Founded in 1951, the Pacific Asia Travel Association (PATA) is a not-for-profit membership association that acts as a catalyst for the responsible development of travel and tourism to, from and within the Asia Pacific region. Shown here is the cover of their 3rd Annual Statistical Report for the years 1966 and 1967 .

With the large glyph framed by ornamental borders and printed in cheerful colors, it looks a little like a pared-down version of the Specimens of chromatic wood type, borders, etc. manufactured by Wm. H. Page & Co. from 1874, updated for the 1960s. The typeface isn’t that old, though: Contact Bold Condensed Italic (ATF, 1948) is used for the title. The giant numeral 3 is not from Contact, and probably not from a font at all.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library.

#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

Mierop Ginger Snap C (Photo-Lettering, 1969) in early use for the cover of a sampler of rock music by ATCO Records, featuring songs by the (no longer Young) Rascals, Bee Gees, Cream, Buffalo Springfield, Vanilla Fudge, and Iron Butterfly.

Contact Bold Condensed is used for the titles – which are interpreted by means of illustration, in an eclectic mix of styles, including all kinds of references ranging from the biblical forbidden fruit to Magritte and the Liberty Bell. The band names are set in all-caps Neue Aurora IX. Loring Eutemey, the cover designer, often dug into new additions from Photo-Lettering’s library of display typefaces.

[More info on Discogs]

Bing Sings the Hits is a compilation of hit songs by Bing Crosby from the early 1950s. It was issued as a 10″ LP by Decca Records in 1954. Each of the eight titles is shown on a separate card—jukebox style—and is set in a different typeface. The selection provides a good sample of what was popular in the US in the 1950s, and also includes the less commonly seen Contact Italic (for “I Love Paris”). The titles are all presented in capitals, with the exception of “My Love, My Love”: Allegro with its cursive forms doesn’t lend itself to being used in all caps. (Barbara deWilde disagrees.)

[More info on Discogs]

“Real gusto days”, 1965.

Today’s thirst puts gusto first. Look for the special displays during … real gusto days

The image above shows a 1965 ad by the Joseph Schlitz Brewing Company, featuring Imre Reiner’s Corvinus fett (Bauer, 1935) and Frank H. Riley’s Contact Bold Condensed Italic (ATF, 1948).

Corvinus was used by Schlitz already before. The ad from 1963 shown below additionally features the Kursiv halbfett, with News Gothic for the small copy and Futura for the credits.

“Real gusto in a great light beer”, 1963.