Octàgon Design makes time look good.

Octàgon Design is a lesson in graphic design applied to time. Founded in 2012 in Barcelona, it is a studio that treats the planner, the calendar and the notebook as objects worth designing with real graphic conviction.

Its identity is the graphic planner. Octàgon Design makes monthly, weekly and academic planners, wall and desk calendars, notebooks and notepads in a minimalist, bold, geometric and typographic style — it calls itself an “editor of design products.” Colour, grid and type, brought to the everyday tools of organising time. A calendar you actually want on the wall. Structure made beautiful.

(Honest notes: Octàgon Design was founded in 2012 in Barcelona (its site is octagon-design.com, and it is a separate company from the similarly named Barcelona brand Octaevo). Its CEO and co-founder is Carme Marin — “co-founder” implies at least one other, but no second name is documented, so we don’t name or assume one. It makes planners, calendars, notebooks and desk goods in a graphic, typographic register. It states its products are “100% made in Barcelona,” which we report as the brand’s own claim; some of its public storytelling is playful marketing rather than literal history, so we don’t repeat it as fact. There’s no official brand hex, and we reproduce no artwork or logo — these tones are an unofficial interpretation. This is design commentary and does not promote any product.)

Octàgon Design lives in a bold-graphic palette. Click a swatch to copy the hex.

Octàgon Design’s identity is bold, geometric and Spanish — an orange, an ink, a cobalt, a yellow, and a chalk. The palette pairs an orange with a cobalt — the register of bold graphic stationery. It signals colour and grid rather than novelty. The honest caveat: with no published brand hex, these tones are an original, unofficial interpretation, not first-party values.

The lesson is an orange with a cobalt signals a graphic planner studio. Octàgon Design’s world is a bold, gridded object. For designers, it is a reminder that the humdrum tools of organising time — a wall calendar, a weekly planner — reward serious graphic design, and that colour and typography can make structure appealing. Because a bright orange can fail as small text, keep type dark and let the colour live in the accents, palette and band. The takeaways: design the grid; use bold colour; make time visible; and treat any single hex as unofficial.

The register is a graphic sans — bold, geometric, typographic.

Octàgon Design’s identity carries a bold, geometric, typographic spirit — a gridded, graphic object. A clean geometric sans captures the mood: it is confident and structured, the register of a graphic studio. Set in a bold-graphic palette, the graphic sans feels bold and geometric — exactly the personality Octàgon Design carries. It is structured rather than decorative, mirroring a designed planner. (Octàgon Design’s real planners, layouts and wordmark are works we describe but do not reproduce, and the exact typeface is not ours to use.) Because it is not ours to use, the honest description is “a graphic sans spirit,” shown here in a stand-in. The type behaves like the brand: bold, geometric and typographic.

Octàgon Design stands for the graphic planner.

Octàgon Design is a lesson in designing the everyday tool. A bold-graphic palette, a graphic sans and a gridded planner make the graphic planner the whole brand — bold, geometric, Spanish. The graphic conviction is the differentiator. The differentiator is bringing real design to the calendars and planners most brands treat as commodities.

Put to work, the identity is structure made appealing. A designer building in this spirit would treat the grid as the hero — clear typography, bold blocks of colour, a system that makes a week or a year legible at a glance — and let confident graphic choices turn a functional object into something people display. The lesson Octàgon Design teaches is that overlooked, utilitarian categories are an opportunity: by giving a wall calendar the attention usually reserved for a poster, it turns organising time into a design statement, and proves a small studio can own a niche through sheer graphic quality. The colour work does real functional labour here as well: a bold palette is not just decoration on a planner but a wayfinding system, letting a week or a month read at a glance. When graphic design earns its place by making the object work better, the aesthetic and the utility stop competing and start reinforcing each other — which is exactly what turns a commodity category into a defensible one.

For designers and brand-builders, Octàgon Design offers a clear takeaway: bring design to the overlooked. The lessons: design the grid; use bold colour; make time visible; and be honest about the story. It is also a reminder to stay accurate: it was founded in 2012 in Barcelona, its CEO and co-founder is Carme Marin, and it describes its products as made in Barcelona — the palette here is an unofficial interpretation. Octàgon Design made the graphic planner the brand — proof that graphic conviction can be the difference.

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