Jen Mussari is a lettering artist, designer, and illustrator who currently lives and works in Brooklyn, NY. We asked the coolest gal around to chat with us about her background and how she made the transition to full-time creative work. Read on for the full interview.

CB: Give us some history, did you go to college? What did you study? How did you get into lettering?

JM: I grew up in the suburbs outside of Philadelphia going to car shows with my dad and listening to punk music alone. I got really into doodling band logos on my notebooks and just…never stopped! When I got to high school I started putting my (really bad) art on the Internet, and found a community of people from all across the world who encouraged me to keep working and get better. This is where I learned that there are entire colleges just for art, just about lost my young mind, and focused on building a portfolio. I got into MICA in Baltimore, and had complete culture shock when I moved there. I learned so much about how to see and think. I know that sounds kind of weird, but I really do credit my art school education with the way that I arrive at visual solutions to problems. When I was attending art school, I was making fine art almost exclusively, even though I never stopped drawing letters. I snuck into an Illustration class that I didn’t have the prerequisites for that was taught by Joel Holland. When I saw the work that Joel was doing, something clicked for me: I realized that I could have a career exclusively drawing letterforms. Whitney Sherman then waived all of the credits that I didn’t have so that in my second semester of my senior year I could change my major from Fine Arts to Illustration and still graduate on time. These two saw something in me and I couldn’t be more grateful that they led me in this direction. I took off running and haven’t stopped since.

CB: That’s awesome that someone saw your talent and helped put you on a path to developing it. Right now you’re a freelance illustrator, what did you do right after graduating?

JM: Right after I graduated I moved to San Francisco to try and continue growing my freelance business off of the momentum I garnered in school. Things didn’t go so well there, actually. I never felt like I fit in that city, and also needed to work a retail job part-time in order to afford to live there. Now, I actually really value the things that I learned while working retail; and I also believe that if you’ve had a really crummy job at some point you are going to be better off for it. I learned so much about how to deal with entitled people, how to talk people down from irrational anger, and how to manage client relationships from being an in-store personal shopper at a women’s clothing store (believe it or not!) My peers who have also had jobs in retail, restaurants, call centers, etc. are noticeably better freelancers because of it.

It didn’t take long for me to get restless in California. After a year and a half, my apartments rent was about to be raised by $800 a month and I got the hell out of there. Brooklyn bound, I had no idea what was ahead. But I was very ready for it.

CB: People tend to look down on retail workers, thinking they don’t need skills to do the job, but I believe every person would be better at interpersonal relationships if they had to work some sort of retail/service industry job in their early life. So, how did you find your footing in Brooklyn? You seem to be surrounded by a great community of people!

JM: I found my community of friends in Brooklyn largely through the internet. My husband and I were staying in an Airbnb rental in Cobble Hill in 2012 to check out the neighborhood, and he tweeted about it. This guy that he had chatted with via Twitter before invited us out to dinner with his friends. That guy was Cameron Koczon, and we became instant buds. When we moved in, Cameron introduced me to all of his pals, who quickly invited me into their lives. New Yorkers have been nothing but inviting and kind to me since the day I got off the plane from SF. Three years later, my community feels like family and about 20 of us share a five-floor townhouse in Gowanus as our workspace (formerly Studiomates in DUMBO). Most of us are freelancers, some of us work for companies remotely, and some of us are small self-started companies. We have in common an appreciation for hard work and a love of rooting for each other. I’ve been invited onto some of my favorite projects because of the people that surround me, and that is how I came to be a part of the lovely freelancer family Ghostly Ferns!

Throughout all of the adventures I’ve had in Brooklyn, I really feel that my most wonderful real-life friends have also been internet pals. Sometimes New York City can be exhaustingly social, and the internet gives us an outlet for social expression that is safer for introverts. I have friends that I talk to daily on Twitter that I haven’t seen in years. Yet they still feel close to me because we share things with each other regularly.

