Isabel Moranta
Isabel Moranta is an award-winning Creative and Associate Design Director at Media.Monks.
Known for her powerful and conceptually rich designs, she brings a unique perspective to the creative landscape. Join us on a journey through her experiences in design and everything that unfolds along the way.
Hi, Isabel, how's it going?
Good. How are you?
I'm very well, thank you. It's lovely to see you again. And thank you so much for joining us on Behind the Design today.
Thank you for having me. Very excited to be here.
I think there's congratulations in order as well on your new position at Media.Monks. So, well done.
Thank you! It's almost been two months, and it's been great. The team is wonderful and I'm working on a cool project. So I can’t complain.
How was the transition from Locomotive to Media.Monks?
I have good friends at Locomotive – it was very special because I joined Locomotive as my first agency. Because before that I was a freelancer.
But the transition – it's been super nice. It feels like it's been the right move. I feel very, very lucky.
Yeah, I think as long as you don't burn bridges, I think it's always great. And when you start at a new agency, you make new friends, make new connections, make a new network, it's always quite a great thing. I think it's also really difficult to stay in one place for very long, because I think for growth, what always helps when you kind of evolve moving into different positions, or working with new teams under new conditions and new projects. So it's difficult, but I think it's really good for personal growth.
Totally. And especially – going back to Locomotive – it was special because I moved to Montreal to be close to the team and I feel like these days, it's an exception that we were all from Montreal, and we all went to the office. But in terms of growth, I agree with you: in a small agency, growth is not that easy. So I feel like when I got the opportunity to join Media.Monks, I was like, “Wow, yeah, that's a nice opportunity”, in terms of a new role and stepping up into the director level. Change is inevitable – so I'm very happy about that.
You mentioned that Locomotive was your first agency?
Yeah. Crazy – I’d recently launched my portfolio back then, and I started chatting with the Creative Director at Locomotive, and he was very interested in my work and… and everything happened!
Transitioning from a background in English studies and North American literature to a self-taught designer, now holding the position of associate design director at Media.Monks, is a fairly unique career path. Maybe you could highlight some of the challenges you’ve faced during this transition?
I was a teacher and during the pandemic, I remember I was there in Calgary thinking, “What do I do with my life?”
So I remember we were working remotely because of the pandemic, and I started teaching remotely. So that was something new for me. I was like, “Wow, there is a life outside a classroom.” So that was something that I really liked: I've always been interested in design. And I remember I was like, “What if I try?”. So I started learning, I registered into a boot camp – it was like, basics to learn the tools, and a bit of UX/UI, so I did that very fast. I met some interesting people through that, and, and yeah, I just started posting. It became an addiction, and in my free time, during my time that I was teaching, I was creating concepts.
These days, you can find everything online. And I had the time and I had the passion. I always hear my partner explaining the story to other people: “She was obsessed. She woke up at six, and she was in front of the computer.” It was like that. It was a lot of work.
Do you think your background in literature has affected the way in which you design projects now?
I think I always have English studies in my mind. Whenever I approach a concept, I think I try to find storytelling… What's the theme? What's the main subject? What’s the symbol that I can use? I try to find that storytelling, or that emotional connection with something I create that I would find in a poem for example. Even though I am a designer, I still love languages.
I think it's really nice to have a deep-rooted concept in all your work – it helps with all the decision-making later on, and it helps tie in your concept later on. I think that kind of process is essential for improved and better design.
Totally. I know there are a lot of talented designers who are more skillful than I am in terms of layout and things like that. But I think what I do personally, in my explorations, is that I try to find a connection. Like, a deeper connection with something that I create. Sometimes it’s not that good, because maybe I forget to be more about function. But I think that’s what makes what I do special for me.
How much time are you getting at the moment to do self-initiated concept work, having a full-time job in Media.Monks?
Wow, not a lot! These first two months, it's been a bit crazy – we have a very big project that I'm happy to be part of. So I don't have a lot of time, but it will go back to normal soon. I try to make time.
If it's like a rainy Sunday and we don't know what to do, I grab the computer because it's fun, it's not an obligation, I think it's, it's something nice to do for me. And that I want to keep doing.
I feel the same with concept work: it's not a chore, it's always something that you want to do. It never feels forced.
