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The document provides brand guidelines for the Subway visual identity system. It introduces the new bold and vibrant visual identity as an update that balances their history with their future. The guidelines contain sections on brand positioning, design principles, brand marks, color, typography, tone of voice, imagery, iconography, layouts, and contacts. The brand's positioning focuses on accessibility and quality. Core colors include Subway green and yellow. The logotype and new Choice Mark are the two main brand marks.

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Subway® Brand Guidelines Version 1.0
2 Welcome Now serving: the new Subway® visual identity. Our new visual identity system is a bold, vibrant update to the brand. It is firmly sandwiched between our history and long-term future. Use this guide as inspiration to help you consistently create experiences for all of those who see, smell, hear, taste and touch the Subway® brand.
3 Menu board of contents Menu board of contents 4 Brand positioning 7 Design principles 12 Brand marks 41 Color 57 Typography 65 Tone of voice 71 Imagery 84 Iconography 88 Layouts 104 Gallery 123 Contacts
Brand positioning
5 Brand positioning Overview Brand goal To be #1 in Quick Service Restaurants by delivering top sales, high customer counts and an excellent customer experience. Our purpose Inspire members of the Subway® Family to Create Great. We will do this by: Embracing opportunities Crafting craveable, nutritious and affordable sandwiches Delivering a superior customer experience Being a trusted community partner Our promise Inspiring you to live a vibrant lifestyle by providing nutritious food that is affordable and easy to find. It’s a chance to seize the moment because every good choice makes a difference. Eat Fresh. Live Fresh. Our brand’s positioning is accessible quality.
Section: Subsection 6 Subway® is for people who are seeking a meal choice that they can feel great about. Subway® is “the” sandwich shop. We offer the ideal combination of quality and value. Our consumer’s understand that a delicious sandwich with fresh ingredients should be for all. Everyone can have easy access to the quality of food they deserve. Our brand’s positioning statement:
Design principles
8 Design principles Our design principles help to maintain a connection to the brand positioning and guide our artistry.
9 Design principles Limitless vitality Every interaction with the Subway® brand is an opportunity for nourishment—both physical and mental. We use a tasty approach to color—delicious imagery that tells a story and a bold, sweet new use of our logotype and brand marks.
10 Progressive balance Yellow and/or green, healthy and/or indulgent, this way and/or that—we always find new ways to strike the perfect balance and cater to our guests so that they can do the same. Design principles
Purposeful craft Subway® Sandwich Artists™ and our guests make carefully considered choices when creating the best subs possible. We do the same with our visual identity—crafting all of our assets with the utmost care and penning equally thoughtful messaging. Design principles 11
Brand marks
13 Brand marks Logotype Looking back so we can move forward Carefully crafted, the groovy letterforms of the ’60s have been made more modern and confident. The Subway® arrows pull us from the past and move us into the future. Our logotype is the clearest designation of the brand and should be found in all key creative work—including our restaurant signage, website, advertising, OOH, packaging and first encounters with the brand.
5 mm (14 pixels) = minimum height 14 Add a bit of personal space Clear space is equal to the width of the stem of the “U” in the logotype. The minimum size is 5 mm. Measure the height from the lower point of the arrow on the “S” and the top point of the arrow on the “Y.” Brand marks Logotype x x
15 Brand marks Logotype Primary logotype Our primary logotype should be used in most instances. It works on a wide variety of backgrounds. Secondary logotype Our secondary logotype is used in limited instances, such as when the primary version does not work on certain colors or backgrounds, such as white.
16 Background colors Never use the logotype over Subway® yellow or Lettuce green. With either color option, the forward-pointing arrow of the logotype should always have the greatest contrast against any background color. The entire logotype should always be legible against backgrounds. Note: Using orange as a background color may not result in optimal legibility. Brand marks Logotype
17 Brand marks Logotype The primary yellow-and-white logotype is used on dark steel surfaces. The secondary yellow-and-green logotype is used on light stucco surfaces. The secondary yellow-and-green logotype is used on light steel surfaces. The primary yellow-and-white logotype is used on wood surfaces. The primary yellow-and-white logotype is used on brick surfaces. Background surfaces With either color option, the forward-pointing arrow of the logotype should always have the greatest contrast against any background surface. The entire logotype should be legible against surfaces.
18 Brand marks Logotype The black logotype is used when color isn’t available. The green logotype is used when printing capabilities are limited. One-Color logotypes One-color Subway® logotypes are reserved for situations where printing capabilities are limited— such as coupons, smart receipts, sponsorship, partnerships and premium items. Use the black logotype when color isn’t available. Choose the green logotype when color is an option and there are one-color-printing constraints. If there is a use case that is not covered here, please contact your brand team for guidance.
19 Logotype placement In most cases, the logotype is placed in one of the four corners of a layout, within the margins. It should not be placed in other locations unless it is supplied as such in approved artwork. Brand marks Logotype In most cases, the logotype should be placed in one of the four corners of the design.
20 Brand marks Logotype Russian/Cyrillic Russian/Cyrillic Arabic Arabic 20 Brand marks Logotype Global logotypes We are a global brand with global logos. Use the appropriate logotype for your region. If you don’t find what you need, reach out to StudioS@subway.com.
21 Logotype lock-ups with horizontal partner logos When using the Subway® logotype with a horizontal partner logo, the forward- facing arrow should always point toward the partner logo. The partner logo should align with the cap height and baseline of the Subway® logotype (y). Use these examples as a guide when creating new horizontal partner lock-ups. Please reference page 96 for a partner layout example. Brand marks Logotype Horizontal partner lock-up spacing Horizontal partner lock-up clear space .5 y y x x
22 Logotype lock-ups with vertical partner logos When using the Subway® logotype with a vertical partner logo, the forward-facing arrow should always point toward the partner logo. The partner logo should not overpower the Subway® logotype. Use these examples as a guide when creating new vertical partner lock-ups. Brand marks Logotype Vertical partner lock-up spacing y .5 y x x Vertical partner lock-up clear space
23 Sub-brand lock-ups Sub-brands are typically provided as artwork. They should not be altered. Brand marks Sub-brands
24 Sub-brand lock-ups Sub-brands are typically provided as artwork. They should not be altered. Brand marks Sub-brands
25 Creating sub-brand lock-ups When it is necessary to create a new sub-brand lock-up, use the Subway® logotype as the basis and Subway® Footlong for the typography. The sub-brand lock-up must be approved by the ARB team. Brand marks Sub-brands .25 y .5 y y Sub-brand lock-up spacing Sub-brand lock-up clear space x x
Fresh Buzz 26 Brand marks Logotype do nots Do not outline the logotype. Do not apply drop shadows or special effects to the logotype. Do not use the one-color logo in applications where the full-color logo can be used. Do not recreate the logotype or alter it in any way. Do not use the logotype in a containing shape. Do not flip the color order in the logotype. Do not use a single-color logotype—unless print limitations require all black or all white. Do not italicize the logotype. Do not crop the logotype or isolate SUB (or WAY). Do not change logotype colors. Do not break the logotype apart in any way. Do not hyphenate the logotype. Do not use the logotype over images that make it illegible. Do not change lock-up proportions.
27 You can’t spell “choose” without an “S” The Choice Mark is the newest visual item on the Subway® brand menu. It is derived from our updated logotype and moves our brand forward toward simplification. Our new mark represents the customized Subway® experience. It empowers our consumers to make enjoyable choices. The Choice Mark is used to tell a story, for example, conveying a choice between two options: “healthy” and “indulgent” using typography or imagery. Use the mark for small digital formats and options for premium merchandise. Brand marks Choice Mark
28 Some personal space, please Clear space is equal to the thickness of the arrow arm of the Choice Mark. Measure the height as the distance from the top point of the upper arrow to the bottom point of the lower arrow to ensure that the Choice Mark is at least this size. Brand marks Choice Mark 12 mm (34 pixels) = minimum height x x
29 Primary Choice Mark The primary Choice Mark is used in most instances. It works on a wide variety of backgrounds. Brand marks Choice Mark Secondary Choice Mark Our secondary Choice Mark is used in limited instances, such as when the primary version does not work well on certain colors or backgrounds, such as white.
30 Brand marks Choice Mark Background colors Never use the Choice Mark over Subway® yellow or Lettuce green. With either color option, the forward-pointing arrow of our Choice Mark should always have the greatest contrast against any background color. The entire Choice Mark should always be legible against backgrounds. Note: Using orange as a background color may not result in optimal legibility.
31 Brand marks Choice Mark Background surfaces With either color option, the forward-pointing arrow of the Choice Mark should always have the greatest contrast against any background surface. The entire Choice Mark should be legible against surfaces. The primary yellow-and-white Choice Mark is used on dark steel surfaces. The secondary yellow-and-green Choice Mark is used on light stucco surfaces. The secondary yellow-and-green Choice Mark is used on light steel surfaces. The primary yellow-and-white Choice Mark is used on wood surfaces. The primary yellow-and-white Choice Mark is used on brick surfaces.
