USAID

Official Websites

• https://www.usaid.gov
• https://www.usaid.gov/branding
• https://oig.usaid.gov
• https://usaid.gov
• https://usaid.govarchive.us

Brand Guidelines

2020

Brand Summary

Mission

• To achieve visibility and recognition for the work of the Australian aid program, reinforcing Australia’s standing as a good international citizen and ensuring transparency and accountability in aid activities [^1].

Core Values

• visibility
• recognition
• accountability
• transparency
• partnership
• integrity

Target Audience

• People in Australia and overseas, partner governments, beneficiaries, other donors, and the Australian public [^2].

Personality Traits

• professional
• transparent
• accountable
• collaborative
• inclusive

Visual Identity Overview

• The visual identity is clean, minimalistic, and official, using the AusAID crest logo, Australian Aid identifier, and wordmark. It emphasizes consistent use of color palettes, typography, patterns, and icons across all materials, with strict guidelines for logo usage, clear space, and layout. The identity is applied to stationery, signage, clothing, merchandise, humanitarian aid supplies, and onscreen/video titling [^3].

Categories

Brand Imagery

• The Australian Aid identifier appears in white and red when used on a blue background (see page 37, Colour palette, for the correct red and blue colour breakdowns). If the Australian Aid identifier is used on any other dark coloured background it should appear in white.
• Under no circumstances can the Australian Aid identifier appear in any colour combination other than those shown here.
• Don’t use the white and red version on any colour other than blue. Don’t use the black version on blue. Don’t use the blue and red version on a dark colour. Don’t use the black version on a colour that is too dark. Australian AID Don’t use the blue and red version on a light coloured background. Don’t use the white version on a colour that is too light.
• The Australian Aid identifier should always have a minimum clear space surrounding it. This ensures it can be clearly recognised.
• Throughout these guidelines, the value of ‘X’ is equal to the height of the capital ‘A’.
• The minimum space between the AusAID crest logo and the Australian Aid identifier is equal to 2X.
• When there is a requirement to identify a specific program, the program name can appear below the Australian Aid identifier. The illustration below shows how to determine the size of the program name.
• The font use for the program name is Helvetica Roman or Arial Regular.
• Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• The colours of the Australian Aid identifier are the same as the Australian national flag. Pantone 280 Pantone 185 CO M91 Y76 KO R228 GO B43 HTML E4002B C100 M72 YO K18 R1 G33 B105 HTML 012169
• Where possible, the Australian Aid identifier should appear in blue and red on a white background. On AusAID stationery the Australian Aid identifier appears either in blue and red, or just in black. If the identifier is used on a light coloured background it should appear in black.
• The Australian Aid identifier is used in conjunction with the AusAID crest logo in Australia and on AusAID’s printed material overseas. The Australian Aid identifier is used on its own to identify AusAID programs or initiatives overseas.
• The identifier can be used in colour or in black and white (see the following chapter, Australia Aid identifier in detail).
• The logos should only ever be reproduced from the master artwork. They should never be redrawn or altered in any way.
• The master artworks are available in various electronic formats, for both Mac and PC, from your AusAID communications contact.
• The AusAID wordmark is only used on clothing and, when used, it should always appear with the Australian Aid identifier (see the following section When to use each logo).
• The AusAID wordmark should not be used for any other purpose.
• The AusAID crest logo has two variations; inline and stacked. It will often appear alongside the Australian Aid identifier. The AusAID crest logo has a specific size relationship to the Australian Aid identifier (see the section Size relationship with AusAID crest logo).
• Colour and position of the AusAID crest logo is dependent on the material it is being produced on. Refer to the relevant sections later in this book for more detail.

Color Palette

• The majority of AusAID’s publication work is printed in full colour (CMYK) and the following colours have been chosen with this in mind. Spot colours can be specified, if required.
• Pantone 280
• ClOO M72 YO K18
• Pantone 185
• CO M91 Y76 KO
• Pantone 410
• CO M18Y21 K56
• Note: The Pantone-to-CMYK colour breakdowns shown opposite have been carefully selected to ensure optimum results for CMYK printing-they do not necessarily, and should not, match the breakdowns suggested by Pantone.
• Pantone 123
• CO M21 Y88 KO
• Pantone 716
• CO M55 Y90 KO
• Pantone Warm Red
• CO M75 Y90 KO
• Pantone 180
• C3 M92 Y84 K12
• Pantone 7419
• C8 M77 Y37 K27
• Pantone Black 7
• CO MO Y15 K82
• Pantone 7531
• C16 M28 Y36 K49
• Pantone 7530
• C10 M18 Y25 K29
• Pantone 7458
• C52 M3 Y6 K7
• Pantone 7472
• C52 MO Y25 KO
• Pantone 7475
• C52 MO Y25 K30
• Pantone 611
• C5 M3 Y76 K11
• The cover sets the colour palette for the rest of the document.
• Colours on the back cover should align with the colours used on the front cover.
• The number of colours used for printing is to be determined by AusAID in liaison with the designer (full-colour, two-colour, or one-colour). The actual colours to be used within the publication are to be selected at the discretion of the designer within the constraints of the AusAID colour palette.

Typography

• The FF Meta family has been selected for use in the AusAID corporate style for its versatility and modern feel. There are some general rules in the way these fonts are used: > Meta Serif is used for body text only and Meta Plus (Sans serif) used for headings and supporting text (captions, pull quotes etc). > The weights shown in this guide are the minimum requirement, although other weights (small caps, for example) may be required from time to time. > The templates available to AusAID staff and graphic designers have type styles (e.g. for headings and body text) built in and these should not be altered unless absolutely necessary. Exceptions to these general rules may apply, where specified. For example, most Word/PowerPoint templates use Times New Roman; and most signage (p62–75) uses Helvetica Neue. Where this is the case, it has been highlighted in this guidelines document. In other cases, fonts should not be substituted unless Meta Serif and Meta Plus are impossible to obtain. If this is the case, Times New Roman and Helvetica should be used, after approval by the Communications and Media Branch in Canberra.
• Meta Serif Book ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• Meta Serif Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• MetaPlusNormal Roman ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• MetaPlusBold Roman ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• The font use for the program name is Helvetica Roman or Arial Regular. Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• Most Word/PowerPoint templates use Times New Roman; and most signage (p62–75) uses Helvetica Neue.
• Fonts should not be substituted unless Meta Serif and Meta Plus are impossible to obtain. If this is the case, Times New Roman and Helvetica should be used, after approval by the Communications and Media Branch in Canberra.
• The AusAID wordmark is for use on staff clothing. This has the word AusAID printed in a particular font and with particular spacing. It allows the wearer to be quickly identified as an AusAID staff member. Only AusAID staff can wear AusAID branded clothing.
• The AusAID wordmark should not be used for any other purpose.
• English should be on one side and the local language on the other. Unless necessary, the basic design should be identical to the English-language side. Note that the AusAID crest logo and Australian Aid identifier should not be altered or translated.
• The font used on banners and signage is Helvetica. Text sizes can be proportional to the examples below although there is flexibility to allow for different requirements.

Logo Usage

• The logos should only ever be reproduced from the master artwork. They should never be redrawn or altered in any way.
• The AusAID crest logo is AusAid’s primary logo. It signifies AusAID’s place as an Australian Government agency and represents the organisation and its staff. Its use is governed by guidelines issued by the Department of the Prime Minister and Cabinet and it must always be used within Australia. It should be used overseas to represent AusAID. In can be used inline or stacked, and can be produced in a dark solid colour or white on a dark coloured background.
• Two alternatives to the crest logo, the Australian Government logo, and the Australian Government Initiative logo, may be used when appropriate (See page 11).
• The AusAID wordmark is for use on staff clothing. This has the word AusAID printed in a particular font and with particular spacing. It allows the wearer to be quickly identified as an AusAID staff member. Only AusAID staff can wear AusAID branded clothing.
• The AusAID wordmark should not be used for any other purpose.
• Government logos must not be used by partners or managing contractors unless cleared by AusAID. Use of a Government logo can imply that a person or organisation is employed by or part of the Australian Government. Any relationship can be shown in words and through the use of the Australian Aid identifier.
• The use of Government logos is governed by the Department of the Prime Minister and Cabinet requirements which dictate that official logos cannot be modified, the words ‘Australian Government’ cannot be altered or added to, and the logo cannot be smaller than the crest being 20mm across (print only).
• In Australia, one of the Government logos—preferably AusAID’s crest logo— must be used, unless there is a valid reason why one of the other Government logos is more appropriate (e.g. with aid activities undertaken jointly with other Government agencies).
• The AusAID crest logo has two variations; inline and stacked. It will often appear alongside the Australian Aid identifier. The AusAID crest logo has a specific size relationship to the Australian Aid identifier (see the section Size relationship with AusAID crest logo).
• Colour and position of the AusAID crest logo is dependent on the material it is being produced on. Refer to the relevant sections later in this book for more detail.
• Use of these logos, including, sizing, colour, clearspace etc should be identical to that of the crest logo.
• These logos should only be used in certain circumstances, and their use is best discussed with the Communications and Media Branch.
• The Australian Aid identifier is used in conjunction with the AusAID crest logo in Australia and on AusAID’s printed material overseas. The Australian Aid identifier is used on its own to identify AusAID programs or initiatives overseas.
• The identifier can be used in colour or in black and white (see the following chapter, Australia Aid identifier in detail).
• The AusAID wordmark is only used on clothing and, when used, it should always appear with the Australian Aid identifier (see the following section When to use each logo).
• Where possible, the Australian Aid identifier should appear in blue and red on a white background. On AusAID stationery the Australian Aid identifier appears either in blue and red, or just in black. If the identifier is used on a light coloured background it should appear in black.
• The colours of the Australian Aid identifier are the same as the Australian national flag. Pantone 280 Pantone 185 CO M91 Y76 KO R228 GO B43 HTML E4002B C100 M72 YO K18 R1 G33 B105 HTML 012169
• The Australian Aid identifier appears in white and red when used on a blue background (see page 37, Colour palette, for the correct red and blue colour breakdowns). If the Australian Aid identifier is used on any other dark coloured background it should appear in white.
• Under no circumstances can the Australian Aid identifier appear in any colour combination other than those shown here.
• Don’t use the white and red version on any colour other than blue. Don’t use the black version on blue. Don’t use the blue and red version on a dark colour. Don’t use the black version on a colour that is too dark. Australian AID Don’t use the blue and red version on a light coloured background. Don’t use the white version on a colour that is too light.
• The Australian Aid identifier should always have a minimum clear space surrounding it. This ensures it can be clearly recognised.
• Throughout these guidelines, the value of ‘X’ is equal to the height of the capital ‘A’.
• The minimum space between the AusAID crest logo and the Australian Aid identifier is equal to 2X.
• When there is a requirement to identify a specific program, the program name can appear below the Australian Aid identifier. The font use for the program name is Helvetica Roman or Arial Regular. Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• It is not permitted to use any other logo or emblem (for example, the flag of the host country) on a business card.
• Note that the AusAID crest logo and Australian Aid identifier should not be altered or translated.
• Templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Copies of the logos in a variety of formats are available from the AusAID website under About AusAID: http://www.ausaid.gov.au/about/logo.cfm
• No, the logos cannot be modified in any way. When resizing the logos, take care not to distort them either horizontally or vertically. The image should be manipulated from the corner in order to maintain the proportions.
• The AusAID crest logo should be printed in a dark, solid colour or in white against a dark, solid colour. Contact the Communications and Media Branch if in any doubt.
• The Australian Aid identifier can be printed in blue (PMS 280) and red (PMS 185), in all black against a solid white colour, in all white (reversed out) against a solid dark colour, or in white and red (PMS 185) against a solid dark colour.
• The logo should remain in English but acknowledgement statements can be translated.
• If AusAID is the major donor and lead partner, then the logo should be the most prominent, for example it should be placed in front or above others. It can be larger if the design warrants that.