I agree totally.
Could walk us through your design process from your initial concept to final execution for a client job?
My ideal process would be of course, having the brief and reading it, studying it and understanding it. Then there’s something magic about – especially me; I think I'm more of a people person – going into the meeting with the client and listening to them – that connection with the client really helps me. I see some cues that will guide me: “Oh, I think that person would like that.” So I think there's something nice about that, and letting them speak.
We also do that first art direction presentation. I feel like it's my favourite part. I always show references, of course, and it depends on the project – and then based on what I think they're going to like, I start exploring concepts – bits and pieces. That first meeting of exploration and art direction gives us a lot of insights. And then we can explore more, in advance, something more final for the next one. So there's always the art direction, more like, test-the-waters kind of meeting, and then after that, there is the layout exploration with real function and content.
So that first meeting is kind of like a mood board and a style scapes or style tiles, together.
It depends how big the project is. But normally, personally, I start with a lot of visuals. Some people tend to think that “Oh, we need to explain everything to the client” – like, a lot of strategy and a lot of UX. I think sometimes the client – in the first meeting, especially – just wants to see things. It's not only strategy – I think we can explain the strategy through the visuals. So for me, that works, and that makes sense – maybe because I'm on the on the side of being the visual designer! I guess if you ask the strategist they will tell you, “Oh, the strategy is most important,” but personally, when it’s my turn I prefer to show something more visual and then talk over it, like voiceover it.
Do you enjoy presenting your ideas?
I love presenting. It comes back to the skills I gained being a teacher so I like it. I like the relationship with people. And that moment is important.. I feel like we should let people who do the work present, because there's something cool about that ownership.
Do you have a project that stands out as a turning point in your career?
My portfolio there was something very special and emotive about it. I was asking, “How do I use a portfolio if I don't have any work?” So people were like, “Yeah, people do like case studies. So you can try that.” And the fun part was that I built that portfolio in four months – not only the portfolio, but also the work in the portfolio. So, I didn't have any clients. I had one, but a freelance project, and it hadn't finished. I worked on those four case studies, plus the portfolio, in a very limited amount of time.
I collaborated with Lucianda Cabbitaro. I just knocked on his door. And he was like, “Yeah!”. And without his help, I wouldn't have been able to do it, because obviously development is as important as design. It was surreal. Because what are the odds that he accepts doing a portfolio of mine, when I am not even a designer yet? It was meant to happen.
It was a great site. One thing that keeps coming back into my memory when I think back to it was your preloader and page transition. It was something that I remember watching a few times going oh, that's really thoughtful. It's curated. It's really kind of just smoothed.
Thank you. It makes me laugh when you mention the preloader because it was the moment that I was like, “That's not it.” And I was like… I had that idea in my mind, and he was not nailing it. And he was like, “Okay, I think I'm gonna send you an app… and you just do it, and you send it to me, or you do it on Photoshop or something”, like he was getting a little nervous because I was very, very attached to that transition!
I love presenting. It comes back to the skills I gained being a teacher. I like the relationship with people And that moment is important.. I feel like we should let people who do the work present, because there's something cool about that ownership.
What was that process like, working with a developer for the first time?
Sometimes I hear people with 15 years of experience, and maybe that's you, and you have a whole other level of vocab – like the way you explain transitions and technicalities. At that time, I was explaining it in my own way. I mean, it worked. But maybe I didn't have the level of technical experience. I think I just found my own way to explain things. I've improved and I have, of course, gained a lot of experience. When you work at an agency, you have no other way than just adapting and learning fast!
So are you pretty much fluent in Spanish, English, and French, coming out of Montreal?
Yeah, and Catalan.
Oh, wow. Very impressive. I speak one language!
A question that I often want to know from designers because I think so many of us in this field are working quite a lot of crazy hours, either through deadlines or passion or whichever it is, but how do you then maintain a healthy work-life balance?
Wow, yeah, that's a tricky one. I try. Lately, as I told you, it's been crazy, but I still managed to go outside a lot. I have two French Bulldogs. And no matter if you want or not, you need to go out, so we normally go out in the morning, noon and night. And to be honest with you, I thought that would be a curse when I got my first dog three years ago, but I personally love it. If it's good for the dog, it's good for you, right?
