Jenson Nelson

I'm a designer who started drawing and never stopped — I just started making things people could hold, wear, and walk into. I came up at American Apparel and in LA's hospitality scene, moved into high-volume product and packaging design, and for the past several years I've been running my own studio in Portland — building brands, products, and packaging from scratch.

I'm also a painter. That's where the color sense comes from — not a textbook, but thousands of hours mixing paint and seeing what happens. I bring that same eye and that same willingness to get my hands dirty to every design problem I touch.

I love learning about and using new tools, updates, AI programs — almost as much as I love my vintage Bernina. I'm good at AI, interested in all things tech, and I've led creative teams. Give me a new tool and I'll figure out what it can do before most people finish reading the documentation.

LocationPortland, OR
EducationCal State Long Beach · Interdisciplinary Studies
AlsoExhibited Painter · Grant Reviewer · Arts Coach · Mentor
What I Believe

DESIGN IS
EMPOWERMENT

WHAT YOU WEAR IS WHO YOU ARE

I believe what you put on in the morning is a decision about who you are that day. Product is personal — it's armor, it's expression, it's identity. The best design doesn't just look good. It makes people feel powerful. I want to be on the team that makes the thing people reach for when they want to feel like the best version of themselves.

THE BEST WORK HAPPENS IN ROOMS FULL OF MAKERS

I thrive in creative teams. Not because I need direction — but because the energy of a room full of people who care about craft makes everyone's work better. I've led teams, mentored designers, and collaborated across merchandising, development, sourcing, and marketing. The cross-functional part isn't the hard part for me — it's the part I'm energized by.

INNOVATION IS A DAILY PRACTICE

I don't wait for someone to hand me a new tool — I go find it. From generative AI to emerging design technology, I stay ahead because I'm genuinely curious, not because someone told me to. I believe the future of design lives at the intersection of craft and technology, and I want to be in the room where those two things collide.

How I Work

THE LOFT

I have a loft that's half art studio and half office. Both sides output the same amount of creativity. Canvases on one side, computers on the other, recliners because — believe it or not — people like to witness me doing my thing.

The Analog Side

Paint, canvas, a vintage Bernina sewing machine, color mixing, material experiments. This is where the eye gets trained and the instincts get sharpened. Every palette I build has hours of paint mixing behind it.

The Digital Side

Adobe Creative Suite, Figma, 3D visualization, AI-assisted design tools, production files, vendor specs. This is where ideas become real products. I move between both sides all day — that's where the best work comes from.

Core Expertise

WHAT I MAKE

Apparel Graphics Color Palettes & Blocking CMF — Color, Material, Finish Product Design & Development Packaging & Dielines Print · Pattern · Typography Seasonal Collections Brand Identity & Logo Systems Trend Research & Moodboarding Material Selection & Storytelling Production-Ready Artwork Vendor Communication & Specs Team Leadership & Mentoring Creative Direction Adobe Illustrator · Photoshop · InDesign Figma 3D Visualization AI-Assisted Design Generative AI Tools PLM & SAP
Where It Comes From

CREATIVE ROOTS

I grew up around music and performance. My dad played guitar with Eddie Money — stadiums, touring, the whole deal. I watched someone I loved build a life around creativity and craft, and it shaped how I think about making things. The work ethic, the collaboration, the trust you need with the people on stage with you — that's the same energy I bring to a design team.

Stadium performance
Backstage
The Nike Story

HOW I MOVED TO PORTLAND
ON A RED CARPET OF DELUSION

In September 2019, I was in New Zealand, enjoying a sunset from a swingset, when I got the kind of email you're not supposed to get on vacation. Someone accidentally cc'd me on a memo: my entire department in Los Angeles was being dissolved.

But before I could spiral, something unexpected happened. My brain, in a voice that was inexplicably — and unmistakably — New Zealand-accented, said:

"Portlind. Yer movin' to Portlind, and yer gonna werk for Nike."

No hesitation. No committee meeting. Just one, crystal-clear directive — delivered like a spiritual Slack message.

And then I saw it: a red carpet unrolling from my LA apartment steps — dramatic, unnecessary, borderline delusional. It stretched all the way to Portland like some self-authored myth. No music. No crowd. Just me, a duffel bag, and the kind of unwarranted certainty usually reserved for cult leaders and reality show finalists.

"Nuthin' to think about, mate. It's awl sorted. Retenshun bonus. Sev'rance. Sell the lot. Pack the rest. Book a trrruck. Say yer goodbyes. Get on wit it. If not now, then when, eh?"

You know how people say, "I was the first in my family to graduate college"? Well — I was the first in mine to leave L.A. Which was the hardest part.

My sister and I had been next-door neighbors in Hollywood for years. It was a pretty sweet setup. My parents showed up unannounced, then announced, "We're having brunch." My brother and his pool were three miles away. And I'm not being ungrateful when I say this, but I had too many friends. Seriously. Way too many. It was all very inconvenient.

But the carpet had already unrolled. And I was walking it.

I moved out of my LA place and arrived in Portland on March 13, 2020. March — Friday the 13th, 2020. By Monday the world was fear shopping and people had begun to shelter in place.

The moving company I hired took the truck full of my belongings to Vegas and kept it there for over two months. And it was fine. I bought a piano and wrote funny songs about not knowing what to do about excessive bubble wrap. Nobody knew what to do. At that point in my life, I considered myself a rich monk. I had overalls, a few turtlenecks, that bed-in-a-box, and my mom felt so bad for me she bought me art supplies and books. And I painted and read and designed and thought — "OK, a few more months of this and I'll go snag my Nike job."

Between then and now, I worked on projects that were fun, some that were meaningful. I missed community; I missed contributing to something larger. I still miss that. I feel like it was a sliding door situation, and it closed on a few of my fingers.

After fulfilling obligations to clients, buying and selling that cute condo — here I am, and I'm all in. I'm not going to settle for anything less than my dream of working at Nike. This is what I came here to do and I'm doing it.

Community

GIVING BACK

Regional Arts & Culture Council — Community Grant Reviewer for Visual Arts, Design & Cultural Arts (2023–2024). CoachArt — Visual Arts Coach for children with chronic illness (2022). Community School of the Arts Foundation — Volunteer Designer for arts education (2020–2022). Felicity House for Women — Creative mentor supporting women through arts-based programming (2017–2020).