I congratulate you on another interesting question.
I would imagine name of font, and associative context (e.g. German Gothic, Celtic) are important issues at the psychological level. At the philosophical level you might consider looking at the question from point of view of Derrida's focus on text and historicism. Or perhaps, there are side issues of Eastern calligraphy and the meditational channelling of "energy" though the writing implement.
Thank you to everyone who replied.
Fresco, I have googled, but I can't find exactly what Derrida wrote on text. I know he was concerned with visual presentation within his own writings, though.
I am sure it would be possible to 'decode' the sets of characteristics of certain font formations and their function in creating specific effects. My interest would be in the ones which appear to have no 'cultural' association, for example, how a certain set of curves may make a font appear more 'open' or 'easy on the eye' than another. I'm also interested in our perceptions of these sorts of qualities within music, which is how I got to start thinking about fonts.