Logo

Optical kerning, refined weight, and defined clear space, as well as well delineated placement in relation to other content all help to make it as instantly recognizable as possible at all sizes and in all contexts.

Logo

Construction

Our logo is based on simple shapes. It is carefully constructed to maintain ownable characteristics while allowing for perfect legibility at any size on any application. The dynamic space between the U and the B is made possible by our kickstand U that has a vertical stroke descending from the right side.

Clearspace

Clearspace around the logo is equal to the cap height of the U.

Clearspace exceptions

The logo placement depends on the type of communication and use.

App icons

Signage with limited space

Tradedress

Social icon

Color & scale

Logo should be white on darker backgrounds and black on lighter backgrounds.

Scale

Our logo is designed to scale to small sizes on print and screen.
 Smallest size: 18 pixels wide/0.25 inch wide/0.635 centimeter wide.

Placement

The logo placement depends on the type of communication 
and use.

Bottom Left

General communications that includes text, logo should be placed bottom left of composition.

Partnerships

Aligning partnership logos should follow clear space rules. 
The separating line between logos can be created either by 
the vertical line glyph in the Uber Move Display Light at the same size as the logo.

Align partnership logos with product lockups by following same rules as brand partnerships.

Vertical Lockup
Horizontal Lockup

Social icons

App icons are individually designed based on specifications.
 They are an exception to the clearspace guidelines and are sized optically to best fit each shape.

Social icon construction

Align the logo center vertically and horizontally of the icon shape. Use half a horizontal U as the padding to the left and right edge of the icon shape.

Typeface as logo

The medium weight of Uber Move is the same weight as the logo however our logo has been optically kerned. 

When a headline uses the word Uber, make sure to use the logo from the glyph pallet. If a logo is present outside of the headline, follow headline to logo sizing rules from the typography section of this document.

If space does not permit the logo and the headline to be present, the logo in the headline can act as the logo.

Logo guidance

Use the Uber glyph, don’t type out Uber in other weights.

Don’t stretch or manipulate the logo.

Don’t pair the logo with marks that may be confused as logos.

Don’t type out Uber in all caps or no caps.

Restricting use to only black or white affords us the highest contrast ratio, aiding accessibility.

Don’t type out Uber in any other fonts.

Logo Applications

Localization

In some regions you will encounter languages that read right 
to left. Our system accommodates this.

Left to right
Right to left
Left to right
Right to left

Logo Summary

01

Simplicity rules

02

Consistent experience

03

Embrace the power of black & white

Brand Architecture

From sub-brands to internal teams and products to programs, we build trust and equity into the Uber brand through a simplified architecture focused on consistency and efficiency.

Visual Hierarchy

There are three different styles to build lockups for sub-brands, organizational brands, programs, products, teams, events, and campaigns.

Primary Lockup

The primary lockup pairs Uber Move Display Medium with our logo, which is also written in Uber Move Display Medium.

Used by Sub-brands and Organizational brands.

Secondary Lockup

The secondary lockup pairs the Uber logo with Uber Move Display Light.

Used by Programs and by Products and Services.

No lockup

In some cases, there is no need for the Uber logo. This is either because the brand will mostly appear internally (teams) or in a situation where the Uber logo will appear independently of the brand (e.g. campaigns, events). By removing the Uber logo from this type of lockup, we avoid duplication and over-saturation in most cases. The name of the team, event, or campaign is set in Uber Move Display Medium.

Used by Internal Teams.

Sub-brands

Sub-brands are the distinct lines of business that service the needs of unique audiences.

Criteria
  1. Unique entry point and customer workflow (i.e. standalone app)

  2. Gross bookings > $50M or ELT approval

Vertical Lockup
Horizontal Lockup

Organizational brands

Organizational brands are teams within Uber that have built an external-facing brand. (e.g. innovative fields of study, specialized disciplines, or unique communities within our organization).

Criteria
  1. Provides positive equity to the master brands; and

  2. At least $2M committed to branding annually; and

  3. Significant external presence (at least 3 major conferences per year); and

  4. Brand + ELT approval

Vertical Lockup
Horizontal Lockup

Programs

A collection of features that collectively provide a distinct opportunity.

Criteria
  1. Unique customer experience

  2. Spans across products

  3. Long-term, ongoing initiative

Vertical Lockup
Horizontal Lockup

Products

The entry point for the offering and the option available.

Criteria
  1. Distinct audience and feature set; and

  2. Gross bookings > $10M or Approved by sub-brand manager

Internal Teams

A non public-facing team name.

Partnerships

Aligning partnership logos should follow clear space rules. 
The separating line between logos can be created either by 
the vertical line glyph in the Uber Move Display Light at the same size as the logo.

Align partnership logos with product lockups by following same rules as brand partnerships.

