FT Regola Neue OverviewOverview

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Artistic
Skills

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The socialized recitation prevails, and special talent in the various curriculum areas is more often discovered and nurtured. Pupils in the junior high school should be given a continuous opportunity to use their knowledge of art in school enterprises connected with the issuing of periodicals and other publications, in advertising social functions, in staging and participating in the giving of plays and pageants, and in other activities too numerous to mention in this brief review. All this can be accomplished through the organization of art clubs. Some of the clubs may give their major emphasis to photography, others to sculpture, painting, sketching, or craft; all will be engaged either in making closer contacts with the interests represented by other school subjects, through cooperating with other departments and clubs within the school, or they will connect more closely with life experiences outside, through trips to art galleries, to the art school, to buildings that are architecturally beautiful, to buildings in process of erection; to monuments and other works of sculpture in and near the community; to the studios of sculptors, painters, and craftsmen; to manufacturing plants where beautiful things are being produced, to printing offices which do artistic work, and to department stores where products of artistic merit are offered for sale. Art clubs help to raise the standard of taste within the school community by securing speakers on art subjects, as well as gifts and loans of works of art, and by purchasing framed pictures for school decoration, as well as illustrative material for use of the club and of the Art Department.

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Römer
Schools
Gêne

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Junior
Classes
Sueño

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The success or failure of the art program in a school or a school system is dependent primarily on the character and educational back- ground of the teachers employed to instruct the pupils. It is not enough that teachers shall meet the standard qualifications set up by departments of education and their examining boards. The professional attitude and outlook of a teacher is sometimes quite as important a factor in his suitability for employment as is the number of courses completed in a specified subject matter field in a recognized art school, college, or university; physical, character, and professional qualities are all important in the training and selection of teachers. According to Newmark, physical qualities include appearance, neatness, health and voice; intellectual qualities, grasp of subject matter and command of English; character qualities, sincerity, enthusiasm, impartiality, self-control, common sense, humanness, sense of humor, and sympathy; professional qualities, care of classroom, discipline, instructional skill, promptness, understanding of children, cooperativeness, preparation for daily lesson, interest in pupils, personality, efficient care of routine including care of records and supplies. From the standpoint of school administration, art as a school study may be regarded as exactly coordinate with the other subjects; from the standpoints of content and of psychological method, however, art is somewhat though not radically different from the other subjects. It is concerned quite largely with the concrete expression of individual thoughts and feelings to the end that life itself shall be richer and more beautiful for all. From the beginning to the end of the school course, the art period should be one of continuous self-expression and of consistent self-realization, of aspiration and of dreams, of experiment with a diversity of materials and of experience with beautiful things, of recreation and of productive work done in the spirit of play, of freedom of thought and of opinion, of mental and of spiritual growth. According to Dewey, “An irritated person is moved to do something. lie cannot suppress his irritation by any direct act of will; at most he can only drive it by this attempt into a subterranean channel where it will work the more insidiously and destructively.“

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Neue

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The reasons for the appearance of this hook are the present revival of art interest in America and the urgent need for art education that will be sufficiently pragmatic to meet the requirements of an advancing culture, one in which the conservation of human resources must play an increasingly important role. The aim of the book is to present a picture which, fortunately, is neither philosophical nor theoretical, for its preparation has been to a considerable extent a cooperative enterprise; its content has been the cumulative outgrowth of professional experiences in which a large number of individuals, both teachers and students, have had a share. The contents of this book are based on neither the traditional nor the radical point of view in education but seek, rather, to advocate and to exemplify a balanced offering, one in which information experience and activity experience are equitably related. The book should therefore meet the requirements of a text in art education for use in the training of teachers in normal schools, art schools, and teachers colleges. It should also serve as a reference book for teachers in service, not only for teachers of art but for other teachers as well, integrated art being but a single aspect of the entire school experience of elementary and secondary school boys and girls.

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What symmetry is to form, that is repetition in the art of ornament, Greek art and Gothic alike have series, with repetition or counterchange for their ruling motive. It is not necessary to draw the distinction between such motive and that of the Japanese. The Japanese motives may be defined as unique- ness and position. And these were not known as motives of decoration before the study of Japanese decoration. Repetition and counterchange, of course, have their place in Japanese ornament, as in the diaper patterns for which these people have so singular an invention, but here, too, uniqueness and position are the principal inspiration. And it is quite worth while, and much to the present purpose, to call attention to the chief peculiarity of the Japanese diaper patterns, which is interruption. 

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The place of the interruptions of lines, the variation of the place, and the avoidance of correspondence, are precisely what makes Japanese design of this class inimitable. Thus, even in a repeating pattern, you have a curiously successful effect of impulse. It is as though a separate intention had been formed by the designer at every angle. Such renewed consciousness does not make for greatness. Greatness in design has more peace than is found in the gentle abruptness of Japanese lines, in their curious brevity. It is scarcely necessary to say that a line, in all other schools of art, is long or short according to its place and purpose; but only the Japanese designer so contrives his patterns that the line is always short; and many repeating designs are entirely composed of this various and variously-occurring brevity.

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Cliché
BLOCK

Things

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Phase
BOOKS
Bläue

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Nor is it pictorial art, or decorative art only, that has been touched by Japanese example of Incident and the Unique. Music had attained the noblest form of symmetry in the eighteenth century, but in music, too, symmetry had since grown dull; and momentary music, the music of phase and of fragment, succeeded. The sense of symmetry is strong in a complete melody of symmetry in its most delicate and lively and least stationary form—balance; whereas the leitmotif is isolated. In domestic architecture Symmetry and Incident make a familiar antithesis—the very common place of rival methods of art. But the same antithesis exists in less obvious forms. The poets have sought “irregular ” meters. Incident hovers, in the very act of choosing its right place, in the most modern of modern portraits. In these we have, if not the Japanese suppression of minor emphasis, certainly the Japanese exaggeration of major emphasis; and with this a quickness and buoyancy. The smile, the figure, the drapery—not yet settled from the arranging touch of a hand, and showing its mark—the restless and un-stationary foot, and the unity of impulse that has passed everywhere like a single breeze, all these have a life that greatly transcends the life of Japanese art, yet has the nimble touch of Japanese incident. In passing, a charming comparison may be made between such portraiture and the aspect of an aspen or other tree of light and liberal leaf; whether still or in motion the aspen and the free-leafed poplar have the alertness and expectancy of fight in all their flocks of leaves, while the oaks and elms are gathered in their station. All this is not Japanese, but from such accident is Japanese art inspired, with its good luck of perceptiveness. Only recently have we come to the full realization that the time has arrived for taking stock of our mental and emotional assets, with a view to consistent planning for the future. “From the social point of view, as contrasted with art for art’s sake,” observe Keppel and Duffus, “the problem of art, like that of religion and recreation, turns to- day on its service to man in his inner adjustment to an environment which shifts and changes with unexampled rapidity. It appears to be one of the three great forces which stand between maladjusted man and his breakdown. Each serves in its own way to bring him comfort, serenity and joy.” At times the schools have thought,” says Haggerty, “that they should make children, at least some children, artists in the creative sense. They have tried to teach them to make with their own hands beautiful things that could be placed in a school exhibit. For the most part the effort has gone awry. In the first place, the schools can scarcely afford an amount of time adequate for the making of a competent artist. Secondly, only a few pupils could participate in a genuinely creative program which would thus leave all other pupils untouched.

