Pochoir vs The Face
ポショワール / ザ・フェイス
Pochoir comes from Stencil Printing and The Face from Publishing and Editing. One is technique and the other style. They are reached for with some of the same intent, which is where they get confused.
Pochoir
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Builds print color stencil by stencil, giving publications the crisp planes and fine variance of hand coloring.
The Face
Redraws its headline letters and section marks issue by issue, then sets them into a page of heavy rules and black bars with the same weight as the photographs.
| Pochoir | The Face | |
|---|---|---|
| Era | 1890s–1930s | 1980s |
| Family | Stencil Printing | Publishing and Editing |
| Kind | Technique | Style |
| Cues | Sharp color planes / Stencil edges / Hand-color variance / Fashion plates | Extra bold headline letters drawn on geometry / Heavy rules and black bars dividing the page / Section marks that change shape issue by issue / Large type laid over the photograph |
| Best used for | Flat, luxurious plates of fashion and ornament · Handworked color for limited editions | Music and fashion magazines where the type is meant to carry as much of the page as the photographs · Publishing where the headline letters are redrawn issue by issue and the change is shown to the reader |
| Type | Fine serifs and restrained captions | Draw the headline weight from geometry as extra bold, and hold the text in a small sans |
| Composition | Center the figure or product; keep plane and margin contours clean | Divide the page with heavy rules and black bars, and lay large type over the photograph |
| Material | Opaque spot colors layered per stencil; keep the small density shifts | Keep a set of section marks that change shape each issue, working in black areas and reversed white |
| Caution | Not the same as flat vector fills. Design the stencil separations, printing order and hand variance. | When redrawing the letterforms every issue becomes the aim in itself, the marks stop working as signposts for the reader and every issue looks equally loud. |