32 Brand marks Choice Mark The black Choice Mark is used when color isn’t available. The green Choice Mark is used when printing capabilities are limited. One-Color Choice Marks One-color Subway® Choice Marks are reserved for situations where printing capabilities are limited— such as coupons, smart receipts, sponsorship, partnerships and premium items. Use the black Choice Mark when color isn’t available. Choose the green Choice Mark when color is an option and there are one-color-printing constraints. If there is a use case that is not covered here, please contact your brand team for guidance.
Hello Goodbye 33 The Choice Mark and messaging Follow the diagram to the right when placing opposing copy. Use the Subway® Footlong font for the typography. The typographic height of the capital letters in the messaging is determined by the central square space between the two arrows, indicated here with a “y.” Each side should offer opposing choices. See more details in the Tone of voice section (page 65). Brand marks Choice Mark y y y
Hello Goodbye Hello Goodbye 34 20 mm (56 pixels) = minimum height Messaging clear space It is important to use plenty of clear space to ensure that Choice Mark messaging is loud and clear. Brand marks Choice Mark x x
35 Brand marks Choice Mark Choosing how to use the Choice Mark The Choice Mark is used to express options within imagery and for opposing choices within typography. Hello Goodbye
Hello Goodbye Hello Goodbye 36 Brand marks Do nots Do not outline the Choice Mark. Do not use drop shadows or special effects on the Choice Mark. Do not recreate the Choice Mark or alter it in any way. Do not use the Choice Mark in a containing shape. Do not lock up the Choice Mark with the logotype. Do not change the size of the type used with the Choice Mark. Do not change the color of the type used with the Choice Mark. Do not flip the color order in the Choice Mark. Do not italicize the Choice Mark. Do not create one-color Choice Marks—use provided art when there are printing constraints. Do not crop the Choice Mark. Do not change the Choice Mark colors. Do not create new patterns with the Choice Mark—use only supplied pattern art. Do not use imagery within the Choice Mark. Do not use the Choice Mark over images that make it illegible.
37 Logotype, meet the Choice Mark. And vice versa. The logotype and Choice Mark will be the two identifiable marks of the brand, in the same way that our Footlong and Six-inch sandwiches are Subway® restaurants’ two most iconic menu items. These two marks play different roles in the system and when used together need to be placed purposefully. Never, under any circumstance, should the Choice Mark be locked up with the logotype. That would be like smashing together our two signature sub sizes to create an ugly 18” Frankenstein sandwich. Brand marks Choice Mark + logotype
38 Choice Mark + logotype usage The Subway® logotype and the new Choice Mark should be paired to build brand recognition for our new mark. They reinforce and support each other, much like how our oven-baked breads do with all of our other ingredients. When the logotype and Choice Mark are used within the same creative, give them distinct roles, such as using the logotype as a sign-off and showing choice with the Choice Mark. Brand marks Choice Mark + logotype Main narrative device Front Back Sign-off
39 End tag proportions Static and animated end tags of the logotype and Choice Mark are the sign-offs for all Subway® messaging. The Subway® logotype is set at 33.3% of the screen width and is centered both vertically and horizontally. The end frame scale of the Choice Mark matches the height of the logotype and is centered both vertically and horizontally. Note: If you end over film, be sure the mark is legible. Brand marks End tag 33.3%
40 Brand marks Animation Animated brand marks Our animated brand marks represent the future of the brand. The Subway® logotype seamlessly transitions to the Choice Mark. Use only supplied brand mark animations. When editing is required, contact the brand team for approval and guidance. Note: If you end over film, be sure the mark is legible and has the right amount of clear space. The secondary yellow-and-green logotype is used on light backgrounds. The primary yellow-and-white logotype is used on mid-toned backgrounds. The primary yellow-and-white logotype is used on dark backgrounds.
Color
42 Section: Subsection Color Our primary palette—a bold combo of Subway® green, Subway® yellow and white— is what makes us, us. Always strive for a healthy mix of all three colors. This is especially important for introductions to the brand and for key interactions. Our secondary color palette adds vibrancy to our brand. Secondary colors are used to support our primary palette— they should never overpower our primary colors. Color
43 Primary Our primary palette is one of our core brand assets. It includes Subway® green, Subway® yellow and white. Use these colors in most cases. Secondary Like our primary palette, our vibrant secondary colors are also inspired by our ingredients. They should not overpower primary Subway® green or Subway® yellow. Secondary colors are only used to support our primary color palette. Color Primary + secondary Subway® green (PMS 2426 C) CMYK 87/13/100/12 RGB 2/137/64 HEX 028940 Subway® yellow (PMS 7548 C) CMYK 0/29/100/0 RGB 255/194/13 HEX FFC20D White CMYK 0/0/0/0 RGB 255/255/255 HEX FFFFFF Onion purple (PMS 2607 C) CMYK 71/98/1/20 RGB 76/0/106 HEX 4C006A Spinach green (PMS 3425 C) CMYK 96/30/92/27 RGB 0/98/48 HEX 006230 Lettuce green (PMS 3561 C) CMYK 53/0/100/0 RGB 139/205/50 HEX 8BCD32 Water blue (PMS 2202 C) CMYK 91/8/2/1 RGB 0/167/233 HEX 00A7E9 Carrot orange (PMS 151 C) CMYK 0/62/98/0 RGB 255/130/0 HEX FF8200 Tomato red (PMS 172 C) CMYK 0/79/100/0 RGB 222/56/4 HEX DE3804
44 Balance Use this guide to create the correct color balance throughout the brand. Subway® green should be present in most instances of the brand, with a healthy mix of Subway® yellow-and-white. Secondary colors are used to support our primary palette. They should be used only as background colors in imagery, a personalized touch (e.g., name badges), limited editions or to communicate options. Color Balance
45 Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography Legible: Not legible: Water blue Lettuce green Spinach green Onion purple Carrot orange Tomato red White Subway® yellow
46 Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography White Water blue Lettuce green Carrot orange Subway® green Tomato red Onion purple Spinach green Legible: Not legible:
47 Color + typography Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Subway® green Water blue Lettuce green Spinach green Carrot orange Legible: Not legible: White Subway® yellow Onion purple
48 Color + typography Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Subway® green Water blue Lettuce green Spinach green Tomato red White Subway® yellow Onion purple Legible: Not legible:
49 Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography Subway® green Lettuce green Spinach green White Subway® yellow Tomato red Carrot orange Water blue Legible: Not legible:
50 Color + typography Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Legible: Not legible: Subway® green Water blue Onion purple Tomato red White Subway® yellow Carrot orange Lettuce green
51 Color + typography Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. White Subway® green Subway® yellow Water blue Tomato red Carrot orangeLettuce Green Onion purple Spinach green Lettuce Green Legible: Not legible:
52 Color + typography Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. White Subway® green Subway® yellow Lettuce green Spinach green Carrot orange Tomato red Onion purple Legible: Not legible:
53 Color + typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography Subway® yellow Water blue Lettuce green Subway® green Tomato red Carrot orange Onion purple Spinach green Legible: Not legible:
54 Typography Digital treatment Onion purple Spinach green Subway® green Tomato red ADA-compliant colors: ADA-compliant colors contrast: White White White White Digital treatment starters Additional typographic color considerations are required for digital screens to meet ADA compliancy. The Subway® Footlong font is the prefered font for digital settings and The Subway® Six-inch font should be used sparingly. Stay tuned. More treatments are being developed and tested.
55 Color + typography Color + typography exceptions While some of our colors are difficult to read at small scale, they may work well for headline type that is set at more than 42 points. The examples to the right show these exceptions. Note: These color combinations are not for use under 42 points. Water blue Water blue Subway® yellow Subway® yellow Subway® green Lettuce green White White White
Lorem ipsum dolor sit 56 Color Do nots Do not use the Choice Mark on a Subway® yellow background. Do not use the Choice Mark on a Lettuce green background. Do not place two colors next to each other that vibrate. Do not create new colors. Do not use the logotype on a Subway® yellow background. Do not use the logotype on a Lettuce green background. Do not use illegible color pairings with typography.
Typography
58 Typography Introducing Introducing Subway® Footlong Subway® Six-inch Introducing our new custom fonts—Subway® Footlong and Subway® Six-inch. They are inspired by our logotype— bold, clear and easy to read. Two new fonts just for Subway®
59 Using our fonts The Subway® Footlong font should be used for headlines, subheads and emphasis within body copy. The Subway® Six-inch font should be used for body copy, legal copy and captions. The two fonts are combined with color and scale to create a distinct hierarchy. Typography Using our fonts Subway® Footlong abcdefghijklmnopqrs tuvwxyz1234567890 ABCDEFGHIJKLMNO PQRSTUVWXYZ Subway® Six-inch abcdefghijklmnopqrs tuvwxyz1234567890 ABCDEFGHIJKLMNO PQRSTUVWXYZ
60 Line spacing Using proper leading ensures our typography has a consistent look throughout the brand. Leading values are provided here for typical type sizes. When in doubt, use auto settings. For very large type sizes use 10 points of leading or the auto setting. Typography Line spacing Large type uses 6 points of leading. Medium type is between 20–42 points Large type is between 43–96 points Small type size is smaller than 14 points Medium type sizes use 4 points of leading. Small uses 3 points of leading. Dellor aditae pla quam etur, nihita duntio ent idundaessit aborerumenis deleces modiam fugitinimet.
