The League of Extraordinary Knitters

There’s been some very interesting chatter going on in the Designers group on Ravelry. It started off with someone asking if there were any active professional organizations for designers. There was once – the Association of Knitwear Designers – but it doesn’t exist anymore. The conversation that followed was fascinating. For those of you with Ravelry access and any interest in the knitting industry I would strongly encourage you to read the whole thread. Yes, all 17 (and counting) pages of it. I promise it will be worth your time. If you really want a quick and dirty peek at what’s happening there was a great summary in post 187 on page 8 that you could start with.

For those of you who don’t have Ravelry access, I will attempt to summarize/paraphrase/comment on the conversation and provide some context wherever I can. There isn’t an easy way to provide annotations on WordPress and I don’t want to call out particular people into the more public space of my blog by quoting them, so wherever I’m paraphrasing a particular post I will provide a link to it. If you don’t have Ravelry and see a link at the end of a sentence or paragraph, that just means it’s not my original thought, ok? I also feel the need to repeat that as always in this blog, and especially in this conversation, the word “knit” and all of its derivatives should be understood to include crochet as well. This is not a knit-specific conversation at all!

Here goes.

There is a need for some sort of professional organization/union/guild/thingy in the knitwear design industry. Why? Well, there are many problems that an organization like that could help address.

Fair Compensation

Designers earn peanuts compared to other creative professions. This is especially apparent in the traditional publishing world where magazines pay the same rate for designs today as they did in the 1980s. Publishers also tend to want to retain all rights to the designs, not allowing the designer to profit from their own work beyond the initial submission (post 15). Add to this the problem that there is no public resource to tell us what “fair pay” would be in this industry. No one wants to publicize what they are paid for their work for fear of appearing “unprofessional,” or worse – retribution from publishers (post 34). This is not just a paranoid fantasy either. A Cooperative Press author is working on a book right now that is described as “like Writer’s Market, but for fiber people.” Unfortunately there has been some trouble getting responses from publishers about even the simplest information (post 70). It appears publishers are resistant to allow any sort of discussion of their practices, and it wouldn’t be surprising if they secretly blacklisted any designers who openly discuss their experiences. Thankfully it is now relatively easy to self-publish knitting patterns, though that comes with its own pitfalls.

Isolation/Mentorship

Many people talked about feeling isolated in their profession. As a designer you don’t really have an office you can go to and be able to talk about work problems with your peers. For the most part you have to find people to talk to online. It can be difficult to form a trusting relationship with other designers online when you’re starting your contacts list from scratch. It would be nice to have an organization of peers to voice professional concerns with.

It would also be great to have some sort of mentorship program to help fledgling designers learn the ropes of the business – apparently that was one of the most successful aspects of the now defunct Association of Knitwear Designers that many would like to see repeated. You see, there isn’t any formal training for designing knitting patterns. You could get a degree in fashion design, but that barely scratches the surface of the body of knowledge required for knitwear design. Fashion school can teach you how to make a nice-looking garment, but the rest of it – learning how to hand-knit the garment and being able to communicate the instructions for repeating the process in the highly technical language of knitting – is pretty much self-taught (post 174). Usually the job of a designer doesn’t end there. Once you’ve made a pattern you still have to photograph the sample, apply some graphic design skills to make a pleasing layout for the pattern, then you have to figure out a way to sell it, either by pitching it to a publisher or by publishing it on your own. Some of those things can be hired out, but most designers perform some or all of those steps on their own. And we haven’t even gotten into the nitty-gritty of running a business like marketing and bookkeeping. The point is, knitwear designers utilize A LOT of skills in their work, and not all of those are skills that can be gained through schooling. I would kill to have a mentor who had been working in this business for a while guide me through some of the hurdles that I know are coming in my future career path, and help point out some of the potholes that I haven’t seen yet.

Quality Control/Professionalism

Then there’s the problem of free patterns clogging up the market. I mean, there isn’t anything wrong with having free patterns available and I think they’re a very valuable resource for newer knitters and a great way for designers to get some exposure, but there are just SO MANY of them. It can make it difficult to get the consumers to understand why they should pay for a pattern when they can just find another one for free. As was pointed out in the thread if we change pricing to better reflect what it costs to produce a pattern, you tend to get a lot of pushback from a knitters who have come to expect cheap or free patterns. Some will question whether your work is worth paying for (post 18). Well the short answer is “YES”. The long answer is “probably, as long as a well written pattern.”

