“The story begins in 2006 with a trip down Route 66. Day in, day out, I looked at U.S. traffic signs that were either set in the old, somewhat clumsy “FHWA font series” or the new Clearview HWY typeface. Approaching the signs, I would often test myself: which typeface works best from a distance, and which of its features or details might be responsible for its performance. I had so many more questions than answers. Surely every professional type designer has at least an inkling of how a signage typeface should look: Probably it sports a rather clean sans serif design, open counters and a rather large x-height. But which x-height works best, and why? What is the optimal stroke width? A monocular or binocular g? Should the design be somewhat condensed to permit more information on a sign, or rather should it be relatively wide so that individual letters are more easily differentiated?” - × × ×