♪ male announcer: THE FOLLOWING PROGRAM IS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY, AND: [upbeat acoustic guitar music] ♪ ♪ >> TODAY'S LAP QUILTING SHOW APPLAUDS APPLIQUE.

IT IS TRULY AN HONOR TO HAVE HELEN KELLEY FROM MINNEAPOLIS WITH US TODAY.

HELEN, I AM IN AWE OF YOUR WORK, AND WE ARE SO PRIVILEGED TO HAVE YOU WITH US TODAY.

>> THANK YOU, GEORGIA.

>> WE TRULY ARE.

LET US FOCUS RIGHT FROM THE VERY BEGINNING ON RENAISSANCE, BECAUSE I KNOW THIS IS ONE OF YOUR MOST RECENT WORKS, AND I WANT TO HEAR YOUR EXPLANATION OF HOW IT CAME TO BE, AND HOW LONG DID IT TAKE TO MAKE ALSO?

>> WELL, IT TOOK ME TWO YEARS TO DRAFT IT... [laughs] AND ABOUT FIVE YEARS TO SEW IT.

>> AND THE HISTORY BEHIND THAT, WHAT-- >> I COME FROM A SCANDINAVIAN PART OF THE COUNTRY.

AND WHEN I MOVED THERE, I WAS IMPRESSED BY THE SCANDINAVIAN WOMEN AND THEIR CONTRIBUTION TO THE AMERICAN CULTURE.

SO I TOOK A TRIP TO NORWAY TO FIND OUT WHAT WAS BEHIND THEM AND DISCOVERED THIS MARVELOUS ART FORM IN WEAVING AND DECIDED THAT THE BEST WAY TO MAKE A CONTRIBUTION WOULD BE TO STITCH IT IN QUILTING.

SO THAT'S MY INTERPRETATION, A QUILTED INTERPRETATION.

>> WELL, IT IS TRULY SOMETHING TO BE ADMIRED.

AND I JUST LOVE TO GAZE UPON IT.

YOU HAVE SOMETHING SPECIAL IN THE TECHNIQUE.

I NOTICE A SHADOW OF BLACK AROUND ALL THE FIGURES.

DOES THAT MEAN YOU ALMOST DID A DOUBLE APPLIQUE?

>> YUP, EVERY PIECE THAT WENT ON WENT ON IN BLACK FIRST.

IT WAS A FULL BLACK APPLIQUE, AND THEN I COVERED IT WITH THE ADDITIONAL, WITH THE COLOR SO THAT THAT LINE SHOWED.

I FOUND IT WAS A VERY IMPORTANT PART OF THE QUILT.

>> WELL, IT IS TRULY, TRULY HANDSOME.

THE WAY IT FLOWS AND THE COLOR RENDITIONS ARE-- IT'S JUST PERFECT; IT TRULY IS.

WE'RE GOING AROUND NOW, AND WE'RE LOOKING AT THE ELVES.

THAT--THAT HAS SUCH SPECIAL APPEAL AND A LITTLE HUMOR THERE ON THE SIDE.

WHAT--EXPLAIN THIS ONE.

>> I MADE THIS FOR ONE OF MY GRANDCHILDREN.

THEY ARE NORWEGIAN ELVES.

THE NORWEGIANS CALL THEM NISSE, AND THEY LIVE IN THAT CUPBOARD BEHIND THAT DOOR.

IT'S GOT ROSE PAINTING ON IT CALLED ROSEMALING.

AND THE NORWEGIANS 100 YEARS AGO DECORATED THEIR WALLS AND THEIR CEILINGS AND THEIR CUPBOARDS WITH THIS PAINTING.

IT'S SUPPOSED TO HAVE ALMOST ITS OWN LIGHT TO LIGHT IT UP.

>> AND, NOW, THIS IS MORE OF APPLIQUE, TURNING UNDER THE RAW EDGES, AND--BUT YOU DON'T HAVE ANOTHER FABRIC UNDERNEATH THAT.

>> NO, THAT'S BUILT-IN LAYERS, ALMOST LIKE A BIRTHDAY CAKE.

>> I SEE; I BET IT'S HEAVY, HAS WEIGHT TO IT.

>> IT IS, BUT IT'S A SMALL PIECE SO THAT IT'LL SUPPORT IT.

>> AND AS WE COME AROUND CLOSER HERE, THE TREE OF LIFE IS BASED ON THE SAME VERY OLD QUILT KNOWN-- AND I NEED MORE OF AN EXPLANATION ON THE TERM BROIDERY PURSE.

>> BROIDERY PURSE--THE WORD "PURSE" COMES FROM PERSIAN, AND THAT COMES WAY BACK IN THE HISTORY OF CHINTZ.

AND IN TODAY'S FABRIC DICTIONARIES, THE WORD "PURSE" MEANS CHINTZ.

BROIDERY MEANS EMBROIDERED.

AND THIS OLD PIECE OF YOURS IS EMBROIDERED BECAUSE OF THE WAY IT IS SEWED DOWN, AND MY PIECE IS EMBROIDERED BECAUSE IT'S DECORATED WITH LITTLE FRENCH KNOTS AND CHAIN STITCHES.

