Georgia Bonesteel: THE YEAR QUILT CLASS.

HERE WE ARE GETTING READY TO REAP THE VISUAL BENEFITS OF ALL OUR CREATIVITY.

THE PREVIEW PARTY BRINGS OUT HUSBANDS AND FRIENDS EAGER TO SEE THE RESULTS.

I EVEN SEE MY OWN HUSBAND, PETE.

WE ARE AT TOUCHSTONE GALLERY IN HENDERSONVILLE AND WE CERTAINLY WANT TO TAKE A FEW MINUTES TO THANK MICHAEL SHERRILL.

MICHAEL, THANK YOU FOR LETTING US EXHIBIT OUR QUILTS HERE AT THE GALLERY.

YOU'RE MOST WELCOME.

IT IS LOVELY AND THE OLD BRICK WALLS ARE SO FITTING FOR THIS BACK-- AS A BACKGROUND.

Announcer: "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINT WORKS COMPANY, AMERICA'S OLDEST TEXTILE PRINTER.

IT IS A REAL HONOR FOR ME TO STAND AT ALL OF THESE LOVELY QUILTS AND HAVE A CHANCE TO EXPLAIN THEM FURTHER TO YOU.

YES, THEY WERE MADE OVER A LONG YEAR.

WELL, GIVE OR TAKE A FEW MONTHS.

AND WHAT I DID WAS TO BREAK THE MAKING OF A QUILT UP INTO 4 SECTIONS.

THE SPRING CLASS WAS OUR DESIGN AND OUR DRAFTING CLASS.

WHY, WE NEVER TOUCHED FABRIC, WE SIMPLY WORKED ON PAPER.

AND YOU'LL LEARN MORE ABOUT EACH ONE OF THESE PHASES AS WE GO THROUGH THE PROGRAM TODAY.

OUR SECOND CLASS WAS COLOR.

ONCE YOU HAD YOUR QUILT DESIGN, WE LEARNED MORE ABOUT COLOR AND THE OBJECT WAS TO PICK OUT YOUR FABRICS FOR YOUR PARTICULAR QUILT.

THEN OUR FALL CLASS, THE THIRD TIME WE MET AND GOT TOGETHER, WAS THE CUTTING AND THE PIECING OR, PERHAPS, A LITTLE BIT OF APPLIQUÉ.

THEN THE WINTER CLASS TURNED OUT TO BE OUR QUILTING CLASS.

I THINK A VERY PRIME AND LOVELY EXAMPLE OF OUR DRAFTING CLASS IS MARYLOU KIMBALL'S QUILT.

I'M GOING TO HAVE AN OPPORTUNITY TO PULL OUT 4 OR 5 OF EACH OF THE QUILTS IN THAT LONG CLASS AND THAT I THINK BEST EXEMPLIFY THE PARTICULAR SEASON, AND TELL YOU ABOUT THEM.

NOW, THIS WAS NOT A JUDGED SHOW, THIS WAS A LEARNING EXPERIENCE.

AND I THINK MARYLOU KIMBALL'S CERTAINLY EXEMPLIFIES THAT DESIGN AND DRAFTING TECHNIQUE-- ALL OF THE TECHNIQUES THAT WE LEARNED.

THE CENTRAL MEDALLION MOTIF IS BASED ON THAT BASE OF THE STATUE OF LIBERTY ITSELF WITH THE 10 POINTS ON THE STAR.

OF COURSE SHE THEN FLOWED INTO THE OCEAN WAVES AND THEN SHE DIVIDED NOT 50, BUT SHE HAD A HARD TIME DIVIDING THAT INTO 4 ON THE BORDER, SO SHE JUST DID THE 48 STARS AROUND THE OUTSIDE.

SHE DID A LOVELY JOB.

NOW, EVERYONE SHOULD HAVE A MARYLOU AND RAY KIMBALL IN THEIR COMMUNITY.

I THINK IT'S VERY NICE WHEN HUSBANDS CAN GET INVOLVED IN THE WHOLE QUILT PROCESS.

PERHAPS THEY ARE AN ENGINEER-- GIVE THEM SOME PAPER AND LET THEM DESIGN.

PERHAPS THEY'RE GOOD WITH WOOD, A CRAFTSMAN.

AND THAT'S EXACTLY WHAT RAY IS.

AND I CAN PUBLICLY NOW THANK HIM FOR THE WONDERFUL FRAME HE HAS MADE ON WHEELS THAT WE HAVE USED ON THE SET.

QUILTS GO UP AND DOWN ALL THE TIME.

HE'S MADE ALL THE FRAMES FOR OUR GUILD AND IT CERTAINLY HAS BEEN NICE.

WHY-- LOOK WHAT RAY MADE FOR ME.

WELL, IT'S VERY SPECIAL.

AND TAKE A NICE CLOSE LOOK-- SPOOLS.

YES, MORE SPOOLS IN MY NEW WOODEN CHRISTMAS TREE.

THE SECOND QUILT IN OUR "SHOW OF HANDS" IS MADE BY MARY BARRY.

IT'S ENTITLED "THE HAUNTED MILL OF WILLOW CREEK."

