Ogilvy-Brand-Guidelines.pdf

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Ogilvy Brand Guidelines
This Version
September 9, 2019

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

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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.

5
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.
Ogilvy Sans / Light / Bold
& Italic / Light / Bold
Ogilvy Serif / Light / Bold
&Italic / Light / Bold
Logo
Brand Color: Ogilvy Red
Proprietary Sans Typeface
Accent Colors
Proprietary Serif Typeface

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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.

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

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.
Geographies
OgilvyAsiaPacific
OgilvyUSA
OgilvyChicago
OgilvySãoPaulo
OgilvySouth
OgilvyBoldGreece
TerrainOgilvyMontreal
OgilvyPhoenixSriLanka
WurmserOgilvyGuatemala
We encourage all Associates and Affiliates of Ogilvy to go to market as
Ogilvy. If they choose not to conform, a separate branding visual identity
will be provided upon request.
AssociatesandAffiliates
Specialist companies will retain and adhere to their
respective brand guidelines.
Specialist BrandCompanies
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I / Preface

Capabilities, PracticesandInitiatives
OgilvyAdvertising
PublicRelations&Influence
OgilvyHealth&Wellness
OgilvyGovernment&Tourism
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.
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I / Preface

11
2018
Logo Evolution
ii Introduction An effective corporate identity is
a commitment to brand identity
standards. When supported by a
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
O&M Baskerville—1953
ii Introduction An effective corporate identity is
a commitment to brand identity
standards. When supported by a
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
Ogilvy J Baskerville—2010
Ogilvy Baskerville—2000
Ogilvy J Baskerville—2010
2010
2000
1964
II / Logo
Logo Overview & Heritage
A brand is a promise kept over time. The Ogilvy logo has
changed over the years but has managed to stay true to its
original promise.
Since its inception in 1964, the Ogilvy logo has maintained
the basic structure of its typography, Baskerville, a
typeface designed, and subsequently used for printing,
in 1763 by English businessman John Baskerville. The
typeface is known as a transitional typeface, distinct from
predecessors such as Caslon in its rationalist axis and
somewhat decorative elements.
Between the logo’s initial debut and the present, it has
undergone several changes to its design. The 2000 update
was made more graphic and better suited for screens, but
otherwise retained the features of the original mark. The
most dramatic change, however, was in 2010, when the
logo stepped back to 16th century France, seen in its tilted
axis, softened letterforms and authoritative bookishness.
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.

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Connected
Default color:
Ogilvy Red
Width-to-height ratio
330 : 129
330
1
2
9
Connected
Connected
II / Logo
Current Logo
The current logo is an evolution of the promise kept by its
predecessors. It bears some structural resemblance to its
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
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.
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.
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.

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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.

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Too big
Feels right
Too small
II / Logo
LogoScale&Sizeon
StationeryandPresentations
The logo should never be the most prominent thing on
the page, except on stationery. It should be prominent
when used for internal applications like publications and
posters. On presentation slides it should be small.
Minimum sizes
.5” (13mm) wide for print
72 pixels wide for digital

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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.

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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.

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II / Logo
Correct use vs. incorrect use in horizontal screens
Correct use vs. incorrect use in vertical screens
Horizontal screens Vertical screens
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.
See examples on the right for correct and incorrect scale
and placement of the logo in digital projection.
LogoScaleandPlacement
inDigitalProjection

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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.

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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.

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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.

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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.