>> BUT WHAT HAPPENS HERE IS THAT YOU ACTUALLY TAKE ADVANTAGE OF FABRIC THAT ALREADY HAS A DESIGN ON IT, AND YOU'RE ABLE TO STRETCH IT FURTHER BY CUTTING OUT THE SHAPES AND THEN GOING AHEAD AND APPLIQUEING IT ON A CLOTH FOUNDATION.

>> YEAH.

>> IT'S TOO BAD THAT SO MANY OF THESE HAVE FADED.

AND--BUT A LOT OF THEM HAVE RETAINED THEIR COLOR.

>> YES, AND THAT ONE STILL HAS THE SHINE OF THE CHINTZ IN IT.

I CAN SEE FROM HERE.

>> YES, WELL, WE'RE GOING TO DEAL WITH TECHNIQUE TODAY, AND WE'RE GOING TO GO TO THE DRAFTING BOARD IN A MINUTE TO HEAR YOUR SECRETS AND EXACTLY HOW YOU DO THIS.

BUT I WOULD LIKE TO ALSO TOUCH ON THE FACT THAT APPLIQUE CAN DEAL WITH EITHER THE RAW EDGE WITHOUT A SEAM ALLOWANCE OR WITH A SEAM ALLOWANCE.

HELEN WORKS MOSTLY WITH A SEAM ALLOWANCE.

BUT BEFORE WE GO AND SEE HER TECHNIQUE, I'D LIKE US TO KNOW THAT WE ARE FEATURING THREE QUILTS THAT ARE LAP QUILTED ON THE SHOW TODAY.

THE FIRST ONE IS CALLED TULIPS AND BLUEBONNETS.

AND IF YOU TAKE A LOOK AT THAT, YOU CAN SEE THERE'S A WONDERFUL FLOWING FEELING TO THE ENTIRE DESIGN, EVEN THOUGH IT WAS LAP QUILTED IN TEN-INCH SQUARES.

AND I HAVE A SAMPLE OF THE DIFFERENT TECHNIQUES OF APPLIQUE.

THE FIRST ONE DEALS WITH JUST A RAW EDGE IN WHICH A BUTTONHOLE STITCH IS FORMED WITH PERHAPS THREE STRANDS OF EMBROIDERY THREAD.

AND WE SAW THIS QUITE OFTEN ON THE DUTCH GIRL QUILTS SO THAT THERE IS SOME FRAME THAT HAPPENS BUT THEN JUST TO A CERTAIN POINT.

IT WON'T GO ANY FURTHER.

AND THEN ANOTHER METHOD, OF COURSE, WITH YOUR RAW EDGE WITHOUT A SEAM ALLOWANCE WOULD BE MACHINE EMBROIDERY, WHERE YOU WOULD USE A CLOSE SATIN STITCH, PERHAPS A LITTLE BIT OF GLUE STICK TO ADHERE THAT CUT-OUT FABRIC TO YOUR FOUNDATION.

AND THEN QUITE OFTEN, YOU WOULD DO THAT WITH SOME TYPEWRITER PAPER UNDERNEATH AS A STABILIZER AND THEN PULL THAT OUT AWAY FROM WHEN IT'S DONE.

SO THAT'S TWO WAYS OF DEALING WITHOUT SEAM ALLOWANCE.

AND YOU HAVE BROUGHT A LOVELY SAMPLE OF A FRIEND-- >> THIS WAS MADE BY A WOMAN NAMED RUTH SHELL FROM WISCONSIN, AND IT'S BEAUTIFUL.

>> WELL, AND I THINK WE CAN SEE THE POTENTIAL THAT MACHINE APPLIQUE HAS.

THERE'S EVEN SOME THREAD SKETCHING HERE, AND WE'LL TOUCH ON THAT ANOTHER TIME, WHERE YOU WOULD JUST HAVE FUN PLAYING WITH THE MACHINE.

OUR DESIGN IS GOING TO BE A ROSEMALING DESIGN THAT'S GOING TO HELP US BETTER UNDERSTAND HELEN'S TECHNIQUE OF SHAPING ANY APPLIQUE FIGURE OR THE CLOTH AROUND YOUR APPLIQUE SHAPE.

AND THIS WOULD WORK WITH, FOR INSTANCE, THE TULIP AND BLUE BONNET DESIGN.

THIS WOULD WORK ON ANY DESIGN.

BUT WE'RE GONNA WORK WITH YOUR ROSEMALING, SO SHOW US WHERE TO START, HELEN; IT'S ALL YOURS.

>> YOU HAVE TO START WITH A PENCIL AND A PIECE OF PAPER.

THIS IS A PIECE OF CARDBOARD TEMPLATE.

IT'S JUST POSTER BOARD.

AND WITH A PIECE OF CARBON PAPER UNDERNEATH, YOU HAVE TO TRACE IT OUT TO MAKE A FULL PATTERN.

I SUGGEST THAT YOU DO IT LIGHTLY, BECAUSE IF YOU HAVE A DARK CARBON LINE, IT'S GOING TO BLEED ONTO YOUR FABRIC LATER ON WHEN YOU USE YOUR TEMPLATE.

WE HAVE IT TRACED HERE, AND THEN YOU HAVE TO CUT IT OUT.

IDEALLY, TO CUT THESE OUT, THERE ARE A VARIETY OF SCISSORS YOU CAN USE.

