We design posters like we’re testing how far a frame can distort perception before it stops feeling like a frame at all. This vertical clipped mockup becomes less of a container and more of a visual interruption, an intentional break in continuity where the artwork doesn’t sit neatly, but gets physically “caught” in the edges.
We like how the clipping introduces tension: half presentation, half obstruction. It forces hierarchy decisions instantly. Typography must survive compression, color must bleed responsibly, and composition has to earn its visibility. It feels less like placing a design and more like negotiating with architecture.