CB: The internet can be such a positive force in finding new friends and creating a sense of community when you first move somewhere. I used twitter the same way as your husband when I moved to Pittsburgh and now those same people are my core group of friends. It’s because of one of them that I work for CB! How has your career as a freelancer evolved over time? I know when we first met you, you had a part-time gig working for Tina Roth Eisenberg. How’d you make the leap to full-time freelancing?

JM: Having a part-time job allowed me to take certain risks with my freelance career as it was starting out, which is generally the hardest time to take risks. Since I had another source of income, I could be selective about the clients that I worked with and build a portfolio that I was really proud of. My part-time job working for Tina mostly included managing Studiomates, a co-working space that she operated in part with the amazing folks at Workshop. It was a great job because I got to maintain a feeling of community amongst really wonderful people who I admired and respected, who then in turn came to respect the work I was doing as a freelance illustrator. But it was tough, at times, scheduling both a part time job and a budding freelance career. I knew that my goal was to become a full-time freelancer, and I went for it in March of 2014 when I was confident in my clientele and the monetary savings I had accrued. They say you should have at least three months’ rent in your bank account before you make drastic decisions! I wanted to be prepared and do it the right way, and I’m glad that I did. Work has been consistent since then and I am feeling very good about where I am today!

CB: You were so smart to save up before going out on your own! A lot of people forget that step and then end up having to take on work they don’t love just to put food on the table, so to speak. How’s the future looking? Is there anything you’re doing now that you’d like to do more of? Any new skills you want to learn?

JM: Ironically my future is full of studying the past! I am currently doing lots of research into the history of Lettering as an industry to figure out more how it informs where we are today. Lately we’ve been seeing a massive resurgence of designers and artists who specialize only in hand lettering (instead of generalizing in type design, lettering, graphic design, and illustration, for instance), and I have been doing careful study into what this means for the future of my industry. I would love to live in a world where lettering will continue to be as popular as it is today. So I am trying to get back to the roots, reading the words of and studying the works of masters like Doyald Young, Robert Bringhurst, Herb Lubalin, etc. This really helps me to gather meaningful context to where we are in the history of the industry of design. As for a less literary future, I'm getting back to my roots with drawing as a medium and am focusing on experimenting with mark-making on some personal work. I find that keeping my drafting brain challenged makes for better work that I actually put out into the world; even if it doesn’t see the light of day! Art History is definitely my comfort zone, so I try to keep in practice by drawing from the Masters when I can. My favorite draftspeople from the past to study are Kathe Kollwitz, Edward Hopper, and Henri Matisse.

CB: You can’t move forward without looking back occasionally, right? Thanks for chatting Jen!

If you’ve been living under a rock and haven’t heard of Jen Mussari before, you can follow her on twitter, instagram, dribbble and check out her amazing Squarespace website here.

Phil Coffman is a designer living and working out of the well-known design capital of the south, Austin, TX. He founded and built Method & Craft, an industry “behind the scenes” blog beloved by many and in the last year, transitioned into a new role at PCPartPicker. Read on to learn more about how his transition has helped change the dynamics in his family life.

CB: About eight months ago you transitioned from a role as VP of Design at SpaceCraft to Design Lead at PCPartPicker. Part of this transition included the ability to work from home. How has this played out? Have you found anything you love, or hate, about work from home life?

PC: There’s typically an initial Honeymoon period with any new job because everything is new and exciting. I’ve been working at PCPartPicker since October and honestly I still feel like I’m on the Honeymoon. This change has been the best professional decision I’ve made to date and it has to do with the switch to working from home as well as the team and work we're doing. I was extremely cautious entering into this new work arrangement as I’ve never worked from home before and with three kids to care for I anticipated it to be an arduous exercise in boundaries and self-management. So far it hasn’t been as difficult of a battle as I imagined, which is thanks to clearly defined schedules and expectations with my family and a work team dynamic which provides a great deal of flexibility to each employee. I love this flexibility and how we are all empowered to do our jobs using methods which work best for us as individuals. I’d say the hardest part is working in isolation. We use Slack daily, meetup during the week for lunch (the majority of the team is local), and see each other in extra-curricular settings. But I do miss the in-office banter and spontaneity as well as bouncing ideas off other designers. We’re a growing company so I anticipate a day when I’ll have another designer or two working with me which I think will be great.