YOU CAN USE LARGE PAPER SCISSORS, AND IT'S GREAT FOR THE LONG, SMOOTH CURVES.

BUT THE SHORTER LITTLE CURVES ARE HARDER TO DEAL WITH.

THESE ARE A SHORT PAIR OF EMBROIDERY SCISSORS THAT WORK BEAUTIFULLY.

AND THE BEST SCISSORS OF ALL ARE A PAIR OF STURDY, CURVED-BLADE TOENAIL SCISSORS.

WHEN YOU CUT THEM OUT, IF YOU GET LITTLE POINTS ON YOUR CARDBOARD, IT'S IMPORTANT TO REMOVE THOSE, BECAUSE EVERY POINT ON YOUR CARDBOARD IS GOING TO SHOW ON YOUR FINISHED PIECE.

SO A PLAIN OLD EMERY BOARD RIGHT OUT OF YOUR PURSE WILL SMOOTH THE EDGES AND MAKE IT NICE AND SMOOTH.

THIS IS A CUT-OUT PIECE, A CUT-OUT TEMPLATE THAT WE ARE GOING TO WORK WITH HERE TODAY.

NOW, YOU HAVE TO PLACE IT ON YOUR FABRIC AND DRAW AROUND IT SO THAT YOU HAVE A PLACEMENT LATER ON.

HERE WE HAVE IT IN PLACE, DRAWING AROUND IT SO THAT THEN WHEN YOU BEGIN TO SHAPE YOUR PIECES, YOU'LL KNOW EXACTLY WHERE THEY GO TO.

YOU HAVE TO DECIDE NEXT WHICH GOES UNDERNEATH, THE BOTTOM LAYER OF THE CAKE.

IF YOU LOOK AT THIS, YOU CAN DISCOVER THAT THE FIRST PIECE THAT GOES ON IS THIS LITTLE ORANGE PIECE.

SO WE'RE GOING TO CUT IT OFF WITH A PAIR OF SCISSORS AND MAKE A TEMPLATE OF IT.

>> NOW, YOU'RE CUTTING RIGHT ALONG THAT CURVE KNOWING THAT THAT INSIDE CURVE WILL NOT HAVE TO BE TURNED UNDER, BUT YOU DO HAVE TO ALLOW FOR A SEAM ALLOWANCE THERE, BECAUSE IT'S GONNA SLIP UNDER THE RED.

>> THAT'S EXACTLY RIGHT.

>> OKAY.

>> ALL RIGHT?

NOW, MY IRONING BOARD IS COVERED WITH A PRESS CLOTH SO THAT WHEN I GET MY SPRAY STARCH IN IT, IT WON'T RUIN MY IRONING BOARD.

AND I TAKE MY SHARP SCISSORS, AND I DON'T MARK THIS WITH A PENCIL, BECAUSE IF THIS SLIPS WHEN I'M SHAPING IT WITH THE SPRAY STARCH, IT WILL LEAVE A PENCIL MARK SHOWING THROUGH.

>> AND YOU'RE NOT WORRYING ABOUT GRAIN LINE THERE.

>> NO, I'M NOT WORRYING ABOUT GRAIN LINE, AND I AM CUTTING, OH, APPROXIMATELY 1/4 OF AN INCH AROUND.

IF IT IS A ROUGH EDGE GOING AROUND, I CAN ALWAYS TRIM IT LATER AND MAKE IT SMOOTH.

>> AND WHAT ABOUT YOUR FABRIC CHOICE?

DO YOU HAVE A FAVORITE?

>> YES, 100% COTTON.

YOU CAN, ONCE YOU'VE BECOME SKILLED WITH THIS, WORK WITH SOME OF THE BLENDS.

BUT THE COTTON ALWAYS WORKS WELL.

I'M GOING TO CLIP IN THIS INNER CURVE AND THEN A COUPLE OF SMALL CLIPS INTO THIS GENTLE CURVE THAT'S GOING AROUND THE EDGE.

AND I HAVE MY SPRAY STARCH.

ANY KIND OF SPRAY STARCH WILL WORK.

I LIKE TO JUST EXPERIMENT TO SEE WHICH VALVES WORK BEST.

YOU SPRAY IT INTO A CONTAINER, AND THIS IS JUST THE LID.

AND I'M GOING TO DAB IT ON THE EDGE THAT'S GOING TO BE TURNED UNDER SO THAT IT'S ALL WET DOWN WITH SPRAY STARCH.

YOU REMEMBER, I DON'T HAVE TO TURN THIS EDGE UNDER, BECAUSE THAT'S GOING TO GO UNDERNEATH THE NEXT PIECE.

GET THIS POSITIONED RIGHT.

AND THEN I'M GOING TO USE THE END OF-- THE VERY EDGE OF THE IRON.

AND I'M GOING TO TURN UNDER-- HERE, TURN THIS.

THIS IS THE EDGE THAT'S TURNED UNDER THAT YOU WOULD ORDINARILY DO WITH A NEEDLE AS YOU WENT.

>> AND THIS IS WITHOUT ANY STEAM, HELEN.

>> NO STEAM, AND I CAN ALREADY HEAR THE SPRAY STARCH SIZZLING.

>> OH, IT'S WORKING.

