About Igor Freiberger and this site

Igor Freiberger is a type designer from Porto Alegre, Brazil, active since 2010 in the development of digital fonts. Member of the FontLab team since 2017. His work focuses on families with wide linguistic coverage and strong readability across publishing contexts.

Among his projects, the Laboratorium family stands out: a multiscript typeface with about 11,210 glyphs per font, supporting Latin, Cyrillic, Greek, Armenian, and Georgian, plus phonetics, small caps, petite caps, enclosed alphabets, technical symbols, and advanced OpenType features.

He is also dedicated to typographic research on minority languages and historical alphabets, combining technical precision and multicultural scope. For all these activities, he has the decisive help of his cats.

All the texts use the Laboratorium typeface.
Fonts created with FontLab 8. Site created with Blocs 6.
Graphics created with InDesign, Illustrator, and Photoshop.
Animations created with After Effects.
All the pages and contents were made by Igor Freiberger.

Because most existing typefaces do not provide enough in terms of linguistic coverage and design quality. I may be too pretentious, but my aim is to provide typefaces that help a bit to fulfill these needs.

Actually, I didn’t want to become a type designer. I hated the idea since the very first time I opened a font to make adjusts. The amount of work necessary to create fonts is overwhelming. And so I decided to be only a type user.

Far later, I spent two years trying dozens of families to format my own Law stuff. None satisfied me. One lacks small caps, other is too heavy, other has anemic bold, other presents poor numbers, other has imperfect kerning… After that, it became clear that the fonts I need were still to be made. I finally surrended and started Laboratorium. Initially for personal use, it grew into a large family.

I want to use universal names that could be understood by near any people. And with some meaning linked to the fonts. Also, I prefer to avoid the overused English language. Latin fits the whole idea quite well. It also allows a second layer of criteria with the ending: -orium is for serif fonts, -arium for sans serif, and -erium for other categories.

Andron by Andreas Stötzner. A masterpiece both regarding its design and its comprehensiveness. Minion, a masterpiece by Robert Slimbach that could receive a wider glyphset, but hardly will. And Guardian Egyptian, a masterpiece by Paul Barnes and Christian Schwartz, although presenting a very reduced glyphset for XXI Century needs —and no update since its release. Among the sans, I prefer Myriad over all others. Honor mentions for Utopia, Tisa, Cartier, and Greta.

The Bulgarian lowercase be. Pure beauty. Many Cyrillic letters are great, too.

Yes, but the project needs to be interesting. Even the addition of some glyphs can be interesting if it improves language support or design approach. But to create a new font that is very much the same of others is not the focus.

All them are in the menu, although with reduced information by now. Repertorium and Scrptorium should be released along 2027. The others have still no schedule. Maybe a calligraphic family based on my own hand would also be made, but it’s still far away.

New typefaces are not the only projects. To improve Laboratorium and Calendarium is very important. Both should receive the addition of Armenian script very soon, and probably Georgian and Tiffinagh later. Hebrew is also a possibility. And, of course, the updates needed to keep them aligned to Unicode changes.