The Unsung Heroes of Finnish Typeface Design
Jussi Kapanen - https://www.dhirubhai.net/pulse/tuntematon-suomalainen-kirjainmuotoilu-jussi-kapanen/

The Unsung Heroes of Finnish Typeface Design

Prologue

This article has been translated from original work by Jussi Kapanen. The original work was written from a Finnish perspective for a Finnish audience and I've added cultural context where needed to make it accessible beyond Finns.

The story mirrors the history of Finland. As a country, it's geographically between the east and the west. It's a small miracle the country even exists as an independent nation. Although it has a remote location, it has had major influence on a global scale through culture, design, and engineering. It's all these factors that have impact on the story as well.

I translated the article as I felt it's a story that should be shared beyond Finnish circles. I found it fascinating that it's a mixture of history, technical knowledge, and lessons in brand management.

The Unsung Heroes of Finnish Typeface Design

For a while, a Finnish typeface was the most read one in the world. Nokia Font had an impact on the lives of billions of people and in terms of typography its success was a small revolution by itself.

However, typeface design isn't the first thing that comes to the mind when you think of Nokia. In part, this was the goal of Nokia itself as the company didn't want to reveal its secret: in legibility tests Nokia Sans Wide beat both Verdana and Tahoma; fonts that were at that time considered the best for small pixel sizes. The company was afraid that if the information were to become public, the competition would quickly adapt the typeface improvements introduced by Nokia.

It has been twenty years since the successful project. After being in active use for a decade, the typeface disappeared from publicity. Now it's the time to tell the story of Nokia Font and bring forth other unsung heroes of the Finnish typeface design.

What does a Finnish character look like?

In Finland, typography design is a rare art. We are used to use typefaces designed by others.

Even when typeface design is successful, it often remains unknown: the designers don't sign their work after all. What you consume for free, you rarely value. The better a typeface is, the less you pay attention to it.

The book Kadonneet kirjaintyypit (The Lost Typefaces) by Markus Itkonen tells about Finnish typeface design and the name couldn't be any better (the book is available via Typoteekki).

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For many centuries, we came by with German imports: we used Fraktur. The typeface was familiar for the people of past and it was considered easy to read. It was used for the founding documents of Nokia Aktiebolag in 1865.

On academic level, there was discussion about whether Antiqua should be used in Finland. Its serifs came from brushes and chisels of the Romans. J. V. Snellman reminded that most Finns could read only Fraktur as all national literacy had been bound using it. In year 1913, medical counsellor K. Reijovaara posited that Antiqua would be healthier than Fraktur for the Finnish eyes. (Mervola, 1995).

Simultaneously there was discussion about the Finnish visual identity within smaller groups. One proposal as a Finnish typeface was a collection of initial characters and ornaments called Jorma designed by the typesetter Atte Syv?nne in 1914 (Itkonen, 2012).

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Characters can be classified in many ways. The end of a stroke, serif, offers one crude categorization: the group of characters ending with a stroke are called serif and the ones without sans-serif.

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Nordic functionalism was developed based on international functionalism and classicism. The shift from the classicism of the 1920s to functionalism happened gradually as the 1930s grew closer. The most essential thing was the sense of purpose which was often seen as simplicity and clarity. New sans serif typefaces fit the thinking.

In the year 1935, Arkkitehti (Architect) magazine showcased a simplified set of writing characters designed for the architects:

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Karelian house in Vyborg

Finnish ethnicity has never been only about conciseness or simplification. The identity includes ornamental cuts of Karelian houses, diversity enabled by the Finnish grammar, and large national romantic paintings.

Karelia is known for its wood construction and although Finland lost majority of the area in the aftermath of the second world war, the region has had a lasting impact on the Finnish culture. For example, the national saga Kalevala has been derived from there.

Finnish language is a part of so called Finno-Ugric languages. Although it might be surprising, it's related to Hungarian and many languages within the Russian Federation. Although the language has borrowed words from the neighbours of Finland, it has specific complexity and flexibility in it which gives the nation a specific flavor in Europe.

The boy and a crow, 1884

Many Finns think they know the most important works of Akseli Gallen-Kallela well. Akseli is one of the most famous painters of the Golden Age of Finnish Art and he captured scenes from the national saga in addition to other efforts.

