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List of typographical symbols and punctuation marks
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Typographical symbols and punctuation marks are marks and symbols used in typography with a variety of purposes such as to help with legibility and accessibility, or to identify special cases. This list gives those most commonly encountered with Latin script. For a far more comprehensive list of symbols and signs, see List of Unicode characters. For other languages and symbol sets (especially in mathematics and science), see below.
In this table,
- The first cell in each row gives a symbol;
- The second is the name assigned to it by the Unicode Consortium
- The third gives its most common alias or name in another major variety of English, e.g., period for full stop. Otherwise the Unicode name is repeated to facilitate sorting .
- The fourth lists closely related concepts or glyphs, or adds a clarification note.
The table is presented in alphabetical order by common name. Each column header has an up-down arrow (⬍) that may be used freely to rearrange the order that the list is displayed, giving priority to that column. This has no effect for other readers or subsequent uses and may be used freely.
See also
[edit]- Astronomical symbols – Symbols in astronomy
- Chemical symbol – Abbreviations used in chemistry
- Chinese punctuation – Punctuation used with Chinese characters
- Currency symbol – Symbol used to represent a monetary currency's name
- Diacritic – Modifier mark added to a letter (accent marks etc.)
- Hebrew punctuation – Punctuation conventions of the Hebrew language over time
- Glossary of mathematical symbols
- Japanese punctuation
- Korean punctuation
- Ordinal indicator – Character(s) following an ordinal number (used of the style 1st, 2nd, 3rd, 4th or as superscript, 1st, 2nd, 3rd, 4th or (though not in English) 1º, 2º, 3º, 4º).
Lists of other typographic entities
[edit]Notes
[edit]External links
[edit]List of typographical symbols and punctuation marks
View on Grokipediafrom Grokipedia
Punctuation Marks
Terminal Punctuation
Terminal punctuation marks signal the end of a sentence or clause, providing closure to declarative statements, inquiries, or emphatic expressions. These symbols evolved from ancient scribal practices to standardize reading in scripts without spaces or clear sentence boundaries, aiding in prosody and comprehension. In modern typography, they are essential for distinguishing sentence types and guiding intonation. The period, also known as the full stop, primarily marks the conclusion of declarative or imperative sentences, indicating a complete thought. It is placed after the final word, followed by a single space. Additionally, periods appear in abbreviations, such as "Dr." for Doctor or "e.g." for exempli gratia, where they separate initials or denote truncated words. Historically, the period traces its origins to the third century BCE, when Aristophanes of Byzantium, a scholar at the Library of Alexandria, developed a system of punctuation marks including a high dot (thései dýo peras) to denote sentence ends in Greek texts read aloud; this evolved into the modern low dot by the medieval period as scripts adopted more consistent placement.[6] The question mark, or interrogation point, denotes direct interrogative sentences, placed at the end to signal rising intonation. It is used exclusively for direct questions, such as "What time is it?", but not for indirect questions embedded in statements, like "She asked what time it was." The symbol's form emerged in the eighth or ninth century as the punctus interrogativus, a curved mark derived from earlier medieval notations to distinguish queries in Latin manuscripts; earlier Greek traditions used a semicolon-like mark for questions, and modern Greek uses the semicolon (;) as the question mark.[7][8][9] The exclamation mark, sometimes called a screamer in printing contexts, conveys strong emotion, urgency, or emphasis at the end of sentences. It punctuates commands, such as "Stop now!", interjections like "Ouch!", and warnings including "Watch out!". Its origins lie in medieval Latin manuscripts, where the mark evolved from the exclamation "io" (expressing joy), with the "i" superimposed over the "o" in all-capital script, gradually simplifying to the modern vertical line with dot during the fourteenth century amid the rise of movable type printing, which standardized its use in emphatic texts.[10] Inverted question and exclamation marks are distinctive features of Spanish orthography, opening interrogative or exclamatory clauses to alert readers early to the sentence's modality. In Spanish, the inverted question mark (¿) and exclamation mark (¡) are placed immediately before the first word of the relevant phrase, with no space preceding, while the closing marks (?) and (!) follow the last word, separated by a space; for example, "¿Dónde vas?" or "¡Cuidado!". This double-sign system was formalized in the 1754 Ortografía de la lengua castellana by the Real Academia Española to enhance clarity in flexible word order. Related languages like Galician and Portuguese do not generally employ these opening inverted marks.[11]Pausal and Internal Punctuation
