Our brand

toolkit
The basics
Contents
The IPA Brand Manifesto 1

The importance of the brand 4

The need for brand guidelines 7

The IPA Logo

Master logos 8
Master logo versions 10
Clearspace 12
Positioning 14
Sizing 16
Misuse 18
Inititatives & Programmes 20
Partnerships 22
Sponsorships 23

Typography
Fonts 24
Type principles 26
Numbers 28

Colours
Primary palette 30
Secondary palette 32
Usage 34

Infographics
Graphs and charts 36
Tables 38

1
The most
UK agencies, and the people who work in them, deliver some of the
best advertising, media and marketing services in the world. But in
an era of unprecedented change, agencies have never been more in

important
need of an organisation that represents them, safeguarding, inspiring
and promoting their success.

tools in
That’s why they have us. We are the people behind the people who make
our industry what it is today and shape what it will become tomorrow.

our kit
The organisation that dedicates every minute of its working life to forging
a partnership with its members - the practitioners of advertising - so that
they can do what they do better, more successfully and more profitably.

Meaning that joining isn’t a duty or a philanthropic gesture towards the

The words industry they’re a part of. Being a member of the IPA makes hard-nosed
commercial sense for any agency.

that hone No one else can boost an agency’s resources with the range and quality
of services and knowledge we can put at its disposal.

and sharpen
No one else can harness the kind of collective intelligence and visionary
thought leadership that can champion industry-wide issues and change
the hearts and minds of governments and global organisations.

our purpose This is why it’s no coincidence that so many successful agencies, from
across the spectrum of disciplines, are members of the IPA.

And it’s why maintaining our relevance rests not only on what we do but
the way we present ourselves, which is why we have these guidelines.
So that we continue to be the organisation that both our members and
the industry can depend on.

The Power Behind The Practitioners

2 3
Our members
look after more
than 4300 brands
Even more reason
we look after ours
Every healthy brand needs a toolkit to make sure that all its comms
and messaging are considered, coherent and consistent, in short
that they are on-brand. But for an organisation whose members live,
breathe and build brands, it’s even more important.

Being a thought-through brand in every channel we communicate

reminds our members that we understand their business, whenever
they come into contact with us. It helps to re-affirm the central role
we have to play in their lives and in the industry’s.

That’s why if it’s important for any smart business to follow brand
guidelines, it is imperative for us. In fact, we can’t think of a better
ad for what we do than making sure we always use the toolkit.

4
 Brand
Guidelines
Ignore at
our peril
Design anarchy, that situation when each piece of collateral looks
different, doesn’t reflect well on a brand. Especially under the withering
gaze of our super brand-literate audience.

The other thing about anarchy is it’s also incredibly time-consuming.

Scratching your head and thinking of something new every time.

For these reasons, to encourage good habits, we’ve made the toolkit as
easy to use as possible. In this booklet you’ll find all you need to know
about the fundamentals of the brand, about the logo, about type and
about colour.

You can then combine this with whichever of our other booklets you
might need for your particular piece of work: stationery, advertising,
brochures, other collateral, and the writing guide.

The result: work that you can be proud of and which is unmistakably IPA.

2 7
The IPA logo:
Master logos
There are two kinds of IPA logo - with and without the Royal Charter.

The IPA master logo is a bespoke, three letter logotype.

IPA logotype
This logo should only be used for signage, and where space restrictions do
not allow room for the Royal Charter version to be used, or where overuse
of the strapline would be too repetitive, such as inside spreads of literature

IPA “Incorporated by Royal Charter” logotype

This is the master logo that should be used on all corporate stationery,
communications, advertising and collateral.

Always use the master logo artworks supplied,

and never try to recreate IPA logos yourself.

8 9
The IPA logo:
Master logo versions
IPA logotype
There are two versions of this logo
- one for use on light backgrounds, one for use on dark backgrounds.

IPA “Incorporated by Royal Charter” logotype

This is the default logo to use. There are two versions
- one for use on light backgrounds, one for use on dark backgrounds.

IPA “Incorporated by Royal Charter” logotype (Black/White)

There are two versions
- one for use on light backgrounds, one for use on dark backgrounds.

IPA “Incorporated by Royal Charter” logotype (Single Colour)

There are two versions

- one for use on light backgrounds, one for use on dark backgrounds.

IPA “Incorporated by Royal Charter” logotype (Colour Variants)

There are multiple versions of these logos, one for each colour
in the IPA colour palette, and for use on light and dark backgrounds
to be used as and when appropriate.

