Frame selection entails considerably more than just
helping a person try on frames. At the very least,
•a working knowledge Of basic facial shapes is nec-
essary. The person aiding in selection must have the
ability to know what the frame will look like with lenses,
and how it will perform in fulfilling the wearer's needs.
This chapter provides the knowledge necessary to acquire
basic competency in frame selection.
USING THE WEARER'S OLD FRAME
Sometimes a person wants to use their old frames instead
of selecting something new. This may or may nor be
appropriate.
There are a number of valid reasons for wanting to
use the old frame and not purchase a new one. These
include cost, comfort of the old frames, and sometimes
the inability of the wearer to look in the mirror with any
other frame and still have what they see look right to
them. Even though any Of these could be considered
valid, there are other factors that could outweigh keeping
the old frame. If none of these others are overridin
factors
factors and the frames are in good condltion, then there
is no reason not to use the Old frames. However, even if
there are valid reasons not to use the old frames, if the
wearer has been fully informed of the pitfalls and still
persists, their desires should be respected.
Factors to Consider Before Using the Wearer's
Old Frames*
There are certain precautions that must be considered
before using the Old frame for the new prescription.
These are the most common:
• Putting new lenses in an old frame may involve
putting additional stress on the frame. Older frames
may not withstand that stress very well, particularly
older plastic frames that have become brittle with
age. Sometimes frames will withstand the stresses Of
the new lenses, but be weakened, only to break
shortly thereafter.
*Merly Of the Iaco,ors listed in this section are from the following
brochure.
1999
• It is hard to predict how long an old frame will
last. Will it last the life of the new lens prescription?
If rhe frame breaks, ir is not a simple task to find
another frame into which those lenses will
fit.
If the old frame needs repairing in the future, will
there be parts available? A used frame may already
be discontinued. If it has been and there are no parts
available, any savings could be lost when both
frames and lenses need to be repurchased.
Usually people keep their Old glasses as a backup
spare pair in case they lose or bre•ak their new pair.
Using the old frames eliminates the emergency
backup.
• Sometimes old lenses can be tinted and rhe older
pair be transformed into prescription sunglasses.
This is particularly true if the only change in a
multifocal prescription is in the near vision portion.
A person could get second pair of prescription
eyeglasses for the cost of tinting the old lenses.
If the existing frames have not been discontinued
COSMETIC CONSIDERATIONS
From an aesthetic point of view, glasses are of no small
importance to the person wearing them. Each individual
expects and should receive help, not only with sizing, but
also With the cosmetic aspects Of a frame.
Frame Shape and Face Shape
Since frames are exceedingly obvious on the face, their
shape rends to emphasize or deemphasize characteristics
Of the face. A good frame selection can be simplified by
considering first which facial lines are complimentary to
the person. Those lines should be emphasized through
repetition, usually by the upper and lower eyewires. On
the other hand, uncomplimentary lines should not be
repeated by the frame line.
Because a hairstyle can also alter the apparent shape of
the face, frames are generally chosen to compliment the
face as it appears With the hairstyle being worn at the time
of frame selection. A radical change in hairstyle may also
radically change the effect that the frame has on the face.
Few faces meet the artistic ideal in bone structure and
conformity. A well-selected frame can increase the
attractiveness of a face by emphasizing those planes and
lines more closely approaching the "ideal" and by drawing
attention away from those most contradicting it. Con-
versely, a frame that tends to overemphasize or repeat
the less desirable aspects of a face can make that face
more unattractive.
In most instances, the lines of the frame selected
should create the effect of balancing facial planes that
are not components of idealized proportions. The idea
is the same as using vertical stripes to enhance the
appearance Of a short or an Obese person.
Facial Types
Knowledge of basic facial shapes is not essential for
appropriate frame selection, but it is a valuable aid in
making a quicker •and more accurate decision •about a
specific frame. The average fitter can tell how appropri-
ate a frame looks after it has been placed on the face.
The accomplished fitter who has an understanding of
facial shapes will know how a frame will look before
placing on the face.
The awareness Of the considerable influence that
spectacle frames can have on the basic facial shape,
either positively or negatively, is essential to com
petent selection of the ultimate frame for each specific
face.
