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.

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

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

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

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.

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

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.

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.

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.

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.

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

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.

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

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.

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

Used by Programs and by Products and Services.

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

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).

A collection of features that collectively provide a distinct opportunity.

The entry point for the offering and the option available.

*Some products do not receive a space, such as UberX and UberXL. Please consult with our internal brand toolkit for detailed information.

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.

A non public-facing team name.

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.

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.

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.

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

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.

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.

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.

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

The use of color depends on the communication.

The use of Safety Blue depends on the communication.

(Illustrative purposes only)

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.

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

There is no light U-frame in the brand system

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

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

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.

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).

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.

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.

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.

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

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.

Illustrations are constructed using basic geometric shapes 

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

Blue should be used to highlight key elements of safety

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.

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

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

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.

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

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

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

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

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

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

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

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

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

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.

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

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

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.

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

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

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.

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

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

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

Things to avoid:

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.

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

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

How we create a recognizable voice and a strong brand.

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

Uber is for everyone.

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

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

We can be clear over clever

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

Please contact the localization team (localization@uber.com) for support in non-English languages.

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 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.


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.

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

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.