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Semester
Program

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In his report on “Human Resources,” Watson states that “among the crowning achievements of a civilization are the triumphs of its scientists, organizers, artists, musicians, physicians, teachers, writers and others with exceptional genius. ‘Talent’ should not be limited to academic or artistic abilities, but should include all great social contributions. Productive genius in any field is dependent upon both native capacity and adequate opportunity for the development of these gifts. No comprehensive effort has thus far been made to discover among the children and young people of this country, those equipped with unusual promise. Only a few attempts have been made to set up special classes appropriate to the most talented.

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“The program should include: an appraisal of tests, ratings, early achievement records and other bases for predicting unusual aptitude; encouragement of research on new techniques. A review of methods now in use for developing and training each type of superior ability, a study of handicaps and obstacles which now prevent the realization of full possibilities of superior talent, with a view to the kind of social planning which will remove these hindrances to development, a follow-up study of persons with exceptional aptitude and training to discover any measures which might insure the better integration of special talents in the activities of society. “In addition to those who can expect to center their vocation in the exercise of their gifts.

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“At times the schools have thought,” says Haggerty, “that they should make children, at least some children, artists in the creative sense. They have tried to teach them to make with their own hands beautiful things that could be placed in a school exhibit. For the most part the effort has gone awry. In the first place, the schools can scarcely afford an amount of time adequate for the making of a competent artist. Secondly, only a few pupils could participate in a genuinely creative program which would thus leave all other pupils untouched. Thirdly, the attempt at a productive program for the few tends to set art apart as an interest that most persons can neglect and creates of its devotees a kind of separatist cult. This effort at a creative program too often envisages art in a very restricted way, entirely out of keeping with our assumption, and it would limit school instruction to a narrow field of activities. “Art as the province of a sophisticated few lies outside the pattern of our thinking here.

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BÜRO
Kinder
Cône

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Black
BOARD

Rösch

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Only recently have we come to the full realization that the time has arrived for taking stock of our mental and emotional assets, with a view to consistent planning for the future. “From the social point of view, as contrasted with art for art’s sake,” observe Keppel and Duffus, “the problem of art, like that of religion and recreation, turns today on its service to man in his inner adjustment to an environment which shifts and changes with unexampled rapidity. It appears to be one of the three great forces which stand between maladjusted man and his breakdown. Each serves in its own way to bring him comfort, serenity and joy.” At times the schools have thought, says Haggerty, that they should make children, at least some children, artists in the creative sense. They have tried to teach them to make with their own hands beautiful things that could be placed in a school exhibit. For the most part the effort has gone awry. In the first place, the schools can scarcely afford an amount of time adequate for the making of a competent artist. “Secondly, only a few pupils could participate in a genuinely creative program which would thus leave all other pupils untouched.” It should be able to interest them at a period which is generally regarded as critical in their physical and mental growth. Chief among the claims for the junior high school organization are that it keeps children in school longer, that it gives them an enriched educational offering, that it enables them to explore a greater number of fields of human endeavor, offering them more in the way of educational and vocational guidance than was possible under the old order, that it is more flexible in its curriculum schedule, that it places pupils in a more desirable atmosphere in which school subjects may be taught under better conditions by teachers who have been more highly trained in the subjects that they offer, that the organization is more economical of the pupil’s time, and that it promotes socialization, at the same time throwing more responsibility on the individual pupil. “Junior high schools sometimes make provision for election of studies by the pupils, and in some junior high schools promotion is by subject.” In most of them today pupils are generally grouped according to ability. The socialized recitation prevails, and special talent in the various curriculum areas is more often discovered and nurtured.

Heavy Italic; Size

Size

Limited character set

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A︎

A︎

A (0041)

Á︎

Á︎

Aacute (00C1)

Ă︎

Ă︎

Abreve (0102)

Ǎ︎

Ǎ︎

Acaron (01CD)

Â︎

Â︎

Acircumflex (00C2)

Ä︎

Ä︎

Adieresis (00C4)

Ạ︎

Ạ︎

Adotbelow (1EA0)

À︎

À︎

Agrave (00C0)

Ā︎

Ā︎

Amacron (0100)

Ą︎

Ą︎

Aogonek (0104)

Å︎

Å︎

Aring (00C5)

Ǻ︎

Ǻ︎

Aringacute (01FA)

Ã︎

Ã︎

Atilde (00C3)

Æ︎

Æ︎

AE (00C6)

Ǽ︎

Ǽ︎

AEacute (01FC)

B︎

B︎

B (0042)

Ḃ︎

Ḃ︎

Bdotaccent (1E02)

C︎

C︎

C (0043)

Ć︎

Ć︎

Cacute (0106)

Č︎

Č︎

Ccaron (010C)

Ç︎

Ç︎

Ccedilla (00C7)

Ĉ︎

Ĉ︎

Ccircumflex (0108)

Ċ︎

Ċ︎

Cdotaccent (010A)

D︎

D︎

D (0044)

Ð︎

Ð︎

Eth (00D0)

Ď︎

Ď︎

Dcaron (010E)

Ḑ︎

Ḑ︎

Dcedilla (1E10)

Đ︎

Đ︎

Dcroat (0110)

Ḋ︎

Ḋ︎

Ddotaccent (1E0A)

Ḍ︎

Ḍ︎

Ddotbelow (1E0C)

Ḏ︎

Ḏ︎

Dlinebelow (1E0E)

E︎

E︎

E (0045)

É︎

É︎

Eacute (00C9)

Ĕ︎

Ĕ︎

Ebreve (0114)

Ě︎

Ě︎

Ecaron (011A)

Ê︎

Ê︎

Ecircumflex (00CA)

Ë︎

Ë︎

Edieresis (00CB)

Ė︎

Ė︎

Edotaccent (0116)

Ẹ︎

Ẹ︎

Edotbelow (1EB8)

È︎

È︎

Egrave (00C8)

Ē︎

Ē︎

Emacron (0112)

Ę︎

Ę︎

Eogonek (0118)

Ẽ︎

Ẽ︎

Etilde (1EBC)

F︎

F︎

F (0046)

Ḟ︎

Ḟ︎

Fdotaccent (1E1E)

G︎

G︎

G (0047)

Ğ︎

Ğ︎

Gbreve (011E)

Ǧ︎

Ǧ︎

Gcaron (01E6)

Ĝ︎

Ĝ︎

Gcircumflex (011C)

Ģ︎

Ģ︎

Gcommaaccent (0122)

Ġ︎

Ġ︎

Gdotaccent (0120)

Ḡ︎

Ḡ︎

Gmacron (1E20)

H︎

H︎

H (0048)

Ħ︎

Ħ︎

Hbar (0126)

Ḫ︎

Ḫ︎

Hbrevebelow (1E2A)

Ȟ︎

Ȟ︎

Hcaron (021E)

Ĥ︎

Ĥ︎

Hcircumflex (0124)

Ḣ︎

Ḣ︎

Hdotaccent (1E22)

Ḥ︎

Ḥ︎

Hdotbelow (1E24)

I︎

I︎

I (0049)

IJ︎

IJ︎

IJ (0132)

Í︎

Í︎

Iacute (00CD)

Ĭ︎

Ĭ︎

Ibreve (012C)

Ǐ︎

Ǐ︎

Icaron (01CF)