NOW, IT'S PROBABLY HARD FOR YOU TO BELIEVE, BUT MARY IS A BEGINNING QUILTER, AND WHAT WAS VERY EXCITING ABOUT WORKING WITH THIS QUILT IS THAT SHE CAME TO CLASS WITH AN ACTUAL PICTURE OF THE HAUNTED MILL.

WE STUDIED IT LONG AND HARD AND MARY CAME UP WITH SEVERAL DESIGNS AND THEN, WITH A LITTLE CLASS ENCOURAGEMENT, WE VOTED ON THIS PARTICULAR DESIGN.

HOW TO SET IT IN A QUILT?

WE THOUGHT ABOUT NANCY HALPERIN, AND KNOWING THAT SHE HAD AN ARCHITECTURAL BACKGROUND, WE PUT THIS IN THE U.S. MAIL.

AND IN A COUPLE OF WEEKS SHE CAME BACK WITH A NICE SUGGESTION.

AND I THINK PUTTING THE BLOCK AND ENCLOSING IT WITH OUTSIDE TRIANGLES AND HAVING THAT WATER WHEEL FLOW OVER INTO THOSE TRIANGLES AND THEN PUTTING IT ON POINT ALLOWED US TO REPRESENT THE WATER COMING DOWN BY THE STREAM.

IF YOU LOOK VERY CLOSE, YOU CAN EVEN SEE IN MARY'S QUILTING THE WILLOW TREES COMING VERY CLOSE TO THE HAUNTED MILL ITSELF.

AND OF COURSE YOU KNOW THE LIGHT WINDOWS-- THAT REPRESENTS THE GHOST STILL AT THE MILL.

I PARTICULARLY LIKE THE FACT THAT SHE HAS CAPTIVATED THIS FLOW OF DARKNESS GOING TO LIGHT.

WITH PENCILS SHARPENED WE WERE READY FOR THAT FIRST DESIGN AND DRAFTING CLASS.

IT MEANT GATHERING TOGETHER ALL OF OUR RULERS, OUR COMPASSES-- WHY, WE EVEN HAD A DRAFTSPERSON COME TO CLASS AND EXPLAIN ABOUT UNUSUAL ANGLES AND HOW TO COPE WITH THOSE.

WE LEARNED ABOUT ALL KINDS OF GRAPH PAPER AND BECAME MORE EXPERIENCED IN PUTTING OUR DESIGNS ON PAPER BEFORE IT EVER GOT TO CLOTH.

WE LOOKED INTO UNUSUAL BOOKS.

WE TRIED TO THINK ABOUT OUR BED SIZE SO THAT OUR QUILT WOULD ACTUALLY COVER THE ENTIRE AREA THAT WE MEANT FOR IT TO FINALLY END UP WITH.

A VERY INTERESTING QUILT WAS MADE BY MARY BOWEN.

AND I HAVE TO REALLY DRAW A LINE DOWN THE MIDDLE OF THIS QUILT BECAUSE HALF OF IT IS DICK'S AND HALF OF IT IS MARY'S, BECAUSE SHE DID HAVE A LOT OF COUNSELING FROM HER HUSBAND, DICK.

NOW, THE TITLE OF THIS QUILT IS CALLED "INVOLUTE," AND ACCORDING TO DICK, THAT IS AN ARCH WITH AN EVER-INCREASING RADIUS.

HOWEVER, WHEN I LOOKED UP "INVOLUTE" IN WEBSTER'S DICTIONARY, IT DID SAY THAT IT MEANT ROLLED INWARD, IT ALSO MEANT INVOLVED AND INTRICATE.

AND MAYBE IF MARY KNEW THOSE DEFINITIONS BEFORE SHE WENT SO FAR, THAT MIGHT HAVE CHANGED HER MIND.

BUT WE CERTAINLY ALL ADMIRED THE FINISHED RESULTS.

SHE KNEW FROM THE VERY BEGINNING SHE WANTED BLACKS AND GRAYS AND WHITES.

AND SHE PUT A LOVELY PAISLEY ON THE BACK OF THIS QUILT.

SHE IS TRULY TO BE COMMENDED FOR FINISHING THIS DESIGN.

WE ALSO SPENT TIME WITH-- THE FEATHERED STAR.

WE WENT THROUGH EVERY STEP OF THAT DESIGN, WORKING ON IT FROM THE VERY BEGINNING UNTIL IT WAS FINISHED, SO THAT WE COULD LEARN HOW TO DO IT ON PAPER.

I ENCOURAGED THE GIRLS TO MAKE SCRAPBOOKS AND IF THEY HAD A PARTICULAR INTEREST IN QUILTING, WHETHER IT WERE BUILDINGS OR HOUSES, THEN KEEP PICTURES SO THEY COULD ALWAYS REFER TO THOSE AS IDEAS LATER ON.

THE BLACK AND WHITE QUILT BEHIND ME IS MADE BY SHARON PHIPPS AND IT'S A ROLLING STONE PATTERN.

MORE BLACK AND WHITE, AND THIS ONE IS BEING SAVED FOR HER SON WHEN HE GETS MARRIED.

