FT Kunst Grotesk OverviewOverview

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These variations of response are due also to the relations of the apple poster and the painting to their respective contexts. This is because the difference, or information, conveyed by the apple poster resolves comfortably into its context, while the difference or information conveyed by a Cézanne apple painting does not. Relative to the larger context of the grocery store, we know why the poster is there, what function it serves, and what we are supposed to do with the information it communicates. There is little indeterminacy in the poster’s difference, because it is objective information readily shared and acted on. Accordingly, the poster’s difference is easily resolvable and settles into the background condition of knowledge at which point it no longer registers as different. The information conveyed by the Cézanne painting, on the other hand, resists settling into its situation, and therefore continues to generate difference within its milieu. Although the painting is a deliberately made thing that constitutes something noteworthy in my experience–and is thus a difference that makes a difference–I cannot quite determine or articulate what that difference is, or what to do with it?

Light; Size

These variations of response are due also to the relations of the apple poster and the painting to their respective contexts. This is because the difference, or information, conveyed by the apple poster resolves comfortably into its context, while the difference or information conveyed by a Cézanne apple painting does not. Relative to the larger context of the grocery store, we know why the poster is there, what function it serves, and what we are supposed to do with the information it communicates. There is little indeterminacy in the poster’s difference, because it is objective information readily shared and acted on. Accordingly, the poster’s difference is easily resolvable and settles into the background condition of knowledge at which point it no longer registers as different. The information conveyed by the Cézanne painting, on the other hand, resists settling into its situation, and therefore continues to generate difference within its milieu. Although the painting is a deliberately made thing that constitutes something noteworthy in my experienceand is thus a difference that makes a differenceI cannot quite determine or articulate what that difference is, or what to do with it? 

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Global
Systems

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The apple price poster is an example of what we might call purposive information, with a relatively clear purpose that creates a short-term difference in the typical, straightforward sense. When I want to know the price of apples, the time of day, who won the game, or when the movie starts, I want a straight answer in the form of purposive information—not some evocative or ambiguous response that leaves me intrigued and contemplative. The Cézanne painting of apples, on the other hand, is an example of what we might call aesthetic information: a peculiar mode of difference with a much longer half-life that is correspondingly harder to clarify, articulate, and resolve, and so compels attention and interest over the long term. I do not go to an art gallery for actionable, purposive information that offers straightforward, clearly defined experiences and answers. I go for aesthetic information, for sustained modes of experiential difference and possibility that leave me challenged, moved, and compelled by their relative irresolvability. If the price poster’s information is a difference that makes a difference, the artwork’s information is a difference that makes a difference that keeps on differencing—an aesthetic mode of information that remains in formation. Building on these notions, in this book I show how information and art are both emergent phenomena of the same underlying operations of difference—namely, of difference from context, and difference from expectation. The primary distinction between the two information modes is the duration of their difference, of how long they continue to shed difference into (or generate difference within) their context. While typical information resolves difference into the equilibrium of fact, answer, and knowledge, artistic or aesthetic information sustains difference, yielding focused indeterminacies that offer not answers but possibilities. By this effect we see how art is information as a process, rather than information as a definable unit or measurable thing. Information as process equals difference as process, and art’s operation of sustained difference is why the richness of aesthetic experience feels so categorically different from other types of experience. It is the mystery that lingers, as the saying goes, and when we are unable to resolve a difference—as with an artwork that remains poised on the edge of resolution without ever going all the way—our attention is hooked by a perceptual or affective itch we cannot scratch, and it is this that keeps us coming back for another look.