61 Letterspacing Our fonts have letterspacing built in, so no special kerning or tracking is required. To make the most of this feature, make sure your settings are metric rather than optical. Typography Letterspacing Letterspacing is set to 0 and no kerning is required. Large type is between 43–96 points Medium type is between 20–42 points Small type size is smaller than 14 points Letterspacing is set to 0. Letterspacing is set to 0.
62 Typography Alignment Alignment Use left-aligned type in all layouts. This alignment brings a modernity into the Subway® system and should be used consistently. Avoid using right and center alignment unless the format absolutely needs it. Align copy to the left. Consistent use of left-aligned type is a defining feature in the new Subway® visual identity.
63 Typography Sentence case Sentence case Consistent use of sentence case is another defining feature in the Subway® visual identity. Do not use title case or all caps unless it is legally required or grammatically accurate. Always set type in sentence case. Consistent use of sentence case in type is a defining feature in the new Subway® visual identity.
Subway® sandwiches are the best. Nume core, ut am, ipsam, consequibus Nume core, ut am, ipsam, conseam, ipsam, consequibus ut am, ipsam, consequibus. Em nosande voluptam, quaerfe rcianduci dipicia con num fugia tiunt ra ercipsum vidus et ut. More Than Just Meals Go ahead and enjoy your rewards MORE THAN JUST MEALS More than just meals! Type Type Call in the subs! Find your closest location 64 Typography Do nots Do not use the Subway® Six-inch font for headlines. Do not overly track out type. Do not put typography over any imagery. Do not use the Subway® Footlong font for long body copy. Do not use centered alignments. Do not treat type with gradients. Do not use all caps for headlines. Do not use white type on yellow at small scale. Do not use initial caps for every word in a headline. Do not use yellow type on white at small scale. Do not accent type with secondary colors, only primary.
Tone of voice
66 Talk the talk There is the right way to write in our new brand voice and there are plenty of wrong ways. Mostly it comes down to being fresh instead of saying that we are. It’s about writing in the way that people talk in real life: casually, with a bit of wit and a wink sprinkled in. It’s all about how our food tastes and how our new identity makes our customers feel. This new approach moves us out of the past and ahead of our competition. Tone of voice Talk the talk Don’t say fresh. Be fresh.
67 Tone of voice Dos and do nots Tone of voice dos and do nots There is the right way to write in our new brand voice and there are plenty of wrong ways. Not like this: Fake fun e.g., !!!!) Clever Cheesy Forced Stale Preachy Earnest On the nose More than six words Food-/ingredient-focused Artificial marketing talk Annoying Dated Fun Smart Classy Conversational Fresh Positive Playful Original Short/punchy Feeling/experience Real Upbeat Novel Write like this:
68 Things to avoid There are some universal rules when it comes to copywriting, and the Subway® brand voice should follow them without fail. While parents may remark how clever jokes involving puns, rhymes and clichés are, our tone of voice aspires to be smarter when it comes to amusing our audience. With that in mind, here are samples of crafted copy vs. writing that requires more time in the oven. Tone of voice Things to avoid Write like this: Not like this: Appease your appetite (alliteration) A sweet treat for you (rhyme) Fresh soup/fresh coffee (“fresh” is stale) The To Go WAY (unoriginal) Add some color to your palate (pun) WAY to eat right (messaging) The reward for eating your veggies (cookie bag) WAY hot (soup/coffee cup) WAY to go (to go/sleeve) Apply some color (veggie station)
69 Using copy with the Choice Mark In a word or two: one or two words (on either side). Think of it as a fun yin and yang exercise. Sometimes the word pairings are the exact opposites of one another. And sometimes the second one is a curveball relative to the first. Either way, the Choice Mark is never to be used as a pause between single thoughts, but rather as a clear dividing line between different ideas. Most importantly, word pairings should always make sense given the context of where or on what they appear. Tone of voice Choice Mark Open Closed Summer Enjoy Our ingredients Your masterpiece Limited time $5 for Ice No ice Chorizo sub Introducing new Use like this: Not like this:
Imagery
71 Core imagery Taste appeal and our guests’ emotional connection are at the heart of our bold new imagery. Our ingredients are shown in their most delicious form on backgrounds pulled from our color palette, allowing each to boldly stand out. Imagery Core imagery
72 Angled To the right are five examples of our angled sandwich images set on backgrounds which emphasize appetite appeal. The sandwich angles provide the clearest view of our fresh ingredients. Core sandwich imagery is provided artwork and should not be altered. It is ideal to use the shown background colors with these corresponding sandwiches. If backgrounds require editing, refer to page 75 for more detail. Download assets here: Partners/FAFimagelibrary/newVIS Imagery Core imagery
73 Imagery Core imagery Straight To the right are five examples of our straight sandwich imagery. This angle provides more flexibility for layouts. Core sandwich imagery is provided artwork and should not be altered. Download assets here: Partners/FAFimagelibrary/newVIS
74 Imagery Core imagery Picking which version to use The angled core imagery provides the most appetizing view of our sandwiches, but does not work in every format. Choose images that are optimized for the format. On this page you see that the straight view works better for long, horizontal formats.
75 Imagery Core imagery Swapping background colors Images in the Subway® library have been shot on purposefully- chosen background colors. If necessary, the background combos can be swapped with supplied background options. However, be mindful that our specific background colors are reflected in our sandwich imagery. A sandwich shot on green would not be ideal on a purple background. The background color combos shown here are supplied as art. Do not make up new combos or alter colors. Download assets here: Partners/FAFimagelibrary/newVIS Original image Do not change color combinations or horizon lines. Use the above color combinations for swapping backgrounds. These are provided as assets and should not be altered. Orange core background Light green core background Yellow core background Dark green core background Purple core background
76 Imagery Core imagery Billboarding Another technique for the straight sandwich imagery is billboarding. This technique provides an opportunity to showcase the wide variety of choices at Subway® restaurants. When billboarding core imagery, use contrasting background colors for maximum impact. Sandwiches should be carefully lined up at the top and bottom. This technique works best when there are at least three types of sandwiches.
77 Imagery Storytelling Storytelling Our new imagery shows our whole, natural ingredients in their most tasteful forms. By using contrasting color backgrounds and arranging ingredients to create delicious new meanings, our imagery can help communicate a healthy variety of brand messages.
Storytelling imagery This imagery communicates brand stories and builds an emotional connection with the guest by showing Subway® ingredients in unique new ways. Use this imagery when trying to build brand love in the community. Storytelling imagery is provided artwork and should not be altered. Download assets here: Partners/FAFimagelibrary/newVIS Imagery Storytelling
79 Telling a story Each image in our storytelling library can be used to communicate different brand messages. For instance, the rabbit ears and pinwheel images can both be used to communicate “kid’s meal.” Make sure to use relevant copy with imagery to tell a complete story. Storytelling imagery is provided artwork, should not be altered and the library is growing. Download assets here: Partners/FAFimagelibrary/newVIS Imagery Storytelling Choice Location Under construction Kid’s meal Delivery Heart healthy Choice Social sharing Conversations Stay cool Holiday Favorites Music Refreshment Breakfast Choice Kid’s meal Balance Fresh Fit® Kid’s meal Breakfast Location Late night Music Navigation
80 Core LTO imagery Like our core imagery, our new limited-time offer (LTO) imagery appeals to our guests by showcasing our ingredients in their most delicious forms. Backgrounds pull from our vivid color palette while also being staged with our packaging. Look for future guidance on concepting and photographing new offerings. Imagery Limited-time offer
81 Core LTO usage LTO imagery takes our core style and pairs it with packaging to stage a scene that highlights our LTO sandwich. Components of the imagery are carefully composed to fit with the layouts needed for a specific campaign’s messaging. Added appetite cues are the finishing touches, such as crumbs and condensation. Imagery Limited-time offer
Fresh Fit® Meatball marinara 82 Imagery Do nots Do not use aerial imagery. Do not bleed imagery off the background. Do not clip out imagery. Do not use stock imagery. Do not create heavy gradients in backgrounds. Do not use unnatural surfaces in backgrounds. Do not add any non-packaging elements to LTO or Meal Deal imagery. Do not add to or alter any imagery (e.g., adding the dripping sauce). Do not alter background colors without a retoucher. Do not use images for wrong meanings. Do not create or compose multiple pieces of imagery. Do not add motion blurs to any piece of imagery. Do not combine photographs. Do not skew imagery. Do not over crop imagery. Do not crowd imagery with promotional copy. Do not rotate imagery.
