Underground Crafter (UC): How did you learn to knit?
Ruth: My grandmother taught me when I was little. It’s the usual way, isn’t it?? I actually started with crochet first, I made a VERY long chain. I learnt to single crochet, double crochet, etc, on that chain. My grandmother cast on some stitches and I made a scarf with a lot of holes. I believe she still has it.Her tools now live with me – I got all her needles and her small table-top swift (about the size of a coffee tumbler when folded up!).
UC: What inspired you to start designing?
Ruth: It was a synergy of sorts. I was about to become unemployed and I was disillusioned with the corporate world I’d been working in for 8 years. I had also cultivated great friendships with some dyers, LYS owners and spinners, which fed my creativity.When it came time to choose how I’d move on with my life, I thought I’d try my hand at designing, since my father has worked in fashion forever and I was always very art-inclined, mixed a bit of my mathematical skills and love for creation, et voila. I’m a full-time self-employed designer now. Not so bad!
UC: In addition to designing, you are also a tech editor and teacher. Can you talk more about how you got started and what you enjoy about these aspects of your work in the yarn industry?
Ruth: I started teaching on a small one-on-one scale in my town, as a way to boost up my income when I started designing. I love the “a-ha” moments when teaching people a special technique, or one of the tricks I’ve accumulated since I started knitting (like how I don’t twist my sts when casting on in the round!). I no longer take individual students, my timetable doesn’t allow it, but I’m teaching at shows and that proves very rewarding since the people are brand new every single time.
Tech editing started once I knew a lot more about pattern-writing and sizing. It needs a special set of skills – proof-reading, print-correcting, spelling and flow are just as important as accurate numbers. You need the spatial ability to “flip” things in your head, visualise the way things are constructed, and be able to anticipate how things can/may change. The eye for detail is crucial: one single number off can destroy an entire pattern.
UC: Your designs have been published by yarn companies, in books, in U.S. and U.K. magazines, and through rock+purl. Are you intentionally diversifying your publication venues, or has this just been happenstance?
Ruth: Oh, it’s absolutely intentional. I like to pick and mix, so to speak. The more publishers you try, the more you figure out whose style “gels” better with yours, while adapting to certain needs the publisher may try. I also like the thrill of trying to prepare a submission that I know in my heart will be selected. Rock & Purl is the avenue where anything goes, it’s my style, 100%.
UC: You’re originally from Spain. What was the yarn crafts scene like when you were growing up? How does that compare with today?
Ruth: Oh gosh, it’s SO different!!! I remember going to shops with my grandmother and the only thing they had was acrylic yarn and #5 crochet, coupled with intarsia-cowboy sweater patterns!! If you wanted to learn you were taught at home, and nobody “wanted” to learn, it was a “this is what you do in the summer” thing. Nowadays there’s small shops with oodles of European and American yarns, interesting blends, fashion-forward designs and classes to teach students from scratch. It’s a lot different.
UC: You’re currently living in West Sussex, UK. How would you compare the yarn crafting scene there with the current scene in Spain?
Ruth: I recently took some time to write an article for Yarn Market News, the industry-only magazine. I wrote about Valencia, my hometown. It’s a very cosmopolitan city with fantastic tucked-away corners and lots to discover. It’s the complete opposite of where I live now :).
West Sussex is a mostly-suburban county, with lots of green spaces, and small towns. Don’t get me wrong, I love it very much, the peace and quiet are fantastic for a job like mine, but sometimes I need the buzz of a city to kickstart some projects in my head. Craft-wise, Valencia has more shops and craft groups in the city centre than West Sussex has in its entire expansion.
UC: Does your cultural background influence your crafting? If so, how?
Ruth: I think so. There are certain “flavours” of Spanish culture and fashion that I apply to my designs. From fitting and styling to colour choice. I do, however, need to go for thicker garments in winter ;). Coming from a place which is decidedly almost-tropical to a place where summer lasts all of 2 weeks was a bit of a shock!
UC: Do you have any favorite Spanish or English language knitting or craft blogs to share?
Ruth: Oh wow, let’s see.
I like reading Knitting Kninja. Her take on knitwear photography turned me into an analytical-eye kind of person!
Wasel Wasel is my friend Gemma and she’s super crafty, I love seeing her projects.
