Meet illustrator from Los Angeles, Elaine Ho

 

Tell us a little bit about yourself.

I’m Elaine, an independent illustrator based in Los Angeles, California. I was born in the US, but grew up in Singapore for most of my life, and migrated back to California. I’m currently creating an illustrated novel, The Tempest and the Fire, a retelling of Beauty and the Beast.

 

Describe the city you’re living in and what it’s like to live there.

Los Angeles is wildly different from the dark chiaroscuro style that I’m known for, which I think is why I enjoy it so much. It’s always sunny and cool, plus having a strong Asian community means I never go without boba and char kway teow.

 

Los Angeles is wildly different from the dark chiaroscuro style that I’m known for, which I think is why I enjoy it so much.

What is the best and worst thing about living in your city?

Best thing: The art opportunities in California are unparalleled in any other city. Animation, game development, and technology are all centered in this state, which makes it a great place to find work.

Worst thing: Cost of living is absurdly high. Moving to work in LA becomes a chicken-and-egg situation. You have to move to get a job, but you have to get paid LA wages to afford rent here.

 

Give us 3 words that describe what it’s like to be a creative in your city.

Diverse, hustling, fulfilling.

 

How did you start your career in art?

I started at 23. I graduated with a degree in Psychology and intended to submit my application to law school when I realized how unhappy I was. I worked admin jobs while I searched for what I wanted to do next, and I found the concept art for Assassin’s Creed 2. I worked on my portfolio for a year and a half and went to art school.

After that, I worked as a concept artist for theme parks (Universal Studios, Warner Bros.) and then VR experiences (Disney VR, Blade Runner 2049) before going independent.

 

I graduated with a degree in Psychology and intended to submit my application to law school when I realized how unhappy I was. I worked admin jobs while I searched for what I wanted to do next, and I found the concept art for Assassin’s Creed 2.

 

Were the people around you supportive of your decision on working as a creative?

Surprisingly, yes. I was afraid of my parents’ disapproval, but I think they saw how unhappy I was when I applied to law school. They supported me far more than I could have imagined, and I’m always grateful for that.

 

What are some goals and ambitions you have for your future work?

I intend to finish my illustrated novel. I have a few more stories knocking about, and I hope to fully tell them all someday.

 

I intend to finish my illustrated novel. I have a few more stories knocking about, and I hope to fully tell them all someday.

 

If you could collaborate with any person in the world who would it be?

Robert Khoo, former CEO of Penny Arcade. I’d love a business manager because I could spend a decade learning this stuff and still have no idea how to execute it.

 

How would you describe the women around you?

I spent a decade in all-girls’ schools. For me, the female and LGBTQ+ experience was the default until I entered college. Everything that I experienced was done by women.

My mom is incredible. She was raised in Taiwan and immigrated to the US for college, spoke little English, but graduated with a degree in Computer Science, worked in a city that was primarily white, and then raised two daughters while working full time. I speak English and work in an English-speaking country and I still can’t do half the things she’s done.

 

I greatly admire the Singaporean artists who managed to succeed where I couldn’t.

 

Were there any local female creatives that you looked up to when you were growing up?

No one; I didn’t start art until I was 23, and my inspirations were all non-local. At the time, art opportunities in Singapore were limited, which was why I migrated. I greatly admire the Singaporean artists who managed to succeed where I couldn’t.

 

Are there any challenging aspects of being a female in your industry?

Being independent has shielded me from the horror stories that I hear from others who work in animation or game development. My fellow artists at conventions tend to be women, and I’m glad for it.

 

Your career is a collaborative process.

 

Do you have any advice to young women who are aspiring to work in your field?

Your career is a collaborative process. It involves supporting the people around you and being supported by them. Don’t step on your friends to get somewhere higher.

 

 

Photos courtesy of Elaine Ho.