Did you have to manipulate the font in anyway to create a perfect arrow?
Yes, indeed. I was studying Univers 67 (Bold Condensed) and Futura Bold, both wonderful faces. But each had its potential limitations downstream in application to thousands of FedEx media, from waybills and embroidered courier caps to FedEx.com and massive signage for aircraft, buildings and vehicles. Moreover, neither was particularly suited to forcing an arrow into its assigned parking place without torturing the beautifully crafted letterforms of the respective faces. To avoid getting too technical here, suffice it to say I took the best characteristics of both and combined them into unique and proprietary letterforms that included both ligatures (connected letters) and a higher “x-height,” or increased size of the lower-case letters relative to the capital letters. I worked these features around until the arrow seemed quite natural in shape and location.
This is a sortof weird interview, but the subject matter is really niche and obscure. It’s sometimes cool when people get minorly jargon-tastic in some language I don’t understand yet. Sometimes, it’s so annoying, but that stuff usually doesn’t get posted to RTFA.