Currently, the standards of both free and paid patterns are all over the place (post 95). Another thing that a professional organization could help with is to ensure certain standards of quality are met. That way you could be sure that any patterns from designers who are members of said organization are clearly written, tech edited, test knitted, professionally photographed, etc. (post 30). Why should knitters care about standards of quality in knitting patterns? Well, lets consider exactly what kind of service designers are providing.

For knitters, a knitting pattern is a form of entertainment. A well written error-free pattern with clear photographs provides more entertainment that a poorly written pattern full of mistakes and crappy photos. Many serious knitters are willing to pay for a more entertaining knitting experience. To put this into perspective, there are more knitters than there are golfers. Sure, there are free courses that golfers can use, but the paid courses are more challenging and more fun, so any serious golfer is going to be willing to shell out some cash in order to fully enjoy their sport (post 100). The same should be true for knitters.

Right now knitters really don’t have a reliable way if telling if patterns are well-written and error-free before they download them and start trying to work through it. If there was a professional organization of designers and the patterns produced by those designers were identified in some way, then at least knitters would know exactly what standard of work to expect before they invest their time and money into a project!

Legal Aid

This is not the first time the idea of a designers’ union has circulated, but usually it seems to come up during discussions about copyright. As always, I really do not want to get into copyright debate here, but one thing is certain: There is A LOT of misinformation circulating about the subject and there seems to be very little case law out there to clarify things. The reason for that is probably because copyright disputes in the knitting industry rarely seem to go to court, probably due to a lack of funds to hire lawyers. A professional organization might be able to provide two things to help out here:

  1. They might be able to contact some REAL copyright lawyers and find out some actual FACTS about copyright laws and how they apply within the knitting industry. Hopefully once armed with these facts there could be some sort of awareness campaign to spread this factual information around instead of just letting a bunch of armchair lawyers start flame wars all over the internet like they have been for years (post 420).
  2. Perhaps there could be some sort of legal aid fund so if a copyright dispute (or any other legal dispute really) comes up with one of the members they’ll actually have the ability to fight back instead of just having to grit their teeth and take it if they can’t afford a lawyer.

At this point those of you who have some knowledge of the knitting industry may be yelling at the computer screen “But what about The National Needle Arts Association (TNNA for short)? That’s a really big organization that helps shape the entire needle arts industry! Doesn’t that organization help designers with this stuff?” Apparently not. Many of the posters in the thread are members of TNNA and chimed in to detail how TNNA really doesn’t serve the interests of designers. In fact, it was stated that when TNNA reps are faced with issues raised by designers they tend to either ignore them or get really defensive (post 19). I don’t personally have any knowledge about TNNA’s responsiveness to designers’ concerns, but knowing that a member of the Board of Directors didn’t see a problem with hijacking someone else’s pattern to use for his own profit, this assessment is not exactly surprising. It seems their main purpose is to serve wholesalers, and designers really aren’t a big player in that arena.

Lastly, all this talk about a designers’ organizations is fantastic, but there are similar needs in some of the other knitting professions, such as tech editors, test knitters, and sample knitters (post 304). Since these professions all work directly with and are dependent on the patronage of designers it makes some sense for them to have some sort of representation in whatever happens, but until things get organized it’s hard to tell exactly where they would fit in.

That’s a long list of some very complex problems, and even if a professional organization does manifest it is likely not going to be able to address all of them. It’s possible that more than one organization would be needed, or maybe some of these things could be solved without the help of a guild/union/thingamabob.

ACTION!

Lest you think the whole thread was just a big whine-fest, let me get to the best part! As a result of this discussion, there are some plans coming together to address these problems!

For starters, there was a suggestion that starting up a designers’ conference could be very useful. That way designers could congregate, voice their concerns, and start plotting further action (post 19). Shannon Okey has some expertise in this area and seemed pretty willing to explore the idea of using her resources to start an “alternative trade show” for designers (post 37). Many people also suggested that a Google+ hangout would be a great way to hash out some of these ideas. This is where I start feeling a bit tech inadequate – I really don’t know what Google+ is. I mean, I’ve heard of it in passing, but I have no what it does or how it works or anything. I guess I should look into that, ’cause apparently it’s a tool that people are actually using to communicate with one another. There are probably quite a few other social media sites I should learn to get more comfortable with using too (tumblr, Twitter, Instagram, I’m looking at you).