Pausal and internal punctuation marks facilitate the flow of ideas within sentences by indicating pauses, separating clauses, or linking related elements, thereby enhancing clarity and rhythm in written English. These symbols, including the comma, semicolon, colon, hyphen, dashes, and ellipsis, address intra-sentence structure rather than sentence closure or enclosure, allowing writers to manage complexity without fragmenting the text. Their usage evolved from early printing innovations to standardized rules in modern style guides, reflecting debates on precision versus brevity.[12] The comma (,) serves as a primary tool for creating brief pauses and separating elements within a sentence. It is used to delimit items in a series, such as "apples, oranges, and bananas," to distinguish nonessential clauses that provide additional information, like "The book, which was published last year, became a bestseller," and to follow introductory phrases or clauses, for example, "After the meeting, we discussed next steps."[13][14][15] A notable application involves separating independent clauses joined by coordinating conjunctions (and, but, for, or, nor, so, yet), as in "She wanted to attend, but the weather prevented it."[13] The Oxford comma, or serial comma, placed before the conjunction in a list of three or more items—"red, white, and blue"—sparks ongoing debate; the Chicago Manual of Style recommends its consistent use for clarity, while the Associated Press Stylebook omits it unless ambiguity arises, as in the example "I invited my parents, Elvis and Madonna," which without the comma implies unusual parentage. This variation highlights stylistic preferences: Chicago prioritizes unambiguity in formal writing, whereas AP favors concision in journalism, with examples like "visits to Orlando, Fla., Chicago, Ill., and Memphis, Tenn." benefiting from the comma to avoid misreading. The semicolon (;) provides a stronger pause than the comma, effectively linking independent clauses that are closely related without a conjunction, such as "She loves hiking; he prefers reading." It also separates items in a complex series where individual elements contain commas, for instance, "The conference includes sessions on grammar, punctuation, and style; mathematics, logic, and reasoning; and history, culture, and art."[16] Historically, the semicolon emerged in 1494 in Venice, invented by printer Aldus Manutius in Pietro Bembo's De Aetna to denote a pause midway between a comma and a colon, filling a need for nuanced separation in Renaissance texts as printing standardized punctuation.[17] Scholarly analysis traces its role to Italian humanists who viewed it as a "stronger comma" for balancing clauses in philosophical and literary works, evolving into a symbol of sophisticated syntax by the 16th century.[18] The colon (:) introduces elements that elaborate, explain, or list, creating anticipation for what follows, as in "She had one goal: to win the championship."[16] It commonly precedes lists, such as "The ingredients are: flour, sugar, and eggs," or quotations, like "The coach declared: 'Teamwork is essential.'"[19] For emphasis, it can link independent clauses where the second amplifies the first, for example, "Road construction in Dallas has hindered travel: drivers now add one hour to their morning commute."[19] The colon's modern punctuation form derives from 16th-century printing practices.[8] Its use as a ratio symbol—such as 2:1—stems from proportional notation in mathematics, where it denotes equivalence between quantities, as seen in early logarithmic tables.[20] Hyphens (-) connect compound words and indicate breaks, while dashes provide interruptions or ranges; specifically, the hyphen joins modifiers like "well-known author" or divides syllables at line ends, such as "ty-pographical."[21] The em dash (—) signals abrupt breaks or parenthetical insertions, stronger than commas, as in "The decision—though controversial—prevailed."[22] In contrast, the en dash (–), roughly half the em dash's length, denotes ranges, like "pages 10–15" or "1990–2000," and avoids spaces around it in Chicago style.[22] These distinctions prevent confusion: hyphens for tight compounds, em dashes for dramatic pauses without spaces, and en dashes for spans, with the Chicago Manual of Style emphasizing no substitution among them to maintain typographic precision.[22] The ellipsis (…) indicates omissions in quoted material or trailing thoughts, typically three dots for internal gaps, as in "The report stated that the project was... delayed indefinitely."[23] It suggests hesitation or incompleteness, like "I wonder if..." at sentence ends.[24] Variants include the spaced ellipsis ( . . . ) for traditional typesetting, preferred in Chicago style to mimic periods, versus the packed Unicode ellipsis (…) for digital efficiency, with no spaces between dots but spaces around the unit.[25] Usage requires preserving original punctuation, adding a fourth dot if omitting at sentence end, to avoid altering meaning.[24]Enclosing and Quotation Punctuation
