In 1967, I made a small book of block prints, bound a dozen copies by hand, and gave them to friends. I didn't know at the time that I was starting a career. I've been designing and formatting books ever since — professionally since 1979.
My approach has always been the same: serve the problem. Every book has its own ideal design, from the font that fits its genre and audience to the margins and leading that give the page room to breathe. The goal is to find what works best without the solution calling attention to itself. The work should be invisible in the right way.
I attended Prescott College, where the photographer Frederick Sommer was on the faculty. In the fall of 1967, Sommer invited two music students to his house for dinner — and asked me to bring my flute. He showed us one of his drawings made in the manner of musical scores, framed above his piano. We looked at it, tried to play it, stopped midway through. When I asked my fellow student Stephen Aldrich where he was in the score, he pointed to exactly where I had stopped. We knew then that the scores could be played. On May 9, 1968, we gave the first public performance of the music of Frederick Sommer at Prescott College.
I was close to Fred — as friend, colleague, something like family — until his death in 1999. He drew scores from 1934 through 1997, longer than he worked in any other medium. Stephen Aldrich and I recorded our interpretations of the scores on a CD, The Isles of Melancholy and Madness, released through Nazraeli Press. More about Fred's music, and recordings of other music I perform, are on the Art & Music page.
In 1989, Fred offered me a house in Prescott if I moved back. I've been here ever since.
Beyond book design, I make photographs — landscapes and abstracts, shot on 4×5, 5×7, and 8×10, developed and printed by hand — and digital collages. I play the electronic wind instrument (EWI): a blend of blues, folk, and jazz, and thirty years of improvised performances of graphic scores. I hold one or two patents for heating equipment from an earlier chapter of my career, which I mention only because the same thing runs through all of it: finding what the problem requires.
I’ve been active on the KDP community forum for many years, where most of the questions are also, at root, problems looking for their right solution.
Available on Amazon. All designed, formatted, and published under One-Off Press.
Prepress Glossary Premium Color Edition
Over 1,200 technical terms and 500 illustrations covering all aspects of prepress work: adjustment layers, blending modes, color, halftones, PDFs, typography, and more. Includes annotations for KDP and Ingram Spark.
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Prepress Glossary Grayscale Edition
The same comprehensive reference — 1,200+ terms, 500 illustrations — in a more affordable black-and-white edition. Fully annotated for KDP and Ingram Spark.
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Using Images in Books
A condensed guide for self-publishers: from general principles of printing and color through preparing art for print. Includes a glossary-index.
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Type Text & Typography
100 of the most popular serif and sans serif typefaces: 2,500 font specimens, 340 Unicode characters, an illustrated glossary, quick reference to mechanics and punctuation, and a condensed overview of KDP and Ingram Spark guidelines.
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Sometimes in Shadow
Jake Krajczynski, an eccentric bookstore owner, suspects that young Martin Winslow has come under an evil influence. Before he can act, Martin and his mother are kidnapped — and Jake must confront the malefactor in a deadly struggle that draws both men into the esoteric art of dreamsharing, and into an epic battle between Good and Evil spanning two worlds.
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Tender Loving Greed — 2009 Notes
A new edition of Mary Adelaide Mendelson’s George Polk Award–winning investigation into the nursing home industry, reconstructed page-for-page to match the original Knopf edition and expanded with 60 pages of correspondence, documents, and commentary.
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The First Encounter between Beowulf & Grendel: AI Retellings
More than seventy retellings of Beowulf’s first encounter with Grendel, each written in the stylistic voice of a different author — from spare and lyric to grotesque and philosophical. Part literary experiment, part meditation on how meaning shifts with voice, using modern tools to illuminate the literature that shaped them, not replace it.
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