The challenge was to create a single typeface weight that was versatile enough without a large font family, and could be put to use with a variety of media formats, from book text to advertising spreads, all while remaining legible and delightful to read.
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Where to start with such a font design was obvious to Diphthong Regular’s designer, Max Hancock; to create a transitional, slab serif form that was corky and serious, interchangeably.
The characteristics of the font followed a postmodern playfulness, popular in many sub-cultures looking for an alternative to the harsher, cut-shape, deconstructivist styles. And, the unique objective behind the design was to make it so that the usual difficult combination of the t and h (hth) in language was legible as well as pleasant to look at, thus the reason for the name.
The soft, subtle roundings add a flair of utilitarianism while the cut edge ascenders help to blur the line between cute and diametrical mannerisms.
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