- TWAL FABRICS ARE FEATURED ON TODAY'S SHOW.

THEY COME IN ALL COLORS, SIZES, AND SHAPES.

BUT WHAT ABOUT THEIR HISTORY?

LEARN FROM AN AUTHORITY, MARIE CHRISTINE FLOCARD FROM FRANCE.

THEN TRAVEL OUT TO OREGON AND VISIT THE NEWPORT QUILT AND GIFT COMPANY.

JULIE FEATURES A UNIQUE IDEA IN HER STORE.

[MUSIC] ♪ COULD YOU IMAGINE A MORE CLEVER OBJECT?

♪ ♪ WARMS THE BODY IGNITES THE MIND ♪ ♪ A CHILD SLEEPS UNDER MOTHER'S CREATION TOGETHER FOREVER.

♪ ♪ [MUSIC] ♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND ♪ ♪ PUTS YOU TO BED ONE DAY AT A TIME.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND.

♪ [MUSIC] - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

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

NOTHING SEWS LIKE A BERNINA.

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE THROAT, MOBILE, HAND GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER.

AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.

- WHALES, SEA LIONS, AND LIGHTHOUSES.

YES, THERE IS PLENTY OF INSPIRATION ALONG THE OREGON COAST.

IN FACT, IT'S PICTURE PERFECT, A POSTCARD IN THE MAKING, AS OUR QUILT SHOP TOUR TAKES US TO NEWPORT, OREGON.

JUST OFF HIGHWAY 101 AND THE YAKIMA BAY BRIDGE, YOU CAN MEANDER ALONG THE HISTORIC BAY FRONT WHERE SEA LIONS GREET THE TOURISTS.

THE BEACHES AND BEAUTIFUL SCENERY DRAW MANY SUMMER PEOPLE, BUT OURS WAS A UNIQUE DESTINATION, THE NEWPORT QUILT AND GIFT COMPANY.

THE OWNER MET ME OUTSIDE AS WE THEN CONTINUED A TOUR INSIDE THE STORE.

A CO-WORKER, WHO HAPPENS TO BE OUR HIGH SCHOOL SON, WILL BE MISSED NEXT YEAR AS HE GOES OFF TO COLLEGE.

JUST AS THE GARMENT INDUSTRY FEATURES DESIGNER COLLECTIONS, SHOPS NOW SEPARATE THEIR FABRIC LINES.

JULIE WILL HANG A QUILT PROJECT CLOSE BY THE ACTUAL BOAT.

THAT'S A REAL INCENTIVE TO BUY.

SEAWORTHY FABRIC, OCEANS OF OCEANS, ARE PERFECT FOR THAT PORPOISE PATCHWORK WALL HANGING.

IF LANDSCAPES AND SEASCAPES ARE YOUR PATCHWORK THING, THIS IS THE PLACE TO COME.

THIMBLEBERRY FABRIC IS PLENTIFUL, ALONG WITH THE SAMPLES TO INSPIRE.

BOOKS ARE A MAJOR PART OF THE STORE, AND JULIE'S COMMENT WAS, "THE FABRIC MODELS ARE A BIG HELP TO SELL THE BOOKS."

NOW MEET THIS HARDWORKING PATCHWORK PROPRIETOR.

WELCOME, JULIE GOLOMOWSKI, AND IT'S VERY NICE TO BE HERE IN NEWPORT, OREGON.

TELL US A LITTLE BIT ABOUT YOUR QUILT SHOP.

- WE ARE LOCATED RIGHT ON THE COAST, AND WE SPECIALIZE IN OCEAN FABRICS.

QUILTERS VISIT US FROM ALL OVER THE WORLD AS THEY VISIT THE OREGON COAST.

- I CAN TELL THAT IT MUST BE A SEASONAL OPERATION.

HOW DOES THAT AFFECT YOUR BUSINESS, AND WHEN IS YOUR BUSIEST TIME OF THE YEAR?

A LITTLE BIT ABOUT THAT.

- OUR BUSIEST SEASON IS DEFINITELY THE SUMMER, WHEN QUILTERS COME FROM ALL OVER TO SEE THE COAST.

WE HAVE KEIKO THE WHALE HERE IN NEWPORT, AND WE HAVE LIGHTHOUSES IN NEWPORT, WHICH IS A BIG TOURIST DESTINATION.