Î︎

Î︎

Icircumflex (00CE)

Ï︎

Ï︎

Idieresis (00CF)

İ︎

İ︎

Idotaccent (0130)

Ị︎

Ị︎

Idotbelow (1ECA)

Ì︎

Ì︎

Igrave (00CC)

Ī︎

Ī︎

Imacron (012A)

Į︎

Į︎

Iogonek (012E)

Ɨ︎

Ɨ︎

Istroke (0197)

Ĩ︎

Ĩ︎

Itilde (0128)

J︎

J︎

J (004A)

Ĵ︎

Ĵ︎

Jcircumflex (0134)

K︎

K︎

K (004B)

Ǩ︎

Ǩ︎

Kcaron (01E8)

Ķ︎

Ķ︎

Kcommaaccent (0136)

L︎

L︎

L (004C)

Ĺ︎

Ĺ︎

Lacute (0139)

Ľ︎

Ľ︎

Lcaron (013D)

Ļ︎

Ļ︎

Lcommaaccent (013B)

Ŀ︎

Ŀ︎

Ldot (013F)

Ḷ︎

Ḷ︎

Ldotbelow (1E36)

Ḹ︎

Ḹ︎

Ldotbelowmacron (1E38)

Ḻ︎

Ḻ︎

Llinebelow (1E3A)

Ł︎

Ł︎

Lslash (0141)

M︎

M︎

M (004D)

Ḿ︎

Ḿ︎

Macute (1E3E)

Ṁ︎

Ṁ︎

Mdotaccent (1E40)

Ṃ︎

Ṃ︎

Mdotbelow (1E42)

N︎

N︎

N (004E)

Ń︎

Ń︎

Nacute (0143)

Ň︎

Ň︎

Ncaron (0147)

Ņ︎

Ņ︎

Ncommaaccent (0145)

Ṅ︎

Ṅ︎

Ndotaccent (1E44)

Ṇ︎

Ṇ︎

Ndotbelow (1E46)

Ǹ︎

Ǹ︎

Ngrave (01F8)

Ɲ︎

Ɲ︎

Nhookleft (019D)

Ṉ︎

Ṉ︎

Nlinebelow (1E48)

Ñ︎

Ñ︎

Ntilde (00D1)

Ŋ︎

Ŋ︎

Eng (014A)

O︎

O︎

O (004F)

Ó︎

Ó︎

Oacute (00D3)

Ŏ︎

Ŏ︎

Obreve (014E)

Ǒ︎

Ǒ︎

Ocaron (01D1)

Ô︎

Ô︎

Ocircumflex (00D4)

Ö︎

Ö︎

Odieresis (00D6)

Ȯ︎

Ȯ︎

Odotaccent (022E)

Ọ︎

Ọ︎

Odotbelow (1ECC)

Ò︎

Ò︎

Ograve (00D2)

Ő︎

Ő︎

Ohungarumlaut (0150)

Ō︎

Ō︎

Omacron (014C)

Ǫ︎

Ǫ︎

Oogonek (01EA)

Ø︎

Ø︎

Oslash (00D8)

Ǿ︎

Ǿ︎

Oslashacute (01FE)

Õ︎

Õ︎

Otilde (00D5)

Œ︎

Œ︎

OE (0152)

P︎

P︎

P (0050)

Ṗ︎

Ṗ︎

Pdotaccent (1E56)

Þ︎

Þ︎

Thorn (00DE)

Q︎

Q︎

Q (0051)

R︎

R︎

R (0052)

Ŕ︎

Ŕ︎

Racute (0154)

Ř︎

Ř︎

Rcaron (0$glyphnormaldirection)

Ŗ︎

Ŗ︎

Rcommaaccent (0156)

Ṛ︎

Ṛ︎

Rdotbelow (1E5A)

Ṝ︎

Ṝ︎

Rdotbelowmacron (1E5C)

Ṟ︎

Ṟ︎

Rlinebelow (1E5E)

S︎

S︎

S (0053)

Ś︎

Ś︎

Sacute (015A)

Š︎

Š︎

Scaron (0160)

Ş︎

Ş︎

Scedilla (015E)

Ŝ︎

Ŝ︎

Scircumflex (015C)

Ș︎

Ș︎

Scommaaccent (0218)

Ṡ︎

Ṡ︎

Sdotaccent (1E60)

Ṣ︎

Ṣ︎

Sdotbelow (1E62)

ẞ︎

ẞ︎

Germandbls (1E9E)

Ə︎

Ə︎

Schwa (018F)

T︎

T︎

T (0054)

Ŧ︎

Ŧ︎

Tbar (0166)

Ť︎

Ť︎

Tcaron (0164)

Ţ︎

Ţ︎

Tcedilla (0162)

Ț︎

Ț︎

Tcommaaccent (021A)

Ṫ︎

Ṫ︎

Tdotaccent (1E6A)

Ṭ︎

Ṭ︎

Tdotbelow (1E6C)

Ṯ︎

Ṯ︎

Tlinebelow (1E6E)

U︎

U︎

U (0055)

Ú︎

Ú︎

Uacute (00DA)

Ʉ︎

Ʉ︎

Ubar (0244)

Ŭ︎

Ŭ︎

Ubreve (016C)

Ǔ︎

Ǔ︎

Ucaron (01D3)

Û︎

Û︎

Ucircumflex (00DB)

Ü︎

Ü︎

Udieresis (00DC)

Ụ︎

Ụ︎

Udotbelow (1EE4)

Ù︎

Ù︎

Ugrave (00D9)

Ű︎

Ű︎

Uhungarumlaut (0170)

Ū︎

Ū︎

Umacron (016A)

Ų︎

Ų︎

Uogonek (0172)

Ů︎

Ů︎

Uring (016E)

Ũ︎

Ũ︎

Utilde (0168)

V︎

V︎

V (0056)

Ṽ︎

Ṽ︎

Vtilde (1E7C)

W︎

W︎

W (0057)

Ẃ︎

Ẃ︎

Wacute (1E82)

Ŵ︎

Ŵ︎

Wcircumflex (0174)

Ẅ︎

Ẅ︎

Wdieresis (1E84)

Ẁ︎

Ẁ︎

Wgrave (1E80)

X︎

X︎

X (0058)

Ẋ︎

Ẋ︎

Xdotaccent (1E8A)

Y︎

Y︎

Y (0059)

Ý︎

Ý︎

Yacute (00DD)

Ŷ︎

Ŷ︎

Ycircumflex (0176)

Ÿ︎

Ÿ︎

Ydieresis (0178)

Ỳ︎

Ỳ︎

Ygrave (1EF2)

Ȳ︎

Ȳ︎

Ymacron (0232)

Ỹ︎

Ỹ︎

Ytilde (1EF8)

Z︎

Z︎

Z (005A)

Ź︎

Ź︎

Zacute (0179)

Ž︎

Ž︎

Zcaron (017D)

Ż︎

Ż︎

Zdotaccent (017B)

Ẓ︎

Ẓ︎

Zdotbelow (1E92)

Ƶ︎

Ƶ︎

Zstroke (01B5)

a︎

a︎

a (0061)

á︎

á︎

aacute (00E1)

ă︎

ă︎

abreve (0103)

ǎ︎

ǎ︎

acaron (01CE)

â︎

â︎

acircumflex (00E2)

ä︎

ä︎

adieresis (00E4)

