Wolves FC fans contribute to new look stadium

Creative agency Raw has completed a brand refresh and stadium overhaul for Wolverhampton Wanderers (Wolves) Football Club. The work includes a new brand approach, new stadium signage and super graphics displaying quotes by fans…

Creative agency Raw has completed a brand refresh and stadium overhaul for Wolverhampton Wanderers (Wolves) Football Club. The work includes a new brand approach, new stadium signage and supergraphics displaying quotes by fans…

Since last summer, Wolves’ stadium, Molineux, has been transformed with the addition of a new multi-million pound Stan Cullis stand which houses a retail superstore and museum space, and Wolves commissioned Raw in summer 2011 to rebrand the club and its various sub-brands.

“The commission was born out of the club’s desire to create a more positive and vibrant space for fans at Molineux through the creation of large-scale graphics and a more positive signage system,” explains Raw’s creative director Rob Watson of the project.

“However, a brand review highlighted that disparate marketing material and a lack of high quality brand guidelines had led to the brand becoming diluted over time,” Watson continues. “As such, a rebranding exercise was commissioned with the aim of creating a strong, overarching brand that would influence all of the club’s visual output in the years to come.”

Raw engaged staff at and supporters of the club, interviewing everyone from the tea lady to the chairman as well as fans “to try to get to the heart of Wolves and to understand what it really means to be a fan,” Watson says.

Social media tools including Facebook and Twitter were also used to engage directly with thousands of fans. “Asking questions such as ‘what does Wolves mean to your family?’ elicited a huge response helping us to discover the experiences and values of fans, which really drove the rebranding exercise,” sasy Watson.

Many of the responses elicited have become supergraphics that adorn walkways and stairwells in the stadium.

“The strong, geometric nature of the hexagonal crest provided us with the inspiration for the sub-brands and signage, and a strong core message was created that encapsulated the Wolves mission,” says Watson. “A new typeface, FontSmith‘s Albert Pro, and colour palette have also been introduced that reflect the club’s personality and give new marketing material a consistent look and feel.”

What was, apparently, a four page PDF has now been replaced with Raw’s detailed and clear guidelines for the main brand, sub brands and signage systems within the stadium. These have been printed as booklets housed in a slipcase, images below.


CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here.

CR In print

In our November issue we look at ad agency Wieden + Kennedy in a major feature as it celebrates its 30th anniversary; examine the practice of and a new monograph on M/M (Paris); investigate GOV.UK, the first major project from the Government Digital Service; explore why Kraftwerk appeals so much to designers; and ponder the future of Instagram. Rick Poynor reviews the Phaidon Archive of Graphic Design; Jeremy Leslie takes in a new exhibition at the Whitechapel Gallery dedicated to experimental magazine, Aspen; Mark Sinclair explores Birmingham’s Ikon Gallery show of work by the late graphic designer, Tony Arefin; while Daniel Benneworth-Gray writes about going freelance; and Michael Evamy looks at new telecommunications brand EE’s identity. Plus, subscribers also receive Monograph in which Tim Sumner of tohave-and-tohold.co.uk dips into Preston Polytechnic’s ephemera archive to pick out a selection of printed paper retail bags from the 70s and 80s.

The issue also doubles up as the Photography Annual 2012 – our showcase of the best images in commercial photography produced over the last year. The work selected is as strong as ever, with photographs by the likes of Tim Flach (whose image of a hairless chimp adorns the front cover of the issue, above); Nadav Kander (whose shot of actor Mark Rylance is our Photography Annual cover); Martin Usborne; Peter Lippmann; Giles Revell and more.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

What's the story?

The Storytelling issue, Oct/Nov 2017, is out now.
We invited writers to respond to our cover image
this month: read their stories inside.
PLUS: Tom Gauld, Oliver Jeffers, Giphy & S-Town

Buy the issue

The Annual 2018

The Creative Review Annual is one of the most
respected and trusted awards for the creative
industry. We celebrate the best creative work from
the past year, those who create it and commission it.

Enter now


South East London - Competitive


London - £35,000 - £40,000


Birmingham - Salary £30-£35k


Leeds, West Yorkshire - £20,000 - 30,000