10 11
The IPA logo:
Clearspace

For maximum impact, our logos should always be prominent and legible.

The clearspace gives the logo enough room to make this impact,
and not be compromised by other design elements.

The cap-height and the bowl of the P in the IPA logotype is used to
define the clear space zone. No text, imagery or graphic element
should enter this space.

Wherever possible, leave more clear space than demonstrated below.

Bowl of P

Cap-height of P

12 13
The IPA logo:
Positioning

The preferred position for either of the IPA logotypes is top right.

(The dotted green line represents the margins.)

2. IPA Logo Positioned Bottom Right

There are also two other options available - top left and bottom right.
Position the right edge of the logotype A on the
right margin of the grid. The bottom of the swish
When positioned top left, the left edge of the “I” should be should be positioned on the bottom margin of
the grid.
aligned with the left margin with the swish extending over it.

When the IPA logotype is positioned bottom left, the bottom

of the swish should be aligned with the bottom margin.

14 15
The IPA logo:
Sizes

Width Measurement Width Measurement

Usage Medium Width Usage Medium Width

Business Cards 22mm Business Cards 35mm

A5 Flyer 25mm A5 Flyer 40 mm

Powerpoint 19mm Powerpoint 35mm

Our logos must feature prominently on all communications without A4 Flyer/Letterhead 30mm A4 Flyer/Letterhead 46mm
dominating the design.
A3 Poster 42mm A3 Poster 65mm
The table gives the recommended size for our logos in a range of
different applications. A2 Poster 59mm A2 Poster 92mm

Minimum Size for IPA logotype A1Poster 83mm A1 Poster 130mm

The minimum size is 8mm wide and 60px for digital use.
A0 Poster 117mm A0 Poster 183mm
Minimum Size for IPA “Incorporated by Royal Charter” logotype
The minimum size is 22mm wide and 120px for digital use. Web (Desktop) 115px Web (Desktop) 180px

16 17
The IPA logo:
Misuse

Use of Gradations Unproportionally Scaling Rotation

Never use a gradated fill on our logo. Never stretch or distort our logo in any way. Our logo should always be horizontal. Never
rotate our logo.

Colourisation Outlines Drop Shadows

Do not create new coloured versions of our Do not put a stroke or outline on our logo. Do not apply a drop shadow to our logo.
logo. Only use the master logos provided. Use an alternative logo version from our
master logo set instead.
Our logo must always be used
consistently and correctly to
provide maximum impact.

Here are nine illustrations of

incorrect ways to apply our logo.
President’s
Reception
To minimise incorrect logo use,
always use the master logo
artworks supplied, and never try Unapproved Straplines Strapline Scale Strapline Position
to recreate our logos yourself. Do not add your own straplines to our logo. Do not enlarge or shrink the strapline. Do not alter the position of the IPA strapline.

18 19
IPA Initiatives
& Programmes:
Logos New logo
coming soon
44 Club Eff Week Advertising Unlocked
The IPA 44 Club has put together a Eff Week is a collaborative programme Open House around the country
new programme of mind-expanding, committed to promoting a culture of where schools and colleges can gain
culture-shaping sessions from some effectiveness and accountability an insight into a career in advertising.
of the UK’s biggest names. in marketing from C-Suite level down.

The IPA has a range of initiatives and programmes that represent

other important activities; including our advisory services, training,
professional development and research resource.

Each of these initiatives and programmes has it’s own identity and
assets.

On the examples below that don’t feature an IPA logotype, see the
brand logo lock-ups on the following pages for guidance on how to Creative Pioneers iList Bellwether Report
Creative Pioneers is an award winning The iList is a positive, future-facing The IPA Bellwether Report is a
display the IPA logo alongside an initiative or programme logo. nationwide campaign to find the next scheme that champions people in the quarterly survey outlining companies’
generation of advertising, creative and  industry who aren’t just talking the marketing spend intentions
digital media talent. talk - they’re walking the walk to help
make equality a reality in advertising.

rc DayLite by TouchPoints
by TouchPoints

IPA Effectiveness CPD MIPA Touch Points Arc DayLite

Case studies, reports and shared Our Continuous Professional Accredited MIPA is our professional Our unique consumer-centric, cross- A useful tool that provides cover curves A TouchPoints tool that enables you to
learnings from the World’s most Development scheme encourages qualification. This is part of our continuous media, cross-device planning tool for each media using TouchPoints data understand your target audiences.
successful campaigns and brands. Agencies to provide opportunities professional development scheme. produced in response to the needs of
to employees to help build their the communications industry.
expertise and enahce their skills.

