our simple, clear positioning: Ogilvy is a singular, creative network creating design, experiences and communications that make brands matter.
• With the elimination of all disciplines, there currently exists only one Ogilvy branded name. It is for the enterprise offering, Ogilvy Consulting.

Digital Guidelines

• Branding new initiatives and programs with the Ogilvy name is prohibited. Accordingly, do not invent vanity email addresses using the Ogilvy name.
• Events: events@ogilvy.com
• New York Office: newyorkoffice@ogilvy.com
• Events: ogilvyevents@ogilvy.com
• New York Office: ogilvynewyork@ogilvy.com
• Employee information should match that of the employee’s business card and in the Profiler database.
• URLs: Only Ogilvy-related URLs and social media handles may be added.
• Awards and Special Announcements: Offices may want to announce awards or attach special messages (e.g., agency of the year designations, upcoming change of office name, etc.) to every outgoing email. These may be included in the signature, but only as written copy (not logo art), and in alphabetical order.
• Go to the Identity Library on the Intranet for the link to create your personalized email signature. There is no need to create one from scratch. For reference, below are the specs for the signature.
• The logo is in a fixed position in all email signatures as shown here. It follows the name and title, and precededs the physical address and contact information of the individual. The size and position of the logo (or any part of the email signature) should not be altered.
• Text: The name should be set in Arial 10pt (all caps) and title in Arial 10pt (title case) on the next line. All other information should be set in Times New Roman 10pt without bolding , italicizing or coloring. All text should be set in black. Do not attempt to imitate any logo design. Lines should be short to prevent awkward line breaks on small-screen devices.
• The Ogilvy Wordmark is the only logo to appear in our signature. Only with express permission from Worldwide Marketing and Communications will exceptions be allowed.
• Our main online platforms are ogilvy.com and the Intranet. They are designed differently, yet are made up of the same core elements of our brand identity: logos, fonts and color.
• Ogilvy offices may have their independent websites, however they must be a sub-site of ogilvy.com.
• For example: ogilvy.com/br for Brazil ogilvy.com/aus for Australia ogilvy.com/jp for Japan
• We are developing a full enterprise CMS hosted in New York where offices can access centralized global content and control their local content.
• Offices will want to update their current websites immediately with our new logo, colors and fonts. Please do so by following these brand guidelines.
• Important: As standalone disciplines no longer exist and their global websites shut down, all local market discipline websites need to be terminated as soon as possible.
• We encourage all offices to share their content on these worldwide channels: twitter.com/Ogilvy facebook.com/Ogilvy linkedin.com/Ogilvy instagram.com/Ogilvy
• If offices want to have their own social media accounts, they must follow this guideline:
• Social media account names is the only instance where branding of a geography is permissible. Capabilities, practices, departments, functions, programs and initiatives must not be branded on social media. Your social media account name should be “Ogilvy” plus city or market designation only, e.g., Ogilvy Mumbai, Ogilvy UK, etc.
• All social media accounts must use the Ogilvy logo. Do not modify the Ogilvy logo in any way.
• Specific dimensions for each profile picture and cover photo and video sometimes change, so check the platforms usage guidelines for the most current specs.
• The full suite of Ogilvy social media graphics can be found in the Identity Library on the Intranet.
• Presentations (Keynote and PowerPoint) are among our most widely used forms of communication. While the content of these communications – reflecting our knowledge, our insights, our expertise – is highly important, almost as significant is the way we say it.
• Our presentations and reports should have clarity and logic, look good and, most important, present a cohesive, solid identity, so as to leave the best possible impression.
• Fonts and templates are available for download from the Identity Library on the Intranet.

