! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ ¡ ¢ £ ¤ ¥ ¦ § ¨ © ª « ¬ ® ¯ ° ± ² ³ ´ µ ¶ · ¸ ¹ º » ¼ ½ ¾ ¿ À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö × Ø Ù Ú Û Ü Ý Þ ß à á â ã ä å æ ç è é ê ë ì í î ï ð ñ ò ó ô õ ö ÷ ø ù ú û ü ý þ ÿ Ć ć Č č đ Ğ ğ İ ı Ł ł Œ œ Ş ş Š š Ÿ Ž ž ƒ ˆ ˇ ˘ ˙ ˚ ˛ ˜ – — ‘ ’ ‚ “ ” „ † ‡ • … ‰ ‹ › ⁄ ₣ ™ − fi fl
By the way, this font has often mistakenly been accused of being a 'rip-off' from Colin Brignall's Tango font. It's not.
This is an adaptation of it, a different interpretation of the same base, which Colin also used.
I beg those who accused me of stealing it to look more closely. Print the exact same text using both fonts and you'll see what I mean.. My Kylie 1996 font has much better hinting and a lot more vector-points in the characters too. It came off the ground by request, because the Tango font dropped out at large size usage in professional DTP-software at the time.
If you have any more questions about it, please post them here.
Regards,
Julius