UC: What are you working on now?
Ruth: I’ve been so busy recently! My tech editing business has boomed, and my book is slowly but surely making progress. The pieces I’m creating for it are so special and carefully designed, I couldn’t even think I’d be able to make something like it.
I’ve also tried to keep steady releases so my customers and fans are kept happy: I released a Mystery Shawl with 2 different versions (Fallen Petals), a summer wrap-around top in a luxe blend (Mediterranean), a Fall-is-just-around-the-corner cowl (Chopped) and I’m working on a special holiday-themed sock ebook and KAL with my BFF Joeli where we will each show you Halloween and Christmas colourway socks, as well as a relaxing vanilla sock.
I’d strongly recommend you follow both of us on Instagram and Twitter for sneak previews of the colours and the looks of the socks :). (UC comment: Ruth’s Twitter and Instagram links are at the top of this post. You can find Joeli on Twitter here.)
Thanks so much for sharing your thoughts with us, Ruth!
The next interview in the series will be posted on October 3 with Karen Abarca/knitbypearl.
About a month ago, I had the pleasure of checking out Vogue Knitting Live with a press pass. I actually recorded three different interviews at the event, and I’m pleased to share one today.
Joan McGowan-Michael is the designer behind White Lies Designs. In addition to her extensive collection of (mostly) knit (with some crochet) designs, she is also a nationally recognized knitting and crochet teacher and author, and has appeared on Knitty Gritty and Needle Art’s Studio with Shay Pendray.
Underground Crafter (UC): How did you get started knitting?
Joan: I was taught to knit as a child, to keep me busy and out of trouble. I’ve been knitting for over 40 years.
UC: You don’t look it!
Joan: Thank you. Thank you very much. But I have. I was not horribly young, not kindergarten age, but, in the first grade, second grade and I was very fascinated by it. My mom, however, had very little patience for certain things. She taught me how to knit but not to purl. She taught me how to cast on but not how to bind off. I was just dying to get into it, so I would just invent these ways to finish off things.
It’s really interesting. I recently cleaned out my parents’ house and found a little shoebox of some of the little doll clothes I made. And the little vests started ok from the bottom, but as they got towards the top I just ran thread through the loops! It looked a little weird but it worked.
And the other thing that was interesting is, at the time, in the ’60s, those big window pane vests were kind of hip, with the big holes in them. I was dying to make one of those for my dolls, but did not know how to do a yarn over. So I had to figure out how to make a hole in the fabric that wouldn’t run. What I came up with was knitting each stitch 3 times and then moving to the next stitch – passing it back and forth, almost crocheting. This made a nice little hole. So I found these things and I went, “I remember how I did that. That was kind of clever.” I tried it up again and so I sell stockings now – fishnet stockings – using the mind of a 7 year old or an 8 year old that made up this stitch. I’ve never seen this stitch anywhere else.
UC: It’s true, we have the ingenuity to figure things out. Before there were stitch dictionaries, people had their own ways of making it happen.
Joan: They got where they wanted because they wanted to get there.
UC: Yes, through trial and error. How did you first get started designing?
Joan: I actually went to fashion design school. I had always been fascinated with fashion design. I was one of those people that knew what they had to do with their life. To me, it’s very strange when you have a person that’s an adult and says I don’t know what I want to do with my life. I knew, always, what I wanted to do. That must be an odd feeling, to not know.
In any event, I was always making my own clothes and when I got to college level, I did Costume Design. They have very good pattern drafting classes and you get to do weird shapes if you’re costuming plays, or super intricate historical things. A lot of what I’d learned previously was confirmed when I was in design school – that this was the right way to do things.
I had done work for OP Sunwear and others, but the most important was Frederick’s of Hollywood. I worked for them for three and a half years. That’s really where I got my hands into stretch fabrics, and close to the body type garments, and realized that knitting and stretch fabrics had so many of the same properties that you could almost interchange them. So I filed that away in my mind for later use. There was no knitting career on the horizon at that time.
Things happened, I got married, moved north to Sacramento with my husband, and was really having trouble settling into the city up there. It’s a different vibe and you really have to try to integrate yourself. I can imagine New York’s not that way, but it is in Sacramento. So I joined the local knitting guild there and found it to be rather cliquish and really also hard to integrate into. I said, “Maybe this is a mistake.” But before I left that first meeting, somebody shoves a little notebook at me and says sign up to bring cupcakes sometime during the year. So, I turned to the last page (December) and I write my name in December and I close the notebook and I forget about it.