IT'S WORKING.

>> YOU SEE?

ISN'T THAT A BEAUTIFUL CURVE?

>> OH, IT'S A MIRACLE.

IT IS A MIRACLE.

>> THEN TO WORK AROUND THIS, I JUST STROKE IT WITH MY FINGER.

>> BUT-- >> JUST THE LITTLE EDGE.

>> IT WOULD TAKE PRACTICE, WOULDN'T IT?

I MEAN, DON'T EXPECT PERFECTION THE FIRST TIME.

>> NO, AND THE BEGINNER GENERALLY USES SO MUCH SPRAY STARCH THAT SHE GOOPS UP HER IRON, SO YOU HAVE TO GO BACK AND CLEAN YOUR IRON.

BUT I CAN IRON-- I CAN DO THIS ALL DAY, AND MY IRON STAYS CLEAN.

YOU PRESS THAT INTO SHAPE.

AND THEN ALL YOU HAVE TO DO IS TO REMOVE YOUR CARDBOARD TEMPLATE, AND THERE IT IS.

>> AND THAT SAVES PRE-BASTING ALL THOSE EDGES, BUT YOU KNOW YOU HAVE THE SECURITY OF THE PERFECT CURVE EACH TIME.

>> THAT'S RIGHT.

>> AND YOU WOULD GO AHEAD WITH THIS DESIGN AND GET ALL OF THEM TURNED UNDER, PLACED, POSITIONED, AND PROBABLY BASTED IN PLACE, AND THEN START YOUR SLIP-STITCHING.

>> THAT'S RIGHT.

>> WE'RE GONNA SKIP THAT BECAUSE WE ARE ANXIOUS TO SEE EXACTLY HOW HELEN DOES HER SLIP-STITCHING.

LET'S GO AND DO SOME CLOSE WORK.

>> ALL RIGHT.

>> HELEN, I'M READY TO POSITION MY TULIP DESIGN.

I WANTED TO SHARE WITH YOU THAT I HAD USED THE OLD-FASHIONED METHOD OF SIMPLY TURNING THE RAW EDGE UNDER AND BASTING IT.

AND I'M GONNA TURN TO YOUR MORE-- YOUR SWIFTER METHOD.

BUT ONCE I HAVE POSITIONED THAT IN PLACE, THEN I'M READY TO DO THE APPLIQUE STITCH.

NOW, SHOW ME HOW THE SLIP STITCH WORKS FOR YOU.

>> YEAH, FIRST OF ALL, I'VE LAID THIS AGAINST THAT LINE THAT WE DREW BEFORE.

IT'S THE ROAD MAP, ALL RIGHT?

PINNED IT DOWN BECAUSE IT'S A LONG, WIGGLY PIECE.

USE A QUILTING NEEDLE AND MATCHING THREAD, AND IT DOESN'T MATTER HOW LUMPY YOUR KNOT IS, BECAUSE YOU'RE GOING TO BURY IT IN THE SEAM ALLOWANCE.

IF YOU PUT IT ON THE BACK SIDE, IT MIGHT WANDER OFF WHEN YOU'RE READY TO QUILT, AND THEN YOU'LL SPEND THE WHOLE TIME YOU'RE QUILTING TRYING TO FISH THAT KNOT OUT OF SIGHT WITH YOUR NEEDLE.

NOW, I GO RIGHT DOWN BESIDE WHERE I CAME UP AND JUST CATCH A TINY, LITTLE EDGE.

AND DOWN RIGHT BESIDE IT AGAIN.

>> AND YOU MEAN REALLY BESIDE IT, LIKE, 1/16 OF AN INCH, THAT CLOSE, OR-- >> JUST ABOUT THAT WAY.

THAT YOU CAN DO BECAUSE YOU'RE USING A SMALL NEEDLE.

IF IT WERE A LONGER NEEDLE, YOU COULDN'T DO IT QUITE THAT TINY.

BUT IT--HM?

>> AN ALTERNATE METHOD WHICH I DO NOT PREFER, AND I'M GLAD TO SEE YOU DON'T USE THAT EITHER, WOULD BE TO TAKE THE POINT OF THAT NEEDLE AND POSITION IT IN THE FOLD.

AND TELL ME WHAT YOU SAID THERE.

>> [laughs] I SAID THAT I THOUGHT THAT METHOD WAS INVENTED BY VICTORIAN AUNTS THAT FELT SUFFERING WAS GOOD FOR THE SOUL.

>> THAT'S RIGHT.

WE DON'T NEED THAT, DO WE?

WELL, THIS METHOD LOOKS WONDERFUL.

I LIKE THE WAY IT'S COMING UP SO NICE.

AND DO YOU GIVE THAT THREAD A LITTLE TUG?

>> JUST A LITTLE TUG BUT NOT TOO TIGHT, 'CAUSE YOU DON'T WANT IT TO PUCKER.

>> OKAY, AND THEN, FOR INSTANCE, IF ALL OF THOSE WERE READY TO BE POSITIONED, THE OTHERS WERE READY, WHAT-- >> THEN I WOULD TAKE MY TEMPLATE, AND I'D LAY IT RIGHT ON TOP OF WHERE IT WAS BEFORE.

AND I WOULD TAKE MY PENCIL, AND I WOULD DRAW A LINE HERE.

