WELCOME TO THE FIRST SHOW OF OUR NEW LAP QUILTING SERIES.

I AM GEORGIA BONESTEEL, HERE TO BRING YOU SIMPLE SEWING, WHICH WILL LEAD TO BEAUTIFUL QUILTS.

TOGETHER WE WILL DISCOVER PATCHWORK DESIGN, COLOR CONQUEST, AND STITCHING SECRETS IN EVERY LESSON OF OUR 13 SHOWS.

JOIN ME AS WE GLOBE-TROT TO AUSTRALIA, HOLLAND, AND MUSEUMS ACROSS OUR COUNTRY.

TODAY'S SHOW IS ENTITLED A PEEK AT THE PAST, WHERE WE WILL ASK THE QUESTION, WHAT IN THE WORLD IS IT?

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.

OUR PEEK AT THE PAST BEGINS WITH A CORNER WE DISCOVERED AT THE McMINN COUNTY LIVING MUSEUM IN ATHENS, TENNESSEE.

THIS LOOKS LIKE A HOMEMADE SEWING KIT WITH TIERS THAT SIMPLY OPEN, LITTLE POCKETS, LITTLE FELT LEAVES THAT YOU CAN PUT NEEDLES AND PINS IN, EVEN ALL THE WAY AROUND THE OUTSIDE-- SOMETHING USED AND LOVINGLY CARED FOR.

AND WHAT DO WE HAVE HERE?

A STORAGE DEVICE FOR BUYING YOUR BOBBINS AND YOUR NEEDLES FOR SEWING MACHINES.

ON ONE SIDE, WE HAVE ALL THE SEWING MACHINES LINED UP BY BRAND, AND THE NEEDLE TABLE IS IN RED, SO YOU TURN THIS LITTLE ARROW TO THE TYPE OF NEEDLE THAT YOU NEED, AND THEN YOU OPEN THIS LITTLE DOOR, AND I IMAGINE THE NEEDLES WERE STORED IN LITTLE CASES RIGHT HERE.

AND WHAT HAVE WE HERE?

THE FIRST STEAM IRON?

OH, MY.

IT'S HEAVY.

IT'S CALLED A MONITOR SELF-HEATING SADIRON.

YOU'D HAVE A SAD ARM AFTER IRONING WITH THAT.

AND WHAT IN THE WORLD IS THIS?

COULD IT BE A RINGER?

WHAT IN THE WORLD WAS THAT, KATHY?

FROM A WASHING MACHINE?

OH, NO, GEORGIA.

THAT WAS FROM SOMETHING WE DON'T DO MUCH OF NOWADAYS, AND THAT'S IRON ART.

IT'S CALLED A FLUTING IRON AND WAS USED TO MAKE CRIMPS IN COLLARS AND CUFFS.

WELL, WELCOME TODAY, KATHY.

KATHY SULLIVAN FROM RALEIGH, AND SHE'S A QUILT APPRAISER, A QUILT COLLECTOR, A QUILTMAKER, MAYBE QUILT EVERYTHING.

YES.

I DO WEAR MANY HATS.

THANK YOU.

WELL, WE ARE GLAD TO HAVE YOU HERE AND WE ARE ALSO EXCITED ABOUT HAVING AN ANTIQUE SEWING AND QUILTING COLLECTION FROM DARRELL HAWKINS.

SHE'S FROM VIRGINIA, AND SHE'S SHARING THAT WITH US.

AND WE THOUGHT WE'D GET YOUR OPINION AND IDEAS ABOUT SOME OF THE STRANGE THINGS.

FOR INSTANCE, I HAVE AN AUTHENTIC OLD CHATELAINE THAT I'M WEARING ON MY WAIST.

TELL ME ABOUT THAT.

WELL, THESE WERE USED TO HOLD WOMEN'S SEWING TOOLS, AND, OF COURSE, THE WORD COMES FROM CHATEAU, A MISTRESS OF THE CHATEAU.

THINGS NEEDED TO BE PORTABLE--HER TOOLS-- AND MANY ITEMS, IN ADDITION TO SEWING THINGS, WERE HELD ON CHATELAINES.

THIS ONE HAS MOSTLY SEWING ITEMS.

HERE IS AN EMERY FOR SHARPENING NEEDLES AND A LITTLE PINCUSHION.

HERE IS A THIMBLE BUCKET WITH A THIMBLE AND A CASE FOR NEEDLES.

HOW NICE, AND--NOW, IF YOU WERE GOING TO COLLECT THESE, IS THERE ANYTHING TO LOOK FOR, TO BE CONSCIOUS OF, SO YOU'RE GETTING A GOOD DEAL?

