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Studio projects Friday November 07 2014 11:08 am

Trade you! Your personal time for our press time.

There is always a lot of work to do around Lead Graffiti that, while necessary or at least useful in helping us be more efficient or presentable, isn’t a very productive use of our time. If you’ll help us do those tasks we’ll trade you for press time for your letterpress projects or workshops we offer.

NOTE: Use of our equipment requires the completion of a technical workshop using that equipment. You’ll have to pay for that workshop in cash or traded time.

Our Creative Letterpress workshops are not accepted as the prerequisite for renting.

. . .

After you’ve taken the technical workshop and are trained to use and maintain the equipment in a professional manner you can use our equipment based on our ability to be in the studio with you.

Our tabletop presses rent for $10 an hour. Maximum printing area of 6″ x 8″.

Our Vandercook SP15 rents for $25 an hour. It is handcranked with maximum printing area of 14″ x 18″.

Our Vandercook Universal III rents for $35 an hour. It is automatic with maximum printing area of 18″ x 24″.

. . .

So, give us 1 hour of your time to help with our work and we will give you

1.25 hours of tabletop press time (works out to $12.50 an hour) or

30 minutes of Vandercook SP15 time ($12.50 an hour) or

20 minutes of Vandercook Universal III time ($11.67 an hour)

. . .

Additionally, you can give us 10 hours and we’ll give you the Vandercook Technical workshop ($12.00 an hour) after which you can do the rental thing with our Vandercooks.

. . .

You have to provide your own paper and photopolymer plates. We might have enough paper we buy in bulk in our inventory to offer at least some of our papers with a markup of 50% over our costs. You must pay for paper with money, typically paid with a credit card through Square at the studio. Clearly you have to make sure we have the paper you need above any paper we need for our own projects. You may also buy paper online and have it shipped to Lead Graffiti. The shipping is often cheaper because we are in an industrial versus a residential area.

A few examples:

Somerset Textured White - I need to figure this out
Crane Lettra Fluorescent White - I need to figure this out
Mohawk Superfine White Eggshell 80# text - I need to figure this out
Mohawk Superfine White Smooth 120# cover - I need to figure this out
French Paper - I need to figure this out
Canson or … - I need to figure this out

We’ll provide ink, access to our type inventory, and makeready / cleaning materials. When using our metal and wood type you CANNOT do deep impression worky—you’ll need photopolymer plates for that.

. . .

Here are a few of tasks we need done on a fairly regular basis.

1) redistribute type from our Creative Letterpress workshops (takes us about 6 - 8 hours).

2) generally clean up; straighten paper & bookboard offcuts; sweep around the studio, Intertype, & lead saw; make spider webs disappear, sort leading & furniture, sort spacing material

3) fold and bind Creative Letterpress workshop meander books

4) help with binding books related to our projects

5) sort printed samples, portfolio and TdLG cards into sleeves

6) wrap things for mailings

7) transfer metal type between galleys & job cases

8) we might even consider help with our Creative Letterpress workshops

9) help us track down our unknown wood & metal typefaces

We can also trade your time for our letterpress or bookmaking workshops.

. . .

A few additional thoughts or bridges we may have to cross:

1) It may be that if even a small number of students take us up on this there won’t be anything we need done

2) You have to do your part first and build up a savings account of time to trade.

3) We will have a fairly intolerant attitude toward anyone that violates our trust or our equipment or our type and that violation will surely end in stopping your relationship with Lead Graffiti.

. . .

We will be happy to offer an estimate of how long it should take you for your project so you can plan accordingly. If you need more time to finish a project you MAY have to pay for that time or work out a deal for trading additional time which must be done in a reasonable amount of time.

Use of our equipment can be for personal, classwork or commercial projects. We do not expect money or credit for any of your projects. You can even operate under a name of your choosing for your press. When you are using our equipment you can even bring a friend with you either as a helper (may help you get more done in less time) or to just introduce them to letterpress.

Interested? Drop Ray an email with an expression of interest or questions.

