[synthesized jingle] [upbeat acoustic guitar music] ♪ ♪ >> WELCOME BACK TO LAP QUILTING.

TODAY'S SHOW IS "BORDER TREATMENT AND STENCIL STUDY."

WE HAVE BEEN SPENDING A LOT OF TIME DEVELOPING THE BLOCKS THAT GO INTO A QUILT, AND THEN AT ONE POINT, YOU'RE GONNA HAVE TO DECIDE, "HOW AM I GOING TO ARRANGE THESE BLOCKS?

"WILL IT BE A BLOCK-TO-BLOCK CONNECTION, "WHICH MEANS PUTTING THEM RIGHT NEXT TO EACH OTHER, OR AM I GONNA ADD BORDERS AROUND THEM?"

LET'S TALK A LITTLE BIT ABOUT BORDERS TODAY.

THE MOST IMPORTANT THING TO DO IF YOU HAVE A WHOLE COLLECTION OF BLOCKS-- MAYBE THERE'S SOME THAT HAVE BEEN HANDED DOWN IN THE FAMILY-- IS TO PRESHRINK THEM AND, OF COURSE, DISCARD ANYTHING THAT WILL FADE OR HAS A RUNNING PROBLEM TO IT AND FIND THE SMALLEST BLOCK.

YOU'VE GOT TO MAKE THEM ALL UNIFORM.

AND ONCE YOU HAVE THE SMALLEST BLOCK, GO AHEAD AND MAKE YOURSELF A TEMPLATE.

IT MIGHT BE THAT YOU'RE WORKING WITH A 9 1/2 INCH BLOCK, SO THAT TEMPLATE WOULD BE 9.

OR IN OUR CASE, IT'S GOING TO BE A 12-INCH BLOCK.

THIS GOES ON THE BACK OF YOUR BLOCK, AND OF COURSE, THE BORDERS WOULDN'T BE ADDED YET.

AND YOU'RE GONNA CENTER IT SO YOU'RE GONNA HAVE AN EXACT 1/4 OF AN INCH ON ALL FOUR SIDES OF YOUR BLOCK.

AND YOU'RE GONNA TRACE AROUND THAT AND GIVE YOURSELF A LINE TO FOLLOW.

WHY NOT HAVE A STRAIGHT LINE TO FOLLOW ON THE SEWING MACHINE AND JUST HELP YOURSELF OUT A LITTLE BIT?

ONCE YOU HAVE DONE THAT AND HAVE THAT LINE TO FOLLOW, IF THAT 1/4 INCH EXTENDS EVEN FURTHER THAN 1/4 OF AN INCH, TRIM IT OFF, BECAUSE LATER ON WHEN THAT'S ENCLOSED INSIDE YOUR WHOLE QUILT TOP, YOU MIGHT HAVE A LITTLE BIT OF, FOR INSTANCE IF THIS WERE RED, RED THAT WOULD BE SHOWING THROUGH THAT MAYBE EXTENDED FURTHER THAN YOUR ACTUAL BORDER, THAN YOUR SEAM ALLOWANCE DID.

ALL RIGHT, LET'S TALK A LITTLE BIT.

YOU'RE PROBABLY WONDERING, "WELL, HOW LONG DO I CUT THESE BORDERS DEPENDING ON THE WIDTH?"

LET'S KIND OF-- LET ME GIVE YOU SOME GUIDELINES AND A HELP TO DO THAT WITH.

LET'S PRETEND THAT OUR PILLOW THAT WE HAD-- OUR PILLOW TOP THAT WE HAD FINISHED WAS, PERHAPS, 7 INCHES SQUARE AND WE WANT TO ADD A 4/12 INCH BORDER ON.

WELL, ACTUALLY A 4-INCH BORDER, BUT WE'VE GOT TO ALLOW A 1/4 INCH FOR IT TO BE SEWN ON AND 1/4 INCH EXTRA FOR OUR SEAM ALLOWANCE, 4 1/2 ON EACH SIDE.

TOGETHER, THAT'S GONNA GIVE YOU 9, AND THEN WE'RE GOING TO HAVE-- 16 INCHES WILL BE THE LENGTH OF THE BORDER WE HAVE TO CUT OUT.

I LIKE TO HAVE AN EXTRA AMOUNT.

IF YOU FIGURE IT RIGHT TO THE END, THEN THAT FABRIC'S GONNA EEK UP AND MOVE A LITTLE BIT WHEN YOU'RE SEWING ON, AND I WANT A LITTLE BIT EXTRA.

LET'S SAY, FOR INSTANCE, WE HAVE A 9-INCH PILLOW AND WE'RE GOING TO ADD A 2-INCH BORDER, WHICH WOULD BE 2 1/2 ON EACH SIDE.

OKAY, THAT'S GONNA BE 5 INCHES.

14.

WE'RE GONNA CUT FOUR BORDERS 2 1/2 INCHES WIDE, AND EACH OF 'EM WILL BE 14 INCHES LONG.

IN THE CASE OF THE BORDERS THAT WE'RE WORKING WITH, WE'RE WORKING WITH A 12-INCH BLOCK, 3 1/2 INCH BORDERS, AND WE KNOW, THEN, THAT THIS WILL BE 19.

LET'S GO AHEAD AND SEW THESE ON.

