We need each other.

Every person, in every role in the quilting industry, whether it’s on the buying side or the selling side, from the CEO to the fledgling sewist, is necessary.

Absolutely necessary.

Every role is important, and without each of them, we ALL fall down. Consider each of us to be legs of a table.

Take out any one leg, and the table falls over:

• The Designers: without the designers to generate all the wonderful ideas that inspire us, there would be little to sell, or buy. No new patterns, no new books, no new fabric designs.
• The Shop Owners and Sellers: without the sellers, we have no place to buy the products we want. There would be no carefully curated stores and charming onlline shops to inspire the customers. No place to go to get help and a half yard of the perfect fabric.
• The Companies and Distributors: without the companies to manufacture and distribute our products, there would be no products for the shops, and thus none for the customers. We need the manufacturers to make our fabric and develop our notions. We need the book and magazine publishers to distribute our books and ideas.
• Customers: without the customers, none of what we make will find a home, or get turned into something beautiful.

Seldom a week goes by that I don’t hear a story of how poorly we take care of each other, or experience it first hand. So I’d like to ask each and every one of you, of us, to step up your game:

• Designers:
  • Make the best thing you can possibly make.
  • Be original (no more deer heads, ok?)
  • Don’t sign contracts that abuse you as it teaches the people who offer them that we are OK with being abused.
  • Go the extra mile to make sure it’s right, and fix it fast when it isn’t.
  • And get back to the people who write to you.
• Shop Owners and Sellers:
  • If you are not in business to delight your customers, it’s perhaps time to re-think your gig.
  • Treat EVERY person as if they are special, because they are.
  • Be proud that you’re on the front line of promoting the love of sewing.
  • If you run your store like an impenetrable clique of those girls from high school, you will alienate the next generation of sewists – and we will ALL suffer for it.
  • Invest in your staff.
  • Help people, and help them get excited about sewing.
• Companies and Distributors:
  • Figure out how to make what you make in a way that supports your people, the industry, and the planet.
  • Offer contracts that are win-win, in clear language. And then stick to them.
  • And for the love of all that is holy, pay on time. A small business such as mine gets very stressed by your loose interpretation of Net 30 being “we’ll process it the week after it’s due but somehow miss getting it in the mail for another week after that.”
• Customers:
  • Treat your stores and their staff kindly, doubly so if you are asking them to calculate yardage or help you choose fabric.
  • Buy their stuff on non-sale days too.
  • Don’t window shop their products only to buy them on Amazon. If you don’t support them, they won’t be there when you need them.
  • Stop expecting the store to give it to you for free – quilting is a luxury pastime so you should expect to part with money to do it.
  • Don’t copy patterns or books – it’s stealing, and you’re hurting the people that bring you inspiration.

Imagine how great this industry could be if we all stepped up on these points, even just a little. Can you see it in your mind? Good.

Now let’s make it happen.

* Image found here.

The post WASWI – Legs of the same table appeared first on Hunter's Design Studio.

It’s exciting to see the topic of selling handcrafted items for decent money rise up in the consciousness of our industry. I believe that the more we talk about it, the better it will be for all.

I was sent a recent post from Kate Chiconi, from which I pulled this quote (emphasis mine) regarding getting paid well for a quilt:

But I’ve come to the conclusion that there’s no point counting the hours I spend in my enjoyment and expecting a return on investment. All that would achieve is a deep sense of despondency at how poorly I’m rewarded, whereas in fact the reward lies in the process and the pleasure my handwork gives, not the monetary reward. Fortunately, I’m not dependent on my sewing to support myself, unlike some of my forebears!

While I’m glad Kate understands the “despondency” of being low-balled for her work, and I’m thrilled she enjoys her process, I think she is missing the fact that her contemporary peers try to make livings with a needle, too.

For many of us, it’s REALLY tough to place a price on what we do. It engages all sorts of discomfort in our esteem, and often leaves us open to criticism and ridicule for daring to challenge the notion that it’s OK for artists to starve. Our love for what we do is called into question when we monetize it. And for we ladies, there’s an added layer of judgment about being uppity and “not nice” when you try to be business-like.

So we don’t do it. We shrink back when asking for a fair price. We do funky math and discount the cost of the materials because we already owned them (unwilling to point out that to replace them will cost good money.) We weakly defend the idea that you can love something AND make money at it (and why the hell is this only a conversation in the arts? I don’t see bankers struggling with this at all.) And the most corrosive lie we can tell is “I don’t need the money.”