Few are aware of the work that was the most essential one for Gallen-Kallela, though. In 1925, Gallen-Kallela wrote in his letter: "All my life, although without awareness in the beginning, I've been preparing myself for this task." (H?ggman: WSOY:n historia 1878–1939, 2001, page 472). The monumental task was the Kalevala typeface; the only Finnish type cast from metal.

Gallen-Kallela spent several decades on his typeface starting from the early 20th century till he died. The first drafts were made in 1932, one and a half years after he had passed away. (Itkonen, 2012)

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WSOY, the publishing company, never completed the work and figuratively the most important work of Gallen-Kallela was forgotten. Since then, the typeface projects in Finland were small for the remainder of the century. Usually their designers were advertising agencies. Companies asked them to design just a single font cut for a logo or headlines.

A complete family of typefaces designed by Finns had to wait for a long time. The reasons are obvious: a full project is so extensive that only major corporations can afford it. In addition, it's not clear when completing it would pay itself back: how much would font design affect the success of the products of a company?

Who could afford this?

Nokia before brand management

As Nokia arrived to the 1990s, the company used Helvetica as its official typeface. You cannot find a reason for this in any written history but you can thank Apple for the choice as Nokia was using Macintosh machines in its marketing department during the 1980s and Mac s' software, the default font was Helvetica.

When Jussi Kapanen moved to work in marketing communications, he was handed a notebook with the title "Graphical guidance". It explained how to and how not to use the logo of Nokia. For example, you shouldn't twist the logo to fit the side of a cable roll. The other half of the instructions defined color and you could use the provided Pantone strips to check if the shade of blue was the correct one.

During that time, Nokia wasn't in the top ten brands of the world – the company would find its way there later – but within the company people began to understand how to develop a brand. Helvetica wouldn't push it further. As the IT department announced Nokia would migrate from Mac to Windows machines, there was no reason to use Helvetica anymore. Only people working in the product development were still allowed to use Linux. (It was only in the beginning of the 2010s that it became possible to use Mac again at Nokia).

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Helvetica contained usability issues. For example, the characters were closed by their nature as the almost round lowercase e shows. Several characters, such as c and o, resembled each other too much. The problems were small compared to what would be seen in Nokia presentations soon enough, though.

One Monday, it was announced in an email that the new official typeface of Nokia is Rotis Sans Serif. The default font of the Office suite was changed automatically. The reasons for this choice were not shared to the personnel. It's possible it was the IT management that decided it – possibly the global license was cheap. The typeface designed by Otl Aicher in 1988 had been sold to many other major companies as well.

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Rotis Sans Serif was a lesson in what happens if you forget typography. The font had been designed only print in mind and not to be used on displays. The typeface looked fine in large headlines at Powerpoint slides but in smaller size the characters became crowded, lowercase e being the first victim.

Due to this, the new official typeface couldn't be even considered for user interfaces as the twelve pixel text written in Rotis Sans Serif was unusably ugly.

For Finns, the typeface was familiar already as it was seen at the printed catalogues of a cheap retail chain, Anttila. When it came to brand association in the local market, the new typeface was questionable.

The next century of the saga

By the year 2000, the people at Nokia had learned what the typography of the company needed and what it didn't need. It was time to create a typeface of its own for the business founded in 1865.

It's the characters that would become the third timeless part of the brand of Nokia. The first two parts were the logo and the Nokia blue.

The logo of Nokia.

It wouldn't have been possible to start the project based on developing the brand alone. The work would surely affect the value of the brand, but you couldn't use this as an argument in the investment calculations.

Based on Interbrand, the value of Nokia's brand was 35 billion dollars in 2001. The impact of typeface design would have needed to be a guess: "If the impact was one per hundred, for an investment of 100 k€, we would receive 350 M€ which means a return of 35000 %." Return of investment like this would simply be too good to be credible.

Instead, the reasons were based on short term savings seen by the IT management. As Nokia was growing towards hundred thousand employees, the yearly cost of Rotis Sans Serif had become unreasonable. Even though it would be an expensive project to develop your own typeface, over decades the savings in licensing costs would be a multiple of that.

Five experts from different domains were appointed to the board of the typeface project. P?ivi Tuohimaa (Senior Manager, Nokia Brand Identity) and Juhani Pitk?nen (Art Director, Nokia Brand Identity) took the lead. Jussi Kapanen took responsibility over using the typeface in user interfaces such as phones, web, and desktop applications.