Visual Style

• The logos should only ever be reproduced from the master artwork. They should never be redrawn or altered in any way.
• The AusAID crest logo has two variations; inline and stacked. It will often appear alongside the Australian Aid identifier. The AusAID crest logo has a specific size relationship to the Australian Aid identifier (see the section Size relationship with AusAID crest logo).
• Colour and position of the AusAID crest logo is dependent on the material it is being produced on. Refer to the relevant sections later in this book for more detail.
• Use of these logos, including, sizing, colour, clearspace etc should be identical to that of the crest logo.
• Where possible, the Australian Aid identifier should appear in blue and red on a white background. On AusAID stationery the Australian Aid identifier appears either in blue and red, or just in black. If the identifier is used on a light coloured background it should appear in black.
• The colours of the Australian Aid identifier are the same as the Australian national flag.
• Pantone 280
• Pantone 185
• CO M91 Y76 KO R228 GO B43 HTML E4002B
• C100 M72 YO K18 R1 G33 B105
• HTML 012169
• The Australian Aid identifier appears in white and red when used on a blue background (see page 37, Colour palette, for the correct red and blue colour breakdowns). If the Australian Aid identifier is used on any other dark coloured background it should appear in white.
• Under no circumstances can the Australian Aid identifier appear in any colour combination other than those shown here.
• The Australian Aid identifier should always have a minimum clear space surrounding it. This ensures it can be clearly recognised.
• Throughout these guidelines, the value of ‘X’ is equal to the height of the capital ‘A’.
• The minimum space between the AusAID crest logo and the Australian Aid identifier is equal to 2X.
• The font use for the program name is Helvetica Roman or Arial Regular.
• Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• The FF Meta family has been selected for use in the AusAID corporate style for its versatility and modern feel. There are some general rules in the way these fonts are used: > Meta Serif is used for body text only and Meta Plus (Sans serif) used for headings and supporting text (captions, pull quotes etc). > The weights shown in this guide are the minimum requirement, although other weights (small caps, for example) may be required from time to time. > The templates available to AusAID staff and graphic designers have type styles (e.g. for headings and body text) built in and these should not be altered unless absolutely necessary.
• Exceptions to these general rules may apply, where specified. For example, most Word/PowerPoint templates use Times New Roman; and most signage (p62–75) uses Helvetica Neue. Where this is the case, it has been highlighted in this guidelines document.
• In other cases, fonts should not be substituted unless Meta Serif and Meta Plus are impossible to obtain. If this is the case, Times New Roman and Helvetica should be used, after approval by the Communications and Media Branch in Canberra.
• The majority of AusAID’s publication work is printed in full colour (CMYK) and the following colours have been chosen with this in mind. Spot colours can be specified, if required.
• Pantone 280 ClOO M72 YO K18
• Pantone 185 CO M91 Y76 KO
• Pantone 410 CO M18Y21 K56
• Pantone 123 CO M21 Y88 KO
• Pantone 716 CO M55 Y90 KO
• Pantone Warm Red CO M75 Y90 KO
• Pantone 180 C3 M92 Y84 K12
• Pantone 7419 C8 M77 Y37 K27
• Pantone Black 7 CO MO Y15 K82
• Pantone 7531 C16 M28 Y36 K49
• Pantone 7530 C10 M18 Y25 K29
• Pantone 7458 C52 M3 Y6 K7
• Pantone 7472 C52 MO Y25 KO
• Pantone 7475 C52 MO Y25 K30
• Pantone 611 C5 M3 Y76 K11
• The patterns/icons are used in conjunction with the colour palette and InDesign transparencies to create a number of versatile options, while maintaining a consistent corporate look.
• Each pattern has been sourced from the region it represents. The style is designed so that new patterns may be supplied by AusAID on a project by project basis. In such instances, new patterns should be used in conformity with the examples given in this style guide.
• When the icons are used with publications, on covers and internals, the Illustrator file is generally placed into InDesign at 70% (as shown below).
• When used in brochures, banners and other supporting collateral they can be used at larger sizes, as deemed appropriate.
• The icons are almost always used in a two row layout as shown below, but in some circumstances it may be appropriate to use one icon on its own, either as a single graphic in addition to the regular set, or as a two row graphic of its own (see ‘MDG icon3 pattern rev_wide2.ai’ below). As instances like this are rare, such graphics can be created in Illustrator from the master file (‘MDG icon pattern rev_wide2.ai’).
• The master Illustrator file has the colour of the icons set to white, however, they are never used as a full reverse. Transparency settings are changed in InDesign. There are no set specifications for the percentage to be used. A setting between 40–70% would usually be suitable, however, discretion should be used depending on background colour and/or image tonality.
• The size and position relationship is specific to each publication type and should not be altered in any way.
• Colours on the back cover should align with the colours used on the front cover.
• The cover sets the colour palette for the rest of the document.
• Colour, shape and photography should be used throughout internal layouts where appropriate. Variety of these elements is encouraged, however an adherence to the basic grid must always remain and document margins cannot be altered.

Iconography

• The new AusAID corporate style consists of four main themes—General (MDGs), Asia, Pacific and Africa. A series of theme specific patterns or icons are used to supplement each theme.
• The patterns/icons are used in conjunction with the colour palette and InDesign transparencies to create a number of versatile options, while maintaining a consistent corporate look.
• Each pattern has been sourced from the region it represents. The style is designed so that new patterns may be supplied by AusAID on a project by project basis. In such instances, new patterns should be used in conformity with the examples given in this style guide.
• These icons have been adapted from the eight icons designed for the United Nations Millennium Development Goals <www.undp.org/mdg/>.
• When the icons are used with publications, on covers and internals, the Illustrator file is generally placed into InDesign at 70% (as shown below).
• When used in brochures, banners and other supporting collateral they can be used at larger sizes, as deemed appropriate.
• The icons are almost always used in a two row layout as shown below, but in some circumstances it may be appropriate to use one icon on its own, either as a single graphic in addition to the regular set, or as a two row graphic of its own (see ‘MDG icon3 pattern rev_wide2.ai’ below). As instances like this are rare, such graphics can be created in Illustrator from the master file (‘MDG icon pattern rev_wide2.ai’).
• The master Illustrator file has the colour of the icons set to white, however, they are never used as a full reverse. Transparency settings are changed in InDesign. There are no set specifications for the percentage to be used. A setting between 40–70% would usually be suitable, however, discretion should be used depending on background colour and/or image tonality.
• The patterns are generally used in thin horizontal strips and some patterns (asia_o2_bm.tif, for example) may be cropped differently to create ’extra’ patterns. Examples of this can be seen in the A4 cover layouts.
• Some patterns are supplied in bitmap format (pacific_o1_bm.tif, for example) and there may be instances where these files need to be placed at sizes above 100%. However, the patterns in bitmap format are generally crude in detail and when used in conjunction with other elements in the layout the loss of detail after enlargement is generally acceptable.
• Some patterns are supplied in bitmap format (africa_o1_bm.tif, for example) and there may be instances where these files need to be placed at sizes above 100%. However, the patterns in bitmap format are generally crude in detail and when used in conjunction with other elements in the layout the loss of detail after enlargement is generally acceptable.

