Visual Analysis #1

Running Head: VISUAL ANALYSIS OF THE PANERA BREAD BAKERY-CAFÉ MENU 1
Visual Analysis of the Panera Bread Bakery-Café Menu
Jelilat Adesiyan
University of Houston-Downtown

VISUAL ANALYSIS OF THE PANERA BREAD BAKERY-CAFÉ MENU 2
Abstract
Using primary principles such as unity, variety, hierarchy, and dominance, support principles
such as scale, movement, repetition, and proximity, this paper argues that the overall visual
design of the Panera Bread Bakery-Café menu is effective. Design elements such as shape, line,
size, space, type, value, and color are used to provide evidence for the existence of primary and
support design principles in the menu. Robin William’s principle of Alignment is also discussed
in respect to the overall design of the menu. There are visual images provided to illustrate the
presence of certain elements and principles. The limitations of the brochure medium versus the
website medium, both which are available to peruse the menu are also discussed.

Background
The chosen artifact that I will be analyzing is the official Panera Bread bakery-café menu.
The menu was created for the purpose of listing and describing the available and newly
introduced food and drink items. It also promotes new items, and deals on food items as well
advertise ways of acquiring food and drink items. It was created for customers who want view
the Panera Bread menu items and descriptions as it is presented in the store menu while sitting at
their computer. Conceivably, the customer might want to order or cater from the menu and the
Panera Bread style of presenting the menu on the website did not suit them. Maybe they want a
list of the food items presented on the same page? Either way, I believe that the menu is for the
most part successful and effective in its visual design.
The menu is a three paneled brochure of four pages, printed in black and white. I found
the menu online, and as a result, I’m uncertain whether it has other panels that may contain a
separate front and/or back page. I’m working with a PDF copy I found on the Panera Bread
website and will be analyzing it as displayed. Because it is available on the Panera Bread
website, it may not have been presented in a context whereby it had front and back pages. The
first page does have the Panera Bread logo (See Figure 1 below), and as it is the only page that
does, I am forced to conclude that that is indeed the first and front page of the menu.

I will be analyzing all four pages of the menu in respect to the primary and supporting
design principles it employs that contribute to the effectiveness of the visual design.
Since the menu has four pages with twelve total panels, I decide to try to analyze it
individually, by panel and page till I reach the fourth page, and then as a whole. It isn’t easy to
analyze it individually especially as its function as a whole is all too apparent. Consequently, I
analyzed it by looking at the primary design principles in which I include alignment because
Williams refers to it as one of the four basic principles of design. I then intersperse the analysis
with the discussion of support design principles through the use of the various design elements.
Although support principles only affect a section of the document rather than the whole, I
intersperse its discussion with that of the primary design principles because at first glance the
Figure 1: The Panera Bread Logo

document is so apparently visually uniform. Overall, the menu is successful and effective in its
visual design.
Evaluation
Evans & Thomas (2013) define primary design principles as “principles that affect a
document as a whole” and support design principles as “principles that affect the internal
relationships of design” (p. 4). The primary design principles I notice in use are those of unity,
variety, hierarchy, and dominance. I also notice the use of support principles such as scale,
repetition, emphasis, and proximity. Several design elements such as shape, line, size, space,
type, value, and color contribute to the composition of the support and primary principles. These
principles then contribute to the effectiveness of the visual design of the menu as a whole. As
defined by Evans & Thomas (2013), shape is a figure or mass, line is the moving path of a point,
space is an area activated by other elements, type is the arrangement of aesthetics of letter forms,
value is light or darkness, and color is the inherent hues found in light and pigment (p. 307-310).
Unity and variety are complementary principles. According to Evans & Thomas (2013),
“unity is the control of variety […] and variety is visual contrast” (p. 5). Unity is illustrated in the
menu design with the use of elements such as shape, line, size, space, type, value, and color. In
regards to the type used in the menu, the types and size of fonts are all consistent. All individual
fonts are used consistently and have the same texture, point and shape per type of font. As Evan
& Thomas (2013) state, typography in itself can function “on a formal level, […] as shape,
texture, point and line” (p. 27). When used as they are, in one document consistently, type then
contributes to unity. This unity derived from the fonts and its sizes contribute to the effectiveness
of the overall visual design.