Vertical Lockup
Horizontal Lockup

Names in copy

It’s important to have a clear distinction between what is a lockup and what is information or copy.

When referring to a product or program name within a block of copy, write the name with spacing rules applied but keep the text weight consistent with the copy style. Do not use the lockup (which changes text weight) in headline or body copy.

Brand Architecture Guidance

Don’t pair Medium and Bold weights.

Don’t create icons, symbols or pair any other iconography with the logo.

Restricting use to only black or white affords us the highest contrast ratio, aiding accessibility.

Don’t pair Medium and Regular weights.

If your name is not an acronym, use title case, never all caps. If your name is not an acronym, use title case, never all caps.

The lockup should stay the same size as the logo.

Don't add a prefix or suffix to our name (unless it's an official product name)

Applications

Brand Architecture Summary

01

We are one Uber

02

Build trust through consistency

Color

Our colors take advantage of our existing strong—and globally positive—association with black. 

A shift to more white and a manageable range of distinctive secondary and tertiary colors, lets our premium black continue to work for us while letting us embrace a lighter feel. We also have a distinctive blue to add tight focus on important moments.

Primary Brand Colors

Our primary brand colors are white and black. They are used to provide accessibility, simplicity, and consistency throughout all brand communications.

White

RGB — 255 255 255

CMYK — 0 0 0 0

HEX — FFFFFF

PMS — White

Black

RGB — 0 0 0

CMYK — 70 35 40 100

HEX — 000000

PMS — Black 6 C

Safety Color

Safety blue is an important color that is unique to Uber and should be used sparingly for moments of support, assurance, and delight at moments of interaction between a user and the brand.

Safety Blue

RGB — 39 110 241

CMYK - 84 54 0 0

HEX - 276EF1

PMS - 2174 C, 3005 U

Secondary Colors

Our secondary colors pull from the colors of transportation. They should be used sparingly throughout illustration, photography, and product in order to maintain meaning and potency.

Uber Green

RGB - 71 179 117
CMYK - 93 0 63 0
HEX - 47B275
PMS — 2416 C, 3405 U

Uber Yellow

RGB - 255 192 67
CMYK - 0 21 76 0
HEX - FFC043
PMS — 135 C, 121 U

Uber Red

RBG - 230 76 53
CMYK - 0 82 80 0
HEX - F25138
PMS — 7417 C, 2347 U

Uber Brown

RGB - 153 00 77
CMYK - 13 56 61 82
HEX - 99644C
PMS — 7525 C, 2021 U

Uber Orange

RGB - 255 125 73
CMYK - 0 64 75 0
HEX - FF7D49
PMS — 164 C, 2018 U

Uber Purple

RGB - 115 86 191
CMYK - 80 74 0 0
HEX - 7356BF
PMS — 2102 C, 2098 U

Usage Proportions

It is important to follow the rules of these proportions when creating any brand communication  in order to maintain brand consistency and remain accessible for all people. White plays a very important role in all brand communications and should provide balance with black. Safety Blue is only used for critical moments that warrant care between Uber and the user. The secondary colors are only used reasonably for illustrations and within product.

Primary Colors
Safety Color
Secondary Colors

Specialty Colors

The specialty colors are designated only for illustrations that require tone-on-tone pairings and product designs that require variations of tone and opacity.

HEX — 1C472F

HEX — 2B6B46

HEX - 368759

HEX - BCE5C0

HEX - DFF7E6

HEX - 664D1B

HEX - 997328

HEX - C29233

HEX - FFE1A8

HEX - FFF5E6

HEX - 612016

HEX - 913122

HEX - B83E2B

HEX - FC8484

HEX - FFE7F7

HEX - 3D281E

HEX - 5C3C2E

HEX - 744C3A

HEX - C78982

HEX - F2D8D8

HEX - 66321D

HEX - 994B2C

HEX - C25F37

HEX - FFAFA1

HEX - FFE2E0

HEX - 2E224C

HEX - 453473

HEX - 574191

HEX - AE9EFF

HEX - EADFFF

HEX - 263139

HEX - 4E545B

HEX - 77797A

HEX - AFAFAF

HEX - CBCBCB

HEX - E2E2E2

HEX - EEEEEE

HEX - F6F6F6

Color Guidance

Improper use of Safety Blue (U-frame compositions)

Color effects or creating new colors

Do not cover surfaces with Safety Blue

Using too many secondary colors (in one composition)

Wrong color proportions

Text should never be colored

Color Applications

Ways to incorporate color
Color in photography
Color in illustration
Typographic compositions
Action:

The use of color depends on the communication.

Primary brand colors + Safety Blue

Primary brand colors + Safety Blue

Primary brand colors + Secondary colors + Safety Blue

Safety:

The use of Safety Blue depends on the communication.

