As the United States approaches its 250th anniversary, the Constitution remains the most consequential document in American life — and more people are reading it than ever. But pick up almost any commercial edition and you’ll find the same thing: small type, no imagery, nothing that invites you in. Jessie McGuire noticed this too.

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Every copy her studio ordered looked identical — dense, utilitarian, forgettable. So they redesigned it. They printed thousands of copies, donated them to New York City schools, and invited designers like Milton Glaser and Seymour Chwast to create posters for each amendment in the Bill of Rights. That project became a turning point — not just for the studio, but for how they think about what design is actually for.

Jessie is Managing Partner of Thought Matter, the independent design and creative studio that just won the 2026 National Design Award for Communication Design from the Cooper Hewitt, Smithsonian Design Museum — the field’s highest national honor. It’s an award that recognizes not a single project but a decade of practice, and Thought Matter’s practice has been built around a bold idea: that imagination is a radical act.

A Salvadoran-American designer, New Yorker, and mother of two, Jessie brings a perspective shaped by navigating spaces that weren’t always designed for her. She teaches entrepreneurship at Pratt, mentors emerging designers, and leads a studio that works with cultural institutions, nonprofits, and commercial brands — all grounded in the belief that design is civic infrastructure, a tool for helping people see themselves as participants in shaping the world around them.

In this episode, Jessie talks about the origin of the Constitution project, what it means to fund the work you actually want to talk about, why she thinks scale and speed aren’t serving us, and why sitting down to make something with your hands — like the beaded bracelets she makes with her kids — still matters.

Bio

Jessie McGuire is Managing Partner of Thought Matter, the independent design studio that won the 2026 National Design Award for Communication Design from Cooper Hewitt, Smithsonian Design Museum — the field’s highest national honor. She leads the studio’s strategy and long-term vision, working with cultural institutions, nonprofits, and commercial brands on work grounded in the belief that design shapes what people believe.

A Salvadoran-American designer and mother, Jessie is committed to expanding who gets to lead in the design industry. She teaches entrepreneurship at Pratt Institute, lectures on design as civic infrastructure, and mentors emerging designers. Before Thought Matter, she worked in-house at Kimberly-Clark and led projects for multinational brands. She holds a BFA from Pratt Institute and an MPS in Branding from the School of Visual Arts.

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In jazz, there’s a concept called minimal structures — a rhythmic framework, a harmonic pattern, an implied order of solos. Just enough to hold the band together, but plenty of space for autonomous creativity. It’s a useful lens for thinking about how any team works, and it comes directly from today’s guest.

Colin Fisher was a professional jazz trumpet player before he became one of the leading researchers on group dynamics. He’s now an Associate Professor of Organizations and Innovation at University College London, with a PhD in Organizational Behavior from Harvard, and his new book is The Collective Edge. In it, he makes a case that we systematically underestimate the role groups play in every breakthrough we celebrate.

We love stories about lone geniuses — Newton, Einstein, Miles Davis — but when you peel back almost any one of them, you find a group behind it. We just tend to forget that part, because our brains are wired to remember heroes, not ensembles. Ask everyone on a six-person team how much credit they deserve for the group’s output, and one study found the total came to 235%.

In this conversation, we get into why teams are 6.3 times more likely than individuals to produce breakthrough work, why the sorting hat in Harry Potter is actually the series’ true villain, and why 84% of managers try to coach their way out of team problems when the real fix is structural. We also talk about the dangers of using competition to motivate creative teams, why the ideal team size hovers around 4.5 people, and what it would take to pull our increasingly individualistic world back toward something more collective — without tipping into the other extreme.

Bio

Colin M. Fisher is an Associate Professor at University College London’s School of Management and the author of The Collective Edge: Unlocking the Secret Power of Groups (Avery/Penguin Random House), translated into ten languages. His research on group dynamics, creativity, and improvisation has been published in top academic journals and featured in BBC, Harvard Business Review, NPR, Forbes, and The Times. Before earning his PhD in Organizational Behavior from Harvard, Colin was a professional jazz trumpet player and longtime member of the Either/Orchestra. He lives in London with his wife and two children, and can sometimes be found sitting in at jazz jams around the city.

