An Interview with...Kirsten Gustafson-Kapur
You can find Kirsten here and here.
Where do you find inspiration?
I find inspiration everywhere - in photographs, in textiles, in architecture, walking down the street, from my kids, watching movies, going to museums. . .
Yarn also inspires me. Sometimes just looking at a skein of yarn or swatching with it will lead to the design.
What is your favourite knitting technique?
I believe in including a large size range when designing sweaters. I usually try include about 12 sizes. Not every design lends itself to a wide range of sizes though and in those cases I limit the range.
Do you look at other designers' work or are you afraid that you will be influenced by their designs?
Another reason to look at others’ designs is it’s important to stay on top of trends and be aware of what types of patterns knitters are looking for. For this reason I also look at current ready to wear design to stay on top of trends in that market.
How do you feel about the so called controversy of "dumbing down" patterns for knitters?
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| http://www.ravelry.com/patterns/sources/the-three-graces |
What impact has the Internet had on your business?
How do you maintain your life/work balance?
I worked in the ready to wear apparel industry for years. You have to develop a thick skin to do that, so I think I am able to handle criticism pretty well. If the criticism is deserved, and sometimes it is, I try to take it constructively and learn from it. If it is undeserved, then I think of the majority of my customers who are kind, supportive and sometimes even take the time to send sweet, personal notes telling me how they’ve enjoyed my patterns. I can’t think of any other job I could do where I would get as many kind comments as I do as a knitting pattern designer. A few negative comments can never outweigh that.
How long did it take for you to be able to support yourself?
What advice would you give someone who wants to pursue a career in knitting?
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| http://www.ravelry.com/patterns/library/gloucester-wrap |
Teaching Techniques
I've been teaching knitting off and on for about twenty years. Over that time I've changed my techniques as I learned more about the best approaches. In my previous career I often taught software applications to others and I generally would show one method to accomplish a goal even when it was possible to demonstrate a method from the menu bar, a method using an icon as well as a keyboard shortcut. In small groups I would take a poll as to what methods the users preferred and then teach to that preference set.
I often adjust my teaching for the audience when I teach knitters. New knitters don't have the same established set of muscle memory that long time knitters have. I am much more likely to show only one method to them. Frequently they can't see the difference between two ways of reaching the same goal that they will later in their knitting lives. I've heard the same thing about experienced dancers in that they can quickly reproduce complex movements in a long sequence with a single demonstration.
How do you define success?
I'm currently reading Danielle LaPorte's book,The Fire Starter Sessions: A Soulful + Practical Guide to Creating Success on Your Own Terms. I'm trying to sort out how to define what success will be for me as a knitting professional. Using the monetary gauge at this point would define me as a failure. I am however feeling very positive as I'm starting to get more teaching requests and I just submitted my class list for Vogue Live NY 2013. I am confirmed for Chicago Oct 2012.
It's always interesting to read the comments of knitters on Ravelry. Many seem to think that once a pattern is published that the designer just sits back and watches the profits pour in. Sadly it doesn't work that way. Even if I don't count the time it took me (and I don't) there are other costs. I may have purchased the yarn, as yarn support has become difficult to find with the number of indie designers looking for support. I have to pay my editor. I also bought a fair bit of equipment so that my husband can do the photos for me. Have I mentioned that I have to sleep with the photographer to get him to work for free?
I have some patterns that have done very well, but I have others that have not yet covered their costs.
I've spent time on and off for the last year collaborating with another designer on some plus size patterns. I decided to go with her offer of royalty payments instead of a flat fee and I don't expect to see any earnings for that work for another year.
This year I played around with selling a few notions and some of my patterns at three different events as a trial. I did make some money doing that but it will take a few more events before I can assess if it is worthwhile.
How do I define success? I'm not sure yet. This is still a work in progress.
It's My Blog Birthday!
Back in 2009 I started this blog. You can see the first post here. I didn't quit my job until March of 2010. I've now been a full time professional knitter for a little over 2 years. I have learned a lot during this time and had a good time doing it.
I've had several comments about the improvement in my writing skills. I didn't even know when I started the blog that I like to write!
I've spoken at a number of events, developed many hours of teaching material, taught more frequently and tested selling products and patterns at several events.
I collaborated with another designer on a plus size pattern collection that will be published soon.