WELL, OF COURSE, METAL CONTENT IS VERY IMPORTANT.

THAT ONE HAPPENS TO BE SILVER, BUT THEY ARE MADE IN BASE METALS AND BRASS.

MANY TIMES, ITEMS WERE ADDED, SO THEY DON'T NECESSARILY MATCH, BUT IT'S IMPORTANT TO HAVE THE CHAINS AND THE LINKS ALL BE THE SAME.

HOWEVER, A HYBRID ONE IS STILL VERY DESIRABLE.

OHH.

NOW, WOULD THIS BE MORE OR LESS THAN $25?

OH, CONSIDERABLY MORE.

CONSIDERABLY MORE.

WELL, IT'S A FAR CRY FROM MY LITTLE CHATELAINE, ISN'T IT?

RIGHT.

AND THERE ARE SOME OTHERS.

RIGHT.

THESE ARE LATER ONES.

THIS OF SWEET GRASS WITH A LITTLE SCISSOR SHEATH, A THIMBLE BUCKET, AND A PINCUSHION.

THAT ONE IS BONE ON A RIBBON AND IT HAS AN EMERY AND A CARVED NEEDLE CASE.

WELL, LET'S LOOK AT OUR SPOOL CABINET AND FIGURE OUT WHAT SOME OF THESE THINGS ARE.

HERE IS A LOVELY SHAKER BOX.

AND THREAD WOULD BE DISPENSED FROM THOSE LITTLE BONE HOLES.

AND ON TOP, A LITTLE PINCUSHION.

HERE WE HAVE A PIN CUBE.

AND THIS IS HOW PINS WERE SOLD IN THE STORE BEFORE THEY CAME IN PAPER.

IN THE TOP DRAWER, WE HAVE, OF COURSE, THIMBLES, AND THIS IS A VERY INTEGRAL PART OF ANY COLLECTION OF SEWING WORK ITEMS.

NEEDLES.

WHAT IS THIS ONE RIGHT ON TOP?

NOT YOUR STANDARD NEEDLE.

NO, THAT'S NOT A NEEDLE BUT AN ACTUAL RIBBON THREADER.

IT'S CALLED A BODKIN.

FOR DOING WHAT?

THREADING RIBBONS THROUGH CROCHET WORK OR LOOPS, UM, THREAD THROUGH LOOPS AND CASINGS, I SEE.

AND, OF COURSE, NEEDLE BOOKS WERE GIVEN BY MERCHANTS AS INCENTIVES TO BUY IN THEIR STORE, SO THERE'S LOTS OF THOSE AROUND.

THEY WERE ADVERTISING THEN.

YES, INDEED.

HERE WE HAVE SOME TAPE MEASURES.

THIS ONE IS VERY, VERY PRECIOUS.

IT'S A LITTLE PIG, AND HE DISPENSES THE TAPE-- OH, HIS TAIL GOES-- AND HIS TAIL WILL WIND IT UP.

HERE IS A LITTLE VEGETABLE IVORY TAPE MEASURE, ALSO.

AND I LOOKED THROUGH THAT HOLE AND DID NOT BELIEVE IT.

TELL THEM ABOUT THAT, KATHY.

THIS IS--THIS LITTLE...

THIS LITTLE TOP IS CALLED A STANHOPE VIEWER.

AND YOU LOOK THROUGH IT, AND THERE'S AN ACTUAL PICTURE.

USUALLY, THESE WERE SOUVENIRS FROM TOURIST PLACES.

NOTHING NAUGHTY, I HOPE.

OH, NO.

NO.

AND IS THAT VALUABLE?

OH, YES.

VERY, VERY PRECIOUS.

MORE THAN $25?

OH, YES, INDEED.

OK.

HERE WE HAVE SOME OTHER WONDERFUL ITEMS.

THIS IS A NEEDLE DISPENSER, WHERE, ACTUALLY, YOU WOULD DIAL UP THE SIZE YOU NEEDED.

THESE EGG-SHAPED ITEMS ARE CARVED PALM NUTS FROM SOUTH AMERICA, AND THEY WERE USED FOR THIMBLES AND OCCASIONALLY FOR A SACHET.

THEY'RE BEAUTIFUL.

YES.

VERY NICE HANDWORK ON THOSE.

HERE WE HAVE A WONDERFUL DRAWER OF DARNERS.

THIS IS A WONDERFUL GLASS DARNER FOR USING TO SLIP DOWN INTO YOUR SOCK.

THIS ONE HAS A WONDERFUL SILVER HANDLE, AND, OF COURSE, THAT MAKES IT EXTRA PRECIOUS.

WHAT ABOUT THAT TINY ONE?