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If you want to understand how much your beliefs shape your reality, try this quick exercise. Google the “checkerboard illusion” below and you can witness first-hand that even when you know two squares are the same shade of gray, your brain still refuses to show you the truth. If it can’t get a simple shade right, imagine what it’s doing with everything else.

In his book Hooked, Nir Eyal helped people build habit-forming products for good. Then he wrote Indistractable to help people break free from the ones that weren’t. But after years of hearing from readers who knew exactly what to do and still couldn’t make themselves do it, he realized something was missing from the equation entirely.

His new book, Beyond Belief, argues that motivation isn’t a straight line between behavior and benefit — it’s a triangle, and the third side is belief. The convictions we carry about ourselves, our abilities, and our circumstances quietly determine what we see, what we feel, and ultimately what we do.

In this conversation, we dig into why your brain actively resists changing its mind, how the placebo effect is reshaping what we know about pain and performance, and what all of this means for designers and creative thinkers navigating the uncertainty of AI. Nir also gets personal about living with ADHD and dyslexia, stage fright, and how a single reframe — not a new fact, just a new belief — changed the way he experiences all of it.

Bio

Nir Eyal is a globally recognized authority on behavior change and human potential. His frameworks have empowered millions to build better habits, enhance focus, and unlock greater agency in their lives and work. A former lecturer at the Stanford Graduate School of Business and the Hasso Plattner Institute of Design at Stanford, Nir has collaborated with leaders and organizations worldwide to boost performance through behavior design.

He is the New York Times bestselling author of the international bestsellers Hooked: How to Build Habit-Forming Products and Indistractable: How to Control Your Attention and Choose Your Life, which have sold over one million copies in more than 30 languages. Hooked was a finalist for the 2014 Goodreads Choice Awards. Indistractable won the 2019 Outstanding Works of Literature (OWL) Award and was named one of the Best Business & Leadership Books of the Year by Amazon, Audible, and The Globe and Mail. His third book, Beyond Belief: The Science-Backed Way to Stop Limiting Yourself and Achieve Breakthrough Results, became an instant New York Times best-seller and reveals how to identify and replace the hidden beliefs that define our limits.

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This ad-supported episode is available to everyone. If you’d like to hear it ad-free, upgrade to our premium subscription, where you’ll get an additional 2 ad-free episodes per month (4 total). Premium subscribers also get access to the documentary Design Disruptors and our growing library of books. New premium subscriber benefit coming soon: we’re launching a private Slack community…join now so you get access when it launches!

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At several points in his life, Eli imagined what it would take to become a full-time artist — a photographer or illustrator free from client work. What he didn’t realize was that he already had an example of a different path right in front of him: his father, a practicing physician whose published poetry earned recognition from luminaries like John Ashbery.

Mason Currey’s most recent book explores these alternate paths. He’s the author of Daily Rituals, the beloved book that catalogued the working habits of nearly 200 artists, writers, and composers. His new book, Making Art and Making a Living, goes deeper — into the financial realities, the schemes, the compromises, and the surprising strategies that creatives have used to keep their work alive across centuries.

What he found is both humbling and strangely reassuring. Virginia Woolf had inherited investments. Kafka had insurance. Chantal Akerman had a cash register she skimmed from. John Cage had Italian game show winnings. And yet, running through all of it is the same question that Mason has been asking about his own life since the day he sat down to write a novel and couldn’t: How am I going to pay for this?

In this conversation, Mason walks us through the four funding models his book explores — family money, day jobs, patronage, and schemes — and what the lives of creatives from Kafka to Murakami can teach us about building a practice that actually lasts.

