Inspired by Anders de Flon 3x3 Bitmap Typeface. [wikipedia:::] 3x3 is a typeface based on a 3x3 bitmap matrix. It was created by type designer Anders de Flon, who long refused to release the typeface, due to the large type foundries' demand for only complete typefaces, which means upper and lower case characters, exclamation marks, etc. The typeface has appeared on several record sleeves; a slightly modified version appears on the cover of LFO's Sheath, designed by The Designers Republic. A similar typeface named 3x3 but not adhering to a 3x3 bitmap matrix was designed by Swiss graphic designer Marc Beekhuis in 2001. [:::wikipedia] [further informations:::] http://en.wikipedia.org/wiki/3x3 http://www.deflon.se/ http://www.dafont.com/3x3.font [:::further informations]
if you want to use this font for commercial matters. get in contact with me. the commercial use of this font is bind to a donation to any children health care in your country. I want to see the transfer voucher of the donation.
It's got more "okayer" detail than the other one. Just as okay as the other one. Really.
This is a clone of 8x8 Okay Screen SolidNOTE: This project was previously privated and has already been done/left unfinished a long time ago.
I'm only making this project public and open-source it to clean out my dumpster of (complete, incomplete and discontinued) privated fonts.
(Side note: It's so nostalgic looking back at this project that I started more than a year ago. Gosh, reminds me of how bad I used to draw bold pixel fonts like this one. Please don't actually use this though, I swear it looks so bad when you try the font out.)
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A bold matrix font, inspired by Helvetica and MS Sans Serif. Also can be known as my Pixel-Optimzed version of Helvetica Bold.
The RomByte font when displayed on a matrix display in real life.
Comes with the feature that when you look far away / when the font is small, you don't notice the small gaps. However, when you up look closely, you can spot the tiny gaps between the pixels.
Can be used as a grey-colored version of RomByte if displayed correctly.
This is a clone of RomByteNothing Phone font inspired
See more:
https://fontstruct.com/fontstructions/show/2142870/dover-led-v2-4
https://fontstruct.com/fontstructions/show/1406099/nanopixel
https://fontstruct.com/fontstructions/show/2147398/pixel-sans-13-63
See more:
https://velvetyne.fr/fonts/tiny/
https://fontstruct.com/fontstructions/show/2133172/penoplast-1
https://fontstruct.com/fontstructions/show/1680452/lcd-dot-c
https://fontstruct.com/fontstructions/show/1967683/brut-rings-1
https://fontstruct.com/fontstructions/show/1701780/minimallow-1
This is a clone of Nothing FontA dot-matrix version of "Official-Ish", and a test of the Filters. :^)
The author recommends using this font at sizes that are multiples of 13, starting with 26, to ensure perfect pixel size/placement. 26, 39, 52, etc. were tested and looked perfect to my eye.
TIP: Size 13 looks like regular "Official-Ish"! You can treat this as two fonts in one for art purposes.
This is a clone of Official-IshThis font is a recreation of Richard Wisan's "ELITEQ.LQN" font file (c) 1990 for use with the program LQMATRIX. From Mr. Wisan's comment in the LQMATRIX documentation file: "ELITEQ.LQN: resembles Epson's resident Roman font, but slightly reduced to suit elite spacing."
LQMATRIX was a font design program for use with Epson LQ [Letter Quality] 24-pin dot matrix printers and compatibles. Created by noted linguist, anthropologist, and photographer J. David Sapir, the program had its beginnings in 1985 and was published by Jimmy Paris Software; the last known version that I have been able to find is version 4.44 (1991). Mr. Sapir included font set submissions from LQMATRIX users in some of the later updates; my version includes Mr. Wisan's file. A screenshot of the program is included in the comments section below.
While the graphics mode of dot matrix printers could print rather complex pictures, it remained extremely slow for large amounts of specialized text. By uploading an LQMATRIX font file into the printer's RAM, the temporary font could be used interchangeablely with the printer's resident ROM fonts. The result was a much faster print speed with little sacrifice in quality -- plus, one could design their own special glyphs or characters to suit their needs!
This was accomplish by a sophisticated design program included with LQMATRIX, whereby users could create and save characters or symbols on a 24 vertical by 15 horizontal grid for the ASCII locations 032–126 (although 001-127 were permitted). One could even place dots in the 14 half-positions along the horizontal.
I have cleaned-up some of the curvatures and harmonized a number of glyphs (along with outright modification of a few, like W and w), yet they still adhere to the same 24 x 15 grid. The original designs can be found beginning in the "More Latin" section. Because the characters for "left single quotation mark" and "right single quotation mark" were not present in DOS, I have "created" them here for sake of completion.
This is a another recreation of an LCD design concept by Posy
This time it's the 3x5 Matrix Display, with all glyphs of Basic Latin supported
Also available without rounded corners
This is a clone of LCD 3x5 MatrixWhile suffering some serious fonter's block, here's another "wonky" experiment: this time, based on my "21st Century Dot Matrix" font. Random numbers were used to determine each dot's nudged position for the vertical (–½ / –¼ / 0 / +¼ / +½), and another set of random numbers for the horizontal. Each position had an equal 20% chance of placement.
On the previous "wonky" font ("Wonky Pins"), I adjusted some dots manually to be more visually pleasing, but I refrained from doing that here. Because so many dots were nudged to extreme positions (–½ & +½ vertically and horizontally) WITHOUT further adjustment, the printed text is still legible but definitely not as refined at "Wonky Pins"...
This typeface was also based on 2 sets of dots this time: one randomized set for an even number of dots across a row (6 or 8), and the other set for an odd number of dots (7). Sometimes, even dots and odd dots are used together on the same row in order to match the placement in the original design. These blocks are present in the "À" position. A slightly larger generic block in position "Á" is only present to prevent word processors from 'cutting off' dots nudged too far vertically up or down; initial test printings resulted in ½ dots being printed at those extremes.
Perhaps another "wonky" experiment will place the extreme ends at a lower chance of occurance (perhaps 10%) while the other three (–¼ / 0 / +¼) more at likely at 26.67% each. Or perhaps an even higher chance that the dot is not even nudged at all, with lower likelihoods as you move outwards to the extremes. This might alleviate the need for any manual adjustments, yet still get the point across that something... something has gone wonky with the printer...