20 21
IPA Partnerships: IPA Sponsorships:
Lock-ups Hierarchy

When the IPA logo and a partner’s brand logo are on the same piece of When the IPA logo and sponsors’ brand logos are on the same piece
communication, both logos should be on the same level and at the same of communication face, the IPA logo should be at the top of the page
prominence. As logos are of all different shapes and proportions this and the sponsors’ logos at the bottom.
isn’t a precise science, and you will need to ‘balance’ the logos visually.
The sponsors logos should be in alphabetical order (unless otherwise
The IPA logo should always appear on the left of the partner logo. specified), visually proportionate, visually aligned vertically and distributed
on their horizontal centres, as per the example below.
Always adhere to our logo clear space zone (demonstrated in the
examples below with the green dotted line). The relevant descriptor (e.g. “Sponsored by”) should be in Raleway
Bold and in a proportionate size to work with the logo(s) in question.
Remember that other logos will probably have brand guidelines too.

Sponsored by

22 23
Typography:
Fonts

Raleway Light
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ

Raleway Light Italic

We use one font - Raleway - in two weights - Light and Bold. There are
italisiced versions of both too.
abcdefghijklmnopqrstuvwxyz
Raleway Light should be used for all body copy.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
Raleway Light Italic should be used for pull-out quotes and within the
copy for the titles of books, films, etc. Raleway Bold
Raleway Bold should be used for headings and subheadings.
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
Raleway has many other weights - Thin, ExtraLight, Regular, Medium,
SemiBold, Extra Bold and Heavy - however we do not use them, with
one exception.. That exception is Raleway Regular which can be used
when reversing text at small sizes due to text filling in when printed.
Raleway Bold Italic
Raleway is loaded in all IPA computers and is available for use online
abcdefghijklmnopqrstuvwxyz
via Google webfonts. See https://fonts.google.com/specimen/Raleway ABCDEFGHIJKLMNOPQRSTUVWXYZ
24 25
Typography: Tracking and Kerning
The tracking on headlines and subheads and copy should all be set

Type principles to -10 and the kerning set to “Optical”. Additonal individual kerning
between letters may be required.

Leading
For headlines the leading should never be greater than the type size
and should be kept as tight as possible to ensure a compact look. For
9.5pt subheads and copy use 12pt leading and for 11pt subheads and
copy use 14pt leading.

Ranging
Headlines and copy should always be set “range left - ragged right”
Here are some principles to guide you in your IPA typographic layouts.
Minimum Type Sizes
Headlines For copy do not use sizes smaller than 8pt. The minimum size for
Headlines are set in Raleway Bold, using sentence case. They should purposes such as legal text is 6pt. Headlines should be at least double
be written in two parts - the first part in black, the second in a colour the size of your copy (for example, with .9.5pt text your heading should
from the IPA Colour Palette. Full stops should never be used. Commas be at least 19pt).
should be avoided if at all possible by using the change in colour
between the two parts to do the job of the comma. Colouring type
Headlines or subheadings should be coloured using a colour from
Subheads the IPA Colour Palette. Copy should be set in black or reversed out of
Subheads are set in Raleway Bold, using sentence case and should be a background colour. However one can use an IPA colour to highlight
in the same colour as the headline on that page.. There shouldn’t be a certain word or phrase within the copy, or for quotes. In most
any paragraph spacing between the subhead and the first line of copy. circumstances there should only ever be three colours on any page -
Subheadings should be kept the same size as the copy. black, white and one other.

Copy Lists
Copy is set in Raleway Light.. When making a list use bullet points.

Highlighting text Hyphenation

Use Raleway Bold in the same colour as the copy. Words should never be allowed to cross onto a second line. On InDesign
you can turn off automatic hyphenation by clicking on the “Paragraph
Line breaks Formatting Controls” in the top control bar and unchecking the “Hyphenate”
Use considerd line breaks that work with the meaning of the words. option two thirds of the way along it.

