My website, it is a-changin'



Lilytopia

 I have been struggling with my website for a while now. Because of the platform we originally chose, we were limited in design choices, and the palette and style definitely do not reflect my design sense. Another issue is that it is very cumbersome to update. Any time I wanted to add or change something, I have to get all the pieces ready, send them to my tech guy (a.k.a. husband), and have him do the updates--he's been wonderfully helpful, but this isn't his first priority, and neither of us has wanted to spend the time that the website needs. Developing the site was a good exercise for both of us, but it's a bit of a dinosaur now.

What this means is that my major marketing tool is stale, old-looking, incomplete (so many of my designs aren't on here at all--you must think I've been sitting on my hands for the past two years!), and not very inviting. As for the blog part, Blogger has many quirks that make it frustrating to arrange text and photos. Sometimes it has been easier to say, "Eh, just skip it!" than to spend the time and energy it takes to do a presentable post.

Well, all this is about to change. I have hired a consultant and together we have chosen a beautiful new platform that reflects my design sensibilities--and which I will be able to update on my own! Also in development is a new logo and brand that will visually communicate my style (my "head shot" belongs in the back of my books, not as a substitute for a logo). As part of the redesign, we'll be switching to a different blog host. We will build in the capability for a newsletter mailing list, special offers, links to videos, information for yarn companies, and connections to FB. (It is challenging to decide which social media to use and how much time to spend on that--I don't want to spend so much time networking that I don't have a product to market!)

The redesign is taking place behind the scenes so we can work out all of the details before going public; I expect the launch before spring. Meanwhile, my current website will remain live (well, more like a zombie, but you know what I mean).

With Crochet Scarves coming out in just a few months, it will feel wonderful to have a fabulous new website that I hope you will enjoy visiting regularly for its content and visual appeal! Meanwhile, please accept my apologies for the stale nature of the current site and the way-too-infrequent blog posts.

Marketing savvy from an expert

You may remember that I mentioned another Sharon, Sharon DeLaCruz, in a blog post not long ago. I noted at the time that she has a compelling life story, one of accomplishment, setbacks, and perseverance. As we have begun to get better acquainted, Sharon is becoming a combination role model and business associate for me. We have common aims of balancing our creative time and our marketing time.

Sharon is a fine artist as well as a fiber artist, and she brings her color sensibility to her crochet work. Take a look at this unusual scarf (photo is used with Sharon's permission). This is just one of the many gorgeous pieces she has designed and crocheted--you can see them on her website or her FB page. Or just Google her and you will get a slew of results.

But it is her marketing wizardry that impresses and inspires me even more. Not only does she have her work in retail stores including Sears (not exactly small potatoes!), but she is an author, participates in fashion events, is an early adopter of technologies like smart phone sales, has had her work featured on television programs and in print, and so on. Her energy and professionalism are outstanding.

We are going to talk later this week about ways we can collaborate and/or support each other's design efforts. It's perfect timing for me--with my scarf book coming out in July 2012, marketing is at the forefront of my tasks. I'm already working toward a website redesign, but that's just the beginning. I am very excited about the possibilities of what two Sharons with shared goals can do!
http://www.mycreativemoments.com/

What it takes to get ready for a photo shoot

Getting ready for photo shoot

Photographs for my crochet books and patterns fall into three categories: pictures of the finished items, step-by-step photos of the techniques (called "step-outs" in the industry), and closeups of the stitch patterns to show detail. Each type of photo requires different preparation. Since I'm in the midst of going through this process for the "Crochet Scarves" book, I thought I'd share it with you.

When the finished samples (all 23 of them!) were ready, we needed a great location to use as a backdrop. Photographer Alan Wycheck, who has photographed all of my crochet titles, had secured Mary Knackstedt's interior design studio for our last two books, but we wanted something different this time. He was able to get permission from the Art Association of Harrisburg to shoot there. It proved to be a perfect spot. Indoors, there was plenty of room to set up. The lighting was good. Architectural details and artwork livened up the pictures. We were able to use their courtyard also, and then went across Front Street to take additional shots along the waterfront in the late afternoon.

To get ready for the location shoot, I had to figure out the best way to present the scarves. Out came the trusty notebook so I could write down my styling notes and keep things moving on photo day. I have a mannequin (affectionately known as Louise) with a brown cover and a cream overlay, so first I tried the scarves on her to see which color showed off each scarf better. Then I considered dressing Louise in a top or jacket for some of the items. A denim jacket, short red trench coat, fitted white zippered jacket, and a couple of sleeveless tops looked good; the long brown trench, pale yellow quilted vest, black leather winter jacket, and royal blue riding jacket didn't. Next, I pulled out some hangers to see if draping the scarves on those would work. It took several hours and a bit of a mess in my studio to get all of the styling decisions made. Then I packed everything. Additional supplies: scissors, steam iron, fabric tape, straight pins, crochet hooks, clothing brush, and a little bit of yarn for each project just in case. And Louise, of course. Note to self: add "mosquito repellent" to packing list. Man, I was eaten alive in the Art Association's lush outdoor space.