Layout And Composition

• All AusAID covers should bleed off the right edge only, the three remaining edges should have a white border. For most applications, such as offset printed covers, the border is 5mm. Where this is not suitable (banners, for example) the border should be set to a size that is roughly in proportion to an A4 cover.
• The 5mm border does not apply to internal layouts for AusAID publications, although you may use the border as a secondary device when appropriate. Brochure internals are just one example of when borders might be used.
• The website tag contains the AusAID website address <www.ausaid.gov.au> and, unless specified otherwise, must appear on the front of all material. The tag bleeds off the left or bottom edges only and extends beyond the usual 5mm border. Colour use follows the same rules listed above for the AusAID logo. On cover layouts the tag should mirror its front cover position on the back cover. If the tag bleeds off the left edge on a front cover, the text reads down the page, from top to bottom. On back covers the text should read up the page, from bottom to top (see examples provided). Within these constraints placement of the tag is left to your discretion, please refer to examples for suggested use.
• It is not practical to set up design styles for every publication. For this reason, design parameters have been developed for different types of publications, which vary in size. Publication types include books, booklets, brochures and flyers: > Books and booklets – A4 – A5 – B5 > Brochures – 170 mm W x 297 mm H (tall publication) – 150 mm W x 180 mm H (short publication) > Fact sheets – A4 – 170 mm W x 297 H (tall publication). Brochures can be 4 panel, 6 panel or 8 panel. All must be gatefold (if over four panels). Fact sheets can be one- or two-sided.
• You can source Adobe InDesign Creative Suite 5 templates with margins, style sheets and colours from publications@ausaid.gov.au
• The basic principles of this layout are used in As and B5 sized layouts. As such, only A4 examples of books are shown in this guide although template files for As and B5 have been prepared in InDesign format.
• The size and position relationship is specific to each publication type and should not be altered in any way.
• Colours on the back cover should align with the colours used on the front cover.
• The inside cover complements the layout of the title page. The layout of the title page remains consistent throughout all publications, as shown in the examples displayed in this guide.
• Always start the contents on a right-hand page. If the contents page does not appear next to the copyright page, an image may be placed on the adjacent left-hand page.
• Document margins, text style sheets and colours are embedded within the InDesign templates.
• Colour, shape and photography should be used throughout internal layouts where appropriate. Variety of these elements is encouraged, however an adherence to the basic grid must always remain and document margins cannot be altered.
• This is a basic layout spread for a six panel 170mm W x 297mm H brochure, also referred to as a ’tall’ brochure. The dimensions given refer to the finished size when folded. This layout is not confined to six panels, more can be added when needed.
• This example forms the basis for layout and formatting. Document margins, text style sheets and colours are embedded within the InDesign templates.
• An increased use of colour is encouraged in brochures, as shown in the example below.
• This is a basic layout spread for an eight panel 150mm W x 180mm H brochure, also referred to as a ‘short’ brochure. The dimensions given refer to the finished size when folded.
• This is the basic layout for A4 fact sheets. It forms the basis for layout and formatting. Document margins, text style sheets and colours are embedded within the InDesign templates.
• This is the basic layout for 170 mm W x 297 mm H (tall) fact sheets. It forrns the basis for layout and forrnatting.Document margins, text style sheets and colours are embedded within the InDesign templates.
• The following examples show acceptable PowerPoint slide layouts. Sample InDesign files from which PowerPoint templates can be made are available, including options for light or dark background text slides.
• Publication templates have also been setup in Microsoft Word® for AusAID staff and are available from Word-New-templates on my computer-General. Below shows examples of the standard template layouts. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• The following examples show acceptable banner designs. They have been designed for final sizing of 850x2150mm. All sizes should be confirmed with the supplier prior to production.
• Note how the white border mimics the A4 cover design. The examples shown have a 2omm border at final size. There is no set measurement for the border width, however, as in these examples, ensure that the width is roughly in proportion with the A4 cover layout.
• This is the basic layout for podium signs. Final sizes may vary but relative proportions should remain the same.

Stationery Guidelines

• AusAID staff in Canberra should use stationery with the AusAID logo and the Australian Aid identifier. Letterhead is available as a Word template. ‘With compliments’ slips and business cards can be ordered through Property and Facilities.
• Generally, AusAID staff at Post should use the AusAID crest logo and the Australian Aid identifier on their business cards and these should be as similar as possible to the Canberra business card style. It is not permitted to use any other logo or emblem (for example, the flag of the host country) on a business card. If permitted by Head of Mission, AusAID letterhead and ‘with compliments’ slips can be developed using the AusAID crest logo and the Australian Aid identifier, as similar as possible to those used in Australia.
• Volunteers and people working for non-government organisations, multilateral organisations or managing contractors must not use the AusAID crest logo (or any other Australian Government logo) on their stationery as this could falsely imply that that the organisation was connected to the Australian Government or that the person was an Australian Government employee.
• It is permissible for a volunteer or someone working for a non-government organisation, a multilateral organisation or a contracting company to use one of following statements of acknowledgement if the stationery specifies a program or project.
• Where AusAID fully funds the project, the Australian Aid identifier should be used in the dominant position on any project stationery. The logo of a contractor or other agency can be included at the bottom along with wording such as: Australian Aid—managed by XXXX on behalf of AusAID.
• Where AusAID is the majority funder of a project, the Australian Aid identifier should be in the dominant position and any other logos placed in lesser positions, preferably at the bottom. Wording such as, XXXX is supported by Australian Aid, XXXX and XXXX can be used.
• Where the project is partly funded by AusAID, and another agency, business or government is the major funder, AusAID should follow the branding guidelines of the major supporter but include either the Australian Aid identifier or the words: Supported by Australian Aid.
• Letter templates have been setup in Microsoft Word® for AusAID staff and are available from Word-New-templates on my computer-General. Below shows the standard letter template layout. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Templates for fax and minutes and circulars have been setup in Microsoft Word® for AusAID staff and are available from the Word—New—templates on my computer—General. Below shows the standard template layouts. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Standard compliment slips have been pre-produced and are available for AusAID staff to order through Property and Facilities.
• Standard business cards are available for AusAID staff to order through Property and Facilities. In Australia, only staff at EL1 level and above are eligible for personal business cards however section or branch business cards can be used.
• AusAID magnetic badges are also available for staff from the Mail Room. The badges can be worn to identify the wearer as an AusAID employee. These are available for staff at Posts, and for staff at EL1 level or above in Canberra.
• Two versions of the business card are available for overseas staff: an English­language version which is identical to the Australia version on the previous page); and a dual-language version (overleaf), to accommodate the needs of local language if English is not the primary language.
• Both options should be as similar as possible to the Canberra business card style. It is not permitted to use any other logo or emblem (for example, the flag of the host country) on a business card.
• Note that the AusAID crest logo and Australian Aid identifier should not be altered or translated.
• Project/program-related letterhead templates are available if required. These templates are setup in Microsoft Word® and are available from the Communications page on the AusAID intranet and can only be supplied by an AusAID staff member. Below shows a standard layout. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Below shows the two layouts for English language project/program-related business cards. The template is available from the Communications page on the AusAID intranet and can only be supplied by an AusAID staff member. To maintain brand integrity and consistency, these cards should not be altered without consulting the Communications and Media Branch in Canberra.
• Program-related business cards are blank on the reverse.

Clothing And Merchandise Guidelines

• There is a range of badged clothing available to staff. Other clothing (for example traditional women’s clothing) can be badged but the design must be approved by the Communications and Media Branch. Australian Aid field vests should only be used in humanitarian responses. AusAID-badged clothing must only be worn by AusAID staff in the conduct of their business.
• If you require badged-clothing (e.g. for sporting teams) use the Australian Aid identifier printed on a T-shirt. It is important to remember that the wearers of the shirt, while not necessarily working on Australian aid, are representing our work when wearing the shirt.
• Staff clothing is the only occasion when the AusAID wordmark is used.
• Please think carefully before applying logos to merchandise. Branded merchandise is a reminder of aid funds which could have been spent directly on aid. If it is considered necessary, use the AusAID logo in Australia and the Australian Aid identifier overseas.
• The Communications and Media Branch has a small supply of branded merchandise suitable for high-level gifts.
• A range of staff clothing is available on a needs basis. A small range is held at each Post (Corporate Counseller or communications and media officer) and a small range is held in Canberra by the Communications and Media Branch.
• Staff clothing badged with the AusAID wordmark can only be used by staff in the course of their business: > AusAID badge > mesh cap > brim hat > polo shirt, long and short sleeved, mens and womens > fleece jackets, mens and womens > waterproof spray jacket > lightweight identification (media) vest > umbrella
• There is also a range of clothing for specialist purposes, such as the Australian Civilian Corps, and for humanitarian purposes. This range is managed by the areas concerned.
• No clothing should be produced without the approval of the Communications and Media Branch.
• A small range of badged merchandise is available from Posts (see Corporate Counsellor or communications and media officer) or Canberra (see Communications and Media Branch). > tote bags > pens

Humanitarian Aid Guidelines

• AusAID strives to maintain a balance between appropriate and inappropriate badging in humanitarian responses, and is aware of the criticism that is levelled at excessive badging.
• AusAID staff responding to humanitarian crises are expected to wear AusAID and Australian Aid branded clothing wherever possible, and always when media is present.
• Australian Aid branded vests which can be worn over AusAID branded shirts, are available. Australian Aid branded vests can be worn by anyone working as part of the Australian Government’s response. AusAID clothing can only be worn by AusAID staff.
• Branding of humanitarian supplies is wide-spread among UN humanitarian agencies and non-government organisations as a means of garnering and retaining donor support, defining areas of operation and asserting influence upon the humanitarian agenda. In the case of Australian Aid supplies, branding continues to be a communication tool for both domestic and international audiences.
• Humanitarian supplied are branded with the Australian Aid identifier wherever possible—either during production or post-production with the use of stickers or stencilling: > food bags and other packaging > tarpaulins > supply boxes > water bladders.
• This is the basic layout for tarpaulin. The pattern is repeated across the dimensions of the material.
• The example below shows how the Australian Aid identifier is used on World Food Programme (WFP) packaging.

Video Titling Guidelines

• This is a basic layout for TV titling. These dimensions use a non-widescreen (788x576 pixel) area to ensure graphics can be shown on most devices.
• The crest logo and the Australian Aid identifier should be set to a 30-60% tint, depending on background content.

2008

Brand Summary

Mission

• To achieve visibility and recognition for the work of the Australian aid program, reinforcing Australia’s standing as a good international citizen and ensuring transparency and accountability in aid activities [^1].

Core Values

• visibility
• recognition
• accountability
• transparency
• partnership
• integrity

Target Audience

• People in Australia and overseas, partner governments, beneficiaries, other donors, and the Australian public [^2].

Personality Traits

• professional
• transparent
• accountable
• collaborative
• inclusive

Visual Identity Overview

• The visual identity is clean, minimalistic, and official, using the AusAID crest logo, Australian Aid identifier, and wordmark. It emphasizes consistent use of color palettes, typography, patterns, and icons across all materials, with strict guidelines for logo usage, clear space, and layout. The identity is applied to stationery, signage, clothing, merchandise, humanitarian aid supplies, and onscreen/video titling [^3].