26 27
Typography: How to change non-lining numerals into a lining ones in Photoshop

1 Click on “Type” in the menu bar at the top of screen

Numbers 2 From the dropdown select “Panels” and then “Glyphs panel”
3 The Glyphs palette should now be on screen
4 In the “Show” dropdown select “Lining Figures”
Raleway has two sets of numerals - lining and non-lining.
5 Highlight a number in your document and then click on the lining
Lining numerals equivalent in the Glyphs panel and the numeral in the document
will change to the lining version

0123456789 3

Non-lining numerals

0123456789 5

The term non-lining is used because, unlike lining numerals, they do

not all line up on the baseline.
How to change non-lining numerals into a lining ones in Illustrator
In the Raleway font, Adobe InDesign uses non-lining numerals as the
default. However the IPA uses only lining numerals, so you will need 1 Click on “Window” in the menu
to change any numbers from non-lining to lining. bar at the top of screen

How to change non-lining numerals into lining ones in InDesign 2 From the dropdown select
Highlight the text containing the numbers, and on the right hand side “Type” and then “OpenType”
of the top bar you’ll see an icon of three horizontal bars (underneath 3 In the “Figure” dropdown select
one of a gear cog). Click on it and the first item on the drop down is “Tabular Lining”
“Open Type”. Hover over that and on the menu that appears tick the
“Tabular Lining” option and the numbers will change to lining ones.

28 29
Colour: White
CMYK: 0/0/0/0

Primary palette
RGB: 255/255/255
#FFFFFF

Colour plays a vital role in helping to create a unique

and distinctive look for our communications.

IPA Green
CMYK: 84/0/56/0
RGB: 0/166/139
Hex: #00a68b

Black
CMYK: 0/0/0/100
RGB: 0/0/0
Hex: #000000

30 31
 IPA Gold 0/9/50/24 209/190/126 #d1be7e

Colour: IPA Blue 74/47/30/5 80/118/147 #507693

Secondary palette IPA New Purple 71/69/14/1 101/90/149 #655a95

IPA Purple 57/93/6/0 136/48/132 #883084

IPA Violet 83/76/25/9 72/71/122 #48477a

Our secondary colour palette compliments our primary palette

IPA Brown 32/69/62/16 163/90/81 #a35a51
by introducing thirteen additional colours.

IPA Red 4/85/70/0 226/66/67 #e24243

IPA Orange 3/57/99/0 236/130/6 #ec8206

IPA Yellow 1/12/98/0 255/217/0 #ffd900

IPA Light Blue 83/35/10/0 0/133/188 #0085bc

IPA Dark Green 86/33/65/17 19/114/96 #137260

IPA Mid Green 64/3/90/0 105/177/68 #69b144

IPA Light Green 29/0/100/0 202/212/0 #cad400

IPA Grey One 0/0/0/85 74/74/73 #4a4a49

There are also four tints of grey to be used in graphics.

IPA Grey Two 0/0/0/50 157/157/156 #9d9d9c

IPA Grey Three 0/0/0/20 218/218/218 #dadada

32 IPA Grey Four 0/0/0/5 246/246/246 #f6f6f6

Colour:
Usage

There should
only be one
Black, colour on
white
and one
a front cover
colour
on an ad Plus black
and white
Colour should be used sparingly,

On advertising and collateral front Ours isn’t a one-size-fits-all industry. That’s why we have full membership for established agencies; run a scheme
especially for start-ups and ambitious small agencies (IPA Accelerator) to kick start their growth; and offer personal

covers only one colour, plus black membership (MIPA) to everyone who realises the value of professional accreditation on a CV, whatever branch of
marketing services they work in. Whoever you are, there’s an IPA for you. Find out more at ipa.co.uk/membership

and white, should be used.

34 35
31
Infographics:
Graphs and charts

60+65+100+80+95 10+30255045406065+406080100+30556580+60758595
40+30+1020A 10+25+45+60+30405565+406080100+30556580+60758595 6075+ 6585+10090+ 8040+9565
Graphs and charts should be kept simple and clean to bring clarity
and insight to a subject, and to add visual interest to documents.

Try keep to one colour from

the IPA Colour Palette, using

40+30+1020A
various tints to create very
simple but effective charts.

190+60+110+80+185=
If you use more than one
colour, try to use colours
that go well together.

36 37
Infographics:
Tables

Tables should be clear, simple and legible. Column 1 Column 2 Column 3

Row 1 Info Info Info

You should only use lines between the rows as the columns should be
well spaced out enough to not need them. Row 2 Info Info Info

Lines and shaded areas can be coloured using any colour from the IPA Row 3 Info Info Info
colour palette but only use one colour at a time.
Row 4 Info Info Info

Row 5 Info Info Info

Row 6 Info Info Info

Column 1 Column 2 Column 3 Column 1 Column 2 Column 3

Row 1 Info Info Info Row 1 Info Info Info

Row 2 Info Info Info Row 2 Info Info Info

Row 3 Info Info Info Row 3 Info Info Info

Row 4 Info Info Info Row 4 Info Info Info

Row 5 Info Info Info Row 5 Info Info Info

Row 6 Info Info Info Row 6 Info Info Info

38 39
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