"STARLIT FLOWER GARDEN" IS MADE BY MARY RUTH BRENYON.

AND HER INSPIRATION FOR THE COLORS IN THIS QUILT WERE FOUND IN THE PRINT FABRIC.

ONE EXERCISE THAT WE PERFORMED IN CLASS WAS TO WORK WITH TRADITIONAL QUILT PATTERNS.

I SIMPLY HAD THEM RUN OFF AT A COPYING MACHINE, THEN WE COULD CUT THEM APART, AND BY REPLACING THEM ON A PAPER BLOCK-TO-BLOCK, ALL OF A SUDDEN, NEW DESIGNS EMERGED.

NOTICE VERY CAREFULLY THAT A CIRCLE IS FORMED IN THIS INSTANCE, AND THEN YOU HAVE TO LOOK VERY HARD AND SEE IF YOU CAN FIND THAT CIRCLE ON THE QUILT.

HER QUILTING STITCHES ARE REALLY SUPER, BY THE WAY.

OUR SECOND SESSION WAS DEVOTED TO COLOR, THE GOAL BEING TO CHOOSE THE FABRIC FOR THE QUILT THAT YOU DESIGNED IN THE FIRST SESSION.

WE NOT ONLY LEARNED ABOUT COLOR, WE TOOK FIELD TRIPS, WE WENT TO A PRINTING FACTORY, WE WENT TO A FINISHING PLANT, WE DYED FABRIC, WE MARBLED FABRIC.

IN ORDER TO LEARN MORE ABOUT COLOR, I ASSIGNED EACH ONE OF THE STUDENTS A SPECIFIC COLOR ON THE COLOR WHEEL.

THEY WERE TO GO OUT AND BRING IN A TRUE COLOR, A TINT AND A SHADE OF THAT COLOR.

AND THEN WE COULD ALL DIVVY UP IN CLASS, AND THAT WAY WE DIDN'T EACH HAVE TO FIND ONE PARTICULAR COLOR.

WHY, THEY EVEN HAD TO GIVE A REPORT ON THEIR COLOR AND WE LEARNED A LOT OF INTERESTING FACTS.

NOW, THE QUILTS THAT I HAVE CHOSEN FOR THIS SESSION THAT TRULY EXEMPLIFY COLOR CAN BEST BE SHOWN WITH PEGGY JEUNUNG'S.

HER QUILT IS ENTITLED "STAR GLOW."

WE TEND TO STAY AWAY FROM YELLOW IN QUILTING, AND I THINK PEGGY HAS PROVED WE DO NOT NEED TO DO THAT.

WE CERTAINLY CAN BE SUCCESSFUL IN WORKING WITH 2 VERY TRADITIONAL PATTERNS, BUT BY RECOLORING AND TAKING A DIFFERENT INTERPRETATION, WE CAN HAVE A VERY INTERESTING EFFECT.

HER QUILT IS CALLED "STAR GLOW."

THE "BLUE RIDGE BEAUTY" QUILT IS DONE BY JAN ZIMMERMAN.

NOW, JAN IS NEW TO NORTH CAROLINA AND I DON'T BLAME HER FOR DOING A BLUE RIDGE BEAUTY WITH THE EAGLE IN THE CENTER AND THEN THE RADIATING, DELECTABLE MOUNTAIN PATTERN ON THE OUTSIDE.

THE COLORS FLOW SO BEAUTIFULLY IN THIS QUILT.

THE MAROON EAGLE IS THEN CAPTURED AND BROUGHT OUT AGAIN IN THE LITTLE PIN DOT ON THE BORDER, AND I THINK THAT IS VERY EFFECTIVE.

SHE WAS LUCKY WHEN SHE FOUND THIS PARTICULAR FABRIC BECAUSE IT CAME IN ALL THOSE VARIOUS SHADES, AND THAT'S A GOOD HINT FOR ANYONE.

I'D LIKE TO THINK THAT WE CAN TAKE THOSE EAGLE PATTERNS AND NOT ONLY USE IT IN A 16-INCH, BUT HERE IT IS AGAIN IN MY "COME FLY WITH ME" QUILT IN A 12-INCH PATTERN.

"A MELODY OF BLUES" MADE BY MARJORY SMITH.

THE PATTERN FEATURED IS A MEXICAN STAR.

BUT IN THIS INSTANCE, RATHER THAN WORKING WITH A 12-INCH STAR, MARJORY HAS INCREASED THE SIZE OF HER BLOCK TO A 16-INCH, AND THAT WAY SHE COULD GET BY WITH JUST 20 BLOCKS.

NOW, SHE KEPT RUNNING OUT OF BLUE FABRIC, AND I KIND OF LIKE THAT.

BECAUSE OF THAT, ALL OF A SUDDEN SHE HAD TO INTRODUCE MANY DIFFERENT SHADES AND HINTS OF THAT BLUE.

AND REMEMBER JEFFREY GUTCHEON, AUTHOR OF THE DIAMOND PATCHWORK BOOK, HAD INDICATED TO US THAT, WHEN IN DOUBT, USE MORE FABRICS AND BE BRAVE ABOUT THAT.

