Over more than a century of leadership in the food and beverage industry, The J.M Smucker Company has expanded its range of products to maintain its relevance and address market demand. Today, the company leads numerous categories, with beloved products like Jif, Milk-Bone, and Folgers, which are the top choices of millions of Americans. By growing and diversifying their brands over the decades, Smucker has successfully weathered major shifts in consumer habits and technology. Today, though, CPG companies are experiencing unprecedented disruption, and leaders at Smucker understand that the escalating pace of change will require more than just new products.

Geoff Tanner, Senior Vice President, Growth & Consumer Engagement at The J.M. Smucker Company recognized the need to identify new market opportunities and establish practices that put innovation and growth at the heart of their business. And he saw the potential to bring those goals to life through his relationship with IDEO.

WATCH: Balancing innovation and efficiency through design has helped Geoff Tanner, Senior Vice President, Growth & Consumer Engagement at The J.M. Smucker Company, brave the unfamiliar, transform organizations, and ultimately bring game-changing ideas to market faster.

Geoff has stewarded a close partnership with IDEO for over a decade and throughout roles at numerous organizations. Together, Geoff and IDEO have worked on 25 projects, beginning while Geoff was VP of Marketing at Big Heart Pet Brands, and continuing on throughout his career at The J.M. Smucker Company. By working with IDEO to adopt a design thinking approach, Geoff has enabled collaboration across teams and empowered his organizations to find new ways of working that result in measurable business impact. For The J.M. Smucker Company, the partnership has brought creativity and human-centered design to the forefront of its operations, strengthening its ability to bring new products and brands to market and create a pipeline of growth.

WATCH: The J.M. Smucker Company has shifted to embrace growth and innovation as a mindset throughout the organization to bring more consistency to the innovation process.

Looking to the past to creatively connect with the future

As an example of this, Geoff and The J.M. Smucker Company suggested to IDEO that they explore how Folgers, America’s leading at-home coffee brand, might resonate more deeply with a millennial audience. Design research revealed that the mindset of today’s millennial coffee drinkers aligned with Folgers entrepreneurial brand roots. The teams collaborated to create a new concept: a brand called 1850 and an end-to-end, go-to-market product experience, including packaging, retail, and merchandise. 1850 hit shelves in 2018 and has since been reported by IRI Advantage as the top launch in the Coffee Category for 2019.

Frankly, I don’t think innovation gets any easier. You just get a little more comfortable with the discomfort, and that’s when the work starts to get consistently better.

Geoff Tanner, Senior Vice President, Growth & Consumer Engagement, The J.M. Smucker Company

Creating an innovation pipeline that’s inspired by consumers’ needs

With 1850 underway, Geoff and The J.M. Smucker Company continued to invest in human-centered design to drive new offerings. The next collaboration with IDEO explored how Jif, the iconic peanut butter brand, could extend beyond the jar and become more readily accessible and appealing to busy parents who want to feel confident about the snacks they give their kids.

The design team was moved by the challenges that parents face: They want the best for their kids, but struggle to choose between what’s wholesome and what’s convenient on a daily basis. The ideal foods are filling, nutritious, and energizing, but often take more time to prepare and aren’t backpack or carpool-friendly. On the other hand, more convenient options tend to be full of empty carbs. Based on this insight, IDEO and Jif decided to tackle the snack-time parenting struggle. The IDEO and Jif teams worked side-by-side to prototype multiple product ideas and formats and tested them with on-the-go families to ultimately create Power Ups.

Available at over 200 retailers worldwide and online at Amazon, Jif Power Ups make wholesome, delicious grab-and-go snacking possible for kids and parents alike, across products ranging from Soft Baked Bars to Creamy Clusters, which are filled with peanut butter and rolled in whole grain oats. All are made with peanuts as the first ingredient and contain no high fructose corn syrup. Since going to market in 2018, Jif Power Ups has been named the top innovation launch in the Snack Bars category by IRI Market Advantage.

Design thinking underpins everything we do.

Geoff Tanner, Senior Vice President & Corporate Officer, Growth & Consumer Engagement, The J.M. Smucker Company

WATCH: The J.M. Smucker Company is on a transformational journey, committed to three pillars of growth: Lead in the best categories, build brands consumers love, and be everywhere.

The J.M. Smucker Company has experienced accelerated growth and speed to market by testing bold new ideas and evolving the role of innovation at the company. Design thinking and consumer empathy have permeated the organization’s new product development process, making it easier to uncover sharp, human-centered insights that lead to thoughtful and uniquely differentiated brands in a competitive, ever-shifting, and overcrowded industry. The work has fueled Geoff’s vision to inspire a culture of innovation at the company so that it can move at the speed of consumers and remain a best-in-class family of brands for future generations.