Generally, there are seven basic facial shapes:
l. Oz.'d/—consldered to be the ideal type
. Oblong—thinner and longer than usual, With the
sides of the head being more parallel to one another
than in the oval tvpe
Round—more circular than rhe oval
Square—again, the sides Of the face are more
4.
parallel than in the oval, With the face being Wider
and shorter than usual
. Triangular—the lower part of the face is wider than
the upper part
Inverted triangular—the upper part of the face, the
6.
temple area, is wider than the lower jaw area
7.
Diamond—the central section Of the face is Wider,
with the upper and lower extremities of the face
narrowing down considerably (Table 4-1)
7. Diamond—the central section of the face is wider,
with the upper and lower extremities of the face
narrowing down considerably (Table 4-1)
To simplify rhe face shapes to help choose frame
width •and depth, the seven shapes can be condensed to
the following five shapes.l The oval face is considered
normal and can wear almost any frame, so only the
general rules apply. The Oblong face is simply referred
to as long. Both the round and the square face fall into
the category of the wide face. The erect or base-down
rriangular face is a category that does nor lend itself ro
condensation. For fitting purposes, the diamond face is
included in the inverted or base-up triangular classifiea-
tion, since these shapes are all fit in basically the same
manner. Using this simplified system, a face may deviate
from the normal in four essential ways: it may be either
too long, too wide, or too triangular, with the base of
the triangle up or down.
Affecting the Length of the Face
For purposes of frame selection, we are concerned with
the vertical and horizontal dimensions of the frame, the
roundness or squareness of the frame shape, and the
coloration Of the frame front.
For simplification, discussion of the shape of frame
suitability can be broken down into two categories. The
first concerns rhe width and depth of the frame (dimen-
sions) and whether the emphasis should be in the upper
portion Of the frame, as with a gradient frame, or across
the entire frame, as with a frame that is solid in color
(emphasis/coloration). These considerations all relate to
the length and breadth of the face. The second category
deals with the angularity or roundness of the frame line
(shape) as related to the angularity or roundness of the
face and the eyebrow line.
The proper Width Of the frame* can be gauged as approximately equal to the widest part of the skull's
*The width of the frame is taken as the outer width of the frame itself,
facial bone structure. This "rule" is subject to modification with style changes, bur the widest bony part of the face is always used as the reference point.
The bone structure is used instead Of the actual width because excess body and face weight may cause the wearer's features to appear to be set in toward the center of
the face; a frame based on the width of the actual face rather than structure would cause the person to appear cross-eyed. As a general rule, the longer the face, the greater the
vertical depth (distance from the upper to the lower rim) should be to keep the frame proportional to the face.
The shorter the face, the smaller the vertical depth. In other words, a deeper frame is more complimentary to a long face, while a narrower frame lends itself more easily to a wide face. In a sense, the frame "covers" part of the face and covering more of a long face gives the
illusion of reducing its length.
Frame fronts may be vertically gradient, horizontally gradient, or a solid color. A darker, solid-colored frame will aid the effect of shortening a long face more readily than a vertically gradient frame. Included in the "vertically gradient" category is any frame that draws the
viewer's attention to the upper part of the frame. For example, a nylon cord frame with a dark upper portion would fall into this category. A solid frame seems to
curtail the length of the face in the area extending from the dark lower rim to the Chin.
On a frame with a dark upper rim section and a lower rimless or nylon cord section, the reference point for face length is from the dark part of the frame at eyebrow
level (rhe parr that immediately catches our eye) to the bottom Of the chin. Thus these frames have a face-
lengthening effect, making them more compatible to the wide face.
The outer areas of the frame may also be used to advantage in giving the illusion of shortening or lengthening the face. The eyes are actually set very close to the vertical center of the head, although they are usually
assumed to be at the top because the visual reference is from the hairline to the eyes and from the eyes to the bottom of the chin.
Spectacle temples interject an artificial dividing line. The lower the line, the shorter rhe face appears; the higher the line, the longer it appears. Thus for long faces frame fronts with lower end pieces shorten the face. Spectacle temples interject an artificial dividing line.
The lower the line, the shorter the face appears; the higher the line, the longer it appears. Thus for long
faces, frame fronts with lower endpieces shorten the face. For wide faces, temples with high endpieces add length to the face. When the face is viewed from the side, it is divided
by the location of the spectacle temple, which interposes an artificial dividing line.
