Express

yourself
Masterbrand guidelines
Version 1.0
Contents
6 Telling the same story 64–103 Photography
8 Being distinctive 66 Our image types
10–17 Our brand 68 Capturing living well
12 Corporate vision 70 Cut-out and full-bleed
14 Promise 72–79 People
16 Personality 80–87 Products
18–115 How we look 88–95 Meals
96–101 Metaphors
20 Overview
102 The holding shape
22 Our assets
24–37 Logos 104–111 Roundels
26 Choosing a logo 106 Introduction
28 Masterbrand logo 108 Principles
30 LWFL logo 110 Incorrect use
32 White and black logos
34 Specified print sizes 112–117 Iconography
36 Incorrect use 114 Introduction
116 Family of icons
38–43 White space
40 Introduction 118–161 How we sound
42 Incorrect use 120–127 Introduction
128–141 How to be lovely
44–51 Colour 142–155 How to be lively
46 Brand colours 156 Examples
48 Secondary colours
50 Incorrect use 162–165 Artwork
164 Logo asset file names
52–63 Typography
54 Typeface
56 Styles
58 Principles
60 Large orange headlines
62 Incorrect use
Telling the
6

These masterbrand guidelines have

been created for the Sainsbury’s grocery
business to help us consistently express

same story
our brand brilliantly, every time.
And we’ll do this by looking, sounding and
feeling consistently Sainsbury’s in every
expression and building, enhancing and
protecting our brand assets.
‘Look’ is our visual identity, ‘sound’ is
our tone of voice and ‘feel’ is our brand
personality. They all support our brand
promise and should work in harmony.

In the pipeline
We’re currently working on a set of
application-specific guidelines that
take guidance from the masterbrand.
These will be created for particular
channels and scenarios that might
have their own requirements, such as
internal communications and digital.
For any help, support or advice on
applying these brand guidelines,
please contact the Brand Expression
team: brand.clinic@sainsburys.co.uk
8

We’ve simplified our

assets to make it easier
to stay consistent.

Distinctive It’s important for us to stand out from With consistency our brand assets
the crowd, be instantly recognisable become truly distinctive and
assets and always be ourselves. synonymous with us.
Distinctive assets help to evoke a This builds mental availability and
brand, even when the brand name drives Sainsbury’s as the destination
isn’t present. Every day we have of choice.
opportunities to express the brand These guidelines help us establish and
as a consistent Sainsbury’s that our protect our distinctive assets.
customers recognise.

Need to Anything a customer’s going to see A top tip: the earlier you engage the
will benefit from being reviewed at Brand Expression team, the more
get something Brand Clinic. Brand Clinic’s role is to constructive support and advice we
approved? help us build, protect and enhance our can give.
distinctive assets and our brand.
It’s every Wednesday from 12.30 to
14.00. You can book a slot by emailing
brand.clinic@sainsburys.co.uk.
10

Our brand
12
Corporate vision

To be the
most trusted
retailer, where
people love to
work and shop.
14
Promise

Live Well For Less is a promise to help It defines many of the reasons that
customers get closer to the life they our customers shop with Sainsbury’s,
want to lead. encapsulating an ethos of finding the
balance between cost and quality.
It will help us deliver our corporate
vision as it puts the customer at the Customers see this promise expressed
heart of everything we do, winning through our tagline, but it is also an
their trust. It is synonymous with unseen idea that runs through our

Live Well
us, and familiar to our customers. day-to-day work.

To deliver on our

For Less
brand promise...
We will be thoughtful in everything we do
Understand our customers better and respond better to their
needs, delighting and surprising them.

We will give our customers rewarding experiences

Customers always get something more from us. Whether it’s recipes,
tips and inspiration, double points or great service initiatives.

We will always endeavour to do the right thing

Use common sense language, straightforward pricing, sourcing with
integrity and caring for the planet.

We will always offer the best balance of cost and quality.

We know that good value is defined by the customer, not by us.
16
Personality

It’s important for Sainsbury’s to have

a strong brand personality that can
guide us and govern how our brand
Warm
is expressed. We are warm, human, Warm is when we’re positive, open, caring, friendly and accepting. It’s a
genuine, straightforward, and lively. friendly hello. Approaching things with confidence. If we steer into being overly
comfortable or safe, stop and make the change.
And we’re a modern, British brand

Human
so it’s important we reflect that
in everything we say and do –
always reflecting the diversity of
the customers we serve and the Human is being encouraging, understanding, inclusive. Having that personal
colleagues we work with. touch. We’re human after all – not robotic, but not over-familiar either.

Genuine
Genuine is about being authentic and real. We’re open-minded and never a
force-fit, contrived or perfect. Certainly not cheesy.

Our ambition is that the personality will guide

everyone from buying teams and marketing
Straightforward
Straightforward is us saying what we mean and really meaning what we say.
managers to store colleagues, HR managers and We’re simple and easy, and pride ourselves on being trustworthy, and trusting.
delivery van drivers. It helps establish an authentic, We’ve gone too far if we start to become blunt and we’ve not done enough if
distinctive and consistent Sainsbury’s experience. we’re vague or over-complicated.

Lively
Lively is that real feeling. Of joy, fun, celebration. It’s the energetic current
that flows through everything we do. We need to have a long, hard look in
the mirror if we swerve into predictable or boring territory, or become so
unpredictable that we’re no longer consistent.
18

How
we look
20
22
Our assets

Our visual identity consists of

Aab
defined assets that each express
various characteristics of our brand
personality, as well as coming
together to create a distinctive brand
identity for Sainsbury’s.
Used simply and thoughtfully, they
help us communicate quickly and
consistently across all channels.
Logos White space Colour Typography
Warm Genuine Warm Warm
Human Straightforward Genuine Human
Genuine Straightforward Straightforward
Straightforward Lively Lively
Lively

Our assets have been designed to work in

combination with each other in various ways
to cater for multiple scenarios. Each asset has
its own role, and all have principles, nuances, 25%
incorrect use and exceptions. off
Photography Roundels Iconography
Warm Genuine Genuine
Human Straightforward Straightforward
Genuine
Straightforward
Lively
24

Logos
26
Logos
Choosing a logo

Sainsbury’s has a masterbrand logo as Sainsbury’s or is it a co-branding

and a Live Well For Less logo (LWFL). communication?
A number of factors determine which If you believe a new logo needs to be
logo should be used. For example: created, then please get in touch with
Is the brand promise relevant? Is it the Brand Expression team so we can
legally applicable? Are we speaking advise on the best approach.

Communication Masterbrand LWFL

logo logo

Food/grocery communications X √
Wine, beers and spirits √ X
Recruitment √ X
Corporate √ X
Co-branding √ √
28
Logos
Masterbrand logo

The masterbrand logo is one of our

most recognisable brand assets.
It should be used when the Live Well
For Less promise doesn’t apply.
The default colour of the masterbrand
logo is orange on white.

The masterbrand logo is typically positioned in The absolute minimum width of the masterbrand
the bottom right, though it’s in the top left of logo is 27mm in print and 100px online.
our website, top right on letterheads, and can be
positioned freely on campaign advertising.

d x
0.12

d x
0.15

The minimum amount of clear space around For formats where the logo size is not specified, Approved artwork is available from
the masterbrand logo is equal to the capital S. the general rule to determine the masterbrand www.j-sainsbury.co.uk/media/media-toolkit/
For campaigns where the masterbrand logo is logo’s size is to multiply the diagonal length by
positioned freely, it must have twice that amount 0.15 for portrait, and 0.12 for landscape.
of clear space all around it.
30
Logos
Live Well For Less logo

The LWFL logo is used whenever the

Live Well For Less brand promise is
relevant. The default colour of the
LWFL logo is orange on white.