I established a professional group for knitters here in Toronto which has been a great deal of fun and has allowed me to learn about the business from an amazing group of knitters.
An Interview with...Aoibhe Ní
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| http://www.ravelry.com/patterns/library/phoenix-hat |
You can find Aoibhe here and here on Ravelry.
Where do you find inspiration?
No one place, I'm afraid. I find that until I have "met" a certain yarn in person, I can't visualize anything for it, but once it's in my hands, I often know what to do. Usually, I'll start with a vague shape, play with the yarn for a while, and then it all comes together.What is your favourite crochet technique?
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| http://www.ravelry.com/patterns/library/argo-2 |
How many sample/test crocheters do you have working for you or do you do it all yourself?
I am lucky to have a great band of women from around the world who test my patterns with me. They give me great feedback, and we refine the text together. I don't consider a pattern complete until it has been through their hands.Do you have a mentor?
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| http://www.ravelry.com/patterns/library/de-danann |
What impact has the Internet had on your business?
The impact can't be quantified! If it wasn't for the 'net I'd not be doing what I am. Discovering Ravelry, and the opportunities available to rookie designers therein gave me the courage to try it out for myself. Now, I do almost all of my business online, and the bits I don't, like workshops and classes, tend to be booked on-line.
Do you use a tech editor?
No. I have trawled through about 4 or 5 in my time, and none of them suited me. I thought, at first, it must be them not understanding or not caring about the details, but these days I reckon that is a naive view and that I just don't suit them. Now, I just avoid tech editors in favour of test-crocheters who know their stuff. Working through my designs with a dedicated group has many benefits. Mostly, it ensures that I am fully aware of any change, and become more knowledgeable about my own patterns, too, which helps when answering customer's questions.
How do you maintain your life/work balance?
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| http://www.ravelry.com/patterns/library/pax |
How do you maintain your life/work balance?
Up until very recently, I didn't. It was all work, work, work. But now, after about a year, I find myself in a position where taking days off is necessary. So, now, I make sure Sunday is a total day off, that I make time to see my family and friends, and I swim twice a week. Having a schedule that dictates when you "must" rest is my way to loosen my grip on the reigns a bit.
How do you deal with criticism?
How do you deal with criticism?
Oh, pretty well, I hope! My testers don't hold back when it comes to flaws in my writing, and I love them for that. If they spot something, it needs to be fixed. I don't think I am too precious with my original text, so by the time it comes to release, it's pretty solid. After that, if people have problems, I will listen. If enough have the same problem, then it's time to fix it.
Constructive criticism is a great gift. It means someone has actually taken the time to explain what you could have done better. I have to appreciate that effort.
Constructive criticism is a great gift. It means someone has actually taken the time to explain what you could have done better. I have to appreciate that effort.
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| http://www.ravelry.com/patterns/library/snapdragon-shawl |
After a year of very hard work, I'm just at that point, now. It's taken a lot. I designed my own website from scratch, I do all my own layout, editing and pattern graphic design work and all the charts I use, too. I design my own ads, moderate my Ravelry forum, and I answer all the questions that come my way. I have spent a year living and breathing my design, my patterns and my work in general, but I have enjoyed every minute of it.
What advice would you give someone who wants to pursue a career in knitting?
You have got to love it. You have to love the tough days, when the stitch counts just don't make sense. You have to love the criticism.You have to love the mistakes you make, and when you realize it's time to go back to square one. You have to appreciate your customers, and your testers and let them know that their efforts are valued.
Essentially, this isn't a job so much as a vocation. I'd do it anyway, but I'm lucky enough that I can make a living out of it, too.
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| http://www.ravelry.com/patterns/sources/legendary-shawls |
All photos from Julie at halfadreamaway.com/
Knitting from Charts
I've had two occasions recently where I knit the same stitch patterns from charts and from written text. I've had a preference for charts for a long time. Working through both pattern formats taught me exactly why. I made many more knitting errors when working from the text version. I noticed that when I made a knitting error using text I often had to tear back 3 rows to find where I went wrong. When I was using a chart I would go back to the beginning of the current row, turn the work and read the stitches back from the chart. Using charts I caught every error in the next row not several rows later. When using text, instructions like "knit to the next marker" often allowed me to miss an error, total stitch counts help but sometimes one error will offset a second and the count will be right but the knitting is wrong. However on a chart the stitches are laid out so you can do a section by section count and verification between markers even when the counts vary from one row to the next. When using charts, markers that slip under a yarn over are immediately both obvious and fixable, when using text you don't know there is a problem until the next row doesn't work correctly. Charts also allow you to think through the knitting in a vertical way. The stitches relate to the ones in previous rows whereas text forces you to work horizontally and view stitches only in relationship to their neighbours on each side. I've always noticed that I memorize a stitch pattern much faster when using charts and I often create one when I use a stitch dictionary that has text only. If I still haven't convinced you I assisted many knitters in my LYS when I worked there and I noticed that only the knitters who use text stitch patterns struggle with maintaining stitch patterns during shaping decreases and increases. Knitters who use charts never need the same amount of help to learn this skill.