Print Guidelines

• Use only the Ogilvy Sans Regular font in Caps.
• Use two spaces in place of a comma between address elements.
• The Ogilvy Wordmark on stationery can be printed offset in Ogilvy Red.
• Although we have introduced new accent colors to the Ogilvy brand system, there is no obligation to print any components of the stationery in the full suite of colors. The primary palette is Ogilvy Red, meaning that if you can print stationery in only one color, it should be Ogilvy Red.
• In the U.S., letterhead and memo pads are printed on Mohawk Superfine Ultrawhite, Eggshell 80lb text.
• Envelopes are printed on Mohawk Superfine Ultrawhite, Eggshell 100lb text.
• Business cards and note cards are printed on Mohawk Superfine Ultrawhite Eggshell 150lb cover.
• Internationally, we suggest using an uncoated paper of comparable cover weight with a 97% brightness.
• If Ogilvy Red covers a large area, a double hit of Pantone 1788 is required.
• Templates are available in the Identity Library on the Intranet.
• The Ogilvy Wordmark visually unifies all Ogilvy entities, and should be on the back of all business cards.
• Website URLs, social media handles, secondary phone numbers and fax numbers are not permitted.
• If your title includes a geographic modifier, it should appear only in the title line.
• Dimensions 3.5 × 2.25" / 88.9 × 57.2 mm
• Scale shown 100% actual size
• Paper stock Mohawk Superfine Ultrawhite, Eggshell 150lb cover
• Type color Pantone Cool Gray 7 U
• Flood color Ogilvy Red: Pantone 1788 U
• Pantone Blue 072 U
• Pantone 196 U Pantone 585 U
• Pantone Cool Gray 11 U
• Non-Roman characters should match closely to the letters in the English text panel in terms of type size, weight and alignment.
• All alphanumeric characters in the foreign language panel must be set in Ogilvy Sans.
• Paper stock Mohawk Superfine Ultrawhite, Eggshell 150b cover
• Letterhead: 8.5" x 11"
• Dimensions 8.5 × 11" / 215.9 × 279.4 mm
• Paper stock Mohawk Superfine Ultrawhite, Eggshell 80lb text
• Logo color Ogilvy Red: Pantone 1788 U
• Note: there is no flood color on the back of letterhead; it should be white.
• 6.35 mm margin
• 33.3 mm to text
• 12 mm to logo edge
• 12.8 mm logo height
• 32.7 mm logo width
• 18 mm from logo to bottom edge
• Letterhead: A4
• Dimensions 210 × 297 mm
• 11.7 mm to logo edge
• Standard Envelope (Exterior)
• Dimensions 9 ×4.125" / 228.6 × 104.8 mm
• 6.3 mm margin
• 11.3 mm margin
• 18.3 mm margin
• Standard Envelope (Interior)
• Pantone 196U
• Pantone 585U
• Dotted line indicates trim for conversion and does not appear in actual template; it demarcates the finished exterior dimensions.
• Note Card
• Dimensions 3.75 × 9” / 9.5 × 22.9 mm
• 12.7 mm margin
• Note Card (Back)
• Memo Pad
• Dimensions 8.5 × 5.5” / 215.9 × 139.7 mm
• Memo Pad (Personalized)
• Pantone Cool Gray 7 U
• 8.45 mm margin

Naming Conventions

• Never under any circumstance should Ogilvy be used as part of a name. New initiatives and programs should be given names that clearly describe the audience and/or what the initiative or program is designed to accomplish. Examples include “Working Parents Network” and “Employee Benefits Program.”
• If you must use the Ogilvy name as a modifier, it must be in the form of a possessive prefix. For example: “Ogilvy’s Music Series” not “Ogilvy Music”
• Always choose names that are simple, clear and descriptive.
• Choose names that will be meaningful to the intended audience.
• Avoid acronyms and other abbreviations, because they are often vague and confusing.
• Never choose a name just because it produces an appealing abbreviation or acronym.
• Do not invent words or use poor grammar or unconventional capitalization.
• Branding new initiatives and programs with the Ogilvy name is prohibited. Accordingly, do not invent vanity email addresses using the Ogilvy name.
• Social media account names is the only instance where branding of a geography is permissible. Capabilities, practices, departments, functions, programs and initiatives must not be branded on social media. Your social media account name should be “Ogilvy” plus city or market designation only, e.g., Ogilvy Mumbai, Ogilvy UK, etc.

Packaging Design

• Dimensions 9 ×4.125" / 228.6 × 104.8 mm
• Scale shown Not actual size
• Paper stock Mohawk Superfine Ultrawhite, Eggshell 80lb text
• 6.3 mm margin
• Type color Pantone Cool Gray 7 U
• Logo color Ogilvy Red: Pantone 1788 U
• 11.3 mm margin
• 18.3 mm margin
• Dotted line indicates trim for conversion and does not appear in actual template; it demarcates the finished exterior dimensions.
• 9 ×4.125" / 228.6 × 104.8 mm
• Mohawk Superfine Ultrawhite, Eggshell 80lb text
• Ogilvy Red: Pantone 1788 U
• Pantone Blue 072 U
• Pantone 196U
• Pantone 585U

Brand Partnerships

• When the logo is paired with another brand’s logo as equals, the two logos are separated by two clearspaces (as described previously) with a solid vertical stroke between them, as shown on the right. The weight of this stroke is rationalized on the following page.
• When the logos have been placed, the horizontal position of the other brand should be optically adjusted so the vertical stroke appears exactly between the two logos.
• Ogilvy is always first when hosting the other brand.
• When the logos are in color, the Ogilvy logo should always be in Ogilvy Red and the other brand’s logo should always be in the brand’s preferred brand color. If this color is not known, the other brand’s logo should be set in black.
• The stroke weight is 2.5% the logo height, or 2.5 points for every 100 points of logo height. A 200-point high logo would have a 5-point stroke. A 600-point high logo would have a 15-point stroke. The competing logo is scaled to a proportional visual size so that neither logo is larger or smaller than the other.

Additional Properties

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