Iconography
84 Iconography Two types Iconography Our new Subway® icons are an ownable equity of our brand. They use our ingredients in a way that creates new meaning—and they are instantly recognizable. Subway® icons should be used sparingly, meaningfully, and not as decoration or illustration. Use them as they are provided, without alteration. Iconography Six-inch and Footlong Six-inch and Footlong Map location Map location Hot sandwich Hot sandwich
85 Always designate An icon should exist only if it actively designates a clear narrative such as “Map location” or “Sustainable story.” Invest and educate For education required icons, utilize messaging tools like our website to educate consumers on the meaning of the icon. After a period of time, they will build recognition and be quickly understood. No pairing Never pair an icon with imagery or descriptor copy. Iconography Usage Instant recognition example
Hot Our subs has over 2 servings of veggies. 86 Iconography Do nots Do not create new iconography styles. Do not make iconography translucent. Do not change the color of iconography. Do not put iconography on color backgrounds. Do not use iconographic style to disrupt backgrounds. Do not create patterns. Do not add typography to iconography. Do not use iconography when imagery will communicate the desired messaging. Do not add anything to iconography. Find a location Do not lock up iconography in typographic arrangements. Do not lock up iconography as an illustration.
Layouts
88 Layouts Designing consistent layouts ensures that our new visual identity is recognizable across all Subway® layouts. This section explains the fundamentals of creating 2D layouts by using brand assets in ways that are bold and distinct. Layouts Lorem ipsum dolor
89 Grid The foundation of our layouts is a simple, flexible grid system. A grid helps to align design elements within a layout and across campaign layouts. Our grids use minimal margins to position design elements toward the edges of layouts. This design approach puts the focus on our imagery. Layouts Grid
90 Creating margins in Illustrator 1) Draw a box matching the size of your artboard. 2) Multiply the box width by 2–6% (e.g., 2%=0.02). This measurement is the margin width for your layout. Copy this number. 3) Now, once more, draw a box matching the size of your artboard. Select from the menu Object Path Offset Path and enter the width of the margin, but as a negative number. A smaller box will appear inside of your artboard. This smaller box represents your margin. Note: Refer to page 92 for building margins using InDesign. Layouts Grid Margin size is between 2–6% of the width of the layout. - Most layouts use 2–4% margins. - Large layouts like billboards or signage can use 5–6% margins.
91 Creating grids in Illustrator 1) Divide the margin width in half. This new measurement is your gutter size. Copy the size of the gutter. 2) Select the new margin and go to Object Path Split into Grid. Enter the number of columns based on the layout shape, including your gutter size. Here’s a nice guide for columns: – 2 for narrow vertical – 4 for vertical or square – 8 for wide horizontal Enter a number for rows (make sure to add your gutter size) to create square-like modules. Note: Refer to the extreme vertical or horizontal layouts on page 102. Layouts Grid Vertical layouts use 4 columns. This layout uses 6 rows to form square-like modules.
92 Creating margins in InDesign 1) Create a new document with your intended page size. In the margins section enter the width of the page size and multiply by 2–6% (e.g., 2%=0.02) to create your margins. Copy the size of the margin. 2) Select from the menu Layout Margins and Columns and paste the margin measurement. Note: Refer to page 91 for building margins using Illustrator. Layouts Grid Margin size is between 2–6% of the width of the layout. - Most layouts use 2–4% margins. - Large layouts like billboards or signage can use 5–6% margins.
93 Creating grids in InDesign 1) Take the margin measurements and divide it in half. This new measurement is your gutter size. Copy this number. 2) Now go into Layout Create Guides, click the Preview button and fit your guides to margins. Enter your gutter size. Here’s a nice guide for columns: – 2 for narrow vertical – 4 for vertical or square – 8 for wide horizontal Enter a number for rows (make sure to add your gutter size) to create square-like modules. Note: Refer to the extreme vertical or horizontal layouts on page 101. Layouts Grid Vertical layouts use 4 columns. This layout uses 6 rows to form square-like modules.
94 Tagline Our purest and most brand- focused layout uses a simple tagline and storytelling image. Layouts Tagline Logotype (always 1 column) Tagline (same cap height as the logotype) Imagery (Storytelling image at full bleed in this example) Lorem ipsum dolor elit
95 Typography in the grid This example shows how typography fits within the grid’s columns and rows. Typographic elements of the layout include headlines, subheads and body copy. In this example, all elements are left aligned to the margin. Layouts Typography in the grid Headline (4 columns in the example) Subhead (2 columns in this example) Body copy (2 columns in this example) Imagery (Full-bleed core image) Logotype (always 1 column)
96 Typography in the grid Content does not always need to be aligned with the outer margins of the grid. A good way to break up the information and allow for new alignments, such as partnership branding, is to align content in various quadrants of the grid. Layouts Typography in the grid Partner logo (same cap height as logotype) Headline (2 columns in this example) Body copy (2 columns in this example) Imagery (image cropped with generous negative space) Logotype (always 1 column)
97 Multiple formats The grid system creates strong visual unity within campaigns by aligning and scaling design elements across a diverse range of layout shapes and sizes. Layouts Multiple formats Online ad OOH Billboard Presentations Single-page ad Lorem ipsum dolor amet Lorem ipsum dolor Lorem ipsum dolor consectetur elit Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor
98 Cropping core sandwich imagery Get the most out of every image and layout. Zooming in on sandwich imagery provides more taste appeal. Leave optimal negative space around imagery in layouts to create room for additional content. Layouts Cropping Lorem ipsum dolor amet Lorem ipsum dolor Lorem ipsum dolor consectetur elit Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor Online ad OOH Billboard Presentations Single-page ad
99 Cropping storytelling imagery Use scale, cropping and negative space to showcase our imagery and to enhance our storytelling. Leave plenty of breathing room around our logos and messaging. Layouts Cropping Lorem ipsum dolor amet Lorem ipsum dolor consectetur elit Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor Lorem ipsum dolor Online ad OOH Billboard Presentations Single-page ad
100 Presentation slides The grid system can hold together multiple pages of content and add brand consistency throughout presentations. Layouts Presentation slides Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor consectetur elit Lorem ipsum dolor 2 00 Lorem ipum dolor amet Consectur adiping elit Aque consequis expliquis endae dolor ptatatessi optus et aut volupta consen estrumq uiandam quam con nem fug. Onsequis expliquis endae dolorib usa atatatessi optus et aut volupta conse estrumq uiandam quam con nem hic. Lorem ipsum dol Title page Body page Divider Closing
101 Extreme vertical and horizontal In some cases, a format will require that the grid be one column wide or one row tall. Gutter size can be adjusted when the standard gutter formula results in inadequate gutter sizes. Layouts Extreme grids Online ad (extreme horizontal) Online ad (extreme vertical) Example of adjusted gutter that equals the margin width
102 Layouts Do nots Do not place items in such a way that they do not adhere to the grid system. Do not use gradients. Do not center elements. Do not use more than four colors in a layout. Do not alter underlying grid system. Do not have all elements at the same scale—ensure a clear hierarchy of information. Do not change margins. Do not make the logotype larger than one column. Do not have items at too drastic of a contrast. Do not block imagery with any color blocking.
Gallery
104 Gallery Cold cups
105 Gallery Wrap
106 Gallery Cookie bag
107 Gallery To-go box and sub tub
108 Gallery Uniform
109 Gallery Headband
110 Gallery Embroidery
111 Gallery Name tags
112 Gallery Stationery, business cards, envelopes
113 Gallery Stationery, business cards, envelopes Use stationery with green liner where appropriate.
114 Gallery Pencils
115 Gallery Journals + notes
116 Gallery Journals + notes
117 Gallery Company flag
118 Gallery Neon *Not yet available for in store use. For proof of concept only.
119 Gallery Welcome mat *Not yet available for in store use. For proof of concept only.
120 Gallery Billboard
121 Gallery App icons * Not the actual app design. For proof of concept only.
Contacts
123 Contacts StudioS@subway.com Look forward to additional contact information in the near future.

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Subway.pdf

  • 1.
  • 2.
    2 Welcome Now serving: the newSubway® visual identity. Our new visual identity system is a bold, vibrant update to the brand. It is firmly sandwiched between our history and long-term future. Use this guide as inspiration to help you consistently create experiences for all of those who see, smell, hear, taste and touch the Subway® brand.
  • 3.
    3 Menu board ofcontents Menu board of contents 4 Brand positioning 7 Design principles 12 Brand marks 41 Color 57 Typography 65 Tone of voice 71 Imagery 84 Iconography 88 Layouts 104 Gallery 123 Contacts
  • 4.
  • 5.
