Ogilvy Brand Guidelines

This Version

September 9, 2019

1
Contents

Section Nº Title Page

I Preface 3
II Logo 10
III Color 25
IV Typography 33
V David Ogilvy 44
VI Digital Communications 49
VII Publications 54
VIII Stationery System 56
IX Ogilvy Branded Collateral 72
2
Section Nº Title

I Preface

3
I / Preface

About These Guidelines

Welcome to the Ogilvy brand guidelines and graphic

standards. Here you will find everything you need to
successfully maintain the Ogilvy brand system and avoid
visual and tonal inconsistencies across all major brand
applications. Ogilvy’s approved brand system and its
guidelines are the product of months of strategy, problem
solving, trial and error, and design thinking, along with
decades of real-world brand experience.

They describe the correct design practices necessary for

preserving the integrity of the brand. If the guidelines are
not followed, the promise of the Ogilvy brand will cease
to be upheld, and Ogilvy’s brand integrity will erode.
Therefore, careful attention must be paid to the rules
outlined in this document. It is to be distributed to internal
marketing, branding, design and related teams within
Ogilvy; to its subsidiary companies; and to any vendors
producing graphic applications for Ogilvy.

Certain aspects of the brand system are straightforward

and will require you only to familiarize yourself with
simple formulas and apply them consistently. Other
aspects of the brand system may initially appear vast and
intimidating. But by immersing yourself in the system,
keeping a critical eye, and – above all – actively seeking to
improve your understanding, the system will soon feel like
a second language.

4
I / Preface

About the Brand System

The brand graphic system consists of three major

components: logo, color and typography. These three basic
elements combine to make a flexible system with ample
room for experimentation. Each element is described in
detail over the following pages.
Logo

Brand Color: Ogilvy Red

Ogilvy Serif / Light / Bold

Proprietary Serif Typeface

& Italic / Light / Bold

Ogilvy Sans / Light / Bold
Proprietary Sans Typeface

& Italic / Light / Bold

Accent Colors

5
I / Preface

One Ogilvy

We are Ogilvy.

Streamlining our name is part of our larger ambition in

simplifying our network. We’ve eliminated disciplines,
created a new approach to working together, streamlined
our offering and expanded our capabilities,
all in an effort to live globally as one Ogilvy.

The company’s full legal name remains The Ogilvy Group.

6
I / Preface

Brand Architecture

Our brand architecture reinforces our simple, clear

positioning: Ogilvy is a singular, creative network
creating design, experiences and communications
that make brands matter.

Ogilvy Consulting With the elimination of all disciplines,

there currently exists only one Ogilvy
branded name. It is for the enterprise
offering, Ogilvy Consulting.

7
I / Preface

Geographies Associates and Affiliates Specialist Brand Companies

Ogilvy offices should not be branded by region, city or local region.
We understand there may be situations where this is unavoidable.
The rule of thumb is to exercise logic and common sense to minimize
the use of branding of geographies. For specific questions, contact
Worldwide Marketing and Communications.
We encourage all Associates and Affiliates of Ogilvy to go to market as Specialist companies will retain and adhere to their
Ogilvy. If they choose not to conform, a separate branding visual identity respective brand guidelines.
will be provided upon request.

Ogilvy Asia Pacific Ogilvy Bold Greece

Ogilvy USA Terrain Ogilvy Montreal
Ogilvy Chicago Ogilvy Phoenix Sri Lanka
Ogilvy São Paulo Wurmser Ogilvy Guatemala
Ogilvy South

8
I / Preface

Capabilities, Practices and Initiatives

Capabilities, practices and initiatives are not Ogilvy branded. Those

that were Ogilvy branded in the past and that will not be eliminated
as part of our refounding will simply drop “Ogilvy” from their name.
For example, “Ogilvy Noor” will become “Noor”; “Ogilvy Change”
will become “Change.” It is impossible to list all the examples here, so
use logic and common sense and check with Worldwide Marketing
and Communications for specific questions.

Ogilvy Advertising
Public Relations & Influence
Ogilvy Health & Wellness
Ogilvy Government & Tourism

9
Section Nº Title

II Logo

10
II / Logo
ii Introduction An effective corporate identity is
O&M Baskerville—1953 a commitment to brand identity
standards. When supported by a
Logo Overview & Heritage Logo Evolution 2018 corporate culture that values the
brand and its expressions, and
consistently applied over time, it
one of the most powerful marke
tools that a company can deploy
Ogilvy Baskerville—2000

A brand is a promise kept over time. The Ogilvy logo has 2010
changed over the years but has managed to stay true to its
original promise.

Since its inception in 1964, the Ogilvy logo has maintained Ogilvy J Baskerville—2010
the basic structure of its typography, Baskerville, a
typeface designed, and subsequently used for printing,
ii Introduction An effective corporate identity is
in 1763 by English businessman John Baskerville. The a commitment to brand identity
typeface is known as a transitional typeface, distinct from O&M Baskerville—1953
standards. When supported by a
predecessors such as Caslon in its rationalist axis and
somewhat decorative elements. corporate culture that values the
brand and its expressions, and
Between the logo’s initial debut and the present, it has
undergone several changes to its design. The 2000 update consistently applied over time, it
was made more graphic and better suited for screens, but 2000 one of the most powerful marke
otherwise retained the features of the original mark. The
most dramatic change, however, was in 2010, when the
tools that a company can deploy
logo stepped back to 16th century France, seen in its tilted
axis, softened letterforms and authoritative bookishness. Ogilvy Baskerville—2000

The current logo has been fully redesigned in the spirit of

the brand’s evolution, based on Baskerville and matching
perfectly with our brand typeface, Ogilvy Serif.

1964
Ogilvy J Baskerville—2010

O&M Baskerville—1953

11
II / Logo

Current Logo

Default color:
Ogilvy Red Connected

The current logo is an evolution of the promise kept by its

predecessors. It bears some structural resemblance to its Connected
predecessor, Baskerville, but is otherwise a completely
new typeface design with several connecting letterforms
creating a logogram of the Ogilvy name. The connecting
letters, called ligatures, are an important detail of
the brand system, adding a level of distinction and
sophistication to the typography. Their role in the brand
typography is discussed later in the Typography section of

129
this manual.

Notable Features
The default logo color is Ogilvy Red.
The g and i form a ligature.
The i and l connect at the serif.
The v and y connect at the serif.
Connected
Ratio & Distortion
The width-to-height ratio is approximately 330 : 129.
When a logo is copied and pasted endlessly between
documents, minor distortions – squishing, rotating or
stretching – can accidentally occur. Knowing the correct
ratio allows the user to check the logo for distortion errors. 330
To verify the proportion, select the logo and change the
width to 330. If the height is any number other than
129.04, then something is wrong with the logo.
Width-to-height ratio
330 : 129

12
II / Logo

Logo Color

The logo color is always either black, white, or Ogilvy Red.

Appropriate color combinations are described in the color
section of this manual.

13
II / Logo

Logo Scale & Size on Too big

Stationery and Presentations

The logo should never be the most prominent thing on

the page, except on stationery. It should be prominent
when used for internal applications like publications and
posters. On presentation slides it should be small.
Feels right
Minimum sizes

.5” (13mm) wide for print

72 pixels wide for digital

Too small

14
II / Logo

Logo Scale in Stationery

As described on the previous page, the logo is somewhat

larger when it appears on Ogilvy corporate stationery,
where it is the sole graphic on the most important physical
manifestation of the brand.

The example on this page shows the stationery with a

noticeably larger logo than the “correct” examples on the
previous page. The logo varies in scale: it appears to be the
“correct” size on the letterhead, appears slightly large on
the memorandum, and feels slightly small on the business
card when compared to the letterhead and memorandum.
However, across the stationery suite the logo is used at the
proper visually proportional scale for each application and
is therefore correct.

15
II / Logo

Environmental Logo Scale

Architects and interior designers must be well-trained

in the behavior of spatial volume. But they frequently
have a very different sense of proportion from graphic
designers or typographers. Often architectural signage
and typography are proportionally too large. This may be
related to the way signage is planned out in architectural
software, or perhaps it is due to a desire for maximum
legibility at maximum distance. It may also be due to
minimum tolerances for a specific material (such as
concrete) or a specific tool (such as a waterjet cutter).
Whatever the reason, we still prefer the logo smaller
wherever possible.

When the logo is incorporated into architecture it should

be modestly sized. Resist the temptation to make it very
large or to allow it to dominate spaces.

