PostScript 3 ( Adobe dropped the " level " terminology in favor of simple versioning ) came at the end of 1997, and along with many new dictionary-based versions of older operators, introduced better color handling, and new filters ( which allow in-program compression / decompression, program chunking, and advanced error-handling ).

Those who did not license the technology were left with the Type 3 Font ( also known as PostScript Type 3 Font, PS3 or T3 ).

Type 3 fonts allowed for all the sophistication of the PostScript language, but without the standardized approach to hinting.

Certain new features are common across all editions of Windows 2000, among them NTFS 3. 0, the Microsoft Management Console ( MMC ), UDF support, the Encrypting File System ( EFS ), Logical Disk Manager, Image Color Management 2. 0, support for PostScript 3-based printers, OpenType < tt >(. OTF )</ tt > and Type 1 PostScript < tt >(. PFB )</ tt > font support, the Data protection API ( DPAPI ), an LDAP / Active Directory-enabled Address Book, usability enhancements and multi-language and locale support.

In particular, the Mac version of 3. 3 ( released in 1996 ) was seen as stable and trouble-free, working seamlessly with Adobe's PostScript fonts as well as with Apple's TrueType fonts.

Encapsulated PostScript — File Format Specification, Version 3. 0, Tech Note # 5002, Adobe Systems Incorporated, San Jose, CA, USA, 34 pp. PDF

PostScript level 1 supports tiled patterns and PostScript 3 supports Gouraud shading.

High-level printing is achieved using its own internal level 3 PostScript driver, including support for font embedding and sub-setting with TrueType, Type 1 and OpenType fonts.

The internal driver supports full Level 2 PostScript constructs and a large subset of Level 3 constructs.

Level 3 PostScript adds further transparency option for any raster image.

EPS files contain PostScript, which may be level 1, 2 or 3 and make use of the features above.

Computer Modern was first transformed to a PostScript Type 3 font format by BlueSky, Inc. in 1988, and then to Type 1 in 1992 to include font hinting.

Xprint outputs as PostScript, PCL 3, PCL 5 or as a raster bitmap at printer resolution.

Examples are PostScript Type 1 and Type 3 fonts, TrueType and OpenType.

Type 3 allowed unrestricted use of the PostScript language, but didn't include any hint information, which could lead to visible rendering artifacts on low-resolution devices ( such as computer screens and dot-matrix printers ).

It was still called OpenWindows ( now version 3. 3 ), but the NeWS protocol was replaced by support for Display PostScript.

Adobe Systems ’ division of typography is an innovator in font technology and design, Adobe was a forerunner in the development of PostScript Type 1 and Type 3 font formats and OpenType technology, as well as being an established digital type foundry.

PAP was the standard way of communicating with PostScript printers.

The client's response to the server was to send a block of PostScript code, while the server could respond with any diagnostic messages that might be generated as a result, after which another " send-more-data " request was sent.

Such printer support was very strong with daisy-wheel and dot-matrix printers, but did not take much advantage of the development of PostScript fonts and laser printers.

The concepts of the PostScript language were seeded in 1976 when John Warnock was working at Evans & Sutherland, a computer graphics company.

In March 1985, the Apple LaserWriter was the first printer to ship with PostScript, sparking the desktop publishing ( DTP ) revolution in the mid-1980s.

For a time an interpreter ( sometimes referred to as a RIP for Raster Image Processor ) for the PostScript language was a common component of laser printers, into the 1990s.

The first version of the PostScript language was released to the market in 1984.

PostScript Level 2 was introduced in 1991, and included several improvements: improved speed and reliability, support for in-RIP separations, image decompression ( for example, JPEG images could be rendered by a PostScript program ), support for composite fonts, and the form mechanism for caching reusable content.

PostScript went beyond the typical printer control language and was a complete programming language of its own.

At the time, the technology for including these hints in fonts was carefully guarded, and the hinted fonts were compressed and encrypted into what Adobe called a Type 1 Font ( also known as PostScript Type 1 Font, PS1, T1 or Adobe Type 1 ).

This and issues of cost led to third-party implementations of PostScript becoming common, particularly in low-cost printers ( where the licensing fee was the sticking point ) or in high-end typesetting equipment ( where the quest for speed demanded support for new platforms faster than Adobe could provide ).

However, PostScript was written with printing in mind, and had numerous features that made it unsuitable for direct use in an interactive display system.

The result was Display PostScript, or DPS.

Meanwhile, in exchange for Truetype, Apple got a license for TrueImage, a PostScript-compatible page description language owned by Microsoft that Apple could use in their laser printers. This was never actually included in any Apple products when a later deal was struck between Apple and Adobe, where Adobe promised to put a TrueType interpreter in their PostScript printer boards, Apple renewed its agreements with Adobe for the use of PostScript in its printers ; resulting in lower royalty payments to Adobe who was beginning to license printer controllers capable of competing directly with Apple's LaserWriter printers.

Book Antiqua was designed as an alternative to licensing the fonts mandated by Adobe's PostScript standard.

The dual-stack principle was originated three times independently: for Burroughs large systems, Forth and PostScript, and is used in some Java virtual machines.

PostScript is noteworthy for implementing on-the fly rasterization ; everything, even text, is specified in terms of straight lines and cubic Bézier curves ( previously found only in CAD applications ), which allows arbitrary scaling, rotating and other transformations.

The system also included a system for " wrapping " existing PostScript Type 1 fonts into its own internal format, which added bitmap preview versions for quick on-screen rendering.

This project later took on an expanded role when Apple and Microsoft agreed to work together to form an alternative to PostScript fonts, which were extremely expensive, creating the TrueType effort based on Apple's existing efforts.

The package was large enough to strain the memory of most existing Macintosh computers of the era, and arguments like " you can now print to PostScript " were less than impressive considering many existing programs had already added such support.

High quality fonts in the PostScript format could be developed for a fraction of the cost of all other existing methods ( URW ’ s Ikarus required systems costing over $ 100, 000 ), leading to what has been called “ the democratization of type design ”: for the first time in history, numerous self-taught type designers without substantial capital investment produced fonts for professional use.

After Adobe Systems started licensing BuildFont, its technology for converting existing digital typeface data into PostScript font format, Ikarus gradually lost its leading position.

The data stream used by these systems to drive page layout on printers and imagesetters, often proprietary or specific to a manufacturer or device, drove development of generalized printer control languages, such as Adobe Systems ' PostScript and Hewlett-Packard's HP PCL.

However, the PostScript part of the project was never finished so it ended up just moving color pixels around.

Some text editors can also export the color markup in a format that is suitable for printing or for importing into word-processing or other kinds of text-formatting software ; for instance an HTML, colorized LaTeX, PostScript or RTF version of its syntax highlighting.

* CIELAB Color Space by Gernot Hoffmann, includes explanations of L * a * b * conversion formulae, graphical depictions of various gamuts plotted in L * a * b * space, and PostScript code for performing the color transformations.

which specifies that the printer understands PostScript Level 2, is a color device, and so forth.

* Color rendering dictionary, a target ( device ) color profile in PostScript documents