AND I THINK THAT'S A-- HER MEXICAN STAR IS A VERY GOOD EXAMPLE OF THAT.

WE WERE ABLE TO LEARN MORE ABOUT COLOR BY ACTUALLY DOING SOME DYING OF FABRIC.

IT WAS A MESS, I MIGHT WARN YOU.

WE DID IT OUTSIDE, AND THESE ARE SOME OF THE WONDERFUL COLORS THAT I CAME UP WITH.

I HATE TO EVEN CUT INTO THEM.

I WOULD GIVE YOU A LITTLE HINT AND THAT WOULD BE TO MAKE CERTAIN THAT YOUR DYE VAT IS A LARGE ENOUGH AMOUNT OF WATER, BECAUSE OURS WERE TOO SMALL AND SOMETIMES WE CAME UP WITH A-- KIND OF A MARBLED LOOK TO OUR FABRIC.

BUT IT WAS A LOT OF FUN.

WE ALSO HAD A LESSON IN MARBLING BY PATTY SCHLEIGER.

SHE CAME AND TAUGHT US HOW TO PREPARE A SUSPENSION AND HOW TO PUT FABRIC IN THAT SUSPENSION AND COME UP WITH THESE WONDERFUL CIRCLED AND FLOWING DESIGNS.

THEN, MADGE TOWNLEY HAS PUT THAT MARBLED FABRIC TO USE, AND WE WERE SO PLEASED TO SEE HER CARRY THAT FABRIC INTO HER QUILT ENTITLED, "WINDOWS ON INDIAN ART."

IT IS A SAMPLER WITH DIFFERENT MOTIFS AROUND THE OUTSIDE.

AND IF YOU JUST EVEN LISTEN TO SOME OF THE NAMES-- MOHAWK TRAIL, INDIAN TRAIL, APACHE BASKET-- I THINK YOU CAN SEE THAT IT REALLY HAS THAT SOUTHWEST INFLUENCE.

I ALSO LIKE THE TREATMENT OF THE BORDER PRINT BEING BROKEN UP AND PIN DOTS SEWN IN BETWEEN THAT.

AND, OF COURSE, THAT LITTLE TURQUOISE HINT AROUND EACH BLOCK IN THE CENTER PANEL CERTAINLY REMINDS US OF THE TURQUOISE JEWELRY.

CERTAINLY A LOVELY QUILT BY MADGE TOWNLEY.

THE THIRD PHASE OF OUR CLASS WAS THE ACTUAL PRODUCTION-- THE CUTTING AND THE PIECING.

I HAVE CHOSEN 3 QUILTS TO SHOW YOU TODAY THAT EXEMPLIFY THE MOST DIFFICULT PART OF THAT CUTTING AND PIECING.

LEE VAN WANKDENDONK HAS DONE "THE GOLDEN DOOR."

YES, THAT'S RIGHT, ANOTHER ENTRY INTO THE LIBERTY EVENT.

NOTICE 50 STARS IN CALICO CASCADING AROUND THAT QUILT.

WE ALSO CAN REMEMBER FREEZER PAPER AND THE IRON.

WE'VE LEARNED HOW TO USE THEM AND I THINK THAT'S A GOOD EXAMPLE OF HOW LEE USED THAT FREEZER PAPER IN HER APPLIQUÉ WORK.

YOU CAN EITHER WORK WITH THE SHINY SIDE OUT SO THAT YOU CAN ACTUALLY, WITH THE TIP OF THAT WARM IRON, ROLL OVER THOSE EXCESS SEAM ALLOWANCES AND MAKE THAT ADHERE TO THE BACK SIDE.

ONCE YOU GET TO THE END, YOU NEED TO ROLL IT OVER THIS WAY AND IT WILL MEAN-- MEAN TRIMMING OUT A LITTLE BIT OF THAT POINT.

OR WE COULD HAVE THE FREEZER PAPER DOWN IN WHICH CASE WE CAN HAND BASE THOSE SEAM ALLOWANCES DOWN TO THE PAPER.

THEN WE WOULD HAVE TO COME APART AND REMOVE-- AFTER WE DID OUR APPLIQUÉ WORK-- WE'D HAVE TO REMOVE THE FREEZER PAPER EITHER BY LEAVING AN OPENING HERE OR SLASHING THE FOUNDATION ON THE BACKSIDE.

LEE HAS DONE A WONDERFUL JOB WITH HER LIBERTY QUILT.

MY "SEEING STARS" QUILT WAS THE QUILT I WORKED ON DURING THE YEAR QUILT CLASS.

ON THE POINTS ON THE CROWN, I USED DIFFERENT FABRIC-- IN FACT, ALL THE QUILTS THAT I WAS WORKING ON DURING THAT TIME PERIOD.

ANOTHER LIBERTY QUILT WAS GLENDA GUZMAN'S "MY STAR SPANGLED BANNER."

IT IS BASED ON 32 LOG CABIN BLOCKS, AND I WANTED TO GIVE YOU SOME PIECING TIPS.

