Obesity exists at the complex intersection of a clinical condition and a cultural force. Clinically, it comes with a diagnosis and treatment plan. Culturally, it is influenced by beliefs, identity, and self-worth, making it deeply personal and often taboo. Families, healthcare providers, and experts tend to avoid the fraught “o-word,” opting for euphemisms instead. For families on Medicaid, these challenges are even more pronounced. Award-winning health-tech startup Clarity Pediatrics, together with designers from IDEO, IDEO.org, and with support from Rise Together Ventures, sought to uncover the obstacles to healthier lifestyles and create a free report for US pediatricians who want to bend the curve on the childhood obesity epidemic.

Research with kids and parents on Medicaid in Dallas, Texas, and California’s Bay Area, along with interviews with healthcare providers and experts across the country, uncovered stories of stigma and frustration. Parents spoke of the daily challenges of balancing multiple jobs, sourcing affordable healthy food, and finding time to make necessary lifestyle changes. They described rushed pediatric visits that left them with unclear next steps and feelings of blame. Provider conversations echoed these struggles, noting time constraints and limited follow-up options.  

Ultimately, food had become a daily torment for these families. Eating was unavoidable and also one of the few affordable indulgences low-income parents were able to provide. Once kids left their own homes, they were surrounded by unhealthy temptations, making it feel impossible for parents to maintain control. The popularity of costly new weight-loss medications and surgical procedures added another layer of complexity for families who had been underserved by—and therefore distrustful of—America’s healthcare system. With so much of the responsibility placed on parents to self-direct care, inequities deepened, adding to the burden of families already at a breaking point.

To design a path forward, IDEO and IDEO.org mapped a family’s needs before, during, and after pediatric visits. This work revealed critical parts of the journey where families needed more support: recognizing early signs of obesity, navigating provider conversations, and sustaining healthier habits at home.

These insights informed a theory of change framework that provides actionable guidance for stakeholders involved in obesity care. Grounded in three opportunity areas along the patient journey—building awareness, confidence, and capacity—the framework highlights how trust, dignity, and systemic support can lead to lasting outcomes.

IDEO and IDEO.org also developed 10 user-centered concepts spanning digital, physical, and service offerings to reduce stigma and empower families to sustain healthier lives. These ideas address dignified diagnoses and structural inequities, among other pressing issues. Complementing these concepts, IDEO created a short documentary of a mother discussing her family’s experience navigating childhood obesity to help pediatric providers—many of whom have had very different lived experiences from the families and patients they serve—better understand the realities of the daily struggles of many families on Medicaid.

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Designed for the public good, the interactive website and free downloadable report, Reimagining Childhood Obesity, contain research findings, design recommendations, and a theory of change framework. The goal: provide practical, actionable guidelines for pediatricians, educators, healthcare organizations, and innovators to meet families and kids where they are and support them as they move toward a healthier future.

21% of US children are obese. 40% of Latino youth are either overweight or obese.

26% of kids on Medicaid experience childhood obesity, compared with 11% on private insurance.

525,600 minutes: Total time per year parents spend caring for their children. 17 minutes: Average time a pediatrician spends with a child during their annual exam, a small window to address a complex chronic condition such as obesity.

10

user-centered ideas to help pediatricians reduce the stigma of childhood obesity in an accessible report

3

opportunity areas for building trust with young patients and providing family support

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With its reach, Acer saw an opportunity to power positive choices in the billions. ‍

But new products and services won’t succeed if consumers don’t want them, no matter how sustainable they are. A few years go, the Harvard Business Review’s report, "The Elusive Green Consumer," found that about two-thirds of those surveyed said they wanted to buy brands that advocated sustainability. But only a quarter actually did.

Meanwhile, the market for climate era products is only growing: In 2022, Forbes found that nearly 90 percent of the Gen X consumers they surveyed said they’d be willing to spend more on sustainable products, compared to just over a third two years before. The desire was only higher among Millennials and Gen Z; they just didn’t like what was on offer.

To drive sales and growth, and meet its sustainability commitments, Acer needed to capitalize on desirability, deepening the connection between Acer’s sustainable options and consumer needs, lowering the barrier to purchase. To that end, Acer and IDEO created the Acer Climate Lab, a cross-organizational team and initiative, to launch the company on a transformative journey to deepen the connection between Acer's conscious technology and the realities of people's lives and needs across four strategic areas.

Together, the combined team conducted extensive research to better understand consumer attitudes and behaviors toward sustainable products, and identified everyday areas where Acer’s conscious technology might be able to have the most significant impact: living, working, moving, and learning.

