Built to Move

Motion first

The result is predictable. A strong identity that turns generic the moment it has to animate. Logos that drift without direction. Typography that doesn't breathe. Motion that signals energy but says nothing specific about who the club actually is.

When we think about identity, we think differently. Motion isn't something you add to an identity. It's something the identity has to be built to express.

When static becomes a liability

Most visual identities are built for print and presentations, then handed to a production team that animates what it can and improvises the rest. The result is a brand that works in a brand book and breaks down on screen. Typography that drifts aimlessly across the screen. Graphic elements that don't know how to enter or exit. A logo animated without character.

This isn't a production problem. It's a design problem. And it starts far earlier than most brands realise.

The 19.17° principle

When we rebuilt Rosenborg Ballklub’s brand identity, we started with a number: 19.17. The angle of the club’s diamond crest — a tribute to the year the club was founded. That angle became the structural logic for everything: the redesigned crest, the custom typeface “Rosenborg 1917”, the graphic system, and the motion language we built alongside it.

The 19.17° doesn’t just sit there. It moves. Out of the angle grew a guiding principle: always forward. That's the principle behind the motion language we built in parallel. Every element on the same path. Animated content, from matchday opener to social graphics, carries the same directional force.

The motion toolkit we built for Rosenborg isn't a broadcast package made after the fact. It's the identity itself, expressed in time.

23 stories, one system

With NFF and Telenor, the brief was different: build a content series following 23 players on their individual paths to UEFA Women's Euro 2025. The challenge wasn't how to animate a logo. It was how to hold 23 completely different personal stories inside one coherent visual identity.

We designed a three-part narrative structure: where you've been, where you are now, what it means to play for Norway. The motion system could move between archive photographs, self-shot footage, and animated player portraits without losing the thread. The result was 23 short films that feel individual, and unmistakably part of the same world.

The motion toolkit gave the production team a defined language. Not rules that constrain. A system that enables.

What a motion toolkit is

A motion toolkit defines how your identity behaves in time. Typography with defined rhythm. Graphic elements with defined movement principles. Colour transitions that follow brand logic rather than trend. An identity that performs consistently whether it is a 15-second social cut, a full broadcast opener, or a matchday experience.

It is not an animation package delivered at the end of a project. It is built alongside the identity — because the brands that move well are the ones where motion was considered from the first conversation, not the last.

We build motion toolkits as part of our brand and visual identity work. The result is a system your team can use independently, that scales across every surface your brand occupies.

If your brand is built for print

Most sports brands are. And every season, that costs more than it should — in production time, in inconsistency, in missed moments.

If you are building or rebuilding a sports brand, or if your current identity does not translate into motion the way it should, we would like to talk.