Categories

Brand Imagery

• The Australian Aid identifier appears in white and red when used on a blue background (see page 37, Colour palette, for the correct red and blue colour breakdowns). If the Australian Aid identifier is used on any other dark coloured background it should appear in white.
• Under no circumstances can the Australian Aid identifier appear in any colour combination other than those shown here.
• Don’t use the white and red version on any colour other than blue. Don’t use the black version on blue. Don’t use the blue and red version on a dark colour. Don’t use the black version on a colour that is too dark. Australian AID Don’t use the blue and red version on a light coloured background. Don’t use the white version on a colour that is too light.
• The Australian Aid identifier should always have a minimum clear space surrounding it. This ensures it can be clearly recognised.
• Throughout these guidelines, the value of ‘X’ is equal to the height of the capital ‘A’.
• The minimum space between the AusAID crest logo and the Australian Aid identifier is equal to 2X.
• When there is a requirement to identify a specific program, the program name can appear below the Australian Aid identifier. The illustration below shows how to determine the size of the program name.
• The font use for the program name is Helvetica Roman or Arial Regular.
• Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• The colours of the Australian Aid identifier are the same as the Australian national flag. Pantone 280 Pantone 185 CO M91 Y76 KO R228 GO B43 HTML E4002B C100 M72 YO K18 R1 G33 B105 HTML 012169
• Where possible, the Australian Aid identifier should appear in blue and red on a white background. On AusAID stationery the Australian Aid identifier appears either in blue and red, or just in black. If the identifier is used on a light coloured background it should appear in black.
• The Australian Aid identifier is used in conjunction with the AusAID crest logo in Australia and on AusAID’s printed material overseas. The Australian Aid identifier is used on its own to identify AusAID programs or initiatives overseas.
• The identifier can be used in colour or in black and white (see the following chapter, Australia Aid identifier in detail).
• The logos should only ever be reproduced from the master artwork. They should never be redrawn or altered in any way.
• The master artworks are available in various electronic formats, for both Mac and PC, from your AusAID communications contact.
• The AusAID wordmark is only used on clothing and, when used, it should always appear with the Australian Aid identifier (see the following section When to use each logo).
• The AusAID wordmark should not be used for any other purpose.
• The AusAID crest logo has two variations; inline and stacked. It will often appear alongside the Australian Aid identifier. The AusAID crest logo has a specific size relationship to the Australian Aid identifier (see the section Size relationship with AusAID crest logo).
• Colour and position of the AusAID crest logo is dependent on the material it is being produced on. Refer to the relevant sections later in this book for more detail.

Color Palette

• The majority of AusAID’s publication work is printed in full colour (CMYK) and the following colours have been chosen with this in mind. Spot colours can be specified, if required.
• Pantone 280
• ClOO M72 YO K18
• Pantone 185
• CO M91 Y76 KO
• Pantone 410
• CO M18Y21 K56
• Note: The Pantone-to-CMYK colour breakdowns shown opposite have been carefully selected to ensure optimum results for CMYK printing-they do not necessarily, and should not, match the breakdowns suggested by Pantone.
• Pantone 123
• CO M21 Y88 KO
• Pantone 716
• CO M55 Y90 KO
• Pantone Warm Red
• CO M75 Y90 KO
• Pantone 180
• C3 M92 Y84 K12
• Pantone 7419
• C8 M77 Y37 K27
• Pantone Black 7
• CO MO Y15 K82
• Pantone 7531
• C16 M28 Y36 K49
• Pantone 7530
• C10 M18 Y25 K29
• Pantone 7458
• C52 M3 Y6 K7
• Pantone 7472
• C52 MO Y25 KO
• Pantone 7475
• C52 MO Y25 K30
• Pantone 611
• C5 M3 Y76 K11
• The cover sets the colour palette for the rest of the document.
• Colours on the back cover should align with the colours used on the front cover.
• The number of colours used for printing is to be determined by AusAID in liaison with the designer (full-colour, two-colour, or one-colour). The actual colours to be used within the publication are to be selected at the discretion of the designer within the constraints of the AusAID colour palette.

Typography

• The FF Meta family has been selected for use in the AusAID corporate style for its versatility and modern feel. There are some general rules in the way these fonts are used: > Meta Serif is used for body text only and Meta Plus (Sans serif) used for headings and supporting text (captions, pull quotes etc). > The weights shown in this guide are the minimum requirement, although other weights (small caps, for example) may be required from time to time. > The templates available to AusAID staff and graphic designers have type styles (e.g. for headings and body text) built in and these should not be altered unless absolutely necessary. Exceptions to these general rules may apply, where specified. For example, most Word/PowerPoint templates use Times New Roman; and most signage (p62–75) uses Helvetica Neue. Where this is the case, it has been highlighted in this guidelines document. In other cases, fonts should not be substituted unless Meta Serif and Meta Plus are impossible to obtain. If this is the case, Times New Roman and Helvetica should be used, after approval by the Communications and Media Branch in Canberra.
• Meta Serif Book ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• Meta Serif Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• MetaPlusNormal Roman ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• MetaPlusBold Roman ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 The quick brown fox jumps over the lazy dog.
• The font use for the program name is Helvetica Roman or Arial Regular. Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• Most Word/PowerPoint templates use Times New Roman; and most signage (p62–75) uses Helvetica Neue.
• Fonts should not be substituted unless Meta Serif and Meta Plus are impossible to obtain. If this is the case, Times New Roman and Helvetica should be used, after approval by the Communications and Media Branch in Canberra.
• The AusAID wordmark is for use on staff clothing. This has the word AusAID printed in a particular font and with particular spacing. It allows the wearer to be quickly identified as an AusAID staff member. Only AusAID staff can wear AusAID branded clothing.
• The AusAID wordmark should not be used for any other purpose.
• English should be on one side and the local language on the other. Unless necessary, the basic design should be identical to the English-language side. Note that the AusAID crest logo and Australian Aid identifier should not be altered or translated.
• The font used on banners and signage is Helvetica. Text sizes can be proportional to the examples below although there is flexibility to allow for different requirements.

Logo Usage

• The logos should only ever be reproduced from the master artwork. They should never be redrawn or altered in any way.
• The AusAID crest logo is AusAid’s primary logo. It signifies AusAID’s place as an Australian Government agency and represents the organisation and its staff. Its use is governed by guidelines issued by the Department of the Prime Minister and Cabinet and it must always be used within Australia. It should be used overseas to represent AusAID. In can be used inline or stacked, and can be produced in a dark solid colour or white on a dark coloured background.
• Two alternatives to the crest logo, the Australian Government logo, and the Australian Government Initiative logo, may be used when appropriate (See page 11).
• The AusAID wordmark is for use on staff clothing. This has the word AusAID printed in a particular font and with particular spacing. It allows the wearer to be quickly identified as an AusAID staff member. Only AusAID staff can wear AusAID branded clothing.
• The AusAID wordmark should not be used for any other purpose.
• Government logos must not be used by partners or managing contractors unless cleared by AusAID. Use of a Government logo can imply that a person or organisation is employed by or part of the Australian Government. Any relationship can be shown in words and through the use of the Australian Aid identifier.
• The use of Government logos is governed by the Department of the Prime Minister and Cabinet requirements which dictate that official logos cannot be modified, the words ‘Australian Government’ cannot be altered or added to, and the logo cannot be smaller than the crest being 20mm across (print only).
• In Australia, one of the Government logos—preferably AusAID’s crest logo— must be used, unless there is a valid reason why one of the other Government logos is more appropriate (e.g. with aid activities undertaken jointly with other Government agencies).
• The AusAID crest logo has two variations; inline and stacked. It will often appear alongside the Australian Aid identifier. The AusAID crest logo has a specific size relationship to the Australian Aid identifier (see the section Size relationship with AusAID crest logo).
• Colour and position of the AusAID crest logo is dependent on the material it is being produced on. Refer to the relevant sections later in this book for more detail.
• Use of these logos, including, sizing, colour, clearspace etc should be identical to that of the crest logo.
• These logos should only be used in certain circumstances, and their use is best discussed with the Communications and Media Branch.
• The Australian Aid identifier is used in conjunction with the AusAID crest logo in Australia and on AusAID’s printed material overseas. The Australian Aid identifier is used on its own to identify AusAID programs or initiatives overseas.
• The identifier can be used in colour or in black and white (see the following chapter, Australia Aid identifier in detail).
• The AusAID wordmark is only used on clothing and, when used, it should always appear with the Australian Aid identifier (see the following section When to use each logo).
• Where possible, the Australian Aid identifier should appear in blue and red on a white background. On AusAID stationery the Australian Aid identifier appears either in blue and red, or just in black. If the identifier is used on a light coloured background it should appear in black.
• The colours of the Australian Aid identifier are the same as the Australian national flag. Pantone 280 Pantone 185 CO M91 Y76 KO R228 GO B43 HTML E4002B C100 M72 YO K18 R1 G33 B105 HTML 012169
• The Australian Aid identifier appears in white and red when used on a blue background (see page 37, Colour palette, for the correct red and blue colour breakdowns). If the Australian Aid identifier is used on any other dark coloured background it should appear in white.
• Under no circumstances can the Australian Aid identifier appear in any colour combination other than those shown here.
• Don’t use the white and red version on any colour other than blue. Don’t use the black version on blue. Don’t use the blue and red version on a dark colour. Don’t use the black version on a colour that is too dark. Australian AID Don’t use the blue and red version on a light coloured background. Don’t use the white version on a colour that is too light.
• The Australian Aid identifier should always have a minimum clear space surrounding it. This ensures it can be clearly recognised.
• Throughout these guidelines, the value of ‘X’ is equal to the height of the capital ‘A’.
• The minimum space between the AusAID crest logo and the Australian Aid identifier is equal to 2X.
• When there is a requirement to identify a specific program, the program name can appear below the Australian Aid identifier. The font use for the program name is Helvetica Roman or Arial Regular. Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• It is not permitted to use any other logo or emblem (for example, the flag of the host country) on a business card.
• Note that the AusAID crest logo and Australian Aid identifier should not be altered or translated.
• Templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Copies of the logos in a variety of formats are available from the AusAID website under About AusAID: http://www.ausaid.gov.au/about/logo.cfm
• No, the logos cannot be modified in any way. When resizing the logos, take care not to distort them either horizontally or vertically. The image should be manipulated from the corner in order to maintain the proportions.
• The AusAID crest logo should be printed in a dark, solid colour or in white against a dark, solid colour. Contact the Communications and Media Branch if in any doubt.
• The Australian Aid identifier can be printed in blue (PMS 280) and red (PMS 185), in all black against a solid white colour, in all white (reversed out) against a solid dark colour, or in white and red (PMS 185) against a solid dark colour.
• The logo should remain in English but acknowledgement statements can be translated.
• If AusAID is the major donor and lead partner, then the logo should be the most prominent, for example it should be placed in front or above others. It can be larger if the design warrants that.

