♪ MAKE A MEMORY.

MAKE A QUILT.

YES, FROM YOUR CHILDHOOD OR FROM A FAVORITE TRIP, LIFE'S STORIES ARE STITCHED IN CLOTH FOR A SENTIMENTAL JOURNEY FROM THE AMERICAN FOLK ART'S CHILDHOOD MEMORIES QUILT COMPETITION.

THEN SEE MY MASK, MOOSE, AND QUPAK QUILT COME TO LIFE, INSPIRED BY TWO WONDERFUL TRIPS TO ALASKA.

CAPTIONING MADE POSSIBLE BY UNIVERSITY OF NORTH CAROLINA CENTER FOR PUBLIC TELEVISION LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

AND BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

MORE THAN 1,2OO QUILTMAKERS WORLDWIDE SUBMITTED ENTRIES TO THE CHILDHOOD MEMORIES QUILT CONTEST AND EXHIBITION ORGANIZED BY THE MUSEUM OF AMERICAN FOLK ART.

WE VIEWED THE 62 PRIZE-WINNING QUILTS SHOWN IN NEW YORK CITY.

THE IMAGES USED TO DEPICT THESE MEMORIES RANGE FROM FAVORITE BOOKS AND TOYS TO PEOPLE AND PLACES REMEMBERED AS A YOUTH.

COME WITH US NOW AND MEET THE THREE TOP WINNERS AND CATHY RASAMUSSON, THE DIRECTOR.

THE THIRD PLACE GRAND-PRIZE WINNER HERE IN NEW YORK IS HANNE WELLENDORPH, WITH PATRINA, ALSO, YOUR DAUGHTER.

IS THAT CORRECT?

YES.

SHE HAD A PART IN THE MAKING OF YOUR WALLPIECE.

TELL US ABOUT THE CONCEPT, HOW YOU PUT YOUR DOLLS TOGETHER.

I'VE ALWAYS BEEN PLAYING WITH DOLLS.

I'D LIKE TO MAKE A LOT OF DOLLS.

THEN I LOOKED IN MY STUDIO AND SAW AN OLD CABINET I HAVE GOT FROM MY GRANDMOTHER, AND I THINK, "YOU HAVE TO PUT DOLLS IN THAT CABINET."

THEN I PICK UP THE DOLL I MADE FOR MY FIRST QUILT AND MAKE A LOT OF THEM IN THE SAME SIZE EXACTLY.

I'D LIKE TO PUT DIFFERENT CLOTHES ON THEM.

WE ALL STARTED LEARNING TO SEW BY MAKING DOLL CLOTHES.

SOME OF US RELATE TO HOW YOU'VE DONE IT.

DID YOU DRAFT IT OUT ON PAPER FIRST?

HOW DID YOU START?

I ALWAYS DRAFT IT ON PAPER BECAUSE I USE THAT TECHNIQUE WITH ENGLISH PIECING, AND THEREFORE I MADE MY PATTERN OUT OF SQUARE PAPER, AND THEN I PUT IT IN THE SIZE I WOULD LIKE TO HAVE, AND IN THAT WAY, IT IS EASY TO MAKE IT, THE MATERIAL, WITH ENGLISH PIECING, WHERE YOU PUT THE FABRIC AROUND THE CARDBOARD.

TELL US ABOUT THE FABRIC IN THE DOLLS' DRESSES.

I MADE A BIG QUILT FOR MY CHURCH IN THE TOWN I WAS BORN, AND THE LADIES WHO HELPED ME CAME WITH A LOT OF FABRIC.

WHEN WE ENDED THE BIG QUILT, I ASKED FOR THE FABRIC THAT WAS LEFT OVER.

I PUT IT ON MY DOLLS BECAUSE I WANTED TO USE OLD FABRIC FOR THE DRESSES, AND THEN I TRIED TO FIND FABRIC I COULD PUT SO YOU CAN SEE THE BACKSIDE OF THE DRESS.

SOME OF THE FABRICS, YOU COULDN'T USE THE BACKSIDES, SO PATRINA HELPED ME FIND FABRICS I COULD USE FOR THE INSIDE OF THE DRESSES.

SO IT'S BEEN A FAMILY ENDEAVOR.

AND DOES PATRINA SEW, ALSO?

YES.

SHE HAS SEWN A LOT OF IT BECAUSE WE HAD TO DO IT FAST.

WE HAD ONLY THREE MONTHS TO DO THAT QUILT.