I HAVE FOUND THE EASIEST WAY TO DO THAT IS TO FIND-- TAKE THE LENGTH OF YOUR BORDER, PINCH IT, AND FIND THE MIDPOINT.

AND THEN, OF COURSE, YOU HAVE-- YOU CAN PINCH YOUR BLOCK ALSO AND FIND THE MIDPOINT.

I'VE SEWN THREE OF THEM ON, AND MAKE SURE THAT-- ONE OF THE SECRETS IN MITERING PERFECTLY IS TO SEW RIGHT AT THAT RIGHT ANGLE WHERE YOU DREW AROUND.

THAT'S RIGHT THERE.

YOU HAVE NOT GONE OFF THE EDGE.

SEE, IT'S GONNA LEAVE YOURSELF A LITTLE TAB AT THE END.

LET'S GO AHEAD AND FINISH SEWING THIS ONE ON.

I WANT TO MITER ONE SO YOU HAVE THAT COMPLETELY IN MIND.

IN THIS CASE, WITH THREE ALREADY SEWN ON, I CAN JUST PUT THAT RIGHT THERE AND I'M READY TO START SEWING.

NOW, YOU WANT YOUR RAW EDGES, OF COURSE, TO COME RIGHT UP.

AND I'M GOING TO-- WHEN I START HERE, I'M GOING TO NOT GO OFF TO THE RAW EDGE BUT RIGHT WHERE I ENDED BEFORE.

I LIKE TO SEW AND THEN BACKSTITCH ABOUT TWO STITCHES AND THEN ALL THE WAY DOWN.

AND LINE UP YOUR SEAM ALLOWANCE SO THEY'RE ALL EVEN.

MITERING HAS-- IN A FEW MINUTES, I'M GONNA SHOW YOU SOME LOVELY MATERIAL.

I THINK THE NEW BORDER MATERIAL WORKS SO NICELY FOR MITERING, BECAUSE YOU GET A REAL PICTURE-FRAMING EFFECT.

ALL RIGHT, BACKSTITCH AT THE END.

AND THEN WHAT I LIKE TO DO IS, OF COURSE, GET RID OF YOUR THREADS AS YOU'RE WORKING.

AND THEN LAY THIS OUT ON A FLAT AREA AND THEN EXTEND THIS ALL THE WAY.

DON'T LET THIS HAPPEN, BUT EXTEND THIS STRAIGHT.

AND THEN ANYTIME YOU HAVE ANY EXCESS-- NOW FOR INSTANCE, A LITTLE BIT EKES OUT THERE.

AND THEN PICK THAT UP AND LAY THIS OVER.

AND THEN YOU SEE YOU HAVE THIS EXTRA?

YOUR OUTSIDE EDGE BECOMES A GUIDE FOR DOING THAT, AND THEN COME AND TRIM THAT OFF.

THIS WAS THE EXTRA THAT WE ALLOWED.

WE WANTED THAT EXTRA.

AND I WOULD DO THAT ON ALL THREE CORNERS THEN PUT YOUR TWO RIGHT SIDES TOGETHER.

AND I FOUND ONE OF THE EASIEST WAYS IS TO LET THIS ACTUALLY FALL DOWN IN.

YOU GET THIS KIND OF AN EFFECT, BUT I REALLY LIKE WHAT HAPPENS HERE BECAUSE YOUR SEAM ALLOWANCE IS GOING UP AND IT FREES THE BLOCK AND YOU CAN ACTUALLY SEE THE GOOD SIDE OF YOUR BLOCK INSIDE.

TRIM OFF THAT.

ALL RIGHT, YOU TAKE YOUR RULER AND WHERE YOU BACKSTITCHED DOWN TO THIS CORNER, YOU'RE GOING TO DRAW A STRAIGHT LINE.

THIS IS YOUR GUIDE FOR ACTUALLY SEWING ON.

YOU MIGHT WANT TO PUT A PIN, MORE OR LESS, TO ANCHOR THIS IN PLACE.

AND NOW WE START WE IN HERE AND THEN BACKSTITCHING ALL THE WAY OUT TO THE END.

START ALL THE WAY IN... AND BACKSTITCH AND THEN ALL THE WAY FORWARD.

AND OF COURSE, WHEN YOU COME TO THE END, THEN YOU MIGHT WANT TO CHECK FIRST OR GO AHEAD AND JUST TRIM THIS OFF WITH A PERFECT 1/4 INCH SEAM ALLOWANCE ONCE AGAIN.

AND OF COURSE, SAVE THESE TRIANGLES FOR ANOTHER QUILTING PROJECT.

AND THEN YOU'VE GOT YOUR PERFECT MITERED CORNER, AND YOU'D DO THAT THREE MORE TIMES.

NOW, WHAT ABOUT--LOOK AT ALL THE-- THIS IS WHAT I REFER TO AS BORDER MATERIAL, THINGS THAT COME WITH STRIPES ON THEM.

WOULDN'T OUR CROSS AND CROWN BE PRETTY WITH THIS SORT OF A-- ALMOST A GYPSY-TYPE PRINT?

HERE'S THE SAILBOAT DESIGN WITH A BORDER MATERIAL.

YOU SEE IT REALLY ACCENTS, AND OF COURSE WE HAVE OUR MOON OVER THE MOUNTAIN.

