Tossing the Stash

Sometimes we just can't escape our past. I'm still working on the great stash down. That was what prompted my previous post on the scarf craze. Now I'm looking at good yarns but often in small amounts and different weights. I tried to bundle some of them up for donation and then fell into the trap of feeling wasteful. This is where my past comes in. My paternal grandparents came to Canada from Scotland in the late 1920s. My grandmother came from a family who while they weren't wealthy, they were hard working merchants and enjoyed the fruit of their efforts. She was the oldest daughter in a large family and all of the kids worked in the family business at very young ages. She never got over the depression. She was frugal to a fault. She lived with us from the time I was 10 so she had many opportunities to share her concerns about money. It also didn't help when my husband saw some partial balls (too small to donate) in the garbage and started teasing me that maybe I should keep it because someday I might not be able to afford yarn.

Later that day I attended the Fluevog Knit Night.

I had my social knitting project to work on since my current design project isn't very portable. My friend was working on some complex lace and cursing herself for not having something more appropriate for social knitting. My project is relatively small so it won't last much longer. 

I'm on the garter stitch short row section of this pattern: 

http://www.ravelry.com/patterns/library/the-martine-dubois-crescent-scarf

I'm knitting it in this gorgeous yarn from a trip to Rhinebeck a few years ago. 

I realized this morning while sorting my stash that the yarns I'm not happy about not using could be used for some very simple social knitting projects, either in garter or something equally simple. I started grouping for colour and I wanted to share a super simple trick for combining colours. 

See this, it's Malabrigo Rios in the colour 856 Azules. They already developed a great colour palette that I can use as inspiration. 

 

Here's a few other yarns in my stash that fall in the same colour range.

The trick...all you do is hold every yarn up against the original multicolored yarn, if it looks good together to your eye put it in the use pile. If it doesn't, it goes elsewhere. I'll probably double up that lace weight. I'm thinking a maybe a cowl or a cape-let mixing the yarns together. I have more yarns than I show in the photo. I'll poke around on Pinterest and Ravelry for some inspiration and I'll let you know how it goes later. 

How to Read your Knitting Part 1

Knitters often have trouble understanding the difference in appearance between various stitches, rows, increases and decreases on the needles. Knowing how to "read your knitting" is important because it will allow you to find mistakes in stitch patterns and give you the ability to correct them. You’ll make fewer errors and will have less trouble finding your place when the work has been put down.

Reading your knitting is a skill which most knitters pick up along the way. Usually we start to get it when we make mistakes. A more experienced knitter can help you when you know you've made a mistake but don't know what it is. A novice hands the work over to someone else and they point out the error and how to correct it. In the beginning we are focused on learning the manual skills which are required to form our stitches. The difficulty for anyone teaching you is that knowledge and skills are two different things. I can give you the facts about how to read your knitting but depending on where you are in your knitting journey you may not be able to hold all of the information in your short term memory and then be able to apply it to your work. When you consider the total possible permutations of stitch combinations and errors it could be a long list of items for you to check. The answer is to practice by paying attention to what you are are doing and what the end result is.

As a teacher I love helping knitters and seeing the light bulb moment when a knitter gets it. Whatever the it is. I helped a friend to understand stitch orientation recently. She's come back to knitting after a long absence excited about knitting a sweater for her first grandchild. She dropped a few stitches and knew she could use a crochet hook to pick them back up. What she didn't know about was stitch orientation, but she could see they stitches were "messed up" once she knit a few more rows. 

I'm going to start working on some swatches to run a series on reading your knitting. Come back soon for more on this topic.

http://knittingrobin.blogspot.ca/2016/10/how-to-read-your-knitting-part-1.html
http://knittingrobin.blogspot.ca/2016/10/how-to-read-your-knitting-part-2.html 
http://knittingrobin.blogspot.ca/2016/11/how-to-read-your-knitting-part-3.html 
http://knittingrobin.blogspot.ca/2016/11/how-to-read-your-knitting-part-4.html
http://knittingrobin.blogspot.ca/2016/12/how-to-read-your-knitting-part-5.html
http://knittingrobin.blogspot.ca/2016/12/how-to-read-your-knitting-part-6.html
http://knittingrobin.blogspot.ca/2016/12/how-to-read-your-knitting-part-7.html
http://knittingrobin.blogspot.ca/2016/12/how-to-read-your-knitting-part-8.html

An Interview with...Kristin Omdahl

http://www.ravelry.com/patterns/library/simply-bold-cowl

Once a week I post interviews with interesting people about their insights on their experience of working in the Knitting industry.  I’ve noticed that every one of these individuals makes their living in a slightly different manner bringing their own unique presence to the knitting world.