AND THAT GIVES ME MY NEXT LINE.

>> I SEE.

I WANT TO SEE HOW YOU FINISH THE BACKGROUND AROUND THE ROSEMALING.

>> ALL RIGHT.

>> CROSSHATCHING COMPLETED THE BACKGROUND OF THE ROSEMALING PIECE.

AND NOW WE WANT TO SHARE WITH YOU SOME OTHER APPLIQUE TECHNIQUES.

HELEN, IF YOU WILL START.

>> THIS IS THE BACK OF A SHIRT WITH AN APPLIQUED BASKET, AND THE LITTLE CHERRIES ARE ALL STUFFED: JUST SIMPLE CIRCLES WITH A LITTLE HOLE LEFT AND STUFFED COTTON PRESSED INSIDE.

>> VERY NICE.

AND WE ARE FACED QUITE OFTEN WITH A CLAMSHELL DESIGN.

IT WOULD BE THE SIMPLE CURVE THAT REPEATS ALL THE TIME.

WHAT--DO YOU HAVE ANY TECHNIQUES OR HINTS ON THAT?

>> THERE AGAIN, THE SPRAY STARCH REALLY WORKS WELL WITH THIS TO SLIP A PIECE OF CARDBOARD INSIDE, A RUNNING STITCH AROUND THE EDGE.

YOU PULL IT UP, DAB YOUR STARCH ON IT, AND YOU'VE GOT A PERFECT CIRCLE.

>> THAT WORKS VERY NICE.

>> IT WORKS WITH ANY CURVE.

>> RIGHT.

OKAY, WONDERFUL IDEA.

AND THEN, OH, MY, THIS IS SO REMINISCENT OF THE HAWAIIAN DESIGNS, BUT WHEN YOU PLACE A LIGHTER FABRIC ON TOP OF A DARKER, QUITE OFTEN YOU SEE A SHADOW OF THAT RED THROUGH.

>> AND THAT'S A NO-NO.

>> AND POSSIBLY--NOW, THE HAWAIIANS, I UNDERSTAND, WOULD THEN TURN THIS OVER AND TRIM OUT THE RED ON THE BACK SIDE.

>> THAT'S RIGHT.

YOU COULD ALSO ELIMINATE IT BY TURNING THE RED ON THE TOP OF THE YELLOW.

>> JUST REVERSING IT.

>> MM-HMM.

>> AND THEN I LOVE THESE LANDSCAPES THAT YOU HAVE BEEN DOING IN WORKSHOPS THIS YEAR.

WONDERFUL PLAY OF COLORS.

>> YEAH, DONE THE SAME WAY AS THE ROSEMALING.

>> VERY NICE; I MIGHT GIVE YOU ONE OTHER TIP FOR THE TULIP OR ANY OTHER CUT-OUT FIGURE, AND THAT WOULD BE TO DO IT IN DUPLICATE.

YOU COULD LEAVE A SIDE OPEN AND THEN SIMPLY SLIP-STITCH THAT.

YOU COULD SEW ALL THE WAY AROUND, AND THEN, IF THEY WERE COMPATIBLE COLORS, SLIP ON THE BACK SIDE AND TURN IT INSIDE OUT.

I'VE COME ACROSS A LOVELY OLD, VERY PASTEL FEELING APPLIQUE QUILT THAT WE ARE GOING TO PROCEED AND LAP QUILT.

AND I THOUGHT WE'D TAKE THIS OPPORTUNITY TO CATCH IT AT ITS FIRST STAGES, COMPLETE WITH THREADS LOOSE.

BUT BEFORE IT'S ACTUALLY PUT TOGETHER, I THINK YOU CAN HAVE AN OPPORTUNITY TO APPRECIATE THE BEFORE AND AFTER.

YOU CAN SEE THAT IT'S TAKEN A LOT OF PLANNING AND DECIPHERING SO THAT WE GET THE FIGURES RIGHT, THE SIZE OF THE BORDERS TO BE ADDED, SO THAT WE'D COVER THE TOP OF THE BED PROPERLY.

JULIA WAS TELLING ME THAT SHE EVEN REMEMBERS WHEN SHE WAS EIGHT YEARS OLD CUTTING OUT THESE WONDERFUL LITTLE PIECES TO GO INTO HER MOTHER'S QUILT.

HER MOTHER DIDN'T FINISH IT, SO SHE'S GOING TO.

AND I THINK THAT MAKES A VERY NICE STORY AND SOMETHING THAT SHE CAN PASS ON IN HER FAMILY.

THIS IS GOING TO HER DAUGHTER THEN.

WHEN THESE ARE ALL PUT TOGETHER, WE WILL HAVE A NICE DOUBLE BAND IN THE BORDERS IN BETWEEN THE BLOCKS.

THEN THE OUTSIDE BORDERS, WE'VE EVEN GONE AHEAD AND DONE SOME PLANNING HERE SO THAT THOSE JOIN TOGETHER AND HAVE THAT SAME DIMENSION.

WE LOOK FORWARD TO SEEING THIS FINISHED.

I WANT TO SHARE WITH YOU SOME QUILTS THAT HAVE BEEN LAP QUILTED, HELEN.

AND THIS WAS STARTED SEVERAL MONTHS AGO.

