For illustrator Monika Jurczyk, better known as Monsie, creativity often begins with a song. What started as one spontaneous illustration inspired by David Bowie’s Let’s Dance soon evolved into a vibrant poster series celebrating the beautiful relationship between music, words, and visual storytelling. Each poster captures the rhythm and emotion of a song through Monsie’s signature style, minimal yet deeply expressive, balancing precision with playfulness.

Driven purely by curiosity and intuition, the project became a personal exploration of how typography and illustration can exist as equal storytellers on the same stage. Monsie’s female characters dance with letterforms, blending motion, emotion, and melody into a visual rhythm that feels alive. It’s a tribute not only to music but also to the fearless joy of creating without rules, where each poster becomes both a performance and a celebration of artistic freedom.

What was the brief?

No official brief, just me, a song stuck in my head, and an illustration that refused to stay single. One poster turned into eight, and that’s how the series was born.

How did the initial pitch/brainstorming phase go?

The pitch went great. I was singing along with Bowie, sketched a few things, and said yes immediately. 

What was the process behind ideating the concept?

The idea started from curiosity. I wanted to see how far I could push the relationship between words and illustration. I’ve always loved drawing women, so it felt natural to make female characters the central figures in these stories. The songs in the series were ones that played an important part in different moments of my life (and don’t get me started, there are many more), or ones that simply felt important to visualize while thinking about the project. It was less about planning and more about letting the visuals and lyrics “dance” until it felt right.

What was the production process like?

I worked in Adobe Illustrator, starting with rough digital sketches to find the right rhythm between type and form. Once the general composition was set, I focused on the typography to create a sense of harmony between the two. Color came later, chosen to match the emotional tone of each song. The process was very intuitive. I kept refining until the characters and words felt cohesive.

What was the biggest challenge during production? How did you overcome it?

The main challenge was finding the right balance between text and illustration, making sure one didn’t overpower the other. I solved this by treating both elements as characters in the same story, giving them equal voice and purpose.

What kit/tools/software were used to create the project?

Adobe Illustrator is my go-to tool.

What is one funny or notable thing that happened during production?

I couldn’t get the song I was working on out of my head for days.

What’s the main message of this project and why does it matter?

If there’s a takeaway, it’s that personal projects and experimentation are essential. I like to start with play, no rules, no final plan. For this one, the characters, words, and music lead the way. I was just along for the ride, putting my own little show together.

How long did it take from inception to delivery?

From the first idea to the final poster, the project unfolded over a few weeks. It started as a one-off experiment, but once the concept took shape, I dedicated my free time to exploring new ideas and developing each poster with the same level of emotional attention.

Can you describe the creative spark or inspiration behind the initial concept? Was there a specific moment or insight that ignited the idea?

Blame it on Bowie’s “Let’s Dance.”

How did you ensure that the concept aligned with the brand's values, goals, and target audience?

Since this was a self-initiated project, the “brand” was really my own creative identity. I wanted the series to reflect my illustration philosophy: curiosity-driven, minimal yet expressive, and rooted in emotion. Every decision intuitively aligned with that vision of merging artistic playfulness with conceptual clarity.

Were there any alternative concepts or ideas considered during the ideation phase? If so, what led to the selection of the final concept?

At first, I was simply playing with words and a character I had drawn for fun. Then something clicked: the right composition appeared, and it felt exciting. The process was so interesting that I decided to follow it and see where it led.

Can you discuss any collaborative or interdisciplinary aspects of the ideation process, such as working with other departments or external partners?

It was a solo mission. “Just Me, Myself and I,” as De La Soul would say (or Beyoncé, depending on your mood).

What role did consumer research or market analysis play in shaping the concept and its execution?

Did extensive research by going through my old playlists.

Can you discuss any unique or unconventional production techniques or approaches used to bring the idea to life?

It might not be unconventional in general, but it was something new for me. I began treating letterforms as characters within the composition, not just as readable elements or carriers of information, but as physical objects the illustrated figures could interact with.

How did you ensure that the concept remained innovative and stood out in a crowded marketplace?

I wanted to do something I hadn’t tried before. Visually, I combined two fonts with one or two characters and let them interact to create a new narrative. Conceptually, I played with the tension between illustration, typography, and the emotion each song evoked. The goal was to create compositions that felt both expressive and emotionally resonant.

What do you hope it achieves for the brand?

Ideally, it leads to a big outdoor campaign or at least a really cool gig poster.

Credit list for the work?

I’d like to thank Fleet Foxes, Bowie, Billie Eilish, Arcade Fire, Betty Davis, Florence + The Machine, John Butler, Lesley Gore… basically my entire playlist.