GO AHEAD AND CUT OUT THOSE SQUARES, IN THIS CASE THEY ARE RED, ONE AND A HALF INCHES SQUARE, ADD THE BLUES AND THEN WORK ON EACH ONE OF THOSE BLOCKS ONE AT A TIME-- BY ADDING THOSE CENTER PORTIONS TO ONE LONG, RED STRIP-- THAT'S THE NEXT ROW TO BE ADDED.

THIS IS MADE JUST LIKE WE MAKE ALL LOG CABIN BLOCKS, BUT WE GET TO SEW A PORTION OF IT AS WE GO AROUND.

I LIKE TO LEAVE A LITTLE SPACE IN BETWEEN IT-- MAKES IT EASIER TO CUT IT OUT WHEN YOU GET READY TO CUT IT.

AND YOU CAN JUST KIND OF LIFT THAT PRESSER FOOT AND THEN SLIDE THAT ONE UNDERNEATH.

I'M GONNA DO JUST 3 NOW SO WE CAN SHOW YOU RIGHT AWAY.

BUT YOU WOULD GO AHEAD AND, OF COURSE, DO MORE.

THEN TAKE YOUR SCISSORS AND USING THAT NICE RIGHT ANGLE AS A GUIDE, CUT THOSE APART-- EXCUSE THE BAND-AID ON THAT FINGER-- I HAD A LITTLE RUN-IN WITH WHAT I HAD TOLD YOU TO BE SO CAREFUL ABOUT, THAT ROTARY CUTTER.

ALRIGHT, KEEP GOING ALL THE WAY DOWN.

AND ONCE THOSE ARE CUT APART, YOU CAN PRESS AT THIS POINT OR YOU CAN SIMPLY GO AHEAD AND THUMB CREASE EACH ONE.

NOW REMEMBER YOU'RE WORKING ON EACH BLOCK, SO THEN OPEN THAT UP-- THUMB CREASE, AND NOW I'M STARTING HERE AND I'M GOING AROUND SO IT'S TIME TO ADD THE BLUE DOT.

I WOULD COME AND POSITION THAT IN JUST THAT MANNER.

POSITION THERE-- WITH THE RED UP AND THEN I COULD KEEP SEWING.

SO I'M WORKING A LITTLE BIT ON EACH BLOCK AS I'M GOING ALONG.

CERTAINLY THE STAR OF OUR CUTTING AND PIECING SEGMENT IS JOAN PIERRO'S "THE FIRE BIRD."

SHE TAKES THE PRIZE.

HER MOTIF WAS USED FROM AN INSPIRATION OF A NEEDLEPOINT BOOK AND YOU CAN SEE, BY WORKING ON GRAPH PAPER, SHE HAS A GOOD SCALE ON WHERE TO GO NEXT FOR EACH ROW.

JUST IMAGINE, EACH ROW IS A QUARTER INCH WIDE WHICH MEANS THERE'S A SEAM ALLOWANCE ON THE BACK SIDE THAT'S EVEN FULLER THAN THE FRONT SIDE.

WHEN THE CAMERA MAN WAS HELPING US DISPLAY THIS QUILT, HE SAID, "AH!

THAT MUST'VE TAKEN PATIENCE."

AND INDEED IT DID.

NOW, TO QUILT THAT, SHE DECIDED TO TURN TO THE SEWING MACHINE.

IT WAS JUST TOO HEAVY TO DO THAT HAND QUILTING.

SHE USED A MONOFILAMENT THREAD ON THE BIRD ITSELF WITH A BLACK BOBBIN ON THE BACK SIDE.

SO THE MONOFILAMENT THREAD REALLY DID NOT SHOW ANY COLOR.

THEN WHEN SHE MOVED OUT TO HER BACKGROUND, SHE DID INTRODUCE A COLOR.

AND I THINK SHE'S DONE IT IN A BEAUTIFUL MANNER.

I ALSO LIKE THE WAY SHE HAS SET THE SASHING AND THE BORDERS.

IT JUST HIGHLIGHTS THE ENTIRE QUILT.

I'M VERY, VERY PROUD OF JOAN'S WORK.

THIS GIVES ME A CHANCE TO TALK A LITTLE BIT ABOUT MACHINE QUILTING.

IT'S NICE TO EVEN NAME THE PATTERNS.

THERE IS SO MUCH TO EXPLORE IN MACHINE QUILTING.

I'VE NAMED THIS ONE "EKG," AND I THINK THAT SPEAKS FOR ITSELF.

THEN THERE IS THE FLAME MOTIF.

I ACTUALLY GOT THIS IDEA FROM A HONEYBAKED HAM LOGO, AND I'M SURE THAT'S SUPPOSED TO REPRESENT HAM BEING CUT IN A CIRCLE-- AND I USED THAT ON THE FRONT OF MY LIBERTY GARMENT, BECAUSE THAT WAS THE FLAME FROM MISS LIBERTY.

WE CAN ALSO THINK OF SPIDER WEBS WITH EVEN A SPIDER HIGHLIGHTED IN THE WEB ITSELF.

