SKOL is a geometric stencil designed by Michael Cina in 2012. It began as a concept: what would mid-century geometric stencils have looked like if they had been drawn with a more typographic sensibility, less rigid, less locked into the chunky geometric formula of their era? Cina started messing with the idea and quickly saw that something simple and basic could also read as graphic without the period reference doing all the work. The concept was an exercise. The typeface that came out of it stayed. The defining move is in the letterforms themselves. Look at the S, look at the lowercase c. The curves are typographic, not chunky. They feel drawn for type rather than borrowed from a geometric experiment. Most stencils from the Bauhaus-era lineage carry the chunkiness of their period, the sense that the letters are constructions before they are reading material. SKOL pulls in the other direction. The proportions are more modern. The curves are more considered. The typeface reads as contemporary first and as a stencil second. That's the centerpiece of the typeface and the reason it works in the places it works. SKOL is graphic enough to appear as a logo and clean enough to set a short line of titling type without the design feeling forced. It has been used for logos, marks, mastheads, gallery titles, and identity work, in roughly equal measure. The dual register, logo material and titling material, is built in. The typeface doesn't compromise between the two. It does both because the letterforms are drawn to support both. The family runs five widths along a single axis. SKOL uses the same logic as OCR-010204, another Cina typeface where width and weight collapse into one axis: as the letters get wider, they also get heavier. The narrowest cut is the lightest. The widest cut is the boldest. There is no separate weight palette to navigate. A designer working with SKOL picks a position on the width axis and gets both the width and the weight they need in a single move. The five widths are built to be used together, mixed within a composition or stepped through as the design calls for it. The character set covers what a working stencil needs. 576 glyphs per style. Multilingual Latin support. Numerals, punctuation, accents, and the structural details that allow SKOL to operate in identity systems and editorial work without depending on the alternates and stylistic sets that more elaborate families lean on. SKOL doesn't need them. The base form is the design. SKOL is designed for short, deliberate use: titles, logos, mastheads, short headlines. It is not built for body text and isn't trying to be. It rewards designers who treat stencil typefaces as graphic tools rather than as utilitarian leftovers.