It’s a Thursday afternoon in Oakland, California. A line of lunchtime diners snakes out the door of dosa by DOSA. Upon entering, eaters are greeted by the smell of tangy dosa—a large paper-thin crepe made from a fermented batter of rice and lentils—and sweet, spicy chai. Turquoise chairs pop against a floor-to-ceiling mural by Oakland artist Namita Kapoor that transports diners to Chandni Chowk, one of the busiest markets in Old Delhi, as if enjoying their food at a local vendor.

In 2003, Emily and Anjan Mitra spent their honeymoon in India, savoring the street food of Anjan’s childhood in Mumbai (often still called Bombay). After returning to San Francisco, they found themselves longing for those distinctive flavors and dishes. Realizing that most Bay Area diners had never seen nor tasted these foods, Emily and Anjan founded DOSA, an upscale, full-service restaurant that introduced the Bay Area to Southern Indian cuisine. Locals came to try the unique, plant-forward dishes, and left with satisfied bellies and a broader understanding of Indian culture.

The entrepreneurs envisioned a brand extension of DOSA: a counter-service restaurant that could scale nationally. The hospitality venture, called dosa by DOSA, would offer healthful Indian street food made from local and seasonal ingredients. Emily and Anjan also set out to expand their existing product line-up—including cold lassi beverages, simmering sauces, and grab-and-go-meals—to national grocers and retailers and needed launch-ready packaging that was convenient, eye-catching, and environmentally-friendly. The new expression would enable consumers to experience dosa by DOSA and Southern India in a variety of forms and places. Emily and Anjan partnered with IDEO to establish a cohesive and consistent brand experience, from the restaurant and to-go meals to retail stores and mobile delivery.

In close partnership with the founders, their staff, Feldman Architecture and MPADA, IDEO set out to bring dosa by DOSA to life and help it scale through brand, environment, and experience design. This included creating everything from the logo and packaging to the menu and operations strategy, with each element tying back to the founders’ vision of sharing Indian heritage and traditions through cuisine.

The group began by seeking cultural inspiration for dosa by DOSA’s brand identity system—the logo, colors, values, fonts, and messaging—to guide future designs. They were inspired by Indian truck drivers who decorate their trucks with garlands, signs, or flags that engage other drivers or bring luck. The dosa by DOSA logo design and its wood-cut typeface are inspired by the dimensionality of this homespun art form, while the vibrant, eclectic colors reflect the streets and textures of urban Mumbai.

The goal of opening people’s minds to Indian cooking and culture extends to the packaging, which meets customers’ needs and playfully educates them. The food containers—made from recycled and compostable material—feature brightly patterned labels reminiscent of the trucks. Some have built-in compartments suited to multiple dipping chutneys, making it convenient to sample a variety of Indian flavors. Paper tray covers resembling Mumbai newspapers offer eating tips like “Be civilized. Eat with your hands,” encouraging diners to experience an Indian custom.

The vibrant brand comes to life across an array of packaging, including cold cups printed with the phrase “thanda thanda pani”—meaning “cold cold water”—which comes from a popular Indian parody of the Vanilla Ice song "Ice Ice Baby."

To design the diner experience and restaurant environment in a way that invites curiosity about the culture and cuisine, the team started with diners: They identified key moments in their experience like entering, waiting in line, and paying. The floor plan, furniture, lighting, signage, and menu were designed around these touchpoints. For example, while customers wait in line, they can watch dosa being prepared, as if they’re eager and hungry travelers awaiting street food.

The dosa by DOSA menu includes distinctive items like coconut kale mung bean salad and hot masala chai made with caramelized milk—the way Anjan’s mother prepared it. To help the restaurant scale, the team created a preliminary furniture, fixtures, and equipment (FF&E) budget, 3D renderings of the space, and an operations strategy for the founders and their employees.

The dosa by DOSA flagship launched in January 2018 in Oakland, California. The IDEO brand guidelines have enabled the dosa by DOSA team to independently and easily shepherd new product lines to market, including salads, wraps, curry bowls, samosas, and simmer sauces. The brand’s packaged food launched in over 200 natural food stores in 24 months—including over 100 Whole Foods locations—as well as online retailers and delivery services like Good Eggs and Caviar. These items and the restaurant have helped Emily and Anjan realize their vision of bringing the flavor and spirit of Southern Indian cuisine to new communities around the world.

In recent years, due to shifts in Japan’s demographics, the food industry has faced challenges such as a decrease in market size and a shrinking number of producers. As a result, social impact opportunities abound in this field.

When Japanese software company NJC (Nippon Jimuki Co. Ltd.) approached IDEO seeking to identify new business opportunities that would build on the company’s core strengths, the food and agriculture industry rose up as a promising area of focus.

NJC is a well-established software company that has spent over 50 years helping to build backend business systems for small to medium enterprises. NJC works across healthcare, retail, and food and beverage, computerizing core processes to support and improve operations.

