Thirst:

Pizzeria Bebu is a fresh take on classic thin-crust pizza. Bud Rodecker created an identity system that is a new take on Italian iconography with fresh ingredients. The base of the logo is the red wedge, topped with an “Italian” reverse stress typeface, and custom lettering for “Pizzeria.” While the parts aren't authentic Italian ingredients, when combined they represent the Bebu way.

The type selection for “Bebu” is Arbor by Vllg a reverse stress typeface. Reverse stress typefaces are also sometimes categorized as Italian, although their origin in Italy is questionable. Most likely, they were labeled Italian as a marketing gimmick to sell fonts.

“‘Pizzeria’ is set in a custom typeface that uses American ingredients with an Italian flair. The discovery of a new stressed sans serif letterform came by overlapping two Zs of Trade Gothic Extended, a classic American Typeface. From there we extended it to an uppercase alphabet for Pizzeria Bebu's secondary typography.” — Thirst

This 2011 reprint of Marshall McLuhan’s From Cliché to Archetype, desiged by Anne Burdick, features Arbor, printed on a transparent jacket and wrapped around Torque and yellowness.

From the book’s printer, Asia Pacific Offset:

The case also has the title dembossed deeply on the front cover which lines up with the title that is silkscreened on the durable acetate jacket.

See also: the typographic design for the book’s first edition.

From the Creative Time website:

For HEARD•NY, Chicago-based artist Nick Cave transformed Grand Central Terminal’s Vanderbilt Hall with a herd of thirty colorful life-size horses that broke into choreographed movement—or “crossings”— twice a day, accompanied by live music. The project was presented by Creative Time and MTA Arts for Transit as part of a series of events celebrating the centennial of Grand Central.