The story of our brand‘A brand is a collection of perceptions in the mind of the consumer. It is not a color or a typeface – it is abouthow we interact with our customers and each other.’

Nokia has grown from a small Finnish challenger to become one of the world’s most valuable and bestknown brands. This timeline charts its evolution againstan illustrated history of developments in graphic designover the last 140 years.

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The company’s first logo – a pike-perch,reflecting its origins on the River Nokia.

Companyfounder FredrikIdestam.

An earlyadvertisementshowing the town.

Mining engineer Fredrik Idestam establishes a woodpulp mill on the banks of the Tammerkoski Rapids.Demand for paper grows, and the factory expandsonto land owned by Nokia Manor on the Nokia River.The name ‘Nokia’ is said to derive from ‘Nokinäätä’ – a weasel-like animal native to this part of Finland. Sixyears later the company is renamed Nokia Ab.

The company’s first share certificateissued by Fredrik Idestam to himself.

Jules Chéret’s revolutionary printing technique elevatesthe poster to new aesthetic levels and gives birth to a whole new industry. The 1867 World’s Fair in Paris,showcases the art and commerce of 32 nations, pavingthe way for Modernism. Japanese artefacts stronglyinfluence typeface design and the decorative arts. 1865

The factory on the Nokia River.

In 1898 Eduard Polón establishes the FinnishRubber Works, producing boots and shoes,industrial hoses and belts. The high electricityconsumption of the forestry industry promptsGustaf Fogelholm – Nokia Ab’s secondpresident – to move into power generation in 1900. The Finnish Rubber Works is one of Nokia Ab’s first major customers for power.

Galoshes advertisements from 1899 and 1905.

The Arts and Crafts movement flourishes, and newdevelopments in printing open up new possibilitiesfor designers and artists. The decorative ArtNouveau style begins to reflect Medieval andRenaissance inspirations, with posters combiningillustration, decoration and text.

The 1898 logo.

1890s

The increasing demand forelectricity in homes and factoriesdrives the establishment of SuomenPunomotehdas Oy in 1912 by ArvidWickström. The company mergeswith the newly established FinnishCable Works in 1917. Early productsinclude copper wire coated with a rubber impregnated textile layer.

A 1913 print of the Nokia factory.

1910s

ArvidWikström.

A share certificatefor Finnish RubberWorks, issued to the daughter of Eduard Polón.

A 1916 posterpromoting Finnish galoshes.

During the First World War and the Russian Revolutiondesigners abandon the decadence of Art Nouveau in favour of simpler, more direct styling. The Bauhausschool is founded in Germany with the aim of unitingcreativity with science and economics to develop a new sense of functional design.

A selection ofshoe and tyreadvertisementsfrom the inter war era.

New production methods andproducts develop in the paper,rubber and cable industries. In 1933 Nokia’s first car tyre, with a summer tread, is launched. It is used as the basis for a winter tyre that becomes the popularHakkapeliitta series – still sold as this brand.

The highly influential Bauhaus school is closed down. The Art Deco style embraces everything from architectureto fashion, and design classics such as the LondonUnderground map and the blue Gauloises pack maketheir appearance. The advertising industry grows rapidlyin response to the emerging consumer society. 1930s

Finnish Rubber Works andFinnish Cable Works merge with Nokia Ab in 1966 to formNokia Corporation. A new logo is created by the FinnishRubberworks designers, inspiredby the rubber ball toys producedat the time. Nokia enters thetelecommunications market.

Oy Nokia Ab round logo.

Electronics department established inFinnish Cable Works to produce radiotransmission equipment. New logointroduced in 1960, based on the cables logo.

Radio telephoneadvertisement from 1967.

The ‘Microgramma’ font is adopted – the typeface forms the basis for the Nokia namestyle in the 1980s.

1960s

The Finnish CableWorks logo.

New photographic and printing techniques givedesigners new freedom with text, images andcolour. The Vietnam War, the Cuban revolutionand drug culture all find graphic expression in theswinging sixties and the pop art phenomenoninfluences designers around the world.

In 1984 Nokia launches the world’s first portable NMT car telephone: the Mobira Talkman.

The 1986 campaign for the Mobira Talkman voted best Finnish advertisements of the year.

Microgramma style logo is adopted.

1980 tyre advertisementfeatures Juha Meito, the Finnish cross country ski champion.

High speed computers allow imagery and type to be manipulated in completely new ways, and theintroduction of the AppleMac revolutionises graphicdesign. Neville Brody’s anarchic ‘street style’ becomesa much-imitated model for magazines, advertisingand consumer-oriented graphics.1980s

Telenokia Oy – the forerunner of Nokia Networks – is formed in 1981, owned jointly by Nokia and Televa.Nokia accelerates its international expansion, acquiringMobira, Salora and Luxor. A competition for Finnishdesigners to produce a Nokia symbol attracts nearly 200 entries, none of which is chosen! Nokia introduces the NMT cellular mobile exchange in 1986.

1980sThe ‘arrows’ were first used on Nokia’s annualreport in 1987. Acquisitionsin consumer electronics ofOceanic SA and StandardElektrik Lorenz make Nokia the third largestmanufacturer of TVs in Europe. The companydivests its tyre operations.

The arrows symbol was added to Nokiabranding in 1987. The arrows representcontinuous growth and development, as well as the Corporation’s search for new applications.

