Over the years Charlton has been typecast and even maligned for their use of typeset, as opposed to hand lettering, in a majority of their comics. This purview has been a mainstay for decades, prompted by a cadre of fans who have derided and marginalized the company. To sway minds at this point might be a tough hurdle to overcome, especially when pros, including Dick Giordano during his editorial tenure, often satirized the procedure (credits read: "Lettering: A. Machine"). My intent is to provide a more balanced account by revealing the actual efforts of Charlton's unsung letterers, and in doing so, give them the recognition they deserve.
The multi-talented Jon D'Agostino penciled, inked, lettered, and may have even colored the cover to Li'l Genius # 42, January 1963.
Jon D'Agostino drew himself, along with editor Pat Masulli in My Little Margie's Fashions # 1, February 1959, where the title character visits the Charlton offices.
According to Todd Klein, a talented letterer in his own right, the above page is likely that of Editor Pat Masulli. Bill Molno pencils; Rocco Mastroserio inks; Joe Gill possible script, Battlefield Action # 17, December 1957. Todd has contributed greatly to identifying lettering styles and his blog is highly recommended: https://kleinletters.com/
Charlotte Jetter was another extremely talented letterer. Originally paired with her husband, art director and artist Al Jetter (who also lettered) at Fawcett in the 1950s, Jetter's credits outside of Charlton include working for DC and numerous assignments at Marvel in the 1970s. Jetter's polished, attractive style enhanced Charlton's stories and covers for over two decades.
Herb Field's lettering was recognizable by the large capital letter he began captions with. Captain Atom # 84, January 1967. Dave Kaler script, Steve Ditko pencils, Rocco Mastroserio inks.
Field lettered the debut issue of Hercules (October 1967) scripted by Joe Gill and drawn by Sam Glanzman.
Bravo's actual comic book credits are scarce, but his name was listed in The Comic Book Guide for the Artist-Writer-Letterer, a booklet sent as a bonus to subscribers in 1973. Bravo had a distinct style which I suspect will help to track down more of his published work. Image from the Charlton Library blogspot.
In addition to the war, western and ghost stories he illustrated, Warren Sattler had runs on Billy the Kid and Yang. Attack # 8, November 1972.
John Byrne was another newcomer who cut his creative teeth at Charlton. He soon moved over to Marvel where he became a fan favorite, illustrating the adventures of the X-Men with writer Chris Claremont. One of his early efforts was on Doomsday + 1. Page from # 2, September 1975, Joe Gill script.
Don Newton graduated from having his art showcased in numerous fanzines to securing a position in the comics field. His skill was evident early on, as seen on this page, where Newton and author Bill Pearson paid homage to the classic 1942 film Casablanca, with "appearances" by the cast, including Peter Lorre, Claude Raines and (pictured above) S. Z. Sakall and Humphrey Bogart! The Phantom # 70, April 1976.