This is an interesting question, and it seems that the issue of visual encoding extends beyond color to other elements of semiology, such as position, shape and symbolism.
Regarding position, this article by Hegarty and Parr (2024) suggests that men tend to be represented before women in gender-difference graphs and tables. Their findings indicate that this ordering is not necessarily neutral, and that positioning men first can reflect implicit associations between masculinity, agency and power, potentially reinforcing existing social hierarchies without explicitly communicating them. This raises an interesting question about how seemingly minor design decisions can influence the interpretation of visual information.
A similar issue arises with shape, particularly in the use of traditional male and female pictograms. These symbols (which are commonly found on public signs, but can also be found in other types of visualizations), appear universal and neutral, yet rely on culturally specific conventions about what makes a person look masculine or feminine. For example, the female figure is frequently distinguished by the addition of a skirt, whereas the male figure is often represented by a relatively generic human silhouette. In this article, Ardinghi (2019) conducts a semiotic analysis and explores how these visual conventions relate to gender stereotypes. One could argue that, although pictograms are effective communication tools because they simplify information and reduce the cognitive effort required for recognition, they can also be reductive. They communicate gender through a limited set of stereotypical visual characteristics.
Another interesting alternative concerns the use of metaphorical symbols. In languages with grammatical gender, such as Spanish, objects are assigned masculine or feminine grammatical categories. This can create opportunities for visual metaphors, such as associating the sun (el sol) with masculinity and the moon (la luna) with femininity. Although grammatical gender does not inherently correspond to human gender, these associations illustrate how linguistic and cultural conventions can influence the visual language we use to communicate concepts.
Finally, another possibility would be to use the established gender symbols (
and
), which have become increasingly visible in contemporary communication. A potential drawback is that these symbols may not be immediately recognizable to everyone, particularly compared with familiar pictograms. But perhaps repeated exposure and consistent usage could make them more intuitive over time. After all, the meaning of visual symbols is largely learned through cultural convention and familiarity.
Ultimately, I think the challenge is to find a balance between immediate visual recognition and avoiding the reproduction of gender stereotypes. Perhaps the question is not simply which colors or symbols we should use, but how the visual conventions we choose shape the way we understand and represent gender.