Physical

Primary brand colors + Safety Blue

Product

Primary brand colors + Safety Blue

Illustration

Primary brand colors + Secondary colors + Safety Blue

Product

(Illustrative purposes only)

Safety toolkit

Ride check

Share your location

911 assistance

Safety Onboarding

Color Summary

01

Embrace the power of black and white

02

A little blue goes a long way

03

Bring in color through imagery

04

Our secondary colors should be used sparingly

Composition

Our composition system is elegant in its sheer simplicity 
of use—plus, it creates a subtle “U” wherever it appears. By defining the grid based on the logo (and exploring how columns scale across different sized compositions), the system stays flexible and beyond easy to apply. We’ve looked at different frame variants, how type works in different layouts, and are wire-framing our dynamic composition 
web tool to prepare for the initial build.

Elements
Layout and U-frame
Grid guidance
Text and logo
Examples
Our composition story

The U-frame was conceived by extending the bit up which allows the negative space to create a supportive U-frame.

The bit
U
U, optimized for content
The U-frame

The U-frame

Uber Move (our typeface) — 4 weights
Light
Regular
Medium
Bold
U-frame — 3 weights

There is no light U-frame in the brand system

Regular
Medium
Bold
Compositional spectrum

No U-frame, no logo (full-bleed)

No U-frame (full-bleed)

Regular U-frame

Medium U-frame

Bold U-frame populated

Bold U-frame

U-frame guidance
Format

If your composition is very tall and skinny or very short and wide (like some banner ads), the U-frame will not work. The more real estate you have to play with, the more successful 
the U-frame will be.

01
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Layout

Layout variations

We have four frame variants. Content and format dictates the which layout to use.

1. Bold U-frame
2. Medium U-frame
3. Regular U-frame
4. Full-bleed composition
Exceptional circumstances

In extreme instances when the formats are extended across print and digital applications use these frame variants.

5a. Split left
5b. Split right
6a. Extended U-frame left
6b. Extended U-frame right

Grid Setup

Column breakdown
3 Column
4-Column
6-Column
9-Column
12-Column

Banner ad

No U-frame (full-bleed)
For grid setup refer to page

Base unit = 1U

Regular U-frame
Basic grid + 2× base unit padding—
For grid setup refer to page

Base unit = 1U

Regular U-frame = 2U

Medium U-frame
Basic grid + 3× base unit padding—
For grid setup refer to page

Base unit = 1U

Medium U-frame = 3U

Bold U-frame
Basic grid + 4x base unit padding—
For grid setup refer to page

Base unit = 1U

Bold U-frame = 4U

Full-bleed grid setup
1. Define columns

Based on the column breakdown, determine the number of columns that makes the most sense for your composition. For a 16:9 presentation format, 
a 9-column grid works best.

2. Define margins

Once the columns are established, divide the width of one column into three even parts. 1/3 of the column width = margin and base unit width

3. Equal margins on all sides

Apply the 1/3-column margin to the top, right, bottom, and left of the composition.

4. Define gutters

Once the margins are established, divide the width of the margin into two even parts. 1/2 of the margin width = the gutter width.

5. Apply gutters

The gutter width should be consistent across the composition

6. Define rows (optional)

Adjust the baseline grid in InDesign. The grid should be relative to margin top and the increment should match the leading of smallest type in composition (if contains 12/14 pt type, baseline grid should start at top margin and have gridline each 14 pts).

7. Complete composition

Logo height = base unit height, headline cap height = 1.5× base unit height, and the subhead = 1/2 of the headline point size.

Regular U-frame setup
1. Start with basic frame setup

Refer to page

2. Define base unit (margin width)

The base unit = the basic grid margin width

3. Define inner frame margin (3× base unit)

Multiply the base unit width by 3

4. Apply new margin (right, bottom, and left)

Apply the 3× margin width to the right, bottom, and lefthand sides of your composition. Do not adjust the top margin.

5. Establish content padding (1x base unit)

Once the new margins are established, create content padding by adding one base unit of padding to the outside of the margins on the right, bottom, and lefthand sides of your composition

6. Apply content padding

The padding should be even on all sides

7. Fill U-frame and inset
8. Complete composition

Logo height = base unit height, headline cap 
height = 1.5× base unit height, and the subhead 
= 1/2 of the headline point size.

Medium U-frame setup
1. Start with basic frame setup

Refer to page

2. Define base unit (margin width)

The base unit = the basic grid margin width

3. Define inner frame margin (4× base unit)

Multiply the base unit width by 4

4. Apply new margin (right, bottom, and left)

Apply the 4× margin width to the right, bottom, and lefthand sides of your composition. Do not adjust the top margin.

