Tuesday, December 28, 2010

New Yarn

Remember the push in the last few weeks to sell my stuff before Xmas? Well, it worked well enough and now I'm seeing the first results from all that sales work: new materials for my next batches of weaving.

I get great exercise as a weaver. Not only is the giant AVL production loom akin to a treadmill, but I also have to transport all of the materials in and out of the forest where my cabin studio lies. This entails a half mile hike up a pretty substantial hill, across a bunch of mud, and up one last incline to the cabin. I can only haul 100 lbs of stuff at a time, so it takes a while to get anything done.

Here's the view on my back porch once I got the new boxes of yarn up the hill. Those purple and orange boxes are the yarn I already had in stock. Their inscrutability is the reason I got clear boxes this time. Yeah, clear plastic is more brittle and costs more, but I'm about to have way too much yarn to look through boxes every time I need some. I need to be able to see the whole stash at once and know how much I have of each color. With about 100 lbs of yarn coming in every month and at least 75 lbs getting woven up, it's only going to get more complicated.

And here's all of my yarn sorted into colors in the new boxes. You can see my production pipeline by looking at the volume of colors here. The next beam will be various shades of white. Then comes navy blue. I'll need to get more blue yarn before I will be able to weave that beam, but I've got a pretty good start. Then comes forest green, then burgundy. I need a lot more yarn for those two beams, but I've got plenty of time to get it.

Oh, and the back porch staging is temporary. Water gets into everything in this environment whether we think it's sealed or not. Those boxes will all have to fit in the cabin somehow.

Now that I've got all the yarn, it's time to bring my warping setup up-to-date and get warping! Woohoo!

Saturday, December 25, 2010

Web Marketing Notebook

Web Marketing. This is a huge topic that encompasses just about every part of our experience on the internet. My recent posts on the topic have created a lot of conversation here on the land. People are asking me how I got so good at it.

First, let me say that I'm not so good at it. I've read TONS on the topic, especially from the brilliant folks at Etsy. I've integrated a tiny part of what I've read into my own shop and have had some success at it. I can't claim credit for the ideas at all. I'll be rereading these articles and integrating more and more of the concepts as I wrap my head around it.

I know that I've written about Evernote in my blog before, but this is a great time to demonstrate it. It's the web clipping/note storage service that has changed the way I find information, store it, read it, and share it.

I live in the forest with no internet in my cabin. To find information, I sit with my iPhone or my MacBook in the common house and search the web. When I find something of interest, I clip it to my Evernote account instead of reading it right then. This way I don't have to spend so much time using the internet in common space. Before I leave the wifi, I sync Evernote on my iPhone. I have it set up to manually download the content of certain folders so I can read that content when I get back to my cabin. Then, I sometimes use the iPhone client to make a plain text copy of the note which is easier to read.

I have all kinds of notebooks on all kinds of topics, but there's one in particular that I want to share. Click on the link below to read all of the stuff that I've read to learn as much as I know about web marketing. This is a live notebook, so keep coming back to read new information as I add it.

Web Marketing Notebook


Thursday, December 23, 2010

More Solstice Astronomy

In my last blog post, I skipped a bunch of steps in explaining why the Midnight Solstice Lunar Eclipse was such a rare thing. My friends were asking for clarification, so I thought I'd post it here, too.

[The whole shebang. The height of the sun and moon is what we're trying to figure out.]

This is the diagram from yesterday's blog post. We're looking for the answer that the moon at its highest point is 20 degrees from the zenith and the sun at its lowest point is 24 degrees from the horizon. The questions I want to answer are: How do the 43 degrees and the 23 degrees fit into this? Where do those numbers come from?

[The Earth and how Wolf Creek's sky fits into the picture.]

This diagram shows where the 43 degrees comes from.

It's a simple set of geometry that makes the number of degrees in the altitude of Polaris the same as the latitude of the place where you're standing. When we point a stick directly at Polaris, that stick is parallel with the Earth's axis, 43 degrees above the horizon. That's because Wolf Creek is located at a latitude of 43 degrees North. Perpendicular to that stick is the equator.

[On the Winter Solstice, the North Pole points 23 degrees away from the sun, giving us short days and a sun that's low in the sky.]

Once we know where the equator is, we can make use of another bit of geometry - the tilt of the Earth's axis compared to the plane of its orbit around the sun. This is 23 degrees.

At the Winter Solstice, the North Pole is pointing away from the sun. In the sky, this puts the sun 23 degrees below the line of the equator, which it crosses at the equinoxes. That's 90 (the zenith) minus 43 degrees latitude minus 23 degrees axial tilt, giving a final answer that the sun will rise to only 24 degrees above the horizon on the Winter Solstice. This is the lowest solar noon we will see all year.

With a full moon on the Solstice, we know that the moon is directly opposite the sun in the sky. That's why it's full. This means that the moon will be the same number of degrees above the equator as the sun is below it. The gives us 90 degrees (zenith) minus 43 degrees latitude plus 23 degrees axial tilt for a final answer of 20 degrees below the zenith or 70 degrees above the horizon. While the sun is at its lowest, the moon is at its highest. While we measure the sun at solar noon, we measure the moon at lunar midnight.

And that's what all those angles and mumbo-jumbo in the last blog post meant. Once we get a look at the whole picture piece-by-piece, it all makes sense. We can get an idea of just how rare it is to have a lunar eclipse at lunar midnight on the winter solstice. It won't happen again in our lifetimes.

Wednesday, December 22, 2010

Winter Solstice Lunar Eclipse

A couple of nights ago we got to see a spectacular event: a full lunar eclipse at midnight on the Winter solstice.

[Sun and Moon, Midnight and Noon, Winter Solstice]

This little chart shows a slice of the sky from North to South in order to demonstrate how to calculate positions on the solstice.

1. Find your latitude. You can do this by using your sextant to measure the altitude of Polaris. (or look it up on Google Maps.)
2. Subtract your latitude from 90 degrees to get the altitude of the equatorial line. (In this case Polaris is 43 degrees up from the horizon so the equatorial line is 43 degrees down from the zenith.)
3. The Earth is tilted 23 degrees on its axis. This is the reason for the seasons.
4. The altitude of the sun at noon on the winter solstice is 23 degrees down from the equatorial line, the lowest it will ever be.
5. The altitude of the moon at midnight on the winter solstice is 23 degrees up from the equatorial line, the highest it will ever be.