If the temple attaches high on the frame front, there is more facial area below this line, and the face appears
lengthened (Figure 4-1, A). If the temple is attached lower on the frame, there is less distance from this line
to the bottom of the chin, and the face appears shorter (Figure 4-1, B). If the face is too long, lower endpieces
Will help give the appearance Of less length; if the face is
wide and short, higher endpieces are desirable.
An extreme case of the wide face would be one with
smallish features that appear to be bunched centrally in
the middle of a large face.' Actually, as rhe person gains
weight, head size increases but features remain station-
ary, giving the face a "bunched-up" 100k. The width Of
the frame should be gauged by the bone structure of
the face and not by the actual widest part of the head.
Otherwise the person's face will be overpowered by
the frame or the eyes will appear abnormally close
together.
The same rules that apply to fitting the wide face also
apply to the pudgy face, but must be adhered to more
strictly. The less obvious the frame, the better. In a
plastic frame, a medium to lightweight plastic would be
appropriate, but a better alternative is the thin metal,
nylon cord, or even rimless frame. Attention also must
be given to the vertical dimension of the frame.
Affecting Facial Balance
Affecting Facial Balance
With faces somewhar wider in one area than in another,
frames can be used to balance Out a wider area and to
shift the facial emphasis.
The widest part of the base-down triangular face is the
lower area. Simply wearing glasses often enhances the
appearance of the face because the frames lend balance.
The frames themselves should be approximately the
same width as the lower facial area. The actual width
will vary somewhat, depending on current frame
styles.
An oval or upswept shape is preferable, as opposed to
one of rectangular design. This is particularly true of
the lower rim, which, if it is a straighr line paralleling
the jawline, tends to emphasize the width Of the base Of
the triangle. Frames for men in these cases may appear
sarisfacrory wirh somewhat squared-off shapes because
the lower line is not continuous and angular lines in a
man's face are not considered uncomplimentary. For
women, a frame with rounded lines will give a softer,
more feminine look and squared-off lines a more asser
rive look.
The frame should be a dark color for emphasis to
further balance the overall facial shape: solid if the face
is long, vertically gradient or Wlth emphasis on the upper
part Of the frame if the face is short.
The base-up trimngwlarface is somewhat more difficult
to fit. It is not possible to use the mere location of the
frames to counterbalance the wider part of rhe face.
Obviously a prominent frame on this type of face draws
attention to the wider facial area.
To avoid undue emphasis, the frame should be as
unobtrusive as possible. The frame should be the minimal
width that still stays within current fashion lines. Keep
in mind that the farther out the frames extend from
the side of the head, the more pointed the chin will
The frame should be of light or medium weight and
of a lighter color when possible. Metal or rimlesslike
varieties lend themselves well to this type of face.
A heavy lower line sometimes helps to counterbal-
ance. A rounded lens shape will soften the triangularity
Of the face, but a squared-off frame Will emphasize it.
This type Of face on a woman usually has a certain deli-
cateness to it; thus the frame should also have delicate
characteristics.
Frame Lines
Repeating a facial line through the line Of the frame
emphasizes the facial line. This can be used to advantage
provided the line being repeated is complementary or
used to achieve a desired effect. Inadvertently repeating
an uncomplimentary line can, by the same principle,
have an undesirable effect.
The lines Of the frame are determined by the curve
or squareness of the upper and lower rims—in other
words, by the basic shape of the lens. At this point, the
depth and width of the desired frame should be fairly
well known, depending on the length, width, or trian-
The lines Of the frame are determined by the curve
or squareness of the upper and lower rims—in other
words, by the basic shape of the lens. At this point, the
depth and width of the desired frame should be fairly
well known, depending on the length, width, or triangularity Of the face.
As a general rule, when using the frame shape for cosmetic emphasis, the upper areas of the frame are
determined by the eyebrow line, While the lower frame areas are determined by the lines of the cheek
and jaw. The lower eyewire area near the nose should follow the nasal contour of rhe face, as discussed
previously.