WE HAVE QUILTERS VISITING US FROM EVERYWHERE.

WE KEEP IN TOUCH WITH THOSE TOURIST QUILTERS OVER THE WINTER, AND THAT'S HOW WE GET BY IN THE WINTERTIME.

I SUPPOSE YOU HAVE CLASSES HERE.

OUR CLASSES ARE BY MAIL, BECAUSE QUILTERS VISIT US, AND THEY WANT TO TAKE CLASS, BUT THEY LIVE IN KANSAS OR FRANCE, SO WE MAIL ORDER OUR BLOCK PARTY QUILTS TO THEM.

- FOR INSTANCE, JULIE, THE BEAUTIFUL ANGEL QUILT, IS THAT ONE OF THE BLOCK PARTY QUILTS?

- YES, IT IS.

IN FACT, WITH THAT ONE, EVERY MONTH THEY RECEIVE A DIFFERENT STAR, BUT EVERY QUARTER THEY RECEIVE ONE OF THE ANGEL BLOCKS, OR THE FOURTH QUARTER THEY RECEIVE THE ARCH TOPPER TO FINISH THE QUILT.

- AND THEN THE BEAUTIFUL KIND OF PASTEL QUILT WITH ALL THE GARDEN, WHAT IS THAT NAMED?

THE WATERCOLOR FLOWER GARDEN QUILT WAS THE FIRST QUILT THAT I DESIGNED.

THEY RECEIVE A FLOWER EVERY MONTH, BUT THEN EVERY OTHER MONTH THEY RECEIVE A BONUS BLOCK, THE BIRD BATH OR THE WATERING CAN OR THE LITTLE BIRDS.

- THAT MUST BE SUCH AN INCENTIVE, NOT ONLY TO RECEIVE IT, BUT TO THINK WHAT'S GOING TO HAPPEN NEXT AND WHAT YOU'RE GOING TO GET.

I SUPPOSE YOU'RE ALWAYS THINKING AHEAD, WHAT'S GOING TO BE THE NEXT PROJECT?

- THE ENGLISH COTTAGE WAS OUR LATEST ONE, AND IT TAKES ABOUT TWO YEARS FOR ME TO COME UP WITH A DESIGN AND GET IT TO COMPLETION.

- CAN YOU GIVE US AN IDEA OF MAYBE JUST ONE OF A LITTLE PART OF THAT PARTICULAR QUILT?

- SURE, I'D LOVE TO.

THIS IS OUR LATEST BLOCK PARTY QUILT, AND THIS PARTICULAR BLOCK IS THE LIGHTHOUSE KEEPER'S COTTAGE, WHICH IS A SPECIAL PLACE IN MY HEART BECAUSE IT'S THE LIGHTHOUSE THAT REPRESENTS OUR COAST.

- YOU SAID YOU WERE INSPIRED BY A CERTAIN PAINTER FROM THE WEST?

- THOMAS KINKADE, HE'S A WATERCOLOR PAINTER THAT I JUST LOVE, AND HE'S CALLED THE PAINTER OF LIGHT BECAUSE HE PUTS LIGHTS IN THE WINDOWS AND IT MAKES IT SEEM LIKE THERE'S A WARM AND COZY FIRE, SOMETHING GOOD TO COME HOME TO.

I WANTED TO GET THAT FEELING TO MY QUILTS.

-NOW ALL THE COTTAGES ARE AROUND ALMOST LIKE A CENTER SQUARE.

WHAT DO YOU CALL THIS SETTING?

- THIS IS OUR ENGLISH COMMON SETTING, AND WE TRIED TO SET THE COTTAGES AROUND THE SQUARE SO THAT IT HAD A VILLAGE FEEL.

- ONCE THEY FINISH EACH OF THE COTTAGES, DO YOU TEACH THEM OR TELL THEM IN THE INSTRUCTIONS HOW TO PUT THE WHOLE QUILT TOGETHER?

- THAT'S RIGHT.

WITH THE FINAL BLOCK, THEY RECEIVE THE INSTRUCTIONS TO STRIP PIECE THE ENGLISH COMMON CENTER AND THE BORDER.

- HOW DO THEY--THEY GET A BROCHURE TO BEGIN WITH.

IS THERE A COLORFUL--YOU SHOWED ME THAT.

I THOUGHT THAT WAS NICE.