OR THE "LAZY 8'S".

AND, OF COURSE, A PUZZLE IDEA COULD BE IMPLEMENTED ALSO.

THE LAST ONE IS "THE WANDERING GRAPEVINE."

NOW, IN ORDER TO DO THAT WANDERING GRAPEVINE, YOU DO NEED TO GO AHEAD AND USE THAT MARKING PEN-- OR SOME-- IT COULD BE A LITTLE CHALK.

BUT I LIKE TO THINK OF STARTING OUT WITH THE 3 GRAPES AND THEN DOING THAT STEM FIRST.

SO THEN YOU HAVE TO COME BACK AND GO OUT AND THEN MORE GRAPES ALL THE WAY DOWN.

ONCE WE HAVE PUT OUR WALKING FOOT-- TAKING OUR-- STRAIGHT-- EITHER OUR WALKING FOOT OR, IN FACT, A WALKING FOOT WAS WHAT JOAN PIERRO NEEDED TO USE ON HER "FIRE BIRD."

BUT IF YOU TAKE YOUR PLAIN FOOT OFF AND THEN PUT YOUR DARNING FOOT ON-- YOU MUST REMEMBER, OF COURSE, TO DROP THOSE FEED DOGS, BECAUSE ALL OF A SUDDEN WHEN YOU'RE IN A HOOP, YOU ARE-- YOU ARE MAINTAINING THE FLOW OF THE STITCH.

WITH ONE TAP, YOU'RE BRINGING UP THAT BOBBIN THREAD AND THEN HOLDING IT IN PLACE.

GO UP AND DOWN A COUPLE OF TIMES-- THAT'S GONNA LOCK THAT STITCH IN PLACE.

PULL THAT ASIDE, RELAX THOSE ELBOWS, AND NOW I'M READY TO DO THOSE 3 LITTLE GRAPES, AND THEN I'M GONNA GO ON AND DO THE CENTER STEM OF THAT LEAF-- COME BACK, AROUND, AND THEN THE UNDERNEATH PORTION.

KEEP GOING AROUND AND AROUND.

AND THE NICE THING ABOUT WORKING ON THE MACHINE LIKE THIS IS THAT IF THE PHONE RINGS, YOU CAN DROP THAT NEEDLE IN THE MACHINE, IT'S NOT GOING ANYWHERE, GO ANSWER THE PHONE, AND COME BACK AND YOU'RE READY TO START STITCHING AGAIN.

YOU CAN ALSO TURN IT ANY WAY YOU WANT TO.

ONCE YOU'VE DONE ONE PATTERN, YOU REALLY CAN JUST START THAT FLOW AGAIN-- DO THE STEM, BACK UP, TURN IT OVER, AND YOU THOUGHT I WAS GONNA FORGET THE GRAPES-- 3 MORE GRAPES COMING RIGHT JUST LIKE THAT.

YOU CAN ADD A LOT OF PERSONALITY TO YOUR QUILTING BY WORKING ON THE MACHINE.

AND SPEAKING OF QUILTING, IT'S TIME TO LOOK AT THAT LAST PART OF OUR CLASS SECTION AND THAT IS THE ACTUAL CONNECTION-- THE QUILTING.

"MEMORIES" BY VIRGINIA BROWER IS THE QUILT THAT WE ARE FEATURING ON THAT ALL-IMPORTANT LAST SECTION OF OUR YEAR QUILT CLASS-- QUILTING.

SHE HAS DONE A WONDERFUL JOB HIGHLIGHTING THE HEART HANDKERCHIEFS ON THIS ENTIRE QUILT.

YES, IT WAS A LIFETIME OF COLLECTION GIVEN TO A MOTHER AND THEN FOUND AGAIN INTO A QUILT.

IT WAS TO BECOME A SPECIAL PRESENTATION FROM ONE SISTER TO ANOTHER.

NOTICE HOW SHE HAS TAKEN THE FEATHER HEART DESIGN AND PLACED IT AROUND THE CORNER OF THE HANDKERCHIEF AND THEN WHEN SHE SWITCHED TO THE WHITE BLOCKS, SHE CHANGED COLORS OF THREAD.

LITTLE HEARTS IN THE CORNERS HELP TO HIGHLIGHT THIS WONDERFUL QUILT.

ANNE DUBOIS HAS CREATED A QUILT ENTITLED, "STARS OF THE WORLD."

NOW, ANNE IS REALLY INTO DECORATING.

SHE HAS A NEW HOUSE WITH A LOT OF GLASS AND BIG, WIDE-OPEN WALLS, SO SHE MADE THIS QUILT TO HANG IN HER LIVING ROOM.

SHE COULD'VE JUST QUILTED AROUND EACH ONE OF THESE SQUARES, BUT I THINK THE DIMENSION THAT SHE HAS USED BY TAKING 1, 2, AND SOMETIMES 3 ROWS OF QUILTING CERTAINLY AMPLIFIES THE WHOLE QUILTING MOTIF.

AND I DO SEE A CIRCULAR DESIGN GOING AROUND AND AROUND.

