We are not interested in publishing your fonts.

Dear Paul,

The Typeboard met and reviewed your type design but unfortunately decided that we are not interested in publishing your fonts in our FontFont library. If you are working on any other type designs we would be happy to review them at our next Typeboard meeting in May. Please also state your postal adddress.

Kind regards,

Oh well, thought I’d try. The good news is that Stetson is and always will be a free download on



Perhaps while we speak, it is rising, scattered, within the confines of your empire; you can hunt for it, but only in the way I have said.

Could I reduce the Calvino quote down to one essential word? Not really. Regardless, I used one of them to create a postcard for Matthew Anderson‘s successfully-funded NYC_type project, launching soon. Empire is set in Stetson. The photograph is a view from my studio in Long Island City.

If you supported Matthew’s Kickstarter campaign you’ll see Empire in person, along with this beauty from Able Parris and other good stuff.


Five proofs.

I finished the last book in the series of 12 today, so the design of Weymouths is complete. Or rather, the design of the books is complete—I still need to create the reading room experience for the installation in Weymouth, England 27 July – 12 August. The total work is starting to come into focus. After the next six proofs arrive I’ll photograph the entire set.


A preview of Weymouths Volume 1.

Test book just arrived from Edition One Books in Berkeley, CA. This is Weymouths Volume 1—The Interviews.


Right okay, that’s what triggered my—

Spreads, round 2.

These are more final. Getting ready to send a test file to the printer on Monday (300 pages).

The thread that creates Weymouths Volume 1, The Interviews is my conversation with Jack in Weymouth, England, which references and then connects to my conversation with Jim in Weymouth, MA. But at the heart of the book is the flow of the River Wey itself, its formation lovingly detailed in the geology lesson by Jane. Jane’s section is another branch of the interviews — Jack, Jim, Jane and Geoffrey — all touching, mashing, looking at and flowing past one another. The book (and the river) bring them together.

Weymouths, the twelve volumes:

River The Interviews
Light Color Index
Erratic 40 Views of House Rock
Memory The Benches
Image The Postcards
Burial (Preservation) The Canoe Room / An Agreemt Betweene ye Inhabitants off Wamouth concerning there Land sold now to ye Towne off Wamouth, 1642
Strata Geology of Weymouth, Portland and Coast of Dorsetshire, 1884
Disambiguation The Twenty Weymouths of Wikipedia
Sea Loss of the Catherine, 1846
Ship The Coming of the Hull Company, 1923
Moon Moonfleet, J. Meade Falkner 1898
Puritan The Maypole of Merry Mount, Nathaniel Hawthorne 1837


The interviews

I’m inside the book now, the first volume of Weymouths. These are very preliminary spreads—so preliminary that they’ll probably have changed when we see them next. But I’m excited to post these things in formation, before they become too precious.

These are the interviews. Jack, my guide in Weymouth, England, provides the overarching narrative. My conversation with Jack is the main thread through the book and other voices enter and exit. I’m letting the voices co-mingle. Sometimes they’re near each other, to suggest a kind of relationship. At other time I’m more forcibly mashing them up, encouraging the narrative to shift out of time and place at specific moments, to open up new spaces.



Stetson, my first font, is now available for free download under an Open Font License. That means you can use it commercially if it’s embedded in a larger product (like a book or an app), but it may not be sold on its own. So go ahead and give it a whirl—distribute it, manipulate it, make it better!

Download Stetson PDF Specimen
Download Stetson OpenType Font [OTF]

It’s a single-weight, all-caps display face so I imagine it may have limited appeal. For me, Stetson is a critical part of the Weymouths project. It comes directly out of my research, and in a way, “locates” me and the exploration within a highly specific time and place (in a shed in Weymouth, MA on January 11, 2012). It’s both of the 19th and 21st centuries, both analog and digital, vibrating between the shed, the Stetson Shoe Co. factory down the road, and the town’s ancestral heritage in Weymouth, England.

I’m now using the font in the design of the Weymouths books, and I’ll be posting design studies soon. Meanwhile, if you use Stetson and feel like sharing, send me a note—I’d love to see how it’s interpreted by others.