The images on this page show a few architectural scale

logo treatments that are the appropriate proportion.

Branding of geographies, disciplines and practices is

not permitted. All offices that currently have signage
tying these entities with the Ogilvy brand must remove
such signage and replace with the Ogilvy Wordmark by
September 23, 2018.

Offices that are unable to incorporate the logo into

architecture will be provided an alternate solution by
Worldwide Marketing and Communications.

16
II / Logo

Logo Scale and Placement Horizontal screens Vertical screens Correct use vs. incorrect use in horizontal screens

in Digital Projection

16:9 ratio
Digital projection of the logo for presentations or event
signage is one of the most publicly visible manifestations of
the Ogilvy brand, therefore we must be especially vigilant
that the logo be correctly represented in these instances.
There is a tendency to make the logo as large as possible in
projections; this should be avoided at all times. As with all
other formats, the logo should be used at the proper visually
proportionate scale to that specific application. A certain
amount of space is needed around the logo so it is not too
close to the edge of the screen on any side.

The logo should appear on its own on the screen. It should

not appear with any other artwork, images, titles or logos.

The logo should be centered vertically and horizontally,

and scaled at 1/3 of the width of the screen. The
recommended color combinations are white over red and
white over black.
Correct use vs. incorrect use in vertical screens
See examples on the right for correct and incorrect scale
and placement of the logo in digital projection.

17
II / Logo

Clearspace

A certain amount of space is needed around the logo

to prevent it from becoming cluttered by surrounding
artwork, images or the edge of a page. The minimum
padding is equal to the x-height of the v, measured from
the baseline, extending out from the logo in each direction.
This measurement is a little more than 1/5 the total width
of the logo, and is the minimum size for spacing, not a fixed
amount.

18
II / Logo

Position & Placement

In every application, the distance from the logo to the

page edge should be different on all four sides, essentially
creating a subset of margins. The example on this page
shows a ratio of 2 : 3 : 4 : 5 in the various distances to the
edge. The placement lends a modernist sense of restless
energy to the wordmark which draws the eye to it even
when it is sitting still.

The logo should never be tilted or rotated except in

animation or in places without a definite orientation, such
as the spine of a book.

19
II / Logo

Trademark Symbol (™)

The trademark symbol (™), when needed, is measured

according to the diagram shown on the right. The total
symbol width should equal the width of right most serif
on the y. It is placed starting from the extreme right edge
of the logo and centered between the x-height and the top
of the logo.

Trademark symbols are generally placed only on

commercially sold Ogilvy products.

Consult your legal department to verify instances when

the symbol should be used.

20
II / Logo

Ogilvy & Client Logos

When the logo is paired with another brand’s logo as

equals, the two logos are separated by two clearspaces (as
described previously) with a solid vertical stroke between
them, as shown on the right. The weight of this stroke is
rationalized on the following page.

When the logos have been placed, the horizontal position of

the other brand should be optically adjusted so the vertical
stroke appears exactly between the two logos.

Ogilvy is always first when hosting the other brand.

When the logos are in color, the Ogilvy logo should always
be in Ogilvy Red and the other brand’s logo should always
be in the brand’s preferred brand color. If this color is not
known, the other brand’s logo should be set in black.

21
II / Logo

Logo Stroke
100pt 2.5pt
Stroke Weight Table Logo height in points Stroke weight in points

500 12.5
490 12.25
480 12 .0
470 1 1 .7 5
460 11.5
450 11.25
Logo Stroke
440 11.0
90pt 2.25pt
430 1 0 .7 5
42 0 10. 5
410 10.2 5
400 10.0
The stroke weight is 2.5% the logo height, or 2.5 points 390 9 .7 5
for every 100 points of logo height. A 200-point high logo 380 9. 5
would have a 5-point stroke. A 600-point high logo would 3 70 9.2 5
have a 15-point stroke. The competing logo is scaled to a 360 9.0 Logo Stroke
80pt 2.0pt
proportional visual size so that neither logo is larger or 350 8 .7 5
smaller than the other. Here is a handy chart for matching 340 8.5
stroke weights to logo heights. 330 8.25
320 8.0
310 7.7 5
300 7. 5
290 7. 2 5 Logo Stroke
280 7. 0 70pt 1.75pt
2 70 6 .7 5
260 6.5
250 6.25
240 6.0
230 5 .7 5
220 5.5 Logo Stroke
210 5.25 60pt 1.5pt
200 5.0
190 4 .7 5
180 4.5
170 4.25
160 4.0 Logo Stroke
50pt 1.25pt
150 3 .7 5
14 0 3.5
130 3.25
120 3.0
110 2 .7 5 Logo Stroke
100 2.5 40pt 1.0pt

90 2.25
80 2 .0
70 1 .7 5 Logo Stroke
60 1.5 30pt 0.75pt
50 1.25
40 1.0
Logo Stroke
30 0 .7 5
20pt 0.5pt
20 0. 5
10 0.2 5 Logo Stroke
22 10pt 0.25pt
II / Logo

Incorrect Logo Treatment

1→ 2→

This page shows examples of various crimes that are never 3→ 4→

to be committed against the logo.

1. Don’t distort the logo

2. Don’t make the logo unreadable by orienting it weirdly

3. Don’t use a non-brand color for the logo

4. Don’t use the wrong brand color for the logo

5→ 6→
5. Don’t break the logo or move parts around

6. Don’t miscolor the logo

7. Don’t apply special effects to the logo

8. Don’t fill the logo with images or patterns

9. Don’t make your own logo with the brand typeface 7→ 8→

10. Don’t make your logo with any other typeface

9→ 10 →

23
II / Logo

Naming: Programs and Internal Logos Existing Logos

Initiatives

At any given time, a wide variety of internal programs The distinctive Ogilvy Wordmark is the primary graphic Existing logos for internal departments, initiatives and
and initiatives are active at all levels. Here are rules and symbol of the Ogilvy masterbrand. programs should be phased out. Collateral materials (e.g.,
guidelines for creating names: program brochures and promotional items) may be used
Do not develop new logos, marks or other graphic elements
until existing stocks are depleted.
• Never under any circumstance should Ogilvy be used as for departments, programs, teams and internal campaigns
part of a name. New initiatives and programs should be regardless of whether Ogilvy is part of the name.
given names that clearly describe the audience and/or
Such elements compete for attention and detract from the
what the initiative or program is designed to accomplish.
core Ogilvy identity.
Examples include “Working Parents Network” and
“Employee Benefits Program.” Developing and cultivating internal brands/identities
consumes valuable company resources that could be applied
• If you must use the Ogilvy name as a modifier, it must be
toward achieving our more important objectives.
in the form of a possessive prefix. For example:
“Ogilvy’s Music Series” not “Ogilvy Music” The proliferation of a large number of unrelated logos creates
a disjointed image in company communications materials,
• Always choose names that are simple, clear and
and runs counter to the sense of brand unity, clarity and
descriptive.
simplicity that we are committed to.
• Choose names that will be meaningful to the intended
audience.
• Avoid acronyms and other abbreviations, because they
are often vague and confusing.
• Never choose a name just because it produces an
appealing abbreviation or acronym.
• Do not invent words or use poor grammar or
unconventional capitalization.

24
Section Nº Title

III Color

25
III / Color

Introduction to Color

Color plays a central role in Ogilvy’s brand system. It

should be used pervasively, presenting Ogilvy as a lively,
colorful brand. The full palette is divided into three major
categories, shown on this page.

Primary Palette
Ogilvy Red — meaning that if only one color is to be used
for the brand, it should be Ogilvy Red (which is als0 the
default color for the logo).

Secondary Palette
Black, white and two shades of gray. These are commonly
used with Ogilvy Red but there are some exceptions to how
they are used, described later in this section.

Accent Palette
Three additional chromatic colors: lemon, pink and blue.
There are no clear rules for these colors except with some
specific color combinations and that the logo should never
be set in these colors.

26
III / Color

Ogilvy Red Pantone

Uncoated 1 78 8

C oat e d 1 78 5

In the spirit of our refounding we are introducing a new CMYK (nearest match)
Ogilvy Red which replaces the old Ogilvy Red (Pantone 485).
C 5
The new Ogilvy Red Pantone numbers are shown on the
right, with CMYK and RGB equivalent. Note that the M 85
CMYK and RGB values have been adjusted manually and
do not match the Pantone Color Bridge color builds. Use the Y 53
color builds shown here, not Pantone’s.
K 0
Ogilvy Red should be used in all possible brand instances.
That means all public-facing corporate branding
applications should be printed with this Pantone color.