Visual Style

• The logos should only ever be reproduced from the master artwork. They should never be redrawn or altered in any way.
• The AusAID crest logo has two variations; inline and stacked. It will often appear alongside the Australian Aid identifier. The AusAID crest logo has a specific size relationship to the Australian Aid identifier (see the section Size relationship with AusAID crest logo).
• Colour and position of the AusAID crest logo is dependent on the material it is being produced on. Refer to the relevant sections later in this book for more detail.
• Use of these logos, including, sizing, colour, clearspace etc should be identical to that of the crest logo.
• Where possible, the Australian Aid identifier should appear in blue and red on a white background. On AusAID stationery the Australian Aid identifier appears either in blue and red, or just in black. If the identifier is used on a light coloured background it should appear in black.
• The colours of the Australian Aid identifier are the same as the Australian national flag.
• Pantone 280
• Pantone 185
• CO M91 Y76 KO R228 GO B43 HTML E4002B
• C100 M72 YO K18 R1 G33 B105
• HTML 012169
• The Australian Aid identifier appears in white and red when used on a blue background (see page 37, Colour palette, for the correct red and blue colour breakdowns). If the Australian Aid identifier is used on any other dark coloured background it should appear in white.
• Under no circumstances can the Australian Aid identifier appear in any colour combination other than those shown here.
• The Australian Aid identifier should always have a minimum clear space surrounding it. This ensures it can be clearly recognised.
• Throughout these guidelines, the value of ‘X’ is equal to the height of the capital ‘A’.
• The minimum space between the AusAID crest logo and the Australian Aid identifier is equal to 2X.
• The font use for the program name is Helvetica Roman or Arial Regular.
• Note this type area should not be used for any other purpose (e.g. to create sub-brand names or promotional event names).
• The FF Meta family has been selected for use in the AusAID corporate style for its versatility and modern feel. There are some general rules in the way these fonts are used: > Meta Serif is used for body text only and Meta Plus (Sans serif) used for headings and supporting text (captions, pull quotes etc). > The weights shown in this guide are the minimum requirement, although other weights (small caps, for example) may be required from time to time. > The templates available to AusAID staff and graphic designers have type styles (e.g. for headings and body text) built in and these should not be altered unless absolutely necessary.
• Exceptions to these general rules may apply, where specified. For example, most Word/PowerPoint templates use Times New Roman; and most signage (p62–75) uses Helvetica Neue. Where this is the case, it has been highlighted in this guidelines document.
• In other cases, fonts should not be substituted unless Meta Serif and Meta Plus are impossible to obtain. If this is the case, Times New Roman and Helvetica should be used, after approval by the Communications and Media Branch in Canberra.
• The majority of AusAID’s publication work is printed in full colour (CMYK) and the following colours have been chosen with this in mind. Spot colours can be specified, if required.
• Pantone 280 ClOO M72 YO K18
• Pantone 185 CO M91 Y76 KO
• Pantone 410 CO M18Y21 K56
• Pantone 123 CO M21 Y88 KO
• Pantone 716 CO M55 Y90 KO
• Pantone Warm Red CO M75 Y90 KO
• Pantone 180 C3 M92 Y84 K12
• Pantone 7419 C8 M77 Y37 K27
• Pantone Black 7 CO MO Y15 K82
• Pantone 7531 C16 M28 Y36 K49
• Pantone 7530 C10 M18 Y25 K29
• Pantone 7458 C52 M3 Y6 K7
• Pantone 7472 C52 MO Y25 KO
• Pantone 7475 C52 MO Y25 K30
• Pantone 611 C5 M3 Y76 K11
• The patterns/icons are used in conjunction with the colour palette and InDesign transparencies to create a number of versatile options, while maintaining a consistent corporate look.
• Each pattern has been sourced from the region it represents. The style is designed so that new patterns may be supplied by AusAID on a project by project basis. In such instances, new patterns should be used in conformity with the examples given in this style guide.
• When the icons are used with publications, on covers and internals, the Illustrator file is generally placed into InDesign at 70% (as shown below).
• When used in brochures, banners and other supporting collateral they can be used at larger sizes, as deemed appropriate.
• The icons are almost always used in a two row layout as shown below, but in some circumstances it may be appropriate to use one icon on its own, either as a single graphic in addition to the regular set, or as a two row graphic of its own (see ‘MDG icon3 pattern rev_wide2.ai’ below). As instances like this are rare, such graphics can be created in Illustrator from the master file (‘MDG icon pattern rev_wide2.ai’).
• The master Illustrator file has the colour of the icons set to white, however, they are never used as a full reverse. Transparency settings are changed in InDesign. There are no set specifications for the percentage to be used. A setting between 40–70% would usually be suitable, however, discretion should be used depending on background colour and/or image tonality.
• The size and position relationship is specific to each publication type and should not be altered in any way.
• Colours on the back cover should align with the colours used on the front cover.
• The cover sets the colour palette for the rest of the document.
• Colour, shape and photography should be used throughout internal layouts where appropriate. Variety of these elements is encouraged, however an adherence to the basic grid must always remain and document margins cannot be altered.

Iconography

• The new AusAID corporate style consists of four main themes—General (MDGs), Asia, Pacific and Africa. A series of theme specific patterns or icons are used to supplement each theme.
• The patterns/icons are used in conjunction with the colour palette and InDesign transparencies to create a number of versatile options, while maintaining a consistent corporate look.
• Each pattern has been sourced from the region it represents. The style is designed so that new patterns may be supplied by AusAID on a project by project basis. In such instances, new patterns should be used in conformity with the examples given in this style guide.
• These icons have been adapted from the eight icons designed for the United Nations Millennium Development Goals <www.undp.org/mdg/>.
• When the icons are used with publications, on covers and internals, the Illustrator file is generally placed into InDesign at 70% (as shown below).
• When used in brochures, banners and other supporting collateral they can be used at larger sizes, as deemed appropriate.
• The icons are almost always used in a two row layout as shown below, but in some circumstances it may be appropriate to use one icon on its own, either as a single graphic in addition to the regular set, or as a two row graphic of its own (see ‘MDG icon3 pattern rev_wide2.ai’ below). As instances like this are rare, such graphics can be created in Illustrator from the master file (‘MDG icon pattern rev_wide2.ai’).
• The master Illustrator file has the colour of the icons set to white, however, they are never used as a full reverse. Transparency settings are changed in InDesign. There are no set specifications for the percentage to be used. A setting between 40–70% would usually be suitable, however, discretion should be used depending on background colour and/or image tonality.
• The patterns are generally used in thin horizontal strips and some patterns (asia_o2_bm.tif, for example) may be cropped differently to create ’extra’ patterns. Examples of this can be seen in the A4 cover layouts.
• Some patterns are supplied in bitmap format (pacific_o1_bm.tif, for example) and there may be instances where these files need to be placed at sizes above 100%. However, the patterns in bitmap format are generally crude in detail and when used in conjunction with other elements in the layout the loss of detail after enlargement is generally acceptable.
• Some patterns are supplied in bitmap format (africa_o1_bm.tif, for example) and there may be instances where these files need to be placed at sizes above 100%. However, the patterns in bitmap format are generally crude in detail and when used in conjunction with other elements in the layout the loss of detail after enlargement is generally acceptable.

Layout And Composition

• All AusAID covers should bleed off the right edge only, the three remaining edges should have a white border. For most applications, such as offset printed covers, the border is 5mm. Where this is not suitable (banners, for example) the border should be set to a size that is roughly in proportion to an A4 cover.
• The 5mm border does not apply to internal layouts for AusAID publications, although you may use the border as a secondary device when appropriate. Brochure internals are just one example of when borders might be used.
• The website tag contains the AusAID website address <www.ausaid.gov.au> and, unless specified otherwise, must appear on the front of all material. The tag bleeds off the left or bottom edges only and extends beyond the usual 5mm border. Colour use follows the same rules listed above for the AusAID logo. On cover layouts the tag should mirror its front cover position on the back cover. If the tag bleeds off the left edge on a front cover, the text reads down the page, from top to bottom. On back covers the text should read up the page, from bottom to top (see examples provided). Within these constraints placement of the tag is left to your discretion, please refer to examples for suggested use.
• It is not practical to set up design styles for every publication. For this reason, design parameters have been developed for different types of publications, which vary in size. Publication types include books, booklets, brochures and flyers: > Books and booklets – A4 – A5 – B5 > Brochures – 170 mm W x 297 mm H (tall publication) – 150 mm W x 180 mm H (short publication) > Fact sheets – A4 – 170 mm W x 297 H (tall publication). Brochures can be 4 panel, 6 panel or 8 panel. All must be gatefold (if over four panels). Fact sheets can be one- or two-sided.
• You can source Adobe InDesign Creative Suite 5 templates with margins, style sheets and colours from publications@ausaid.gov.au
• The basic principles of this layout are used in As and B5 sized layouts. As such, only A4 examples of books are shown in this guide although template files for As and B5 have been prepared in InDesign format.
• The size and position relationship is specific to each publication type and should not be altered in any way.
• Colours on the back cover should align with the colours used on the front cover.
• The inside cover complements the layout of the title page. The layout of the title page remains consistent throughout all publications, as shown in the examples displayed in this guide.
• Always start the contents on a right-hand page. If the contents page does not appear next to the copyright page, an image may be placed on the adjacent left-hand page.
• Document margins, text style sheets and colours are embedded within the InDesign templates.
• Colour, shape and photography should be used throughout internal layouts where appropriate. Variety of these elements is encouraged, however an adherence to the basic grid must always remain and document margins cannot be altered.
• This is a basic layout spread for a six panel 170mm W x 297mm H brochure, also referred to as a ’tall’ brochure. The dimensions given refer to the finished size when folded. This layout is not confined to six panels, more can be added when needed.
• This example forms the basis for layout and formatting. Document margins, text style sheets and colours are embedded within the InDesign templates.
• An increased use of colour is encouraged in brochures, as shown in the example below.
• This is a basic layout spread for an eight panel 150mm W x 180mm H brochure, also referred to as a ‘short’ brochure. The dimensions given refer to the finished size when folded.
• This is the basic layout for A4 fact sheets. It forms the basis for layout and formatting. Document margins, text style sheets and colours are embedded within the InDesign templates.
• This is the basic layout for 170 mm W x 297 mm H (tall) fact sheets. It forrns the basis for layout and forrnatting.Document margins, text style sheets and colours are embedded within the InDesign templates.
• The following examples show acceptable PowerPoint slide layouts. Sample InDesign files from which PowerPoint templates can be made are available, including options for light or dark background text slides.
• Publication templates have also been setup in Microsoft Word® for AusAID staff and are available from Word-New-templates on my computer-General. Below shows examples of the standard template layouts. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• The following examples show acceptable banner designs. They have been designed for final sizing of 850x2150mm. All sizes should be confirmed with the supplier prior to production.
• Note how the white border mimics the A4 cover design. The examples shown have a 2omm border at final size. There is no set measurement for the border width, however, as in these examples, ensure that the width is roughly in proportion with the A4 cover layout.
• This is the basic layout for podium signs. Final sizes may vary but relative proportions should remain the same.

