“The idea was to create something like a bookshelf in a library that would be a visual archive for our work,” says the Leipzig-based graphic designer David Voss of his studio’s newly updated site. Placed in orderly rows against a stone-colored background, each rectangular icon jumps to life with a d
W sans-serif. I conducted a short design experiment and found some interesting results. If you look at the x-heights and baselines of the lowercase w in most of the popular sans-serif typefaces (Avenir, Frutiger, Eurostile, Avant Garde, Helvetica, Arial, Lucida Grande…), you will notice that, of all the 31 typefaces selected, only two of the w’s are grossly disproportionate from the rest, Interestingly, the two that disproportionate are Lucida Grande and, strikingly, Helvetica - one of the most ubiquitous typefaces in modern design.