It’s a great one to hide behind… not only does it make you sound fortunate, it colors you as generous and altruistic. You’re doing the would-be buyers a favor by leaving some cash in their wallets.

But while it might help you, and maybe get you a modest sale, it actually hurts all your sew-sisters and -brothers. YOU might not need the money, but I certainly do, and I’m not the only one. If you don’t educate buyers as to a fair price, then the knowledge of what that is will not permeate our art-buying culture. And we all suffer for it.

Even if you don’t need the money, PLEASE charge it. Donate the cash to children’s arts programs or your favorite charity if you need to get it out of your account. If you still don’t want to do that, please AT LEAST give the buyers a detailed invoice showing the depth of the discount they receive. Education is the easiest thing we can do to change this.

Kate ends with this:

We create because we can and because we must. Monetary reward is just a very pleasant fringe benefit…

Pleasure in my process is certainly important. But no one quilts for cash without enjoying their process – it’s just too damned hard. However, we can’t pay the rent in satisfaction, nor should we be expected to. Money isn’t a fringe benefit in the arts, it’s what feeds the family. Just like in other careers.

The post WASWI: “But I don’t need the money” appeared first on Hunter's Design Studio.

We spoke of making quilts, lessons learned, and of course, we spoke of We Are $ew Worth It.

At the end of the evening, one of the members came up to talk. She is a piano teacher. She told me the story of the local piano teachers all getting together, and deciding to charge similar prices so that they would all be decently paid. And she said that, in the instances she felt like backing down on her rates, she remembered that she owed it to all the teachers to stay strong and claim her hourly fee. After all, learning to play piano at the level that one can then teach it is no small feat.

And it gave me hope. Hope that if I can convince enough people that working for free hurts us all, we WILL all benefit from it.

We make beautiful things. We do it with skills that are learned, honed, and practiced. We invest in expensive equipment to do the work we do.

We are worth a living wage. We really are. We just have to claim it.

The post WASWI – Sticking Together appeared first on Hunter's Design Studio.

A friend of mine is working on one of my patterns as a gift for her son. Sweet friend, sweet and lucky lad to have a mama that quilts for him.

And a friend of hers stopped by. For the sake of keeping these people straight, let’s call my friend Mary, and her friend Jane. Names changed to protect privacy, innocence and all that – and with huge apologies to the Janes and Marys I know and love.

Jane geeks out over the pattern (yay!) and decides to make one. She swipes Mary’s copy of the pattern, saying “You can just print another.” (Mary had the PDF version of it). Mary let it go because, hey, we’re women, and we’re NICE, right?

But it weighed on Mary. She respects what I do for a living – heck, she’s pitched in at my kitchen table on more than one occasion. Yes, this is my LIVING – I have no inheritance, no trust fund, and no partner with a salary behind me. It’s just me and my customers.

So she tackles Jane about it. Explains to her that she’s not happy with having facilitated giving my pattern away. Tells her where she can buy her own copy. But Jane pushes back. And here’s the interesting part… this isn’t a pattern that is languishing in Jane’s sewing room in the “I’ll get to it someday” pile – nope, she’s actually making it. She bought the fabric. And she tells my friend that the fabric was pricy and she “can’t afford another $10 for the pattern.”

Jane, Jane, Jane.

It’s not the paper the pattern is printed on, it’s the intellectual property.

I designed a thing you thought was cool, and you want to make it. And that’s great – I’m always flattered when someone likes the things I create. But that has WORTH. Without the pattern, you’d be just holding a pile of fabric (beautiful fabric that someone designed). Unless you feel like designing your own, you NEED the pattern as much as you needed the fabric you paid for. So yes, I should get paid for it.

Jane – when you did your Thanksgiving dinner shopping, did you buy all the trimmings but steal the turkey because you thought it was expensive? My guess is NO.

So pay me for the pattern, OK?

( And yes… I used to copy patterns when I first started out. But I don’t do that anymore, and I’m working on putting my karma back in balance by fighting for us all.)

The post WASWI – Please don’t steal my pattern (or any one else’s) appeared first on Hunter's Design Studio.

Yesterday, Abby Glassenberg of WhileSheNaps delivered an eye-opening post of behind-the-scenes information about the money in fabric design in our industry. Please go read it… I’ll be waiting for you when you’re done. And a continued thank you to Abby for researching and writing such important posts.

I woke up in the wee hours this morning fretting about this, and here’s what I was fretting about: WE must stop agreeing to work for negative income. 

