Knitting Tips - The Aesthetics

There are a couple of cool Internet tools for playing with stripes, you can find them here and here. 


If you are afraid to wear stripes, read my earlier posting here for tips on how to make them flatter your body.

Plus Size Patterns

http://www.patternfish.com/patterns/12428

Deb Gemmell and I worked together on a collection of plus size patterns. I'm thrilled to say we have been getting some really good buzz on the patterns. Sales have been brisk and we have separated one of the patterns out as a single. (The pattern and it's link are above.)

One piece of feedback that we have been getting is that several of the models are true plus sizes and our audience appreciates that. One of my friends told me how much she loved the cover shot of the collection for this reason. This is something Deb and I talked about at the very beginning of our design process. We looked at a lot of patterns that target plus sizes and Deb noticed a detail that I had completely missed. All of the models in plus size patterns, while clearly not standard model thin, had hour glass figures. Most of my friends who are pluses carry their weight in several different figure shapes. Some are hourglasses but others are pears or apples. Deb and I measured anyone who would let us and we discovered large variations in other areas. As an example one model who has a bust measurement 10 inches larger than mine had an upper arm one inch smaller than mine. It was clear from our measurements, that the variation in shape is wider among plus sizes.


The finished bust measurement on all of the patterns runs from 44 - 61. Some of the models fall into the smaller sizes. The collection gives  many details on how to adapt for specific variations. 

Julie from Knitting at Large has started a KAL here. Both Deb and I are moderators and will be helping out whenever we can.

The Economics of Knitting - Free Patterns

Many designers publish free patterns. They see this as a way of getting their name out to the pattern buying public. At this point in my career I have no plans to release any free patterns. I get asked why I'm not doing free patterns often and we've discussed it at our Pro-knitters group frequently. The opinions of our members vary widely on this topic.

Some of the concerns of those who do not release free patterns include the undervaluing of the work of designers. They often feel that knitters need to be realistic about the actual costs involved in producing patterns which include yarn, sample knitting costs, photography and tech editing and layout. The thought is that we are educating the knitter to expect that patterns should have a minimal cost.

One of our members shared details of the graphic arts industry and how, to her way of thinking, freelancers destroyed the marketplace by undervaluing their work to such an extent that people could not make a living wage. 

Many feel that the knitter who wants free patterns may never pay to buy a pattern so perhaps they are not our target market and the effort is a wasted one.

Pattern support comes up as an issue because no one wants to have these patterns tech edited. Pattern support is a reality in this industry. Some long time traditional publishers do not have an online presence specifically because they do not want to do pattern support. Interestingly some designers see it as a major benefit because it allows them to improve their writing skills.

A member of an unrelated industry tells me that a lot of time is wasted listening to pitches for work by vendors that are completely under priced. He can't use the vendor as history has proven they either go out of business quickly or they can not maintain the low rate of the initial quotes. The price skyrockets on subsequent projects to make up for the loss on the original quote. His internal clients are constantly questioning why existing vendors are so expensive since "ABC company" quoted a much lower price?

I think that originally free patterns were distributed by yarn companies as a way of selling yarn and in that context they do make sense as the overall business is profitable. Some are designed by full time staff and many companies commission designers to create patterns for their yarn. That means the pattern is free to the customer but the designer has been compensated. 

Some bloggers issue free patterns as they see it as a thank you to their readers. Others admit that they are just bending to the pressure of the marketplace as many designers do release freebies. For these reasons, free patterns are usually super simple, small projects.  

I'm more interested in expanding our craft and I don't want to spend time producing patterns that are already out there in a similar form. My biggest concern is that I build a sustainable business model. I just can't see how free patterns play into that goal. What do you think?

Knitting Math - How to Calculate Buttonhole Spacing

The spacing of buttonholes can be done mathematically or with a buttonhole gauge that stretches to mark the placement of each hole. Gauges can be purchased where sewing supplies are sold. A gauge is more accurate than mathematical placement due to the pickup ratio of stitches to rows.

To calculate spacing on a band that is picked up and worked out from the garment mathematically, determine the total number of stitches. 

Subtract the sum of the stitches above the first buttonhole and below the last buttonhole from the total number of stitches.

Then, multiply the number of stitches to create each buttonhole and the number of buttonholes, and subtract this total from the previous sum.

What is left over is the number of stitches to be divided, to determine how many stitches go in the spaces between the buttonholes.

The number of spaces is one less, than the number of buttons.

As an example:

The button band has 100 stitches

3 stitches at top and bottom (6 stitches) = 94 stitches.

94 - [7 buttonholes times 4 stitches] (28 stitches), 94 - 28 = 66 stitches.

66 stitches / 6 spaces = 11 stitches per space.

If the amount is not even, vary the stitches by 1 or 2 in each space.

The button band has 110 stitches

3 stitches at top and bottom (6 stitches) = 104 stitches.

104 – [7 buttonholes times 3 stitches] (21 stitches), 104 - 21 = 83 stitches.

83 stitches / 6 spaces = 13.83 stitches per space.

In this example, put fourteen stitches in every space and thirteen in one space for a total of eighty-three stitches. Put the thirteen stitch space in between any of the buttonholes on the garment.