Stationery Guidelines

• AusAID staff in Canberra should use stationery with the AusAID logo and the Australian Aid identifier. Letterhead is available as a Word template. ‘With compliments’ slips and business cards can be ordered through Property and Facilities.
• Generally, AusAID staff at Post should use the AusAID crest logo and the Australian Aid identifier on their business cards and these should be as similar as possible to the Canberra business card style. It is not permitted to use any other logo or emblem (for example, the flag of the host country) on a business card. If permitted by Head of Mission, AusAID letterhead and ‘with compliments’ slips can be developed using the AusAID crest logo and the Australian Aid identifier, as similar as possible to those used in Australia.
• Volunteers and people working for non-government organisations, multilateral organisations or managing contractors must not use the AusAID crest logo (or any other Australian Government logo) on their stationery as this could falsely imply that that the organisation was connected to the Australian Government or that the person was an Australian Government employee.
• It is permissible for a volunteer or someone working for a non-government organisation, a multilateral organisation or a contracting company to use one of following statements of acknowledgement if the stationery specifies a program or project.
• Where AusAID fully funds the project, the Australian Aid identifier should be used in the dominant position on any project stationery. The logo of a contractor or other agency can be included at the bottom along with wording such as: Australian Aid—managed by XXXX on behalf of AusAID.
• Where AusAID is the majority funder of a project, the Australian Aid identifier should be in the dominant position and any other logos placed in lesser positions, preferably at the bottom. Wording such as, XXXX is supported by Australian Aid, XXXX and XXXX can be used.
• Where the project is partly funded by AusAID, and another agency, business or government is the major funder, AusAID should follow the branding guidelines of the major supporter but include either the Australian Aid identifier or the words: Supported by Australian Aid.
• Letter templates have been setup in Microsoft Word® for AusAID staff and are available from Word-New-templates on my computer-General. Below shows the standard letter template layout. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Templates for fax and minutes and circulars have been setup in Microsoft Word® for AusAID staff and are available from the Word—New—templates on my computer—General. Below shows the standard template layouts. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Standard compliment slips have been pre-produced and are available for AusAID staff to order through Property and Facilities.
• Standard business cards are available for AusAID staff to order through Property and Facilities. In Australia, only staff at EL1 level and above are eligible for personal business cards however section or branch business cards can be used.
• AusAID magnetic badges are also available for staff from the Mail Room. The badges can be worn to identify the wearer as an AusAID employee. These are available for staff at Posts, and for staff at EL1 level or above in Canberra.
• Two versions of the business card are available for overseas staff: an English­language version which is identical to the Australia version on the previous page); and a dual-language version (overleaf), to accommodate the needs of local language if English is not the primary language.
• Both options should be as similar as possible to the Canberra business card style. It is not permitted to use any other logo or emblem (for example, the flag of the host country) on a business card.
• Note that the AusAID crest logo and Australian Aid identifier should not be altered or translated.
• Project/program-related letterhead templates are available if required. These templates are setup in Microsoft Word® and are available from the Communications page on the AusAID intranet and can only be supplied by an AusAID staff member. Below shows a standard layout. To maintain brand integrity and consistency, these templates should not be altered without consulting the Communications and Media Branch in Canberra.
• Below shows the two layouts for English language project/program-related business cards. The template is available from the Communications page on the AusAID intranet and can only be supplied by an AusAID staff member. To maintain brand integrity and consistency, these cards should not be altered without consulting the Communications and Media Branch in Canberra.
• Program-related business cards are blank on the reverse.

Clothing And Merchandise Guidelines

• There is a range of badged clothing available to staff. Other clothing (for example traditional women’s clothing) can be badged but the design must be approved by the Communications and Media Branch. Australian Aid field vests should only be used in humanitarian responses. AusAID-badged clothing must only be worn by AusAID staff in the conduct of their business.
• If you require badged-clothing (e.g. for sporting teams) use the Australian Aid identifier printed on a T-shirt. It is important to remember that the wearers of the shirt, while not necessarily working on Australian aid, are representing our work when wearing the shirt.
• Staff clothing is the only occasion when the AusAID wordmark is used.
• Please think carefully before applying logos to merchandise. Branded merchandise is a reminder of aid funds which could have been spent directly on aid. If it is considered necessary, use the AusAID logo in Australia and the Australian Aid identifier overseas.
• The Communications and Media Branch has a small supply of branded merchandise suitable for high-level gifts.
• A range of staff clothing is available on a needs basis. A small range is held at each Post (Corporate Counseller or communications and media officer) and a small range is held in Canberra by the Communications and Media Branch.
• Staff clothing badged with the AusAID wordmark can only be used by staff in the course of their business: > AusAID badge > mesh cap > brim hat > polo shirt, long and short sleeved, mens and womens > fleece jackets, mens and womens > waterproof spray jacket > lightweight identification (media) vest > umbrella
• There is also a range of clothing for specialist purposes, such as the Australian Civilian Corps, and for humanitarian purposes. This range is managed by the areas concerned.
• No clothing should be produced without the approval of the Communications and Media Branch.
• A small range of badged merchandise is available from Posts (see Corporate Counsellor or communications and media officer) or Canberra (see Communications and Media Branch). > tote bags > pens

Humanitarian Aid Guidelines

• AusAID strives to maintain a balance between appropriate and inappropriate badging in humanitarian responses, and is aware of the criticism that is levelled at excessive badging.
• AusAID staff responding to humanitarian crises are expected to wear AusAID and Australian Aid branded clothing wherever possible, and always when media is present.
• Australian Aid branded vests which can be worn over AusAID branded shirts, are available. Australian Aid branded vests can be worn by anyone working as part of the Australian Government’s response. AusAID clothing can only be worn by AusAID staff.
• Branding of humanitarian supplies is wide-spread among UN humanitarian agencies and non-government organisations as a means of garnering and retaining donor support, defining areas of operation and asserting influence upon the humanitarian agenda. In the case of Australian Aid supplies, branding continues to be a communication tool for both domestic and international audiences.
• Humanitarian supplied are branded with the Australian Aid identifier wherever possible—either during production or post-production with the use of stickers or stencilling: > food bags and other packaging > tarpaulins > supply boxes > water bladders.
• This is the basic layout for tarpaulin. The pattern is repeated across the dimensions of the material.
• The example below shows how the Australian Aid identifier is used on World Food Programme (WFP) packaging.

Video Titling Guidelines

• This is a basic layout for TV titling. These dimensions use a non-widescreen (788x576 pixel) area to ensure graphics can be shown on most devices.
• The crest logo and the Australian Aid identifier should be set to a 30-60% tint, depending on background content.

2004

Brand Summary

Mission

• AP is solely focused on the mission of newsgathering, distribution, and service, serving as the definitive source for trusted news with a commitment to the people’s right to know [^1].

Core Values

• integrity
• action
• independence

Target Audience

• Customers, members, and news consumers seeking accurate, independent, and trusted news [^2].

Personality Traits

• gutsy
• resourceful
• connected

Visual Identity Overview

• The AP visual identity system is bold, straightforward, and contemporary, featuring a revised logo, watermarks, a dynamic color palette, and a comprehensive look and feel that unites the brand across all touchpoints [^3].

Categories

Brand Voice

• How do we best describe ourselves? As gutsy, resourceful and connected. What do we value? Integrity, action and independence.
• Our brand personality traits -we are gutsy, resourceful and connected -reflect who we are and how we act, and make us stand out among news organizations.
• AP’s values -integrity, action and independence -shape our trusted reputation and underscore the expertise that differentiates us from others in the industry. These brand values are the foundation for our behaviors, actions and culture.