From this day on, the sun will rise and the moon will sink until the summer solstice when they will have completely changed places: the sun will be high in the sky and the moon will just skim the hills.

This eclipse was so rare because it happened, not just on the right day, but at the precise moment when the moon was at its highest point for the whole year. This was, of course, true only for people near our longitude, the Pacific time zone. For others, the eclipse just happened on the solstice.

I'm extremely glad that the snow stopped and the sky cleared just in time to see the eclipse at its apex. Wow! I don't ever remember seeing the moon so high in the sky. (I'm usually asleep by 9:00 in the Winter and the sky's usually cloudy anyhow, so it's likely that I never *have* seen it!) It was just a dark red disk almost straight up. An hour later it was heading west and still just a sliver.

Tuesday, December 21, 2010

New Cloth Design

While I wait for the yarn and loom parts to arrive, I'm taking advantage of the time to design the next batch of cloth. I'm basing the technique on two successful features of my past weaving: randomness and pointed advancing twills.

All of my design inspiration comes from nature. In this case, I'm calling on the pattern in the center of the Orb Weaver Spider's web.

The beam will be warped in shades of white to conjure visions of wedding dresses, bunnies, and other symbols of Spring. The pieces will be woven with a variety of colors from off-white, tan, grey, and black to rich, vibrant colors. The end results will range from chaste to garish.

Since I'm still quite new at designing cloth for production, I'm glad for the time to do it carefully. Using a textile CAD software called Arahweave, I've worked to design a weave structure that behaves the way I want it to.

I had several goals in mind when I set out to design this cloth. I wanted to play with a slowly advancing twill where the "eyes" in the pattern become a minor feature compared to the dominating zigzags. I also wanted the zigzags to advance slowly enough that they cause visual tension against the straight stripes of the warp. I want people to subconsciously wonder if the zigzags are really meandering and how that might be possible.

After I had the weave structure designed, I sat and played with yarn colors. One thing that sets Arahweave apart from other weaving CAD software that I've tried is its extremely robust yarn modeling capabilities. I like the organic effect that comes from using multiple threads plied together on the bobbin, and Arahweave lets me model that.

It's so easy to try new color combinations that I just sit and play with it. When I get a combo that I like, I save an image of it.

This "play" has led me to a new effect that I can't wait to try. With a warp in shades of white, the structure will be obscured if I weave with white thread. It will be highlighted if I weave with dark thread. If I ply the two together, it seems like the structure will play peek-a-boo, disappearing in white-dominant sections and being revealed in dark-dominant sections. I hope it's as cool in person as it is on the screen!

Monday, December 20, 2010

Business, Busy-ness

[The hills in the morning]

Whoa, what a month! I've been way too busy surviving as a newly independent weaver to write in my blog. I'm only writing now while I lay in bed with orange juice, hoping to stave off what feels like another bout of that very tenacious flu from November.

First, I had to take the (few) piles of cloth in my possession and make them into saleable garments. For the holiday gift-giving crowd I chose scarves as my main focus. They're affordable because they don't use much cloth. And, my bold patterns are perfect for an accessory like that.

I also had another challenge: design a functional ruana. The first piece of handweaving I ever bought was a ruana and I remember the instant attraction of that classic garment. I also saw how well they sold at the Renaissance Faire. They are the staple. I have an agreement with my previous "employer" that I won't use her cloth designs or garment patterns. Thank goodness for McCall's! Their pattern 3448 is called the One-Hour Poncho. It's perfect! They give 4 main variations on the shape so I chose the simplest one with a hood and modified it to remove the lining and flat-fell the seams. If you like to sew, grab an old blanket and give this pattern a try! I don't mind sharing it because the value in my work is that I did it, not the source of my pattern inspiration.

[Look at C. It's a hooded ruana!]

Once I had my stuff designed and produced, I had to get started selling it, and quick! Because of my rural location and the fact that I hadn't foreseen my independence early enough to create "craft show quantities" and apply for holiday shows, I decided to focus on my online retail presence.

I started out making software decisions in my usual manner: compare features, look at potential upgrades and future features, etc. In this way I decided to go with ZenCart on my own private website. It allows for extremely refined discount terms, free shipping on orders of a certain amount, coupons, special features, upcoming items, and more.

So I set it all up in time for Black Friday and realized one fatal flaw in my plan. There are few customers visiting my site. A number of people read my blog, but nobody treats my website as a shopping destination. Why would they? The store is brand new. It takes time to develop repeat business, and time is the one thing I don't have. If my scarves don't sell by the end of December, I may as well pack them away until next

Then I remembered Etsy, the online marketplace for all things handmade. They've got what I don't - traffic. And not just any traffic, either. The people browsing that site are informed shoppers who want handmade goods. Etsy's listing fees are cheap and they only take a small percentage when an item sells. I dove in with a passion!

Thankfully, Etsy makes it easy. They want their sellers to succeed so they've written TONS of stuff on how to structure your shop, shoot your photos, write your descriptions, promote yourself, and more. I knew that time was short and that I would greatly benefit from learning the ropes of this new world, so I spent about 30 hours in 2 days digesting as much of this information as I could.

And then I set to work. First, I set up Google Analytics so I'd know how much traffic my shop was getting and which parts of my effort were actually making a difference. Every day I worked like a dog to shoot product photos, write descriptions and list new items. I did everything in my power to promote my shop and make it an attractive place when people arrived.

My friends helped me get the word out. Holy cow, LiveJournal and Dreamwidth! I had no idea there were so many people on there willing to help a friend of a friend. My traffic spiked to 10x the normal level on the day those friends got involved. Thanks so much for your help!

I forget that I'm pretty good at marketing stuff. I've spent years learning how to use my camera to capture what I want. I've practiced writing for most of my adult life and, while I'm not the best writer, I'm usually able to convey what I mean and tell my story in a way that others can understand. Now I'm learning my way around Google and their system of content ranking.

