The CW’s entry into NASCAR has injected fresh energy into the Xfinity Series, transforming a historically secondary property. The network's new broadcast design, a collaborative project between CW’s internal creative team, Two Fresh Creative, Drive Studio, and other partners, marks a distinct shift in how the series is presented. “We wanted to treat Saturday’s race like it was as good as Sunday,” said Rich Browd, SVP of brand creative at The CW. “Historically, the Xfinity Series felt like an afterthought.”
In NASCAR, the Xfinity Series functions as a support race for the main Cup Series. It serves as a development platform for emerging talent. Browd emphasized that the new approach enhances the series by showcasing the high-quality racing and the significant stakes for young drivers. The CW's strategy differs from past broadcast partners, reflecting the network’s seven-year deal with NASCAR and its positioning of the Xfinity Series as a flagship property within its growing CW Sports portfolio. “That’s what made it super cool. You just don’t see Xfinity with this much love,” said Phil Guthrie of Two Fresh Creative. “Having it as the marquee property for CW — they were just pumped.”
A key element is a glass car graphic, symbolizing the fragility and power of racing, reflecting the inherent risk and reward. “We wanted to play up the stakes,” Browd explained. “When you’re on a larger racing team, you’re funded in a more healthy way. But these guys, if they crash that car, there’s a chance they may not get the car back on the track for the next race. Money’s not flowing. The high stakes are represented in the glass car. Glass is very brittle, and that glass also made it easy for us to show the power inside the vehicle.”
The design process involved several partners, with CW's internal team leading the vision. Marcos Vas and Elton Gamez’s initial concept boards resonated with Browd’s vision. “They hit on everything we were talking about,” he remarked, highlighting the premium aesthetic. “We wanted to make these guys feel like total rock stars.” Two Fresh Creative further refined the vision, integrating dynamic wrap-around animation elements. “We kind of landed in this moody, sexy environment where we’re building things using the hot sauce color, which is CW’s signature color,” said Guthrie.
Guthrie noted the design incorporates a “speed factor” and atmospheric effects like smoke, distinguishing it from other broadcasts. A notable change is the shift from a vertical scoring leaderboard to a bottom bumper leaderboard, enhancing the cinematic quality. “Putting the bumper at the bottom created this more cinematic experience,” Browd observed. This provides more visual space for the race, creating a cleaner presentation. The leaderboard is dynamic, adapting for various situations.
Drive Studio contributed to the leaderboard design and insert graphics. The CW team integrated these elements, creating variations for different race scenarios. The bumper can adjust its size during commercials and can be used for sponsored placements. “You’ll notice in the 2D design theory that we’ve created — where titles come in and out — it’s all based on the track,” Browd noted. “It’s all based on the sport.”
The design has been well-received, particularly on social media. The NASCAR package aligns with CW's strategy to create a cohesive brand identity across its sports properties. “The deal is seven years, so I’m excited to see how we can continue to push it,” said Browd. “Being sort of a smaller brand in this space, and me being a brand guy, everything needs to ladder up to the greater good,” Browd explained. “Everything has to work toward that greater goal of brand awareness.”
This approach extends to other CW Sports properties. “I think it’s fun and interesting to have each package look similar to feel more of a CW Sports brand presence,” Guthrie said. “It really makes the sports department feel strong.” “This is fresh for NASCAR,” Guthrie added. “It’s a statement of, ‘We don’t need to go down the same NASCAR path for every package, let’s try something different.’ This is a pretty bold statement of where NASCAR could go for graphics.”