Kirk DouPonce’s first entry into the workforce didn’t turn out so well. As a 16-year-old, he only lasted a few weeks selling hotdogs before being fired. But things have a way working themselves out; the hot dog world’s loss was the publishing world’s gain.

DouPonce’s work is very much on display in bookstores, libraries and probably a few doctor’s offices. Over 15 years he’s designed thousands of book covers for major clients like McGraw Hill, Random House and Howard/Simon and Schuster. Three years ago, he decided to go out on his own and be a freelance cover designer, opening DogEared Design.

In this interview, we talk about the coincidences that jump-start a career, pleasing clients and working for free in exchange for exposure.

RJ: What led you to specialize in book covers?
KD: Providence, really. While attending an evening Art History class at a community college, I learned that one of my fellow students, John Lucas, was an art director for a large book publisher. Somehow I convinced him to give me a shot at designing a book cover. He was very gracious. Now, when I look back at my first round of comps, I realize how horrible they were. However, John was very encouraging and coached me through the process. I continued submitting more comps until eventually ending with a cover I was proud of. After years of college projects and pro bono for local bands, I was actually getting paid to design! My book cover portfolio grew as John, and a couple of the other art directors, threw me a few more bones. That helped me to land full time work for two different publishing houses and a design studio which focused on book cover design. It wasn’t until three years ago that I made the scary, but oh so right choice to fly solo.

DouPonce’s website

RJ: There’s a lot of debate among freelancers about doing free work for exposure, though it seems to have worked out for you. What are your thoughts on the subject?
KD: Working for free is a good idea when you’re starting out and even after you’re established. For newcomers it gives you experience both designing real world projects, working with clients, and possible exposure as well as contacts. As someone who is already established I continue to do pro bono work for causes I believe in. Because I’m working for free the clients generally allow me a great deal of freedom which can be a lot of fun.

RJ: How do you land cover design gigs? Do you approach publishers or authors or are they looking for you?
KD: One of the cool things about book cover design is that it is not anonymous. Unlike many other branches of design, book designers usually get credit for their work. Their name is printed either on the back of the book or on the copyright page… free advertising! Thus it’s not difficult for art directors to find you. Being a one-man show, I don’t generally pursue work, but try to keep up with what I’ve got. There have been times, however, when I’ve sent a simple e-mail to a publisher I’d like to work for with an attached PDF portfolio. That’s about all of the advertising I do other than sending Christmas gifts to clients I’ve worked with throughout the year.

RJ: How closely do you work with book authors when it comes to designing covers?
KD: Not very. Almost all of my contact with authors is indirectly through the publishers. There have been a few cases when authors have contacted me directly but that’s pretty rare, and usually not a good thing. It often means that they’re not happy with the cover direction and ask to speak to the designer to share their vision for the cover directly. Of course there have also been a few occasions when authors have contacted and thanked me for their covers, but again, pretty rare.

RJ: Why freelance? What are the upsides of working freelance?
KD: Freelance is freedom. Even though I may work more hours now, my home office allows me to spend more time with my family than when I did the 8 to 5. There are no office politics. No staring at the clock. No Monday morning meetings. No evaluations. And obviously a greater income potential.

RJ: And what are the downsides?
KD: I don’t think I’ve taken a vacation without bringing my computer with me since going solo. I miss working closely with peers. And Hawaiian shirt day just isn’t the same.

RJ: Finally, what advice would you like to share with other freelancers?
KD: If you can’t complete a job with your best effort in the time given, don’t take it. I’m a people pleaser by nature, a yes man. It’s been difficult for me to turn work down, even when it overlaps existing project deadlines. Out of insecurity, I took every project that came through the door my first couple years fearing that the client may get mad and not continue to give me work in the future. I’ve learned that it’s better to ask for extra time up front or respectfully decline a project rather than only be able to put half an effort into it or turn it in late.