PATCHWORK MUST BE STRONG IN DENMARK.

YOU'RE BRINGING FRIENDS TO THIS COUNTRY TO SEE THE SHOW?

YES.

IT'S GOING STRONG.

WE MAKE A LOT OF IT.

CONGRATULATIONS.

I KNOW YOU'RE PROUD.

THANK YOU.

CONGRATULATIONS TO YOU, TOO, PATRINA.

WE'RE WITH JANE BLAIR, THE SECOND GRAND-PRIZE WINNER IN THE CONTEST.

JANE, YOUR QUILT IS SO WONDERFUL.

TELL US ABOUT THE CONCEPT AND HOW YOU PUT IT TOGETHER.

I DECIDED THAT IF IT WAS TO BE MEMORIES OF CHILDHOOD, I WENT BACK OR TRIED TO THINK LIKE A CHILD, AND NOT NECESSARILY ONE SPECIFIC ITEM OF MY CHILDHOOD, BUT SOMETHING FROM EVERYBODY'S CHILDHOOD, AND THE ONE THING I COULD THINK OF WAS TOYS BECAUSE EVERY CHILD HAS TOYS.

AFTER I HAD ALL THE ROWS OF TOYS, I DECIDED SOMETHING MUST BE DONE WITH THOSE TOYS TO MAKE IT INTO A QUILT, AND MY FIRST APPROACH TO ANY QUILT IS DESIGN, SO SOMETHING HAD TO BE DONE TO DESIGN THAT, AND I FOUND THAT IF I JUST USED THE ROWS OF TOYS, BUT IN THE VERY CENTER LIGHTENED THE COLOR SO THAT IT WOULD BECOME MORE INTERESTING, MAYBE THAT WOULD WORK.

AND BY LIGHTENING THE COLOR-- I THOUGHT THE COLOR SHOULD HAVE A SHAPE IN THE CENTER.

WHEN I CHOSE A SHAPE, I DECIDED ON THE SHAPE OF A LITTLE GIRL.

TECHNIQUE-WISE, HOW DID YOU PULL IT TOGETHER?

I DON'T WORRY ABOUT HOW TO DO IT UNTIL AFTER I'VE DESIGNED IT.

SOMETIMES I'VE DESIGNED MYSELF INTO A CORNER.

ONCE I KNOW WHAT I'M GOING TO DO ON GRAPH PAPER, THEN I FIGURE OUT HOW TO DO IT.

SOME IS PIECED.

SOME IS APPLIQUE.

SOME IS REVERSE APPLIQUE.

WHATEVER WORKED BEST FOR THAT SPOT IS WHAT I USED.

MY COLORS--THAT COMES NEXT AFTER DESIGN, FOR ME, AND I WANTED TO STICK TO THE PRIMARY COLORS FOR CHILDHOOD MEMORIES INSTEAD OF GOING INTO ANY PASTELS OR SUBTLE COLORS.

I THOUGHT MAYBE THE PRIMARY, FOR CHILDREN, WOULD BE BEST.

I UNDERSTAND YOU'RE A PROFESSIONAL PERSON THAT ENTERS--ALL CONTESTS OR JUST CERTAIN ONES?

JUST THOSE THAT PAY GOOD MONEY.

THAT'S A SMART QUILTER, IF I'VE EVER HEARD ONE.

I'M A QUILTER.

IT'S WHAT I DO.

IF THE CONTEST HAS GOOD MONEY, YOU'RE A FOOL NOT TO TRY.

I CONGRATULATE YOU.

IT'S A WINNER.

THANK YOU.

AND OUR GRAND-PRIZE WINNER, ELAINE SPENCER FROM COLORADO.

CONGRATULATIONS, ELAINE.

TELL US THE NAME OF YOUR PIECE.

"DON'T WORRY," SAID HIS SISTER SWEETLY.

"I WON'T TURN OUT THE LIGHT."

BUT YOU KNOW SHE'S GOING TO.

DID THIS HAPPEN TO YOU?

OH, YES.

I DID THIS TO MY BROTHER, UNFORTUNATELY.

HE'S TURNED OUT ALL RIGHT.

HE'S A STABLE PERSON?

OH, YES.

I KNOW YOU'RE PROUD.

TELL US HOW YOU CONCEIVED IT AND HOW LONG IT TOOK TO MAKE.