December rolls around and I get a call, “It’s your turn to bring the cupcakes.” Oh, crap.
UC: To those people?
Joan: Exactly. I could just blow them off or I could do some boxed cupcake mix and drop them off and come back home. It wasn’t that far from where I lived, so I thought, yeah, I’ll do that. So, I make the cupcakes and I go down there. The speaker that month was a woman who was putting together a company to do knit kits. She was doing marketing surveys. She was showing people a Vogue Knitting magazine and asking if this is something you would make, and if you were going to buy a kit, how much would you pay for it, and what would you expect from the kit.
As she was talking about this, I got this hot feeling, this freaky hot feeling. It’s the finger of God coming down and going, “You need to go this way, young lady.” Before I knew what I was doing, I went up to her and said, “I need to offer you my services as a designer. I don’t design knitwear but I do design and I do knit. That must mean something!”
And sure enough, it did. And the first sweater that I did for that knit kit company was fantastic. It had bobbles, it had cables, it had lace, it had button bands, a high collar. It had everything. It was angora.
UC: You put all of your years of knitting experience in one sweater.
Joan: I did! I really did. And forgot to take any notes.
UC: Oh, God!
Joan: It was really hellish. Through tears and fire, I recreated the pattern somehow and it was just hellish. But it became their best selling item. They had me under contract for about two years. During that time, I found the hole in the contract. It said what I could not do, but I saw what I could do. What I could do was submit designs to magazines and that’s what I did. I submitted something to Interweave Knits. The first thing I submitted was on the cover.
Joan: So I knew I had something going on there. In the meantime, the other people who I was under contract with were not very happy about me finding the loophole.
UC: They wanted you exclusive?
Joan: They wanted me exclusive or first right of refusal. The suit that I did was on the cover of Interweave and my boss saw it.
UC: It would be a little hard to hide it.
Joan: It was. It was hard to hide. Especially when you’re in that business. I just didn’t think I needed any permission to do anything like that. I did not like the way it went and I terminated my contract a little early with them.
So anyway, it was fine. I went on to do a few more things for magazines. By that time, I’d become divorced and my new boyfriend said, “You know, if you would like to start some kind of a little publishing thing, you have some designs here, you’re writing them anyway. Why don’t we publish them for you and sell them yourself? Why sell them off to a magazine?” The man has vision and that’s why I married him!
UC: Sounds like a good business decision.
Joan: It really was and that’s really how we got started. He works with me in the business now. We travel and do shows like STITCHES and Vogue Knitting Live and whatnot, and it grew into a business from there. I took a lot of the experiences and things that I’ve done previously.
For example, when I was at Frederick’s of Hollywood, I just had the foresight to trace off the patterns that I was cutting on brown paper and just archive them – keep them in a big box, kept them with me whenever I moved, kept them in the attic. Then came the opportunity to do my book, Knitting Lingerie Style: More Than 30 Basic and Lingerie – Inspired Designs. Melanie Falick at Abrams publishing, she had heard in an interview from me somewhere that I did used to work for Frederick’s of Hollywood and she said would you like to do a book about lingerie?
UC: That was going to be my next question. How did you get into the lingerie?
Joan: There it is. I went up to the attic, and got my big box down, and said, “Well this would work! This would work, too.” I had really the basic pieces all there. It was just a matter of transfering them to knitting – knitting the shapes instead of cutting them out of fabric – and assembling them like I would have if I had cut them out of fabric. Consequently, I was able to use a bra wire that I had designed when I was working for Frederick’s. It was a w – a continuous underwire.
UC: Wow, one piece?
Joan: Yes, the reason I designed it that way was I always have my wires popping either in the center or at the side.
UC: Yes, I think everybody has that problem. Well, not everybody, but most of us with the regular bras.
Joan: With the big boobs.
UC: The combo!
Joan: Well, the weight of them makes them float around inside their channeling. And the w wire stays right where it is. The breasts are holding them in place, then you have this v coming up in the center, they can’t go anywhere. This is just the perfect wire for long wearing bras. Don’t know why I don’t see it more.