At Quilt Market, just two weeks ago, the result of the Quilting in America 2014 Survey was presented by F+W, A Content + eCommerce Company. The major data point is that Quilting is a $3.76 BILLION industry. Yes, BILLION. To be told that there’s almost $4B of cash floating around in Quiltdom, and then to read that there are fabric companies that effectively force their designers into penury via footing the entire bill of Quilt Market marketing obligations is… just… appalling. Abusive. Manipulative. Just plain WRONG.

And I lost count of how many times I heard during market “I don’t know who’s getting the $4B but it sure isn’t me.”

Look – this isn’t about the companies (fabric or otherwise) that take care of their people. This is about those that don’t. If you are so desperate to see your name on the selvedge that you will sign a questionable dotted line, then you will live by that questionable contract (and really, is the “fame” worth it?) But here’s the thing: because you are willing to sign, it tells the company that what they are offering is good enough. So the bar stays low for anyone coming behind you. It’s the same thing I argue about pricing handmade goods – if you are willing to give it up for the “work for free” price, then you are educating the customer that “work for free” is the going rate. Which screws us all, you included.

These companies are not going to offer you a better deal out of the goodness of their hearts, any more than a craft fair customer will double your asking price for the sake of good karma. We are not going to get better contracts unless we refuse to sign the bad ones. And my guess is that if enough of us pass on the bad contracts, and the company faces Quilt Market with little new stuff to show, then they’ll get motivated to up their game.

The quilting industry started its growth back when we began the fight for Equal Rights. Its initial population was founded on women who were brought up to be nice, and that pressure to be nice above all else, and especially above being business-savvy people, is still extreme. I know it can feel “not nice” to push back on a contract, especially when you’ve worked hard to achieve the offer of one. But a contract that screws you over isn’t one you (or our industry) deserves.

And in case you are reading this and thinking “I don’t design fabric so it doesn’t apply to me,” well, think again. If you knew which company treated their artists like this, would you buy from them? Would you encourage them to mistreat their people with your hard-earned money? I hope not…. many of us boycott several brands and chains for less.

We are, as always, in this together. If we demand better, we can achieve it for us all. If we take care of others as we rise, then we all rise. I believe we really can change our industry, but we really have to do it together. As Abby says at the end of her post “This kind of alliance can only happen when we speak up.”

So I’m speaking up. We truly Are $ew Worth It.

The post WASWI – Designing Fabric? appeared first on Hunter's Design Studio.

You don’t have to answer questions! You’re allowed to Pass or Sass!

Take note, and rehearse a few with your sewing pals to have them at the ready! I usually deliver the lines with sone light sass, perhaps a slightly patient and patronizing air (awww… they don’t get it… bless their hearts!) and always with a sense of humor

And please add yours to the comments so that we are all armed the next time someone says “I could make that.”

“My grandma could make that.”

So could mine, but it wouldn’t have the same unique character to it.

“Art is easy.”

Tell that to Michelangelo!

“Everybody can sew.”

You mean like everybody can cook?

“It’s easy to sew… why should I pay for that?”

It’s easy to cook too, but you still eat at restaurants, yes?

“How long did that take?”

A few months, and about 30 years to know how to make it in a few months.

“I could buy one at Target.”

You could buy other bedding at Target, but it will have been made with cheaper materials by someone who wasn’t paid fairly, and it won’t be a one of a kind thing.

“My sister/mother/auntie/bestie quilts too.”

How cool! Then you KNOW what kind of time and skill it takes to make a quilt.

“How do you make this?”

I’m happy to give you private lessons. I charge $100 an hour. Let me get you my card…

“No really, just tell me how you do this so I can go make one.”

No really, I’ve invested a lot in my mastery… you should invest in yours.

“My kid could make that.”

Chuckle… we parents always think our kids are prodigies, don’t we?

“Can I get a deal if I buy two?”

No, it doesn’t take any less of my resources to make the second one.

“Can I get a quilt as a donation? It will be great exposure for you.”

Did you know you can die of exposure?

“Can you sew this project for me? It will be great exposure for you.”

If only my landlord accepted exposure in lieu of rent!

“Can I have it for a really super low price because I’m doing it for Amazing Worthy Cause?”

How great that Amazing Worthy Cause has your support! If you like my product that much, I would be honored to have your support too!

“People who sew charge too much.”

It’s a specialized skill, just like carpentry or fixing cars, and you pay way more for those.

“Quilting isn’t a necessity, like plumbing is when you’re toilet isn’t working.”