CB: A clearly defined schedule is essential to accomplishing work from home. Distractions are the gateway to procrastination, at least for me. What has your new schedule given you time to do now that you couldn’t before?

PC: The new schedule mostly enables me to be more available to my family but also more connected to the happenings around the home. My family has always been extremely important to me but the ritual of getting up and going into an office during the week hindered me from being as in tune with them as I wanted to be. No matter how hard I tried I found myself out of step with my wife and with my kids. Now that I’m at home, even though I work in a room with the door closed, I know what’s going on, I witness what my kids are up to, what my wife has on her plate, etc. and I can quickly make myself available to them. It also allows my wife the chance to step away to run errands without the kids if needed. In the end we have a much healthier family dynamic.

CB: That’s great! A good work/life balance is so important to being happy. I would imagine that designing for an e-commerce website is rather different than designing tees. Where do the ideas for your t-shirts come from?

PC: The recent shirt designs I’ve done came from old ideas I had but never did anything with. “Trifecta” was based on a design I made years ago when I was exploring a new design direction, just for fun. “Sunshine Time” is based on a piece in a site design I did for NET magazine when they asked me to come up with a shirt site built around a cause. It was a design challenge and one of the shirts I featured in the comp is essentially “Sunshine Time”. My design focus over the past few years has been apps, websites and product design. It took digging through my design archives to discover lost concepts and fresh ideas. Going forward I imagine I’ll need to lean on other source material to come up with new concepts.

CB: A few months ago you traveled to Ethiopia to work with Food For The Hungry. How did you get involved with them and what sorts of things did you do on your trip?

PC: I became involved with Food for the Hungry through an organization called Hope In Ethiopia, which is a partnership between the church I attend in Austin, Food for the Hungry, and the local community in Zeway, Ethiopia. The organization was founded when a group from the church learned about orphan-led households through Food for the Hungry. These were kids who had no support system, no means to go to school, or hope for a better future. Over the years money has been raised to help support their housing, school supplies, food, miscellaneous expenses as well as provide access to counseling, jobs-based training, and other means of meeting emotional, spiritual, and physical needs. Part of the annual work involves sending a group of people to meet with the kids in person, in their homes, to find out how they’re doing, what concerns or needs they may have, and how we can continue to support them. I was lucky enough to go on one of these trips back in April. We spent 4 days visiting kids and working alongside the local Food for the Hungry staff. It was an absolutely amazing trip, completely life-changing for me.

CB: Wow - that sounds amazing and so rewarding. Good for you for donating your time to such a worthy cause! We know you have a photography hobby and you used to write for Method & Craft, what’s filling your free time nowadays?

PC: Most of my free time is filled with family stuff. We started fostering a little girl in Oct and she’s still with us, so that is a big focus for us all right now. It’s been a fantastic journey! I do some freelance work from time to time, but try to keep that at a minimum and only small projects. We enjoy being outdoors, camping when the weather is nice, going swimming, etc. For pure fun I’ve gotten into Minecraft which has been a nice break from the day to day. My coworkers and I play on a server so we’re all building and exploring a world together. It’s nerdy but I shamelessly enjoy it.

CB: Nothing wrong with nerdy fun! Thanks for chatting with us, Phil.

You can see more of Phil’s work on his website, or follow him on twitter, dribbble, instagram, and VSCO. To be notified whenever Phil releases a new CB tee, sign up here.

