Emily Chu
Illustrator, graphic designer, textile designer, graphic novelist | 8 Years Experience
Emily Chu is an award winning illustrator. Born in Beijing, Emily grew up near the beautiful rocky mountains in Alberta, Canada. Originally a designer and textile artist, Emily currently illustrates full-time for editorial and commercial clients. Her current sketchbook project, #onlocationyeg, is funded by the Edmonton Arts Council.
Links
CWID
At what point in your life did you learn about design, and what drew you to it?
E.C.
I was inspired to go into the Arts from a very early age. I took drawing classes in a classical painters’s basement from age 5-17 (technical drawing and oil painting). In high school, I took Art IB to learn more about the different streams within the Arts (things were getting serious). But I honestly did not consider or know about design or illustration until later.
At age 18, I almost went to New York to study painting at the School of Visual Arts. I had a sudden change of heart last minute that summer before post-secondary. What happened? First of all, tuition is $$$$ (it came out to be $80,000/year, including living expenses). Also during the summer of 2007, I came across James Jean's beautifully illustrated album cover for The Black Parade and learned that album covers were considered commercial art and illustration. That summer, I obsessed over illustrations in Rolling Stone Magazine. Very quickly, I felt that a BFA in painting at SVA was not quite the path I wanted to go, and I ended up making a last minute decision to go to ACAD (now AUArts) for their Visual Communications program. Now looking back, I realize that I was lucky in making the right choice, but the path was very cloudy at the time.
CWID
Describe the first office where you worked as a designer.
E.C.
My first jobs were a couple of "for exposure" editorial illustrations for a local Calgary Magazine. I also took on a contract design job to rebrand CIWA (Calgary Immigrant Women's Association). It was a privilege to be the main designer for the agency at 22. I designed and illustrated a book for them, as well as their identity and collateral package. I continued to do freelance illustration on the side, but kept design jobs as my safety 9-5.
Once the CIWA contract ended, I moved to Edmonton (for love) and got a job in design/marketing at a textile distributor. It was not a particularly creative role — But I learned a lot about the textile business. When I left that role, I was able to land freelance contracts to design textile collections overseas in Asia and Europe. Since then, my work naturally transitioned into illustration, markets, and comics. Now, I am fully self employed with 95% of my work being commercial illustration... I still secretly take a couple design and surface design projects here and there, for my favourite clients and for old times sake!
CWID
What’s the first thing you do every morning to start your day?
E.C.
I check my email. If I need inspiration, I make tea, go for a walk, or listen to some 90s gangster rap music (it never fails to wake up my brain!). I used to go to the gym every morning. I like to start my day with a scheduled activity. It is very rare that I just jump right into work, unless it is because of deadlines.
CWID
Who do you consider to be an inspiring female (alive or otherwise)?
E.C.
My mom is my biggest inspiration. She has an incredible work ethic, has a strong network of supportive family/friends, and is a tough lady altogether. She has always been supportive of my career choice (although she knows little about the Arts and is generally nervous about me being an artist). She always instilled in me never to be satisfied, to work hard, and to not complain.
CWID
What inspires your work (professional or personal)?
E.C.
I used to look outside for inspiration—nature, colours, textures. I still do, but I find that I have started to rely on people for inspiration: relationships, working with emerging artists, and also being introspective and looking within. I think that is because of my view of art has changed in the passed few years. External inspiration of art and nature is mostly aesthetic, and it inspires the “beauty” of my work. In recent years, I've been less interested in aesthetics and more in context and narrative. I am now more excited about telling stories. When I get stuck on a concept, I like to call a friend or talk it out with a peer.
CWID
What project are you most proud of?
E.C.
I am always proud of myself whenever I take on a longer project, because it is hard for me to be creative and work on a single concept over a long period of time. I like to juggle multiple shorter jobs at once. It keeps me focused, excited, and busy. Some of my favourite recent projects are: Illustrated books and anti-violence coasters for SACE & U of A Sexual Assault Centre, a webcomic about women's labour history in Alberta for AUPE, and a recent editorial illustration for Reader's Digest.
CWID
What is your personal or professional motto/philosophy?
E.C.
“Make now, think later.” I believe that it is always a good idea to stop what I'm doing, and trust my intuition to create when inspired.
I also think that art sometimes is too much talk and overthinking, and not enough doing. It's like dreaming—If I wait too long, I will either forget the idea, or I just won't feel as passionate about it because the feeling is lost and cannot be translated 100%. By making lots and not overthinking, it also allows me to accept my work in all stages - Good or bad, unfinished or overworked... All helpful in my growth.
Lastly, I push myself to create every illustration better than the previous one. If I didn't believe in this concept, I wouldn't want to be an illustrator anymore.
CWID
What was your educational experience like?
E.C.
