Returning a minute to this notion of a typeface having an emotion or feeling, Garfield also suggests that they can have a gender:

There are exceptions, of course, and a brilliant one is John Gray’s bestseller, Men Are From Mars, Women Are From Venus, in which the designer Andrew Newman chose Arquitectura for the male lines and Centaur for the female ones. Arquitectura looks manly because it is tall, solid, slightly space-age, rooted and implacable. Centaur, despite its bullish name, looks like it has been written by hand, has thin and thick strokes, and is charming and elegant (obviously this is gross sexual stereotyping, but Men Are From Mars, Women Are From Venus is pop-psychology).

Garfield, S. (2010, October 17). True to type: how we fell in love with our letters. The Observer.  Retrieved October 27, 2010, from http://www.guardian.co.uk/artanddesign/2010/oct/17/type-letters-typefaces-simon-garfield

Men Are From Mars, Women Are From Venus cover

Men Are from Mars, Women Are from Venus. (n.d.). Retrieved October 27, 2010, from http://amzn.to/JZrrOU

I think this is important to consider when choosing a typeface, particularly with regards to target audience. Is there such a thing as a gender-neutral typeface? How important is it?

I think the Men Are From Mars, Women Are From Venus is an interesting book cover too. I have read the book, and I have to say, as something written in the early nineties, it’s as stereotypical as things were then. I don’t know how well it would go down today as a new book… Anyway the use of the typefaces to show a vast contrast effectively emulates the book – which is a description of how and why men and women are different. Is this a successful typeface choice? I would have to say yes.

I suppose it’s because the author is male, but the rest of the type on the cover is also tall and much more reminiscent of Arquitectura.