Category Archives: Patterns

Pattern release day: Conygar shawl

Inspired by the flint arrowheads found at the Conygar Hill barrow in Dorset, this crescent shawl is a perfect Spring cover-up.

Light and airy, this easy to memorise lace pattern uses only ssk, k2tog and sk2p decreases and regular yarnovers. Bordered with a double-sided floral lace pattern to mimic the flowers which grow on the barrow, it is edged with a simple pointed garter motif which makes it easy to thread through blocking wires and shape.

The instructions are both written and charted out, and a tally chart is provided with repeat quantities and stitch counts throughout the pattern.

Click here to buy it now on ravelry: https://www.ravelry.com/patterns/library/conygar-shawl

You can see more images by clicking on the picture below.

Pattern release day: Beryllium set

It’s been hot and sunny during lockdown, but the weather is on the turn and don’t forget the wise words “Ne’er cast a clout till May be out”. I’ve been working on a couple of hat, cowl and wrister sets in fingering weight yarn which are perfect for this in-between weather.

The Beryllium set (also available individually) features a neat cable that gives a honeycomb effect, trapping extra air for additional warmth. It’s also reversible, so as long as you are careful with any yarn joins and weaving in your ends, you don’t have to pay attention when you pick any of the items up. Just pop them on and luxuriate in the warmth.

You can find the full set here: https://www.ravelry.com/patterns/sources/beryllium

Or just the hat, cowl or wristers.

You can also find more images by clicking on the picture below.

Pattern release day: Alpe d’Huez set

Inspired by the switchbacks of the Alpe d’Huez and shown here in Tour de France leader yellow, the striking chevron pattern of this cowl, hat and wristers set is both reversible, and super warm.

Only using basic stitches (knit, purl, and decreases for the hat/increases for the wristers) this set is simple to complete whilst also being visually striking.

Available as a set here: https://www.ravelry.com/patterns/sources/alpe-dhuez

Or individually as just the hat, cowl or wristers.

You can see more images by clicking on the picture below.

Pattern release day – Stacked Hearts

I have been busy in the run up to the traditional gifting season as we (in the Northern hemisphere) watch the days getting shorter and look forward to when the sun comes back again.

I have created another set of patterns using a stranded colourwork pattern which provides both visual interest and extra warmth during these dark days.

This time the set includes a beanie hat, generous cowl, pair of mittens and pair of fingerless gloves. They can be purchased all together for £10 (plus VAT within the EU) or each pattern is available for £3 (plus VAT within the EU). Find them on my ravelry store page: https://www.ravelry.com/stores/doggrell-designs

See more pictures by clicking on the image below:

Pattern release day – Cheetah Treats

It’s been a while since I released a pattern, and in the grand old tradition of buses it is three in one.

A matching set of cat-eared hat, cowl (both with optional liners for extra warmth) and a pair of wristers, all with a stranded colourwork cheetah pattern.

Available as individual patterns for £3.00 (plus VAT for EU customers) each, or £7.50 (plus VAT for EU customers) for the set, these items make great gifts.

Buy now from ravelry: Cheetah Hat, Cheetah Cowl, Cheetah Wristers, Cheetah Treats ebook.

Stashdown 2017 – October progress

Another quiet month on the knitting front (and even more quiet on the spinning and weaving fronts). I did manage to finish off the remainder of the set that I started last month, but I’ve been so busy with other things that I am only just getting them written up properly to go into testing now.

The rest of the set consists of a hat (used up 179 yards of yarn):

https://www.ravelry.com/projects/fak/prusik-hat

Gauntlets (used up 289 yards of yarn):

https://www.ravelry.com/projects/fak/prusik-gauntlets

And a cowl (used up 395 yards of yarn and required an additional skein to be dyed):

https://www.ravelry.com/projects/fak/prusik-cowl

Total monthly yarn out: 862.9 yards, 188g
Total monthly yarn in: 0 yards, 0g

Net monthly yarn decrease: 862.9 yards, 188g

Monthly fibre stash reduction: 0g.

Total yarn out ytd: 14,165.8 yards, 4,844g
Total yarn in ytd: 13,750 yards, 3,180g

Net yarn decrease ytd: 415.8 yards, 1,664g

Fibre stash reduction ytd: 3,050g.

 

Gullfoss Cardigan

click on image for more photos

click on image for more photos

A seamless waterfall cardigan with a lace and cable panel which drapes delicately down the body. Inspired by the majestic Gullfoss waterfall in Iceland with it’s three steps, interest is added with a mirrored lace and cable panel at each edge with an integrated icord edging.

The cardigan can be worn with either side to the front, or left open.