MY HUSBAND BROUGHT HOME THE CONTEST ANNOUNCEMENT AND SUGGESTED I ENTER IT.

I THOUGHT MAYBE NURSERY-RHYME FIGURES OR SOMETHING.

I WOKE UP ONE MORNING.

IT WAS IN MY BRAIN.

I KNEW THAT'S WHAT I WANTED TO DO.

SOME OF THE FABRICS ARE FROM AFRICA.

I JUST DID IT AFTER THAT.

THE ACTUAL TECHNIQUE IS PIECING, MACHINE AND HAND OR WHAT?

THERE'S MACHINE PIECING ON THE STAIRS.

IT'S MOSTLY HAND APPLIQUE.

REVERSE APPLIQUE IN THE EYES.

DID YOU USE THE BACK OF FABRICS?

HOW DID YOU GET THE SHADING?

THE LIGHTEST FABRIC IS THE BASE FABRIC.

I OVERDYED THE FABRIC.

THERE ARE FIVE VALUES.

CAROL WASSLE HELPED ME FIGURE OUT THE VALUES.

I DID IT WITH RIT DYE, DUNKING IT, LOOKING TO SEE IF THAT'S WHAT I WANTED.

MY HUSBAND TRIED TO DRINK IT, THINKING IT WAS COFFEE.

THAT'S DISASTROUS, ISN'T IT?

THEY'RE PROUD OF YOU IN COLORADO.

WE CONGRATULATE YOU.

THANK YOU.

[BONESTEEL] CATHY, TELL US ABOUT THE CHILDHOOD MEMORY SHOW THIS YEAR.

IT'S TAKEN A YEAR AND A HALF TO PUT TOGETHER, AND THE CONTEST ITSELF RAN FOR A YEAR.

ALL OF THE QUILTS-- WE HAD OVER 1,2OO ENTRIES FROM AROUND THE WORLD, INCLUDING 12 COUNTRIES, SO WE ARE DELIGHTED BY THE RESULTS AND THE RESPONSE THAT WE HAD.

IT WAS DIFFICULT FOR OUR JUDGES TO DECIDE.

WE HAD SEMIFINALISTS FROM EACH STATE AND WASHINGTON, D.C., AND WE HAD NINE COUNTRIES INVOLVED AS WELL THAT HAD SEMIFINALISTS.

THEY WERE ASKED TO SEND IN THEIR QUILTS FOR THE FINAL JUDGING.

THE TWO QUILTS WERE DONE SIDE-BY-SIDE FOR THE FINAL COMPARISON.

THAT'S HOW WE CAME TO THE EXHIBITION.

THREE GRAND-PRIZE WINNERS WERE SELECTED, AND THE ONES THAT THE JUDGES HAD A HARD TIME WITH WERE DEEMED AS JUDGES' CHOICES.

WE HAVE EIGHT OF THOSE.

WE ALSO HAVE FOUR SPECIAL PRIZES THAT WERE GIVEN-- TWO CREATIVE INTERPRETATIONS AND ONE WORKMANSHIP AND ANOTHER, IMAGINATIVE USE OF DETAIL, SO THE JUDGES WERE SO IMPRESSED THAT THEY WANTED TO UNDERLINE ALL OF THAT EVEN MORE SO THAT PEOPLE WOULD KNOW THAT THEY REALLY THOUGHT THAT THESE WERE SPECIAL.

WELL, YOU CAN JUST SENSE THE PEOPLE'S DELVING BACK INTO THEIR FAMILY HISTORY.

EVEN WHEN THEY FILLED OUT THE APPLICATION, THEY HAD A LOT TO SAY.

IT WAS NOTHING FOR ME TO GET TWO OR THREE PAGES ATTACHED TO THESE FORMS AND FOR PEOPLE TO SAY HOW MUCH WENT INTO IT.

THE USE OF STITCHES AND MATERIALS EVOKED MEMORIES FOR THEM, AND IT WAS REALLY SOMETHING THAT'S VERY SPECIAL THAT THEY WANTED TO CONVEY AND TO HAVE OTHERS UNDERSTAND WHEN THEY VIEWED THE QUILT.

WHAT A SPECIAL THEME.

NOT EVERYONE COULD WIN.

YET IN YOUR FAMILY, YOU'VE MADE A QUILT THAT CAN BE PASSED ON DOWN THE FAMILY.

