Brian McGregor

Mac’s Back

Fight, fight, fight, fight…

Drum Awards. Hats off to our friends.

After a fantastic night at the 2009 Drum Awards, in true Oscar style I’d like to thank the people who helped make it all possible.
First off, in the Leading Role category, Richard Mountney for some lovely retouching (Odometer being my particular favourite) as well as the photography on the CWU campaign. All in all, we managed to stretch the boundaries of what you can do with a half an inch square stamp to about 16 different images. Even one for a 48-sheet with Her Majesty wearing a Raith Rovers scarf for Gordon Brown’s annual pilgrimage to Starks Park last season.

Next up, Best Supporting Actors go to our tireless artworkers on the job. Step forward George Cascarino and Bill Green, who produced a faultless campaign under unbelievably (and I mean unbelievably) tight deadlines. Hitting a high point of thirty 48-sheet artworks in one night.

Another big thank you in the Visual Effects Department goes to Mark Seager and Joe Connolly at Simple Photography for photography and re-touching on the Spire taxi wrap that picked up another award on the night.

And last, but not least, Executive Producer, our client Kevin Slocombe, who trusted us enough to let us just get on with the campaign. Not once did he ask us to increase the size of the logo, change the typeface or completely re-write our headlines. Top man.

Oh, I forgot to mention my Mum, and God of course, for Direction.

A mightysmall thanks to you all.

They just cannae handle it up north.

Wish I’d Done That

life's a beach.

RBOS and HBOS advertising to merge?

Dad, you’re going to do your back in.

Tynecastle Poster

Answers on a postcard.

Kids, eh?

The Art of the Long Copy Ad is not dead…

Helvetica: The Movie

They say you’re never more than six yards away from a rat in London.
Well, you’re probably no more than 10 paces away from Helvetica anywhere in New York City.

Here’s the blurb for Gary Hustwit’s documentary on this polarising typeface.

Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which celebrated its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.

Okay guys. Don’t laugh, but I quite enjoyed this film.
The ubiquity of this annoying beautiful typeface around the world (and especially America) is quite astounding. It seems every second multi-national company around the world uses it for it’s corporate identity.
In fact, at times, it can be downright depressing. (although I’m sure our friend Graham Walker at Size will put up a stout (or should that be a heavy extended) defence of his favourite typeface to any non-believers.

Standing outside the office today I could easily count 7 or 8 examples around me without moving from my spot. Lothian buses and bus stops/shop logos/ tramwork contractor’s fluorescent jackets/car stickers/fire hydrants/traffic signs/estate agent boards.

Make up your own mind about ths face on viewing, but be warned, anyone watching this film will spend the next few days scanning their own world for Helvetica like a child on a cross-country car trip playing I Spy.

And please, if anyone ever catches me using this face on any new work this agency produces… kill me, kill me now.

Oh nnnnnnnooooooooooooooooooooooo

Why Irish eyes are smiling…

They shoot horses don’t they?

Fantastic Ambient Idea

One For The Ladies.

Whodunnit?

That’s Torn It

Don’t You Just Hate It When That Happens?

Only On Leith Walk, likesay.

Top Shelf Animal Husbandry.

Berlin