The LWFL logo is typically positioned in the bottom The absolute minimum width for the LWFL logo is
right, though it’s in the top left of our website, top 24mm in print and 95px online.
right on letterheads, and can be positioned freely
on campaign advertising.

d x
0.1

d x
0.13

The minimum amount of clear space around the For formats where the logo size is not specified, the Approved artwork is available from
LWFL logo is equal to the capital S. For campaigns general rule to determine the LWFL logo’s size is www.j-sainsbury.co.uk/media/media-toolkit/
where the LWFL logo is positioned freely, it must to multiply the diagonal length by 0.13 for portrait,
have twice that amount of clear space all around it. and 0.1 for landscape.
 32
Logos
White and black logos

Sometimes our logo can’t be orange This will ultimately help us to build
on white for practical reasons, and and protect orange as one of our
sometimes we actively prefer an distinctive assets.
orange background with a white logo
for an immediate, focused and iconic
way to communicate Sainsbury’s.

team
sainsburys.co.uk

When this bag is worn out please return it and we will give you a new one free.
We will then recycle your old bag. This bag is made from 100% recycled plastic.

sainsburys.co.uk Warning: to avoid the danger of suffocation please keep

this bag away from babies and small children.

Our orange bags are instantly recognisable Our vans are an opportunity to get our orange
amongst our competitors. out on the roads for all to see, communicating
Sainsbury’s in an instant.

sainsburys.co.uk

TV ad endframes provide a contrast to the black On inside pages of reports or presentations, the
and white art direction. logo can be orange over a light image, or white over
a dark or coloured image.
Where restricted to printing in a single colour, such
as on packaging, the logos can be black.
34

Actual size A3 portrait

Logos
Specified print sizes

Though many of the things we

put our logo on are one-offs or
have specific factors to take into
account, there are agreed sizes
for some common formats.

Format Masterbrand logo LWFL logo

Actual size A6 landscape

A6 portrait 27mm (width) 24mm (width)
A5 portrait 39mm 33mm
A4 portrait 52mm 47mm
A3 Portrait 79mm 71mm
A2 portrait 109mm 95mm
DL portrait 37mm 32mm
180mm square 38mm 33mm
A6 landscape 36mm 32mm
A5 landscape 31mm 26mm sainsburys.co.uk
A4 landscape 44mm 36mm
A3 landscape 62mm 51mm
A2 landscape 87mm 73mm
DL landscape 30mm 25mm

Actual size A4 portrait

For either logo, the entire width
of the artwork is measured.
36
Logos
Incorrect use

Sainsbury’s < 12 >

Live Well For Less
Home

1 Our brand
Orange, brandmark and flair line
Introduction
How to navigate this document
Our vision and goal
Our ‘live well for less’ promise (i) Orange gradation and brandmark Flair li
Our ‘live well for less’ promise (ii)
Our personality
Do not recreate or adjust the masterbrand logo. Do not recreate or adjust the LWFL logo. Do not add effects such as drop shadows, textures,
Substantiating ‘live well for less’ Do not use the logo in any colour other than orange,
– legal guidance
glows, or bevels. Our visual identity white, or black.
Our visual identity – overview
Key assets
Orange, brandmark and flair line
Tab and colour
Typography and photography
Illustration and texture,
price and promotions

2 Tone of voice
3 Brandmark
4 The flair line
5 The tab
6 Colour

Outdoor
7 Typography
8 Photography
9 Illustration and texture
10 Iconography
11 Price and promotions
12 Practical examples for guidance
13 Colleague communications
14 Artwork library
Do not rotate the masterbrand or LWFL logo. Do not stretch, contract, distort or warp the logo. Do not create lock-ups or set text close to the logoOrange
in Do not use discontinuedBrandmark
gradation legacy elements such as Flair li
15 Contacts and sign-off
such a way that suggests it is a sub-brand. the light
This is Sainsbury’s flair,
greatest
distinctive visual asset.
andtab,
most lozenge,
This or gradient.
is our primary signifier. This is
It should be used on all branded Develo
Orange is hero and is used consistently applications. you ge
across all applications. Created to strengthen the communication of It creat
It is the primary background for our our brand and our ‘live well for less’ strapline. across
brandmark. It should appear white out of orange. It can d
are try
38

space
White
40
White space

For us, white space is an asset. Its

straightforward application helps our
orange logos, typography and cut-out
images stand out.
We build our designs with the
appropriate brand assets, and since
white space is an asset, we don’t work
in a way that ‘fills the space’.

Express
String
theory
...then
indulge
Annual report
2017/18
Annual report
2017/18
yourself
sainsburys.co.uk Masterbrand guidelines
Version 1.0
When cut-outs are used with large orange When large orange headlines are not used, it is still
headlines, the combined white area should be important to consider the amount of white space,
greater than the total amount of orange type. and to position cut-out imagery with this in mind.

Impact report question ran over her cheek, then she continued her way. On her
way she met a copy. The copy warned the Little Blind Text, that
where it came from it would have been rewritten a thousand

Qia quo voluptatum et eatibus lum re

times and everything that was left from its origin would be the
word “and” and the Little Blind Text should turn around and
return to its own, safe country.

quiatque numquos endi conse rchilla But nothing the copy said could convince her and so it didn’t
take long until a few insidious Copy Writers ambushed her,

corpore pliqui nem quiatis.

made her drunk with Longe and Parole and dragged her into
their agency, where they abused her for their projects again
and again. And if she hasn’t been rewritten, then they are still
using her. Far far away, behind the word mountains, far from
the countries Vokalia and Consonantia, there live the blind texts.
Separated they live in Bookmarksgrove right at the coast of the
Semantics, a large language ocean. A small river named Duden
flows by their place and supplies it with regelialia.

28%
It is a paradisematic country, in which roasted parts of
sentences fly into your mouth. Even the all-powerful
Pointing has no control about the blind texts it is an almost
unorthographic life One day however a small line of blind text
by the name of Lorem Ipsum decided to leave for the far World
of Grammar. The Big Oxmox advised her not to do so, because
there were thousands of bad Commas, wild Question Marks
and devious Semikoli, but the Little Blind Text didn’t listen.
She packed her seven versalia, put her initial into the belt and
made herself on the way. When she reached the first hills of

Basic annual totals Key

05 Int aut et quis erum

07 volecum dolupta
05 Int aut et quis erum
07 Csae eos vid volecum dolupta
05 Int aut et quis erum
07 Coria nullor eos vid quo dolupta

Far far away, behind the word mountains, far from the countries
Vokalia and Consonantia, there live the blind texts. Separated
they live in Bookmarksgrove right at the coast of the Semantics,
a large language ocean. A small river named Duden flows by
their place and supplies it with the necessary regelialia. It is a
paradisematic country, in which roasted parts of sentences.
Even the all-powerful Pointing has no control about the blind
texts it is an almost unorthographic life One day however a
small line of blind text by the name of Lorem Ipsum decided to
leave for the far World of Grammar. The Big Oxmox advised her
not to do so, because there were thousands of bad Commas,
wild Question Marks and devious Semikoli, but the Little Blind
Text didn’t listen. She packed her seven versalia, put her initial
into the belt and made herself on the way.
Mountains, she had a last view back on the skyline of her
hometown Bookmarksgrove, the headline of Alphabet Village
2005 2006 2007 2008 2009 2010 and the subline of her own road, the Line Lane. Pityful a rethoric

Inside pages use white space to structure layouts

and organise content.
42
White space
Incorrect use

Crunch
Annual report Annual report Annual report Annual report
2017/18 2017/18 2017/18 2017/18

Do not place assets too large to fill the space. Do not add unnecessary assets to fill the space. Do not create print layouts that feel overly Do not place elements too close to the logo by
structured, regular, or formalised (unless it’s breaking its minimum clear space rule.
relevant to a specific creative idea).

