This paper focuses on the issue of comic book lettering in mainstream American comics with
an aim to introduce theoretical and methodological framework for further analysis of comic
book typography. First, it addresses numerous aspects of relations between text and image in
comics and presents the brief history of lettering in American comic book industry, as it grew
apart from its European counterpart in the early years of development and became much more
institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and
especially Richard Starkins, who introduced an affordable means of using the digital
typography in early 90s' comic books. In its main part the paper presents the classification of
usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal
and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This
analysis was based on the research sample of over 700 comic book issues, mostly from the
Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines
functions of comic book typography and outlines three possible fields of further study.