And then there's all the extra stuff I've put into my Etsy store: a sale rack, gift certificates, self-service layaway, coupon codes that I've sent out to mailing lists, and more. Now I'm rapidly acquiring the one thing you can't fake: trust. As people place orders, receive them, and leave positive feedback, other customers can see it and feel more confident buying from me.

With all of that said, I look forward to setting up a better light booth so I can photograph my garments in good light regardless of the weather. I also expect to revamp my banner, bio, store description, and product descriptions once the holidays are over. This was a great "Version 1.0", and has done well with that reality in mind.

Another thing I did to raise money and get the word of my store into the world was to host a series of trunk sales in Portland. The Etsy store hadn't yet done much and getting to Portland was bringing my accounts dangerously low when good luck struck. Some sanctuary visitors arrived and bought things from me. The timing was perfect! They got beautiful garments and I got money for gas and food.

My goal with all of this was to raise enough money to buy a few hundred pounds of yarn and an auto-advance mechanism for my loom. This mechanism helps me make cloth faster, which is an important factor in keeping my prices down.

I was nervous about the trip so forgot to take good pictures of my setups at the three events I did. Below is the one picture I did take. It's the corner of one of two tables at Shabutter. Thanks, House of Butter, for hosting me and my trunk sale.

[Oskrr helping to demonstrate the softness of my pouches]

Between the Etsy store and the Portland Trunk Sale, I've made it! I placed the order for the auto-advance mechanism and a few hundred pounds of yarn. I'll be weaving again in two weeks, with new merchandise appearing in my store two weeks after that. So, look for my Spring Line in late January. The theme will be "Light, Bright, and Classic."

As soon as the holidays are over, I'll be looking for the Spring and Summer shows to sell my work. If anyone knows of a good show for high-end handcrafts, located between Ashland and Portland, leave me a comment. I'd love to know about it!

Saturday, December 18, 2010

Last Chance For Holiday Orders!

I've been so ridiculously busy setting up my Etsy store that I didn't write about it on my blog. Well, it's not too late! The Post Office says that orders shipping out today or Monday will still arrive to continental US addresses by the 25th.

I've got clothing, housewares, bags, gift certificates, and more for special prices as low as $15. Be sure to check out the Sale Rack! You can even put pricier items on layaway by following the instructions in my "Shop Policies."

If you visit my Etsy store, http://WeavingMonk.etsy.com, use the coupon code BLOG2010 to take an additional 15% off.


Sunday, December 5, 2010

How To Price Your Craftwork

I'm writing this piece for several reasons: 1) to address the critique that the prices on my web store are too low and 2) to help other artists and crafters figure out how to start really making a living from their work. I realize that this is a special skill and I'm happy to share my opinions on it. Enjoy!


One of the most difficult things for an artist is setting a price on the finished work. For professional crafters it's a little easier. We often make variations on the same thing over and over again so we have a good idea how much time is actually required to do it.

In this post, I'll walk you through the steps of pricing your work for wholesale and for retail. If you price your work fairly, you will be able to stand by your prices with resolve. You will also be able to "wheel and deal" while knowing just how low you can go and still make a living.

Before you get started, make sure you are very familiar with your market. Who else is selling? What are they selling? How much are they charging? Are you prepared to compete directly or do you want to sidle up next to them by offering complimentary products?

It's extremely important to make sure that you're ready to sell wholesale when you price your work. Imagine what you would do if a local boutique offered to buy a large number of pieces every month from you. If you're a serious crafter who wants to make a living from it, you will want to be ready to sell to that boutique and be happy doing it! You will need to already have created a fair wholesale price.

Pay For Your Time

First and foremost, pay for your time. If you're crafting as a business, this is the place where you, the crafter, make your money. To pay for time, you need to calculate your time per piece. You won't be able to accurately do this after making one piece. Depending on your type of work, you may not know even after making 20 pieces. After 100 or so, you will probably have started to create a workflow and may be getting a good feel for the time you need. Most craft production requires doing the same step to multiple pieces before moving to the next step. Time yourself making a number of pieces and calculate the "per piece" time. If you take breaks or get interrupted, don't forget to stop the timer! If it takes 45 minutes to do one step for 10 pieces, that's 4:30 for each piece. Figure out all of the per-step times per piece and add them together to get a "minutes per piece" or "hours per piece" figure. Now, decide how much you should make per hour. Be honest about your skill level and charge appropriately. Don't ask your customers to pay extra to make up for your lack of skill. In my case, I'm a skilled weaver and should earn $25/hr for my weaving time, including every aspect of loom setup and cloth production. I'm not as skilled at sewing, so pay myself only $15/hr for those tasks until I get better.

Don't forget setup time! In my case, it takes about 30 hours to prepare the loom for weaving 90 yards of cloth. That's 20 minutes extra per yard.

Pay Your Taxes

If a one-yard piece takes 20 minutes of setup, 1 hour of weaving and 2 hours of sewing, that's .33@$25 + $25 + 2@$15 = $63.33 for labor. And don't forget that you're responsible for taxes on that income, too. I figure on 25% income tax. That's $63.33 for me and $21.11 for the tax man giving a final price of $84.44.

When you get to this point, if the price seems too high to compete with what's on the market, don't change the price. Change the product, change the marketing or change the production. Maybe you can make a similar product that would sell for a higher price, maybe you can market this one differently, or maybe you can speed up your production.

Pay For Materials

The next step is to estimate your material costs. How much of each material is used to make a piece? Don't forget about waste! If some of a material ends up on the floor, think hard about ways to prevent this, and then calculate a higher material cost to cover it. Also, don't forget to factor in the shipping of your materials. Let's say for this example, that my yarn costs $15/lb including shipping, and 2% ends up on the floor. That means I am spending $15 per pound and using 98% of that pound. $15/98% = $15.31 per pound of yarn used in finished work. If you can, weigh the finished pieces to figure out how much materials each one is using. Otherwise, keep track of how many pieces you can get from a set amount of your raw material. Let's say my woven cloth pieces each weigh 1/2 pound. That's $7.66 in yarn per piece.