AND THEN WHEN YOU QUILT THESE LINES, YOU HAVE THE EFFECT THAT IT'S ALREADY BEEN PIECED TOGETHER, BUT IT WAS REALLY JUST QUILTED.

ANOTHER THING THAT YOU CAN DO: I AM DOING THIS ENTIRE QUILT WITH WHAT I CALL "MULTIPLE BORDERS," AND I'VE TRIED PUTTING THIS TOGETHER SEVERAL DIFFERENT WAYS, AND I'VE FOUND THE BEST WAY IS TO GO AHEAD AND ONCE I HAVE THE CENTER 6 INCHES DONE, ADD ALL THE BORDERS AND LET THEM JUST SWING LOOSE AND THEN PRETEND LIKE THIS IS ONE WHOLE WIDTH.

AND THEN I WOULD SIMPLY GO AHEAD AND, ONCE I HAD GOTTEN THESE SEWN ON, PROCEED THE SAME WAY AND TRIM THIS OFF RIGHT HERE AND HERE.

SO LET'S LOOK AT SOME OTHER EXAMPLES OF PUTTING BORDERS AROUND OUR BLOCKS.

THIS IS A LOVELY QUILT THAT WAS DONE OUT AT THE JOHN C. CAMPBELL FOLK SCHOOL IN BRASSTOWN, NORTH CAROLINA, SO WE'VE NAMED THIS "THE BRASSTOWN STAR."

IT WAS A GROUP EFFORT DONE BY A BEGINNING QUILTING CLASS.

AND THIS IS A NEW WAY, WHAT I WOULD REFER TO AS AN OPTIONAL WAY, OF PUTTING YOUR BLOCKS TOGETHER.

SOMETHING LIKE THIS REALLY NEEDS TO BE GRAFTED OUT ON PAPER FIRST, BECAUSE WHAT HAPPENS HERE IS THAT EACH GAL-- FOR INSTANCE, DOT WAS QUILTING AND PUTTING TOGETHER, REALLY, HER CONNECTION, HER THREE LAYERS, WITH ONE BLOCK AND THREE BORDERS.

AND THEN FLORENCE WOULD BE DOING A BLOCK WITH FOUR BORDERS ON, AND SO THAT WHEN IT ALL GETS TOGETHER, IT FLOWS TOGETHER AS ONE COMPLETE QUILT WITH YOUR SQUARE INSETS.

YOU CAN NOTICE, OF COURSE, WHEN YOU'RE PUTTING YOUR SQUARE INSETS IN, I FIND THE BEST WAY FOR DOING THAT IS TO GO AHEAD AND TO CONNECT THESE RECTANGLES ON THE OUTSIDE OF YOUR BLOCK.

AND THEN I LIKE TO PIN, FOR INSTANCE, AND SEW ONE SQUARE IN AND THEN SEW ALL THE WAY DOWN TO HERE AND THEN GO AHEAD AND DO YOUR FIGURING.

FIND EXACTLY WHERE YOUR 1/4 INCH IS, THEN PIN THIS IN PLACE, SEW IT, AND CONTINUE IT.

SO IT MEANS STOPPING AND STARTING, BUT THAT WAY, YOU'RE ENSURED TO GET THAT NICE LITTLE CONNECTION RIGHT AT THE CORNERS, WHICH REALLY WILL SHOW UP.

WE MADE A TOUCH-ME BLOCK TO GO WITH THIS THAT WILL HANG NEXT TO THE QUILT.

AND I DIDN'T KNOW IF YOU REALIZED THAT YOU CAN ACTUALLY PUT YOUR MUSLIN IN THE TYPEWRITER AND TYPE ON IT.

THIS ONE SAYS: "THIS QUILT DESIGNED AND DIRECTED "WITH GENTLE PERSUASION BY THE TEACHER.

"THIS BRASSTOWN STAR QUILT WAS SEWN "AND QUILTED WITH TENDER, LOVING CARE AND ALL THE MISTAKES OF A FIRST QUILT."

WE HAVE A COUPLE OTHER WAYS TO LOOK AT JUST BRIEFLY.

HELEN EDWARDS IS DOING A LOVELY GRANDMOTHERS' FAN ROW-LAP QUILTING SO THAT SHE HAS DEVELOPED THIS ONE, OF COURSE, THIS PIECE AND WILL BE QUILTED AS SOON AS IT'S LAYERED WITH THE BATTING.

AND THIS IS THE EFFECT THAT SHE GETS.

SHE IS ACTUALLY QUILTING-- HER BLOCKS HAVE BEEN CONNECTED IN ONE ROW WITH ONE OF THE BRIGHT PINK AS A BORDER.

AND WHEN IT GOES TOGETHER, I THINK YOU HAVE MORE OF-- YOU SEE MORE OF THE EFFECT.

YOU GET THE IDEA THAT THIS HAS BEEN CONNECTED.

HERE IS WHERE YOUR OPTIONAL IDEA GOES, WHERE THIS IS WHERE THE FOLD IS ON THE BACK WHERE THE ACTUAL SEAM CONNECTION IS MADE.

SO THIS IS LAP QUILTING IN ROWS.

LET'S LOOK AT ANOTHER QUILT OR MR. AND MRS. MAYO'S.

I THINK YOU'LL ENJOY THAT.

WE REALLY HAVE A MESS HERE ON THE FLOOR.

HAVE YOU EVER HEARD THE EXPRESSION, "DULL WOMEN HAVE CLEAN HOUSES?"