Studio projects Thursday November 06 2014 11:26 am

University of Delaware / Printmaking / October 30, 2014

This workshop had a much more complicated lockup for the 1st color so we want to show the results of both runs.

The image above shows the lockup for the 1st color, typically incorporating the initial capital letters.

Above you can see the lockup for the 2nd color on the left and the resulting final broadside on the right. You can click on either image and see it double sized.

On the broadside on the right the 1st and 3rd rows have been rotated to orient all of the pages the same.

You can click here to see an idea of the final form of the book.

JUMPING INTO THE DEEP END OF THE POOL

The wonderful part of this workshop was the complexity that started with the 1st color. But it is worth mentioning that starting with a complex 1st color has a number of drawbacks.

1) Immediately it multiplies the opportunities for mistakes with misregistering the various visual elements between the two runs. Most participants in these workshops are first-timers and the problems associated with working backwards is adds a degree of complexity to every moment. We try to keep the design pretty loose, we strongly discourage sketching, and a lot of the time you think you know what is going to happen and then it doesn’t.

2) These workshop run a bit clocklike in order to get this much work done in a one-day workshop. Normally we kind of throw the initial capital letters into the upper left. When you start adding a lot of other elements to it this part of the process simply takes more time and that can show up as a problem around 6:00 when people were expecting to leave for their Saturday night events.

3) With the added complexity comes the issue with trying to figure out how to make the visual elements in the 2nd color match what you want from the now-locked-on-paper 1st run. If things require minor adjustmets to positioning we can often help that out. The more of those the slower things get again. Also, most of these lockups aren’t done the easy way with type in a line. Participants are lockup up curves, diagonals, type baselines bouncing around, rotated letters that don’t fit like they were intended, etc. Honestly, we want this as part of a creative experience. Once we’ve printed that 1st color we are stuck with it. We might be able to adjust a bit, but any major mistake just becomes part of the student’s experience. It is worth saying that a number of times the mistake is far more interesting than what was intended.

RULE? I DON’T WANT NO STINKIN’ RULE.

The third one in the top row is a nice violation of one of our suggested rules to stick to 50 characters or less. The resulting page is quite different from any of the other 500 or so pages participants have made in this workshop over the past 4 or 5 years.  It is worth mentioning that she was the last one finished with hers. Redistributing it was pretty easy the next day.

The 4th one in the 2nd row as an interesting copywriting element to it and the use of the handy box dingbats worked quite nicely with the look of the page.

The 4th one in the 3rd row has come nice complexity with the bouncing type and that nice curve. FYI the misspelling is deliberate as in the one to the left of it.

Studio projects Wednesday November 05 2014 10:58 am

Philadelphia University / October 25, 2014

We are going to try and write at least a couple of things about each workshop we do and maybe single out a couple of pages that have some interesting nuggets in them. These aren’t necessarily our favorites, but that help focus attention on some things about design, typography, and letterpress that we especially like.

Above you can see the lockup for the 2nd color on the left and the final, 2-color broadside on the right. You can click on the image and see it double sized.

On the broadside on the right the 1st and 3rd rows have been rotated to orient all of the pages the same.

You can click here to see an idea of the final form of the book.

ORDER OUT OF VISUAL CHAOS

The fourth page in the third row has a wonderful, but organized, clutter to it. The use of the ‘moustaches’ at the top and left in the first color coupled with the heavy right side help contain the image in the page which doesn’t do much in the way of following normal reading order. Just in case you can’t follow it it reads “All I know is that ink runs deep.”

LETTERS AS THINGS

In the first one on the second row the 90° rotation of the two Ls in the word follow make them into footprint-like forms. I especially like them with the spaced out letters of the word.

The 4th page in the 2nd row uses an arrow as an E which at the same time suggests the letterform as well as contributing to illustrate the word. I’m not sure about the spelling of fast, but what might be a typo works quite nicely with the rotated T acting as another kind of arrow. I also like the lowercase I coupled with TIME MOVES in all uppercase creating a nice visual tension.