THAT'S NOT A DARNER.

YES, IT IS.

IT LOOKS ACTUALLY LIKE A BARBELL FOR A MOUSE.

BUT YOU WOULD USE IT TO PUT IN THE TIP OF YOUR GLOVE.

OH, FOR DARNING GLOVES.

MY GOODNESS.

RIGHT.

AND IN THIS WONDERFUL DRAWER DOWN HERE, WE HAVE A NUMBER OF WONDERFUL PINCUSHIONS.

HERE IS A CHINA-HEAD DOLL AND A WONDERFUL FISH.

NOW, IS THAT A COLLECTIBLE?

IT'S IN VELVET.

YES.

VERY, VERY COLLECTIBLE.

AND, OF COURSE, YOU HAVE LOTS OF HANDMADE PINCUSHIONS, ALSO-- FOR EXAMPLE, THIS LITTLE LOG CABIN.

AND, OF COURSE, ONE OF THE MOST FAVORITE OF ALL TYPE PINCUSHIONS IS THE SHOE.

AND NOW TO A COLLECTION OF SEWING BOXES, COMPLETE WITH... A BIRD?

OH, YES.

THIS IS A SEWING BIRD.

AND THE SPRING IN HIS TAIL HOLDS--OPENS, AND YOU CAN HOLD YOUR FABRIC IN THERE AND HAVE TWO HANDS FREE TO SEW.

HOW NICE.

I'VE ALWAYS LOVED THE STORK SCISSORS.

WERE THEY VALUABLE THEN, AS THEY ARE NOW?

THEY WERE VERY POPULAR.

AND, OF COURSE, NOWADAYS, THEY ARE BEING REPRODUCED.

YOU HAVE A PAIR THERE, AND PEOPLE NEED TO BE AWARE OF REPRODUCTIONS.

I SEE.

WELL, WE'VE COME A LONG WAY.

NOW WE'RE CUTTING IN THE ROUND, AREN'T WE?

THAT'S CORRECT.

THINGS HAVE CHANGED.

AND NOW I SEE THESE PLAID BOXES.

THEY INTRIGUE ME.

TELL ME ABOUT THOSE.

WELL, THESE ARE CALLED COTTON BOXES, AND THESE WERE MADE BY THE THREAD MANUFACTURERS.

THIS IS CALLED TARTANWARE.

AND YOU CAN SEE BY THE PLAID, AND SPOOLS WERE INSIDE, AND THIS ONE, OF COURSE, SAYS "THE CLARK COMPANY."

AND THAT WAS A SCOTTISH THREAD MANUFACTURER.

AND THIS LOOKS ALMOST INDIAN.

YES, IT IS.

IT'S BEADWORK, AND THAT ONE HAS A PATRIOTIC THEME, AND SO THAT MAKES IT EXTRA SPECIAL.

NOW, OF COURSE, NO COLLECTION WOULD BE COMPLETE WITHOUT LOOKING AT A YO-YO QUILT.

TELL ME ABOUT THIS.

YES.

THESE WERE VERY POPULAR IN THE THIRTIES WHEN PEOPLE DID NOT HAVE MUCH ENTERTAINMENT.

AND, UM... NOWADAYS, YOUNG WOMEN PARTICULARLY LOVE THESE THIRTIES QUILTS BECAUSE THIS IS WHAT THEIR GRANDMOTHER WOULD HAVE MADE.

AND, OF COURSE, BUTTONS.

WE COULD DO A THREE-HOUR SPECIAL ON THOSE, COULDN'T WE?

HOW TRUE.

HERE WE HAVE A LITTLE SEWING MACHINE.

THIS ONE IS A TOY THAT WAS MADE FOR A CHILD.

HOWEVER, NOWADAYS, GROWN WOMEN LIKE THEM BETTER THAN LITTLE GIRLS EVER DID.

OH, WE LOVE OUR SEWING MACHINES.

I WANTED TO TALK TO YOU ABOUT OLD BLOCKS.

THEY'RE SO OFTEN-- WE'LL GO INTO AN ANTIQUE STORE AND FIND BLOCKS THAT NEVER MADE IT INTO A QUILT.

IS THERE HOPE FOR THESE?

WHAT WOULD YOU SAY?

YES.

AS LONG AS THEY HAVE NOT ROTTED, YOU COULD CERTAINLY PUT THESE TOGETHER IN A QUILT OR USE THEM IN ANOTHER, SMALLER PROJECT.

I ALWAYS TEST THEM AND JUST GIVE IT A LITTLE BIT OF PULL AND MAKE SURE IT'S NO WEAK THAT IT'S GOING TO RIP APART.

RIGHT.