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The stroke weight is 2.5% the logo height, or 2.5 points
for every 100 points of logo height. A 200-point high logo
would have a 5-point stroke. A 600-point high logo would
have a 15-point stroke. The competing logo is scaled to a
proportional visual size so that neither logo is larger or
smaller than the other. Here is a handy chart for matching
stroke weights to logo heights.
II / Logo
Stroke Weight Table Logo height in points
500
490
480
470
460
450
440
430
420
410
400
390
380
370
360
350
340
330
320
310
300
290
280
270
260
250
240
230
220
210
200
190
180
170
160
150
140
130
120
110
100
90
80
70
60
50
40
30
20
10
Stroke weight in points
12 .5
12 .25
12 .0
11.75
11.5
11.25
11.0
10.75
10.5
10.25
10.0
9.75
9.5
9.25
9.0
8.75
8.5
8.25
8.0
7.75
7.5
7.25
7.0
6.75
6.5
6.25
6.0
5.75
5.5
5.25
5.0
4.75
4.5
4.25
4.0
3.75
3.5
3.25
3.0
2 .75
2 .5
2 .25
2 .0
1.75
1.5
1.25
1.0
0.75
0.5
0.25
Logo Stroke
100pt 2.5pt
Logo Stroke
90pt 2.25pt
Logo Stroke
80pt 2.0pt
Logo Stroke
70pt 1.75pt
Logo Stroke
60pt 1.5pt
Logo Stroke
50pt 1.25pt
Logo Stroke
40pt 1.0pt
Logo Stroke
30pt 0.75pt
Logo Stroke
20pt 0.5pt
Logo Stroke
10pt 0.25pt

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II / Logo
Incorrect Logo Treatment
This page shows examples of various crimes that are never
to be committed against the logo.
1. Don’t distort the logo
2. Don’t make the logo unreadable by orienting it weirdly
3. Don’t use a non-brand color for the logo
4. Don’t use the wrong brand color for the logo
5. Don’t break the logo or move parts around
6. Don’t miscolor the logo
7. Don’t apply special effects to the logo
8. Don’t fill the logo with images or patterns
9. Don’t make your own logo with the brand typeface
10. Don’t make your logo with any other typeface
1 →
5 →
3 →
7 →
9 →
2 →
6 →
4 →
8 →
10 →

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

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Color
III
Title
Section Nº

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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.

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CMYK (nearest match)
C 5
M 85
Y 53
K 0
RGB (nearest match)
R 235
G 63
B 67
HTML / Hex
EB3F43
Pantone
Uncoated 1788
Coated 1785
III / Color
Ogilvy Red
In the spirit of our refounding we are introducing a new
Ogilvy Red which replaces the old Ogilvy Red (Pantone 485).
The new Ogilvy Red Pantone numbers are shown on the
right, with CMYK and RGB equivalent. Note that the
CMYK and RGB values have been adjusted manually and
do not match the Pantone Color Bridge color builds. Use the
color builds shown here, not Pantone’s.
Ogilvy Red should be used in all possible brand instances.
That means all public-facing corporate branding
applications should be printed with this Pantone color.
Accurate, color-consistent swatches have been created
by Pantone specifically for this ink formulation, found in
various Pantone color swatch books. It is the responsibility
of individual Ogilvy offices to ensure current Pantone color
books are available for production.

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BLUE
C 100
M 98
Y 0
K 0
BLUE 072 U
2746 C
R 36
G 41
B 143
PINK
C 0
M 28
Y 10
K 0
196 U
196 C
R 245
G 186
B 197
LEMON
C 12
M 1
Y 58
K 0
585 U
585 C
R 214
G 217
B 114
DARK GRAY
COOL GRAY 11 U
COOL GRAY 9 C
C 0
M 0
Y 0
K 80
R 84
G 86
B 89
LIGHT GRAY
COOL GRAY 7 U
COOL GRAY 7 C
C 0
M 0
Y 0
K 46
R 166
G 166
B 168
BLACK
PMS PROCESS BLACK U
PMS PROCESS BLACK C
C 60
M 40
Y 40
K 100
R 0
G 0
B 0
WHITE
(N/A)
(N/A)
C 0
M 0
Y 0
K 0
R 255
G 255
B 255
III / Color
Color Values
This page shows the approved color values for each color in
the palette in Pantone inks (for solid color printing), CMYK
(for 4-color process printing), and RGB (screens only).
Always use the correct color mode and ink formulation
for the appropriate application type to ensure color
consistency across all mediums.
CMYK (nearest match)
C 5
M 85
Y 53
K 0
RGB (nearest match)
R 235
G 63
B 67
OGILVY RED
Pantone
Uncoated 1788
Coated 1785

