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 clearspace rules. The separating line between logos can be created using 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.
Don't forget these important legal reminders:
Do not use Uber as a verb (e.g. “Let’s Uber to the party.”). Instead, consider using Uber as an adjective.
Do not use Uber as a noun; "My Uber has heated seats." • Do not use UBER as a noun; e.g., My Uber has heated seat. Instead, consider using Uber as an adjective.
Do not use Uber in plural or possessive form, e.g., Ubers, Uber's, unless the mark itself is plural, e.g., Uber Eats
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
Unique entry point and customer workflow (i.e. standalone app)
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
Provides positive equity to the master brands; and
At least $2M committed to branding annually; and
Significant external presence (at least 3 major conferences per year); and
Brand + ELT approval
Vertical Lockup
Horizontal Lockup
Programs
A collection of features that collectively provide a distinct opportunity.
Criteria
Unique customer experience
Spans across products
Long-term, ongoing initiative
Vertical Lockup
Horizontal Lockup
Products
The entry point for the offering and the option available.
Criteria
Distinct audience and feature set; and
Gross bookings > $10M or Approved by sub-brand manager
*Some products do not receive a space, such as UberX and UberXL. Please consult with our internal brand toolkit for detailed information.
Features
Tools and technologies that support products.
Features do not have a lockup and are described with a simple & direct name, using the brand system of the product they support.
Internal Teams
A non public-facing team name.
Partnerships
Aligning partnership logos should follow clearspace rules. The separating line between logos can be created using 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 - 58 167 109
CMYK - 93 0 63 0
HEX - 05A357
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 - 212 67 51
CMYK - 0 82 80 0
HEX - E11900
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 - 237 110 51
CMYK - 0 64 75 0
HEX - FF6937
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 - 2E224C
HEX - 453473
HEX - 574191
HEX - 7356BF
HEX - 957FCE
Hex - C1B5E3
Hex - E3DDF2
Hex - F4F1FA
HEX - 050C4D
HEX - 081270
HEX - 0A1899
HEX - 0E1FC1
HEX - 535FCF
HEX - 949CE3
HEX - D2D7F0
HEX - EBEDFA
HEX - 102C60
HEX - 174291
HEX - 1E54B7
HEX - 276EF1
HEX - 5B91F5
HEX - A0BFF8
HEX - D4E2FC
HEX - EFF3FE
HEX — 10462D
HEX — 156A41
HEX - 09864A
HEX - 05A357
HEX - 06C167
HEX - 66D19E
HEX - ADDEC9
E6F2ED
HEX - 674D1B
HEX - 997328
HEX - BC8B2C
HEX - FFC043
HEX - FFCF70
Hex - FFE3AC
Hex - FFF2D9
Hex - FFFAF0
HEX - 672A16
HEX - 9A3F21
HEX - C14F29
HEX - FF6937
HEX - FA9269
Hex - FABDA5
HEX - FFE1D6
Hex - FEF3EF
HEX - 5A0A00
HEX - 870F00
HEX - AB1300
HEX - E11900
HEX - E85C4A
Hex - F1998E
Hex - FED7D2
HEX - FFEFED
HEX - 3D281E
HEX - 5C3C2E
HEX - 744C3A
HEX - 99644C
HEX - B18977
Hex - D2BBB0
EBE0DB
Hex - F6F0EA
HEX - 141414
HEX - 333333
HEX - 545454
HEX - 757575
HEX - AFAFAF
HEX - CBCBCB
HEX - E2E2E2
HEX - EEEEEE
HEX - F6F6F6
HEX - 142328
HEX - 394145
HEX - 556268
HEX - 6C7C83
HEX - 8FA3AD
HEX - A1BDCA
HEX - CCDFE5
HEX - EBF5F7
HEX - F4FAFB
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.
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 aid so 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
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
U-frame transitions
Frame transitions should be used to move between footage in branded moments. Each transition is .5 sec
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.
Subjects are in lively moments full of energy and conveying a positive emotional impact
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
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)
Highlight how Uber brings people together, enhancing community and the vibrant, shared life within cities
Motion should further the plotline
No forced or posed-looking expressions or actions
Express movement
Composition
Goal: Bold use of open space allows for an inviting expression of optimism.
Use of negative space in the image moves the eye quickly to the main focus
Include negative space around the subject to allow for the placement of additional design elements such as typography
Note that rule of thirds or leading line compositions can be great ways to create open space
Highlight the subject and the activity, movement, connection they are experiencing by keeping composition simple.
Coordinate locations, backgrounds, and wardrobe to establish a visual simplicity
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.
Subjects are not intended to look like professional models
Subjects are ideally real drivers, riders, and employees. If none can be found, cast models that look like real riders, drivers, and employees
Dress, hair, and makeup should all feel authentic to the subject’s area and itself reflect diversity the area’s diversity
Cast people with expressive and outgoing personalities
People are relatable
Lighting & Color
Goal: Create an inviting and relatable feel with realistic lighting and color.
Lighting appears like natural light
No harsh highlights or shadows, particularly on people’s faces
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
Images should look naturally white balanced, not stylized
Wardrobe and location support simple and vibrant use of color on people and vehicles to draw the eye to the main focus
Don’t count on post-processing to add or enhance color, include pops of color in planning photos
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.
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)
Do not include monuments that a tourist would pose in front of
Reflect connection to urban mobility
Scenes should capture the least amount of elements to convey the story
Avoid cluttered or visually busy elements that distract from the subject
Subjects should be engaging with their environment, not just posing in front of it
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:
Shooting from extreme or unnatural angles--eye level is good.
Blown out skies, hair, tree edges etc.— images need to hold tone on white.
Cluttered and complex compositions that distract from the main hero.
Harsh shadows or lighting on the subject, along with reflections and blur that complicate the photo
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
Do not use Uber as a verb (e.g. “Let’s Uber to the party.”). Instead, consider using Uber as an adjective.
Do not use Uber as a noun; "My Uber has heated seats." • Do not use UBER as a noun; e.g., My Uber has heated seat. Instead, consider using Uber as an adjective.
Do not use Uber in plural or possessive form, e.g., Ubers, Uber's, unless the mark itself is plural, e.g., Uber Eats
Simple & Direct
Is it easy to understand in a single quick pass?
Is it as clear and succinct as possible?
Is it scrubbed of any jargon?
If the audience is being asked to act, is that action and how to take it clear?
Consistent
Does it follow all regional, department, or channel guides as well as these master principles?
Checks for supporting tone options
If going for optimistic...
Does it focus on solutions over problems?
Are any negatives (no, not, etc.) necessary, or is there a way to rephrase them with positive language?
Have we assumed the positive about the situation or audience?
If going for inviting...
Does it sound like a warm, caring person wrote it?
Are lists bulleted and phrase-based?
Is there anything that could be made easier to understand?
If going for bold...
Does it grab the audience’s attention?
Are we speaking as confident leaders?
Does it feature strong, specific word choices?
Localization:
Please contact the localization team (localization@uber.com) for support in non-English languages.
Don't forget these important legal reminders:
Do not use Uber as a verb (e.g. “Let’s Uber to the party.”). Instead, consider using Uber as an adjective.
Do not use Uber as a noun; "My Uber has heated seats." • Do not use UBER as a noun; e.g., My Uber has heated seat. Instead, consider using Uber as an adjective.
Do not use Uber in plural or possessive form, e.g., Ubers, Uber's, unless the mark itself is plural, e.g., Uber Eats
Quick Editing Tips
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