YOU HAVE TO BE CAREFUL.

SPEAKING OF RIPPING APART, I HAVE A REAL PROBLEM.

THIS IS A FRIEND'S QUILT THAT I PROMISED I WOULD FIX FOR HER.

IT'S THE POMEGRANATE PATTERN.

WE'RE GOING TO LEARN ABOUT IT NEXT WEEK.

DO YOU THINK THERE'S ANY HOPE FOR IT?

WELL, ADMITTEDLY, GEORGIA, YOU COULD THROW A CAT THROUGH THIS ONE, BUT THIS IS A WONDERFUL PRIMITIVE PATTERN, AND I BELIEVE IT WOULD BE WORTH SAVING.

WELL, IT LOOKS LIKE I'M GOING TO HAVE TO REPLACE THIS SASHING.

AND I'VE BEEN SEARCHING AND SEARCHING AND FINALLY HAVE GOTTEN A PRETTY GOOD MATCH HERE.

WOULD YOU SAY THAT'S PRETTY GOOD?

IT'S NOT TOO BAD, BUT I THINK WE COULD GO A LITTLE BIT BETTER.

I BROUGHT WITH ME SOME PIECES OF AN OLD QUILT WHICH WAS DESTROYED.

AND, ACTUALLY, YOU CAN SEE THE BACK OF IT HAS ROTTED AWAY.

HOWEVER, THE FABRIC THAT'S LEFT WOULD BE PERFECTLY GOOD TO USE IN THIS RESTORATION.

SO IT'S BETTER TO REPAIR AN OLD QUILT-- WITH OLD FABRIC, IF POSSIBLE.

I SEE.

AND USE THE COTTON BATTING AND EVERYTHING.

OH, YES.

CERTAINLY.

NEVER USE SYNTHETICS, THOUGH, IN A REPAIR.

ALWAYS COTTONS.

OH.

NICE TO KNOW.

WELL, OUR LESSON TODAY IS GOING TO BE AN EIGHT POINTED STAR.

AND YOU WERE NICE ENOUGH TO BRING SEVERAL EXAMPLES OF THAT PATTERN.

TELL US ABOUT THIS COLLECTION OF YOURS HERE.

THIS PARTICULAR QUILT IS FROM THE TIDEWATER AREA OF NORTH CAROLINA.

AND IT'S VERY DISTINCTIVE BECAUSE IT HAS THIS WONDERFUL TRIPLE SASH.

I SEE.

THIS ONE IS AN 1850 QUILT FROM RANDOLPH COUNTY, NORTH CAROLINA, AND THAT'S INTERESTING BECAUSE IT IS SET WITH AN ALTERNATING PLAIN BLOCK.

THIS PARTICULAR EXAMPLE IS NOT QUITE A STAR, BUT HAS SOME ASPECTS OF THE STAR, AND IT'S A PEONY WITH THE APPLIQUED STEM AND LEAF.

AND THIS IS FROM THE VIRGINIA MOUNTAINS.

WELL, WE HAD THE OPPORTUNITY TO VISIT THE TENNESSEE STATE MUSEUM, AND I'D LIKE YOU TO MEET JIM HOOBLER NOW.

HE HAS ANOTHER EIGHT POINTED STAR TO VIEW.

TELL US, WHY, IN DOWNTOWN NASHVILLE, COME TO YOUR MUSEUM?

THE TENNESSEE STATE MUSEUM IS PROBABLY THE LARGEST STATE MUSEUM IN THE COUNTRY.

WE HAVE A 120,000-SQUARE-FOOT FACILITY HERE WITH, OUTSIDE OF THE CONFEDERATE MUSEUMS IN RICHMOND, THE LARGEST COLLECTION OF SOUTHERN CIVIL WAR MEMORABILIA IN THE COUNTRY.

WE ALSO HAVE OUTSTANDING COLLECTIONS OF TENNESSEE PAINTINGS, SILVER, TEXTILES, AND POTTERY, AND ALSO ARTIFACTS RELATING TO THE ONE BATTLE IN THE REVOLUTION TENNESSEANS FOUGHT IN, THE BATTLE OF KINGS MOUNTAIN.

AND, OF COURSE, AND OUR REASON FOR BEING HERE--QUILTS.

DESCRIBE THIS ONE-- WE HAVE TWO QUILTS IN FRONT OF US.

DESCRIBE THIS RATHER WILD, BRIGHT QUILT.

WELL, THE BRIGHT ONE THERE WAS MADE BY WANDA JAMES IN 1979 IN MEMPHIS, TENNESSEE.

