You can’t just draw purple people and call it diversity
<p>Okay, so. Here’s the thing. Understanding your own bias is hard. All we know for sure is that, <em>whatever it is</em>, we probably don’t know what it is. Some kind of <em>you can’t see it ’til you see it — it </em>being your blindspot, standing cold and naked, exactly where everyone else can see it<em>—</em>sits comfortably on your shoulder as you move from design decision to design decision<em>. </em>So you try like hell to be thoughtful—<em>or at least, obnoxiously thorough—</em>and prepare yourself for an awakening all the same.</p>
<p>It makes being in the position of choosing how we represent people <em>kinda intimidating</em>.</p>
<p>Like, real talk, so intimidating that our first illustration style did not include people at all. Telling a story through objects sitting right there, being all <em>Haaay.</em> <em>what if you just.. didn’t? </em>and we were like <em>oh yes</em>. It’s just safer. And easier. There’s no lizard brain telling you that something is off about the elbow that is making it <em>just kind of making it creepy.</em> And no one notices if you re-used the same flower pot in every illustration (<em>and, like, if you did: that’s on you for being weirdly observant, not on me for being efficient AF)</em>. There is no emotion linked to my drawing of a mailbox. There is no implied preference because I drew more dogs than cats. Safe. Straight forward. Matter-of-fact communication.</p>
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