An interview by Gloria G. Adams
We are thrilled to have illustrator, author, paper engineer, and Master Doodler
Merrill Rainey as a guest on our blog this month!
Hi Gloria, Thanks for having me!
Merrill, can you tell us a little about your journey
to becoming a children’s book and
magazine illustrator? Is this something you always wanted to do?
Let’s start with your second question
first, as it is a good one and is something I’ve been thinking about over the last year. The simple answer is that I have come to
the conclusion that being an author/illustrator is something that chose me. Creating books and products for young
people seems to come second nature to me. It’s
just something I know how to do. I’ve
always been an artsy/crafty person and my childhood was full of moments of
creation, and imaginary play.
These childhood
moments are what laid the foundation for the things
I am creating today! When asked, I also like to tell people
that I enjoy creating for children because I have never lost my inner child! So, I create the things that my inner
child would want to see on the shelf.
I started working
towards my illustration career while attending Kent State University. I graduated in 2003 with a BA in Visual
Communication Design with a background in illustration. At that time, I had
interned at the Akron Beacon journal
doing editorial illustration and design work and had a few opportunities to
even illustrate a few featured sections. It
was an amazing internship, and after graduation, working for a large newspaper
seemed like where I wanted to be. However, the newspaper industry took a
turn for the worse, which left me looking for different work, specifically anything
with the description of illustrator in it. I can even remember
applying to the Yellow Pages to
illustrate and create the ads that showed up in the coupon section.
For a while, I
worked as a Graphic Designer by day and worked on my portfolio at night. In
2007, I signed with the Tugeau 2 agency, working
mainly on educational illustration assignments.
Then in 2010 when my son Chase was born, I finally got my first big kid’s magazine
assignment from Jack and Jill Magazine. This
was just the start, and soon after the completion of that first job, new
assignments started coming in regularly. At
this time, I was still working my full-time job. After working an 8–10-hour day at the office, I would go home,
we’d have dinner and put Chase to bed after which I would go back to work on
contract work until about 4 or 5 in the morning. Then, I would sleep a few hours and go back to my day job. This went on for a few years. I am not
quite sure what the
heck was I thinking, or how I managed this for so long, but what it came down to was that I truly wanted to succeed
more than anything
else! By 2012, I was eventually making enough income to
quit my full-time job and start working for myself.
Fast forward a
few years to 2017… a lot of things had happened in that time from the loss of a
few family members (that’s still a hard one), an addition of a baby girl to our
family, to taking over
as
the
Illustrator
Coordinator
for
the
Northern
Ohio
Chapter
of
SCBWI.
It
was
also
when
I connected
with
my
current
literary
agent
Teresa
Kietlinski
of
Bookmark
Literary.
Working
with Teresa
is
where
all
of
the
magic
started
coming
together,
we
refined
my
portfolio,
started
pitching ideas to publishers, and now, almost 7 years later we have 6
books together with 2 more on the
way.
I will note that
through all of this, without organizations like SCBWI and The Highlights
Foundation, I would not be where I am today.So many key moments
in my career, like meeting mentors and publishers, have
happened because these organizations exist, and I will forever be thankful!
Who are the people who have influenced your work the
most?
My kids! They reopened
my eyes to remember what it was like to be a child. They helped me to
remember what it is like to grow up
and to experience pure joy and innocence again. Observing them
daily gives me a firm understanding of what it is like to be a kid learning to
navigate and find one’s self in the world.
Throughout the last 10 years I’ve been offered
a few opportunities to go back to work again for
various companies, but I decided not to, mainly because of Chase and Zoey. We may not have everything that all of their friends
do, but I want them to see that if you work hard for what you want, you can achieve anything. When they are my age, no matter what they
end up being, I hope they follow in my footsteps and know that they can achieve
anything by working hard. I want them to realize
that some things
are more important and more valuable
than the latest
toy or technology on the shelf.
What exactly is a paper
engineer?
