Luc Besson’s upcoming Dracula is an adaptation of Bram Stoker’s eponymous 1897 novel. Also titled Dracula: A Love Tale, the gothic horror film stars Caleb Landry Jones, Christoph Waltz, and Matilda De Angelis.

The movie posters feature a logo in all-lowercase Gandur New by Blackletra, with descending and diagonally cut stems in r and l. Secondary text is set in OH no Type Co.’s Forevs while the credits are in tried-and-tested Univers Ultra Condensed.

The fangs theme is carried further in the whitespace defined by Count Dracula’s silhouette. That idea isn’t very original, though: it seems the designers blithely copied it from a Nosferatu poster designed by Eileen Steinbach of SG Posters, shown in May 2024.

From The Holding Coat:

When I was in the New Jersey offices of Independent-International Pictures to begin re-shoots for what became Raiders Of The Living Dead, company founder Sam Sherman invited me to take my pick from his huge stash of pressbooks. I-I was famous for releasing the same movie under numerous titles. This is actually Dracula vs Frankenstein once again.

The title is set in Orbit Inline, the contoured variant of the bottom-heavy face from around 1970.

Front cover and spine to the Monster Series book on Frankenstein

Covers for the Monster Series from Crestwood House, a collection of 15 books published from 1977 mostly based on the monsters seen in the Universal Pictures films from the 1930s to the 1950s. The character titles for each book cover are set in an orange Neuland with white shadow or outline, sometimes on a curve or angle. The Monster Series logo/label uses Roberta. The back cover of each book aptly features the word “Monsters” set in Photo-Lettering's Monster, “from” set in an italic Times, and the Crestwood House publishers mark which appears to be based on Davida, albeit of lighter weight and more condensed proportions. The last page of each book also features a suggestion from King Kong set in Windsor. The spines and interior pages feature the author's name/s and text set in Optima.

Crestwood House is an imprint of the Macmillan Publishing Company.

Design is credited to Doris Woods, Randal M. Heise, Tammy Loe, and Baker Street Productions, Ltd.

Front covers to all 15 books in the Monster Series from Crestwood House

Last page of each book, featuring a suggestion from King Kong set in Windsor

Back cover, featuring PLINC's Monster

Split Ends is a phototype adaptation of an alphabet by lettering artist Ross F. George, reproduced as “Design & Poster” in the 13th edition of his Speedball Text Book (1938). It was shown by Lettergraphics in 1976 and was used already in 1973. Here it can be seen in use for a three-record box set with recordings of radio broadcasts released in 1975 by Murray Hill Records.

The episodes include extracts from Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde, and Bram Stoke’s Dracula, and feature the voice talents of Boris Karloff, Raymond Edward Jackson, Agnes Moorehead, Orson Welles, and John Carradine, among others.

Split Ends is paired with Letraset’s Compacta Outline (“The Great Radio”), Vogue (“Dracula, Frankenstein & other eerie broadcasts”), and Helvetica. The text on the back cover set in various styles from the Trade Gothic family, including the Extended.

[More info on Discogs]

#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

He leads the way to the Torment of the UNDEAD —

Publicity Gothic with Caslon Antique for the poster of Doctor Dracula.
From The Holding Coat:

When it comes to Independent-International, nothing is ever simple. Doctor Dracula is edited from Lucifer’s Women (1974). Director Al Adamson shot some new footage in 1981, edited it into the film and released it under its present title.

Credits are set in a phototype version of Deepdene Bold. The Independent-International logo uses Brush Script.

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 Rivals Of Dracula: A Century of Vampire Fiction, 1977. The two a’s from Bradley with their pointed terminals nicely echo the vampire’s fangs. [More info on ISFDB]

Printed in blood-red, Bradley unfurls its creepy qualities on the covers for a paperback series of horror anthologies. The three volumes were published by Corgi Books in 1977/1978, with cover art by the great surrealist artist John Holmes. Bradley brings the gothic feel of blackletter to the table, without the legibility issues of proper fraktur or textura faces. Secondary copy is set in Futura Bold and Extra Bold Condensed.

See also Bradley in use for Andy Warhol’s Frankenstein (1973) and for Interview With The Vampire (1976).

The Rivals of Frankenstein: A Gallery of Monsters, 1977. The ascender of Bradley’s k was trimmed to enable a compact setting without overlap. [More info on ISFDB]

The Rivals of King Kong: A Rampage of Beasts, 1978. Bradley here is used with descending capitals.
[More info on ISFDB]

A puzzle game titled Castle of Dracula debuted in arcades in 1994. It was never ported for home systems. The cut scenes in the middle of the game use the regular the Comix font (see Cartoon 12) for the word balloons, while the intro screens use a bolded form of the font.

Dracula: Return of Evil. A Tale of Terror for the 21st Century is the first volume in Universal Studios Monsters, a 6-book horror series for middle-grade readers written by Larry Mike Garmon and published by Scholastic in 2001.

The cover uses two early releases by House Industries. “Return of Evil” and the author line are in Allen Mercer’s Halfwayhouse (1993), while “A Tale of Terror” features Jeremy Dean’s Crackhouse (1994). “Dracula” uses a bold condensed fraktur, cf. Fette Fraktur. It’s either an unidentified font, or custom lettering.