Jason Oliver's Graphic Design (Portfolio)

1. GRAPHIC
DESIGN
PORTFOLIOSelf promotion at its best
2019- 2020
Created by: Jason Oliver

2. STRONG SUITS
J A S O N O L I V E R

3. 2017-1973-1991
Pan American World Airways (Pan Am) was originally founded on
October 28, 1927, as America’s first international airline. Identified
by its recognizable blue globe logo (“The Blue Meatball”), the airliner
was a reverred American icon of the 20th Century. Credited with many
innovations including the widespread use of jet aircraft, jumbo jets, and
computerized reservation systems, the airliner ultimately revolutionized
the international airline industry and how it functions to this day.
Remodernized with sharper serifs that harken back to Pan Am’s past,
the new logo is now just a simple wordmark. While the Pan Am globe is
no longer married to the type, the globe still remains elsewhere hidden
in the airliner’s new identity.
Personal Project: Pan Am RebrandBRANDING & IDENTITY

4. Personal Project: Pan Am RebrandBRANDING & IDENTITY
FRESH COAT OF PAINT
A SUPERSONIC DREAM REALIZED
The livery design of the new Pan Am fleet are an
echo of the Pan Am Billboard jets of old, but with
a modern twist. Now fully clad in Pan Am Blue,
the fleet is now adorned with lines that mimic the
windswept aesthetic of the old Pam Am and also
how wind truly wraps around the wings and the
curves of the airplane itself. The Pan Am globe
itself is also an echo, as seen on the tail of every
airplane in the fleet.
Due to be the spiritual successor to the legendary
Concorde in 2020, the supersonic Boom Plane
was designed to be a part of Pan Am’s encore;
similiar to how Pan Am debuted the 747 into
service in the 1970s. The livery design was kept
down to a minimum to account for the intense
stress that this aircraft would face at speeds
of up to Mach 2.2. Also, it allows for the plane’s
design to speak for itself instead of the livery
screaming over it.

5. Personal Project: Pan Am RebrandBRANDING & IDENTITY
PAN AM’S NEW IDENTITY
The power of Pan Am’s new corporate
identity comes from its minimalism. The
Boom Plane is seen on many elements of
Pan Am’s identity due to it becoming the
airliner’s flagship aircraft. The bold shade
of blue almost commands your attention,
as it stands out, complimented by an
easy-going experience due to how easy it
is to digest the information seen.
Please click on the items to the right
for more concise viewing, they will be
brought up via your browser.

6. A handsome letterhead with a
post-modern take on Pan Am’s art
deco look from the days of old.
The letterhead on the right was
an experiment to see how well
the colors would pop if the color
scheme was inverted.
While striking, the design ended
up being shelved for the one to
the left, due to how easily it would
drain cyan cartridges.
PAN AM LETTERHEAD

7. JAS
JASONOLIVER
OLIVER, JASON
JASONOLIVER
Deconstructing a boring old plane ticket with
a bunch of nonsensical abbreviations and
reducing it down to bare basics leads to this:
A clean, easy-to-read plane ticket.
PAN AM PLANE TICKET & SLEEVE

8. JASON
JASONOLIVER
OLIVER, JASON
JASONOLIVER
Same story as the previous plane tickets,
but specifically tailored for the Boom Plane.
BOOM PLANE TICKET & SLEEVE

9. Clad completely in Pan Am Blue,
its stark appearance almost
commands your attention and the
sleek nature of the type hierarchy
makes looking at this business
card enjoyable and concise.
Logo next to name pertains to
person’s job/position.
NOT A BUSINESS CARD,
BUT A BUSINESS CARD

10. As part of Pan Am’s revival,
comes the return of the airliner’s
prestiged Clipper Club, which was
basically a glorified version of
what we now call today a “rewards
club/membership”.
The design of the cards were
inspired by the old Clipper Club
membership cards from the 1970s.
THE NEW CLIPPER CLUB

11. What you would see once you
paid for your ticket via mobile
phone, a digital receipt with the
ticket’s barcode.
MOBILE BOARDING

12. The landing page (iPad), as part
of Pan Am’s revival, consists of a
large search bar that changes the
background photo in relation to
the city you’ve typed in.
Clean and straight-forward, this
interface helps you figure out
which flights and times are avail-
able in no time. So much so, that
you’d be able to choose your seat
before you even checkout.
That would be really handy if you
had to schedule a flight urgently
for a meeting overseas, or if you
simply really want that window
seat; which you know you want.
Don’t deny it.
TOUCH-AND-GO

13. Personal Project: LOOK Magazine RevivalBRANDING & IDENTITY/PRINT PRODUCTION
1937-1971
LOOK Magazine was once a bi-weekly, photography-focused magazine
that ran in the U.S from the 1930s to the 1970s. It was once a highly
respected rival of LIFE Magazine, yet LOOK today has largely been
forgotten. A revival was attempted on 1972, but it ultimately failed as
the magazine ceased publication soon after anyway.
Futura was chosen as the typeface for the new logo due to its classic,
yet modern Art Deco style that serves as a nod to its formal past.
2017-