Accurate, color-consistent swatches have been created RGB (nearest match) HTML / Hex
by Pantone specifically for this ink formulation, found in
various Pantone color swatch books. It is the responsibility R 235 E B3F43
of individual Ogilvy offices to ensure current Pantone color
books are available for production. G 63

B 67

27
III / Color OGILVY RED BLUE BLUE 072 U
2746 C

Pantone C 100 R 36
Color Values M 98 G 41
Uncoated 1 78 8 Y 0 B 143
K 0
Coated 1 78 5

PINK 196 U
196 C
CMYK (nearest match) RGB (nearest match)
C 0 R 245
C 5 R 2 3 5 M 28 G 186
Y 10 B 197
M 85 G 6 3 K 0
This page shows the approved color values for each color in
the palette in Pantone inks (for solid color printing), CMYK Y 5 3 B 6 7
(for 4-color process printing), and RGB (screens only).
K 0 LEMON 585 U
Always use the correct color mode and ink formulation 585 C
for the appropriate application type to ensure color
consistency across all mediums. C 12 R 214
M 1 G 217
Y 58 B 114
K 0

BLACK DARK GRAY LIGHT GRAY WHITE

PMS PROCESS BLACK U COOL GRAY 11 U COOL GRAY 7 U (N/A)

PMS PROCESS BLACK C COOL GRAY 9 C COOL GRAY 7 C (N/A)

C 60 C 0 C 0 C 0
M 40 M 0 M 0 M 0
Y 40 Y 0 Y 0 Y 0
K 100 K 80 K 46 K 0

R 0 R 84 R 166 R 255
G 0 G 86 G 166 G 255
B 0 B 89 B 168 B 255

28
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III / Color

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Coloring Graphs

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testrum eaqui corerchil ipsam vendand xxxx

xxxx

8%
8%

6%

6% 4%

2%
When coloring graphs, the full color palette can be used
4%
as shown. Simpler graphs, shown on the top left, can use
monochrome palettes to show simple information. More 0%

complex graphs comparing multiple metrics over time, 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015

shown on the top right and bottom, are permitted to vary 2%

and combine colors. Section Title Chapter
(03)

No drop shadows or other special effects are to be used.

The finished graphs should have a flat effect. 0% Source: World Bank

01—Subtitle
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alitatur? Cidelitatum 1985 1990 1995 2000 2005 2010 2015
et labor maior sunt.Hiliqui si consequo eicimol orioruptae vent
14

F.01—Lorem Ipsum dolar sit amet

10%

Figure 01 Figure 01 Figure 01

Section Title Chapter

24
8%
(03)
6%

F.01—Porenianda sinisit ea con nat qui xxxx F.01—Porenianda sinisit ea con nat qui xxxx F.01—Porenianda sinisit ea con nat qui xxxx
4%
testrum eaqui corerchil ipsam vendand xxxx testrum eaqui corerchil ipsam vendand xxxx testrum eaqui corerchil ipsam vendand xxxx
01—Subtitle xxxx xxxx xxxx

Di tem
2%
volorrum ent harci atur alitatur? Cidelitatum elignihit
et labor maior sunt.Hiliqui si consequo eicimol orioruptae vent 8% 8% 8%

0%
6% 6% 6%

F.01—Lorem
1970 1975
Ipsum
1980
dolar
1985
sit amet
1990 1995 2000 2005 2010 2015

4% 4% 4%

10%

24 2% 2% 2%

8%
0% 0% 0%

1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015
6%

4%

2% Source: World Bank Source: World Bank Source: World Bank

0%

1970 1975 1980 1985 1990 1995 2000 2005 2010 2015
14 14 14

24

29
III / Color

Ogilvy Red
Type Color

Type should always be in Ogilvy Red, or any of the

secondary colors: Black, White, Light Gray, or Dark Gray.
Type can be in the accent colors on complex labeling or
color coding necessary for graphs. Black
White
Dark Gray
Light Gray
30
III / Color

Background color →
Color Pairings
Foreground color ↓

This page shows the acceptable background and

foreground color combinations. The single color square
represents the background color and the smaller tile pairs
represent the acceptable foreground colors.

Ogilvy Red is never to be used on black or on light gray

because it becomes difficult to read. Otherwise the only
major rule is to avoid two colors of the same value, which
makes legibility difficult – putting yellow text on a white
background would greatly reduce legibility.

Key:

Foreground

Do not use
Background

31
III / Color

Incorrect Color Use

There are four basic things to avoid with color, shown in the
four examples across the top:

1. Don’t use non-brand colors, ever. Not even for holidays.

2. Don’t use the wrong red for Ogilvy Red.

3. Don’t use gradients.

4. Don’t use the wrong logo color.

The thirty color combinations below the four top examples

show all color combinations to avoid, following the same
logic described on the previous page.

32
Section Nº Title

IV Typography

33
IV / Typography

Typefaces
Lorem ipsum dolor sit amet,
consectetur adipiscing elit, sed
do eiusmod tempor incididunt
There are two Ogilvy type families: Ogilvy Sans and
Ogilvy Serif. They were designed with proportional, ut labore et dolore magna aliqua.
Ut enim ad minim veniam, quis
structural and stylistic similarities to work as a matching
set. Consequently they occupy roughly the same amount of
space and can be used interchangeably without harming a
layout design.

nostrud exercitation ullamco

The typefaces are found in the Identity Library on the
Intranet. They should be made available to all staff and
vendors (when necessary). These fonts supersede any
pre-existing Ogilvy brand fonts and should be used for all

laboris nisi ut aliquip ex ea commo

internal and external brand applications.

The typefaces were designed by COLLINS and MCKL

Type foundry. These fonts are not to be freely distributed or

consequat. Duis aute irure dolor

shared outside the company except with vendors who need
them for Ogilvy-specific marketing or production services.
Consult the legal documentation for full distribution and
licensing information.

in reprehenderit in voluptate
velit esse cillum dolore eu fugiat
nulla pariatur. Excepteur sint
occaecat cupidatat non.
34
IV / Typography

Ogilvy Sans
A G M S Y 5
This is Ogilvy Sans.
B H N T Z 6
It is a grotesque sans serif sharing characteristics with a

C I O U 1 7
number of new and old sans serif typefaces: News Gothic,
Akzidenz-Grotesk, Futura, Brown and Gill Sans to name a
few. However it is primarily Johnston, originally designed
for the London Underground, to which Ogilvy Sans most
directly owes its heritage.

The typeface is characterized by a largely geometric

form, seen especially in the numerals and capital letters.
The lowercase has more in common with American style

D J P V 2 8
grotesques, while the capitals are closer to European
grotesques.

E K Q W 3 9
F L R X 4 0
35
IV / Typography

Ogilvy Sans: Character Set

Uppercase A BC DEFG H I J K LM NOPQRST U V W X Y& Z
Lowercase a� bcdefg hij k lm nopq r st tu v w x y �z
Numerals 01 23 4 56789 ⁰¹²³⁴⁵⁶⁷⁸⁹ ₀₁₂₃₄₅₆₇₈₉
Numerators
Denominators

Extended
Latin À Á Â Ã Ä Å Ā Ă Ą ÆÇĆĈĊČĎ ĐĎ ÈÉÊËĖĘĔĒ
This is the complete character set for Ogilvy Sans. Use
this as a reference for available glyphs. Some characters
ĜĞĠĢĤ Ħ Ĩ ĪĬĮ Ì Í Î Ï IJ ĴĶ ĻĽĿŃŅŇŊ Ñ ØŌŎŐÒ
(ligatures) are only available in Ogilvy Serif, while others
are only available in Ogilvy Sans (alternate a, y, and t). ÓÔÕÖŒØ Ŕ Ŗ ŘŚ Ŝ Ş Š ȘŢ Ť Ŧ Ț ŨŪŬŮŰŲ Ù Ú
Û ÜŴ Ẁ Ẃ Ẅ Ỳ Ŷ Ÿ Ý Ź Ż Ž `¨ˆ˜¯°´¸ Accents

Extended
Latin àáâãäå āă ąæ����� ��� çćĉċčďđďèéêëėę
ĕēĝğġģĥħĩ ī ĭ į ì í î ï ij ĵ ķ ļ ľ ŀń ņ ň ŋ ñ øōŏőòóôõöœ
ø ŕ ŗ ř ś ŝ ş š ș ţ ť ŧ ț ũūŭůű ų ù ú û üŵ ẁ ẃ ẅ ỳ ŷ ÿ ý ź ż ž
Currency
$¥¢£€ Math
%+×÷-±=≠/ ¼½¾' " ° Brackets
[{( )}]
Letter-like
Symbols @©®™ Miscellaneous
*#\^ Markers
& Dividers ¶|†‡§
Quotation
Marks ‘ ’‚“ ”„‹ › « » Punctuation
… : ; . , ¿? ¡ ! Dashes &
Separators ‑–— _ ~ • ·

36
IV / Typography

Objectiveness
Ogilvy Sans: Styles

Ogilvy Sans Light

Ogilvy Sans Light Italic Gravitationally

Intercollegiate
Ogilvy Sans is available in three weights: Light, Regular,
and Bold; each has a companion italic.