In the 2nd page on the 3rd row the word everything set in 10 different typefaces illustrates the word quite imaginatively. Turning it sideways helps keep its complexity from becoming visually overwhelming. It was an especially nice touch taking something that is so complicated and keeping the first E right-reading to help the reader start into the word.

Worth mentioning the title page at the top left which takes that word everyone (which is a big group) and uses dots between each letter to help bring back that the group is made up of individuals.

Studio projects Saturday October 18 2014 10:28 am

Philadelphia University / October 18, 2014

We are going to try and write at least a couple of things about each workshop we do and maybe single out a couple of pages that have something worth mentioning. Not so much as to describe the events of the workshops, but to expand on some of the things that tend to happen ‘around’ the workshop.

This is the second Creative Letterpress workshop using “All I know is…” as the start of the text for each of the pages. We did a much better job of setting it up this time, trying to push students to say something meaningful.

Above you can see the lockup for the 2nd color on the left and the final, 2-color broadside on the right. You can click on the image and see it double sized.

On the broadside on the right the 1st and 3rd rows have been rotated to orient all of the pages the same.

You can click here to see an idea of the final form of the book.

MISTAKES VERSUS WONDERFUL ACCIDENTS

One of the things that is apparent in looking back at this and other workshops is our experience with letterpress and these workshops is that we seem to have the ability to see the difference between a student making a mistake that is truly a mistake and a mistake that is truly a wonderful accident. Misspelling the word “devil” by setting “dveil” is probably just a mistake. But turning a capital E backwards might be a wonderful accident because it looks like a trident and turning it backwards makes it stand out. No one would notice it might be a trident if you put the letter in the correct orientation, because it would just be an E.

This page from the workshop had a nice element of rotating the Es which connects the experience very distinctly to letterpress. This is strangely easy to do in metal type and really, really hard to get to it in InDesign.

The page below did a great job of illustrating the sun with the use of two typefaces, one light and condensed and the other with an extreme difference between thick and thin. The use of the ‘fist’ for the “I” in “RISE” works quite nicely. The typefaces give a nice sense of glow to the sun. Probably worth mentioning that “I” at the top which is an “H” rotated 90 degrees. Piece works quite well and in a way that I suspect wouldn’t be a very logical path on the computer. We would love to see this lead to a logical path on a computer.

READING EMAIL ON CELLPHONES

It is amazing how useful a smartphone can be and at the same time how awful. We sent a nice long note to the students trying to help them prepare for the workshop. We wrote what we thought was a good note about “What would a good student do?” on our blog to encourage students to be actively involved, asking good questions, standing close, etc. Not one of the students read it beforehand. I suspect that they read the original note on their phones and it is just too hard to follow through on the details when there are a number of links and the length of the text gets too long.

We aren’t at all sure what we can do about this.

Studio projects Monday October 13 2014 02:36 pm

Visit by Jim Moran of the Hamilton Type Museum to Lead Graffiti

In the photo: Ray Nichols (left) with Jim Moran looking over the 2014 Tour de Lead Graffiti Stage 19 poster.

Jim Moran, director of the Hamilton Type Museum in Two Rivers, Wisconsin, spent a nice couple of hours with Lead Graffiti Monday, October 13, 2014. Jim had spoken to AIGA / Philadelphia over the weekend and was coming to Newark, Delaware, to speak to a Visual Communications class of Ashley Pigford’s. Ashley, who shares a studio space next to Lead Graffiti, asked if we would like to get some time with  Jim before his UD talk and we jumped at the opportunity.

We drove the hour up to Philadelphia to pick Jim and his wife, Nance, and drove them the hour back to Newark. The drive back offered an opportunity to talk about Lead Graffiti and to give him some background information that would help us jump into the important projects we wanted to show once we arrived.

Overall, quite a nice day. And for anyone interested in letterpress a pilgrimage to Two Rivers, Wisconsin, is a rite of passage.