Knitting Tips - The Techniques
Have you noticed that on some cardigans, when they are worn buttoned up, that the button band pushes out at every button? If yours do that it may be because you sewed the button on without a shank. Some buttons are sewn on through a loop on the back. This is a shank. This type of button sits a little above the band without distorting it. Others are secured by sewing through holes (usually either two or four). This type of button requires you to create a shank to avoid the distortion. There are a few ways to do this.
You can create a thread shank by placing a double pointed needle between your button and the garment, use a single stitch to first anchor the DPN and then sew the button in place without breaking the yarn, remove the DPN and finish by wrapping the thread around the thread from the garment to the button before securing it. The length of the shank should correspond with the thickness of your knitted fabric so that your button will sit on top without crushing your stitches. Choose your DPN to correspond with the thickness of your knitted fabric and to create a shank of an appropriate length. Not only will you have less distortion, it will also help stop the buttonhole from being stretched out of shape.
There are two other alternatives to create a shank without thread. You can sew a small bead under the button. It's best to choose one that is a good colour match and that has smooth edges that will not break your thread. It also needs to be of a material that will withstand whatever cleaning method you plan to use. The second alternative is to use a small clear button sewn below the garment button. When you sew it on, line up the holes and sew through both buttons at the same time. You could use two buttons if you require a longer shank.
An Interview with...Michaela Moores
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| http://www.ravelry.com/patterns/library/ropery |
You can find Michaela here.
Where do you find inspiration?
I've always had a strong interest in fashion, and pay very close attention to catwalk trends. Things that can seem extreme or impractical on the catwalk can be transformed into unusual garments or accessories with a little tweaking. My design process is very much silhouette based, so looking at garments with extra volume and unusual construction is a big influence. My partner is a patternmaker at a high end fashion label, and I take a lot of advice and inspiration from him. However, I generally consider myself to be more of an engineer than a designer. Once I have an idea it's the process of converting that shape or silhouette into a knitted form that excites me most of all.
What is your favourite knitting technique?
Alice Yu's Shadow Wraps short row technique pretty much changed my whole design perspective. Because I like to add volume to my knits, I use a lot of short rows, and this is almost always the best way to do it. Ropery is my homage to this great technique.
I'm also addicted to Techknitter's new TULIPS buttonhole. I discovered it when knitting Cucumber, a pattern which needs really strong buttonholes. Instead of reinforcing the buttonholes later, here you can make a sturdy buttonhole in just one row.
How did you determine your size range?
Of course, when working with magazines your size range is determined for you, I think magazines such as Knitty have the right idea in trying to be as inclusive as possible. The difficulty for designers in choosing a size range is complex, firstly, you want to maximize the potential audience for your pattern, which means lots of sizes from very small to very large. However, even if technical editors worked for free, there are downsides to having many many sizes. The more you have, the more difficult the pattern is to read, and the more intimidating it will appear to a less experienced knitter, so you can lose audience that way too. What some magazines do is have fewer sizes more widely dispersed, increments of 4 inches in the bust is common. However in doing this you lose accuracy for the majority of knitters who fall between sizes (I myself have a 34" bust, splat bang in the middle of the 32"-36" gap).
So for me, my size range tends to depend upon the pattern. Koho is in a smaller size range but given at 2" increments to allow knitters to find the best fit in a pattern with considerable negative ease. Ropery and Cucumber fit a wider range of sizes, but both are oversized in their own way. What I would like to see from other designers is an increase in the availability of patterns smaller than a 32" bust. Designers have happily upsized their patterns but the smaller knitter is so often left out.
Do you look at other designers’ work or are you afraid that you will be influenced by their designs?