ạ︎

ạ︎

adotbelow (1EA1)

à︎

à︎

agrave (00E0)

ā︎

ā︎

amacron (0101)

ą︎

ą︎

aogonek (0105)

å︎

å︎

aring (00E5)

ǻ︎

ǻ︎

aringacute (01FB)

ã︎

ã︎

atilde (00E3)

æ︎

æ︎

ae (00E6)

ǽ︎

ǽ︎

aeacute (01FD)

b︎

b︎

b (0062)

ḃ︎

ḃ︎

bdotaccent (1E03)

c︎

c︎

c (0063)

ć︎

ć︎

cacute (0107)

č︎

č︎

ccaron (010D)

ç︎

ç︎

ccedilla (00E7)

ĉ︎

ĉ︎

ccircumflex (0109)

ċ︎

ċ︎

cdotaccent (010B)

d︎

d︎

d (0064)

ð︎

ð︎

eth (00F0)

ď︎

ď︎

dcaron (010F)

ḑ︎

ḑ︎

dcedilla (1E11)

đ︎

đ︎

dcroat (0111)

ḋ︎

ḋ︎

ddotaccent (1E0B)

ḍ︎

ḍ︎

ddotbelow (1E0D)

ḏ︎

ḏ︎

dlinebelow (1E0F)

e︎

e︎

e (0065)

é︎

é︎

eacute (00E9)

ĕ︎

ĕ︎

ebreve (0115)

ě︎

ě︎

ecaron (011B)

ê︎

ê︎

ecircumflex (00EA)

ë︎

ë︎

edieresis (00EB)

ė︎

ė︎

edotaccent (0117)

ẹ︎

ẹ︎

edotbelow (1EB9)

è︎

è︎

egrave (00E8)

ē︎

ē︎

emacron (0113)

ę︎

ę︎

eogonek (0119)

ẽ︎

ẽ︎

etilde (1EBD)

ə︎

ə︎

schwa (0259)

f︎

f︎

f (0066)

ḟ︎

ḟ︎

fdotaccent (1E1F)

g︎

g︎

g (0067)

ğ︎

ğ︎

gbreve (011F)

ǧ︎

ǧ︎

gcaron (01E7)

ĝ︎

ĝ︎

gcircumflex (011D)

ģ︎

ģ︎

gcommaaccent (0123)

ġ︎

ġ︎

gdotaccent (0121)

ḡ︎

ḡ︎

gmacron (1E21)

h︎

h︎

h (0068)

ħ︎

ħ︎

hbar (0127)

ḫ︎

ḫ︎

hbrevebelow (1E2B)

ȟ︎

ȟ︎

hcaron (021F)

ĥ︎

ĥ︎

hcircumflex (0125)

ḣ︎

ḣ︎

hdotaccent (1E23)

ḥ︎

ḥ︎

hdotbelow (1E25)

i︎

i︎

i (0069)

ı︎

ı︎

idotless (0131)

í︎

í︎

iacute (00ED)

ĭ︎

ĭ︎

ibreve (012D)

ǐ︎

ǐ︎

icaron (01D0)

î︎

î︎

icircumflex (00EE)

ï︎

ï︎

idieresis (00EF)

ị︎

ị︎

idotbelow (1ECB)

ì︎

ì︎

igrave (00EC)

ij︎

ij︎

ij (0133)

ī︎

ī︎

imacron (012B)

į︎

į︎

iogonek (012F)

ɨ︎

ɨ︎

istroke (0268)

ĩ︎

ĩ︎

itilde (0129)

j︎

j︎

j (006A)

ȷ︎

ȷ︎

jdotless (0237)

ĵ︎

ĵ︎

jcircumflex (0135)

k︎

k︎

k (006B)

ǩ︎

ǩ︎

kcaron (01E9)

ķ︎

ķ︎

kcommaaccent (0137)

ĸ︎

ĸ︎

kgreenlandic (0138)

l︎

l︎

l (006C)

ĺ︎

ĺ︎

lacute (013A)

ľ︎

ľ︎

lcaron (013E)

ļ︎

ļ︎

lcommaaccent (013C)

ŀ︎

ŀ︎

ldot (0140)

ḷ︎

ḷ︎

ldotbelow (1E37)

ḹ︎

ḹ︎

ldotbelowmacron (1E39)

ḻ︎

ḻ︎

llinebelow (1E3B)

ł︎

ł︎

lslash (0142)

m︎

m︎

m (006D)

ḿ︎

ḿ︎

macute (1E3F)

ṁ︎

ṁ︎

mdotaccent (1E41)

ṃ︎

ṃ︎

mdotbelow (1E43)

n︎

n︎

n (006E)

ń︎

ń︎

nacute (0144)

ʼn︎

ʼn︎

napostrophe (0149)

ň︎

ň︎

ncaron (0148)

ņ︎

ņ︎

ncommaaccent (0146)

ṅ︎

ṅ︎

ndotaccent (1E45)

ṇ︎

ṇ︎

ndotbelow (1E47)

ǹ︎

ǹ︎

ngrave (01F9)

ɲ︎

ɲ︎

nhookleft (0272)

ṉ︎

ṉ︎

nlinebelow (1E49)

ñ︎

ñ︎

ntilde (00F1)

ŋ︎

ŋ︎

eng (014B)

o︎

o︎

o (006F)

ó︎

ó︎

oacute (00F3)

ŏ︎

ŏ︎

obreve (014F)

ǒ︎

ǒ︎

ocaron (01D2)

ô︎

ô︎

ocircumflex (00F4)

ö︎

ö︎

odieresis (00F6)

ȯ︎

ȯ︎

odotaccent (022F)

ọ︎

ọ︎

odotbelow (1ECD)

ò︎

ò︎

ograve (00F2)

ő︎

ő︎

ohungarumlaut (0151)

ō︎

ō︎

omacron (014D)

ǫ︎

ǫ︎

oogonek (01EB)

ø︎

ø︎

oslash (00F8)

ǿ︎

ǿ︎

oslashacute (01FF)

õ︎

õ︎

otilde (00F5)

œ︎

œ︎

oe (0153)

p︎

p︎

p (0070)

ṗ︎

ṗ︎

pdotaccent (1E57)

þ︎

þ︎

thorn (00FE)

q︎

q︎

q (0071)

r︎

r︎

r (0072)

ŕ︎

ŕ︎

racute (0155)

ř︎

ř︎

rcaron (0159)

ŗ︎

ŗ︎

rcommaaccent (0157)

ṛ︎

ṛ︎

rdotbelow (1E5B)

ṝ︎

ṝ︎

rdotbelowmacron (1E5D)

ṟ︎

ṟ︎

rlinebelow (1E5F)

s︎

s︎

s (0073)

ś︎

ś︎

sacute (015B)

š︎

š︎

scaron (0161)

ş︎

ş︎

scedilla (015F)

ŝ︎

ŝ︎

scircumflex (015D)

ș︎

ș︎

scommaaccent (0219)

ṡ︎

ṡ︎

sdotaccent (1E61)

ṣ︎

ṣ︎

sdotbelow (1E63)

ß︎

ß︎

germandbls (00DF)

ſ︎

ſ︎

longs (017F)

t︎

t︎

t (0074)

ŧ︎

ŧ︎

tbar (0167)

ť︎

ť︎

tcaron (0165)

ţ︎

ţ︎

tcedilla (0163)

