Patreon for Berlin woolwork creators: Victorian canvas embroidery, plush stitch velvet pile, paper chart mechanics, and the Apple Tax

Berlin woolwork is the Victorian canvas embroidery tradition that created the first mass-market needlework publishing industry. Between 1804 and 1880, an estimated forty thousand paper chart designs were published — hand-coloured grids in which each coloured square represented one stitch in a specific coloured wool — and exported from Berlin to England, the United States, Canada, and Australia. The result was a generation of needleworkers who worked from commercial charts rather than samplers, who ordered standardised Zephyr wools matched to chart colour keys, and who produced an enormous body of Victorian domestic embroidery: firescreen panels, bell pulls, chairback covers, footstool tops, Berlin wool slippers, pincushions, and portraits of pets, royalty, and sentimental subjects rendered in the distinctive colour palette of Victorian aniline dyes.

The tradition declined sharply in the 1880s as the Arts and Crafts movement condemned it as mechanical copying — William Morris called commercial Berlin work "degrading" — and as chromolithography made pattern books for surface embroidery equally accessible. The Edwardian period saw Berlin woolwork almost disappear from polite needlework culture. Its modern revival, beginning in the 1970s with Victorian textile history scholarship and accelerating in the 2000s with online antique chart repositories, has produced a community of creators who document Victorian chart collections, reproduce period colourways using hand-dyed wools, teach the complete technical system — tent stitch mechanics, plush stitch velvet pile, Florentine Hungarian point canvas work — and sell their own charted designs in the Berlin tradition.

For Patreon creators in this community, understanding the technical mechanics of Berlin woolwork is the foundation of content that distinguishes genuine expertise from surface-level pattern sharing. This guide documents the complete technical system: Penelope canvas construction, Zephyr wool fibre properties, tent stitch continental versus basketweave distortion mechanics, plush stitch Turkey-work velvet pile construction, Hungarian point Florentine flame pattern arithmetic, and the paper chart reading conventions that underlie the entire tradition. It closes with the economics of iOS revenue on Patreon and the Apple Tax arriving in November 2026.

The Berlin pattern publishing industry: 1804 to 1880

The Berlin woolwork tradition dates precisely to 1804, when A.W. Philipson, a Berlin print dealer, published the first hand-coloured needlework chart using a squared paper grid in which each coloured square corresponded to one canvas stitch in the matching coloured wool. The innovation was not the canvas embroidery itself — tent stitch and cross stitch on canvas had been worked for centuries — but the industrialisation of pattern distribution: a needleworker anywhere in the world who could purchase the chart and order the specified wools could reproduce a design identically to any other purchaser of the same chart, without requiring a teacher, a sampler lineage, or personal design skill.

The publishing industry that followed was extraordinary. By the 1830s, hundreds of publishers in Berlin, Leipzig, and Hamburg were producing charts. By the 1850s, London publishers were importing and reissuing Berlin originals, and American publishers were producing their own. The chart subjects ranged from simple geometric patterns and floral repeats to elaborate figurative compositions: birds on branches, hunting scenes, classical allegories, portraits of Queen Victoria and Prince Albert, and the sentimental subjects that defined Victorian domestic taste — puppies, kittens, stags, roses, and mourning memorials. The Illustrated London News ran advertisements for Berlin wool merchants. Charles Dickens mentioned Berlin work in his novels. The chart became the central artifact of Victorian domestic embroidery culture.

The wool distribution system that supported the publishing industry was equally sophisticated. The hand-coloured charts assigned colour numbers to each shade — a system analogous to modern thread numbering — and the same merchants who sold charts sold wools keyed to those numbers. The aniline dye revolution of the 1850s (William Perkin's mauveine in 1856, followed rapidly by magenta, aniline blue, and the full Victorian synthetic palette) dramatically expanded the available colour range and produced the characteristic Victorian Berlin colours: vivid fuchsias, acid greens, electric blues, and warm chestnuts that modern recreators find both challenging and compelling. Period Berlin woolwork is unmistakable in its colour palette; modern recreation of authentic period pieces requires sourcing wools in the aniline-inspired colourways, which is a specialist knowledge area with a dedicated community of dyers and suppliers.