- WE LET THEM KNOW ABOUT THE BLOCK PARTY SERIES THROUGH THE NATIONAL QUILT MAGAZINES, AND THEN WHEN THEY CONTACT US, WE SEND THEM A BROCHURE THAT EXPLAINS ALL THE DETAILS.

- AND THEN IN THE MAIL, THIS IS WHAT THEY RECEIVE.

I'D BE EXCITED TO GET THIS.

THE FABRIC IS CUT OUT--NOT THE SECTIONS, BUT THE AMOUNT THEY NEED FOR EACH BLOCK.

- THAT'S RIGHT.

- AND I UNDERSTAND YOU GENERATE THIS ON YOUR COMPUTER.

- I DO.

EVERYTHING'S DONE AT HOME ON MY COMPUTER.

THE BEGINNING PAGE HAS A DIAGRAM OF THE BLOCK AS IT WILL LOOK WHEN IT'S COMPLETED, AND THE FIRST PAGE IS ALWAYS THE CUTTING INSTRUCTIONS, TEMPLATE AND ROTARY CUTTING.

THE SECOND PAGE IS ALWAYS THE DETAILED INSTRUCTIONS ON HOW TO PUT THE QUILT TOGETHER, AND ALL THE TEMPLATES ARE INCLUDED WITH THE QUARTER OF AN INCH SEAM ALLOWANCE TO MAKE IT EASIER.

- SO THEY CAN DO EITHER HAND OR MACHINE WORK.

- THAT'S RIGHT.

- NOW, YOU'VE TAKEN US STEP BY STEP HERE, WHICH IS VERY GOOD.

TELL US.

- FOR EACH STEP, WE HAVE THE DIFFERENT COMPONENTS THAT MAKE UP THAT PARTICULAR PART OF THE BLOCK, AND THEN THE FINISHED BLOCK ABOVE IT.

AS YOU CAN SEE, IT'S PRETTY STRAIGHTFORWARD.

WE START AT THE GROUND UP OF BUILDING THE COTTAGE, AND WE HAVE RECTANGLES AND SQUARES MAKE UP THIS STORY, WHICH IS BASIC.

ALL OF THESE PIECES COULD HAVE BEEN ROTARY CUT WITHOUT THE USE OF TEMPLATES.

- AND THEN THE ROOF, I SEE.

NOW, THERE'S SOMETHING SPECIAL UP HERE I WOULD IMAGINE TO JUST CUT A RECTANGLE HERE, BUT YOU'VE GONE A LITTLE BIT FURTHER THERE.

- ONE OF THE THINGS THAT MAKES THE ENGLISH COTTAGES SPECIAL IS THAT THEY LOOK LIKE THEY'RE APPLIQUÉ BECAUSE IT ALMOST LOOKS LIKE THINGS CURVE, AND THAT'S WHAT WE'VE GOT HERE IS A BIT OF A CURVED WINDOW.

WE FOUND WITH THESE SMALLER PIECES, IT'S MUCH MORE ACCURATE TO HAVE THE ACTUAL TRIANGLE SEWN TO THE ANGLED PIECE.

BUT TO MAKE THAT EASIER FOR THE QUILTERS, WE'VE TRIMMED THE TRIANGULAR CORNERS OFF THE PIECES SO THAT THEY EXACTLY LINE UP ON THE SIDES, AND THIS MAKES IT MUCH EASIER.

YOU DON'T HAVE TO GUESS, "WHERE DOES MY TRIANGLE INTERSECT THE POINT IN EACH INSTANCE?"

IT MAKES IT A LOT EASIER AND A LOT MORE ACCURATE.

- GOOD IDEA.

NO DOG EAR, HOWEVER.

- THAT'S RIGHT.

- THEN WE GO TO STEP THREE.

STEP THREE IS THE SECOND PART OF THE ROOF.

THIS IS THE COTTAGE PART OF THE ROOF.

AGAIN, WE HAVE THE TRIANGULAR UNIT WHERE WE HAVE CLIPPED THE DOG EAR OFF ON ONE END SO THAT IT WILL LINE UP PERFECTLY WHEN YOU SEW IT TOGETHER.

- AND THEN YOU SAID THIS WAS YOUR FAVORITE STEP OVER HERE.

- THAT'S MY FAVORITE PART.