In partnership with IDEO, NJC explored its strengths and potential as an organization, as well as the ideas and visions of the employees, and emerged with the goal of using their capabilities to address large-scale issues facing regional farmers.

During research across Japan, local growers described challenges with multi-layered supply chains and analog systems, which led to “overwork for minimal profit,” as well as a gap between supply and demand. Because agricultural wholesalers lacked clear information in advance on the status of crops or the volume to be harvested, they struggled to negotiate with buyers, which led to wasted food On the other hand, the farmers who grow the crops are engaged in manual labor, and do not always have the energy to focus on business aspects such as efficiency or the pursuit of increased profitability, which leads to a diminished interest in farming among young people.

One question that emerged through research was why agricultural producers weren’t utilizing IT. This evolved into “How can profitability be improved for all stakeholders?” and, “How might we create a system that will provide useful data without creating a burden for either farmers or agricultural wholesalers?”

The result was fudoloop.

fudoloop is an app that enables farmers and wholesalers to conduct business more profitably by bringing transparency to the fluctuating produce market. Through fudoloop, wholesalers receive information from farmers a day in advance, and can coordinate the various requests of buyers, such as order size, production location and other special requests. As a result, wholesalers can function as “community managers,” doing business with both producers and buyers at a more appropriate price point.

NJC aims for fudoloop to be the first step in a cycle that brings value to all stakeholders, from farmers to wholesalers, retailers and even customers, by redefining the “middleman” role of produce wholesalers.

The population of Tokyo’s metropolitan area is twice as big as New York, and the daily influx of workers from the suburbs increases that number sixfold. Congestion on trains traveling through the center of Tokyo during commuting hours is said to reach somewhere close to 200 percent of the trains’ capacity.

East Japan Railway Company (known as JR East) is the world’s largest railway company by revenue, operating 12,000 trains daily and serving 6.4 billion passengers per year.

In March 2014, JR East leveraged their extensive operations and passenger data to publish a consumer app that provided train location information, congestion status, air conditioning temperature, and wayfinding tools.

The app was downloaded more than 3.8 million times; however, its features and usability proved unsatisfactory to users. In an attempt to be comprehensive in addressing passenger needs, the app was weighed down with data and worked sluggishly. Competitors’ apps were named above JR East in customer satisfaction surveys, highlighting the company’s need to address the tool’s usability.

JR East’s Technical Division approached IDEO to help design an attractive and consistent user-centered experience through its digital ecosystem. With a team of interaction designers, they launched a project to create a new version of their app.

During the research phase, the IDEO team observed passengers’ behaviors and decision-making processes and noticed that people were using several apps at once to get more personalized and complete information.

The team created a set of paper-based prototypes to test how users would react to various functionalities. Surprisingly, users ranked versions with limited functionalities higher than those with a broad range of features.

This insight informed a new prototype that enabled a customized user experience based on traveler needs. Wayfinding proved to be the most frequently selected feature, so the new app was designed around helping passenger navigate during their trips.

Although JR East had traditionally outsourced their app development, IDEO encouraged them to organize their own internal team. In cooperation with Pivotal—a frequent IDEO partner familiar with human-centered approaches—the internal team was trained in agile development and built the new app themselves. A prototype was released in November 2017 as “Go! by Train.” It was so successful in the market that the earlier JR East app was replaced entirely with the content of the new design.

JR East's internal development team was recognized by the company for their exceptional output, and will be integral to the company's human-centered digital transformation going forward.

One way to offer air cover for ideas that may look wild at first is to build an innovation lab—a dedicated safe space where employees can focus on deeply understanding customer needs to design the next generation of products and services for the parent organization.

Unfortunately, many labs have gotten a bad rap for being nothing more than cost centers or design palaces with modular furniture, generating radical ideas that are not aligned with the core business.

But not all labs are fads. They take time to find their stride and show value—sometimes several years to see a new product or service through from ideation to market. That kind of timeline requires leaders with strong enough stomachs to ignore short-term failures, knowing it’s the only way to ensure long-term sustainability.

When setting up a lab, you might take a few cues from the organizational wisdom of ant colonies.

Every six months, a small group of explorer ants finds a new space, and excavates tunnels to enable the entire colony to relocate. The explorer ants start small, then scale, marking the route for the rest of the ants to follow.

Some would hypothesize that this process is a preventative strategy—keeping predators on the move. More importantly, savvy explorer ants avoid uprooting the entire colony until they’ve tested the new space and defined a clear path to get there.

Labs can do the same thing: keep the competition guessing and mitigate the risk of scaling a new product or service before it’s market ready.

In order to succeed, innovation labs require a clear purpose that will empower the parent organization; a portfolio of beacon projects that push the edge of the organization’s current strategy; creative teams with a breadth of expertise; and work spaces where the lab can develop and sustain its own unique culture.

Below we map the pathways to success in each of these areas, which any lab can use to mobilize, pioneer, and scale new ideas.

