Technology
By using PostScript (PS) language, the glyphs are described with cubic Bezier curves (as opposed to the quadratic curves of TrueType), and thus a single set of glyphs can be resized through simple mathematical transformations, which can then be sent to a PostScript-ready printer. Because the data of Type 1 is a description of the outline of a glyph and not a raster image, Type 1 fonts are commonly referred to as "outline fonts". For users wanting to preview these typefaces on an electronic display, small versions of a font need extra hints and anti-aliasing to look legible and attractive on screen. This often came in the form of an additional bitmap font of the same typeface, optimized for screen display. Otherwise, in order to preview the Type 1 fonts in typesetting applications, the Adobe Type Manager utility was required.
PostScript font utilities
The t1utils font utility package by I. Lee Hetherington and Eddie Kohler provides tools for decoding Type 1 fonts into a human-readable, and editable format (t1disasm), reassembling them back into fonts (t1asm), for converting between the ASCII and binary formats (t1ascii and t1binary), and for converting from Macintosh PostScript format to Adobe PostScript font format (unpost).
Type 2 is a character string format that offers a compact representation of the character description procedures in an outline font file. The format is designed to be used with the Compact Font Format (CFF). The CFF/Type2 format is the basis for Type 1 OpenType fonts, and is used for embedding fonts in Acrobat 3.0 PDF files (PDF format version 1.2).
Type 3 font (also known as, PostScript Type 3 or PS3, T3 or Adobe Type 3) consists of glyph defined using the full PostScript language, rather than just a subset. Because of this, a Type 3 font can do some things that Type 1 fonts cannot do, such as specify shading, color, and fill patterns. However, it does not support hinting. Adobe Type Manager does not support Type 3 fonts.
Type 4 is a format that was used to make fonts for printer font cartridges and for permanent storage on a printer's hard disk. The character descriptions are expressed in the Type 1 format. Adobe does not document this proprietary format.
Type 5 is similar to the Type 4 format but is used for fonts stored in the ROMs of a PostScript printer. It is also known as CROM font (Compressed ROM font). Types 9, 10, 11 Ghostscript referred them as CID font types 0, 1, and 2 respectively, documented in Adobe supplements. Types 9, 10, 11 are CID keyed fonts for storing Types 1, 3, 42 respectively.
Type 14, or the Chameleon font format, is used to represent a large number of fonts in a small amount of storage space. The core set of Chameleon fonts consists of one Master Font, and a set of font descriptors that specify how the Master Font is to be adjusted to give the desired set of character shapes for a specific typeface. Adobe does not document the Type 14 format.
Type 32 is used for downloading bitmap fonts to PostScript interpreters with version number 2016 or greater. The bitmap characters are transferred directly into the interpreter's font cache, thus saving space in the printer's memory.
Type 42 font format is a TrueType font embedded in PostScript file format, allowing PostScript-capable printers containing TrueType rasterizer, which was first implemented in PostScript interpreter version 2010 as an optional feature. Support for multi-byte CJK TrueType fonts was added in version 2015. The out-of-sequence choice of the number 42 is said to be a jesting reference to The Hitchhiker's Guide to the Galaxy (book), where 42 is the Answer to Life, the Universe, and Everything.
File formats
CID
CID Font (also known as CID-keyed Font, CID-based Font) is a PostScript font file format designed to address a large number of glyphs. It was developed to support non-Roman character sets as these comprise more characters than the Roman typefaces that make up most western fonts, including Identity-H and Identity-V fonts. Adobe developed the CID-keyed font format to solve the problems in OCF/Type 0 fonts, for addressing the complex Asian-language (CJK) encoding and very large character set issues.
CID-keyed font format can be used with the Type 1 font format for standard CID-keyed fonts, or Type 2 for CID-keyed OpenType fonts.