SHE HAS ALSO CREATED ANOTHER QUILT ENTITLED, "RIBBON OF BLUE."

BY SIMPLY INTRODUCING THAT ARCH AROUND EACH ONE OF THOSE POINTED STAR FLOWER MOTIFS, IT BECOMES A VERY ANGULAR QUILT DESIGN.

WE ALL HAD A LOT OF COUNSELING WHEN IT CAME TO WHERE DO WE ACTUALLY PUT THE QUILTING MOTIF.

GRANDMOTHER'S FAN PATTERN TAKES ON AN ENTIRELY NEW LOOK WITH MILDRED ECHBECK'S PATTERN.

SHE HAS COMBINED 4 TO CREATE A CIRCULAR DESIGN.

AND NOTICE IN HER QUILTING STITCHES, SHE HAS TAKEN A FLOWER OR A TULIP PATTERN AND GONE ON TOP OF THE WEDGES RATHER THAN JUST STRING QUILTING.

SHE HAS BROUGHT IN A WHOLE NEW FLOWER DESIGN.

I ALSO LIKE THE WALL HANGING THAT SHE HAS MADE TO COMPLIMENT THE QUILT.

CAN'T YOU JUST SEE THIS ON THE BED?

AND THIS IN THE WALL.

SHE HAS NAMED HER ENTIRE COLLECTION, "GRANDDAUGHTER'S FAN" INSTEAD OF "GRANDMOTHER'S FAN."

I KNOW SOME YOUNG GIRL IS CERTAINLY GOING TO LIKE THIS QUILT.

THANK YOU, MILDRED, FOR JOINING OUR YEAR QUILT CLASS.

JOINING US IN THE GALLERY TODAY ARE SOME OF THE ACTUAL MAKERS OF THESE QUILTS.

BUT WE DO HAVE ONE QUILT MISSING.

IT WAS ON OUR EARLIER SHOW "RED, WHITE AND BLUE."

AND I AM VERY PROUD TO INTRODUCE TO YOU JEAN NEUKOWSKI, THE WINNER, OUR STATE WINNER, OF THE LIBERTY CONTEST.

CONGRATULATIONS, JEAN.

THANK YOU, GEORGIA, THANK YOU.

WHERE IS THAT QUILT BY THE WAY?

IT'S TRAVELING.

IT'S GONE FROM MINNESOTA TO CALIFORNIA RIGHT NOW AND I'M KEEPING TABS ON IT AS IT GOES AROUND THE COUNTRY.

WONDERFUL.

IT'S REALLY EXCITING TO HAVE SOME PIECE OF MINE BEING EXHIBITED THIS WAY.

AND IT WAS A NICE OFF-SHOOT OF THE ONE YEAR QUILT CLASS.

I THINK IT WAS A PRETTY EXCITING-- WELL, THAT'S-- IT WAS A VERY SHARED JOY-- WELL, THAT'S WONDERFUL.

YES, WE ALL FELT LIKE WE-- WE WON A LITTLE PART OF IT WHEN YOU DID.

AND I KNOW THAT YOU USED A LOT OF ASPECTS IN OUR CLASS-- I CERTAINLY DID.

THE ORIGINAL-- YOU COMING UP WITH THE ORIGINAL DESIGN IN THE DESIGN CLASS AND, UH-- BECAUSE ONE OF THE REQUIREMENTS WAS IT HAD TO BE AN ORIGINAL DESIGN.

THE CLASS HELPED A LOT IN THAT I WAS ABLE TO TAKE DIFFERENT ELEMENTS FROM THE CLASS AND USE THEM TO MY BENEFIT IN MAKING THE QUILT.

THE DRAFTING, THE ORIGINALITY OF THE IDEA HAD TO BE DRAFTED AND I WAS ABLE TO PUT IT ON FREEZER PAPER AND MAKE A LARGE 6 FOOT BY 6 FOOT TEMPLATE.

THE COLOR CLASS WAS HELPFUL BECAUSE I WAS DOING A SHADOW THAT WAS FALLING ACROSS LOTS OF CALICO PIECES.

YES, OH, WE REMEMBER THAT.

I HAD TO CHANGE MY COLORS.

I HAD TO GO FROM VERY DARK TO VERY LIGHT TO GET THE EFFECT OF THE SHADOW.

AND, FINALLY, THE QUILTING ITSELF WHEN I PUT THE FURLED FIELDS IN AND USED QUILTING THREAD THAT CHANGED WITH EACH PLOWED FIELD AND CHANGED WITH THE SHADOW, THAT GAVE IT A LOT OF 3-DIMENSIONAL DEPTH.

AND IT THINK IT KIND OF INCORPORATED ALL THE DIFFERENT ASPECTS OF THE ONE-YEAR CLASS.

ARE YOU GONNA BE A CONSTANT, UH-- ENTERING INTO CONTESTS PERSON NOW?

AH, I CAN'T THINK OF A DISADVANTAGE TO IT AT THIS POINT FOR ME.

OH, WELL, THAT'S WONDERFUL.

IT'S BEEN ALL POSITIVE.