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III / Color
Figure 01
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testrum eaqui corerchil ipsam vendand
14
xxxx
8%
1970
Source: World Bank
1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
xxxx
xxxx
24
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8%
1970 1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
10%
F.01—Lorem Ipsum dolar sit amet
Figure 01
14
xxxx
8%
1970
Source: World Bank
1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
xxxx
xxxx
Figure 01
14
xxxx
8%
1970
Source: World Bank
1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
xxxx
xxxx
24
01—Subtitle
Di tem volorrum ent harci atur alitatur? Cidelitatum elignihit
Chapter
(03)
Section Title
8%
1970 1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
10%
Figure 01
14
xxxx
8%
1970
Source: World Bank
1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
xxxx
xxxx
24
01—Subtitle
Chapter
(03)
Section Title
8%
1970 1975 1980 1985 1990 1995 2000 2005 2010 2015
6%
4%
2%
0%
10%
Coloring Graphs
When coloring graphs, the full color palette can be used
as shown. Simpler graphs, shown on the top left, can use
monochrome palettes to show simple information. More
complex graphs comparing multiple metrics over time,
shown on the top right and bottom, are permitted to vary
and combine colors.
No drop shadows or other special effects are to be used.
The finished graphs should have a flat effect.

30
III / Color
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.
OgilvyRed
Black
White
DarkGray
LightGray

31
III / Color
Color Pairings
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
Background
Do not use
Background color →
Foreground color ↓

32
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.

33
Typography
IV
Title
Section Nº

34
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IV / Typography
Typefaces
There are two Ogilvy type families: Ogilvy Sans and
Ogilvy Serif. They were designed with proportional,
structural and stylistic similarities to work as a matching
set. Consequently they occupy roughly the same amount of
space and can be used interchangeably without harming a
layout design.
The typefaces are found in the Identity Library on the
Intranet. They should be made available to all staff and
vendors (when necessary). These fonts supersede any
pre-existing Ogilvy brand fonts and should be used for all
internal and external brand applications.
The typefaces were designed by COLLINS and MCKL
Type foundry. These fonts are not to be freely distributed or
shared outside the company except with vendors who need
them for Ogilvy-specific marketing or production services.
Consult the legal documentation for full distribution and
licensing information.

35
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
0
IV / Typography
Ogilvy Sans
This is Ogilvy Sans.
It is a grotesque sans serif sharing characteristics with a
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
grotesques, while the capitals are closer to European
grotesques.

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Uppercase
Lowercase
Numerals
Extended
Latin
Extended
Latin
Accents
Currency
Letter-like
Symbols
Quotation
Marks
Punctuation Dashes &
Separators
Math
Miscellaneous Markers
& Dividers
Brackets
Numerators
Denominators
IV / Typography
Ogilvy Sans: Character Set
This is the complete character set for Ogilvy Sans. Use
this as a reference for available glyphs. Some characters
(ligatures) are only available in Ogilvy Serif, while others
are only available in Ogilvy Sans (alternate a, y, and t).

37
IV / Typography
Ogilvy Sans: Styles
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.
Objectiveness
Gravitationally
Intercollegiate
Legitimization
Valetudinary
Youthfulness
Ogilvy Sans Light
Ogilvy Sans Light Italic
Ogilvy Sans Regular
Ogilvy Sans Italic
Ogilvy Sans Bold
Ogilvy Sans Bold Italic

38
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.