• Living: Envisions homes as hubs of energy efficiency and climate resilience, leveraging technology to optimize energy use, enhance air quality, and enable proactive climate management. These concepts include technologies like smart energy systems, adaptive air solutions, and integrated home management platforms explore how technology can support sustainable daily living.
  
  
• Working: Reimagines the workplace with flexible, sustainable technology solutions that prioritize resource optimization and circular practices. Concepts such as Acer Loop could provide a subscription-based model that ensures access to the latest technology, supports remote work, and reduces electronic waste through effective recycling and rehoming practices.
  
  
• Moving: Focuses on the transformation of urban mobility by integrating technology into systems that promote sustainable transportation. Concepts could include e-mobility hubs that highlight how urban spaces could offer seamless access to shared, low-emission travel options, reducing reliance on traditional carbon-heavy methods.
  
  
• Learning: Explores pathways to sustainable education by imagining environments where technology supports circularity and accessibility. This includes ideas like refurbished devices for students, repair and reuse programs, and educational spaces designed with climate-positive principles, nurturing eco-conscious habits in future generations.

Together with Red Peak and Sid Lee, the team launched the culmination of the work at COP28, the United Nations Climate Change Conference in Dubai, positioning Acer as a pioneer in climate positive technology. The exhibit included immersive experiences and interactive displays demonstrating how Acer's sustainable solutions seamlessly integrate into everyday life. Visitors could engage with scenarios depicting sustainable living, working, moving, and learning, emphasizing the practical benefits of Acer’s innovations.

Acer's journey through the Climate Lab project underscores a commitment to sustainability that goes beyond mere compliance. With this new cross-business team tackling the real-world barriers faced by consumers, Acer is paving the way for a more inclusive, sustainable future. This initiative not only aligns with global climate goals, but also sets a precedent for the tech industry, demonstrating that with the right approach, sustainability and innovation can go hand in hand.

In a survey, 65% of respondents said they want to buy brands that advocate sustainability, yet only about 26% actually do. 

Nearly one in two consumers say they either don’t know what information to trust, or that nothing can influence how much they trust a business’s commitment to sustainability.

1 cohesive strategy

for climate era products across 6 different fields

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With the introduction of generative AI, Ethiqly and IDEO saw a unique opportunity to help teachers, by cutting down the time it takes to provide each student with feedback on their writing assignments. But to get there, they had to learn from the experts themselves. To kick off the project, the team headed into the classroom to co-design with students and teachers.

One of the first problems they discovered? Traditional methods of grading essays are laborious and inefficient for high school teachers, who are already notoriously busy and overworked. What teachers really wanted was to spend time giving each student the personalized feedback that helps them grow. Meanwhile, students really struggled to get started on their writing assignments, overwhelmed by looking at a blank page.

Together, the team started to think about how it could harness AI to make personalized instruction more accessible for all students, helping teachers provide better feedback at scale, and giving students the support they need to not only get started on their writing assignments, but improve their work. 

With insights directly from students and teachers, the IDEO team built working prototypes, allowing them to beta test the product in schools, and demonstrate value to investors. They also developed a brand identity and style guide for launch, which came to life in a pitch deck, landing page, and other brand expressions.

The resulting product is a sophisticated blend of AI technology and user-friendly interfaces that empower teachers and inspire students. The goal isn’t just to get to a finished essay, but to assist students in developing critical thinking skills. Ethiqly's tools help students organize their thoughts and get writing by providing contextual prompts and suggestions—without doing the work for them. And the AI assistant supports teachers by suggesting comments based on evaluation criteria they have set, and teachers choose which feedback is relevant for their individual students. Students never see it without teacher approval.

As one teacher told the team, “With leveraging AI more in education, there’s this fear that it’s deprofessionalizing the field or it’s a direct replacement of a teacher in a classroom. I think it gives us meaningful data, so that we can actually teach the way that we want to in order to support our students.” Now, Ethiqly is in use in classrooms in 25 countries, positively impacting students across the globe.

Teachers know 1:1 interaction is key to student success, but an EdWeek survey found only 46% of teachers’ time is spent teaching, while 25 hours/week goes to other tasks like grading and making lesson plans.

25 countries…and growing

Ethiqly’s reach in classrooms around the world

Designing a piece of a city, like a park, doesn’t start with a blank slate. There are always traces of the past and the present, and the lived history of its residents.