I think it's really important to be aware of what other successful designers are doing, what kind of patterns magazines are publishing and what knitter's responses to those patterns are. It's basic business sense. You need to have an awareness of what kind of designs are going to interest knitters. Market research is important in any field, and an industry as overcrowded as hand knit design requires any designer without a large loyal fan base to be aware of the trends out there. That's not to say I approach my design work as an entirely soulless, trend driven exercise, I don't. But I know what I'm good at, and it's useful to see what I can do to integrate my own aesthetic with that of the wider industry.
How do you feel about the so called controversy of “dumbing down” patterns for knitters?
With my patterns, I like to presume that knitters know the basics of what I'm trying to do. I assume that someone knitting one of my sock patterns has knit a sock before unless I'm advertising it as a beginner sock pattern. If there's something unusual, I'll explain it as succinctly and accurately as I can, and also include a link to TechKnitter (who is, in my opinion, the best resource for techniques knitters today have) or Youtube, or both. I don't want to reinvent the wheel in my patterns and don't feel the need to spend large amounts of my time, my technical editors time, and knitter's printer ink, explaining techniques when someone else out there in the wider internet has almost certainly done a better job than I could.
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| http://www.knitty.com/ISSUEss12/KSPATTboscobel.php |
How many sample/test knitters do you have working for you or do you do it all yourself?
I always knit my own samples, I don't have children and knit pretty fast so to date this hasn't caused any issues. I have run test knits in the past but generally find them less useful than a good technical editor, although in an ideal world I'd do both. Nowadays the vast majority of my patterns are for publications so have been "test knit" by readers before rights revert to me and I self publish.
Did you do a formal business plan?
I took a few business classes when I first started to design full time, but never wrote a formal plan per se. I knew it would take a couple of years to start being profitable, so I set myself a series of goals over the first year, all of which I met in plenty of time.
Do you have a mentor?
I wouldn't be where I am today without the help and support I've receive from Alice Yu (Socktopus). As well as giving me so much of her own advice she charged me with heading up the volunteer team at last summer's Knit Nation where I was able to meet and gain advice from so many of the people who's careers I respect the most, Cookie A, Anne Hanson, Ysolda Teague, Judith McKenzie to name but a few.
What impact has the Internet had on your business?
I can say without a trace of irony that Ravelry Changed My Life. Before Ravelry, I was a graduate student in biology knitting vintage patterns I found in charity shops and doing the odd spot of sample knitting for fashion designer friends. A year after joining Ravelry, having realized that there were other people in the world who loved knitting as much as I did, and that hey, perhaps I could make a living doing something I loved, I left my PhD with enough savings to last the year, and embarked on setting up MichaelaKnits. I have never, ever regretted it.
Do you use a tech editor?
Yes. Always. Tech editors are amazing.
How do you maintain your life/work balance?
I work very long hours, but so does my partner. As he works in fashion he's very busy in September and February with fashion week, and I'm very busy then with new patterns for Autumn/Spring. We try to take time off together in the summer and at Christmas. I try not to work when he's at home, but often samples need to be knit in front of a DVD together.
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| http://www.ravelry.com/patterns/library/greyfriars-mitts |
How do you deal with criticism?
It doesn't phase me. I'm of the "no publicity is bad publicity" mindset - at least when it comes to my designs. It seems for everyone who hates something there's someone else who loves it, and knitters can be very loyal. It would be awful if someone were to criticize me personally, especially as I pride myself on being as professional as possible, but we're all adults, and I think people can see both sides of a dispute.
How long did it take for you to be able to support yourself?
It took just over a year before, with 15 hours a week of part time work, I was able to support myself (and my cats) living in London. We've recently moved to Antwerp, Belgium, which has meant the loss of my part time job and reduced my UK based earnings slightly. However, I'm now in a position to be able to knit full time, so will be able to take on a larger amount of work than before and improve my marketing skills - plus, the cost of living here is considerably less!
What advice would you give someone who wants to pursue a career in knitting?