Bio

Mason Currey is the author of the Daily Rituals books, featuring brief profiles of the day-to-day working lives of more than 300 brilliant minds.

His latest book, Making Art and Making a Living, was published by Celadon Books on March 31, 2026.

Currey lives in Los Angeles and writes Subtle Maneuvers, a twice-monthly newsletter on the creative process.

***

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Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You’ll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show.

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For product teams at startups and established tech giants alike, finding the right pricing and value proposition often feels more like alchemy than science. It’s a high-stakes game of guesswork involving the complex psychology, shifting values, and ingrained behaviors of your customers. While it can take years of trial and error to dial in, our guest today is here to help us decode the pricing formula and understand the behavioral drivers that make a product indispensable.

Etinosa Agbonlahor is a behavioral economist and founder of Decision Alpha, a consultancy that helps businesses understand the psychology behind how people make financial decisions. She’s worked with organizations like Fidelity and Commonwealth Bank of Australia studying how people save, spend, and invest — and she’s turned those insights toward one of the trickiest challenges any business faces: pricing.

In this episode, Etinosa walks us through the cognitive shortcuts that shape how customers perceive value — from anchoring and the decoy effect to the surprising power of round numbers. She explains why pricing should be a conversation that starts early in product development, not an afterthought tacked on at launch. And she offers practical guidance for freelancers and studio owners who struggle with that uncomfortable moment of telling a client what they charge.

We even put her to work live on the show, walking through the Design Better membership page to diagnose what’s working and what we could improve. Her advice was immediate, specific, and — honestly — a little humbling.

Whether you’re designing a SaaS pricing page or figuring out how to raise your freelance rates without apologizing, this one’s packed with insights you can use right away.

Bio

Etinosa Agbonlahor is a behavioral economist and CEO of Decision Alpha, a behavioral firm that helps businesses understand what customers value and turn that into clearer pricing and growth.

Passionate about helping people reduce financial stress and live healthier financial lives, Etinosa brings over a decade of experience working across the U.S., Australia, Africa, and the U.K.

She has shaped financial wellbeing, engagement, and customer behavior strategies for global financial institutions, private businesses, and venture-backed startups.

Her work has been featured in MarketWatch, Morningstar, and other leading platforms, highlighting her focus on how behavior drives healthier financial outcomes.

Etinosa is the author of How to Talk to Your Parents About Money, a guide to navigating complex financial conversations.

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Both Aarron and I are official Stranger Things nerds. We watched the show ourselves when they came out, and again when our kids were old enough. As children of the 80s, the way it captured that particular feeling of freedom — biking with friends through the neighborhood, the movies and music of the era — struck exactly the right balance of nostalgia: present enough to feel real, but never forced. For that, much of the credit goes to the writers. So, we were thrilled to get a chance to talk to one of the head writers for Stranger Things, Paul Dichter.

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We’d always wondered what actually happens in a writers’ room for a show like this. Heated debates? Storyboards and character maps to keep a sprawling plot straight? As we learned in this interview: yes to all of it. And in many ways, the writers’ room isn’t so different from the design studio — a place where creative ideas collide and combine, and when it’s working well, produce something greater than the sum of its parts.

Paul discusses the dynamics of the Stranger Things writers’ room, describing the diverse roles—from enthusiasts to skeptics—that drive creative teams. He explores the discipline of restraint in using 80s nostalgia and the balance between following systemic logic and knowing when to break the rules for a great idea.

There’s also a lot here about how story structure maps onto design work — the idea that every scene needs an engine, that meaningful change has to register at every level, and that the best creative decisions often come not from defending what you already know, but from sitting with a note you hate long enough to find what’s really underneath it.

***

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Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You’ll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show.

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We’re all familiar with the tropes around innovation and how it starts. You just need a garage in Silicon Valley, a few geniuses and visionaries, maybe some good snacks. Our guests today help us debunk that myth.