Jill and Ray had visited the Hamilton Type Museum back in 2006 when it was at its old location. Recently relocating to 1816 10th Street, Two Rivers, Wisconsin, they have a new view overlooking Lake Michigan.

Personal & Workshops Saturday October 11 2014 08:44 am

What would a good student do?

I’ve been thinking about writing this entry for a while as I often bring it up in Lead Graffiti’s workshops. It would be good if we could get students to read it before they came.

When I was teaching in the Visual Communications Group at the University of Delaware, to add a bit of pressure to my students, I would often raise the question “What would a good student do? Right here. Right now.” to turn a simple opportunity into a miracle.

Most all educational programs do a reasonable job of exposing their students to educational opportunities, but the question is often, what does the student do with that opportunity. Some teachers probably give better assignments. Some schools have more or better field trips & speakers. And they all have libraries. Everyone has access to almost every website, blog, tweet and photograph on the planet.

We’ve had some 850 students over the past 5 or so years who have interacted with Lead Graffiti through workshops, tours & shorternships. Sometimes professors through their classes drag their students through the experience and at other times it is a choice that the student has scheduled and paid for on their own.

We at lead Graffiti surely think that one of our workshop experiences has value, but we’d like for it to have 5 times the value. We give the studio tour. We show some of what we think is our best work and we show work from a number of other letterpress shops. But to really find a way to take the experience up a couple notches we need a bit of help from the student.

I’m writing this with the notion that you’ll find yourself sitting in a letterpress workshop in Lead Graffiti This is a different place than you’ve ever been, organized in a way you couldn’t possibly understand if you had a week, working in a technology (or maybe a non-technology) and a process you don’t know, probably using a measurement system you might barely know, and you are asked to do a creative project without sketches. You cannot possibly know  what to do.

Just ask yourself the question, “What would a good student do?” “Right now.” “Here.

My additional advice is to ask it 150 times that day.

I, for one, do not believe there are no bad questions. There are a gazillion bad questions. They are the ones that don’t move you anywhere. “Do you like working with letterpress?” Duh. “Why do you like working with letterpress?” may get the discussion to a place you need.

You need to find the time to ask a dozen good questions over the day. 10 of you will generate 120 good questions. Some will have good answers. And it is a good idea to ask them so the other students hear those answers. And for them to ask good questions so you can hear those answers. It needs to be a question that a good student would ask. One that moves their work forward and not sideways. It needs to be a question that gets the answers to a number of other questions and also setting up even better questions. Sometimes a good student will just stand close.

What would a good student do? Right here. Right now.

Take a look at our online portfolio and see the things we’ve done that interest you. Bring it up when we are showing work. If we don’t show it ask us to. “How did you get the work?” “Did it lead anywhere?” “What is it about that piece that would make you to want to put it in your portfolio?”

Lunch is a good time when things are calmer and everyone is within hearing range.

An interesting things about asking yourself “What would a good student do?” is that it doesn’t take any more time to do it than to not do it.

Studio projects Tuesday September 30 2014 01:30 pm

October 2014 Lead Graffiti events

Saturday, September 28 - Creative Letterpress workshop with the Delaware College of Art & Design. This was the first of the new series of meander books entitled “All I know is…”.

. . . OCTOBER

Friday - Sunday, October 4-6 - Oak Knoll Fest XVIII. We will have a table and will be introducing our 2014 Tour de Lead Graffiti clamshell box edition and a new book series entitled Moments Carved in Paper.

Saturday, October 11 - Graw Day. Havre de Grace, MD. We will have a table and are bringing our Vandercook SP15 where we will be printing posters with spectator participation.

Sunday, October 12 - Lancaster Letterpress Printers Fair. We will have a table.

Monday, October 13 - Jim Moran, Museum Director at the Hamilton Type Museum in Two Rivers, Wisconsin will be in the studio.

Monday, October 13 - 20 - Virginia Green, letterpress printer and professor of graphic design at Baylor University, will be in the studio for a week of impressions, thoughtful discussion, and workshop ideation.

