Leading original artists & illustrative designers agents since 1985
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Sam Chivers
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advertising colour corporate design editorial publishing subject techniques / style


advertising animation characters charity events exhibition games movie posters mural posters product type design typography youth


beige black blue green grey orange pink purple red white yellow


annual report business corporate decisions financial


conceptual constructivist customisation escher icons installation kinetic lettering logo music packaging packaging pattern repeat symbols


editorial health illustrative journalism lifestyle magazine cover


adult fiction book covers book jackets publishing


City action airplanes animals astronaut atoms beauty bicycle birds books buildings cars celebration children cityscapes clouds computers consumerism dreams education energy environment eyes faces family fantasy festivals film fire flags floral food & drink globes halloween health hearts holiday horses industrial jungle landscape love machinery maze medical medicine men money moon mountains mouths music nature nautical neon numbers people places plants political portrait rainbow relationships robots romance science seascape seasonal shopping skies smoke space sport summer technology telecommunications tourism transport travel trees water weather women

techniques / style

abstract digital futuristic line printmaking psychedelic sci-fi surreal technical


For several years I led a double life, during the day I worked for a Design/Illustration studio producing work in a wide variety of styles for many different clients.
Whilst in my spare time I was exploring more creative preoccupations though self-directed projects, often just enjoying a bit of creative freedom away from the pressures of the commercial world and being told what to do all the time.

Bringing together my love of drawing and geeking out on the computer, these quite often ended up as screen prints. Screen print is a process I’ve grown to love because of the restraints it imposes, I loved trying to create a sense of depth with just three or four layers. Often mistakes would be surprisingly pleasing.

After a while of incubation this work began attracting commercial clients (as I hoped it would) and eventually I made the leap to doing it full time.

My work naturally veers towards that blurry border point between science and nature. Recently I’ve become aware of how much I’m influenced by the countryside in which I live, and my tendency to fictionalise it through drawing.

My ambitions with my work are to keep making it better and continue to evolve as an artist. Presently my output mutated into a two pronged beast; I make these airbrushed sci-fi landscapes and then more hand drawn limited palette pieces – my aim is to carry on joining the dots in between these two styles somehow unifying them more.

Previous Clients Include:
New Scientist
Beauty Inc
The Guardian
Shop Magazine
Institutional Investor
Wired Magazine
Washington Post

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