You can find Kristin here and here on Ravelry. 

Where do you find inspiration?
EVERYWHERE! I see in texture so I see textile (stitch pattern) inspiration everywhere. I find inspiration for ideas in nature. When I’m stumped on a name or a concept, I often take a walk in nature to clear my mind.

What is your favourite knitting technique?
I’m not sure I have one. I’m grateful to have so many techniques in my repertoire. There are yarns that I prefer for lace, yarns I prefer for cables, etc.

How did you determine your size range?
There are challenges in design for what works and what doesn’t work in large size ranges. Sometimes its based on a stitch repeat or the size of the gauge. However, as long as it makes sense technically, I prefer to have a large size range. #everyBODYisBEAUTIFUL 

http://www.ravelry.com/patterns/library/shield-maiden-shawl

Do you look at other designers’ work or are you afraid that you will be influenced by their designs?
I haven’t opened a knit or crochet magazine, unless I was checking my own work or advertising, in years. I avoid seeing other people’s work within our industry because I don’t want to be influenced by their work. I am comfortable being influenced by the fashion industry as a whole, but not our small niche corner of the industry.

http://www.ravelry.com/patterns/library/mesh-berry-pullover

How many sample/test knitters do you have working for you or do you do it all yourself?
I do all my own samples. I have tried it a few times over the years, but it hasn’t worked smoothly for me. And, I feel it should be helpful not more stressful. Luckily I am a very fast knitter and crocheter. In a dream world, I would obviously be more productive with a team, though.

Did you do a formal business plan?
Once in a while, I do map out the direction and goals of my business, focusing on staying on track of the mission.

Do you have a mentor?
I have a few business friends I consult with, one in the industry, one outside the industry and one on the fence.

Do you have a business model that you have emulated?
No. I have always thought I blazed my own trail.

http://www.ravelry.com/patterns/library/starburst-sweater

 
Do you use a tech editor?
Yes.

How do you maintain your life/work balance?
Very carefully! Working from home, and working for your own business, means the lines get blurred. I find it challenging to make time for a personal life. Due to the fact I have a very busy teenager, his schedule helps force me out into the world. But luckily I am very disciplined and focused, so it is easy to get back to work.

How do you deal with criticism?
Some days are easier than others. I think we live in a society where people feel so disconnected with other humans from behind their computer screens. Most of the time, I see if there is something I can truly do differently or fix. And when it’s really nasty, I try to remember my favorite Wayne Dyer quote: How people treat you is their karma. How you react is yours.”

http://www.ravelry.com/patterns/library/yazmina-knit-lace-scarf

How long did it take for you to be able to support yourself?
I was in a sink or swim situation when I began working in this industry: filling for divorce from a violent man, 22 month old baby, no car, no money but a dream, a vision, and full-on survival mode. I worked around the clock for years to be able to support us. I still work long, hard hours, but I pulled all-nighters back then.

What advice would you give someone who wants to pursue a career in knitting?
Depends on the capacity. Do be the sole breadwinner of a family, like me, it is definitely not the easiest route out there. But if you have a passion for working in the knitting industry, there are all sorts of facets to pursue. I would always suggest doing your research first, and asking lots of questions. But don’t quit your day job until you have a plan.

What’s next for you?
I’m always cooking up something new. Right now, I’m focused on my charity, my yarn company and my YouTube channel. I launched a new yarn this fall and that keeps me very busy!

http://www.ravelry.com/patterns/library/razor-shell-shawl-2

 

 

Do you Remember the Scarf Craze?

Do you remember the scarf craze? I certainly do. I'm trying to get our spare room under control. I store my yarn there, in file boxes on shelves my husband put up for me. I know my stash isn't as large as many knitters but I'd like to eliminate the yarns which are outdated. Of course that evaluation is often dependent on the knitter. I did use novelty yarns a few times myself. I made some of the scarves as gifts because non-knitters coveted them. I also used them as trims, cuffs and collars and edgings on hats.