Home
Take
In the mix Motley
crew stock
Annual report
2017/18
spun Annual report
2017/18
Create the perfect board. Our staff are
happy to discuss your tastes to help you
choose the ideal combinations.
Annual report
2017/18

sainsburys.co.uk

Do not surround imagery with typography. Do not simply surround typography with imagery. Do not leave too much white space. Do not create significant empty areas that result
in an unbalanced layout.
44

Colour
 20Y -15Y -10Y -5Y
40M 100Y (existing uncoated) 51M 100Y (existing coated) 60M 95Y (recommending) 40M 100Y (existing uncoated) 51M 100Y (existing coated) 60M 95Y (recommending) 40M 100Y (existing uncoated) 51M 100Y (existing coated) 60M 95Y (recommending) Pantone 14

46
0C 78M 100Y 0K 40mm

Colour
Brand colours 0C 75M 100Y 0K
30mm

0C 72M 100Y 0K 20mm

Orange
Orange, plum, white and black provide
the basis for most of our external and
15mm
C:M:Y:K 0:51:100:0
PMS 152 coated
0C 69M 100Y 0K

internal communications.
12mm

10mm
144 uncoated
Our customers attribute orange and 0C 66M 100Y 0K

8mm
R:G:B 237:139:0
plum back to us, which make them Hex #ed8b00
distinctive assets. That’s why we 0C 63M 100Y 0K
RAL 2011
consistently use these colours in the
right way. 0C 60M 100Y 0K 40M 100Y (existing uncoated) 44M 100Y 48M 100Y 51M 100Y (existing coated) 54M 100Y 57M 100Y 60M 100Y 63M 100Y 66M 100Y 40M 100Y (ex

Plum C:M:Y:K 55:100:60:25

0C 57M 100Y 0K

40M 90Y 44M 90Y 48M 90Y 51M 90Y 54M 90Y 57M 90Y 60M 90Y PMS 209 coated
63M 90Y 66M 90Y 40M 90Y

0C 54M 100Y 0K 209 uncoated

R:G:B 127:4:66
Mustard Hex #7f0442

stock
White stock sto
cutter Take
stock
0C 51M 100Y 0K

RAL 4004
40M 80Y 44M 80Y 48M 80Y 51M 80Y 54M 80Y 57M 80Y 60M 80Y 63M 80Y 66M 80Y 40M 80Y
We hand rub our Taste The Difference
air-dried hams with Cornish sea salt and
sugar, for a sweet, delicate flavour.

sainsburys.co.uk

40M 100Y 51M 100Y (existing coated) 57M 100Y

Annual report 0C 48M 100Y 0K
2017/18

These four colours are the most prominent in our Our orange output can be unpredictable on certain 0C 45M 100Y 0K

C:M:Y:K 0:0:0:0

stock stock sto

designs in terms of literature covers and posters, materials, so running print tests is recommended
internal communications, environment graphics wherever possible. The end goal is a consistent R:G:B 255:255:255
and online applications. orange regardless of channel. 0C 42M 100Y 0K

40M 90Y 51M 90Y

Hex #ffffff 57M 90Y

0C 39M 100Y 0K
RAL 9003
10% 100% R:G:B 240:108:0

stock
Black stock sto
Hex #f06c00 0C 36M 100Y 0K

Pantone 144 Pantone 158

10% 100% Pantone 144 51M 80Y 57M 80Y

C:M:Y:K 0:0:0:100
PMS Process black
95%

10% 100%
R:G:B 12:12:12

Jiggle Jiggle Jigg

90%
Hex #0c0c0c
Contents

RAL 9005
40M 100Y (existing uncoated) 51M 100Y (existing coated) 57M 100Y

Tints of plum, white and black can be used for On mobile, tablet and computer screens, we
charts, graphs and infographics. Tints should be only use one orange, an accessible colour to 85%

at intervals of 10%. AA standard.

80%

75%
48
Colour
Secondary colours

Medium blue C:M:Y:K 100:30:0:20

R:G:B 0:115:174
Hex #0073ae
Magenta C:M:Y:K 0:100:0:0
R:G:B 230:0:126
Hex #e6007e

Lavender C:M:Y:K 65:84:0:0

R:G:B 119:65:146
Hex #774192
Yellow C:M:Y:K 0:12:100:0
R:G:B 255:218:0
Hex #ffd900

Purple C:M:Y:K 40:100:0:0

R:G:B 167:22:128
Hex #a71680
Green C:M:Y:K 50:0:100:0
R:G:B 200:211:0
Hex #c8d300

Secondary colours are available to use on charts,

graphs and infographics when you need to expand
your range further than orange and plum. Tints of
the secondary colours can be used and should be
at intervals of 10%.
50
Colour
Incorrect use

Opening hours

Do not use gradients. Do not use black as a background colour. Do not use tints or transparencies of orange. Do not use legacy colour values.

Impact report question ran over her cheek, then she continued her way. On her
way she met a copy. The copy warned the Little Blind Text, that
where it came from it would have been rewritten a thousand

Qia quo voluptatum et eatibus lum re

times and everything that was left from its origin would be the
word “and” and the Little Blind Text should turn around and
return to its own, safe country.

quiatque numquos endi conse rchilla But nothing the copy said could convince her and so it didn’t
take long until a few insidious Copy Writers ambushed her,

corpore pliqui nem quiatis.

On
made her drunk with Longe and Parole and dragged her into
their agency, where they abused her for their projects again
and again. And if she hasn’t been rewritten, then they are still
using her. Far far away, behind the word mountains, far from
the countries Vokalia and Consonantia, there live the blind texts.

target
Separated they live in Bookmarksgrove right at the coast of the
Semantics, a large language ocean. A small river named Duden
flows by their place and supplies it with regelialia.

28%
It is a paradisematic country, in which roasted parts of
sentences fly into your mouth. Even the all-powerful

Opening hours
Pointing has no control about the blind texts it is an almost
unorthographic life One day however a small line of blind text
by the name of Lorem Ipsum decided to leave for the far World
of Grammar. The Big Oxmox advised her not to do so, because
there were thousands of bad Commas, wild Question Marks
and devious Semikoli, but the Little Blind Text didn’t listen.
She packed her seven versalia, put her initial into the belt and
made herself on the way. When she reached the first hills of

Basic annual totals Key

05 Int aut et quis erum

07 volecum dolupta
05 Int aut et quis erum
07 Csae eos vid volecum dolupta
05 Int aut et quis erum
07 Coria nullor eos vid quo dolupta

Far far away, behind the word mountains, far from the countries
Vokalia and Consonantia, there live the blind texts. Separated
they live in Bookmarksgrove right at the coast of the Semantics,
a large language ocean. A small river named Duden flows by
their place and supplies it with the necessary regelialia. It is a
paradisematic country, in which roasted parts of sentences.
Even the all-powerful Pointing has no control about the blind
texts it is an almost unorthographic life One day however a
small line of blind text by the name of Lorem Ipsum decided to
leave for the far World of Grammar. The Big Oxmox advised her
not to do so, because there were thousands of bad Commas,
wild Question Marks and devious Semikoli, but the Little Blind
Text didn’t listen. She packed her seven versalia, put her initial
into the belt and made herself on the way.
Mountains, she had a last view back on the skyline of her
hometown Bookmarksgrove, the headline of Alphabet Village
2005 2006 2007 2008 2009 2010 and the subline of her own road, the Line Lane. Pityful a rethoric

Do not use plum text on an orange background. Do not create new colours for backgrounds, Do not use the screen colour in print, or the print Do not use the secondary colours for charts when
logos or typography. colour on screen. orange plus tints of plum and black could be used.
52

Typography
54
Typography
Typeface

Our typeface is Mary Ann. Created for

Sainsbury’s, it is unique to our brand
and is the only typeface we use.
Our smallest text is Mary Ann Regular
at 6pt in print and 9pt online, though
text should usually be larger.