Paper engineering is the art of taking
flat sheets of paper and turning them into something 3D or 4D. It’s similar to Origami but we paper
engineers use scissors and glue. :-) It
really is very comparable to architectural, or mechanical engineering. I just use paper to create my final products. When it comes down to it, we engineers (no matter what kind) use the same precision
and creative thinking to build products for our end users.
Some of my favorite
paper engineers are Matthew Reinhart
and David A. Carter.
I’ve read that one thing you want to do is to show kids how to see things
differently. This really
resonated with me. Can you tell us how you feel your books accomplish this?
The Color, Cut,
Create series was created specifically to get kids to see a sheet of paper and
know that by folding and bending it, they can turn it into anything they want.
Odd Dot and I spent a lot of time trying
to make sure that the kids using these books would have a successful time
creating.
It
was
also
designed
to
indirectly
educate
the
user.
For
example,
in
the
Dinosaur World book, all of the dinosaurs
are built the same way.
My hope is
that once the user has built
one
or
two
of
them,
they
will
know
how
to
build
all
of
them.
Then,
when
they
realize
they are missing a particular dinosaur that they want in their world,
they will now have the ability to create it themselves!
As I mentioned above,
my siblings and I spent a lot of time using our imagination and creating things
while growing up, and I want to make sure that today’s generations have
the same childhood opportunities I did.
I’d like to hear more about the “lunchbox doodles.” What a great
idea! And why do you call yourself a master doodler?
I have one answer
for both questions! The master
doodler tagline came from years of creating drawings for my son Chase’s school
lunches. I caught
wind of this idea from another dad’s
blog who put a drawing in his kids lunches for 16 years.
I thought that was awesome, so I gave it a try.
It not only gave me the opportunity to make Chase’s
day, but it also gave me the opportunity
to test how fast I could draw something or come up with new characters, as well
as try out new pens, markers, etc.
I had a pretty
good run with drawing a doodle every day for almost 6 years (Pre-K–4th grade),
until COVID. COVID got me out of the
habit of doing this every morning. Even
though it doesn't happen every
day anymore, I do still
try to get a few doodles drawn
now and then during
the school year for both of my kids.
For those who want to get better at drawing and become a master doodler,
my advice is to draw with a pen or Sharpie. Something that you can’t erase. Doing so will help you to be more
confident and precise with your pen strokes.
How much work/time goes into creating one of your books?
It depends on the
book, but on average from start to finish it’s about two years. That timeframe is after the book idea has been acquired
from a publishing house. That two years
doesn’t include all of the
time and prep-work beforehand leading up to the acquisition of the title (which
can sometimes take years.) I’ve been
working on a few stories for almost five years now and still haven’t completely
figured them out. When I present to
kids, I talk about and emphasize how trial and error is part of this process
and to not give up if your idea doesn’t work out the first time. Reworking projects is just a big part of
the whole writing and illustrating process.
How did having
your work displayed at the Mazza Museum
come about?
For a few years,
I was working in cut paper collage work for some of my magazine illustration jobs. After a while, I started to collect
physical pieces of artwork from these assignments, and I didn’t know what to do
with them. So, I reached out to Ben
Sapp at the University of Findlay’s Mazza Museum about donating a few pieces. He graciously accepted and even offered
that we could also do a small gallery
show of the work. This was definitely a career highlight
for me! It also gave me a little
piece of mind that some of my cut paper works will be archived
for as long as they will last for future generations to see.
You are currently the Regional Illustrator
Coordinator for the Ohio: North Society of Book Writers and Illustrators. What are some of the things you do in your position
with SCBWI?
I have been
the Illustrator Coordinator for seven years now and I have loved every minute! My main goal in this role was to give back
to a community and organization that had presented me with so many
opportunities that helped me advance my career. When I stepped into this role, I focused on bringing in
opportunities for the illustrators in our chapter to be seen by agents,
editors, and art directors. I’ve also
tried to focus on inspirational or educational experiences for our members.
