Miles Donovan is a graphic artist based in London. His work has been used internationally for editorial and advertising clients including The New York Times, Creative Review, Newsweek, Publicis, Saatchi & Saatchi, The Telegraph, TIME and Wired. You can find his illustrations in the books ‘Illusive’, ‘The Fundamentals of Illustration’, ‘Pen and Mouse’ and ‘50 Years of Illustration’.
As a founding member of the internationally renowned Peepshow he has worked on design, art direction and animation projects for BBC, Channel Four, National Geographic, PBS, Philips, Red Bee Media, Roundhouse, Somerset House, Toyota and The Victoria & Albert Museum.
In 2015 he won ‘Outstanding Motion Design’ with Peepshow at the 67th Emmys for his work on PBS/BBC documentary series ‘How We Got To Now With Steven Johnson’.
Miles is one of the leading figures in the contemporary graphic arts field. Drawing influences from film, magazines, comic books, and pop artists.
He was only ever any good at art at school, spent his time daydreaming in science and maths. Spent all his time silk-screening printing at 15. It was on his foundation course in 1994 that one of the tutors said he should do Illustration, probably just to get out of the Fine Art room.
He grew up surrounded by TV/Film annuals, magazines, toys and music from the 50’s and 60’s. His dad was a huge collector and runs a second hand shop dealing in the stuff, this was a major influence in the early days.
Miles tend to work in quite a few different ways, so it depends on the project. 90% of the time the computer is involved. But there is normally always a hand made part of the process whether it’s cutting a stencil and spraying through it, using a silkscreen texture, or getting the ink out and making a mess. he don’t allow the computer to dictate what the work looks like though, he use it as just another tool, as part of the process. It’s just a quicker way to achieve hand rendered processes he developed over the years.
© 2018. All images are copyrighted © by Miles Donovan. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
As a founding member of the internationally renowned Peepshow he has worked on design, art direction and animation projects for BBC, Channel Four, National Geographic, PBS, Philips, Red Bee Media, Roundhouse, Somerset House, Toyota and The Victoria & Albert Museum.
In 2015 he won ‘Outstanding Motion Design’ with Peepshow at the 67th Emmys for his work on PBS/BBC documentary series ‘How We Got To Now With Steven Johnson’.
Miles is one of the leading figures in the contemporary graphic arts field. Drawing influences from film, magazines, comic books, and pop artists.
He was only ever any good at art at school, spent his time daydreaming in science and maths. Spent all his time silk-screening printing at 15. It was on his foundation course in 1994 that one of the tutors said he should do Illustration, probably just to get out of the Fine Art room.
He grew up surrounded by TV/Film annuals, magazines, toys and music from the 50’s and 60’s. His dad was a huge collector and runs a second hand shop dealing in the stuff, this was a major influence in the early days.
Miles tend to work in quite a few different ways, so it depends on the project. 90% of the time the computer is involved. But there is normally always a hand made part of the process whether it’s cutting a stencil and spraying through it, using a silkscreen texture, or getting the ink out and making a mess. he don’t allow the computer to dictate what the work looks like though, he use it as just another tool, as part of the process. It’s just a quicker way to achieve hand rendered processes he developed over the years.
© 2018. All images are copyrighted © by Miles Donovan. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
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| Mr Miles Donovan |
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| 33 Revolutions Per Minute- A History of Protest Songs, Book Jacket, Client: Faber & Faber |
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| 1950′s Music, Rock & Roll, Postage Stamp, Client: Hat-Trick Design |
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| Access, Editorial, Client: Wire Design |
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| ACLU, Editorial, Client: Variety |
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| ASOS, Editorial, Client: The Telegraph |
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| Billion Dollar Bubble, Cover, Client: The Financial Times |
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| Building London, Editorial, Client: High Life |
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| Building London, Editorial, Client: High Life |
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| Channel 4 news |
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| Coney Island Astroland, Silkscreen print, Client: PrintClub London |
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| Coney Island Cyclone, Editorial, Client: If You Could |
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| Creative review |
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| Digital Athletes, Editorial. Client: Nature Magazine |
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| Downtown Abbey, Editorial, Client: The Atlantic |
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| Dr Dre, Editorial, Client: The Guardian |
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| EMB Viewpoint, Editorial, Client: EMB Viewpoint-Morning Design |
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| Get Your Bags Packed, Cover, Client: AB |
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| Guggenheim |
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| How Is Fall TV Still A Thing?, Editorial, The Washington Post. |
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| Isolation |
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| Kiehl’s x Le Bon Marché, Limited Edition packaging. Client: Kiehl’s |
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| Listen Up, Editorial, Client: Cadillac Magazine. |
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| Lolla South America, Editorial, Client: Delta Sky magazine. |
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| Macy’s Thanksgiving Day Parade, Editorial, Client: Delta Sky magazine. |
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| Made in China, Editorial, Client: Creative Review |
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| Mick Jagger, Editorial, Client: Stern |
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| Neon |
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| NetFlix: The Red Menace, Editorial, Client: Fast Company |
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| NetFlix: The Red Menace, Editorial, Client: Fast Company |
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| Nobody Does It Better, Editorial, Client: WWD Collections |
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| Nomination Diversity at The Emmys, Editorial, Client: Variety |
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| Oil & Gas, Cover, Client: The Telegraph |
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| Only One Way To God?, Editorial, Client: Worldwide Challenge Magazine |
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| Qantas League, Advertising, Client: M&C Saatchi |
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| Reading Room- Patti Smith Editorial, Client: Oprah Magazine |
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| Stories of the Year, Cover, Client: Creative Review |
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| Tech Fest, Editorial, Client: Delta Sky magazine. |
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| Technology-Arts, Editorial, Client: ICON |
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| Technology-Arts, Editorial, Client: ICON |
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| The $3 Billion Dollar Art Show, Editorial, Client: Delta Sky magazine. |
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| The Dizzy, Surreal Journey of The Leftovers, Editorial, Client: The Atlantic |
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| An Insurgent In The White House, The Economist. |
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| The Hound of the Baskervilles |
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| The PegLeg, Editorial, Client: Wired (US) |
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| The Stars of Science, Editorial, Client: Wired (US) |
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| The Verdict Is In, Editorial, Client: Washingtonian |
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| The Verdict Is In, Editorial, Client: Washingtonian |
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| Toronto Film Festival, Editorial, Client: Delta Sky magazine. |
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| Venture Capital, Editorial, Client: Institutional Investor |
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| World Fair 1963 1964 |
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| World Fair 1963 1964 |
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| X Games, Editorial. Unpublished. |
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| X-Ray Room, Installation, Client: University College Hospital, London |
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