1. Define the lab's reason for being

Defining the organization’s purpose and reason for existing beyond making money is harder than it sounds. It requires some organizational soul-searching followed by deft communication. But once you’ve aligned on a purpose statement, it can shift things in radical ways, helping employees make decisions about what initiatives to pursue and what to put aside. IDEO’s creative business research studio has found that teams that foster a clear, consistent, and inspiring purpose have 12% more successful launches than teams that do not. Customers may also gain a new understanding of what you stand for and relate to you in a new way. And in a lab, a newly defined purpose can reignite the parent organization’s entrepreneurial spirit, creating a shared identity and reason to continually reinvent itself.

In 2016, the Chairman of Ford Smart Mobility, Jim Hackett, set out to define the purpose of the mobility ecosystem for Ford Smart Mobility. To do so, he established Greenfield Labs, a human-centered lab based in Palo Alto.

The sole purpose of Greenfield Labs, Hackett said, was to “bring humanity to mobility.” That clarity of focus helped to define a portfolio of work that oriented toward those who don’t drive cars, and the highly integrated ecosystem required to move goods and people freely through cities, countries, and the world.

Imagine that: America’s oldest car company setting out to improve things for those who don’t drive. With Jim’s appointment to CEO in 2017, Ford Motor Company articulated a new purpose: to be the most trusted mobility company, designing smart vehicles for a smart world.

For an organization whose sole objective for the past 115 years has been to mass produce vehicles, it’s a hard mental shift to make. But envisioning the impossible is a part of the company’s legacy.

To execute its new purpose, Ford will continue to build smarter vehicles. That’s core to its business. But setting out to understand the larger ecosystem is new to Ford’s portfolio. The role of Greenfield Labs as it establishes new locations in strategic geographies will be to partner with businesses and cities to bring customer needs to the forefront of the design of its products and services.

2. Test your strategy through beacon projects

Like the explorer ants, an innovation lab seeks out new opportunities that are complementary to—and sometimes in competition with—the parent organization’s core capabilities. Ideally, the innovation leaders and the parent organization work together to identify and solve high-priority problems through beacon projects. These are riskier endeavors that push the edge of a company’s strategic portfolio in several key ways: They compete with the core business; they must actually launch a new product, service, or venture into the market; and they build new capabilities along the way. These edge cases, which have a high degree of uncertainty and longer time horizons, may compose up to 20% of the company’s strategic portfolio. If they work, they can be game-changers.

In 2013, Carlos Rodríguez-Pastor, Chairman of Intercorp, one of the fast-growing companies in South America, enlisted IDEO to help build an affordable public school system that would address the needs of emerging middle class Peruvians. After six months of research, design, and testing in a wide array of areas including brand, architectural design, curriculum design, business economics, teacher requirements, and school uniforms, Intercorp launched Innova Schools. What began as an initial prototype has now grown to 54 schools in Peru and one in Mexico. Innova is profitable and has graduated countless students who lacked an affordable schooling option. Innova is now planning to expand globally to bring affordable education to the world.

Intercorp’s second project focused on redesigning Interbank’s lobbies and in-person service experience to reduce customer queues and wait times. These observations revealed that customers would often have to wait in three different lines to request, pay, and pick up their items. The project illustrated the importance not only of improving the customer experience, but of redesigning the employee experience so they were empowered to deliver a more personalized customer experience.

Twelve months after the rollout, Interbank showed a 10% increase in new customers and an 80% increase in sales, with gains in all categories. Their NPS score showed customer loyalty skyrocketing, from 53 to 87. Those outcomes have translated across other businesses. The success of Innova Schools and Interbank inspired Rodríguez-Pastor to integrate human-centered design mindsets and methods in an in-house innovation hub, which he called La Victoria Lab. Its mandate: To transform Intercorp.

Established in 2014, the lab started small with a ragtag team of design mercenaries and a new Chief Innovation Officer, Hernan Carranza. With unique specialities in business design, anthropology, and graphic design, they called themselves an “expeditionary force for the future.” They provoked Intercorp businesses to define products and services their customers would love, utilizing human-centered ways of working.

One of the first projects sponsored by the lab set out to define the needs of Peruvian families. These family archetypes created a common ground from which all 35 different companies from Intercorp could build, with the lab as the center of gravity uniting future businesses.

Today, La Victoria Lab has grown to over 30 people, accelerating 50 beacon projects and hundreds of new ideas across Intercorp’s companies.

And while many of the 35 companies are now capable of running their own beacon projects, La Victoria Lab continues to sponsor cross-business initiatives, such as digital transformation.

With hundreds of new ideas infiltrating the organization, La Victoria Lab has already inspired new ways of thinking about Intercorp’s 35 companies—as strategic platforms in education, healthcare, financial services, retail and emerging businesses. The lab will also continue to define new mindsets and capabilities to attract, retain and develop best-in-class talent for all of its future businesses.

