“RAAKA” is a Geometric text effect FontVibe AIで作成した文字エフェクト. 円、四角、直線で組み立てたバウハウス風の大文字。赤・青・黄・黒のベタ塗りで、硬いトップライトの下に積み木のように立ちます.

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. Render the exact text “RAAKA” as the dominant typographic object within a Bauhaus workshop composition. Each letter carries a separate flat matte face color cycling through signal red, cobalt blue, cadmium yellow, and flat black; use hard 45-degree isometric extrusion, with pure-black side walls at roughly one quarter of the letter height. Surfaces are matte acrylic, completely free of gloss, gradients, scratches, texture, or reflections. Place the lettering against a deep matte charcoal concrete plane interrupted by large, rigid architectural blocks of signal red, cobalt blue, and cadmium yellow. Add a sparse near-black Swiss grid and a few thin white construction rules, sharply clipped and mechanically precise. Illuminate only with one cold-white overhead directional source, producing dense ruler-sharp shadows with clean angular silhouettes beneath every extruded form. Camera is orthographic and frontal, with no lens distortion, no atmospheric perspective, no haze, no bokeh, no organic objects. The composition should read as a Constructivist identity plate: severe color separation, controlled negative space, flat planes, exact edges, and crisp print-poster contrast. No secondary words, no symbols, no people, no devices.