Compact Font Format
Compact Font Format (also known as CFF font format, Type 2 font format, or CFF/Type 2 font format) is designed to use less storage space than Type 1 fonts, by using operators with multiple arguments, various pre-defined default values, more efficient allotment of encoding values and shared subroutines among FontSet (family of fonts). OpenType fonts can also contain glyph outlines in a CFF table. CFF is designed to use with the Type 2 charstring format. It forms the basis for the Type 1 OpenType font format. CFF fonts can be embedded in PDF files, starting with PDF version 1.2. Type 2 charstring font format and CID-keyed font| format can be used together for CID-keyed OpenType fonts. A Type 1 font can be converted into CFF/Type2 format, and back to Type 1 again, without any loss of quality.
Multiple Master
Main article: Multiple master fonts Multiple master fonts (or MM fonts) are (or, rather, were) an extension to Adobe Systems' Type 1 PostScript fonts, now mostly superseded by the advent of OpenType. Multiple master fonts contain one or more "masters" — that is, original font styles — and enable a user to interpolate these font styles along a continuous range of "axes." OpenType Main article: OpenType PostScript glyph data can be embedded in OpenType font files, but OpenType font isn't limited to use PostScript outline. PostScript outlines in OpenType font are encoded in Compact Font Format.
Original Composite Font
Original Composite Font format (which uses a Type 0 file structure) was Adobe's first effort to implement a format for fonts with large character sets, debuted with PostScript level 2. Adobe then developed the CID-keyed font file format which was designed to offer better performance and a more flexible architecture for addressing the complex Asian-language encoding and character set issues. Adobe does not document or support OCF font format. OCF font metrics are described in Adobe Composite Font Metrics file.
Adobe Font Metrics, Adobe Composite Font Metrics, Adobe Multiple Font Metrics
Adobe Font Metrics (AFM), Adobe Composite Font Metrics (ACFM), Adobe Multiple Font Metrics (AMFM) files contain general font information and font metrics information for the font program. These files are generally used directly only in Unix environments.
An AFM file provides both global metrics for a font program and the metrics of each individual character.
The metrics of a multiple master font are described by one AMFM file, which specifies the control data and global font information, plus one AFM file for each of the master designs in the font.
An ACFM file provides information about the structure of a composite font. Specifically, the global metrics of the composite font program and the global metrics of each of its immediately descendent font programs. ACFM file does not associate with a base font, but act as the top-level structure of a composite font. The character metrics of individual characters in the composite font are described completely by one of more associated AFM files.
The formats are sufficiently similar that a compliant parser can parse AFM, ACFM, and AMFM files.
Printer Font ASCII
Printer Font ASCII (PFA) is an ASCII version of PFB, usually carrying ".PFA" file name extension. It contains a font's glyph data. PFA is the form of the font used by PostScript-language interpreters, and is also the preferred format for Type 1 fonts used in UNIX environments. Printer Font Binary
Printer Font Binary (PFB) is a binary PostScript font format created by Adobe, usually carrying ".PFB" file name extension. It contains a font's glyph data. Printer Font Metric
Printer Font Metric (PFM) is a binary version of AFM, usually carrying ".PFM" file name extension. It contains font metric information. .INF
.inf (INFormation) files contain application-specific information in plain ASCII text, such as font menu names for Windows and DOS-based applications. When a font is installed in Windows, the ATM Installer software takes the AFM and the INF file as input and generates the required PFM file at installation time. The AFM and INF files are not installed in the user's system. .MMM
.MMM files are used for the metric data needed by multiple master fonts for the Windows environment. .OFM
.OFM is the extension used by OS/2 for its version of binary font metrics file, starting from version 2.1. Character sets
Although PostScript fonts can be encoded in any character set, there are character sets specifically developed by Adobe, which are used by fonts developed by Adobe. Adobe Western 2
It includes a basic character set containing upper and lowercase letters, figures, accented characters, and punctuation. These fonts also contain currency symbols (cent, dollar, euro, florin, pound sterling, yen), standard ligatures (fi, fl), common fractions (1/4, 1/2, 3/4), common mathematics operators, superscript numerals (1,2,3), common delimiters and conjoiners, and other symbols (including daggers, trademark, registered trademark, copyright, paragraph, litre and estimated symbol). Western 2 also adds 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge.