3. Build creative teams

Just as an ant colony needs both explorer and worker ants to survive and thrive; a lab needs and a mix of strategists, designers, and makers. Finding people who balance breadth of interests and capabilities with depth of expertise enables the lab to quickly pivot in both project and purpose if needed. Those workers are often called T-shaped, because they can go both wide across subject areas and deep on craft. It’s been shown that cross-functional, collaborative team make more rigorous, data-informed decisions, following the evidence from prototyping, solution modeling, and customer insights over hunches and gut feelings.

Here are a few of the qualities to look for in your lab’s explorer ants:

Expertise: Look for capabilities like interaction design, user/design research, software design, industrial design, communication design (visual and verbal), business design, product design and organizational design.

Mindset: Hire those who are curious, empathetic, optimistic, open to experimentation, collaborative, and comfortable with ambiguity. The no asshole rule is also critical to building collaborative teams. We’ve seen many labs fail because they held on too long to talent that was toxic to the experimental culture.

Method: Mastery of design thinking methods, including user observation and interviewing, synthesis, brainstorming, prototyping, and storytelling (to name a few) are a must. These are core capabilities to building to learn, not necessarily scaling to implement.

4. Create space and rituals for creativity

Culture is probably the biggest differentiator between the lab and the parent organization. Labs must produce radically new ideas, and a creative culture that can produce such ideas looks very different from a culture built to optimize. It’s okay to have subcultures, as they serve a different purpose and have different outcomes, but they have to work together.

At Ford’s original Greenfield Labs, many elements merge to set the stage for innovation, and developing even a few of these can lead you in the right direction.

Location: Labs thrive when they are physically far enough from the parent organization to explore a new idea without too much scrutiny, but close enough to test and co-create with the teams deeply embedded in execution. And importantly, they work best in locations with a diverse range of creative talent. Follow the designers.

Team time: Start with fewer meetings. Makers or designers need long, uninterrupted time to think and create. Maker teams protect this time by negotiating their own hours. Most teams collaborate from 10 a.m. to 4 p.m., with early and late hours reserved for administrative tasks. Status update meetings in the middle of the day are going to wear on your productivity time.

Field trips: Work hard, play hard. Making time and supplying budget to visit people in the field is paramount to lab work. If teams aren’t inspired, the work suffers. Not all inspiration visits are literal. They can be as simple as visiting a museum or competitor’s space together. Shared learning is the key.

Language: Instead of words like “policy” and “process,” Ford’s Greenfield Labs uses words like “guidelines” or “drumbeats.” They don’t get attached to job titles or hierarchies. No one “reports to” anyone. Instead of “leaders,” they use the term “stewards.” This is not a small point—words matter in defining expectations on a daily basis. It sets the tone for how we expect people to behave.

Values: After the first year, Greenfield Labs rewrote their values, one of which is “quirky.” That’s not something you’d identify with Ford, and it helped to formalize the goal of having a dynamic, diverse culture.

Rituals: Recognition goes a long way. Often teams are working on complex, long-term programs with multiple start-stops, owners, and changes in direction. One way to avoid a feeling of slow progress is to celebrate the small wins that occur more frequently. Greenfield Labs has a weekly ritual they call “putting socks on a chicken.” Inspired by a team member’s remark that some problems are harder than putting socks on a chicken, each week, the lab assembles to present one notable problem solver with a pair of wild or weird socks as a kind of high five. The tradition has become so beloved that new hires and visitors to the lab are also indoctrinated with their own customized socks (some actually have chickens on them). And notably, there is now a budget line-item for socks.

Learning from failure: Another way Greenfield Labs codifies lessons learned is to create digitally documented retrospectives and give out an annual "Phoenix Award" to honor failed projects and ceremoniously bid them farewell. If you are allowed to fail and celebrate what you have learned, people will be more likely to take the necessary risks to drive innovation.

Storytelling: It’s important to reinforce the lab’s reason for existing and to build a shared narrative with the parent organization, which can in turn be shared externally. Video is a great medium for storytelling, whether creating short and scrappy vignettes or more polished productions with B-roll and music. It gets the point across without a deck. In fact, skip decks altogether if you can.

Space: Expressing the spirit and aspirations of the lab through physical design is about more than post-its and foam core boards. The value of considering space lies in differentiating the lab from its corporate parent and infusing it with human dimension and creativity. This can be reflected through open floor plans, high ceilings, and plenty of daylight. Collaborative and heads-down working areas are also necessary for digging into hard problems.Instead of company logos, display photos of real people who use the new services or products. These are the ingredients for a hub of activity and creative expression, and they’re important visual signals that enable the work to be scrappy as it moves through different levels of fidelity.

Is a lab for you?

Labs are not for the faint of heart. If organizational change were easy, no company would falter. But with a clear purpose and portfolio of beacon projects, a lab can focus on new explorations while the parent company delivers its core offers. It’s a partnership.