Rich Braden and Tessa Forshaw wrote a book called Innovation-ish, and that little “-ish” is doing a lot of work. Rich Braden is a design strategist who’s taught innovation at Stanford and advised companies around the world. Tessa Forshaw is a cognitive scientist whose lab studies the psychology of creativity — why we lose it, and how we get it back.

In this conversation, we talk about why most innovation doesn’t have to be a moonshot — and why chasing moonshots might actually be holding your team back. We dig into the neuroscience of what Tessa calls “innovation hesitation,” the tiny amygdala response that makes us reach for certainty instead of possibility.

Bios

Tessa Forshaw

As a co-founder of the Next Level Lab at Harvard University, Tessa specializes in using cognitive science to develop creative and innovative potential in the workforce. She draws upon her academic research as a cognitive scientist and extensive background as a former designer at IDEO CoLAb and Accenture to turn the cognitive processes involved in design, creativity and innovation into practical insights that can be applied in the flow of work. These insights are also the foundations of what she teaches as a design educator at Stanford University and now Harvard University. Recognized for her impactful design projects, Tessa is the recipient of multiple design awards: a Fast Company Design Award for General Excellence, two Core77 Industrial Design Magazine Design Awards, and the Australian American Chamber of Commerce Innovation Awards.

Rich Braden

Rich Braden is the founder of People Rocket LLC, a strategic innovation firm based in San Francisco. With over 15 years of academic experience, Rich is a recognized thought leader in design thinking, leadership, and innovation. He is a design educator at renowned institutions including Harvard University, Stanford University, and London Business School, helping shape future leaders. As CEO of People Rocket, he works with clients such as Airbnb, Google, the United Nations, Microsoft, Coca-Cola, Starbucks, and Red Cross to drive strategic innovation and responsible AI solutions. Rich holds degrees in Computer and Electrical Engineering from Purdue University and resides in the San Francisco Bay Area.

***

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This ad-supported episode is available to everyone. If you’d like to hear it ad-free, upgrade to our premium subscription, where you’ll get an additional 2 ad-free episodes per month (4 total). Premium subscribers also get access to the documentary Design Disruptors and our growing library of books. New premium benefit: get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes.

You’ll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further.

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Luis Mendo is a Spanish-born illustrator based in Nagano, Japan, and his work is unmistakably, irreducibly human. His drawings are populated by bespectacled bird-like figures — part alter ego, part philosophical sparring partner — rendered with the kind of warmth and specificity that no prompt can summon.

There’s a hand behind every line, and you feel it. That’s not an accident. It’s a philosophy. Because as we talk about in the show, as non-human intelligence becomes cheaper, the human touch, and real, earned, interpersonal trust will become the rarest currency (to paraphrase Anu Atluru’s quote).

Luis’ path is anything but direct. After two decades as a successful art director and editorial designer in Amsterdam — building magazines, running teams, living inside meetings and inboxes — he took a sabbatical in Tokyo and never really came back. Not because the work dried up, but because he found something better: a life built around drawing, shaped by Japanese craftsmanship culture, and grounded in the shokunin ethic that says if you’re going to do a thing, you do it properly, all the way, no shortcuts.

Today Luis publishes his work through a membership site he built himself, on his own terms, on a platform he controls. He’s obsessed with making things worth keeping — including a beautifully crafted physical book he sweated every detail of, right down to standing at the press to get the colors right.

In a moment when so many of us are asking what creativity even means when machines can approximate it on demand, Luis has an answer: make things that carry your presence. Make things that could only come from you.

You can explore his work and join his community at mundomendo.com. Also, Luis has a special offer for Design Better listeners: get 20% off a membership to his site by visiting the link dbtr.co/mundomendo.

***

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Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You’ll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show.

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Today we have two guests from two different companies who have one shared conviction: AI works best when it amplifies people, not replaces them. Today we’re joined by Rachana Rele, VP of Product Design for AI-native products at Adobe, and David Shim, co-founder and CEO of Read AI. Together, they’re building very different products — but they share a vision of AI that removes the drudgery from creative work and makes room for the thinking that actually matters.