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Johns
Judd
LeWitt

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Ruyer
Stella
Nyquist

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Along similar lines, the attempt to reconcile the disparities of This Is a Portrait of Iris Clert If I Say So at one scale—of art as telegram and telegram as art, considered according to the cultural and functional expectations typically applied to each—catalyzes the particularity and import of the artwork at a higher and more intensive scale, yielding a result much more thought provoking than we might reasonably expect from the unpromising aesthetic potentials of a telegram and declarative phrase. This kind of process, of a continual informing of differences that generates a result richer and more complex than its inputs, constitutes the core idea of Simondon’s notion of information, as an ongoing operation of differences resolved not into form, but sustained in formation. Simondon’s approach is one of the two primary information modes considered in this book, the other being Bell Laboratories engineer Claude Shannon’s 1948 mathematical theory of communication—otherwise known as information theory. Shannon’s approach to information, which is what we typically mean in the context of the information age, differs from Simondon’s model not only in idea, but in implication. Whereas information for Simondon is a relational operation of difference that intensifies or generates a context, such as the binocular field of vision, information for Shannon is a measure of the surprise, or difference from expectation, created when a difference emerges into, or travels through, a context—which is what Bateson sums up as a difference that makes a difference. Rauschenberg’s telegram offers an example of how Simondon’s and Shannon’s information modes work together.

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Objekte
Ongoing

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This highlights an important aspect of difference in general—namely, that there are different types of difference. Used in its everyday sense, a difference suggests a difference-from, as when one thing differs from another. Often overlooked is a difference-as, when something is what it is precisely as a difference. This Is a Portrait of Iris Clert If I Say So offers an example of this latter type of relation: The artwork, by existing as a telegram, is notable by proclaiming its existence as art even as it resolutely lacks artistic qualities. On the other hand, the telegram, by existing as an artwork, is a utilitarian and literally prosaic means of communication now counterintuitively imbued with a message of self-declared aesthetic import. With this dually differential relation we see the difference-as: the artwork becomes what it is by fundamentally differing from other artworks because it is a telegram, while fundamentally differing from other telegrams because it is a work of art. Neither the artwork’s manifestation as a telegram nor the telegram’s claim to art is particularly noteworthy in and of itself. Rather, it is only in their relation as reciprocally irresolvable differences that the components acquire their import, as their back and forth ricochet of difference converges to generate the artwork we recognize as This Is a Portrait of Iris Clert If I Say So. Simultaneously grounded in and emergent from difference and self-difference, the artwork is information that remains perpetually in formation, a process of sustained differencing that yields an outcome more aesthetically complex than its modest inputs might otherwise suggest. An ongoing and difficult-to-resolve difference like this is what the mid-twentieth-century French philosopher Gilbert Simondon terms a disparation: a relation of disparities that is resolvable only at a higher or more complex level. Consider, for example, the visual disparity caused by the lateral distance between two retinas. This slight distance between one eye and the other causes two distinct visual streams, which resolve into the rich depth perception of binocular vision. Here, the reconciliation of a simple disparity yields a result far more complex than one might expect, given the small scale of the initial problem.

Medium; Size

This Is a Portrait
of Iris Clert
If I Say So—R.R.

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Alloway, Lawrence
Antin, Eleanor
Aristotle
Aurdal, Siri
Baldessari, John
Boltzmann, Ludwig
Bourriaud, Nicolas
Burgin, Victor
Buskirk, Martha
Cézanne, Paul
Clausius, Rudolph
Danto, Arthur
Delaunay, Sonia
Denis, Maurice
Derrida, Jacques
Duchamp, Marcel
Eco, Umberto
Finnegans Wake (Joyce)

140, 151, 172
93-94, 126
215-16
90
93
238
233-34
90, 101
109
160, 162, 163, 167
54, 238
131, 170
49, 161-62, 172
153
9, 40-41, 43, 67, 204
23, 25, 36, 96
22
59-61, 231

Medium; Size

Fisher, R. A.
Flag (Johns)
Floridi, Luciano
Graham, Dan
Greenberg, Clement
Grosz, Elizabeth
Groys, Boris
Guattari, Félix
Hartley, Ralph
Haskell, Barbara
Heidegger, Martin
Heilmann, Mary
Jakobson, Roman
Jaspers, Karl
Johns, Jasper
Joyce, James
Judd, Donald
Kahnweiler, Daniel-Henry

239
122-24, 138, 146
55, 76, 232
90
151, 236
72, 138
250
14-15, 69, 71-72
58, 239
95
49, 238
145
239
233
122-23
59-61, 231
43, 76, 127-28
171