But you hire a plumber at full price when you’re doing a snazzy remodel, which isn’t a necessity either.

“But I’m on a fixed income.”

I don’t know a person who is not… we all get to make choices with our budgets.

“There’s no way I’d pay that.”

Then you’re not my customer. Have a great day!

Go here for more info about We Are $ew Worth It

The post WASWI Resources – Snappy and Sassy Comebacks! appeared first on Hunter's Design Studio.

Through the course of emails about WASWI, Molli Sparkles and I have become friends, and today, Molli has given us a great and transparent look at his No Value Does Not Equal Free quilt, a stunning tour de force in shades of white. Read it HERE.

Image from Molli Sparkles, used with “Hell yeah!” permission!

I encourage you to read to the end of the post – there are many important and subtle details in there, and Molli gives us the reasons for every number in the projects sheets. He also generously gives you a version of them to use for yourself (a super beefed up version of my original simple time/materials sheets).

Perhaps the most important sentence in the post is this:

“For those in the USA, where quilting is nearly a four billion dollar industry, I created a more localised costing sheet for you. As previously mentioned, I altered the fabric cost to $10.00 / yard, and the labour rate to $14.00 / hour based on the most recently documented US median wage.”

We help generate $4 BILLION for this industry, and I know many of us struggle to charge $10 an hour.

You are worth so much more than that. We all are. We ARE $ew Worth It.

Thank you, Molli!

The post WASWI – Molli Breaks it Down appeared first on Hunter's Design Studio.

Gigi Khalsa interviewed several industry professionals, including yours truly, and put together a well informed article stuffed with facts, opinions, and “behind the green curtain” advice.

• Nancy Henry talks about the business arc of her Etsy shop, nhquiltarts.
• Samantha Harvey of Sami’s Quilts and Crafts discusses the formulae she uses rigorously to price quilts. “Quilters who undercharge make it harder for anyone to get a fair price.” Woman after my own heart!
• Katie Ringo of Katie’s Quilting Corner gives strong commission advice. She also says “Educate your buying public.” Right on.
• Patricia L. Cummings of Quilter’s Muse Publications reminds us that the price of a quilt should include the wear and tear on our tools and machines, and the power to run them.
• Caryl Bryer Fallert-Gentry discusses the price-per-square foot formula she uses (similar to a lot of fine art painters). She also talks about correct pricing when a gallery carries your work. Never undercut your gallery!
• LUKE Haynes also uses a pricing formula, but he talks about his long toil in the trenches to build a body of work at prices that cover a living wage.
• Carol Ann Waugh of aBuzz Gallery discusses the difficult job of competing with cheaply made imports.
• And I talk, as always, about my belief that if we all work on this together, we will all benefit from it.

That’s me, in the opening paragraph! I’m the closer too!

From the core of my being, I believe that We Are $ew Worth It. And I hope you’ll join me in that.

The post WASWI: Quilters Newsletter Magazine talks about Value appeared first on Hunter's Design Studio.

Fireworks, by my sweet son, from a long time ago.

Yesterday, Kay B left a comment on a WASWI post, and asked this: “My question is when do you consider yourself an “artist”? If you develop your own pattern? When you properly following someone else’s pattern? How about hand quilted vs. long arm quilted? I have seen many things listed for sale online that are lower quality that are charging more than for more quality crafted items that it is no wonder the general public is afraid to pay the asking price for hand crafted items. How does an appraiser determine a value?”

Before I tackle the big one about considering one’s self an artist, I’ll answer the easier one about appraisals.

Certified Quilt Appraisers have been rigorously trained through programs such as this one in the US run by AQS, the American Quilter’s Society. (Note that this is good place to look if you need to hire an appraiser, too.) Armed with that training, an appraiser can determine where a quilt fits in the current canon of knowledge, and value them accordingly. What factors matter? Many factors, including craftsmanship, ubiquity/rarity, geography/history, and the renown of the maker. For instance, I had a few quilts appraised some years ago, then shortly after, was published in some magazines and earned a ribbon at a national show. My appraiser informed me that the publishings and the ribbon both added to my value, and that my appraisals would now be higher because of them. Thus it follows that the quilts made by the acknowledged masters and superstars of our industry will appraise higher than the version of them that less famous people might make. Sort of like a doodle by Picasso is worth more than the one done by the sweetest toddler in your family (even if you can’t really tell the difference). And yes – it doesn’t really account for the emotional attachment you have for the toddler’s work!