Again, if this seems high, there are a few things you can do. Use less expensive materials or use less of them. Customers are smart, so don't try to fool them into paying a high price for low quality materials. Have you considered using recycled materials? This is a great way to reduce cost, and sometimes even increase the quality of the materials. (Think of thrift store cashmere sweaters vs. new wool cloth.) Using recycled materials also opens up a new market to you: eco-conscious customers.

Pay For Your Overhead

Next, you need to cover your production overhead. Figure in everything that you need to pay in order to produce your stuff: studio rental, electricity, heating, transportation, a tool budget, and more. Take your time to think of everything that you need to do your work. A bookkeeper can help you here. Add up each of these expenses per month and divide by the number of pieces you can reasonably make in a month. Notice we're not talking about how many you can sell or how much it costs to sell them. That will come later. Do, however, remember that you will be spending some of your time selling. Assess your production capacity based on the time you actually have available to produce your merchandise. Let's say that it costs $1000/mo to keep the studio running and you can make an average of 250 pieces a month while leaving enough time to sell. Each piece needs to pay $4 toward production overhead.

This is the place where you can get quite creative looking for alternatives. Can you rent studio time to others who want access to your equipment? Do you have space to rent out to other crafters? Is there a local collective you could join to pool your resources? Can you cover some of your costs by teaching your craft? Little bits of money you reclaim every month will add up fast!

Your Wholesale Price

To calculate your final wholesale price, add all of these together: $84.44 + $7.66 + $4 = $96.10 each. This is the absolute minimum that you need to make from each piece to stay in business and pay yourself fairly. It's fair at this point to round up to a nice round number. (I'd use $100 in this case.) This makes it easier to remember and gives you a little something for the time it will take to negotiate and fulfill wholesale orders.

Your real wholesale price is a secret. Don't be tempted to negotiate below this price. Start wholesale negotiations with a higher price so you've got room to bargain, and end the negotiations if you're being driven below it. Selling below your actual wholesale price can easily put you on a slippery slope toward dissatisfaction with your work when you find yourself slaving away and seeing little profit for it.

Your Retail Price

The goal in setting a retail price is to cover the time and costs associated with getting your items purchased by customers. If you can find enough outlets to buy your merchandise at wholesale and sell it for you, then you won't even have to worry about this.

Many retail stores use "keystone" markup, meaning that they mark things up by 100%, doubling the wholesale price. Some markets are cheap, with customers only accepting a 15% markup. I've also seen luxury stores with markups as high as 250-300% or more, necessary to pay for a prestigious location and other services like parking and security.

Rather than try to guess what your sales and overhead are going to be, you can start out just using the 100% markup. This means that you are expecting to earn just as much from your selling as you do from your crafting. This is a good way to start because you won't know how much time and cost is associated with sales until you've done it for a while and you can't begin to sell without setting a price. So, at first just double your wholesale price to find your retail price.

This simple method requires you to watch your expenses. Make sure you've got the income before you gamble on "extras" that may not actually enhance your sales. Later on, you may need to use a higher markup, but you probably won't know how to figure the new markup until you've been selling for a while.

When the time does come to increase your markup, there are some expenses that you may be looking to cover: show fees, travel expenses, signage, advertising, packaging, collateral material, and more. These expenses are all directly related to selling your products and should come from your retail price.

You can figure them in the same way as you figured production overhead. If you're considering a per-piece sales cost like fancy hang tags, add it directly to the price of each item. If it's a monthly expense like a magazine advertisement, divide the expense by the number of items you sell in a month and add that amount to each item.

And, actually, you're not going to add these costs to each item at all. You'll be modifying your markup to cover the new costs and then applying that markup to each item. It's best, for the sake of your customers, if you only raise your markup once or twice a year, and even better if you only apply the higher prices to new items as they're introduced.

Periodic Review

Be sure to keep your wholesale and retail prices clear in your head. Expensive sales choices increase the retail price, not the wholesale. You may be shooting yourself in the foot if a wholesale customer comes along and you ask too much (or too little!) because you're not clear on your own costs and prices.

Review your costs periodically to make sure that you are charging what you really need to make it all worthwhile. This is a business after all, and it's easier to stay excited and engaged as a business owner when the money is flowing well. Enjoy it!

*Disclaimer: I’m just a crafter and small business owner, not a financial or legal professional. These ideas may work for you or they may not. Always make sure you understand local business and tax laws and consult financial and legal advisors when you need help.

Friday, December 3, 2010

Web Store Product Photography

[Natural light product shoot. I especially like the grocery bag diffuser on the fill light.]

[And here's the result. Not too bad, if I do say so myself!]

The last few days have been ridiculously busy. In between all the meetings, chores, bookkeeping, policy drafting and visitor facilitation, I've also been revamping my web store and preparing for holiday sales.

Mostly, this consists of shooting and editing LOTS of photos. I've got about 30 types of products. Each one needs about 5 different photos to show various features. So, I've had to get very organized about the shoots. I am getting good at remembering which products have been shot in which poses.

I set up a scene and then style the pieces within that scene one at a time, shooting and checking shots for each one. Then, I go into Aperture to straighten, crop, color correct and otherwise tweak each photo. This is also where I name the shots (in a standard way) before exporting them at a web-ready size. Then, I set up the next scene and do it all over again.

It's really tough to do natural-light shots this time of year. It's rainy, limiting the places I can shoot with good light, and a cloudy sky has huge variations in brightness. The clouds are roiling overhead, changing the lighting every few minutes. It's super hard to set the camera's exposure and have it stay good. Auto-exposure is also ridiculously undependable when shooting items of different colors. I just have to do the best I can to adjust manually and fix my mistakes "in post-production."

[My jankety storage box, tissue paper, track light, clip light setup]

[...and the result]

Because of the difficulties with natural light, I created a setup today so I can do color-balanced high-key product shots inside the house, it's a silly rig with a plastic storage box, white cardstock, tissue paper, clip lights, and more. Thanks to the flexibility of modern digital SLR sensors, though, I can get away with it and the results look great! The final shots have even light with warm and cool soft shadows and a seamless white background. Keep checking my web store to see these images in their intended environment. blossommerz.com/shop

Tuesday, November 30, 2010

Bye, Bye, Muffins

[First day, first bowl of milk, chicken stock, olive oil, and cat food. Look at those hip bones and that frozen tail!]