First, the requirements had to be researched. The target was to create a typeface that would be optimal for each use case: the text visible on phones and communicators, the text on desktop applications, magazines published by Nokia, advertisements, posters, signs on buildings, instructions, business cards, and packaging. Here's what the draft of the project looked like:

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The goals were clear:

  1. We'll create a single, visually unified typeface family that covers each use case for a text in Nokia.
  2. The typeface will strengthen the visual brand of Nokia and it will easily recognizable.
  3. The legibility of the text should be top class as Nokia is known for good usability.

The combination of these requirements made our project exceptional in typographic terms and also harder than we understood at the beginning.

The goals of good projects are realistic. The goals of the best projects are impossible.

The goal of Nokia's type design was to cover all use cases for text using the same typeface.

The computer displays had 72 dpi, phones 120 dpi, regular paper prints were in between with 300-600 dpi, and the highest quality prints had 9600 dpi. The characters should look good both two millimetre and several meters tall.

Usually in good typography, different types of characters are used at the extremes of the resolutions. Based on experience it was known that for displays, it made most sense to use optimized, straight-lined characters. If the same characters were used for print, the outcome looked often clumsy.

Simultaneously in print, text that was designed to leverage modern printing technology came out the best. In this case it meant varying the width of the characters, altering the acceleration of curves and adding small, finished details to make the characters more interesting. If a character like this was compressed to a small display, often it lost its character and became ugly.

Now we wanted to reach both of the ends and two additional dimensions: The target was to come up with a business typeface full of personality while still attaining legibility matching the best typefaces in the world. These goals seemed opposing as legibility is achieved via shapes that are familiar to the brains - ideally the same kind as in the thousands of the texts we've read earlier. Any shape that's different than the usual one causes the eye to stop and slows down the reading process.

We summarized the goal like this:

"provide Nokia with a distinctive corporate typeface family that follows classical lines but with an appealing aesthetic across a complete range of applications"

In other words, we ordered our designers for a city car that fits into a small parking spot and has enough space for moving furniture of a big manor if necessary and that's able to charm the users with both a minimal consumption and superior power.

Two years later in year 2002 Jussi Kapanen wrote:

There are three types of good fonts. Some are easy to read in print. Some work well on screen. Some have identifiable characteristics. Combining any two of the above goals is difficult. Nokia font combines all three. And the reading requirements of users of different products.

Nokia was lucky to get Erik Spiekermann, a renown typography designer and author, to the project (Erik Spiekermann's interview and biography). Spiekermann had founded MetaDesign, the largest design company in Germany, and FontShop, a shop for software fonts.

In their first meeting, Erik asked Jussi to tell the history of Nokia's typefaces. As he said Helvetica, Erik began to laugh. He had been a designer in the Neue Helvetica project in which the original Helvetica was being fixed. Erik knew all the reasons why nobody should use Helvetica and put it strongly: even Arial – the copy of Helvetica designed to avoid licensing costs – had better kerning than the original Helvetica.

Typefaces for small pixel sizes were a new category demand for which grew during the 1990s. At the end of the century, two typefaces were considered to be more legible than the others: Verdana and Tahoma.

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These two were the ones to beat. As Agfa Monotype had designed both Tahoma and Verdana, it was natural that we would ask the experts from Agfa Monotype to design the new Nokia typeface as well.

The Brand Book defined that Nokia is a global brand with Finnish roots. In this spirit, it felt perfect that an international team was working on a typeface with Finnish requirements:

  • Erik Spiekermann was a German born in 1947 working in Berlin, London and San Francisco – he had an office in each of the cities.
  • Robin Nicholas had the same age as Erik. He had been working at Monotype Drawing Office in London since a teenager and created tens of new typefaces since then.
  • Jelle Bosma led the TrueType team of Agfa Monotype and he was responsible for the technical portion of Nokia's font.
  • Carl Crossgrove was an experienced type designer with experience in calligraphy from MonoType.
  • Ole Sch?fer had designed many typefaces with Erik at FontShop since the year 1990.

Cultural differences

After our first meeting, Erik remarked that the day had removed his prejudice about Nokia and Finns. Erik told that he had expected dark suits, ties, and stiff silence. Instead, we were speaking casually in English and German as if we had been a group of old friends.