The upper frame area, or upper rim, should have the same basic shape as the eyebrow itself. Too much devia- tion from this line creates a disharmonious look to the
face, roughly similar to the confused effect of wearing stripes with plaids. Ideally the upper rim should follow
helping a person try on frames. At the very least,
•a working knowledge Of basic facial shapes is nec-
essary. The person aiding in selection must have the
ability to know what the frame will look like with lenses,
and how it will perform in fulfilling the wearer's needs.
This chapter provides the knowledge necessary to acquire
basic competency in frame selection.
USING THE WEARER'S OLD FRAME
Sometimes a person wants to use their old frames instead
of selecting something new. This may or may nor be
appropriate.
There are a number of valid reasons for wanting to
use the old frame and not purchase a new one. These
include cost, comfort of the old frames, and sometimes
the inability of the wearer to look in the mirror with any
other frame and still have what they see look right to
them. Even though any Of these could be considered
valid, there are other factors that could outweigh keeping
the old frame. If none of these others are overridin
factors
factors and the frames are in good condltion, then there
is no reason not to use the Old frames. However, even if
there are valid reasons not to use the old frames, if the
wearer has been fully informed of the pitfalls and still
persists, their desires should be respected.
Factors to Consider Before Using the Wearer's
Old Frames*
There are certain precautions that must be considered
before using the Old frame for the new prescription.
These are the most common:
• Putting new lenses in an old frame may involve
putting additional stress on the frame. Older frames
may not withstand that stress very well, particularly
older plastic frames that have become brittle with
age. Sometimes frames will withstand the stresses Of
the new lenses, but be weakened, only to break
shortly thereafter.
*Merly Of the Iaco,ors listed in this section are from the following
brochure.
1999
• It is hard to predict how long an old frame will
last. Will it last the life of the new lens prescription?
If rhe frame breaks, ir is not a simple task to find
another frame into which those lenses will
fit.
If the old frame needs repairing in the future, will
there be parts available? A used frame may already
be discontinued. If it has been and there are no parts
available, any savings could be lost when both
frames and lenses need to be repurchased.
Usually people keep their Old glasses as a backup
spare pair in case they lose or bre•ak their new pair.
Using the old frames eliminates the emergency
backup.
• Sometimes old lenses can be tinted and rhe older
pair be transformed into prescription sunglasses.
This is particularly true if the only change in a
multifocal prescription is in the near vision portion.
A person could get second pair of prescription
eyeglasses for the cost of tinting the old lenses.
If the existing frames have not been discontinued
COSMETIC CONSIDERATIONS
From an aesthetic point of view, glasses are of no small
importance to the person wearing them. Each individual
expects and should receive help, not only with sizing, but
also With the cosmetic aspects Of a frame.
Frame Shape and Face Shape
Since frames are exceedingly obvious on the face, their
shape rends to emphasize or deemphasize characteristics
Of the face. A good frame selection can be simplified by
considering first which facial lines are complimentary to
the person. Those lines should be emphasized through
repetition, usually by the upper and lower eyewires. On
the other hand, uncomplimentary lines should not be
repeated by the frame line.
Because a hairstyle can also alter the apparent shape of
the face, frames are generally chosen to compliment the
face as it appears With the hairstyle being worn at the time
of frame selection. A radical change in hairstyle may also
radically change the effect that the frame has on the face.
Few faces meet the artistic ideal in bone structure and
conformity. A well-selected frame can increase the
lines more closely approaching the "ideal" and by drawing
attention away from those most contradicting it. Con-
versely, a frame that tends to overemphasize or repeat
the less desirable aspects of a face can make that face
more unattractive.
In most instances, the lines of the frame selected
should create the effect of balancing facial planes that
are not components of idealized proportions. The idea
is the same as using vertical stripes to enhance the
appearance Of a short or an Obese person.
Facial Types
Knowledge of basic facial shapes is not essential for
appropriate frame selection, but it is a valuable aid in
making a quicker •and more accurate decision •about a
specific frame. The average fitter can tell how appropri-
ate a frame looks after it has been placed on the face.
The accomplished fitter who has an understanding of
facial shapes will know how a frame will look before
placing on the face.
The awareness Of the considerable influence that
spectacle frames can have on the basic facial shape,
either positively or negatively, is essential to com
petent selection of the ultimate frame for each specific
face.
