The Tibetan Typefaces

SAMPLES FOR
THE TIBETAN FONTS
DESIGNED BY LOTSAWA TONY DUFF

THE TIBETAN COMPUTER COMPANY

[Link] 4957
Kathmandu
NEPAL

tdolma@[Link]
[Link]

© Copyright 2000-2007 Tony Duff. All rights reserved. Reproduction of this

documentation, or any of the software associated with it, is prohibited except
with the written consent of the author.
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Tibetan Typefaces and Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-9

1. TibetanMachine Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
2. TibetanCalligraphic Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3. DzongkhaCalligraphic Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4. TibetanClassic Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
5. TibetanChogyal Font . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Tibetan Typeface Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Contents: page 2
Tibetan Computer Company
The Tibetan Computer Company was started in 1986. It developed and improved. In the 1990's they became the
produced and sold the first Tibetan word-processing defacto standard for Tibetan word-processing, especially in
software for the PC. Since then, the products and fonts of Asia.
the Tibetan Computer Company have been continually

Our Products
We specialize in electronic products of the very highest • Other Native Tibetan works and translations in elec-
quality for Tibetan language studies. In particular, our tronic format.
dictionaries and electronic texts are very famous for their
accuracy and ease of use. Here are a few of our offerings: In addition we have Word Processors for the PC and Macin-
tosh:
• The Illuminator Tibetan-English Dictionary in
TibetD format. Comes with TibetD Reader software. • TibetDoc. A Windows word-processor specially made for
A dictionary from Lotsawa Tony Duff. Tibetan but with support for many different languages.
TibetDoc has the best and easiest-to-use pecha publishing
• The New Electronic Edition of Sarat Chandra Das’s system available. The program is the de-facto standard in
classic Tibetan-English Dictionary in TibetD format. Asia for Tibetan publishing. Comes standard with Tibetan
Comes with TibetD Reader software. Machine typeface; other typefaces optional.

• The Mahavyutpatti Sanskrit-Tibetan-English Glos- For information on dictionaries, reference works and
sary in TibetD format. Comes with TibetD Reader Tibetan Buddhist texts see the Padma Karpo Translation
software. Committee web site at
[Link]
• Geshe Chodrak’s Tibetan-Tibetan Dictionary in
TibetD format. Comes with TibetD Reader software. and the Drukpa Kagyu Heritage Project site at
Prepared by Lotsawa Tony Duff. [Link]

Better Quality Fonts

All of our programs come with the Tibetan Machine typeface to match the classic, hand-written style of
typeface. We have four, better quality typefaces that can be Tibet.
purchased to enhance any of our products:
• Tibetan Chogyal is our most famous typeface. It is a
• Tibetan Calligraphic typeface to go with any TCC beautiful design, easy to read, and has been used for
programs. A high quality typeface especially suitable most of the major preservation efforts in Asia in recent
for Tibetan publishing. If you are going to publish any times. Because of this, it has become legendary amongst
Tibetan text you should at least purchase this font. The learned Tibetans.
Dzongkha Calligraphic typeface is the same design
but modified to be Bhutanese in style. For samples and descriptions of the fonts, see the section in
this documentation on page 5. Alternatively, view or print
• Tibetan Chogyal typeface to with any of the above the pdf file that comes with the program called “TCC
programs. This is a very high quality typeface for Tibetan Typefaces [Link]”. Alternatively, see our web
those who want the very best in Tibetan publishing. It site at [Link]
is a modification of our legendary Tibetan Chogyal

Introduction: page 3
Authorized Distributors
All of our software, fonts, dictionaries, and texts can be
purchased through us or our authorized distributors. If you
purchase through us, you can purchase by immediate,
electronic download as well as on CD. See the distributors
page on our web site:
[Link]