[Second day and he can't get enough petting and crawling all over us, especially Rivers]

Today was a tough day. I had to trick my little friend, Muffins the cat, into a cat carrier and send him off to the Humane Society.

He showed up here about a week ago, super skinny and with the tip of his tail frozen flat. He wanted to be petted, and couldn't stop shivering. He warmed up after a little warm food.

He ate about 5 bowls of bacon fat, olive oil, chicken stock, milk, and kibble that day before he started to slow down. He spent the whole afternoon glued to the spot where the food bowl was, staring at the door. Every time we came out with another bowl of food, he'd purr so hard he looked like he was shivering all over again.

That night we found out that he was living under the office, but the following night was slated to drop below 20 degrees and he didn't seem strong enough to survive it. I made him a bed in the tool shed with a light bulb for warmth. He wasn't so sure about it so I put the food bowl next to it, smeared it with bacon fat and convinced him to give it a try for about 10 seconds. Some time in the middle of the very cold night he decided it wasn't so bad after all and I found him curled up in the bed under the lamp in the morning.

There was brief talk about letting him stay. He's gorgeous, extremely personable, and would be perfect for keeping mice out of my yarn and cloth stash. But, sense prevailed. He seemed to have worms, needs to be neutered, and needs his vaccinations at the very least. I don't have money for that, and we have a policy preventing us from bringing more cats on the land anyhow. They really mess with the natural balance in a place like this. We decided that he had to go to the Humane Society. I really, really wish he could stay with me.

He stayed in his heat-lamp box bed day and night for about 5 days before we could borrow a cat carrier from our friend. When it arrived, we only had two days to get him used to it and lessen the trauma of the whole trip.

That night, we put the new carrier next to his existing bed and put some food in it so he'd explore the carrier when he was safely alone. It worked. The kibble was gone in the morning.

The next night, I took away his bed and replaced it with the cat carrier, hand feeding him burger meat inside of it to give him the idea that it was an OK place. He slept in it that night. Yes! This was going to be easy!

And, it really was. As Hécate drove up, I walked out with a piece of burger, lured him into the cat carrier and closed the door. He wasn't happy, but our familiarity with each other helped him to stay calm. I sat in the car with him for half an hour before they left, calming him as much as I could before the scary drive.

I have to say, he looks so much better than he did a week ago. He's put on a lot of weight and turned into a beautiful cat shape, even with his slightly distended belly. It's nothing a little wormer can't fix!

I was sad that I couldn't go with them but today was the final swap of materials. My weaving contract is well and truly over with everything I didn't own returned for good.

[He's not happy at the moment, but he'll have a much happier life adopted into someone's home]

They tell me that he travelled without much noise and was fairly calm when they arrived at the Humane Society. They took him in and told us that he didn't have a belly distended from worms. He's pregnant. And female.

I'm glad that the kittens will be born in a good environment and have the care they need. I'm going to miss my kitty.

Friday, November 26, 2010

Web Store Is Up!

[Harlan making fringe]

[Wonder taking pictures]

[Working on the web store from my strange loom desk]

This was a strange and amazing day. Black Friday, they call it, the biggest shopping day of the year.

I'm having a tough time with the big transition in my career, from a contract weaver making someone else's cloth and paid (very little) by the yard to a self-employed weaver making my own cloth and sewing my own merchandise from it. In order to get paid, though, I also have to sell it. This transition is being difficult because I have no money and few raw materials, just a big batch of cloth.

My next steps are easy to understand: I'll sell enough stuff to pay for a trip to Portland, host a trunk sale up there, and use that money to buy my next batch of thread and pay the fees to do my first shows this Spring.

To sell my first batch of stuff, I spent the last few days setting up a full-featured store on my own website. I needed the ability to offer discounts, coupons and such, and have them all combine on-the-fly in an easy-to-use system. I also needed it to track inventory and prevent double-selling the same item. I did it! And today I worked all day to get stuff listed in there.

My goal was to have a "Black Friday Virtual Trunk Sale." It turned out way different from that. You see, the last time I did this sort of thing I had a cable modem with blazingly fast network speed. This time, I had nothing like that. Tinker and Wonder loaned me their network extender so I had internet up in Halston, but it was super slow. It's the same satellite connection from Garden House, but split through another layer.

Then, I missed my own deadline for having samples sewn and ready to photograph. I got them sewn, but forgot just how long it takes to cut and make fringe on the edges of scarves. Wonder showed up to photograph and stuff wasn't ready for him.

That's where Harlan came in. I showed him how to fringe and the pipeline fell into place. He fringed the scarves, handed them to Wonder to photograph while I wrote up listings, attached the photos, and announced it all through Twitter. Even with help, it took all day before everything was up on the website.

But it's there now! Please help me spread the word by telling people about what I'm doing and sending them to my store: blossommerz.com.

I'll be leaving the special Grand Opening discounts in place until a) I make enough to pay for my trip or b) next Tuesday. After that it will just be a regular web store with moderate discounts.

Thanks for helping to spread the word!

Thursday, November 25, 2010

Black Friday Virtual Trunk Sale

[A tiny bit of sun lights up the snowy hills]

I'm super busy this week getting ready for my first virtual trunk sale on Black Friday. In preparation, I'm sewing up a storm and setting up special one-day discounts on my web store.

You will be able to browse the sale by visiting my website: blossommerz.com Come and be among the first to see new merchandise and have access to special web-only deals, all while helping a craftsman to become self-sufficient.

I'll be photographing and listing new items throughout the day on Friday, so keep checking back! And, I'll be live on Facebook most of the day to answer questions. Make sure we're already friends!

And, finally, I'll be hosting a private in-person trunk sale in Portland in a week or two. Come by and enjoy refreshments and lively company while doing your holiday shopping! Date and location TBA.

Monday, November 22, 2010

No More Weaving Contract!

[Two paths: one is clear and predictable, the other is new and tough to see.]

