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.

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.

There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated into different scripts.

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.

A good typeface is like a well-crafted English or Italian suit: it always looks perfect.

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.