Monster Moves is an app that gives kids the ability to create their very own monster dance party. Kid-approved by a rambunctious team of tiny beta testers, the app encourages children 5 and younger to exercise their creativity as they choreograph dance moves for a troupe of monsters. Kids develop an awareness of their creative control by sequencing illustrated tiles that correspond to each monster’s unique set of dance moves.

Whether it’s a twirl, flap, swing, or sway, the app enables kids to cultivate decision-making skills by drawing connections between their choices and the monsters’ dance steps. Each monster has a full repertoire of dance moves and accompanying musical beats, so kids can compose an original soundtrack and dance along. To encourage kids around the world to create and design, the app is available in English, Simplified Chinese, Japanese, Korean, Spanish, Italian, French, and German.

Monster Moves—available on the App Store—joins a collection of apps, including Balloonimals and Balloonimal Babies, created by IDEO’s Play Lab, made up of a team of educators, designers and toy experts who foster kids’ curiosity, play, imagination, and creative confidence.

Chronic pain changes everything. Symptoms associated with chronic conditions can make activities that were a normal part of life—getting regular exercise or even a good night’s sleep—difficult to bear.

NeuroMetrix, an innovative health-care company based in Waltham, Massachusetts, developed Quell® to help treat chronic pain in people suffering from nerve, arthritic, back, leg, and foot conditions. Using a revolutionary technology called wearable intensive nerve stimulation (WINS), this device triggers widespread relief and, in a clinical study, reduced chronic pain and use of medication in thousands of users.

NeuroMetrix came to IDEO to help create the industrial design, interaction design, and mechanical engineering to bring Quell to the consumer market. Quell is a device that is placed in a sports band with a lightweight, slim design that fits comfortably on the upper calf and delivers therapy for chronic pain in the body. Its patented OptiTherapy™ technology is customized and automatically adjusts the therapy dose for optimal relief. An accompanying app, developed by Atomic Object, allows users to track treatment sessions, measure and understand the quality of their sleep as it relates to their pain, and personalize device settings.

IDEO’s work with Quell went beyond creating the product to something bigger—reframing chronic pain. For people who are in a constant state of suffering, the ability to take some measure of control allows them to feel more like active participants in their treatment plan, and to regain confidence.

Operating a CT scanner is a delicate balancing act: The tech has to get a clear image for accurate diagnosis while reducing the patient’s overall radiation exposure. There are a lot of variables, and every second counts.

GE Healthcare, one of the country’s largest manufacturers of CT scanners, hired IDEO to redesign the console user interface to optimize the tech’s workflow, the patient experience, and the image quality. The key challenge was accommodating both junior and senior tech experience when designing a single interface, balancing support, flexibility and control. The final design allows techs to see their entire workflow up front, is optimized for “glanceability,” and draws technicians’ attention to important information. Threshold limits ensure the radiation dose never exceeds the determined amount. Ultimately, the streamlined design enables the tech to feel confident and focus on the patient’s physical and emotional well-being.

With several new hospitals using the new GE CT scanner, the impact has been evident. Within 24 hours, techs are up and running on the machines. The vision for the future looks bright and clear.

How does a 130-year-old telecom company in Bogotá appeal to a tech-savvy generation without alienating its most loyal customers? Faced with growing competition, ETB, Colombia’s oldest telecom business, wanted to modernize its entire retail shopping experience and update its branding.

The company enlisted IDEO’s help in leveraging its already highly regarded brand. IDEO created a complete blueprint for the next generation of retail centers, including in-store spaces, digital services, and new personnel role descriptions. ETB’s new retail stores are warm and bright, and self-service kiosks eliminate the need for waiting in line. The company’s brand also got a face-lift with a new color palette and brand manual.

"Working closely with IDEO, we accomplished all of our goals,” said Vice President Carlos Alberto Gómez García, “from creating organizational change to reimagining interactions with our customers to evolving the brand identity of ETB."

This year, in light of our collective Zoom fatigue, services have been shortened to just a few hours, which is already pushing the shredded edge of our online attention span. After seven months of pandemic, mass unemployment, racial justice reckonings, and school closures, it’s hard to abstain and reflect on your own transgressions when all you want is comfort food and a hug. Knowing that, the Union for Reform Judaism, leading the largest, most diverse Jewish movement with nearly 850 congregations across the U.S. and Canada, asked IDEO to help design a few offscreen moments as supplements to the synagogues' videotaped services.

