If you have fonts which already support Cyrillic, it doesn't take much effort to add Ґ and ґ to support Ukrainian as well. Most fonts which support Cyrillic don't include this character because it's not included in the 0400-045F Unicode range.
https://www.wikiwand.com/en/Ghe_with_upturn
Comments
This is different from the distinction between Г [ɦ] and Ґ [ɡ] in Ukrainian.
To answer your question, no, I haven't seen it being used, much like the rupee sign.
on the topic of ukranian glyphs — I have seen in the past a suggestion that modulating the dieresis in yi (Ї ї) — scaling down its width - is something that comes up in ukrainian, but I'm having trouble locating my source on that. does anyone know how ukranian readers prefer to see it?
There are a few things to consider here. One is the simple case when ї is bracketed by letters that do not carry marks, or which are wide enough not to produce spacing issues. Second is the ї when preceded or followed by і. Third is double її. All three situations occur in Ukrainian words—indeed, її is a word in itself, the feminine pronoun her—, and the number of dots involved and their position relative to the letters and to each other needs to be managed. One way to do this is indeed to reduce the width of the two dots on ї, whether by default or contextually. This is design-specific and needs to take into account the weight of the typeface, how it is spaced, and the weight of the dots. Regardless of whether the size or distance between the dots is adjusted, kerning for ії, їі and її should be provided.
Consider that this is a typewriter font so don't use this as a guide for character design. The palochkas (04CF, 04C0) shouldn't normally be done this way. There are always more languages, but this is a way to quickly cover a bunch more.
АБВГЃҐҒДЕЀЁЖЗИЙЍКЌЛМНОПРСТУЎФХҲЧЦШЩЏЬЫЪЉЊЅЄЭІЇЈЋЮЯЂҚҢҮҰҺӀӘӨ
абвгѓґғдеѐёжзийѝкќлмнопрстуўфхҳчцшщџьыъљњѕєэіїјћюяђқңүұһӏәө
+ Localised forms for Bulgarian, Serbian/Macedonian;
+ Currency symbols: Russian Ruble, Ukrainian Hryvnia, Kazakh Tenge;
In any case, I would encourage you to think about covering more, instead of excluding Russian.
Old Cyrillic
а б в г д є ж ѕ ꙃ з ꙁ и і ї ꙉ к л м н о п р с т оу ꙋ ф х ѡ ц ч ш щ ъ ы ь ѣ ꙗ ѥ ю ѫ ѭ ѧ ѩ ѯ ѱ ѳ ѵ ҁ
Ѕ/Ꙃ, З/Ꙁ and Оу/Ꙋ are different forms for the same letter. Ҁ had only numeric value.
krista, I was going to call out your and maria's cyrillicsly workshops as a great way to learn (and an overall excellent experience). I'm finally getting close to finishing that font after going off the deep end with extended cyrillic afterwards
Ѣ Ѳ Ѵ
ѣ ѳ ѵ
These were part of the standard Russian alphabet up to 1918 in Russia, and continued thereafter in use by some emigré communities, so may reasonably occur in relatively modern Russian documents or literary works.
A similar argument can be made for including the ‘big yus’
Ѫ
ѫ
on the basis that it remained part of the Bulgarian alphabet until 1945. [In Russian, the big yus was replaced by Я in the Petrine reform of the early 18th Century.]
The biggest factor in deciding whether to support additional historical characters is whether you want your font to be usable for Old Slavonic language texts. Today, this means primarily Eastern Orthodox ecclesiastical publishing, and this implies not only support of additional characters and some moderately complex mark positioning, but also specific styles of script. The Petrine reform split the Cyrillic script into two streams—religious and secular—each with its own typographic traditions and particular styles of type.
Secular scholarship may involve study of Old Slavonic and early vernacular texts in the Old Cyrillic orthography, in which case there is a use for typefaces in the post-Petrine typographic style but supporting the additional Old Cyrillic letters, so that words or whole texts can be transcribed in the same style of type as commentary, notes, etc.. This is the Brill set (which does not include Ꙃ ꙃ Ꙉ ꙉ as Brill had not specified them for their publication needs):
Because such fonts are not expected to be used for Old Slavonic language publishing per se, full support for the systems of accentuation, historical number forms, etc. may not be included. I expect the market for such fonts is pretty limited.
I recommend that everyone look at the Cyrillic reviews from the Google Fonts collection from type.today:
Cyrillic on Google Fonts: Neo-Grotesques (type.today)
Cyrillic on Google Fonts: Humanist Sans (type.today)
Cyrillic on Google Fonts: Geometric Sans (type.today)
Cyrillic on Google Fonts: Old-Style Serifs (type.today)
Cyrillic on Google Fonts: transitional serifs (type.today)
P.S: Almost all my acquaintances and friends are from Russia, yes, there are those who support this war, but this is a minority, there are such people in any country.
Yes, at the workshops we cover all the languages that are included in the character set I posted, localised forms and Extended Cyrillic.
We are however hesitating if we should continue the workshops in the current situation.
As a non-native speaker of a language with cyrillic characters, here I can only learn and will learn more.
@Krista Radoeva can you be more specific about the feature locl you mean? (is it like for example i to i.dot on TRK and scedilla to scommaccent on ROM) like this:
Please enlighten. Thank you in advance.
Providing stylistic set support can be useful as a backup, but you should also associate the substitutions with the localised forms <locl> feature for the appropriate langsys tag in your GSUB code. That will make it possible for the Serbian, Bulgarian, etc. forms to be automatically used in some software when the language of a document is set. The sample code image that you posted shows how to do that.