5. Establish content padding (1x base unit)

Once the new margins are established, create content padding by adding one base unit of padding to the outside of the margins on the right, bottom, and lefthand sides of your composition

6. Apply content padding

The padding should be even on all sides

7. Fill U-frame and inset
8. Complete composition

Logo height = base unit height, headline cap 
height = 1.5× base unit height, and the subhead 
= 1/2 of the headline point size.

Bold U-frame setup
1. Start with basic frame setup

Refer to page

2. Define base unit (margin width)

The base unit = the basic grid margin width

3. Define inner frame margin (5× base unit)

Multiply the base unit width by 5

4. Apply new margin (right, bottom, and left)

Apply the 5× margin width to the right, bottom, and lefthand sides of your composition. Do not adjust the top margin.

5. Establish content padding (1x base unit)

Once the new margins are established, create content padding by adding one base unit of padding to the outside of the margins on the right, bottom, and lefthand sides of your composition

6. Apply content padding

The padding should be even on all sides

7. Fill U-frame and inset

Refer to page XX for additional guidance

8. Complete composition

Logo height = base unit height, headline cap 
height = 1.5× base unit height, and the subhead 
= 1/2 of the headline point size.

Split frame setup
1. Define columns

Based on the column breakdown, determine the number of columns that makes the most sense for your composition. For a 16:9 presentation format, 
a 9-column grid works best.

2. Define margins

Once the columns are established, divide the width of one column into three even parts. 1/3 of the column width = the margin width.

3. Equal margins on all sides

Apply the 1/3 column margin to the top, right, bottom, and left of the composition.

4. Define gutters

The margin width is your new gutter width

5. Apply gutters

The gutter width should be consistent across the composition.

3. Snap image block to left or right margin

Apply the 1/2 margin gutters to the composition. The gutter width should be consistent across the composition

7. Complete composition

Obey the margins and gutters when placing text into the composition. The logo should snap to the margin (as it does with the basic grid)

Complete Composition Cont'd

Logo height = base unit height, headline cap 
height = 1.5× base unit height, and the subhead 
= 1/2 of the headline point size.

Extended U-frame setup
1. Start with Regular U-frame setup

Do not use the Medium or Bold U-Frame an extended U-frame composition

2. Establish new gutter width (1× base unit)

The gutters should be the same width as the margins

3. Snap image block to left or right margin

The image block an sit on either the left of the righthand side, but should snap to the Regular U-frame grid margins. Obey the margins and gutters when placing text into the composition

4. Complete composition

The logo should snap to the bottom of the image block (not the inset margin)

Complete Composition Cont'd

Logo height = base unit height, headline cap 
height = 1.5× base unit height, and the subhead 
= 1/2 of the headline point size.

Composition Guidance

Image on image

Image on image compositions are designed to tell deeper visual stories. Imagery used in the U-frame should be simple and never complex or distracting. Background images should be textural to allow the image in the frame to pop.

A -> B

Telling stories of someone’s journey from one place to another

Different perspectives

Showing different perspectives or directions of the same event

Origin stories

Giving textural reference to someone’s place of origin

Image on image guidance

Composing complex images together

Using the same image for both U-frame and inset

Connecting images that don’t match or are not associated with each other

Color in both images are similar so the U-frame becomes undistinguishable

Crop important elements in the image that should be shown or use image for U-frame that should be inset

Similar images that don’t demonstrate a strong enough story to use image on image compositions

Composition overview
Bold U-frame
Medium U-frame
Regular U-frame
Split U-frame
Full Bleed U-frame
Composition guidance

Avoid using the U-frame in contexts without sufficient contrast

Do not rotate the U-frame (it will not longer resemble a U)

Do not round the corners of the U-frame

Do not create uneven U-frames, at least two sides must be equal. (The partial U-frame is the exception to this rule)

Do not use multiple U-frames within a composition

Do not add special effects to the U-frame

Do not break the U-frame

Do not use the U-frame if full-bleed is not possible

Composition Applications

Banner ad

Composition Summary

01

Content dictates the format

02

Don’t force the U-frame

03

Reserve U-frames for key moments

Iconography

Our iconography is connected to our typography at a fundamental level to maximize recognition and ownability.

Icons and their usage principles were designed to communicate quickly and effectively across all touchpoints (from product to environment to marketing).

Taxonomy
System icons
Dimensional icons
Badges

System icons

Our icon system is inspired by transportation iconography. It aims to be bold, communicative, and hard working. Each icon has an outline and fill version. Filled versions work well at small sizes in product while the outlined version works better in signage 
and marketing.

