The Summer issue of The Professional Quilter includes an article by Eileen Doughty introducing Daphne Greig and Susan Purney Mark. Daphne and Susan are well-known pattern designers based in Canada. Here’s an excerpt from Eileen’s article:

Some great teams just seem fated to get together. Burns and Allen, Fred and Ginger, Fons and Porter. Though growing up thousands of miles apart, Daphne Greig and Susan Purney Mark were fated to meet each other at a quilt shop in downtown Victoria, British Columbia. Their web-based business, Patchworks Studio, was launched in 1996 and continues to thrive as they expand their publishing endeavours.

“I don’t think we consciously decided that a pattern business would be our journey,” Susan says, “but once we realized what was happening, we did spend quite a bit of time developing a business plan, examined what we wanted to create and how we were going to do all of this. I remember being quite excited to open a business account and get a business credit card!”

When asked if they have any regrets about running a business, both are overwhelmingly positive. Susan only wishes they had started years earlier as she is enjoying herself so much. “It is really a privilege to work in an industry that respects and nurtures creative women,” she says. Daphne enjoys the flexible scheduling allowed by being self-employed.

The two may make a good business match because their skill sets complement each other so well. They also have an explicit separation of tasks so they don’t step on each other’s toes. Daphne takes care of the website and financials, while Susan looks after the orders, shipping and physical inventory. Daphne also concentrates on the technical aspect of writing patterns, building on her long experience with word processing programs and document layouts. Making shop samples from others’ patterns (“some well done, others not so much!”) showed them the importance of reviewing their own pattern instructions for clarity and accuracy.

Communication, pure and simple, is the key to making their business relationship work. The two live about a 40-minute drive apart and usually meet once a week to trade paperwork and go over any details that can’t be dealt with by phone or e-mail.

The Patchworks Studio website and its blogs are the duo’s best marketing tools. Magazine advertisements and direct mailings have limited success, though they regularly advertise in several quilt guild newsletters. Writing articles for quilting magazines gives them additional exposure. Several distributors carry their patterns in the United States, Canada and New Zealand.

They have been attending International Quilt Market for many years, sometimes doing both Markets in a year. They also did several consumer sewing festivals and quilt guild shows for a few years. “It’s not only essential to be seen and introduce your designs to a world-wide audience, but also to see the new fabrics and notions, and the pattern competition,” Susan says.

However, it is exhausting work to go to these shows, and travel and lodging can be expensive. Eight years ago, the duo decided they were competing with their main customers (the quilt shops) and would be better off providing them with pattern samples and other support. They have been happy with how this worked out, particularly as it freed up an enormous amount of time to devote to designing, writing and teaching.

If you would like to read more of Eileen’s article on Daphne and Susan, it’s included in our Summer 2011 issue of The Professional Quilter and available to IAPQ members. The International Association of Professional Quilters offers resources and networking opportunities for you to create a success from your quilting business. Learn about all the benefits of IAPQ membership and join here.

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Morna McEver Golletz is the founder and CEO of the International Association of Professional Quilters, an association to help quilters, fiber artists and other creative arts entrepreneurs build business success. Her weekly e-zine offers tips, techniques and inspiration to help you craft business success from your creative arts passion. You can sign up for a F.R.E.E. subscription at http://www.professionalquilter.com.

The Fall issue of The Professional Quilter includes a profile on Terry Atkinson. I’ve watched Terry’s business grow since I met her at her first Quilt Market in 1997. Her simple patterns have always been well-received by quilt shop owners and quilters alike, including the perennial best seller “Yellow Brick Road.” I wanted to know more about how Terry grew her business.

How did you come to quilting?
I made my first quilt in college for an art class project because I couldn’t afford paint. I had lots of fabric around the house. Later, I took an adult education class about quilting and began teaching quilting to my home ec students. I think the teaching skills translated into my ability to write easy-to-follow instructions.

What led to the business?
I was teaching quilting at a local quilt shop. Soon, my students asked to buy my class handouts, and I adapted my most popular class handouts for my first two patterns. Initially, the patterns were sold in local quilt shops. A pattern distributor picked up those first two patterns that year, giving the patterns exposure across the United States. In 1997 International Quilt Market was held in Minneapolis, and I exhibited for the first time, giving my patterns even more exposure to shops and distributors. They started to take over on a larger scale at that time.

One of your patterns, “Yellow Brick Road,” has been in the Checker Top 20 for seven to eight years. Why do you think it remains so popular?
“Yellow Brick Road” is a quilt that looks good in any kind of fabric. It’s fun to sew, and people like the fact that it uses up all of each fat quarter so there are no leftover scraps. Each time you make it it looks like a brand new quilt because it takes on the personality of the fabrics used. From what I hear, longarm quilters end up with lots of these to quilt for their customers.

You have 27 individual patterns and 14 books. How do you decide whether to issue a particular design as a solo pattern or as a part of a book?
For a pattern, we have only four pages of instructions, so a book provides more flexibility. The pictures are larger in a book as well, so sometimes I make the decision based on if the quilt would look better in a larger or smaller photo. I also will use books to showcase new fabric collections. And, if I want to work with a theme, I’ll go with a book. For example, Let’s Do Lunch, which came out earlier this year, includes a variety of table runners, napkin rings and a few totes. Most of the patterns have food-themed names.

To read more of the profile on Terry Atkinson, you can purchase Issue 105 or start your subscription here.