In this conversation, we dig into some ideas that could genuinely change how you think about your work. David talks about this concept of “storage of intelligence” — the idea that your knowledge, your meeting history, your working style could all be captured and made available as a kind of digital twin that keeps working even when you’re not in the room. And Rachana shares how Adobe is thinking about AI not as a one-shot creative output machine, but as a collaborative partner that helps teams break out of their own blind spots.

We also push them on the harder questions — the job anxiety that’s real right now in tech, the surveillance concerns that come with recording your work life, and where they each personally draw the line.

Bios

David Shim is Co-Founder and CEO of Read AI, an AI productivity platform focused on helping knowledge workers leverage the power of AI to improve how they collaborate, communicate, and get work done. The platform provides meeting insights, search, chat, and proactive recommendations for millions of professionals, integrating seamlessly with the tools teams already use. Read AI is pioneering the concept of the Digital Twin—AI that serves as a true extension of you, built on deep contextual understanding of how you work.

Today, Read AI is trusted by teams at 90% of the Fortune 500 and in the past year, was recognized as a Top 10 AI Vendor for Enterprises by Brex, a Top 50 AI App by a16z and Mercury, and named one of Inc.’s Top 16 Companies to Watch

Before founding Read AI, David served as CEO of Foursquare and previously founded Placed, which was acquired by Snap in 2017. In 2025, he was named CEO of the Year by Geekwire.

Rachana Rele

Rachana has spent 20+ years at the intersection of technology and human experience — figuring out not just what to build, but why it matters. At Adobe, she shapes the direction of new products, nurtures ideas from zero to something real, and helps early-stage businesses find their footing and grow.

She’s also a perpetual student — currently finishing an MBA at UC Berkeley’s Haas School of Business, with an M.Eng. in HCI from Clemson and a B.E. in Industrial Engineering from the University of Mumbai.

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Leonardo Giusti has spent his career in the spaces between disciplines — between art and science, between research and product, between the physical world and the digital one. It’s not a conventional design path, but it’s one that led him to work most designers never get near.

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Leonardo is the co-founder and Chief Design Officer of Archetype AI, a company building foundation models trained not on text or images, but on the continuous stream of sensor data flowing from the real world, like factories, power grids, and city intersections.

Before that, he spent nearly seven years at Google’s Advanced Technology and Projects group, where he led design on Project Soli — a miniature radar chip that taught devices to understand human gesture and presence — and Project Jacquard, which wove interactivity into everyday objects like Levi’s jackets and YSL bags. He holds a Ph.D. in human-computer interaction from the University of Florence and spent years as a postdoctoral researcher at MIT’s Design Lab. He’s also filed more than 30 patents (!).

What makes Leonardo’s thinking distinctive is his insistence that the metaphors we use to describe AI shape everything — how we build it, how we regulate it, and who it ends up serving. He’s skeptical of the dominant vision of AI as an autonomous agent that does things for us, and is pushing toward something different: AI as a tool we think with.

In this conversation, we get into his unusual path to design through cognitive science and robotics, what it actually means to treat emerging technology as a design material, why the chatbot is a primitive interface for the physical world, and why he believes augmenting human intelligence might be the most important design challenge of our time.

Bio

Leonardo Giusti, Ph.D., is an award-winning design and research director. With over 15 years of experience, he excels in transforming R&D projects into innovative hardware, software, and AI products.

Prior to Archetype AI, Leonardo was the Head of Design at Google’s Advanced Technology and Projects, UX Design and Product Lead at Samsung Design and R&D and interaction design lead at MIT Design Lab. Leonardo was a Post-doctoral Associate at MIT Design Labs and completed his Ph.D, in human-computer interaction at the University of Florence.

He has filed more than 30 patents, and published more than 40 scientific papers. His work has been featured in the New York Times, Washington Post, Wired, Fast Company and other recognized magazines.

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