The lace and cable panel is provided with both written and charted instructions.

2 pdf files are provided – a printer friendly version and one with all of the high-res images.

Yarn requirements:

  • 1,200 – 2,300 yards of fingering/4-ply/sock weight yarn

Sizes available:

  • sized to fit bust measurement 30 [34, 38, 42, 46, 50]”/ 75 (85, 95, 105, 115, 125)cm with 2-4“/5-10cm of negative ease.

Available on ravelry for £6.50 (for customers within the EU – VAT added at checkout).

Copyright: what it covers

I have recently been engaged in a battle with a blogger who has been taken my blog posts here and reproducing them on their own site, violating my copyright, so I thought it was time to take a look at copyright: what it covers and what it doesn’t.

The first thing to note is that the laws on copyright vary from country to country. Although the Berne Convention affords some protections across borders, it only grants the members of countries who have signed up to it the same protections in other countries as they would get in their own (and vice versa). It does, however, state the following basic rights for all nationals of signatories:

  • The right to authorise translations of the work.
  • The exclusive right to reproduce the work.
  • The right to authorise public performance or broadcast, and the communication of broadcasts and public performances.
  • The right to authorise arrangements or other types of adaptation to the work.
  • Recitation of the work, (or of a translation of the work).
  • The exclusive right to adapt or alter the work.
  • The author has the right to claim authorship
  • The right to object to any treatment of the work which would be ‘prejudicial to his honour or reputation’.

It also gives minimum term limits for these rights (under Article 7), though these can be extended by individual countries:

  • the life of the author and fifty years after his death
  • in the case of cinematographic works, the countries of the Union may provide that the term of protection shall expire fifty years after the work has been made available to the public with the consent of the author, or, failing such an event within fifty years from the making of such a work, fifty years after the making.
  • in the case of anonymous or pseudonymous works, the term of protection granted by this Convention shall expire fifty years after the work has been lawfully made available to the public.
  • for photographic works and that of works of applied art in so far as they are protected as artistic works;  this term shall last at least until the end of a period of twenty-five years from the making of such a work.

So, before you even start looking at individual local laws regarding copyright protection, these are the minimum rights and limits for a national of any country that has signed up to the Berne Convention (a full list of all 171 countries can be found here: http://www.wipo.int/treaties/en/ShowResults.jsp?lang=en&treaty_id=15).

The key rights, or rather those that people seem to want to violate the most, are the exclusive right to reproduce the work and the right to authorise translations of the work. For some reason, a seemingly large number of people appear to think that it is perfectly OK to ask someone to make a copy of a knitting/crochet pattern for them or to translate a knitting/crochet pattern into another language for them (often with associated copying without the copyright owner’s consent).

Another confusion is the pervasive idea that free patterns are not covered by the rules of copyright. Not true, there is nothing in the Berne Convention that restricts these rights to items for which any form of consideration (or ‘boot’) changes hands. Free patterns have the exact same rights as paid-for patterns.

Many people also seem to confuse ‘out of print’ with ‘out of copyright’. Per the Berne Convention the minimum amount of time before a pattern is out of copyright is 50 years after the author’s death, and may be longer depending on the country (in the UK it is 70 years after the copyright holder’s death).

At this point someone often tries to justify copyright violations with ‘fair use’, but their understanding of the term and the legal definition often don’t tally. The Berne Convention covers this in Article 10 and covers:

  • quotations (so not the entire publication)
  • for teaching (with limits set by the local laws)
  • for editorial purposes (with limits set by the local laws)

Let’s look at an example of what those limits might be by looking at the UK’s laws on copyright, the Copyright, Designs and Patents Act 1988.

The UK laws list what are ‘Permitted Acts’ in relation to copyrighted works, and let’s see what they say about using copyrighted material for editorial purposes:

  • Fair dealing with a work for the purpose of criticism or review, of that or another work or of a performance of a work, does not infringe any copyright in the work provided that it is accompanied by a sufficient acknowledgement and provided that the work has been made available to the public.

Note the use of the phrase ‘fair dealing’ aka ‘fair use’, this is a tricksy little concept that the UK copyright service attempt to explain here, but the big takeaway should be that it refers only to parts of a work and not a work in its entirety. So, need help and post a couple of lines of a pattern that is confusing you, probable fair use/dealing. Post the entire pattern, copyright violation.

So this covers the minimum intellectual property protection that something like a knitting/crochet pattern or a blog post might have. Many countries have additional laws on top of this that may apply. These might include, but not be limited to: trademarks, patents, design rights, registered designs; as well as moral rights such as the right to identification and the right to object to derogatory treatment.

