Between writing and type: the stencil letter

An exhibition of stencil letters from the 18th century to the present day. Co-curated by Eric Kindel and Fred Smeijers, the exhibition featured a wide selection of stencil letters in the context of historical artefacts, documents and ephemera, including stencil plates and stencilling devices, specimens and catalogues and patent inventions. The exhibition also introduced a series of new stencil fonts designed by Maurice Göldner, Pierre Pané-Farré and Fred Smeijers. The design of each font made reference to and was informed by the historical material.

Stencil work in America, 1850–1900

An overview of stencil work in American in the second half of the nineteenth century, which shows and discusses stencil plates, stencil-making equipment, catalogues and other ephemera, and patents. The article additionally identifies some of the prominent individuals and companies who produced the work, and locates references to stencils in contemporary literature, including in the writing of Mark Twain.

Stencil dies: new tools for an old trade

Traces the invention and development of stencil dies in the USA in the middle decades of the nineteenth century, focussing on the work of M. J. Metcalf, A. J. Fullam, and S. M. Spencer.

A high-order arbitrarily unstructured finite-volume model of the global atmosphere: tests solving the shallow-water equations

Simulations of the global atmosphere for weather and climate forecasting require fast and accurate solutions and so operational models use high-order finite differences on regular structured grids. This precludes the use of local refinement; techniques allowing local refinement are either expensive (eg. high-order finite element techniques) or have reduced accuracy at changes in resolution (eg. unstructured finite-volume with linear differencing). We present solutions of the shallow-water equations for westerly flow over a mid-latitude mountain from a finite-volume model written using OpenFOAM. A second/third-order accurate differencing scheme is applied on arbitrarily unstructured meshes made up of various shapes and refinement patterns. The results are as accurate as equivalent resolution spectral methods. Using lower order differencing reduces accuracy at a refinement pattern which allows errors from refinement of the mountain to accumulate and reduces the global accuracy over a 15 day simulation. We have therefore introduced a scheme which fits a 2D cubic polynomial approximately on a stencil around each cell. Using this scheme means that refinement of the mountain improves the accuracy after a 15 day simulation. This is a more severe test of local mesh refinement for global simulations than has been presented but a realistic test if these techniques are to be used operationally. These efficient, high-order schemes may make it possible for local mesh refinement to be used by weather and climate forecast models.

Ultra High Temperatures #1

Ultra High Temperature #1, initiated by Rebecca Bibby forms the first in an ongoing project which explores the realms of collaboration, performance, writing and publication as artistic vehicle of production, dispersion and progression. With Bibby's text -that re-fictions the futuristic projections of technosexuality in Metropolis (1927)- at its core was launched, printed, compiled and distributed in a live performance by POLLYFIBRE at Eastside Projects in Birmingham. The limited edition printed publication was designed by An Endless Supply whose Risograph stencil printer was used as an instrument in the performed production of the text. As a crude avatar of Rebecca Bibby’s practice, Aikon-II, a mechanically programmed signature machine automatically signed each copy of the text during the performance. POLLYFIBRE's ‘flat-pack’ costumes were on display throughout the duration of the exhibition. POLLYFIBRE is a performance project created by Christine Ellison.

A reconstruction of stencilling based on the description by Gilles Filleau des Billettes

This essay recounts and illustrates the reconstruction and testing of tools, furniture and working methods for stencilling texts. The description on which the reconstruction is based, written by Gilles Filleau des Billettes in Paris in the 1690s, is supplied elsewhere in this volume, together with an English translation. From the reconstruction and tests conducted with it, observations and conclusions are drawn about its effectiveness and its likely relationship to (then) contemporary stencilling practices. Four appendices are also included dealing with Des Billettes's method of designing and spacing letters; the cutting of stencils; the engraving by Louis Simonneau that accompanies Des Billettes's text; and later stencil configurations and working methods that incorporate the same or similar features to those described by Des Billettes.

A tradition with breaks

An introduction to the history of stencil typefaces, followed by a survey of recent stencil typefaces (1990s to the present day) arranged in eight thematic sections.

The description of stencilling by Gilles Filleau des Billettes: transcription and translation

This article presents the description of stencilling by Gilles Filleau des Billettes. The description sets out a method for stencilling letters, words, and texts, and specifies equipment for doing the work; it forms the basis for a reconstruction of the equipment and method, which is presented in a parallel article in this volume of Typography papers (see E. Kindel, 'A reconstruction of stencilling based on the description by Gilles Filleau des Billettes', Typography papers, 9, pp. 28–65). The original French text, approximately 10,000 words in length, is here transcribed and accompanied by a parallel English translation. Introductory notes on the preparation of both texts are provided; images of stencil letters found among the papers of Sébastien Truchet, Des Billettes’s colleague, are shown in an appendix.

Typography papers, 9

This latest issue of the series of Typography papers opens with a beautifully illustrated article by the type designer Gerard Unger on ‘Romanesque’ letters. A further installment of Eric Kindel’s pathbreaking history of stencil letters is published in contributions by him, Fred Smeijers, and James Mosley. Maurice Göldner writes the first history of an early twentieth-century German typefounder, Brüder Butter. William Berkson and Peter Enneson recover the notion of ‘readability’ through a history of the collaboration between Matthew Luckiesh and the Linotype Company. Paul Luna discusses the role of pictures in dictionaries. Titus Nemeth describes a new form of Arabic type for metal composition. The whole gathering shows the remarkable variety and vitality of typography now.

Marked by time

A concise study of two stencil-makers' catalogues published in Germany and the USA in the mid-twentieth century.