For the main title and section titles, the same font and format is used with the exception
of the menu title having a slightly bigger font size (See Figure 2 below). The subsection and the
sub-subsections all have the same font with the only difference of the sub-subsection font not
being bolded. When a type is bolded over others, in the case of the section titles and subsection
titles, emphasis is created. Emphasis determines and controls what stands out on a page
(Kostelnick & Roberts, 2011, p. 16). The emphasis created by bolding one type over another
guides the viewer’s eye to the bolded words. The viewer is then able to see the intellectual
connection between the section title and the words that follow it. Without the emphasis created
by the bold type, a viewer might not be able to distinguish between a section title and a food
item. For example, if the viewer sees the section titled “Breakfast favorites” (see Figure 2 below)
without the type being bolded or set apart with the nearness of the image, the viewer may ask,
“Ok…now what?” The audience should be able to immediately see the purpose of those words.
Hence, the emphasis created with the bolded type is a good design choice that enhances clarity
which plays a part in the overall effectiveness of the visual design.
The corresponding names of the food or drink item also have the same fonts and size
throughout the document. The descriptions of the food and drink items are all in the same font
and font size (See Figure 2 below). The font sizes and forms all come together to create unity in
the document as a whole. So, if the menu is printed out and placed among sheaves of other
papers without order, a viewer would recognize that all the four pages are supposed to be
grouped together due to their visual connection.

There are also dotted lines throughout the menu that delineate one section from another
(See Figure 3 below). The element of line also contributes to proximity by separating groups of
items. Proximity is a support principle that according to Robin Williams (2008) refers to the
“physical closeness of related items so that they are seen as one cohesive group rather than a
bunch of unrelated bits” (p. 15). The presence of the lines between subsections physically
separates item which gives the viewer the idea that certain items are grouped together. These
dotted lines weren’t arbitrarily chosen and placed on the menu, the Panera Bread website has
such lines running through it. The use of the dotted lines throughout the document, with or
without its additional presence on the website, contributes to the separation and cohesion of the
document as a whole.
Figure 2: The different section names and the types/fonts attributed to it

The menu has several images with one overlying theme governing it; food. These images
are repeated thematically rather than exactly. As Evans & Thomas (2013) write, “Repetition
follows a regular pattern of related or juxtaposed elements […] you can also repeat elements that
vary in size, shape, color, texture, or orientation” (p.15). In this case, it is shape that is repeated.
Each category of the menu has an image of the corresponding food type aligned to the left of the
panel page. The images are varied and are all of mostly equal size, but they are visually and
intellectually connected to the subsequent section name. The colors of the images are the exact
same shade of gray and add a value of lightness to the page (See Figure 4 below).
Figure 3: The dotted lines that run throughout the menu

These thematic images bring unity and variety to the document because of the color,
value, size, shape and alignment. The image of the Panera Bread logo also adds to the unity and
variety. The logo has a dark value but there is the lightness of the gray writing & logo image that
adds contrast to the menu and provides hierarchy in images when juxtaposed with the rest of the
lighter, smaller images (See Figure 5 below).
Figure 4: Examples of thematic images that run through the menu

These elements of shape, line, size, type, value, and color work together to bring variety
and create unity in the document. As a consequence, these elements contribute to the overall
effectiveness of the menu’s visual design.
Hierarchy and dominance are also complementary principles. Hierarchy and dominance
refer to an “arranged order that controls the path a viewer’s eye will take when scanning a
document composition” (Evans & Thomas, 2013, p.7). Some of the ways in which this document
demonstrates hierarchy and dominance are in the format of the font and the size of the images
presented. I discuss the use of font type and size to illustrate unity earlier in this document, but
elements are designed so that they can speak for a piece (Evans & Thomas, 2013). The menu has
much to say and it speaks many languages, not just of unity and variety. The elements of type
and size also have something to contribute to the overarching principles of hierarchy and
Figure 5: Examples of the light and dark image values present in the menu