UC: I don’t know either, I would love to see this more because I have the same exact problem!
Joan: So anyway, we went into that project using so many of the ideas from Frederick’s, but my dear editor kept me from doing sequined pasties or anything like that. She let me do a few things that were a little on the risque side, but for the most part she kept me under her thumb and on the right side of the line of good taste.
UC: Can you just talk a little bit about what you’ve been doing here at Vogue Knitting Live?
Joan: I’ve done a Crochet for Knits class. It’s very interesting. My classes that people choose sometimes have nothing to do with knititng. One of my most popular classes – unfortunately, we didn’t do it here this time since we didn’t have room in my schedule for it – is Whip Your Knits into Shape. What we do is take copious measurements of the student’s body and then we transfer those to brown paper. Now we have an actual flat pattern.
UC: Kind of like a sloper?
Joan: Yes, a sloper. And then, without having to know anything about pattern making, they can just start knitting. If they’re knitting the back of a sweater, compare it. Oh, too big, I’ve gotta rip back. Before you get finished, you know it’s fine.
The other thing, I do a 6 hour class of Whip Your Knits into Shape where we take those measurements, do the brown paper patterns, and then we learn to design with them. It’s a really very popular class and a lot of poeple have had their aha moments. When they’re in the class saying why doesn’t this fit me – well, you can’t see yourself from the back.
UC: Absolutely, you don’t see what’s going on back there.
Joan: Too many people don’t want to know, either. The other classes that we’ve done this time was Bead Embroidery for Knits which was based on my little collection of 1950s beaded sweaters. I have 4 or 5 pieces that have fabulous beadwork on them. There was one in particular that I took and made into a chart and we just copy that essentially and I teach them how to do the beadwork without having to do it one by one by one.
UC: Oh, that’s awesome.
Joan: It’s not done that way. They can take that skill and use it for Christmas ornaments or decorating clothes, t-shirts, jeans jackets. I’m a child of the ’70s, it’s going to be my flares, man! It’s a very fun class for everybody and it has nothing to do with knitting – you can do it on anything.
The other class, Crochet for Knits, is fine finishing touches that you can use for your knitting, to keep edges from rolling, to be decorative, to join things together, just learning how to handle a hook when you’re a die-hard knitter. They’re a little afraid of that.
UC: Yes, it’s interesting because people are always saying crocheting is so much easier. But I’ve found, now that I’ve started knitting, that a lot of knitters are really intimidated by crochet.
Joan: Very. You should have seen the big eyes in my class.
UC: So what do you do to put them at ease because I know crochet’s a phobia for a lot of knitters.
Joan: We just jump in. I ask them how do you hold your hook? Some hold it like a spoon, some hold it like a pencil. And as soon as I start requiring them to use it, they do. They just do because they have to. I have them do a chain with their fingers first so they can get the structure of the stitch and then stitch the hook in and continue. Now they’re getting comfortable and we can roll from there. It’s just getting them comfortable and not afraid of the hook. And you can rip it out so easy! They go, “Hey, there’s only one stitch at a time that you have to worry about!”
UC: That is a huge plus of crochet.
Joan: It’s quite a revelation.
UC: Yeah, when you’re knitting and it’s really stressful to do that (pull out stitches). Since you also crochet… I’m sure you have not too much down time when you can actually make your own projects, but if you do, do you have a preference between crocheting or knitting? Or do you have a totally other craft that you do to relax?
Joan: You know, I would love another craft. That I use to relax? I do sew. And I have to sew, because I’m a hard fit. So I do sew and I make things for myself on the sewing machine. And after so many years of knitting, sewing seems so easy and fast! Instant gratification. Putting a pair of pants together – no sweat. Lining a coat – not a problem. Things that would have been really daunting before, now that you put three weeks into a sweater, I can put ten hours into a coat – that kind of thing. I guess I want to say sewing is my other, non-professional hobby.
UC: It sounds like it’s also utilitarian – it’s not just for fun.
Joan: Sometimes it is. Sometimes I just want something knew and I just whip up a little knit top or something. I also do machine knitting and sometimes I will combine that with fabric and sewing things together. It’s kind of automated – it’s not hand knitting – and it’s very fast. You can do a front or back of a tank top in literally twenty minutes. That’s really instant gratification. Yep, sewing is pretty much the other white meat there :).