I spent a lot of time trying
to build a cohesive look and feel to our local chapter
by encouraging a consistent look to all of our events and graphics. It has been a wonderful experience. However, with that all said, at the end of
this year I will be stepping away from this role. My time and energy is currently needed
elsewhere, but I look forward
to bringing in a new spark to help continue building what I
have been working on for our region.
You’ve done work for hire for several magazines, been published traditionally through Odd Dot and
Harper Collins, and have also published independently. Can you tell us your
experiences with each and what you learned from them?
Having published
both traditionally and independently, I can say that they both have been a lot of work.
No matter which direction you decide to go in your publishing career, it
takes your all to do it right! It takes a lot of time and effort to
market your books, whether on social media or promoting at public events. It also takes a lot of time to review and
edit your own work. You have to be
involved in every step along the way…you are on 24/7!
If I had to
choose one way to publish, traditionally vs. independently, that would be to
publish traditionally. Here is why:
per my experiences, publishing traditionally has allowed me to be able to work
with a team of experts who know the best way to build my books so that they
will be the highest quality, most user friendly, and actually get into the
hands of the end user. It has allowed me opportunities to learn how the publishing world works. It doesn’t always
work right, or in your favor,
but I’ve gained invaluable knowledge on how to navigate situations that might
arise with my next project or publishing experiences.
Are you ever planning on writing a graphic novel?
(Or have you already written
one?)
I have a
few in the works, but nothing finished yet. Some
stories just take longer to find their voice.
Currently, I am illustrating the new Jack
and Jill Protectors of Safe Tomorrows comic found in Jack and Jill Magazine. I am also working on a hybrid
picture book/graphic novel with
Hippo Park currently titled On The Air
With Dr. Doodle Bug.
What upcoming projects
can you tell us about?
I am currently marketing my next illustrated picture book which
is a reimagined Florence Parry Heide classic picture book titled Giants Are Very Brave People, set to
release on August 1st.
I am also working
on two new projects. One is another
paper craft book with Odd Dot titled Building
Block Books: My First Town. This
book is a take on the classic children’s building blocks where young builders
will punch out, build, and stack a 3D city of their own. And I am working on, as mentioned above,
a hybrid picture
book/graphic novel with Hippo Park currently
titled On The Air With Dr. Doodle Bug.
What’s your best advice for aspiring illustrators for children’s work?
If you really
want it- Stick with it! Know that
this career path is not your normal 9-5 job.
It’s a constant hustle trying
to figure out new projects, while working on current projects,
and figuring out ways to
market your work. Also, learn how to
speak for yourself and your work, and never quit learning new skills or
refining your craft.
Short and Sweet
Pantser or Plotter? Pantser
Guilty Food Pleasure? French Fries and
Cookies
Favorite Hobby? Urban Sketching or antiquing for the perfect
treasure!
Cat or Dog Person? Dog
Who would you like to have dinner
with (living or dead)? My
Dad (we lost him when I was 12.)
Do you do your best work in the morning,
afternoon, or evening? When I first
started out, I used to like to work between the hours
of midnight and 5 am. Mainly due to
the world being complete shutdown so I could just focus on my work. Now, it’s the morning hours, and sometimes
late afternoons.
Website: https://littlerainey.com/
Instagram: instagram.com/littlerainey
Upcoming events and workshops: https://littlerainey.com/events
Join Merrill at the
Highlights Foundation Summer Camp in Illustration: Highlights Foundation Summer Camp in Illustration
Preorder Giants
Are Very Brave People: https://gatheringvolumes.com/item/FtG3jpk3T0QnEpiV1yFSiw
Books by Merrill:
ROAR! I’m a
Dinosaur https://gatheringvolumes.com/item/MEgaIBq6_d8BsF3VDGIFqQ OINK! I'm a Pig
Color, Cut,
Create • Dinosaur World https://gatheringvolumes.com/item/pAG4rDFNcoyEF-nfP4FOPg
Color, Cut,
Create • Horse Ranch https://gatheringvolumes.com/item/pAG4rDFNcoymdRXoahNwOA
