Oslo-based type foundry Good Type offer accessible retail and custom typefaces with an exceptional attention to detail. Established two years ago by Kenneth Knutsen, the type foundry has rapidly expanded. Their typefaces have been used by the design elite like Pentagram, to Reebok and Crack magazine.
Good Type’s biggest release to date is Good Sans, launched earlier this year. On the new typeface’s conception, Kenneth tells It’s Nice That, “we wanted to add a more down-to-earth type family to our catalogue as we tend to make rather quirky or conceptual typefaces with lots character”. Good Sans is a contemporary sans serif designed for everyday use. Influenced by mid-century, neo-grotesque typefaces such as the ubiquitous Helvetica and Futura, Good Sans has lineal and geometric qualities allowing it to be easy on the eye and versatile. “We wanted to create a solid sans serif typeface that looks and performs well in every setting possible”, explains Kenneth. “Currently, it is available in six weights, thin to black, with corresponding italics. But somewhere in the future, we hope to create extended and condensed versions to make the type family even more adaptable”.
Released in early 2018, “Tekno is an extended display typeface with technological features available in one weight, two styles, and a stylistic lower case. The typeface is successfully used in Crack magazine as a complimentary offset to the bold title header. Tekno feels undoubtedly futuristic with elements of the sci-fi incorporated into the wide letterforms. This display typeface is approachable yet distinct making it well-suited for the likes of Crack and Reebok that target the current youth of today.
Good Type also released Figue only a couple of weeks ago. Named after the ficus plant, the botanical-inspired sans serif has soft curves, giving the typeface a friendly and natural look. “It is slightly condensed with a tall x-height and rounded serifs which create high contrasts” in this eclectic typeface. Equally impactful in its body copy and as a statement headline, this typeface combines the formality of a serif with the friendliness of rounded curves.
Earlier this year, an older typeface by the foundry, Adieu, received gold in the Visual awards by Grafill. Kenneth and the team describe the experience as “mindblowing” however, with such a strong design, it is unsurprising how well-received this typeface is. Available in four weights and 12 styles, this extended typeface is rooted in a motor sport aesthetic, designed for high speed. “It is mainly developed for headings, logos and display, but we have seen some good examples of chunky text set in it as well”, says Kenneth. Despite only being released last year, Adieu is highly visible in the wider world used across various editorial and fashion campaigns as well as Pentagram.
- Jeffrey Cheung’s new book is a joyous celebration of QTPOC communities
- Shake, England, shake: Ian Howorth photographs a vision of Arcadia
- Uma Bista’s photographs address gender inequality in Nepalese communities
- Meet Tess Smith-Roberts, the illustration student who adds a "stupid little smiley" to every character
- Charlotte Rohde asks “what do typefaces have to say beyond the words they spell?”
- Postage stamps as an R&B identity and more: Haeri Chung on her graphic design practice
- “The future of design is in the creation of tools”: Meet the Space Type Generator
- How Pelle Cass creates his jarring “still time-lapse” images
- Yushi Li on photographing men she met through Tinder
- Lacoste once again swaps its iconic crocodile logo for ten endangered species
- When Hollie Fernando forgot her age, she decided to take her first self-portraits
- Introducing Double Click – our new series rounding up the best of the digital design world