To create a full picture of that story, the IDEO team built workshops for the community centered around questions about the unique experiences of living in Frisco. They invited them to reflect on the communities they grew up in, the city of today, and the public spaces that have played formative roles for them. 

From their answers, a common value emerged: heritage. Frisco is a rapidly growing city, with residents whose families have lived there for centuries living side-by-side with more recent neighbors from diverse cultures and ethnic groups. Participants shared a vision of Grand Park as a unifying, shared space, a backdrop where many families can form foundational memories in Frisco.

Next, IDEO brought in multisensory design prompts to help participants further conceptualize the park. How did they want it to feel, sound, and smell? In the built-up, suburban city of Frisco, residents imagined a space that was less planned, enabling guided wandering and exploration. They also hoped that the park would inspire loved ones and descendants to feel a sense of curiosity and wonder.

At the end of workshops and sessions with community groups, the IDEO team took Polaroids of participants, asking, “What’s one word you want to describe Grand Park in the future?” Those words informed the collective vision that IDEO delivered to the city of Frisco, which included spatial concepts, user journeys, and branding for the park, all designed to showcase its unique landscapes. In January 2024, Frisco City Council approved the vision statement, and officials expect to break ground in the second half of 2025.

The population of Frisco is growing rapidly; its population is up 516% since the year 2000.

At more than 1,000 acres, Grand Park in Frisco is even larger than Central Park in New York City.

Less than 1% of Blackland Prairie soil remains in the region, and some of it is in Grand Park.

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Frisco residents were engaged in the process, from City Council members to high school students

200+

respondents shared anonymous feedback on what they imagined the park should be

As a writer, I’m particularly interested in getting to know IDEOers on a personal level. By seeing what makes us unique as individuals, I can tell better stories about the company as a whole—people from very different backgrounds and perspectives coming together to design for systems change around the world.

As a queer woman, I’m especially invested in seeing how that work drives equality and acceptance for all vulnerable communities—helping to make the world a place where we can all live as our full selves. To learn more, I reached out to IDEO’s queer employee resource group, PRIDEO, and interviewed the community. I asked about the ways in which they bring their LGBTQIA+ identities to work, the trends they’re starting to see emerge because of it, and the hopes they have for the future of queer design. Here’s what they had to say.

Access is the next wave of design

Historically, queers have had to fight for access. Access to freedom, to healthcare, job security, and a place in society as a normal human being. The fight is far from over, but that is something that all queers remember when they take on a design project, whatever it is. When I was designing brand strategy for a recent client website, I had to ask, “Why is there only one type of person in the room?” (White male.)

My queerness gives me the language and the “radar” to sniff inequalities out with a vengeance. Knowing we have to fight to “redesign” systems to accommodate and accept all types of queerness, it helps me see beyond the demographics listed in the brief, and to know that access is the next/current wave of design. There is a global reckoning for racial equity within design, for our entire process to change, for leadership to perhaps step down to make room for actual diversity at the top, and all of that is just so much more glaringly obvious when you are queer in this world—and in the design field.

—Stuart Getty, Design Lead and Writer, San Francisco

A focus on removing barriers

Being queer, I think a lot about how I might design to remove barriers. I have the opportunity to update outdated language and to create environments that celebrate the beauty of diversity. I can facilitate new cultural habits to bring in needed voices into a conversation. My role as a designer at IDEO is to listen and set aside my assumptions and my ego. There is always a need for collaboration. It takes many of us, with different lived experiences, to see a multitude of barriers to remove.

—Alan Ratliff, Senior Lead, Inclusion, Culture and Change, San Francisco

Choosing pride as an act of rebellion

Being a Black woman in today’s society is hard. Adding queer to the equation makes it even harder. However, I choose pride as an act of self-care. I choose pride as an act of rebellion. It’s extremely important for me to show up to every space, bringing my full self to every conversation, and a company like IDEO provides a space for me to do so. I am extremely grateful for the employee communities I’ve been able to join during my time here. Freely engaging with those who understand and support me is a gift that has helped me bring my full self to work.

—Emanie White-Heard, Coordinator, New York

Moving away from “the way things have always been done”

When you come out, you're recognizing your difference and you choose to express that difference openly. In coming out, you are born into bringing a diverse opinion either with your family, your friends, or society on the whole.

When I came out pre-gay marriage, it was still a quiet thing to be gay—very little representation in the media, The L Word wasn't even out yet. It was in this moment that I embraced my own voice and its ability to create reality.