THAT WAS ANOTHER THING THAT WAS A COMMON THREAD, IS THAT PEOPLE VALUED THE TRADITION OF IT, THAT THIS WAS PUTTING THEIR LIFE INTO A FABRIC REMEMBRANCE THAT THEY COULD PASS ON TO FUTURE GENERATIONS AND JUST CAPTURE SOMETHING OF THEMSELVES OTHER THAN A PHOTOGRAPH.

[BONESTEEL] THE THEME FOR THIS SHOW IS "DISCOVER AMERICA."

DO WRITE THE MUSEUM OF AMERICAN FOLK ART FOR INFORMATION.

SEE THE ADDRESS AT THE END OF OUR SHOW.

NOW FOR MY MASK, MOOSE, AND QUPAK QUILT, A PRIZE-WINNING QUILT.

THE SPRINGBOARD FOR THE COLORS IN THIS QUILT CAME FROM THE CARIBBEAN.

I FELL IN LOVE WITH THIS BEAUTIFUL MATERIAL-- IT'S ALL CUT UP NOW-- BUT USED THIS COLORATION TO HELP ME DECIDE ON THE SHADING AND RADIATING COLORS THAT WOULD START FROM MAROON TO PINK TO BLUES AND GREENS.

TO CREATE THE FOUR DESIGN ELEMENTS IN THIS QUILT, I'D LIKE TO COVER THOSE WITH YOU.

YES, I DO HAVE A TOTEM POLE EFFECT STARTING WITH A 14-INCH PIECED ROW COMING RIGHT UP THE CENTER.

IT WAS PIECED WITH ONE TEMPLATE AND TWO TRIANGLES.

ONCE THOSE ARE STITCHED IN MY MEDLEY OF COLORS, I CAN ARRANGE THOSE, DECIDING HOW I'LL CHANGE COLORS.

ON EITHER SIDE, THIS TEMPLATE, A MIRROR IMAGE TO THE OTHER ONE, WITH TWO TRIANGLES ATTACHED TO IT.

NOTICE THE GOOD THINGS THAT START HAPPENING WHEN THESE COME TOGETHER, THESE BACKGROUND FABRICS.

THE OUTSIDE PIECED ROW IS SIMILAR TO THIS ROW, A MINIATURE OF IT.

WITH A TRIANGLE SEWN ON EITHER SIDE, YOU CREATE A RECTANGLE, AND KNOWING WHEN THAT'S SEWN TOGETHER, YOU WANT THAT 1/4 INCH ON EITHER SIDE.

THE LAST RIBBON PANELS THAT GO HERE AND ON THIS SIDE WERE INSPIRED BY THE ENTRANCEWAY TILE OF A FRIEND'S HOUSE.

I LOVED HOW THAT RIBBON CAME OVER AND UNDER.

I WANTED TO GIVE YOU SOME HINTS IN PUTTING THIS TOGETHER.

IT'S BETTER TO GO AHEAD AND SEW TWO TRIANGLES TOGETHER TO CREATE THAT 9O-DEGREE ANGLE.

RATHER THAN SEWING THAT ON, COME OVER AND SEW THE MAROON TRIANGLE TO THIS TRIANGLE, ONCE AGAIN MAKING IT EASIER TO SEW TWO 9O DEGREES TOGETHER AND GET A NICE, SMOOTH INTERSECTION.

THEN THE MOOSE AT THE BOTTOM.

YOU'LL NEED FIVE ON EITHER SIDE TO CREATE MOOSE AT THE WATERING HOLE.

FREEZER PAPER, GRID-GRIP, IN PLACE, IRONED, ALLOWS YOU TO CREATE THE STITCHING LINE TO COMPLETE THE ANTLERS.

THEN THE THIRD ELEMENT IS THE QUPAK, A TRIM ON BOTH SIDES AND THE BOTTOM OF THIS QUILT.

NOW, TO TOP OFF THE QUILT, RESTING RIGHT ALONG THE PILLOWS ARE MASKS.

NOT ONLY ON THIS BED, BUT THE SAME DESIGN IS IN THIS COAT THAT BETSY FREEMAN MADE.

WE HAVEN'T NAMED THIS YET.

I DIDN'T HAVE TO GO ALL THE WAY TO ALASKA TO DISCOVER MASKS.

IN MY OWN HOMETOWN, ELLEN HOBBS HAS A FANTASTIC COLLECTION OF MASKS.

WHILE I PICK UP EVERYTHING AND GO TO THE SEWING ROOM, YOU GAZE INTO HER HOME AND HER MARVELOUS COLLECTION.