Beto Petiches is an illustrator, animator, and graphic designer from Mexico City. Despite spending most of the past four years working on a singular project, he has still found time to doodle some great tees for us! Read on to learn how he turned a life of doodling into a career.

CB: Hey Beto, how did you get started as an illustrator?

BP: Thank you. It is quite an honor to be referred to as that, I personally don’t think of myself as an illustrator because most of my drawings don’t get to that stage where they can be what I consider illustrations. I think of myself as a doodler, that’s where my drawings live happier.

I started pretty young - I was the classic shy introverted boy who drew to express himself. I wasn’t that good, but my family did a pretty good job encouraging me to keep going. My father was a great painter and cartoonist, he drew for some newspapers, I was really inspired by him. I copied the cartoons from the TV shows I liked and started making my own comics. The kids at school liked that, so it was my way to make friends. Soon I was known as the guy who could draw funny stuff. I got interested in graphic design, I didn’t know a thing about it, but I was really into it. Designing logos and posters for school campaigns and friends’ “imaginary” bands (notice that the word imaginary is AFTER friends, I’m talking about their bands, I had real friends) led me to study Visual Communication.

I learned a lot about design, typography and art, not that much about drawing or illustrations, but after that I got to work with a designer I admire a lot, Alejandro Magallanes, he was a great teacher. With him I did make lots of illustrations and animations, it was a really fun experience. I kept drawing and I learned (and keep learning) how to use my drawings to express not only humor, but meaning. That’s why I use that sketchy look, the first intentions drawings are full of expression and are more human to me. Just like my preschool TMNT comics were.   :)

CB: Which do you prefer to do the most of now? Doodling/illustrations, graphic design work, or animations?

BP: I think I have one that I like the most but more than that, I like the fact that I’m lucky to be able to do those three almost all the time. That is because I tend to get saturated or frustrated with repetitive things, I think it happens to many designers or illustrators. For me it is really exciting, because you don’t get stuck, you keep moving and learning. For the past 4 years I’ve been working in a stop motion project, called Revoltoso, with friends and colleagues. The last year and a half I did nothing else than animating, about 14 hours, seven days a week. We were 3 animators, living the most hard but enlightening days we’ve been lucky to experience. The animation process is over now and It was the best thing I’ve done so far, but as you might imagine, it is a relief to be able to focus on design and other things now. Animation is tough, specially stop motion, but the satisfaction is way greater than the effort; it is the one where I feel more comfortable. I really like it, even if it’s just quick animations, that is why I animate a lot of the things I doodle, to see those sketchy lines wiggle.

As I said, it can be exhausting, that is why I’m lucky to be able to do other things, otherwise I’d be really tired. Maybe I would have better animation skills, but I would lose other experiences. I don’t think skill is the defining rule for my work, or at least, it is not how I approach it. My first concern is always the idea, a good concept. The technique won’t matter if you have a good idea. That is what I try to do with my work.

Don’t get me wrong, that’s just what I try to achieve. There are people with brilliant ideas and impeccable skills, and those are the best. If you can achieve both, go for it. I really admire those artists, but I have a personal fascination with the process. To be more clear: it’s not unusual that I like better a sketch in a storyboard, than a final animation product. Something about the expression of quick lines, just gets me.

CB: This is the project you were working on, Revoltoso? This movie looks so cute! How did you get involved with this project?

BP: Yes, that’s it! Well I got involved from the very beginning, or maybe even earlier. The directors of the film are two brothers who started the company Cinema Fantasma in order to do Revoltoso, a stop-motion film about a little boar in the Mexican Revolution. I went to college with them, but even before that, we went to the same high school, junior high and even primary school. So we knew each other and have worked on different projects way before the idea of Revoltoso started.

In the early stages, along with some other friends, we were drawing concept art, characters, sets, soldering armatures for the puppets, etc. We did everything ourselves, even learning stop-motion, because we were all new in this. Then I left for a while, a whole year which I used to work with Magallanes, but returned when the animation began. The animation stage is over now, the film is still missing some sound editing and a little post production, but it is almost ready to start knocking on film festivals’ doors.