39
IV / Typography
Ogilvy Serif: Character Set
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
are only available in Ogilvy Sans (alternate a, y, and t).
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
abcdefghijklmnopqrstuvwxyz &&&
0123456789 0123456789 ⁰₀¹₁²₂³₃⁴₄⁵₅⁶₆⁷₇⁸₈⁹₉
À Á Â Ã Ä Å Ā Ă Ą Æ Ç Ć Ĉ Ċ Č Ď Đ Ď È É Ê Ë Ė Ę Ĕ Ē
Ĝ Ğ Ġ Ģ Ĥ Ħ Ĩ Ī Ĭ Į Ì Í Î Ï Ĳ Ĵ Ķ Ļ Ľ Ŀ Ń Ņ Ň Ŋ Ñ Ø Ō Ŏ Ő
Ò Ó Ô Õ Ö Œ Ø Ŕ Ŗ Ř Ś Ŝ Ş Š Ș Ţ Ť Ŧ Ț Ũ Ū Ŭ Ů Ű Ų Ù
ÚÛÜŴẀẂẄỲŶŸÝŹŻŽ `¨ˆ˜¯°´¸
Th Wh ch ck cl ct fb ffb ff fh ffh ﬁ ffi fj
ffj fk ffk ﬂ ffl ip it sh sk sl sp ﬆ tt tw ty
½ ⅓ ⅔ ¼ ¾ ⅕ ⅖ ⅗ ⅘
⅙ ⅚ ⅛ ⅜ ⅝ ⅞ ¼ ½ ¾
à á â ã ä å ā ă ą æ ç ć ĉ ċ č ď đ ď è é ê ë ė ę ĕ ē ĝ ğ ġ ģ ĥ ħ
ĩ ī ĭ į ì í î ï ĳ ĵ ķ ļ ľ ŀ ń ņ ň ŋ ñ ø ō ŏ ő ò ó ô õ ö œ ø ŕ ŗ
ř ś ŝ ş ţ ť ŧ ț ũ ū ŭ ů ű ų ù ú û ü ŵ ẁ ẃ ẅ ỳ ŷ ÿ ý ź ż ž
$ ¥ ¢ £ € % +×÷ - ± = ≠/ ¼ ½ ¾' " ° [ { ( ) } ]
@ © ® ™ * # ^ ¶ | � † ‡ §
‘’‚“”„‹›«» … : ; . , ¿? ¡ ! ‑–— _ ~•·
← →↑↓↖↗↘↙ ●○■□▪▫▲▼◄►◤ ◥◢ ◣
Uppercase
Lowercase
Numerals
Extended Latin
Extended Latin
Ligatures
Accents
Fractions
Currency
Letter-like Symbols
Quotation Marks
Arrows & Ornaments
Punctuation Dashes & Dots
Math
Miscellaneous Markers & Dividers
Brackets
Numerators
Denominators
Ampersands

40
ThWhThWhchckclct
chckclctfbfffhfifjfkfl
ffb ffh ffi ffj ffk ffl fbfffh
fifjfkflffbffhffiffjffkffl
ipitipitshskslspshsk
slspst tt tw ty sttttwty
Regular
Italic
That · Which · skillset · offhand · fluid
final·fjord·stand·eject·closer·chatted
slip· halfback · shallot · twenty · offbeat
IV / Typography
Ligatures
Ligatures are pairs of letters that connect either for
typographic or decorative reasons. There are two kinds,
standard and discretionary.
Note that while there is a gi ligature in the logo, there is no gi
ligature in the Ogilvy fonts. This is to prevent the accidental
creation of something too closely resembling the logo.
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
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
discretionary ligatures when they are turned on and off in
the OpenType features in software:
Their lucky chief claims factual trip itineraries shall
skilfully specify listed letters between tyres.Why?

41
Overextending
Grandiloquent
Instrumentally
Lateralization
Ventripotent
Yesternightly
OgilvySerifLight
OgilvySerifLightItalic
OgilvySerifRegular
OgilvySerifItalic
OgilvySerifBold
OgilvySerifBoldItalic
IV / Typography
Ogilvy Serif: Styles
Ogilvy Serif is available in three weights: Light, Regular,
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.