WE'RE VERY-- AND I KNOW YOUR FAMILY IS VERY PROUD OF YOU TOO, JEAN.

THANK YOU.

WELL, LOOKING AT YOU LADIES TODAY, YOU LOOK MIGHTY EMPTY-HANDED, AND I HAPPEN TO HAVE A QUILT THAT IS IN DIRE NEED OF ATTENTION, OK?

MARY, THAT'S FOR YOU.

AND MARY, THAT'S-- IS THAT THE ONE YOU'RE WORKING ON?

OK. AND JEAN.

THIS IS MY "COME FLY WITH ME" QUILT.

I CAN'T REMEMBER, IS THIS-- AND THEN YOU WERE DOING THE EAGLE, THANK YOU VERY MUCH, JOAN.

THEY'RE GONNA PUT SOME STITCHES ON THE SURFACE OF THIS QUILT, AND I THINK IT'S NICE FOR THE CAMERAS TO JUST KIND OF RUN DOWN THE LINE AND GET A CHANCE TO LOOK AT DIFFERENT HANDS USING THE NEEDLE AND THREAD.

WE ALL ATTACK THE FABRIC IN A DIFFERENT MANNER AND SOME OF US USE HOOPS-- SOME OF US-- UH, JEAN, YOU USED A BIG FRAME FOR YOUR QUILT, DIDN'T YOU?

I DID, I PUT IT IN A LARGE FRAME AND THAT WAY I WAS ABLE TO PUT IT IN MY FAMILY ROOM AND SIT WITH MY FAMILY AND WORK ON IT AND COME AND GO.

THAT'S GOOD.

I FOUND THAT CONVENIENT FOR ME.

THAT'S GOOD, AND, UH, LOOKING AT MARY BOWEN, SHE'S GOT A NEW DEVICE.

I, UH, HAVE OFTEN CALLED THAT THE PUSHER AND, UH, IT'S A VERY NICE TOOL THAT TAKES THE PLACE OF A THIMBLE.

AND I THINK IT'S VERY NICE FOR THOSE OF US THAT HAVE A LITTLE ARTHRITIS IN OUR HANDS TO KNOW THAT THERE ARE PEOPLE OUT THERE DESIGNING NEW TOOLS FOR US TO USE.

AND THAT MAKES IT VERY NICE.

I, UH, CONTINUE TO USE, REALLY, BOTH THE DUAL DUTY AND THE ALL-COTTON THREAD.

DO YOU HAVE ANY PREFERENCE, JEAN?

DO YOU LIKE ONE OVER THE OTHER, OR--?

HAVEN'T DEVELOPED ANY REAL PREFERENCE, ALTHOUGH I LIKE WORKING WITH COTTON.

I FIND IT COOPERATES VERY WELL.

RIGHT, I DO TOO.

I AGREE.

WELL, I THINK, UH-- WHEN WE THINK BACK ABOUT OUR CLASS AND PONDER THE FACT THAT IT DID TAKE A LONG YEAR, IT MAKES ME THINK ABOUT EVERYTHING THAT HAS HAPPENED TO ALL OF US IN THAT YEAR AND, OF COURSE, WE HAD, UH-- EVERYTHING HAPPEN.

WHY, WE HAD TRIPS TO THE HOSPITAL, WE HAD HUSBANDS RETIRING, WE HAD CHILDREN GOING OFF TO SCHOOL, WE LOST ONE GIRL BECAUSE THERE WAS A MARRIAGE IN THE FAMILY AND SHE HAD TO WORK ON HER WEDDING DRESS.

SO I KNOW THAT THAT HAS BEEN PART OF-- OF TAKING THIS OVER A LONG PERIOD, BUT I WOULD LIKE TO THINK THAT THERE ARE SOME VERY GOOD AND HAPPY MEMORIES MAYBE AMONGST ALL THOSE STITCHES.

AND, UM, REALLY, UM, STITCHED INSIDE THE QUILT, SO WE THANK ALL OF YOU FOR PARTICIPATING.

AND ONE THING THAT I DO HAVE TO TELL YOU, I SAW JOAN THE OTHER DAY AND, UM, SHE WAS VERY HARASSED, BECAUSE AT 12 O'CLOCK AT NIGHT SHE WAS PUTTING THE BINDING ON HER FIREBIRD QUILT AND SHE SAID, "I WILL NEVER DO THIS AGAIN."

[laughter] BUT WHAT MADE ME FEEL GOOD, SHE WAS THE FIRST ONE AT THE RECEPTION THE OTHER NIGHT TO SAY, "IT'S SO GOOD TO SEE EVERYONE-- WHEN CAN WE GET TOGETHER?

"LET'S CONTINUE THIS CLASS."

SO, MAYBE, UM, THERE'S A LITTLE GOOD AND BAD IN EVERYTHING, BUT WE-- WE DO APPRECIATE ALL OF YOU STICKING WITH IT AND FINISHING YOUR QUILTS.

THANK YOU FOR BEING WITH US TODAY.

All: THANKS, GEORGIA.

"LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... GINGHER INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINT WORKS COMPANY, AMERICA'S OLDEST TEXTILE PRINTER.