In that way, I realized that I got to design what sexuality meant to me. It was like I had been given a blank canvas. I could choose what, if anything, I wanted to bring from mainstream interactions into my own perception of what relationship, gender and sex meant. I learned that nothing is 0 or 1, all male or all female, but rather it was a spectrum of choice that could be tweaked from moment to moment if I wanted to. In that effort, you realize that everyone will approach this balance differently for themselves as well. In work, I could hold my “design” as valid just as much as someone else's “design.” Two things, or more, could be true at the same time—none any more “right” than another.

As a designer, you have to be willing to put your ideas out there even if they differ from the status quo or the way things have always been done, you need to cultivate a willingness to question assumptions, even your own, and you have to be able to do all that in the context of others who will bring their own realities to the table as well—being gay helps me do that every day.

—Meg Rice, Lead Learning Architect, San Francisco

The importance of visibility

Queerness at work can have different levels of visibility—and for me, it’s important that I show up visibly queer at work. Growing up gay in Bolivia, I rarely crossed paths with openly queer people. The culture is conservative, and was even more conservative back then. I present as gender fluid, and it was difficult to believe I’d be able to express myself in an authentic way while still having a chance at success. However, feeling free in my expression is really important for my creativity. So, when I started working, I decided to not hold back—even in professional settings—in hopes that at least one queer kid would see visible queerness in the context of work and feel like it means they, too, can express themselves authentically—especially within my Latinx community.

—Bruno Olmedo Quiroga, Senior Design Researcher, Cambridge

Creating your own playbook

I came of age in the 1980s. My introduction to being “gay" occurred when I was an 11 year-old paperboy, made apparent through the headline: RARE CANCER SEEN IN 41 HOMOSEXUALS. Thus began my fraught sexual awakening: panic, self-loathing, and, most importantly, secrecy. The realization was significant and isolating, prompting me to turn inward, a years-long journey of self-reflection. Emerging from this, I saw everything differently, structurally: the world was wrong—not me.

When the world doesn't reflect you as you are, you have to manage the cognitive dissonance creatively, sometimes in bespoke and idiosyncratic ways. When no playbook exists, you create everything from scratch: norms, family, a sense of safety. You have to work hard to find your people. Coming up as a gay man was my test to pass—and it turned out to be a blessing.

On the iterative path to accepting my identity, I grew aware of the contradictions swarming around me, around all of us. I became comfortable with ambiguity. I learned how to compromise, to collaborate, to be flexible; how to celebrate small successes. I tuned into the inflections in people: what they say and what they do, and could see opportunities. I learned how to listen, to be pragmatic, to be resilient. This is design.

Nothing is ever perfect. And a lot of things are still very much lousy. But everything can be improved upon. Design guarantees this. And it's my life's work. I'm living the dream that my 11 year-old self could never have imagined, that many 11 year-olds can now see writ large: you can love who you want, you can be loved, you can do this without shame. I think of all my brothers and sisters who didn’t make it through their struggle unscathed. For them, pride and progress are things I’ll never take for granted. It's not perfect, but perfecting. Somebody pinch me. How could I not be optimistic?

—Mark Del Lima, Interaction Designer, San Francisco

Having greater empathy for others

Growing up gay in a small town in China has been a rather lonely/alienating experience. From being bullied at school because of my femininity, to being screamed at by parents because they found texts on my phone implying my crush to a boy in class, everything felt like it was denying my existence. Being in that environment, I experienced a lot of emotional pain and it made me into a very sensitive person. I’m now more able to recognize and empathize with someone who is going through emotional turmoil. It gives me the ability to be comfortable around someone who is expressing emotional pain. I’m able to handle the depth that a lot of people are uncomfortable with—meaning that I can better comfort that person, or turn emotion into action to drive change.

—Anonymous IDEOer, Chicago

Recognizing your own privilege

Once I was out with a friend when she had to go to the restroom. Then the police arrived: someone had called security on her. While I was shocked, my friend was not. As a trans woman of color, she was used to being policed for the smallest everyday action, like going to a public restroom and nearly being arrested for her gender identity.

This is an example of how being part of queer and trans communities taught me how systems have failed us. I quickly learned to have empathy for my friend who not only had a different experience than me but faced more barriers as a trans person. I realized how I take things for granted, like the simple act of moving freely or feeling safe as a cis gender person with male privilege. Being queer and a designer, it’s made me want to turn that empathy and realization into actions. I can see how we can redesign systems big and small—from supporting the overhaul of broken social systems to being mindful everyday in how I use gender pronouns to be more inclusive.