When the craze happened (in the late 90s?) novelty yarns were the cause. They were billed as easy knitting since it was all garter stitch, however inexperienced knitters struggled because they had difficulty seeing the stitches. My LYS assisted those knitters who were were dropping stitches or adding extra stitches in but the staff was very frustrated with how difficult it was. Usually when I teach someone to knit I start them with a smooth tightly spun wool so they can see what they are doing. At the time knitters were so happy the yarns were attracting new knitters we just went with it and helped as much as possible.

The shop owners felt the craze was something they couldn't afford to miss out on, so they brought in lots of the yarns and saw a lot of extra customers as a result. Unfortunately later, I remember the shop I worked at eventually couldn't sell off the remainders of those yarns even at a loss. 

I've always wondered if the scarves lead to more life long knitters or if perhaps we are a separate category? What do you think? Are any of my readers knitters who started with a novelty yarn scarf and kept on knitting?

How Much do Knitting Pros Make?

In September I linked to a series of articles on this topic. It's ended up generating a lot of questions to me from within the knitting community. I have a certain amount of discomfort with this topic because it can seem whiny. I stopped pursuing teaching and speaking opportunities when I figured out the compensation didn't make any sense for me. I can't speak for other teachers. I'm still open to accepting work but my expectations have shifted over time and my terms have changed accordingly. I don't believe any venues are purposely underpaying teachers but I know they look at the bottom dollar too and it's normal to assume teachers won't apply if they don't profit. I'd like to be totally transparent on this topic but unfortunately I can't because of the high level of secrecy in the industry. So here's some of the things I can tell you. 

The knitting community assumes we pros are all making money because why would anyone be dumb enough to do the work without adequate compensation? Knitting pros are entrepreneurs and entrepreneurs need time to grow their business, find their niche in the knitting world and establish more than one income stream. We work in the same way freelancers work in other industries. We have to test things out and see where they go. That takes time, nothing in life is instantaneous. Those ongoing tests determine what work we continue to do and what we drop.

When I quit my full time job, initially, absolutely no one would give me any financial details. The best I could get was a few teachers on the national level who told me they weren't sure if those shows were profitable. They knew the events often weren't profitable on a show by show basis but they did seem to led to more teaching, speaking, and patterns sales after the fact. I taught at one Vogue Live early on. I was able to keep my expenses down and since three of my knitting friends joined me, we turned it into a road trip vacation. I continued to apply for a number of other shows hoping to up my profile but the ones who showed interest didn't offer compensation that made sense for me.

Eventually one pro who had been in the industry a long time did give me a ballpark figure on her annual income and it was very modest. As a comparison it would what a low level office admin would make in a big city. I track my income and expenses on a spreadsheet so I don't think in terms of individual payments. I looked to stay in the black. Initially I was happy with that as I was starting out and testing things. As I've been working longer, I started breaking things out more which is changing what I choose to do.

On the local teaching level I really screwed myself because the first person who would share rates was being paid at the low end of the scale. I moved forward quoting with that rate only to discover later on I was underselling myself compared to other teachers at the same venues. On the other hand one of those teachers getting a better hourly rate shared a speaking fee which was 50% of what the same venue paid me. I didn't speak up because... you already know why, I was told the fee was confidential and if I break that confidentiality I'm certainly not going to be invited back.

The big question I'm getting now is "how much money do I make at an event"? The "how much" question is very difficult to answer because it varies so much. Every event I've done has been different. I've taught at weekend retreats in Ontario, retail events with classes, guild workshops, private classes, shop classes and spoken at guilds. Some guilds were local to me, some required travel and overnight stays. I looked at the who pays knitters info and it would take hours for me to fill out that info with the variety of my experience, which may be why so few pros have. Some events break everything out in terms of travel, food, printing, teaching fees by class, teaching fees by student or as a flat fee for everything. I've done events where I've known exactly what I'm making up front and ones where I got class numbers and class cancellations the day before and had to recalculate to discover I was breaking even or working at a loss. Top payment amounts depend on every class running and filling every spot for you to make the highest amount. So it's apples and oranges trying to compare events.The larger the event, the more likely you are to be paid at least partially based on student numbers, so for a low profile person like me it means risking going to teach at a loss. 

When you teach at weekend events you are working the whole time you are there. Events organizers expect you to be available outside class time so the hourly class rate actually covers much more. You are working until you shut the door to go to bed. I love teaching but the events are exhausting. I'm a true extrovert but I struggled with maintaining my energy during those weekends, I don't know how the introverts manage to do it.