Extra Bold Aa Bb Cc
Bold Aa Bb Cc
Medium Aa Bb Cc
Regular Aa Bb Cc
Light Aa Bb Cc
Mary Ann is our typeface. Extra Bold, Bold, Medium, Regular and Light
are used. Italics are used where necessary for
particular emphasis, but not for style. At brand
level Extra Bold, Medium, Regular and Light are
used. Campaigns use Bold and Regular.

Sentence case

Text is set in sentence case by default. Text is left aligned by default, though large orange
headlines are an exception to this rule.
56
Typography

Oomph
Styles

We use a combination of type weights Large orange headline

and colour options to ensure our Mary Ann Extra Bold
communications are clear and feel like Orange
they’re from Sainsbury’s.
Orange text feels very Sainsbury’s,
but over-use will reduce its impact,
so there are different options for titles
and short bites of text to help keep
things fresh and inviting.

Short bite We want to be the Title Our personality Sub title Introduction
Mary Ann Extra Bold Mary Ann Extra Bold It’s important for us to have a strong Mary Ann Regular The team
Orange most trusted retailer, orange personality that can guide us and... Black
If it doesn’t follow a large
orange headline where people love to If it doesn’t follow a large
orange headline
If title is orange

work and shop. Title Our personality Sub title Introduction

Mary Ann Extra Bold It’s important for us to have a strong Mary Ann Regular The team
Plum personality that can guide us and... Plum
First choice if it follows a If title is plum
large orange headline

Short bite We want to be the Title Our personality Alternative sub title Introduction
Mary Ann Extra Bold Mary Ann Extra Bold It’s important for us to have a strong Mary Ann Extra Bold The team
Plum most trusted retailer, Black personality that can guide us and Orange
First choice if it follows a
large orange headline where people love to Second choice if it follows a
large orange headline govern how our brand is expressed.
If title is plum

We are warm, human, genuine,

work and shop. Long body text straightforward, and lively. These Caption text It’s important for us to have a
Mary Ann Regular Mary Ann Light strong personality that can guide
words reflect who we are, and the us and govern how our brand is
Black or white Black
way we interact with our customers. expressed.

Short bite We want to be the Caption or small sprint title Terms and conditions Caption text or small print
It’s important for us to have a strong personality
that can guide us and govern how our brand is
Mary Ann Extra Bold Mary Ann Medium Mary Ann Regular
most trusted retailer,
It’s important for us to have a strong brand personality that can guide us expressed. It’s important for us to have a strong
and govern how our brand is expressed. We are warm, human, genuine, personality that can guide us and govern how
Black Black or white straightforward, and lively. These words reflect who we are, and the way Black or white our brand is expressed. It’s important for us
Second choice if it follows a
where people love to... This title should always be the we interact with our customers and colleagues. It’s important for us to to have a strong personality that can guide us
have a strong brand personality that can guide us and govern how our and govern how our brand is expressed. It’s
large orange headline same colour as the text brand is expressed. We are warm, human, genuine, straightforward. important for us to have a strong personality
58
Typography
Principles

Kilograms Kilograms

Take
45
57
45
57
stock
65 65
62 62
Annual report Finance update
2017/18 2017/18

24 24

Keep the rag (the shape created by the ends of lines A rule above text can be used where required. Make When there’s a large orange headline, make the When there’s no large orange headline, make the
of text) natural and evenly distributed as much as it 1pt or one pixel, and the same colour as the text next title and sub-title plum. first title orange, and any sub-titles after that black.
possible, but don’t force it. if it’s orange or plum. If the text is black, make the
rule a 30% tint of black.

This is 12pt type

Leading with 14pt leading

This is 24pt type

vlif vlif
with 26pt leading
Zero tracking
This is 16pt type =Leading/2
Leading with 18pt leading
This is where the next
paragraph starts
This is 24pt type
Leading
with 26pt leading
Allow enough space between lines (known as Set the paragraph space as half the value of the Set the character tracking to zero. Set the character kerning to optical. Kerning of
leading or line spacing) for comfortable reading. leading by default. space between individual letters is not required
with Mary Ann.
60
Typography
Large orange headlines

This is how we display our confident,

Play
immediate, large headlines,
treating text as a recognisable
graphic language that is direct and
straightforward, energetic and lively.

Home
Headline spun
Large orange headlines are always orange on a Multiple words are used where required. Longer
white background, and are Mary Ann Extra Bold, headlines use multiple type sizes to create tension
or Bold for campaigns. They may slightly bleed off and drama.
page edges as long as legibility is not affected.

Spin
Good
Lined up
Where cut-outs and large orange headlines Large orange headlines are set on a baseline by
overlap, the typography is always on top. default. However, in campaigns, and only where
appropriate to the content, headlines can break
from this and be set more freely.
62
Typography
Incorrect use

Aa Bb Cc Dd
Aa Bb Cc Dd Typography
We are human, warm,
straightforward, genuine,
Aa Bb Cc Dd and lively.

Aa Bb Cc Dd
Do not use any typeface other than Mary Ann. Do not use legacy typefaces such as Ollie. Do not add drop shadows or other effects. Do not combine different weights of type within
phrases for emphasis.

Play PlayPlay
Do not outline type. Do not place type over an image when it Do not place type behind a cut-out image. Do not set large headlines in any other colour.
impacts legibility.
64

Photography
66
Our image types

We use cut-outs as our However, there may be times

when this approach may not
default style, because we be best suited, depending on
the type of communication,
want to establish it as part the context, and the budget.

of a recognisable look that

is distinctly Sainsbury’s.
What are you communicating?
There may be times when it’s best not to use
imagery at all and just lead with a message, e.g.
service communications.
What is the context?
Is a lifestyle shot of a product or person in a real
world setting more relevant and compelling? Such
as photography on packaging. Remember, food
can be assembled and still be cut out. And our
black and white images of people are intended to
communicate real, authentic, living well moments.
Are there budget constraints?
It might not be possible to fund a new shoot or
artwork from a stock image. However, best to check
the asset library to see if anything could be reused
where relevant and is not conflicting with other
creative that is live.
Access the asset library: https://vault.mediabin.
opentext.com/mediabin/action/iw.ui
68
Capturing living well

Our principles
for living well
photography
People first, not products
We help people to live well, but we don’t tell them
how to do it. The living well insight should come
from customers and their lives, not from us and
our products.
Always authentic
The insight needs to come from a truth.
Something people are already doing.
Makes you feel something
A living well moment makes you feel something.
That feeling could be happy, nostalgic, content...
the important thing is that you care about it.
70
Cut-out and full-bleed

Cut-out images Full-bleed images

These help us show moments of living These help us show true-to-life
well with a lively, fresh energy. moments of living well.
This is our default image style and we’ll invest in it to make Used wherever cut-outs aren’t appropriate
sure it becomes distinctive over time
Used to show products and recipe ideas, and to tell specific stories
Shows people living well
Used to provide variation
Used to show products, food and meals, and to convey metaphors
72
People
Cut-out

We use cut-out images

of people to show
moments of living well.