Brand Imagery

• Photography is not only a key product of AP, it is a powerful medium to tell our story. The prompt is a secondary visual element that strengthens the content relationship with the AP logo.
• Use photographs that are rich in colors, employ striking cropping or subject matter, and help further our brand attributes.
• Whenever possible, always use photographs in layouts where it is either full-bleed off the edge of the piece, or at least off one side in editorial layouts.
• Emphasis should be put on the choice of a single image rather than a flurry of images. Never create mosaic images. If you must show many pictures as part of a composition, use the Image Stream, explained in section 3.8.
• Photographs should not be distorted, colorized or have any other effects applied. Cropping should be used with restraint and only to achieve full­bleed images. The AP Watermark is the only graphic treatment that should be used on top of images.
• Photos should be given prominence, without overuse of graphic treatments that diminish them.
• Do not put photos into containing shapes; do not fade images with transparency or gradients.
• In case you must show a combination of many photographs, use the Image Stream.
• The Image Stream is a layout device where all images are kept in the original (uncropped) aspect ratios, but arranged along a common top or bottom axis at different scales, and surrounding a prompt line.
• It allows each image to maintain its own strength and for the document to maintain a visual stability that is key to communicate AP’s value of integrity. It also affords designers a way out of cacophonous image mosaics.
• [1] Streams should be arranged flush on the edges of the composition, while still respecting the top margin height. For the left and right margins, streams should bleed off the page or come as close to the edge as possible.
• Ideally the Prompt will be aligned within a column of the grid so as to emphasize its strength. Margins between images should be two prompt-widths, like the grid’s margins.
• [2] Variation in sizes and aspect ratios creates dynamic composition. Red prompt line emphasizes the alignment axis, reinforcing solidity and connectedness.
• [1] Objects should align only on one axis.
• [2] In a Stream, the prompt should always be surrounded by content on both sides.
• [3] Do not use so many elements so as to make the Prompt feel insignificant.
• [4] Do not use more than one prompt in a Stream.
• [5] Do not alter the margins between images and the prompt. Margins should always be two prompt-widths.
• [6] Vertical use is not advised as it connotes fragility. For vertical applications, see special use cases on the following page.
• A stack of full-bleed images is built using a grid based on the AP logo’s size on the application.
• In the case of vertical large-format pieces that must highlight a diversity of imagery while being visible from a distance (e.g., banners), a special exception to the image stream format is used only with the express approval of AP Corporate Communications.

Color Palette

• Color is crucial to our visual identity. Neutral colors pair well with the Medium range. Deep colors pair well with Brights.
• Color is crucial to our visual identity.
• Color brings visual interest to our communications, helps to maintain a consistent look and feel, and differentiates us from other organizations. Each color palette has been chosen with specific functions in mind.
• Inspired by our signature artwork, our primary color palette prominently features AP ID Red. However, AP ID Red should be used judiciously in order to maintain its prominence.
• Neutrals: AP ID White CO MO YO KO CO MO YO KO R255 G255 B255 #FFFFFF; AP Neutral Deep Gray C38 M28 Y21 K63 Pantone 425C C76 M63 Y55 K24 Pantone 433U R51 G51 B51 #333333; AP Neutral Light Gray C2 M3 Y4 KS Pantone Warm Gray 1 C C2 M3 Y7 K8 Pantone Warm Gray 1 U R231 G226 B216 #E7E2D8; AP Neutral Medium Gray C13 MB Y16 K26 Pantone 414C C26 M17 Y24 K3 Pantone 414U R182 G182 B171 #B6B6AB
• Mediums: AP Medium Blue C98 M24 Y1 K3 Pantone 7461 C C100 M1 Y8 K10 Pantone 640 U R20 G105 B148 #146994; AP Medium Green C51 MS Y98 K23 Pantone 377C C27 MO Y97 K13 Pantone 390U R102 G153 B0 #669900; AP Medium Yellow C3 M36 Y100 K6 Pantone 131C CO M18 Y100 K6 Pantone 7405U R209 G150 B0 #D19600; AP Medium Purple C74 M98 Y2 K12 Pantone 2613C C56 M79 YO KO Pantone 526U R102 G7 B117 #660775
• Deeps: AP Deep Blue C100 M73 Y30 K83 Pantone 296C C98 M67 Y32 K45 Pantone 5395U RB G28 B47 #081C2F; AP Deep Green C83 M35 Y51 K81 Pantone 5535C C85 M32 Y79 K64 Pantone 5535U R33 G51 B48 #213330; AP Deep Brown C40 M53 Y59 K89 Pantone Black 4 C C35 M46 Y82 K57 Pantone Black 4 U R56 G38 B30 #38261E; AP Deep Purple C68 M85 Y29 K74 Pantone 7449 C C52 M89 Y33 KSO Pantone 7449 U R50 GO B33 #320021
• Brights: AP Bright Blue C84 M21 YO KO Pantone 2925C C69 M10 YO KO Pantone 299U R28 G148 B208 #1C94D0; AP Bright Green C24 MO Y98 KB Pantone 390C C32 MO Y82 KO Pantone 382U R163 G190 B13 #A3B30D; AP Bright Yellow CO M27 Y100 KO Pantone 124C C1 M17 Y93 K3 Pantone 7406U R236 G178 BO #ECB200; AP Bright Purple C37 M100 YO KO Pantone 247C C22 M66 YO KO Pantone 247U R181 G3 B176 #B503B0
• AP ID Red - For background use ONLY: CM 090 Y60 K0 Pantone Red 032 C, CMYB Y78 K0 Pantone Red 032 U, R255 G50 B48 #FF3220
• RECOMMENDED USES NEUTRALS ✓ BACKGROUND ✓ TEXT X HIGHLIGHT COLORS X TEXT ON PHOTOGRAPH ✓ CONTAINING SHAPES
• RECOMMENDED USES MEDIUMS X BACKGROUND ✓ TEXT ✓ HIGHLIGHT COLORS X TEXT ON PHOTOGRAPH X CONTAINING SHAPES
• Pair neutrals with medium or deep colors…
• Neutral colors pair well with the Medium range.
• Neutral colors are intended for supporting applications, such as backgrounds, text, the watermark and the prompt.
• Medium colors are intended for use with titles, colored text when necessary and other accents in a design. They should not be used for backgrounds.
• Using Neutrals and Mediums together in applications such as printed publications will convey a sophisticated tone.
• Not multiple neutrals or mediums together.
• RECOMMENDED USES DEEPS ✓ BACKGROUND ✓ TEXT X HIGHLIGHT COLORS X TEXT ON PHOTOGRAPH ✓ CONTAINING SHAPES
• RECOMMENDED USES BRIGHTS X BACKGROUND X TEXT ✓ HIGHLIGHT COLORS ✓ TEXT X CONTAINING SHAPES ON PHOTOGRAPH
• Deep colors pair well with Brights.
• Deep colors are intended for complementary use with bright and/or neutral colors, especially as backgrounds, text, containers and the prompt.
• Bright colors are intended for special cases such as text over photos and colored accents. They should not be used for backgrounds or the prompt.
• Using Deep and Bright colors together in applications such as video, Web and mobile will create a rich, engaging experience.
• Pair deep colors with brights or neutrals…
• Not multiple deep colors together, or brights and mediums.

Typography

• The AP typography consists of two typefaces: Good and Freight Text.
• AP typography consists of two typefaces: Good and Freight Text. Freight Text Book, 15pt
• Good Book, 12pt
• Both typefaces come in a variety of weights and style and offer flexibility of use. Commitment to these typefaces will create a consistent and strong identity. Below are a few distinctive feature of those typefaces.
• When text such as “Associated Press” or long headlines are locked up with the logo, Good Condensed should be used.
• When Good is not available for use, in some digital applications for example, it can be substituted by Verdana, and ifVerdana is not available, a sans-serif such as Helvetica and Arial can be used as substitution. When Freight Text is not available for use, Georgia should be the replacement typeface.
• h1 Good Bold, All CAPS
• Subhead / lead Georgia regular, Sentence case
• h2 Good Bold, All CAPS
• h3 Good Book, Sentence case
• h4 Georgia regular, Sentence case,
• h5 Georgia Bold, Sentence case,
• h6 Georgia Bold, Sentence case,
• Body text long Form Georgia regular Justified
• Body text Short Form Verdana regular left Aligned
• Bulleted lists Georgia or Verdana (weight depending on surrounding text), en dash bullets

Logo Usage

• The AP logo is the single most powerful element in our identity.
• Its upright black letterforms, solid baseline and red “prompt” underline are memorable and embody the values of integrity, action and independence.
• The white “container” is an integral part of the logo, allowing it to be applied to any kind of content.
• The AP signature is a combination of the logo and the words “Associated Press” aligned on a horizontal axis.
• They follow simple rules to respect their integrity in all situations.
• The AP logo and adjoining signatures follow simple rules to allow their integrity to be respected in all situations.
• As a general rule, the width of the logo is the minimum protection area allowed on each lateral side of the mark, including when using the corporate signature.
• It is perfectly acceptable to use a greater amount of space, leaving the logo as the dominant element and the signature a supporting element (figure 2).
• Whenever possible, the AP logo should be positioned at the very top of the document, composition or application.
• The AP logo should be dominant in any application.
• In print use, the logo should never be smaller than .2 inches in height. When used in digital applications such as the Web or on mobile devices, 50 pixel tall should be the minimum size.
• In special cases, such as icons which require a size smaller than the specified minimum, use a version specially rendered for that application. See section 2.8.1 for special small-use cases and section 5 for included Artwork.
• In any applications, the AP logo should always be legible, dominant and unobstructed. This is essential to strengthening the AP brand.
• Dominant logo leads the way.
• Always place the mark as the lead into the content -neither below nor following the content. Content should not clutter this logo. This is to ensure the AP logo is highlighted and not lost.
• Exceptions: When the document is in a right-to-left language, such as Arabic or Hebrew, the mark should live on the right side where the content begins.
• Maintaining the integrity of the logo is essential to strengthening the APbrand.
• Always use artwork that has been provided byAP Corporate Communications. When unsure about the way to proceed, give us a call or send us an email. (see last page)
• The cases outlined here are in no way meant as an exhaustive list of all potential misuse of the AP logo.
• It is recommended to use the logo on a color backdrop or a photographic backdrop.
• Do not modify the logo in anyway, including: - Outline edges - Remove the white container or prompt - Position in a corner - Stretch - Stretch the white container - Detach the prompt from the logo - Rotate - Recreate - Use a different typeface - Change the color of container or prompt - Change the color of “AP” - Make into a lock up - Set into text
• In keeping with our Masterbrand Strategy and the “One AP” mission, we are simplifying the face we put forward to customers. The goal is to ensure all touch points strengthen and promote the main AP brand.
• This means that custom wordmark lockups are no longer acceptable. Product and division names can be highlighted by using a headline font, but will no longer be linked to the logo.
• Do not create custom ‘lockup’ marks for divisions…
• While maintaining the integrity of all elements of the visual system is critical, their adaptation to some special cases will occur from time to time.
• If you believe you have a special case that is not answered in this document, DO NOT CREATE ORIGINAL ARTWORK. Simply direct your request to Corporate Communications (see the last page of this document).
• In print applications, the logo should not be used smaller than .2 inches tall.
• Special scenarios require redrawn logo artwork for optimal rendering at very small sizes. See section 5. Artwork for such files.
• In video applications (e.g., in bugs or lower thirds), the logo may be set at 50 percent opacity, if needed.