I also do a lot of stuff. Like, my friends always tell me that I do a lot. I’m very active. My perspective is like “I could do way more”. But I try to go to a lot of events, concerts – in Montreal, we're lucky because there's a lot going on – and try new restaurants. And I forced myself to do stuff like, I go to spin classes, I work out… things like that.
You mentioned music – is that quite a big part of you and your and your partner's life?
Yeah, yeah, we try to go to everything that we like. Here in Montreal, I feel like you can go to a concert – I mean, a nice concert – every month. So I think that makes a difference. And restaurants… you could never stop exploring restaurants in Montreal.
Are there any designers or studios or freelancers at the moment that really inspire you?
Yes. Difficult question, because there are many. But I'm gonna go with two studios that I like from Spain, because I'm Spanish. Not just because I’m Spanish, but I kind of like the fact that they’re Spanish too!
I had a listen to Joe [Diver]'s interview, your first interview in the series, and I think he actually mentioned them, but they're super nice: it’s Querida from Barcelona. They're very editorial, and very messy, very experimental. And the photography they use, I don't know if it's because they do explorations, but or they kind of get these amazing clients with this amazing photography, but everything they do, it's lovely – I love them. And they're very unique. I kind of like designers who grab a style, and they don't try to copy. Because people will criticise like, “Oh, that doesn't have a function?” or “Where's the UI? that's not applicable on web,” but who cares? Like if you find a style that you like, and people come to you for that, that's amazing. I kind of value that a lot.
The second one would be Naranjo - Etxeberria. That's a difficult name! They’re from Madrid. Also, they do a lot of fashion. Check them out, because they're wonderful. They do fashion brands, and they're very editorial in everything they do. It's neat, it's special, it feels theirs. So I also appreciate them a lot.
I kind of like designers who grab a style, and they don't try to copy. If you find a style that you like, and people come to you for that, that's amazing.
Is there anything else that you’d like to say to close off this chat?
No, just to thank you for having me. As always, I take it as a personal challenge. I tend to think, “Oh, no, I don't want to do it!” I don't want to be exposed because I’m still shy inside. But I appreciate the invite, because it forces me to do things that I don't feel comfortable doing. I like feeling uncomfortable so that I grow, and it makes me stronger as a person. And I want to thank you for that.
One thing I would love to know, and this is shining a light on some other designers at the moment. So are they any designers or studios or freelancers at the moment that really inspire you?
Yes. Difficult question, because there are many. But I'm gonna go with two studios that I like from Spain, because I'm Spanish. Not just because I’m Spanish, but I kind of like the fact that they’re Spanish too!
One is good enough. I think a lot of people are talking about them right now. I had a listen to Joe [Diver]'s interview, your first interview in the series, and I think he actually mentioned them, but they're actually super nice: it’s Querida from Barcelona. They're very editorial, and very messy, very experimental. And the photography they use, I don't know if it's because they do explorations, but or they kind of get these amazing clients with this amazing photography, but everything they do, it's lovely – I love them. And they're very unique. I kind of like designers who grab a style, and they don't try to copy. Because people will criticise like, “Oh, that doesn't have a function?” or “Where's the UI? that's not applicable on web,” but who cares? Like if you find a style that you like, and people come to you for that, that's amazing. I kind of value that a lot.
And the second one would be Naranjo - Etxeberria. That's a difficult name! They’re from Madrid. Also, they do a lot of fashion. Check them out, because they're wonderful. They do fashion brands, and they're very editorial in everything they do. It's neat, it's special, it feels theirs. So I also appreciate them a lot.
I think for me as well. I mean, I would love to know if you want to ask any questions or have anything to say, because I am loving this conversation. But if there's anything that you'd want to bring to the forefront of this chat.
No, just to thank you for having me. As always, I take it as a personal challenge. I tend to think “Oh, no, I don't want to do it!” I don't want to be exposed because I’m still shy inside. But I appreciate the invite, because it forces me to do things that I don't feel comfortable doing. I like feeling uncomfortable so that I grow, and it makes me stronger as a person. And I want to thank you for that.
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Each poster is a tribute to the individual we interview, incorporating elements from their conversation into the artwork and designed to encapsulate their distinct style.