To think beyond the Zoom and understand what people are craving this year, we joined Mobius for a workshop with community builders like the founder of The Dinner Party, interviewed rabbis who have responded to modern yens with yoga and dance parties, talked to a “ritualist” about how to design a memorial, and met with the creator of This Human Moment, an immersive online experience. Our collaborators at the URJ, Amy Asin, Rabbi Leora Kaye, and Rabbi Esther Lederman, along with staff from the Righteous Person’s Foundation, which provided funding for the project, helped us ground modern exercises in a 3,000 year-old tradition—pouring old wine into new bottles.

We learned that what people need right now is to feel supported and comforted by some semblance of normalcy—a holiday that feels more like getting into a warm bath (or a mikvah, where you immerse yourself in water, as we learned from the URJ’s Rabbi Leora Kaye) than like a wake-up call. We learned from speaking to congregants that they don’t just come to temple for services, but for the casual synagogue interactions. It's a chance to see Mr. and Mrs. Riley, that lovely old couple who are somehow still alive, or family friends you haven’t had the chance to call, or that old school crush who still causes your stomach to flutter once a year.

The ideas that emerged can be found at reflect.reformjudaism.org, and they don’t look much like your aunt Sheila’s seder table. They include ways to do a check-in on your spiritual health (as you might at an annual physical); ways to memorialize a person who died or an event the pandemic shut down or how to let go of a burdensome feeling; and a collage exercise that has you scrapbook the community you’re missing by congregating in digital space. And for those looking to know more about how the activities relate to Jewish wisdom and custom, the bottom of each page invites visitors to “Explore more and go deeper” with links to essays on ReformJudaism.org.

Each activity was designed to be radically inclusive—as welcoming to those who don’t know a single Hebrew word and don’t believe in God as it is to believers with scholarly knowledge. The experience is a la carte, customizable, and while housed on a screen, designed to be non-screen-based. As identity changes in America—where one-in-five Jews describe themselves as having no religion—it’s become increasingly important for Jewish organizations to offer those still seeking community and spiritual life a radically new way to engage. That’s what this is.

It’s been said that religion was the answer to a cry for help. Right now, everyone could use a little help. And awe. And beauty. And routine. Religious rituals were built to keep us in line, to keep us connected, and to keep time. Much of that has been broken by COVID. So the question for designers becomes, how might we, within the constraints of the day, mine a bit of gold that can fill in the cracks?

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Each fall, the Jewish High Holidays draw communities together for some of the year's most important rituals. Even Jews who don't attend their temple's regularly scheduled programming tend to make a point of spending a few days celebrating the new year and reflecting on the one that's passed. Now that we're socially distanced, how do we make sure the rituals are still observed? The experience of gathering and connecting still felt?

What they found through their conversations took them a bit by surprise. There was a deeper malaise afflicting everyone they spoke to—something under the surface, under the symptoms.

Loneliness.

Months into a pandemic, the isolation that’s always been below the surface is even more extreme. It was in this context that I had the pleasure of talking with Dr. Murthy. We spoke about what leaders can do to facilitate connection, and why it is mission-critical for organizations to address loneliness and support relationship-building, even when we’re physically distant. Especially when we are physically distant.

I'm sharing some excerpts from our conversation here. I hope they inspire you and prompt useful explorations into the health of your communities.

Three types of loneliness

The feeling of being isolated from each other, Dr. Murthy discovered, is at the root of so many of our deepest ailments. He reminds us that we are social creatures, and that community heals us. Especially in these divided times, the way to a more happy and healthy society is both obvious and profound: human connection.

Connection in the workplace

Our professional lives—the experience of working and the quality of what we do—is heavily influenced by what’s going on in their rest of our lives. Yet there’s a hesitance to be vulnerable, share challenges, and ask for help. As a result, colleagues sometimes miss opportunities to help one another. It’s a loss, because through helping each other, we deepen our bonds. Empowering employees to help each other can be one of the most powerful ways for organizations to strengthen their teams.

The potential for something better

While our present moment lays bare how technology can isolate us and ideologies can divide us, it also shows us that new ways are possible now and in the future. My conversation with Dr. Murthy explored the role design can play in creating human-centered systems that make us all feel more connected—from the scale of individuals and teams, all the way up to systems, institutions and governments. We all have the power to design conditions that prevent loneliness, cultivate community, and foster good health.

The strain on our systems caused by COVID-19 reveals an opportunity to take new approaches to our work and our infrastructure— from how the government sets policies to how businesses empower employees. In rebuilding the world post-pandemic, we need to keep in mind the tangible benefits that human connection can support: mental health, physical wellbeing, academic and professional success. We can design policy to optimize human connection, ensuring our government recognizes these principles when thinking about housing, public health, or education, for instance. The question for leaders is, what changes are required to create connection and maintain cohesion, even as our structures and processes shift? The opportunity for leaders now is not to go back to how things were, but to imagine something better…and make a new “normal” built upon what supports us as, as Dr. Murthy points out, social creatures who need care and connection.