Move
Home
Wifi
Rider
Phone
Signature
Settings
History
Star
Airport
Work
Vehicle
Location
Notification
Stop Left
Contact
Camera
WAV
Arrive
Clock
Bus
Exit
Driver
Ferry
ID Check
Filter
Stadium
Photo Gallery
Shopping Cart
Clear Day
Report
Globe
Cafe
Schedule
Person Add
Accident

Construction

All icons should be drawn on a 24x24px grid frame, with a 3px stroke width for outlines. Each frame includes keylines and a one pixel padding on all sides as guidance. However, it’s acceptable to go beyond the padding or off the key lines if doing 
so improves the optical balance of the icon.

Filled icon

24 x 24 grid

Linear icon

24 x 24 grid

Container

In cases where the icon is contained inside 
a circle, the diameter of the circle can be determined by doubling the width of the icon. Icons should be optically centered within the container.

Filled icon

2x (48x48 grid)

Linear Icon

2x (48x48 grid)

Dimensional icons

Dimensional icons are based on our system 
icon language, specifically designed for usage 
in cases such as VR and AR.

System icon
Skewed icon

Icon should be skewed based on the perspective of the generated environments

Dimensional icon

Dimensional icons should still feel graphic without skeuomorphic properties, using solid colors to differentiate the surfaces

Iconography applications

Iconography in marketing
Banner
Billboard
Web
Iconography in product
App
Notification and activity logs

Iconography Summary

01

Our icons are inspired by transportation

02

Iconography is functional and expressive

03

Build equity in the arrow

Illustration

Our illustration style builds off the simple shapes of our logo and the transportation language background of our typeface.

Simple shapes, clean lines, limited color, and heightened reality give our illustration a branded feel and make it easy to digest and understand at a glance.

Principles

Hyper efficient

Do more with less by creating uncomplicated compositions

Easy to understand

Educating through bold telegraphic images

Inspiring through metaphor

Embracing magical realism to create compelling images

Construction

Geometric construction

Illustrations are constructed using basic geometric shapes 

Use of white and negative space

White is used strategically to allow more interplay between foreground and background

Types

Hero illustration

Used in high impact moments, and can be used 
as background with overlaid copy.

Spot illustration

Used in smaller moments, usually paired with copy 
as visual aidso that the content can be easily understood.

Badges

Badges are quick-read / literal illustrations focusing on one 
main idea. They are primarily optimized for email at 88x88px

Composition

Activates negative space
Pulls the eye to a central focus

Color Palettes

Specialty Colors

The specialty colors are designed only for illustrations that require tone-on-tone pairings and product designs that require variations of tone and opacity.

HEX - 276EF1

HEX - 5290FF

HEX - 71A4FF

HEX - 9CC0FF

HEX - C6DAFF

HEX - E9F1FF

HEX - F3F8FF

HEX - 47B275

HEX - BCE5C0

HEX - DFF7E6

HEX - FFC043

HEX - FFE1A8

HEX - FFF5E6

HEX - F25138

HEX - FC8484

HEX - FFE7F7

HEX - 99644C

HEX - C78982

HEX - F2D8D8

HEX - FF7D49

HEX - FFAFA1

HEX - FFE2E0

HEX - 2E224C

HEX - AE9EFF

HEX - EADFFF

HEX - AFAFAF

HEX - CBCBCB

HEX - E2E2E2

HEX - EEEEEE

HEX - F6F6F6

Color Palettes
Warm 01
Warm 02
Cool 01
Cool 02
Blue
Color Palettes in Use
Warm
Cool
Safety Blue

Blue should be used to highlight key elements of safety

Less blue is needed if white is dominant in the composition

More blue is needed to offset other colors in a composition

Illustration Guidance

Do not use strokes

Do not use gradients

Do not use more than three colors in a single composition

Do not mix color palettes

Do not overuse black

Do not use blend mode or transparencies

Illustration Applications

Driver Guide
Email
Product

Illustration Summary

01

Simple, bold, and telegraphic

02

Use of white for dynamic compositions

03

Use of blue in safety moments

Motion

Our motion system expresses the simple, easy movement our company makes possible. By building out a broadcast package and looking at key motion states within the product, we’re laddering both of them up to one set of motion principles and base motion states with the goal of creating a completely own-able motion system.

Elements

Parrallax

Elements in our motion system use parallax to create an added interest and a feeling of fluidity.

Buffer

A buffer can be added between footage if padding between images is needed

Forward and reverse

Transitions can be used forward or reverse depending on the desired effect.

Motion grid

The 16×9 motion grid is based on an 8 column grid that removes columns as the frame border expands.

States

Base states

These base states give an overview of the different types of movement in our system.

Scale
Tween
Zoom
Move
Wipe
Linear
Draw on
Multiply
Combining motion states

Motion states can be combined to create compound motion states that take on 
the qualities of two different base motion states. Animation should not combine 
more than two motion states.

Scale
Linear
Scale + Linear

Typography in motion

Typography slit

One of the primary ways type comes into our system is moving up behind a mask. This upward movement should feel fast 
and fluid.

