Category ArchiveTour de Lead Graffiti 2014
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.
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 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 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 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
With The Tour de France only a week away, the English city of Leeds is gearing up for the Grand Départ on July 5. The race is a small city on wheels, complete with everything from doctors to police officers. Here are a few notable numbers provided by the Amaury Sport Organisation in advance of the Tour.
300 support staff
4 countries visited (the United Kingdom, France, Belgium, Spain)
662 municipalities visited (611 in France, 39 in the United Kingdom, 9 in Belgium, 3 in Spain)
Spectators on the roadside (in 2013)
12 million spectators
38 different nationalities identified
Six and a half hours of presence on average on the roadside
100 permanent Amaury Sport Organisation staff
280 temporary staff
1,450 beds reserved every day for the organizers and teams
10 emergency doctors, 1 anaesthetist nurse
6 ambulances, 2 medical emergency cars, 1 bike, 1 X-ray truck
47 republican guard motorcycle police officers
13 police officers in the permanent police commission on the Tour
14,000 gendarmes and 9,000 police officers and CRS riot police mobilized
Broadcast in 190 countries
90 hours of live programs
3.5 billion viewers worldwide (in 2013)
Each of the three years we’ve been doing our Tour de Lead Graffiti project we’ve used a different set of two main typefaces. Forcing these typefaces onto the series of 23 posters provides both an element of continuity as well as giving us something to play with.
We don’t give much through to how well the two typefaces work together, but rather just two typefaces that might be fun to use together. This year we are making Neuland (top) into wood type and Jefferson Gothic (bottom) into copperplates.
We have both typefaces as part of our metal type collection (Neuland in 24, 36 & 48 point and the Jefferson Gothic in 60 & 72 point) and we regularly use them.
Each year we do some typographic element to represent ‘riders.’ This year we created the >> in Jefferson Gothic for this purpose. We had 24 of them made. We thought they might look good to represent the peloton when it is stretched single-file or maybe just piled on each other for a major crash.
. . .
Below are two pieces using our metal type versions of the typefaces.
Neuland was used as the outside border for a certificate requested by a former student of Ray’s to remember a friend with a strong interest in typography who used to say “explore every possibility.” We would set one side of the border and then print it four times, rotating the square piece of paper 90° each time. The next time we would move the first word to the third word so that the quote would continue to wrap around the certificate. The layers were printed in red, yellow, & blue. We printed the darker blue on top to help the type read.
This poster uses both of the typefaces. The Jefferson Gothic is quite condensed which is a type quality we’ve really come to enjoy using in our work.
Both display faces are always made into 12 line (12 picas or 2 inches) utilizing only the uppercase letters. That makes them large enough to take up some visual real estate, but not so big as to discourage too many compositional options.
The Neuland wood type is cut out with a CNC router using an Illustrator file we made from a scan of the original typeface from a 1932 type catalog. The image below shows us in the process of routing the typeface.
The Jefferson Gothic is from our metal type, also using some different letter variations we have in a typeface called Phoenix. We’ll see how they work out. Because the Jefferson Gothic is so condensed the router bit wouldn’t do a very good job of cutting into those arrow inside corners and the copperplate version avoids that problem.
For anyone that is wondering the cost, the copperplates was $415 and the wood type was essentially $250 for the wood (made by a Pennsylvania woodworker out of random pieces of endgrain rock maple and $200 for the routing from a nearby sign shop. We actually did the routing work ourselves and just paid to rent the machine because we wanted to understand all of the details to help us with making more wood type in the future. Both typefaces were made with essentially the 3A fonting scheme. For non-letterpress pieces that means “A=3, B=2, C=2, D=2, E=4 and so on. We also cut most all of the accents