Saturday, October 18 - Philadelphia University typography class with Rose DiSanto.

Saturday, October 25 - Philadelphia University typography class with Laurie Churchman

. . . NOVEMBER

Saturday, November 8 - Philadelphia University typography class with Eric Karnes

Studio projects Wednesday September 17 2014 11:30 am

Delaware College of Art & Design / September 27, 2014

We’ve been basing our Creative Letterpress workshops on a line starting with “Once upon a time…” which the students finish. Some instructors provide a theme, but generally most go with “Once…”. We’ve decided to change the line each year and the Delaware College of Art & Design is the first where the line will start with “All I know is….”

Our plan is to provide an image of the lockup and broadside image of each of these workshops. Hopefully, students will take the opportunity to look at a few of these and get themselves better prepared for the workshops before they come.

Anyway, this is DCAD’s first shot at the new text.

DCAD Lead Graffiti letterpress workshop

Above you can see the lockup for the 2nd color on the left and the final, 2-color broadside on the right. You can click on the image and see it double sized.

On the broadside on the right the 1st and 3rd rows have been rotated to orient all of the pages the same.

You can click here for a general idea of the final form of the books.

We expect to evaluate the results of each workshop which might help us do the workshop better each time, maybe give the students who did the workshop some food for thought, and to help future participants.

We are often surprised that students can actually find some things in our studio. We have about 600 cases of metal type, wood type (both in fonts and as orphans), dingbats, borders, and brackets. Some fonts have only the basic letters, numbers and punctuation. A few have parentheses. Fewer will have an asterisk.

Note that W in the upper right with that single long “serif” sticking out of the bottom. There are actually a number of typefaces that utilize this, but this is about the only one we have with it.

Another thing which we always love is the mixture of typerfaces that students will often put together. Most of the time the general rule in design classes is a maximum of 3 typefaces per page. Often students in this workshop will use more typefaces than that in a single word.

We want to write an entry for our blog about favorite typefaces. I’m sure it has happened because of letterpress, but having the notion of the perfect typeface for the perfect job doesn’t work very well for us as well any more, especially if there is a theme or concept associated with the piece. If we were just going to typeset a novel with pages of simple text we would be more apt to pick a typeface that had specific qualities, but when doing work where we have control the value of one typeface over another seems to follow a different set of rules.

Studio projects Monday August 04 2014 08:00 am

Middlebury, VT Gran Fondo newspaper article

The Vermont independent newspaper, Seven Days, had an article on the Gran Fondo cycling event held in and around Middlebury, Vermont. We were invited to exhibit our 2013 Tour de Lead Graffiti posters produced while following the Tour de France. The article used our Stage 13 poster to illustrate the article.

You can click on the image to see a larger image of the article. The mention of our exhibition about Tour de Lead Graffiti is in the middle of the 5th column.
Tour de Lead Graffiti article. You can read the article here.

Studio projects Saturday August 02 2014 09:53 am

Lead Graffiti poster frames

We’ve been wanting to do something to our display wall in Lead Graffiti for a couple of years and we finally did it. Once we started doing our Tour de Lead Graffiti project it kind of took over. It was such a major project in our lives that we wanted to keep it displayed. At the same time it took up a lot of space.

We were looking around for a frame that would both be fairly cheap or easy to make and easy to hang with minimal damage to the walls. We also love that our posters are printed on wonderful paper with a nice texture and have the deckle-edge along the top and bottom.

Well, this is what we came up with.

The sides, at least on the 50 frames we made to start, are oak. Along the inside of the frame sides is a gentle curve routed 1/16″ wide by about 1/4″ deep into the wood (70″ radius if you are interested) into which you can slide one of our posters. In the top crossbar we’ve inserted two hooks across which you could stretch a wire for hanging. We’ve also drilled two holes at a slight angle into which you and insert a thin brad (nail) to make the smallest hold possible in your wall. The frames and posters are very light and do not need much support.

