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Multiple master fonts (or MM fonts) are an extension to Adobe Systems' Type 1 PostScript fonts, now mostly superseded by the advent of OpenType. Multiple master fonts contain two or more "masters" — that is, original font styles — and enable a user to interpolate between these masters along a continuous range of "axes." With proper application support, these axes can be adjusted on demand. The intention was that using multiple master fonts, a designer can generate a style of the exact width, thickness and optical size wanted, without losing the integrity or readability of the character glyphs. The effect is similar to morphing, as a designer can choose an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style. Multiple master fonts proved unpopular in consumer-facing use due to the difficulty of writing (or rewriting) consumer desktop publishing applications to support them, and because font designers have generally preferred to release fonts in specific weights and styles, as font files that have been individually fine-tuned. However, the multiple master concept has remained in use internally at font design studios, as designers can generate a range of weights and styles using multiple-master technology quickly and then optimise them individually. == Aspects of multiple master fonts == Where available, most MM fonts support one or two (and occasionally three) of the following variables: * Weight allows the character weight to be modified, typically from light, through regular, to extra bold. * Width allows the character width to be extended or compressed. Although any font can be compressed or expanded by software, the results from a multiple master font are superior. When a font is artificially expanded, all the features are expanded, including the line weight. This means that vertical strokes will be proportionally thicker than the horizontal strokes, giving an uneven appearance. Multiple master fonts with a width axis are designed to scale appropriately. * Optical size allows the character shape to be modified based on how large it will appear to the reader. At small sizes, small details such as serifs and thin lines such as stems are typically bolder. The "x-height" (the height of a lower case "x") is also a larger proportion of the total font height, and the characters may be extended slightly. These changes are designed to make small type easier to read. At larger sizes, these details can be finer and the lines more delicate. Note that the optical size is independent from the actual size of the type. It is up to the user to pick the appropriate optical size for the application and viewing environment (for example, a billboard would want to use small optical size even for extremely large text). * Style, the least used of the multiple master axes, allows any other font property to be continuously modified. One such example is changing the serif style from wedge (triangular) to slab (rectangular). For example, the Myriad multiple master font had two axes: "weight" and "width." This font would include four separate "master designs" of each character: light compressed, light extended, bold compressed, and bold extended. Any weight or width font in between these endpoints can be produced by interpolating between the character outlines of these master designs. The addition of italics requires another four master designs. Another example is Adobe Jenson, which supports "weight" and "optical size" axes. This font uses three masters to represent the optical-size axis, designed for 6, 12, and 72 point type, respectively. This allows the common size of 12 points to be optimized, but requires 6 master designs for roman, and another 6 for italic. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「multiple master fonts」の詳細全文を読む スポンサード リンク
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