by Sed4tives

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Fauxhaus — Geometric minimalist modernism sans-serif design
As the name already suggests, this indeed was inspired by the Bauhaus-typograpy towards functionality style.

More specifically by Austrian artistic polymath Herbert Bayer's 1925 experimental "Universal" alphabet.
The alphabet he designed became somewhat synonymous with the school's identity, and probably is the most well known Bauhaus typeface, and truly epitomizing that typical simplified "Form follows function" Bauhaus-minimalism style. It was also used for the new Bauhaus-building signage.

Some key features in Bayer's original form are those easily recognizable geometric sans-serif letterings, with letter composition based on strong basic geometry, having eliminated all decorative elements of the letterform composition for that crisp industrial, slight mechanical minimalist aesthetic. Bayer's original Universal alphabet also eliminated the need for a upper case letter, further simplifying it towards more of a functionality-driven standardization. Bayer developed multiple revisions and variations of the alphabet. Sadly Universal was never cast as a font, as during that era they weren't manufactured into printing typefaces, and the designs would only exist as drafts (as was the case with all Bauhaus-typefaces). Nonetheless it served as a lettering model for Bauhaus students, colleagues, and followers alike, and they were regularly re-used for signs, book covers and publications by many of its members, but even beyond institution walls the typographic style began to gain a foothold. Throughout the years we have seen a multitude of revivals and other Bauhaus-inspired typeface designs. Some of which that try to be faithful digitizations of the original, whereas others taking a more artistic approach to the style by providing their own personalized reinterpretation of the Bauhaus-aesthetic. So even to this day, many decades later, it repeatedly continues to inspire and influence designers time and again.

Bayer, First a student and later junior master of the printing workshop, was one of Bauhaus’s most influential attendees, advocating the integration of all arts throughout his career. Though not trained as a typographer, he was also assigned with the task of creating a universal visual & typographic identity for the school.—a task Bayer took very serious. Sparking perhaps the most mythic typeface to ever come out of the Bauhaus, which is "Universal"—one that at that time strove to be as idealistic as the school itself

This is an artistic reinterpretation of Bayer's "Universal" alphabet.

Aiming to preserve the unmistakable style and simplistic geometric stylistic properties of the original, while in the same time allowing a more 'free-form'-approach towards crafting the letterform compositions. This of-course as long as they remains in-line with the stylistic properties of the original. And for the lack of having a better explanation;

—To do sort-of a 'faithfully different' artist depiction of Bayer's original Universal alphabet.

Some notable differences made in Fauxhaus compared to Universal are the re-introduction of a upper case form and the slight de-simplification and inclusion of subtle decorative nuance.

In some cases I've choosen to compose certain specific characters to be more or less identical as to how Bayer originally intended them, whereas others may be entirely different looking. And for some characters have one or more alternative form as well. Some of which are more 'ad hoc'- compositions drawn as we went when new ideas popped up. But others were specifically created to preserve and / -or include certain distinctive and unmistakably identifiable letterforms from Bayer's original Universal alphabet.

Greek & Cyrillic characters included in Fauxhaus were solely added for my personal experimentation purpose only, and they serve 'zero' function as to additional language support of the font.

"Use at your very own risk"— as these could very easily be gone the very next update.

Each letterform was meticulously composed from a random collection of the various memories, which after some thirty Bauhaus-inspired and / -or -revival works including their respective 'shared' research I have accumulated over time for Bauhaus typography like Bayer's work.
No source reference image was used as guidance for creating this FontStruction, everything came straight from the knowledge I gathered from the many previous Bauhaus related projects I did.
So to draw solely from memory alone somewhat a convincing and reasonably similar personal reinterpretation of an original 'Bauhaus' typeface at this stage has gotten pretty easy for me.

For this project in particular I've choosen to construct the letterforms on a medium sized grid, using the linear interpolation 'faux'-Bézier method. So beware that when using this font at very large point size rendering the remnants of this process will become visible!

That's all for now, I hope you like it so far,



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Comment by Sed4tives Mon, 5th june
Comment by Sed4tives Mon, 5th june
Comment by Sed4tives Mon, 5th june

What fine Bézier curves, close to perfection! Great recreation! (Just out of curiosity, what is the x-height here, please?)

Comment by elmoyenique Tue, 6th june

@elmoyenique: Cant exactly tell at this moment, since Im @ mobile device. But I do know the weight of thin circle around @ symbol is 0.8 square brick units.

Nonetheless, always a pleasure to read your kind words compa! 😎

Comment by Sed4tives Tue, 6th june

I don't quite understand you, but I keep telling you that this is a great way to fake curves. My 10 2U!

Comment by elmoyenique Tue, 6th june

What "the weight of thin circle around @ symbol is 0.8 square brick units" means? You know I'm a little slow...

Comment by elmoyenique Tue, 6th june

@elmo: oopz Lol, nevermind, seems that I was wrong anywayz, I was mistaking this for another recent project I've been working on as well, that actually has very different proportions as to this one. And since I have arrived back at PC right now, I might as well drop an image instead.

Fauxhaus is actually way bigger than I realized..