Tone And Messaging

• AP is unique in the world among news agencies in that our only agenda is news: We are solely focused on the mission of newsgathering, distribution and service.
• With more experience reporting and delivering news than any other agency, our independent standing and a strong commitment to the people’s right to know, we are the definitive source for trusted news.
• All of us at AP understand this extraordinary mission, which dates back to 1846. But it is also important to make a bold statement to customers, members and news consumers about what we do.
• A strong brand helps us be clear about who we are and what we stand for. It lets us reinforce what is unique about AP and what customers and consumers can expect when they encounter AP news, people or products.
• In 2009, AP undertook a strategic initiative to develop a masterbrand strategy that would define what makes us different from other news organizations, serve as a guide for business decisions and clarify the values and traits all AP staff embody. How do we best describe ourselves? As gutsy, resourceful and connected. What do we value? Integrity, action and independence.
• The AP visual identity system brings these traits and values to life. It allows us to leverage the great work we do by uniting under a comprehensive look and feel, driving competitive advantage and creating a distinct footprint in the media marketplace.
• AP’s values — integrity, action and independence — shape our trusted reputation and underscore the expertise that differentiates us from others in the industry. These brand values are the foundation for our behaviors, actions and culture.
• Our brand personality traits -we are gutsy, resourceful and connected -reflect who we are and how we act, and make us stand out among news organizations.
• As we continue our evolution to a diversified digital news company, our brand promise remains the same. The AP Masterbrand Strategy enables us to channel our brand traits, personality, vision and promise into a new visual identity system that captures our history and guides our future.

Brand Values

• How do we best describe ourselves? As gutsy, resourceful and connected. What do we value? Integrity, action and independence.
• In an increasingly fragmented media world, AP’s values — integrity, action and independence — shape our trusted reputation and underscore the expertise that differentiates us from others in the industry. These brand values are the foundation for our behaviors, actions and culture.
• INTEGRITY: Beijing based video journalist Ken Teh covers the violent street riots in Bangkok, as police squared off against Red Shirt demonstrators advancing to pour blood on government buildings. AP Photo by Sakchai Lalit.
• ACTION: In the height of the Libyan conflict, an anti-Gadhafi fighter is interviewed by Cairo-based journalist Hadeel Al-Shalchi and Paris-based cameraman Nicolas Garriga outside the town of Nalut. AP Photo by Lefteris Pitarakis.
• INDEPENDENCE: AP White House correspondent Ben Feller conducts a one-on-one interview with President Barack Obama. AP Photo by Pablo Martinez Monsivais.

Visual Style

• The AP logo is the single most powerful element in our identity.
• Its upright black letterforms, solid baseline and red “prompt” underline are memorable and embody the values of integrity, action and independence.
• The white “container” is an integral part of the logo, allowing it to be applied to any kind of content.
• The AP signature is a combination of the logo and the words “Associated Press” aligned on a horizontal axis.
• They follow simple rules to respect their integrity in all situations.
• The AP logo and adjoining signatures follow simple rules to allow their integrity to be respected in all situations.
• As a general rule, the width of the logo is the minimum protection area allowed on each lateral side of the mark, including when using the corporate signature.
• It is perfectly acceptable to use a greater amount of space, leaving the logo as the dominant element and the signature a supporting element (figure 2).
• Whenever possible, the AP logo should be positioned at the very top of the document, composition or application.
• The AP logo should be dominant in any application.
• In print use, the logo should never be smaller than .2 inches in height. When used in digital applications such as the Web or on mobile devices, 50 pixel tall should be the minimum size.
• In special cases, such as icons which require a size smaller than the specified minimum, use a version specially rendered for that application. See section 2.8.1 for special small-use cases and section 5 for included Artwork.
• In any applications, the AP logo should always be legible, dominant and unobstructed. This is essential to strengthening the AP brand.
• Dominant logo leads the way.
• Always place the mark as the lead into the content -neither below nor following the content. Content should not clutter this logo. This is to ensure the AP logo is highlighted and not lost.
• Exceptions: When the document is in a right-to-left language, such as Arabic or Hebrew, the mark should live on the right side where the content begins.
• Maintaining the integrity of the logo is essential to strengthening the APbrand.
• Always use artwork that has been provided byAP Corporate Communications. When unsure about the way to proceed, give us a call or send us an email. (see last page)
• It is recommended to use the logo on a color backdrop or a photographic backdrop.
• Do not modify the logo in anyway, including: - Outline edges - Remove the white container or prompt - Position in a corner - Stretch - Stretch the white container - Detach the prompt from the logo - Rotate - Recreate - Use a different typeface - Change the color of container or prompt - Change the color of “AP” - Make into a lock up - Set into text
• Custom wordmark lockups are no longer acceptable. Product and division names can be highlighted by using a headline font, but will no longer be linked to the logo.
• Do not create custom ‘lockup’ marks for divisions…
• For limited use. See Visual Brand Guidelines.
• Hond-rosterized square icons. Use only os prescribed.
• Pre-scaled logo PNG files and icons were optimized for their current size and are not intended to be enlarged.

Iconography

• In print use, the logo should never be smaller than .2 inches in height. When used in digital applications such as the Web or on mobile devices, 50 pixel tall should be the minimum size. In special cases, such as icons which require a size smaller than the specified minimum, use a version specially rendered for that application. See section 2.8.1 for special small-use cases and section 5 for included Artwork.
• Screen -Icons Hand-rasterized square icons. Use only as prescribed. Favicon AP_ICON_16x16 Phone & iPod Touch Small Icon (search/settings) AP_ICON_29x29 iPhone Hi Res Small Icon (search/settings) AP_ICON_58x58 iPhone & iPod Touch App Icon AP_ICON_57x57 iPad Small Icon (Search Results) AP_ICON_50x50 iPhone Retina App Icon AP_ICON_114x114 Facebook Avatar AP_ICON_180x180 App Store Icon AP_ICON_512x512
• Pre-scaled logo PNG files and icons were optimized for their current size and are not intended to be enlarged.

Layout And Composition

• The AP logo is to be the dominant element in all compositions.
• The careful combination of graphic elements is what makes our brand strong.
• The grid is a time-tested tool in creating harmonious compositions. We have devised a grid system that is based on the proportions of the AP logo.
• The dimensions of the primary (vertical) logo will guide all grid making decisions. The width of the logo (x), its height (y), the height of the prompt (z), as well as the height of the AP letters (CAP), and the space between the prompt and the AP letters (1/2 CAP) are the variables used.
• In special cases where the secondary (horizontal) logo is used, the width of the logo is wider (w), but all other variables remain the same.
• Using those proportions supports elegant and strong compositions.
• When determining a grid, begin with the width of the application.
• Choose the appropriate size of the logo according to the sizing chart of the varying applications. Excluding special cases, logo width will be normally 1/10th or 1/12th the total application width.
• The resulting width of the logo will serve as the determining measurement for column width.
• The thickness of the prompt serves as the starting point for the gutter.
• Both horizontal and vertical gutters are double the thickness of the prompt.
• Once the logo size has been determined, place the maximum amount that will fit on the application, while including gutters (2z) between each instance of the logo (x).
• If the total number is even, remove one instance to end with an odd number. Remove any gutters that are on the outside, and center the remaining instances and gutters to produce the grid’s columns. Any remaining space serves as the left and right margins.
• The top margin is determined by the height (y) of the logo, as well as the grid rows. The gutter between rows is also twice the thickness of the prompt (22). Rows continue in this manner until the space remaining is less than the total height (y) and CAP height of the logo. The bottom margin is the remaining space.
• See section 5. Artwork for preset grids for letter, tabloid, A4 and A3 paper sizes.
• THE CONSTRUCTION OF A GRID FOR AN 8.5 x 11 INCH SHEET.
• In cases using the horizontal mark, the columns and rows are determined in the same manner as when the vertical mark is used, yet the height of the row is the determining measurement of the grid, generated by the ratio between the height (x) and the total height of the application.
• Additionally, the right margin is now determined by the width (w) of the logo, and the top, bottom and left margins are flexible.

Watermark Guidelines

• Watermarks help identify AP materials in a subtle and tasteful way, especially when using images is not an option.
• Designed as expanded, transparent versions of the AP letters in the AP logo, the watermarks strengthen the notion of connectivity that is a key attribute of the AP brand.
• Watermark patterns serve as a graphic element that can be used to distinguish otherwise unmarked photos or blank space. Using the watermark allows the system to maintain a brand presence without the striking AP logo.
• Patterns are acceptable over solid backgrounds and images, but should not be used when an image stream is in use, or a non-bleeding image is in use.
• The thickness of the strokes should always be of the same thickness as the prompt to link the two and create a more harmonious composition.
• Watermarks are made of three or four elements combined in an elegant composition.
• Pre-composed watermark artwork is provided, but in cases where artwork needs adjustments (e.g., use with photographs), new compositions can be made by following these rules:
• • The distance between parallel elements should be greater than the width of the AP logo on the page.
• • Bleed the watermark on at least one side.
• • Follow color rules (Neutral or Bright on Deep or Photo, Neutral on Neutral or White)
• • The watermark should be independent of the content-not interfering nor interacting with photographs, text or the logo.
• Proper watermark applications
• Parallel lines should not come too close to each other
• The watermark should not frame the content area
• Avoid excessive number of watermark elements
• Do not create recognizable shapes or letterforms
• No arbitrary rotation of the watermark. Only rotate watermark elements at 90° angles
• The elements should not be contained in a tight area
• The elements should not intersect
• The watermark should not interact with the content
• Watermarks follow the general rules for color use.
• Watermarks should always be rendered in Neutral or Bright colors and used only on the specified backgrounds.

Environmental Applications

• This example demonstrates an environment that can be created within our graphic system.

Additional Properties