We caught up with the brilliant and insightful Crystal Bao a few weeks ago and have shared our conversation below.

Crystal, looking forward to hearing all of your stories today. Let’s jump back to the first dollar you earned as a creative? What can you share with us about how it happened?

The very first time I earned money from my creative work was when I was around 11. People around me had always asked me to draw things for them; it was something that came so naturally that I didn’t even think of it as “work.” I loved the feeling of someone lighting up when they saw what I drew, so I happily did it for free at first.

But eventually, after I had spent hours making drawings for classmates and neighbors, my mom gently pointed out that my time and effort had value. She encouraged me to start charging, even just a small amount. That was when I began taking little commissions, designing posters for friends’ school projects or creating profile pictures.

I still remember how exciting it felt to be paid for doing something I loved. It wasn’t about the dollar amount: it was about the recognition that my art had worth. Suddenly, I wasn’t just a kid who liked to draw; I was someone whose creativity had value to others. It made me feel cool, proud, and deeply motivated. That moment was the beginning of my journey to see myself not just as an artist, but as a professional creative.

Crystal, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I am Crystal Bao, an award-winning illustrator based in New York City and currently studying Illustration at the School of Visual Arts. I have also lived in Shanghai and London, and those experiences have shaped my multicultural perspective and the way I approach creativity. My style is vibrant, colorful, and often psychedelic, exploring themes of self-identity and human emotions. I like to combine bold colors, ceremonial energy, and humor to transform everyday moments into imaginative, story-rich visuals.

At SVA, I also serve as the president and co-founder of the Women Supporting Women Club. Our club creates a community for women and allies on campus by organizing events such as donation drives, self-defense workshops, exhibitions, networking sessions, and safe-space circles. We focus on supporting each other, amplifying women’s voices, and building meaningful connections. Empowering women and strengthening communities are very important to me, and this role has given me the opportunity to put that passion into action.

My creative work is varied and always evolving. Right now I am working on projects that range from painting a mural for a school to serving as an art director for an indie game in development, creating editorial illustrations, designing graphics for nonprofit organizations, and producing album covers for musicians. I am also exploring personal projects like developing character IPs, children’s books, and toy design. I am still in the process of figuring out exactly where I want to land, which is why I am open to all kinds of projects. So far, I have enjoyed them all, and each one has taught me something different. I also love collaborating with people, because hearing their thoughts and perspectives often sparks new ideas and inspires me.

My work has been recognized by competitions such as Creative Quarterly, the iJungle Illustration Awards, and the World Illustration Awards. I was the recipient of the Gilbert Stone Scholarship, awarded to only a handful of students in my department at SVA. I have also collaborated with clients such as Live Nation, Society of Illustrators, Visual Opinion, and Pineapple NewYork.

What I offer to clients and collaborators is more than just imagery. I bring strong storytelling, design thinking, and cultural insight. Whether I am creating a poster for a live music event, illustrations for a magazine, or visuals for a brand campaign, my goal is always to give people something that makes them pause. In a world that moves quickly and consumes content endlessly, I believe good art has the power to slow people down and make them feel something. That is the problem I love solving: helping messages not only stand out visually but also resonate on a deeper level.

I am most proud of the moments when my art has lived beyond the page, whether that is painting murals with children in the Bronx, leading creative workshops in the community, or seeing people interact with my illustrations at exhibitions in New York, London, and Shenzhen. These experiences remind me that illustration is not just about producing images but also about building connections and sparking conversations.

For anyone getting to know my work, I want them to understand that illustration is not just my profession but also my way of seeing and engaging with the world. My goal is to continue creating work that feels vibrant, honest, and impactful, whether through client collaborations, editorial projects, or my future explorations into children’s publishing, toy design, and larger-scale artworks.

What can society do to ensure an environment that’s helpful to artists and creatives?

I think society can better support artists and a thriving creative ecosystem in a few different ways. First, there’s the cultural side. We live in such a fast-paced world, especially in New York, where everything is about moving quickly, being productive, and consuming content nonstop. In that environment, art is powerful because it asks us to slow down. It invites people to pause, look closely, reflect, and actually feel something. That moment of stillness is rare in a city like this, and society should value it more, because it’s not just a luxury, it’s something that keeps us human.

Second, support comes from how we treat the people around us who choose a creative path. I think one of the most damaging things is when someone tells a child or a friend that art “isn’t practical” or tries to steer them toward something safer. If a family member or peer says they’re interested in art, the most supportive thing you can do is encourage them. Show up for them, validate their choice, and understand that it takes courage to pursue something creative. That kind of encouragement can make all the difference in whether someone continues or gives up.

Of course, there’s also the practical, structural side of support. Affordable studio spaces, residencies, and funding opportunities need to be more accessible, especially for younger or emerging artists who don’t already have connections. Fair pay is another big part of it. Too often, artists are asked to work for “exposure,” but exposure doesn’t pay rent. Valuing creative labor fairly is crucial if we want a healthy ecosystem where artists can actually thrive rather than just survive.

Finally, I think there’s something to be said about integrating art more deeply into everyday life and other industries. Art shouldn’t live only in museums or galleries; it can and should exist in schools, workplaces, communities, and public spaces. When art is part of our daily experience, it not only gives artists more opportunities, but it also enriches society as a whole.

So for me, it’s about a combination of slowing down to appreciate art, encouraging and uplifting people who pursue it, and building systems that allow creative work to be valued on the same level as any other profession.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

One lesson I had to unlearn as a creative was the idea that my work had to be perfect before I could share it. Early on, I would overwork drawings, adding detail after detail, and still feel like they were not good enough. But the more I chased perfection, the less alive the work felt. Working on projects with deadlines in school, during my internship, or with freelance clients forced me to let go of that mindset. I realized that art does not have to be flawless to resonate. In fact, it is often the imperfections that make a piece feel human and memorable.

I also had to unlearn the belief that art was only for myself. When I was younger, creating felt like keeping a diary. It was very personal, and I did not think much about how others might respond to it. That shifted once I began showing my work in exhibitions and sharing it online. People would tell me how my illustrations reminded them of their own experiences or made them feel understood. That is when I realized art is not just about self-expression, it is also about connection. The dialogue that happens between the artist and the audience gives the work new life.

Finally, I had to unlearn the idea that there is only one right path for an artist. For a long time I thought being successful meant showing your work at a big museum like MoMA or following a very narrow definition of what an artist “should” be. But over time I learned that there are many different ways to build a creative life. Exploring things like murals, editorial illustration, game art, and toy design taught me that success does not have to follow one formula. Each direction I have tried has expanded my creative vocabulary, and often the most unexpected projects are the ones that open new opportunities. Letting go of the idea of a single path has given me more freedom to create a career that feels authentic to who I am.

Contact Info:

• Website: https://crystalbao.com/
• Instagram: @crystalbao_art
• Linkedin: https://www.linkedin.com/in/crystal-bao/

Image Credits

Crystal Bao