Stendig Calendar 2025, 122 cm x 92 cm
Stendig Calendar 2025, 122 cm x 92 cm
Stendig Calendar 2025, 122 cm x 92 cm
Stendig Calendar 2025, 122 cm x 92 cm
Stendig Calendar 2025, 122 cm x 92 cm
Stendig Calendar 2025, 122 cm x 92 cm
  • Load image into Gallery viewer, Stendig Calendar 2025, 122 cm x 92 cm
  • Load image into Gallery viewer, Stendig Calendar 2025, 122 cm x 92 cm
  • Load image into Gallery viewer, Stendig Calendar 2025, 122 cm x 92 cm
  • Load image into Gallery viewer, Stendig Calendar 2025, 122 cm x 92 cm
  • Load image into Gallery viewer, Stendig Calendar 2025, 122 cm x 92 cm
  • Load image into Gallery viewer, Stendig Calendar 2025, 122 cm x 92 cm

Stendig Calendar 2025, 122 cm x 92 cm

Regular price
$95.00
Sale price
$95.00
Regular price
$114.00
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Created by legendary Italian designer Massimo Vignelli in 1966, the Stendig remains one of the best examples of 1960s modernist design, featuring two of the movement’s most iconic creations – Swiss typeface Helvetica and the Grid. Soon after launch, the calendar entered into the permanent collection of the MoMA, New York, where it remains to this day.

Vignelli’s design is simple yet bold, litho-printed on large 122x92cm sheets bound together by three hand-punched eyelets. The pages alternate in colour, with odd months laid out as black text on white, and even as white text on black. Sheets are detachable, designed to be removed at the end of each month. Previous months’ sheets make excellent wrapping paper.

Upcycle old sheets

Once the month is over, sheets can be detached from the calendar along a perforated seam that runs along the top. Previous months’ sheets make excellent wrapping paper — we recommend rolling them up and saving them for Christmas.

Space and scale

At the heart of the Stendig is a remarkable interplay between space and scale. At 122x92cm, it exceeds the typical size of a calendar, and is a feature of any room. Set within this are large Helvetica numerals that enumerate the days of the month.

The two digit dates are tightly and precisely kerned, such that the two characters just touch. The negative space left in and around these kissing numerals was of as much interest to Vignelli as the numbers themselves: the shape of the number 23, in particular, he considered graphic perfection.