Generally, there are seven basic facial shapes:
l. Oz.'d/—consldered to be the ideal type
. Oblong—thinner and longer than usual, With the
sides of the head being more parallel to one another
than in the oval tvpe
Round—more circular than rhe oval
Square—again, the sides Of the face are more
4.
parallel than in the oval, With the face being Wider
and shorter than usual
. Triangular—the lower part of the face is wider than
the upper part
Inverted triangular—the upper part of the face, the
6.
temple area, is wider than the lower jaw area
7.
Diamond—the central section Of the face is Wider,
with the upper and lower extremities of the face
narrowing down considerably (Table 4-1)
7. Diamond—the central section of the face is wider,
with the upper and lower extremities of the face
narrowing down considerably (Table 4-1)
To simplify rhe face shapes to help choose frame
width •and depth, the seven shapes can be condensed to
the following five shapes.l The oval face is considered
normal and can wear almost any frame, so only the
general rules apply. The Oblong face is simply referred
to as long. Both the round and the square face fall into
the category of the wide face. The erect or base-down
rriangular face is a category that does nor lend itself ro
condensation. For fitting purposes, the diamond face is
included in the inverted or base-up triangular classifiea-
tion, since these shapes are all fit in basically the same
manner. Using this simplified system, a face may deviate
from the normal in four essential ways: it may be either
too long, too wide, or too triangular, with the base of
the triangle up or down.
Affecting the Length of the Face
For purposes of frame selection, we are concerned with
the vertical and horizontal dimensions of the frame, the
roundness or squareness of the frame shape, and the
coloration Of the frame front.
For simplification, discussion of the shape of frame
suitability can be broken down into two categories. The
first concerns rhe width and depth of the frame (dimen-
sions) and whether the emphasis should be in the upper
portion Of the frame, as with a gradient frame, or across
the entire frame, as with a frame that is solid in color
(emphasis/coloration). These considerations all relate to
the length and breadth of the face. The second category
deals with the angularity or roundness of the frame line
(shape) as related to the angularity or roundness of the
face and the eyebrow line.
The proper Width Of the frame* can be gauged as approximately equal to the widest part of the skull's
*The width of the frame is taken as the outer width of the frame itself,
facial bone structure. This "rule" is subject to modification with style changes, bur the widest bony part of the face is always used as the reference point.
The bone structure is used instead Of the actual width because excess body and face weight may cause the wearer's features to appear to be set in toward the center of
the face; a frame based on the width of the actual face rather than structure would cause the person to appear cross-eyed. As a general rule, the longer the face, the greater the
vertical depth (distance from the upper to the lower rim) should be to keep the frame proportional to the face.
The shorter the face, the smaller the vertical depth. In other words, a deeper frame is more complimentary to a long face, while a narrower frame lends itself more easily to a wide face. In a sense, the frame "covers" part of the face and covering more of a long face gives the
illusion of reducing its length.
Frame fronts may be vertically gradient, horizontally gradient, or a solid color. A darker, solid-colored frame will aid the effect of shortening a long face more readily than a vertically gradient frame. Included in the "vertically gradient" category is any frame that draws the
viewer's attention to the upper part of the frame. For example, a nylon cord frame with a dark upper portion would fall into this category. A solid frame seems to
curtail the length of the face in the area extending from the dark lower rim to the Chin.
On a frame with a dark upper rim section and a lower rimless or nylon cord section, the reference point for face length is from the dark part of the frame at eyebrow
level (rhe parr that immediately catches our eye) to the bottom Of the chin. Thus these frames have a face-
lengthening effect, making them more compatible to the wide face.
The outer areas of the frame may also be used to advantage in giving the illusion of shortening or lengthening the face. The eyes are actually set very close to the vertical center of the head, although they are usually
assumed to be at the top because the visual reference is from the hairline to the eyes and from the eyes to the bottom of the chin.
Spectacle temples interject an artificial dividing line. The lower the line, the shorter rhe face appears; the higher the line, the longer it appears. Thus for long faces frame fronts with lower end pieces shorten the face. Spectacle temples interject an artificial dividing line.
The lower the line, the shorter the face appears; the higher the line, the longer it appears. Thus for long
faces, frame fronts with lower endpieces shorten the face. For wide faces, temples with high endpieces add length to the face. When the face is viewed from the side, it is divided
by the location of the spectacle temple, which interposes an artificial dividing line.