dominance in the menu. The menu is designed so that the viewer can follow the path created by
the arrangement of elements.
In this case, the types have been formatted so that the viewer is cognizant of the idea that
there exist sections, subsections, and sub-subsections within the menu. The fonts have been
systematically formatted from bold to light and from big to small (See Figure 6 below). This
enables the viewer to be able to find whatever item they’re looking for by following the
hierarchy implicitly stated in the menu. If the viewer is looking for a sandwich, they’d know to
look under the sandwich section, if they were looking for a more specific type of sandwich,
maybe a breakfast sandwich, they’d know to look under the breakfast sandwich subsection.
Figure 6: Examples of images and types/fonts that contribute hierarchy & dominance to the menu

The image of the Panera Bread logo dominates the front page of the document (See
Figure 6 above). It is the biggest item there and the contrast of black and gray makes it even
more apparent. The scale of the logo is big compared to the scale of the other images. Evans &
Thomas (2013) define scale as a “size relationship of the internal parts of a composition” (p.14).
In this particular section of the menu, the scale of the logo juxtaposed against the scale of the
other images creates hierarchy and dominance. The other images are relatively the same size,
color, and value and also do the job of directing the viewer’s eye to the object they are looking
for. If the Panera Bread menu is assembled on a table with several other menus, the logo will
draw the eye of the viewer to it so that they can find it instantly.
All the principles discussed, those of unity, variety, hierarchy, dominance, scale,
proximity, and emphasis, are all design components that congregate to confer to the Panera
Bread menu an overall effective visual design.
Discussion
I hope that the analysis rendered has proven that the document is effective in its capacity
as a menu. As a visual artifact, it seems to be constructed consciously with the principles of
design in mind. I am able to evaluate the menu and see why I find it pleasing. It has clarity and
functions well as a cohesive unit. The conflict is minimal and I have added my recommendations
in the subsequent section. I believe the use of a brochure medium is a wise choice. It allows for
all the food items, descriptions, promos and contact information to be situated in one form that is
clear and concise. The Panera Bread website has a list of all the food items and other nutritious
information in full color. The reason a viewer might prefer this brochure format is because the
website doesn’t have all the food and drink items on one page. On the website, you can’t see all

food and drink items at once, but you can see the available sections and subsections. The food
and drink items can only be viewed after the viewer clicks on a section or subsection. I don’t
think that method is overall very successful. What if a customer doesn’t know what their item is
listed under? They’d have to click on a random, general section or subsection and hope the food
or drink item is there. If it isn’t, they’d have to click again. I’m not saying the overall design of
the website menu is bad, in fact the availability of colored pictures makes it very good. I find the
design a little lacking just because it doesn’t show all food and drink items at once.
The website menu style design might appeal more to some people rather than the
brochure depending on the type of person they are, and the manner in which they find
information, be it electronically or manually (by paper). It could also appeal to people who are
more visually oriented than what is available in the brochure style. For people who prefer
reading without the availability of lot of visual aid or would prefer to have the information in a
more cohesive form, the brochure is the way to go.
The menu brochure is oddly presented with a clear lack of color. I would doubt the
authenticity had I not found it on the Panera website. The use of the Panera Bread logo in
addition to its presence on the website makes it even more credible. Design choices such as the
varied selection of typeface, shapes and images also fulfill my expectation of what a menu
should look like. The use of the dotted lines also improved its credibility. The Panera Bread
website makes use of these dotted lines everywhere. When the cursor moves to a clickable link,
the dotted lines show up to further impress upon a customer the need to push. The only thing I
find odd, as I earlier stated, is the lack of color. I am quite satisfied with the manner in which the
menu is designed. I believe it is designed with the image of what a typical menu could and does
look like.