Penelope canvas: double-thread construction and split technique

The canvas used for Berlin woolwork is Penelope canvas, also called duo canvas or double-thread canvas. The distinguishing construction feature is that both warp threads and weft threads run in pairs — two vertical threads cross two horizontal threads at each intersection rather than the single thread crossing of mono canvas. This double-thread construction serves a specific function in Berlin woolwork that is absent from modern mono canvas: the paired threads can be separated (split) with the needle tip to create a finer working grid in selected design areas.

Standard Berlin woolwork Penelope canvas runs at 14 mesh, where mesh count refers to the number of paired intersections per inch. On the standard 14-mesh grid, the needleworker works tent stitch or cross stitch at 14 stitches per inch using the paired intersections as stitch positions. Where the design requires finer detail — a face, a signature, a small botanical element — the paired threads can be split apart with the needle to reveal a 28-mesh fine grid in that section: twice as many stitches per inch using each individual thread intersection rather than the paired group. This technique, called petit point on Berlin canvases, allowed the same piece to carry both the main design in the standard 14-mesh scale and fine detail areas in the 28-mesh scale without changing canvas or joining sections.

The physical splitting of Penelope canvas requires care: the needle tip is used to gently separate the two threads of each pair without piercing them, and the split section must be isolated carefully so that the transition from paired-thread to single-thread areas is smooth. Period Berlin needlework frequently shows this split-canvas technique in portrait subjects: the face and hands worked in fine petit point on the split canvas, the background and clothing in the standard tent stitch on the unsplit grid. The visual transition — a sudden increase in detail resolution in the face area — is one of the diagnostic signatures of authentic Berlin woolwork versus later imitations on mono canvas.

Canvas mesh counts in the Berlin tradition also ran to 18-mesh (for fine decorative objects — beaded bags, small panels) and 10-mesh or 8-mesh (for faster larger-scale work — firescreen panels, rug inserts where speed of coverage was the priority). The mesh count selection was determined by the scale of the design, the intended use of the finished object, and the available thread weight: Zephyr wool covers 14-mesh correctly; finer canvas requires silk or stranded cotton; coarser canvas requires tapestry weight or even rug wool.

Zephyr wool: fibre properties and modern equivalents

The wool used in Victorian Berlin work was called Zephyr wool or Berlin wool — a fine 2-ply yarn spun from merino-type fleece using the combed (worsted) preparation method that aligned fibres parallel to the yarn axis, producing a smooth, slightly lustrous surface with better colour saturation than the matt wool-carded equivalent. The 2-ply construction (two singles twisted together in opposite direction to the twist of each single) gives the yarn a balanced structure that does not bias on the needle and covers the canvas threads cleanly without the hairy or fuzzy surface of a lightly twisted singles yarn.

The lustre of authentic Zephyr wool is a defining characteristic. Victorian period Berlin work photographed under raking light shows the characteristic sheen of the combed wool surface, which differs visibly from the matt coverage of modern tapestry wool. The lustre is not glossy (it is not a silk or cotton substitute) but has a subdued warmth that interacts with the Victorian aniline dye palette to produce the characteristic richness of period pieces. Modern recreation of this lustre requires sourcing wool in the Zephyr weight — Appleton crewel wool (a 2-ply wool in the correct weight range), Paternayan Persian wool (a 3-ply that can be reduced to 2 strands), or hand-dyed fine wools from specialist dyers who work in the Berlin tradition.

The contemporary Berlin woolwork community has developed a significant secondary market for hand-dyed wool matched to Victorian aniline colourways. Several specialist dyers offer full Berlin colour charts — sets of wool colours matched to the principal colour numbers found in period chart archives — and this segment of the market (dyed-to-order colourways, Victorian colour chart reproduction, period dye research) represents a distinct Patreon content and product category. Creators who work at the intersection of textile history, dye chemistry, and needlework practice build audiences interested in both the technical embroidery content and the historical research behind the colour reconstruction.

Tent stitch: continental method versus basketweave

The tent stitch is the foundational stitch of Berlin woolwork — a diagonal stitch covering a single canvas intersection from lower-left to upper-right on the front surface. All other stitches in the Berlin system (cross stitch, plush stitch, Hungarian point, rice stitch) are variants on or additions to this basic diagonal canvas coverage. The two principal tent stitch working methods — continental and basketweave — produce identical stitch appearance on the front surface but differ fundamentally in their canvas distortion behaviour.

