So Quadraat Sans has display qualities, is an efficient typeface and suitable for longer texts at the same time.
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This can be most clearly seen in big word images and is still there in text sizes, although in a more discreet way. But he obviously succeeded in giving the sans version a lively and humane character. Thus, it was not that easy for the designer Fred Smeijers to make a gesture as strong as its serif companion without neglecting traditional proportions. Quadraat Sans is like its serif companion a typeface with a rather strong character of its own. This is certainly not the case with Quadraat Sans. Sans serif typefaces can look very much alike, especially in the bolder variations. Quadraat which started with a serif version follows this young tradition. Both typefaces give designers the opportunity to make use of well adapted sans serif variations. The well known designs from our days are ITC Stone or ff Scala for example. It was not until the late eighties that this idea became more popular. The TYPE BY Quadraat Sans follows a trend which was originated by Jan van Krimpen who designed Romulus, a classical typeface and to which he added some sans serif variations. Quadraat strives for a sort of understated noticeability we don’t see much anymore. Equally Quadraat didn’t fall prey to stiffly dated feel or outlines. All Quadraat fonts carry vibrant, powerful outlines, but they aren’t of the loud-mouthed, fun-font variety. Over the past two and a half decades after Quadraat’s initial release, several other versions have been designed: Quadraat Sans, Mono, Display, and Headliner. Quadraat sans was designed second, and commercially released in 1996.
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Originally designed for the eponymous Dutch design company Smeijers was a co-founding member of (currently name “het Lab”), Quadraat combines Renaissance elegance with contemporary ideas on construction and form.
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TYPE BY Quadraat is Fred Smeijers first commercially released typeface (FF 1992).