Introduction: page 4
The Tibetan Typefaces
The fonts available from Tibetan Computer Company are re- typeface was designed after it. However, the original design
garded at this time as the best in the world. They are was not very elegant, so the computer design was improved
regarded as the most authentic and, on top of that, as very markedly over the original. Since its first introduction in
beautiful. This chapter gives an introduction to all of the 1987, Tibetan Machine has been improved upon
fonts that have been made to go with our software. All of considerably. After several major revisions it has been made
the fonts were designed and created by Lotsawa Tony Duff, very elegant whilst still retaining the feel of the original
a well-known Tibetan Buddhist scholar and practitioner. design. Because the computer typeface was derived from
Lotsawa Tony has lived with Tibetans for many years now a typeface intended for mechanical reproduction and because
and studied Tibetan calligraphy extensively. it was built especially for use with mechanical printers, the
typeface was named “Machine”.
• All of our Windows software comes standard with Ti-
betan Machine typeface. Other typefaces are optionally Tibetan Machine has quite short descenders and so is par-
available by purchase. ticularly useful for applications such as newspaper
publishing, making tables, and making short pecha where a
• There is a special version of Tibetan Machine called Ti- small line height is required. The typeface also has a
betan Machine Web. It works on all platforms. rounded quality which makes it very legible, even at very
small point sizes. For this reason it is especially suitable for
TibetanMachine is the most versatile of all of the typefaces, printing the sheets of dharaÃi and mantras which need to be
which is why we licenced it for free use and why we include rolled up and put into statues, stãpas, and so on. The
it standard with every software package. typeface has a very formal feel to it and so is useful for all
sorts of true publication applications such as book
However, TibetanCalligraphic is much more suitable when publishing. and so on.
it comes to making pecha and TibetanClassic and Tibetan
Chogyal are the best Tibetan fonts available in the world for Many people have requested a “slanted” version of Tibetan
making pecha. Therefore, if you are going to make pecha, typefaces, like the “Italics” of European typefaces. Such a
we strongly recommend that you purchase one of these design goes completely against the design principles of u-
fonts. If you are wanting to make Bhutanese texts, you chan lettering so we do not provide it. However, it is
should use the Bhutanese equivalent of Tibetan Calligraphic possible, by italicizing Tibetan text with the word-processor
called Dzongkha Calligraphic. to obtain that effect. A slanted form should not be used for
pecha-making or other traditional purposes.

This typeface was used to produce the Tibetan Machine Web

1. TIBETAN MACHINE AND
typeface. Tibetan Machine Web has exactly the same ap-
TIBETAN MACHINE WEB TYPEFACES
pearance as Tibetan Machine because no changes were made
to the characters in the typeface. However, the characters in
The first typeface that Mr. Duff created in the mid-1980's
the Tibetan Machine typeface were moved into different
was the Tibetan Machine typeface. It was modeled on a Ti-
positions and spread out amongst more fonts to make
betan typeface that was developed in India early in the 20th.
Tibetan Machine Web with the result that Tibetan Machine
century. The typeface was created by Presbyterian
Web works on both PC and Macintosh platforms.
missionaries living in Calcutta who wanted to convert
Tibetan Buddhists to Christianity. Thus, the typeface is
Moreover, the Tibetan Machine Web typeface can be used
usually referred to the “Calcutta” typeface but is sometimes
successfully for web publishing and also for e-mail where
known as the “Presbyterian” typeface. The typeface was
the Tibetan Machine typeface cannot.
cast in metal and became used throughout India for several
decades as the standard font for reproducing Tibetan books
in India.
2. TIBETAN CALLIGRAPHIC
The Calcutta typeface is easy to read and was popular
amongst Tibetans for a long time which is why a computer Following the introduction of Tibetan Machine typeface,

Tibetan Typefaces: page 5

work was started on a new typeface that would be very look which is not usually reproduced these days; in modern
authentic and most suitable for publishing Tibetan texts. writing style, letters are written with the serifs in an oblique
The new typeface was called Tibetan Calligraphic and was slab rather than having the earlier sculpted look. The fonts
designed with a noticeable difference between the thicks and mentioned above all follow the more modern style so
thins of the strokes in the letters. The first designs were another font, called Tibetan Classic, was made from the
somewhat ugly and the inter-letter spacing was not good. Tibetan Calligraphic design but with the older style of serif.
However, the font went through several revisions and a A great deal of effort was put into developing the font to be
major renovation in early 1997 which made the typeface as close to original Tibetan script as possible and with very
exceptionally attractive. The new design with all of its high quality. The font is a beautifully designed and cor
features has been repeatedly praised by Tibetans as very rectly proportioned representation of the older calligraphic
authentic and highly desirable for use in publishing native lettering style Tibet and is truly representative of the older
texts. It is without doubt the premier font in the package and style of calligraphy made with a bamboo pen. The typeface
certainly the most suitable font in this software for has delicately curved descenders and certain other design
publishing pecha. features which follow exactly the most elegant way of
traditional writing. It is one of the best typefaces available
The font in general has a formal look and, with longer in the world for publishing pecha and other formal materials.
descenders than Tibetan Machine typeface, is very suited to
making pecha and other documents where a “native” look is This typeface is actually a variation on our very best
required. The design is very readable and particularly suited typeface, Tibetan Chogyal and is sometimes called Tibetan
to pecha-making. However, it does not reproduce well at Chogyal Classic.
very small sizes. For example, when very small letters are
required for making dharaÃi for stuffing stãpas and statues
(8-10 points) Tibetan Machine is more legible.
5. TIBETAN CHOGYAL
The Tibetan newspaper called “Nyenchen Thanglha”
Tibetan Chogyal was originally developed by Lotsawa Tony
published in Kathmandu, Nepal is made using this typeface.
for two very large Tibetan text projects. The first was his
own preservation project, the Drukpa Kagyu Heritage
Project that ran for ten years in Kathmandu and refurbished
3. DZONGKHA CALLIGRAPHIC 102 volumes of Drukpa Kagyu Literature. The second was
the publication of Dilgo Khyentse Rinpoche’s collected
In 1997, the Dzongkha Development Commission of the works in over 20 volumes.
Royal Government of Bhutan licensed a special version of
the Tibetan! program for use throughout the Kingdom of The typeface was developed simply to be as good as
Bhutan. At that time, they requested that the a Dzongkha- possible. It follows the authentic designs of Tibetan
style font be made to go with the new package. In order to calligraphy though does not try to slavishly follow old
fulfill their requirements, the Tibetan Calligraphic font was styles. Instead, it also takes account of the requirements of
modified to make a new font called Dzongkha Calligraphic. digitized scripts. The result is exceptionally beautiful, easy-
The Dzongkha Calligraphic font has the same qualities as to-read, and at the same time completely authentic. Tibetans
!&
mentioned above under the Tibetan Calligraphic font but the learned and otherwise have praised the script and it is

