Todd Mayfield is the President and cofounder of Axia Creative. He has over 30 years of wayfinding, brand development, advertising and print graphics experience. He is also an accomplished fine artist and illustrator.
Todd has earned numerous awards for design excellence and profound respect among his peers. His work has been featured in various industry magazines and books such as Print, Signs of the Times and American Corporate Identity. Currently, his company has a loyal client base from Hawaii to the Caribbean and parts of Canada.
Royal Caribbean cruises ahead with its biggest ship ever and an interactive wayfinding system that’s making waves.
The cruise ship industry has come a long way in the last few decades. While retirees dominated the passenger population 40 years ago, today’s cruises are family affairs, with guests from ages 8 to 80 and a strong international quotient. To keep the all-important repeat customers coming back for more, cruise ships are upping the ante with offerings akin to floating amusement parks.
Tampa’s new wayfinding system shows off the city’s assets and gives it a bright new identity.
Tampa’s second-generation wayfinding system needed to connect the city’s 300,000 annual visitors to major destinations, point the way to downtown parking garages, and provide a new pedestrian wayfinding component.
Almost as important, it needed to provide the city with a fresh new identity—minus the clichéd palm tree and beach graphics many people associate with Florida.
Both palette and canvas, glass is infinitely mutable and eloquently transmissive. The seduction is powerful.
It is impossible to separate glass from light. It simply does not exist without light behind, below, before, above, or through it. It is that intrinsic relationship that draws designers and artists to choose glass as their medium. And as technology continually refines manufacturing techniques and lighting options, the possibilities inherent in glass are virtually limitless.
Fabric structures, the once and always lightweight workhorse, create a limitless design dimension.
Twenty years ago, the phrase “fabric architecture” referred to an outdoor tent or restaurant awning. Today, an ever-expanding palette of materials and vastly improved structural, lighting, and graphic technologies allow fabrics to escape the awning and take on new roles: multimedia canvas, iconic sculpture, branded totem, and architectural skin, just to name a few.
To market Donut King to investors, its founder and Lorenc Design incorporated the new prototype design of this store into the marketing package. The ceiling, menu board, posters, floor and layout establish brand identity for each new shop, and are accompanied by such motifs as the donut-shaped chairs and small tables adorned with daily fresh flowers. The yellow-striped canopy above the serving area would reference the early morning sun. Everything else builds on this upbeat feeling.
The challenge for the environmental graphics and signage of the Wildhorse Saloon was the concealed location of the entertainment venue along the waterfront at the end of Disney's Pleasure Island. The 18-foot-round, rotating backlit logo sign perched 70 feet above street level was designed to lure the thousand of guests entering Pleasure Island to experience the excitement of the saloon. Thundering and larger-than-life-sized, three-dimensional wild horses stampede over trompe l'oeil mountains to create visual excitement.
Paradise 24 is a 97,000-square-foot, 24-screen cineplex, offering an immersive Egyptian experience. The sloped, battered walls and distressed patina lend the ambiance of the ancient temple at Karnak. The cinema features a north wing reminiscent of the sandy, desert-like upper Nile and a south wing themed as the more lush delta plain. Statues of Ramses and sphinxes guard the concessions, which are located at the end of an indoor/outdoor mosaic of the Nile. Cinema patrons drive in past a huge entry pylon, and then park in the Luxor, Delta or Nile lots.