Like any business, don't expect to turn a profit in the first year, or maybe even the second. Find a mentor, or even someone who'll meet you for a coffee and give you their advice - who's good to work with, who's a bit flakey, who should be avoided like the plague. Be professional from the start. Check your emails for spelling errors and always sign off correctly. Get a domain name, and nice business cards. Spend money on your haircut/glasses/coat - first impressions count, and if you're modelling your own knitwear your appearance needs to be memorable (Think Cookie's green hair, Anne Hanson's short crop). Read The Knitgrrl Guide to Professional Knitwear Design, but read other business books too. Use a technical editor. There are a lot of inspirational blogs and podcasts out there - it's easy to get lazy when you've spent 3 days on the sofa deadline knitting in front of a DVD - use them. Robin's here is great, check out rockandpurl.com too (she always makes me feel SUPER inefficient!). Use twitter, it's a great way to network, but don't use it ALL the time, it's a major timesuck. Try to establish regular working relationships with the magazines you get on with best. It's great to be published somewhere once, it's better to be invited back.The best advice I got was to figure out what makes YOU different. And exploit that difference. Unfortunately I'm still figuring that one out!
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| http://www.knitty.com/ISSUEss12/PATTcucumber.php |
The Economics of Knitting - Classes in Yarn Shops
I worked off and on at my LYS until a few years ago when the owner retired and was unable to sell the business. I was there part time, between corporate jobs, both teaching and working the floor of the shop.
Retail store owners use classes to bring customers into the shop and as an added value to their customer base. They hope that students will buy more product once they are in the shop for a class. Instructors are paid better than the hourly rate of retail staff but at the very low end of the scale for anyone who is an educator in any industry. The time it takes to develop course materials is not taken into account. You are typically paid an hourly rate for the class time which is predefined but in reality often runs over as you are in the shop, so it is not unusual for students to pop back in for one on one questions and assistance. I always happily worked with these students as I'm passionate about my knitting as are all of us who pursue this as a career.
Retail store owners use classes to bring customers into the shop and as an added value to their customer base. They hope that students will buy more product once they are in the shop for a class. Instructors are paid better than the hourly rate of retail staff but at the very low end of the scale for anyone who is an educator in any industry. The time it takes to develop course materials is not taken into account. You are typically paid an hourly rate for the class time which is predefined but in reality often runs over as you are in the shop, so it is not unusual for students to pop back in for one on one questions and assistance. I always happily worked with these students as I'm passionate about my knitting as are all of us who pursue this as a career.
Sometimes on busy shop days we would have to ask students, (outside of class time) to wait while we looked after other customers in the store. Most were happy to do so but occasionally there were students who were not pleased by this. One of my co-workers who did not teach, also pointed out to me that attending guild meetings was becoming a problem for her because so many customers would approach her about shop business during what was a social evening out for her.
The owner of the shop calculated costs very carefully for classes. They had to break even on the cost of paying the instructor with the amount charged to the students. So that number was the break point for canceling a low enrollment class. I'm not making a value judgment on anything I've written about today, this is just the way it is. These are the realities of the economics of knitting. I suspect that most consumers are unaware of how this all works so I'll continue to share more information in future posts.
Pattern Drafting and Grading
I've recently noticed while reading comments in the Ravelry designer forums that there is a melding of the terms drafting and grading. This probably has been happening for some time but because my definition is two separate processes I think I have misunderstood many of the comments and questions posted.
When a pattern is drafted it is an original plan that is used to create a garment. It has a specific size wearer intended as it's target. It is usually based on a medium size if the end result required is multiple sizes, or it is a customized pattern for a specific individual.
Grading refers to the process of proportionally increasing or decreasing the size of a pattern, while maintaining it's shape, fit, and scale of the details. An example would be making a collar or pocket size stay in proportion to a larger or smaller garment. It also means that seams, darts and shaping are in the same place on the body in all sizes. The garment you knit will look the same as the one in the pattern photo even though that was taken on a model of a different size than you.
The change of size assumes that the type of body is still within a specific target range, for example what retail refers to as a Misses size. Plus, Junior, Petite and Tall size grading starts with a different original pattern due to the differences in proportion that those categories target. For example, Misses sizes have a eight to ten inch difference between the waist and hip measurement and Junior sizes target a less well defined waistline.
The change of size assumes that the type of body is still within a specific target range, for example what retail refers to as a Misses size. Plus, Junior, Petite and Tall size grading starts with a different original pattern due to the differences in proportion that those categories target. For example, Misses sizes have a eight to ten inch difference between the waist and hip measurement and Junior sizes target a less well defined waistline.