Once on site, Wycheck (I refer to him by his last name because I have too many Alans in my life!) and I scouted the possibilities and decided which scarf to shoot in which spot. Then we went to work. It was a l-o-n-g day but extremely successful. Wycheck only had to chide me once for being impatient. (I plead extenuating circumstances: it had started to thunder.) I'm glad he does not sacrifice quality for expediency, and he makes sure I don't either!

Shooting the finished scarves was easy compared to what's on tap next. At our photo session on 9/28 we'll do the technique photos. That involves a ton of preparation on my part. As I wrote the patterns, I've been noting spots where technique pictures would be helpful. I have to have all of those pieces ready. If it's the trim, the scarf has to be crocheted up to that point. If it's Row 5, I have to have a sample that is complete through Row 4. Sometimes one pattern can require several step-outs. All of these pieces are bagged, with the yarn and with notes to remind me what I want to show, what size hook to use, and any other information that can make the photo session go smoothly. Everything is also in my notebook so I can double-check and make sure we don't miss anything.

(With still photos, there is the option to make an extra item, them rip it out and shoot the steps in reverse. Later, you can arrange the photos in the order you choose. However, when I was on Uncommon Threads television show, that wasn't an option! I think I prepared about 50 step-outs for some of the items we made on the show. It wasn't so bad making something up to the end of Row 1, then another one through Row 3, then yet another through Row 5, but having to make it through Row 157, then Row 163, then up to the trim or whatever was extremely time-consuming.)

A day or two before the technique photos are taken, I will have to decide what to do about my fingernails. Those of you who have been reading this blog for a while know that my nails are short and--although they are clean and actually don't look too bad right now--not professionally manicured. If I don't break any nails before next week I may just put a coat of clear polish on them; if things look ragged, I'll glue on fake nails and hope not to repeat the misadventures I've had with that approach in the past. Let's just say superglue and I do not get along.

On photo day, Wycheck will bring his lights, cameras, laptop, stands, and huge roll of background paper to my house. We commandeer the dining room for this enterprise. Step one, crank up the air conditioning because those lights are hot. Step two, get a stepstool for Wycheck. Mostly he perches over my shoulder and shoots down on my hands. He is a genius at showing motion in still shots, and he makes me do the stitches several times until he gets the pictures he wants. I often have to stop halfway through a stitch and then hold that position before finishing. This usually goes quite smoothly (there aren't a lot of artistic decisions to be made), but with 23 scarves and multiple step-outs for each, it takes a while.

Once that's done, we'll reward ourselves with something a little easier, taking closeups of each scarf. My job here is to make sure everything is clean and blocked, and to indicate which part(s) of every scarf should be highlighted. Since my hands aren't in the pictures, I can revert to my stylist role.

Once I have the electronic versions of the photos, it's up to me to pick which ones will be in the book. The good news: there are many wonderful pictures to choose from. The bad news: there are many wonderful pictures to choose from! Often I can toss out some right away, but it is hard to decide when it comes down to the last few. I have to insert the picture numbers into the text to tell the publisher which photos to use and where they should go. I also have to include any notes like "crop the left side," "rotate 90 degrees clockwise," or "insert arrow to point to top loop."

The package goes to Stackpole Books on October 11, and I will next see the book after it is copyedited. There will be a lot of work for me to do then, as I check word for word against the original and test the patterns to make sure they are 100% correct. In the meantime, I get a bit of a break from this large project, which I'm looking forward to. I may have to restrain myself from saying, "Tag! You're It!" when I hand in the manuscript next month.

Another Sharon!

I got a lovely note a couple of weeks ago from someone I didn't know, Sharon DeLaCruz. She reached out to me because of our shared passion for crocheting. After looking at her websites where I could see her crochet artistry and other artwork as well, and read about her background, I had to wonder where had I been that I had missed it until now!

Sharon has a compelling life story, one of accomplishment, setbacks, and perseverance. You may not know her name, but you have probably seen her work. In addition, she has a flair for marketing and has used it well. Her creations are sold in major retail outlets and art galleries.

I appreciate her generosity in offering to share her experience with me. Please read about her and be inspired! After you look at her websites, I'll understand if you want to think of me as "the other Sharon."

www.MyCreativeMoments.com

Book review, Go Crochet! Afghan Design Workshop

Ellen Gormley's new book, Go Crochet! Afghan Design Workshop brings 50 new motifs to the world of granny squares (and rectangles, triangles, hexagons, and octagons). I confess I've always been rather indifferent to granny squares and motifs in general, mostly because there are so many ends to weave in (yes, I know you can crochet over them but I get a more elegant result sewing them in afterwards with a tapestry needle) and because most of the time you have to seam them together--not my favorite thing. Even with join-as-you-go, there are still plenty of ends.