If you enjoy reading my blog, I'd really appreciate it if you would tell your knitting friends or share links to your favourite posts online with Twitter, Ravelry or Facebook. Word of mouth is really helping to grow my business as knitters respect the views of other members of our community. Thanks!

Two Years Ago......

Two years ago I wrote about an alternative to short row bust darts. You can read the original post here. I knit a sample for my classes since then so I'm posting photos to more clearly demonstrate how this method works.

It looks like this when laid flat. Notice how the edge bends out on the right side of the sample.

It looks like this when I put a small piece of fabric that I scrunched up under the section with extra stitches and rows. The edge is straightened out by filling in under the knitting to be three dimensional in the way your curves would fill in the space.

Finishing School - Tips for Buttons and Buttonholes on Sweaters

  

Available here

1. Pull the hand sewing thread through beeswax before starting to sew a button on; it helps to prevent tangles in the thread during the sewing process.
2. Do a sample with several possible buttonhole sizes, before going to buy buttons. Be sure to make notes with the details for later reference.
3. Knit the buttonhole swatch with the same number of stitches or rows that are planned for the garment to accurately assess how the button will look against it
4. Women are always right. In other words women’s buttonholes go on the right hand side of the garment and men’s go on the left.
5. When working eyelet buttonholes in rib or seed stitch, place the buttonhole in the purl stitch location.
6. Use the swatch to test variations, Different yarn constructions may affect the best choice of method. Different knitting styles of knitters can also make one method more suitable than another for the project.
7. If the number of stitches or rows on either side of the buttonhole is not equal, put the smaller number against the garment edge to increase stability.
8. Large buttons can be stabilized by sewing a smaller button to the back side of the knitting directly underneath.
9. If the holes in flat buttons are large enough, the button could be tied to the garment using narrow ribbon, leather strips or cord. This could be done on buttons that must be removed before cleaning.
10. Use button pins for shank type buttons, that need to be removed before cleaning. Button pins are safety pins that have a bump where the button sits.
11. Tiny clear plastic snaps can be sewn onto the knitting if there is an unacceptable gaping, or at the top corners of bands for extra support.
12. To make a very small eyelet buttonhole, skip the yarn over and do a M1 increase on the return row, working into the strand beside the decreased stitch, before the next stitch.
13. Keep trying new buttonhole methods, knitters invent new versions and old forgotten methods get rediscovered.
14. A too loose buttonhole can be tightened up with a needle and thread. Use thread that closely matches the yarn colour. Take one or two tiny stitches at the end of the buttonhole to make it smaller. 
15. Choose buttons that have shanks.This will help to alleviate the problem of the button band being pushed out of alignment at every button. It will also help stop the buttonhole from being stretched out of shape.
16. Or create a thread shank by placing a double pointed needle between the button and the garment. Use a single stitch to first anchor the double pointed needle and then sew the button in place without breaking the yarn. Remove the double pointed needle 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 the knitted fabric so that the button will sit on top without crushing the stitches. Choose the double pointed needle to correspond with the thickness of the knitted fabric and to create a shank of an appropriate length.
17. Create a shank for a button with holes, by using a bead. It's best to choose one that is a good colour match and that has smooth edges that will not break the thread. It also needs to be of a material that will withstand whatever cleaning method is required.
18. Create the shank with a small clear button under the fashion button. When it is sewn on, make sure the holes line up and sew through both buttons at the same time. Two buttons stacked will create a longer shank.
19. To decide how many stitches to use while working a one row buttonhole sample swatch, place the button on the knitting and count how many stitches it covers. Subtract one stitch, and try the first sample with that number. Adjust up or down according to the results.
20. If thread colour can't be matched, the next best choice is a grey thread that disappears when laid across the knitting. Squint slightly to choose between shades of grey.
21. Vary the size of eyelet buttonholes by working into the back of the yarn over loop instead of the front.
22. Some knitters find a crochet cast on is neater than a cable cast on method for adding stitches when making multi- stitch buttonholes.
23. Flat four-hole buttons can be attached in a decorative stitching pattern in an X or square formation, or in parallel rows.

The Economics of Knitting - How the Yarn is Chosen

A designers motivation in choosing a  specific yarn for a knitting project isn't always as simple as most knitters would assume. 

Sometimes the creative idea comes first and that drives the yarn choice. At other times the yarn itself suggests the project. 

However this is a business, so here are a few more motivations that may play a role in yarn choice.

If the design is for a yarn company who also sells patterns they only want patterns that will sell their specific yarn. That may mean a fabulous pattern is executed in a less than optimal yarn or that a very expensive yarn is showcased and it may not be possible to find a substitution. When I worked in my LYS the latter situation came up frequently when customers brought in patterns.

If the design is for a yarn shop they want patterns to sell standard yarn weights like DK, worsted or whatever type yarn they have invested capital in. That means a pattern that can be worked in many potential yarns and that can easily work with different budgets. Shops often buy patterns that support the yarn they order at the same time from the distributor.

If the design is for a designer's own pattern line they want to sell the pattern and have less interest in the yarn itself as long as it shows off the design features to their best advantage. After being burned several times by yarn companies discontinuing yarn immediately after I received it, I'm personally much more interested in working with yarns that have easy substitutes so I can sell my patterns.

Are there any other reasons that I've missed? Please feel free to comment.