Light can be used for large text.

Regular is for all general text applications.

Bold is for headers and subheaders. Ogilvy Sans Regular

Ogilvy Sans Italic Legitimization

Ogilvy Sans Bold Valetudinary
Ogilvy Sans Bold Italic Youthfulness
37
IV / Typography

Ogilvy Serif

This is Ogilvy Serif.

It is inspired by Ogilvy’s original brand typeface,

Baskerville, first used for printing by the English printer
John Baskerville in 1763, although Ogilvy Serif is an
entirely new type design. It is a transitional typeface with
early hints of the Age of Reason in its bones, yet stylistically
it also represents the end of the classical world. It has strong
geometry in the serifs and simplified, clear edges.

The Ogilvy logo is derived from these same letterforms.

The next few pages will explore the type family and
describe its unique features.

38
IV / Typography
Uppercase ABCDEFGHIJKLMNOPQRSTUVWXYZ
Ogilvy Serif: Character Set
Lowercase abcdefg h ijk l m nopqrst uv w x y z & && Ampersands

01 23 4 56789 01 2 3 4 56789 ⁰₀¹ ₁² ₂³ ₃⁴₄⁵₅⁶₆⁷₇ ⁸₈⁹₉

Numerators
Numerals Denominators

Extended Latin À Á Â Ã Ä Å Ā Ă Ą ÆÇĆĈĊČĎĐĎÈÉÊËĖĘĔĒ

ĜĞĠĢĤĦĨĪĬĮÌÍÎÏIJĴĶĻĽĿŃŅŇŊÑØŌŎŐ
ÒÓÔÕÖŒØŔŖŘŚŜŞŠȘŢŤŦȚŨŪŬŮŰŲÙ
This is the complete character set for Ogilvy Serif. Use
this as a reference for available glyphs. Some characters
(ligatures) are only available in Ogilvy Serif, while others

ÚÛÜ Ŵ Ẁ Ẃ Ẅ Ỳ Ŷ Ÿ ÝŹŻŽ `¨ˆ˜¯°´¸

are only available in Ogilvy Sans (alternate a, y, and t).
Accents

Ligatures Th Wh ch ck cl ct fb ffb ff fh ffh fi ffi fj Fractions ½⅓⅔¼¾⅕⅖⅗⅘

ffj fk ffk fl ffl ip it sh sk sl sp st tt tw ty ⅙⅚⅛⅜⅝⅞¼½¾

Extended Latin àáâãäåāăąæçćĉċčďđďèéêëėęĕēĝğġģĥħ

ĩīĭįìíîïijĵķļľ ŀńņňŋñøōŏőòóôõöœøŕŗ
řśŝşţťŧțũūŭůűųùúûüŵ ẁ ẃ ẅ ỳ ŷÿýźżž

Currency $¥¢£€ Math % +×÷ - ±= ≠/ ¼ ½ ¾' " ° Brackets [{( )}]

Letter-like Symbols @©®™ Miscellaneous *#^ Markers & Dividers ¶|�† ‡§

Quotation Marks ‘’‚“”„‹› «» Punctuation … :; . , ¿?¡ ! Dashes & Dots ‑–— _ ~•·

Arrows & Ornaments ← → ↑↓↖ ↗↘ ↙ ● ○ ■ □ ▪ ▫ ▲▼◄ ► ◤ ◥ ◢ ◣

39
 / Typography

Th Wh Th Wh ch ck cl ct
IV

Ligatures Regular

Italic ch ck cl ct fb ff fh fi fj fk fl
Ligatures are pairs of letters that connect either for
ffb ffh ffi ffj ffk ffl fb ff fh
fi fj fk fl ffb ffh ffi ffj ffk ffl
typographic or decorative reasons. There are two kinds,
standard and discretionary.

Note that while there is a gi ligature in the logo, there is no gi

ligature in the Ogilvy fonts. This is to prevent the accidental
creation of something too closely resembling the logo.

ip it ip it sh sk sl sp sh sk
Standard Ligatures
The standard ligatures are usually the f ligatures – fi and
fl. Ogilvy Serif includes these and several other f ligatures,
shown large on the right and described below. The
following Ogilvy Serif ligatures are recognized as standard

sl sp st tt tw ty st tt tw ty
ligatures when they are turned on and off in the OpenType
features in software:

Halfback’s offbeat riffs leafhop offhandedly, finally

offing fjord cliffjumper fk’s offkey fluid sniffles.

Discretionary Ligatures
Ogilvy Serif includes a full set of discretionary ligatures
for a full range of expression – to be used judiciously.
The following Ogilvy Serif ligatures are recognized as

That · Which · skillset · offhand · fluid

discretionary ligatures when they are turned on and off in
the OpenType features in software:

Their lucky chief claims factual trip itineraries shall

final · fjord · stand · eject · closer · chatted

skilfully specify listed letters between tyres.Why?

slip · halfback · shallot · twenty · offbeat

40
IV / Typography

Overextending
Ogilvy Serif: Styles

Ogilvy Serif Light

Ogilvy Serif is available in three weights: Light, Regular, Ogilvy Serif Light Italic Grandiloquent
Instrumentally
and Bold; and each has a companion italic.

Light can be used for large text.

Regular is for all general text applications.

Bold is for headers and subheaders.

Ogilvy Serif Regular

Ogilvy Serif Italic Lateralization

Ogilvy Serif Bold Ventripotent
Ogilvy Serif Bold Italic Yesternightly
41
IV / Typography

Non-Roman Languages
Ŋ Ɣ Ƀ Ƣ Ʀ Ƕ Ȣ
Ȝ ɷ ʘ ɯ ʨ ɗ Ӝ
Ѭ Ϡ Ϫ Ӈ Ԅ ‫ش‬ ᶃ
Ogilvy Serif and Sans provide for comprehensive coverage
of most languages using the Roman alphabet. Most
European languages are well-represented.

However there are other languages used in Ogilvy offices

which do not use the Roman alphabet – Chinese, Russian,
Greek and Arabic, for example.

ϱ ‫שּׂ ה‬ ᾬ � � Ǯ
When a language is not supported by the Ogilvy typefaces,
use Arial Unicode for Ogilvy Sans and Times New Roman
OS for Ogilvy Serif. These are the two largest and most
common fonts in existence, and are very likely installed by
default on every device on the planet.

For alphabets using Chinese, Japanese, Korean or other

ƛ Ƙ Ɋ Ϟ ‫ש‬ ‫ك‬ Ђ
writing systems using logographic alphabets, please use the
most visually similar serif or sans-serif font available in the
language used. We recommend Google Noto fonts, which
come in both serif and sans-serif.

Ƥ ʡ Ϣ ʨ ʩ ϟ Ѫ
Ͼ Ξ Ҩ Ӿ Ϩ Ѧ �
42
IV / Typography

Font Substitution Ogilvy

Sans A BC DEFG H I J K LM NOPQRST U V W X Y& Z
abcdefg hij k lm nopq r stu v w x y z
01 23 4 56789

There will be instances when the Ogilvy fonts are not

Arial A BCDEFGHIJ K LM NOPQRSTUV W X Y& Z
available to all employees for whatever reason. If the Ogilvy
fonts are not available in the software used to open the
document, either a popup will alert the user that the font is
abc defghijklmnopqrstuv w x y z
missing or it will default to the software’s standard fonts.
Fortunately there are solutions should this arise. 0123 45 6789
Times, which is a system font available universally on
all computers, is a good substitute for Ogilvy Serif – the
proportions are similar, but Times takes up less space.