THAT'S CLOSE TO MY HEART BECAUSE OF THE LIGHTHOUSES HERE IN NEWPORT.

THAT UNIT'S PRETTY STRAIGHTFORWARD.

AS YOU CAN SEE, THE PART'S ON THE RIGHT AND THE FINISH'S ON THE LEFT.

AND THEN WE'LL END WITH AN ANGLED EDGE ON THIS END THAT WILL PUT THE WHOLE BLOCK TOGETHER.

- I SEE.

AND THEN THIS LAST SECTION, THE SKY PORTION, SIMPLY SETS IN.

AND, OF COURSE, YOU DON'T SEW UP TO THAT QUARTER INCH THERE.

- THAT'S RIGHT.

YOU LEAVE THAT LOOSE AND GO SEW INTO THE CORNER AND THEN PIVOT AND COME UP TO THE TOP, AND THAT COMPLETES THE BLOCK.

- WELL, JULIE, I'M EXCITED.

I'M READY TO SIGN UP.

I THINK IT WOULD BE SOMETHING TO LOOK FORWARD TO EVERY MONTH, AND IT'S AN INGENIOUS WAY FOR YOU TO ADAPT A BUSINESS IN A VERY TOURISTY AREA, AND WE COMMEND YOU FOR THAT.

- THANK YOU.

- CONGRATULATIONS.

- THANK YOU.

- I BET YOU'VE PUT OREGON ON THE MAP FOR YOUR PATCHWORK TRAVELS, HAVEN'T YOU?

WHAT A GREAT SHOP.

IF YOU LOOKED REAL HARD ON THAT TAPE, YOU CAUGHT THE TOILE PATCHWORK THAT JULIE DESCRIBED.

NOW, I'VE ALWAYS HAD A LOVE AFFAIR WITH TOILE FABRICS.

MY LOVE OF TOILE PRINTS CULMINATES IN MY DINING ROOM, MY PADDED ROOM AGLOW WITH BLUE AND WHITE TOILE FABRIC.

THIS ROOM REALLY WAS A BEFORE AND AFTER DREAM COME TRUE.

AS AN INSIDE ROOM, WHICH WAS THE ORIGINAL LIVING ROOM IN THE HOUSE, IT NEEDED LIGHT.

SO A SKYLIGHT, A WIDE OPENING INTO THE KITCHEN, WHITE PAINTED PANELING, AND FABRIC WALLS BECAME THE ANSWER.

FOR THE WALLS, I STAPLED TWO LAYERS OF HIGH LOFT BATTING AT THE TOP AND AT THE CENTER MOLDING.

THEN I MADE A MASTER CARTOON THAT INCLUDED MEASUREMENTS OF EACH WALL, SINCE I HAD TO CUT, MATCH THE TOILE PRINT, AND STITCH THE ENTIRE EXPANSE, INCLUDING THE TWO DOOR OPENINGS.

THAT'S A LOT OF FABRIC.

THE BIAS-COVERED CORDING WAS SEWN ONTO THE BOTTOM ALL THE WAY AROUND SO AT THE MOLDING, THE LAYERS COULD BE STAPLED AND FLIPPED UP.

THEN WITH A LADDER, I COULD PULL THE TOILE UP AND STAPLE IT AROUND THE TOP.

MORE BIAS-CORDING COVERED THE STAPLES AROUND THE TOPS AND THE DOORS.

THIS WAS MY FIRST GLUE GUN EXPERIENCE ON A LADDER, NO LESS.

ONE HINT FOR FABRIC-COVERED WALLS, I NEEDED TO ALLOW ABOUT AN EXTRA INCH FOR THE CORNER TURNS, SINCE THE BATTING ADDED TO THE FULLNESS.

PETE, MY HUSBAND, CALLS THIS MY RUBBER ROOM, BUT IT REALLY IS WONDERFUL FOR CONVERSATION AND, OF COURSE, GOURMET DINING.

LEARN MORE ABOUT TOILE FABRICS FROM AN AUTHORITY, MARIE-CHRISTINE FLOCARD FROM FRANCE.

WE RECOGNIZE TOILE DE JOUY, PRINT FABRIC, AS PASTORAL SCENES FROM THE EARLY 19TH CENTURY, USUALLY IN ONE COLOR ON WHITE.