The menu composition is overall unified and clear. The use of varied images is unified by
utilizing the elements of color and value. Hierarchy and Dominance are present due to the use of
typeface bolded and otherwise. Due to the size of the brochure, I believe that the choices of how
to create hierarchy and dominance are wisely made. Overall, the menu has an effective visual
design.
Recommendations
I didn’t discuss alignment in my analysis of the menu. Alignment plays a role in the
overall unity of the menu. Williams’ (2008) principle of alignment states, “Nothing should be
placed on the page arbitrarily. Every item should have a visual connection with something else
on the page” (p. 33). Overall, the items in the menu are placed consciously to create a visual
connection. The menu is generally aligned to the left of each panel. Each section, sub-subsection
is visually connected to the image and section title. There are however a few inconsistencies with
the alignment in some parts of the menu.
As Williams (2008) is fond of saying, no principle functions alone in a publication.
Proximity can play a role in alignment. To see proper alignment, there must first be proper space
between items so that the document can be viewed with further clarity. The physical closeness
in certain sections is not consistent with spaces between some other sections (see figure 7.1
below).

In the above image, the space between “Power Smoothies” and “Low-Fat B-Green Power
Smoothie” is not equal to the space presented between “Fruit Smoothies” and “Low-Fat Mango”.
A space should only be that close when it is between that of a subsection and its description, as
has been established earlier by the composition of the menu. In the subsection titled “Coffee,
Espresso & Hot Drinks”, the space is tight. This is acceptable because that is how it’s been
established from the beginning. There is an intellectual connection between a subsection and its
description but the intellectual connection is not the same as it is for a subsection title and a sub-
subsection title. It’s a small thing, but the closeness could take away from the focus of the
viewer. I once read somewhere that viewers like order. The proximity of the subsection to the
Figure 7.1: Established manners of alignment in subsections and example of misalignment

sub-subsection violates that idea. Lack of consistent alignment is featured in the following image
(See Figure 7.2 below).
In the “You Pick 2” section above, the description is aligned to the left, but there is no
space between the subsequent words. The description should logically be aligned to the left, after
the image based on the previous manner in which images and descriptions have been juxtaposed
(See Figure 7.3 below). Consistency is the key.
Figure 7.2: Example of misalignment

The above squared in red are typical examples of the established manner of combining
images and descriptions.
Conclusion
The menu is overall very effective in its visual design. As I note earlier, the design
utilizes primary principles such as unity, variety, hierarchy, and dominance. It also uses support
principles such as scale, movement, repetition, and proximity. The elements of shape, line, size,
type, value, and color are used to achieve overall unity and variety. Shape is illustrated in the use
of varied, thematic repetition of images that pertain to food and Panera Bread in general. The
sizes of the shapes are mostly consistent and are of the same value and color. Dotted lines are
Figure 7.3: Established manner of alignment

used to delineate sections as an individual yet complementary part of the whole menu. The type
of font and size are consistent throughout the document. All these and more contribute to the
overall unity of the artifact. The elements of type and shape also contribute to the overall
effectiveness of the visual design. Type and shape are elements that promote hierarchy and
dominance in the document. Some fonts were bolded while others weren’t, some were big and
some were small. The image of the Panera Bread logo is the biggest image presented on the
menu. It calls attention to itself and at first glance reveals to the viewer where the menu is
coming from. All in all, these principles lend a hand in the effectiveness of the menu’s visual
design.

References
Bakery-Cafe Menu. (n.d.). Panera Bread. Retrieved October 2, 2014, from
https://www.panerabread.com/panerabread/documents/nutrition/Menu-Retail.PDF
Evans, P., & Thomas, M. (2013). Exploring the elements of design (Third ed.). New York:
Cengage Learning.
Kostelnick, C., & Roberts, D. D. (2011). Rhetorical Background. Designing visual language:
strategies for professional communicators (2nd ed., pp. 3-45). Boston: Longman.
Williams, R. (2008). The non-designer's design book: design and typographic principles for the
visual novice (Third ed.). Berkeley: Peachpit Press.

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