IN A MORE SOMBER BUT VERY WARM TONE, WE HAVE THIS LOVELY QUILT MADE BY SOPHIA MITCHELL-- PROBABLY MADE IT IN HER 60s-- IN WHAT WE CALL THE LEMOYNE PATTERN.

THE COLOR SELECTION IS INTERESTING, AND THE FABRIC.

SHE APPEARS TO HAVE HAND-DYED SOME OF THE MATERIAL, AS WELL AS BOUGHT COMMERCIALLY PRINTED AND MANUFACTURED CLOTH AND THEN PUT IT ALL TOGETHER IN HER OWN PATTERN-- BOTH HER OWN PRODUCT AS WELL AS SOMETHING THAT SHE PURCHASED INTO HER OWN INDIVIDUAL QUILT.

AND SHE WAS PROBABLY WORKING WITH A LOT OF SCRAPS.

I NOTICED THAT SHE DISREGARDED GRAIN LINE QUITE OFTEN, A LOT OF TIME.

AND I LIKE THE FACT THEY USED THE CHECKS AND THE PLAIDS.

IT SETTLES ALL THE BUSY PRINTS, DOESN'T IT?

IT ADDS A WHOLE NEW CHARACTER TO IT AND A VERY OLD-FASHIONED FLAVOR TO THIS QUILT.

IT WAS HAND-PIECED.

AND, OF COURSE, THE QUILTING IS DONE IN SIMPLE CROSSHATCHING.

WE WILL GO BACK TO THE TENNESSEE STATE MUSEUM FOR MORE PATTERNS IN OUR SERIES THIS TIME.

TODAY'S LESSON IS AN EIGHT POINTED STAR IN BOTH A 6-INCH AND A 12-INCH BLOCK.

TO UNDERSTAND THE DRAFTING PART OF THE EIGHT POINTED STAR, WE TURN TO OUR NEW RULERS TODAY.

THEY'RE SO READILY MARKED WITH A 45-, A 60-, AND A 30-DEGREE ANGLE ON THEM.

IT ALLOWS US TO DRAW A STRAIGHT LINE.

AND ONCE THAT IS DRAWN, WE'RE GOING TO DETERMINE HOW LONG A DIAMOND WE WANT, AND I WOULD MARK THAT.

THEN TAKING AND ROTATING OUR RULER SO THAT LINES UP EXACTLY-- THAT 45-DEGREE LINE LINES UP ON THE LONG LINE WE DREW-- THEN THE LENGTH OF OUR DIAMOND IS DRAWN AGAIN... AND STOP.

NOW, I'LL SWING THAT AROUND AND DRAW A STRAIGHT LINE AGAIN PARALLEL TO THE FIRST ONE, BUT ONCE AGAIN INDICATING THE LENGTH OF MY DIAMOND.

AND NOW LOOK-- I CAN TURN THAT AGAIN.

NOW THE 45 IS LINING UP ON THAT STRAIGHT LINE AGAIN.

SO, I CAN DESIGN AND DRAW ANY DIAMOND I WANT, KNOWING THAT ALL I NEED TO DO IS ADD MY 1/4 INCH AROUND THAT, GOING FROM SMALL OR A LARGER ONE.

NOW, THIS BLOCK REQUIRES THREE TEMPLATES-- A DIAMOND, A SQUARE, AND A TRIANGLE.

THE DIAMOND, OF COURSE, YOU'LL NEED EIGHT OF THESE.

ONCE YOU CUT THOSE OUT, PLAY WITH THE POSITION.

ALL OF YOUR DIAMONDS COULD BE ONE COLOR, OR YOU COULD PUT TWO CHECKS TOGETHER AND TWO PRINTS TOGETHER-- HALF-AND-HALF.

THE BACKGROUND COLORS CAN VARY, TOO.

YOU DON'T NEED TO THINK THAT YOUR SQUARES AND TRIANGLES ARE ALWAYS THE SAME.

LOOK WHAT HAPPENS WHEN THE SAME FABRIC OF THE DIAMOND CROSSES OVER TO THE SQUARE.

WHY, YOU'VE CREATED AN ENTIRELY NEW SHAPE.

WE CAN USE OUR ROTARY CUTTER AND THE MATS AND OUR THICK RULERS FOR CUTTING OUT ALL THE BACKGROUND MATERIAL.

TAKE ADVANTAGE OF THAT THICK RULER AND YOUR NICE MATS BY LAYERING DIFFERENT PRINTS FOR YOUR SQUARES.

ALL I NEED TO DO IS LINE THAT UP.

I'D CUT OFF THE SELVAGE, AND, MAKING CERTAIN EVERYTHING IS LINED UP, MEASURE THE WIDTH OF MY SQUARE, I'M JUST GOING TO LINE THAT UP AND SEE-- OH, I JUST NEED 2 1/4, SO THEN I DON'T EVEN NEED TO USE THAT.