So with this in mind, when do you get to say you’re an artist? My opinion is this:

You get to say you’re an artist the first time you pick up a pencil, or crayon, or needle, or hammer, or lump of dirt and try to make something out of it. WAIT, I hear you say…. that misshapen lump of clay that came home from 2nd grade that was supposed to be a pumpkin is not ART. No, it might not be. There is a rather extensive establishment that loves to wrangle with the question of “Is it ART?” and they like to be the keepers of that conversation, so I’m going to just let them wrangle it. And I’m guessing they will say no, the “pumpkin” is not art, unless of course Picasso made it… and… and… you get my drift.

Wile E Coyote and Road Runner. Lines by Chuck Jones, colors by my sweet son.

I’m talking about YOU. In my mind, if you are a MAKER, you are an ARTIST. The intention to make with your hands is an ARTISTIC intention, regardless of what you then make. I know that for some it’s a huge struggle to claim the title because I struggled too. I’ve never been that great at drawing, and so when I drew misshapen things as a child I was told I was no good at art. But I’ve since decided that my elementary school teacher didn’t really have the authority to tell me what I am. I successfully earned an AA in art by working hard at learning to draw (I had an excellent teacher, but I’m still middling at it). I got my BA in Sculpture because constructing stuff makes more sense to me. I got my MFA in Fiber because by then I had figured out that playing with fiber is my superpower. And I still hate to draw. And that just no longer matters.

I don’t think you need to be making original patterns to call yourself an artist. I don’t think it matters if you quilt by hand, machine or check (but I do think you have to acknowledge the long arm artist when you hire one). I think you just need to MAKE. Make what interests you, make for profit, make for love, but just MAKE.

As for the pricing differences one sees online? Those appraisal factors are in play, but so are the factors of what the market will bear and the self confidence of the maker. An honest pricing calculates the time and materials and takes into account the artist’s skill. Some people don’t charge enough to cover that. Others do. The wide range in price vs. quality in the handcrafted world is no different than in other industries… for instance there are well made good-value cars and expensive rattletraps out there. That’s the joy of a free market. As a buyer, you get to decide what to exchange your moola for.

But back to the ARTIST conversation before I leave you. You’ll see me talking about “your studio” and some of you might think “right… that would be my dining room table.” I refer to you and your making this way because, to me, you ARE an artist. The space doesn’t matter. The size of the machine doesn’t matter. The fact that you might do it with kiddos underfoot or cats in your lap doesn’t matter. There isn’t a magic door you have to go through to be an artist. You just have to MAKE.

So let’s go do some of that! MAKE, MAKE, MAKE…

The post When are you “an artist”? appeared first on Hunter's Design Studio.

So I thought I would give you a peek behind the green curtain on how my Chunky Wee Bag pattern got designed. While it’s definitely a humorous look at the monologue in my head, please don’t miss how many times I made and tested the bag before I let it out of the house. Seriously.

Here goes…

The 17^th Time’s the Charm – OR – What it Took to Make the Chunky Wee Bag Pattern (said in my best Rocky and Bullwinkle voice-over)

It started out with a need (necessity being the mother of invention and all that): I had a date with my son and Disneyland. I needed a small bag that would go across my body, and carry just a wallet, glasses, phone and a snack. My usual handbag is part backpack, and had previously proven hard to manage in the cramped confines of a rollercoaster, so I thought I would just whip up something else. I’m a miss-fancy-pants-pattern-designer, right? Right. Read on for a peek into the mind of a (mad)woman on a mission to make the perfect bag.

Studio. Hmmm… what size bag? Let’s start with 8” x 8” shall we? Love that square! Love that balance! Couple inches deep. Flap. No zippers! Definitely need pockets inside to keep stuff separate. (What does the Bagginses have in its pocketses?) A ring… to clip keys onto. Where’s the calculator? Graph paper! Sketch, draw, redraw, recalculate.

OK, I think I have it, wait… adjust that a smidge… strap should be narrower? Yes. Fabric! ORANGE! The robot fabric! (Bad Robot!) Aha! Needs something. Grey? Yes… but something else. (Garlic? Chocolate?) Ooh, the retro one with the boomerangs! Yeah, baby! Groovy, baby! (But with better teeth!)

Can I do it all with black thread? Yessss. New needle, walking foot… who put felt under my bobbin again? Drop of oil. Water in the iron? OK!

