Cyberpunk + Futuristic = Cyberistic

This is a thick dot-matrix version of a very popular classic computer, and it's normally used on word processors, electric billboards, etc.  Probably a great font!  Update: I just updated to the better, thick dots for all letters and symbols.

Simple Tech (CAPITAL)

CAPITAL LETTERS ONLY!!

My 2nd Try hope you Like this Fonts :)

(These are CAPITAL fonts only ^_^ small letter fonts comming soon)

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.

Urdu font Dots

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

my try at a dot font

my own little dot matrix font

This one-eyed character set places one circle-serif to start or end strokes somewhere on each glyph (except "O") in the set...hence it's name. Angled serifs acting as hands or feeet (or tails?) are used elsewhere. This is derived from the base font (lc) I used for previous efforts. I made it tall and then thought Cyclops (for SerifComp) to use now since I never released it (full disclosure). Anyway, a different view of what serif can be :)

This font is an adaptation of Officina Sans by Erik Spiekermann. It is meant to save ink and therefore the planet and your wallet. It can be used up to 12pt, above that the dots become visible and it loses legibility.

Developed by Marcos Ribeiro & Paulo Teixeira

Made to print some decorative corners on A4 sheets; this will make a novel Yule gift for someone lucky enough to know me ;)

Of course it could also be used as a code:D

Kulibin or Kulidyaka? Kulich?

See more:       https://www.fontsquirrel.com/fonts/list/foundry/alexey-kryukov

https://fontstruct.com/fontstructions/show/152204/unispace

https://fontstruct.com/fontstructions/show/942604/lexiconius

Eda (by Alexander Tarbeev)

http://www.myfonts.com/fonts/shinn/bodoni-egyptian-pro/

http://www.myfonts.com/fonts/shinn/scotch-modern/         

http://www.myfonts.com/fonts/artlebedev/mirta/

Kostro, 21 Cent  (https://yurigordon.com/ru/shop/fonts)

Kazimir, Parmigano, Brioni, Karloff (https://type.today/en)

Marian family(19c), Caponi (https://commercialtype.com/)

https://www.paratype.ru/pstore/default.asp?fcode=PT_FIL&letter=F

http://www.myfonts.com/fonts/itc/caslon-no-224/

https://www.paratype.ru/pstore/yfonts/ITC-Bodoni-72.htm

http://www.myfonts.com/fonts/wiescherdesign/bodoni-classic-cyrillic/text-light/

http://www.myfonts.com/fonts/redrooster/poor-richard-rr/monoline/glyphs.html 

https://www.colophon-foundry.org/typefaces/peggs/

This is a dot-matrix version of a very popular classic computer!

Humanistic sans.

See more: 

https://www.myfonts.com/fonts/fontfont/absara/

Prodesse

Sebastian (Storm)  

https://www.myfonts.com/fonts/fdi/fdi-tierra-nueva/

Martin Majoor`s fonts (https://www.fontfont.com/designers/martin-majoor)

https://www.fontfont.com/fonts/yoga-sans

https://www.artlebedev.ru/yandex/type/drive/

https://www.artlebedev.ru/type/gross-kunst/

Apriori (Vera Evstafeva)

http://www.myfonts.com/fonts/sudtipos/landa/ 

https://www.myfonts.com/fonts/thefoundry/foundry-sans/

http://typetypography.semus.ru/g2009/5340/

https://www.typotheque.com/blog/nara_sans_a_dynamic_sans_with_two_italics

https://www.typotheque.com/fonts/nota

WMagazine`s BB font

https://www.myfonts.com/fonts/paratype/humanist531-bt/

https://www.myfonts.com/fonts/linotype/aroma-no-2/

https://www.myfonts.com/fonts/storm/andulka-sans/

http://www.myfonts.com/fonts/hoftype/sonus/

https://www.myfonts.com/fonts/mti/between/

http://school.rs/bilingua/

https://www.fontshop.com/families/ff-quadraat-sans 

https://www.myfonts.com/fonts/mostardesign/magnetic-pro/

Quasimoda

This will give a pleasant overlay for Raysan.

Granenyi Stakan!

Stylising 19th-century grotesque.

See more: Differentura, Steinbeck (Roman Gornitskyi)

https://www.myfonts.com/fonts/blackletra/noka/

http://www.myfonts.com/fonts/type-type/tt-firs/

LilienthalGrotesk (Vera Evstafeva)

(http://vdnh.ru/en/

https://daily.afisha.ru/archive/gorod/changes/oni-teplye-i-nezlye-dizaynery-masterskoy-barbanelya-o-novyh-simvolah-vdnh/)

http://vllg.com/klim/founders-grotesk#panel=poster

Helvetica World

http://www.dafont.com/k22-spotty-face.font  

To read: http://letters.temporarystate.net/entry/1/

See more: 

https://www.myfonts.com/fonts/blackletra/ofelia-std/

https://fontstruct.com/fontstructions/show/685591/advancer_lite_1

https://www.behance.net/gallery/27010917/Pobeda

https://fontstruct.com/fontstructions/show/206416/pinball_blizzard

https://creativemarket.com/Etewut/1710681-Laser-Dots

Eclectic old-fashioned font with short ascenders and single-width proportions.

See more:

https://www.fontshop.com/families/dutch-mediaeval

https://yurigordon.livejournal.com/445722.html

http://revision.ru/work/18656/

Rossica (Vera Evstafeva)

https://www.myfonts.com/fonts/grummedia/good-taste/

https://www.myfonts.com/fonts/wiescherdesign/royal-romain/

https://www.myfonts.com/fonts/paratype/kis-bt/

https://www.myfonts.com/fonts/paratype/academy/

https://www.myfonts.com/foundry/ABSTRKT/

http://typefaces.temporarystate.net/preview/Manege

http://rastvor.com.ua/a-tsarpeter.htm

http://www.myfonts.com/fonts/atelier-laia/waskonia/

https://www.myfonts.com/fonts/tilde/belwe/

https://www.myfonts.com/fonts/oddsorts/bradley/

http://www.myfonts.com/fonts/insigne/boncaire-titling/

http://www.myfonts.com/fonts/itc/tiffany/

https://www.stormtype.com/families/tenebra 

To read: 

https://pt.slideshare.net/guest7a8aa4/cyrilliclatin-yesterdaynow

http://typejournal.ru/en/articles/Civil-Type

I needed a dotty looking font to print on cards to be embroidered by a youngster; the present design is based on it with added embellishments and more gyphs. Maybe someone else might find it useful? The different bricks used could indicate a change of stitch style or a different colour. 

While 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...