In the next meeting, it was the time for the Finns to drop their prejudice. The word had spread about the goal of creating "the best typeface in the world" and people joined it from many different departments of Nokia. From Agfa Monotype Brits, famous for their modesty, joined.

In the Finnish side of the table, the IT department had doubts if it's possible to create a typeface that's for example better than Arial and how Agfa could achieve that.

From Agfa, Robin Nicholas responded that the font will be made better than Arial and Jelle right here will take care of it. Someone kept questioning: ”How well do you know Arial?”

Humble Jelle responded: ”I made the hinting for Arial’s special language variants, so I think I know something about it.”

For a moment, the table was silent. Hinting is the most arduous part of digital type design as true quality is created in that phase. While hinting, you define it character by character and pixel size by pixel size how vector lines are moved relative to the pixels of the display so that the rendered character fills a whole pixel in case anti-aliasing technology isn't available. The man that had applied hinting to Arial knows its characters better than anyone else in the world.

Robin himself was even more modest. He didn't bring up the fact that he had designed Arial.

Basic shape

The basic shape for the new typeface was derived from the visual history of Nokia. First, the text type designed for the logo was dug up. In public, only five characters of it were used.

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The rounded rectangle from Nokia logo repeated in the shapes of the displays during the 1990s. The idea of rounded edges now inspired the new characters of Nokia. This was both beautiful design and strong brand control. Erik expanded our nomenclature with a new word: squircle which is a shape between a square and a circle.

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The special feature of the Nokia Font family was that each character looked big relative to the used space. The apparently large size occurred because the x height of each character was big related to the ascenders and descenders.

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The apparent size allowed text to become smaller if needed: this meant more text could fit he same space without sacrificing legibility. Compared to text written in Arial and Myriad, a row could fit 12% more of Nokia Font text although the visual size of the texts was the same.

We felt these characters expressed the spirit of Nokia. The squarish shape pointed to the technical world and displays while the open form of the characters improved legibility and made the characters exceptionally clear when only few pixels were available.

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The visual unity of the Nokia Font bridged the rough pixel characters of phones with the sophisticated shapes of the printed products.

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Because Jussi Kapanen took care of the user interfaces, he was particularly happy about the way Nokia Sans Wide came out. Even good typefaces lose their good qualities as their size is reduced to 10-12 pixels. Nokia Sans Wide was clear and easy to read even then. The characters looked good also when anti-aliasing wasn't available.

Nokia Sans Wide improved for example the usability of network management software for telecom operators. People worked in three shifts in their premises to make sure global networks work without a flaw. It was critical that the provided information was clear and Nokia's type design improved this now.

A couple of years earlier, Jussi had began to unify the hundreds of different user interfaces within Nokia Networks. The new typeface was combined with white and blue theme called CoolFace. The usability of the products was improved so much that the field workers of the operators began to favour Nokia. An installer from Southeast Asia remarked that he prefers to Nokia base stations as they are the easiest ones to operate.

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Fitting a pixel font and a print font together gives the designers new demands and requires dropping usual principles. Normally in type design, first vector images are created and it's only at the last phase of the work that the bitmap versions are derived – if they are even needed. In Nokia Sans Wide, the workflow was the exact opposite. For example, w looked like this at first:

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It was only after the pixel design that outlines were drawn as vectors. In the image below containing the a character, you can see how roundness and edges were combined in the shapes.

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Although the starting point was a sans font, serifs were added to make it easier to recognize individual characters.

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For some characters, the shapes changed drastically compared to the original drafts.

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One of the demands was that all the different versions of the typeface should fit together visually: "All font weights and versions work together in the same document, in the same paragraph, and on the same line."

In January 2002, Erik Spiekermann gathered the following poster based on the different types.

It was essential that each version was optimized for a particular use case.

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Nokia Sans Wide fit situations where the regular characters wouldn't work well enough: low resolutions, small text, poor eyesight. Sans Wide made the same to the reading experience as plain language to sentence structures: text became easier to understand.

Nokia Sans Title was used for titles as it had exceptional visual strength.

Sans Condensed fit cases where you had to fit information to a particularly small space: for example product cartons or tables.

In addition to these basic versions, cursive and bold variants were created. In total, the entire family contained 26 types:

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As these Latin characters had been completed, later on CJK (Chinese, Japanese, Korean) characters were added.

When you are reaching towards better, first you need a measure

We wanted the legibility of the font to be better than in Tahoma and Verdana while being able to prove it. How to measure legibility?