IT'S CALLED THE TRI-STATE TULIP BECAUSE IT HAS BEEN HANDED DOWN THROUGH THE CENTURIES FROM THREE STATES, AND SO WE'VE CALLED IT THE TRI-STATE TULIP.

AND WE ARE PUTTING IT TOGETHER.

WE ORIGINALLY, OF COURSE, HAD IT UNQUILTED.

AND THEN WE HAVE DECIDED AS THE ROWS ARE GOING TOGETHER, WE'RE GOING TO ALTERNATE THE ROWS GOING ONE WAY AND THEN GOING THIS WAY.

AND WE'RE MAKING PROGRESS.

NOT QUITE FINISHED, BUT WE'RE GETTING THERE.

IT'S JULIA GERE'S QUILT, AND IT HAS BEEN A FAMILY HEIRLOOM, AND SHE'S GOING TO FINISH IT FOR HER DAUGHTER.

AND THEN WE HAVE PENNY WURTMAN'S QUILT, WHICH HAS TAKEN SEVERAL FIGURES THAT ARE REPEATED THROUGHOUT.

I'M GONNA LET YOU OPEN IT ALL THE WAY AND PULL IT OVER.

AS YOU CAN SEE, IT'S A STUDY OF TRADITIONAL PATTERNS THAT ARE ENHANCED BECAUSE THEY REPEAT QUITE OFTEN AND SOMETIMES IN SMALLER SHAPES.

YOU SEE THE SAME FIGURE, FOR INSTANCE, COMING OVER HERE, ALTERNATING AND ON TOP, BUT I CAN SEE THAT SEVERAL OF OUR METHODS COULD HAVE BEEN USED AND EMPLOYED IN THIS.

SHE HAS BASED IT ON MUSLIN AND HAS USED WHAT I CALL SHADOW QUILTING, IS THAT RIGHT, ON THE OUTSIDE?

>> IT'S LOVELY.

>> AND LITTLE TINY NINE-PATCHES IN THE CORNER.

AND THEN, ALSO, I WANT TO MENTION, HELEN, THAT WE HAVE ENJOYED SO MUCH HAVING YOU ON, AND I KNOW FOR SURE THAT HELEN GOES A LITTLE BIT FURTHER THAN JUST APPLIQUE.

YOU STRETCH YOUR PATCHWORK KNOWLEDGE TO INCLUDE PIECING, AND I HAVE PROOF OF THAT.

HELEN WAS--HAD A-- WE HAD A CHANCE TO LEARN FROM HELEN IN A WORKSHOP THIS YEAR.

AND I HAVE-- SHE SHARED WITH US A WONDERFUL PIECED BLOCK THAT WAS OF A CAT.

AND I HAVE A SPECIAL CAT CALLED CHI-CHI AT HOME.

SO I WANTED TO SHOW TO YOU THAT ONCE YOU LEFT TOWN, I HAVE PUT YOUR CHI-CHI DESIGN TO WORK, AND THIS IS GOING IN MY PICTURE.

THIS WILL BE A CLOTH PICTURE.

AND THAT IS A RESULT OF YOUR WORKSHOP, HELEN, AND I WANTED TO SHARE THAT WITH YOU.

I CERTAINLY APPRECIATE YOU BEING ON THE SHOW TODAY.

WE HAVE A SPECIAL SURPRISE ON OUR LAST SHOW, AND IT'S SO NICE THAT HELEN IS HERE TODAY.

SHE HAS SENT US AN IDEA OF WHAT HER HOME LOOKS LIKE IN APPLIQUE UP IN MINNESOTA.

AND NOTICE HOW SHE HAS USED THE BROIDERY PURSE DESIGN IN HER LOVELY TREE ON THE OUTSIDE.

AND DID THE TURTLES HAVE SIGNIFICANCE?

I FORGET.

>> I HAD AN EMPTY SPACE.

I HAD TO FILL IT UP.

>> OH, THAT'S WONDERFUL.

I LOVE THAT, OKAY.

WELL, WE CERTAINLY APPRECIATE IT.

IT HAS BEEN SO MEANINGFUL FOR US, AND I KNOW EVERYONE IS GOING TO APPRECIATE LEARNING FROM YOU, HELEN.

THANK YOU FOR COMING WITH US.

>> THANK YOU, GEORGIA.

>> OUR BLOCK OF THE DAY IS ENTITLED VIRGINIA'S CHOICE.

IT WILL BE AN ADDITION TO OUR SPINNING SPOOLS QUILT, AND IT IS SOMETIMES REFERRED TO AS HEARTS AND GIZZARDS.

IT IS A BASIC FOUR-PATCH AND RELIES ON THREE TEMPLATES.

THIS IS YOUR CENTER PORTION.

THERE IS AN OUTSIDE CURVE AND THEN A TRIANGLE.

IT IS A VERY DIFFICULT CURVE, MORE CURVE THAN OUR DRUNKARD'S PATH, BUT IT IS POSSIBLE TO DO IT ON THE SEWING MACHINE WITH A LOT OF PATIENCE.

THE BLOCK THAT I'M PUTTING IN OUR SPOOL QUILT IS LAVENDER AND MINT, AND IT ALTERNATES THE COLORS ALL THE WAY AROUND.