NOW, MARIE-CHRISTINE FLOCARD FROM FRANCE IS HERE TO ENLIGHTEN US TO THE REAL FACTS OF TOILE FABRIC AND REALLY ABOUT HER PATCHWORK LIFE.

CAN YOU EXPLAIN THE WORD ITSELF AND THEN A LITTLE BIT ABOUT TOILE FABRIC AND THE FACT THAT IT'S NOT JUST TWO COLORS?

TOILE JUST MEANS FABRIC.

WE ASSOCIATE THE TWO NAMES TOILE DE JOUY BECAUSE THIS TYPE OF FABRIC WAS MADE AND PRINTED IN JOUY-EN-JOSAS NEAR VERSAILLES.

AND, IN FACT, THE FOUNDER, MR. OBERKAMP, DECIDED TO START THIS MANUFACTURE IN THIS LOCATION BECAUSE THERE WAS A SMALL STREAM WITH VERY PURE WATER, AND WATER WAS ABSOLUTELY NECESSARY TO HELP THE FABRICATION OF THIS SPECIAL TOILE.

AND JOUY-EN-JOSAS IS ABOUT FIVE, SIX KILOMETERS FROM VERSAILLES, AND THE COURT WAS IN VERSAILLES.

SO, FOR HIM, HE WAS SURE TO HAVE CUSTOMERS FOR HIS FABRIC.

AND YOU MENTIONED SCENES, AND FOR MANY, MANY PEOPLES, JOUY IS ONLY SCENES, PASTORAL SCENES, ANTIQUE SCENES, HISTORICAL SCENES.

AND THIS IS NOT TOTALLY WRONG, BUT MOST OF THE PRODUCTION, 90% OF THE PRODUCTION, WAS FLOWERS, AND VERY, VERY SPECIAL FLOWERS WITH BRIGHT COLOR.

AND OBERKAMP, THE FOUNDER OF THE MANUFACTURE, DECIDED TO PRINT FLOWERS IN LARGE SCALE FOR DECORATING, BUT ALSO IN VERY TINY SCALE FOR DRESSES FOR THE WOMEN OF THE COURT BECAUSE, FOR THEM, IT WAS SUCH A DISCOVERY TO BE ABLE TO WEAR COTTON.

BEFORE, THEY WERE WEARING LINEN, THEY WERE WEARING WOOL, SILK, AND COTTON WAS JUST A NEW FABRIC AND A VERY PLEASANT ONE.

- SO, THESE ARE STILL BEING MANUFACTURED TODAY, CHRISTINE?

- YES.

ALMOST WHEN I STARTED TO BE INVOLVED IN MY RESEARCH ABOUT TOILE DE JOUY, FOR THREE MONTHS, I VISITED ALL THE EDITORS OF DECORATING FABRICS IN PARIS.

AND I WAS WORKING ALSO WITH THE CURATOR OF THE MUSEUM, AND I WAS COLLECTING PIECES, SWATCHES OF FABRIC AT THE EDITOR, COMING TO THE MUSEUM, COMPARING THE THINGS I HAVE TO THE ORIGINAL DOCUMENT, AND SAYING, "THIS IS A REAL TOILE, THIS IS NOT A REAL TOILE."

AND IT TOOK ME THREE MONTHS TO IDENTIFY.

I THINK NOW WE HAVE AROUND 50, 55 ORIGINAL FABRICS STILL PRINTED BY DIFFERENT MANUFACTURERS BECAUSE THE MANUFACTURE OF JOUY DOESN'T EXIST ANYMORE.

- OH, MY.

THEN HOW DO YOU INCORPORATE THIS, FOR INSTANCE, IN YOUR CLASSES TODAY, CHRISTINE?

WHAT SORT OF QUILT WERE THEY MAKING?

- I THINK THE SHAPE WAS QUITE IMPORTANT.

WE MAKE, THEY HAVE THE CHOICE BETWEEN HEXAGONS THAT I HAVE MADE.

I HAVE MADE THIS QUILT WHEN I STARTED WORKING WITH TOILE DE JOUY, AND FOR ME, THE HEXAGON SHAPE WAS PERFECT BECAUSE YOU CAN SEE A LOT OF THE PATTERN.

EVEN IF YOU WERE USING A SCENE OR A FLOWER, AN HEXAGON WAS A VERY GOOD SHAPE, AND IT WAS LESS CLASSICAL THAN A SQUARE OR A RECTANGLE OR SOMETHING LIKE THAT.