ț︎

ț︎

tcommaaccent (021B)

ẗ︎

ẗ︎

tdieresis (1E97)

ṫ︎

ṫ︎

tdotaccent (1E6B)

ṭ︎

ṭ︎

tdotbelow (1E6D)

ṯ︎

ṯ︎

tlinebelow (1E6F)

u︎

u︎

u (0075)

ú︎

ú︎

uacute (00FA)

ʉ︎

ʉ︎

ubar (0289)

ŭ︎

ŭ︎

ubreve (016D)

ǔ︎

ǔ︎

ucaron (01D4)

û︎

û︎

ucircumflex (00FB)

ü︎

ü︎

udieresis (00FC)

ụ︎

ụ︎

udotbelow (1EE5)

ù︎

ù︎

ugrave (00F9)

ű︎

ű︎

uhungarumlaut (0171)

ū︎

ū︎

umacron (016B)

ų︎

ų︎

uogonek (0173)

ů︎

ů︎

uring (016F)

ũ︎

ũ︎

utilde (0169)

v︎

v︎

v (0076)

ṽ︎

ṽ︎

vtilde (1E7D)

w︎

w︎

w (0077)

ẃ︎

ẃ︎

wacute (1E83)

ŵ︎

ŵ︎

wcircumflex (0175)

ẅ︎

ẅ︎

wdieresis (1E85)

ẁ︎

ẁ︎

wgrave (1E81)

x︎

x︎

x (0078)

ẋ︎

ẋ︎

xdotaccent (1E8B)

y︎

y︎

y (0079)

ý︎

ý︎

yacute (00FD)

ŷ︎

ŷ︎

ycircumflex (0177)

ÿ︎

ÿ︎

ydieresis (00FF)

ỳ︎

ỳ︎

ygrave (1EF3)

ȳ︎

ȳ︎

ymacron (0233)

ỹ︎

ỹ︎

ytilde (1EF9)

z︎

z︎

z (007A)

ź︎

ź︎

zacute (017A)

ž︎

ž︎

zcaron (017E)

ż︎

ż︎

zdotaccent (017C)

ẓ︎

ẓ︎

zdotbelow (1E93)

ƶ︎

ƶ︎

zstroke (01B6)

fi︎

fi︎

fi (FB01)

fl︎

fl︎

fl (FB02)

ª︎

ª︎

ordfeminine (00AA)

º︎

º︎

ordmasculine (00BA)

Δ︎

Δ︎

Delta (0394)

Ω︎

Ω︎

Omega (03A9)

μ︎

μ︎

mu (03BC)

π︎

π︎

pi (03C0)

0︎

0︎

zero (0030)

1︎

1︎

one (0031)

2︎

2︎

two (0032)

3︎

3︎

three (0033)

4︎

4︎

four (0034)

5︎

5︎

five (0035)

6︎

6︎

six (0036)

7︎

7︎

seven (0037)

8︎

8︎

eight (0038)

9︎

9︎

nine (0039)

₀︎

₀︎

zeroinferior (2080)

₁︎

₁︎

oneinferior (2081)

₂︎

₂︎

twoinferior (2082)

₃︎

₃︎

threeinferior (2083)

₄︎

₄︎

fourinferior (2084)

₅︎

₅︎

fiveinferior (2085)

₆︎

₆︎

sixinferior (2086)

₇︎

₇︎

seveninferior (2087)

₈︎

₈︎

eightinferior (2088)

₉︎

₉︎

nineinferior (2089)

⁰︎

⁰︎

zerosuperior (2070)

¹︎

¹︎

onesuperior (00B9)

²︎

²︎

twosuperior (00B2)

³︎

³︎

threesuperior (00B3)

⁴︎

⁴︎

foursuperior (2074)

⁵︎

⁵︎

fivesuperior (2075)

⁶︎

⁶︎

sixsuperior (2076)

⁷︎

⁷︎

sevensuperior (2077)

⁸︎

⁸︎

eightsuperior (2078)

⁹︎

⁹︎

ninesuperior (2079)

⁄︎

⁄︎

fraction (2044)

.︎

.︎

period (002E)

,︎

,︎

comma (002C)

:︎

:︎

colon (003A)

;︎

;︎

(semicolon)

…︎

…︎

ellipsis (2026)

!︎

!︎

exclam (0021)

¡︎

¡︎

exclamdown (00A1)

?︎

?︎

question (003F)

¿︎

¿︎

questiondown (00BF)

·︎

·︎

periodcentered (00B7)

•︎

•︎

bullet (2022)

*︎

*︎

asterisk (002A)

‼︎

‼︎

exclamdouble (203C)

‽︎

‽︎

interrobang (203D)

#︎

#︎

numbersign (0023)

/︎

/︎

backslash (005C)

\ ︎

\ ︎

space (0020)

-︎

-︎

hyphen (002D)

–︎

–︎

endash (2013)

—︎

—︎

emdash (2014)

_︎

_︎

underscore (005F)

‚︎

‚︎

quotesinglbase (201A)

„︎

„︎

quotedblbase (201E)

“︎

“︎

quotedblleft (201C)

”︎

”︎

quotedblright (201D)

‘︎

‘︎

quoteleft (2018)

’︎

’︎

quoteright (2019)

«︎

«︎

guillemetleft (00AB)

»︎

»︎

guillemetright (00BB)

‹︎

‹︎

guilsinglleft (2039)

›︎

›︎

guilsinglright (203A)

"︎

"︎

(quotedbl)

'︎

'︎

quotesingle (0027)

ƒ︎

ƒ︎

florin (0192)

✓︎

✓︎

checkmark (2713)

✕︎

✕︎

multiplicationX (2715)

@︎

@︎

at (0040)

&︎

&︎

ampersand (0026)

¶︎

¶︎

paragraph (00B6)

§︎

§︎

section (00A7)

©︎

©︎

copyright (00A9)

®︎

®︎

registered (00AE)

℗︎

℗︎

published (2117)

™︎

™︎

trademark (2122)

℅︎

℅︎

careof (2105)

°︎

°︎

degree (00B0)

′︎

′︎

minute (2032)

″︎

″︎

second (2033)

|︎

|︎

bar (007C)

¦︎

¦︎

brokenbar (00A6)

†︎

†︎

dagger (2020)

ℓ︎

ℓ︎

literSign (2113)

‡︎

‡︎

daggerdbl (2021)

℮︎

℮︎

estimated (212E)

₿︎

₿︎

bitcoin (20BF)

¢︎

¢︎

cent (00A2)

¤︎

¤︎

currency (00A4)

$︎

$︎

dollar (0024)

€︎

€︎

euro (20AC)

₴︎

₴︎

hryvnia (20B4)

₤︎

₤︎

lira (20A4)

₺︎

₺︎

liraTurkish (20BA)

₦︎

₦︎

naira (20A6)

₽︎

₽︎

ruble (20BD)

₹︎

₹︎

rupeeIndian (20B9)

₪︎

₪︎

sheqel (20AA)

£︎

£︎

sterling (00A3)

₸︎

₸︎

tenge (20B8)

₩︎

₩︎

won (20A9)

¥︎

¥︎

yen (00A5)

⋅︎

⋅︎

dotmath (22C5)

+︎

+︎

plus (002B)

−︎

−︎

minus (2212)

×︎

×︎

multiply (00D7)