I quit my weaving contract job today. We had already pared our relationship down to a bare minimum, but now it's over entirely. Those of you who saw me burning contracts in the Samhain fire, that's what it was about - trying to save the simplest part of our relationship by killing off the others. It didn't work.

Ending all of our contracts is actually a fantastic thing. If we had gone forward, it would have taken me three more years to fulfill them and be successfully independent. With the new plan, I'll be independent immediately and financially successful on my own within this year. I will probably be at the income level that our contracts projected within a year and a half. All I've done is trade a slow, predictable plan for a fast, unpredictable one.

I gained many things from this relationship. Firstly, experience. I've woven over 1400 yards of cloth, giving me irreplaceable experience recognizing, fixing, and preventing the problems that can occur when weaving wide cloth. I am now an experienced production weaver.

Secondly, retail training and direct experience with customers of handwoven cloth. I now know what catches their attention, what they don't notice, and how to design cloth and merchandise to please them. I also know how to sell to them. My experience at Rennaisance Faires has taught me which sales techniques work and which ones don't.

Thirdly, the confidence that comes from real experience. I KNOW that I can design and weave beautiful cloth that customers will love and I KNOW that I can lead customers through the steps of falling in love with my stuff and paying me for it. I can tell them honestly that the cloth will last for decades and get softer the more it's washed. I've seen it. This confidence is priceless.

Deciding to quit this last part of our relationship is a long story, fraught with personal growth and interpersonal drama, but I don't think that my blog is the place for gory details. It's the place to tell my story, and I'd rather focus on the next chapter than to dwell on the last one.

Without a customer to pay me just to weave cloth, I will need to make a living solely from selling my own cloth. It's going to be a trick. I've got little money, some cloth, and some yarn. It will be a "shuffle puzzle" to move forward and end up with lots of yarn and cloth without going broke.

The first step will be to take the cloth I wove earlier this year and sew up attractive things from it. I'll be making scarves and shawls to sell over the holidays. I've got a few leads on low-entry-fee craft shows in Portland in December. I'll also be putting together a "help a faerie survive the transition to self-employment" fundraiser in Portland and, perhaps, San Francisco. I'd love feedback if any of you locals from those cities have ideas about where to peddle my wares during December.

Stay tuned! Things are about to get exciting - or, at least as exciting as they can for an independent weaver in the 21st century.

Sunday, November 21, 2010

First Snow!

[The frozen outhouse is pretty to look at. And yes, the trees are plumb - the building is quite crooked.]

[Sheryl the Scarecrow is looking a little chilly.]

We woke up this morning to find the whole land dusted with snow. It was 32 degrees and windless, making for a very delicate and wet display that we knew would only last a few hours. Sure enough, it was gone by noon.

Having spent a number of winters here, I forget how rare this is. We didn't get any accumulated snow last year. It was especially fun watching the wide eyes of Southern California natives who've never lived in a place where this happens. We all turn into giddy kids in the face of this beauty.

[My new, safer oil lamp.]

This year I'm engaging in a magical practice that makes for a lovely addition to the home environment - keeping the Summer Sun alive behind glass. On Samhain day I used a quartz sphere to light a fire from the dying sun and capture it in a glass oil lamp. It's beautiful and quite safe, but I have been looking for something that's even safer.

Last week I found it: an antique oil lamp designed for British cargo ships. It has a very solid brass enclosure with four thick glass panes protected by brass bars. It is pierced with tiny holes in the bottom and again on the edges of the bottom lip so it can sit on a table and still breathe. The top is a hinged and securely latched brass lid with vent holes too small for moths. The whole thing is sturdy enough to withstand being tipped over, too big and square for that to happen anyhow, impermeable to mice, and spends most of the time hanging on a hook completely out of the way of any other danger.

Inside the enclosure, the lamp itself is held in place by long rods that travel up two opposite corners. This keeps it stable and gives a simple way to lift it out. The hurricane is fastened with a screw so it can't come loose from the lamp, either.

Every morning I pull the lamp out, transfer the flame to another lamp and add oil to this one. I think it could burn for two days on one filling, but I'd rather not risk losing the flame.

Here's a trick I learned a few years ago... When keeping a perpetual flame, you can use it to light your gas stove pilot lights as well. Then, if your lamp goes out, you can relight it from the stove and keep the same flame alive. This saved me last week because my old lamp ran out of oil while I was in town buying more. Careful handling will keep me from having to go down the hill for fire, but at least I have a backup plan if I need it. Thanks for the tip, Eldri!

It will be exciting this year to carry the flame from Samhain to light our Yule fire, our candles for Brigid, and the Beltaine fire. This is the flame I always use to light the wood stove so that even in February my cabin will be warmed by the summer sun. It also makes a delightful night light, especially on these cold, dark nights when the heat of summer seems so far away.

Thursday, November 18, 2010

Turkeys by the Firepit

[Turkeys by the Firepit. At about 1:00, watch them start calling to the raven flying overhead. They don't even seem to notice that I exist.]

Living in the woods is beautiful. As Thanksgiving approaches, it becomes more and more clear why Wild Turkey would be a traditional food. They are numerous and completely unfazed by our existence. It seems really silly that we're budgeting to buy a turkey in town when they're just begging to be eaten in our own back yard.

The sickness here on the land was HORRIBLE, but seems to be passing. I was knocked out completely for 9 days in a row, putting a huge dent in my weaving production at a critical time for holiday preparation. Today my lungs are still under siege, but not so bad that I can't work. At last!

Friday, November 12, 2010

A Day In The Weaving Studio: Time Lapse

[Time lapse: one day of production weaving compressed to two minutes.]

Here's what you're seeing:
1. Cloth winding onto the takeup beam. Every tag on the white string marks a yard.
2. Winding bobbins to weave off. Watch the cones get smaller as the box fills up with wound bobbins.
3. More cloth winding. This time you can see the warp threads unspooling from the beam at the same time.
4. More cloth winding. This time you can see the dobby bars moving through the box and the weight going up and down to keep tension on the takeup beam. Notice the unwoven fringe section as it moves through the loom.