Original photograph by Meredith Nierman

There’s a story in Dr. Vivek Murthy’s book, Together: The Healing Power of Human Connection in a Sometimes Lonely World, about the tour he made across America in 2015, while he was U.S. Surgeon General. One of my colleagues at IDEO, Ann Kim, served as his Chief Design Officer and joined Dr. Murthy’s team as they set out to learn about the health crises gripping the nation—opioid addiction, chronic disease, violence—from the people who were suffering the most.

As pixels become a hidden quality, what would it be like to expose and celebrate this tiny landscape? Maybe it’s some sort of nostalgia for the pixel, but I thought it would be fun to prototype a game where part of the gameplay is uncovering this “hidden world” of pixels inside these new displays—and so the world’s smallest pixel art game was born.

Looking through the loupe

To start the project, I needed to see these tiny pixels up close. I bought a cheap jeweler’s loupe—basically a magnifying glass—and pressed it up against an iPad. Things looked promising with a 10x loupe. The level of magnification allows you to see the individual pixels, but still see a decent amount of the play area around the character. However, if your eye is pressed against the eyepiece of the loupe, it would make touch controls a challenge because you can’t see anything but the small area in the magnifying glass. To work with this constraint, I wondered if I could make the loupe itself the controller for the game.

The way iPads and most tablets sense touch is using a “capacitive touchscreen.” This type of display creates a grid of areas that hold electrical charge. When a fingertip touches the screen, the charge at and around the point of contact decreases, communicating where the finger is to the tablet. Electrically conductive gloves and styluses are able to work on these screens because they allow the properties of your finger to extend through the conductive material. So using the same idea as a conductive stylus, I put some aluminum tape on the loupe to transmit the capacitance from your fingers to the display. This allowed a player to move the loupe around the screen, and through doing so, interact with the game.

Exploring a tiny world

Next, I needed to develop the game. I borrowed from some of the classic role-playing-game tropes from games I played as a kid, building out a landscape that included many different climates—a desert, a lake, a forest, a deep forest, an ice tundra, and more. I created a tiny character that the player guided around the landscape by moving the loupe.

The idea is that the whole game is played on a single static overworld screen that never moves—you can explore an entire tiny world without ever moving more than a few inches. There are even a couple of fun ways the character interacts with the environment. For example, the player can force the character to fall into the lake, where he splashes around and quickly jumps out. I also created a hidden cave that shows how a game might work with inside and outside spaces that can be explored.

Overall, I’m pretty satisfied with the way the experiment turned out. There’s something about looking through the magnifying glass and into this new world that brings back some of the awe and wonder that came with exploring new worlds on my Nintendo when I was growing up—it just goes to show that screen technology doesn’t need to be pixel perfect to transport us.

Chart your own pixel territory

Want to try it for yourself? Here’s how to get your own version of this experiment up and running:

1. Build the loupe controller

Get a loupe, and some aluminum tape. I made two separate “T” shaped pieces of tape, and wrapped them around the edge of the bottom of the loupe. This metal transmits the capacitance of your body down to the edges of the loupe, simulating two-finger touch.

2. Load the game

There are two ways to do this. First, make sure you have Unity, then download the project from Github. You’ll also want to install the Unity Remote app on your tablet.

To quickly test the project, you can plug the tablet into a USB port on your computer and open the Unity Remote app on the tablet. In Unity on the computer go to Edit > Project Settings > Editor and select the tablet. Then press the play button at the top of the main Unity window and the game will appear on your device. This will let you try things out but it will be very slow to react and move the character because it’s running on the computer and sending each screen as an image over the USB connection. More detailed instructions can be found on the Github project page.

Alternatively, if you want to run the application natively on a device at a reasonable speed, you will need to follow the directions on building for mobile to set up your device with Unity.

Either way, once you’ve gotten the game up and running, you’ll have a good sense of the game mechanics and can go into the project to edit it to create your own tiny world—changing things like the landscape and character actions, creating new characters and interactive objects, and even extending it into an actual game. Happy exploring!

A quick shoutout to some of the great resources I used to create this demo:

• Tiled: A fantastic tool for creating tiled backgrounds for 2D games. This was extremely helpful for putting together the overworld.
• Tiled2Unity: This tool helps bring the tiled data into Unity seamlessly.
• opengameart.org: A great repository for free to use game art assets. My main tiles were modified from surt’s Blowhard Chronicles.
• rm2kdev’s 2D Unity RPG Development series: A super helpful video series on developing 2D games in Unity.