Enclosing and quotation punctuation marks serve to group, isolate, or highlight portions of text, providing structure and clarity in writing. These symbols include various types of brackets and quotation indicators that surround asides, insertions, or direct speech, distinguishing them from the main narrative flow. Unlike pausal or internal punctuation, which separates elements linearly within sentences, enclosing marks create bounded sections that can nest within one another according to specific rules.[12] Parentheses, also known as round brackets ( ), are primarily used to enclose supplementary information that is not essential to the sentence's core meaning, such as explanations, examples, or citations. For instance, they can set off an aside like "the capital (Paris) of France," where the enclosed detail enhances understanding without altering the primary statement. In academic writing, parentheses often contain references, such as (Smith 2020), following styles like APA or Chicago. Nesting rules dictate that if parentheses appear within another set, square brackets replace the inner pair to avoid confusion, e.g., (See [further details] in the appendix). Punctuation like commas or periods follows its own rules relative to the enclosed content; if the parenthetical is a full sentence, its ending punctuation stays inside, but otherwise, it aligns with the surrounding sentence.[16][26][27] Square brackets [ ] function mainly for editorial interventions within quoted material, allowing authors or editors to insert clarifications, corrections, or translations without altering the original text. For example, in a quote like "He said [the expert] that the results were inconclusive," the brackets indicate added context. They also denote alterations such as [sic] to signal errors in the source, preserving fidelity to the quotation. In non-quoted prose, square brackets occasionally enclose stage directions in scripts or alternative terms, but their primary role remains in quotations to maintain transparency. Unlike parentheses, square brackets do not typically nest inside them in standard prose; instead, they signal deliberate modifications. Briefly, in mathematics, they may denote intervals, though detailed uses appear in specialized sections.[23][28][29] Braces, or curly brackets { }, are infrequently used in general prose but appear in programming to delineate code blocks and in set notation to group elements, such as {a, b, c}. In editorial contexts, they occasionally connect multiple lines of related items, like in tabular data, but this is rare outside technical writing. Their curved form distinguishes them from straighter brackets, aiding visual hierarchy in complex documents, though they lack the widespread enclosing role of parentheses in narrative text.[30] Angle brackets, also called chevrons < >, find primary application in linguistics to represent graphemes or orthographic forms, such asGeneral Typographical Symbols
Connectors and Ligatures
Connectors and ligatures are typographical elements designed to join words, letters, or concepts efficiently, often evolving from scribal shortcuts in manuscripts to standardized symbols in print and digital media. These symbols facilitate readability and space-saving in text, with historical roots in ancient writing systems that prioritized fluidity over separation. In modern typography, they bridge linguistic and functional gaps, from shorthand conjunctions to combined characters that reflect phonetic mergers. The ampersand (&) serves as a logogram representing the Latin conjunction "et," meaning "and," and originated as a ligature of the letters "e" and "t" in Roman cursive script. Its name derives from the phrase "et per se," recited in 19th-century English schoolrooms to distinguish the symbol as standing alone for "and," a practice that led to its colloquial pronunciation as "ampersand." Stylistic variants include the et-cetera ligature (et cetera, often rendered as &c.), which combines the ampersand with a superscript "c" to abbreviate "and so on," commonly used in legal and bibliographic contexts until the