A few years ago, I discovered the ultra-talented illustrator, Tug Rice, while working on a story about The Carlyle Hotel in New York City. Tug had been commissioned to create the property’s annual calendar, and I quickly fell for his nostalgic interpretations of classic Carlyle moments. Since our first Instagram correspondence, I’ve learned — much to my delight — that Tug and I are kindred spirits, sharing a love of Hotel Sacher, cafe culture, Poulenc… and Bemelmans Bar, among other things! He is a true talent and I hope you enjoy my interview with him below!

Where are you from and how did you find your way to NYC?

I grew up in a charming historic town in Pennsylvania about an hour and a half outside New York. I always knew I would end up living in the City. There wasn’t really any doubt about it or any other option considered. I was lucky to have access to my favorite place in the world as a kid and now as an adult I feel lucky to live and work here.

As a child, did you know you wanted to be an artist?

Yes, I wanted to be an artist. But I didn’t know what that meant. I collected picture books and maybe imagined myself creating my own someday. Then, as I got a little older, I became interested in the theatre. That’s where I spent all my time and, although I kept sketchbooks and an appreciation for art, I never seriously considered a career as an illustrator. The word didn’t really even exist to me. I thought artists had to go through rigorous classical training and that seemed quite daunting. I didn’t realize that many of the artists I admired were, in fact, self-taught.

When did you start painting and what did your trajectory look like to be able to do it professionally?

I studied acting at Carnegie Mellon and after graduating, moved to New York and spent a few years doing plays in different parts of the country. I became fascinated with the relationship between the performer and the audience. My first paintings were based on that particular dynamic. I was convinced by a friend to submit a painting for exhibition in a group show and, through that opportunity, I was offered a solo exhibition in the West Village. I called that collection “Watercolor and Greasepaint: Illustrations Inspired by the Theatre.” Lots of good things came from that, including my first commercial jobs. It happened quickly, which made it feel like it was meant to be.

What does your process/routine look like? Any rituals or fun trivia about your process you can share?

I always seem to be getting up from my desk to make more coffee. I’ve become so dependent on it. I like to work either very early in the morning or late at night, but you never know when inspiration is going to strike. Classical musical is nice to listen to for working, but I find that having something mundane in the background, like a documentary on a really boring subjct, is just as effective. I don’t want to be influenced by what I’m listening to so it can’t be anything too interesting; I just need that hum to keep me focused.

What’s been your most fun or exciting project to date?

I fantasized about doing a restaurant mural for a while, so when Ken Fulk asked me to create the artwork for “The Mural Room” at The Occidental in DC, I leapt at the chance. So much went into that project, and I’m just delighted to see the amusement it brings people. There are a couple hundred characters on the walls and each one tells a story. I love hearing the ideas people come up with about each scenario. I included myself in a small corner, holding a sketchpad. It’s subtle, but you can spot it. A few people have asked if one the most featured characters — a totally naked artist at an easel — is supposed to be me. It definitely is not!

It seems everything you do has a playful, nostalgic, and whimsical flare. Is that by design or how would you describe your style and choice of subject matter?

Oddly enough, most of the art I own is dramatic and a bit dark! My apartment is filled with pieces like that. So I’m not sure why my own work is so different. I suppose it comes down to wishful thinking. It would be nice to live in a world where everyone is bright and tasteful and attends the opera or whatever else it is the characters in my pieces do.

Where do you go to get inspired (both personally and professionally)?

I live on the Upper East Side so I can walk to some of the best museums in the world and that is something I try not to take for granted. I’ll never turn down an invitation to spend an afternoon in a museum. Without knowing how or why, you can’t help but leave feeling rejuvenated and inspired. At least that’s been my experience.

I’ve loved learning about some of your personal interests, be it the theatre, playing piano, travel, art — can you share a little about your personal style at home?

My home is definitely a reflection of my interests and hobbies. It’s filled with art and books and all the things that make me happy. I think it’s important to surround yourself with inspiration, whether you’re an artist or not. I enjoy looking around and being reminded of a trip I took, or a particular Christmas, or any positive memory that an object can spark. For the most part, I know where everything came from and that’s something I’m proud of. I have a box of cufflinks on my dresser that belonged to my father’s father and I wear them often. It feels like a way of honoring family, history, and craftsmanship all at once. 