We were helped by a lucky coincidence. While studying, Jussi had been working together with Max Lindfors. He was one of the few that studied ergonomics. Jussi hadn't seen Max for years but he knew Max was leading the visual laboratory of Nokia Research Center. Max was able to find an academically accepted method to measure legibility.

For brains, interpreting characters alone is a different task than within words. For validity, it's important each page that's read in a test corresponds to actual text. It's equally important that the text doesn't have any meaning as otherwise the familiarity of the words and comprehension of what's being read would affect the outcome.

In our reading test, we had to rule out readability as that would contain contextual level and interpretation of words. We should measure only typography legibility. For this in turn it's important that the reader is able to tell the characters apart so that they won't interpret a character as another by mistake. Pairs of characters, such as h and n, i and l, c and e, or c and o, are critical as the letters resemble each other. Fortunately each possible pair doesn't have to be studied in detail. In design, it's enough to focus on the most problematic ones.

The method discovered by Max was simple yet effective: the text used in the test contained random letters that had been grouped as "words". Letters and punctuation marks formed entities that resembled sentences. You could have thought you are reading a text written in a foreign language.

In the test itself, the reader was asked to count the amount of a specific character. For example, "how many letters of h can you find in this text?". We needed to know only the speed and the accuracy of the answer. Due to its nature, it was easy to write a computer program for the test.

The experts from Agfa Monotype became excited: for the first time, they had a scientific method to use for improving the quality of their work.

The same test was performed with Verdana and Tahoma as well. The first version of Nokia Sans Wide fell slightly behind them and based on the results some of the characters were improved. In the next version, people made less mistakes while reading faster. The third version went past the target as Jelle improved the details of the letters so that a good typeface became eventually the best one.

The company decided not to publicize the information that the typeface used by Nokia phones was better than in the competing products. They were afraid that if it was public, then the competition would quickly copy the design as it's practically impossible to protect a typeface in a legal manner: if the person doing the copy changes the name of the font and a few details, that's enough. It happened to Helvetica in the past after all.

Publishing the new typeface

It still wasn't clear when the new typeface would be published. The leadership was busy as the annual shareholders' meeting of 2002 was coming closer and it would be bigger than ever as it was held in Hartwall Areena, a popular venue in Helsinki that fits 13000 people.

15 minutes before the start, the last thing was tested – the legibility of the Powerpoint slides. Problems weren't to be expected as the same slides had worked well in the meeting rooms of the Nokia building earlier.

As the first slides appeared on the screens of the arena, it was impossible to tell the text apart from the audience. What was possible to do? Larger font size wouldn't fit the slides and it was too late to change the text.

Fortunately someone had the new Nokia Font on a memory stick. As the font of the presentation was changed, a miracle happened. Although the font size remained the same as before, now the text was legible even from the farthest reaches of the arena. The first comment of the board was "how is that possible?". This became the first appearance of the Nokia Font in public.

A couple of weeks later, the IT department of Nokia let the personnel know that Rotis Sans Serif will be replaced with Nokia Font. During the next decade, Nokia Font strengthened the identity of Nokia and improved the usability of Nokia products. Nokia Font and especially the Nokia Sans versions became a success story.

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The spirit of Nokia was user driven: each different user deserves a solution optimized for them. The broadness of the font family followed from this just as the dozens of phone models created by the designers and engineers of Nokia each year.

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Nokia Font raised positive feelings around the world. In Latin America after a sales pitch, the CEO of the company told the presenter after the meeting that they had never seen their own language with all its special characters to be used without faults in a commercial presentation. All the diacritic letters were where you would expect them to be. Nokia landed the deal.

"Nokia Sans was perhaps one of the most recognized typefaces of its era" mentioned Ilona Aaltonen in her thesis about typography in 2019.

Regardless of its success, the fate of Nokia Font was to die young.

2020s and beyond

Finlandica typeface

Beyond the efforts on Nokia, Finnish type design is still alive as showcased by typefaces like Finlandica. It's an open source font ordered by the Finnish government from Helsinki Type Studio. The typeface was published in 2018 as a part of Finland Toolbox, a brand toolkit for anyone doing public work related to the country.

Luc Devroye has composed an extensive list of Finnish type designers as there's a lot going on in the world of design.

Epilogue

Nokia Font lived a good life that ended in 2011.

