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Bauhaus

Experimental type, geometric form, and composition shaped by the workshop.

How it works

Color

PaperInkVermilionBlueYellow

Typography

Poppins
Jost
Characteristics

Asymmetric hierarchy

Size, position, and open space establish the reading order.

Type as composition

Letterforms, rules, and images work together across the page.

Material experiments

The workshops tested relationships between materials, construction, and use.

Selective color

Strong color contrasts organize a composition. Primary colors are one useful approach, not a compulsory palette.

Photography and print

Photographs and montage joined lettering in publications and advertising.

Use it

Figma
Exhibition identity
  1. Create a poster frame with a four-column grid.
  2. Place the title off-center and give the date a separate alignment.
  3. Add one large geometric form and one contrasting counterweight.
  4. Reuse the type scale and alignment in a smaller schedule frame.

Check the poster at thumbnail size before adding detail.

Starting points
  1. Set an exhibition title, date, and venue in a clear asymmetric hierarchy.
  2. Add a geometric form or photograph that supports the subject.
  3. Carry the same alignments into a program and publication cover.
Research notes & sources

The examples interpret the school's later graphic work. Bauhaus was a changing school, not a fixed kit of three shapes and three colors. Bayer's lowercase alphabet was one experiment; it does not describe every Bauhaus publication. Modern font suggestions below are alternatives, not historical Bauhaus typefaces.

1919–1933; continuing influence

Weimar, Dessau, and Berlin, Germany

Art education, craft, architecture, and print

Staatliches Bauhaus

Related styles

  1. The Bauhaus, 1919–1933The Metropolitan Museum of Art
  2. Printing and advertising workshopBauhaus Kooperation
  3. bauhaus.typographyBauhaus Kooperation / Bauhaus-Archiv
  4. Bauhaus Typography at 100: IntroductionLetterform Archive