Headliner teachers make more at an event than the rest of the teachers. How much more, I have no idea. I think this is what capitalism is all about. You can charge what the market will bear. If I could have gotten more I would have charged more too.

Vendors are pressured by some venues to teach and can get discounts on the prices of their booths if they do so.

Book authors probably have contractual obligations to teach at the parent companies events. I'm guessing at this but I've noticed some of the authors disappear from teaching fairly quickly after publication.

If someone really wants you, they will pay you more. I know that, because it's happened to me twice. When I turned something down due to poor compensation, a better offer came back based on the question "what will it take to get you here"? Then I'm sworn to secrecy.

I'd like to point at that I'm relatively unknown, so I'm very surprised this has happened to me at all. 

Odd things pop up while you try to work out payment. Again this is because of the secrecy issue. In my case it was about printing costs. In my class bookings, either printing was done for me or I included in my fees. The offer to do my printing happened very early on so I always asked about it when I quoted rates. If they said I needed to do my own printing I did. In some cases I provided a receipt for reimbursement, in others I was instructed by the organizers to add the amount to my base fee. I assumed this was the norm, but since no one talks I didn't know it might not be until I was teaching at an event where it came up as a stumbling block. The organizers were insistent that printing is the teachers responsibility. I continued to ask for my printing costs to be covered at events after that and I was never turned down but I still don't know what other teachers are doing? 

And that is the big question. If I can only get one or two other pros to share info with me, is it actually representative of the whole knitting industry. My experience to date tells me no. I moved forward at times on faulty information.

Yarn shop owners, wholesalers and tech editors are completely different categories of pro knitter. I have heard various estimates but it it appears in North America some shops (maybe 25%) are hobby businesses. I've read that in Britain that doesn't happen. I don't know how this works anywhere else in the world. I do see shops opening and closing pretty quickly so it appears to be a tough industry. On the other hand, here in Ontario we have some which appear to be thriving. Tech editors have quoted rates which vary widely. Ultimately they are freelancers. They do know how much they are going to earn when they take on a project.

I don't know much about the wholesale end of the business at all. 

On the topic of hobby businesses I'm also an example of another problem. I have other income, which means I spent more time doing things at minimal profit than most entrepreneurs or free lancers could afford to. I suspect this situation depresses the rate of compensation for everyone. I'm not alone in this category. I have no idea how many of us there are. 

One of my early errors turned out to be very common. Many of us newbies create problems regarding the tracking of income as opposed to profit. Time and material costs invested in the work get lost somewhere. I've discussed this with friends in other industries and been told it's a common error for new entrepreneurs and free lancers in all industries.

I've done a little cyber sleuthing while this has been going on. Many pros post their teaching/speaking schedules and events post teacher bios so you can see who's where and when. Once I checked up on various events and teachers I noticed many of us lesser known pros disappear from  events after a varying number of appearances. Of course, some retire, get full time jobs in the industry or move onto other things. I can also share that when I send out interview requests it is becoming much more common for the answer to be no because the pro is no longer active in the industry. That never happened when I started doing the interviews.

The only growth area I've had since I started is pattern sales. The more I publish the more I sell. With pattern sales I am taking all of the risk of upfront costs. Most of my patterns are profitable, a few aren't, but there is no way to predict which ones will do well. I'm selling steadily but no one could support themselves on the profit I see after I pay for tech editing and advertising, etc. 

I can only speak for myself. If I don't see some positive cash flow from an income stream I move onto something else and this is the first time I've shared it publicly. 

I guess that means I'm part of the problem.

An Interview with...Mona Zillah

http://www.ravelry.com/patterns/library/a-tapir-for-you-a-tapir-for-me

Once a week I post interviews with interesting people about their insights on their experience of working in the Knitting industry.  I’ve noticed that every one of these individuals makes their living in a slightly different manner bringing their own unique presence to the knitting world.


You can find Mona here on Ravelry. 

http://www.ravelry.com/patterns/library/anne-elliots-rainy-day

Where do you find inspiration?
EVERYWHERE! Sometimes, I see a colour combination, or an architectural motif, a sculpture...etc. I have always felt designing garments is similar to building, things must connect and flow, in addition to the basic structure. I, also, find innumerable sources in our plant and animal kingdoms!