42
Ŋ Ɣ Ƀ Ƣ Ʀ Ƕ Ȣ
Ȝ ɷ ʘ ɯ ʨ ɗ Ӝ
Ѭ Ϡ Ϫ Ӈ Ԅ ‫ش‬ ᶃ
ϱ ‫ה‬ ‫שּׂ‬ ᾬ � � Ǯ
ƛ Ƙ Ɋ Ϟ ‫ש‬ ‫ك‬ Ђ
Ƥ ʡ Ϣ ʨ ʩ ϟ Ѫ
Ͼ Ξ Ҩ Ӿ Ϩ Ѧ �
IV / Typography
Non-Roman Languages
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.
When a language is not supported by the Ogilvy typefaces,
use Arial Unicode for Ogilvy Sans and Times New Roman
OS for Ogilvy Serif. These are the two largest and most
common fonts in existence, and are very likely installed by
default on every device on the planet.
For alphabets using Chinese, Japanese, Korean or other
writing systems using logographic alphabets, please use the
most visually similar serif or sans-serif font available in the
language used. We recommend Google Noto fonts, which
come in both serif and sans-serif.

43
abcdefghijklmnopqrstuvwxyz
0123456789
0123456789
0123456789
0123456789
Ogilvy
Serif
Ogilvy
Sans
Times
New
Roman
Arial
IV / Typography
Font Substitution
There will be instances when the Ogilvy fonts are not
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
missing or it will default to the software’s standard fonts.
Fortunately there are solutions should this arise.
Times, which is a system font available universally on
all computers, is a good substitute for Ogilvy Serif – the
proportions are similar, but Times takes up less space.
Arial is another universal system font that can be used
when Ogilvy Sans is unavailable. Arial takes up almost
exactly the same amount of space.
Font substitution is for general internal use in a pinch
by employees for emails, internal newsletters, internal
presentations, digital applications and other routine
concerns. For example, substitute fonts should be used
when sending a live PowerPoint or Keynote file to a client.
Another option is to save the document as a PDF which
will preserve the Ogilvy fonts. The substitute fonts are close
enough when needed. 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.
The substitute fonts are never, ever to be used for any
official marketing, investor relations, press releases, or for
anything else that anyone outside the company might see.
In other words: neither for anything of importance to the
outside world, nor for anything professionally printed.

44
V
Title
Section Nº
David Ogilvy

45
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.
V / David Ogilvy
Acceptableusageof
DavidOgilvyimagery

46
Unacceptableusageof
DavidOgilvyimagery
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.
V / David Ogilvy

47
David Ogilvy Quotes
David Ogilvy was famous for writing lists. Lists of rules,
observations and instructions, which eventually found
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
doctrine.
Excerpts from his work grew from an occasional highlight
into the bulk of our rhetoric. It became easier, and safer,
to default to a David Ogilvy quote than to come up with
something original and unfamiliar. But doing so does
not sufficiently represent the range of our people or our
creativity.
Let’s place David Ogilvy in a position appropriate to his
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
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.
The best ideas come as
jokes. Make your thinking
as funny as possible.
— David Ogilvy
1080 pixels
This example is shown 50% actual pixel size
64 pixel margin on all sides
1080
pixels
Quote is aligned left
↓
88pt type
88pt leading
Hard return
Centered in box
↑
Attribution is aligned right
V / David Ogilvy

48
Only First Class business,
and that in a First Class
way.
— David Ogilvy
We pursue knowledge the
way a pig pursues truffles.
— David Ogilvy
Encourage innovation.
Change is our lifeblood,
stagnation our death knell.
— David Ogilvy
We prefer the discipline of
knowledge to the anarchy
of ignorance.
— David Ogilvy
Our business is
infested with idiots who
try to impress by using
pretentious jargon.
— David Ogilvy
We have an infuriating
habit of divine discontent
with our performance. It is
an antidote to smugness.
— David Ogilvy
Unless your campaign
contains a Big Idea, it
will pass like a ship in
the night.
— David Ogilvy
The consumer isn’t a
moron. She is your wife.
— David Ogilvy
What you show is more
important than what
you say.
— David Ogilvy
ExamplesofDavidOgilvyQuotes
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.
V / David Ogilvy

