11.10.2013 Views

Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

Corporate identity in a global market: the challenge of the Jotun company<br />

scheme might also have had influence on the decision. 5 Dark<br />

blue may have been preferred to black because of the negative<br />

associations that colour evoked in the Arab world, or because of<br />

its reference to the sea, the home of the penguin. Since then a<br />

visual identity program has been developed, with the penguin as<br />

the core element. In 2010 it was up<strong>da</strong>ted and the penguin made<br />

slightly more stylised. The job was done by Metro Design, a small<br />

studio situated in Sandefjord.<br />

The slogan “Jotun protects property” has been used on a stan<strong>da</strong>rd<br />

basis during the last couple of decades. It points at the firm’s<br />

customer orientation and its offer to take care of their assets.<br />

Whenever presenting the firm the motif of the penguin is extensively<br />

used, mostly in the form of photographs that underlines<br />

its resemblance with human beings. Even Jotun’s set of values,<br />

loyalty, care, respect and boldness, is put forward as if derived<br />

from the animal. This gives the impression of care for human life<br />

and accor<strong>da</strong>nce with nature. This almost naïve approach appeals<br />

directly to people’s feelings and creates personal identification<br />

with the firm and its products.<br />

Since the turn of the century, when globalization had become<br />

the buzz word for most business development, Jotun has been<br />

presenting itself solely as a global firm. No reference to its local<br />

or national origin is being made. The global engagement and<br />

competence is seen as a value in itself and sufficient to meet the<br />

needs of all market segments.<br />

In spite of the global outward identity, the firm is still deeply<br />

rooted in the city where it was founded. The penguin motif constitutes<br />

a parallel to that of the whale, which was often used in<br />

connection with the whaling industry. Also the penguin had been<br />

used in that connection. The colour of blue was frequently chosen,<br />

since the city is situated by the sea. It is also nicknamed<br />

“The blue city by the Oslo Fjord”, with reference to its political<br />

conservativeness. Consequently, property, and the protection<br />

of it, is a major priority, which is reflected in Jotun’s slogan. The<br />

use of internal or local staff for the highly professional task of<br />

designing logo and visual identity program points at a certain local<br />

preference. Many of the board of directors have their origin in<br />

the region, and the Gleditsch family is still playing a major role in<br />

the management, now represented by its third generation. These<br />

facts are not put forward when the firm is presenting itself. It<br />

seems to be regarded as something that could stand in the way<br />

for branding itself as a global firm.<br />

3. The corporate identity of Akzo Nobel<br />

Jotun’s probably greatest competitor, Akzo Nobel, is the world’s<br />

biggest firm in the field of protective coatings. It has 60.000 employees<br />

in all parts of the world and covers all product categories<br />

and market segments. It has defined a corporate identity that is<br />

quite different from that of Jotun. It is clearly related to the firm’s<br />

history, as well as to its ambitions for the future. Having its origin<br />

5 ALMESTRAND 2010.<br />

in the Netherlands in the 18 th century, Akzo Nobel has gradually<br />

developed into a huge conglomerate of firms by purchasing other<br />

companies in various parts of the world. It is therefore a global<br />

firm in a literal way that Jotun is not.<br />

The name contains a reference to its founding company as well<br />

as to the famous scientific researcher Alfred Nobel, who had ties<br />

to two of the purchased companies. The present logo was originally<br />

designed in 1988 by the legen<strong>da</strong>ry Grand Old Man of visual<br />

corporate identity, Wally Olins. In 2010 it was redesigned by one<br />

of his former studios, the world spanning Saffron bureau, in collaboration<br />

with Pentagram and the illustrator Martin Rijven. The<br />

rebrand was awarded with a placement on the shortlist of the<br />

Transform Award for rebranding and brand transformation that<br />

year. 6 It consists of the torso of a man with his arms stretched<br />

out. It is a modern paraphrase of the classic Greek “Metric relief”,<br />

symbolising metric systems based on the human body.<br />

The only colour is blue in various shades. 7 In this way the logo<br />

demonstrates an emphasis on scientific research and rational<br />

thinking, as opposed to Jotun’s more customer oriented and<br />

sentimental approach. The slogan ”Tomorrow’s answers to<strong>da</strong>y”<br />

supplies the identity with a dynamic drive and the ambition to be<br />

in the forefront of solutions for the future. The identity contains<br />

subdivisions by country, with separate sets of values etc. The<br />

subdivisions make it easy to implement national a<strong>da</strong>ptations to<br />

the products.<br />

Compared with Jotun, Akzo Nobel has a more flexible, but also<br />

a more complex identity than Jotun. For a firm of this size it is<br />

quite natural. But even more important is the fact that it reflects<br />

the firm’s factual identity to a higher degree than that of Jotun,<br />

where there is a weaker correspondence between communicated<br />

and factual identity. This probably constitutes a competitive<br />

advantage.<br />

4. The success of Dubai<br />

International expansion has been on Jotun’s agen<strong>da</strong> since the<br />

post war era. Its first foreign production plant was put up in Libya<br />

in 1962. In 1975 it was replaced by an enterprise in Dubai. 8 The<br />

young nation had recently discovered oil and opened for foreign<br />

investments. Simultaneously it had started a modernization process<br />

and created a market for Western goods. Consequently,<br />

Jotun was given exceptionally good conditions for its work. Since<br />

the start it has been a success, both as regards production and<br />

sales. Jotun has even been chosen as the supplier of paint for<br />

several of Dubai’s iconic landmarks, among others the Burj Dubai<br />

and the Burj Khalifa, the world’s tallest building.<br />

The favourable climate for foreign enterprise is not the only reason<br />

for the good results. Since the start the involvement has<br />

been built on personal relations and cultural empathy. When<br />

initiating the engagement Jotun hired former representatives<br />

6 www.identityworks.com/reviews/2008.<br />

7 www.akzonobel.com/uk/aboutus (2012).<br />

8 BRYN 1998.<br />

Design Frontiers: Territiories, Concepts, Technologies 220

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!