Arial is another universal system font that can be used

when Ogilvy Sans is unavailable. Arial takes up almost
exactly the same amount of space.
Ogilvy
Serif A BCDEFGH IJ K L M NOPQR ST U V W XY& Z
Font substitution is for general internal use in a pinch
by employees for emails, internal newsletters, internal
presentations, digital applications and other routine
abcdefg h ijk l m nopqrst uv w x y z
concerns. For example, substitute fonts should be used
when sending a live PowerPoint or Keynote file to a client.
Another option is to save the document as a PDF which
01 23 4 56789
will preserve the Ogilvy fonts. The substitute fonts are close
enough when needed. That said, they are perhaps the two
most common font families in the entire world, and even a
marginally trained eye can recognize them as impostors.
Times
New
Roman
A BCDEFGH I J K LM NOPQR ST U V W X Y&Z
The substitute fonts are never, ever to be used for any
official marketing, investor relations, press releases, or for
anything else that anyone outside the company might see.
abcdefg h ijk l m nopqr st uv w xy z
In other words: neither for anything of importance to the
outside world, nor for anything professionally printed. 0123456789

43
Section Nº Title

V David Ogilvy

44
V / David Ogilvy

Acceptable usage of
David Ogilvy imagery

David Ogilvy’s image may be distributed to bona fide

journalists, media organizations and publishers, or used in
internal presentations.

Wherever possible, the photographs or moving images

should be correctly acknowledged and the sources
identified, e.g., “Photograph © Ogilvy, all rights reserved.”

Technology allows for the animation and manipulation of

photographs and moving images. When applying these
techniques to images of David Ogilvy, it is important
that the end result be natural looking and sounding, and
true to the persona of David Ogilvy, without the slightest
possibility that it may be misconstrued as caricature.

Any dubbing or narration in the voice of David Ogilvy,

whether from archival sources or by simulation, must be
of words that were actually spoken or written by David
Ogilvy. Also, we should be careful that the end result is
respectful, and would not be perceived as satirical or as a
personal endorsement of advertising or politics.

Photos of David Ogilvy that have been approved for use

are pictured on the right, and can be downloaded from the
Identity Library on the Intranet.

45
V / David Ogilvy

Unacceptable usage of
David Ogilvy imagery

This page shows examples of unacceptable usage of David

Ogilvy’s image and likeness. Avoid any use of David’s image
as an icon, a crutch or a caricature. Also avoid using any of
David’s representative images like the pipe, suspenders and
signature in any form at all. This rule applies to all formats,
including printed materials, digital communications,
environments, etc.

From here on out, we treat David’s image as the likeness of

our respected founder, not as source of clip art.

46
V / David Ogilvy
1080 pixels

David Ogilvy Quotes

64 pixel margin on all sides

Quote is aligned left

David Ogilvy was famous for writing lists. Lists of rules, ↓
observations and instructions, which eventually found

The best ideas come as

their way into all aspects of company communications.
Ogilvy’s work was well-written, often charming and most
of all, clear-headed. Over time, these “Ogilvyisms” became

jokes. Make your thinking

doctrine.

Excerpts from his work grew from an occasional highlight 88pt type
into the bulk of our rhetoric. It became easier, and safer,

as funny as possible.
1080 pixels
to default to a David Ogilvy quote than to come up with 88pt leading
something original and unfamiliar. But doing so does
not sufficiently represent the range of our people or our Hard return
creativity.
Centered in box
Let’s place David Ogilvy in a position appropriate to his

— David Ogilvy
memory: as the visionary founder of a highly influential and
respected company, instead of a copywriter.

We understand that it is impossible to ban the use of David

Ogilvy quotes. We can only encourage you to use them
sparingly for the reasons aforementioned, and to make sure ↑
you fact check that the quote is indeed by David Ogilvy Attribution is aligned right
before you attribute it to him – i.e., that you can provide the
source.

On the right are the correct settings for posting quotes on

Instagram.

A list of the most popular David Ogilvy quotes can be found

on the Intranet.

This example is shown 50% actual pixel size

47
V / David Ogilvy
Examples of David Ogilvy Quotes
Only First Class business,
and that in a First Class
way.
— David Ogilvy
Here are a few variations on the quote structure. In all
cases the type is Ogilvy Red, black or white. The type color
can be the same, or two different colors. The type styles
can match, or they can be different. The typefaces can be
different. Always use Ogilvy Red in at least one place – the
background, the quote or the attribution.
We pursue knowledge the
way a pig pursues truffles.
— David Ogilvy
Encourage innovation.
Change is our lifeblood,
stagnation our death knell.
— David Ogilvy
48
Unless your campaign We have an infuriating
contains a Big Idea, it habit of divine discontent
will pass like a ship in with our performance. It is
the night. an antidote to smugness.
— David Ogilvy — David Ogilvy
We prefer the discipline of
The consumer isn’t a
knowledge to the anarchy
moron. She is your wife.
of ignorance.
— David Ogilvy
— David Ogilvy
Our business is
What you show is more
infested with idiots who
important than what
try to impress by using
you say.
pretentious jargon.
— David Ogilvy
— David Ogilvy
Section Nº Title

VI Digital Communications

49
VI / Digital Communications

Email

To: Tim.Johnson@Ogilvy.com
Email Addresses
Branding new initiatives and programs with the Ogilvy name From: John.Doe@Ogilvy.com
is prohibited. Accordingly, do not invent vanity email addresses
using the Ogilvy name.
Subject: Cannes
Correct Use:
Events: events@ogilvy.com
New York Office: newyorkoffice@ogilvy.com
Hi Tim,
Incorrect Use:
Events: ogilvyevents@ogilvy.com
New York Office: ogilvynewyork@ogilvy.com Vestibulum porttitor nibh at maximus cursus. Fusce non neque lacinia,
pulvinar magna nec, auctor augue. Sed pharetra, ex quis laoreet luctus,
Signature Content
Employee information should match that of the employee’s
acinia quam scelerisque, lobortis turpis in, eros felis placerat eros, eget
business card and in the Profiler database. aliquam sapien dolor ac lorem.
URLs: Only Ogilvy-related URLs and social media handles may
be added. All the best,
John
Awards and Special Announcements: Offices may want to
announce awards or attach special messages (e.g., agency of the
year designations, upcoming change of office name, etc.) to every JOHN DOE Arial 10pt
outgoing email. These may be included in the signature, but only Creative Director
as written copy (not logo art), and in alphabetical order.

Signature Format
Go to the Identity Library on the Intranet for the link to create
your personalized email signature. There is no need to create one
from scratch. For reference, below are the specs for the signature. 636 11th Avenue
New York, NY 10036 Times New Roman 10pt
The logo is in a fixed position in all email signatures as shown here.
It follows the name and title, and precededs the physical address
and contact information of the individual. The size and position of T +1 646.760.0780
the logo (or any part of the email signature) should not be altered.
M +1 212.445.2789
Text: The name should be set in Arial 10pt (all caps) and title in Twitter: @Ogilvy
Arial 10pt (title case) on the next line. All other information should Facebook: @Ogilvy Times New Roman 10pt
be set in Times New Roman 10pt without bolding , italicizing or Ogilvy.com
coloring. All text should be set in black. Do not attempt to imitate
any logo design. Lines should be short to prevent awkward line
breaks on small-screen devices.

The Ogilvy Wordmark is the only logo to appear in our signature.

Only with express permission from Worldwide Marketing and
Communications will exceptions be allowed.

50
VI / Digital Communications

Websites

Our main online platforms are ogilvy.com and the Intranet.

They are designed differently, yet are made up of the same
core elements of our brand identity: logos, fonts and color.

Ogilvy offices may have their independent websites,

however they must be a sub-site of ogilvy.com.

For example:
ogilvy.com/br for Brazil
ogilvy.com/aus for Australia
ogilvy.com/jp for Japan

We are developing a full enterprise CMS hosted in New

York where offices can access centralized global content
and control their local content.

Offices will want to update their current websites

immediately with our new logo, colors and fonts.
Please do so by following these brand guidelines.

Important: As standalone disciplines no longer exist and

their global websites shut down, all local market discipline
websites need to be terminated as soon as possible.