Generally speaking, our posters are always 14.5″ x 22.5″ (essentially half of a sheet of Somerset Textured paper. In the frame the poster has a gentle curve which is supported by the crossbar supports for the frame, giving light a chance to show the texture more than if it was framed flat. We aren’t exactly sure how light fast the inks are that we are using and with the difficulty more and more to getting quality ink for letterpress, it is probably better to keep any poster out of bright sunlight.

If you come by our studio you can see the display and how it works.

At least for the moment the frames are sanded, raw wood.

We are selling them for $45 and should fit most of our posters. In the earlier days our posters were 14.75″ wide. Usually there is no problem trimming them down to the 14.5″. All of our recent posters are the narrower dimension.

Studio projects Saturday August 02 2014 09:11 am

Anne Frank, August 4, 1944

It was Friday, August 4, 1944 that 15-year old Anne Frank wrote the final entry in her everlasting diary.

“… Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be ill, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up any more, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world.”

Yours, Anne M. Frank

Some days we love words and books a bit extra. Sunday, August 3 will be a good day to make a book and talk about diaries and journals. We’ll start at 10am for anyone that wants to join us in our studio in making one of their own. Might be a nice day for a mother / daughter or sister / sister day together. Know any? No fee. We’ll supply the materials.

It’s probably a good idea for anyone that is interested in joining us to let us know. Email Ray.

Studio projects Sunday July 27 2014 11:24 am

Poster winners for Tour de Lead Graffiti 2014

This is who we think all of the winners are. If you have an argument let me know.

Stage 1 - no competition
Stage 2 - Jamie McLennan | poster
Stage 3 - no competition
Stage 4 - Jeff Kopay (2 minutes) | poster
Stage 5 - Karla Cushman (1 hour 33 minutes) | poster
Stage 6 - Meg Mahoney (6 minutes) | poster | picked up
Stage 7 - Kory Walton (42 minutes) | poster
Stage 8 - Jeff Kopay (1 hour) | poster
Stage 9 - Mark Rutt | poster
Stage 10 - Gerald Pugh (12 minutes) | poster
Stage 11 - Michael Richards (1 minute) wins this one and another of his choice, Gerald Pugh (2 minutes), & Nina Ardery wins this one by describing it | poster
Stage 12 - Sara Twist (2 minutes) | poster
Stage 13 - no competition
Stage 14 - Nina Ardery (1 hour 27 minutes) | poster
Stage 15 - Jamie McLennan (5 minutes) | poster
Rest day #2 - Laura Pugh (3 hours 28 minutes) | poster
Stage 16 - Attie Blu Langley (1 hour 6 minutes) | poster
Stage 17 - Ethan Midnite (5 minutes) & Karla Cushman (off by 6 minutes) | poster
Stage 18 - Kory Walton (1 minute) | poster
Stage 19 - Gerald Pugh (dead on) | poster
Stage 20 - Jamie McLennan (dead on) | poster
Stage 21 - no competition

Remember, you can pick them up at the studio for free or we can mail them to you with you paying the shipping cost. Multiples will be grouped as best we can.

Trying to organize shipping below.

Jamie McLennan / 2, 15, 20 | mailed
Jeff Kopay / 4, 8 | mailed
Karla Cushman / 5, 17
Meg Mahoney / 6 | picked up
Kory Walton / 7, 18 | pick up
Mark Rutt / 9
Gerald and Laura Pugh / 10, 11, rest day #2, 19
Michael Richards / 11, 16 | mailed
Nina Ardery / 11, 14 | mailed
Sara Twist / 12
Attie Blu Langley / 16 | picked up
Ethan Midnite / 17 | mailed

Studio projects Friday July 18 2014 12:27 pm

VCUK’14 British Library exhibition selfies

Our good friend and former teaching colleague, Bill Deering, was in London with a Visual Communications study abroad group when our exhibition opened at The British Library. We asked Bill to ask the students to shoot a ’selfie’ of them with the exhibition and we would offer our favorite the chance to work with us on 1 of our Tour de Lead Graffiti posters.

