When we design for non-Latin, we always aim to create a rhythm and texture that is sympathetic so when you have the two scripts running side by side, they create, ideally, the same tonal value on the page.
Bruno Maag
Type is your brand.
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated into different scripts.
Each script has its own calligraphic and cultural history. It is more a question of matching different calligraphic styles to one another, without the features of one script dominating another.
The Cyrillic and Greek scripts in particular have an alien beauty in their unfamiliar letterforms. Five weights of stroke thickness create subtle variations in light and dark that reflect the emerging and fading of the stars.
I do believe that organizations can certainly improve lives by specifying better fonts, which of course has an effect on how you read your e-mail.
A good typeface is like a well-crafted English or Italian suit: it always looks perfect.
Why do only the Latin script when Nokia has a billion consumers? Typography is the bedrock of communication; it can really connect people.
If you imagine b, d, p, and q, those are letter forms that all the children always mess up. They are mirror forms of one another. That feature is emphasized in a font like Arial, where the shapes are literally mirror forms.
The argument that a serif font is too fussy doesn't cut it anymore. You want a font where the letter forms are not ambiguous.
A coherent typeface is an essential part of a coherent branding strategy.
