Portions of graphics: Prioritizing a part

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When graphics become anchors, they become more prominent. When portions of graphics become a graphic rather than the entire work, the portion zooms into significance and fills with connotative portent. Graphics with anchors on portions of the graphic serve as maps--relating the picture to the structure --or substructure of the work.

One anchor

Zenobia, Queen of Palmyria [10] merges the language of graphic and text through privileging a portion of the graphic. As readers search for the anchor portion hidden in a complex graphic, readers become aware of the relationship between the graphic and text.

A few anchors

Anchors on Saturn [60], Garnier Fructis [20], and IDEO [24] use anchors on parts of graphics to draw parallels between the mapped graphic and a particular idea.

Fuddrucker's [19] cheeseburger provides an enigmatic trail of anchors as portions of the cheeseburger are relegated to different portals where jalapenos become career opportunities. This provides an interplay with the cheeseburger and associated business functions that a straight text menu would not.

Patchwork Girl's [26] use of a cut up woman supports the text story of attaching and reattaching.

Entirely anchoral

The graphic maps on Samplers [37] are composed of anchors that only go to a portion of the work. Unlike Zenobia, Queen of Palmyria, the entire graphic is anchoral. Here readers are not hunting for the privileged graphic portion, but the connections between a particular graphic portion and the story structure.