Rohn Strong reported that he has been in contact with a labor attorney and is working towards starting an international knitwear designers union (post 49). The “international” part of that is especially important because the knitting industry is VERY international. Just check out some of the more popular designers on Ravelry and look at where they live. Designers are everywhere.

Amy Shelton is working on an anonymous Industry Compensation Survey and is collecting ideas for the types of questions to ask in this thread.

There are efforts in the works on a couple of fronts to help clear up some of the contradictory or just plain ridiculous information floating around about copyright laws as they apply to knitting patterns. Shannon Okey is working on arranging a conference call with an art/crafts copyright lawyer (post 148), and Amy Shelton has a private Facebook group compiling a list questions to ask a copyright lawyer (post 162).

There are currently two threads up in the Designers group organizing meetups at this summer’s TNNA trade show in Columbus: a general thread, and Sunday lunch thread. I can’t guarantee that a designer’s union/guild/thingy would be a topic of conversation at these gatherings, but it certainly wouldn’t be out-of-place. I wouldn’t be surprised if these ideas gain some serious momentum immediately following the TNNA trade show!

None of this is going to be easy, but just because something is hard doesn’t mean you shouldn’t try. It’s not like things like this have never been done before. Other creative professionals such as actors, writers, and graphic designers have been able to affect change in their industries through unions or other types of organizations, so why shouldn’t knitwear designers do the same (post 169)?

So, things are happening. A League of Extraordinary Knitters is assembling. Change is coming.

 

The Great Book Debate

Yesterday Cooperative Press posted a “State of the Press” message about some of the changes they are making to their printing processes. The gist of it is; the cost of printing books is rising, and in order to cut costs and keep printed books an option they’ve switched to a different printer with matte instead of gloss pages.

Cooperative Press is a small, but fabulous publishing company that puts out, in my opinion, some of the most innovative, interesting, and relevant books in the knitting industry. So far I only own one Cooperative Press book (in print) – The Knitgrrl Guide to Professional Knitwear Design, and I subscribe to their digital magazine Knit Edge, and these have both been some of the most influential additions to my knitting library in the past year. Many more of their books are on my wish list.

The State of the Press announcement brought two things to mind for me:

1) It reminded me how much I want to buy some of their other books, particularly Extreme Double Knitting, California Revival Knits, Beyond Knit & Purl, and now the newly released Knit Accessories, and if I wasn’t dead-broke I would add them all to my cart RIGHT NOW.

2) It made me wonder what format I would buy them in…would I buy the print version, knowing it’s not only more expensive for me, but sounds like it’s also more expensive for Cooperative Press? Or would I go with just the digital version, despite the fact that I rarely read books digitally?

I know this argument will probably sound hilarious after I laid out my case for digitally managing my to-do lists, but when it comes to reading books I seem to much prefer them in physical form.

I say that I seem to prefer them that way because I’ve never really put that much thought into this preference. I know there are plenty out there who are very strong advocates on either side of the fence. Some people consider the feel of the paper, the act of turning the pages, the weight of the book in their hands, to be an integral part of the reading experience and would never dream of trading in their filled-to-the-brim bookshelves for a tablet full of their favorite novels. I personally could care less about the feel of the book, though I must say my hands do get tired after holding a book too long while reading in bed, but not prohibitively so. Then there are those who love the freedom of being able to toss a single device into their bag and have access to hundreds of books at the touch of a button wherever they go – no need to plan ahead, the tablet is typically lighter than a book (I’ve heard), and their love of reading doesn’t create a storage crisis. That all sounds nice, but I’m concerned about whether or not the things I actually want to read are available in digital form. Not to mention the fact that I am still too broke to own a tablet.

This doesn’t mean I don’t own eBooks though, I do. I have bought several eBooks, all of them about knitting, and there’s even that Knit Edge subscription I mentioned earlier. The problem is, with the exception of Knit Edge, I’ve never read any of them. That’s not to say there aren’t plenty of paper books on my shelves that have never been read, there are plenty of those too, but the difference with those is that I can see them on a regular basis and am reminded of their existence. As soon as I downloaded those eBooks and stashed them in my eBooks folder on my computer, I sort of forgot they existed. In fact, there’s another book offered by Cooperative Press that I really want, Market Yourself, that I did not add to list above, because I had the sudden nagging feeling that I already have it in eBook form. In fact, now that my brain is on the subject, I’m not entirely certain California Revival Knits isn’t locked away in one of my back-up files too. I know it’s been in my cart before, I’m just not sure if I was able to pull the trigger. I won’t know for sure until I’m done sifting through the back-up files from my old computer and transferring them to my MacBook.