I THINK THAT'S A GOOD EXPRESSION TO KEEP IN MIND.

THIS IS MR. AND MRS. MAYO'S QUILT THAT HAD BEEN IN THE FAMILY FOR A LONG TIME, AND THESE WERE VERY OLD FLORAL APPLIQUE BLOCKS.

YOU CAN EVEN SEE THERE WERE SOME STAINS ON SOME OF THEM, BUT THEY WANTED IT TOGETHER IN A QUILT.

SO I WANTED TO SHOW YOU EXACTLY HOW WE WENT ABOUT DOING THIS AND STILL-LAP QUILTED IT.

IT HAS THE-- THE BLOCKS HAVE BEEN SET WITH A PINK BAND AROUND THEM, AND THEN EACH ONE ALTERNATES.

ONE BLOCK, FOR INSTANCE, IN THE CENTER, HAS THE GREEN SQUARE, AND THEN ANOTHER BLOCK WILL HAVE THE WHITE SQUARE.

WHEN THEY ARE PUT TOGETHER, YOU DEVELOP A LITTLE FOUR-PATCH IN THE CORNER.

SOME OF THE OUTSIDE BLOCKS WOULD MEAN GOING AHEAD AND ADDING AN EXTRA PINK ROW AND AN EXTRA SET SO THAT YOU'D BE LAP QUILTING A LITTLE BIT MORE.

AND OF COURSE, THE BANDS WERE ADDED AT THE END AND QUILTED BECAUSE IT TURNED OUT TO BE A SQUARE QUILT AND WE WANTED TO EXTEND IT.

MR. MAYO EVEN IS HOOKING A RUG TO GO WITH THIS QUILT.

I THINK THAT WILL BE A VERY NICE KIND OF AN ENSEMBLE TO GO IN A BEDROOM.

YOU MIGHT GO BACK TO THE QUILT AND NOTICE JUST FOR A MINUTE THE NICE STENCIL DESIGN THAT GOES AROUND THE OUTSIDE.

I SIMPLY FOUND THIS ON THE BACK OF AN ENVELOPE THAT I GOT ONE DAY.

I THOUGHT IT WAS A NICE SCALLOP, A SCALLOP PLUS THE STRAIGHT LINES.

LET'S LOOK AT MORE STENCILS.

KITTY TALLY HAS MADE A BEAUTIFUL NINE-PATCH QUILT.

KITTY TALLY IS FROM WINSTON-SALEM.

AND I THINK TO ME THE HIGHLIGHT OF THIS WHOLE QUILT IS THE STENCIL DESIGN CARRIED OUT THROUGHOUT THE WHOLE QUILT.

IF YOU'LL STUDY THE OFFSET BLOCK THAT COMES FROM-- THAT ALTERNATES WITH HER NINE-PATCH.

SHE HAS A CIRCLE EFFECT IN THE CENTER, AND THEN SHE HAS TWO KINDS OF CROSS-HATCHING.

WE REFER TO THIS AS CROSS-HATCHING.

ONE IS ON THE DIAGONAL, WHICH IS ON THIS OUTSIDE, AND THEN ONE IS STRAIGHT ON.

AND THEN IN THE CIRCLE, I LIKE THIS LOOPING EFFECT.

THAT'S ESPECIALLY NICE BECAUSE YOU CAN JUST QUILT CONTINUALLY THERE.

YOU DON'T HAVE TO STOP AND START ALL THE TIME.

IT'S JUST ONE CONTINUAL LINE.

PENNY WARTMAN HAS DONE A BEAUTIFUL JOB ON THIS DRESDEN PLATE.

SHE MADE THIS FOR HER MOTHER-IN-LAW, AND I THINK THE PASTEL EFFECT IS JUST-- IS VERY, VERY NICE IN THIS QUILT.

SHE HAS DONE A LARGE SCALLOP EFFECT ALL THE WAY AROUND EACH BLOCK.

AND SOMEHOW, VISUALLY, THAT DRAWS YOUR EYE INTO THE CENTER OF THE BLOCK.

I ALSO LIKE THE EFFECT THAT IN THE CORNERS, SHE HAS FILLED THAT IN.

AND I THINK SOMETIMES IN APPLIQUE WORK, THERE'S SOMETIMES AN EMPTY AREA THERE.

AND IF YOU WILL TAKE AND PUT EITHER, FOR INSTANCE, JUST A SCALLOP LINE HERE, OR YOU COULD EVEN DO THIS KIND OF AN EFFECT IN THE CORNERS.

I THINK THAT'S VERY NICE.

ONE TIME, I BOUGHT A QUILT, AND AS I WAS WALKING OUT THE DOOR, I SAID TO THE LADY, "WHAT IS THIS TOOTHPASTE ON THE QUILT?

WILL IT COME OUT?"

AND SHE SAID, "OH, MY DEAR."

SHE SAID, "THAT IS CALLED A SNAP LINE."

SHE SAID, "WE TAKE STRING, AND WE DIP IT IN LIQUID STARCH, AND THEN MY FRIEND GETS AT THE OPPOSITE CORNER OF THE QUILT, AND WE SNAP IT ON THE QUILT.

WELL, SHE MUST HAVE LEARNED THAT FROM A BUILDER OF SOME SORT.