Title card
Single line
Multi-line
Typography glide

Type gliding into frame is another useful type animation behavior. Movement should feel efficient and smooth.

Title card
Single line
Multi-line
Typography scale

Type can scale in and scale out of frame. Since this such a large motion, it is not fit 
for multiple lines.

Title card
Single line

Transitions

Transitions are to be used to move between footage. 
They are designed to be fast and efficient. Each transition is .5 sec

01
 / 
00
U-frame transitions

Frame transitions should be used to move between 
footage in branded moments. Each transition is .5 sec

01
 / 
00

Title cards

Text and video animate in unison in title cards. 
The text should be bold and telegraphic. Each transition is .5 sec

01
02
03
04

Supers

Single line supers

Single line supers allow for more copy on screen. 
The copy should be left on screen with enough 
time to be read easily. Each transition is .5 sec

01
02
03
04
Multi-line supers

Multi-line supers allow for added copy on screen. 
These animations should involve less movement so 
the copy feels readable. Each transition is .5 sec

01
02
03
04

Lower thirds

We have three variations in lower thirds. Left, bottom 
and frame. Different lower thirds treatments should 
not be used within one piece.

Left
Bottom
Frame

End cards

We have four end card treatments to be used based 
on needs and the amount of time available. The write on animation is to be use in select instances.

Click on
Frame
Slit
Write on

Motion Applications

Broadcast toolkit

Our broadcast toolkit is designed to give basic 
guidance to different motion elements.

Transitions
Title cards
Supers
Lower thirds
End cards
Logos
Arrow animation

Our arrow is an important part of the brand system. 
When animated it can help tell stories in interesting ways.

Arrow
Arrow + type
Arrow + type + image

Motion Summary

01

Our motion system expresses the simple, easy movement our company makes possible

Photography

Our photography inspires our audience of young and old, rich and poor, customers and partners, local and global.  Clarification of how Uber works is unnecessary. We build on how it feels to move from motivation at point A to the emotional payoff arriving at point B.

How we express the brand in photography
Interactions

Express Movement

Compositions

Open with negative space

Casting

People are relatable

Lighting and color

Appears natural

Locations

Simplified while showing local character

Interactions

Goal: Capture and showcase how movement connects people, places and communities.

  1. Subjects are in lively moments full of energy and conveying a positive emotional impact

  2. Individuals or groups of people should feel ‘caught in the moment’ and unaware of the camera, as if the viewer is unobtrusively brought in to an intimate moment

  3. Settings aren’t just backdrops, subjects interact with their environment (i.e. buying ice cream from a local vendor, checking out street murals, participating in public activity)

  4. Highlight how Uber brings people together, enhancing community and the vibrant, shared life within cities

  5. Motion should further the plotline

  6. No forced or posed-looking expressions or actions

Express movement

Composition

Goal: Bold use of open space allows for an inviting expression of optimism.

  1. Use of negative space in the image moves the eye quickly to the main focus

  2. Include negative space around the subject to allow for the placement of additional design elements such as typography

  3. Note that rule of thirds or leading line compositions can be great ways to create open space

  4. Highlight the subject and the activity, movement, connection they are experiencing by keeping composition simple.

  5. Coordinate locations, backgrounds, and wardrobe to establish a visual simplicity

  6. Simplify the scene rather than overusing shallow depth of field

Open with negative space

Casting

Goal: Feature a wide range of people (age, race, gender, sexual orientation, ability, class, body type, etc.) that reflect our broad audience of riders and drivers around the world.

  1. Subjects are not intended to look like professional models

  2. Subjects are ideally real drivers, riders, and employees. If none can be found, cast models that look like real riders, drivers, and employees

  3. Dress, hair, and makeup should all feel authentic to the subject’s area and itself reflect diversity the area’s diversity

  4. Cast people with expressive and outgoing personalities

People are relatable

Lighting & Color

Goal: Create an inviting and relatable feel with realistic lighting and color.

  1. Lighting appears like natural light

  2. No harsh highlights or shadows, particularly  on people’s faces

  3. Images have high dynamic range—highlights and shadows hold shape and detail; skys, tree edges, etc. are not blown out; images hold an edge if placed on white

  4. Images should look naturally white balanced, not stylized

  5. Wardrobe and location support simple and vibrant use of color on people and vehicles to draw the eye to the main focus

  6. Don’t count on post-processing to add or enhance color, include pops of color in planning photos

  7. Neither lighting nor color processing are overly low-key, overly dramatic, or create a negative association

Appears natural

Locations

Goal: Capture our global presence and localized nature by zeroing in on colorful, simple, eye-catching locations.