Fonts with an Adobe Western 2 character set support most western languages including Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. This standard superseded ISO-Adobe as the new minimum character set standard as implemented in OpenType fonts from Adobe.
Adobe CE
Fonts with an Adobe CE character set also include the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.
Adobe-GB1
This Simplified Chinese character collection provides support for the GB 1988-89, GB 2312-80, GB/T 12345-90, GB 13000.1-93, and GB 18030-2005 character set standards. Supported encodings include ISO-2022, EUC-CN, GBK, UCS-2, UTF-8, UTF-16, UTF-32, and the mixed one, two- and four-byte encoding as published in GB 18030-2005.
Adobe-CNS1
This Traditional Chinese character collection provides support for the Big-5 and CNS 11643-1992 character set standards. It also includes support for a number of extensions to Big-5, which contain characters used mainly in the Hong Kong locale. Primary supported Big-5 extensions include HKSCS. Supported encodings include ISO-2022, EUC-TW, Big Five, UCS-2, UTF-8, UTF-16, and UTF-32.
Adobe-Japan1
It is a series of character sets developed for Japanese fonts. Adobe's latest, the Adobe-Japan1-6 set covers character sets from JIS X 0208, ISO-2022-JP, Microsoft Windows 3.1 J, JIS X 0213:2004, JIS X 0212-1990, Kyodo News U-PRESS character set.
Adobe-Japan2
It was originally as an implementation of JIS X 0212-1990 character set standard and the Macintosh extensions, but with the introduction of Adobe-Japan1 supplement 6 (Adobe-Japan1-6) standard, Adobe-Japan2-0 became obsolete.
Adobe-Korea1
This Korean character collection is provides support for the KS X 1001:1992 and KS X 1003:1992 character set standards, and their selected corporate variations. Supported encodings include ISO-2022-KR, EUC-KR, Johab, UHC, UCS-2, UTF-8, UTF-16, and UTF-32.
ISO-Adobe
Fonts with an ISO-Adobe character set support most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. This is the standard character set in most PostScript Type 1 fonts from Adobe.
Windows support
Windows 95, Windows 98, Windows NT and Windows Me do not support Type 1 fonts natively. Adobe Type Manager is needed in order to use these fonts on these operating systems. Windows 2000, Windows XP and Windows Vista support Type 1 fonts natively through GDI calls. The Windows Presentation Foundation introduced in Windows Vista, which is also available for Windows XP however drops support for Type 1 fonts, in favor of Type 2 fonts. For Windows platforms that natively support PostScript, only binary PostScript and OpenType file formats are supported. Windows Presentation Foundation (formerly codenamed Avalon) in Windows Vista supports rasterizing OpenType CFF/Type 2 fonts, whereas Type 1 fonts will still be supported in GDI, but not in GDI+.
Core Font Set
In addition of font types, PostScript specifications also defined Core Font Set, which dictates the minimum number of fonts and character sets to be supported by each font. In PostScript 3, 136 fonts are specified, which includes the standard 35 fonts; core fonts in Windows 95, Windows NT and Macintosh; selected fonts from Microsoft Office and the HP 110 font set.

Content Analysis

The method of content analysis enables the researcher to include large amounts of textual information and systematically identify its properties, e.g. the frequencies of most used keywords (KWIC meaning "Key Word in Context") by detecting the more important structures of its communication content. Yet such amounts of textual information must be categorised analysis, providing at the end a meaningful reading of content under scrutiny. David Robertson (1976:73-75) for example created a coding frame for a comparison of modes of party competition between British and American parties. It was developed further in 1979 by the Manifesto Research Group aiming at a comparative content-analytic approach on the policy positions of political parties. This classification scheme was also used to accomplish a comparative analysis between the 1989 and 1994 Brazilian party broadcasts and manifestos by F. Carvalho [1] (2000).