A while ago, I decided to show what a day in the weaving studio looks like. I've said before that contract production weaving is extremely repetitive. I just do the same thing over and over, creating yards of cloth for Annie to make into garments to sell in her Renaissance Faire booths.

There's a terrible cold going around the community. I've lost a few days to it now. One day I'll have a debilitating head cold, the next day I'll be fine. Two days later another explosive sinus nightmare, the next day I'm fine.

Today it's serious enough that I can't ignore it. My lungs are full of fluid and my body aches from fever. I'm spending the day in bed with a jug of water and a bottle of Nyquil. It's giving me time to write a blog post, though! (In between the wasted but asymptomatic hours of dammerschlaf. Thanks, medicine!)

Friday, November 5, 2010

Samhain's Over

[Tonight's Sunset in Time Lapse]

Whew! This gathering was a whirlwind. I got home from my trip and poof! There were a hundred people for dinner.

By all accounts except financial, this was the best Samhain on record. The evening fires were focused and stayed on track. The big event involves a night of stories around the fire. And that's just what we did: passed on the stories of our ancestors. It is strange to realize that I'm an elder here, but it's certainly true. Only one person at the fire had history longer than mine. What fun we had telling these whippersnappers about the old days!

The lack of elders is for several reasons - the plague wiped out our membership in the 80's and 90's. And those who are still alive don't come around so much. I think we should work on getting them back next year. Their stories are important and the community here is mature enough to want to hear them.

Next on the community's plate is getting ourselves moved into the Garden House for winter. We need to get the kitchen set up, decommission the big kitchen in the barn, and figure out how we'll live together in close quarters 'til spring.

Next on my plate is reconfiguring my cabin and weaving. There are three of us living there this winter so I've moved most of my boxes of stuff into the newly watersealed trailer. Now I've got to keep my nose to the grindstone: there's a batch of cloth due next week.

Tuesday, October 26, 2010

Home Again, Home Again!

[Our beautiful, misty valley]

[One of my favorite autumn trees]

[Gorgeous colors that pop from the background without a flash]

I'm so glad to be home! I love the fall colors and the beauty of the mists as they rise from the valley. It was quite a trek getting here, though!

I stayed with a friend in San Leandro for a few days after the Renaissance Faire. This let me have dinner with my friends on Wednesday night and see the Peaches show on Thursday. Having been up 'til the middle of the night, I wasn't ready to travel the following morning.

On Friday, I met a new friend and stayed up too late again. (Ah, the social opportunities of the city!) I intended to leave at 10:00, but awoke at 5:00 with a start, "what if it snows on the Siskiyou Pass?" My van is barely powerful enough to pull the trailer. There's no way I could control it in the snow. The trailer would just pull me right off the road.

I checked the weather prediction and saw that it might snow as early as noon. The pass is seven hours away from San Leandro. Eeek! I needed to leave RIGHT THEN! And so I did.

The drive was harrowing. Every hill would find me in the slow lane, down in second gear, going about 30 miles an hour. On my first downhill descent, I learned that I cannot brake significantly or the heavy trailer would push the van at whatever angle it happened to lie. I really thought it was going to push me off the road. I took a break at the next rest stop to recover my wits.

After that, every descent was also taken at about 30 with the van still in second gear to provide engine braking. There were no more scares.

When I got to the pass, the weather was nasty: pouring rain and very cold. It didn't feel quite cold enough to freeze, thankfully. As I crested the summit, the raindrops started splattering on my windshield. It was turning to snow. Oh, crap! At the slightest sign of slipperiness I would pull off the highway and stay in a campground until it passed. This would be a few days according to the weather reports.

Five minutes after I passed the summit the weather broke and the highway was dry. The weather hadn't crossed the mountains. Hooray! I was home free! About twenty minutes later I saw two snow plows rushing up the mountain in the other direction. The snow really wasn't my imagination. I was VERY lucky!

I've been home a few days now and the rain hasn't let up significantly. The trailer is tarped to keep the plywood on top of it as dry as possible. The booth and merchandise get delivered to Annie tomorrow. Hooray!

Last year was a mild winter. This year looks a little more serious. At this rate, we're going to have a year's worth of rain by Thanksgiving.

The roof of my cabin has a leak, but it can't be fixed until the roof is dry. It's just too high and dangerous to attempt until then. We'll have to make due with a bucket until it can be fixed. It's no big deal. I just don't want to cause structural damage by letting the ceiling stay wet for too long.

When I return from Annie's, I'll have another beam to weave. I have no idea what color it will be. Brown? Peacock? Joy red? I'll find out tomorrow!

Monday, October 25, 2010

Rewind: The Faire Is Over

[Monday afternoon: the neighbors are gone, the garments are still drying]

[Tuesday afternoon: packing the trailer is a puzzle.]

[Wednesday morning: all packed up!]

The Northern California Renaissance Faire ended with a bang! I think I was the only booth manager who was pleased by the rainy last day. Why was I pleased? Well...

Casa de Fruta in September is HOT! We are selling beautiful and warm handwoven outerwear. When people can feel them on their shoulders and appreciate the luxurious quality of the cloth, they fall in love and readily understand why they are expensive. The key is that they have to feel the cloth and love it.

In the heat, it was all we could do to convince people to even touch the cloth. Very few people would let us try garments on them. Sales were extremely slow as a result. On the Friday before the last weekend, I was wondering how I was going to pay all of my expenses.

And then Saturday came. It was overcast in the morning and we thought it would burn off. So did the customers who left their jackets in their cars. Perfect! We had more people eager to try on garments than we had at the whole show. And trying them means loving them and buying them. Our sales were great!

Sunday morning looked just the same, but there were whispers of rain on the way. Thankfully, this didn't keep the customers away. There seemed to be fewer people than Saturday, but there were still plenty and they were happy. Sales were trucking along nicely and then it hit. At about 2:00 in the afternoon the sky opened up. After a couple minutes of scrambling to keep brooms and back stock dry, it was time to focus on sales. We had two attractive things: a huge waterproof pavilion and warm outerwear. A wonderful street performer called "Lady Ettie" came in and provided entertainment, making our booth "the place to be" while the streets turned to mud.