49
Digital Communications
VI
Title
Section Nº

50
VI / Digital Communications
Email
Email Addresses
Branding new initiatives and programs with the Ogilvy name
is prohibited. Accordingly, do not invent vanity email addresses
using the Ogilvy name.
Correct Use:
Events: events@ogilvy.com
New York Office: newyorkoffice@ogilvy.com
Incorrect Use:
Events: ogilvyevents@ogilvy.com
New York Office: ogilvynewyork@ogilvy.com
Signature Content
Employee information should match that of the employee’s
business card and in the Profiler database.
URLs: Only Ogilvy-related URLs and social media handles may
be added.
Awards and Special Announcements: Offices may want to
announce awards or attach special messages (e.g., agency of the
year designations, upcoming change of office name, etc.) to every
outgoing email. These may be included in the signature, but only
as written copy (not logo art), and in alphabetical order.
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.
The logo is in a fixed position in all email signatures as shown here.
It follows the name and title, and precededs the physical address
and contact information of the individual. The size and position of
the logo (or any part of the email signature) should not be altered.
Text: The name should be set in Arial 10pt (all caps) and title in
Arial 10pt (title case) on the next line. All other information should
be set in Times New Roman 10pt without bolding , italicizing or
coloring. All text should be set in black. Do not attempt to imitate
any logo design. Lines should be short to prevent awkward line
breaks on small-screen devices.
The Ogilvy Wordmark is the only logo to appear in our signature.
Only with express permission from Worldwide Marketing and
Communications will exceptions be allowed.
Hi Tim,
Vestibulum porttitor nibh at maximus cursus. Fusce non neque lacinia,
pulvinar magna nec, auctor augue. Sed pharetra, ex quis laoreet luctus,
acinia quam scelerisque, lobortis turpis in, eros felis placerat eros, eget
aliquam sapien dolor ac lorem.
All the best,
John
T +1 646.760.0780
M +1 212.445.2789
Twitter: @Ogilvy
Facebook: @Ogilvy
Ogilvy.com
To: Tim.Johnson@Ogilvy.com
From: John.Doe@Ogilvy.com
Subject: Cannes
JOHN DOE
Creative Director
636 11th Avenue
New York, NY 10036
Arial 10pt
Times New Roman 10pt
Times New Roman 10pt

51
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.

52
Social Media
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
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.
Avatar
Specific dimensions for each profile picture and cover
photo and video sometimes change, so check the
platforms usage guidelines for the most current specs.
The full suite of Ogilvy social media graphics can be found
in the Identity Library on the Intranet.
Logos
Nomenclature
Avatar
Ogilvy
@Ogilvy
Ogilvy
Miles Young, our Non-Executive Chairman, talks about his
new book today at 6PM EST. You can watch LIVE on our
Facebook.

53
Presentations
Presentations (Keynote and PowerPoint) are among our
most widely used forms of communication. While the
content of these communications – reflecting our
knowledge, our insights, our expertise – is highly
important, almost as significant is the way we say it.
Our presentations and reports should have clarity and
logic, look good and, most important, present a cohesive,
solid identity, so as to leave the best possible impression.
Fonts and templates are available for download from the
Identity Library on the Intranet.
DIGITAL
TRANSFORMATION
CONSULTING
March 21, 2018 1 March 21, 2018
1. Who we are
2. Our point of view
3. Our approach
4. Technology services
5. Our talent
6. Our work
5
A STRATEGIC
CONSULTING PARTNER
FOR BUSINESSES
WHO WANT TO
TRANSFORM,
INNOVATE AND GROW
THROUGH DIGITAL.
March 21, 2018 7
Divine
Discontent
We challenge. We push.
And we test. Every day.
We do not fear change,
we embrace it.
March 21, 2018 17
Relentless
Curiosity
We are driven by the pursuit of
new knowledge.
We love it when we have to
invent a word fors omething.
For us, to live is to question.
We approach the new with
wonder not apprehension.
Adaptive
Connection
Everything builds. Every color
goes with every other color.
Every idea leads to other ideas.
Ogilvy changes, and is changed
by, each new employee.
Local information leads to
global wisdom.
Pervasive
Creativity
Everyone sees the same things.
But we constantly aspire to see
it differently.
To turn it around in our minds.
To recombine. To make it new.
Eternal
Craft
We are a teaching hospital.
We don’t stockpile skills and
wisdom, we share and
celebrate them. Constantly.
And through these abilities,
every opportunity transforms
into something magical.
Headcount % by geography
Ogilvy Digital
& Tech Talent
March 21, 2018 26
US &
Canada
40
Latin
America
12
Europe, Middle
East & Africa
27
Asia
Pacific
21
March 21, 2018
We help clients navigate
complex questions.
10
March 21, 2018
2. Our point
of view
22
March 21, 2018 24
DEFINING DIGITAL
TRANSFORMATION
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.

