Albra and Albra Grotesk by Rellence are used to define the brand presence of INNO. The Belgian department store chain is celebrated for its rich retail heritage and its curation of premium fashion, beauty, and lifestyle brands.

Albra by Rellence is used for Au Nom de la Rose, a well-known chain of flower shops present in France since a few decades.

Design studio Bureau Martine describes the project as follows:

We were thrilled that Charlie's Agency entrusted us for its rebranding, as it’s a challenge to modernize an established brand. The change came with a brand new logo, fonts, colors, and the installation of new graphic codes. Our scope of work went from retail to social media, packaging, website guidelines: a real 360° project.

Cowboy Space Corporation is an American renewable energy company founded by Baiju Bhatt in 2024, originally under the name Aetherflux Inc. The startup is focused on space technology, orbital infrastructure, and future energy systems, and is set to build a power grid in outer space o power artificial intelligence.

The visual identity for Cowboy Space Corp. was conceived by Smith & Diction. They chose the freshly released Panell (Displaay) as the main font, paired with Okima (Rellence), TT Autonomous (TypeType), Similar (Or Type), and Talu (Beasts of England). The patches additionally feature Megazoid (DJR).

From Smith & Diction:

We decided to pair Panell with FOUR other brand typefaces. Completely responsible and practical thing to do. But when you’re going to space you gotta look your best, you know?

We chose Similar for body copy and brand support, Autonomous for the “Corp.” in the lockup, Okima for bitsy detail info, and Talu to bring a little bit of western whiskey into the mix.

Website detail ft. two widths of Panell

Website detail ft. Okima, Panell Wide Bold, and Similar Regular

Web footer

Albra Sans by Rellence is used for Fossula, a skincare brand from Korea that develops new ingredients and formulas based on extensive skincare experience. It was launched in September 2020.

The brand identity design and font selection were executed by Seoul-based design studio HuskyFox. Plus X were in charge of developing the website.

The supporting typeface for small English text is Benton Sans. The Fossula website (no longer online) additionally used Noto Sans KR, see Source Han Sans.

Since 2019, Para by Rellence and Simplon Norm from Swiss Typefaces have been used in the visual identity of Schutter Widmer (until 2024: Schutter Widmer Krieger). The Swiss violin-making atelier is known for its uncompromising craftsmanship and deep respect for traditional lutherie.

Translated into the English from the website of design studio Brink:

The visual identity, whose key visuals are created by the violin makers themselves, focuses on color, texture, and typography. Conceptually, Brink starts at the origin and does not incorporate finished musical instruments into the design elements. Instead, cross-sections of the wood pieces from which the instruments are built are shown. The wedge-like formal language is also visually reflected in the word and image mark: the edges and terminals of the brand typeface are drawn in a wedge shape.

Swizzy by Rellence and Neue Montreal Mono by Pangram Pangram are used together for Flim.ai, an AI-driven creative project designed by ToyFight.

The pairing combines Swizzy’s clear, precise sans-serif forms, which bring structure and balance, with Neue Montreal Mono’s functional clarity. Together, they support a system built around exploration, contrast, and rapid visual discovery across digital interfaces.

Description of the project by ToyFight:

Flim is an AI-powered visual inspiration platform for creatives, functioning as both a vast library of stills and video clips from movies, TV, and ads, and a suite of AI tools.

Inspired by the cinematic technique of splicing film, we take seemingly disparate elements frames, genres, references, styles, ideas and connect them to form something unexpected, dynamic, and uniquely relevant.

Albra Grotesk and Albra Sans by Rellence are used for the brand identity of Läderach across packaging and brand communication. The Swiss chocolate maker, founded in 1962, is known for its high-quality, bean-to-bar production carried out entirely in Switzerland. The family-run company offers a wide range of products, including its signature FrischSchoggi, pralines, and seasonal specialties.