the various
É
numerals, letters , , their derivatives, the numerals, and
signs have all been changed to the Dzong-
demanded for use in every major publishing project in Asia
these days.
kha look.
The typeface uses the more modern approach to serifs, in
which the fine curves of classic calligraphy are lost in favour
of a cleaner, block style. This more modern style is
4. TIBETAN CHOGYAL CLASSIC
favoured by most these days.
Authentic Tibetan calligraphy gives u-chan letters a sculpted

Tibetan Typefaces: page 6

Tibetan Font Samples using Lord Gampopa’s Oral Instructions on Mahamudra courtesy Drukpa Kagyu Heritage Project
Tibetan Machine Typeface 26 point
ÉÊ Ê,-0ë-µ¥-9ßÊ Bè-7ië-/7Ü-0#ë,-ýë-*ß#<-Bè-%,Ê Ê&ë<-d#-{-&è-:-0$7-/Cè<-ýÊ Ê7ë+-#<:-bÜ-$$-:-{æ,-&+-
0è+Ë ÊBè-XÜ-Vë0-+è-:-d#-72:-:ëÊ Êv-0-&ë<-U¨-Eë-Bè7Ü-*ß#<Ê Ê7ë+-#<:-#¶â#-0-+è-:-7¸¥+Ê ÊU:-Q,-dÜ-9/<-+ë,-2+-¸¥Ê Ê9$-<è0<-
I-/7Ü-0,-$#-oÜË Ê9$-<è0<-#¶â#-0-$ë-‡ë+-%Ü$-Ê Ê9Ü#-ý-$ë<-73Ý,-0,-$#-7+ÜÊ ÊU:-Q,-;è<-9/-e$-&±/-:Ê ÊDë#<-Q,-v-0-XÜ-Vë0-
#<ß$<Ê Ê+è-,<-/{+-,<-/+#-+$-7n+Ê Ê0,-$#-v-07Ü-#<ß$-/5Ü,-¸¥Ê Êyë/-07Ü-<è0<-`Ü-#,<-/1:-/Ê Ê9Ü#-ý-#,+-¸¥-#+/-ý9-
eË Ê0-*è/<-/9-¸¥-þë9-bÜ,-#+/ÊÊ +-P-$7Ü-":-&ë<-(,-ý7Ü-;è<-ýÊ 0-8è$<-ý9-<è$-$è-/-9Ü#-ý-#<:-:-0-7##<-ý-7+Ü-&ë<-U¨-
8Ü,Ë 7+Ü-,<-:$<-,<-7ië-/7Ü-¸¥<-+$ÍË +è-,<-0-2+-¸¥-$:-/<ë-/7Ü-¸¥<-+$-Ê +è-,<-.ß#-ý9-0:-¸¥-7¸¥#-1-,-8$-+è-9$-8Ü,-,ë-#<ß$-

