Graphic Design: The New Basics: Second Edition, Revised and Expanded (2015)
[The frame] disappears, buries itself, melts away at the moment it deploys its greatest energy. The frame is in no way a background … but neither is its thickness as margin a figure. Or at least it is a figure which comes away of its own accord. Jacques Derrida
Frames are everywhere. A picture frame sets off a work of art from its surroundings, bringing attention to the work and lifting it apart from its setting. Shelves, pedestals, and vitrines provide stages for displaying objects. A saucer frames a tea cup, and a place mat outlines the pieces of a table setting.
Modern designers often seek to eliminate frames. A minimalist interior avoids moldings around doors or woodwork where walls meet the floor, exposing edge-to-edge relationships. The full-bleed photography of a sleek magazine layout eliminates the protective, formal zone of the white margin, allowing the image to explode off the page and into reality.
In politics, “framing” refers to explaining an issue in terms that will influence how people interpret it. The caption of a picture is a frame that guides its interpretation. A billboard is framed by a landscape, and a product is framed by its retail setting. Boundaries and fences mark the frames of private property.
Cropping, borders, margins, and captions are key resources of graphic design. Whether emphasized or erased, frames affect how we perceive information.
Frames create the conditions for understanding an image or object. The philosopher Jacques Derrida defined framing as a structure that is both present and absent.1 The frame is subservient to the content it surrounds, disappearing as we focus on the image or object on view, and yet the frame shapes our understanding of that content. Frames are part of the fundamental architecture of graphic design. Indeed, framing is one of the most persistent, unavoidable, and infinitely variable acts performed by the graphic designer.
An interface is a kind of frame. The buttons on a television set, the index of a book, or the toolbars of a software application exist outside the central purpose of the product, yet they are essential to our understanding of it. A hammer with no handle or a cell phone with no controls is useless.
Consider the ubiquity of interfaces in the design process. The physical box of the computer screen provides a constant frame for the act of designing, while the digital desktop is edged with controls and littered with icons. Numerous windows compete for our attention, each framed by borders and buttons.
A well-designed interface is both visible and invisible, escaping attention when not needed while shifting into focus on demand. Once learned, interfaces disappear from view, becoming second nature.
Experimental design often exposes or dramatizes the interface: a page number or a field of white space might become a pronounced visual element, or a navigation panel might assume an unusual shape or position. By pushing the frame into the foreground, such acts provoke the discovery of new ideas.
This chapter shows how the meaning and impact of an image or text changes depending on how it is bordered or cropped. Frames typically serve to contain an image, marking it off from its background in order to make it more visible. Framing can also penetrate the image, rendering it open and permeable rather than stable and contained. A frame can divide an image from its background, but it can also serve as a transition from inside to outside, figure to ground.
The mechanical eye of the camera cuts up the field of vision in a way that the natural eye does not. Every time you snap a picture with a camera, you make a frame. In contrast, the eye is in constant motion, focusing and refocusing on diverse stimuli in the environment.
Frames Inside of Frames Frames exist throughout the environment. The photographs shown here use the tool of the camera to create not only the outer frame of the shot, but to discover inner frames as well. Sarah Joy Jordahl Verville, MFA Studio.
Framing and Reframing Here, the artist rephotographed pictures collected from the history and future of his own family in environments that are endowed with both historic and contemporary detail. Jeremy Botts, MFA Studio. Corinne Botz, faculty.
By cropping a photograph or illustration, the designer redraws its borders and alters its shape, changing the scale of its elements in relation to the overall picture. A vertical image can become a square, a circle, or a narrow ribbon, acquiring new proportions. By closing in on a detail, cropping can change the focus of a picture, giving it new meaning and emphasis.
By cropping a picture, the designer can discover new images inside it. Experiment with cropping by laying two L-shaped pieces of paper over an image, or look at the picture through a window cut from a piece of paper. Working digitally, move an image around inside the picture frame in a page-layout program, changing its scale, position, and orientation.
New Frame, New Meaning The way an image is cropped can change its meaning completely. Yong Seuk Lee, MFA Studio.
Margins and Bleeds
Margins affect the way we perceive content by providing open spaces around texts and images. Wider margins can emphasize a picture or a field of text as an object, calling our attention to it. Narrower margins can make the content seem larger than life, bursting at its own seams.
Margins provide a protective frame around the contents of a publication. They also provide space for information such as page numbers and running heads. A deep margin can accommodate illustrations, captions, headings, and other information.
Bleeds The picture is reproduced at the same scale in each instance, but its intimacy and impact change as it takes over more or less of the surrounding page.
