“Constraints often lead to the most creative solutions." 

Let’s start with a short bio. How did you get into design? 

Donald Roos (DR): "I was born in Bloemendaal, a conservative but affluent town near Amsterdam, into a creative and entrepreneurial family. My father owned a photography studio, and my mother had studied art but stayed home. From an early age, I was drawn to creating my own projects. At 8 or 9, my friends and I made a school newspaper with typewriters and rub-on letters—we even sold ads in our village.

I went on to study Graphic and Typographic Design at the Royal Academy of Art in The Hague. After graduating, one of my professors offered me a job, but after six months, I realized structured environments weren’t for me. The idea of fixed vacation days made me anxious, so I started my own design firm."

“My typography background gives me structure, but I also love creative chaos.”

The need for freedom can sometimes clash with the realities of working in design. How do you balance the two?

DR: "Freedom—or at least a sense of freedom—is crucial to me. I struggle with being in the same place every day, which is why I prefer working with freelancers instead of full-time interns. I want the flexibility to set my own hours.

But with freedom also comes the need for discipline. It’s important to work on something every day—if not for a client, then on your own project. Working with freelancers keeps your team flexible and fresh. Especially for personal projects, it’s inspiring to collaborate with people who either do the same thing but think differently or do something different but think the same way.

Of course, the downside of interns is that they’re there every day—even when you’d rather have a day to yourself. [laughs]"

Talk us through your process: is it structured, or is it chaos?

DR:  "A mix of both. My typography background gives me structure, but I also love creative chaos. I start with quick sketches—pen and paper or iPad—so I don’t get caught in details too soon.

The key is to start, and the rest follows naturally. If I’m in a creative process, I don’t mind some chaos. But it should be organized chaos—intentional and focused. Cleaning my workspace often helps clear my mind. Or my house... though the rest of the family doesn’t always appreciate that."

"I'm like a creative ‘tractor’—just pushing forward."

How do you approach a new project? 

DR: "I sketch a lot. I'm like a creative ‘tractor’—just pushing forward. Early sketches get immediate feedback, helping determine if we're on the right track."

Do all of your clients understand the early-stage sketching process?

DR: "Not always. About 80% of the time, it’s fine. Another 10% need more guidance. The last 10% don’t get it at all—they think rough sketches are the final product! Some clients push the work in a better direction with their feedback, but others nitpick endlessly. In such cases, I sometimes have to say, ‘I don’t think we’re on the same page.’ 

It’s not that the client is bad—it’s just not the right fit. And that’s okay. It’s better to acknowledge that early so they can work with a designer who truly gets them. But overall, I have great clients."

Has AI affected your work?

DR: "Not as much as in other fields, since most of my clients are creatives who value human creativity. I use AI for placeholders and rough concept visuals, but it can’t replace the creative process—it’s just a tool."

However, I think AI will increasingly handle repetitive design tasks, freeing up creatives for more strategic thinking. That’s where human ingenuity still holds the edge."

"People think creativity means thinking outside the box, but real creativity happens within constraints."

How does a typographer become an author?

DR: "It wasn’t planned. I was always creating things—books, apps, designs. While discussing an app idea with a developer—something we were actually using for a studio I had at the time—we kept coming up with new ideas. But whenever we had another ‘great idea,’ we’d say, ‘Great idea, let’s not do it.’

That’s when I realized that choosing not to do something is a powerful creative tool. That insight became ‘Don’t Read This Book,’ which was followed by ‘Don’t Buy This Book,’ and my latest, ‘If You Don’t.’

And, of course, I couldn’t have done it without my partner in crime, Anne de Bruijn, who turned all my concepts and ideas into actual, readable books."

Your latest book argues that sometimes doing nothing is the best choice. Can you elaborate?

DR: "The title might sound passive, but it’s really about making conscious choices. For example, deciding not to fly forces you to explore other ways of traveling—ways that might lead to entirely new experiences you wouldn’t have had if you’d just taken a plane again. Constraints often lead to the most creative solutions.

People think creativity means thinking outside the box, but real creativity happens within constraints. If you tell someone, ‘Make a painting,’ it’s too broad. But if you say, ‘Make a red painting,’ ideas start flowing immediately."

"We’re living in uncertain times—things will change, one way or another… As creatives, we’re standing at a kind of blank slate, which also means there are opportunities."

Your book touches on sustainability. Do creatives have a responsibility to address these issues?
 

DR: "It’s complicated. Creatives are often called in to ‘fix’ bad decisions made by those in power. Instead of finger-pointing, I see it as an invitation to rethink systems. Even small creative ideas can lead to change.

We’re living in uncertain times—things will change, one way or another. Right now, we have to swallow some bitter pills. But in a way, I find that inspiring and challenging. As creatives, we’re standing at a kind of blank slate, which also means there are opportunities.

Take something like not eating meat. You can see it as a limitation, or you can see it as a glimpse into the future. Meat consumption is unsustainable in so many ways—we all know it has to stop eventually. So why not start exploring what new possibilities open up when you leave meat out of the equation? Suddenly, a whole new world of flavors and ideas emerges."

“We often accept systems without questioning them, but sometimes the most powerful thing we can do is to stop, reconsider, and choose a different path.” 

Do you think privilege affects how people experience these changes?

DR: "Absolutely. It’s easy to talk about sustainability when you’re financially secure. But if you’re juggling multiple jobs just to make ends meet, it’s simply not a priority. That’s why solutions need to be inclusive.

I think many creatives don’t fully realize the privilege of being able to focus on creativity every day. Even if we’re not earning top-tier salaries by Western standards, we still make more than most people on this planet. That perspective matters."

You say that sustainability is misunderstood. Can you explain?

DR: "People assume reusable products are always sustainable, but that’s not necessarily true. A simple plastic bag might be more sustainable than a tote bag that requires huge resources to produce. We need to rethink how we consume, not just what we consume."

Is your book a call to action or more of a thought experiment?

DR: "Both. It’s not about telling people what to do, but about questioning why things are the way they are. We often accept systems without questioning them, but sometimes the most powerful thing we can do is to stop, reconsider, and choose a different path."

Donald Roos is an independent typographic designer and creative entrepreneur. He regularly launches new projects because he loves executing fresh ideas. His biggest problem is having too much to do and too little time, so he developed the To Don’t List method. Together with Anne de Bruijn, he wrote several books on the subject for BIS Publishers, which you can buy here.