Tibetan Font Samples: page 7

Tibetan Font Samples using Lord Gampopa’s Oral Instructions on Mahamudra courtesy Drukpa Kagyu Heritage Project
Tibetan Calligraphic Typeface 26 point
ÉÊ Ê,-0ë-µ¥-9ßÊ Bè-7ië-/7Ü-0#ë,-ýë-*ß#<-Bè-%,Ê Ê&ë<-d#-{-&è-:-0$7-/Cè<-ýÊ Ê7ë+-#<:-bÜ-$$-:-{æ,-&+-
0è+Ë ÊBè-XÜ-Vë0-+è-:-d#-72:-:ëÊ Êv-0-&ë<-U¨-Eë-Bè7Ü-*ß#<Ê Ê7ë+-#<:-#¶¦#-0-+è-:-7¸¥+Ê ÊU:-Q,-dÜ-9/<-+ë,-2+-¸¥Ê Ê9$-
<è0<-I-/7Ü-0,-$#-oÜÊ Ê9$-<è0<-#¶¦#-0-$ë-‡ë+-%Ü$ÍÊ Ê9Ü#-ý-$ë<-73Ý,-0,-$#-7+ÜÊ ÊU:-Q,-;è<-9/-e$-&±/-:Ê ÊDë#<-Q,-v-0-XÜ-
Vë0-#<ß$<Ê Ê+è-,<-/{+-,<-/+#-+$-7n+Ê Ê0,-$#-v-07Ü-#<ß$-/5Ü,-¸¥Ê Êyë/-07Ü-<è0<-`Ü-#,<-/1:-/Ê Ê9Ü#-ý-#,+-¸¥-#+/-
ý9-eÊ Ê0-*è/<-/9-¸¥-þë9-bÜ,-#+/ÊÊ +-P-$7Ü-":-&ë<-(,-ý7Ü-;è<-ýÊ 0-8è$<-ý9-<è$-$è-/-9Ü#-ý-#<:-:-0-7##<-ý-7+Ü-&ë<-U¨-
8Ü,Ë 7+Ü-,<-:$<-,<-7ië-/7Ü-¸¥<-+$ÍË +è-,<-0-2+-¸¥-$:-/<ë-/7Ü-¸¥<-+$-Ê +è-,<-.ß#-ý9-0:-¸¥-7¸¥#-1-,-8$-+è-9$-8Ü,-,ë-#<ß$-

Dzongkha Calligraphic Typeface 26 point

ÉÊ Ê,-0ë-µ¥-9ßÊ Bè-7ië-/7Ü-0#ë,-ýë-*ß#<-Bè-%,Ê Ê&ë<-d#-{-&è-:-0$7-/Cè<-ýÊ Ê7ë+-#<:-bÜ-$$-:-{æ,-&+-0è+Ê ÊBè-
XÜ-Vë0-+è-:-d#-72:-:ëÊ Êv-0-&ë<-U¨-Eë-Bè7Ü-*ß#<Ê Ê7ë+-#<:-#¶¦#-0-+è-:-7¸¥+Ê ÊU:-Q,-dÜ-9/<-+ë,-2+-¸¥Ê Ê9$-<è0<-I-/7Ü-0,-$#-
oÜË Ê9$-<è0<-#¶¦#-0-$ë-‡ë+-%Ü$ÍÊ Ê9Ü#-ý-$ë<-73Ý,-0,-$#-7+ÜÊ ÊU:-Q,-;è<-9/-e$-&±/-:Ê ÊDë#<-Q,-v-0-XÜ-Vë0-#<ß$<Ê Ê+è-,<-
/{+-,<-/+#-+$-7n+Ë Ê0,-$#-v-07Ü-#<ß$-/5Ü,-¸¥Ê Êyë/-07Ü-<è0<-`Ü-#,<-/1:-/Ê Ê9Ü#-ý-#,+-¸¥-#+/-ý9-eÊ Ê0-*è/<-/9-¸¥-þë9-
bÜ,-#+/ÊÊ +-P-$7Ü-":-&ë<-(,-ý7Ü-;è<-ýÊ 0-8è$<-ý9-<è$-$è-/-9Ü#-ý-#<:-:-0-7##<-ý-7+Ü-&ë<-U¨-8Ü,Ê 7+Ü-,<-:$<-,<-7ië-/7Ü-
¸¥<-+$-Ê +è-,<-0-2+-¸¥-$:-/<ë-/7Ü-¸¥<-+$-Ê +è-,<-.ß#-ý9-0:-¸¥-7¸¥#-1-,-8$-+è-9$-8Ü,-,ë-#<ß$-Ê Ê+-aë+-7&Ü-8$-7+Ü-+$-0Ü-7o:-:Ê Ê,-

