Sans Other Keluh 2 is a regular weight, normal width, medium contrast, upright, normal x-height font.
Keywords: fantasy titles, book covers, posters, branding, packaging, medieval, mystical, storybook, decorative, calligraphic, atmosphere, historic nod, display impact, distinctiveness, decorative voice, uncial, rounded, flared, insular, glyphic.
This typeface uses a rounded, uncial-inspired construction with smooth, swelling curves and gently tapered terminals. Strokes feel pen-derived, with subtle modulation and frequent flaring where strokes end, producing a soft, sculpted silhouette rather than crisp geometric forms. Counters are generally open and circular, and many letters rely on single-storey, looped, or hooked structures (notably in forms like a, g, e, and y), giving the alphabet a distinctive, hand-informed rhythm. Figures are similarly rounded and stylized, with curvy joins and ornamental shaping that keeps them consistent with the letterforms.
This font is best suited to display settings where its distinctive uncial flavor can carry mood—such as fantasy or historical titles, book covers, posters, and themed branding. It can also work for short passages or pull quotes when a manuscript-like voice is desired, but it will be most effective when given adequate size and spacing.
The overall tone reads as medieval and mystical, evoking manuscript lettering, fantasy titles, and folkloric narratives. Its softened curves and calligraphic inflections feel inviting and expressive rather than technical, lending a sense of tradition and craft.
The letterforms appear designed to reinterpret uncial/calligraphic traditions in a clean, consistent digital style, prioritizing atmosphere and recognizability over neutrality. Its ornamental terminals and rounded construction suggest an intention to provide a fantasy-leaning display face with a cohesive texture across letters and numerals.
The design’s personality comes from repeated hook-like terminals and rounded bowls, which create a lively texture and recognizable word shapes. The stylization is strong enough that it becomes part of the message, especially in longer text, where the decorative rhythm is highly apparent.