Script Bobub 2 is a regular weight, narrow, high contrast, italic, short x-height font.
Keywords: branding, packaging, greeting cards, social media, quotes, playful, friendly, casual, whimsical, handmade, handwritten charm, expressive display, friendly branding, casual elegance, bouncy, rounded, looping, calligraphic, informal.
A lively script with a rightward slant and a brush-pen feel, combining smooth, rounded curves with occasional sharp hairline exits. Strokes show pronounced thick–thin modulation, with heavier downstrokes and tapered upstrokes that create a rhythmic, handwritten texture. Letterforms are compact with relatively tall ascenders and descenders, frequent entry/exit strokes, and intermittent connections that read as natural pen movement rather than rigid joining. Capitals are more flourished and open, while lowercase remains legible with generous counters and looped forms; numerals follow the same handwritten contrast and tapering terminals.
Well-suited to short-to-medium display settings where a friendly handwritten tone is desired—logos and brand marks, product labels, invitations, greeting cards, and social posts. It can also work for pull quotes or subheads when paired with a simpler text face, while longer passages may benefit from generous line spacing due to its active rhythm and descenders.
The overall tone is warm and personable, with a buoyant, slightly whimsical cadence that feels conversational and crafted. Its brushy contrast and looping gestures give it a charming, boutique character without becoming overly formal.
The design appears intended to emulate a quick, confident brush script: expressive enough for decorative emphasis, yet structured enough to remain readable across common alphabet and numeral use. Its contrasting strokes and looped capitals suggest a focus on personality-driven display typography for contemporary casual branding.
Some letters feature distinctive looped swashes (notably in capitals and in forms like g, y, and z), adding visual sparkle in headings. The texture is intentionally irregular in a human way—stroke endings vary and joins are not mechanically consistent—so it feels best when used as a featured voice rather than a neutral workhorse.