At Palo Alto Networks, I design AI products every day: evolving AI Canvas and the experiences around it, where the questions keep getting harder and more interesting. I also strengthen our design standards so quality scales beyond any single designer, still validate my own designs in code with React and AI, and am exploring agentic workflows that could audit design quality automatically.

Alongside that work, I keep asking what UX and AI owe society. That question became Elta: an AI-powered eldercare concept designed for the moment someone is least capable of using an interface, where help arrives without being summoned. It is now a UX Design Awards nominee (Autumn 2026, IDZ Berlin). Its hardest design decision was ethical, not visual: when several seniors need help at once, the system prioritizes by transparent medical risk signals, never by personal attributes, because every life carries equal weight.

The tools keep changing. The curiosity doesn't.

AI Canvas shipped: a generative AI platform I led from first sketch to release, letting security teams create data visualizations by simply asking in plain English. The hardest problem was not generation, it was trust. I designed the confirmation patterns that let people verify what AI builds before it builds it, translating model uncertainty into interaction design. Usage intention rose 49 percent after launch; 53 percent of users kept creating with AI.

At Palo Alto Networks I taught myself a new discipline, data visualization at scale, and ran it through seven release iterations of AIOps for NGFW, the industry's first (recognized in The Forrester Wave, Q4 2022). By 2023, my design language ran across Strata Cloud Manager, the industry's first AI-powered unified management platform. My experience strategy spans Advanced WildFire, Activity Insights, ZTNA Connector, IoC Search, Reports, and Custom Dashboards, and the platform's modernized visual identity grew from a UI design system I created, including a Dark Theme component library with 24 component branches adopted by the central design team.

By 2016, after designing across ten industries in China, one question kept pulling at me: user experience means designing for people, so how do other cultures design for their people? I decided to find out firsthand. I had never worked in English, so I studied the language from the ground up, passed the exams, and entered the MFA program at RIT, a school with a deep design foundation in the United States. The question followed me into the work. For my Water Monitor concept, I interviewed households across four countries, in America, China, Canada, and Sweden, to understand how differently people relate to something as universal as water. My published thesis, the Conceptual Interstellar Map, pushed to the opposite extreme: a sci-fi navigation and status panel system for space travel, where data visualization replaces human spatial intuition entirely. Between the two, I stretched my visual language in every direction, including collaborating with astrophysicists to visualize black hole dynamics. My motion craft stayed sharp as well: a title sequence, Design for NASA TV, was named a finalist at MODE Fest, an international motion design competition that drew 331 entries from around the world. Through it all, I learned that the hardest design problem is making the invisible understandable.

At Dalian Wanda Group I built the company's first motion design team from zero, not to manage but to multiply: training designers across ten industries until motion thinking became part of how the whole organization designed. I grew there under Cheng Chang, my design leader and mentor, one of the three designers who crafted the cloud pattern of the 2008 Beijing Olympics torch. The platform work from that era was later documented in his book, The Art of Interaction Design (Tsinghua University Press, 2022, ISBN-13: 978-7302602514).

At Lenovo, I designed motion for Aura, the multi-user, multi-touch interface at the heart of the IdeaCentre Horizon 27, the world's first “interpersonal PC,” unveiled at CES. Watching four strangers gather around one screen and instantly know what to touch: that was the moment design stopped being a job for me. The work earned the iF Design Award, the Red Dot Design Award, and two national patents: Information Processing Method and Electronic Equipment, and Information Processing Method and Terminal Equipment.