We had David Jones, Bill Roberts, Jill, Tray, and I to help us choose the best ones. In the end we though we would offer to it to 4 that our group liked the best. These were our top 4 in no particular order.

We liked that Chris Miello picked a heavy print to balance on his head.

Erica Holland’s “OMG! They crashed?”

Krista Adams took the opportunity to take a break.

Olivia Prinzi did a nice, slow motion video (really nice hair) of her running through the exhibition. We especially liked the idea that she was RUNNING through the exhibition. We’ll see what The British Library thinks after I send the the link to this entry.

The four student were offered Stage14, Saturday, July 19. Drop in and see what they come up with.

Olivia turned us down as she it in Rome, Italy. Sad to see that student’s excuses haven’t gotten any better since I was teaching in Visual Communications.

Studio projects & Tour de Lead Graffiti 2014 Thursday July 10 2014 01:34 am

Tour de Lead Graffiti 2014 stage schedule

This note shows the stages with collaborators working with Lead Graffiti on the Tour de Lead Graffiti poster series. At this point there were/are 20 stages when we had collaborators involved which is the easily the most for the 4 years we’ve been doing this project.

You can click on an image size (512 pixels wide | 1000 pixels wide) to see the route over a map.

If the collaborator has worked with us on previous stages, the year at the end of their name will link you to any poster they worked on. 15 down & 8 to go.

. . .

Stage 1, Saturday, July 5 - Leeds - Harrogate / 191 km (flat)
. . . Collaborator: Adam DelMarcelle / Silkscreen & letterpress printer | 2013
. . . Collaborator: Brian Campbell / cyclist

Stage 2, Sunday, July 6 - York - Sheffield / 198 km (hilly) *
. . . Collaborator: Rebecca Johnson Melvin / manuscript librarian | 2011, 2012, 2012, 2013

Stage 3, Monday, July 7 - Cambridge - London / 159 km

Stage 4, Tuesday, July 8 - Le Touquet - Paris-Plage / 164 km (flat stage)
. . . Collaborator: Belinda Haikes / professor & gallery director
. . . Collaborator: Diane Zatz / professor | 2011

Stage 5, Wednesday, July 9 - Ypres - Arenberg Porte du Hainaut / 156 km (flat with 9
sections & 15.4 km of cobblestones) *
. . . Collaborator: Mark Deshon | 2013 (poster shown in Sports Illustrated article)

Stage 6, Thursday, July 10 - Arras - Reims / 194 km (flat)
. . . Collaborator: Cate Currier / printmaking MFA student
. . . Collaborator: Brian Wagner / printmaking MFA student

Stage 7, Friday, July 11 - Épernay - Nancy / 233 km (flat)

Stage 8, Saturday, July 12 - Tomblaine - Gérardmer La Mauselaine / 161 km (medium mountain) *
. . . Collaborator: Ethan Mann / writer about gadgets and cycling
. . . Collaborator: Stephanie Wolfe / bookarts artist / letterpress printer

Stage 9, Sunday, July 13 - Gérardmer - Mulhouse / 166 km (hilly / 2, 2, 3) *
. . . Collaborator: Rebecca Johnson Melvin / manuscript librarian | 2011, 2012, 2012, 2013

Stage 10, Monday, July 14 (Bastille Day) - Mulhouse - La Planche des Belles Filles / 161 km (mountain / 2, 1, 1, 2, 3, 1, 1) - we call this the zipcode stage) *

Rest Day 1, Tuesday, July 15 - Besançon
. . . Collaborators: Don Starr & Joe Smith / Glyph, Brian Jachens / design intern at Glyph

Stage 11, Wednesday, July 16 - Besançon - Oyonnax / 186 km (hilly / 3, 3, 4, 3)
. . . Collaborator: David Jones / graphic designer
. . . Collaborator: Bill Roberts / letterpress printer | 2011, 2011, 2011, 2012, 2013