Cut-out people are black and white on a Cut-out people capture what living well is all about.
white background.

54%
question ran over her cheek, then she continued her way. On her
way she met a copy. The copy warned the Little Blind Text, that
where it came from it would have been rewritten a thousand
times and everything that was left from its origin would be the
word “and” and the Little Blind Text should turn around and
return to its own, safe country.
But nothing the copy said could convince her and so it didn’t
take long until a few insidious Copy Writers ambushed her,
made her drunk with Longe and Parole and dragged her into
their agency, where they abused her for their projects again
and again. And if she hasn’t been rewritten, then they are still
using her. Far far away, behind the word mountains, far from
the countries Vokalia and Consonantia, there live the blind texts.
Separated they live in Bookmarksgrove right at the coast of the
Semantics, a large language ocean. A small river named Duden
flows by their place and supplies it with regelialia.
Aa paradisematic country, in which roasted parts of sentences
fly into your mouth. Even the all-powerful Pointing has no
control about the blind texts it is an almost unorthographic life
One day however a small line of blind text by the name of Lorem
Ipsum decided to leave for the far World. The Big Oxmox advised
her not to do so, because there were thousands of bad Commas,
wild Question Marks and devious Semikoli, but the Little Blind
Text didn’t listen. She packed her seven versalia, put her initial
into the belt and made herself on the way. When she reached
the first hills of the Italic Mountains, she had a last view back on
the skyline of her hometown Bookmarksgrove, the headline of

The
Basic annual totals Key

05 Int aut et quis erum

07 volecum dolupta

details
05 Int aut et quis erum
07 Csae eos vid volecum dolupta
05 Int aut et quis erum
07 Coria nullor eos vid quo dolupta

2005 2006 2007 2008 2009 2010

Behind the word mountains, far countries Vokalia and Consonantia, there live the blind texts.
Separated they live in Bookmarksgrove right at the coast of
from the countries Vokalia and the Semantics, a large language ocean. A small river named
Consonantia, there live the blind Duden flows by their place and supplies it with the necessary
regelialia. It is a paradisematic country, in which roasted parts
texts, right at the coast. of sentences.
Even the all-powerful Pointing has no control about the blind
texts it is an almost unorthographic life One day however a
small line of blind text by the name of Lorem Ipsum decided to
leave for the far World of Grammar. The Big Oxmox advised her
not to do so, because there were thousands of bad Commas,
wild Question Marks and devious Semikoli, but the Little Blind
Text didn’t listen. She packed her seven versalia, put her initial
into the belt and made herself on the way.
Mountains, she had a last view back on the skyline of her
hometown Bookmarksgrove, the headline of Alphabet Village
and the subline of her own road, the Line Lane. Pityful a rethoric

Cut-out people are not posed or directed. Cut-out people do not always have to be doing
something that relates to the content.
74
People
Full-bleed

We use full-bleed images of

people to show moments of
living well in settings that
are true-to-life.

Full-bleed people images are in black and white. Lighting is well-balanced, with a good contrast
level, while still feeling authentic.

People are shown living well, in real moments, in Products and meals can be present, but people
real environments. must be the focus.
76
People
Principles

Just like in real life, people may sometimes Photograph full-bleed people images in a way that Reflect the diversity of Britain. Show the real homes of our customers.
acknowledge or play to the camera, but they’re is generally straight and level, not angled or wonky.
not posed or directed.

The team

Set contrast and levels so that images of people Get the balance and levels just right. Make the most of a Sainsbury’s asset. If there’s Inside reports and other internal documents, where
have areas of dark black and bright white. a Sainsbury’s bag in a full-bleed black and white the image is being used as general content and not
image, keep it orange. a living well moment, you can use full-bleed images
of people in colour.
78
People
Incorrect use

Do not use full-bleed images of people in colour Do not use people cut-outs in colour. Do not add shadows to cut-out people. Do not use generic, cheesy images of people.
(unless it’s general content in a report).

Do not make food the focus of full-bleed Do not use images that are flat or low in contrast. Do not cut off heads. Do not include the feet of cut-out people, as they
people images. appear to be floating (unless this effect is relevant
to the communication).
80
Products
Cut-out

We use cut-out images of

products to show what we
offer in bold and lively ways.

Product cut-outs are in colour. Statement lighting with high contrast is used to
add drama and energy.

Food styling is imperfect and natural. Non-food products can be played with in the
same way, but can also be used in more expected
positions for packshots.
82
Products
Full-bleed

We use full-bleed images of

products to show what we
offer in ways that are warm,
realistic and genuine.

Full-bleed product images are in colour. Lighting is bright.

Food styling is un-staged and imperfect. Products are photographed on a neutral,

textured surface.
84
Products
Principles

Photograph products from above or from the side, Make sure cut-out products have no surfaces or Allow cut-outs to overlap like a collage, without Up to five different cut-outs can be combined in
whichever shows it best. shadows in the background. them casting shadows on one another. the same piece. A cut-out can be repeated as many
times as required.

Play with unexpected scales, graphic combinations, Combine cut-out products with cut-out people... ...or with cut-out meals. If combining multiple different packshots, make
dynamic angles and close crops. their scales proportional in order to accurately
represent pack sizes.
86
Products
Incorrect use

Do not use black and white product cut-outs. Do not use black and white product full- Do not add shadows to product cut-outs. Do not use generic product imagery.
bleed images.

Do not combine product full-bleed images with Do not combine product cut-outs with metaphors. Do not use dark or dramatic product imagery. Do not use an image of something in a holding
cut-out metaphors. shape that could instead be a cut-out.
88
Meals
Cut-out

Cut-out meals help us

inspire our customers in
a fresh, bold, lively way.

Cut-out meals are in colour. Lighting is well-balanced, with a good contrast

level, while still feeling authentic.

Food styling is un-staged and imperfect. Cut-out meals can be combined with cut-out
products or cut-out people.
90
Meals
Full-bleed

We use full-bleed images

of meals to inspire in a way
that is true-to-life, such as
recipe content.

Full-bleed meal images are in colour. Lighting is well-balanced, with a good contrast
level, while still feeling authentic.

Food styling is un-staged and imperfect. Full-bleed meals are photographed on a neutral,
textured surface.
92
Meals
Principles

Photograph meals from above or from the side, Make sure cut-out meals have no surfaces or Consider using graphic compositions. Make use of dynamic angles and bold, close crops.
whichever shows it best. shadows in the background.

Allow food to look impressive but achievable. Make sure images are sharp and clear. Only show props that are relevant to the meal. Use props from brands owned by Sainsbury’s, as
long as it doesn’t detract from the authenticity of
the image.
94
Meals
Incorrect use

Do not show cut-out meals in black and white. Do not show full-bleed meals in black and white. Do not add shadows to cut-out meals. Do not over-style meals.

Do not combine full-bleed meals with metaphors. Do not combine cut-out meals with metaphors. Do not use extreme depth of field. Do not show the brands, packaging, products or
props of our competitors.
96
Metaphors
Cut-out

We use cut-outs of objects to

represent ideas and concepts
that can’t be represented by
grocery products.