UC: You’ve had a lot of experience in all different aspects of the yarn industry and the fashion industry. Do you have any advice for people that are considering trying to come into the yarn industry?
Joan: Boy, keep your day job. At this moment, keep your day job. Didn’t use to be that way, but things got really rough here for the economy. Putting out a few patterns may or may not be something that becomes viable, but the main advice is have somebody read your patterns. Tech edit your stuff or test knit your stuff. A lot of people maybe have done that for themselves, and they can’t see the forest for the trees anymore when they are working with their own pattern. There’s just nothing more off-putting then buying a pattern from a new designer and finding it not working. To keep your reputation good, take that extra little step and have somebody read it, tech edit it, something. That’s really one of the most important things, I think.
UC: Do you have any upcoming activities you’d like to talk about?
Joan: Yes, I’m going to be doing some classes on Craftsy in the upcoming months. I’m actually looking for Stephanie Japel today because she’s the acquisitions editor there now. I will definitely be doing a Continental Knitting class, which may be one of the free ones. It just introduces you to the teacher and how their teaching style is, but there will also be others on fit most definitely. So look for me in about four or five months on Craftsy. (UC comment: You can now find Joan’s Feminine Fit class for sale on Craftsy here.)
We always do STITCHES West at the Santa Clara Convention Center. I always have a booth there, so people can come by and see the garments that I do in person. I’m about to pitch another book. I’m not going to say what it’s about, but it’s along the lines of Knitting Lingerie Style, so it’s more romantic, kind of sexy, pretty things.
UC: Good luck! More pretty stuff is definitely needed. Anything else you’d like to share?
Joan: I also have a pretty good blog. I’m running a fitting series which started last Monday (UC comment: on January 14, 2013), so anyone can go to my blog and check out the first installment of Knit to Fit. I wrote about the five different mistakes knitters make in terms of fit. I’m going to expand that because the reaction to that has been really positive. I’ll possibly do an e-book with that.
UC: There’s a lot of fears and concerns and horror stories surrounding knit fitting – and crochet fitting, too.
Joan: And wasted money and disappointment. I’m all about avoiding disappointment, especially when you’re working on something you think you’re going to love, and then you put it on and go, “Oh, that looks awful!” If I can help anybody avoid that, I’m all over it!
Thanks so much, Joan! I really appreciate you taking time from your busy schedule at Vogue Knitting Live to meet with me!
Today is the last day of Hispanic Heritage Month and also the end of my interview series. Here’s a recap in case you missed some of the interviews. All photos are used with permission. (Click on the photos to link to the interview.)
Thanks to everyone who shared an interview, especially since my requests were made at the eleventh hour. I learned a lot about crocheting and knitting in Latin American and Europe, as well as about how these different needle artists view the impact of their culture on their own work. I shared my own inspiration for this series here.
I’m really excited to interview Charles Voth, also known as Stitch Stud, today. Charles is a crochet and knitting designer and tech editor. (If you’re not sure what a tech editor is, you may want to check out this interview with Juanita Quinones. And if you get really excited about tech editing, you may want to sign up for these upcoming tech editing classes Charles is teaching at online at Crochet Insider.) Charles is an active participant in several online forums for crochet designers, and over the years I’ve seen him generously sharing his knowledge with more junior designers (including me!). In the past year, I’ve had the great pleasure of getting to (virtually) meet Charles when he tech edited one of my patterns.
Underground Crafter (UC): How did you learn to crochet and knit?
Charles: When I was 5, a woman visiting my mother was crocheting a blue hat. I was fascinated with the movement of her hands and that a 3-d object was appearing from a piece of yarn. I asked her to teach me. She taught me to finger chain that day, and came back another time to teach me how to use a hook. What I made after with the basic stitches I learned, I can’t recall.
I remember making a doily in thread following a pattern when I was 8 or 9. I had no-one to help me crack the code of pattern text and abbreviations, but somehow with the photo and the index of stitches I figured it out. When I was 10 or 11, I saw some Guambiano tribesmen knitting and spinning with drop-spindles (in Popayan, Colombia) and I asked my dad what they were doing. He explained what it was and I asked him if I could learn to knit. Fortunately, my grade 5 teacher was a knitter and my dad asked her to teach me. He bought me my first yarn and needles.