54
Publications
VII
Title
Section Nº

55
Publications
VII / Publications
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The publication of agency thought leadership is a vital
component of the Ogilvy brand and we understand that
offices have a need to publish various publications for
market-specific use. To set a standard for visual excellence
and consistency in all Ogilvy branded publications, please
download the publication templates from the Identity
Library on the Intranet.

56
Stationery System
VIII
Title
Section Nº

57
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.
VIII / Stationery System

58
Business Card
The Ogilvy Wordmark visually unifies all
Ogilvy entities, and should be on the back of
all business cards. See below examples for
information to be included on business cards.
Website URLs, social media handles, secondary
phone numbers and fax numbers are not
permitted. If your title includes a geographic
modifier, it should appear only in the title line.
Dimensions
3.5 × 2.25" / 88.9 × 57.2 mm
Scale shown
100% actual size
Paper stock
Mohawk Superfine Ultrawhite,
Eggshell 150lb cover
Type color
Pantone Cool Gray 7 U
Flood color
Ogilvy Red: Pantone 1788 U
Pantone Blue 072 U
Pantone 196 U
Pantone 585 U
JOHN DOE
ACCOUNT EXECUTIVE
636 11TH AVENUE NEW YORK NY 10036 +1.212.237
.4000
JOHN.DOE@OGILVY.COM
JANE SMITH
CHIEF OPERATING OFFICER, USA
.4000
JANE.SMITH@OGILVY.COM
4.4 mm margin
3.5 mm margin
3.5 mm margin
If your title includes a
geographic modifier,
it should appear only
in the title line.
12.7 mm margin
12.7 mm margin
7.8 mm margin
7.8 mm margin
4.4 mm margin
3.5 mm margin
3.5 mm margin

59
黃復華
客戶執行
JOHN DOE
ACCOUNT EXECUTIVE
4.4 mm margin
3.5 mm margin
3.5 mm margin
If your title includes a
geographic modifier,
it should appear only
in the title line.
12.7 mm margin
12.7 mm margin
7.8 mm margin
7.8 mm margin
4.4 mm margin
3.5 mm margin
3.5 mm margin
BusinessCard:
Non-RomanLanguage
Non-Roman characters should match closely to
the letters in the English text panel in terms of
type size, weight and alignment.
All alphanumeric characters in the foreign
language panel must be set in Ogilvy Sans.
Dimensions
3.5 × 2.25" / 88.9 × 57.2 mm
Scale shown
100% actual size
Paper stock
Eggshell 150b cover
Type color
Flood color
Pantone Blue 072 U
Pantone 196 U
Pantone 585 U
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
JOHN.DOE@OGILVY.COM
黃復華
客戶執行,台灣
JANE SMITH
CHIEF EXECUTIVE OFFICER, TAIWAN
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

60
636 11TH AVENUE NEW YORK NEW YORK 10036 +1.212.237.4000 OGILVY.COM
JANE SMITH TITLE JANE.SMITH@OGILVY.COM
Jane Smith
123 Broadway
New York, NY
10003
Dear Jane,
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
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.
Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt laut
laccus voluptatur?
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
errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
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
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 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
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,
Jane Smith
Title
Letterhead: 8.5" x 11"
Dimensions
8.5 × 11" / 215.9 × 279.4 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Type color
Logo color
Note: there is no flood color on the back
of letterhead; it should be white.
6.35 mm margin
12.8 mm logo height
32.7 mm logo width
12 mm to logo edge
18 mm from logo to bottom edge
6.35 mm margin
31.5 mm to text
6.35 mm margin
33.3 mm to text

