TheSans Variable C4s Italic Web
Waterfall
72 px |
The quick brown fox jumps over a lazy dog. Filmquiz bracht knappe ex-yogi van de wijs. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. |
60 px |
The quick brown fox jumps over a lazy dog. Filmquiz bracht knappe ex-yogi van de wijs. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. |
48 px |
The quick brown fox jumps over a lazy dog. Filmquiz bracht knappe ex-yogi van de wijs. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. |
36 px |
The quick brown fox jumps over a lazy dog. Filmquiz bracht knappe ex-yogi van de wijs. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. |
28 px |
The quick brown fox jumps over a lazy dog. Filmquiz bracht knappe ex-yogi van de wijs. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. |
22 px |
The quick brown fox jumps over a lazy dog. Filmquiz bracht knappe ex-yogi van de wijs. Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich. |
Text Setting
IN BERLIN, MUNCH BECAME involved in an international circle of writers, artists and critics, including the Swedish dramatist and leading intellectual August Strindberg, whom he painted in 1892. During his four years in Berlin, Munch sketched out most of the ideas that would comprise his major work, The Frieze of Life, first designed for book illustration but later expressed in paintings. He sold little, but made some income from charging entrance fees to view his controversial paintings. Already, Munch was showing a reluctance to part with his paintings, which he termed his “children”.
His other paintings, including casino scenes, show a simplification of form and detail which marked his early mature style. Munch also began to favor a shallow pictorial space and a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions, as in Ashes, the figures impart a monumental, static quality. Munch’s figures appear to play roles on a theatre stage (“Death in the Sick-Room”), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in “The Scream”, Munch’s men and women began to appear more symbolic than realistic. He wrote, “No longer should interiors be painted, people reading and women knitting: there would be living people, breathing and feeling, suffering and loving.”
Character Set
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Hagb 1/2 3/4
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Hagb 1/2 3/4
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Hamburge 2356
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HAMBURGE 2356
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HAMBURGE 2356
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▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
A |
Æ |
B |
C |
D |
Ð |
Đ |
E |
Ə |
F |
G |
H |
Ħ |
I |
IJ |
J |
K |
L |
Ł |
Ŀ |
M |
N |
Ŋ |
O |
Ø |
Œ |
P |
Þ |
Q |
R |
S |
|
ẞ |
T |
Ŧ |
U |
V |
W |
X |
Y |
Z |
ª |
º |
! |
¡ |
? |
¿ |
/ |
\ |
( |
) |
[ |
] |
{ |
} |
§ |
¶ |
& |
@ |
№ |
# |
₴ |
₸ |
₺ |
₽ |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
⁽ |
⁾ |
₍ |
₎ |
% |
‰ |
Standard Ligatures
Replaces two or more letters with one ligature.
Show more...
ffi |
fi |
ffb |
ffȷ |
fff |
ffh |
ffj |
ffk |
ffl |
fb |
fȷ |
ff |
fh |
fj |
fk |
fl |
... |
!! |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
ffi |
fi |
ffb |
ffȷ |
fff |
ffh |
ffj |
ffk |
ffl |
fb |
fȷ |
ff |
fh |
fj |
fk |
fl |
... |
!! |
Stylistic Set 1: Alternate a, &, and arrows
a |
| |
& |
← |
⎯ |
→ |
↑ |
⏐ |
↓ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
a |
| |
& |
← |
⎯ |
→ |
↑ |
⏐ |
↓ |
Stylistic Set 2: Alternate g, y, &, and arrows
g |
j |
y |
& |
↑ |
↓ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
g |
j |
y |
& |
↑ |
↓ |
Stylistic Set 3: Footless l; alternate & and arrows
l |
ł |
ŀ |
& |
↑ |
↓ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
l |
ł |
ŀ |
& |
↑ |
↓ |
Stylistic Set 4: Alternate ligatures and &
Stylistic Set 5: Aring with attached ring, alternate &
Stylistic Set 6: Alternate Q and &
Stylistic Set 7: Alternate Q and &
Stylistic Set 8: Alternate Q
Stylistic Set 9: Alternate G
Stylistic Set 10: J with descender
Stylistic Set 11: 1 with foot
Stylistic Set 12: Low lining figures
# |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
% |
‰ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
# |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
% |
‰ |
Stylistic Set 13: I and J with bar
Stylistic Set 15: Alternate text arrows
← |
→ |
↑ |
↓ |
↖ |
↗ |
↘ |
↙ |
↔ |
↕ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
← |
→ |
↑ |
↓ |
↖ |
↗ |
↘ |
↙ |
↔ |
↕ |
Stylistic Set 16: Titling fractions
₴ |
₸ |
₺ |
₽ |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
⁄ |
⅟ |
½ |
⅓ |
¼ |
⅕ |
⅙ |
⅐ |
⅛ |
⅑ |
⅔ |
⅖ |
¾ |
⅗ |
⅜ |
⅘ |
⅚ |
⅝ |
⅞ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
₴ |
₸ |
₺ |
₽ |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
⁄ |
⅟ |
½ |
⅓ |
¼ |
⅕ |
⅙ |
⅐ |
⅛ |
⅑ |
⅔ |
⅖ |
¾ |
⅗ |
⅜ |
⅘ |
⅚ |
⅝ |
⅞ |
Stylistic Set 17: Miscellanous
ß |
ª |
º |
– |
— |
{ |
} |
† |
‡ |
§ |
@ |
# |
√ |
◼ |
☐ |
☒ |
← |
→ |
↑ |
↓ |
` |
´ |
ˆ |
˜ |
¨ |
ˉ |
˘ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
ß |
ª |
º |
– |
— |
{ |
} |
† |
‡ |
§ |
@ |
# |
√ |
◼ |
☐ |
☒ |
← |
→ |
↑ |
↓ |
` |
´ |
ˆ |
˜ |
¨ |
ˉ |
˘ |
Stylistic Set 18: Slashed currency symbols
Stylistic Set 19: Directional arrows
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
Subscript Figures
Replaces figures (sometimes also letters) with a smaller form, shifted below the baseline.