I am a “thrower”, and faster at it than at “picking”, but when my Russian-born grandmother saw me throwing upon my visit with her in Canada, she was dismayed, and tried to get me to knit Russian-continental. Which I can now do fairly well, but at that age, I found it hopeless to change over.
UC: What inspired you to start designing?
Charles: The yarn store I frequented in Medellin, Colombia only had yarn, no pattern booklets. The women would sketch a schematic, do a swatch, and figure out the sweater. They taught me how to do that so I could make my mom a sweater and a vest. But I wanted to knit something for myself. Fortunately, another expat woman lent me an English pattern book with women’s patterns. I analysed the shaping, schematic, gauge, etc, and with the help of my math teacher I designed a men’s sweater based on the woman’s pattern, making it more masculine. I even got a home-ec credit for that. I just kept going from there and only stopped during the first 10 years of my kids’ lives. I was the full-time stay at home parent for half of those years and just didn’t have time.
UC: Many of your patterns are available in both English and Spanish. Tell us about your decision to offer your patterns in both languages. Are Spanish language patterns universally understand by Spanish speakers, or is there a great divide like we see between U.S. & U.K. terminology? If so, how do you address that in your work.
Charles: I wish I could spend more time writing my patterns in both languages. I know that Spanish-speaking knitters and crocheters don’t cling to patterns the way English-speakers do…and seem to thrive on the “swatch, and follow a schematic” formula, but there are many learners and intermediate crocheters who perhaps haven’t benefited from a relative who could teach them the intricacies of shaping, etc, and they do look for patterns. The many Spanish groups of Ravelry who translate with designers’ permission are a testimony to this growing need.
While there are differences in the names of stitches, for knitting needles, the crochet hook, and even yarn, the labels do seem immaterial to Spanish-speaking crafters. Rather than stigmatizing one set of labels as incorrect or inferior, each geographic region is happy to use what they know and even to borrow from each other. It’s rather refreshing. The other mentality that I enjoy and return to often for a breath of fresh air, is that there is no knit-crochet dichotomy like in North America. In Colombia, as in many other countries, the word “tejer” is universal for “weaving, knitting, and crochet” and the tool that is used is given when the activity is being described. So I would “weave with a loom,” “weave with 2 needles,” or “weave with a hook,” for example. I use the words that I was taught in Colombia and the terms and abbreviations I first found when I found other Hispanic bloggers and stitchers online.
UC: In addition to your crochet life, you’re also an ESL teacher. Does your teaching experience impact your design or pattern writing process, and if so, how?
Charles: Second language learners struggle constantly with accuracy and fluency, and the two aspects of language compete with each other. Either one can talk with native-like speed and tone yet have many embedded grammatical or micro-level pronunciation errors, or one can speak/write accurately, with near perfect grammar and spelling, but it takes forever and the speech is robotic and the writing painfully slow.
Crocheters and knitters, depending on their exposure to patterns and the time they’ve been stitching, and what kind of support they’ve had, and more importantly, what kind of learner they are (visual, aural, kinesthetic, text-biased) often struggle with the same fits and false starts when they encounter pattern instructions and charts until they are more experienced, but if a stitcher works faster than they are ready to, things get missed and frogging is more common.
I have written patterns that bore the experienced knitter/crocheter to tears because they are full of pedagogical text, and I’ve written patterns that are so sparse that a newbie takes up hours of my time on Ravelry giving pattern support. I’m a visual learner, so I’m fine with a chart, a schematic and minimal text, yet I know that if my patterns were only like that I’d loose 75% of stitchers out there, so I now try to find a happy medium.
UC: You were born and raised in Colombia. What was the yarn crafts scene like there when you were growing up?
Charles: From what I recall, different tribes of pre-European Colombians have a vibrant craft movement and the lore is well documented and perpetuated. Colombia is the textile centre of Latin America, and Medellin, where I grew up, has many textile corporations. The tallest sky scraper in the city is actually a stylized sewing needle. When I was there, mostly grandmothers were the knitters and depending on the social class, younger women either learned out of necessity (to make blankets and clothes for themselves and/or for sale) or if they were middle or upper class, they just dabbled in it once in a while. I’m not at all in touch with the current knitting/crochet culture in Colombia. Colombians on Ravelry appear to come from all age groups.