SO I THINK THAT OVER THE YEARS, PEOPLE HAVE USED MANY DIFFERENT WAYS FOR MARKING THE QUILT, AND IT'S ALWAYS BEEN MORE OR LESS A PROBLEM, I THINK.

I HAVE SEEN BEAUTIFULLY QUILTED QUILTS THAT WILL HAVE PENCIL MARKS ON THEM, AND THAT'S REALLY TOO BAD.

SO LET'S EXAMINE THE ALTERNATIVE METHODS FOR MARKING A QUILT.

A NEW TECHNIQUE THAT I'VE JUST LEARNED ABOUT-- AND OF COURSE, I THINK QUITE OFTEN WE THINK OF THE CONVENTIONAL WAY OF QUILTING THAT WHERE OUR LINES ARE PUT ON THE BLOCK IS MORE OR LESS DETERMINED BY THE WAY THE BLOCK HAS BEEN PUT TOGETHER.

THAT IS, THE WAY IT'S BEEN PIECED.

FOR INSTANCE, ON THIS GRANDMOTHERS' FAN, QUITE OFTEN, WE WILL SIMPLY FOLLOW THE LINE OF THE WAY IT'S BEEN PIECED, AND THAT WOULD BE CALLED JUST TRADITIONAL OUTLINE QUILTING.

I'M FINDING THAT MORE AND MORE, WE'RE BREAKING AWAY FROM THOSE LINES.

AND IN THIS LOG-CABIN-EFFECT QUILT THAT I'M DOING, I'M GOING TO QUILT STRAIGHT LINES ON ONE SIDE AND THEN DO A SCALLOP EFFECT ON THE OTHER, DISREGARDING HOW IT HAS BEEN PUT TOGETHER.

I MORE OR LESS LIKE THE ARCH EFFECT THAT'S CREATED IN THE MUSLIN.

WHAT YOU CAN DO IS EITHER USE A YARDSTICK AND DRILL, SAY, EVERY 1/2 INCH DRILL A HOLE, OR YOU CAN GET A PLASTIC RULER THAT HAS A 1/2 INCH HOLE DRILLED ALL THE WAY OUT TO THE END.

AND THEN YOU PLACE THAT, AND YOU HAVE TO ANCHOR IT RIGHT WHEREVER YOU'RE GOING TO MAKE YOUR SCALLOP, AND THEN YOU CAN TAKE A MARKING PENCIL AND SIMPLY, STARING HERE, SWING THIS ALL THE WAY AROUND.

AND YOU HAVE TO GIVE YOURSELF PLENTY OF ROOM.

DON'T LET ANY PAPERS OR THINGS BE IN YOUR WAY.

IT WILL JUST KIND OF BOTHER YOU IF THAT HAPPENS.

BUT YOU SEE HOW YOU CAN JUST KEEP GOING THERE?

AND THEN I KNOW THAT I GO IN ONE TWO, THREE MORE PLACES AND START AGAIN AND JUST MAKE THAT ARCH ALL THE WAY AROUND, AND I OF COURSE WOULD-- THEN I THINK I CAME IN JUST A 1/2 AN INCH AND MADE THE ARCH AGAIN.

BUT YOU COULD JUST MARK YOUR WHOLE QUILT IN THAT FASHION, DEPENDING ON, OF COURSE, WHATEVER MARKING DEVICE YOU'RE GOING TO USE.

ANOTHER IDEA WOULD BE TO WORK WITH A LIGHT BOX.

THIS IS SOMETHING THAT YOU CAN EITHER MAKE AT HOME, OR YOU COULD USE, FOR INSTANCE, A GLASS A COFFEE TABLE, OR I HAVE A GLASS KITCHEN TABLE, AND I USE THAT, AND SIMPLY PUT A LIGHT UNDERNEATH IT WHICH WILL ILLUMINATE IT A LITTLE BIT MORE.

BUT YOU CAN GET A CARDBOARD BOX AND INSERT A LIGHTBULB INSIDE.

AND THEN WITH A PIECE OF PLEXIGLAS, AND THEN YOU CAN SIMPLY TURN ON YOUR LIGHT.

AND I WORK SOMETIMES WITH THE STENCIL DESIGNS THAT ALREADY COME ON PAPER.

AND I'D LIKE TO TAKE A HEAVIER PEN AND GO OVER THOSE LINES, BECAUSE THEN WHEN YOU PUT YOUR MUSLIN OR ANY DESIGN ON THAT, YOU SEE HOW IT'S ILLUMINATED?

THEN YOU CAN GO AHEAD AND TRANSFER THAT DESIGN TO THE FABRIC.

NOW, THERE ARE SEVERAL THINGS ON THE MARKET.

YOU CAN USE A FABRIC PEN OR A FABRIC PENCIL.

ON DARK FABRIC, THERE IS A WHITE PENCIL.

AND THEN YOU CAN STILL RELY ON THE OLD STANDBY, THE SOAP SLIVERS.

I THINK ON WHATEVER YOU DECIDE TO USE, IT'S IMPORTANT TO TEST IT ON YOUR FABRIC.

A LOT OF PEOPLE ARE VERY CAUTIOUS WITH THE FABRIC PENS BECAUSE THEY'RE WORRIED THAT A RESIDUE MIGHT GO ON INTO THE BATTING AND STAY THERE OVER THE YEARS.