  1. Select locations for unique appearance, character, and feel—background colors are a plus. Yet locations do not need to be identifiable, and may seem familiar to people from a range of places (i.e. Milan can look like Madrid, but Toronto shouldn’t look like a generic urbanscape)

  2. Do not include monuments that a tourist would pose in front of

  3. Reflect connection to urban mobility

  4. Scenes should capture the least amount of elements to convey the story

  5. Avoid cluttered or visually busy elements that distract from the subject

  6. Subjects should be engaging with their environment, not just posing in front of it

  7. Avoid single people in an empty landscape, unless warranted by a specific story

Simplified local character

Shot List

This is a rough breakdown of the types of shots that should be captured when creating a shot list for a shoot.

Hero 20%

Hero shots focus on the main person or product from the story and are shot in context, not in studio.

Lifestyle 50%

We focus on the opportunities and the connections people make, instead of showcasing the literal journey from point A to B.

Lifestyle w/ product 10%

When product is included it should take up 20% or less of the space of the total composition.

Textural 20%

These are abstract images that supplement the overall story. The goal is to provide an alternative viewpoint to expand on the main story.

Photography Guidance

Things to avoid:

  1. Shooting from extreme or unnatural angles--eye level is good.

  2. Blown out skies, hair, tree edges etc.— images need to hold tone on white.

  3. Cluttered and complex compositions that distract from the main hero.

  4. Harsh shadows or lighting on the subject, along with reflections and blur that complicate the photo

  5. Forcing the talent to pose in unnatural ways, or express emotion that is not true to the narrative i.e. a driver should not be engaged with the photographer or on their phone while operating a vehicle

Avoid shooting through foreground elements or forced framing.

Avoid static moments. Where people are unengaged with each other.

Avoid blown out areas so image holds an edge on white.

Avoid shooting drivers while driving.

Avoid distracting reflections.

Avoid overly dramatic lighting and excessive lens flare.

Avoid unnaturally colored lighting.

Avoid backgrounds that distract from the subject.

Avoid low or unnatural angles.

Photography Applications

Internal screens
Website

Photography Summary

01

Capture movement

02

Keep compositions open and inviting

03

Casting that reflect the diversity of our users

Tone of voice

Our tone of voice provides a set of core elements to define quality writing across all touchpoints, as well as supporting elements to convey the best of our brand personality to the world.

It is designed to serve as an umbrella that informs and unites style guides for departments, countries, and languages. Voice and tone express a brand’s essence, signaling who we are and what we stand for.  They create the feeling: “that sounds like Uber.”  And they let us show up in the world as the innovative global mobility company we are.

Core

Considerate

Truly audience-first communication will transform and unite our voice.

Simple & Direct

Writing as straight-forward and easy to understand as the intuitive experience of our products.

Consistent

How we create a recognizable voice and a strong brand.

Supporting

Optimistic

Primary voice characteristic

Problems are solvable, good ideas win out, and the future is bright.

Inviting

Secondary voice characteristic

Uber is for everyone.

Bold

Tertiary voice characteristic

We are leaders in our field and enthusiastic to share our innovations.

Applications

Rider sign-up

We can be more audience-first and bolder at and important touchpoint

Before
After
Rider product offer

We can be clear over clever

Before
After
Rider seasonal offer

We can take a moment to be more inviting and fun while still being clear

Before
After

Tools & Tips

Checks for core voice

Considerate
  1. Is the focus on the audience?

  2. Is why they would care clear?

  3. Is the level of formality appropriate?

Simple & Direct
  1. Is it easy to understand in a single quick pass?

  2. Is it as clear and succinct as possible?

  3. Is it scrubbed of any jargon?

  4. If the audience is being asked to act, is that action and how to take it clear?

Consistent
  1. Does it follow all regional, department, or channel guides as well as these master principles?

Checks for supporting tone options

If going for optimistic...
  1. Does it focus on solutions over problems?

  2. Are any negatives (no, not, etc.) necessary, or is there a way to rephrase them with positive language?

  3. Have we assumed the positive about the situation or audience?

If going for inviting...
  1. Does it sound like a warm, caring person wrote it?

  2. Are lists bulleted and phrase-based?

  3. Is there anything that could be made easier to understand?

If going for bold...
  1. Does it grab the audience’s attention?