“Why don’t you just put a reminder on one of your fancy lists?” you may ask. Shut up, that’s not the point. The point is, when I sit down and start screwing around on the computer, my brain never jumps to “reading a book” as a logical thing to do. It just hasn’t been trained that way. “Reading a book” is an activity that my brain translates as something to be done with the TV off (it’s rarely off while I’m on the computer), and either sitting at a table or desk with a pad of paper and pencil at hand in study-mode, or lying in bed in attempting-to-slip-into-unconsciousness mode. NOT sitting in a recliner with a laptop on my lap half-watching “Monsters Inside Me” while in social-networking mode, or looking-for-inspiration mode, or photo-editing mode, or aimlessly-wandering-the-internet mode.

Now, if I had a tablet, then reading may be a natural thing to me when the tablet is in my hands and I would be far more likely to want eBooks. I don’t really know, I’ve never had one. I would like one, but I have no idea when that might happen. If I do get a tablet and it turns out I really like eBooks it would make me really sad to have spent a ton of money getting paper books when I could have been getting them digitally all along.

What are your thoughts on the paper vs. digital debate? Are you one of the people who has strong opinions one way or the other? Or maybe your opinions are more situational like mine seem to be? Either way I want to hear about it. At this point I’m kind of on the fence and I’d like to hop down to one side before I buy another book.

 

Knit Fit: Day One

Last weekend I trekked to Ballard, WA to attend the very first Knit Fit! This is the third knitting convention I’ve been to, the others being the Sock Summit in Portland, OR and Knit City in Vancouver, BC. Knit Fit seemed smaller than Knit City, but it was very cozy feeling. The main hall was filled with knitters and spinners, milling about the registration tables, winding yarn from swifts, chatting with friends, and partaking in delicious sandwiches offered by Wild Wheat Bakery.

I arrived a bit early for my first class, so I had some time to poke around the marketplace. It was the perfect size for me, not so large as to be overwhelming, but big enough so I felt like I could spend hours in there without getting the least bit bored.

Foreground is The Fiber Gallery booth, in the background is Goody Golly Miss Olli! and the hanks of handspun hanging on racks are from Spincycle Yarns.

I found some Chibi darning needles to replace some of those that were lost in Vancouver (now I can weave in the ends on all of those nearly finished projects that have been piling up!). Mostly I just enjoyed fondling all the pretty yarn and fiber the vendors had to offer.

The Textiles a Mano booth was very nicely decorated!

Pepperberry Knits also looked rather fetching with their hanging hanks of novelty yarns.

I even found the perfect skein to fill a color gap in a gradient project I was working on.

That’s Hazel Knits Artisan Sock in Rogue (one of a kind color) bridging the gap between a medium toned teal and a very dark green in my Aranami Shawl.

I managed to wrest myself from the siren song of the marketplace just in time to make it to my first class, Self-Publishing Your Own Knitting Patterns taught by Lee Meredith.

Not just an excellent teacher, but a fabulous designer too. I mean, LOOK AT THAT SHAWL! Rav link here: Junction

I was blown away by this class! Lee managed to get through so much useful information in only 3 hours, I swear she must have bent the space-time continuum to make it work. The handout alone would have been worth the price of admission. It was a small class and we were able to ask Lee lots of questions about the many nuances involved in self publishing, from the more technical aspects of building a PDF file, to the types of experiences she had had using different platforms to sell and market her work. I came away from her class with pages and pages of notes. The process of self-publishing has been completely demystified for me now! I now have all of the information I felt like I was missing after reading The Knitgrrl Guide to Professional Knitwear Design. It’s still a great book to start with, but it really only gives a general overview of what it’s like to be a designer. If you’re considering publishing your own knitting designs and ever have the opportunity to take Lee’s class DO IT! It’s like an expansion pack for the book! You know, the kind that adds all sorts of cool elements to the game that the developers really should have included in the first place…