14. An 8-page zine briefly focusing on the history of the Leica Camera.
The zine itself was more or less a quick “blitzkrieg”, in the sense
that it touched upon the historical impact and cultural importance
that Leica had developed over its 100+ year history in just eight
pages. Short, yet effective.
Zine Focusing On The Leica Camera: A Brief Story About The LeicaPRINT PRODUCTION

15. INSPIRATIONCOVER
B R I E F S T O R Y A B O U T T H E
L E I C A
A B R I E FS T O R YA B O U T A
Cover of the 8-page zine.
Zine Focusing On The Leica Camera: A Brief Story About The Leica
The “designspiration” behind the
cover of the zine is the depth
of scale meter that is normally
lasered onto most Leica lenses;
a design element that had
become legendary and quite
synanamous with Leica’s brand
and identity.
PRINT PRODUCTION

16. Exploring Newspaper Design: Fictional New York Times PagesPRINT PRODUCTION
CULTURE & MUSIC PAGE
METRICS PAGE
Fictional New York Times
Metrics Page focusing
on the increasing danger
that nuclear weapons
pose the world today,
even two decades after
the end of the Cold War.
Infographic to the left of
this piece was inspired by
and made using a photo
of a Russian missile test.
Opening page into a fictional
“Culture & Music” section of the
New York Times.
The main article talks about
the return of legendary hip-hop
pioneer Grandmaster Flash, and
a tribute to him and his time
living in the Bronx in the Netflix
series, The Get Down.
Article on the bottom serves as
an opening for an article about
a rising rapper named A Boogie
With Da Hoodie, which continues
on another page in typical
newspaper fashion.

17. Personal Project: LOOK Magazine Revival
COVER
The front and back covers of the first issue of the
new LOOK Magazine, December 2016.
The elegance of the old LOOK has been replaced
with modern and brutalist minalism, with an iconic
photo taken by Bruce Gilden of Yakuza businessmen
in Japan in 1996 used as the photo of choice. The
photo was used for the cover due to Bruce Gilden’s
visit to Japan being the main story in the magazine,
and to help put emphasis into the namesake:
LOOK.
BRANDING & IDENTITY/PRINT PRODUCTION

18. Personal Project: LOOK Magazine Revival
INSIDE THE NEW LOOK
Some spreads from the cover story of the Dec 2016
issue of the new and rebranded LOOK Magazine. The
cover story was recapping on street photographer
Bruce Gilden’s visits to Japan during the tail end of
the 20th Century (1996-2000) to document a darker
and grittier part of Japan that most people outside
of Japan weren’t even aware of until then.
The Yakuza, biker gangs, drug addicts, prostitutes,
the homeless - Bruce Gilden had seen them all. He
would later go on to publish his photographs taken
in Japan in his limited-edition photo book, “GO”;
which this cover story’s design served as a nod to.
BRANDING & IDENTITY/PRINT PRODUCTION

19. Retail Sofa Spec Book: BurrowBRANDING & IDENTITY/PRINT PRODUCTION
MORE THAN JUST A PAMPHLET
After Burrow had launched its first retail location
in September 2018, the Creative Team and I were
tasked with creating a pamphlet with specifications
for Burrow’s sofas and armchairs. This project
started out as just designing seperate spec cards,
but eventually evolved into a magazine-like journey
for a customer at the store.
We wanted to make something that not only was
useful for the consumer, but also served as a nice
take-home piece and a way to tell Burrow’s story.
Copy and imagery supplied by Cole Kennedy
(Burrow’s copywriter), while the entire book was put
together by me - with assistance and collaboration
with the rest of the Creative Team.

20. Social Media: BurrowDIGITAL MARKETING
Burrow House Introduction Video
NOVEMBER 21, 2018
An introductory video showcasing Burrow’s new retail location that
opened on September 2018 on 125 Greene Street in Soho, New York.
All video was filmed by the Creative Team as a whole, while the video
was cut and put together by me. (CLICK ON VIDEO TO PLAY)
Burrow Halloween Promotions
OCTOBER 31, 2018
Burrow’s promotional take on Halloween, wanted to capture Burrow’s
recently launched pillows & throws along with the sofa - while also
making it fun. Photos were shot by me.
Burrow/Strand Bookstore Collaboration
JULY 12-AUGUST 6, 2018
An extensive collobarative effort between Burrow and Strand
Bookstore, I was tasked with photographing Strand’s books and
merch along with Burrow’s sofas (in this case, it was the one-seat
armchair, but the point still stands).

