BEHIND CRU: An Exploration of Form and History
Every typeface has its roots in history, even those designed with a forward-thinking sensibility. Cru, is no exception. At first glance, Cru is a modernist statement: its geometric precision and controlled proportions speak to the digital age. However, just beneath its surface lies a more layered dialogue—a synthesis of the past and present, drawing inspiration from historic woodtype and reinterpreting it for contemporary contexts.
The Woodtype Connection
Woodtype emerged in the 19th century, a direct response to the need for large-scale letters in poster design, advertising, and signage. Metal type, limited by its material constraints, couldn’t support the size or durability needed for booming print requirements. Enter woodtype: lighter, cheaper, and capable of achieving much larger letterforms.
The typefaces of this era were often unapologetically loud, crafted to seize attention from busy city streets. Leavenworth, one of the oldest producers of woodtype in the United States, developed many of the iconic styles we now associate with the aesthetic of the period, including the wide, square-proportioned forms that Poplar draws from. Poplar’s exaggerated stroke contrast, extended serifs, and condensed letterforms encapsulate the bold, brash energy of its wooden ancestors.
Poplar’s Influence on Cru
While Cru might seem a world away from the bustling posters of 19th-century America, the connection lies in its rigorous geometry and the modularity of form—key elements in woodtype design. Cru, much like Poplar, makes use of consistent, rational shapes, but does so with a more reductive approach.
Where Poplar embraced the density and weight of woodtype, Cru takes these structural ideas and reduces them to their most simplistic form. Its circular counters, flat terminals, and variable widths echo the boldness of Poplar’s source material, but without the historical baggage.
The proportions of Cru are meticulously controlled, achieving a balance between tradition and modernity. The square-like forms of the “O “ and “C, “ for instance, evoke the strong horizontal emphasis of woodtype but have been smoothed and updated, lending the letters a sense of crisp refinement. Poplar’s rugged qualities are still faintly visible here, but they’ve been honed and stripped back to their essence.
Modernity in Mind: Cru’s Versatility
Cru’s aesthetic might nod to history, but its application is thoroughly modern. The typeface is crafted for versatility across both print and digital media, boasting a range of widths from Extra Condensed to Extra Expanded, making it ideal for headline up until larger display settings.
Unlike its woodtype predecessors, which were intended for short, impactful uses like headlines or posters, Cru has adjusted counters to retain readability and optimal crispness at smaller display sizes. Cru balances two extremes: the structural logic of geometric typefaces and the subtle warmth of a humanist approach.
From small to wide widths: Filling the void
One of Cru’s most remarkable qualities is its ability to navigate between the different widths. These are optimized to appear with a consistent “greyness”, enabling to be used intermittently to fill the whitespace where needed. With the variable version this allows you to fill the void where needed and make the most of your message.
In the most condensed version Cru has hints of Impact and other simplified condensed heavy sans serifs. The wider cuts are reminiscent of wider type such as Paul Renner’s Plak. Cru combines their reduced forms with woodtype-inspired boldness, making them perfect for headlines or impactful branding just the right amount of character to stand out from the competition. This is where Cru truly shines: as a typeface that bridges eras, it feels equally at home in a high-end magazine spread as it does on a modern website or brand collateral.
Cru: A Typeface for the Present, Grounded in the Past
In a time when typography often feels detached from its history, Cru serves as a reminder that every form, no matter how modern, has its roots in the past. By weaving together geometric precision with the spirit of woodtype, Cru embodies a harmonious blend of history and innovation.
Dries Wiewauters has created a typeface that is both highly functional and aesthetically distinctive. Cru is a testament to the enduring power of form and the thoughtful balance of tradition and progress. It encourages us to look back to understand the future, a quiet but powerful statement in today’s world of typography.