COMING HERE AND MAKING CERTAIN MY FINGERS FALL OFF THE EDGE, I CAN COME TO MY 2 1/4-- JUST LIKE THAT-- AND LINE THIS UP AND THEN MOVE MY HAND UP SO IT'S PARALLEL WHERE I'M GOING TO BE CUTTING.

YOU WANT TO CHECK BOTH WAYS.

I COULD JUST CUT MILES, JUST THAT LONG.

THEN I'M GOING TO COME HERE, AND, KEEPING THIS EVEN, I'M GOING TO CUT OFF THE FOLD RIGHT HERE.

AND I LIKE TO LINE THIS UP EVERY TIME I CUT, ONCE AGAIN, I'M GOING TO MY 2 1/4, AND ALL MY SQUARES ARE CUT OUT.

I CAN JUST LAYER AS MANY AS I WANT AND CONTINUE CUTTING.

AND THEN THE TRIANGLES WOULD BE IN A SIMILAR FASHION, BUT I'M GOING TO USE A NEW RULER THIS TIME.

ONCE AGAIN, I'M COMING OVER, LINING THIS UP, AND I DO LIKE TO GET RID OF THE SELVAGE.

CAN USE THOSE FOR SOMETHING ELSE.

SO, LINE THIS ALL THE WAY DOWN.

MOVE MY HAND UP.

I LIKE TO LET THIS FINGER FALL OFF THE EDGE.

ONCE THAT'S CUT UP, ALL I NEED TO DO IS PUT MY TRIANGLE ON HERE AND DECIDE HOW THICK I NEED THAT OR HOW DEEP I NEED THAT, COMING FROM THE RIGHT ANGLE OF MY TRIANGLE AND THEN CUTTING ALL THE WAY DOWN.

AND ONCE THAT'S REMOVED, I CAN TURN TO THIS TRIANGLE, AND, MAKING CERTAIN THAT I LINE THIS UP CORRECTLY-- LIKE THIS AND LIKE THIS, AND I'M ALWAYS CUTTING LIKE SO-- AND THEN I'M CUTTING, BUT TURNING THIS.

NOTICE HOW I'M ALWAYS CUTTING AWAY FROM ME... COMING LIKE THIS, LINING THIS UP.

AND HOW MANY TRIANGLES AND HOW MANY SQUARES I CAN CUT-- IT'S JUST ENDLESS.

THE FUN PART OF WORKING WITH THIS DIAMOND PATTERN IS THAT I CAN TURN TO STRIPES AND TO MADRAS PLAIDS, AND LOOK AT THE EXCITEMENT THAT HAPPENS HERE.

I'VE TOLD YOU SO MUCH ABOUT GRAIN LINE AND ALWAYS KEEPING IT ON TWO PARALLEL SIDES.

HOW ABOUT FORGETTING IT THIS TIME?

JUST TAKING ADVANTAGE OF YOUR DIAMOND, PLACING IT ON HERE AND MOVING IT, DISREGARDING GRAIN LINE.

LOOK AT THE FUN AND EXCITING THINGS THAT HAPPEN WITH YOUR PLAIDS AND YOUR STRIPED MATERIAL.

LET'S GO TO THE SEWING MACHINE AND DISCOVER HOW TO PUT THIS TOGETHER.

TO MACHINE-PIECE THE STAR PATTERN, I WOULD GO BACK TO THE DIAMOND TEMPLATE.

HOLE-PUNCH THE 1/4-INCH TURN, WHICH ALLOWS YOU IN BOTH THE LARGE AND THE SMALL TO MARK THE BACK OF THE DIAMOND.

THAT'S AN IMPORTANT MARK BECAUSE YOU'RE GOING TO SEW UP TO THERE AND BACKSTITCH.

ALL RIGHT.

I'D DO EACH OF THE POINTS IN TWOS, AND I'D COME AROUND JUST LIKE THIS.

LINE UP, OF COURSE, YOUR DIAMOND, BOTH AT THE BEGINNING AND THE END.

AND USUALLY, JUST THE CLOTH WILL ADHERE TO EACH OTHER.

YOU DON'T NEED TO PIN IT.

STARTING HERE, BACKSTITCH-- THAT LOCKS IT IN PLACE-- AND THEN COME ALL THE WAY DOWN TO THE DIAMOND.

BECAUSE I'M USING MADRAS, I AM TRYING TO LINE UP THE PLAID AT THE SAME TIME.

I'M GOING TO SEW ALL THE WAY TO THE END... AND THEN JUST CONTINUE.

