Audi Type Bold Italic

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

Only encoded characters are shown here. The font may contain more glyphs that are accessible through OpenType layout features.

16px

!"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ ¡¢£¤¥¦§¨©ª«¬­®¯°±²³´µ·¸¹º»¼½¾¿ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖ×ØÙÚÛÜÝÞßàáâãäåæçèéêëìíîïðñòóôõö÷øùúûüýþÿĀāĂ㥹ĆćĈĉĊċČčĎďĐđĒēĔĕĖėĘęĚěĜĝĞğĠġĢģĤĥĦħĨĩĪīĬĭĮįİıIJijĴĵĶķĹĺĻļĽľĿŀŁłŃńŅņŇňʼnŊŋŌōŎŏŐőŒœŔŕŖŗŘřŚśŜŝŞşŠšŢţŤťŦŧŨũŪūŬŭŮůŰűŲųŴŵŶŷŸŹźŻżŽžƏƒǁȘșȚțȷəˆˇ˘˙˚˛˜˝̦̒̕΄΅ΆΈΉΊΌΎΏΐΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΪΫάέήίΰαβγδεζηθικλμνξοπρςστυφχψωϊϋόύώЀЁЂЃЄЅІЇЈЉЊЋЌЍЎЏАБВГДЕЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫЬЭЮЯабвгдежзийклмнопрстуфхцчшщъыьэюяѐёђѓєѕіїјљњћќѝўџѲѳҐґҒғҖҗҘҙҚқҜҝҠҡҢңҪҫҮүҰұҲҳҶҷҸҹҺһӁӂӘәӢӣӨөӮӯ฿ẀẁẂẃẄẅẞỲỳ–—―‘’‚“”„†‡•…‰‹›⁄⁰⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉₡₤₦₨₩₪₫€₭₮₱₲₴₵₽ℓ№℗™Ω℮⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞←↑→↓↖↗↘↙∂∆∏∑−√∞∫≈≠≤≥⌀▪▯►◀◆◊⮤⮥⮦⮧元円fffiflffiffl[FEFF]

OpenType Layout Features

Glyph substitution

Glyph positioning

Case-sensitive Forms

`¨¯´ˆˇ˘˙˚˜˝΄
`¨¯´ˆˇ˘˙˚˜˝΄

Denominators

0123456789
0123456789

Discretionary Ligatures

f‌ff‌f‌if‌f‌lf‌if‌l
ffffifflfifl

Numerators

0123456789
0123456789

Ordinals

ao
ao

Proportional Figures

0123456789
0123456789

Scientific Inferiors

0123456789
0123456789

Stylistic Alternates

1GI§¹¼½ÌÍÎÏĜĞĠĢĨĪĬĮİIJΊΙΪІЇ•₁⅓⅕⅙⅛
1GI§¹¼½ÌÍÎÏĜĞĠĢĨĪĬĮİIJΊΙΪІЇ•₁⅓⅕⅙⅛

Stylistic Set 1: Section & Bullet

§•
§•

Stylistic Set 2: G with bar

GĜĞĠĢ
GĜĞĠĢ

Stylistic Set 3: I with bars

IÌÍÎÏĨĪĬĮİIJΊΙΪІЇ
IÌÍÎÏĨĪĬĮİIJΊΙΪІЇ

Stylistic Set 4: Number 1 with bar

1¹¼½₁⅓⅕⅙⅛
1¹¼½₁⅓⅕⅙⅛

Superscript Figures

0123456789
0123456789

Tabular Figures

Supported Orthographies

How to embed LucasFonts’ webfonts

/* Copy the following code into your CSS file */

@font-face {
     font-family: "AudiType-BoldItalic";
     src: url("AudiType-BoldItalic_4.03.woff2") format("woff2"),
          url("AudiType-BoldItalic_4.03.woff") format("woff");
     font-weight: normal;
     font-style: normal;
}


body {
    font-family: "AudiType-BoldItalic", 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;
}

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.