The continental method works tent stitch in horizontal rows. Moving from right to left on the forward row, the needle enters at the lower-right of each intersection and exits at the upper-left, creating the front diagonal. The return row moves left to right, entering at the lower-left and exiting at the upper-right to produce a second diagonal on the front (identical in appearance to the forward row diagonal). The reverse side of the continental-worked canvas shows long diagonal floats running consistently in one direction — the coverage of the thread on the reverse is greater than on the front because the needle path on the reverse is longer than on the front. This asymmetric thread distribution means the canvas threads are under uneven tension: the diagonal pull of the consistent reverse floats distorts the canvas out of square, pulling it toward the lower-right corner on the front face. A 15×15cm continental-worked piece can distort by 1–2cm at the corners without intervention. The distortion is corrected by wet blocking (dampening the canvas, stretching it back to square on a blocking board, pinning, and allowing to dry), but blocking cannot be done in the frame and interrupts the work session.

The basketweave method works tent stitch in diagonal rows rather than horizontal rows. Moving down-left on the first diagonal row, the needle travels vertically (entering above the intersection, exiting below it) for each stitch. Moving up-right on the second diagonal row, the needle travels horizontally (entering left of the intersection, exiting right of it). The alternation of vertical-needle and horizontal-needle rows produces thread coverage on the canvas reverse that crosses at right angles in alternating rows, distributing thread bulk evenly across both warp and weft directions. The canvas remains dimensionally stable throughout work — no distortion develops, no blocking is required mid-work, and the piece can be worked continuously in the frame. The basketweave reverse also has a characteristic woven pattern — the alternating horizontal and vertical thread paths create a grid-like reverse texture that is one of the diagnostic signatures of correctly executed basketweave tent stitch. Victorian pieces that used basketweave can be identified on the reverse before conservation treatment by this woven reverse pattern.

The practical guidance for Berlin woolwork: use continental for motif details and areas where the stitch count is small enough that distortion is minimal (any area under 3cm in any dimension); use basketweave for all background fills and for any area over 3cm in any dimension. Mixing methods in the same piece is standard practice and does not compromise the finished result as long as basketweave is used wherever distortion would be a problem.

Plush stitch Turkey work: velvet pile construction and cutting sequence

Plush stitch — also called Turkey stitch, Turkey work, or cut velvet stitch — creates a three-dimensional cut velvet pile surface that projects above the canvas plane. It was one of the defining techniques of Victorian Berlin woolwork, used to create the realistic texture of rose petals, animal fur, and other design elements where a three-dimensional surface gave the work its characteristic Victorian depth. Modern Berlin woolwork creators teaching plush stitch mechanics constitute a specialist content category: the stitch requires specific equipment (gauge rod or gauge card) and a multi-stage construction sequence (loop formation, cross-stitch anchoring, cutting, trimming) that differs fundamentally from the simple tent-stitch work of the main canvas.

The plush stitch construction sequence for a single row proceeds as follows. Hold the gauge rod (a smooth wooden, metal, or plastic rod of fixed diameter — 6mm diameter is standard for medium pile height) horizontally above the canvas surface, parallel to the canvas row being worked. Bring the needle up through the canvas at the lower-left of the first stitch position. Pass the working thread over the gauge rod and back down through the canvas at the lower-right of the same stitch position — the thread now forms a U-shape over the gauge rod, with both thread ends on the front surface. With the thread still draped over the rod, bring the needle up at the lower-right of the second stitch position (which is directly above the first stitch position, one canvas thread row up) and complete a cross stitch: needle enters at the lower-right, exits at the upper-left of the cross, re-enters at the upper-right, exits at the lower-left. This cross stitch anchors the loop base to the canvas through the centre of the loop. Advance the gauge rod one stitch to the right and repeat: drape over rod, down through canvas, cross stitch anchor over the loop base.

After completing all loops in a design section with the gauge rod in place, the cutting stage releases the pile. A sharp-bladed embroidery scissors or seam ripper is drawn along the top of the gauge rod, cutting each loop at its midpoint. Remove the gauge rod. Each cut loop releases two pile fibres that stand upright from their cross-stitch base. The pile at this stage is uneven — the cut ends are at the maximum pile height determined by the gauge rod diameter. Trim the pile to a uniform height using sharp scissors held parallel to the canvas surface, moving through the pile section with small cuts at a consistent height from the canvas. After trimming, brush the pile with a stiff bristle brush in one direction to align the fibres and raise the surface sheen.