mid-20th century. The commercial at symbol (@), also known as the at-sign, emerged in medieval accounting ledgers around the 15th century as a shorthand for "ad" or "at the rate of," denoting a unit price or location in Italian and Spanish trade documents. Its circular form, resembling a coiled "a" around a "d," facilitated quick notation in Venetian merchants' records, where it symbolized "a" (for "at") encircled to indicate "the price of." In the digital era, the symbol gained ubiquity through email addressing in the 1970s, standardized by Ray Tomlinson for separating user and host names in ARPANET communications, transforming it into a global identifier for internet correspondence. Ligatures such as æ (ash) and œ (oe-ligature) fuse two letters into a single glyph to represent diphthongs or historically merged sounds, with æ tracing back to Old English and Latin, originating as a ligature in the 8th century AD in Anglo-Saxon scripts to represent the diphthong /æ/. In Latin typography, æ denoted the "æ" sound in words like "cæsar," while in French, œ appears in terms like "œuvre" to preserve the close "eu" pronunciation from Old French manuscripts. Digital rendering poses challenges, as early Unicode implementations sometimes separated these into base letters plus diacritics, leading to inconsistent display across fonts; modern standards like OpenType features now support contextual substitution for proper ligature formation in typesetting software. The tilde (~) functions dually as a diacritic and connector, placed above letters to indicate nasalization or approximation, distinct from its role in denoting rough equivalence in non-linguistic contexts. In Spanish orthography, the tilde combines with "n" to form ñ (eñe), a letter representing the palatal nasal sound /ɲ/, which evolved from medieval scribal marks on Latin "nn" in words borrowed from Basque and indigenous languages, standardized in the 1492 Gramática de la lengua castellana. As a diacritic, it relates briefly to accents on ligatured forms in languages like Portuguese, where ~ over vowels signals nasal tones without altering letter fusion.Number and Reference Symbols
The number sign, also known as the octothorpe, hash, or pound sign (#), is a typographical symbol with diverse applications in numbering, music, programming, and social media. Its origins trace back to 19th-century typewriter keyboards, where it substituted for the British pound symbol (£) in American models, and to the Baudot Code teletype system of the 1870s–1930s, in which # replaced £ in U.S. variants like the International Telegraph Alphabet No. 2. By 1903, it was documented as a "number sign" in shorthand texts, and by 1923, the Oxford English Dictionary recorded its use to denote "number" or "pound" in weights, such as "5# bag of sugar." In music, # indicates a sharp note, raising pitch by a semitone; in programming, it often denotes comments or variables; and in social media, it prefixes hashtags for topic categorization, a convention popularized since 2007.[39][40][41] The numero sign (№) serves as a typographic abbreviation for "number" or "numbers," particularly in ordinal contexts like titles and names, and is distinct from the abbreviation "No." to avoid confusion with "number" or the English word "no." Derived from the Latin numero (ablative of numerus, meaning "by the number" or "in number"), it emerged in the 18th century and gained standardization in international usage, with variations in Cyrillic and other scripts. Unlike "No.," which can be misread, № explicitly signals enumeration, as seen in addresses (e.g., Apt. № 5) or bibliographic entries, and is encoded in Unicode as U+2116 for consistent rendering across languages. The section sign (§) functions primarily in legal and bibliographic references to denote specific sections of documents, statutes, or codes, often followed by a numeral (e.g., § 101). Its origins lie in medieval scribal practices for marking divisions in texts, evolving into a modern symbol resembling two interlocking S's, and it is used internationally in legal writing to pinpoint provisions. For multiple consecutive sections, the double section sign (§§) is employed, as in citations like "§§ 1–3," to indicate a range without ambiguity. In bibliographic contexts, it references subsections in works like constitutions or regulations, enhancing precision in scholarly and judicial discourse.