1. Hi Emma, you are an illustrator today, but you trained initially as a medical doctor. Can you tell us a little about that journey and what led you to switch paths to illustration?
I’ve loved drawing for as long as I can remember. I would doodle on anything I could find—textbooks, my classmates’ notebooks, even my sister’s graduation album. However, drawing was not supported in my family, where the focus is on academics. My dad thought drawing would “distract” us from our future.
Still, I was really drawn to comics and cartoons growing up—they kept fueling my urge to create. I just had to do it secretly. Meanwhile, I did well in school, and when it came time to choose a major, I didn’t have a clear direction—so I went with what my test scores and society said was a “safe” and respected path: medicine.
University meant moving to Taipei, and it felt like I was a bird finally let out of a cage. In Taiwan, medical school is an undergraduate program that lasts seven years—it’s now six years, but still quite long, so I had time to explore. Medical school was intense, but living away from home gave me more space to discover the things I loved. Taipei had so many more art exhibitions and creative resources than my hometown.
The Brain's Quiet Retreat - Bedroom, by Emma Cheng
During that time, I once worked as a graphic designer for the university library, and I also won a grant from the school to publish my own illustrated book. At one point, I even took hand-painted shoes and hats to sell at a local market. I also modelled for a big hairstyling show—it was a competition for top stylists. That experience really opened my eyes. I realised that there are so many kinds of success, not just academic ones.
In the end, I graduated with the university’s Award for Excellence in Arts and Culture.
After graduation and passing the board exam, I became a licensed doctor. But once I started working in the hospital as a resident in Physical Medicine and Rehabilitation, I began to see a very predictable future ahead of me. And honestly, I couldn’t see any version of myself I wanted in my senior colleagues. I actually saw more of what I didn’t want. I felt their lives looked very repetitive to me. I started to question if I really wanted to climb this same ladder forever.
For the longest time, I thought I’d stay in medicine longer—maybe switch later or do illustration on the side. But two things changed that. First, I realised my perfectionism made it really hard to handle the pressure of life-or-death decisions when I can’t fully focus. And second, I realised that what I really wanted was to live a life where I could keep creating. I was 28—still young enough to take a risk. If it didn’t work out, I could always go back. So after a lot of thinking, I decided to quit my residency. I couldn’t find a good reason not to. I wanted to give myself permission to be bold—just once, to be a little crazy for my own life.
Surgical Instruments by Emma Cheng
2. Was there a moment when you realised illustration was more than a side interest and something you wanted to pursue full-time?
It’s been a gradual process of self-exploration. I always knew I was interested in art and design, but I wasn’t sure which field to focus on at first. Then I attended a design graduate school in Taiwan—since there aren’t illustration schools, design felt like the closest path. Luckily, my work in design school led to an opportunity at Stanford University in medical device design.
Along the way, I worked as an aesthetic medicine doctor in clinics, kept drawing and sharing online, studied design, and even worked as a UX designer. By doing these things, I realised that being an aesthetic medicine doctor and an illustrator are what I love most. People also loved my illustrations and art products. I held both roles for several years. When I got married and moved to the U.S. to be with my husband, I took that as a chance to focus on illustration full-time.
Everything happened gradually—there was no single “aha” moment. Continuous self-exploration helped me understand what I truly want and feel confident in my choices.
Walk For Health by Emma Cheng
3. What’s your studio like? Can you describe the atmosphere and the vibe you’ve built for yourself there?
I spend so much time in my studio that designing my personal space has become a quiet obsession—I want it to feel truly enjoyable.
In San Francisco, warm sunshine streams through my windows almost every day. The studio sits in a Victorian-style building. I fill it with vintage pieces, including lamps with ornamental details, chairs carved with floral patterns, and retro jewellery boxes. Vintage medical and scientific books spill across my desk and shelves, and I use test tubes and flasks as stylus holders. Medical figurines and anatomical models don’t just decorate the room; they spark my imagination.
I know I’ll keep collecting objects to make the space even more interesting. Honestly, one reason I wanted to be an artist was to live in an artsy space—I still remember how moved I was, in my mid-twenties, by a photo of an artist working in a cosy corner. Building my own stylish studio is part of that dream, and it’s a lifelong project. 
Emma in her studio
4. Medical illustration is a unique niche, and you’ve built up a portfolio creating editorial illustration for specialist publications such as The New York Times, The Washington Post, Harvard Public Health Magazine, and The Scientist. How do you get these commissions?