This twist in its story was paved by the yearly organization changes of Nokia. Also the members of the Nokia Font project were moved to other tasks or outside of the company one by one. With them, the knowledge gained about typeface design was splintered around the globe.

Around 2010, a person from the outside was appointed to lead Nokia Design. The new leader wanted to show what they are capable of and Nokia Font was replaced with Nokia Pure in 2011 created by the Swiss type designer Bruno Maag.

Technically speaking, Maag did good work. The details of Nokia Pure were as polished as in Nokia Font. By its nature, Nokia Pure was a disappointment to many type designers though as they felt it was lacking in personality. It wasn't clear why a company like Nokia would weaken their brand identity and even the designer didn't refuse this and instead claimed the following in his press report:

“It was a balancing act,” says Maag. “An elegantly simple typeface that doesn’t draw attention to itself."

The design was shaped by larger goals as communicated by Nokia:

"The new font is part of Nokia CEO, Stephen Elop’s brand overhaul as the company moves off its two indigenous platforms, Symbian and MeeGo, in favor of a new partnership with Microsoft using Windows Phone 7."

The strength of the new font was in that it stood less apart from the Microsoft style. It was time to cut ties with the original brand.

Nokia Font remained only in the company’s internal use. As the use of typeface was ended, the related files were gradually removed from the computers via updates.

Nokia Font or Nokia Pure

Which was better - Nokia Font or Nokia Pure? Each was better than the other by its own criteria.

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It is easy to tell Nokia Font apart from others. The shapes are iconic and are connected to Nokia as you see it still.

Nokia Pure is simple and beautiful. The shapes are similar to many other font families where the characters curve smoothly.

The main auditorium of Helsinki University by Alvar Aalto

In the Nokia Brand Book from 2011, it was told that they wanted practical beauty and minimalism to the new typeface. Nokia Pure "celebrates the purity of the form as classic Finnish design studios, such as Iittala and Arabia, or architects like Alvar Aalto and Reima Pietil?, do."

The feedback from the design community came in all shapes and sizes. Erik Spiekermann summarized in his blog: "Nokia is throwing out ten years of brand recognition in favour of blandness."

The response from Finland was more diplomatic: "The design team went after harmony through simplicity. In Nokia Pure typeface, you can see how the design team understands character shapes inspired by Finnish design."

Did Nokia achieve its goal by changing Nokia Font to Nokia Pure? In the end, yes.

Good brand identity should stand for the true essence of the company. Nokia Pure was in harmony with the evolution of Nokia. Lack of distinction had become the new mainstream.

Earlier, with feature phones the manufacturers reached for personality and distinction in design. During the 2010s, the phones from different companies went towards the same basic shape: rounded rectangles, ideally black. Nokia was now a follower, not a leader. Even most of the competition was thinking it's a good strategy. Design evolution that took place across the entire industry replaced a diverse rain forest with a cost effective tree plantation that has no variety.

How about brand value? Maybe even that wasn't worth protecting anymore. After the Microsoft deal, the brand value of Nokia fell at its lowest to one and half a billion dollars. It was only after the Nokia name was licensed to HMD Global Oy that the value began to rise again.

When an actor dies at the peak of their career, he will be remembered forever as a young rebel. The same happened to Nokia Font. It represents a decade when a Finnish company was a radical trailblazer. The products of Nokia changed the daily lives of billions of people.

Characters and stories are like Nokia. They connect people

Characters represent continuity in many different levels. The humanity evolves by sharing information and stories from a generation to another. To store thoughts better, characters were invented. The features of them have been developed by designers across centuries and millennia. Type design is teamwork across generations just as telling stories. Stories live as they are shared.

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Sources

Itkonen, Markus, 2012. Kadonneet kirjaintyypit. Suomalainen kirjainmuotoilu 1920–1985. V?it?skirja. (typoteekki.fi)

Mervola, Pekka 1995. Kirja, kirjavampi, sanomalehti. Ulkoasukierre ja suomalaisten sanomalehtien ulkoasu 1771–1994. Helsinki ym., Suomen Historiallinen Seura & Jyv?skyl?n yliopisto. V?it?skirja. (informaatiomuotoilu.fi)

Discussions with people in the story.

Special thanks to Jussi Kapanen and Ian Littman for corrections and improvement suggestions.

This article is a translation of original work by Jussi Kapanen.

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