Now in our 20th year! Since 2002, your old-school website for all things stencils.

Welcome to StencilArchive.org, home for 1000s of photographs, videos, and more. We never datamine user info nor do we use annoying pop ups to make you subscribe. We do not monetize content and we believe in keeping this project free and open.

How can you support this site (beyond submitting pics, videos, exhibit info, etc.)?

  • Visit the Stencil Archive Support page to purchase a copy of Stencil Nation, take a tour, or donate to this project.
  • Find the Stencil Archives' best original photos on Instagram and flickr.

Here's to 20 more years - Russell

Books about Stencils from 1986 to 2004

Pre- and Early Street Art Books about Stencils


Paris Graffiti; James Huber; Thames and Hudson, publisher, 1986.

Pochoir a la Une; Solange Pierson, Kriki, et al; Editions Paralleles, publisher, 1986.

Soho Walls; David Robinson; Thames and Hudson, publisher, 1990.

Pound the Pavement (zine series); Josh MacPhee (with Nicolas Lampert and Colin Matthes), Just Seeds, publisher, 2000-2008.

Banging Your Head Against a Brick Wall; Banksy; Weapons of Mass Distraction, publisher, 2001.

Existencilism; Banksy; Weapons of Mass Distraction, publisher, 2002.

Stencil Graffiti; Tristan Manco; Thames and Hudson, publisher, 2002.

Stencil Pirates; Josh MacPhee; Soft Skull Press, publisher, 2004.

Cut it Out; Banksy; Weapons of Mass Distraction, publisher, 2004.

Stencil Project - Paris 2004 (with DVD); Collectif; CRITERES, publisher, 2004.

The Materials

Another classic by Stencil Pirates author Josh MacPhee

INTRODUCTION

Stenciling is the poor persons' printmaking. It is the easiest and cheapest way to print the same image over and over on different surfaces and in different places. To start off, the three most important things for making a stencil are an idea, something to cut with, and something to cut the stencil out of. I can't help with the idea part, but you shouldn't feel like you have to be an artist to do this. One of the great things about stencils is that since each print looks the same and consists of only a positive and negative, it makes almost all designs look really sharp and good.

Interview with Lord Hao

Due to a language barrier (Hao speaks broken English and I don't speak any French), StencilArchive.org wrote out a list of questions that a friend of Hao's interpreted into French. His friend then interpreted Hao's answers into English. I have made the best possible effort to clean up the English, but some things would be best left to Hao's own words. In an ideal situation, I'd get to ask him to clarify his phrasing, but it didn't go down that way.

SA: How long have you made stencils?

LH: I started to paint with stencils in 1985.

A Chat with Peat Wollaeger

When Peat Wollaeger sent in his first submission to StencilArchive, I was instantly impressed with his mastery of creating stencils. His colors made the images jump off of the page. His cutting style had its own unique characteristics, and his love for the artform was easily apparant. When I mentioned having an online chat, he got really excited about talking stencils. He even mailed me some pix of the separate color stencils for his newest image, Myrna the SK8 dog, for visual reference. Here's what we discussed early on Super Bowl Sunday.

A Chat with ECCE

One of the earliest and most regular contributors to StencilArchive's photo cache just happens to be the farthest away. ECCE (Latin for behold and pronounced A-che) lives in Australia, where stencil art is apparantly beginning to really take off. After doing some research online, and figuring out that we're 17 hours apart, we then coordinated a couple of online chats. Here's what we discussed.

A Talk with Chris Stain

"I cut stencils as a way of documenting life; as a proof of my own existence and how I deal with that existence." - from Stencil Graffiti by Tristan Manco

SA: How did you get into stencil art?