What is your favourite knitting technique?
I adore colourwork! It is versatile and ever changing. Each design looks completely different in a different colour combination. 

http://www.ravelry.com/patterns/library/chloe-30

How did you determine your size range? 
I tend to range from about 30 – 53inch/76 -134 cm, chest sizes. Not all designs look good on all sizes and so, I like to provide designs that flatter a variety of shapes. In addition, bunnymuff patterns are designed with flexibility in mind, try your garment on and add a few stitches here or take a few stitches there- this is your knit project.

If I had a physical Maison bunnymuff building, it would be filled with people of all shapes and sizes, with knitters, crocheters, weavers, and seamstresses and we could really get down to it...we are all allowed to feel good in what we wear!

Do you look at other designers’ work or are you afraid that you will be influenced by their designs? 
I do, indeed, look, look, look...we all have different styles and I admire many things I cannot do, myself. In addition, we, knit/crochet designers, are creating a fashion paradigm and keeping in touch is crucial to the growth of this genre.             

http://www.ravelry.com/patterns/library/falling-leaves-32

How do you feel about the so called controversy of “dumbing down” patterns for knitters? 
I have never heard of this...but I do know there are people from all over the world who knit my patterns and if I can make a chart or keep it simple and make a bunnymuff design available to someone who does not read the languages I use, then I am all for making that chart! I provide links to techniques, in my patterns, as often as I can. A written explanation may be difficult, particularly if you are new to the nomenclature. Many of us have learned all, or most, of our knitting/crocheting via online tutorials. These are not taken for granted, anymore, and we need to have people to go to and relearn these traditions. 

http://www.ravelry.com/patterns/library/wheres-my-poodle-cardi

How many sample/test knitters do you have working for you or do you do it all yourself? 
Much gratitude to my trusty test knitters! They make it possible for me to design. I have a core 4 who do my shawls. I am new to garments, but I am building a test knitter base for those items, too.

http://www.ravelry.com/patterns/library/gare-du-nord-shawl

Did you do a formal business plan? 
I have an intrinsic business sense, it balances bunnymuff growth with what is physically possible.

Do you have a mentor? 
I admire a great number of knitters, artists, film makers etc., but I have never had a person there “showing me the ropes”.
 

http://www.ravelry.com/patterns/library/rule-130-hat

Do you have a business model that you have emulated?
I am sure I am emulating something, but I do not know the formal name. I know “you want to pull in more money than you spend” and “small steady growth” is the best plan. And most importantly, all those knitters working on a bunnymuff pattern are bunnymuff! They help shape and guide the things I love to do.

Do you use a tech editor? 
I have a couple people who catch my number mistakes. 

http://www.ravelry.com/patterns/library/shortbread-cookie

How do you maintain your life/work balance? 
This can be difficult...working at home is terrific (though I can be seen, here and there, working on various sketches or knitting out in the big blue world), but I am surrounded by bunnymuff stuff! I make conscious efforts to stop and take breaks during the day and a complete day off, here and there. Part of the designing process is to let things have life in the mind whilst the fingers rest.

How do you deal with criticism? 
Criticism is part of the job, when you are a public figure. I enjoy learning new things and different ways of doing and seeing things. Sure, it can be a bit disheartening, sometimes, but overall this is an opportunity to take a different look.

http://www.ravelry.com/patterns/library/vanessa-ives

What advice would you give someone who wants to pursue a career in knitting? 
These things take time. There are ups and downs, but if you enjoy what you do and cannot stop...go go go!

What’s next for you? 
Ah...well, I have just branched out from shawls and mysteries, into things with sleeves. There are numerous bunnymuff sketches, ideas, and designs in the works, including mystery knit alongs, sleeves, turtlenecks, and pockets. I continue to raise money for the Tapir Preservation Fund, with my tapir themed pattern sales. And slowly, The Absolute Animals Book of Patterns is growing to be filled with accessories, garments, and home goods. 

http://www.ravelry.com/patterns/library/lumpy

The Shawl Thing

Have you noticed how in the last few years shawl knitting has evolved from lace over to fabulous colour and texture patterns? I certainly have and it's been reflected in my designs as well. I think these patterns are more accessible and make for easier carry around knitting projects. I've heard from quite a few knitters who have made my Belvedere Wrap pattern and I've been delighted to discover many of them have made it more than once. I guess it's not that surprising since I've made four myself with the original prototypes worked in stash yarn to the samples I did for Signature Yarns. 

Patrick has had some additional samples done in other yarns and here's a couple of examples. If you are interested please consider buying directly from him.