Bauhaus runs alongside early Art Deco in the 1920s and early 30s, but follows a different idea. Where Art Deco holds onto elegance and display, Bauhaus moves toward clarity and reduction. It later feeds directly into Swiss modernism, which you can link to as the next step.

Geometry as a System

Bauhaus type is built from a small set of shapes. Circles, straight lines, and right angles. Letters are constructed rather than drawn. This leads to very even proportions. Stroke weight stays consistent. Round letters like O, a, and e are close to pure circles, while others follow simple rules rather than historical models. Lowercase plays a stronger role here, and the overall impression is quieter, more neutral.

Reduction Instead of Expression

There are no added details for decoration. No inline effects, no extra cuts, no flourishes. The interest comes from proportion, spacing, and how elements relate to each other. This also means spacing becomes more noticeable. A small change in tracking or alignment can shift the entire look.

Color, Layout, and Use

Bauhaus is closely tied to primary colors. Red, blue, yellow, combined with black and white. The palette is direct and functional. Layouts follow grids rather than optical symmetry. Left alignment is common. Type interacts with image and space in a more open way compared to Art Deco’s centered compositions.

In This Collection

Bau, Bool, Scal, and Geo follow the geometric approach closely. Goji soften it slightly through rounded stems and proportions. Swav introduces more futuristic movement but is based on simple, geometric shapes. Vole can shift into this category through its alternate set without upper stems. As for serif and contrast typefaces, Soft, Chez, and Roma are not Bauhaus by origin, but their geometric construction makes them useful in similar contexts. All fonts come in 9 weights, with alternate glyphs to adjust how strict or relaxed the result feels.