[42][43] The pilcrow (¶) acts as a paragraph marker in editing and proofreading, signaling the beginning or division of paragraphs, and originates from medieval manuscripts where scribes used it to structure continuous text without indents. Derived from the Greek paragraphos (a marginal line beside text to denote a break), it evolved through Old French pelagraphe into the looped form seen today, often drawn in red ink for visibility in scriptoria from the 12th century onward. In modern editing, ¶ identifies paragraph starts or deletions, aiding copy editors in layout and revision, and it remains a standard in word processing software for non-printing format markers. The dagger (†) and double dagger (‡) are reference symbols used sequentially for footnotes or endnotes when asterisks are exhausted, with † typically as the second marker after * and ‡ as the third. Historically tied to the ancient obelus (a short line for textual criticism in Hellenistic Alexandria around the 3rd century BCE), the dagger adapted in medieval printing for annotations, evolving into its cross-like form by the Renaissance for marginalia and references. In contemporary usage, they denote citations or deceased persons in lists (e.g., obit.), and the obelus briefly served as a division symbol before standardization shifted it to footnotes.[44][45]Diacritical and Accent Marks
Diacritical and accent marks are typographical symbols added to base letters, primarily to modify their pronunciation, indicate stress, or distinguish meaning in various languages. These marks are essential in alphabetic writing systems where the base alphabet lacks sufficient characters to represent all phonemes, tones, or historical spellings. They appear above, below, or within letters and are integral to languages such as French, German, Polish, and tone languages like Mandarin Chinese. The acute accent (´), represented in Unicode as U+0301 (combining form), indicates a rising or high tone in many languages and serves as a stress marker. In tone languages, it denotes the second tone in Pinyin for Mandarin Chinese, signaling a rising pitch, as in "má" meaning "mother." In French, it alters the vowel sound of "e" to /e/, distinguishing words like "école" (school) from "ecole" without the mark. In Polish, the acute accent on vowels like "ó" indicates a close /u/ sound, while on consonants such as "ć" it denotes palatalization, producing [tɕ] in words like "cić." It also functions as the Greek oxia or tonos for pitch accent in modern Greek. The grave accent (), Unicode U+0300 (combining), often marks a falling or low tone and differentiates vowel qualities. In [Pinyin](/page/Pinyin), it represents the fourth (falling) tone, as in "mà" meaning "scold." In French, it appears on "e" to indicate /ɛ/, as in "mère" (mother), and on "a" or "u" to avoid ambiguity, such as "où" (where). In Italian, it signals stress on the final [syllable](/page/Syllable), like "città" ([city](/page/City)). Beyond [linguistics](/page/Linguistics), the grave accent doubles as the [backtick](/page/Backtick) in programming languages, used for escaping characters or template literals, such as in [OCaml](/page/OCaml) polymorphic variants starting with .
The circumflex (^), Unicode U+0302 (combining), originated as a historical marker for vowel length or lost consonants and persists in several scripts. In French, it indicates vowels that historically followed an "s," affecting pronunciation, as in "forêt" (forest, from Latin "forestis") where "ê" is /ɛ/. It also denotes contraction or distinction, like "sûr" (sure). In some older or variant romanizations of Japanese, the circumflex marks long vowels, though the macron is more standard today. Historically, in Ancient Greek, it combined acute and grave accents to show a falling pitch on long vowels.
The diaeresis (¨), Unicode U+0308 (combining), and umlaut serve related but distinct roles: the diaeresis separates adjacent vowels to prevent diphthongization, while the umlaut signals a vowel sound change. In English, the diaeresis clarifies pronunciation in loanwords like "naïve" (not /neɪv/ but /naɪ.iːv/). In German, the same symbol functions as an umlaut, modifying vowels for fronting, as in "Mädchen" (girl) where "ä" is /ɛ/, "ö" is /ø/, and "ü" is /y/. Greek uses it as dialytika to separate iota or upsilon from preceding vowels.
The cedilla (¸), Unicode U+0327 (combining), softens consonants, particularly in Romance languages. In French, it attaches to "c" before "a," "o," or "u" to produce /s/ instead of /k/, as in "garçon" (boy), ensuring the consonant does not harden. It appears in Turkish and Azerbaijani for similar phonetic adjustments, like "ç" pronounced /tʃ/.
In digital typography, diacritical marks are handled in Unicode through combining forms, where the mark is a separate code point attached to a base letter (e.g., "e" + U+0301 for "é"), or precomposed forms, which are single code points (e.g., U+00E9 for "é"). This dual approach ensures compatibility and flexibility in text rendering and normalization, allowing equivalent representations to be interchanged without altering meaning. Some ligatures may incorporate diacritics for aesthetic or historical reasons in specific fonts.