  2. Are we speaking as confident leaders?

  3. Does it feature strong, specific word choices?

Quick Editing Tips

Cut the adverbs
All of them! Really, very, and basically. Slash and burn! 
It will force you to choose the best words (is it really red or scarlet?).
Turn passive voice to active voice
You do that like this...
Make negative statements positive
This is how you do that...
Choose 
clear words
This is how you do that...
Confirm all homonyms and homophones
Every there/their/they’re, it’s/its, your/you’re, principle/principal, compliment/complement, affect/effect, weather/whether, to/too/two, 
lie/lay.
Pick strong verbs
Are they as precise as they can be? 
Maybe you edited a story, but perhaps 
you rewrote, revised, or polished it.
Did you repeat yourself?
Repetition is sometimes effective. 
Sometimes. Use it sparingly and intentionally.
Check prepositions
Look out for common mistakes: more 
than versus over, less as opposed to fewer, 
and further rather than farther.
Look for that
That tends to get overused. 
Do you need that every time you use it? 
Go a step further: check who (people) versus that (not people) and that (restrictive) versus which (non-restrictive).
Double-check all pronouns
Do all of your pronouns have clear antecedents? This and it are often used without a clear and present subject.
Use specific nouns
Use specific nouns Is that boat you mention a rowboat, a tugboat, a barge, a cruise ship, or a kayak?
Hyphenate modifiers
The Civil War occurred in the 19th century; your aunt collects 19th-century corkscrews.
Limit exclamation points
Make word choices to convey excitement, don’t lean on punctuation.
Read everything aloud
It’s the best way to catch typos and mistakes and awkward phrasing and 
lapses in logic.
Check adjectives
Are they all necessary? Would a more specific noun choice be better? Is it a big house or a mansion? A brimmed hat or a fedora?
Kill your darlings
Don’t keep something because you like it; keep it because it works.

Tone of voice Summary

01

Audience-first communication

02

Straight-forward and easy to understand

03

A recognizable voice through consistency

Typography

Our typography is as unique and easy to use as we are. Inspired by the world’s best used transportation examples, 
it was designed to maximize its impact across all applications while keeping it easy to read, ownable, 
and highly recognizable. Its name: Uber Move.

Uber Move

Uber Move is a key element in our brand. 
It works to maintain consistency, create clarity, and provide equity to the brand as a global leader in multi-modal transportation.


UberMove
Uber Move

Uber Move Text Bold

Uber Move Medium

Uber Move Text Regular

Uber Move Light

Pairings

It is important to maintain these type pairings. This allows for clarity, consistency, and a strong hierarchy for all communications. Medium weight should be paired with Light weight, and Bold weight should be paired with Regular weight.

Option 1
Option 2

Hierarchy

Examples

It is important to organize typography in 
a hierarchical system according to relative importance or inclusiveness through scale 
and function depending on communication.

Awareness
Consideration
Action
Headline

Uber Move Display Medium

Cap height = 1.5× base unit height

1.0/ 100% leading

0 tracking

6 words or more

Subhead

Uber Move Display Light

½ headline point size

1.1/110% leading

0 tracking

Logo

Logo height = base unit height (refer to grid setup section of this document)

Headline

Headline Uber Move Display Bold

5 words or less

Cap height = 1.5× base unit height


1.0/ 100% leading

0 tracking

Subhead (optional)

Uber Move Display Regular

½ headline point size

1.1/110% leading

0 tracking

Headline

Uber Move Display Medium

6 words or more

Cap height = 1.5× base unit height


1.0/ 100% leading

0 tracking

Subhead

Uber Move Display Light

½ headline point size

1.1/110% leading

0 tracking

Body copy

Uber Move Text Regular

⅓ subhead point size

1.2/120% leading

0 tracking

Headline

Uber Move Display Bold

3× body copy point size

1.0/100% leading

0 tracking

Body copy

Uber Move Text Regular

⅓ headline point size

1.2/120% leading

0 tracking

Headline

Uber Move Display Medium

2× body copy point size

1.0/100% leading

0 tracking

Body copy

Uber Move Text Regular

½ headline size point size

1.2/120% leading

0 tracking

Headline

Uber Move Text Regular

1× subhead point size

1.2/120% leading

0 tracking

Body copy

Uber Move Text Regular

1× headline point size

1.2/120% leading

0 tracking

Calls to Action

There are 2 ways to create and identify call-to-actions for brand communications. Use Uber Move Text Bold for Action and Uber Move Display Bold for Buttons.

Construction
Construction
Inactive
Hover/Active
Inactive
Hover/Active

Iconography should be treated like glyphs 
within the typeface. Aligning typography with iconography should follow the same rules as partnership lockups. Whether for digital or physical mediums, allow for typography to 
work in horizontal and vertical format.

Vertical Lockup
Horizontal Lockup

Imagery

Typography should either be black on 
light imagery or white on dark imagery. 
When aligned with the logo, typography 
and logo should be the same color.

Light image
Dark image

Typography Guidance

Do not use colored typography (black or white only)

Do not use all caps

Do not adjust kerning or tracking

Do not make different levels of hierarchy the same weight

Do not make any level of hierarchy the same size or scale as another

Do not separate chunks of text

Typography Applications

Driver guide
Email

Typography Summary

01

Our typeface is a pillar of our brand

02

Aim for contrast across type hierarchies

© 2019 Uber Technologies Inc.