2020 marked the 50th anniversary of the first Pride protest following the Stonewall riots in response to police brutality. And since then we’ve had many months of protests against police murders of black people. As a queer person of color, I am deeply saddened by the persistence of anti-blackness and racism, as well as violence against Black trans folx and anti-trans Bathroom Bills that perpetuate harassment like my friend endured. And yet as I look back over the decades of movement building and the past months of action, being queer also gives me hope to envision that another world is possible.

—John Won, Last Mile Money Co-Lead, San Francisco

Illustrations by Cassandra Fountaine

One of my favorite things about IDEO is the people. There is a culture of creativity and openness here that encourages people to really see one another as whole humans, beyond their title or credentials.

Her poem, “The Hill We Climb,” concluded with a galvanizing call to Americans: “We will raise this wounded world into a wondrous one. There is always light, if only we're brave enough to see it. If only we're brave enough to be it.”

Gorman’s passionate delivery was a reminder of the power of poetry to captivate an entire nation, invite a collective pause, and inspire both reflection and action.

2020 was a year of reflection and action for business, too. Taking a moment to process it all, IDEO and SYPartners—two of the creative firms that make up the kyu Collective—hosted a virtual gathering called “Poetry Rx” for employees to share their original poetry, recite their favorite works, or simply soak in the pleasure of rhythm and verse.

To kick off Poetry Rx, Lisa Maulhardt of SYPartners said, "Poems are us singing to one another about our shared humanity. And poems are valuable in business because business is simply a context for a bunch of us humans to play out our shared humanity: Our bravery, ego, our ambition, our greed, and even our love, are ultimately what make business run. That's why poems belong in business.”

Here are three of the many beautiful poems shared during the session. We hope they lend some relief, rejuvenation, and inspiration.

divine flow, by Alysha English (IDEO)

flow is supreme truth
flow is intuition
flow is raw sugar
flow is honey
flow is manifestation
flow is freedom
flow is presence
flow is patience
flow is activism
flow is truth to power
flow is 'you are the power'
flow is divine

sometimes flow is an accident that finds us,
and when it does – flow is sitting with it, letting it stick

flow is play
flow is feeling it
flow is rhythm
flow is dance
flow is grace

flow is watching the pieces shatter and then
picking each piece up with love and trusting that every piece will land
exactly where it’s meant to be
a mosaic, a masterpiece

flow is art
flow is ritual
flow is an invisible pulse, a heartbeat
flow is that feeling when you lose track of time
and remember that you are divine

flow is a moment
flow is a breath

flow is me. flow is you. flow is us. flow is energy.
flow is me. flow is you. flow is us. flow is energy.
flow is me. flow is you. flow is us. flow is energy.

Infinite Definitions of Birthright, by Lauren Ito (IDEO)

Infinite definitions of birth right

Is it place
Or people
Or textures
Or graves
Or lullabies caressing cheek
Or…
afterthought

Or contorted masks in shapes we can’t bring ourselves to recognize anymore

I hitchhike towards mirages
Count mile markers in what grows beside the road
Who destroys it
How the invasive species are named
Where resilient blooms atop fault lines keep extinction at bay

And poetry becomes wills only some can inherit.

Tucking affirmations beneath toes at each bend
I ground prayers for cocooned comfort in given skin
As if we were destined to belong here
After all.

Originally published by the San Francisco Public Library

Crossing Brooklyn Ferry After Whitman, by Michael Juretic (Sid Lee)

1.
You are the patient laid out on the table.
Your eyes are peeled fruit,
brimming with low bruised sky.
The butcher ghosts are working.
No anesthetic, no disinfectant,
no intention of stitching up that hole.

Heart specialists. Their pinprick eyes,
their gore-knotted fists, the nylon swoosh
of bloodstained scrubs.

And deep in that bone white cage,
what is it?
Naked, lurching; what a terribly
obvious muscle.

You are laid out on the table.
The butcher ghosts are at work, and,
working, the butcher ghosts
change

2.
You know who you are
I wake up to thoughts of you.
I reach for you like skyscrapers reach
in the pink-bricked morning.

This map is the map of the universe
is the map of time.
It is your stars that dot
my molecule’s chart.

We are fish that swim
in the rivers of our blood.
We thrash, we sound and breach.
We jump or heaven, dripping blood,
we reach for the waters above.

If you'd like, take a few minutes to share your poetry with us on Instagram—we'd love to hear from you.

Amanda Gorman, the United States’ first National Youth Poet Laureate, left many of us awed during her reading at the 2021 presidential inauguration.

