All-new site! All-new art! Many new fonts and much new music! Thank you for visiting, and please don't be afraid to get in touch if something seems broken, missing, or otherwise notable.



This piece is a meditation on the alchemical concept of fire. It makes a great 4K wallpaper!

This is abstract art showing a purple background with thickly outlined equilateral triangles arranged point-up as a Sierpinski gasket. The triangles appear in a range of saturated warm colors, and some of the smallest ones are filled with pale blue. Behind the triangles are corresponding circles in thin dashed outlines. In the center is a single triangle in an extra-thick pale blue outline, reminiscent of the alchemical symbol for fire.

Phoenix Comics & Games

These banners are one example of my visual branding work for the Seattle-based shop Phoenix Comics & Games.

Three tall banners each show the words “Phoenix Comics & Games” above a logo. The logo depicts a sun-like ring over which a geometric phoenix flies in side view. Each banner uses a different palette chosen from four colors: golden yellow, orange, dark red, and white.

Call it Cogstown

This is the front page of a fictional tabloid-format newspaper created as part of the tabletop roleplay campaign Destiny’s Calling.

In side view, a tall cluster of towers and bridges sits atop a rocky coast, all drawn in rough lines and irregular angles. Below is a cut-away view of a network of neat, brightly-lit caves and tunnels with more modern-looking buildings, all drawn in very clean and regular lines. The entire piece is colored in shades of grey and teal. Surrounding the illustration are the expected textual elements of such a newspaper, featuring “Call it Cogstown” as the headline.

As Above, So Below

This is a small sampling of cards from the As Above, So Below cartomancy deck.

On a wooden surface, five tarot-sized cards are arranged a little unevenly, slightly overlapping. Each shows a combined alchemical sigil in the center. Above and below four of the symbols, the alchemical processes represented are written in white type; all of this appears to glows slightly. All cards show a dark, starry background, and each is tinted to reflect the element involved.



Steam, steamer, steamest.

Errant Cog

Composed for the title and menu screen of the GBA homebrew 2004Mbit Competition collection.

The Only Time (I’m Real (Is When I’m Not))

Composed for a competition limited to the provided piano instrument, though some sample manipulation was permitted.


This track is perhaps a little too active to settle into a proper title.

Winter Coat

Inspired by snow falling on a quiet night.

Vict’ry of the Mad Scientist

This track is made to be played on a real NES, though it uses the obscure VRC6 expansion chip’s additional sound channels.


This is the first part of an unfinished tryptich, with just a touch of that old analog synth sound.


This is the second part, with somewhat more of that old analog synth sound.

She’s Got a Brand New NES

Like the MegaRoo soundtrack, this isn’t authentic NES sound though it fits the same hardware limits.

Space Gems ~ Hard

Composed for the game Space Gems which appeared in the GBA homebrew 2004Mbit Competition collection.

Space Gems ~ Normal

Also composed for the game Space Gems. These were dynamic tracks, arranged here into demonstrative mixes.


I was commissioned to compose this piece as a wedding gift.


Ever been short on sleep in a different time zone?

Loop the Loop ~ Loop Garden

Made for Loop the Loop, another GBA game appearing in MaxPlay Classic Games Volume 1.

Loop the Loop ~ Skyline

Also made for Loop the Loop. The game’s third track is a sample-based cover of A.M. A.L. Funk.

Milo’s Quest: Dragon Pearls ~ Fearless

This was composed for the GBA title Milo’s Quest: Dragon Pearls which sadly never saw commercial release.

Milo’s Quest: Dragon Pearls ~ Circumspection

Also made for the GBA title Milo’s Quest: Dragon Pearls. The game centered around peg solitaire in an RPG-like adventure.

Milo’s Quest: Dragon Pearls ~ World Inverted

Also composed for Milo’s Quest: Dragon Pearls.

Milo’s Quest: Dragon Pearls ~ A Voiceless Cage

Yet more Milo’s Quest: Dragon Pearls!

Chopper II ~ Water

Made for the GBA game Chopper II which was released as part of the obscure MaxPlay Classic Games Volume 1 game collection.