ELLEN, TELL US ABOUT YOUR BACKGROUND AND HOW YOU GOT STARTED COLLECTING THESE INCREDIBLE THINGS.

I'M A RETIRED HIGH-SCHOOL ART TEACHER, AND I HAVE ENJOYED MASKS EVER SINCE I WAS A HIGH-SCHOOL STUDENT MYSELF AND WE HAD TO MAKE PAPIER-MACHE MASKS IN MY HIGH-SCHOOL ART CLASS.

THEY FASCINATE ME BECAUSE I JUST LOVE FACES.

THE MASKS HAVE MUCH MORE THAN THE FACE.

IN FACT, THE MASK IS OUR OTHER FACE, AND MOST OF THESE MASKS I'VE COLLECTED AND THE ONES I'M TRYING HARD TO GET ARE THE ONES THAT HAVE SOME MEANING TO SOME BYGONE CULTURE.

AND SOME SPIRITUAL ASPECT, TOO, IN THEIR LIVES?

THE PRIMITIVE PEOPLE BELIEVED THAT THEY LIVED IN A WORLD SURROUNDED BY SPIRITS, AND THEY BELIEVED THAT BY WEARING MASKS THEY COULD INVOKE THE POWERS OF THESE SPIRITS.

THEY ALSO BELIEVED THAT THEY COULD COMMUNICATE WITH THEIR DEAD ANCESTORS THROUGH THE MASK AND THAT THEY COULD CALL UPON THEIR ANCESTORS TO DO FAVORS, AND THEY BELIEVED, ESPECIALLY THE INDIAN AND THE AFRICAN CULTURES, BELIEVED THAT THE ANIMALS HAD SOULS AND THAT THE ANIMALS WEREN'T JUST DUMB ANIMALS AS WE LOOK UPON THEM, BUT THEY HAD SPECIAL CHARACTERISTICS.

YOU HAVE DESIGNATED ROOMS IN YOUR HOME, ACCORDING TO WHERE THE MASKS HAVE COME FROM.

WE'VE PULLED OUT SOME OF THE MASKS FROM EACH ROOM.

LET ME TELL YOU ABOUT SOME OF THESE ON THE FLOOR.

THIS IS A MINDE MASK MADE FOR THE YOUNG WOMEN OF THE TRIBE, THE GIRLS, WHEN THEY BECAME YOUNG WOMEN AND WERE INTRODUCED INTO THE SECRET SOCIETY OF WOMEN.

SHALL I PUT IT ON?

IT'S LIGHTWEIGHT AND EASY TO SEE THROUGH.

THIS ONE IS NOT A MASK, BUT IT'S A CHIWARA BAMBARA MASK.

THE BAMBARA IS THE TRIBE THAT MADE IT.

IT'S A HEADDRESS, AND IT'S WORN ON TOP OF THE HEAD, ON A WOVEN BASKET, AND THEY USE IT IN THEIR HARVEST CEREMONIES TO INVOKE FROM THE GODS A BETTER HARVEST.

THIS ONE IS A BUIUCCA MASK FROM ZAIRE, AND IT HAS A WONDERFUL ASSEMBLAGE OF TEXTURES, WORN ON THE HEAD AND HELD BY THIS HANDLE.

THIS ONE IS ALSO FROM ZAIRE.

IT'S A MASHAMBOY MASK COVERED WITH COWRIE SHELLS, WHICH REPRESENTS WEALTH TO THEM.

IT ALSO HAS AN ELEPHANT TUSK ON TOP, WHICH REPRESENTS ROYALTY AND IS WORN BY ROYALTY AND IS WORN TO WELCOME ROYALTY.

IT FITS VERY NICELY ON THE HEAD.

IT IS NOT OF CARVED WOOD, AND THE WEARER WOULD LOOK OUT OF THE BOTTOM OF IT.

THIS ONE IS A BOOGER MASK FROM RIGHT UP HERE IN CHEROKEE.

IT'S SIGNED BY THE WEARER, "BY DAVY ARCH, 1982," AND IT'S WORN BY THE YOUNG PEOPLE.

ONCE A YEAR, THEY HAVE A DANCE WHERE THEY ACT OUT THEIR FRUSTRATIONS THAT THEY HAVE FOR THEIR ELDERS.

ELLEN, WE CAN'T NEGLECT THAT GENTLEMAN BEHIND YOU.