In an era of fast-paced change and technological disruption, we’d do well to learn from the long-proven survival tactics found in nature. Ants know how to establish a link between the original colony and an exploratory space. Then slowly, ant by ant, they complete the monumental task of upending the entire colony to ensure their perseverance.

Unless otherwise specified, all statistics come from IDEO’s Creative Difference, a digital tool to assess, guide, and track the development of creative and innovative teams.

Visuals by Jeannie Phan.

Today’s leaders face immense pressure to optimize their core offers and cultivate new ideas. But in large organizations, new ideas are too often smothered by middle management. We don’t have to look too far back to Kodak, Blockbuster, and Yahoo for reminders of behemoths that became so attached to a core product and revenue stream that they overlooked riskier—but highly promising—opportunities.

As my team and I prepared for Typeforce, an annual Chicago typography gallery show, we started to think about how we could leverage AI and our own creative skills to build an intelligent system that could work with us—a communication designer, a production designer, and a data scientist—to create a visually distinct submission.

While you might think of typography as designing or selecting just the right font and arranging it immaculately, submissions to Typeforce range far outside that, including everything from carved sculptural elements and needlepoint to hand-drawn tableaus and digital installations. It was our first time submitting to the show, and our goal was to take advantage of this wide-open opportunity and use our individual crafts to make something out of the ordinary.

We imagined a creative process where Kristen, our communication designer, would give an algorithm examples of posters with interesting type compositions, and it would try to learn from them and spit back lots and lots of attempts to create something similar. Kristen could use the algorithm’s generated posters as starting points for creating new posters to feed back into it, as well as clues for what it still needed to learn. Trying to train the algorithm could itself become a great set of constraints for creativity, and when it was over, we could show off the visual artifacts of that back-and-forth process at the show.

We landed on Dadaist and Futurist compositions as an interesting place to begin. The Dadaists made things that didn’t make sense, reacting to a world (at the time, in the midst of World War I) that also didn’t make sense. That felt relevant to today as well, and had the added bonus of being something a computer might be better at producing than more immaculate, grid-based layouts.

So we got to work collecting historical examples we liked, and Kristen traced them so I could feed them into our algorithm as digital files. I got to work on the algorithm itself, which we named Kurt, after the Dadaist artist and designer Kurt Schwitters.

For Kristen, teaching Kurt initially felt weirdly similar to teaching a human design student. He made compositions and she looked at them, identified his strongest concepts, and "suggested" ways that they could be improved through the next round of examples. Then he responded to her feedback.

After this first exchange, though, the differences between an algorithm and a human design student became more apparent. Kurt's learning was reactive, limited to the examples he's seen and the only way he knows to think—in numerical variables like font sizes, rotations, and X-Y coordinates. Human designers often start out this way too—just absorbing examples of design and then mimicking them—but they usually grow past it. Instead of just copying a poster they see, the poster might inspire them to push aspects of it further, or combine them with other styles that work well together. AIs like Kurt can’t do this the way a person can—certainly not yet, and probably not anytime soon.

Kurt also doesn’t understand English, much less design terminology or ideas about why he’s doing anything. He can’t understand feedback about tone or context that Kristen might give her real students, like "your typography feels a little uninviting and impersonal. Is that tone appropriate to your audience/content/message?" And being able to respond to those sorts of questions in a sensitive, nuanced way is pretty central to being a good communication designer.

Ultimately we filled the wall with 90 prints, which made for a nice display of Kurt’s strengths—his ability to learn, and how prolific he can be—as well as Kristen’s—her skill as a designer and how she used those skills to teach.

Designers like Kristen can lean on Kurt to do things humans can't, like create dozens of compositions in a minute, or provide modifications or jumping off points that are really off the wall and decidedly not what an experienced designer would do. Some creative thinkers are already experimenting with these kinds of techniques; Robin Sloan, for example, a writer who hacked a text editor to complete his sentences using a deep learning model trained on a bunch of old sci-fi stories.

We imagine a future with more tools that creators can “teach"—unique products of an individual’s sensibilities that serve to amplify their intent and challenge them creatively, like a synthesizer that learns to play along and accompany in a style complementary to a musician’s vision. We hope Kurt inspires other designers, engineers, and data scientists to explore this future by building “collaborators” together.

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As a data scientist, I know computers are great at trying lots of things quickly. But when it comes to learning artful nuance, they can fall flat. At the same time, human graphic designers are great at tweaking and critiquing, but they can only move their hands so fast in Illustrator. It's a juxtaposition that begs the question, can AI and humans collaborate to leverage their unique strengths?

Battle terminology sneaks in (kill, crush, destroy, capture, acquire); and as in war, it becomes necessary to take the humanity out of those “targets” in order to execute on the plan.

