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Any architect or graphic designer will tell you that the black and white Stendig wall calendar, the work of Italian designer Massimo Vignelli (the same guy who designed the New York City Subway’s signage), is an icon. The grid. The font. Together they represent modernism at its best. Appropriately it has been part of the Museum of Modern Art’s permanent collection since 1966.
But I’m here to tell you one more thing that your Helvetica-obsessed friends might not mention: This thing is freakin’ huge. I don’t mean, like, hang-it-on-your-fridge big. It’s 3-by-4 feet, so, according to our calculations, that makes it taller than a toddler and wider than a twin mattress.
One of the benefits of its massive size is that you’ll really get to appreciate all the details that make it so special. The made-in-the-USA (Nashville to be exact) pages alternate between white and black, meaning you’ll never get bored—and you’ll need a white or silver pen if you plan to write important events down on even months. And each page easily tears off at the end of the month, when you can use it as wrapping paper or filling. (The paper is also fully recyclable.)
Most of all, because of the Stendig’s clean design, it goes with nearly any aesthetic—from full-on maximalism to neutral minimalism—and looks good against every wall color imaginable. So it’s a no-brainer that it is Domino editors’ top choice for a calendar that doubles as art, unlike those free ones gifted to your dad at a medical conference. And it’s not only that the Stendig looks like a museum-worthy piece. Since 1966, Vignelli’s calendar has been part of MoMA’s permanent collection, and at $45 it’s art almost anyone can afford to hang in their home all year long.
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