Chair de Poule is the French version of Scholastic’s Goosebumps series, the bestselling horror novels written by R.L. Stine. Published in French by Bayard Éditions, the collection is a huge success with over 12 million books sold in France since the launch of the first copies in the early 1990s.

Balter Serif is used for the book titles. Horror Show Bold serves for the word “Frisson” (“thrill”) in the collection’s name. “Chair de Poule” is probably custom lettering.

#1, Dracula Returns! (1973) with cover art by Harry Borgman

This is the first edition of the Dracula Horror Series, a.k.a. The Return of Dracula, written by Robert Lory (b. 1936) and published by Pinnacle Books between 1973 and 1975.

The typography is largely the same for all nine volumes, with Quaint Roman used for the titles and Contact Bold Condensed for the author’s name, the series title, and the teaser texts. On the cover for #7, Contact got replaced by the similar Monotype Clarendon Condensed for the teaser. And on the last two volumes, these texts are set in Record Gothic Heavy Condensed.

[More info on ISFDB]

#2, The Hand of Dracula! (1973) with cover art by Harry Borgman

#3, Dracula’s Brothers (1973) with cover art by Harry Borgman

#4, Dracula’s Gold (1973) with cover art by Harry Borgman

#5, The Drums of Dracula (1974) with cover art by J. Thompson

#6, The Witching of Dracula (1974)

#7, Dracula’s Lost World (1974) with cover art by Victor Valla

#8, Dracula’s disciple (1975) with cover art by Victor Valla

#9, Challenge to Dracula (1975) with cover art by Victor Valla

Bottleneck (Letraset, 1972) together with Pinto (Rapitype/Mecanorma, ca. 1969) in use for the book jacket of A Pictorial History of Horror Movies, edited by Denis Gifford and published by Hamlyn, London, in 1973. The art is by Tom Chantrell.

Read all about it – cats, bats, phantoms, apemen and green rubber monsters, all from the lost world and dark houses of the Golden Age of Horrorwood! Watch the Mummy rise bandaged from its tomb, see Frankenstein’s creation reach out to grasp the sun, listen to the howl of the werewolves when the iron tongue of midnight has struck twelve!
From Mélies’ magic to the hauntings of Hammer, Denis Gifford will take you, ‘Raven’-loving reader, racing along in his ghost-ridden rattle-trap, a hair-raising journey down the highway of horror. No stones are left unturned and the long lost rise up to snarl and smirk beneath the dusty beam of the projector. The cinema’s sorcerers stand before you, splendidly summoned by anartful pen: Lugosi, curiously cadenced, blood on his lips; Max Shreck, shadowy, dissolving at dawn; the silken-voiced and unseen Rains; Veidt, lady-snatching on the roof-tops; Price, waxing strong in his museum; Laughton, bowed beneath his hump; beasts, brutes and mutants; zombies, devil bats and masked beings; claymen and vampires; dinosaurs from a distant era, things from outer space and horrors from the deep – all clamour for attention. Jekyll becomes Hyde, Kong becomes King, Lon Chaney becomes everybody and Karloff remains stupendously himself, bestriding the age in his eighteen-pound boots.
It is a book to be read, studied, treasured, looked at and, above all, enjoyed, and if you have to put it down, be careful not to step on it – it may be Lon Chaney!

Eightball with swashes for a poster advertising a TV horror program with Boris Karloff on WOR-TV’s Channel 9, titled Fright Night. Designed by Ted Kliros with art direction from Richard Traeger, for Spiegel & Laddin / Jane Lander Associates, New York. Originally in color, the poster is reproduced in black and white in Graphis Posters 1977, with comment “Faces in green and yellow shades.”

The artwork for Iron Maiden's Powerslave album (1984) consists of a monumental Egypt-inspired scene with Eddie as a pharaoh (with a utero?) as conceived and painted by Derek Riggs. Iron Maiden's successful career would not have been the same without zombie, mascot, and sixth band member Eddie, that Riggs created for them in 1980 based on a stage prop. The artwork seems to be completely unrelated to the lyrics and music.

Artwork and logo are supported by typography using not Eddie, but Edda Solid, an Art Nouveau typeface originally designed by Heinz Keune and released in Germany by Schelter & Giesecke. It is an all caps design but with a lowercase h. There's little width contrast between Edda's letterforms and it comes with alternates for A, E, T. The original design uses the rounder forms for A and E. In the images some of the alternate shapes can be seen on the “Powerslave” flag — which was probably designed later on, after the Powerslave album and the World of Slavery tour.

The band logo – in use since 1977 – is based on Busk, See comments.

back cover

Iron Maiden – Powerslave cassette, 1984.

Iron Maiden Powerslave / World Slavery tour T-shirt, 1984.

Action figure — not from 1984. “Powerslave” uses Edda broken down and staggered, but with same lettershapes as the original artwork.

Powerslave flag (undated), probably 2000s. “Powerslave” still using Edda, but with alternate A and E.