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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.
3 Comments
Oh no, you quoted this erroneous Wikipedian page… The reality/fact now: Anders de Flon '3x3' is not a typeface (= multiple fonts/styles), not even a mere font (= US-ASCII or more, pertaining to text, of course too). It was just a set of very personal characters, the same shamefully limited creations we could already see for a long time (during decades) in artworks for e.g. video games (as signatures in loading screens, etc.).
Your maximalist design form this derived work is funny! (You even multiplied the "0" fail/duplicate…)
I think this 3x3 grid is a good way to expriment for personal matters. just to see how less you need to communicate. but in proper way I would prefer a bigger grid instead. it was funny for me to create this minimal and crippled font. and it is really surprising how less you need to recognize each character if you have enough charaters left for comparsment.
I agree at 100 %. In the past (1980s-1990s), '3x5' was the maximum we could get in a more or less usable set of glyphs. Next, 3x3 emerged in the 2000s, as ~ US-ASCII too, which is even funnier and more usable in real life (in pixel art to begin with, since it's cheaper with less material like beads etc.). The fontstructor is great as an introduction, although I think the artists lose some supervision related to the detections/prevention of the duplicates and their (less troublesome) ambiguities. 3x4 is the ideal compromise, I think (from my experiments, even from my unreleased catalogue of duly valid US-ASCIIs). If only the artists had a concern about these 94 legacy glyphs, before they try and add more characters! (I do not complain about your prolific font.) Anyway, in the meantime (thanks to your input too), I could add a section in Wikipedia (here and esp. there). I mentioned the 'extremely low-res' category of 3x3. A dedicated Wikipedian page might be created in the future, in English this time, of course. As a specialist (but not as an expert, since there exist none in 2017, between art and code/science…), you might refer to the segmentation in our Latin glyphs(?), pertaining to your recognition to the naked eye. If this is the case, it's a broader matter of compression, IMO: when scaled down, these parts overlap, and can increase the weight locally. It's up to the designer/artist to edit the shape accordingly, with any mean (even hacks, provided they are logical enough to shorten the learning curve). And, yes, I was surprised myself too, in the past (4x8 -x&y spacing included- on the Speccy, 3x4 in the 1990s with a 2 x-height, 3x3, 2x4, 2x3…). But after this trivial time, we all need something more usable. That's why I repeat continuously: please (re)start with US-ASCII, so that we can communicate seriously via these dots, the physical ones eventually. More comment/precision if you want. Have a nice Xmas.
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