Chopper II ~ Fire

Also made for Chopper II.


This Mega Man inspired collection of tracks imitates NES sound, though it’s not completly authentic.

Wonkie Guy ~ Ice

Composed for the unreleased GBA homebrew game Wonkie Guy.


Two sound channels, one chip sample.

Spell Machine (radio cut)

The full original track appears on the album Beyond It All. This cut pulls out the sped-up section.


This track uses low sine waves that many inexpensive speakers can’t manage. If the first 16 seconds are silent, try headphones.

Feline Measures

This and “Very Alone” use the same batch of small chiptune samples.

Very Alone

Long sleepless nights during long winters...

Song of Themes

This is a Frozen Hex remake of a medley that first appeared on the album Beyond It All.

Next Level

Inspired by a sense of accomplishment.

New Realms

Either it's a very short rock opera, or this is a long overture.

Dream Of One

One channel, one chiptune sample, less than one minute. Also, here’s an NES cover by Brad Smith!

Beyond It All

What all it's beyond has never been revealed. It's a heck of a ride in the game Audiosurf.

A.M. A.L. Funk

Here’s that good old AdLib sound.

Jessie’s Theme

This is a sort of musical portrait of a personality.

SB Remix

Oddly, the original track of which this is a remix was never released.

Gold Moon

Composed mostly in one day for a tracking competition.


Beyond It All: version one point zero beta three

My first album from 1997, this enjoyed three distinct releases, each with minor adjustments to the music within.

Cover artwork for the album Beyond It All: version one point zero beta three. It is a white background with the Electric Keet logo at the center, the artist’s name above, and the album’s name below. All of these are black outlines; showing behind and around them are faint construction lines, some showing accurate angle and length measurements.

Frozen Hex

All of these albums were released on CD-R discs. Many of this 1999 album’s discs didn’t burn properly, rendering some of the tracks unplayable. Oops!

Cover artwork for the album Frozen Hex. It is a pale blue background with the name of the artist and album at the top left in blobby, dark blue type. The bottom right has a line art illustration of an anthropomorphic kangaroo posed dramatically with hands in motion, manipulating some fort of energy into a roughly hexagonal shape.

On the Game Grid

This album from 2004 is a collection of music that appeared in videogames or is videogame-related.

Cover artwork for the album On the Game Grid. A dark purple background shows a slightly lighter purple electronic-circuit-like pattern. At the center is a complicated design of concentric circular segments that form a disc. At its center, the Electric Keet logo appears three times  following the sides of a hexagon. Above and below the disc, the names of the artist and album appear in rounded retro-tech type.

Vector fonts

E-Keet Winterlate A26

“A26” stands for “Alphabet 26”, my favorite unicase variant.

E-Keet Winterlate BC

“BC” stands for “bicameral”, having a distinct lowercase.

E-Keet Pixelwood

Not enough serifed raster-style fonts exist in the world.

E-Keet Paragon Black

This was created as a replacement for the titling font in the defunct MMORPG _City of Heroes_.

E-Keet Beans

This started life as a monospaced raster font for Impulse Tracker.

E-Keet Altaica

This font was also designed for Impulse Tracker.

Raster fonts


This narrow, stencil-like font has a corresponding TrueType font shown above.

Full display of the 8×8 pixel font EK-ALTAI. It is a bold and somewhat condensed font, featuring gaps where connections can be implied.


Oblique letters go a long way toward breaking up a monospace grid.

Full display of the 8×8 pixel font EK-ANGLE. This is a conventional sans-serif font with a strong slant.


This short, highly rounded font also has a corresponding TrueType font above!

Full display of the 8×8 pixel font EK-BEANS. It is a thin and wide lowercase-only font, notable for its “uppercase” using lowercase forms in bold.


Exaggerated thickness makes for a fun diversion from the everyday grind.

Full display of the 8×8 pixel font EK-BINGO. This sans-serif font shows fat vertical strokes toward the left and thin ones to the right, giving it a friendly feel.


This is an experiment to see how much can be removed from a letterform while leaving it distinct enough to be read.