| Mark | Unicode (Combining) | Primary Uses | Examples |
|---|---|---|---|
| Acute (´) | U+0301 | Rising/high tone, stress, palatalization | Pinyin: má; French: école; Polish: ćić |
| Grave (`) | U+0300 | Falling/low tone, vowel quality | Pinyin: mà; French: mère; Italian: città |
| Circumflex (^) | U+0302 | Historical length, contraction | French: forêt; Greek: long vowel pitch |
| Diaeresis/Umlaut (¨) | U+0308 | Vowel separation or fronting | English: naïve; German: Mädchen |
| Cedilla (¸) | U+0327 | Consonant softening | French: garçon; Turkish: ç |
Mathematical and Scientific Symbols
Arithmetic and Relational Operators
Arithmetic and relational operators are fundamental typographical symbols used in mathematics to denote basic operations on numbers and to express relationships between quantities. These symbols facilitate concise representation of calculations and comparisons, evolving from early scribal abbreviations and commercial notations to standardized forms in printed texts. Their development reflects the transition from verbal descriptions to symbolic algebra during the Renaissance. The plus sign (+) and minus sign (−) originated in 15th-century German commercial arithmetic, introduced by Johannes Widmann in his 1489 treatise Mercantile Arithmetic, where they represented surplus and deficit in accounting.[46] These symbols gained widespread adoption in mathematical contexts after Robert Recorde incorporated them into English usage in his 1557 book The Whetstone of Witte.[47] The multiplication symbol × was introduced by English mathematician William Oughtred in his 1631 work Clavis Mathematicae, serving as a shorthand for "times" and resembling a rotated "x" to avoid confusion with variables.[48] An alternative, the dot (⋅), was proposed by Gottfried Wilhelm Leibniz in a 1698 letter to Johann Bernoulli as a clearer multiplier, particularly in complex expressions.[47] For division, the obelus (÷) derives from ancient marginal marks but was repurposed as a mathematical symbol by Swiss mathematician Johann Rahn in his 1659 Teutsche Algebra.[47] A common variant, the slash (/), stems from the medieval solidus used in fractions, as seen in 12th-century manuscripts, and persists in modern computing and inline notation.[49] The equals sign (=) was invented by Welsh mathematician Robert Recorde in 1557, appearing in The Whetstone of Witte as two parallel horizontal lines to signify exact equivalence, replacing repetitive phrases like "is equal to."[50] Early printed forms sometimes resembled double hyphens due to typesetting limitations, but the modern double-bar design solidified by the 17th century through adoption by figures like Isaac Newton and Leibniz.[49] Inequality symbols emerged shortly after: the less-than (<) and greater-than (>) signs were introduced by Thomas Harriot in his 1631 posthumous Artis Analyticae Praxis ad Aequationes Algebraicas Nouâ, Exponenda, Applicando, Restituendo, &c., derived from rotated "L" and "A" forms for "minus" and "plus."[51] The less-than-or-equal-to (≤) and greater-than-or-equal-to (≥) variants were refined by French mathematician Pierre Bouguer in 1734, adding an underscore to the inequality signs.[52] The not-equal-to symbol (≠) appeared later, popularized by Leonhard Euler in the 18th century as a slashed equals sign to denote inequality. The approximately equal to symbol (≈) was formalized in 1911 by a German standards committee for physical units, building on earlier tilde (~) approximations, to indicate near-equality in measurements.[53] Similarly, the proportionality symbol (∝) was introduced by English mathematician William Emerson in the 1768 edition of The Doctrine of Fluxions, denoting direct variation as a stylized "a" for "as."[54] The percent symbol (%) evolved from the Italian "per cento" (per hundred) in 15th-century ledgers, where scribes abbreviated it as "p co" or "pc," curling the "o" into a loop that became the modern form by the 17th century.[55] It represents division by 100, as in calculating 25% of 200: , or equivalently . The per mille symbol (‰), meaning per thousand, follows analogously, introduced in 19th-century scientific texts as a percent sign with an extra zero. For example, 5‰ of 1000 is , useful in chemistry for concentrations like parts per thousand.Logical and Set Symbols
Logical and set symbols form a crucial subset of typographical symbols used in mathematics, logic, and related fields to denote operations and relations in propositional and predicate logic, as well as foundational concepts in set theory and calculus. These symbols enable precise expression of truth values, set relationships, and limiting processes, facilitating rigorous reasoning in philosophy, computer science, and theoretical mathematics. Unlike arithmetic operators, which focus on numerical computation, logical and set symbols emphasize abstract relations and memberships, often evaluated through truth tables or axiomatic definitions. In propositional logic, the conjunction symbol ∧ represents the logical AND operation, which yields true only when both operands are true. The truth table for ∧ is as follows:| P | Q | P ∧ Q |
|---|---|---|
| T | T | T |
| T | F | F |
| F | T | F |
| F | F | F |
| P | Q | P ∨ Q |
|---|---|---|
| T | T | T |
| T | F | T |
| F | T | T |
| F | F | F |