I've been thinking about this sort of thing for quite a while.

In essence, the static closed grotesque forms of Helvetica are perfectly suited for headlines. They fill the surface, grabbing attention, forming an almost solid unit (the word). It is tightly spaced, has a huge x-height, tiny descenders and ascenders: perfect for stacking.

Lucida Grande on the other hand: a humanist, dynamic shapes, loosely spaced, open forms (and although not that dramatically different in vertical proportions -- let's for a moment think about the very concept humanist) is obviously rooted in the tradition of text type.

The two skeletons are from completely different spheres, and thus this pairing is against all rules. However, I think something like this is most sensible ... in theory. In practice, you need some echo of the first in the second. Preferably you'd also want a clear distinction between the two, not something so close it just looks like an error.

Spinning off to fantasty land: What would a sans serif family with both stylistic and optical text (open, loose, distinct word images) and display (closed, tight, filling the page) sizes look like?

Thanks, Frank. I share your thoughts; Helvetica is perfectly suited for headlines because it looks "blocky". I guess it's not that bad to use this pairing, but again, would love to read other people's thoughts too.

I wouldn't pair those two myself (for the reasons Frode mentioned already), but as you write that you have to use Helvetica somewhere, I’d say it certainly is a better choice for headlines than for text sizes.

If you can use a different typefaces altogether, I would go for Benton Sans for heads and Benton Sans RE for reading sizes.

Yes, I didn’t mean that your pairing worked. I’m beyond all that: I’m planning the next type revolution.

The idea that you have to use Helvetica somewhere because the logo is set in it is the most suspect thing you posted. In general, I would suggest the opposite - avoid diluting the brand mark by setting other text in the same font. Just because someone is a great actor doesn't mean they should play the supporting role as well as the lead.

Doesn't Apple mix Helvetica and Lucida Grande all the time? Maybe sometime to look into.

Frode, will your revolution be televised?

Luma: I disagree. I think that if you could reuse the typeface used on the logo, right in certain interface elements, this could be a nice approach to extend and reinforce the mark. For example, I've seen a couple of sites where the typeface used on the logo is also used in search buttons (for the "Go", "Search" labels). To me it has nothing to do with diluting.

My revolution will be available on VCR.

Sorry, maybe my statement appeared too strong. I was trying to suggest that 1) it is not mandatory to use the font elsewhere if it is the basis of the wordmark, and 2) the examples of this done well are more the exception in my asthetic. I agree that it *could* be a nice approach, so I think we are on the same page.

Spinning off to fantasty land: What would a sans serif family with both stylistic and optical text (open, loose, distinct word images) and display (closed, tight, filling the page) sizes look like?

Been there, done that.
http://new.myfonts.com/fonts/shinn/brown/

Nick, I’m right behind you with a steamroller.