With a richer story, comes a greater risk of alienating or frustrating your users. It’s just a freakin’ mailbox ( and the award for most times using the word mailbox in opening paragraph goes to.).
You were never going to do that with just a straight up mailbox.
JUST DRAWIT FULL
Like, check: you relate to it check: it’s memorable super-did-not-mean-it check: it actually feels like the personification of the stomach knot that anxiety built when you see a full mailbox because that’s where taxes, bills, and collections notices come from. The problem is that I can kinda accidentally tell a terrible story with a person and a mailbox, too. I can tell a memorable story, that you relate to, that says there are real, empathetic humans on the other side of this product, with a person and a mailbox. I can tell endless stories that people universally connect with if you give me a person and a mailbox. Who doesn’t love getting mail ‽ ( Not email, real mail. The flip side, of course, is that when you add a person to that mailbox, the story is so much richer. There is no implied preference because I drew more dogs than cats. There is no emotion linked to my drawing of a mailbox. And no one notices if you re-used the same flower pot in every illustration ( and, like, if you did: that’s on you for being weirdly observant, not on me for being efficient AF). There’s no lizard brain telling you that something is off about the elbow that is making it just kind of making it creepy. Telling a story through objects sitting right there, being all Haaay. Like, real talk, so intimidating that our first illustration style did not include people at all. It makes being in the position of choosing how we represent people kinda intimidating. So you try like hell to be thoughtful- or at least, obnoxiously thorough-and prepare yourself for an awakening all the same. Some kind of you can’t see it ’til you see it - it being your blindspot, standing cold and naked, exactly where everyone else can see it -sits comfortably on your shoulder as you move from design decision to design decision. All we know for sure is that, whatever it is, we probably don’t know what it is. You can’t just draw purple people and call it diversity
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