I met him in 2005, when he became the art director of my crafty, grassroots Berkeley magazine, ReadyMade.

In the years that followed, we laughed and wept through one of the most fruitful creative collaborations of our lives. Then, in 2011, George strapped on a jetpack, waved goodbye to publishing, and lit out to start his own eponymous juggernaut, McCalmanCo. Aside from his fertility as a creative director, illustrator, and artist, 2020 was a year of honing “Observed,” his column for the San Francisco Chronicle, into a razor-sharp instrument of cultural commentary. One of his pieces shares the backstory behind his exhibition, “Tell Me Three Things I Can Do/Return To Sender,” a collection of bold, typographic renderings of messages he received from white acquaintances in the wake of George Floyd’s murder. I caught up with George in January, 2021, to hear more about an eagerly awaited new project: Illustrated Black History: Celebrating the Iconic and the Unseen, due out from Amistad/HarperCollins in October, 2021.

In one sentence, who are you?

A polymath trying to simplify his life.

What do you do? How did you learn it?

Too many things for this format! I’m a fine artist, illustrator, art director, cultural critic, editor, writer, and professor of graphic design. I also run McCalmanCo, a design studio that does branding for companies, books, and individuals. I learned all of those things through magazine military training. I started at the peak of magazine publishing in New York and left right at the sunset in San Francisco.

One story that sums up that experience was my very last day atEntertainment Weekly. I put in an all-nighter designing the cover story on Heather Locklear at Melrose Place. I had already cleared my desk, but I needed to be there to get it done. I came in at 8 a.m. and left at 8 a.m. the next morning. I said to myself, I never want to do that again. And I never did. San Francisco offered a version of that life without ever getting to that level of insanity.

What are your 3 favorite possessions?

My home is filled with art that my friends have created. This year represents the most time I’ve spent at home, and I realized I’ve constructed my home as an altar—a totem to both friends who have passed and those who are living. So, my entire home is my favorite possession. Also, my studio. And my friendships.

What does a typical work session look like?

Communication. A lot of communication. Because every day is atypical. What is consistent in how I approach anything I do is I try to make sure I have a perspective on what I’m doing first. Whether I’m starting an illustration, painting, doing a shoot for a book, if I don’t know what I’m doing, I stop. I’ve stopped meetings, conversations, illustrations, I’m always like, Wait what am I doing, who am I talking to? It makes everything I do better.

How do you get over creative block?

If I’m having difficulty it has to do with everything outside the creative process. It’s an emotional or somatic block. When I listen to my emotions or body, all the information is there. If my body is tired, I won’t draw for a week, rather than powering through. I am prolific because I’m tuned into the lessons I’m getting from my emotional or somatic state and I don’t challenge those things. But this is not something I knew when I was younger, only in the last 10 years. I think back and my body was sending me all those signals all along.

What was the last item on your to-do list?

I’m directing a photo shoot for Bryant Terry’s new book, so I’m currently organizing a zoom call with the team. The truth is that I’m never not working—I’ve fused my personal and professional life. I learned that from James Lord and Roderick Wyllie of the landscape architect firm Surfacedesign. They are a couple who are very different people, but inseparable. They move through life with no break between work and life—they will work through a glorious dinner and while traveling—but it’s not work that’s breaking them, it’s work that’s energizing them. That joyfulness in treating their work like it’s their choice rather than their burden inspires me.

How do you see the world in 2078?

I think the U.S. will still be a messy, unsatisfying experiment. The pandemic has transformed much of this world and it will be years before we see how that’s manifested. Two words thrown around a lot are hope and optimism. That’s a very American position. I don’t really think in those terms. Do I believe we are going to make progress? Yes. But we live in a country where people don’t want the progress, so we have to figure out how to live with those who don’t think treating people of other races equally is a good idea, or that paying for the health care for everyone is a good idea, or that letting people who enter this country become citizens is a good idea. How do we reconcile these polarities? It’s not optimism or pessimism, it’s just work. My white lady friends say “I’m so hopeful now,” and I think, how wonderful for you, what a luxury that you get to be hopeful.

What's your number one bucket list item?