51
VI / Digital Communications

Social Media

Logos

We encourage all offices to share their content on these

worldwide channels:

twitter.com/Ogilvy
facebook.com/Ogilvy
linkedin.com/Ogilvy
instagram.com/Ogilvy

If offices want to have their own social media accounts, they

must follow this guideline:

Nomenclature
Social media account names is the only instance where
branding of a geography is permissible. Capabilities,
practices, departments, functions, programs and initiatives
must not be branded on social media. Your social media
account name should be “Ogilvy” plus city or market Avatar
designation only, e.g., Ogilvy Mumbai, Ogilvy UK, etc.

Logos
All social media accounts must use the Ogilvy logo. Do not
modify the Ogilvy logo in any way. Nomenclature Ogilvy Ogilvy
@Ogilvy
Avatar Miles Young, our Non-Executive Chairman, talks about his
Specific dimensions for each profile picture and cover new book today at 6PM EST. You can watch LIVE on our
photo and video sometimes change, so check the Facebook.
platforms usage guidelines for the most current specs.

The full suite of Ogilvy social media graphics can be found

in the Identity Library on the Intranet.

52
VI / Digital Communications

DIGITAL 1. Who we are

TRANSFORMATION 2. Our point of view
Presentations CONSULTING
3. Our approach
4. Technology services
5. Our talent
6. Our work

March 21, 2018 1 March 21, 2018 5

Ogilvy Digital
Headcount % by geography

2. Our point
& Tech Talent of view
Presentations (Keynote and PowerPoint) are among our
most widely used forms of communication. While the US & Latin Europe, Middle Asia
content of these communications – reflecting our Canada America East & Africa Pacific

40 12 27 21
knowledge, our insights, our expertise – is highly
important, almost as significant is the way we say it.

Our presentations and reports should have clarity and

logic, look good and, most important, present a cohesive,
solid identity, so as to leave the best possible impression.
March 21, 2018 26
March 21, 2018 22

Fonts and templates are available for download from the

Identity Library on the Intranet.
DEFINING DIGITAL
TRANSFORMATION We help clients navigate
complex questions.
A decade into the Digital Transformation movement,
businesses are still grappling with it.
Digital Transformation held the promise of new
relevance, and for the brands bold enough to pursue it,
growth was the reward.
A decade later, the promise of Digital Transformation
has been realized for some businesses. But more often than
not, disruptors have outmaneuvered incumbents. (They
had a digital advantage from day one).
For many of the world’s best brands and businesses, this
creates an existential threat: either transform for the digital
world, or become irrelevant.
We can help.

March 21, 2018 24 March 21, 2018 10

A STRATEGIC
CONSULTING PARTNER
Divine Relentless Adaptive Pervasive Eternal
FOR BUSINESSES Discontent Curiosity Connection Creativity Craft
WHO WANT TO
TRANSFORM,
We challenge. We push. We are driven by the pursuit of Everything builds. Every color Everyone sees the same things. We are a teaching hospital.
And we test. Every day. new knowledge. goes with every other color. But we constantly aspire to see We don’t stockpile skills and
Every idea leads to other ideas. it differently. wisdom, we share and

INNOVATE AND GROW

We do not fear change, We love it when we have to
we embrace it. invent a word fors omething.
For us, to live is to question.
celebrate them. Constantly.
Ogilvy changes, and is changed To turn it around in our minds.
by, each new employee. And through these abilities,
To recombine. To make it new.

THROUGH DIGITAL.
every opportunity transforms
Local information leads to
We approach the new with into something magical.
global wisdom.
wonder not apprehension.

March 21, 2018 7 March 21, 2018 17

53
Section Nº Title

VII Publications

54
VII / Publications

Publications Section Title Chapter

(03) “ Lorem Ipusum Picab
OGILVY—JANUARY 2018 ipit, qui dolupiet, dolap
nonecuptur, Lignatu

Quos-
(01)

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lautemp orerempore ma quidebis et
fugitius dellautet perum quis mos
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acearuptatet ut acepta vitam fugit mosandis
ribus deligni aspiti quo te
doluptae qui coritaquo blaut explament magnimo
iumquiam dist est, exero inisque et ute nit hario
ligendusa volutat uritatemodit
iliquam andae intisitempo ipsunt od magnatem exces as dol
ori blaboreseque nonet aliquostiis

si quias
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quibusae eossus re volumet volorenia dianit mi,
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cus accabo. Ut maxim reperibus.

The publication of agency thought leadership is a vital

component of the Ogilvy brand and we understand that
55

offices have a need to publish various publications for

market-specific use. To set a standard for visual excellence Rem Consecte Re.
and consistency in all Ogilvy branded publications, please Section Title Chapter
(03)
Section Subtitle Chapter
(03)

download the publication templates from the Identity

Library on the Intranet. 01—Subtitle 02—Subtitle
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Section Subtitle Section Subtitle

OGILVY—JANUARY 2018
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1970 1975 1980 1985 1990 1995 2000 2005 2010 2015
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si quias
55 55

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ntiorepe velitam et adionseri consecabo.

55 55

55
Section Nº Title

VIII Stationery System

56
VIII / Stationery System

Stationery System Overview

The look of the Ogilvy correspondence is simple, bold and

clear. The use of Ogilvy Red is immediately apparent.

Please check with your HR manager before you order

any type of personalized stationery (i.e. business cards,
letterhead, etc.) as the global talent team is currently working
on a new title structure for all levels of employees.

Notes when using the Ogilvy Stationery System:

- Use only the Ogilvy Sans Regular font in Caps.
- Use two spaces in place of a comma between address
elements.
- The Ogilvy Wordmark on stationery can be printed offset
in Ogilvy Red.
- Although we have introduced new accent colors to the
Ogilvy brand system, there is no obligation to print any
components of the stationery in the full suite of colors. The
primary palette is Ogilvy Red, meaning that if you can
print stationery in only one color, it should be Ogilvy Red.

Paper Specifications
In the U.S., letterhead and memo pads are printed on
Mohawk Superfine Ultrawhite, Eggshell 80lb text.

Envelopes are printed on Mohawk Superfine Ultrawhite,

Eggshell 100lb text.

Business cards and note cards are printed on Mohawk

Superfine Ultrawhite Eggshell 150lb cover.

Internationally, we suggest using an uncoated paper of

comparable cover weight with a 97% brightness.

If Ogilvy Red covers a large area, a double hit of Pantone 1788

is required.

Templates are available in the Identity Library on the Intranet.

57
VIII / Stationery System

Business Card

The Ogilvy Wordmark visually unifies all

Ogilvy entities, and should be on the back of
all business cards. See below examples for
3.5 mm margin
information to be included on business cards. JOHN DOE
Website URLs, social media handles, secondary ACCOUNT EXECUTIVE
phone numbers and fax numbers are not
permitted. If your title includes a geographic
modifier, it should appear only in the title line.

Dimensions 4.4 mm margin 7.8 mm margin

3.5 × 2.25" / 88.9 × 57.2 mm

Scale shown
100% actual size
636 11TH AVENUE NEW YORK NY 10036 +1.212.237.4000
JOHN.DOE@OGILVY.COM 12.7 mm margin
Paper stock 3.5 mm margin
Mohawk Superfine Ultrawhite,
Eggshell 150lb cover

Type color
3.5 mm margin
Pantone Cool Gray 7 U JANE SMITH
CHIEF OPERATING OFFICER, USA
If your title includes a
Flood color geographic modifier,
Ogilvy Red: Pantone 1788 U it should appear only
in the title line.
Pantone Blue 072 U
Pantone 196 U
Pantone 585 U 4.4 mm margin 7.8 mm margin
Pantone Cool Gray 11 U

636 11TH AVENUE NEW YORK NY 10036 +1.212.237.4000

JANE.SMITH@OGILVY.COM 12.7 mm margin
3.5 mm margin

58
VIII / Stationery System

Business Card:
Non-Roman Language
Non-Roman characters should match closely to
the letters in the English text panel in terms of
type size, weight and alignment.
3.5 mm margin
黃復華
All alphanumeric characters in the foreign 客戶執行
JOHN DOE
language panel must be set in Ogilvy Sans. ACCOUNT EXECUTIVE

Dimensions
3.5 × 2.25" / 88.9 × 57.2 mm
4.4 mm margin 7.8 mm margin
Scale shown
100% actual size
奧美整合行銷傳播集團
Paper stock 台北市110信義區松仁路89號3樓台灣
Mohawk Superfine Ultrawhite, 3F 89 SONG REN ROAD TAIPEI 110 TAIWAN +886.02.7745.1688
12.7 mm margin
JOHN.DOE@OGILVY.COM
Eggshell 150b cover 3.5 mm margin

