Janus Wool
Visual Identity
Agency: Dinamo Design
Client: Janus Wool
Design: Geir Solem Lysbakken
Brand identity
Concept development
Typeface - with Smuss Studio
Since 1895, Janus has mastered the art of knitting wool in the venerable factory at Espeland in Bergen. Dinamo Design has developed a new strategy that will elevate the brand internationally. As part of this, we wanted to look at the overall impression of the brand.
The job resulted in a new visual identity, with a custom-designed font. The work reinforces Janus’ heritage and knowledge, while also highlighting the work Janus does when it comes to innovation. The brand aims to reposition itself in the market, from an affordable supplier of high quality, to now aiming for a premium segment.
The new emblem for Janus is informed by the production tool, the industrial wool loom that stands at Espeland. The font takes cues from the new emblem, with its sharp finials and soft inner shapes. The combination creates a dynamism and contrast that is applied widely throughout the font family. It tells the story of the meeting between wool and machine, nature and industry. The font will be applied to all of Janus' surfaces, and will become a clear identity marker. It will have enough personality to stand alone, but have strong enough functional qualities to be used in information and smaller running text.
The small identities have value with elements, typography and colors that have developed for loyal buyers for large and small customer groups locally and nationally over time. The goal of the new design was to develop a system that takes care of valuable colors and combinations but still had a system for TINE Ysterier. An overarching system that leaves room for individuality with elements. [Page 2] → Elements from main level and the historical TINE - flower as element.
The small identities have value with elements, typography and colors that have developed for loyal buyers for large and small customer groups locally and nationally over time. The goal of the new design was to develop a system that takes care of valuable colors and combinations but still had a system for TINE Ysterier. An overarching system that leaves room for individuality with elements. [Page 2] → Elements from main level and the historical TINE - flower as element.
The solution works for location names vs type of cheese as the main name of the product. A dominant serif typeface that is placed above the TINE shape to represent the craft, location and type of cheese.
The pattern with the well-known TINE flower is reused at the top of the shape for richness and belonging to the history of TINE. Colors can be used with great variety to preserve history and the importance of personal touch and taste. The solution works to take care of distinctive features, but with a clear sender in a set form.
The solution works for location names vs type of cheese as the main name of the product. A dominant serif typeface that is placed above the TINE shape to represent the craft, location and type of cheese.
The pattern with the well-known TINE flower is reused at the top of the shape for richness and belonging to the history of TINE. Colors can be used with great variety to preserve history and the importance of personal touch and taste. The solution works to take care of distinctive features, but with a clear sender in a set form.
The solution works for location names vs type of cheese as the main name of the product. A dominant serif typeface that is placed above the TINE shape to represent the craft, location and type of cheese.
The pattern with the well-known TINE flower is reused at the top of the shape for richness and belonging to the history of TINE. Colors can be used with great variety to preserve history and the importance of personal touch and taste. The solution works to take care of distinctive features, but with a clear sender in a set form.
