Across products and services, categories and industries, we collaborate with our clients to solve their challenges, create meaningful brands and user experiences in the digital, analog and physical space. Here, you can find some of our our clients.

Jernhusen — Custom type / Identity / Digital

On the right track, for
years to come

Project status
Ongoing

Partners
Winston

Year
2017

Jernhusen is a state-owned real estate developer. Their mission is both to maintain the current buildings along the Swedish railway system and build new commercial properties. When you are both creating legacies and maintaining existing ones, there is great need for brand clarity throughout. Jernhusen needed a unified identity and a solid foundation to build upon going forward.

By working closely with the client, we wanted to consolidate the identity across all touchpoints, both analog and digital.

We created a bespoke brand typeface with its roots in the shape of railways and in architectural development. We also crafted the concept and design strategy, a completely new design system, brand patterns, a refreshed logo and a website.

Project status
Ongoing

Partners
Winston

Year
2017

The brand typeface is a striking part of the identity. It carries strong characteristics but never distracts from the message: it rather emboldens it. This is mostly how we use it: bold, straight-forward and strong.

Tobias Eriksson, Senior Designer

The digital presence is clear & simple, with scaled back colors and graphic elements to give importance to the experience. Typography and the vibrant orange color are the only elements allowed some impact, but even they have been scaled back in favor of function.

Ella Junghahn, UX Designer

The new signage system is created with one idea in mind: you should never have to think twice about where you are. It’s built on strong hierarchy and designed to be incredibly simple. Since it’s modular, it’s easy to apply on almost any surface.

Jesper Robinell, Creative Director

Typeface: Jernhusen Sans
Weight: Light, Medium & Extra Bold
Year: 2017
Sö–Type Foundry

Try the typeface:
Jernhusen owns and runs railway stations and other buildings attached to the railway network in Sweden.
The company was formed in January 2001 as part of the break-up of the former national railway company (SJ).
Even after the break up from Statens Järnvägar (SJ) it remains wholly owned by the Swedish government.

The typeface consists of 5 weights. We looked at how railway typography had taken form throughout history but felt that most of the specimens we found where, while very functional, not very expressive. Instead we looked at actual railway grids and switches, and how simple yet visually striking they are. This, paired with an idea of modern architecture and functionalism formed the base on which we built the typeface. Part legacy, part nowness.

Tobias Eriksson, Senior Designer

We developed a pattern based on the logotype and the notion of traveling, not between stations, but between station areas containing shopping, restaurants and offices developed by Jernhusen.

The pattern works especially well on its own, on vehicles or walls of a temporary construction site. Through multiple color combinations, mixed with typography or not, we can achieve different levels of impact.

Tobias Eriksson, Senior Designer

Want to know more? Contact Mattias.
mattias@soderhavet.com or +46 (0)70 666 93 67.

  • Tobias Eriksson
    Senior Designer

    The brand typeface is a striking part of the identity. It carries strong characteristics but never distracts from the message: it rather emboldens it. This is mostly how we use it: bold, straight-forward and strong.

  • Tobias Eriksson
    Senior Designer

    The brand typeface is a striking part of the identity. It carries strong characteristics but never distracts from the message: it rather emboldens it. This is mostly how we use it: bold, straight-forward and strong.

  • Tobias Eriksson
    Senior Designer

    The brand typeface is a striking part of the identity. It carries strong characteristics but never distracts from the message: it rather emboldens it. This is mostly how we use it: bold, straight-forward and strong.

  • Ella Junghahn
    UX Designer

    The digital presence is clear & simple, with scaled back colors and graphic elements to give importance to the experience. Typography and the vibrant orange color are the only elements allowed some impact, but even they have been scaled back in favor of function.

  • Ella Junghahn
    UX Designer

    The digital presence is clear & simple, with scaled back colors and graphic elements to give importance to the experience. Typography and the vibrant orange color are the only elements allowed some impact, but even they have been scaled back in favor of function.

  • Jesper Robinell
    Creative Director

    The new signage system is created with one idea in mind: you should never have to think twice about where you are. It’s built on strong hierarchy and designed to be incredibly simple. Since it’s modular, it’s easy to apply on almost any surface.

  • Jesper Robinell
    Creative Director

    The new signage system is created with one idea in mind: you should never have to think twice about where you are. It’s built on strong hierarchy and designed to be incredibly simple. Since it’s modular, it’s easy to apply on almost any surface.

  • Jesper Robinell
    Creative Director

    The new signage system is created with one idea in mind: you should never have to think twice about where you are. It’s built on strong hierarchy and designed to be incredibly simple. Since it’s modular, it’s easy to apply on almost any surface.

  • Tobias Eriksson
    Senior Designer

    The typeface consists of 5 weights. We looked at how railway typography had taken form throughout history but felt that most of the specimens we found where, while very functional, not very expressive. Instead we looked at actual railway grids and switches, and how simple yet visually striking they are. This, paired with an idea of modern architecture and functionalism formed the base on which we built the typeface. Part legacy, part nowness.

  • Tobias Eriksson
    Senior Designer

    The typeface consists of 5 weights. We looked at how railway typography had taken form throughout history but felt that most of the specimens we found where, while very functional, not very expressive. Instead we looked at actual railway grids and switches, and how simple yet visually striking they are. This, paired with an idea of modern architecture and functionalism formed the base on which we built the typeface. Part legacy, part nowness.

  • Tobias Eriksson
    Senior Designer

    We developed a pattern based on the logotype and the notion of traveling, not between stations, but between station areas containing shopping, restaurants and offices developed by Jernhusen.

    The pattern works especially well on its own, on vehicles or walls of a temporary construction site. Through multiple color combinations, mixed with typography or not, we can achieve different levels of impact.

  • Tobias Eriksson
    Senior Designer

    We developed a pattern based on the logotype and the notion of traveling, not between stations, but between station areas containing shopping, restaurants and offices developed by Jernhusen.

    The pattern works especially well on its own, on vehicles or walls of a temporary construction site. Through multiple color combinations, mixed with typography or not, we can achieve different levels of impact.

  • Tobias Eriksson
    Senior Designer

    We developed a pattern based on the logotype and the notion of traveling, not between stations, but between station areas containing shopping, restaurants and offices developed by Jernhusen.

    The pattern works especially well on its own, on vehicles or walls of a temporary construction site. Through multiple color combinations, mixed with typography or not, we can achieve different levels of impact.