In the mainstream fashion world the process of pattern making and grading are often done by different people. Pattern making is the translation of the design idea onto a paper template. Grading deals only with size issues. Some designers outsource the grading of the original pattern to companies that provide this service.
In manufacturing there are several methods of grading: cut and spread and computer grading are the common methods.
Grading only makes a garment section larger or smaller and isn't intended to change the fit. Grading also reinterprets the pattern with the understanding that people of different sizes are proportionately different. It takes into account that different body parts change at different rates and proportional amounts. The amounts are based on established measurements but there is no one common system used by garment makers. They are also based on heights that do not vary more than four inches in total height.
Take a look at the drawing I've included at the top of this post. You will notice that there are three sizes on the one piece but the increments are not even as you follow the lines around the neckline, across the shoulder and down the armhole seam and side seam. Look at the edge of the shoulder and at the bottom of the armhole and you will see that in those spots the sizes match up. Knitting patterns use a single schematic to represent all sizes. These details are not reflected, so some of the differences between sizes are not obvious to knitters.
Take a look at the drawing I've included at the top of this post. You will notice that there are three sizes on the one piece but the increments are not even as you follow the lines around the neckline, across the shoulder and down the armhole seam and side seam. Look at the edge of the shoulder and at the bottom of the armhole and you will see that in those spots the sizes match up. Knitting patterns use a single schematic to represent all sizes. These details are not reflected, so some of the differences between sizes are not obvious to knitters.
An Interview with...Melissa Goodale
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| http://www.ravelry.com/patterns/library/carnelian |
Once a week I post interviews with interesting designers about their insights on their experience of working in the Knitting industry. I’ve noticed that every designer makes their living in a slightly different manner bringing their own unique presence to the Knitting world.
You can find Melissa here on Ravelry and here.
Where do you find inspiration?
Silly as it sounds, everywhere. I love flipping through stitch dictionaries, wandering the mall seeing what's on the shelves, browsing Ravelry to see what's popular. Sometimes it's on something someone is wearing as they walk by me. I never know when the mood will strike.
What is your favourite knitting technique?
My favorites are really the whole family of starting and finishing techniques. I honestly feel it's the fit and finish of a design that makes the difference between a passable design and an amazing design. I'm always looking for new ways to cast on, bind off, and work edge stitches to make designs sing.
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| http://www.ravelry.com/patterns/library/manohara |
It varies. When I publish in traditional media (books, magazines) I simply follow the guidelines set by my editor. When I'm self publishing a lot comes down to me taking a guess at what size range will want to actually knit the design, though I do try to make it as broad as is reasonable.
Do you look at other designers’ work or are you afraid that you will be influenced by their designs?
I very much look at others work and have no qualms being influenced by what I see. There's a big difference between being influenced and plagiarizing.
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| http://www.ravelry.com/patterns/library/alicanto |
I'm of two minds on this one. As Stick Chick Knits (professional designer), I feel part of the job of a successful designer (treating design as a business, not art or a hobby), is to meet the demands of the customer. So if the customers want more detail, lets give it to them. I write my patterns accordingly.
That said, as Mel (hobby knitter), I kind of think it's silly. 50 years ago patterns were much shorter, with less detail, and knitters were forced to either figure out a solution, or go hunting for an answer at the library or from other knitters they knew (a very time consuming process). Now we have the internet at our finger tips, where finding a video to walk you through a technique takes minutes at most, and we want it all spelled out for us in detail. To me it seems it should have been the other way around. When information was hard to find, the patterns should have included more, and now that information is easy to find they should include less.
How many sample/test knitters do you have working for you or do you do it all yourself?
I have a few test knitters, depending on the type of pattern I'm working on, but I do all my own sample knitting. I often design as I knit; so I'll cast on with a basic idea of where I'm going, but I'll fiddle with the details while I work up the sample.
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| http://www.ravelry.com/patterns/library/counterfort-pullover |
I've spent a lot of time working with Jennifer Hansen, of Stitch Diva, and consider her my mentor. I feel like she really blazed the trail for turning self-published designs into an actual business. I also love that she puts out designs that she loves, and that are so different from the mainstream.
What impact has the Internet had on your business?
My business wouldn't exist without the Internet. It's how I met everyone I work with in the business, it's how I retail my patterns. I suppose without it I might have had a small hobby selling patterns to my local yarn store, but it would not be an actual business.
