Street art is – ironically – an economic artform. Not only does the cost of cleaning it up cost the state a small fortune, but the practice and execution of street art is time sensitive. Therefore, a certain economy in producing work is required. After all, what self-respecting graffiti artist wants to get caught red-handed (or whatever colour aerosol it is they happen to be using, as the case may be)? Thus, a certain economy of time is needed to get the job done. And what better way to do this then with the help of a stencil.

The stencil allows for reproduction of the same image or text through the use of a base, typically a hard yet pliable plastic (or something equally durable and easily transportable), such as insulation lining. On to this base is drawn the desired image or word – the template – which is then cut out using a scalpel. In its most basic form, this stencil can be used to replicate said image or word repeatedly in multiple locations. Like the tag discussed in previous columns, the stencil can become the trademark of a graffiti artist.

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The true beauty of stencils lies in the incorporation of multiple layers. This becomes an artistic exercise, not only in creating the stencil but in also applying it at a street level. The beauty of multiple layers is that it provides an image with shading, contours and even the possibility of colour. It creates a richer, more sophisticated image. Perth street artist Smart Tart, from the AV, has a deft stencil hand, which he at times uses on stickers to create a deeper, more layered and appropriated look.

However, the stencil is not only for the artist – although they seem to be able to produce the greatest beauty and dexterity from them. The stencil is a tool available even to the most passionate and fiery of graffiti artists – the political activist. Many a political slogan has hit the streets thanks to the use of the stencil, with the words ‘F**K THE REVOLUTION’ being one of the latest stencils to appear in Mount Lawley.

But perhaps one of the most clever stencils created was by Ayem crew member Victim. His stencil is of a council worker in hat and overalls, a paint roller in one hand, paint pot in the other and the tag ‘Victim’ appearing beneath him. What’s so clever about this stencil? Well, they commonly appear in spots where the work of other artists has been ‘buffed’, or painted over by the council, with a roll of paint working its way down to the miniature stenciled council worker’s paint roller.

The stencil is one of the main tools of a savvy street artist. It allows for the quick reproduction of clever designs, images or slogans. The stencils true sophistication and artistry, however, lies in the use of layers. The funniest thing about this economic tool – it plays on the very same tools local councils use to produce certain types of street signs.

Be sure to check out the upcoming Melbourne Stencil Festival Poster Competition online from May 31 to June 8 at www.stencilfest.net with the festival itself taking place on August 1 until August 10 at the Yarra Sculpture Gallery in Melbourne.

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OUTinPerth does not condone or recommend illegal stenciling.