Läderach approached us to customize Albra Sans for their new updated visual identity. The primary focus was on the uppercase A, inspiring us to redesign the distinctive A of Albra into a more neutral, toned-down version with a flat apex. This redesign aims to provide long uppercase words with a more harmonized cap rhythm, seamlessly complementing the aesthetics of the new Läderach logo.

Para by Rellence is used for the logo and rebrand of Fresh As, the innovative home of premium freeze-dried ingredients. The sans is TT Commons by TypeType.

From Studio South’s website:

Fresh ° As elevates any dish through colour, texture and flavour. Using premium, hand-processed ingredients freeze-dried with state-of-the-art technology, the brand delivers pure intensity and versatility. Working across food service, retail and manufacturing, Fresh ° As inspires chefs and mixologists, supports home cooks, partners with leading FMCG brands, and is rapidly expanding from New Zealand and Australia into the U.S. and UK/EU. For over two years, South has partnered with Fresh ° As to embed design at the heart of the brand. From strategy to identity, packaging, digital and content, our work creates a cohesive system that scales globally. Centred on the degree symbol (°), the brand unfolds as a constellation of flavours, each product treated like a planet; precise, premium and quietly other-worldly.

Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

Telka by Rellence and Office Times Sharp by BoulevardLAB were used for the rebrand of Market Art Fair, the Nordic region’s leading contemporary art marketplace. The logo features Droulers Clarendon by Bureau Brut.

From 25AH:

Market Art Fair is the leading marketplace for contemporary art in the Nordic region. Founded in 2006, it brings together top galleries, collectors, institutions, and enthusiasts from across the Nordics and beyond.

The identity centers around an elegant wordmark in a bespoke serif typeface. A tilted, centered “R” introduces a touch of artistic imperfection — symbolizing creativity at the heart of the fair. A monochrome palette of black and white is refreshed annually with curated accent colors, keeping the identity dynamic and contemporary.

A graphic pattern was developed from close-up sections of the logo, symbolizing the endless perspectives viewers can have when experiencing different works of art. The broad typographic palette combines accessibility with a sense of exclusivity, allowing the visual language to adapt across different platforms and expressions.

Para from Rellence was used for the visual identity of Vor dem Knall, a documentary about the 2017 G20 summit in Hamburg. The typeface gives the project a sharp and contemporary tone that fits the film’s focus on political tension and civic atmosphere.

From The Brand Identity:

The film premiered on April 3rd 2018. Designer Maurice Másson [a.k.a. Maurice Schilling] created the visual identity for the film, which includes posters, title sequences and closing credits.

Para from Rellence and Brandon Grotesque from HvD Fonts are used for King Arthur Baking Company’s Big Book of Bread, published in 2024 by Simon Element, an imprint of Simon & Schuster. The book is a #1 New York Times, USA Today, and Publishers Weekly bestseller, and was named one of the best cookbooks of the year by New York Magazine, The Readable Feast, AOL, and Here & Now.

As the most wide-ranging bread book in a decade, it offers 125 recipes for novices and seasoned bakers alike, from everyday pan loaves to sourdough classics and festive breads. Para’s contemporary serif balances warmth with authority, making it ideal for long recipes, step-by-step instructions, and rich editorial content.

From Blank Studio:

Another part of our work for Euro Styl and their large-scale Dok Living development. This is a new neighbourhood in Gdańsk, which is being developed on post-shipyard land, in close proximity to the city centre.

The outer area of the Docks is a carefully planned space with historical, shipbuilding heritage and references to it as a leitmotif. In contrast, one of the residential building presented today features common areas that deliberately contrast with the industrial style. The elegant finish in colours of broken white, black and gold is complemented by colourful large-format tiles on the floors and wall sections.

Albra Sans by ULTRA KUHL plays a special role in the signage design of this space. It is part of the comprehensive Albra collection with a very wide range of styles. The chosen variation of Sans is characterised by an elegant, interesting details of the individual letters and clear contrasts, which corresponds with the graphic sign of the development.

