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.
Sentiment: POSITIVE
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated into different scripts.
I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating.
I have made this letter longer than usual, only because I have not had the time to make it shorter.
I think initially we wanted to use the first letter of the character's name. We thought S was perfect.
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.
It's important to collect unusual characters. It keeps you sharp.
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.
For designers, the rigidity of an alphabet presents a never-ending artistic challenge: How do you do something new and still preserve the letters' essential forms?
A coherent typeface is an essential part of a coherent branding strategy.
A good typeface is like a well-crafted English or Italian suit: it always looks perfect.