But what happens when a copyright violation takes place? Unfortunately, though it is often very clear that a copyright violation has taken place, it is not often clear (or easy) to deal with. On moderated websites such as ravelry, the volunteer moderators are often quick to remove violating content (when notified), but not all websites are as diligent at respecting copyright. In fact many seem to be set up purely for the purpose of hosting copyright violating content. Although laws such as the United States’ Digital Millennium Copyright Act allow copyright holders to request the removal of copyright violating content, their powers are limited to websites covered by the legislation, those hosted by US service providers. They can do nothing about foreign hosted sites.

An additional route I have taken in my own copyright battle (still waiting on AT&T to take the content down as the website hosting provider, 3 weeks later) is to have the content removed from Google searches, but this is not an easy or fast process requiring various registrations with Google as well as providing all of the evidence of the violations.

Another problem with copyright violations is that the copyright owner rarely gets to hear about them. With so many websites allowing copyright violations it is only by chance that you are going to spot a copy of your pattern or your picture somewhere you didn’t authorise it. I found out about the blog violations because the muppet who stole the content requested a pingback for their own site (which seems to purely contain the blog posts of other people, cut and pasted and occasionally run through a translation program). So while there are protections for copyright holders, legally enforcing them is not an easy process. It has led some designers to stop producing patterns at all, which hurts everybody.

This all covers what protections copyright law provides the authors of original works, there are some protections that they might claim are covered under copyright but are not. But that is for another time.

 

Diamond Wristers

A reworking of an old pattern, now available in an additional longer length, with a better flow of cables and ribbing. Click on either photo for more images.

The cable pattern is fully charted and the wristers are fully adaptable for longer or shorter hands, narrower or wider thumbs. Written instructions accompany the cable chart, explaining how to work the cuff, top and thumb gusset.

The pattern is sized for average adult hands (circumference 6.5”/16cm, length 7”/18cm) but it can be adjusted by altering your gauge.

Yarn requirements:

  • 220-230 yards fingering weight/4-ply/sock yarn for the longer, gauntlet length
  • 120-160 yards fingering weight/4-ply/sock yarn for the shorter, wrister length

Available on ravelry for £2.50 (for customers within the EU – VAT added at checkout).

So, how does designing work?

I hang out a lot at ravelry and a question that often comes up is ‘How do I get into pattern designing/writing?’. I can only answer for myself, but this is a little about how the designing process works for me.

I got into pattern designing because there were things that I wanted to make, but there was no published pattern for me to work from. At this stage I had been knitting for a few years and was comfortable with a variety of different techniques, construction types and had worked from a range of different pattern styles.

As I worked out what I needed to do in order to make the item, I took notes (particularly helpful if you are making a pair of something such as socks or gloves and want them to look the same). This including sketching, and swatching, and ripping out and starting again over and over. After all of the work of checking gauges and trawling through stitch dictionaries it seemed a shame for that work to be lost with the completion of my project, so I typed it all up into a pattern style that I was comfortable with and so my first pattern was available for publication.

My first few patterns were all self-published for free, and no testing was undertaken prior to release. These days I utilise the various groups on ravelry in order to test patterns for accuracy and also for yardage and fit information. It’s a great way to get feedback and work out the kinks, without having to spend a lot of money on testers or tech editors. It also helps to see how other people interpret instructions which seem clear to you.

There are a range of different pattern styles, from the extreme hand-holding where every stitch and every step is described in detail (often with photos and videos as well), which can be great for beginners, right through to charts which show all of the necessary shaping with coloured borders or ‘no stitch’ squares, leaving interpretation up to the knitter.

My patterns fall somewhere in-between. They won’t tell you exactly which cast on or bind off to use (except that it might need to be stretchy), and if I don’t think it’s going to be particularly visible I might leave it up to the knitter to decide whether to mirror increases and decreases or not. But they do include a key of stitches used in the pattern (though not full instructions as to how to make each one, there are plenty of tutorials for that out there already).

I like to include two versions of the pattern instructions, so once a pattern has completed testing (which usually takes at least a month depending on the amount of knitting time required for the item) and the instructions are locked down, I make a printer-friendly version without the high-resolution images and coloured text. In this version I try to fit the instructions most economically onto the pages so that people can print the absolute minimum, saving both ink and paper. The high-res version is great for those working from computers and tablets, allowing them to really zoom into the images for any clarification.

I am still designing primarily based on things that I want to make, taking inspiration from commercial items, other knitting patterns, fabric, yarn, fibre, etc. I may look to move from self-publishing (on ravelry) to selling to magazines, but that will require working to a brief, a more rigid format both time-wise and style-wise, so we’ll see.