I STILL USE THESE, BUT I ONLY USE THEM ON THINGS THAT I KNOW I'M GONNA BE WASHING REPEATEDLY, SO THAT WOULD BE MY ADVICE TO YOU.

ONE TIME, A GENTLEMAN AT A CRAFT FAIR STOPPED AND ASKED ME, HE SAID, "WHY IS IT THAT I ALWAYS SEE THE SAME CABLE AND THE SAME FEATHER DESIGNS ON ALL OF THE QUILTS?"

AND I STOPPED TO THINK, AND I REALLY DON'T KNOW, EXCEPT MAYBE THE ANSWER IS TRADITION.

WE HAVE HAD THESE LINES THAT HAVE BEEN HANDED DOWN THROUGH THE YEARS, AND THEY JUST LOOK BEAUTIFUL ON ALL OF OUR QUILTING DESIGNS.

ONE TIME, A LADY WROTE ME AND SAID SHE WAS DESPERATE TO FIND A FEATHER DESIGN, AND SHE'D GONE TO A LIBRARY AND COULDN'T FIND ONE.

SO SHE SIMPLY GOT A TABLESPOON FROM THE KITCHEN AND MADE HERE CURVE AND THEN JUST KEPT DRAWING AROUND THAT TABLESPOON AND REPEATED IT.

AND I THOUGHT THAT WAS A VERY INGENIOUS THING THAT SHE DID, AND THAT MIGHT HAVE BEEN THE ORIGINAL WAY THE FEATHER DESIGN WAS CREATED.

I THINK ANOTHER THING TO CONSIDER IS THAT IF YOU'RE ARTISTIC AND YOU CAN WORK READILY, FOR INSTANCE, YOU CAN DRAW A DOGWOOD FLOWER AND YOU CAN MAYBE EVEN DRAW A BIRD OF SOME SORT OR WHAT ABOUT AN ANGEL ON MUSLIN?

WHY NOT GO AHEAD AND DRAW A DESIGN ON YOUR FABRIC, AND THEN YOU CAN USE SOME ACRYLIC PAINTS AND HIGHLIGHT THE FIGURE AND THEN QUILT IT?

THERE ARE MANY OPPORTUNITIES TO BE ORIGINAL IN QUILTING.

I THINK THIS LITTLE ELSIE THE COW IS JUST CHARMING WITH HER LITTLE BONNET ON.

AND OF COURSE, QUILTING, IT IS WHAT HIGHLIGHTS THE WHOLE EFFECT.

SHE HAS--A LOT OF OUR THINGS THAT ARE DECORATIVE ARE BEING PUT IN HOOPS NOW, AND I THINK THAT'S VERY EFFECTIVE.

THIS DESIGN IS FROM THE YOURS TRULY QUILT CALENDAR, AND THIS GAL, CAROL HEART-- THIS IS DONNA HEART, BY THE WAY, FROM ASHEVILLE, NORTH CAROLINA, HAS GONE AHEAD AND CREATED THIS WHOLE IDEA ON MUSLIN USING HER ACRYLICS, AND THEN SHE'S PAINTED IT.

I THINK DONNA'S DONE A CHARMING-- AND THIS ONE WITH THE RED, WHITE, AND BLUE, THIS MUST HAVE BEEN THE MONTH OF JULY, RIGHT?

BUT THERE ARE MANY, MANY IDEAS THAT ARE AVAILABLE FOR STENCIL.

HELEN SQUIRE HAS A LOVELY, ORNATE, SCROLL-LIKE DESIGN THAT YOU CAN ORDER.

AND KEEP IN MIND THAT THIS IS A LOT QUILTING, ANYTHING THAT HAS THIS MUCH DESIGN GOING ON, BUT YOU WILL GET A DOUBLE ROW OF QUILTING HERE, WHICH CAN BE VERY EFFECTIVE.

I THINK IT WOULD BE LOVELY.

DON'T FORGET ABOUT YOUR COOKIE CUTTERS.

THOSE MAKE NICE, NICE LINES TO GO AHEAD AND TRANSFER ONTO YOUR FABRIC.

THE IMPORTANT THING TO KEEP IN MIND IS THAT ALL THESE DESIGNS SHOULD BE DONE AT THIS POINT BEFORE YOU PUT ANY OF YOUR BATTING OR YOUR BACKING.

I THINK IT'S EASIER TO WORK ON A FLAT SURFACE RATHER THAN WHEN YOU GET YOUR BATTING ALREADY IN.

ANOTHER SUGGESTION WOULD BE A LOVELY COLLECTION DONE BY DOROTHY BRINKMAN.

AND SHE HAS DONE WHAT SHE REFERS TO AS HER "ORIENTAL COLLECTION."

AND I HAVE SEEN THESE MADE UP IN PLACE MATS, AND THEY REALLY ARE QUITE LOVELY WITH THE DESIGNS, DIFFERENT FLORAL PATTERNS.

I HAVE GONE AHEAD, AND I AM INTERPRETING THAT ENTIRE DESIGN.

RATHER THAN IN A PLACE MAT, I'M PUTTING IT ON A WHOLE JACKET.

I'VE GOT IT PARTIALLY QUILTED.

WE'LL STUDY THIS MORE WHEN WE GET TO VEST AND JACKETS, WHEN WE DO OUR SHOWS ON THOSE.