Let’s shake things up

12 December 2017

Numbers,
crunched
All rights reserved © 2017 Sainsbury’s

Annual report
2017/18

Wherever possible, food and other relevant Cut-out objects are in colour, with a white
grocery products are used with messaging, and background and no surfaces or shadows.
can connect with themes and phrases in a way
that is direct, literal, abstract or metaphorical.

Only one object, when acting as a metaphor, is They are repeated up to five times in a collage-like
used at a time. way that plays with scale.
98
Metaphors
Examples

Cut-outs, edit, price cut Finance recruitment ad Colour, brightness, choice Accurate, meticulous, design

Fashion buyer recruitment ad Sales, offers, price, value Up all night, energy, readiness Photography, focus, vision
100
Metaphors
Incorrect use

Do not look for a metaphor for something that Do not mix metaphors. Do not add shadows to metaphors. Do not use metaphorical images that aren’t cut-out.
could be expressed by a grocery product.

Do not combine metaphors with people. Do not combine metaphors with products. Do not use cut-outs that are not photographic. Do not use expected clichés and tropes.
102
The holding shape

A holding shape is used to contain logo and typography to be orange,

full-bleed images when cut-out creating consistency with our other
images are not appropriate but communications. Its angular form
when a message needs to stand provides a dynamic, collage-like
out on a page. Its use creates white energy that is reminiscent of a
space on the page, allowing our Polaroid picture.

Feel
Our avocados are selected from the most
well-regarded growers in the world. Timed
to be ripe when you’re craving them.
it
sainsburys.co.uk

The holding shape is always at the top of the The size and rotation of the holding shape is
layout, but can be on the left or the right. flexible, to allow it to work with the chosen image,
and with other elements on the page.

The holding shape is essentially a square, so the It must bleed off two edges of the layout. However,
angle of the two sides of the holding shape is if it is a wraparound on a cover, the third side of the
always exactly 90 degrees. square can be shown on the back.
104

Roundels
106
Roundels
10%
of
Introduction

Half
To instantly communicate offers,
promotions and sales, we use a
simple, flexible system of roundels

price
and typography.

Great
offers

Aa Half
Roundel text is only set in Mary Ann Extra Bold,
and is always white.
We use words in roundels (half price) and numbers
(25% off), never fractions.

40% New
off Big
savings

Sale
Value roundels are orange out of store, including Only one roundel is used at a time, except for when
digital channels, red in store and on GOL/apps. communicating multi-save offers.
They are blue when highlighting a new product.
108
Roundels
Principles

o
Orange C:M:Y:K 0:51:100:0 R:G:B 240:108:0

P p £1.10
PMS 152 coated Hex #f06c00
Keep

85p
it clean
144 uncoated
50% R:G:B 237:139:0
off Hex #ed8b00
sainsburys.co.uk
RAL 2011
Save

Stay out 25%

longer
when you buy 6 or
more bottles

On wine,
Champagne,

Big
each
sparkling,
sherry or port.

savings
Offer ends 29 August. Excludes gift sets. Max 36 bottles per customer. Selected stores only. Excludes Centrals, Locals & Scotland. Subject to availability. Offer available on all online orders delivered by
29 August 2017. Online delivery charges apply. You may be asked to provide ID to prove you are the required legal age to purchase an age restricted product. Please drink responsibly.

sainsburys.co.uk

Position the roundel to best complement the large Use struck-through text to indicate a reduced price. Colour values for orange roundels. Colour values for orange roundels on mobile, tablet
orange headline and cut-outs, making sure the and computer screens.
roundel sits above images.

Roundel C:M:Y:K 80:0:0:0 Roundel C:M:Y:K 0:95:100:0

1 23
blue PMS 2995 coated red PMS 485 coated

25%
2995 uncoated 485 uncoated
R:G:B 0:169:207 R:G:B 219:62:52
Hex #00a9cf Hex #db3e34
RAL 5015 RAL 3028

off
Centre text within a roundel. Use as few type sizes as possible in a roundel, up to Colour values for blue roundels. Colour values for red roundels.
a maximum of three.
110
Roundels
Incorrect use

25%
off
1/2 price
Do not use any colour other than orange, red or blue. Do not use any other shapes. Do not place images inside roundels. Do not use fractions.

65%
Up to

25%
off off 25%
off
Home
spun
today
Do not use orange text inside a roundel. Do not use more than three type sizes in a roundel. Do not use any typeface other than Mary Ann Do not place content other than offer and
within a roundel. promotion-based text inside roundels.
112

Iconography
114
Iconography
Introduction

Our icons are unique to Sainsbury’s navigation and orientation in store,

and are designed according to a and on packaging. We have a library
grid that keeps them connected of icons that should be checked before
and feeling like a family, without any new ones are created.
restricting the design. For more information on our
They are to be used for frequent, icons, or to download, please visit:
common actions on digital platforms, luna.sainsburys.co.uk
116
Iconography
Family of icons
118

How
we sound
120
How we sound
Introduction

Sounding Our words can

help us stand out.

like Sainsbury’s
The colour orange screams Sainsbury’s. We
want our words to have the same impact. To be
so distinctive that people know it’s us within a
single sentence.
This section is here to help us do that, by
making sure we all know, and use, the same
distinctive voice. When we’re talking to our
customers and to each other.
122
How we sound
Introduction

Companies like us can’t get away By using our voice consistently, we’ll
with sounding stuffy and formal make ourselves distinctive. We’ll stand
anymore. Everyone’s had enough of out from the pack.
old-fashioned, corporate nonsense. It’s a way to show the best of us. To
That’s why we have our tone of voice. highlight our personality. And to prove
It’s here to make sure we come across to shoppers that we should always be
like a modern, British brand. One their first pick.
that communicates how real people
communicate. And that shows our
British warmth and upbeat energy:

Lovely
our loveliness and liveliness.

To sound like Sainsbury’s be...

and
Lively
124
How we sound
Introduction

Lovely Lively
When did you last read or hear some We don’t just want to make
writing from a brand and smile? people smile though.

That’s what we want to do. To give them feel like they’re dealing with a We want them to feel like we’re an up- It’s a British turn of phrase that
people those unexpected smiles. But faceless, corporate entity. Instead, we to-the-minute brand that’s not afraid makes them chuckle quietly to
we don’t just want to do it in ads or need to sound warm and human. to give it some welly. themselves as they walk the aisles.
on billboards. We want to make our They don’t want us to put on a We want them to look forward to And it means using words you
customers and colleagues smile at the strange sales voice when we’re trying reading our writing or hearing our wouldn’t expect from a company
words at the top of a receipt; even at to persuade them to do something. words. Maybe even find them utterly that’s been around for as long as
the Ts&Cs in our radio ads. Instead, we need to sound genuine. unputdownable. we have.
We’re realistic. We know we won’t And they don’t want to have to So lively means a headline that makes
always be able to (or want to) make wade through pages and pages of people take a second look, even if
people smile. writing, because it just wastes their they’re sprinting for the bus.
But being lovely means that, when the time. Instead, we need to keep it
time isn’t right for a smile, we can at straightforward.
least show that there are real people That’s what being ‘lovely’ in everything
behind everything we say. we say is all about.
People don’t want us to speak to them
in a formal tone, because it makes
126
How we sound
Introduction

You’ve seen all the thinking. And by

now we hope you’ve got a flavour of
how being lovely and lively sounds.
So it’s time to show you how it’s done.
Here are some tips, and some advice,
to help you make what you say spot-
on for Sainsbury’s.

