For this project I have created a 7m long photographic accordion depicting a 3km stretch of road in Leeds.
The publication was painstakingly riso-printed and hand-crafted to produce an almost absurdly long piece that is hard to miss once it is unfolded and displayed.
To achieve the insane length, over 2000 photos were taken of each side of the same boring main road near the centre of Leeds. Editing, ordering, and managing the mass of photos is where the real work came in.
The goal of such a statement was to create something eye-catching through quite mundane photography and typography to show that sometimes even the most boring photos can be interesting within a collection and within the right context.
The goal of such a statement was to create something eye-catching through quite mundane photography and typography to show that sometimes even the most boring photos can be interesting within a collection and within the right context.
This 7m long publication was created in response to my fascination and research into the role of collections within art and graphic design. Taking a some very minimalist typography and photography and turning it into something unique and magnificently large through the design process.
It takes direct inspiration from Ed Ruscha’s ‘Every Building on the Sunset Strip’.
It takes direct inspiration from Ed Ruscha’s ‘Every Building on the Sunset Strip’.
Housing this massive publication within a simple Greyboard box was a deliberately boring choice. To continue my goals of creating something interesting out of the mundane, this box hides the size of the publication from you until you take it out and open it.
Something like; don't judge an accordion by its box comes to mind.
To create the panorama, I taped my phone to my car window and set a timelapse while I drove down the road both ways.
I then sifted through over 4000 frames and cut it down to less than 700 so that the photos could stitch together as seamlessly as possible without repeated frames. From there I arranged all the photos in order and blended each together to make for a consistent and clean panorama throughout the whole publication.
I then sifted through over 4000 frames and cut it down to less than 700 so that the photos could stitch together as seamlessly as possible without repeated frames. From there I arranged all the photos in order and blended each together to make for a consistent and clean panorama throughout the whole publication.
Once the panorama is printed, it is just the "small" task of hand-folding and binding all 7m of the publication.