The main material appearing in the wayfinding is aluminium painted in gold colour. Elements of the wayfinding system are inspired by the DOKI logo and complemented by numerous mirrors. The circles in which, for example, floor numbers and directional arrows are framed also refer to the brand's sign.

Large-format but elegant graphics have appeared in the underground car park spaces. Their colour palette continues the use of black and gold colour scheme.

Albra Book from Ultra Kuhl is used together with Messapia Bold and Coconat Bold Extended by Collletttivo in They That Do’s identity for Seedfolk, inspired by vintage botanicals and vegetable wood carvings. With an earthy look for the home startup, the studio set out to connect people with the colourful joys of growing their own. The website additionally uses Grilli Type’s GT Walsheim.

From Ellis Tree’s article for It’s Nice That:

Inspired by the shift in a desire to be outdoors and connecting with nature in the tough and isolating times of national lockdowns, Seedfolk was born out of a moment when many had time to slow down and reflect on the smaller things – in Gemma’s case this was growing veggies in her own back garden. The seed subscription and grow club started from Gemma’s own family’s journey with gardening and her desire to share this joy with others. “I thought this was a wonderful story and ultimately it's where the name came from – folk coming together to grow from the humble seed”, shares Vincent.

Para from Ultra Kuhl is used in the branding of Urania Berlin, a cultural and scientific institution in the heart of the city. The identity, designed by Stan Hema, highlights clarity and openness while giving the venue a distinct visual voice. Para’s strong, geometric forms are applied across signage, print materials, and digital channels, ensuring high legibility and a recognizable presence in both cultural and educational contexts. The accompanying sans is Colophon’s Basis Grotesque.

Telka from Ultra Kuhl and Lyon from Commercial Type are used in the branding of Front Row Group, a global agency network specialized in brand growth and digital commerce. The bold, extended forms of Telka give the identity a confident, expressive voice, matching the agency’s positioning at the intersection of culture, creativity, and technology.

Albra Book from Ultra Kuhl and Radion by General Type Studio are used in The Slow Road – The Complete Guide to Van Life in New Zealand, written by Kirianna and Lachlan Poole. The book is a comprehensive guide for travelers exploring New Zealand by van, combining practical tips, itineraries, and first-hand stories.

From the designer, Megan van Staden:

I used a combination of modern seventies fonts to give the book a retro and nostalgic feel.

From the App Store description:

“Meet Pika, the mind‑blowing AI video maker that brings your wildest dreams and weirdest ideas to life.”

Telka by Ultra Kuhl is used in the branding of Pika, an AI-powered app that creates high-quality video content from text prompts. Its bold, wide proportions give the brand a confident, futuristic voice that matches Pika’s role in creative technology.

Albra from Ultra Kuhl and Stardust and Dapper from Nodo are used for Jimena beer, produced in Cadereyta Jiménez, Nuevo León, Mexico. This new beer range includes four American ales.

From Principio Studio:

We designed a graphical system that was friendly to craft beer beginners and interesting enough for more advanced consumers.

We created a color code, simple names, and organoleptic descriptions with pairings for the front of the label, and for the reverse, we added relevant technical data such as bitterness, alcohol percentage, and color.

The label was printed on smooth textured heavyweight paper. A custom die was created to get the splicing on the bottle, details that help to position the product in a premium category.

Albra by Ultra Kuhl and Visuelt by Colophon are used for the rebranding of Cutting Edge, an Australian company that turns cardboard into something special. The look is clean, practical, and built to match their hands-on way of working. Everything from structure to typography is stripped back to focus on what really matters: precision and clarity.

Summary from the design studio’s website:

DSR Branding repositioned Cutting Edge as a modern, full-service packaging partner. The rebrand introduced a new name, the tagline Display Greatness, and a visual identity that blends precision with craftsmanship. A custom wordmark with chamfered corners, an icon inspired by fold lines and tool grids, and authentic photo and video content brought the brand to life across print, digital, and physical touchpoints.