Before you do anything

But how
Start with three questions. First you
need to know who your audience is.
Then ask yourself:

What do I want them to know?

How do I want them to feel?

do you do it?
What do I want them to do?

So maybe you want your customers to

know your beef is 100% Angus.
You want them to feel hungry.
And what you want them to do is go
out and buy some.
It’ll help you figure out exactly what
you want to say, and decide which
bits are most important.
128
How we sound

How to
be lovely
Use natural language
Use words you’d actually say face-to-face with
someone, not needlessly formal words. So say
‘start’ instead of ‘commence’. ‘Use’ instead of
‘utilise’. ‘We’ instead of ‘Sainsbury’s’. ‘You’ instead
of ‘customers’ or ‘colleagues’.
It’s one way to show that we’re human.

How to spot formal language

Once you’ve finished writing, read it out loud.
If you put on a voice like a newsreader, your
writing’s probably too formal.
If you sound like you’re selling yourself on The
Apprentice, you’ve laid it on too thick.
 it’s,
Say
130
How we sound
How to be lovely

we’ve,
we’ll…
…instead of it is, we have, we will.
They’re what we say when we speak, so they’ll
make your writing sound a thousand times warmer
and more natural.
132
How we sound
How to be lovely

Break it up with
sub-headings
You can turn something Into something
dense like this: like this:

Every time we’ve introduced a new point in We’re proud that our basics smoked salmon Only ever sourced in Scotland
trimmings come from Scottish farms where the Our basics smoked salmon trimmings come from
these guidelines we’ve used a subheading. It fish have room to swim around and thrive in a farms where the fish have room to swim around
helps readers navigate their way through your healthy environment. But rather than just take our and thrive in a healthy environment. And they’re
word for it, our basics smoked salmon trimmings approved by Freedom Food. So you don’t just have
writing, so they can find what they’re after are from farms which are approved by Freedom to take our word for it.
more quickly. It’s us making sure everything Food. Our loch based Scottish salmon farms have The RSPCA has given them the thumbs up
we write is straightforward for our readers. been inspected to the RSPCA’s strict animal welfare
standards so we can be sure our salmon have been
That’s how we can be sure our salmon have been
reared in line with industry-leading criteria.
reared in line with industry leading criteria which
ensure best practice and management throughout So they taste better too
the entire life of the salmon delivering outstanding By following best practice and management
quality for our customers. throughout the entire life of the salmon, we can
deliver outstanding quality for our customers.
134
How we sound
How to be lovely

Sell without
being
salesy
Being genuine means we never put on a salesy
voice just because we’re selling.
There’s a much better way to do it...
1
136
How we sound
How to be lovely

Your readers want to know about what matters to

them. What do they get out of what you’re telling
them? So focus on benefits, not features.
A good trick is to look at whatever you’ve written
and ask yourself: ‘So what?’

You can have an So what? You’ll be able to

online account. order your favourites
in a few clicks.

Ask yourself: We’ve invested in the

town of Swadlincote.
So what? They’ll cut down on
their food waste and
So what? All our beef is aged for So what?
save more money.
It’ll melt
at least seven days. in your mouth.

Then, if it’s still a bit generic

Sometimes even ‘so what?’ won’t be enough. So you
could try thinking about what’s in it for people on a
more emotional level, rather than a functional one.
So, if you wanted to tell people about a store layout
change, you could go with something like: You’ll get
more of your weekend back. Instead of: You’ll be
able to find things more easily.
2
138
How we sound
How to be lovely

Here’s how to do it A warm panini

These are all objectively true. They A green salad
tantalise the senses, helping you
A plate of salty chips
imagine how something tastes,
looks, feels. A crumbly cake
A sharp juice

Only use adjectives that Here’s how not to do it

These aren’t objectively true, and
A delicious panini
A beautiful salad
are objectively true they do nothing for the senses.
A plate of tasty chips
A stunning cake
A great juice

How to spot a bad adjective

Ask yourself: As opposed to what?
Take the word you’ve been thinking of and look at
its opposite. If it’s ridiculous, don’t use that word.
Taking the examples above, you’d end up with a
disgusting panini, an ugly salad, tasteless chips, a
hideous cake and a rubbish juice. And who’d ever
say that?
3
140
How we sound
How to be lovely

Go easy on the
exclamation marks

If what you’ve said doesn’t sound exciting, adding

an exclamation mark won’t make any difference.
It’ll just make us sound over-excitable and a bit
desperate. Best avoid them.
142
How we sound

How to
be lively
Turn heads with your headline
Sometimes you need a clear, descriptive
headline. But sometimes there’s more wiggle
room, so you can use a shout-out headline or
a surprising headline.

Shout-out headlines
Shout-out headlines get across a single, catchy
point. They’re great as long as you don’t have
a long, nuanced message to get across – or
anything particularly serious (like recalling a
dangerous product).
There are a few ways to do them...
1
144
How we sound
How to be lively

Play with sound Repeat the first sound in the word (alliteration)

Bread basket,
tangy tomatoes, crisp kale
Describe the sound something makes (onomatopoeia)

Sizzle, drizzle, crackle,

zip, babble, rattle
Use rhyme

Runny honey,
rice is nice, bright light
2
146
How we sound
How to be lively

Rumba
Scrumptious
Use lively words
or phrases Grub
Just don’t say anything that makes us look like
we’re trying to be cool. Our audience is usually
going to be way too broad for anything niche.
3
148
How we sound
How to be lively

Hand
Play on the image
picked
You can use an image and a
headline to tell half a story each.

You can do this in any context. Internal posters,

event invites, front pages of reports… Anywhere
you’re getting across a simple message.
150
How we sound
How to be lively

Surprising
headlines Is there a British idea you can play on?
Like this, for a BBQ message: Umbrella in
one hand. Tongs
in the other.

If you don’t want to do a shout-

out headline but there’s still room
Can you focus on the most exciting
part of the broader message? Get ready
for something interesting, try a
Like this, for a new product launch:
for courgetti.
surprising headline.

The best approach is to write your body text

first. That way you’ll fill your head with all the
Is there something topical?
Like this, for a Christmas promotion: Mince pies
information you need to come up with the headline.
in October?
152
How we sound Our shout-out headlines add
How to be lively
some punch and fun. And we
want that to carry through to
the rest of our writing too.

So, every now and then, chuck in a lively or British-

sounding word. (We did it just then with “chuck”.)

You can do it with your verbs: Buy Pick up

Drink Glug
Start Kick off

Drop in lively Or your nouns: Conversation

Drink
Chat
Tipple

or British words
Meal Feast

and phrases Or your adjectives: Big

Cold
Smooth
Giant
Chilly
Silky
154
How we sound
How to be lively

How that
might look
Before After

Selasi Gbormittah Selasi Gbormittah

shows us how to shows us how to
cook a quick duck whip up a quick
egg starter. duck egg starter.