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| http://www.ravelry.com/patterns/library/hermosa |
Is there a designer out there that doesn't? There is absolutely no way you should ever publish a design without having a tech editor take a look at it. Yes, it costs money, but it's money well spent.
How do you maintain your life/work balance?
I feel like it's something I'm still trying to sort out, especially when I'm working on a new design. I've got yarn and projects in almost every room of the house. To some extent what I do is try to set up a few rules to keep me honest. The kids come first, no knitting during meals, no knitting in bed. Beyond that it's kind of a juggling act around here.
How do you deal with criticism?
I try to take it as feedback and improve. I also remind myself that taste is a very personal thing, not everyone will love my work and that's fine.
How long did it take for you to be able to support yourself?
I'm still working on it. Designing is my full time job, and I've been lucky enough to have seen increased revenue over the years, but I'm still not at where I was when I worked as an engineer. My husband and I moved our family from the San Francisco Bay area to Seattle in order to cut expenses to compensate for that.
What advice would you give someone who wants to pursue a career in knitting?
Don't quit your day job too soon. In hindsight there was a lot I could have done to grow my design business while still working my old job. I was eager to start, so I quit early and the lack of revenue made it tough. Design on evenings and weekends, grow your portfolio. When you've got a solid set of designs under your belt set up a sales plan and then quit.
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| http://www.ravelry.com/patterns/library/eurybia |
Why I love Knitting!
I've tried all sorts of artistic and creative pursuits. I took art through my high school years and enjoyed all of the mediums I got to experiment with. I sewed much of my own clothing for many years, made my wedding dress and loved my tailoring classes where I made suits and coats. I machine knit and own a number of machines. I've made a few teddy bears and taken a bead weaving class that teaches you how to work on a small beading loom. I've done various types of embroidery, needlepoint work and I still play with making jewellery, mainly bead and wire work. None of those endeavors have stuck with me the way knitting has, I think it's because I have never stopped learning new techniques with my knitting. It provides endless challenges in both technique and aesthetics.
Occasionally, I am foolish enough to think I've seen it all when it comes to knitting, but I love the way knitting keeps me humble. In a recent post I mentioned that I did two swatches with the same yarn and laundered both during the blocking process. The swatch that I knew was too loose showed some shrinkage and the one that I was happy with did not.
I asked someone else if she had ever noticed this happening and she hadn't but we both thought that perhaps if the knitting is too loose it somehow allows for more shrinkage.
I normally draw out the size of the swatch on graph paper as a comparison tool for after blocking. I lightly steam the swatch, place it on the paper and mark the size before the serious blocking takes place.
A little later I swatched for a project that I am collaborating on with a yarn the other designer has used many times. She mentioned that the yarn was very stable when washed and she never had the gauge change post blocking. I started my swatch and had to change needle sizes twice to get to the correct DK gauge. I did one long continuous swatch this time, the first two sections were each about two inches long before I changed needle sizes. The third one was a full four inches. Afterward I did my usual graph paper drawing. You know where I'm going don't you? The section that was too loose shrunk the most, the section that was just a little off gauge shrunk just a little. The correct gauge section was exactly the same before and after blocking. So I've learned another reason to make sure that your gauge is accurate and the fabric you create is stable.
Then in the same week I learned something else new. Someone asked me for my opinion on braided joins? I'd never heard of a braided join before but I was told that there is a Youtube video...I've linked to it above. How cool is that? Two new things in just one week!
I asked someone else if she had ever noticed this happening and she hadn't but we both thought that perhaps if the knitting is too loose it somehow allows for more shrinkage.
I normally draw out the size of the swatch on graph paper as a comparison tool for after blocking. I lightly steam the swatch, place it on the paper and mark the size before the serious blocking takes place.
A little later I swatched for a project that I am collaborating on with a yarn the other designer has used many times. She mentioned that the yarn was very stable when washed and she never had the gauge change post blocking. I started my swatch and had to change needle sizes twice to get to the correct DK gauge. I did one long continuous swatch this time, the first two sections were each about two inches long before I changed needle sizes. The third one was a full four inches. Afterward I did my usual graph paper drawing. You know where I'm going don't you? The section that was too loose shrunk the most, the section that was just a little off gauge shrunk just a little. The correct gauge section was exactly the same before and after blocking. So I've learned another reason to make sure that your gauge is accurate and the fabric you create is stable.