BUT I THINK YOU SEE THE LOVELY CHRYSANTHEMUM AND ALMOST THE TRELLIS DESIGN THAT IS CREATED.

NOW, I HAD TO PLACE THIS DESIGN ON MY GLASS KITCHEN TABLE WITH A LIGHTBULB UNDERNEATH.

AND THEN I PLACED THIS SINGLE THICKNESS OF THE BACK OF MY GARMENT BEFORE, OF COURSE, IT WAS LAYERED AND BASTED TOGETHER TO TRACE A DESIGN ONTO HERE SO I'D HAVE A DESIGN TO FOLLOW.

I HAVE QUITE A BIT MORE QUILTING TO DO ON THIS, AND WE'LL TALK ABOUT THAT LATER.

MY MOTHER'S WORKING ON A QUILT, AND I RATHER LIKE THE DESIGNS SHE HAS CHOSEN FOR HER BORDER.

SHE HAS SIMPLY TAKEN A HEART.

AND SHE HAS A LITTLE CARDBOARD DESIGN THAT'S MORE OR LESS WORN-OUT BY NOW.

SHE'S DONE A LOT OF QUILTING.

BUT LOOK AT THE DIMENSION YOU GET HERE, AND THEN SHE USES PART OF IT ALL THE WAY AROUND THE QUILT.

AND I THINK THAT'S A NICE IDEA ALSO.

DON'T FORGET ALSO THAT YOUR FRENCH CURVES ARE NICE TO WORK WITH.

THIS IS, OF COURSE, SOMETHING THAT WE USE IN BASIC SEWING, AND I THINK THIS ANOTHER IDEA TO CONSIDER.

A LOT OF OUR DESIGNS ARE BEING PLACED ON PLASTIC, AND OF COURSE, THE OBVIOUS THING HERE IS THE FACT THAT AS WE'RE USING CARDBOARD, IT WILL WEAR OUT, AND IT JUST KIND OF RUNS DOWN, AS THIS ONE IS ABOUT AT THE END OF ITS TRAIL HERE.

AND THE NICE THING ABOUT USING THINGS ON PLASTIC IS THAT THEY WILL SAVE AND THEY WILL KEEP AND JUST SIMPLY LAST A LITTLE BIT LONGER.

THIS WAS A DESIGN THAT WE USED WHEN WE DID "THE BRASSTOWN STAR."

THIS WAS MORE OR LESS THE TWINY SCROLLWORK THAT WENT ALL THE WAY DOWN THE BORDER OF THAT QUILT.

LET'S PEEK AND SEE IF I HAVE ANYTHING ELSE HERE.

OH, YES.

CONSIDER THE FACT THAT A LOT OF OUR DESIGNS DO COME ALREADY ON YOUR CARDBOARD AND PUNCHED OUT, AND THAT'S NICE ALSO, BECAUSE WHEN YOU'RE REPEATING A PATTERN, YOU HAVE IT ALL STATIONARY ON YOUR CARDBOARD, AND THEN YOU CAN SIMPLY REPEAT IT ONCE AGAIN EACH TIME.

I WANT US TO THINK ABOUT OUR NEXT STEP ONCE OUR DESIGN HAS BEEN PLACED ON OUR FIGURE.

AND WE HAVE ONE THAT'S ALREADY BEEN DONE.

THEN, AND OF COURSE, ALSO KEEP IN MIND THAT AS YOU'RE WORKING ON YOUR BLOCKS, YOUR OUTSIDE BORDER NEEDS TO BE PRESSED THE SAME WAY ON EACH ONE OF YOUR SETS.

IN OTHER WORDS, THERE WILL BE 20 OF THESE SECTIONS THAT ARE GOING IN AN ENTIRE QUILT.

AND I WANT TO MAKE SURE THAT, OF COURSE, I AM QUILTING ALL OF THEM THE SAME.

I WANT THEM TO BE UNIFORM.

SO IF ALL OF MY SEAMS ARE PRESSED OUT, PROBABLY THE LAST AMOUNT OF QUILTING I WILL DO CLOSE TO THE BORDER WILL BE ON THE INSIDE, DEPENDING ON EXACTLY WHATEVER I DECIDE TO WORK ON.

BUT THIS IS READY TO PUT THE BATTING TO LAYER MY THREE LAYERS.

THIS IS THE SANDWICH IDEA THAT GOES ON IN MY WHOLE QUILT.

AND AS FAR AS BATTING GOES, I WOULD LIKE TO TALK A LITTLE BIT ABOUT IT.

WE DON'T REALLY SEE TOO MUCH COTTON BATTING BEING USED TODAY.

THERE IS A NEW VARIETY OF BATTING OUT ON THE MARKET THAT IS 80% COTTON AND 20% POLYESTER, AND THAT'S A GOOD IDEA.

BUT PREVIOUSLY, I HAVE QUILTED ON SOME THINGS THAT WERE ALL COTTON BATTING, AND IT WAS HARD TO GET A NEEDLE THROUGH.

IT REALLY WAS.

I LIKE THE POLYESTER BATTING.

I THINK IT'S GREAT.

AND THERE ALL DIFFERENT DEPTHS OF POLYESTER.

YOU CAN GET SOME THAT ARE SUPER LOFTY IF YOU WANT A REAL POOCHIE QUILT.

YOU CAN GET SOME THAT ALMOST ARE LIKE A FLAT FELT BLANKET, MORE OR LESS A TRADITIONAL BATTING.