In 1987 thousands of billboard advertisements appeared overnight across Sweden andNorway, posing a series of questions next to a futuristic symbol. People were left toguess the identity of the advertiser. A week later all was revealed, and the simpleanswer ‘Nokia’ appeared alongside its new corporate symbol.

Nokia launchesthe world’s first pocketphone: theTalkman 520.

The MobiraCityman waslaunched in 1987.

A multi colored versionof the ‘arrows’ device is used by NokiaTelecommunications.

1992 sees the launch ofNokia’s first GSM handportable mobile, the 1011. The phone’s userinterface and design formthe basis of future models.

Nokia abandons consumer electronics and computers to concentrate on telecomms networks and mobilephones. The company exits the rubber and cablebusinesses, having already divested forestry and powergeneration. A brand strategy is launched – with the aimof positioning Nokia as a recognised brand focused on specific markets. The world’s first genuine GSM call is made in Finland with equipment supplied by Nokia.

The ‘Connecting People’ straplineencapsulates the character of the brand. It was chosen in 1993apparently during a Boardmeeting in the sauna.

The decade that quoted other twentieth-century styleswithout a real one of its own. Digital technology expandsthe creative potential of design by making possible anunprecedented manipulation of color, form, space andimagery. In just a few years, designers create the samenumber of typefaces as they had in the previous 500 years.1990s

All products are now branded under ‘Nokia’ name. The 25 year branddevelopment cycle is established in 1993 – based on delivering consistencyand continuity. Nokia’s branding is focused on ‘individualism, desire for thenew, human scale technology, high quality and the ability to be mobilewith the product.’ The 2100 mobile phone series is launched in 1994,becoming an overnight success with some 20m sold worldwide. Nokia is the first European manufacturer to start selling mobile phones in Japan.

Nokia website launches in 1995.

‘Gran Valse’ ringtone launched in1994. Based on a 100 year-oldSpanish waltz by Francisco Tarrega,the upbeat, distinctive and familiar‘Nokia tune’ provides instant brandrecognition around the world.

Nokia collaborated with rock band The Leningrad Cowboys on several projects and concerts in the 1990s.

The 1994 annualreport marks a departure from traditionaldesign.

Newspaper advertisement for the Nokia 2110.1990s

Advertisements for the 8810 and 8210 from the late 1990s.

The brand ‘steering wheel’ is introduced, bringing newdiscipline to brand management,guiding product creation andmarketing principles. The ‘Hands’device is introduced as the keyvisual identifier of the Nokiabrand. Nokia becomes world No1in mobile phone sales by volume.

In 1997 the arrows are dropped in favour of a simplified logo.

The parent and child’s hands communicate Nokia’s core brand values in their most basic form.

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Green adopted as an accentcolor – inspired by theFinnish landscape.

1990sNokia House in Espoo was builtbetween 1995 and 1997. It was the outcome of a design processlasting 14 years, aimed at creating a working environment that wouldencourage creative thinking.

“The most trusted brand across 18 countries,across Europe, across all industries.”(Reader’s Digest 2003)

“The eighth most valuable brand in the world.”(Interbrand/BusinessWeek 2004)

Corporate publicationsproduced for a range ofstakeholders around the world.

By 2003 Nokia’s new typeface is in useacross the company, expressing thequalities of the brand.

Advertising and marketing material mirrors the diversity of Nokia’s products and markets.

Priorities shift towards design for electronic, multimedia and web-based communications. The limitations of screen size necessitate creation of ‘soundbites’ of information. The comic-book Mangastyle spreads outside Japan, influencing advertisers, film makers and designers.2000s

‘We help people feel close by connecting them throughinspired mobile technology.’ The 2003 brand steering wheelshows how all elements worktogether to create a holistic brand experience.

The new brand steering wheel is launchedoutlining our core principles and what thebrand stands for. The Nokia typeface islaunched, strengthening brand equity andhelping audiences recognise and identifythe brand. Nokia announces its first phonewith built-in camera in 2002.

Product-specific packaging tailored for the global market.

2000s

The Nokia brandmark is a powerfulsignature. It is supported by theother expressions of the brand: logo, core colors, secondary colors,tone of voice, typography, imagery,‘hands’, the audio brand and ‘Nokia forms.’

Nokia’s brandmark is a combinationof the logotype and the slogan,which always appear together in a fixed relationship.

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Strict guidelinesgovern how,when and wherethe brandmarkcan be used.

2005

Through consistent and co-ordinated use of theseelements we can communicatethe whole range of feelings andmotivations we want people toassociate with the Nokia brand.

Typography – the visualisation of our voice.

A common vision; a common voice.

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White

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Core colors – bringingadditional dimensionsto the brand.

2005

Nokia visual forms –supporting the visualexpression of Nokia.

Secondary colors –bringing furtherexpression to the brand.

Imagery – creating realand believable images.

With such a proud heritage, we can have only one vision – to make Nokia the world’s most valued, loved and respected iconic brand.

This vision is bold, but it is achievable, so long as we deliverconsistent messages, verbally and visually. This is why the newguidelines are so important. They help us understand what theNokia brand stands for, and what makes it different. They providedetailed instructions about how to promote our products, ourservices and ourselves consistently.

We have a leading market share, a growing customer base and a relentless drive to make technology serve consumer and customerneeds. These give us unequalled opportunities to continue shaping the face of human communications.

NOKIAConnecting People