Then in the same week I learned something else new. Someone asked me for my opinion on braided joins? I'd never heard of a braided join before but I was told that there is a Youtube video...I've linked to it above. How cool is that? Two new things in just one week!
The Character of a Knitter
"The clearest indication of character is what people find laughable." Goethe
I read this quote the other day and it got me thinking about how much little things can tell you about a person. With knitting it's the character of the knitters. I have so often observed that knitters approach their knitting in the same way that they approach everything else in life.
As an example, will you tear back many hours of knitting to correct a mistake or do you follow the theory that if a man on a horse galloping by won't notice the error you don't bother to fix it? I'm unfortunately the anal type who will tear back and I'm frequently jealous of the other type when I know that no one other than me will ever notice the problem that I absolutely MUST fix.
An Interview with...Mel Clark
Once a week I post interviews with interesting designers about their insights on their experience of working in the Knitting industry. I’ve noticed that every designer makes their living in a slightly different manner bringing their own unique presence to the Knitting world.
You can find Mel here and here.
Where do you find inspiration?
I find inspiration everywhere: people on the street, nature, museums, textiles and books on textiles, fashion, my kids.
What is your favorite knitting technique?
I don't really have a favorite. I like variety, although knitting a garment in the round is very satisfying, whether it's top down or bottom up.
How did you determine your size range?
It depends on the garment. Some lend themselves to a wide variety of sizes, and others don't. I do believe in making sizes democratic and accessible to people of all shapes whenever possible.
 |
Everyday Cardigan from Knitting Everyday Finery |
Do you look at other designers’ work or are you afraid that you will be influenced by their designs?
I see other designers' work when I look through books and magazines. It's helpful to see what others are doing but I try not to let it influence me. I have favourite fashion designers whose work I look at.
How do you feel about the so called controversy of “dumbing down” patterns for knitters?
I hadn't heard of this until you explained it to me. I don't see making patterns clear to the knitter as dumbing down. I taught beginners to knit in my shop in California for several years. Teaching makes you aware of what new knitters want in the way of detail. I try to strike a balance between providing enough detail and being concise.
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| Rowena from Knit 2 Together |
How many sample/test knitters do you have working for you or do you do it all yourself?
I make most things myself but I do have a couple of knitters whose work is much neater than mine. They test patterns for me or make projects when I don't have the time to knit everything.
Do you have a mentor?
Not really, but I do run things by my daughter whose taste and wisdom I admire.
Not really, but I do run things by my daughter whose taste and wisdom I admire.
Do you have a business model that you have emulated?
I do what I do because I love it even when I'm not earning very much. Most people in the regular business world would look at someone like me and think I'm crazy. There's not much money in it for the amount of time you spend working.
What impact has the Internet had on your business?
The internet has had a huge effect. Ten years ago I could never have imagined writing a blog. The fact that I can talk about what I'm doing, share my inspiration is a fantastic way to communicate with people. Then there's Ravelry, which has revolutionized hand knitting. The era before Ravelry was so different. It has democratized designing. Everyone can have a shot at it, and try selling their patterns. Patterns sold as PDF downloads is another huge change. I resisted it for a while, but now I've joined the crowd although I have just had a book published (Knitting Everyday Finery), so I still believe in print.
Do you use a tech editor?
Yes, it's very hard to edit your own work. You need a second pair of eyes.
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| Lacey Hug-Me-Tight from Knit 2 Together |
How do you maintain your life/work balance?
Not very well. I'm always working, although is it really work if you love it? Some of my work involves knitting, so I don't know if that counts! If I'm not writing a pattern or knitting a sample, I'm thinking about it and working in my head, so it's safe to say it's a 24/7 thing. I sometimes wake up in the night thinking about a design and creep downstairs to work on it.
How do you deal with criticism?
I try not to pay attention to it and just do the best work I possibly can.
How long did it take for you to be able to support yourself?
It happened almost immediately back when I was designing ready-to-wear knits. There's more money in that. Making a living from writing knitting patterns is much harder.
What advice would you give someone who wants to pursue a career in knitting?
Make sure you have enough money to live on for a couple of years or much longer (or a supportive partner who earns a good living!) and make sure you love knitting enough because it takes extreme dedication. I would say, if there's something else you're good at, do it. There is not a lot of money in hand knitting and everyone works very hard.
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| An Interview with...Mel Clark |
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