How has your style shifted over time, in terms of what speaks to you?

It’s always evolving, unless you pay too much attention to it. I try to pull out the truth in whatever I’m drawing rather than think about how I’m doing it. The “how” can kill inspiration and create inauthenticity. You just have to create. 

I understand you also act? What similarities do you see between the world of illustration and acting?

In both art forms, you are often interpreting someone else’s ideas — as an actor, it’s the words of the playwright; as an illustrator, it’s the words of an author or, say, the essence of a product or concept that is being sold. It can be tempting in both situations to overcomplicate. The goal should always be to figure out what is really going on and get straight to that. Clarity is key.

What differences do you find (and appreciate) between the two?

Thinking about it, they are actually quite similar. Of course, when you’re doing a play you are engaging with the other actors as well as an audience, whose attention and reactions inevitably affect what you’re doing. Illustration is a more solitary art form, though it can be collaborative depending on the project. You generally have no gauge as to whether the thing you’re working on is having the desired effect. Only after you’ve finished it do you get the reaction. That’s an exciting moment, though.

What do you dream about?

School plays from fifteen years ago. I have to step back into one at the last minute and I can’t remember my lines or find my costume. Nightmare.

I do quite a bit of travel writing so I’m curious…What are some of your favorite places you’ve ever visited? And where do you want to travel next – any bucket list destinations?

This summer I was in Glion, Switzerland and it was as close to paradise as I’ve ever gotten! Staying at The Hotel Victoria, which you charmingly reach by funicular, is like living in a Poiriot novel. Everything about it, from the views to the balconies to the dessert trolley after dinner, is exceptional. I spend a lot of time in London and I love everything about it. I enjoy going to other parts of England when there’s time. There’s so much to explore there. I hear Madrid is really beautiful, so that’s on my list for the future. 

What is something we might be surprised to find on your bucket list?

I take boxing classes and the only way I can get through them is if I pretend I’m in training for a big match. Not sure if that’s actually on the bucket list but I think it could be fun to do once. It’s nice to punch things sometimes.

Can you share any illustrator heroes whose work has inspired or guided you over the years? 

Peter Arno, Ludwig Bemelmans, Virginia Lee Burton, Marcel Vertès, Mary Blair. 

What’s moved you lately?

Nadine Sierra singing Amina in La sonnambula at The Met. 

Any words of wisdom for aspiring artists?

Draw, draw, draw. Share your work and don’t worry about trends.

What artists or creators do you look up to?

I admire artists who are not afraid to try new things. David Hockney continues to explore new mediums. Sondheim has written (and mastered) just about every music style there is. Robert Altman never stuck to one genre. Ang Lee, too. Artists like that, who welcome reinvention, are the bravest and most interesting. And they probably don’t often get bored.

If you could organize a final supper, who would you invite (dead or alive) and what would you serve and where would you gather?

Easy. Noel Coward, Leonora Carrington, Oscar Wilde, and Cleopatra. We would dine on my Great-Aunt Betty’s red velvet cake and and it would take place at the Rote Bar inside the Hotel Sacher in Vienna.

What are some of your favorite NYC restaurants and bars?

Piccola Cucina, Momofuku, Agra, Majorelle, Daniel. 

What’s the best advice you’ve ever received?

“If it looks right, it is right.” (Dorothy Draper via Michael Ostrow)

What’s your favorite work of art and/or your favorite book of all time?

My favorite book is probably The Crimson Petal and the White by Michel Faber. I read it at 14, which was way too young. But I absolutely loved it. This year, I read it again and loved it even more. I also have to say Nights at the Circus and Wise Children, both by Angela Carter, are favorites as well.

Is there any art advice or theatre wisdom you hang on to that is applicable to life at large?

Life is not a dress rehearsal. What are you saving it for?!

What’s the issue you feel most passionately about right now?

We must all be very kind to one another.

Any fun news you can share for 2026 or projects you’re most excited about currently?

Visit him at www.tugrice.com or follow along on Instagram at @tugrice