IT'S NICE WHEN YOU CAN JUST LINE THIS UP, PULL THIS THROUGH, START AGAIN, BACKSTITCH, AND ALL THE WAY DOWN.

ONCE YOU'VE GOT YOUR TWOS TOGETHER, THEN YOU WOULD PUT YOUR FOURS TOGETHER.

FOUR TOGETHER.

AND I WOULD THUMB-CREASE ALL MY SEAMS GOING IN ONE DIRECTION.

I'VE GOT TWO BLOCKS IN PROGRESS, SO WE'RE GOING TO SWITCH TO THIS MATERIAL NOW, AND YOU'LL GET ANOTHER IDEA HOW I HAVE ALL THIS GOING IN ONE DIRECTION AND THIS GOING IN THE OTHER DIRECTION.

WE CALL THAT STAGGERING OUR SEAMS.

I'M GOING TO PIN THIS, BUT BEFORE I DO, I WANT TO TAKE MY CLIPS AND GET RID OF THOSE DOG-EARS.

JUST SNIP THOSE OUT.

THEY'RE GOING TO GO EVERY WHICH WAY, BUT GET RID OF THEM-- LIKE THAT AND LIKE THAT.

ONCE THOSE ARE GONE, I CAN PIN THAT INTERSECTION, LINING UP THAT "V." IT WORKS SO NICELY.

I DO WANT TO HOLD THAT IN PLACE BEFORE I START STITCHING.

ONCE AGAIN, I'M LINING THIS UP.

I'VE GOT MY PENCIL POINTS TO COME ALL THE WAY.

START HERE, AND I EVEN UP THE WHOLE POINT SYSTEM, MAKE SURE THEY'RE ALL PRETTY MUCH ON TARGET.

STARTING HERE, BACKSTITCH, AND ALL THE WAY DOWN, TAKING MY 1/4 INCH.

I DON'T LIKE TO SEW OVER PINS, SO, WHEN I GET TO HERE, I'LL JUST MAKE SURE MY STILETTO IS LINING THAT UP.

LINE THIS ALL THE WAY DOWN.

COME TO HERE AND BACKSTITCH, AND COME LIKE THIS, AND ONCE THIS IS OPEN, I'M READY NOT ONLY TO CHECK MY INTERSECTION, WHICH LOOKS REALLY GOOD, BUT I WANT TO COME ON THE BACKSIDE AND WHERE I HAD PREVIOUSLY SEWN ALL THE WAY TO THE END, I'M GOING TO RELEASE THAT JUST A LITTLE BIT.

THAT'S NOT THE CONNECTING SEAM.

IT'S RIGHT HERE AND IT'S RIGHT HERE.

I'M JUST GOING TO OPEN THAT UP A LITTLE BIT.

AND WHAT YOU'RE GOING TO SEE HAPPEN IS THAT COME ALL THE WAY APART, AND YOU'RE FORMING A LITTLE PINWHEEL ON THE BACKSIDE.

THE IMPORTANT THING IS THAT YOU HAVE DISTRIBUTED THE WEIGHT OF THAT SEAM ALLOWANCE, AND ALL THE SEAMS ARE GOING IN ONE DIRECTION.

I'VE GOT ONE A LITTLE FURTHER ALONG.

AND, HONESTLY, I THINK IT LOOKS AS NICE ON THE BACKSIDE AS IT DOES THE FRONT.

NOTICE AT THE SAME TIME THAT I WENT AHEAD AND PUT MY TRIANGLES IN THE MIDPOINT.

ONCE THOSE ARE IN, I'LL SNIP THAT OFF, GET RID OF ALL THOSE DOG-EARS, AND WHEN I PUT THOSE IN, I COULD COME ALL THE WAY DOWN TO THAT POINT, STOP AND BACKSTITCH, AND THEN SWING THAT AROUND.

THE SAME THING WILL HAPPEN WITH MY CORNER SQUARES.

IT'S SO NICE BECAUSE NOW I HAVE A 90-DEGREE, OR A RIGHT, ANGLE TO LINE THAT UP TO, BUT I WOULD TAKE ADVANTAGE OF THIS POINT AND START SEWING HERE.

COME ALL THE WAY HERE, AND I'M GOING TO START MAKING CERTAIN THAT I'VE GOT THAT LINED UP.

I'VE GOT THIS EVEN HERE.

START, BACKSTITCH, AND THEN ALL THE WAY OUT TO THE END.

IN ORDER TO MAKE MY 1/4 INCH HAPPEN ON THE OUTSIDE OF MY BLOCK, I WANT TO MAKE CERTAIN I'VE GOT A STRAIGHT EDGE HERE.