    5 Brand positioning Overview Brandgoal To be #1 in Quick Service Restaurants by delivering top sales, high customer counts and an excellent customer experience. Our purpose Inspire members of the Subway® Family to Create Great. We will do this by: Embracing opportunities Crafting craveable, nutritious and affordable sandwiches Delivering a superior customer experience Being a trusted community partner Our promise Inspiring you to live a vibrant lifestyle by providing nutritious food that is affordable and easy to find. It’s a chance to seize the moment because every good choice makes a difference. Eat Fresh. Live Fresh. Our brand’s positioning is accessible quality.
  • 6.
    Section: Subsection 6 Subway®is for people who are seeking a meal choice that they can feel great about. Subway® is “the” sandwich shop. We offer the ideal combination of quality and value. Our consumer’s understand that a delicious sandwich with fresh ingredients should be for all. Everyone can have easy access to the quality of food they deserve. Our brand’s positioning statement:
  • 7.
  • 8.
    8 Design principles Our designprinciples help to maintain a connection to the brand positioning and guide our artistry.
  • 9.
    9 Design principles Limitless vitality Everyinteraction with the Subway® brand is an opportunity for nourishment—both physical and mental. We use a tasty approach to color—delicious imagery that tells a story and a bold, sweet new use of our logotype and brand marks.
  • 10.
    10 Progressive balance Yellow and/orgreen, healthy and/or indulgent, this way and/or that—we always find new ways to strike the perfect balance and cater to our guests so that they can do the same. Design principles
  • 11.
    Purposeful craft Subway® SandwichArtists™ and our guests make carefully considered choices when creating the best subs possible. We do the same with our visual identity—crafting all of our assets with the utmost care and penning equally thoughtful messaging. Design principles 11
  • 12.
  • 13.
    13 Brand marks Logotype Lookingback so we can move forward Carefully crafted, the groovy letterforms of the ’60s have been made more modern and confident. The Subway® arrows pull us from the past and move us into the future. Our logotype is the clearest designation of the brand and should be found in all key creative work—including our restaurant signage, website, advertising, OOH, packaging and first encounters with the brand.
  • 14.
    5 mm (14pixels) = minimum height 14 Add a bit of personal space Clear space is equal to the width of the stem of the “U” in the logotype. The minimum size is 5 mm. Measure the height from the lower point of the arrow on the “S” and the top point of the arrow on the “Y.” Brand marks Logotype x x
  • 15.
    15 Brand marks Logotype Primarylogotype Our primary logotype should be used in most instances. It works on a wide variety of backgrounds. Secondary logotype Our secondary logotype is used in limited instances, such as when the primary version does not work on certain colors or backgrounds, such as white.
  • 16.
    16 Background colors Never usethe logotype over Subway® yellow or Lettuce green. With either color option, the forward-pointing arrow of the logotype should always have the greatest contrast against any background color. The entire logotype should always be legible against backgrounds. Note: Using orange as a background color may not result in optimal legibility. Brand marks Logotype
  • 17.
    17 Brand marks Logotype Theprimary yellow-and-white logotype is used on dark steel surfaces. The secondary yellow-and-green logotype is used on light stucco surfaces. The secondary yellow-and-green logotype is used on light steel surfaces. The primary yellow-and-white logotype is used on wood surfaces. The primary yellow-and-white logotype is used on brick surfaces. Background surfaces With either color option, the forward-pointing arrow of the logotype should always have the greatest contrast against any background surface. The entire logotype should be legible against surfaces.
  • 18.
    18 Brand marks Logotype Theblack logotype is used when color isn’t available. The green logotype is used when printing capabilities are limited. One-Color logotypes One-color Subway® logotypes are reserved for situations where printing capabilities are limited— such as coupons, smart receipts, sponsorship, partnerships and premium items. Use the black logotype when color isn’t available. Choose the green logotype when color is an option and there are one-color-printing constraints. If there is a use case that is not covered here, please contact your brand team for guidance.
  • 19.
    19 Logotype placement In mostcases, the logotype is placed in one of the four corners of a layout, within the margins. It should not be placed in other locations unless it is supplied as such in approved artwork. Brand marks Logotype In most cases, the logotype should be placed in one of the four corners of the design.
  • 20.
    20 Brand marks Logotype Russian/Cyrillic Russian/Cyrillic Arabic Arabic 20 Brandmarks Logotype Global logotypes We are a global brand with global logos. Use the appropriate logotype for your region. If you don’t find what you need, reach out to StudioS@subway.com.
  • 21.
    21 Logotype lock-ups with horizontalpartner logos When using the Subway® logotype with a horizontal partner logo, the forward- facing arrow should always point toward the partner logo. The partner logo should align with the cap height and baseline of the Subway® logotype (y). Use these examples as a guide when creating new horizontal partner lock-ups. Please reference page 96 for a partner layout example. Brand marks Logotype Horizontal partner lock-up spacing Horizontal partner lock-up clear space .5 y y x x
  • 22.
    22 Logotype lock-ups with verticalpartner logos When using the Subway® logotype with a vertical partner logo, the forward-facing arrow should always point toward the partner logo. The partner logo should not overpower the Subway® logotype. Use these examples as a guide when creating new vertical partner lock-ups. Brand marks Logotype Vertical partner lock-up spacing y .5 y x x Vertical partner lock-up clear space
  • 23.
    23 Sub-brand lock-ups Sub-brands aretypically provided as artwork. They should not be altered. Brand marks Sub-brands
  • 24.
    24 Sub-brand lock-ups Sub-brands aretypically provided as artwork. They should not be altered. Brand marks Sub-brands
  • 25.
    25 Creating sub-brand lock-ups Whenit is necessary to create a new sub-brand lock-up, use the Subway® logotype as the basis and Subway® Footlong for the typography. The sub-brand lock-up must be approved by the ARB team. Brand marks Sub-brands .25 y .5 y y Sub-brand lock-up spacing Sub-brand lock-up clear space x x
  • 26.
    Fresh Buzz 26 Brand marksLogotype do nots Do not outline the logotype. Do not apply drop shadows or special effects to the logotype. Do not use the one-color logo in applications where the full-color logo can be used. Do not recreate the logotype or alter it in any way. Do not use the logotype in a containing shape. Do not flip the color order in the logotype. Do not use a single-color logotype—unless print limitations require all black or all white. Do not italicize the logotype. Do not crop the logotype or isolate SUB (or WAY). Do not change logotype colors. Do not break the logotype apart in any way. Do not hyphenate the logotype. Do not use the logotype over images that make it illegible. Do not change lock-up proportions.
  • 27.
    27 You can’t spell“choose” without an “S” The Choice Mark is the newest visual item on the Subway® brand menu. It is derived from our updated logotype and moves our brand forward toward simplification. Our new mark represents the customized Subway® experience. It empowers our consumers to make enjoyable choices. The Choice Mark is used to tell a story, for example, conveying a choice between two options: “healthy” and “indulgent” using typography or imagery. Use the mark for small digital formats and options for premium merchandise. Brand marks Choice Mark
  • 28.
    28 Some personal space,please Clear space is equal to the thickness of the arrow arm of the Choice Mark. Measure the height as the distance from the top point of the upper arrow to the bottom point of the lower arrow to ensure that the Choice Mark is at least this size. Brand marks Choice Mark 12 mm (34 pixels) = minimum height x x
  • 29.
    29 Primary Choice Mark Theprimary Choice Mark is used in most instances. It works on a wide variety of backgrounds. Brand marks Choice Mark Secondary Choice Mark Our secondary Choice Mark is used in limited instances, such as when the primary version does not work well on certain colors or backgrounds, such as white.
  • 30.
    30 Brand marks ChoiceMark Background colors Never use the Choice Mark over Subway® yellow or Lettuce green. With either color option, the forward-pointing arrow of our Choice Mark should always have the greatest contrast against any background color. The entire Choice Mark should always be legible against backgrounds. Note: Using orange as a background color may not result in optimal legibility.
  • 31.
    31 Brand marks ChoiceMark Background surfaces With either color option, the forward-pointing arrow of the Choice Mark should always have the greatest contrast against any background surface. The entire Choice Mark should be legible against surfaces. The primary yellow-and-white Choice Mark is used on dark steel surfaces. The secondary yellow-and-green Choice Mark is used on light stucco surfaces. The secondary yellow-and-green Choice Mark is used on light steel surfaces. The primary yellow-and-white Choice Mark is used on wood surfaces. The primary yellow-and-white Choice Mark is used on brick surfaces.
  • 32.
    32 Brand marks ChoiceMark The black Choice Mark is used when color isn’t available. The green Choice Mark is used when printing capabilities are limited. One-Color Choice Marks One-color Subway® Choice Marks are reserved for situations where printing capabilities are limited— such as coupons, smart receipts, sponsorship, partnerships and premium items. Use the black Choice Mark when color isn’t available. Choose the green Choice Mark when color is an option and there are one-color-printing constraints. If there is a use case that is not covered here, please contact your brand team for guidance.