But it’s not impossible to imagine a world where business success goes hand-in-hand with seeing and respecting the humanity of our competitors, or customers, or colleagues. Even at IDEO, where we champion a human-centered approach, the words we use in meetings and briefs can fall into the tried and true trope of conquest.

As a thought exercise, we made a list of the common terms that can dehumanize customers and competitors, and a list of alternatives that might infuse our conversations about individual and organizational performance with more humanity, agency, and reciprocity.

No one needs more business jargon, but we have a hunch that changing the way we speak can change the way we think, and in turn can change the way business feels and what it delivers. We’re trying it out and invite you to do the same.

Business is competitive by design. To succeed, as an individual or an organization, requires assertiveness, power, and strength. As a result, much of the language we use while doing business implies a desire to overpower—or even disempower—our competitors.

While we designed a new family of acoustic amps for Fender, we squeezed into an Airstream for two months to better understand the touring musician lifestyle. And when we wanted to better understand the environmental impact of the things we design, we visited a sewage treatment plant to see what happens when a product can't be recycled.

We go after big problems that have never been solved. And by going all in on the unfamiliar and uncomfortable, we’ve come up with creative solutions that we might not have imagined before.

As an industrial designer, I’m a builder. I experience the world with all my senses and apply my tangible building skills to make experiences and systems. Technology inspires me because it's always been an important vehicle to advance our current state. With technology racing forward at an ever increasing pace, some advancements can impact us on an unprecedented scale. As shapers of the future, we must strive to understand the consequences and implications of emerging technology. We do this by asking ourselves uncomfortable questions about possible outcomes during the design process in areas like healthcare, the future of work, and the circular economy.

In order to better understand how emerging technologies could affect our day-to-day life, my colleagues from multiple design disciplines—industrial design, data science, communications, interaction design—and I embarked on an internal IDEO project that could give us some clues. We got curious and asked ourselves, How might the way we’re communicating with each other change with new technology? How might we collaborate together in the future when we can show up in different realities? What could be possible if the digital and physical world blend seamlessly into each other? How will we protect our privacy if we can teach devices our most personal preferences, and what will happen to our data?

We named our project The Discomfort Zone.

In order to explore these uncomfortable, out-there questions, we had to experience them ourselves, and to experience the future we had to build it. Here are the tools that we built:

Personalized Intelligence: by building a camera that can be taught to take the best self portraits based on individualized feedback, we experienced the idea of actively teaching machines our preferences. The user trains it on their ideal lighting, placement, composition, head tilt, and facial expressions. While it may seem like a trivial thing to create, teaching machines to see us how we see ourselves can show us the path to building other devices—like health devices—that the user can teach to adapt to user preferences and feedback.

Complementary Media: a device that can be taught to recognize facial expressions and emotions, then generates an appropriate, customized emotional expression for each user—like a personalized emoji—helped us imagine more depth and expressiveness online using artificial intelligence. This tool can communicate real human emotion, which could lead to improved communication among children, for example.

Shared Realities: a tool, bridging the physical and virtual, that allows workers operating in VR to sense the presence and movements of colleagues around them as if they are on the same plane. An exploration of how virtual and augmented technology might improve collaboration, it allows people to respond to virtual coworkers’ cues without fully disrupting work in the virtual environment.

Network Empathy: code that enables a user to anticipate how large social or interconnected user networks will react to messages before they are posted, bringing deeper understanding and empathy to online communication. With cues from large online networks, smart technology becomes even smarter and empathetic interaction online becomes easier—especially when it is applied to high-profile communications, or at mass scale among networks that might be discussing politics, health, or education.

Meta Identity: code that is invisible to naked eye can be embedded in an object to make it readable by a machine—not unlike a barcode—and give it meaning online. Branding and production methods might evolve toward this physical tagging method, so that users easily learn about physical objects they see, and find them online. Making the physical as searchable as the Internet could further empower consumers to align their purchase decisions with their beliefs and values.

As designers, it is our responsibility to explore the discomfort zone, design holistically, and consider the full range of possibilities of what we create. For example, as much as Network Empathy was intended to be an inclusive tool, it could also be used to manipulate public opinion by predicting the reaction of large audiences. If we use Personalized Intelligence to teach our devices our most personal preferences, what becomes of this new personal data? And who is the owner of this information: the device, the platform, or the individual?

Because technology will serve us on an even more personal level, the stakes are high. Designers are uniquely stationed to be the connectors in an ever more complex ecosystem of stakeholders, and we must ensure the tool leaves the lab and enters an ecosystem with safeguards in place to have a positive impact.

We’re at the dawn of something big and unknown. New technologies are shaping the future in ways we haven’t even thought of yet. Some of them will have extraordinary benefits, while others, through unforeseen capabilities or even sinister intentions, may have unwanted consequences. But as designers, it’s up to us to explore them early, dive into the unfamiliar, and do what we can to shape the future for the better. We’d love for you to join us here in The Discomfort Zone.