LOOK AT THAT WONDERFUL 1/4 INCH.

THEN I CAN SWING THIS AROUND AND FINISH MY BLOCK ON ALL THREE SIDES.

THAT'S OUR EIGHT POINTED STAR.

I KNOW YOU'LL ENJOY IT.

THIS TIME, A 60-DEGREE DIAMOND.

IT'S A STAR AGAIN, BUT REMEMBERING MY FONDNESS FOR THE SPOOL DESIGN, WE'VE DROPPED IN A SPOOL.

LET'S DESIGN AND SHOW HOW EASY IT IS TO USE OUR RULERS AGAIN FOR A 60-DEGREE DIAMOND.

I'D GO AHEAD AND DRAW THAT STRAIGHT LINE, KNOWING HOW LONG I WANT MY DIAMOND SHAPE.

AND THIS TIME, I'M TURNING.

LET'S FIND THAT 60-DEGREE MARK RIGHT HERE, AND LINING THAT UP-- 60-DEGREE DIAMONDS, LINING UP ON THAT STRAIGHT LINE, SO I CAN EXTEND THE SAME LENGTH THAT I'VE GOT FROM THE FIRST LINE ALL THE WAY OVER.

THEN A STRAIGHT LINE AGAIN, THAT SAME LENGTH OF MY DIAMOND.

AND THIS TIME, FINDING THE 60 DEGREES AGAIN-- RIGHT?-- EXTENDING IT FROM HERE, I CAN COMPLETE MY DIAMOND.

NOW, ONCE THAT'S COMPLETE, I SIMPLY WILL DROP IN THE SHAPE THAT I WANT FOR MY SPOOL.

I THINK IT'S REALLY MORE APPARENT WHEN I PUT THE TEMPLATE RIGHT ON TOP.

YOU CAN SEE THE 1/4 INCH THAT'S BEEN ADDED, AND THEN THE BACKGROUND MATERIAL WOULD, OF COURSE, BE LIGHTER THAN THE SPOOL.

AND THEN YOU GET THAT NICE COMPARISON OF DARK AND LIGHT.

NOTICE THIS TEMPLATE SWINGS ALL THE WAY AROUND TO BE SITTING ON THE OTHER SIDE OF THE SPOOL.

WHEN YOU GET TO PIECING THIS, ONE OF THE SECRETS IS USING THAT 1/4-INCH MARK AGAIN, SEWING TO HERE, BACKSTITCH, AND ALL THE WAY OUT.

AND THEN I FIND THAT IT'S NICE TO GO AHEAD AND SNIP RIGHT UP TO THAT STITCHING LINE.

THAT WAY, YOU'RE RELEASING BOTH THE FRONT AND THE BACK MATERIAL.

ONCE THAT'S BEEN RELEASED, YOU'LL FIND THAT YOU CAN READILY SWING THAT AROUND AND LINE UP YOUR RAW EDGES AGAIN TO MACHINE-STITCH.

I WOULD START SEWING HERE AND GO TO THE OUTSIDE.

ONCE YOUR SIX DIAMONDS ARE PUT TOGETHER, NOTICE HOW THEY MAKE A BLOCK.

NOW, IT'S NOT A SQUARE BLOCK.

IT'S A RECTANGULAR BLOCK.

YOU'D BE FILLING IN WITH A BACKGROUND OF THIS QUADRILATERAL AND THE TRIANGLES.

WHEN I DID THE WHOLE QUILT, YOU'LL HAVE TO TAKE THE TWO TEMPLATES AND MAKE A BACKGROUND HEXAGON FIGURE AS YOU CAN SEE HERE.

SIMPLY TAKE THE "D" AND THE "C" AND OVERLAP THEM, ESPECIALLY RIGHT ON THE STITCHING LINE.

THIS LINE ACROSS HERE BECOMES A FOLD.

AND YOU CAN SEE THAT YOU WILL READILY HAVE A HEXAGON THAT WILL DROP IN BETWEEN YOUR SIX POINTED STAR.

WHEN YOU GET DOWN REAL CLOSE, YOU CAN SEE THAT I HAVE COMBINED HAND AND MACHINE STITCHING IN THIS PATTERN.

AND IT WORKS VERY WELL.

IMAGINE THE THREAD JUST GOING RIGHT THROUGH THE SPOOL AND CROSSING OVER, AND THEN THE HAND QUILTING COMING DOWN HERE.

WE'LL DO SOME MACHINE QUILTING LATER ON IN ONE OF THE SHOWS.

JOIN US NEXT WEEK AS WE TOUR THE SHELBURNE MUSEUM IN VERMONT.

LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.