Meet Matriks 3, a small monospaced type family specially developed for day-to-day use on screen. Meticulously build on a 5×7 matrix: five pixels for x-height, plus one pixel for capitals and ascenders, and another pixel for descenders.

By just moving one pixel at a time, the Matriks fonts [Dunglish for matrix] took shape. It is astonishing to see how far one can push the contours of the glyphs to sometimes weird graphics but still make us think we’re reading Roman characters! Special attention has been given to the bold weight. In fact, contrast in letterforms increases legibility.

With more than 200 glyphs both weights contain a full Google Fonts Basic character set.

Meet Matriks 3, a small monospaced type family specially developed for day-to-day use on screen. Meticulously build on a 5×7 matrix: five pixels for x-height, plus one pixel for capitals and ascenders, and another pixel for descenders.

By just moving one pixel at a time, the Matriks fonts [Dunglish for matrix] took shape. It is astonishing to see how far one can push the contours of the glyphs to sometimes weird graphics but still make us think we’re reading Roman characters! Special attention has been given to the bold weight. In fact, contrast in letterforms increases legibility.

With more than 200 glyphs both weights contain a full Google Fonts Basic character set.

The original font from the dynamic highway signposts / variable-message signs (dWiSta) in Hesse, Germany!

Many non-alphanumeric characters which aren't used on the signs, are replaced with icons used on the signs, e.g.:

§ (paragraph) = Autobahn A3
% (percent) = Autobahn A5
$ (dollar) = Autobahn A67
| (vertical bar) = traffic jam
@ (at-sign) = construction
# (hashtag) = stadium
etc. etc.

Nothing 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

Inspired by digital audio meters.

Clone of Dot24Pin Sans Outline.

Still dreaming of 24-pin printers...

This original 24×15 typeface is designed around the limitations presented by the near letter quality (NLQ) output of dot matrix printers (DMPs) during the '80s & '90s.  Partially inspired by J. David Sapir's DOS font design program, LQMATRIX, it could have easily been created using that program back in the day.

(The "smart phone"-looking character in the À position is simply a placeholder, used as a quick reference to set vertical height lines while FontStructing.)

Still dreaming of 24-pin printers...

This original 24×15 typeface is designed around the limitations presented by the near letter quality (NLQ) output of dot matrix printers (DMPs) during the '80s & '90s.  Partially inspired by J. David Sapir's DOS font design program, LQMATRIX, it could have easily been created using that program back in the day.

(The "smart phone"-looking character in the À position is simply a placeholder, used as a quick reference to set vertical height lines while FontStructing.)

DOTTITI FADE : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI LIGHT : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI MEDIUM : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI STAR : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI EXTRA LIGHT : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI ULTRA LIGHT: Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI LIGHT REVERSE : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI EXTRA LIGHT REVERSE : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

DOTTITI BOLD : Having - like many designers - looked out for decent 3x3 typefaces, I decided to try my own as each existing version had some flaws or didn't completely follow the rules. The slight difference here is that circles are used, giving more readability to some characters. I completely restricted the design to the 3x3 grid meaning some characters are pretty abstract, BUT they follow the rule! #dottiti #zissdesign

oh, it's another 1x/2x view font...

best viewed at 1x.

My attempt at a (more than) 7-segment display.

A 7x5 matrix font.

A smoothed 5x3 matrix font.

It's got more "okayer" detail than the other one. Just as okay as the other one. Really.

This is proven to come from an okay screen. Well, not really.

This 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.

A serif dot-matrix display typeface.

Enjoy!

My third counter comp entry.

A clone updated from a byegone era.

Inspired by the movement of a glitch, 80s arcade game titles and technology. Very computer esque. Unacceptable colours within a glitch.

A 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.

Yet another dot matrix typeface for a printer that never existed...

Last version (#25) from the original (#1) – same doc.