I’m doing it! To write and illustrate and design my own book. Much of Black history is reduced to 10 people, but the book I’m working on tells the story of 400 years of American history through the eyes of 150 Black pioneers. Their biographies are historical allegories in that you’ll see how the Black community, unlike the white community in this country, is very much a continuum of our ancestors passing down knowledge. It’s a contemporary telling, devoid of the dryness of historical writing. It’s celebratory of the sacrifices that some of these pioneers of business, film, art, writing and science made to enhance our ideas of democracy and justice. I’m treating them like they’re the Avengers. I hope everyone reads it. It’s a gift you can send to your slightly racist cousin, your republican father, and your apathetic aunt. I want it to be read by students and teenagers and 80-year-olds and also by those who don’t care about Black history.

Who are you creative crushin' on lately?

A short list of iconoclasts who are in their own lane:

• Bryan Stephensen of the Equal Justice Initiative
• The illustrator Lauren Tamaki
• New Yorker food writer Bryan Washington

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George McCalman wasn’t always a multi-hyphenate. The art director-writer-illustrator started out as a traditional graphic designer, earning his stripes through the “military training” of New York magazines in the aughts.

To think back on how we “prepared”—as individuals, organizations, and communities—is a lesson in hindsight. Who could have imagined the new vocabulary, behaviors, and habits we’d all acquire in one short year?

In New York and New Jersey at that time, more than 280,000 people traveled each day on the Port Authority Trans-Hudson (PATH) train, one of the region’s most important public transit systems connecting New Jersey and New York. Squeezed into metal cars, commuters scrolled through headlines suggesting that an unremarkable trip across town might be unwise, if not dangerous. Transit agencies scrambled to establish new guidelines and produce communications to keep riders safe, but the virus was outpacing people’s capacity for behavior change at this scale and speed.

By April, the pandemic had gained a threatening grip on the New York City region, and PATH ridership had fallen off by nearly 95%. Stay-at-home orders took effect, and daily commuters hung up their office attire to the sound of sirens cutting through vacant streets. It wasn’t clear at the time how the disease spread, and how safe mass transit was. All the while, essential workers continued to pass through stations and trains each day, and their lives were on the line.

Transit operators have many contingency plans, but this unforeseen crisis required quick action: at PATH, leaders quickly implemented safety protocols such as overnight train cleaning, and posted signs and messages to let riders know what was being done to protect them, and what new behaviors they'd have to adopt to make sure those protocols actually worked. Everyone’s cooperation was essential, yet not all forms of communication are equally effective.

Try, try again

Inside The Port Authority of New York and New Jersey (PANYNJ), which operates PATH, one small department specializes in thinking about innovation within the institution and—critically—in how riders engage with the system. The Office of Continuous Improvement (OCI) had already been exploring and applying design thinking strategies when they decided to call IDEO to see how a more immersive, design-led approach could yield quick, effective solutions to the challenges COVID had delivered to the PANYNJ systems.

Lisa Dewey-Mattia, who heads the small OCI team, initially connected with IDEO Director Randy Plemel to develop a plan for an immersive, rapid collaboration that might yield some new ideas for communicating with PATH riders and facilitating behavior change. “It was a time when everyone in every industry was trying to figure out, how do we adapt?” Dewey-Mattia recalls, “We had this conundrum with regard to customer confidence and safety, and the physical design of our space. We were asking ourselves, how can we best meet the needs of the agency and our riders right now?” The small team worked remotely to workshop the highest-value, shortest-term problems identified across the whole Port Authority which could fit in a two-week sprint. Plemel remarked, “The OCI team has deep connections across the Port Authority’s different units. Designing for PATH riders and operators allowed us to focus on the most acute issue—confidence in using the system—and the learnings could be transferred to other Port Authority units like the airports and the Port Authority Bus Terminal.”

Large transit agencies aren't typically known for rapid innovation, but the only clear approach to such an unprecedented challenge was a willingness to experiment. When IDEO team members joined OCI and other subject matter experts from across the agency, the product they were working toward was not yet defined. What PATH leaders were looking for was an outcome: all riders wearing their masks properly, maintaining social distance, and heeding public messaging. How to get there wasn’t yet clear. “At that point in time, what we needed was to be able to simplify our communication to our customers. We didn’t need fancy or clever,” says Clarelle DeGraffe, the Director and General Manager of PATH, “But there’s also fear of backlash from customers that it’s too simple.”

With lockdowns and distancing preventing on-the-ground research, the team had to nix in-person interviews and spontaneous conversations, instead establishing remote communication that still yielded candid, comfortable interaction. “This was a very different project for Port Authority,” explains Morgan Keane, DeGraffe’s Chief of Staff. “So much was produced over two weeks’ time, and it was really driven by people being able to collaborate with each other, even remotely.” What became clear was that riders and workers needed to feel confident and safe on the train. Boosting confidence depended on communication strategy.