The Discomfort Zone was a collaboration among many designers at IDEO. Special thanks to all involved, including the core design team: Leo Marzolf, Jochen Weber, Brooke Thyng, Christian Ramsey, and Nan Tsai.

So much of being a designer is being willing to embrace the uncomfortable. We create new products, experiences and systems for people whose needs are different than ours—sometimes really different.

I help organizations cut through complexity by shaping how they show up, through brand strategy, identity, and storytelling.

Working at the intersection of brand and business, I bring an editorial eye and a bias toward making—turning ideas into tangible experiences that people can understand, trust, and believe in.

My work spans government, healthcare, financial services, media, and consumer goods, from launching Gen Z-focused ventures to building innovation labs and reimagining legacy brands. I relish moments of ambiguity and enjoy translating across teams, perspectives, and priorities to move ideas forward.

I started my career in editorial and digital design, shaping cross-platform experiences and identity systems in publishing and agency environments. That foundation still shapes how I work today: I’m detail-oriented, collaborative, and overreliant on the Oxford comma. I hold a BFA in Visual Communication from the School of the Art Institute of Chicago.

For 25 years, I've asked the same question: Who does this design exclude—and what are we going to do about it?

My work spans human-centered strategy, inclusive design, and qualitative research, with clients ranging from Microsoft, Google, and Verizon to the National Science Foundation, and San Francisco Unified School District.

Before IDEO, I taught elementary school in East Palo Alto and spent a decade doing design work with social service organizations—where I learned firsthand what it costs people when systems are built without them in mind.

I am currently writing User Error, a nonfiction book about digital access and the design decisions behind it. I live in Oakland, California.

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My expertise spans brand, communication, and product design across tech, education, the arts, and social impact.

I believe great work demands both high-level vision and obsessive attention to detail, and only happens through collaboration.

I bring an inclusive, hands-on approach and a deep understanding of business, which enables me to consistently deliver excellence while always asking why.

Before joining IDEO, I worked at the brand firms Pentagram and VSA Partners. I began my career as a designer, leading teams at the School of the Art Institute of Chicago and the Milwaukee Art Museum. I hold an MFA in graphic design from Maryland Institute College of Art and a BFA in communication design from the Milwaukee Institute of Art & Design, and have taught at some of the best design schools in the US.

I am responsible for IDEO’s long-term success in China and working with clients to use design as a tool to enable growth. Specifically, I have helped Chinese companies design holistic brand solutions through the development of their products, communication, services, and innovation teams, and I have helped multinationals expand their presence and influence in China.

I advise global leaders on developing China-led innovation and capabilities.

In over 15 years in IDEO Shanghai, I have worked on projects that use design to elevate the quality of the experience of healthcare products and services, streamline processes that increase productivity, create spaces and programs that promote and enable inclusive communities, and build next generation mobility solutions that are planet-positive.

Before joining IDEO, I worked at Philips Electronics and the Electrolux Group in Italy, the Netherlands, and Singapore on a number of breakthrough commercial products. I am a member of the Young President Organization in Shanghai.

Most AI products today are built for work—a space with clear problems and established systems. One founder noticed a gap: personal life is messier, harder to systematize, and mostly left behind by the AI boom. So she built Cue, a personal AI that lives inside iMessage and group chats, to go where the other tools haven't.

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In this episode, Becca Carroll, IDEO's Chief Strategy Officer, talks with Sida Li, co-founder and CEO of Shared Context Lab, about staying anchored to a human need while the technology around her keeps changing shape, why she treats her business model with the same rigor she'd bring to a product, and what it feels like to build a company at this particular, disorienting moment in AI.

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The conversation also gets into how Sida makes design decisions: the language Cue uses to describe itself, the tradeoffs behind building inside iMessage instead of a new app, and a real story about a business idea that didn’t pan out.

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This is the second in a two-part series profiling founders from IDEO's Startups-in-Residence program. The first conversation is with Johannes Seemann, founder of Sooner, on designing GenAI for the emotional side of money.

Most personal financial tools are built to run the numbers and optimize towards a budget. While that works for some, most people experience money as a lived relationship that does not neatly fit into a spreadsheet. Johannes Seemann and Becca Carroll discuss why money is emotional before it is mathematical, and what a human-centered approach to building a generative AI financial product looks like in practice.

Mina Seetharaman talks with Scott Shigeoka, author of Seek and Head of Curiosity Cultivation at the Eames Institute, about what distinguishes genuinely curious leadership from performative curiosity, how power dynamics shape curiosity, and why practicing curiosity can restore energy rather than drain it.

Mina Seetharaman talks with David Epstein, author of Inside the Box and Range, about why total freedom often produces average work, how leaders can design useful limits on purpose, and what organizations such as General Magic and Pixar reveal about the relationship between boundaries and creativity.