Europe’s leading airline, Lufthansa, has also been acclaimed as one of the world’s largest airlines since the mid 1900s. Based in Germany, the airline is an original member of Star Alliance, making it an international powerhouse. With an original name of Deutsche Luft Hansa Aktiengesellschaft in 1926, the company was refounded as simply Lufthansa in the 1950s. Since then, Lufthansa aircraft has been identified by its bright yellow (sometimes navy blue) logo and accompanying encircled crane image.
The actual font appears to be in the ever-popular Helvetica or Arial. Simple, Classic, Clean, Efficient. Helvetica is seen and used everywhere, all of the time. If the font is so simple and basic, why use it to label an elite airline, supposedly superior to others? For that very reason. The logo is not meant to stand out impressively in tacky, elaborate texts and colors. The business was established over sixty years ago and maintained the immaculate reputation as reliable, safe, clean, and productive. The font Helvetica tends to invoke the same thoughts and association. The use and connection seems to fit perfectly.
The colors yellow and navy are both standard, classic, and respectable colors. The are very complimentary and stand out well. Yellow seems to be a feel good color and can brighten up moods. Navy is a no-fail staple, and much less harsh than black. The color scheme takes the simple logo even farther than it would in any other.
The Lufthansa logo is not complete without the small encircled crane located directly in front of the word. The small, sleek, and aerodynamic bird appears to be gracefully sailing through the air. Likewise, Lufthansa wants its customers to envision a peaceful, easy, almost natural flight to their next destination. The much thinner lines and more delicate appearance helps the image become background to the crisp, clean name.
The design could not be more simple; and equally could not be more perfect. The simple, stable appearance displays more than the brand but the basic principles and experience one can expect when flying with Lufthansa.

Coach, an American designer of leather goods, clothing, shoes, and accessories has maintained the same classic logo for nearly seventy years. Although the logo does not always appear exactly the same, sometimes just the word is printed and other times the image logo is included, but the overall design has not changed.
The designer logo consists of the label “COACH” in all capital, bold, shadowed letters. Each letter is very wide and almost appears to be an outline. The spacing is also quite large, and makes each letter stand out independently. Underneath the word “coach” is the smaller all capital word “leatherware”. “Leatherware” is much thinner, and more basic. Both of these words are contained in a frame with scalloped corners. Under this design is the establishment date in a similar font to “leatherware”.
The text selected for the design label achieves multiple different things. First, the font looks bold and confident showing that the producers are proud and certain of the quality and desirability of the product. It is also a timeless font that doesn’t look affected by the times, or the demands of popular culture. The stable, unchanging logo appeals to those looking for an item that will not lose demand in one season. The contrast in the bold font and the finer, more delicate font may imply that although the products are durable they are still highly fashionable.
However, the design lacks a certain coherence in my opinion. I think that the design and the idea of “high fashion”, as the company claims to be, do not compliment each other well. I appreciate the classic looking label, but it almost looks like the designer tried too hard or not enough. The font does not quite portray the idea of high-quality leather goods.
When paired with the image logo of the carriage and horses, the logo gains more of the timeless aspect. I think having the picture of the common transportation of a “coach” seems slightly redundant considering the brand is named “Coach”. To me, placing a design of a “coach” on a supposedly “top-quality” bag is contradictory.
The design in general, as well as the image are not exactly parallel with the merchandise or the image the company desires. I think a slightly more simple, but still timeless look could be implemented to soften the appearance and the attitude of potential consumers.

Barnes and Noble has created a series of reprinted classic novels available in paperback at a very low, affordable price. The series includes famous works such as: The Scarlet Letter, Pride and Prejudice, Jane Eyre, Wuthering Heights, Little Women, The Jungle Book, The Inferno, and so many more. Although each of these books come from different authors and slightly different time periods, Barnes and Noble creates a semi-standard appearance for all of these reprinted paperbacks.

I chose to specifically analyze the cover of one of my favorite books in this collection, The Inferno by Dante Alighieri, which actually comes out of his larger work, The Divine Comedy.
All the books of the series are a different color, and this particular one is fittingly designed in a scheme of red. When the viewer reads the title and takes the first glance at the cover, the combination immediately connects. The Inferno is a book about a man’s journey through Hell, so to contain it in red seems rather appropriate. However, the majority of the book front is covered by an image depicting the story. It is simple, somewhat discrete, but definitely depicts the “circles of Hell”, as Dante refers to them. The readers attention is immediately drawn to the center, and then proceeds to continue to the periphery of the cover.

The title as well as author as both printed in the same font, the title being in all capital letters, and the author capitalized as a proper noun only. The font is quite small compared to the overall size of the book. It is simple and classic. It serves as the perfect font for a uniform series, because it appears timeless. The same font is used for additional information at the bottom of the cover, discretely informing the reader of additional resources, in this case, the translator. In the bottom corner, a small gray rectangle includes the “Barnes and Noble Classics” logo found on all the books in the series. It is perfectly simple and discrete as to not interfere with the layout of the cover, but draw enough attention to be recognized.