÷︎

÷︎

divide (00F7)

=︎

=︎

equal (003D)

≠︎

≠︎

notequal (2260)

>︎

>︎

greater (003E)

<︎

<︎

less (003C)

≥︎

≥︎

greaterequal (2265)

≤︎

≤︎

lessequal (2264)

±︎

±︎

plusminus (00B1)

≈︎

≈︎

approxequal (2248)

~︎

~︎

asciitilde (007E)

¬︎

¬︎

logicalnot (00AC)

^︎

^︎

asciicircum (005E)

∞︎

∞︎

infinity (221E)

∅︎

∅︎

emptyset (2205)

∫︎

∫︎

integral (222B)

Ω︎

Ω︎

Ohm (2126)

∆︎

∆︎

increment (2206)

∏︎

∏︎

product (220F)

∑︎

∑︎

summation (2211)

√︎

√︎

radical (221A)

∂︎

∂︎

partialdiff (2202)

µ︎

µ︎

micro (00B5)

%︎

%︎

percent (0025)

‰︎

‰︎

perthousand (2030)

↑︎

↑︎

upArrow (2191)

↗︎

↗︎

northEastArrow (2197)

→︎

→︎

rightArrow (2192)

↘︎

↘︎

southEastArrow (2198)

↓︎

↓︎

downArrow (2193)

↙︎

↙︎

southWestArrow (2199)

←︎

←︎

leftArrow (2190)

↖︎

↖︎

northWestArrow (2196)

●︎

●︎

blackCircle (25CF)

○︎

○︎

whiteCircle (25CB)

◦︎

◦︎

whiteBullet (25E6)

◊︎

◊︎

lozenge (25CA)

■︎

■︎

blackSquare (25A0)

□︎

□︎

whiteSquare (25A1)

¨︎

¨︎

dieresis (00A8)

˙︎

˙︎

dotaccent (02D9)

`︎

`︎

grave (0060)

´︎

´︎

acute (00B4)

˝︎

˝︎

hungarumlaut (02DD)

ˆ︎

ˆ︎

circumflex (02C6)

ˇ︎

ˇ︎

caron (02C7)

˘︎

˘︎

breve (02D8)

˚︎

˚︎

ring (02DA)

˜︎

˜︎

tilde (02DC)

¯︎

¯︎

macron (00AF)

¸︎

¸︎

cedilla (00B8)

˛︎

˛︎

ogonek (02DB)

A︎

A︎

A (0041)

Á︎

Á︎

Aacute (00C1)

Ă︎

Ă︎

Abreve (0102)

Ǎ︎

Ǎ︎

Acaron (01CD)

Â︎

Â︎

Acircumflex (00C2)

Ä︎

Ä︎

Adieresis (00C4)

Ạ︎

Ạ︎

Adotbelow (1EA0)

À︎

À︎

Agrave (00C0)

Ā︎

Ā︎

Amacron (0100)

Ą︎

Ą︎

Aogonek (0104)

Å︎

Å︎

Aring (00C5)

Ǻ︎

Ǻ︎

Aringacute (01FA)

Ã︎

Ã︎

Atilde (00C3)

Æ︎

Æ︎

AE (00C6)

Ǽ︎

Ǽ︎

AEacute (01FC)

B︎

B︎

B (0042)

Ḃ︎

Ḃ︎

Bdotaccent (1E02)

C︎

C︎

C (0043)

Ć︎

Ć︎

Cacute (0106)

Č︎

Č︎

Ccaron (010C)

Ç︎

Ç︎

Ccedilla (00C7)

Ĉ︎

Ĉ︎

Ccircumflex (0108)

Ċ︎

Ċ︎

Cdotaccent (010A)

D︎

D︎

D (0044)

Ð︎

Ð︎

Eth (00D0)

Ď︎

Ď︎

Dcaron (010E)

Ḑ︎

Ḑ︎

Dcedilla (1E10)

Đ︎

Đ︎

Dcroat (0110)

Ḋ︎

Ḋ︎

Ddotaccent (1E0A)

Ḍ︎

Ḍ︎

Ddotbelow (1E0C)

Ḏ︎

Ḏ︎

Dlinebelow (1E0E)

E︎

E︎

E (0045)

É︎

É︎

Eacute (00C9)

Ĕ︎

Ĕ︎

Ebreve (0114)

Ě︎

Ě︎

Ecaron (011A)

Ê︎

Ê︎

Ecircumflex (00CA)

Ë︎

Ë︎

Edieresis (00CB)

Ė︎

Ė︎

Edotaccent (0116)

Ẹ︎

Ẹ︎

Edotbelow (1EB8)

È︎

È︎

Egrave (00C8)

Ē︎

Ē︎

Emacron (0112)

Ę︎

Ę︎

Eogonek (0118)

Ẽ︎

Ẽ︎

Etilde (1EBC)

F︎

F︎

F (0046)

Ḟ︎

Ḟ︎

Fdotaccent (1E1E)

G︎

G︎

G (0047)

Ğ︎

Ğ︎

Gbreve (011E)

Ǧ︎

Ǧ︎

Gcaron (01E6)

Ĝ︎

Ĝ︎

Gcircumflex (011C)

Ģ︎

Ģ︎

Gcommaaccent (0122)

Ġ︎

Ġ︎

Gdotaccent (0120)

Ḡ︎

Ḡ︎

Gmacron (1E20)

H︎

H︎

H (0048)

Ħ︎

Ħ︎

Hbar (0126)

Ḫ︎

Ḫ︎

Hbrevebelow (1E2A)

Ȟ︎

Ȟ︎

Hcaron (021E)

Ĥ︎

Ĥ︎

Hcircumflex (0124)

Ḣ︎

Ḣ︎

Hdotaccent (1E22)

Ḥ︎

Ḥ︎

Hdotbelow (1E24)

I︎

I︎

I (0049)

IJ︎

IJ︎

IJ (0132)

Í︎

Í︎

Iacute (00CD)

Ĭ︎

Ĭ︎

Ibreve (012C)

Ǐ︎

Ǐ︎

Icaron (01CF)

Î︎

Î︎

Icircumflex (00CE)

Ï︎

Ï︎

Idieresis (00CF)

İ︎

İ︎

Idotaccent (0130)

Ị︎

Ị︎

Idotbelow (1ECA)

Ì︎

Ì︎

Igrave (00CC)

Ī︎

Ī︎

Imacron (012A)

Į︎

Į︎

Iogonek (012E)

Ɨ︎

Ɨ︎

Istroke (0197)

Ĩ︎

Ĩ︎

Itilde (0128)

J︎

J︎

J (004A)

Ĵ︎

Ĵ︎

Jcircumflex (0134)

K︎

K︎

K (004B)

Ǩ︎

Ǩ︎

Kcaron (01E8)

Ķ︎

Ķ︎

Kcommaaccent (0136)

L︎

L︎

L (004C)

Ĺ︎

Ĺ︎

Lacute (0139)

Ľ︎

Ľ︎

Lcaron (013D)

Ļ︎

Ļ︎

Lcommaaccent (013B)

Ŀ︎

Ŀ︎

Ldot (013F)

Ḷ︎

Ḷ︎

Ldotbelow (1E36)

Ḹ︎

Ḹ︎

Ldotbelowmacron (1E38)

Ḻ︎

Ḻ︎

Llinebelow (1E3A)

