Steradian in use for the visual identity of Landdox, a “a young, entrepreneurial software company with a vision of becoming the center of land management in the oil and gas industry”. The identity was designed by Oklahoma based studio Nominee:

We interviewed customers and reviewed the brands of the competition to identify opportunities for Landdox to differentiate itself. While we believed that the Landdox name was compelling as-is, we discovered an opportunity to better define their brand narrative and update their visual identity in a way that would help them stand out from the legacy systems.

In his magnum opus The Osages: Children of the Middle Waters, John Joseph Mathews (1894–1979) preserved many collected stories and the oral history of the Osage. From University of Oklahoma Press:

This account of the Osages, a Siouan tribe once centered in the area now occupied by St. Louis, later on small streams in southwestern Missouri and southeastern Kansas, then in northeastern Oklahoma, is a spiritual one. Their quest in the centuries-long record was for the meaning of Wah’Kon-Tah, the Great Mysteries. In war, in peace, in camps and villages, in their land of the Middle Waters, the Osages met all of the changes and hardships people are likely to meet anywhere.

First published in hardback in 1961, the book was issued as paperback in December 1981. The image shows the current paperback edition from 2016. It’s not clear if the 1981 edition had the same cover design. The typefaces in use were both available in 1981 as phototype, and in 2016 in digital form: they are Rustikalis Bold, an uncredited design issued by VGC sometime between 1973 and 1977, and digitized by Malcolm Wooden in 2007 as Rustikalis DT, and ITC Galliard Italic, designed Matthew Carter for Mergenthaler Linotype in 1978 and now available from ITC.

Cover of a Christmas-themed circular by Otasco, the Oklahoma Tire and Supply Company, from 1976, featuring a motorized Santa Claus in a helicopter sleigh.

The title typeface is King Arthur. It was released by Phil Martin’s Alphabet Innovations in the early 1970s, in two light weights plus an Outline style, and came with alternates named Guinevere. King Arthur was preceded by the monolinear Arthur. The series went also under the name Knight. Roc Mitchell claimed to be the designer. In the 1990s, he issued a digital version named Poetry. See the typeface page for more details.