  • 33.
    Hello Goodbye 33 The Choice Markand messaging Follow the diagram to the right when placing opposing copy. Use the Subway® Footlong font for the typography. The typographic height of the capital letters in the messaging is determined by the central square space between the two arrows, indicated here with a “y.” Each side should offer opposing choices. See more details in the Tone of voice section (page 65). Brand marks Choice Mark y y y
  • 34.
    Hello Goodbye Hello Goodbye 34 20 mm (56pixels) = minimum height Messaging clear space It is important to use plenty of clear space to ensure that Choice Mark messaging is loud and clear. Brand marks Choice Mark x x
  • 35.
    35 Brand marks ChoiceMark Choosing how to use the Choice Mark The Choice Mark is used to express options within imagery and for opposing choices within typography. Hello Goodbye
  • 36.
    Hello Goodbye Hello Goodbye 36 Brand marks Donots Do not outline the Choice Mark. Do not use drop shadows or special effects on the Choice Mark. Do not recreate the Choice Mark or alter it in any way. Do not use the Choice Mark in a containing shape. Do not lock up the Choice Mark with the logotype. Do not change the size of the type used with the Choice Mark. Do not change the color of the type used with the Choice Mark. Do not flip the color order in the Choice Mark. Do not italicize the Choice Mark. Do not create one-color Choice Marks—use provided art when there are printing constraints. Do not crop the Choice Mark. Do not change the Choice Mark colors. Do not create new patterns with the Choice Mark—use only supplied pattern art. Do not use imagery within the Choice Mark. Do not use the Choice Mark over images that make it illegible.
  • 37.
    37 Logotype, meet theChoice Mark. And vice versa. The logotype and Choice Mark will be the two identifiable marks of the brand, in the same way that our Footlong and Six-inch sandwiches are Subway® restaurants’ two most iconic menu items. These two marks play different roles in the system and when used together need to be placed purposefully. Never, under any circumstance, should the Choice Mark be locked up with the logotype. That would be like smashing together our two signature sub sizes to create an ugly 18” Frankenstein sandwich. Brand marks Choice Mark + logotype
  • 38.
    38 Choice Mark +logotype usage The Subway® logotype and the new Choice Mark should be paired to build brand recognition for our new mark. They reinforce and support each other, much like how our oven-baked breads do with all of our other ingredients. When the logotype and Choice Mark are used within the same creative, give them distinct roles, such as using the logotype as a sign-off and showing choice with the Choice Mark. Brand marks Choice Mark + logotype Main narrative device Front Back Sign-off
  • 39.
    39 End tag proportions Staticand animated end tags of the logotype and Choice Mark are the sign-offs for all Subway® messaging. The Subway® logotype is set at 33.3% of the screen width and is centered both vertically and horizontally. The end frame scale of the Choice Mark matches the height of the logotype and is centered both vertically and horizontally. Note: If you end over film, be sure the mark is legible. Brand marks End tag 33.3%
  • 40.
    40 Brand marks Animation Animatedbrand marks Our animated brand marks represent the future of the brand. The Subway® logotype seamlessly transitions to the Choice Mark. Use only supplied brand mark animations. When editing is required, contact the brand team for approval and guidance. Note: If you end over film, be sure the mark is legible and has the right amount of clear space. The secondary yellow-and-green logotype is used on light backgrounds. The primary yellow-and-white logotype is used on mid-toned backgrounds. The primary yellow-and-white logotype is used on dark backgrounds.
  • 41.
  • 42.
    42 Section: Subsection Color Our primarypalette—a bold combo of Subway® green, Subway® yellow and white— is what makes us, us. Always strive for a healthy mix of all three colors. This is especially important for introductions to the brand and for key interactions. Our secondary color palette adds vibrancy to our brand. Secondary colors are used to support our primary palette— they should never overpower our primary colors. Color
  • 43.
    43 Primary Our primary paletteis one of our core brand assets. It includes Subway® green, Subway® yellow and white. Use these colors in most cases. Secondary Like our primary palette, our vibrant secondary colors are also inspired by our ingredients. They should not overpower primary Subway® green or Subway® yellow. Secondary colors are only used to support our primary color palette. Color Primary + secondary Subway® green (PMS 2426 C) CMYK 87/13/100/12 RGB 2/137/64 HEX 028940 Subway® yellow (PMS 7548 C) CMYK 0/29/100/0 RGB 255/194/13 HEX FFC20D White CMYK 0/0/0/0 RGB 255/255/255 HEX FFFFFF Onion purple (PMS 2607 C) CMYK 71/98/1/20 RGB 76/0/106 HEX 4C006A Spinach green (PMS 3425 C) CMYK 96/30/92/27 RGB 0/98/48 HEX 006230 Lettuce green (PMS 3561 C) CMYK 53/0/100/0 RGB 139/205/50 HEX 8BCD32 Water blue (PMS 2202 C) CMYK 91/8/2/1 RGB 0/167/233 HEX 00A7E9 Carrot orange (PMS 151 C) CMYK 0/62/98/0 RGB 255/130/0 HEX FF8200 Tomato red (PMS 172 C) CMYK 0/79/100/0 RGB 222/56/4 HEX DE3804
  • 44.
    44 Balance Use this guideto create the correct color balance throughout the brand. Subway® green should be present in most instances of the brand, with a healthy mix of Subway® yellow-and-white. Secondary colors are used to support our primary palette. They should be used only as background colors in imagery, a personalized touch (e.g., name badges), limited editions or to communicate options. Color Balance
  • 45.
    45 Color + typography Acombination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography Legible: Not legible: Water blue Lettuce green Spinach green Onion purple Carrot orange Tomato red White Subway® yellow
  • 46.
    46 Color + typography Acombination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography White Water blue Lettuce green Carrot orange Subway® green Tomato red Onion purple Spinach green Legible: Not legible:
  • 47.
    47 Color + typography Color+ typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Subway® green Water blue Lettuce green Spinach green Carrot orange Legible: Not legible: White Subway® yellow Onion purple
  • 48.
    48 Color + typography Color+ typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Subway® green Water blue Lettuce green Spinach green Tomato red White Subway® yellow Onion purple Legible: Not legible:
  • 49.
    49 Color + typography Acombination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography Subway® green Lettuce green Spinach green White Subway® yellow Tomato red Carrot orange Water blue Legible: Not legible:
  • 50.
    50 Color + typography Color+ typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Legible: Not legible: Subway® green Water blue Onion purple Tomato red White Subway® yellow Carrot orange Lettuce green
  • 51.
    51 Color + typography Color+ typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. White Subway® green Subway® yellow Water blue Tomato red Carrot orangeLettuce Green Onion purple Spinach green Lettuce Green Legible: Not legible:
  • 52.
    52 Color + typography Color+ typography A combination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. White Subway® green Subway® yellow Lettuce green Spinach green Carrot orange Tomato red Onion purple Legible: Not legible:
  • 53.
    53 Color + typography Acombination of the primary colors white, Subway® green and Subway® yellow is used in typography. However, there will be opportunities for headlines and subheads to use other colors from our palette. The examples to the right show the most and least legible combinations. Color + typography Subway® yellow Water blue Lettuce green Subway® green Tomato red Carrot orange Onion purple Spinach green Legible: Not legible:
  • 54.
    54 Typography Digital treatment Onionpurple Spinach green Subway® green Tomato red ADA-compliant colors: ADA-compliant colors contrast: White White White White Digital treatment starters Additional typographic color considerations are required for digital screens to meet ADA compliancy. The Subway® Footlong font is the prefered font for digital settings and The Subway® Six-inch font should be used sparingly. Stay tuned. More treatments are being developed and tested.
  • 55.
    55 Color + typography Color+ typography exceptions While some of our colors are difficult to read at small scale, they may work well for headline type that is set at more than 42 points. The examples to the right show these exceptions. Note: These color combinations are not for use under 42 points. Water blue Water blue Subway® yellow Subway® yellow Subway® green Lettuce green White White White
  • 56.
    Lorem ipsum dolor sit 56 ColorDo nots Do not use the Choice Mark on a Subway® yellow background. Do not use the Choice Mark on a Lettuce green background. Do not place two colors next to each other that vibrate. Do not create new colors. Do not use the logotype on a Subway® yellow background. Do not use the logotype on a Lettuce green background. Do not use illegible color pairings with typography.
  • 57.
  • 58.
    58 Typography Introducing Introducing Subway® Footlong Subway®Six-inch Introducing our new custom fonts—Subway® Footlong and Subway® Six-inch. They are inspired by our logotype— bold, clear and easy to read. Two new fonts just for Subway®
  • 59.