61
6.35 mm margin
12.8 mm logo height
32.7 mm logo width
12 mm to logo edge
6.35 mm margin
6.35 mm margin
31.5 mm to text
Jane Smith
123 Broadway
New York, NY
10003
Dear Jane,
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
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.
Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt laut
laccus voluptatur?
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
errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
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 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
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?
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil molorror.
Regards,
Jane Smith
Title
6.35 mm margin
33.3 mm to text
Letterhead:8.5"x 11"
(Personalized)
Dimensions
8.5 × 11" / 215.9 × 279.4 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Type color
Logo color

62
Letterhead: A4
Dimensions
210 × 297 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Type color
Logo color
Jane Smith
123 Broadway
New York, NY
10003
Dear Jane,
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 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.
Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt
laut laccus voluptatur?
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 errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
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
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 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?
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil.
Regards,
Jane Smith
Title
6.35 mm margin
12.8 mm logo height
11.7 mm to logo edge
6.35 mm margin
32 mm to text
6.35 mm margin
33.3 mm to text
32.7 mm logo width

63
Jane Smith
123 Broadway
New York, NY
10003
Dear Jane,
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 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.
Atisima aditate pel is utest ma sum archil miligen tusciis dempore consedi cipidunt
laut laccus voluptatur?
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 errovitae venit, in esed mod modis dolupta dusantem ipsaperfe.
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
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 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?
voluptatur, sit, officto qui dia quo voluptatque nus estionsequi quibus, qui cum nescil.
Regards,
Jane Smith
Title
6.35 mm margin
12.8 mm logo height
11.7 mm to logo edge
6.35 mm margin
6.35 mm margin
32 mm to text
6.35 mm margin
33.3 mm to text
32.7 mm logo width
Letterhead:A4
(Personalized)
Dimensions
210 × 297 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Type color
Logo color

64
Standard Envelope (Exterior)
Dimensions
9 ×4.125" / 228.6 × 104.8 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Type color
Logo color
6.3 mm margin
18.3 mm margin
6.3 mm margin
11.3 mm margin

65
Standard Envelope (Interior)
Dimensions
9 ×4.125" / 228.6 × 104.8 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Flood color
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.

66
Note Card
Dimensions
3.75 × 9” / 9.5 × 22.9 mm
Scale shown
Not actual size
Paper stock
Logo color
12.7 mm margin
6.35 mm margin

67
Note Card (Back)
Dimensions
3.75 × 9” / 9.5 × 22.9 mm
Scale shown
Not actual size
Paper stock
Flood color

68
Note Card
(Personalized)
Dimensions
3.75 × 9" / 9.5 × 22.9 mm
Scale shown
Not actual size
Paper stock
Type color
Logo color
12.7 mm margin
6.35 mm margin
6.35 mm margin
6.35 mm margin
JANE SMITH
TITLE
.4000

69
NoteCard
(Personalized/Back)
Dimensions
3.75 × 9” / 9.5 × 22.9 mm
Scale shown
Not actual size
Paper stock
Flood color

70
Memo Pad
Dimensions
8.5 × 5.5” / 215.9 × 139.7 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Logo color
11.3 mm margin
8.45 mm margin

71
Memo Pad
(Personalized)
Dimensions
8.5 × 5.5” / 215.9 × 139.7 mm
Scale shown
Not actual size
Paper stock
Eggshell 80lb text
Type color
Logo color
11.3 mm margin
8.45 mm margin
6.35 mm margin
6.35 mm margin
JANE SMITH
TITLE
.4000

72
IX
Title
Section Nº

73
73
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
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.
IX / Ogilvy Branded Collateral
Pencil & Pen
Flash Drive
Tote Bag
Folder
Notebook

74
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

Ogilvy-Brand-Guidelines.pdf

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