Me and my partner, Maira Frappé, are in charge of Cinema Fantasma’s graphic design. We did the logo and all the visual communication for the company. I also did Revoltoso’s logo and even the 2D animation you see at the beginning of that kickstarter video. We have plans for many other projects, but first, we need to get Revoltoso out there, I hope someday you guys have the opportunity to see it. We know that not everyone will like it, but we hope they would at least appreciate all the work involved. Because it was a lot of work, but as you can see from the video, it was also a lot of fun.

CB: That’s fantastic! You must be so proud of all the work the entire team has done to get to this point. How have you found time to design tees for us (and other outlets) while participating in a very focused and intensive project like Revoltoso?

BP: We finished shooting in April, so now I have more decent work schedules. But even when you are shooting, you always find time to draw, because you can’t animate all the time. We have limited space and resources, like lights, cameras and even people. Also, we didn’t have an ideal studio so we had problems with the weather and the materials, and all those things take time to fix and you need everything to be perfect to set the new shots and have all the puppets ready, etc.

About a year ago, I saw an amazing design on Brandon Land’s instagram, I really wanted to have that on a print or something. Some days later he announced that he made it into a t-shirt, I immediately bought it. That’s how I discovered Cotton Bureau and I thought it was awesome, because I had always wanted to have my designs on t-shirts, I had even made some t-shirts myself with ink, brushes and markers, but it was really difficult for me to get some of the ideas I had in mind. So that same night I learned how it worked and decided to upload something to see if it got accepted. It did.

I did the Beary Sorry design exclusively for Cotton Bureau, but I noticed that I could upload some of the designs I had on my instagram, just like Brandon Land did. That’s why I really liked it, I could upload anything that I think would made a great shirt design, that’s why It doesn’t take much of my time, it is what I do anyway.

Sometimes when I have more time, I try to design for specific themes and contests. But in the meantime the doodle nights are just fine. It’s not that I don’t dedicate time to the things I upload because I don’t care, on the contrary, I love to have that freedom, I think all that random doodles are more honest. From the mind to the paper without that many thoughts or filters. Maybe that explains my fascination with sketches and scribbles.

CB: That’s a great point, that what comes out first in our work is probably the most honest. It’s great that you have been able to have success turning your doodles into t-shirts! If you could work on a project of your choosing, with any designer/illustrator in the world, what type of project would you work on? Who would you like to work with?

BP: That’s a really tough one. I have a lot of heroes that I look up to, they just inspire me. I will try to think on some in particular while I answer the first question.

It would definitely have to be really dynamic and fun. I think the best project would be one without an specific goal. Maybe it ends up in a flipbook or a poster or a mural or I don’t know, but the process would get us there. I like it when, by some accident, you end up in a totally different but awesome place. That’s how I try to work, not being afraid of erroring (hehe). For me, the ludic approach is just more fun and interesting.

But if you want a more precise answer, I would really love to make some drawings and designs come to life. I had the opportunity to do that for Alejandro, but I would also love to animate some of James Victore’s amazing posters, Luke Pearson’s characters, Jean Jullien’s illustrations, Jon Burgerman’s doodles, Mikey Burton’s drawings, or Isidro Ferrer’s designs. I’ve got too many idols, and I would love to create something with anyone. I think I would learn a lot, at least that’s what I always try to do. As illustrators, doodlers, animators, etc, we never stop learning. We are eternal students, but some of them are great teachers, as well. So, I love being able to see great work everywhere and learn from that, as I try to incorporate all my learnings in my own work.

CB: Thank you for chatting with us, Beto!

To see more of Beto’s work you can follow him on tumblr or instagram and you can sign up to be notified whenever he releases a new tee on Cotton Bureau right here.