I LIKE TO BE A LITTLE BIT EXOTIC.

AND AFTER MAKING THIS QUILT, WHICH IS NOW AT THE MUSEUM OF THE TOILE DE JOUY, I'M SORRY, IT DOESN'T BELONG TO ME ANYMORE.

I DECIDE WHY NOT TRY ANOTHER SHAPE, A LITTLE BIT MORE COMPLICATED, AND THE OCTAGON.

AND THREE YEARS AGO, I GOT A PHONE CALL FROM BRACQUENIER, WHO IS ONE OF THE MAJOR EDITORS, AND HE TOLD ME, "ARE YOU STILL INTERESTED IN TOILE DE JOUY?"

AND I SAID, "OH, YES, WE HAVE A NEW ONE."

AND THEY WERE KIND ENOUGH TO GIVE ME ONE METER OF THIS FABRIC.

AND GIVE YOU THE PRICE, $760 SOMETHING.

SO WHEN YOU GOT A FABRIC LIKE THAT, YOU ARE VERY CAREFUL TO USE IT.

SO I DECIDE TO USE THE SCENE BECAUSE I LIKE MEN AND WOMEN, THE BUTTERFLY, AND I FINALLY DECIDE TO CUT EACH OF THE INSECT AND ANIMAL IN THE GARLAND TO PUT THEM IN THE BORDER AND EVERYWHERE.

I HAVE, I STILL HAVE AT HOME THE REMAIN OF WHAT I WAS USING.

IT'S A PIECE OF SWEET CHEESE.

IT'S NOTHING.

YOU USED IT JUST ABOUT ALL.

EVERY, EVERY, EVERY SINGLE PIECE.

- CHRISTINE, HOW ABOUT A TIP OF THE DAY?

AND TO DO THAT, EXPLAIN YOUR STUDENT'S WORK HERE.

- YES, THIS STUDENT IS COLLECTING TOILE DE JOUY, AND IN FACT, SHE HAS IN HER MIND TO HAVE THE SCENE.

SO WHAT IS THE TRADITIONAL JOUY, AND TO HAVE, TO PREPARE A BORDER WITH THE FLOWERS OF JOUY.

AND SHE DECIDE TO HAVE SQUARE BECAUSE IT WILL BE A FULL, FULL-SIZE QUILT AND FOR QUITE A LARGE BED.

AND IN FACT, SHE WAS USING THE OCTAGON, THE HEXAGON FOR THE BORDER.

AND SHE CAME AND SAY, "I HAVE SOME PROBLEM WITH THIS."

AND I SAY, "NO, THIS IS VERY SIMPLE.

"YOU JUST USE THE Y METHOD SEAM TO PREPARE THIS."

SO YOU STARTED SEWING ONE SIDE OF YOUR TRIANGLE ON ONE SIDE OF YOUR HEXAGON.

YOU TAKE ANOTHER TRIANGLE.

YOU DO THE SAME THING, BUT CAREFUL.

YOU HAVE TO STOP ONE-FOURTH OF AN INCH BEFORE THE VERY END OF YOUR HEXAGON.

AND AFTER, YOU TAKE YOUR FABRIC LIKE THAT, AND REMEMBER THAT WHEN YOU ARE SEWING IN PATCHWORK, YOU NEVER SEW MORE THAN TWO LAYERS OF FABRIC.

SO PUT AWAY THIS ONE.

PUT A PIN AT THE END OF YOUR SEAMS OVER THERE AND START AND FINISH THIS PART.

AND WORKING LIKE THAT, YOU WILL HAVE A PERFECT ANGLE OVER THERE.

- THANK YOU SO MUCH FOR THIS EXPLANATION.

AND I'M NEVER GOING TO THINK OF JUST TWO COLORS NOW.

I WILL INSERT-- - NO, MULTICOLOR AND BRIGHT COLOR.

--BRIGHT COLOR.

- THANK YOU, GEORGIA.

- HAVE I MENTIONED THIS BEFORE?

SOMETIMES YOU HAVE TO MAKE A QUILT TWICE TO GET IT RIGHT.

I DESIGNED THIS QUILT WITH ONE THING IN MIND.