However, I appreciate the positive attributes of motifs, which Ellen notes in her book:

• portability--don't have to drag a ton of yarn around with you
• opportunity to experiment with color and pattern
• great way to use up scrap yarn
• perfect for multiple people to work on different parts, then assemble together
• easy to customize
• not too taxing mentally--easy to pick up and put down
• fun to make.

The book has a very thorough introductory section about fibers, hooks, and other tools. Experienced crocheters will probably be able to skip over some of that, but lapsed or newly minted crocheters will benefit from the information. Next there are helpful suggestions for working with color, creating your own design, and buying yarn. The page on "Assembly" has clear illustrations; photographs for each technique would have been useful so we could see which seaming method is neatest and what the reverse side looks like. Is one style better than another for certain shapes, or are they interchangeable? What's the best way to choose?

The real strength of the book is the "Motifs to Go" section, divided by shape. Each of the 50 motifs has a clear photograph of the finished item, along with written and charted instructions. Ellen gives the weight of the yarn needed for the motif, and lists the yarn she used for the sample. As most of you know, I am a stickler for clear instructions, and Ellen does not disappoint--I had no trouble following either the words or the diagram. I heartily approve of how she lets us know how many of each kind of stitch we are supposed to end up with at the end of a round! This "early warning system" to alert us if we've made a mistake is a very caring addition to the instructions, one that I wish other designers would adopt.

I also admire Ellen's creativity. Just when you thought there was nothing new under the sun, motif-wise, she has come up with fifty (50!) new ones in interesting color combinations, stitch patterns, and shapes. Beginners will find motifs they can execute successfully; more skilled crocheters will find popcorns, post stitches, stitches that are worked in the front or back loop, and reverse single crochet--the variety keeps things interesting. It's nice to see octagons, many of which are more like eight-petaled flowers than the straight-sided stop sign shapes, along with hexagons and triangles to supplement squares and rectangles.

One useful addition would be to tell us whether it's best to join each new round in the same general area or in a different spot (or doesn't it matter?). I'd love to get Ellen's expert advice so my motifs don't come out lopsided. It would also be good to know what to do if working a motif all in one color. Since fastening off would be unnecessary, what's the best way to finish one round and begin the next in the same color?

I picked a random rectangular motif to practice, "Gift Package" on p. 53. The skill level for it is listed as "Advanced." (A slight digression--the use of "Advanced" is odd because on p. 15 the highest level is given as "Experienced," which is what the Craft Yarn Council of America uses. The CYCA allows writers to use their standard symbols and terms as long as proper credit it given; no reason not to. I'll show my writerly bias and blame the inconsistency here on the editor!)

Anyway, I found the written pattern clear and easy to follow, though the print is a little on the small side for the bifocal generation; the chart was also correct and easy to use. Here is a picture of the back in progress, showing the ends, then a photo of the finished motif. For each pattern, Ellen suggests other motifs to mix and match. I love this idea, but I didn't find any photos or diagrams of how one would arrange vastly different shapes into a coherent afghan (except for the final, all-motifs-on-deck project, which is not what most of us would have in mind on a regular basis). Of the ten designs in the "Afghans on the Go" pattern section, most stick to one shape. "Reflected Sunlight" and "Spring Octagons" use octagons and little squares; "Brilliant Starburst" incorporates hexagons and triangles. The final project, "All Call" (with the skill level "Very Advanced," which again is a term that's not generally used--although it gets the message across) does use every motif in the book. It's a cool concept, but I think it may be stretching things to try this. The photo on p. 125 shows an afghan with nice straight sides, but the top and bottom are a little untidy for my taste, which I think is unavoidable given the number of motifs and their different sizes and shapes. I do like the monochromatic look a lot, though.

The other projects are attractive and creative. Blue and yellow tones are the perfect choice for the "French Country" afghan, which drew me in right away. The 3D aspect of the "Pick a Posie" motif in that blanket gives it added interest. Like the motifs, the projects are photographed clearly with excellent detail.

The construction of the book itself is wonderfully useable--it's spiral bound so the pages lay flat, but the cover is hard enough so the top of the spine doesn't get crushed.

I recommend this book to anyone who is a fan of motifs and is looking for new shapes, colors, and stitch patterns to join into beautiful afghans (or smaller projects like dishcloths or placemats). Ellen Gormley is an experienced designer whose work has appeared in major crochet magazines and on television. Her commitment to new designs and careful pattern instructions is evident here.

The cover price for Go Crochet! Afghan Design Workshop, published by Krause Publications, is $24.99. Ellen's website is http://www.gocrochet.com/.