Type color
Pantone Cool Gray 7 U
3.5 mm margin
Flood color 黃復華
Ogilvy Red: Pantone 1788 U 客戶執行,台灣
JANE SMITH
Pantone Blue 072 U If your title includes a
CHIEF EXECUTIVE OFFICER, TAIWAN
Pantone 196 U geographic modifier,
it should appear only
Pantone 585 U in the title line.
Pantone Cool Gray 11 U
7.8 mm margin
4.4 mm margin

奧美整合行銷傳播集團
台北市110信義區松仁路89號3樓台灣
3F 89 SONG REN ROAD TAIPEI 110 TAIWAN +886.02.7745.1688
JANE.SMITH@OGILVY.COM 12.7 mm margin
3.5 mm margin

59
VIII / Stationery System 6.35 mm margin

Letterhead: 8.5" x 11" 636 11TH AVENUE NEW YORK NEW YORK 10036 +1.212.237.4000 OGILVY.COM

Dimensions
8.5 × 11" / 215.9 × 279.4 mm Jane Smith
123 Broadway
Scale shown New York, NY
10003
Not actual size
Dear Jane,
Paper stock
Mohawk Superfine Ultrawhite, Ga am remolor si rem rem quis magnit eles autem volupta sitibus dolorem ut elest, inctatis eat
alis delique officatem. Nam repedi aut vita num aut que vellamet la seris aut hari omnienditem
Eggshell 80lb text idem. Nequi temporumqui ressundis aut voles dolorem quidem. Andebis estotas as debis arupti
que nus quia idel ilibusape et labor mo di offictur aliquatias quunt.
Type color Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt laut
laccus voluptatur?
Pantone Cool Gray 7 U
Il ipidit in et quae occat et ipsanis tibus, exeribust, sum que alique nis non conem eatet,
commolo rerchilit quisqui quatur sum quas modit, et velloriore essi blabor sunditatetus dolorib
Logo color errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
Ogilvy Red: Pantone 1788 U Nonsequ idebist, optate pelestesequi disqui ut omnis et ut magnate cume volorerum
atus, sinverf ersperferrum inullibusci quam explit et explicit maionseque por remporeium
hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi, quasita niministrum non
Note: there is no flood color on the back nonsequam, sum dolenis ent et voluptatur, sit, officto qui dia quo voluptatque nus estionsequi
of letterhead; it should be white. quibus, qui cum nescil molorrorro quunto omnimus, se ommo dolupti orernam imolo et,
occatia doluptatibus ea qui ditatia eptatur solorum rem iundige ndemposse porum iuntur am
solorem quoditiis numentiae alistion rerum im aborunt endae. Et odi re in cuptates dipsus.
Orem ad untion comnitatur, inverio nestempe seque ipsanime intur susam ipsum abore 6.35 mm margin
dolumquo est quid quos as et fugit accuptate solendaero verionsequos eos et endunt vendae
comnimped et adicilique millatur? Num, tem nonet fugiasp ernati apelest rumqui.que por
6.35 mm margin remporeium hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi, orernam imolo
et, occatia doluptatibus ea qui ditatia eptatur solorum rem iundige ndemposse porum iuntur
am solorem quoditiis numentiae alistion rerum im aborunt endae. Et odi re in cuptates dipsus.
que por remporeium hitia con cum ipsae quo dia nobitatur?
Esti volorem osanducimi, quasita niministrum non nonsequam, sum dolenis ent et
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil molorror.

Regards,

33.3 mm to text 31.5 mm to text

Jane Smith
Title

12 mm to logo edge

12.8 mm logo height

JANE SMITH TITLE JANE.SMITH@OGILVY.COM

32.7 mm logo width 18 mm from logo to bottom edge

60
VIII / Stationery System 6.35 mm margin

Letterhead: 8.5" x 11" 636 11TH AVENUE NEW YORK NEW YORK 10036 +1.212.237.4000 OGILVY.COM

(Personalized)
Dimensions
8.5 × 11" / 215.9 × 279.4 mm Jane Smith
123 Broadway
Scale shown New York, NY
10003
Not actual size
Dear Jane,
Paper stock
Mohawk Superfine Ultrawhite, Ga am remolor si rem rem quis magnit eles autem volupta sitibus dolorem ut elest, inctatis eat
alis delique officatem. Nam repedi aut vita num aut que vellamet la seris aut hari omnienditem
Eggshell 80lb text idem. Nequi temporumqui ressundis aut voles dolorem quidem. Andebis estotas as debis arupti
que nus quia idel ilibusape et labor mo di offictur aliquatias quunt.
Type color Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt laut
laccus voluptatur?
Pantone Cool Gray 7 U
Il ipidit in et quae occat et ipsanis tibus, exeribust, sum que alique nis non conem eatet,
commolo rerchilit quisqui quatur sum quas modit, et velloriore essi blabor sunditatetus dolorib
Logo color errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
Ogilvy Red: Pantone 1788 U Nonsequ idebist, optate pelestesequi disqui ut omnis et ut magnate cume volorerum
atus, sinverf ersperferrum inullibusci quam explit et explicit maionseque por remporeium
hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi, quasita niministrum non
Note: there is no flood color on the back nonsequam, sum dolenis ent et voluptatur, sit, officto qui dia quo voluptatque nus estionsequi
of letterhead; it should be white. quibus, qui cum nescil molorrorro quunto omnimus, se ommo dolupti orernam imolo et,
occatia doluptatibus ea qui ditatia eptatur solorum rem iundige ndemposse porum iuntur am
solorem quoditiis numentiae alistion rerum im aborunt endae. Et odi re in cuptates dipsus.
6.35 mm margin 6.35 mm margin
Orem ad untion comnitatur, inverio nestempe seque ipsanime intur susam ipsum abore
dolumquo est quid quos as et fugit accuptate solendaero verionsequos eos et endunt vendae
comnimped et adicilique millatur? Num, tem nonet fugiasp ernati apelest rumqui.que por
remporeium hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi, orernam imolo
et, occatia doluptatibus ea qui ditatia eptatur solorum rem iundige ndemposse porum iuntur
am solorem quoditiis numentiae alistion rerum im aborunt endae. Et odi re in cuptates dipsus.
que por remporeium hitia con cum ipsae quo dia nobitatur?
Esti volorem osanducimi, quasita niministrum non nonsequam, sum dolenis ent et
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil molorror.

Regards,

33.3 mm to text 31.5 mm to text

Jane Smith
Title

12 mm to logo edge

12.8 mm logo height

JANE SMITH TITLE JANE.SMITH@OGILVY.COM

6.35 mm margin 32.7 mm logo width 18 mm from logo to bottom edge

61
VIII / Stationery System 6.35 mm margin

636 11TH AVENUE NEW YORK NEW YORK 10036 +1.212.237.4000 OGILVY.COM

Letterhead: A4

Dimensions Jane Smith

123 Broadway
210 × 297 mm New York, NY
10003
Scale shown
Dear Jane,
Not actual size
Ga am remolor si rem rem quis magnit eles autem volupta sitibus dolorem ut elest, inctatis
Paper stock eat alis delique officatem. Nam repedi aut vita num aut que vellamet la seris aut hari
Mohawk Superfine Ultrawhite, omnienditem idem. Nequi temporumqui ressundis aut voles dolorem quidem. Andebis
estotas as debis arupti que nus quia idel ilibusape et labor mo di offictur aliquatias quunt.
Eggshell 80lb text Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt
laut laccus voluptatur?
Type color Il ipidit in et quae occat et ipsanis tibus, exeribust, sum que alique nis non
conem eatet, commolo rerchilit quisqui quatur sum quas modit, et velloriore essi blabor
Pantone Cool Gray 7 U sunditatetus dolorib errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
Nonsequ idebist, optate pelestesequi disqui ut omnis et ut magnate cume volorerum
Logo color atus, sinverf ersperferrum inullibusci quam explit et explicit maionseque por remporeium
Ogilvy Red: Pantone 1788 U hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi, quasita niministrum
non nonsequam, sum dolenis ent et voluptatur, sit, officto qui dia quo voluptatque nus
estionsequi quibus, qui cum nescil molorrorro quunto omnimus, se ommo dolupti orernam
Note: there is no flood color on the back imolo et, occatia doluptatibus ea qui ditatia eptatur solorum rem iundige ndemposse
of letterhead; it should be white. porum iuntur am solorem quoditiis numentiae alistion rerum im aborunt endae. Et odi re in
cuptates dipsus.
Orem ad untion comnitatur, inverio nestempe seque ipsanime intur susam ipsum
6.35 mm margin abore dolumquo est quid quos as et fugit accuptate solendaero verionsequos eos et endunt 6.35 mm margin
vendae comnimped et adicilique millatur? Num, tem nonet fugiasp ernati apelest rumqui.
que por remporeium hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi,
orernam imolo et, occatia doluptatibus ea qui ditatia eptatur solorum rem iundige
ndemposse porum iuntur am solorem quoditiis numentiae alistion rerum im aborunt endae.
Et odi re in cuptates dipsus. que por remporeium hitia con cum ipsae quo dia nobitatur?
Esti volorem osanducimi, quasita niministrum non nonsequam, sum dolenis ent et
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil.