Pile height planning: gauge rod diameter determines pile height after cutting (before trimming). A 6mm rod produces loops of approximately 6mm before cutting and a finished pile of 4–5mm after trimming. A 10mm rod produces a deeper pile (7–8mm finished) used for heavier texture effects. A 4mm rod produces a tight close pile (2–3mm finished) suited to fine detail areas. Different pile heights within the same design section — using different gauge rods for different texture levels — create a modelled three-dimensional surface with visible height variation, used most effectively for naturalistic rose petals (higher pile at the petal base, trimmed to a slope toward the petal tip) and for animal fur subjects (longer pile at the body centre, shorter at the face outline to transition into the fine petit point face work).

Hungarian point and Florentine stitch: the flame pattern structure

Hungarian point and Florentine stitch are the canvas work techniques that produce the characteristic chevron flame patterns associated with Bargello and with Italian canvas embroidery tradition. Both appear in Berlin woolwork pattern charts and represent the geometric counterpart to the pictorial subjects that dominate the Berlin tradition: where most Berlin woolwork is figurative (flowers, animals, portraits), Hungarian point and Florentine work are purely geometric, building complex colour effects from the mathematical relationships between stitch length, step increment, and colour sequence.

The Florentine stitch structure uses vertical straight stitches (needle entering and exiting through the canvas on the same horizontal thread row) of uniform length arranged in groups that step up or down by a fixed increment from one group to the next. The standard Florentine four-step: each stitch covers four canvas threads vertically; each group of stitches steps by two threads from the previous group (either up or down); groups of four stitches climb, then groups of four stitches descend, producing a peak-and-valley zigzag. The arithmetic: at step increment 2 threads, the climb from valley to peak requires (peak-height ÷ step-increment) = (total step range ÷ 2) steps. For a four-stitch-group, four-thread-stitch, two-thread-step Florentine: peak height above valley = 4 groups × 2 threads = 8 threads. The horizontal period (width of one complete climb-and-descent) = 2 × 4 groups = 8 stitch positions in width. The interlocking of the second colour row — started two threads below the first row's starting thread — fills the valley spaces between the first row's peaks and creates the flame separation between colours.

Hungarian point is a variant that uses stitches of two alternating lengths rather than uniform-length stitches. The typical Hungarian point uses a long stitch over 4 threads alternating with a short stitch over 2 threads within each group, with the group stepping by 2 threads from one position to the next. The long-short alternation creates a more complex flame outline — the short stitches create a pointed indentation in the upper edge of the flame group, producing the characteristic "Hungarian tooth" that distinguishes this variant from plain Florentine. Period Berlin charts for Hungarian point show the two stitch lengths clearly in the chart grid: the long stitches cover 4 rows of the chart grid, the short stitches cover 2 rows, and the step between groups is visible as a diagonal progression across the chart.

The colour arithmetic of interlocking Florentine rows: the total number of rows in a complete interlocking sequence = (stitch length in threads ÷ step increment). For a 4-thread stitch with 2-thread step, the sequence requires 4 ÷ 2 = 2 interlocking rows to completely fill the canvas. For a 6-thread stitch with 2-thread step, 3 interlocking rows. Each interlocking row is started at a position 2 threads below the previous row's starting position and filled across the canvas, interlocking with the valleys of the previous row's peaks. After the first two (or three) rows establish the complete interlocked wave, subsequent rows fill the remaining canvas by simply extending the established pattern: the needleworker follows the established step geometry rather than re-reading the chart, using the completed wave as the guide for all remaining rows.

Reading Berlin paper charts: hand-coloured squares, colour keys, symbol translation

The Berlin paper chart is the artifact that makes Berlin woolwork a distinct tradition. Unlike modern cross-stitch charts (which use symbols on a grid) or modern needlepoint charts (which use painted canvas), the original Berlin charts used a hand-coloured grid: each square on the squared paper was coloured with watercolour or gouache in the exact wool shade that the square represented. The needleworker read the chart square-by-square and translated each colour directly to a stitch in the matching wool shade, without any symbol-to-colour translation step.

The colour key on the original chart margin mapped each chart colour to a wool number. The early (pre-chromolithography) hand-coloured charts had colour keys written on the chart border in ink, matching a colour swatch painted on the border to a wool merchant's stock number. The chromolithograph charts of the 1850s and later used printed colour keys with standard colour coding that corresponded to the Berlin merchants' numbered wool range. A needleworker in London, Edinburgh, or New York could order wool by the number shown on the chart key without seeing the wool in person — the colour number was the universal identifier within the Berlin wool distribution system.