If the temple attaches high on the frame front, there is more facial area below this line, and the face appears
lengthened (Figure 4-1, A). If the temple is attached lower on the frame, there is less distance from this line
to the bottom of the chin, and the face appears shorter (Figure 4-1, B). If the face is too long, lower endpieces
Will help give the appearance Of less length; if the face is
wide and short, higher endpieces are desirable.
An extreme case of the wide face would be one with
smallish features that appear to be bunched centrally in
the middle of a large face.' Actually, as rhe person gains
weight, head size increases but features remain station-
ary, giving the face a "bunched-up" 100k. The width Of
the frame should be gauged by the bone structure of
the face and not by the actual widest part of the head.
Otherwise the person's face will be overpowered by
the frame or the eyes will appear abnormally close
together.
The same rules that apply to fitting the wide face also
apply to the pudgy face, but must be adhered to more
strictly. The less obvious the frame, the better. In a
plastic frame, a medium to lightweight plastic would be
appropriate, but a better alternative is the thin metal,
nylon cord, or even rimless frame. Attention also must
be given to the vertical dimension of the frame.
Affecting Facial Balance
Affecting Facial Balance
With faces somewhar wider in one area than in another,
frames can be used to balance Out a wider area and to
shift the facial emphasis.
The widest part of the base-down triangular face is the
lower area. Simply wearing glasses often enhances the
appearance of the face because the frames lend balance.
The frames themselves should be approximately the
same width as the lower facial area. The actual width
will vary somewhat, depending on current frame
styles.
An oval or upswept shape is preferable, as opposed to
one of rectangular design. This is particularly true of
the lower rim, which, if it is a straighr line paralleling
the jawline, tends to emphasize the width Of the base Of
the triangle. Frames for men in these cases may appear
sarisfacrory wirh somewhat squared-off shapes because
the lower line is not continuous and angular lines in a
man's face are not considered uncomplimentary. For
women, a frame with rounded lines will give a softer,
more feminine look and squared-off lines a more asser
rive look.
The frame should be a dark color for emphasis to
further balance the overall facial shape: solid if the face
is long, vertically gradient or Wlth emphasis on the upper
part Of the frame if the face is short.
The base-up trimngwlarface is somewhat more difficult
to fit. It is not possible to use the mere location of the
frames to counterbalance the wider part of rhe face.
Obviously a prominent frame on this type of face draws
attention to the wider facial area.
To avoid undue emphasis, the frame should be as
unobtrusive as possible. The frame should be the minimal
width that still stays within current fashion lines. Keep
in mind that the farther out the frames extend from
the side of the head, the more pointed the chin will
The frame should be of light or medium weight and
of a lighter color when possible. Metal or rimlesslike
varieties lend themselves well to this type of face.
A heavy lower line sometimes helps to counterbal-
ance. A rounded lens shape will soften the triangularity
Of the face, but a squared-off frame Will emphasize it.
This type Of face on a woman usually has a certain deli-
cateness to it; thus the frame should also have delicate
characteristics.
Frame Lines
Repeating a facial line through the line Of the frame
emphasizes the facial line. This can be used to advantage
provided the line being repeated is complementary or
used to achieve a desired effect. Inadvertently repeating
an uncomplimentary line can, by the same principle,
have an undesirable effect.
The lines Of the frame are determined by the curve
or squareness of the upper and lower rims—in other
words, by the basic shape of the lens. At this point, the
depth and width of the desired frame should be fairly
well known, depending on the length, width, or trian-
The lines Of the frame are determined by the curve
or squareness of the upper and lower rims—in other
words, by the basic shape of the lens. At this point, the
depth and width of the desired frame should be fairly
well known, depending on the length, width, or triangularity Of the face.
As a general rule, when using the frame shape for cosmetic emphasis, the upper areas of the frame are
determined by the eyebrow line, While the lower frame areas are determined by the lines of the cheek
and jaw. The lower eyewire area near the nose should follow the nasal contour of rhe face, as discussed
previously.
The upper frame area, or upper rim, should have the same basic shape as the eyebrow itself. Too much devia- tion from this line creates a disharmonious look to the
face, roughly similar to the confused effect of wearing stripes with plaids. Ideally the upper rim should follow
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