    59 Using our fonts TheSubway® Footlong font should be used for headlines, subheads and emphasis within body copy. The Subway® Six-inch font should be used for body copy, legal copy and captions. The two fonts are combined with color and scale to create a distinct hierarchy. Typography Using our fonts Subway® Footlong abcdefghijklmnopqrs tuvwxyz1234567890 ABCDEFGHIJKLMNO PQRSTUVWXYZ Subway® Six-inch abcdefghijklmnopqrs tuvwxyz1234567890 ABCDEFGHIJKLMNO PQRSTUVWXYZ
  • 60.
    60 Line spacing Using properleading ensures our typography has a consistent look throughout the brand. Leading values are provided here for typical type sizes. When in doubt, use auto settings. For very large type sizes use 10 points of leading or the auto setting. Typography Line spacing Large type uses 6 points of leading. Medium type is between 20–42 points Large type is between 43–96 points Small type size is smaller than 14 points Medium type sizes use 4 points of leading. Small uses 3 points of leading. Dellor aditae pla quam etur, nihita duntio ent idundaessit aborerumenis deleces modiam fugitinimet.
  • 61.
    61 Letterspacing Our fonts haveletterspacing built in, so no special kerning or tracking is required. To make the most of this feature, make sure your settings are metric rather than optical. Typography Letterspacing Letterspacing is set to 0 and no kerning is required. Large type is between 43–96 points Medium type is between 20–42 points Small type size is smaller than 14 points Letterspacing is set to 0. Letterspacing is set to 0.
  • 62.
    62 Typography Alignment Alignment Use left-alignedtype in all layouts. This alignment brings a modernity into the Subway® system and should be used consistently. Avoid using right and center alignment unless the format absolutely needs it. Align copy to the left. Consistent use of left-aligned type is a defining feature in the new Subway® visual identity.
  • 63.
    63 Typography Sentence case Sentencecase Consistent use of sentence case is another defining feature in the Subway® visual identity. Do not use title case or all caps unless it is legally required or grammatically accurate. Always set type in sentence case. Consistent use of sentence case in type is a defining feature in the new Subway® visual identity.
  • 64.
    Subway® sandwiches are the best. Numecore, ut am, ipsam, consequibus Nume core, ut am, ipsam, conseam, ipsam, consequibus ut am, ipsam, consequibus. Em nosande voluptam, quaerfe rcianduci dipicia con num fugia tiunt ra ercipsum vidus et ut. More Than Just Meals Go ahead and enjoy your rewards MORE THAN JUST MEALS More than just meals! Type Type Call in the subs! Find your closest location 64 Typography Do nots Do not use the Subway® Six-inch font for headlines. Do not overly track out type. Do not put typography over any imagery. Do not use the Subway® Footlong font for long body copy. Do not use centered alignments. Do not treat type with gradients. Do not use all caps for headlines. Do not use white type on yellow at small scale. Do not use initial caps for every word in a headline. Do not use yellow type on white at small scale. Do not accent type with secondary colors, only primary.
  • 65.
  • 66.
    66 Talk the talk Thereis the right way to write in our new brand voice and there are plenty of wrong ways. Mostly it comes down to being fresh instead of saying that we are. It’s about writing in the way that people talk in real life: casually, with a bit of wit and a wink sprinkled in. It’s all about how our food tastes and how our new identity makes our customers feel. This new approach moves us out of the past and ahead of our competition. Tone of voice Talk the talk Don’t say fresh. Be fresh.
  • 67.
    67 Tone of voiceDos and do nots Tone of voice dos and do nots There is the right way to write in our new brand voice and there are plenty of wrong ways. Not like this: Fake fun e.g., !!!!) Clever Cheesy Forced Stale Preachy Earnest On the nose More than six words Food-/ingredient-focused Artificial marketing talk Annoying Dated Fun Smart Classy Conversational Fresh Positive Playful Original Short/punchy Feeling/experience Real Upbeat Novel Write like this:
  • 68.
    68 Things to avoid Thereare some universal rules when it comes to copywriting, and the Subway® brand voice should follow them without fail. While parents may remark how clever jokes involving puns, rhymes and clichés are, our tone of voice aspires to be smarter when it comes to amusing our audience. With that in mind, here are samples of crafted copy vs. writing that requires more time in the oven. Tone of voice Things to avoid Write like this: Not like this: Appease your appetite (alliteration) A sweet treat for you (rhyme) Fresh soup/fresh coffee (“fresh” is stale) The To Go WAY (unoriginal) Add some color to your palate (pun) WAY to eat right (messaging) The reward for eating your veggies (cookie bag) WAY hot (soup/coffee cup) WAY to go (to go/sleeve) Apply some color (veggie station)
  • 69.
    69 Using copy withthe Choice Mark In a word or two: one or two words (on either side). Think of it as a fun yin and yang exercise. Sometimes the word pairings are the exact opposites of one another. And sometimes the second one is a curveball relative to the first. Either way, the Choice Mark is never to be used as a pause between single thoughts, but rather as a clear dividing line between different ideas. Most importantly, word pairings should always make sense given the context of where or on what they appear. Tone of voice Choice Mark Open Closed Summer Enjoy Our ingredients Your masterpiece Limited time $5 for Ice No ice Chorizo sub Introducing new Use like this: Not like this:
  • 70.
  • 71.
    71 Core imagery Taste appealand our guests’ emotional connection are at the heart of our bold new imagery. Our ingredients are shown in their most delicious form on backgrounds pulled from our color palette, allowing each to boldly stand out. Imagery Core imagery
  • 72.
    72 Angled To the rightare five examples of our angled sandwich images set on backgrounds which emphasize appetite appeal. The sandwich angles provide the clearest view of our fresh ingredients. Core sandwich imagery is provided artwork and should not be altered. It is ideal to use the shown background colors with these corresponding sandwiches. If backgrounds require editing, refer to page 75 for more detail. Download assets here: Partners/FAFimagelibrary/newVIS Imagery Core imagery
  • 73.
    73 Imagery Core imagery Straight Tothe right are five examples of our straight sandwich imagery. This angle provides more flexibility for layouts. Core sandwich imagery is provided artwork and should not be altered. Download assets here: Partners/FAFimagelibrary/newVIS
  • 74.
    74 Imagery Core imagery Pickingwhich version to use The angled core imagery provides the most appetizing view of our sandwiches, but does not work in every format. Choose images that are optimized for the format. On this page you see that the straight view works better for long, horizontal formats.
  • 75.
    75 Imagery Core imagery Swappingbackground colors Images in the Subway® library have been shot on purposefully- chosen background colors. If necessary, the background combos can be swapped with supplied background options. However, be mindful that our specific background colors are reflected in our sandwich imagery. A sandwich shot on green would not be ideal on a purple background. The background color combos shown here are supplied as art. Do not make up new combos or alter colors. Download assets here: Partners/FAFimagelibrary/newVIS Original image Do not change color combinations or horizon lines. Use the above color combinations for swapping backgrounds. These are provided as assets and should not be altered. Orange core background Light green core background Yellow core background Dark green core background Purple core background
  • 76.
    76 Imagery Core imagery Billboarding Anothertechnique for the straight sandwich imagery is billboarding. This technique provides an opportunity to showcase the wide variety of choices at Subway® restaurants. When billboarding core imagery, use contrasting background colors for maximum impact. Sandwiches should be carefully lined up at the top and bottom. This technique works best when there are at least three types of sandwiches.
  • 77.
    77 Imagery Storytelling Storytelling Our newimagery shows our whole, natural ingredients in their most tasteful forms. By using contrasting color backgrounds and arranging ingredients to create delicious new meanings, our imagery can help communicate a healthy variety of brand messages.
  • 78.
    Storytelling imagery This imagerycommunicates brand stories and builds an emotional connection with the guest by showing Subway® ingredients in unique new ways. Use this imagery when trying to build brand love in the community. Storytelling imagery is provided artwork and should not be altered. Download assets here: Partners/FAFimagelibrary/newVIS Imagery Storytelling
  • 79.
    79 Telling a story Eachimage in our storytelling library can be used to communicate different brand messages. For instance, the rabbit ears and pinwheel images can both be used to communicate “kid’s meal.” Make sure to use relevant copy with imagery to tell a complete story. Storytelling imagery is provided artwork, should not be altered and the library is growing. Download assets here: Partners/FAFimagelibrary/newVIS Imagery Storytelling Choice Location Under construction Kid’s meal Delivery Heart healthy Choice Social sharing Conversations Stay cool Holiday Favorites Music Refreshment Breakfast Choice Kid’s meal Balance Fresh Fit® Kid’s meal Breakfast Location Late night Music Navigation
  • 80.
    80 Core LTO imagery Likeour core imagery, our new limited-time offer (LTO) imagery appeals to our guests by showcasing our ingredients in their most delicious forms. Backgrounds pull from our vivid color palette while also being staged with our packaging. Look for future guidance on concepting and photographing new offerings. Imagery Limited-time offer
  • 81.