BUT I THINK IF YOU KEEP IN MIND, AND WHENEVER YOU'RE BUYING A BATTING, BUY A NAME-BRAND BATTING, BECAUSE I THINK THEN YOU'RE GUARANTEED THAT IT WILL BE BONDED AND IT WILL BE A GOOD BATTING.

THIS IS THE MEAT OF YOUR WHOLE QUILT.

THIS IS THE INSIDE PART, AND IT'S IMPORTANT.

YOU'VE INVESTED TIME AND MONEY IN YOUR FABRIC, AND YOU'VE PIECED IT ALL, SO REALLY TAKE TIME TO GET A GOOD BATTING.

ALL RIGHT, NOW OUR NEXT STEP.

I KNOW THAT THIS IS THE BACKING OF MY QUILT.

IN THIS CASE, I'M USING A KIND OF A FLORAL PRINT ON THE BACK.

AND ALWAYS WORK ON A FLAT SURFACE.

YOU WANT A NICE, BIG, FLAT SURFACE TO WORK ON.

I'M GOING TO PUT MY BACKING DOWN WITH MY BATTING RIGHT ON TOP, AND THEN I'M GONNA LINE MY-- QUITE OFTEN, I USE THIS SECTION AS A GUIDE FOR CUTTING OUT MY BATTING AND MY BACKING.

THEN I MAKE SURE AND LINE UP THE CORNERS.

A LOT OF PEOPLE HAVE SAID, "DO YOU NEED EXTRA MATERIAL ON YOUR BACKING?"

I FIND THAT YOU REALLY DON'T NEED ANY EXTRA, BECAUSE WHEN YOU GET READY TO DO YOUR LAP QUILTING CONNECTION, WE'LL UNDERSTAND AND SEE HOW THAT WORKS.

I USUALLY PIN MY CORNERS FIRST TO MAKE SURE THAT THAT IS SUFFICIENTLY LINED UP WITH EVERYTHING.

I DON'T WANT TO HAVE THE TOP NOT COINCIDE WITH THE BATTING AND THE BACKING.

AND THEN I'VE GOT TO GET MY THIMBLE HERE.

AND I LIKE TO USE A CONTRASTING THREAD FOR DOING MY BASTING.

IT'S JUST EASIER TO PULL OUT WHEN WE GET DONE.

BUT I THINK BASTING IS VERY IMPORTANT, ESPECIALLY WHEN WE'RE DOING LAP QUILTING WITHOUT A FRAME.

EVEN IF YOU'RE USING A FRAME, YOU'VE GOT TO HAVE THESE THREE LAYERS LINED UP.

IF IT ALL WHEN YOU START QUILTING, YOU START GETTING THIS, SOMETIMES I REFER TO IT AS "GARBLYGOOK," ON THE BACKSIDE, THAT WILL START MOVING AND SHIFTING.

IT'S BECAUSE YOU HAVEN'T BASTED ENOUGH.

NOW, A LOT OF GIRLS THAT ARE JUST STARTING OUT, FEEL THE NEED TO REALLY START BASTING FROM THE CENTER OUT SO THAT THAT KNOT-- YOU'RE GONNA SEE REALLY A WHOLE GROUP OF KNOTS RIGHT IN THE CENTER OF YOUR QUILT.

IT SEEMS LIKE I'VE DONE ENOUGH LAP QUILTING, BUT USUALLY WHAT I DO IS TO START BASTING AT A CORNER AND SET THE OUTSIDE OF MY BLOCK FIRST AND GO ALL THE WAY AROUND THE OUTSIDE.

BUT ONCE THAT HAS BEEN DONE, IN FACT, I COULD EVEN TURN IT HERE, BUT I'LL CONTINUE TO BASTE ALL THE WAY AROUND, AND BY BASTING I MEAN BIG STITCHES, BECAUSE I SIMPLY WANT TO GRASP THESE THREE LAYERS TOGETHER, AND I'M JUST GONNA KEEP GOING ALL THE WAY AROUND.

IT TAKES A WHILE, BUT IT'S A VERY IMPORTANT STEP.

IT REALLY IS.

WE HAVE MORE OR LESS SET THE STAGE NOW.

WE ARE READY TO DO OUR QUILTING, AND WE HAVE AN EXCITING SHOW NEXT TIME.

I HAVE LOOKED FORWARD TO THIS.

THE CHARLOTTE QUILTERS GUILD, SIX OF THE LADIES FROM THAT GUILD, ARE GOING TO JOIN ME ON THE SET AND TALK ABOUT THE WAY THEY QUILT.

ONE TIME, I WAS AT A LARGE SYMPOSIUM, AND I WAS TELLING A LADY THAT I QUILTED WITHOUT A FRAME.

AND SHE SAID, "WELL, MY DEAR, YOU AREN'T QUILTING."

WELL, I THINK IT'S GOING TO BE FUN TO EXAMINE SIX DIFFERENT WAYS OF HOW PEOPLE HOLD THE NEEDLE AND HOW THEY QUILT.

WE'LL LOOK FORWARD TO SEEING YOU NEXT TIME.

male announcer: GEORGIA BONESTEEL IS THE AUTHOR OF THE BOOK LAP QUILTING WITH GEORGIA BONESTEEL, BASED ON THIS TELEVISION SERIES.

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