Designed by Portland-based studio FISK in collaboration with the atmos USA in-house team, atmos USA’s “Thrill of the Hunt” campaign uses Tommi Sharp’s Taters to encourage sneakerheads to “go wild”. Inspired by stamps carved from potatoes, the typeface’s chunky, organic shapes compliment the animal prints used in the campaign. FISK pairs Taters with stalwart Helvetica, an official atmos USA brand typeface. Still in use as of February 2021, the campaign spans advertising, environmental graphic design, social media, and the atmos USA house-brand clothing line.

The Atmos logo uses Univers 85 Extra Black.

Cover and interior spreads from the 2020 Holiday Issue of Bon Appétit magazine.

The cover uses the third iteration of its logo in a decade. Originally designed by Matthew Lenning and Matthew Carter in 2007, the logo was re-drawn by Tal Leming in 2011. The current version was drawn by Commercial Type in 2018.

The typography uses Bon Appétit’s stalwart typeface Futura for all copy.

The holiday special guest typefaces are Warren Chappell’s Lydian, Margot by Nick Sherman, and Adamastor by Mário Feliciano. Margo is also used in the website version of this Bon Appétit issue, alongside Futura.

Creative direction by Michele Outland; art and design by Chris Cristiano, Bryan Fountain, Christa Guerra, and Leticia Sarmento.

“GIFTS” appears to be lettering, with a mix of styles. The G is similar to the one in Mostra Nuova Black, Kobalt, or Soda Jerk NF. [edit: It’s an unreleased typeface by Mário Feliciano named Adamastor, see comments.]

Champion Gothic Heavyweight takes center stage in the identity for Harry Styles’ 2019 sophomore release, Fine Line. Designed by Melbourne-based graphic designer Bradley Pinkerton in partnership with creative director Molly Hawkins.

Hello Nasty is the fifth studio album by the Beastie Boys, released on July 14, 1998 by Grand Royal/Capitol Records. The album art was designed by Bill McMullen with art direction by Cey Adams, co-founder of design studio The Drawing Board (1986–1999).

From Min Chen’s article for Proxy Music:

The album’s sleeve art marked a dimensional shift from the street-dwelling images of 1989’s Paul’s Boutique and 1992’s Check Your Head, embracing instead a whole other astro plane. Cover designer Bill McMullen (who, while working at Def Jam Records in the mid ‘90s, first met the Beastie Boys at a basketball game) revealed in 2013 that he’d actually planned to illustrate an underwater base, a “weird, bottom-of-the-sea type thing.” Beastie Boy Adam Horowitz, however, nudged him onto the opposite path. Recalled McMullen, “He was like, ‘Yeah, it’s cool, like, undersea stuff. But you know what’s really cool is a space station.’”

The space theme extends to the visual rendition of the band name and album title. They feature original lettering inspired by Countdown, a futuristic (or, by 1998, retro-futuristic) typeface desiged by Colin Brignall for Letraset in 1965.

[More info on Discogs]

Visual comparison of the original lettering (top) and a resetting in the Countdown font, using URW’s digital version (bottom). All letterforms have been adjusted to various degrees. The differences are most striking in a and the descenderless y, where all the thicks were moved to the left. Likewise, the ascenders in b and h were thinned to match the left part of the bowls. The waist of a e s was lowered, and thin top horizontals thickened. Lastly, the dot on i was omitted.

Back cover with track list in Futura.

Schematic drawing of the canned band members with an outlined version of the lettering, on one of the inner sleeves.

Record label (Side B). “Grand Royal” features the same style of lettering, with a thin ascender for d. Unlike in Countdown, g is monocular. Two weights of Futura are used for the track list and the credits.

Record label (Side D).

Apparently the designer of this promotional poster wanted to add the release date in a similar style. The numerals are not from Countdown, though, but from the rounder Amelia, another Space Age face issued by VGC around the same time.

UK promo billboard, 60″×40″

Tour posters in various colors.