TELL ME ABOUT HIM.

THIS ONE IS INDONESIAN, AND IT IS THE REINCARNATION OF THE GOD SHIBU.

HE IS RANGDA, AND HE IS USED TO DANCE AWAY EVIL SPIRITS, AND NOTICE THE HORSEHAIR THAT'S TIED BY HAND.

JUST MUST HAVE TAKEN HOURS TO DO.

HE HAS MARVELOUS EYES.

NOTICE HIS LITTLE HAIRBRUSH MUSTACHE AND HIS PROTRUDING TEETH AND TUSKLIKE FANGS THAT HE HAS.

HE'S REALLY A MARVELOUS JOB.

WELL, I SEE SO MUCH DESIGN POTENTIAL HERE FOR A QUILT.

I'M GOING TO HAVE TO PUT THIS INTO CLOTH SOMEHOW.

I MIGHT GET SOME HELP FROM YOU ALONG THE WAY.

[BONESTEEL] THE SIDE PANELS MEASURE 8 INCHES, 3 INCHES OF WHICH IS THE PREPRINTED FABRIC.

THE QUPAK WAS BASED ON A 5-INCH BAND.

YOU REMEMBER QUPAK.

HERE IT IS IN MINIATURE, THE WAY I LEARNED IT.

I INCREASED THE SIZE, THE PROPORTIONS, TO PLACE IT ON A SHIRT.

TOOK THOSE POCKETS OFF.

PUT THEM ON THE SLEEVE.

THEN TRIMMED A JUMPER, AND EVEN DOWN ONE SIDE OF A VEST.

QUPAK IS BASED ON BIAS STRIPS THAT ARE PLACED ON TOP OF EACH OTHER AND STITCHED RIGHT IN PLACE.

YOU DON'T USE THE INSIDE SEAMS.

STITCH ON TOP, OVERLAPPING THE BIAS, CHANGING COLORS WHENEVER YOU WANT.

LITTLE INSERTS ADD SPECIAL ACCENTS AT THE SAME TIME.

NOW, THE BIAS TODAY CAN OF COURSE BE STORE-BOUGHT.

IF YOU WANT TO PRESHRINK YOUR BIAS, PUT IT IN A GLASS OF WATER AND PUT IT IN THE MICROWAVE.

WHEN YOU PULL THAT OUT, PAT IT DRY WITH A TOWEL.

YOUR FOLD WILL STAY IN PLACE AS IT DRIES.

MAKE YOUR OWN QUPAK, AS I DID FOR THE MOOSE QUILT.

CHOOSE YOUR OWN COORDINATED COLORS.

THEN USE YOUR BIAS MAKERS.

THEY COME IN DIFFERENT SIZES.

I PUT SPRAY STARCH ON THIS AS I PULL IT.

IT WILL GO RIGHT ALONG FOR YOUR TRIM.

SOME OTHER BRIGHT IDEAS-- IF YOU LIKE DOING SEMINOLE, WHY DON'T YOU GO AHEAD AND SEW BIAS STRIPS TOGETHER?

YOU'VE GOT A LINED CREASE RIGHT THERE TO SEW.

THEN YOU'RE GOING TO CUT THAT APART.

STITCH THEM TOGETHER AGAIN, COMING DOWN HOWEVER MANY INCHES OR COLORS YOU WANT TO.

THIS WILL BE CUT OFF HERE.

LOOK WHAT HAPPENS.

YOU'LL HAVE YOUR STRAIGHT OF THE GRAIN WHERE YOU WANT IT.

WE KNOW ABOUT OUR ROTARY CUTTERS.

I BET YOU DIDN'T KNOW ABOUT THE DOUBLE DUELING BLADES, JUST MEANT FOR CUTTING OUT BIAS.

ONCE YOU DECIDE HOWEVER WIDE YOUR STRIPS ARE, YOU SET THE BLADES THE SAME DIMENSION, AND THEN HOLDING THIS IN PLACE, YOU'RE READY TO COME ALL THE WAY DOWN AND START CUTTING.

YOU'LL CUT TWO STRIPS AT ONCE.

I WANT TO SHARE THE TECHNIQUES IN DOING THE MASKS.

COME TO THE SEWING MACHINE.

THE MASK DESIGN IS BASED ON A SQUARE DIVIDED INTO 16 SECTIONS.