I WANTED TO FEATURE LARGE PRINTS, WHETHER THEY WOULD BE FLORAL OR MAYBE TWALLS.

WELL, I GOT THIS ONE ALL DONE, AND IT JUST DIDN'T SIT RIGHT WITH ME.

SO I MADE IT AGAIN USING THE TWALL FABRICS.

IT JUST BECAME A SEA OF PASTEL.

AND EVEN WHERE THESE TWO TEMPLATES RIGHT HERE CAME TOGETHER, IN ORDER TO EVEN MAKE THAT APPARENT, I HAD TO PUT A LITTLE LEDGE, A LITTLE ACCENT IN HERE.

AND THEN, OF COURSE, REALLY ALL YOU SEE ARE THE GREEN AND THE LAVENDER BORDERS AROUND EACH BLOCK.

SO WITH THE MAGIC OF TV, WE'RE GOING TO SHOW YOU THE TWALL ON THE OTHER SIDE.

NOW I THINK THIS DESIGN FINALLY WORKS.

I LIKE THE CONTRAST OF WHAT'S HAPPENING IN THIS PINWHEEL ACTION RIGHT HERE AND EVEN FURTHER DOWN IN THE DESIGN.

YES, I'VE COLLECTED A LOT OF TWALLS.

I'M ALWAYS LOOKING FOR A NEW COLOR.

AND WHAT REALLY COMBINES WELL WITH THESE TWALLS ARE THE WOVEN CHECKS AND PLAIDS.

SO IT WAS FUN TO GO THROUGH MY COLLECTION AND TRY TO PAIR UP THE COMBINATION OF THE TWO COLORS WITH A PLAID TO GO WITH IT.

I ENDED UP MACHINE QUILTING THIS QUILT ON MY GAMBLE MACHINE BECAUSE THE DECORATOR FABRICS ARE PRETTY TOUGH TO GO THROUGH WITH A NEEDLE AND THREAD.

IF YOU NOTICE THE BORDER, I USED ALL THE LEFTOVERS TO CREATE A STRING PATCHWORK EFFECT ON THE BORDERS.

THIS IS A LONG QUILT, BUT I LIKE A NICE BIG PILLOW TUCK.

SO I'M HAPPY WITH THIS TWALL.

AND IF YOU HAVE A NEW COLOR COMBINATION I DON'T HAVE, SEND ME A HALF A YARD, OKAY?

LET'S SEE HOW IT'S PUT TOGETHER AT THE MACHINE.

JUST THREE TEMPLATES FOR THIS ENTIRE QUILT.

I MADE IT IN HORIZONTAL ROWS, AND YOU DO HAVE TO WATCH THE DIRECTIONAL FABRIC OF THOSE OFFSET SQUARES BECAUSE THE TRIANGLES ARE CUT IN TWO SECTIONS.

ONCE I CUT THE PLAID BORDER, I GO AHEAD AND POSITION THAT AT EACH END.

AND I USUALLY PIN AND FLIP IT OVER AND KIND OF CHECK BECAUSE YOU KNOW THOSE PLAIDS, THEY ARE WOVEN.

AND SOMETIMES, NOW IF YOU LOOK CLOSELY AT THIS, I CAN SEE THE STRONGER PLAID GOES THIS WAY.

THE BEAUTY OF PLAIDS, I CAN SIMPLY UNPIN THAT AND REVERSE IT, AND THIS TIME I THINK, NOW, SEE HOW THAT'S LINED UP BETTER?

THE STRONG PLAID'S GOING THIS WAY.

SO I'LL SIMPLY RE-PIN THIS.

AND REMEMBER, YOU WANT TO COME IN AT THAT QUARTER INCH AT THAT OBTUSE ANGLE AND POSITION THAT DOWN HERE AND NOT SEW OUT TO THE EDGE.

IN OTHER WORDS, I'M GOING TO START IN AT A QUARTER OF AN INCH.

AND THE SAME THING UP HERE, LET THAT DOG EAR EXTEND.

ONCE I'M HAPPY WITH EACH END, THEN I SIMPLY GIVE THAT A LITTLE PULL.

AND THEN IN BETWEEN THERE, IF THERE'S ANY MELTING OF THE FABRICS, I GET IT RIGHT TOGETHER RIGHT HERE.

AND THEN I'M READY TO STITCH THAT TOGETHER.

