In the years following the introduction of 'Viol' series Bang carried out a large number of services that put Holmegaard's name at the forefront of the Applied Arts, not only domestically but internationally, winning prizes at many exhibitions. In fact, the late 1920s and 1930s saw the introduction of several of Holmegaard's longest-selling series, including "Rosenborg" (1929), "Gisselfeld" (1933), and 'Stjerneborg' (1937), all of which were in production until the 1960s and 1970s.

Whilst specialising in tableware, Bang also produced a number of vases and bowls for Holmegaard, including engraved glass in the 'Swedish vernacular' for which he collaborated with Orrefors' engraver, Elving Runemalm. Together they produced many designs, including one large vase exhibited in the world exhibition in Brussels 1935. At Bang's 10th anniversary exhibition, "10 Års Dansk Glaskunst" in 1937, he unveiled his new direction in glass design - a series of thick-walled vases, bowls and carafes in a 'rustic' style, executed in heavy bright colours and in a purposefully handmade-look, and decorated in marvered frit and/or applied seals - a deliberately rustic æsthetic that would, 20 years later, be popularised by Erik Höglund.

Jacob Bang, who had trained as an architect, decided to return to his original vocation and, in July 1941, resigned from his position at Holmegaard. His post was filled in May 1942 by Per Lütken, and a new chapter in Holmegaard's rise to prominence began. Bang did, however, return to the factory very briefly in the summer of 1952 to create two elegant full lead crystal services, "Lindenborg" and "Ravnsborg".