Ł︎

Ł︎

Lslash (0141)

M︎

M︎

M (004D)

Ḿ︎

Ḿ︎

Macute (1E3E)

Ṁ︎

Ṁ︎

Mdotaccent (1E40)

Ṃ︎

Ṃ︎

Mdotbelow (1E42)

N︎

N︎

N (004E)

Ń︎

Ń︎

Nacute (0143)

Ň︎

Ň︎

Ncaron (0147)

Ņ︎

Ņ︎

Ncommaaccent (0145)

Ṅ︎

Ṅ︎

Ndotaccent (1E44)

Ṇ︎

Ṇ︎

Ndotbelow (1E46)

Ǹ︎

Ǹ︎

Ngrave (01F8)

Ɲ︎

Ɲ︎

Nhookleft (019D)

Ṉ︎

Ṉ︎

Nlinebelow (1E48)

Ñ︎

Ñ︎

Ntilde (00D1)

Ŋ︎

Ŋ︎

Eng (014A)

O︎

O︎

O (004F)

Ó︎

Ó︎

Oacute (00D3)

Ŏ︎

Ŏ︎

Obreve (014E)

Ǒ︎

Ǒ︎

Ocaron (01D1)

Ô︎

Ô︎

Ocircumflex (00D4)

Ö︎

Ö︎

Odieresis (00D6)

Ȯ︎

Ȯ︎

Odotaccent (022E)

Ọ︎

Ọ︎

Odotbelow (1ECC)

Ò︎

Ò︎

Ograve (00D2)

Ő︎

Ő︎

Ohungarumlaut (0150)

Ō︎

Ō︎

Omacron (014C)

Ǫ︎

Ǫ︎

Oogonek (01EA)

Ø︎

Ø︎

Oslash (00D8)

Ǿ︎

Ǿ︎

Oslashacute (01FE)

Õ︎

Õ︎

Otilde (00D5)

Œ︎

Œ︎

OE (0152)

P︎

P︎

P (0050)

Ṗ︎

Ṗ︎

Pdotaccent (1E56)

Þ︎

Þ︎

Thorn (00DE)

Q︎

Q︎

Q (0051)

R︎

R︎

R (0052)

Ŕ︎

Ŕ︎

Racute (0154)

Ř︎

Ř︎

Rcaron (0$glyphnormaldirection)

Ŗ︎

Ŗ︎

Rcommaaccent (0156)

Ṛ︎

Ṛ︎

Rdotbelow (1E5A)

Ṝ︎

Ṝ︎

Rdotbelowmacron (1E5C)

Ṟ︎

Ṟ︎

Rlinebelow (1E5E)

S︎

S︎

S (0053)

Ś︎

Ś︎

Sacute (015A)

Š︎

Š︎

Scaron (0160)

Ş︎

Ş︎

Scedilla (015E)

Ŝ︎

Ŝ︎

Scircumflex (015C)

Ș︎

Ș︎

Scommaaccent (0218)

Ṡ︎

Ṡ︎

Sdotaccent (1E60)

Ṣ︎

Ṣ︎

Sdotbelow (1E62)

ẞ︎

ẞ︎

Germandbls (1E9E)

Ə︎

Ə︎

Schwa (018F)

T︎

T︎

T (0054)

Ŧ︎

Ŧ︎

Tbar (0166)

Ť︎

Ť︎

Tcaron (0164)

Ţ︎

Ţ︎

Tcedilla (0162)

Ț︎

Ț︎

Tcommaaccent (021A)

Ṫ︎

Ṫ︎

Tdotaccent (1E6A)

Ṭ︎

Ṭ︎

Tdotbelow (1E6C)

Ṯ︎

Ṯ︎

Tlinebelow (1E6E)

U︎

U︎

U (0055)

Ú︎

Ú︎

Uacute (00DA)

Ʉ︎

Ʉ︎

Ubar (0244)

Ŭ︎

Ŭ︎

Ubreve (016C)

Ǔ︎

Ǔ︎

Ucaron (01D3)

Û︎

Û︎

Ucircumflex (00DB)

Ü︎

Ü︎

Udieresis (00DC)

Ụ︎

Ụ︎

Udotbelow (1EE4)

Ù︎

Ù︎

Ugrave (00D9)

Ű︎

Ű︎

Uhungarumlaut (0170)

Ū︎

Ū︎

Umacron (016A)

Ų︎

Ų︎

Uogonek (0172)

Ů︎

Ů︎

Uring (016E)

Ũ︎

Ũ︎

Utilde (0168)

V︎

V︎

V (0056)

Ṽ︎

Ṽ︎

Vtilde (1E7C)

W︎

W︎

W (0057)

Ẃ︎

Ẃ︎

Wacute (1E82)

Ŵ︎

Ŵ︎

Wcircumflex (0174)

Ẅ︎

Ẅ︎

Wdieresis (1E84)

Ẁ︎

Ẁ︎

Wgrave (1E80)

X︎

X︎

X (0058)

Ẋ︎

Ẋ︎

Xdotaccent (1E8A)

Y︎

Y︎

Y (0059)

Ý︎

Ý︎

Yacute (00DD)

Ŷ︎

Ŷ︎

Ycircumflex (0176)

Ÿ︎

Ÿ︎

Ydieresis (0178)

Ỳ︎

Ỳ︎

Ygrave (1EF2)

Ȳ︎

Ȳ︎

Ymacron (0232)

Ỹ︎

Ỹ︎

Ytilde (1EF8)

Z︎

Z︎

Z (005A)

Ź︎

Ź︎

Zacute (0179)

Ž︎

Ž︎

Zcaron (017D)

Ż︎

Ż︎

Zdotaccent (017B)

Ẓ︎

Ẓ︎

Zdotbelow (1E92)

Ƶ︎

Ƶ︎

Zstroke (01B5)

a︎

a︎

a (0061)

á︎

á︎

aacute (00E1)

ă︎

ă︎

abreve (0103)

ǎ︎

ǎ︎

acaron (01CE)

â︎

â︎

acircumflex (00E2)

ä︎

ä︎

adieresis (00E4)

ạ︎

ạ︎

adotbelow (1EA1)

à︎

à︎

agrave (00E0)

ā︎

ā︎

amacron (0101)

ą︎

ą︎

aogonek (0105)

å︎

å︎

aring (00E5)

ǻ︎

ǻ︎

aringacute (01FB)

ã︎

ã︎

atilde (00E3)

æ︎

æ︎

ae (00E6)

ǽ︎

ǽ︎

aeacute (01FD)

b︎

b︎

b (0062)

ḃ︎

ḃ︎

bdotaccent (1E03)

c︎

c︎

c (0063)

ć︎

ć︎

cacute (0107)

č︎

č︎

ccaron (010D)

ç︎

ç︎

ccedilla (00E7)

ĉ︎

ĉ︎

ccircumflex (0109)

ċ︎

ċ︎

cdotaccent (010B)

d︎

d︎

d (0064)

ð︎

ð︎

eth (00F0)

ď︎

ď︎

dcaron (010F)

ḑ︎

ḑ︎

dcedilla (1E11)

đ︎

đ︎

dcroat (0111)

ḋ︎

ḋ︎

ddotaccent (1E0B)

ḍ︎

ḍ︎

ddotbelow (1E0D)

ḏ︎

ḏ︎

dlinebelow (1E0F)

e︎

e︎

e (0065)