    81 Core LTO usage LTOimagery takes our core style and pairs it with packaging to stage a scene that highlights our LTO sandwich. Components of the imagery are carefully composed to fit with the layouts needed for a specific campaign’s messaging. Added appetite cues are the finishing touches, such as crumbs and condensation. Imagery Limited-time offer
  • 82.
    Fresh Fit® Meatball marinara 82 Imagery Donots Do not use aerial imagery. Do not bleed imagery off the background. Do not clip out imagery. Do not use stock imagery. Do not create heavy gradients in backgrounds. Do not use unnatural surfaces in backgrounds. Do not add any non-packaging elements to LTO or Meal Deal imagery. Do not add to or alter any imagery (e.g., adding the dripping sauce). Do not alter background colors without a retoucher. Do not use images for wrong meanings. Do not create or compose multiple pieces of imagery. Do not add motion blurs to any piece of imagery. Do not combine photographs. Do not skew imagery. Do not over crop imagery. Do not crowd imagery with promotional copy. Do not rotate imagery.
  • 83.
  • 84.
    84 Iconography Two types Iconography Ournew Subway® icons are an ownable equity of our brand. They use our ingredients in a way that creates new meaning—and they are instantly recognizable. Subway® icons should be used sparingly, meaningfully, and not as decoration or illustration. Use them as they are provided, without alteration. Iconography Six-inch and Footlong Six-inch and Footlong Map location Map location Hot sandwich Hot sandwich
  • 85.
    85 Always designate An iconshould exist only if it actively designates a clear narrative such as “Map location” or “Sustainable story.” Invest and educate For education required icons, utilize messaging tools like our website to educate consumers on the meaning of the icon. After a period of time, they will build recognition and be quickly understood. No pairing Never pair an icon with imagery or descriptor copy. Iconography Usage Instant recognition example
  • 86.
    Hot Our subs has over2 servings of veggies. 86 Iconography Do nots Do not create new iconography styles. Do not make iconography translucent. Do not change the color of iconography. Do not put iconography on color backgrounds. Do not use iconographic style to disrupt backgrounds. Do not create patterns. Do not add typography to iconography. Do not use iconography when imagery will communicate the desired messaging. Do not add anything to iconography. Find a location Do not lock up iconography in typographic arrangements. Do not lock up iconography as an illustration.
  • 87.
  • 88.
    88 Layouts Designing consistent layouts ensuresthat our new visual identity is recognizable across all Subway® layouts. This section explains the fundamentals of creating 2D layouts by using brand assets in ways that are bold and distinct. Layouts Lorem ipsum dolor
  • 89.
    89 Grid The foundation ofour layouts is a simple, flexible grid system. A grid helps to align design elements within a layout and across campaign layouts. Our grids use minimal margins to position design elements toward the edges of layouts. This design approach puts the focus on our imagery. Layouts Grid
  • 90.
    90 Creating margins inIllustrator 1) Draw a box matching the size of your artboard. 2) Multiply the box width by 2–6% (e.g., 2%=0.02). This measurement is the margin width for your layout. Copy this number. 3) Now, once more, draw a box matching the size of your artboard. Select from the menu Object Path Offset Path and enter the width of the margin, but as a negative number. A smaller box will appear inside of your artboard. This smaller box represents your margin. Note: Refer to page 92 for building margins using InDesign. Layouts Grid Margin size is between 2–6% of the width of the layout. - Most layouts use 2–4% margins. - Large layouts like billboards or signage can use 5–6% margins.
  • 91.
    91 Creating grids inIllustrator 1) Divide the margin width in half. This new measurement is your gutter size. Copy the size of the gutter. 2) Select the new margin and go to Object Path Split into Grid. Enter the number of columns based on the layout shape, including your gutter size. Here’s a nice guide for columns: – 2 for narrow vertical – 4 for vertical or square – 8 for wide horizontal Enter a number for rows (make sure to add your gutter size) to create square-like modules. Note: Refer to the extreme vertical or horizontal layouts on page 102. Layouts Grid Vertical layouts use 4 columns. This layout uses 6 rows to form square-like modules.
  • 92.
    92 Creating margins inInDesign 1) Create a new document with your intended page size. In the margins section enter the width of the page size and multiply by 2–6% (e.g., 2%=0.02) to create your margins. Copy the size of the margin. 2) Select from the menu Layout Margins and Columns and paste the margin measurement. Note: Refer to page 91 for building margins using Illustrator. Layouts Grid Margin size is between 2–6% of the width of the layout. - Most layouts use 2–4% margins. - Large layouts like billboards or signage can use 5–6% margins.
  • 93.
    93 Creating grids inInDesign 1) Take the margin measurements and divide it in half. This new measurement is your gutter size. Copy this number. 2) Now go into Layout Create Guides, click the Preview button and fit your guides to margins. Enter your gutter size. Here’s a nice guide for columns: – 2 for narrow vertical – 4 for vertical or square – 8 for wide horizontal Enter a number for rows (make sure to add your gutter size) to create square-like modules. Note: Refer to the extreme vertical or horizontal layouts on page 101. Layouts Grid Vertical layouts use 4 columns. This layout uses 6 rows to form square-like modules.
  • 94.
    94 Tagline Our purest andmost brand- focused layout uses a simple tagline and storytelling image. Layouts Tagline Logotype (always 1 column) Tagline (same cap height as the logotype) Imagery (Storytelling image at full bleed in this example) Lorem ipsum dolor elit
  • 95.
    95 Typography in thegrid This example shows how typography fits within the grid’s columns and rows. Typographic elements of the layout include headlines, subheads and body copy. In this example, all elements are left aligned to the margin. Layouts Typography in the grid Headline (4 columns in the example) Subhead (2 columns in this example) Body copy (2 columns in this example) Imagery (Full-bleed core image) Logotype (always 1 column)
  • 96.
    96 Typography in thegrid Content does not always need to be aligned with the outer margins of the grid. A good way to break up the information and allow for new alignments, such as partnership branding, is to align content in various quadrants of the grid. Layouts Typography in the grid Partner logo (same cap height as logotype) Headline (2 columns in this example) Body copy (2 columns in this example) Imagery (image cropped with generous negative space) Logotype (always 1 column)
  • 97.
    97 Multiple formats The gridsystem creates strong visual unity within campaigns by aligning and scaling design elements across a diverse range of layout shapes and sizes. Layouts Multiple formats Online ad OOH Billboard Presentations Single-page ad Lorem ipsum dolor amet Lorem ipsum dolor Lorem ipsum dolor consectetur elit Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor
  • 98.
    98 Cropping core sandwichimagery Get the most out of every image and layout. Zooming in on sandwich imagery provides more taste appeal. Leave optimal negative space around imagery in layouts to create room for additional content. Layouts Cropping Lorem ipsum dolor amet Lorem ipsum dolor Lorem ipsum dolor consectetur elit Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor Online ad OOH Billboard Presentations Single-page ad
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    99 Cropping storytelling imagery Usescale, cropping and negative space to showcase our imagery and to enhance our storytelling. Leave plenty of breathing room around our logos and messaging. Layouts Cropping Lorem ipsum dolor amet Lorem ipsum dolor consectetur elit Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor Lorem ipsum dolor Online ad OOH Billboard Presentations Single-page ad
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    100 Presentation slides The gridsystem can hold together multiple pages of content and add brand consistency throughout presentations. Layouts Presentation slides Presenter Name Presentation Title 01.01.17 Confidential Lorem ipsum dolor consectetur elit Lorem ipsum dolor 2 00 Lorem ipum dolor amet Consectur adiping elit Aque consequis expliquis endae dolor ptatatessi optus et aut volupta consen estrumq uiandam quam con nem fug. Onsequis expliquis endae dolorib usa atatatessi optus et aut volupta conse estrumq uiandam quam con nem hic. Lorem ipsum dol Title page Body page Divider Closing
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    101 Extreme vertical andhorizontal In some cases, a format will require that the grid be one column wide or one row tall. Gutter size can be adjusted when the standard gutter formula results in inadequate gutter sizes. Layouts Extreme grids Online ad (extreme horizontal) Online ad (extreme vertical) Example of adjusted gutter that equals the margin width
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    102 Layouts Do nots Donot place items in such a way that they do not adhere to the grid system. Do not use gradients. Do not center elements. Do not use more than four colors in a layout. Do not alter underlying grid system. Do not have all elements at the same scale—ensure a clear hierarchy of information. Do not change margins. Do not make the logotype larger than one column. Do not have items at too drastic of a contrast. Do not block imagery with any color blocking.
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    113 Gallery Stationery, businesscards, envelopes Use stationery with green liner where appropriate.
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    118 Gallery Neon *Not yetavailable for in store use. For proof of concept only.
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    119 Gallery Welcome mat *Notyet available for in store use. For proof of concept only.
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    121 Gallery App icons * Notthe actual app design. For proof of concept only.
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    123 Contacts StudioS@subway.com Look forward toadditional contact information in the near future.