Show more...
. |
, |
: |
; |
- |
( |
) |
[ |
] |
{ |
} |
¤ |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
⁺ |
⁻ |
⁼ |
⁽ |
⁾ |
+ |
− |
× |
÷ |
= |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
. |
, |
: |
; |
- |
( |
) |
[ |
] |
{ |
} |
¤ |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
⁺ |
⁻ |
⁼ |
⁽ |
⁾ |
+ |
− |
× |
÷ |
= |
Superscript Figures
Replaces figures (sometimes also letters) with a smaller form, shifted above the baseline.
Show more...
a |
b |
c |
d |
e |
f |
g |
h |
i |
j |
k |
l |
m |
n |
o |
p |
q |
r |
s |
t |
u |
v |
w |
x |
y |
z |
. |
, |
: |
; |
- |
( |
) |
[ |
] |
{ |
} |
¤ |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
₊ |
₋ |
₌ |
₍ |
₎ |
+ |
− |
× |
÷ |
= |
` |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
a |
b |
c |
d |
e |
f |
g |
h |
i |
j |
k |
l |
m |
n |
o |
p |
q |
r |
s |
t |
u |
v |
w |
x |
y |
z |
. |
, |
: |
; |
- |
( |
) |
[ |
] |
{ |
} |
¤ |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
€ |
$ |
¢ |
£ |
¥ |
ƒ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
₊ |
₋ |
₌ |
₍ |
₎ |
+ |
− |
× |
÷ |
= |
` |
₴ |
₸ |
₺ |
₽ |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
⁄ |
⅟ |
½ |
⅓ |
¼ |
⅕ |
⅙ |
⅐ |
⅛ |
⅑ |
⅔ |
⅖ |
¾ |
⅗ |
⅜ |
⅘ |
⅚ |
⅝ |
⅞ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
▼ |
₴ |
₸ |
₺ |
₽ |
⁰ |
¹ |
² |
³ |
⁴ |
⁵ |
⁶ |
⁷ |
⁸ |
⁹ |
₀ |
₁ |
₂ |
₃ |
₄ |
₅ |
₆ |
₇ |
₈ |
₉ |
⁄ |
⅟ |
½ |
⅓ |
¼ |
⅕ |
⅙ |
⅐ |
⅛ |
⅑ |
⅔ |
⅖ |
¾ |
⅗ |
⅜ |
⅘ |
⅚ |
⅝ |
⅞ |
Slashed Zero
Activates the slashed form of dollar and cent.
How to embed LucasFonts’ webfonts
/* Copy the following code into your CSS file */
@font-face {
font-family: 'TheSans Variable C4s Italic Web';
src: url('TheSansVariableC4s-Italic.woff2') format('woff2-variations');
font-display: swap;
font-weight: 200 900;
}
body {
font-family: "TheSans Variable C4s Italic Web", Verdana, sans-serif;
font-feature-settings: 'kern' 1, 'liga' 1, 'calt' 1, 'locl' 1;
-webkit-font-feature-settings: 'kern' 1, 'liga' 1, 'calt' 1, 'locl' 1;
-moz-font-feature-settings: 'kern' 1, 'liga' 1, 'calt' 1, 'locl' 1;
-ms-font-feature-settings: 'kern' 1, 'liga' 1, 'calt' 1, 'locl' 1;
-o-font-feature-settings: 'kern' 1, 'liga' 1, 'calt' 1, 'locl' 1;
font-weight: 200;
font-variation-settings: 'wght' 200;
}
For more information on using variable webfonts, please refer to
this article.
High quality screen performance
Due to the various rasterizers that are at work inside the different operating systems, webfonts will not be displayed with the same consistent quality across different browsers. To ensure optimal on-screen performance in all browsers, our webfonts are carefully hinted. LucasFonts has decades of combined experience in producing high-quality fonts in various formats for use on screen.