IT IS UNQUILTED AS YET, BUT I WANTED TO SHARE WITH YOU WHERE THE QUILTING LINES WILL GO.

I'M GOING TO DO A SHADOW FROM THE ORIGINAL INSIDE CURVE STARTING WHERE THE TRIANGLE ENDS AND SIMPLY COME ALL THE WAY AROUND ON BOTH AREAS WITHIN A STRAIGHT LINE GOING ALL THE WAY ACROSS.

THIS IS KIND OF A RESCUE- THE-PERISHING STORY ALSO.

HERE IS AN ORIGINAL, A VERY OLD HEARTS AND GIZZARDS THAT WAS ACTUALLY RETRIEVED FROM A DUMPSTER, SO I'M SO GLAD THAT WE SAVED IT.

THE BASIC FOUR-PATCH IN THE VIRGINIA'S CHOICE IS PARTIALLY SEWN TOGETHER HERE, AND YOU CAN SEE HOW THE COLORS ALTERNATE.

THE IDEA IS TO CREATE IN EACH INSTANCE YOUR TRIANGLE ALL THE WAY AROUND TWO, FOUR, SIX, EIGHT TIMES.

ONCE THAT HAS BEEN PUT TOGETHER, THEN IT WILL BE ASSEMBLED JUST LIKE A BASIC FOUR-PATCH.

I'M GOING TO PARTIALLY SEW ONE CURVE.

AND REMEMBER THAT THAT CONCAVE CURVE GOES AGAINST THE FEED DOGS, REVERSING YOUR TEMPLATE AND LINING IT UP.

NOW, IT'S IMPORTANT TO KEEP THOSE RAW EDGES ALIGNED AS YOU GO AROUND.

AND I WOULD GO VERY SLOWLY, AND WHEN YOU COME TO A DIFFICULT ANGLE, MAKE SURE AND PUT THE NEEDLE RIGHT DOWN IN THE MACHINE.

IT TAKES SOME MANEUVERING.

AND DON'T EXPECT SUCCESS IF YOU... AT FIRST, WITH TWO OR THREE, YOU'RE GONNA HAVE IT DOWN PAT.

IF YOU WOULD LIKE TO, YOU CAN DO THIS WITH FINGER WORK, AND DO YOUR HAND APPLIQUE, OR THE HAND PIECING, AND THEN CONTINUE IT AS A BASIC FOUR-PATCH.

ONCE IT'S ALL THE WAY AROUND-- I'M ALMOST THERE-- YOU'LL FIND YOUR FABRIC WILL CURVE UP.

I KNOW IT'S HARD FOR YOU TO SEE WHAT'S HAPPENING IN HERE.

IT DOES TEND TO CURVE BECAUSE OF THAT MORE SEVERE ANGLE.

I'VE ALSO FOUND THAT IT WORKS BEST TO ALSO GO AHEAD AND PRESS-- THERE IS SOME FULLNESS IN THAT ACCUMULATION-- TO PRESS THAT IN.

BUT THAT WILL PRESS VERY NICELY ALL THE WAY.

IF YOU WANT TO PRESS IT OUT, IT WILL REQUIRE THAT YOU CLIP IT, AND THEN YOUR EXCESS WILL GO TO THE OUTSIDE.

BUT YOU WOULD CONTINUE THAT, FORMING YOUR TRAPEZOID, THEN ADDING YOUR TRIANGLE FOR A BASIC FOUR-PATCH.

WE HAVE A BONUS BLOCK OF THE DAY, AND I WANTED TO SHARE IT WITH YOU.

IT IS CALLED TEST PATTERNS, AND IT WILL BE FEATURED ON OUR NEXT SHOW, WHERE WE WILL BE STUDYING HOW TO PUT A QUILT IN A STANDING FRAME.

THIS WAS A MAIL-A-QUILT PROJECT AND WAS SENT ALL ACROSS THE STATE OF NORTH CAROLINA.

EXCUSE ME-- ALL THE WAY OVER HERE.

THE BLOCK IS A 16-INCH BLOCK, AND YOU WILL HEAR THE WHOLE STORY NEXT WEEK ABOUT IT, BUT I DID WANT YOU TO HAVE AN UNDERSTANDING ON HOW THE BLOCK GOES TOGETHER.

THERE ARE THREE TEMPLATES FOR THE BLOCK ITSELF.

THE LARGE ONE IS ACTUALLY A PARALLELOGRAM THAT WILL GO ON THE OUTSIDE, BORDERS ON TWO SIDES.

AND I'M GONNA UNCOVER THIS SO YOU CAN GET A BETTER LOOK AT IT.

AND HERE IS YOUR BLOCK.

NOTICE THAT THIS FIGURE, WHEN IT IS REVERSED, ALSO SWITCHES.

I'LL DO THAT ONCE MORE.

IT STARTS HERE, REVERSE IT, BUT SWITCH IT SO YOU GET REALLY AN ELONGATED PARALLELOGRAM.

YOU HAVE TWO ON EACH SIDE.

AND WE DID HAVE A STUDY ALREADY OF SHIRLEY'S LEDGE, AND WE LIKED WHAT HAPPENED TO GIVE OUR BLOCK MORE DEFINITION, SO A GRAY LEDGE WAS INSERTED AT THIS ANGLE.

