A red heart on any of the Tour broadsides says there is more story. Click it.
Ray had been a long time fan of the Tour and for several years following they considered ways to combine the love of letterpress with the love of Grand Tour cycling. A successful Kickstarter proposal in 2011 to produce a daily journal of broadsides resulting in a broadside for each stage of the Tour along with both rest days, a title page, story page, composite page made up of overprinting every run of the stage and rest day broadsides, and a colophon, housed in a clamshell box. And Lead Graffiti was off.
This project lasted from 2011 through 2015 resulting in 115 broadsides and has been celebrated in solo exhibitions at The British Library, Hamilton Wood Type Museum, and AIGA.
The broadsides are 14.5" x 22.5", printed on a heavily textured stock. The daily effort gave a constantly new canvas on which to experiment with letterpress printing techniques, color choices, visual interpretation, and inking techniques.
Collaborators were included in roughly 2/3rds of the days which always started out watching the tour live on TV from about 8:00 am until noon. Lunch at the local eatery, The Glass Kitchen, followed with a discussion about what everyone saw and how it could be translated into handset wood and metal type for the broadside. Once arriving at the Lead Graffiti studio the previous day's piece was hung on the display wall and everyone involved that day would sign the day's sheets, mimicking the Tour's sign-in at the start of each race.
You can click on the navigation at the top to go to each year. The arrows will move through the 23 broadsides produced as a visual journal of broadsides.
A red heart at the lower left of the image indicates the broadside as one of our select favorites and has more of its story available by clicking on the image.