My post-secondary educational experience was confusing. I was too young and I don't think I was mature enough to really understand career options or context (aesthetic styles, the function of art, etc.). The decision felt rushed. During my first year of art school, I struggled to pick between Fine Arts and Design (VCD). And then once I went into VCD in second year, I really struggled to figure out my major between design and illustration.
I truly believe that I may have been a stronger designer, but I chose illustration because it felt right (and I always seem to take the harder path). The sad thing is that in school, the structure is very divided. By choosing VCD, I could no longer take classes in painting, printmaking, and glass blowing. Then by majoring in Illustration, I no longer was able to take advanced type classes and motion graphics. I am an open-minded and optimistic person, and school was very restrictive for me and it forced me to make some important decisions. I'm glad that in real life after school, all of the different art forms are much more integrated (and it is never too late to stop learning)!
CWID
If you weren’t a designer, what career would you pursue?
E.C.
I would probably be a painter or a tattoo artist. If not art at all, I would want to go into copyright law (I love contracts and licensing!). My early childhood dream was to be a musician.
CWID
Name a fear or professional challenge that keeps you up at night.
E.C.
Animation and 3D. I am afraid of not being able to keep up with the advances in the industry. I book projects 1-3 months in advance (since my projects are mostly short). So in order to dedicate time into learning new skills, I have to consciously schedule that time off in advance (for residencies, conferences, etc.). That's perhaps the only challenge of being a freelancer - So much to learn and not enough time.
CWID
Knowing what you know now, what would you have done differently when starting?
E.C.
I contemplate these types of questions all the time. However, I think no matter which route I took, I will still be working happily in the commercial arts. I don't regret decisions that I've made in the past, but if I were 18 again, I would consider taking a gap year before post-secondary. At that time, too many decisions were made in a very short amount of time. It would have been nice to slow down and mature a bit more. I would have been less confused and more focused in my early career.
CWID
As a female, what sacrifices have you had to make in your professional life?
E.C.
If I were asked about this last year, I would have said "very few". I have the privilege to work in a field that I love, with support from my friends and family to pursue my goals. My family consists of a LOT of women. And with my maternal family, including my grandma, working in the field of aerospace (which I now realize is quite progressive), the women in my family have never felt held back. They have always taken on leadership roles, both in their careers and families.
However for me, working in a creative industry, growing up in Canada, and now expecting a child any day now ... Things are little more complicated. In North America, raising a child seems to be 99% responsibility of the parents. As for my childhood, I was raised by a community and large extended family until I left China at 5 years old (during those 5 years, my parents worked extra hard in their careers for create a better life for me). Being self employed, I do not naturally get maternity leave, which will put more pressure on my work/life balance in later 2019. So far this year, I've taken on as much overtime work as possible, to help off-set any potential loss in income after my due date. As a working artist, I constantly have to advocate and educate clients about my value and time. I also question things like: Can I responsibly put my business on hold for 6 months at a time to care for a baby, when my business is a one-woman operation? Professional artist careers are very rewarding but also very demanding. So at times, creative work and self employment can be stressful and undervalued. Add a baby into the mix, I'm sure it'll get more tricky.
So as a female freelance illustrator, yes, there will be sacrifices to be made later this year. Not so much for me yet, but I am starting to feel the pinch. But at the end of the day, I love what I do, and I know everything will work out, because women are also strong.
CWID
Which of your traits are you most proud of?
E.C.
I am quite empathetic. By always wanting to understand different perspectives and opinions, it makes me a stronger storyteller, problem solver, and illustrator. I leave my own opinions and biases outside of work and I love to take on projects with complex and challenging subject matter. It's easy for me to find ways to relate to all opinions, and to find common ground and trust with clients and collaborators - All of this helps my creative process and ultimately contributes to the level of success in my illustrations.
CWID
Is it possible to be unique or original in the Internet age?
E.C.
Yes, I believe so. But the only originality that matters is work that is honest and personal. I am just starting to discover this. Art is subjective, so if I compare myself with other artists, there are always work that is stronger technically, more visually interesting, and original than mine. However, if I just compare my work to my own and create from an honest place, that work is original, because I am original and no one else is able to replicate that authenticity. I love to see what others are making, but when it comes to inspiration, I prefer to create thumbnails with pen and paper, with the computer shut off.
CWID
What are your plans for the future?
E.C.
For my personal work, I'm focusing on experimentation and growth. I've been drawing in my sketchbook regularly for #OnLocationYEG, a grant project funded by the Edmonton Arts Council. This summer, I've been running community on-location drawing events for emerging illustrators. As for professional illustration, I am keeping busy with all sorts of commercial art projects such as identity illustrations, magazine editorials, and murals. I am simply excited about growing my body of work, working with new clients on new challenges, staying active in community events, and working with emerging artists.
Canadian Women in Design
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