Regards,

33.3 mm to text 32 mm to text

Jane Smith
Title

11.7 mm to logo edge

12.8 mm logo height

JANE SMITH TITLE JANE.SMITH@OGILVY.COM

32.7 mm logo width 18 mm from logo to bottom edge

62
VIII / Stationery System 6.35 mm margin

636 11TH AVENUE NEW YORK NEW YORK 10036 +1.212.237.4000 OGILVY.COM

Letterhead: A4
(Personalized)
Dimensions Jane Smith
123 Broadway
210 × 297 mm New York, NY
10003
Scale shown
Dear Jane,
Not actual size
Ga am remolor si rem rem quis magnit eles autem volupta sitibus dolorem ut elest, inctatis
Paper stock eat alis delique officatem. Nam repedi aut vita num aut que vellamet la seris aut hari
Mohawk Superfine Ultrawhite, omnienditem idem. Nequi temporumqui ressundis aut voles dolorem quidem. Andebis
estotas as debis arupti que nus quia idel ilibusape et labor mo di offictur aliquatias quunt.
Eggshell 80lb text Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt
laut laccus voluptatur?
Type color Il ipidit in et quae occat et ipsanis tibus, exeribust, sum que alique nis non
conem eatet, commolo rerchilit quisqui quatur sum quas modit, et velloriore essi blabor
Pantone Cool Gray 7 U sunditatetus dolorib errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
Nonsequ idebist, optate pelestesequi disqui ut omnis et ut magnate cume volorerum
Logo color atus, sinverf ersperferrum inullibusci quam explit et explicit maionseque por remporeium
Ogilvy Red: Pantone 1788 U hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi, quasita niministrum
non nonsequam, sum dolenis ent et voluptatur, sit, officto qui dia quo voluptatque nus
estionsequi quibus, qui cum nescil molorrorro quunto omnimus, se ommo dolupti orernam
Note: there is no flood color on the back imolo et, occatia doluptatibus ea qui ditatia eptatur solorum rem iundige ndemposse
of letterhead; it should be white. porum iuntur am solorem quoditiis numentiae alistion rerum im aborunt endae. Et odi re in
cuptates dipsus.
Orem ad untion comnitatur, inverio nestempe seque ipsanime intur susam ipsum
6.35 mm margin abore dolumquo est quid quos as et fugit accuptate solendaero verionsequos eos et endunt 6.35 mm margin
vendae comnimped et adicilique millatur? Num, tem nonet fugiasp ernati apelest rumqui.
que por remporeium hitia con cum ipsae quo dia nobitatur? Esti volorem osanducimi,
orernam imolo et, occatia doluptatibus ea qui ditatia eptatur solorum rem iundige
ndemposse porum iuntur am solorem quoditiis numentiae alistion rerum im aborunt endae.
Et odi re in cuptates dipsus. que por remporeium hitia con cum ipsae quo dia nobitatur?
Esti volorem osanducimi, quasita niministrum non nonsequam, sum dolenis ent et
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil.

Regards,

33.3 mm to text 32 mm to text

Jane Smith
Title

11.7 mm to logo edge

12.8 mm logo height

JANE SMITH TITLE JANE.SMITH@OGILVY.COM

6.35 mm margin 32.7 mm logo width 18 mm from logo to bottom edge

63
VIII / Stationery System

Standard Envelope (Exterior)

Dimensions
9 ×4.125" / 228.6 × 104.8 mm

Scale shown
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
6.3 mm margin
Eggshell 80lb text

Type color
Pantone Cool Gray 7 U 6.3 mm margin

Logo color
Ogilvy Red: Pantone 1788 U

11.3 mm margin

18.3 mm margin

64
VIII / Stationery System

Standard Envelope (Interior)

Dimensions
9 ×4.125" / 228.6 × 104.8 mm

Scale shown
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 80lb text

Flood color
Ogilvy Red: Pantone 1788 U
Pantone Blue 072 U
Pantone 196U
Pantone 585U

Dotted line indicates

trim for conversion
and does not appear
in actual template; it
demarcates the finished
exterior dimensions.

65
VIII / Stationery System

Note Card

Dimensions
3.75 × 9” / 9.5 × 22.9 mm

Scale shown
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 150lb cover

Logo color
Ogilvy Red: Pantone 1788 U

6.35 mm margin

12.7 mm margin

66
VIII / Stationery System

Note Card (Back)

Dimensions
3.75 × 9” / 9.5 × 22.9 mm

Scale shown
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 150lb cover

Flood color
Ogilvy Red: Pantone 1788 U

67
VIII / Stationery System 6.35 mm margin
JANE SMITH
TITLE

Note Card 6.35 mm margin

(Personalized)

Dimensions
3.75 × 9" / 9.5 × 22.9 mm
636 11TH AVENUE NEW YORK NY 10036 +1.212.237.4000
Scale shown JANE.SMITH@OGILVY.COM
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 150lb cover

Type color
Pantone Cool Gray 7 U

Logo color
Ogilvy Red: Pantone 1788 U

6.35 mm margin

12.7 mm margin

68
VIII / Stationery System

Note Card
(Personalized / Back )

Dimensions
3.75 × 9” / 9.5 × 22.9 mm

Scale shown
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 150lb cover

Flood color
Ogilvy Red: Pantone 1788 U

69
VIII / Stationery System

Memo Pad

Dimensions
8.5 × 5.5” / 215.9 × 139.7 mm

Scale shown
Not actual size

Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 80lb text

Logo color
Ogilvy Red: Pantone 1788 U

8.45 mm margin

11.3 mm margin

70
VIII / Stationery System

Memo Pad
6.35 mm margin
(Personalized) JANE SMITH
TITLE

6.35 mm margin
Dimensions
8.5 × 5.5” / 215.9 × 139.7 mm

Scale shown
Not actual size

Paper stock
636 11TH AVENUE NEW YORK NY 10036 +1.212.237.4000
Mohawk Superfine Ultrawhite, JANE.SMITH@OGILVY.COM
Eggshell 80lb text

Type color
Pantone Cool Gray 7 U

Logo color
Ogilvy Red: Pantone 1788 U

8.45 mm margin

11.3 mm margin

71
Section Nº Title

IX Ogilvy Branded Collateral

72
IX / Ogilvy Branded Collateral

Ogilvy Branded Collateral

Flash Drive

We appreciate that local offices need to create Ogilvy branded

collateral as giveaways for client and internal events, business
development, new employee welcome kits, and various other
purposes. To help keep all such merchandise on-brand and
consistent, we are providing proofs of concept for several of
the more popular collateral items: pen and pencil, hardcover Pencil & Pen Notebook
notebook, folder, tote bag, and USB flash drive. While we are
not being proscriptive with specifications, please try your best
to adhere to the aesthetic of the examples provided.

The proliferation of branded collateral outside of the ones

covered on this page dilutes the Ogilvy brand and runs
counter to the sense of brand unity, clarity and simplicity
that we are committed to upholding.  To help us avoid this
proliferation,  please exercise restraint in the types of Ogilvy
branded collateral you produce. If you are in any doubt, please
contact Worldwide Marketing and Communications.

Folder Tote Bag

73
If in doubt

For more information regarding these materials or for help

on any issues relating to the Ogilvy brand, please contact:

Nikolaj Birjukow
Worldwide Managing Director, Marketing & Content

Ogilvy
636 11th Avenue
New York, NY 10036

nikolaj.birjukow@ogilvy.com
T +1.212.237.6070

74