WITH THESE EQUAL SECTIONS DIVIDED, JUST TAKE A COMPASS AND DRAW A CIRCLE SO THAT THAT CIRCLE INTERSECTS THE CORNER SQUARES.

THAT CREATES THE TEMPLATES.

WE CAN DO ALL SORTS OF NEW FACES IN PATCHWORK THAT CAN END UP IN PILLOWS-- AN 8-INCH... A 1O-INCH... AND A 14-INCH.

YOU CAN BUY STRIPED FABRIC OR PIECE SOME BLACK AND WHITE TOGETHER.

LET YOUR PILLOW COME TO LIFE THAT WAY.

I'LL GIVE YOU A FEW SUGGESTIONS IN PIECING THOSE.

FIRST STARTING WITH THE TEMPLATES, IF YOU PUT THOSE ONTO GRIDDED PLASTIC, A GOOD SUGGESTION IS TO HOLE-PUNCH THE 1/4-INCH TURNS, AS WE HAVE DONE BEFORE, AND THEN KEEP THEM TOGETHER WITH A SAFETY PIN.

YOU'LL KNOW WHERE THEY ARE ALL THE TIME.

ONCE YOU START PIECING YOUR SECTIONS TOGETHER, USE THAT MASTER TEMPLATE TO MAKE CERTAIN THAT EVERYTHING IS COMING OUT LIKE IT SHOULD.

AS YOU CAN SEE HERE, WE'RE GETTING THE ROWS TOGETHER.

NOW, IN DOING THESE CURVES, THEY ARE EASY CURVES TO DO.

GO AHEAD AND PINCH AND FIND THE MIDPOINT EACH TIME.

PUT THE TWO RIGHT SIDES TOGETHER, AND THEN I LIKE TO PIN THAT, KNOWING THAT'S THE MIDPOINT.

YOU CAN DO A LITTLE WALK AROUND WITH YOUR FINGERS.

IF YOU HAVE THAT 1/4-INCH MARK THERE, YOU CAN SEE WHERE TO START.

LINE UP THOSE RAW EDGES.

THAT'S IMPORTANT TO START OUT WITH.

IT'S FUTZY AT THE BEGINNING.

ONCE YOU START THERE, I LOCK MY NEEDLE IN PLACE.

THEN MOVE THAT RAW EDGE OUT AND GET EITHER YOUR STILETTO OR A SEAM RIPPER.

IT'S NICE TO HAVE THAT IN HAND.

EVERY TIME YOU WANT TO MOVE A SEAM OR SEE HOW YOU'RE GOING ON TARGET, PUT THAT NEEDLE DOWN IN THE FABRIC.

IT LOCKS IT IN PLACE EACH TIME.

EACH TIME THAT'S LOCKED IN PLACE.

COMING AROUND... AND THEN WHEN YOU GET HALFWAY AROUND, I LIKE TO COME-- LOCK THAT IN PLACE, A COUPLE MORE PLACES-- I LIKE TO COME ALL THE WAY TO THE END AND MAKE CERTAIN THAT THAT'S MEETING CORRECTLY BEFORE I'LL COME ALL THE WAY OFF.

ONCE YOU'VE DONE ONE OR MAYBE EVEN THREE, YOU'LL REALLY LIKE HOW EASY IT COMES TOGETHER.

ONCE THOSE ARE ALL PRESSED-- AND I'D PRESS THAT SEAM ALLOWANCE INTO THE DART-- YOU'LL ATTACH THESE TOGETHER.

UP HERE, YOU'LL ATTACH THOSE, SO YOU'LL HAVE THREE ROWS TO PUT TOGETHER.

THE SAME WAY FOR THE 1O-INCH.

WHAT I THINK IS EXCITING IN THE 14-INCH ONE IS ONCE YOU GET THESE INTO SQUARES, THEN YOU CAN START PLAYING WITH THEM.

YOU MIGHT WANT TO MAKE EARRINGS THAT COME OUT.

TURN THEM ALL DIFFERENT WAYS.

IT CAN BE TURNED HERE.

AS YOU'RE DOING THIS, START IMAGINING HOW THE EYES AND THE NOSE WILL BE ADAPTED AND PUT ON.

I USED ALL SORTS OF PONY BEADS, UNUSUAL BUTTONS, RICKRACK FOR THE MOUTH.

ALL SORTS OF THINGS WILL ENLIVEN YOUR MASK.

FOR THE QUILT'S BACK, I WAS REALLY LUCKY.

I FOUND SOME MOOSE FABRIC FOR THE BACKING.

