The vessel that encapsulates artistic treasures, or the window into a universe unlike our own, frames are anything you can make of them, and they all communicate a meaning of some form from their creator to their audience. “A frame can mark off a space with just a few points,” according to our reading in Lupton and Cole Phillips’ Graphic Design: The New Basics (125). And it’s true. Our computer screen is a frame; our eyebrows are often considered the “frame” of our eyes; there are, of course, the classic frames for paintings and photographs made from wood or metal, and so on.
There’s also the nuance given to us by implied frames, which we can easily detect just as w,ell as deliberate frames. One such example is clearly seen in page 13 from the graphic novel by Craig Thompson Goodbye, Chunky Rice. Here we see an innovative use of framing by the series of framed images ended with the omission of an image, implying that the candle in the preceding graphic is blown out and there is nothing but darkness.
This is a great use of implied framing, because of the mere fact you decipher that the filled-in space is almost another image, even though it appears to be piece of the framing in the rest of the graphic novel sequence.Within the same layout we see from the first image shown a shell, subsequently followed by another image of Dandele holding the same shell. In the first image it appears to be large, until it is compared with her hand holding it. We know that this shell in fact is not that large due to cropping of the image for emphasis. This nuance is employed further throughout the graphic novel effectively and is just one of the innovative ways Thompson utilizes frames and scaling in formstorming ways.