Over two weeks, IDEO and PATH staff immersed themselves in a design sprint to come up with nine concepts for solving their core challenges, from masking and safety information, to operational changes to the trains, to touchless payments. The large sprint team reviewed these concepts with a panel of advisors at PATH and the greater Port Authority, then pared them down into a series of three prototypes, which hinged on the critical behavioral mandates of COVID: 1.) Stay masked up; 2.) Maintain distance where possible, and; 3.) Practice compliance with stated guidelines.

Live prototyping in a high-stakes environment

PATH and OCI approached Port Authority leadership and asked for permission to use one of the smaller train stations as a place to test ideas. At Grove Street Station in Jersey City, signs went up alerting riders that they’d be seeing some changes around the station, and QR codes on the posters invited real-time feedback as riders passed through. “At every point our customers really understood that we were doing proof of concept,” says DeGraffe, “And that turned out to be positive. Our customers took it as a reassuring indicator that we were looking to pilot new things to keep them safe, and they appreciated us looking outside the box.”

The most successful prototype was a “mask-up zone” at the station entrance, where riders could pause, outside the flow of travelers, to properly cover their faces before descending to the platform. People immediately adjusted their flow through the station to make use of this preparation area. IDEO Senior Design Lead Jeff Kessler, who led the PATH collaboration, points out that the most enduring concepts are the ones that can survive many rounds of doubt. “There’s a balance between protecting new ideas as they emerge and letting them take enough criticism to improve and work. Ultimately, the concepts that survive rounds of testing should improve the long-term operations of the system.”

Down on the platform, a concept designed to keep people apart didn’t prove as effective. Riders provided feedback that they didn’t want to comply with signs directing them where to stand while awaiting the train. Yet, many added, they were reassured to know that new safety measures were under consideration.

That insight led PATH to think beyond posters and signs, to what other means might be used to disseminate their messages. One team member, noting that there’s limited space for signs on trains, was inspired by the “I Voted” stickers people don on their shirts on election day. “Why not be a little cheeky and make stickers to hand out along with free masks? That way passengers themselves become communicators of the message.” The idea was relatively cheap to test out, and it was a sign to riders that the agency was thinking about their well-being.

Although the train is part of many people’s everyday lives, DeGraffe says it still comes as a surprise to some that train operators and leadership are truly listening to what they have to say about their experience. “Everyone thinks of it as their own little train,” says DeGraffe of PATH’s rider culture. “They post things to Twitter about their experience and we respond.” That personal, human outreach has the benefit of building trust and connection between riders and their transit system—a better way to foster adherence than by cracking down on non-compliant individuals. DeGraffe points to the increased tension around police interaction during this time. “We’d rather give out a mask than a summons.”

Lessons for the future

More than a year after COVID first rolled into New York and New Jersey, ridership on public transit hasn’t returned to pre-pandemic levels, but residents are slowly resuming routines and vaccination rates are raising a little hope into a shaken city. At PATH, the spirit of exploration and willingness to prototype have remained. In late January 2021, PATH announced a new diplomatic corps called the Mask Force Ambassadors, “a group of volunteers whose daily mission is to help keep riders masked, socially distant, and able to travel in the safest possible environment.” On those volunteers’ bright yellow t-shirts and in large lettering around the stations, riders see the simple message developed during the IDEO sprint: “Mask On. Ride On.”

PATH Chief of Staff Keane reflects on how similar adaptive responses have appeared in other areas of the city, and where she sees the impact of institutions that are slow to change and accommodate their communities. “During COVID, the streets are being taken over for outdoor eating, distanced interaction, bookstores with takeout windows. It’s interesting to think about new ways to do things,” says Keane, “And it’s important to test for the extremes: Say okay, can a really old person do this and a child do this? Can you get from an underground station to an outdoor plaza while pushing a stroller? The way to really bring this home for people is to have them walk through with a different perspective.”

That constructive empathy is exactly what Kessler hoped for from the PATH and IDEO collaboration. “This was a moment when if we got the nuances right it would keep people healthy and taking care of each other and giving each other respectful space on the train,” he says, noting how bravely PATH stepped into experimentation as a new route to safety. “It’s a good thing for design to be working on.”

Illustrations by Ran Zheng

In January 2020, news of COVID-19’s approach was building like a looming storm. That the pandemic was coming seemed clear, but when it would arrive, where it would appear, and how bad it would be, nobody could yet predict.

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.