Simon Buijs is head of design at BUCK Europe, a global creative company seeking innovative opportunities in every challenge. With over 15 years in the industry, his diverse work spans the worlds of illustration, animation, TV series, movies and games, with a focus on mixed media projects.
Across his career, Simon has worked with a number of high-profile clients, such as Adobe, Amnesty, Squla, and Spotify. As part of our Day in the Life series, I caught up with Simon to discuss balancing work with family life, inclusivity in the industry and his enduring passion for drawing.
Could you walk me through a typical day in your role?
My days tend to start at full speed – mornings are focused on syncing with the team, checking progress, and reviewing client feedback to keep things moving. Lunch offers a chance to reset, often shared with colleagues, before the afternoon shifts into focused work: preparing presentations, checking in with team members, and meeting with clients – sometimes into the evening.
I try to pace the day with deep focus and intentional breaks, balancing creative direction, mentoring, and hands-on work. Team culture is also a big part of what I care about. We have regular check-ins, space for R&D, and bi-weekly “design team tea times” – a moment to connect, share, and grow together. Evenings are for family. As a dad of two, I make space for moments like a swim or dinner on the beach when the weather’s good. That balance helps me stay grounded.
What was your early career like?
I started out freelancing as a designer on animated series and interactive projects here in Amsterdam, working with different agencies and production houses. It was a great way to get to know the industry and start building a network. Over time, those experiences helped me find the confidence to take on more responsibility – and eventually, lead a project as an art director.
Tell me about a tricky work-related challenge and how you approached it
One of the ongoing challenges is finding balance between work and family life. I love what I do – creating and working on projects that inspire me – but it can take up a lot of time and energy. With a partner and young kids, I’ve had to be more intentional about setting boundaries and making sure I’m present at home.
Which project are you most proud of and why?
I’m especially proud of the Keti Koti celebration, the BUCK Baby Blanket project, and my involvement in Adobe MAX. These projects happened one after the other and were either initiated or creatively led by me. They each had a different scale and focus, but all reflect the kind of creative joy and playfulness I really value – and show the range of what I love to make.
What’s your design pet peeve?
I think it’s when designers overlook their own role in their growth. Progress takes time and real effort, and while it’s easy to point to outside factors, I believe it’s more useful to focus on what you can do to keep moving forward. Owning your journey, being open to feedback, and putting in the work – that mindset really makes a difference.
How do you flex your creative muscles outside of BUCK?
Drawing is still my main creative outlet – it’s something I’ve always loved, and it helps me stay grounded. It’s a meditative practice that gives me space to unwind and reset. I sometimes illustrate children’s or educational books such as Liever Niet and Lachen! – but I’m careful with how I spend my time. I try to prioritise projects that creatively fulfil me or help the world around me.
How inclusive is the design industry in 2025?
It really depends on where you look, but I’d say there’s still a long way to go. The industry isn’t as inclusive or diverse as it should be. I’d love to see more representation – from client calls to hiring. We should always be looking for potential and creative excellence, and making space for a wider range of voices.
What do you think the industry needs to improve?
Pitching can be a tough part of the industry – you’re often creating under pressure, with no guarantee of the work, and sometimes elements of those ideas end up being used without acknowledgement. It can undervalue the creative process and the people behind it. I think there's room for a more thoughtful and transparent approach that respects the time and thinking involved.
What are your favourite tools?
Honestly, it sounds corny but it’s still pencil and paper. Just drawing, making happy mistakes, and staying open. It’s about putting down lines with intent, but not getting too caught up in the outcome.
What’s your dream project/dream client?
Oh, I’d love to work on the branding for a nature reserve – everything from the entry ticket and signage to the app and even the benches. A full creative system that shows nature as the ultimate funpark. That kind of project, with real freedom to explore, would be a dream.
What career advice would you give your younger self?
Keep drawing – that’s your sweet spot. It’s something steady to come back to, and it will carry you through. Hard work does pay off, even if it takes time. Drawing will always be a place to reconnect, reflect, and find joy in bringing ideas to life.
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