Stage 12, Thursday, July 17 - Bourg-en-Bresse - Saint-Étienne / 183 km (hilly / 4, 3, 3, 4)
. . . Collaborator: Megan Zettlemoyer / letterpress printer | 2011, 2011, 2012, 2012, 2013

Stage 13, Friday, July 18 - Saint-Étienne - Chamrousse / 200 km (mountain / 3, 1, HC / with mountain top finish) *
. . . Collaborator: Jessica Koman, designer | 2013
. . . Collaborator: Terre Nichols, art director

Stage 14, Saturday, July 19 - Grenoble - Risoul / 177 km (high mountain - 1, HC, 1 / mountain top finish) *
. . . Collaborator: Krista Adams / graphic designer
. . . Collaborator: Erica Holland / graphic designer
. . . Collaborator: Christopher Melillo / graphic designer

Stage 15, Sunday, July 20 - Tallard - Nîmes / 222 km
. . . Collaborator: Sara Twist / Raven Press Award ‘14
. . . Collaborator: Andy Flores / graphic designer

Rest Day 2, Monday, July 21 - Carcassonne

Stage 16, Tuesday, July 22 - Carcassonne - Bagnères-de-Luchon / 237 km (high mountain / 4, 4, 2, 3, HC) *
. . . Collaborator: Lori Schmittle / mom
. . . Collaborator: Lindsay Schmittle / letterpress printer | 2012, 2013

Stage 17, Wednesday, July 23 - Saint-Gaudens - Saint-Lary-Soulan Pla d’Adet / 125 km (high mountain / 1, 1, 1, HC / mountain top finish) *
. . . Collaborator: Kieran Francke / kid letterpress printer
. . . Collaborator: Hendrik-Jan Francke | 2011, 2012, 2013

Stage 18, Thursday, July 24 - Pau - Hautacam / 145 km (high mountain - 3, 3, HC / Col du Tourmalet, HC / with mountain top finish) *
. . . Collaborator: Craig Welsh / designer
. . . Collaborator: Jordan Grove / intern
. . . Collaborator: Nick Stover / intern
. . . Collaborator: Ann Lemon / designer, educator | 2013

Stage 19, Friday, July 25 - Maubourguet Pays du Val d’Adour - Bergerac / 208 km (flat)
. . . Collaborator: Kyle Ward / graphic designer
. . . Collaborator: Joel Ouellette / graphic designer

Stage 20, Saturday, July 26 - Bergerac - Périgueux (ITT) - 54 km (flat / individual time trial) *
. . . Collaborator: Lauren Emeritz

Stage 21, Sunday, July 27 - Évry - Paris Champs-Élysées / 136 km (flat)
. . . Collaborator: Rachel Strickland / cyclist
. . . Collaborator: Kayla Romberger / wanna be letterpress printer

* Bicycling Magazine’s can’t-miss stages

Studio projects Monday July 07 2014 01:57 pm

London bombing 7th anniversary / July 7, 2007

With the Tour de France headed at high speed toward London it hard not to think about the events 7 years ago. A group of terrorists bombed the London Tube system along with a bus.

Jill and I were with Bill Deering on a Visual Communications study abroad with about 2 dozen students.

This is a Google aerial photo of the area. Our apartment patio is in the circle in the upper right. The circle in the lower left is the location of the bus that was bombed.

We had a group of 4 students who were coming over to our apartment for a bookbinding workshop. They were in the elevator when the bus bomb went off. I walked out to the balcony to look down the street to see what had happened.

I needed to run down to Faulkiner’s to buy a few supplies and walked right to the corner at the bombing. Probably one of only 5 times I was on the streets of London without my camera or I might have had the shot that went around the world. The New York Times called us about 2 hours later to see if we had any photo. A former student is a photo editor at the NYT.

While I was standing on the corner maybe 100 feet from the bus when the police swarmed the area, I was the absolute first person they told to back up.

Definitely a strange day in my life.

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