Modern work with original Berlin charts faces a specific challenge: the hand-applied dyes on the paper have faded and shifted over 150–170 years. A chart originally painted in a brilliant aniline fuchsia now shows a washed pink; the aniline blue has shifted toward grey-purple; the greens have yellowed. Experienced modern recreators learn to read the faded chart values not as the finished wool colour but as the shadow of the original Victorian intensity, and they use historical research (surviving unwashed period samples, museum collection comparisons, contemporary Victorian sources describing the colours) to reconstruct the original palette rather than matching wool directly to the faded chart. This historical colour reconstruction work — researching the original Berlin wool dye ranges, comparing surviving period samples under controlled light, documenting the systematic fade patterns of specific aniline dye classes — is a specialist knowledge area that constitutes high-value Patreon content for creators working in the historical recreation community.

Symbol chart translation is a more recent challenge: as Berlin woolwork scholarship grew in the digital era, creators began digitising original charts and replacing the hand-coloured squares with symbol-coded grids for reproduction in black-and-white publications or on-screen charts. The symbol-to-colour translation requires both a colour key (symbol = wool colour) and a colour reconstruction guide (wool colour = modern equivalent thread number). Creating rigorous symbol-chart translations of original Berlin charts — systematically documenting each colour, mapping to modern thread equivalents, noting historical substitutions for no-longer-available Victorian dyes — is one of the primary content categories of the modern Berlin woolwork Patreon creator.

Victorian Berlin woolwork subjects: categories and construction approaches

The subject categories of Victorian Berlin woolwork determined both the stitches used and the canvas construction approach. Understanding these categories allows modern recreators to match technique to subject with historical accuracy.

Floral subjects — roses, convolvulus, pansies, dahlias, hollyhocks — were the dominant category of Berlin pattern publishing throughout the tradition's peak. Rose panels in particular drove the plush stitch velvet pile technique: the petals worked in graduated plush pile (higher at the petal base, trimmed to a slope toward the tip) against a flat tent stitch background, with fine silk stitches for the petal edges. A fully three-dimensional Berlin wool rose panel is among the most technically complex pieces in the Victorian domestic embroidery canon and is correspondingly prized by modern collectors and recreators.

Animal portrait subjects — dogs (especially King Charles spaniels, greyhounds, pugs), cats, horses, stags, and exotic zoo animals — used the combination of petit point face work (on split Penelope canvas) for the animal's eyes and facial features, plush stitch fur for the body (with the pile direction following the natural hair growth pattern of the depicted animal), and tent stitch background in the colour palette characteristic of Victorian landscape painting conventions. The quality of an animal portrait in Berlin woolwork is primarily determined by the quality of the petit point face work: the fine mesh allows the eyes to be rendered at a resolution that gives the piece its characteristic expression.

Berlin woolwork slippers were one of the highest-volume commercial products of the tradition — slipper canvas kits with pre-painted or pre-charted designs were sold in enormous quantities through Victorian department stores and by mail order. The construction required the completed canvas to be mounted on a leather or card sole by a cobbler or shoe manufacturer, creating a functional domestic object. The toe panel of many Victorian slippers used plush stitch velvet pile for the main design motif (a rose, a bee, a butterfly), with the background in flat tent stitch; the heel panel used tent stitch throughout. Modern recreators of Victorian Berlin slippers face the additional craft challenge of the mounting — sourcing appropriate slipper blanks and finding a cobbler willing to mount Victorian canvas work — which is itself a specialist knowledge area.

Patreon content architecture for Berlin woolwork creators

The Berlin woolwork creator community on Patreon contains several distinct audience segments whose needs differ enough to warrant a structured tier architecture rather than a single content stream. Understanding these segments allows creators to design tiers that match each audience's motivation and spending capacity.

Entry tier ($5–$8/month) — the curious stitcher audience. This audience follows the creator for the historical content and the aesthetic pleasure of Victorian needlework, without necessarily stitching themselves. Content that works at this tier: chart archive explorations (photographing and documenting original Berlin charts from collection), Victorian needlework history essays, dye research and colour palette exploration, before-and-after recreations of period pieces with modern materials, and comparative posts showing original Victorian samples alongside modern reproductions. The entry tier audience is large, casual, and highly iOS-heavy — they discover Berlin woolwork content through Instagram saved posts and Pinterest boards.

