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Josselyn is the first font I made entirely from scratch. I hand drew the characters in Photoshop and then subjected them to filtration. It's named after a dorm on the Vassar campus. Designed for its own sake, it's not the world's easiest font to use... but the lower case looks great at large sizes, and more conventional settings are workable. It's got a nice feel to it, I think, humanistic in a weird but charming, irony-free way. Like all my fonts, there's a sporadic set of special characters, and not much in the way of international characters.

Josselyn was used extensively for the packaging design of the hit PC game Dungeon Keeper, including the logo!

Noyes is also named after a dorm at Vassar, the one I lived in for three years. Appropriately, this one has a "making potato prints at the institution" sort of feel (to borrow Anne Lamott's phrase). See if you can guess what common, reviled font it's based on!

This is a really early one. There's no upper case... it's surprisingly readable at small sizes (or at least, at long distances). I picked the name out of Gibson's Mona Lisa Overdrive just because it sounded cool; little did I know that aleph is not only the name of the first letter in the Hebrew alphabet, but that aleph-null describes the smallest "transfinite" total number of whole numbers. Not sure what that means, but it's cool.

Support isn't finished yet. When I get it done I may try to charge money for it somehow. The idea is that one uses the Shift- and Option- characters to bracket the unmodified "floater" characters, and build little word/phrase bridges like the ones shown.

Support was first inspired by various elements floating around the graphic design world back in '94; there was an issue of Emigre that featured Jeffrey Keedy's Fuse font LushUS, along with a comment in the letters section having to do with "gravity" and the opinion that designs composed on a computer screen have little sense of it. Particularly I bounced off of LushUS' idea of Victorian exuberance and its horizontal crossbar-type motif, and thought I might take its same spirit of slightly malevolent goofiness and give it a shot of Tomorrowland. The "gravity" thing I just grossly and willfully misinterpreted. Other aesthetic models included all those fonts that mix serif and sans serif, upper case and lower case, etc. (I'm thinking of Emigre's Variex in this latter respect), and a couple of techno album cover logotypes helped to inspire the suspension idea: the ornate machine on the cover of The Orb's Pomme Fritz (great album) and the original logotype of British ambient artist Spooky (not to be confused with DJ Spooky).

An improvised font, inspired by the working methods of Chank, named after a guy from the improvisational comedy group at school. Actually I was sitting behind Ted in linguistics class not paying attention, I started drawing this alphabet, it came out kind of cool and unified-looking, and I decided, "I'll name this font after Ted, because he's a cool guy and, more importantly, he has a cool name." I think this one would make good comic book lettering. And this time, I made sure to include all the special characters necessary for writing out email addresses and URLs. There's even a ~.