SO THAT PORTION OF YOUR BLOCK WOULD BE COMPLETED.

THEN YOU HAVE THE INSIDE 12-INCH SQUARE THAT NEEDS TO BE COMPLETED.

AND THAT IS ASSEMBLED BY SIMPLY CUTTING YOUR STRIPS 2 1/2 INCHES WIDE AND THEN MAKING A STUDY OF HOW YOU WANT YOUR COLORS TO GO IN.

WE HAVE CHOSEN PRIMARY COLORS, THE YELLOW, GREEN, RED, THE PURPLE, AND THE BLUE.

ONCE YOU GET THAT DECIDED, CUT OUT YOUR INDIVIDUAL SQUARES, PLACE THEM ON YOUR LONG RUNNER, AND THEN YOU'RE READY FOR YOUR LITTLE MASS ASSEMBLY.

GET YOUR GREENS TAKEN CARE OF AND THEN SWITCH TO ANOTHER COLOR.

ONCE THOSE HAVE BEEN SEWN-- I'M NOT GONNA CONTINUE ALL THE WAY DOWN, BUT I THINK YOU UNDERSTAND ONCE THOSE HAVE BEEN SEWN, THEY CAN BE CUT APART, TURNED, AND THEN SEWN.

I WOULD GET MY LONG ROWS PUT TOGETHER.

SIMPLY LINE THOSE UP AND THEN SEW MY BLOCK ALL TOGETHER.

THIS ACTUAL BLOCK IS GOING TO BE LEFT AS WHAT WE CALL A TOUCH ME BLOCK.

IT WILL BE--THE ENTIRE QUILT WILL BE A WALL HANGING-- WHOOPS, WE HAVE AN EXTRA PIECE.

ONCE IT IS COMPLETED, THIS WILL BE BOUND OFF AND WILL BE FINISHED TO HANG BESIDE THE QUILT, WHICH WILL BE A WALL HANGING.

I WANTED TO SHARE WITH YOU SOME OTHER LITTLE TIPS.

WHEN HELEN KELLEY LEFT TODAY, AS SHE WAS LEAVING, I SAID, "HELEN, WHAT CAN WE EXPECT FROM YOU IN THE FUTURE?"

AND SHE HAS SHARED WITH ME SOME BEAUTIFUL SAMPLES OF SOMETHING IN PROGRESS.

WE ALWAYS LIKE TO SEE SOMETHING JUST EMERGING AND BEGINNING.

AND I KNOW YOU WILL APPRECIATE AND LOVE TO SEE SHE HAS A BAG FULL OF WONDERFUL TRICKS, AND THIS MUST TOP THEM ALL.

SHE HAS BEEN STUDYING AMERICAN INDIAN RIBBON WORK.

AND I THINK THAT WHEN YOU SEE THE BEAUTIFUL COLORS AND WHAT IS HAPPENING TO THIS PIECE, YOU WILL EXCLAIM, "OH, I'VE GOT TO SEE THE FINISHED PRODUCT."

BUT SHE HAS BEEN STUDYING DIFFERENT TRIBES, THE SAC AND THE FOX BEADWORK, AND ALSO THE GEOMETRICS THAT GO INTO IT.

AND THE INTERESTING PART ABOUT BOTH OF THESE PIECES IS THAT THEY ARE BASED ON TAFFETA.

NOW, I WOULD NEVER THINK TO WORK WITH TAFFETA.

BUT YOU CAN SEE SHE'S TAKEN ALL SORTS OF PRECAUTION.

I SEE SOME PINKING SHEARS, WHICH IS A GOOD INDICATION.

I SEE SOME MACHINE STITCHING ON THE SIDE TO ANCHOR IT IN PLACE.

BUT WE HAVE SUCH A SHADOW LOOK.

WE HAVE EMBROIDERY STITCHING GOING AROUND HER LAYERS AND A WONDERFUL OVER-UNDER LOOK.

THIS PIECE IS GOING TO HAVE WEIGHT TO IT.

YOU CAN ACTUALLY SEE THAT THE BEADWORK HAS BEEN CAUGHT AND HAS BEEN HIGHLIGHTING ALL THE CURVES.

I'M SURE WE WILL GET A CHANCE TO SEE THIS COMPLETED, AND HOPE TO SEE MORE OF HELEN KELLEY'S WORK.

NEXT WEEK, WE WILL HAVE A GOOD LESSON ON PUTTING A QUILT IN THE FRAME.

THE TEST PATTERN QUILT WILL BE COMPLETED.

AND WE LOOK FORWARD TO HAVING YOU JOIN US, AND WE HOPE THAT YOU WILL LEARN AND TAKE ADVANTAGE OF THE LESSONS IN APPLIQUE.

YOU'LL HAVE TO EXCUSE ME.

I'M GONNA GO MAKE AN APPLIQUE QUILT WITH HELEN KELLEY'S METHOD.

THANK YOU VERY MUCH.

[upbeat acoustic guitar music] ♪ ♪ Captioning by CaptionMax www.captionmax.com announcer: THE PRECEDING PROGRAM WAS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY, AND: GEORGIA BONESTEEL IS THE AUTHOR OF LAP QUILTING PUBLISHED BY OXMOOR HOUSE AND AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.