AisleOne: 2010 Calendar


2 of 5 stars
What’s this?

A beautiful, letterpress-printed calendar for the new year from Antonio Carusone in a limited edition of fifty. The year, the days of the week, and the edition number line are all printed blind, and typeset in Helvetica.

  1. Pat, glad you like the poster. “Printed blind” simply means that there was no ink applied to the area of the printing plate so all you get is a “blind” impression in the paper. You can see an example here:


  2. Am I the only one who thinks this is a total snooze? I love grids and Helvetica (and Antonio’s sites) as much as the next guy, but this just seems formulaic. I wonder at what point our MЧller-Brockmann worship stops being influenced homage and turns into creepy pastiche. I’m a card-carrying member of the JM-B cult, but lately the starry eyed retro-Modernism has me thinking that as designers we should stop reminiscing and “go back to inventing the future” (as Mr. Keedy put it).

  3. It does seem like its utility is diminished for use as a calendar. I guess if you need a poster to tell you what year it is, then it is useful. For any other purpose, not so much.

  4. Ryan (above) is on to something (although I don’t know about quoting Keedy as a point of reference – he’s a total snooze too, and his re-inventions in the 90s were mindless dead-ends, weren’t they?)

    It’s definitely pastiche / parody. There can sometimes be clever parodies or pastisches, but this doesn’t seem to be one of those times.

  5. GG (ha) —
    Thanks. Keedy was named only for attribution, not because I consider him exemplary of the idea in practice. Khoi, do you have an opinion on all of this? I’m particularly interested since there’s such an obsession in some circles (e.g., the Grain Edit, ISO50 crowd) over “new” work that does its best to look like it was made 30-40 years ago.

  6. Ryan: That’s a great question. Or rather, a great topic for a blog post. If I weren’t so short on time these days I’d write that blog post, but unfortunately that’s not the case. Anyway, in a nutshell, I would say that while in many ways I’m a traditionalist, I do prefer to design for the now rather than design in a retro vernacular. That said, it really does take all kinds, and as a design consumer I enjoy the Grain Edit/ISO50 school very much. Design is big enough for everyone.

Thank you! Your remarks have been sent to Khoi.