When I lived there, the main yarn purveyors were the French company Pinguoin, and Cisne yarns (from Chile), and I believe Coats had and still has a line of yarn with Spanish labels. These yarns were in the store at the mall near my house. The yarns were mostly acrylic. My favourite store was a different one, 15 blocks from my house and it was frequented mostly by little grandmothers from working class families. The store consisted of a small room with walls made of cinderblock and red-clay brick; it was poorly lit, and had a very sparse non-yarn décor. But it had wall-to-wall cones of what now would be deemed lace-weight acrylic yarn in about 100 colours. I would go there, ask for 15, 23, 60, or any number of grams of yarn, and I could specify the number of strands they would hold together and wind off into cakes. 4 yarns together worked great on my 3.5mm or 4mm needles, so it must have been somewhere been a sport or DK weight. I’d ask for 3 strands together to make baby booties and 6 strands together to work at a worsted weight gauge. It was VERY splitty, naturally, but I think my getting control of this was what really helped me develop a very even tension. (UC comment: This sounds like a really fun store!)
UC: Does your cultural background influence your crafting? If so, how?
Charles: The deepest influence my cultural heritage gives me is my sense of colour and of proportion. I know it’s nothing unusual now, but when I first arrived in Canada and made things with orange, fuschia, and red right beside each other, I sure got looks. Naturally, when I discovered Kaffe Fasset at 19 and saw that colours transcended culture, I feel liberated.
I don’t know whether I can say this here, but as a teenage boy interested in the local beauties, I was drawn to girls that had curves, naturally, but it was the relative proportion that mattered. The guys and I would comment on how North American models were twiggy and sickly and we were never surprised that Miss Universe was often won by a South American beauty queen. To be beautiful in our eyes, a girl had to have calves and thighs, but it was just as important to have narrow ankles and knees, and so on—proportion was key. This definitely has influenced my design aesthetic, when designing women’s garments, because I like to accentuate curves and relative differences in proportion rather than create the baggy box or the wraith-like sack-on-a-scare-crow look. You could say that my muse for women’s designs is “la belleza latina.” Of course, for men’s designs, I now consult my 2 teenage sons and what they and their friends would wear.
UC: You’ve held a lot of roles in the yarn industry, including designer, podcaster, tech editor, and magazine editor. What advice do you have for aspiring professionals?
Charles: I would say,
“Don’t ever think you’re too young to start, or too old to start.
Don’t give up, take small steps, be humble amongst the great talent that’s around you, but don’t hide your skills and art out of sight.
Don’t have a sense of entitlement, accept rejection without tears. A rejected design only means your creation doesn’t fit in someone else’s big picture creative concept; it doesn’t mean it’s a terrible design.
Act professionally, and as much as you can, don’t let emotions cloud business matters, particularly in public.
Befriend many, but give to many in return.
Find one or two trustworthy and extremely honest (even painfully so, sometimes) mentors to guide you and to listen to your emotional venting privately.
Most of all, enjoy creating, have a knitting or crochet project that doesn’t have a deadline, and is just there to be savoured, touched, and to fill the senses.
If you have a life-partner, engage in, and support his/her passion without expecting the same in return.
Lastly, be a life-long learner.”
UC: Do you have any favorite Spanish or English language crochet or craft blogs to share?
Charles: I’m busy tech-editing mostly. A few designs in the works, but nothing I can talk about at the moment. (UC comment: And if you’re interested in becoming a tech editor, don’t forget to sign up for Charles’s upcoming classes at Crochet Insider!)
Thank you, Charles, for sharing your thoughts with us, and for giving some great advice!
Today, I’m interviewing Juanita Quinones, also known as BoricuaCrochet, a crocheter I met on Ravelry who is also a crochet tech editor. Originally from Puerto Rico, Juanita moved to the mainland U.S. about 20 years ago and now lives in Pennsylvania. Her projects can be found on Ravelry here. All pictures are used with her permission.
Underground Crafter (UC): How did you learn to crochet?
