Jill McDonald is a name you've probably seen on your child's bookshelves, or maybe she's unknowingly been the artist behind your little one's favorite PJs! She's an artist and illustrator who's been brightening the world of children's design for over 20 years. With her charming characters and colorful, approachable style, Jill has a knack for creating art that speaks curiosity and joy.
For our Around the World print, Jill brought iconic landmarks, animals, and monuments to life with her signature watercolor feel — giving our littlest globetrotters a fun way to explore the world, right from their beds. With nearly 4 million copies of her children's books sold and her 35th book on the way, Jill's creativity knows no bounds.
In this Q&A, we chat with Jill about her journey as an artist, her design process, and what makes the Around the World print so special.
Little Sleepies: Can you tell us a little bit about your journey as an artist and illustrator, and how you got started?
Jill McDonald: I've been an artist and illustrator for 20 years, running my own studio, Jill McDonald Design. Ever since I was young, I've loved to draw and paint. I always had crayons in my hands, constantly creating something. Art has always been a huge part of my life.
Growing up, I struggled with dyslexia, which made learning in a traditional way challenging. Art became a way for me to make sense of things. I think it's no coincidence that I've gravitated towards a style that often incorporates an educational component — visuals were a much easier way for me to learn. I embraced that and used art to navigate my own learning journey, which has shaped my path as an artist today.
LS: I saw on your website that you also have a background in textiles, which really seems to show up in your artistic style. Could you share a little bit about how those experiences influence your process?
JM: I always knew I wanted to be an artist — my dad was an artist, too. He had a commercial graphic design studio in the Midwest, and I grew up watching him work on packaging design for the food industry. Seeing that world up close, I knew I wanted to follow a similar path, and my parents were always very supportive of that dream.
I went to Rhode Island School of Design and originally thought I wanted to be a fashion designer. But I quickly realized that fashion design involves a lot of math, and with my dyslexia, that wasn't the best fit for me. What I really connected with were the patterns on the clothing, so I shifted my focus to surface design. From there, I realized I also love incorporating a storytelling element into my work.
LS: Can you explain the difference between illustration and surface design, for those that may not know?
JM: That's a great question! Surface design is typically a repeating pattern — something you see over and over again across a surface, like on fabric or wallpaper. Illustration, on the other hand, is more like a sentence or a paragraph that tells a story. It usually explains or evokes something, and often continues from page to page, like in a book.
LS: How did the transition to children's design happen? I know you have a history of working with us at Little Sleepies, and with children's illustrations in general. Was that connected to your experience using images to learn and teach?
JM: Absolutely! For me, illustrations were always my gateway into learning. Pictures made everything click, so I've always wanted to make learning fun. I've always admired illustrators like Mary Blair and Richard Scarry, who brought so much fun and whimsy to their art. That's the kind of energy I wanted to bring to my own work.
One of my early projects was a series for Oopsy Daisy Wall Art, where I created maps of the United States and the world. I loved exploring those topics through my art. I also do this in the Hello, World! series for Random House Kids. It's an early learning series focused on science and nature, and I write it as well. The art is colorful and approachable, making big topics — like the ocean, the solar system, or rocks and minerals — feel accessible to early learners.
LS: How did you first become connected with Little Sleepies, and what was your first print for us?
JM: Maradith reached out to me, and the first print I did for Little Sleepies was the Alphabet Friends print. It was during COVID, so we did everything online. I was really excited when she picked some fun designs!
One thing that's always impressed me about working with Little Sleepies is the attention to detail. For example, I love how they'll add a fabric to complement a print or scale a design just right — it always feels intentional. I appreciate the level of care the team puts into the products. When I get a commission, I always want to give it my best because I know your team will do the same.
LS: Let's talk about your Around the World print, which our team and community is just so excited about. How did you choose the landmarks, icons, and animals featured on the design? That must have been a challenge!
JM: I tried to pick things that I thought were interesting, and the LS team gave me great feedback. I also focused on including iconic, beautiful things. One thing I always strive for in my art is finding a balance between the expected and delightful, unexpected details — something that keeps your eyes on the design as you explore it.
LS: How does your process go from concept to design? At what stage do you work by hand, and when do you work digitally?
JM: I work by hand — I scan everything in, and it's all editable in layers, but I love the act of painting and drawing. There's a freedom I feel when working by hand that I don't get from a computer.
When I start a project, I don't do a ton of sketches. I prefer to create an overall look that isn't completely finished but gives a clear idea of the direction I'm heading. My drawing skills aren't amazing, but I've learned that my art comes to life with texture, color, and cut paper, rather than in detailed sketches.
LS: Were there any uniquely challenging moments while working on the Around the World print?
JM: The hardest part is deciding what isn't there. Every place means something to the people who live there, so figuring out what's included and what's left out is always a challenge. You want everyone to feel represented, so I try to include as many icons as possible to create that connection.
LS: Do you look at photo references, photos you've taken, or where do you get that direct inspiration or reference?
JM: Yeah, definitely. I start by looking online, but I also spend a lot of time at the library looking at photos. I avoid illustrations — I want to see the real thing. For example, I've been working on a world map, and I've been studying moose in Alaska. Even though my art isn't realistic, I like to have an understanding of the real details so I can represent them in an accessible way for children.
For me, it's not just about making something pretty — it's about creating something with purpose, sparking curiosity in children. I love that connection.
Jill McDonald's art thoughtfully blends fun and education, giving little ones a chance to visually learn something new from even the youngest ages. Whether it's her Around the World print for Little Sleepies or one of her Hello, World! books, Jill's work sparks a unique curiosity and joy, and we're so grateful to get to work with her!
Want to explore more of Jill's work or grab one of her books for your little adventurer? Check out her site for more!
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