Tibetan Typeface Samples: page 8

Tibetan Font Samples using Lord Gampopa’s Oral Instructions on Mahamudra courtesy Drukpa Kagyu Heritage Project
Tibetan Chogyal Classic Typeface 26 point
ÉÊ Ê,-0ë-µ¥-9ßÊ Bè-7ië-/7Ü-0#ë,-ýë-*ß#<-Bè-%,Ê Ê&ë<-d#-{-&è-:-0$7-/Cè<-ýÊ Ê7ë+-#<:-bÜ-$$-:-{æ,-&+-
0è+Ë ÊBè-XÜ-Vë0-+è-:-d#-72:-:ëÊ Êv-0-&ë<-U¨-Eë-Bè7Ü-*ß#<Ê Ê7ë+-#<:-#¶â#-0-+è-:-7¸¥+Ê ÊU:-Q,-dÜ-9/<-+ë,-2+-¸¥Ê Ê9$-
<è0<-I-/7Ü-0,-$#-oÜË Ê9$-<è0<-#¶â#-0-$ë-‡ë+-%Ü$-Ê Ê9Ü#-ý-$ë<-73Ý,-0,-$#-7+ÜÊ ÊU:-Q,-;è<-9/-e$-&±/-:Ê ÊDë#<-Q,-v-0-
XÜ-Vë0-#<ß$<Ê Ê+è-,<-/{+-,<-/+#-+$-7n+Ê Ê0,-$#-v-07Ü-#<ß$-/5Ü,-¸¥Ê Êyë/-07Ü-<è0<-`Ü-#,<-/1:-/Ê Ê9Ü#-ý-#,+-¸¥-
#+/-ý9-eÊ Ê0-*è/<-/9-¸¥-þë9-bÜ,-#+/ÊÊ +-P-$7Ü-":-&ë<-(,-ý7Ü-;è<-ýÊ 0-8è$<-ý9-<è$-$è-/-9Ü#-ý-#<:-:-0-7##<-ý-7+Ü-
&ë<-U¨-8Ü,Ê 7+Ü-,<-:$<-,<-7ië-/7Ü-¸¥<-+$-Ë +è-,<-0-2+-¸¥-$:-/<ë-/7Ü-¸¥<-+$-Ê +è-,<-.ß#-ý9-0:-¸¥-7¸¥#-1-,-8$-+è-9$-8Ü,-,ë-

Tibetan Chogyal Typeface 26 point

ÉÊ Ê,-0ë-µ¥-9ßÊ Bè-7ië-/7Ü-0#ë,-ýë-*ß#<-Bè-%,Ê Ê&ë<-d#-{-&è-:-0$7-/Cè<-ýÊ Ê7ë+-#<:-bÜ-$$-:-{æ,-&+-
0è+Ë ÊBè-XÜ-Vë0-+è-:-d#-72:-:ëÊ Êv-0-&ë<-U¨-Eë-Bè7Ü-*ß#<Ê Ê7ë+-#<:-#¶â#-0-+è-:-7¸¥+Ê ÊU:-Q,-dÜ-9/<-+ë,-2+-¸¥Ê Ê9$-<è0<-I-/7Ü-
0,-$#-oÜÊ Ê9$-<è0<-#¶â#-0-$ë-‡ë+-%Ü$ÍÊ Ê9Ü#-ý-$ë<-73Ý,-0,-$#-7+ÜÊ ÊU:-Q,-;è<-9/-e$-&±/-:Ê ÊDë#<-Q,-v-0-XÜ-Vë0-
#<ß$<Ê Ê+è-,<-/{+-,<-/+#-+$-7n+Ê Ê0,-$#-v-07Ü-#<ß$-/5Ü,-¸¥Ê Êyë/-07Ü-<è0<-`Ü-#,<-/1:-/Ê Ê9Ü#-ý-#,+-¸¥-#+/-ý9-
eË Ê0-*è/<-/9-¸¥-þë9-bÜ,-#+/ÊÊ +-P-$7Ü-":-&ë<-(,-ý7Ü-;è<-ýÊ 0-8è$<-ý9-<è$-$è-/-9Ü#-ý-#<:-:-0-7##<-ý-7+Ü-&ë<-U¨-
8Ü,Ë 7+Ü-,<-:$<-,<-7ië-/7Ü-¸¥<-+$-Ê +è-,<-0-2+-¸¥-$:-/<ë-/7Ü-¸¥<-+$-Ê +è-,<-.ß#-ý9-0:-¸¥-7¸¥#-1-,-8$-+è-9$-8Ü,-,ë-#<ß$-Ê Ê+-+è-

Tibetan Typeface Samples: page 9