é︎

é︎

eacute (00E9)

ĕ︎

ĕ︎

ebreve (0115)

ě︎

ě︎

ecaron (011B)

ê︎

ê︎

ecircumflex (00EA)

ë︎

ë︎

edieresis (00EB)

ė︎

ė︎

edotaccent (0117)

ẹ︎

ẹ︎

edotbelow (1EB9)

è︎

è︎

egrave (00E8)

ē︎

ē︎

emacron (0113)

ę︎

ę︎

eogonek (0119)

ẽ︎

ẽ︎

etilde (1EBD)

ə︎

ə︎

schwa (0259)

f︎

f︎

f (0066)

ḟ︎

ḟ︎

fdotaccent (1E1F)

g︎

g︎

g (0067)

ğ︎

ğ︎

gbreve (011F)

ǧ︎

ǧ︎

gcaron (01E7)

ĝ︎

ĝ︎

gcircumflex (011D)

ģ︎

ģ︎

gcommaaccent (0123)

ġ︎

ġ︎

gdotaccent (0121)

ḡ︎

ḡ︎

gmacron (1E21)

h︎

h︎

h (0068)

ħ︎

ħ︎

hbar (0127)

ḫ︎

ḫ︎

hbrevebelow (1E2B)

ȟ︎

ȟ︎

hcaron (021F)

ĥ︎

ĥ︎

hcircumflex (0125)

ḣ︎

ḣ︎

hdotaccent (1E23)

ḥ︎

ḥ︎

hdotbelow (1E25)

i︎

i︎

i (0069)

ı︎

ı︎

idotless (0131)

í︎

í︎

iacute (00ED)

ĭ︎

ĭ︎

ibreve (012D)

ǐ︎

ǐ︎

icaron (01D0)

î︎

î︎

icircumflex (00EE)

ï︎

ï︎

idieresis (00EF)

ị︎

ị︎

idotbelow (1ECB)

ì︎

ì︎

igrave (00EC)

ij︎

ij︎

ij (0133)

ī︎

ī︎

imacron (012B)

į︎

į︎

iogonek (012F)

ɨ︎

ɨ︎

istroke (0268)

ĩ︎

ĩ︎

itilde (0129)

j︎

j︎

j (006A)

ȷ︎

ȷ︎

jdotless (0237)

ĵ︎

ĵ︎

jcircumflex (0135)

k︎

k︎

k (006B)

ǩ︎

ǩ︎

kcaron (01E9)

ķ︎

ķ︎

kcommaaccent (0137)

ĸ︎

ĸ︎

kgreenlandic (0138)

l︎

l︎

l (006C)

ĺ︎

ĺ︎

lacute (013A)

ľ︎

ľ︎

lcaron (013E)

ļ︎

ļ︎

lcommaaccent (013C)

ŀ︎

ŀ︎

ldot (0140)

ḷ︎

ḷ︎

ldotbelow (1E37)

ḹ︎

ḹ︎

ldotbelowmacron (1E39)

ḻ︎

ḻ︎

llinebelow (1E3B)

ł︎

ł︎

lslash (0142)

m︎

m︎

m (006D)

ḿ︎

ḿ︎

macute (1E3F)

ṁ︎

ṁ︎

mdotaccent (1E41)

ṃ︎

ṃ︎

mdotbelow (1E43)

n︎

n︎

n (006E)

ń︎

ń︎

nacute (0144)

ʼn︎

ʼn︎

napostrophe (0149)

ň︎

ň︎

ncaron (0148)

ņ︎

ņ︎

ncommaaccent (0146)

ṅ︎

ṅ︎

ndotaccent (1E45)

ṇ︎

ṇ︎

ndotbelow (1E47)

ǹ︎

ǹ︎

ngrave (01F9)

ɲ︎

ɲ︎

nhookleft (0272)

ṉ︎

ṉ︎

nlinebelow (1E49)

ñ︎

ñ︎

ntilde (00F1)

ŋ︎

ŋ︎

eng (014B)

o︎

o︎

o (006F)

ó︎

ó︎

oacute (00F3)

ŏ︎

ŏ︎

obreve (014F)

ǒ︎

ǒ︎

ocaron (01D2)

ô︎

ô︎

ocircumflex (00F4)

ö︎

ö︎

odieresis (00F6)

ȯ︎

ȯ︎

odotaccent (022F)

ọ︎

ọ︎

odotbelow (1ECD)

ò︎

ò︎

ograve (00F2)

ő︎

ő︎

ohungarumlaut (0151)

ō︎

ō︎

omacron (014D)

ǫ︎

ǫ︎

oogonek (01EB)

ø︎

ø︎

oslash (00F8)

ǿ︎

ǿ︎

oslashacute (01FF)

õ︎

õ︎

otilde (00F5)

œ︎

œ︎

oe (0153)

p︎

p︎

p (0070)

ṗ︎

ṗ︎

pdotaccent (1E57)

þ︎

þ︎

thorn (00FE)

q︎

q︎

q (0071)

r︎

r︎

r (0072)

ŕ︎

ŕ︎

racute (0155)

ř︎

ř︎

rcaron (0159)

ŗ︎

ŗ︎

rcommaaccent (0157)

ṛ︎

ṛ︎

rdotbelow (1E5B)

ṝ︎

ṝ︎

rdotbelowmacron (1E5D)

ṟ︎

ṟ︎

rlinebelow (1E5F)

s︎

s︎

s (0073)

ś︎

ś︎

sacute (015B)

š︎

š︎

scaron (0161)

ş︎

ş︎

scedilla (015F)

ŝ︎

ŝ︎

scircumflex (015D)

ș︎

ș︎

scommaaccent (0219)

ṡ︎

ṡ︎

sdotaccent (1E61)

ṣ︎

ṣ︎

sdotbelow (1E63)

ß︎

ß︎

germandbls (00DF)

ſ︎

ſ︎

longs (017F)

t︎

t︎

t (0074)

ŧ︎

ŧ︎

tbar (0167)

ť︎

ť︎

tcaron (0165)

ţ︎

ţ︎

tcedilla (0163)

ț︎

ț︎

tcommaaccent (021B)

ẗ︎

ẗ︎

tdieresis (1E97)

ṫ︎

ṫ︎

tdotaccent (1E6B)

ṭ︎

ṭ︎

tdotbelow (1E6D)

ṯ︎

ṯ︎

tlinebelow (1E6F)

u︎

u︎

u (0075)

ú︎

ú︎

uacute (00FA)

ʉ︎

ʉ︎

ubar (0289)

ŭ︎

ŭ︎

ubreve (016D)

ǔ︎

ǔ︎

ucaron (01D4)

û︎

û︎

ucircumflex (00FB)

ü︎

ü︎

udieresis (00FC)

ụ︎

ụ︎

udotbelow (1EE5)

ù︎

ù︎

ugrave (00F9)

ű︎

ű︎

uhungarumlaut (0171)

ū︎

ū︎

umacron (016B)

ų︎

ų︎

uogonek (0173)

ů︎

ů︎

uring (016F)

ũ︎

ũ︎

utilde (0169)

v︎

v︎

v (0076)

ṽ︎

ṽ︎

vtilde (1E7D)

w︎

w︎

w (0077)

ẃ︎

ẃ︎

wacute (1E83)

ŵ︎

ŵ︎

wcircumflex (0175)