Since the 1980s, content analysis has become an increasingly important tool in the measurement of success in public relations (notably media relations) programs and the assessment of media profiles. In these circumstances, content analysis is an element of media evaluation or media analysis. In analyses of this type, data from content analysis is usually combined with media data (circulation, readership, number of viewers and listeners, frequency of publication). It has also been used by futurists to identify trends. In 1982, John Naisbitt published his popular Megatrends, based on content analysis in the US media.
The creation of coding frames is intrinsically related to a creative approach to variables that exert an influence over textual content. In political analysis, these variables could be political scandals, the impact of public opinion polls, sudden events in external politics, inflation etc. Mimetic Convergence, created by F. Lampreia Carvalho for the comparative analysis of electoral proclamations on free-to-air television is an example of creative articulation of variables in content analysis. The methodology describes the construction of party identities during long-term party competitions on TV, from a dynamic perspective, governed by the logic of the contingent. This method aims to capture the contingent logic observed in electoral campaigns by focusing on the repetition and innovation of themes sustained in party broadcasts. According to such post-structuralist perspective from which electoral competition is analyzed, the party identities, 'the real' cannot speak without mediations because there is not a natural centre fixing the meaning of a party structure; it rather depends on ad-hoc articulations. There is no empirical reality outside articulations of meaning. Reality is an outcome of power struggles that unify ideas of social structure as a result of contingent interventions. In Brazil, these contingent interventions have proven to be mimetic and convergent rather than divergent and polarised, being integral to the repetition of dichotomized worldviews.
Mimetic Convergence thus aims to show the process of fixation of meaning through discursive articulations that repeat, alter and subvert political issues that come into play. For this reason, parties are not taken as the pure expression of conflicts for the representation of interests (of different classes, religions, ethnic groups (see: Lipset & Rokkan 1967, Lijphart 1984) but attempts to recompose and re-articulate ideas of an absent totality around signifiers gaining positively. Content analysis has been criticized for being a positivist methodology, yet here is an example of a methodology used to organize a content analysis which is able to capture the logic of the contingent dominating the political field, enabling an analysis of the constitution of party identities from the theoretical perspective of deconstruction and theory of hegemony.
Every content analysis should depart from a hypothesis. The hypothesis of Mimetic Convergence supports the Downsian interpretation that in general, rational voters converge in the direction of uniform positions in most thematic dimensions. The hypothesis guiding the analysis of Mimetic Convergence between political parties' broadcasts is: 'public opinion polls on vote intention, published throughout campaigns on TV will contribute to successive revisions of candidates' discourses. Candidates re-orient their arguments and thematic selections in part by the signals sent by voters. One must also consider the interference of other kinds of input on electoral propaganda such as internal and external political crises and the arbitrary interference of private interests on the dispute. Moments of internal crisis in disputes between candidates might result from the exhaustion of a certain strategy. The moments of exhaustion might consequently precipitate an inversion in the thematic flux.
As an evaluation approach, content analysis is considered to be quasi-evaluation because content analysis judgments need not be based on value statements. Instead, they can be based on knowledge. Such content analyses are not evaluations. On the other hand, when content analysis judgments are based on values, such studies are evaluations (Frisbie, 1986).
As demonstrated above, only a good scientific hypothesis can lead to the development of a methodology that will allow the empirical description, be it dynamic or static.
Content analysis. This is a closely related if not overlapping kind, often included under the general rubric of “qualitative analysis”, and used primarily in the social sciences. It is “a systematic, replicable technique for compressing many words of text into fewer content categories based on explicit rules of coding” (Stemler 2001). It often involves building and applying a “concept dictionary” or fixed vocabulary of terms on the basis of which words are extracted from the textual data for concording or statistical computation.

• The critical paths through the site,

• Higher traffic areas where specific goals can be more heavily promoted, and

• Areas from which the most activity is now generated.

Marketing