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When’s the last time you had to design for something as small as a pixel? In recent years, with the advance of retina displays on computers, tablets and phones, it’s easy to forget that pixels are still the building blocks for everything you see on the screen. (These new displays still use pixels; they’re just so small they can’t really be seen.) In the past, user interface designers had to build to pixel-perfect precision to avoid blurry aliasing effects and issues with displaying fonts on lower-resolution screens; today, this is all but a thing of the past.

Designers prototype everyday. It’s an essential part of the design and development process that involves translating early ideas into tangible prototypes that we can test in real life with real users. Prototyping is about being able to understand a challenge or an opportunity and find creative ways to move toward a solution, step by step. Essentially homing in on “building the right thing,” before “building that thing right.”

But the prototyping process doesn’t have to be limited to what you do for work. In fact, bringing this approach to your everyday life has the magical effect of turning common challenges into moments of playful exploration. It’s not necessarily about finding the ultimate answer, but enjoying the opportunity to experiment, improve, and learn along the way. You can prototype anything as long as you have the right mindset and get creative with your tools.

Here’s what it looked like when a sous-vide experiment took me down a prototyping rabbit hole (and how it could take you down one too).

Step 1: Get inspired

Inspiration can come from many places, like frustration with tools or objects that are not easy to use or the simple joy of creative exploration. For me, the latter happened when I stumbled across a recipe that used sous-vide, the technique of slowly heating meat or fish to its perfect core temperature so it doesn’t become dry or overcooked.

I thought it would be fun to try out for a dinner party, but didn't want to invest in a professional sous-vide machine. A typical moment where my prototyping obsession kicks in…

Step 2: Start out low-fidelity

An essential step while prototyping is identifying the simplest way to obtain the intended result—to achieve more with less. Isn’t the sous-vide technology just slowly heating up ingredients and stabilizing the temperature over a long period of time? That seemed pretty simple. So I gathered my materials: heat-proof bags, an electric thermostat, and of course, a couple of beautiful steaks.

I sealed the steaks in the heat-resistant bags, put them into a pot of water and used my oven to heat them up to 53°C/127 °F (the perfect core temperature for a medium rare steak). Unfortunately, the thermostat of a regular kitchen oven is relatively inaccurate, with the actual temperature being ±10°C/18°F compared to what it shows! That can make the difference between your meat being bloody as hell and completely overcooked.

That meant I had to place myself in front of my oven for over two hours, staring at the tiny LCD display of my electric thermostat and manually balancing the inaccuracy of the oven by turning the temperature up and down.

Step 3: Analyze your results

The good news: the meal was perfect—the meat medium rare—and my friends were impressed. But sitting in front of my oven, watching a thermostat for multiple hours, was less than ideal. This was the perfect starting point for the next iteration—looking into ways to automate and refine the temperature stabilization and improve my personal user experience.

Step 4: Iterate on key features

That’s how I found myself on a Saturday afternoon hooking up a simple heating rod, my electronic thermostat, and a milk stirrer with an Arduino board.

I mounted my thermostat to the top of the pot and coded my Arduino board to activate the heating rod as long as the temperature of the water bath stayed below 53°C/127 °F. Triggering the milk stirrer every once in a while ensured that the temperature stayed consistent throughout the pot. My prototype ran this process every 10 seconds and freed me up to focus on other parts of the dinner preparation while delivering another round of perfectly cooked meat and fish.

Step 5: Repeat until satisfied—or pivot

Each iteration of a prototype will reveal more detailed feedback and help you get closer to an actual solution. That’s why prototyping is the best way to learn while moving forward, and to de-risk decisions on product innovation or bigger investments.

Using my sous-vide prototype several times helped me identify multiple opportunities to improve it, like how to make it as compact as possible for easy storage (a great design and prototyping task in itself!). But most importantly, by using the prototype, I realized that I missed the sensorial experience of cooking. Simply waiting for ingredients to reach their core temperature in the water bath felt like an artificial, chemical experiment and was not the rich sensory experience I was looking for when spending time in the kitchen on weekends.

So I decided to pivot. After not using the prototype for months, I disassembled it and freed up the components for my next prototyping rabbit hole. Even if the sous-vide prototype actually never made it into a final solution, it helped me better understand what I enjoy most about cooking, and taught me something that I’m sure will be applicable to a future experiment—because the prototyping obsessive’s job is never done. Now, on to the next project!

On a Saturday afternoon (pre-COVID), I found myself in my kitchen, hooking up an Arduino board to a heating rod with one hand, and handling an electronic thermometer and a milk-stirrer with the other. How did I end up here? A hunt for the perfectly-cooked steak—and a typical result of my obsession with prototyping.

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.