Full display of the 8×8 pixel font EK-LOSS. This is a tech-styled sans-serif font with forms that feature gaps and absent strokes.


Who hasn’t had at least a brief love affair with the classic Macintosh system font, Chicago?

Full display of the 8×8 pixel font EK-MAC. It is a geometric sans-serif adapted from the classic Macintosh computer font Chicago.


Joints and pipes are partially the inspiration for this somewhat abstract font.

Full display of the 8×8 pixel font EK-PIPED. A thin-lined tech-styled sans-serif, this font features fragmented geometric letterforms.


The above font is strengthened and made more readable with a thicker stroke.

Full display of the 8×8 pixel font EK-PIPER. It is a stylized sans-serif font with both thick and thin strokes along with gaps where strokes can be implied.


Inspiration struck from watching a friend play an old game with a similar font on the Atari 800.

Full display of the 8×8 pixel font EK-RACER. This blobby font features thicker strokes along left and bottom, giving it a playful feel.


Mechanical, serifed, modern, and somewhat steampunk – this is a personal favorite.

Full display of the 8×8 pixel font EK-RIVET. This is a geometric serifed font. The box-drawing characters have dots to imply rivets.


Skoolhaus has a certain basic, geometric, childlike appeal.

Full display of the 8×8 pixel font EK-SKOOL. Reminiscent of handwriting lessons from childhood, this font has thin and strongly geometric strokes.


Instead of smaller, why not make the lowercase... lighter?

Full display of the 8×8 pixel font EK-SLIDE. This all-caps sans-serif font is comparatively small, and the uppercase is bolder than the rest.


Save for extended characters, Solstice is converted directly from the NES game of the same name (and thus is not covered under the Creative Commons license).

Full display of the 8×8 pixel font EK-SOLST. This font from the NES game Solstice is reminiscent of brushed uncial script with an added uppercase.


My very first Impulse Tracker font. Not exciting, but also not very distracting.

Full display of the 8×8 pixel font EK-SPACE. This is a straightforward sans-serif with a few rounded corners in the lowercase.


Making music... with a Speak&Spell? (Note: The track “Spell Machine” came first.)

Full display of the 8×8 pixel font EK-SPELL. This is an approximation of a sixteen-segment LED display, similar to those used in the original Speak&Spell toy.


Space made angular, this is tied with Rivet for my frequency of use.

Full display of the 8×8 pixel font EK-TEK. This very tech-inspired font features beveled corners at the top-right and bottom-left.


This broken serifed font, a mutation of Rivet, never got a better name.

Full display of the 8×8 pixel font EK-TEMP. This thin-lined serifed font features geometric forms interrupted by gaps. It is effectively a lighter form of EK-RIVET.


This is precisely, pixel-for-pixel, the font used on the TI-81 graphing calculator (and thus is not covered under the Creative Commons license).

Full display of the 8×8 pixel font EK-TI81. This is the thin-lined, utilitarian sans-serif font used on the TI-81 graphing calculator.


This is precisely, pixel-for-pixel, the font used in the TI-99/4A home computer (and thus is not covered under the Creative Commons license).

Full display of the 8×8 pixel font EK-TI994. This plain, thin-lined sans-serif font was used in the TI-99/4A home computer. It features a rectangular “O” and smallcaps.


Its uppercase comes from most early NES games, and its lowercase comes specifically from Metroid (and thus is not covered under the Creative Commons license).

Full display of the 8×8 pixel font EK-VGAME. This sans-serif font, based on the NES game Metroid, features a strong uppercase and a delicate looped lowercase.


Winterfresh is stark, square, and just chilly enough to be crisp. It provided some of the inspiration for the font “E-Keet Paragon Black” listed above.

Full display of the 8×8 pixel font EK-WINTR. This is a slightly small, aggressively rectilinear font with dense, bold strokes.


This font is converted from the Gameboy game The Legend of Zelda: Link’s Awakening (and thus is not covered under the Creative Commons license).

Full display of the 8×8 pixel font EK-ZELDA. This is a thin-lined oblique font reminiscent of print handwriting. It’s taken from the Gameboy game The Legend of Zelda: Link’s Awakening.