21. Burrow President’s Day 2018 Burrow/Modsy Collab Email
CLICK ON EMAILS TO VIEW WHOLE
Burrow Pillows & Throws Launch Email
FEBRUARY 18, 2018
When we made this email, we were in a state of experimentation and
testing to see what worked for us and what didn’t. As Burrow was a
young start-up, getting things wrong is sometimes a given. As fun as
this was to make, we ultimately moved away from this aesthetic as it
made us look too much like Casper.
APRIL 10, 2018
Burrow’s collaborative effort with 3D modeler Modsy. As we moved
away from the old aesthetic seen in the previous email, we aimed for
something more clean and modern. This change in tone proved to be
successful, and we kept going with this for a few months into the late
summer when Burrow decided to refresh its branding.
OCTOBER 16, 2018
Now with a freshly curated color pallete, subtle changes in type, and
refreshed copy language, Burrow decided to continue its momentum
from its successful Burrow House retail store launch from September
and launch their pillows & throws collection. This proved to be a
massive success as many started coupling these with sofa purchases.
Email: BurrowDIGITAL MARKETING

22. Recruiting advertisement
that was designed and
tailored specifically for the
high school graduates that
Columbia University’s football
team, The Columbia Lions, was
looking into recruiting.
Post-recruiting advertisement
that was specifically
tailored for a high school
graduate that had officially
committed to joining The
Columbia Lions over other Ivy
League univerisities such as
Harvard and Yale.
Recruiting & Onboarding: Columbia University In The City Of New York
WELCOME ADRECRUITING AD
DIGITAL MARKETING

23. Social media banners designed for The Columbia Lions’ social media accounts. Consistent use of fonts such as
Leviathan Black HTF and Avenir Next were used in part of The Columbia Lions turning over a new leaf.
Social Media: Columbia University In The City Of New YorkDIGITAL MARKETING

24. Burrow Icon Illustration & Icon Set: BurrowILLUSTRATION
AN ICON REFRESH
My first week in Burrow, one of the first
things I noticed was that the icon set they
had was all over the place. Some had
thick strokes, others had thin strokes,
while others were just solids - no
consistency whatsoever.
So eventually, I was tasked with revising
the original set of icons into the final set
you see here. The massive illustration
to the far left was designed by me for an
icon usage booklet that I spearheaded to
make for future designers in Burrow until
it was discontinued, incorporating some
of the icons into it to make it fun. The
view of Midtown Manhattan seen in the
illustration was the immediate North view
from Burrow’s HQ on 15 West 27th Street,
the illustration took about 3-4 weeks to
completely finish.
This icon set proved to be successful in
keeping our aesthetic consistent, until
Burrow decided to rebrand and start over
from scratch with everything. However,
the icon set wasn’t completely scrapped
as it has seen limited use in applications
such as our recent Burrow House couch
spec book finished in late 2018.

25. Freelance: Lily CBD Oil IconsILLUSTRATION
Lily CBD, a cannabis oil-focused start-up,
approached me for me to design some
icons for their website and print. They
were looking for something modern, but
humanely imperfect... yet didn’t scream
“THIS IS MARIJUANA” in its aesthetic.
As of January 2019, this icon set is still
currently in use and this goes down as
one of my personal favorite freelance
projects that I’ve ever taken part in.

26. Personal Project: Car Art, 1989-2000 Nissan 300ZX Fairlady Z TTILLUSTRATION
This piece is the very beginning
of a poster-sized project series
I’m currently working on about
various cars, this piece being
about the 2nd-gen Nissan 300ZX
Fairlady Z - my personal favorite.
Aiming for a minimalist, I almost
deconstructionist, take on the
automobile; I’m using only two
colors and reducing the cars
down to only their curves and
important outlines - sorta like
mimicing a blueprint.
Research, illustration and copy
all made and written by me over
the course of about a week.
AND ANOTHER ONE: THIS ONE
FOR THE ‘83-’87 HONDA CR-X Si.
AND ANOTHER: THIS ONE FOR
THE ‘89-’94 MAZDA 323 GT-X.
CLICK HERE TO SEE THE 2ND
ONE THAT I’VE FINISHED, THIS
ONE BEING ABOUT THE ‘91-’93
ISUZU IMPULSE RS.

27. Sale E-Blasts: Rare Posters Inc.DIGITAL MARKETING/TYPOGRAPHY
HAPPY
FOURTH
OFJuly
from RarePosters
take an
additional
30%
OFF
ALREADYMARKED-DOWNITEMS
ends july 31
enter code:
closeout
SHOP NOW
A few examples of email blasts and social
media campaigns that I had designed for
Rare Posters Inc when interning for them
during Summer 2015.

28. Freelance: Attitude Animations LogoTYPOGRAPHY
Wordmark and lettermark logos designed for a client and her future YouTube channel.
She wanted something simple and modern, but with attitude. She was looking for a logo
that served as an old-school nod to type styling from the 1980s, but not so blatantly 80s
that you’d hear Kenny Loggin’s “Danger Zone” playing in your head. And again, with attitude.
The lettermark to the left is dual purpose. It acts as the wordmark of the logo, and it
represents the client’s first initial of her first name: Anyssa.