Julia Rothman lives and works from her studio in Brooklyn, New York. She attended the Rhode Island School of Design, and graduated in 2002. Julia has created illustrations and pattern designs for newspapers, magazines, wallpaper, bedding, books, and subway posters. She is part of the award-winning three-person design studio called ALSO, and runs the blog Book By Its Cover. Speaking of books, she also authored Farm Anatomy and Drawn In, and coauthored The Exquisite Book and The Where, the Why, and the How. Yes, she is a superstar.
JC—You make so many things—what’s your favorite medium to work with?
JR—I like drawing with just a plain uni-ball pen in my sketchbook best.
JC—What made you feel like you really were an artist?
JR—The first time I had my work published in a magazine—I felt like I was actually going to make it as an artist. This was during my junior year in college and I had interned at a magazine. I made them an illustration for their back page. It was a thrill seeing the magazine in shops, and showing friends.
JC—Why did you pursue a career in the arts?
JR—Drawing was something I was always good at. I think in pictures, and remember things visually, so it came naturally to go in that direction. I’m not nearly as good at anything else as I am at being creative. I also like impressing people, and this is definitely a way I can do that!
JC—If you weren’t an artist, what would you be?
JR—Lately I have been thinking I might have liked to do something in psychology. I’ve become really interested in learning about how our brains work, human behavior and personality traits.
I also still dream of becoming a mail carrier. It seems like it would be relaxing to sort papers and walk around neighborhoods all day. When I tell people this, they often remind me that there is a lot of bad weather and that postal workers are always grumpy and unhappy. And then there is that term “going postal” . . .
JC—Did you ever experience a particularly work-halting creative block? How did you push through it?
JR—There was actually a period of about a month where I felt like I couldn’t work. I wasn’t excited about anything and I had no idea what to do next. When I think back about why it happened, I think it was because I was getting distracted by long-term goals, making it hard for me to concentrate on anything happening in the present. One of the things that helped me get through it was redoing my studio. I painted the walls, bought a new desk and shelves, and finally put some time into setting it up. Suddenly it became a project itself, and that made it easier to jump into the next project. Also, once my studio was all set up, I really wanted to be in that room. It seemed only natural to start working again if I was sitting at a new desk.
JC—Do you ever reach out for feedback or advice?
JR—Yes, I usually ask for advice from my ALSO partners, Jenny [Volvovski] and Matt [Lamothe]. Sometimes I can’t tell what a piece needs, or what to do to make it better. They can always help me see things I’m missing and calm me down if I get frustrated or want to give up.
JC—Speaking of ALSO, you have to be very creative all day long—does that drain or fuel your personal projects?
JR—It’s definitely a drain for creative personal projects. I don’t have a well-decorated home, or knit, or even know how to sew. I don’t cook either. All of my creative energy goes into my workday, so I don’t have any to spare at the end of the day. I just want to zone out and watch TV, or meet friends and have a glass of wine.
JC—Do you think that you’re overly hard on yourself as an artist?
JR—Sure, I am always beating myself up about not doing enough, or not doing better. I think when you put so much of yourself and your time into something, it’s hard to separate it from who you are. I’m not sure how to get past that, because I’m not sure I ever will.
JC—How do you handle criticism if it comes your way?
JR—I cry. Ha-ha! And then when I am finished I become energized to do better.
JC—Which artist’s work/life/career has inspired you the most?
JR—I often look through Vera Neumann’s book that came out a few years ago [Vera: The Art and Life of an Icon by Susan Seid], and feel envious of her career. Her work was so colorful and playful, and she was able to decorate so many kinds of products with her signature style. I love that she started making scarves because she couldn’t get linen for housewares and there was an abundance of silk during World War II. She was able to adapt her work and then become amazingly successful. It’s very inspiring.
JC—Yes it is! So besides Vera’s book, what inspires you the most?
JR—I find a lot of inspiration from walking around New York City. I look at what people wear, the architecture, shop windows, etc. I’ve lived here almost my entire life, and I still am fascinated by the energy in this city.
Once my studio was all set up, I really wanted to be in that room. It seemed only natural to start working again if I was sitting at a new desk.
I am always beating myself up about not doing enough, or not doing better. I think when you put so much of yourself and your time into something, it’s hard to separate it from who you are.