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Here, information emerges as a kind of probabilistic friction generated by a difference as it scrapes against the norms and prevailing conditions of the situation it enters. Generative information, on the other hand, of the type described by Simondon, differs from the regulative in that it is not a difference that emerges from, or enters into, the regulative constraints of a context. Rather, generative information is an operation that reconciles differences in a way that reconfigures, intensifies, or constitutes a context—thereby catalyzing a difference at a higher order of intensity. Much of the peculiar import of Rauschenberg’s This Is a Portrait of Iris Clert If I Say So arises from (and as) such relations of difference across multiple scales. In other words, prior to its introduction of difference into the artworld context (regulative/Shannon information), Rauschenberg’s telegram is a convergence of difference (generative/Simondon information): of art and telegram, of telegram and art, of art/telegram and world, of art as telegram and artworld, and so on.

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Here, information emerges as a kind of probabilistic friction generated by a difference as it scrapes against the norms and prevailing conditions of the situation it enters. Generative information, on the other hand, of the type described by Simondon, differs from the regulative in that it is not a difference that emerges from, or enters into, the regulative constraints of a context. Rather, generative information is an operation that reconciles differences in a way that reconfigures, intensifies, or constitutes a context—thereby catalyzing a difference at a higher order of intensity. Much of the peculiar import of Rauschenberg’s This Is a Portrait of Iris Clert If I Say So arises from (and as) such relations of difference across multiple scales. In other words, prior to its introduction of difference into the artworld context (regulative/Shannon information), Rauschenberg’s telegram is a convergence of difference (generative/Simondon information): of art and telegram, of telegram and art, of art/telegram and world, of art as telegram and artworld, and so on.

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Art as Art
Reinhardt,
823-24

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Humanity
Kauffman,
81-82

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If this sounds abstract, consider how Edouard Manet’s 1863 painting Le Déjeuner sur l’herbe (Luncheon on the Grass) emphasized the flatness of its painted surface more explicitly than any other European painting had since late medieval times. Considered outrageous when first shown, the painting’s shallow picture space and overt acknowledgment of its flat support proved highly influential to how other painters approached pictorial flatness. The increasingly flattened and foregrounded picture planes of subsequent artists like Vincent van Gogh and Georges Seurat changed the game so thoroughly that, within a decade or two, Manet’s work seemed conservative and spatially deep in comparison. Important here is that the difference, or information, introduced by Manet’s flattened picture space triggered further difference, which cascaded through the artworld of the day. This cascade of difference transformed the context in which the original differences operated, which transformed the parameters of what could subsequently show up as different within that transformed context. As a result, painterly differences introduced by Manet in 1863 would not have registered as different if introduced in 1883, because of differential processes Manet’s work had catalyzed in the first place.

Bold; Size

Aesthesia
of Networks

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Kosuth, Joseph
LeWitt, Sol
MacKay, Donald
Manet, Edouard
Nietzsche, Friedrich
Nyquist, Harry
O’Doherty, Brian
Picasso, Pablo
Pollock, Jackson
Rauschenberg, Robert

Black; Size

Reinhardt, Ad
Ruyer, Raymond
Schrédinger, Erwin
Sharp, Willoughby
Steinberg, Leo
Stella, Frank
Szeemann, Harald
Truitt, Anne
VoloSinov, Valentin
Warhol, Andy

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Data

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Accordingly, an artwork is not epiphenomenally manifest as ambiguous or indeterminate, but rather, the relational ambiguity or indeterminacy is the art of the artwork in the first place. That is, while an artwork’s physical object and its context might each be definite and stable in and of themselves, if the relations between the object and the context trigger and sustain indefinition and complex ambiguity, this acts as a prompt for aesthetic experience. Again, these complex indeterminacies not only arise from a work’s status as an artwork, but are the preconditions of its status as a work of art—of its phenomenalization or emergence as art from the get-go. Cézanne’s apple paintings and Rauschenberg’s telegram are not indeterminate or strange because they are art; they are art because they are unfinalizably strange and indeterminate. Art is not some sort of quality or essence inherent to or applied to an object, but is rather a difficult-to-pinpoint and interpretively open object/context feedback relation that never entirely fits, settles, or resolves itself into the world. While we read no intent in a rainbow, as social beings we cannot help but read intention into something that has been made and presented to us by someone else.

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)