Modern Typography is a 1920s principle that expresses a reaction against what its proponents perceived as a decadence of typography and design emerging from the late 19th century. This amalgam consists of the foundations and overall notions of Design Concept, Typeface, Objective, Model of Vision, and its significance among readers. While it is it is mostly associated with the works of Jan Tschichold and Bauhaus typographers Herbert Bayer, László Moholy-Nagy, El Lissitzky and others – it is also encountered through word documents, maps, labels, and other forms related to digital use and is readable across different media.

In other words, "Typography is, in a very real sense, the basic building block on which design of primarily verbal texts relies."

Charles Kostelnick, an English professor at Iowa University, wrote an article addressing the transformation from pen to print. He goes on to shape the statement, “Text cannot exist without visual transcription, and to transcribe, to place on a physical surface, is to design” As typography ties hand-in-hand with other forms of media and design, such as the Printing Press, Kostelnick's ideology exemplifies how all the notions listed above come together to represent Modern Typography.

Modern Typography reflects a modern, universal method of communication. This design concept assumes passive, almost automatic – subconscious visual experience. It counts on the rationality of both, graphic design and production of the message as well as the audience that is receiving. It features high contrast, thin strokes, and long or no serifs– for example, Times New Roman font.

When considering the perspective of the reader, the act of perception involved is the simple act of seeing; the reader is passive, detached and objective. The goal is to effectively communicate a message while still enhancing readability and evoking a certain tone or appearance to the reader. Aiming to be legible, clear and authentic– both the reader and the text, in other words, the verbal and visual elements, simultaneously come together to help shape our understanding of whatever needs to be consumed.

"[Typographic style and layout] do not obstruct the transmission of meaning." Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.

Typeface remains the groundwork for design concepts. The hallmark of early modern typography is the sans-serif typeface. "Because of its simplicity, the even weight of its lines, and its nicely balanced proportions, sans serif forms pleasing and easily distinguished word patterns – a most important element in legibility and easy reading." This legibility and easy readability standard remains a top priority when it comes to Modern Typography.

The essence of Modern Typography was for its visible form to be developed out of the functions of the text. sans-serif follows common typeface conventions such as establishing tone and personality, enhancing readability and comprehension, conveying specific emotions, and helping various brands, assignments, and/or courses of action to build their brand identity; all while competing to remain appealing to readers and viewers.