I’d never studied illustration or known anyone in the industry. After moving to the U.S. and becoming a full-time illustrator, I followed illustrators I admire on Instagram and worked to improve my craft. When I felt ready, I reached out to a few illustrators online; they advised me to build a portfolio website and send cold emails to art directors. I also researched how to write to art directors effectively. Later, I joined a mentorship with The Illustration Department and learned more about what to do. I’m deeply grateful to everyone who has helped me.
My emails usually weren’t answered immediately. It takes persistence and patience to get those commissions. While I was waiting, I created more illustrations to strengthen my portfolio.
The Brain's Quiet Retreat - Book Nook by Emma Cheng
5. Do you have a daily routine or ritual that helps you get into a creative flow?
I wish I had a more regular routine, but so far it happens a bit randomly, depending on my mood. After waking up, if I’m still groggy, I may take an online course on art history, aesthetics, or the drawing process. Watching how other professionals create really inspires me. I also make a simple breakfast, so I won’t get hungry and distracted later. When I take a break in the afternoon, I like to walk outside to enjoy the sunshine and watch dogs running in the park. The beautiful view of San Francisco always reinvigorates me.
6. You’ve built a line of merch, from stethoscope charms to medical print tote bags and bacteria-themed shirts, which are amazing. What’s been a bestseller in your shop, and how did you decide what your line of merchandise would be?
The organ pins, charms, and the bacteria-themed shirt have been very popular. I love going to craft fairs—I find a lot of inspiration there and start imagining my own products. Still, it’s hard to know what will resonate until I release it. I usually test with a small batch first and then make more if people want them.
Organ pins by Emma Cheng
7. Which project, whether a commission or a product, has been the most rewarding for you so far, and why?
Most of my projects are rewarding in different ways because I learn something from each one. Two recent examples stand out this year.
The first is an editorial commission for APWOT magazine. The art director asked me to depict Seaman, a human-faced video-game creature, in a manner similar to Ernst Haeckel’s detailed, stylised marine illustrations in Art Forms in Nature. I’m a huge Haeckel fan, so I was both excited and serious about the brief. I studied his work closely and applied those principles to Seaman in my own style. I’m proud that my command of line, colour, and form grew a lot through this project. As someone who loves biology, mysterious creatures, and Haeckel’s aesthetics, I found it deeply enjoyable and felt lucky to work on it.
Seaman for APOWAT magazine by Emma Cheng
The second is my new product—bacteria-themed shirts released this year. They drew much more attention than I expected, so I had to plan the shipping process in batches rather than one by one. I learned how to handle high-volume pre-orders in a short time. I’ve always wanted to make medicine and science more friendly and accessible to the public; this product feels like a vessel for my dream and mission, reaching many corners of the world. That’s been incredibly fulfilling.
Together, these projects stretched both sides of my practice: precision and aesthetics on one side, audience reach and operational rigour on the other.
Bacteria shirt by Emma Cheng
8. Is there a book (art-related or otherwise!) that’s had a lasting impact on you or your creative process?
There are many because I love reading, but two books immediately come to mind.
Carol S. Dweck’s 'Mindset' has helped me stay with my work when I hit creative blocks. It taught me that I can keep going as long as I keep learning and improving. It’s a very powerful mentality that increases my perseverance.
Bill Burnett and Dave Evans’s 'Designing Your Life' offers practical tools that helped me build a compass for my career path. It isn’t directly art-related, but I use it to reflect on my drawing style as well. That practice makes me feel more grounded and has significantly reduced my anxiety.
9. What would be your dream project or commission?
It just came true: I’ve been commissioned by The Lancet to serve as the 2026 cover artist for The Lancet Rheumatology—creating 12 monthly illustrations. While continuing editorial projects for medical publications, I’m eager to take on medical and pharmaceutical commercial projects, bringing the same blend of scientific rigour and visual warmth to broader campaigns.
Bone Clinic by Emma Cheng
10. What advice would you give to illustrators who are still trying to carve out their niche?
Start with who you are and what you truly love. Ask yourself detailed questions about those topics and jot down your answers. Reflect often. Then translate those traits and emotions into your work. Finding a niche is a long, iterative process, so you may have to repeat these self-exploration steps many times.
Eye Clinic by Emma Cheng
Thanks for chatting with us today Emma, we're excited to see where your work goes next!