Margin A margin creates a protective zone around an image, presenting it as an object on a stage, a figure against a ground. Margins can be thick or thin, symmetrical or asymmetrical. A wider margin can add formality to the image it frames.
Full Bleed An image “bleeds” when it runs off the edges of a page. The ground disappears, and the image seems larger and more active.
Partial Bleed An image can bleed off one, two, or three sides. Here, the bottom margin provides a partial border, yet the photograph still has a larger-than-life quality.
Framing Image and Text
An image seen alone, without any words, is open to interpretation. Adding text to a picture changes its meaning. Written language becomes a frame for the image, shaping the viewer’s understanding of it both through the content of the words and the style and placement of the typography. Likewise, pictures can change the meaning of a text.
Text and image combine in endless ways. Text can be subordinate or dominant to a picture; it can be large or small, inside or outside, opaque or transparent, legible or obscure. Text can respect or ignore the borders of an image.
From Caption to Headline When a large-scale word replaces an ordinary caption, the message changes. What is empty? The sky, the store, or the larger social reality suggested by the landscape?
Text Over Image Putting type on top of a high-contrast image poses legibility conflicts. Boxes, bars, and transparent color fields are some of the ways designers deal with the problem of separating text from image.
Using Images Typographically How can an image be arranged, like type, into words, lines, columns, and grids? This exercise invited designers to think abstractly about both image and type. Each designer created a new visual “text” by mining lines, shapes, and textures from a larger picture. Typography is experienced in terms of blocks of graphic tone and texture that are framed by the margins and gutters of the page. Different densities of texture suggest hierarchies of contrasting typefaces. Headlines, captions, quotations, lists, illustrations, and other material take shape in relation to bodies of running text. Advanced Design Workshop, York College. Ellen Lupton, visiting faculty.
Melanie M. Rodgers
The exercises on this spread incorporate a high-resolution scan of an original eighteenth-century engraving from Denis Diderot’s Encyclopedia. Shown here is the full image.
Framing Text and Image In this project, designers edited, framed, and cropped a picture in relation to a passage of text. The challenge was to make the text an equal player in the final composition, not a mere caption or footnote to the picture. Designers approached the image abstractly as well as figuratively. Is the picture flat or three-dimensional? How does it look upside down? Designers edited the image by blocking out parts of it, changing the shape of the frame, or blowing up a detail. They found lines, shapes, and planes within the picture that suggested ways to position and align the text. The goal was to integrate the text with the image without letting the text disappear. Typography I. Ellen Lupton, faculty.
Villa Borghese, Rome, 1615. The ornament on this Renaissance palazzo frames the windows, doors, and niches as well as delineates the building’s principal volumes and divisions. Architect: Giovanni Vasanzio. Vintage photograph.
A border is the frontier between inside and outside, marking the edge of a territory. A border naturally appears where an image ends and its background begins.
While many images hold their own edges (a dark picture on a white background), a graphic border can help define an image that lacks an obvious edge (a white background on a white page). A graphic border can emphasize an outer boundary, or it can frame off a section inside an image. Some borders are simple lines; others are detailed and complex. Around the world and across history, people have created elaborate frames, rules, cartouches, and moldings to frame pictures and architectural elements.
Marking Space A frame can mark off a space with just a few points. Territory can be defined from the outside in (as in crop marks for trimming a print), or from the inside out (an x drawn from the center of a space to its four corners).
Border Patrol Frames interact with content in different ways. In the examples shown here, the border sometimes calls attention to the icon, lending it stature; in other instances, the border itself takes over, becoming the dominant form. Robert Lewis, MFA Studio.
Whether simple or decorative, a border creates a transition between image and background. Against the pale wall of a room, for example, a black picture frame sharply separates a work of art from its surroundings. Alternatively, a frame whose color is close to that of the wall blends the work of art with the room around it. Graphic designers make similar decisions when framing visual elements, sometimes seeking to meld them with their context, and sometimes seeking to set them sharply apart. A frame can serve to either emphasize or downplay its contents.
Flexible Museum Identity The shape of the frame around the museum’s name references folded paper and post-it notes, and the neon colors are inspired by highlighter pens. The frame of the logotype can be stretched to fit different applications. Lolo Zhang, MFA Studio.
Publication: Page and Screen This publication has a double structure that is interpreted differently in print and online. Alex Jacque, MFA Studio.
1. Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and Ian McLeod (Chicago: University of Chicago Press, 1987).
Seeing What Matters Even though the designer pixelated and abstracted the content of this simulated newspaper page, visual cues enable readers to understand the basic hierarchy. Chen Zui, MFA Studio.