This when it paid off to have 3 sales people. I went into the street and started throwing cloaks on wet shoulders, pulling people in to dry off "until the rain passes". Vibrant and Wonder were inside the booth closing sales and swiping credit cards as fast as they could. People didn't want to let go of these beautiful and warm garments.

When the rain left, so did most of the customers. By 4:00, the streets were quiet, but we didn't mind. We had already closed more sales than we had on Saturday. The final weekend brought as much income as the previous three weekends combined. The show was saved! Bear in mind that I don't make enough to get rich, but at least the show wasn't a bust.

On Monday came the teardown. I could only pay the assistants for one day of work, so we did as much as we could and they left. I stayed with the tent flaps rolled up, rotating garments in the open air until they were all dried and packed away. On Tuesday, I dried the tent itself and began carefully packing the trailer.

This was a real puzzle. The biggest problem lies in the fact that it's an 8' trailer. With the back door, the usable space is only 7' 10". The broom booth is made of 8' timbers. Uh-oh. Well, I came up with a method of packing the timbers diagonally and using them as a wall. The back side of the wall was packed with the tent. The front side got sticks, brooms, and everything else.

The 8'x4' plywood was strapped to the top of the trailer and the 10' tent poles were tied to the van's roof rack. It's a stretch, pulling that much weight with my tiny van, but it's done and off we go!

Thursday, October 21, 2010

All About Evil with Peaches Christ

[16th & Mission looks like a blur]

[Waiting in the rain]

[Peaches' Pre-show]

[Debórah's Number]

[Q&A with the stars]

Tonight was strange and amazing! After six months in the woods and five weeks at the Renaissance Faire, I found myself thrust into San Francisco for Peaches Christ's first showing of All About Evil at the Victoria Theater. If you are in SF and can get tickets, it's an event not to miss.

The plot of the movie centers around The Victoria and a woman who inherits it and a midnight movie show from her father. She takes her horror films a little too seriously and gory hilarity ensues. There are many scenes that were shot in that theater, and quite a few of them on that stage. It was a little surreal to see images of the stage and screen projected back onto that same screen. When they pan to the ceiling, we naturally looked up and, of course, there's the Victoria's ceiling, looking just like it does in the film.

Peaches has put together an amazing pre-show. It had a silly polish that was as jankety and jarring as we've come to expect from her. There were technical problems, missed cues and all of the things that make us scream with laughter. There were (uncharacteristically) well-rehearsed dance numbers and lots of special effects to wow us without detracting from the raw and real show that we love.

This show was a special treat for me. The last time I was in that theater was for the filming of the movie. It turned out that they needed extras at the exact times when I was available — late nights and days off from my occult retail job a year and a half ago. Well, making myself extremely available with such a flexible schedule does have its benefits. My bearded, cowboy hat-wearing visage made it into most of the scenes during the climactic theater sequence. The back of my head, in a wool skull cap, even appears right behind Cassandra Peterson (aka Elvira) when she's having a tiff with her son while waiting in line.

The film was great! It was expertly conceived and executed. There were many nods to the horror films that inspired it, but somehow they all became hilarious. John Waters told Peaches that she'd have a tough time finding her followers, but that they'd be extremely loyal once she did. A-yep! This film definitely has a limited appeal, but for those of us who "get it", we can't wait for more.

Friday, October 8, 2010

Craftsman Research

[The beautiful hills look like a painted backdrop]

[Another gorgeous sunset]

Whenever I have the chance to see these beautiful California hills, I am always reminded of my first exposure to them - in illustrations of Craftsman design and architecture from my art school days. These hills were the setting of many beautiful craftsman homes, and a design feature in a number of beautiful decorative elements - clay tiles, murals, pierced tin screens and more.

As my life progresses, I realize that I will eventually need to create a style separate from my weaving master, develop my own line of products and strike out on my own. At the same time, I'm caught up in my vision of a fellowship of craftsmen living together on a sort of monastery and seeking a better way of life through our craftwork.

And so, with the realization that I'd have a lot of time on my hands, I picked up an old thread of research: the Craftsman movement of the early 20th century and ways to incorporate its motifs in my own work. This movement, typified in the work of Stickley, Morris, and many others was much more than a design style. It embodied a philosophy of human happiness and a way to work together toward the betterment of society.

In my research, I stumbled upon a fantastic resource. The University of Wisconsin in Madison has scanned and organized every issue of Gustav Stickley's periodical "The Craftsman", published from 1901-1916. (They've got a lot more, too.) This is an unbelievable resource, a treasure trove of design tips, technical courses, and best of all, essays from the movers and shakers at the beginning of this important movement.

To browse the collection yourself, click HERE.

It is amazing to me how much craftsman thought and politics match my own. There's a pervasive belief that people are made to work and to engage in creative endeavors. These papers were written before the epidemic of fruitless work and the resulting depression that are the hallmark of our society, but they predicted it all.

They also had strong beliefs about how the work should be accomplished and how the business of craftwork should be structured. I have so much to learn and can't wait to read more.

[A page from The Craftsman, displayed in Evernote for iPhone. Click HERE to see the original.]

If you recall from last week, I don't have good access to electricity here. That means I can't use my laptop much. I've found someone with power who will let me charge it in trade for letting him check email. That's great, but I can't sit and do research in his camp all day. Here's what I do instead...

With my 3 hours of battery life while surfing, I scan through the Craftsman archive. I grab snapshots of every page that interests me and upload it to Evernote, in my Crafts Research folder. Then, I can read the pages at my leisure on my iPhone, which recharges from my van's lighter. This gives me about 6 hours of reading and note-taking with only an hour of electricity access.

As an added benefit, Evernote reads the text in all of the page images I upload and makes them searchable. And, this week they rolled out a new feature in the Chrome browser plugin. When I perform a Google search, the plugin searches my Evernote account and displays things that I've already clipped along with the regular web search results. This is great! I've been using Evernote long enough that I can't remember evrything that is already stored there. Isn't that the point? Well, now I don't have to do an Evernote search before I Google a topic. It's done automatically, reminding me that I'm duplicating my research and should just re-read what I have.

Sorry, Safari. That's the last straw. Yesterday I changed my default browser to Chrome.