I PUT THIS QUILT TOGETHER IN THREE WAYS.

I MACHINE QUILTED IT, TAKING ADVANTAGE OF THOSE WONDERFUL BICYCLE CLIPS.

I USED A FLUFFY BATTING.

I HAD TO WIND THIS UP.

STARTING IN THE CENTER PANEL, I USED TRANSPARENT THREAD AND A WALKING FOOT AND QUILTED IN THE DITCH ALL THE WAY DOWN.

I HAND QUILTED AROUND THE MOOSE AND THE MASK THEN TIE-TACKED THE REST OF THE QUILT.

I'LL SHOW YOU HOW I DID THAT TIE-TACKING.

IF YOU QUILT WITH A FRAME, WHY NOT HAVE A LOVELY PIECE OF FURNITURE?

THIS ONE IS MADE BY JASMINE HEIRLOOMS.

WHEN BETSY FREEMAN FINISHED MY JACKET, SHE DID A SMART THING.

SHE USED DARK BATTING.

WITH THE DARK FABRICS TODAY, IT WORKS VERY WELL.

WHERE THE WHITE FACE WAS, SHE CUT AWAY AND PUT WHITE BATTING THERE.

NOW, I PROMISED YOU THAT I WOULD SHARE TIE-TACKING WITH YOU.

I WORKED ON THIS IN THE DENVER AIRPORT.

OUR PORTABLE QUILTING ALLOWS US TO DO THAT TODAY.

WITH TIE-TACKING, YOU CAN EITHER SECURE THE THREE LAYERS ON A LARGE SURFACE WITH MASKING TAPE OR GO AHEAD AND USE YOUR SUPPORTED HOOP.

I WOULD USE A LONG NEEDLE AND EITHER D.M.C.

THREAD OR SPECIAL THREAD THAT'S MADE FOR TIE-TACKING.

TAKE ONE LOOP...

IN THE QUILT, AND WHEN YOU DO THAT, GO THROUGH ALL THREE LAYERS.

I SECURED A TINY PONY BEAD EACH TIME.

THAT LOOP THAT YOU TAKE ALLOWS YOU TO SECURE ALL THREE LAYERS.

COME UP AGAIN, ANOTHER STITCH THROUGH ALL THREE LAYERS, AND GRAB ANOTHER BEAD.

EACH TIME, IT TAKES A MINUTE TO FIND YOUR BEAD AND SECURE IT ALL THE WAY THROUGH.

YOU'RE HAVING A LONG THREAD THAT GOES CONTINUOUSLY FROM THOSE EQUAL PORTIONS EACH TIME.

I'M GOING TO PUT A YELLOW BEAD UP HERE AND THEN JUST CATCH THAT AND COME ALL THE WAY THROUGH.

MAKE SURE YOUR NEEDLE WILL GO THROUGH THE BEAD THAT YOU GOT.

WHEN THAT'S SECURE, THEN COME AND SNIP IN BETWEEN, JUST LIKE THAT.

THEN YOU'D COME BACK AND DO A SQUARE KNOT.

GO FIRST ONE WAY... AND THEN COME THE OTHER WAY.

ONCE THAT HAS BEEN TIED NICE AND TIGHT, THEN YOU CAN COME AND TRIM THOSE OFF, EACH ONE, AND YOU HAVE A NICE ACCENT FOR YOUR MASK QUILT.

I WANTED TO SPEND SOME TIME QUILTING WITH YOU TODAY, AND JUST REMINDING OURSELVES HOW IMPORTANT IT IS TO BASTE.

AS YOU SEE, I HAVE BASTING THREADS THAT GO DIAGONALLY, ACROSS AT THE RIGHT ANGLES, AND AROUND THE OUTSIDE, ALSO.

YOU CAN QUILT IN A HOOP.

SOMETIMES YOU PICK A PIECE UP, AND WITH YOUR OFF HAND GOING OPPOSITE YOUR NEEDLE, TAKE YOUR STITCHES.

START AT THE PIECE'S MIDDLE AND WORK OUT.

I'M OUT TOWARDS THE BORDER.

I DISLIKE QUILTING IN THE DITCH.

I LIKE TO QUILT SO YOU CAN SEE YOUR QUILTING STITCH.

YOU CAN TAKE THOSE TWO TO THREE STITCHES EACH TIME, SECURING THE THREE LAYERS TOGETHER.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

AND BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.