On World Graphic Design Day in Canberra, a capacity audience of local typophiles gathered to hear Australia's first Doctor of Philosophy in Typography, Dr Anthony Cahalan, discuss his research and findings. After seven years of research while teaching in Hobart and Canberra, Anthony has presented his thesis to Curtin University and been awarded his doctorate. The thesis is being published in New York (due in July 2006) and he will soon launch a web site for typographic discussion, called appropriately 'Dr Type'.

The event, billed as 'Interrogating type' had a great roll-up of enthusiastic questioners who asked a barrage of probing questions at the conclusion of the talk - partly because it was realised just what a loss he will be to Canberra and Australia. Dr Cahalan leaves Australia in early June to take up the position of Dean of the Faculty of Design at the Ontario College of Art and Design in Toronto, Canada. This is certainly Canada's gain - and a sad loss for AGDA. No doubt links will be maintained - through cyberspace - and Cahalan will effectively be a voice for AGDA and Australia on the world stage, as many expatriates are.

Cahalan discussed his decision to pursue higher study and the position of such higher study in the development of a profession. His presentation confirmed what he had espoused - that such research and study is important in revealing and defining an area. There can be a broader context in which work is created - beyond its immediate, commercial purpose - which needs to be discussed for the health and development of the profession.

Dr Cahalan's study of the late Twentieth Century's proliferation of typefaces looked at issues of democratisation, internationalisation and globalisation but countered this with specific regional discussion, posing questions on the appropriateness of fonts designed for one context half-a-world-away and their adoption and appropriation on foreign soil. This is where statistics he had collected on the use of fonts in Australian advertising and publishing were fascinating and, in some cases, painted a bizarre typographic landscape. Specific fonts whose usage was studied, calculated and discussed included the ubiquitous Helvetica, Rotis, Meta, Template Gothic and Optima. To inform his discussion, in the process of his study Cahalan had interviewed many type designers - including Erik Spiekermann, Zuzana Licko and Rudy Van Der Lans, Barry Deck, P. Scott Makela, the Zapfs - and spoke of their inspiration, their craft and their art.

He discussed the chronological creation of fonts, comparing font stats from the 1970s to the 1990s (with an exponentially increasing curve) and the technological advances. Desktop publishing in particular increased font creation and proliferation - but it was also fuelled by the phenomenon of a general public, newly font savvy, discussing their font preferences, which had previously been confined to the profession.

Cahalan discussed type selection from numerous points of view - type foundry promotions, shareware, piracy, origination, degradation and implied value. For example, where is the comparable value in a complete font set and a 26-letter set of caps? What makes a font popular or, more interestingly, so popular in a short period of time that it comes to embody that historical moment?

The audience of designers eagerly questioned Anthony until it was time to depart the venue and continue the discussion in a relaxed dinner setting across the road at a local restaurant. We were inspired by Calahan's dedication to research and study whilst working full time, intrigued by the insights from such study and just a little bit saddened that we have to farewell Dr Type from our shores - but enthusiastic to continue our connection through his forthcoming book and web site.