“RM” es un efecto de texto Geométrico creado con FontVibe IA. Mayúsculas Bauhaus construidas con círculos, cuadrados y trazos rectos en rojo, azul, amarillo y negro planos, erguidas como bloques sólidos bajo una luz cenital dura.

Bauhaus geometric environment: hard overhead directional light — single cold-white source, zero ambient scatter, ruler-sharp geometric shadow edges below all forms. Background plane is architecturally flat: pure black void, deep matte concrete, or stark white plaster. No depth haze, no organic texture, no atmospheric bokeh. Scene vocabulary: Bauhaus workshop geometry, De Stijl primary-color planes, Constructivist poster surface, Swiss grid precision. Primary color atmosphere (always active): flat geometric primary-color planes — signal red, cobalt blue, cadmium yellow — appear as background architectural blocks or compositional color bars alongside the letterforms. Zero gradient, zero sheen. When no specific material is defined by the font: letterforms rendered with Bauhaus primary color flat-paint treatment — each letter one vivid matte hue cycling across the primary palette: signal red, cobalt blue, cadmium yellow, flat black. Hard 45-degree isometric extrusion with pure-black side wall, depth 25% of letter height. Flat matte acrylic surface, zero sheen. Sharp machined edge between color face and extrusion wall. 'RM' dominates a square Bauhaus composition, centered with generous black negative space. Each letter is a separate flat matte primary hue: signal red and cobalt blue, with hard 45-degree isometric extrusion extending down-right in pure black, exactly one quarter of the letter height. Machined-sharp boundaries divide the colored faces from the black side walls. Behind the monogram, a deep matte concrete plane is interrupted by a precise cadmium-yellow vertical block at the far right and a thin red horizontal bar crossing the lower third, both perfectly flat with no sheen or gradient. A single cold-white overhead directional source creates ruler-sharp shadow silhouettes directly beneath and slightly behind the extruded forms. Strict Swiss grid alignment, head-on elevation, no perspective tilt, no organic texture, no haze, no reflections. The result feels like a disciplined Bauhaus workshop mark: compact, structural, exact, and emphatically graphic.