Comment by Sed4tives Tue, 6th june
Comment by Sed4tives Tue, 6th june

@elmoyenique: Explaining the meaning of 0.8 square grid units:

Its simply a grid modeling decimal division of a 'whole' (in this case 'whole' is 1 full square grid unit). The fraction 8/10 is 0.8 as a decimal because you divide 8 by 10.

Hope that helps!

Comment by Sed4tives Tue, 6th june
Comment by Sed4tives Tue, 6th june

Its perhaps is somewhat tricky explaining it this way since FS-editor's grid uses a different divisional system as to how I explained it above. Above I explained it according to a fractional division of "10/10". FS-editor's grid uses a fractional division of "8/8" (at 1:1 brick size filter) or "16/16" (at 2:2 brick size filter).
Translating this to FS-language means  "1/8"  is equal to  "1 part nudging at 2:2 brick size filter"
"1/8"  equals  "2/16"  equals  ".125"  equals  "12,5%"  equals  "1 fractional division of 8/8"

Comment by Sed4tives Tue, 6th june

@Sed4tives - Ah, this is the part of FontStruct that I love -- using mathematics, trigonometry, and geometry to get the desired brick(s) !!!  :^)

Comment by Goatmeal Tue, 6th june

@Goatmeal: Thanks a lot mate, I usually tend to stay away from mathematically made designs since when nudging slanted bricks once along only a single axis sets up the division for for 45° rotational slants at half the value, which in many cases isn't mathematically reproducable withing FS, I had a lot of headaches in the past due to this, but I share the same fascination for mathematics, trigonometry, and geometry in general.

But when simply staying away from nudging in general the problem remains nonexistant. Sadly many of my font properties simply just dont allow the luxurity of not using the 'nudge brick' fuction.

Comment by Sed4tives Tue, 6th june

@Sed4tives - Before nudging (~pre-2014), the use of mathematics and 'good enough' approximations were all we had during those "dark, dark times"...  ;^D  (Ha-ha)

Comment by Goatmeal Tue, 6th june

@Goatmeal: But we all very well know that things become ever so slightly more exiting when we are in the dark..  #frightnight


Comment by Sed4tives Tue, 6th june

👏👏👏👍 Perfect!

Comment by elmoyenique Tue, 6th june
Comment by Sed4tives Wed, 7th june
Comment by Sed4tives Wed, 7th june

Updated many glyphs, making more perfect geometry and smoother curves. Also opened up the eye of lower case 'e' and shrunk the spine's weight of  both alternative forms for lower case 's'. Also have I performed countless other improving modifications and implemented many kerning pairs.

Comment by Sed4tives Wed, 7th june
Comment by Sed4tives Thu, 8th june

"Fauxhaus" FontStruction received a very substantial update recently, covering a bit of verything.

Innitially I was making modifications to the pre-existing characters, such as improving geometric form, making it look more correct with natural transitions to rounded elements. Part of this was also to smoothen the glyph contour quality.

Another portion of this recent update was the inclusion of numerous new additional characters such as;
 • New glyph alternative forms
 • 2 specially designed stylish digraphs for Dutch ortographic notation of long (doubled) vowels and diphthongs
 • Other non-lingual typograpic elements  (technical. decorative & ornamental)
 • continued building Kerning-Table

Sample image  of new features soon


Comment by Sed4tives Fri, 9th june

I see i wrote "2 specially designed stylish digraphs"

It should say 27 specially designed instead

Comment by Sed4tives Fri, 9th june
Comment by Sed4tives Sat, 10th june
Comment by Sed4tives Sun, 11th june
Comment by Sed4tives Sun, 11th june
Comment by Sed4tives Sun, 11th june
Congratulations! FontStruct Staff have deemed your FontStruction worthy of special mention. “STF_FAUXHAUS” is now a Top Pick.
Comment by Rob Meek (meek) Sun, 11th june

Congrats, pal!

Comment by elmoyenique Mon, 12th june

Excellent work @Sed4tives, I especially like the Bauhaus themed dingbats.

Comment by four Mon, 12th june

Thanks a lot @ everyone!

@Rob Meek: Mucho gracias for the TP boss

Comment by Sed4tives Tue, 13th june

In good Spanish you should say "Muchas" gracias. 😇

Comment by elmoyenique Wed, 14th june

Really great, the school, the band, this font.

Comment by George Arnold (bufb) Wed, 14th june

Bella Legosi is resurrected.

Comment by George Arnold (bufb) Wed, 14th june


Comment by sabpl1 Wed, 14th june
Comment by elmoyenique Mon, 7th august

@elmoyenique: Wow u hawkeyed superstar, of course that wasn't supposed to be there. As soon as I get back at the PC ill fix it.

Comment by Sed4tives Mon, 7th august

Just a fluke, checking your dingbats closely. Happy to help.

Comment by elmoyenique Mon, 7th august

Spam Alert 

Comment by Sed4tives Wed, 11th october

Please do not request download access or license changes in the comments.You will lose future commenting priveleges, and risk having your FontStruct account deleted, if you do so. Read more.

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