Cut, fuse, sew, pin, wrangle, sew. Ooops. Flap’s in backwards. Bah! Pout. Rip, rip, rip. Pin. Check. Really? Sigh. Re-pin. Re-check. Sew. Yes! Post picture on FB. Awww, lots of likes

Disneyland! Wheeee! Works perfectly. Yay for pulling it out of my hat yesterday! Except for the flap needs Velcro. Why, thank you, yes, I made it! The strap could be a smidge wider. But still… success!

Home. I wanna use my cute wee bag! Too small. Can’t get the sketchbook in there. Huh. The tissues. The little box of emergency medical stuff that all mothers MUST carry even when their kid lives in a different state now. (I checked the handbook, it’s in there. Trust me). Pens. Nail file. Lip balm. Emergency chocolate.

Duh. Make it bigger.

Studio. What about 9” x 10”? Draw, calculate, funky Halloween fabric, cut, sew. Hmm. Don’t like the proportion much. Cute but… meh. Yes, you can have it.

What about deeper? Chunky deep. Like four inches deep? Oooh. Need a base board to hold that bottom out square. And how to get from a 4” side to a thinner strap?

How to get from a 4” side to a thinner strap??

Really. How to get from a 4” side to a thinner strap???

Toss and turn. Wee hours… EUREKA! That’s how to do it! Throw on clothes, grab tea, OMG MY HAIR. But no one’s gonna see me today. I hope. Baseball cap. Car keys. Studio!

Template plastic, more robot fabric, cut, sew. Hold breath. Turn inside-out. Iron. YES! (By George I Think She’s Got IT!) Topstitch that thing and get it into the bag. LOVE IT. (I know).

Move stuff into the bag. Fits! HAPPY!

Pattern? No… didn’t make a pattern for it yet. Yes, I should. Well, sure I’ll make you one while I write it. Have to test it anyway. And one for you. Oh, you want it bigger. That tall? To carry your iPad. Got it. Tall version coming up. Let’s try 8” x 10”.

Studio. Draw, calculate, cut, sew. Two sizes… officially a Pattern In Development. Flap’s funny on the tall one. Make it again. Try magnetic closures. Make it again. Ok, I’ll make you one. But I’m still working out this flap, OK?

Email blast to the Tester Peeps! Make a bag! Two sizes! Come on down!

Sorry for the hand sketches. Let me know if the writing makes sense. Yes? Argh, you’re right… I have no idea what I meant by that, obviously needed more chocolate. Yep, that sure is a better way of putting it. Thank you. That step should go first? Got it. Is the velcro in the right place? You think the flap’s fine? How are we doing? Ready to turn the bag? Yay! You made it! Pix for the blog!! THANK YOU!!

Still not sure about that taller bag. Flap still looks funny.

Rinse and repeat with second group of Tester Peeps. Wow, these gals totally saved my patootie. AGAIN. Whew.

Flap still looks funny. Harrumph. Back to the drawing board. Rules of design proportion? Rule of thirds? The Golden Rule? Shorten the flap? Yep, that helped. Still looks funny. The bag’s too tall. But it has to be 10” for the (#@*$) iPad. Too tall! Can’t shorten it. Waitaminute! I can make it wider!

Try 10” x 10”. Echino airplanes and scooters! Sweet fabric, but why didn’t they make it in ORANGE. Because not everyone luuurvvvess ORANGE, Sam. (Fools!) More for me! (Wicked laughter!) Cut, sew, flip, and BINGO – doesn’t look funny anymore. Love that square! Love that balance! Oh, you’d like one, but in linen. Sure. I need to test it again.

It’s Karen’s birthday and I could make her one of these. Except for the small one is too big for her – she likes them wee (she’s a Scot!) Make it smaller. SMALLER? Are you NUTS? Hmmm… 6” x 6” could work. If I move that and squeeze this and keep it SQUARE, and how the hell am I supposed to get my hand through there and yes, it’s so cute! Perfect. THREE sizes for the pattern now. Oh, you’d like one? Sure. I’m still testing it. No, it has to stay SQUARE. Trust me.

A pattern? Of course it’s a pattern. It will be out soon… I just need to run one more test!

**********************

References:

• What does it have in its pocketses? – Gollum, in The Hobbit
• Bad Robot – J.J. Abrams’ production company (and on the end of every episode of Lost)
• Yeah, baby! Groovy, baby! (But with better teeth!) – Austin Powers
• By George I Think She’s Got It! – My Fair Lady
• Love it. I know – (“I love you.” “I know.”) Princess Leia and Han Solo, in The Empire Strikes Back
• Fools! – Mr. T from the A-Team

The post Making a Quick Buck appeared first on Hunter's Design Studio.