Juanita: My journey began by watching a neighbor making doilies when I was about six years old. After that, I picked up a stitch dictionary, Mon Tricot Knitting Dictionary Stitches Patterns Knitting & Crochet, that my mother had and learned each of the stitches. It is my preferred stitch dictionary, and I do still keep that copy. I always wanted to make wearable projects. I remember and still have my first poncho done when I was 13 years old. (UC comment: Wow, that’s impressive! As much as I love stitch dictionaries, I’ve never worked my way entirely through one.)
It is a collection of vintage patterns of stitches, motifs, edgings, insertions, and other patterns both in knit and crochet. We are making the crochet samples. I’ve taken the task of coordinating these efforts and adding the patterns to Ravelry with pictures from several volunteers. We hope to have the samples available for display at one of the future CGOA conferences. We hope they inspire crocheters and designers alike to incorporate in future projects. It is always better when you have a picture of what these patterns look like. It is a big project and we have completed about a third of the samples. (UC comment: Thanks for your work on this great project which has benefits for the entire crochet community!)
UC: You are a crochet tech editor. For my readers who don’t know, can you explain what a tech editor is and tell us how you got started tech editing?
Juanita: In a nutshell, a tech editor revises patterns from designers in an attempt to make them error-free before they are published. The tech editor makes sure the pattern is accurate and complete in how it uses the correct abbreviations, follows standards, and/or provides explanation for new or uncommon stitches used. We don’t need to make the item to know when something is missing, needs more clarification, or needs consistency.
I don’t know why – perhaps because of my mathematical background and/or experience writing technical documents – but it has always been easy to identify when a pattern has an error. Always, I’ve sent the comment(s) to the publisher and/or designer. It was after submitting several corrections that a well-known designer influenced me to pursue the career.
UC: Tell us about the crochet scene in Puerto Rico.
Juanita: There are a lot of artisans in Puerto Rico that work with thread, in what is called “Mundillo” (a bobbin lace). There are only a few yarn stores in Puerto Rico. There are classes offered by different groups for both knit and crochet, but they are scarce. My passion for the craft increased when I moved to the States about 19 years ago as there were more yarns readily available.
I don’t think there is rivalry amongst crocheters and knitters in Puerto Rico. I think most learn to do both even when they prefer one or the other. Like I prefer crochet and my mother prefers knitting, but we know both.
UC: Does your cultural background influence your crafting? If so, how?
Juanita: I think my cultural background influenced the type of yarn that I prefer to work with. I prefer to crochet with cotton, bamboo, linen, or silk, but not wool (although at times I do use wool for felting). Since we don’t have changes in seasons, I do prefer colorful yarns all the time, and not according to seasons.
UC: What are some of your favorite Spanish or English language craft blogs to share?
This week has been pretty consumed by my baby steps into freeform crochet. Inspired by Crochet Master Class (review here) and guided by the Crochet Liberation Front’s CAL, I have been working on my first freeform crochet project – a cat blanket. (You can read more about my year long project with this wonderful book, or check out my first freeform post.) I’m pretty sure my cat is going to have the most interesting blanket out there. I’ll have a great update for you tomorrow on the next 7 days of my freeform CAL journey.
I finally started reading the book this week and have made it to page 30.
(Embarrassed expression.) I didn’t realize that “making video podcasts” and “making video stuff to put on the interwebs” were different until reading this book. I guess I’m more interested in making a bunch of videos than serializing them per se. Perhaps I will be converted, though, after reading this book, since it is pretty awesome thus far. (The authors have a companion website here.)
3. Publish at least five patterns.
Inside Crochet (UK) posted the preview pictures for Issue 20 (August, 2011) last weekend. There is a really delightful picture of my sunshine blanket and pillow on their Facebook page (which you can see without logging in). The issue is available digitally on Yudu now. I haven’t yet seen it in my local Barnes and Noble yet and it isn’t posted on their website. I’m looking forward to having a hard copy in my hands soon!
This weekend I also got to see the tech edited version of my pattern which is being released in the Fall. The stitch symbols look awesome! I can’t wait to show it to you. The yarn for my other forthcoming mystery project hasn’t arrived yet, but the deadline is far away so I’m not too worried… yet.
I have also been on the hunt for a crochet tech editor who works with independent designers. I have a few patterns I’d like to self publish. If you know of anyone accepting new clients, please share his/her name and contact info (via comments or via email to marie AT undergroundcrafter DOT com)! Thanks in advance!