Sans Other Kekal 2 is a regular weight, narrow, medium contrast, upright, short x-height font.
Keywords: headlines, posters, packaging, branding, children’s books, quirky, friendly, retro, whimsical, informal, add personality, retro warmth, playful voice, handmade feel, rounded, soft terminals, lively rhythm, hand-drawn, bouncy.
This typeface uses simplified, sans-like letterforms with softly curved strokes and subtly flared, tapered terminals. Shapes are generally rounded and open, with a lively, slightly uneven rhythm that feels drawn rather than engineered. The caps mix tall verticals with bulbous curves (notably in C, G, S, and O), while diagonals (K, V, W, X) keep a sturdy, slightly chunky presence. Lowercase forms lean toward single-storey constructions with compact counters and a modest, compressed feel; punctuation-like details such as the i/j dots appear square, reinforcing the handmade, cutout quality. Numerals are curvy and old-style in spirit, with pronounced bowls and distinctive hooks that keep the texture animated in text.
Best suited to display settings where personality is the goal: headlines, posters, packaging, and brand marks that want a friendly, slightly retro voice. It can also work for short bursts of text such as captions, pull quotes, and children’s or craft-oriented editorial, where its lively rhythm reads as intentional character.
The overall tone is playful and personable, with a gentle vintage flavor and a touch of storybook charm. Its rounded shapes and soft terminals make it feel approachable, while the irregular, bouncy rhythm adds character and informality without becoming chaotic.
The likely intention is a characterful sans-style display face that balances legibility with a handcrafted, whimsical texture. It appears designed to evoke a warm, informal voice—more boutique and expressive than neutral—while remaining readable in common headline and short-text scenarios.
The design shows noticeable individuality across glyphs—some letters feel more condensed while others open up—creating a deliberately varied color on the line. Curves are prioritized over strict geometry, and the stroke endings often narrow slightly, which adds warmth and keeps large text from feeling rigid.