NOW ONE THING YOU ARE DOING HERE IS STARTING AT THAT QUARTER INCH.

YOU HAVE TO POSITION THAT JUST RIGHT.

START, AND THEN I BACKSTITCH, ONE, TWO, THREE.

THEN I'M READY TO COME.

AND AS I'M STITCHING AWAY, I USE EITHER A STILETTO OR A PIN OR SOMETIMES JUST EVEN MY NIPPERS TO KEEP THAT PLAID GOING IN PLACE.

I'VE NOTICED THAT WHEN TWO BIAS EDGES COME TOGETHER, ESPECIALLY WITH THOSE PLAIDS, BEFORE I CUT OUT, I USE SOME SPRAY SIZING ON THE FABRIC, AND THAT JUST GIVES IT THAT EXTRA BODY.

BUT WHEN I'M DOING A WHOLE QUILT, I PROBABLY LINE ALL OF THESE UP AND JUST GET ALL OF MY PLAIDS TO MY TWALLS AT ONE TIME.

JUST KIND OF GET THAT LITTLE FACTORY SYSTEM SET UP.

ONCE THAT IS DONE, COME ALL THE WAY TO THE END.

OF COURSE, WHAT YOU'RE LOOKING FOR WHEN YOU GET ALL DONE IS YOU WANT TO OPEN THIS UP AND MAKE SURE YOU'VE GOT THAT NICE STRAIGHT EXPANSE HERE.

OH, I'M IN LUCK.

I KNOW THAT I'VE GOT THAT OPEN SECTION DOWN HERE THAT I CAN SIMPLY COME AND PUT THESE TOGETHER.

NOW, I WOULD NOT SEW THAT UNTIL I HAD TAKEN THE TIME TO COME TO THIS FIVE-SIDED FIGURE THAT HAD BEEN STITCHED TOGETHER AND SEW ON THIS SIDE AND THIS SIDE.

THEN I CAN COME AND SEW THIS SIDE ALL THE WAY DOWN.

AND I THINK THAT WORKS VERY NICELY.

WHEN I WOULD GET READY TO CUT THE NEXT PANEL ABOVE THAT, I WOULD BE CERTAIN TO STUDY MY PRINT KNOWING THAT THIS POINT UP HERE WOULD BE AT THE TOP, AND I WANT MY PRINT TO HAVE A TOP AND A BOTTOM.

SO YOU HAVE TO BE VERY CONSCIOUS OF FABRIC THAT HAS A DIRECTION.

I WANT TO TELL YOU WHAT I DID WITH THE LEFTOVERS FROM THIS QUILT.

YES, I HAD MORE.

SO I WENT TO THAT PATTERN THAT'S CALLED "CAN YOU STAND IT?"

AND MADE A WONDERFUL JACKET.

HAD A LOT OF FUN WITH THIS BECAUSE THIS TIME I JUST USED MY SERGER.

AND ALL INSIDE THE SLEEVES, ALL OF THIS PATCHWORK IS JUST PUT TOGETHER WITH MY SERGER.

NOW, I MUST HAVE SPENT, OH, I GUESS 3 HOURS PUTTING THE FRONT LAPEL TOGETHER.

OH, I WORKED HARD.

I HAD PLAIDS ON ONE SIDE, GREENS ON THE OTHER.

I EVEN THOUGHT ABOUT MY COLOR.

AND ONCE I GOT READY TO SEW IT ON, I REALIZED MY LAPELS WERE LARGER AT THE BOTTOM AND NARROWER AT THE TOP.

I WAS GOING TO LOSE MOST OF THE TOILE.

SO WE HAD TO CHUCK THAT.

AND I WENT JUST TO THE DIAGONAL SCRAPS, AND I THINK THAT WAS THE ANSWER.

SO I HOPE YOU'LL TRY WORKING WITH TOILE FABRICS AND COLLECT AS MANY COLORS AS YOU CAN.

NEXT WEEK ON LAP QUILTING, WE'RE GOING TO BE WORKING WITH PHOTO TRANSFER, AND THE SHOW IS CALLED "MATERIAL MEMORIES."

SEE YOU THEN.

[ACOUSTIC GUITAR PLAYS IN BRIGHT RHYTHM] ♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

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

NOTHING SEWS LIKE A BERNINA.

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE THROAT, MOBILE, HAND GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER.

AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.