Mid tier ($15–$25/month) — the active stitcher audience. This audience is working through the technical curriculum. Content that works at this tier: PDF pattern charts (symbol translations of original Berlin charts, with colour keys and thread equivalents), video tutorials on tent stitch mechanics (continental versus basketweave with distortion demonstration), plush stitch construction walkthroughs (gauge rod selection, cross-stitch anchoring, cutting sequence, trimming technique), canvas selection and preparation guides (Penelope canvas splitting for petit point), and wool sourcing guides (modern Zephyr wool equivalents, specialist dyers for Victorian colourways). Monthly exclusive chart releases — one digitised Berlin original per month, with modern thread key — are the most reliable mid-tier retention mechanic in this community.

Premium tier ($35–$50/month) — the serious recreator and collector audience. This audience is working on historically accurate recreations of Victorian Berlin woolwork using period-correct materials and techniques. Content that works at this tier: extended historical research posts (period auction catalogue analysis, museum collection access documentation, Victorian embroidery periodical transcriptions), specialist wool sourcing with creator-negotiated discounts, original chart design releases (new designs in the authentic Berlin style, usable for period-correct new work), and consultation access (direct messaging for advice on specific technical challenges in ongoing projects). This audience is smaller, more patient, and more willing to subscribe via web checkout — which is relevant to the Apple Tax discussion.

The iOS revenue structure and the Apple Tax

Berlin woolwork Patreon creators operate in a needlework community that is structurally iOS-dominant. The audiences that follow Victorian embroidery, historical needlework, and canvas embroidery content reach creators primarily through Instagram (iOS share 68–82% for this content category) and Pinterest (iOS share 64–78% for needlepoint and canvas embroidery boards). The pattern is consistent: needlework is consumed as visual inspiration on mobile platforms, and the mobile needlework audience skews heavily toward iPhone users.

From November 1, 2026, Apple will apply its 30% in-app purchase fee to all Patreon subscriptions initiated through the Patreon iOS app. This fee operates at the subscription level: Apple collects 30% of every monthly payment made through the iOS app, remitting the remaining 70% to Patreon, which then applies Patreon's platform fee (5–12% depending on plan) to the remaining amount before paying the creator. The net effect is that a patron paying $25/month through the iOS app delivers significantly less than $25 to the creator after both Apple's 30% and Patreon's platform percentage are deducted.

The revenue impact for a Berlin woolwork creator with a typical mid-tier audience: at $150/month total revenue with 70% iOS patron share, Apple's 30% fee takes $150 × 0.70 × 0.30 = $31.50/month ($378/year). At $250/month with 74% iOS, Apple takes $250 × 0.74 × 0.30 = $55.50/month ($666/year). At $400/month with 76% iOS, Apple takes $400 × 0.76 × 0.30 = $91.20/month ($1,094.40/year). A creator with 12 patrons averaging $22/month at 71% iOS loses 12 × $22 × 0.71 × 0.30 = $56.30/month ($675.60/year) — the equivalent of almost three additional full-price subscriptions that must be recruited simply to offset the platform fee.

The mitigation is web checkout routing. A Patreon subscription initiated through a web browser — including Safari on iPhone — is not processed through Apple's in-app purchase system and is not subject to the 30% Apple fee. The entire Apple Tax liability is therefore contingent on patron subscription channel: iOS app subscriptions bear the fee, web browser subscriptions do not. Creators who migrate their audience to web checkout before November 2026 preserve their full subscription revenue regardless of the patron's device.

KeepTier routes all subscriptions through web checkout by default, bypassing the Apple iOS in-app purchase system regardless of patron device. The 0% platform fee model means that the full subscription value (less Stripe payment processing) reaches the creator without platform percentage deductions. For a Berlin woolwork creator at $250/month with 74% iOS patrons, the difference between continuing on Patreon with iOS app checkout and migrating to KeepTier web checkout is: $250 × 0.74 × 0.30 = $55.50/month in Apple fees, plus the Patreon platform percentage on the remaining amount. The combined annual difference is typically $700–$1,200/year at this revenue level — a meaningful number relative to the materials cost of running a Berlin woolwork studio.

Frequently asked questions