Modern typography in the context of Jan Tschichold

⭐ Core Definition: Modern typography

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."

↓ Menu

Modern typography in the context of Sans-serif

In typography and lettering, a sans-serif, sans serif (/ˈsæn(z) ˈsɛrɪf/), gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. For the purposes of type classification, sans-serif designs are usually divided into these major groups: § Grotesque, § Neo-grotesque, § Geometric, § Humanist, and § Other or mixed.

Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word sans, meaning "without" and "serif" of uncertain origin, possibly from the Dutch word schreef meaning "line" or pen-stroke. In printed media, they are more commonly used for display use and less for body text.

View the full Wikipedia page for Sans-serif

↑ Return to Menu