I really like the layout design of this particular Barnes and Noble Classics series mainly because I love classic literature but also because the books themselves are appealing and inviting. They provide a mellow, comforting feel. The books are not excessively eye-catching because they do not need to be. The simple, standard façade serves as the perfect exterior to not only The Inferno, but all the classics in the series.

Diamond brand strike matches come packaged in a rather distinctive small cardboard box. Although it may seem logical to make the word of the actual product, “matches” stand out, it apparently is not necessary for successful marketing. The label “strike anywhere matches” however, is printed in bold, classic-looking white font on a bright, royal blue background. The color combination automatically makes the phrase pop. It stands out dramatically without using excessively bulky or obnoxious text; just simple, classic lettering show the consumer the high standard and sophistication of the internal product.

Perhaps the most eye-catching feature on the label is the circular seal with a centrally located American flag, and the words “Made in the U.S.A.”. The circle is not too large and not colored differently, but it manages to stand out due to its crisp edges and the way it crosses the created color division of the background. The defined white outline draws attention to the circle immediately, and therefore directly informing the viewer that these matches are a proud product of America. I was slightly surprised by the very large size of the brand label.

The “diamond” brand design takes up nearly as much space as the white on royal blue text. The logo itself is also white text on a blue background, but with more detail. The font is much different but also simple and straight forward. I think more attention is drawn to the brand than the side test because of the use of visual dimensions. This emphasis made me assume that the company may be promoting their product based on reputation of the company and brand name, as well as the fact the that the product is American-made.

The bottom line of the box simply restates in the same classic font, “large kitchen matches”, this time on a red background. With the two picturesque images in either corner, the text at the bottom, as well as the biggest, boldest font in the middle seem to almost sink into the background, even though they seem to initially stand out. I think the design is very effective at catching the eye, easily providing information about the product, and emphasizing the quality by promoting the brand name as well as the fact that the matches are American-made. The overall primary color scheme and classic, clean font front a desirable product while effectively displaying the minimal necessary information.

What does one look for when they want to buy a snack? Most grocery stores, supermarkets, and even gas stations have an entire aisle dedicated to crunchy, salty, snack food.  Some fans undoubtedly rush to the same snack again and again without even second guessing.  However, most people choose to browse, interested in what new potential the store shelves may hold.  Cheetos are a fairly well established brand within the Frito-Lay realm; finding a shopper who had never heard of them may prove rather difficult.  Despite the popularity and high demand Cheetos still continue to produce and reproduce eye-catching labels for all of their varieties to draw buyers in.

The Cheetos Flamin’ Hot Crunchy bag design stands out above the rest.  It uses a variation of the original color scheme of Cheetos to ensure recognition but to make them easily identifiable as something slightly different.  The funky yellow text on a bold orange background screams “cheesy!” In a small discrete font, the label even says, “Made with real cheese!”  directly about the logo.  In the middle of the Flamin’ Hot bag there is a red flame shaped stripe with orange and yellow lining containing the text “Flamin’ Hot Crunchy”.  The font used literally looks like it could be on fire, or even just melting. Its colors fade from bright yellow up to white, where the tops look like flames as well.  The word crunchy below looks the same as “crunchy” on all other types of Cheetos.

Also found in this flame line of text is the small mini mascot of the Flamin’ Hot Cheetos. He is shaped like a flame to once again get the point across that these Cheetos are hot! The design of the bag relies heavily on the pictures as well as the distinguishable text across the top. Chester, the Cheeto loving Cheetah is located on the bottom half of the bag, taking up almost as much space on the label as the words. The placement and inclusion of Chester draws immediate attention to the bag, even if the words fail to. Chester stands with Cheetos in his hands and flames coming out of his mouth and appears to be extremely satisfied with his snack. Children are quite good at identifying with characters, and the addition of Chester to the design (the previous label only had a picture of the Cheetos themselves) allows even illiterate children to identify the snack!

Overall, I think the design is very effective because the bright bold color scheme stands out among others as well as it goes with the product. The text used is the same logo design used for all Cheeto varieties so it is easily identified. The image adds the element of fun to the picture and serves as another recognizable marker.

Do the benefits from idea of collective authorship pertain to all forms of writing, or does the concept weigh more heavily in specific areas, such as scientific research and screenplays?

What initially cause our culture to conceive authorship as such as individual concept? Since the majority of works are in fact collaborative efforts, why the embedded misconception?

Economic aspects of remediation have been explored by theorists- do you think the current economic situation is/will affect media/remediation/etc?

Is the mass production of art, and advancements in digital mediums destroying the “aura” of classical art? Is it demeaning to originality and uniqueness possessed by past forms?

How is it that mediation replaces other mediation but also refers and depends on the same other mediation? For this to be true, television/film/computer graphics can not ever completely remediate text as to cause it to “lose much of its historical significance”?

The the function of Remediation as Reform, remediation seems to invoke the same general idea as cultural evolution in a sense- the predecessor is always more primitive and therefore replaced. This is not always true in evolving cultures- is it likewise, nit always true for media and the “progression” of mediums?