Just don’t overdo it

It should never sound like we’re
trying too hard... Like this:

Everybody’s fave foodie

Selasi Gbormittah gives us
the lowdown on bossing a
lip-smackingly delish duck
egg starter.
156
How we sound
Examples

So how
does that
sound?
We’ve written some examples for
you so you can see how all these
principles work together.
158
How we sound
Examples

Something
like this, for
Sainsbury’s cookie Turns into:
Buttery or Something
like this, for a
Blossom Hill Turns into:
Blossom Hill
a product
description:
selection tin chocolatey? wine label: Vie Rosé Vie Rosé
Two mini varieties, one plain all butter A biscuit tin full of shortbread baked A delicious, delicate and fruity rosé with Bursting with peach and strawberry.
and one chocolate chip. Made by the by Walkers in Scotland. Some buttery, ripe peach and strawberry flavours and But with less than half the alcohol of
experts Walkers Shortbread in Scotland some chocolatey. All crumbly. less than half the alcohol of a standard a standard bottle of wine. A lighter
to a delicious all butter recipe. bottle of wine. Try with salads. tipple to try with salads.

Something
like this, for a
Enjoy more of what Turns into:
Gooey Something
like this, for
Customer Notice – Turns into:
Are you allergic
promotion: you love this February It’s chocolate time with £10 off
a product
warning:
Allergen Alert – to barley?
We’re treating you to £10 off Hello Name, Lindt Easter Eggs Lindt have just told us that
and free delivery their Easter eggs might contain
It’s been ages since you last shopped Lindt has brought to our attention
barley malt extract, which isn’t
Hello Name, on our website. To tempt you back, that the above products may
mentioned on the pack.
we’ll give you £10 off next time you contain barley malt extract which
Because we’ve missed you at
spend £X or more online, and deliver is not declared on the packaging If you’re allergic, or if barley doesn’t
sainsburys.co.uk, we’re giving you £10
your shop for free. That should cover a and could be an allergen risk. agree with you, we’re really sorry. Pop
off your next online grocery shop of
box of posh chocolates for the 14th. in with the eggs and we’ll give your
£X or more, plus free delivery. Get it As a precautionary measure, we are
money back.
delivered by XXX and treat yourself, [Chocolate me] asking customers who have purchased
or a significant other, to something these products, and have an allergen or
special this February. intolerance to barley, to return them to
their nearest Sainsbury’s store, where
[Shop now]
they will receive a full refund.
No other products are affected by
this issue, and we apologise for the
inconvenience this may cause.
160
How we sound

You’re now
Modern
British
162

Artwork
164
Logo asset file names Masterbrand logo Live Well For Less logo

We use a system for naming our logo We use sentence case for words and For print For print
files that is clear and consistent, so it’s uppercase for acronyms. Orange Orange
easy to find the correct version. Sainsburys_Logo_Masterbrand_Orange_CMYK.ai Sainsburys_Logo_LWFL_Orange_CMYK.ai
We use underscores between words, Sainsburys_Logo_Masterbrand_Orange_CMYK.eps Sainsburys_Logo_LWFL_Orange_CMYK.eps

This structure should be followed and we don’t include the apostrophe Sainsburys_Logo_Masterbrand_Orange_Spot_144u.ai
Sainsburys_Logo_Masterbrand_Orange_Spot_144u.eps
Sainsburys_Logo_LWFL_Orange_Spot_144u.ai
Sainsburys_Logo_LWFL_Orange_Spot_144u.eps
for any future versions that may be or other special characters that may Sainsburys_Logo_Masterbrand_Orange_Spot_152c.ai
Sainsburys_Logo_Masterbrand_Orange_Spot_152c.eps
Sainsburys_Logo_LWFL_Orange_Spot_152c.ai
Sainsburys_Logo_LWFL_Orange_Spot_152c.eps
created for particular use. be problematic for some software.
White White
Sainsburys_Logo_Masterbrand_White_CMYK.ai Sainsburys_Logo_LWFL_White_CMYK.ai
Sainsburys_Logo_Masterbrand_White_CMYK.eps Sainsburys_Logo_LWFL_White_CMYK.eps

Black Black
Sainsburys_Logo_Masterbrand_Black_CMYK.ai Sainsburys_Logo_LWFL_Black_CMYK.ai
Sainsburys_Logo_Masterbrand_Black_CMYK.eps Sainsburys_Logo_LWFL_Black_CMYK.eps

For screen For screen

Orange Orange
Sainsburys_Logo_Masterbrand_Orange_RGB_160x30px.jpg Sainsburys_Logo_LWFL_Orange_RGB_144x60px.jpg
Sainsburys_Logo_Masterbrand_Orange_RGB_160x30px.png Sainsburys_Logo_LWFL_Orange_RGB_144x60px.png
Sainsburys_Logo_Masterbrand_Orange_RGB_320x60px.jpg Sainsburys_Logo_LWFL_Orange_RGB_288x120px.jpg
Sainsburys_Logo_Masterbrand_Orange_RGB_320x60px.png Sainsburys_Logo_LWFL_Orange_RGB_288x120px.png
Sainsburys_Logo_Masterbrand_Orange_RGB_640x120px.jpg Sainsburys_Logo_LWFL_Orange_RGB_576x240px.jpg
Sainsburys_Logo_Masterbrand_Orange_RGB_640x120px.png Sainsburys_Logo_LWFL_Orange_RGB_576x240px.png
Sainsburys_Logo_Masterbrand_Orange_RGB_1280x240px.jpg Sainsburys_Logo_LWFL_Orange_RGB_1152x480px.jpg
Sainsburys_Logo_Masterbrand_Orange_RGB_1280x240px.png Sainsburys_Logo_LWFL_Orange_RGB_1152x480px.png

Sainsburys_Logo_Masterbrand_Orange_CMYK.eps Sainsburys_Logo_Masterbrand_Orange_RGB.ai

White
Sainsburys_Logo_LWFL_Orange_RGB.ai

White
Sainsburys_Logo_Masterbrand_White_RGB_160x30px.png Sainsburys_Logo_LWFL_White_RGB_160x30px.png
Sainsburys_Logo_Masterbrand_White_RGB_320x60px.png Sainsburys_Logo_LWFL_White_RGB_320x60px.png
Sainsburys_Logo_Masterbrand_White_RGB_640x120px.png Sainsburys_Logo_LWFL_White_RGB_640x120px.png
Sainsburys_Logo_Masterbrand_White_RGB_1280x240px.png Sainsburys_Logo_LWFL_White_RGB_1280x240px.png
Sainsburys_Logo_Masterbrand_White_RGB.ai Sainsburys_Logo_LWFL_White_RGB.ai

For web For web

Orange Orange
Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_160x30px.jpg Sainsburys_Logo_LWFL_Orange_RGB_f06c00_144x60px.jpg
Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_160x30px.png Sainsburys_Logo_LWFL_Orange_RGB_f06c00_144x60px.png
Brand Descriptor Version Colour Colour mode Format Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_320x60px.jpg Sainsburys_Logo_LWFL_Orange_RGB_f06c00_288x120px.jpg
Sainsburys Logo Masterbrand Orange CMYK ai Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_320x60px.png Sainsburys_Logo_LWFL_Orange_RGB_f06c00_288x120px.png
Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_640x120px.jpg Sainsburys_Logo_LWFL_Orange_RGB_f06c00_576x240px.jpg
LWFL White Spot eps Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_640x120px.png Sainsburys_Logo_LWFL_Orange_RGB_f06c00_576x240px.png
Black RGB png Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_1280x240px.jpg Sainsburys_Logo_LWFL_Orange_RGB_f06c00_1152x480px.jpg
Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00_1280x240px.png Sainsburys_Logo_LWFL_Orange_RGB_f06c00_1152x480px.png
jpg Sainsburys_Logo_Masterbrand_Orange_RGB_f06c00.ai Sainsburys_Logo_LWFL_Orange_RGB_f06c00.ai
To contact brand clinic
brand.clinic@sainsburys.co.uk

© 2017 Sainsbury’s