- WHERE WOULD OUR QUILTS BE WITHOUT IT?

IT'S THE STUFFING, THE FILLER, THE MEAT OF OUR LAYERED SANDWICH.

IT'S CALLED THE BATTING.

HAVE YOU EVER WONDERED WHERE IT COMES FROM AND HOW IT'S MADE?

STAY TUNED FOR THE ANSWERS.

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

♪ ♪ WARMS THE BODY, IGNITES THE MIND.

♪ ♪ A CHILD SLEEPS UNDER MOTHER'S CREATION ♪ ♪ TOGETHER FOREVER.

♪ ♪ 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 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 FOUR SIZES OF LONG ARM, HAND GUIDED MACHINES TO QUILTERS WORLDWIDE.

BY COATS AND CLARK, AMERICA'S NUMBER ONE NAME IN SEWING, HAND KNITTING, AND CRAFT PRODUCTS.

BY MARTINGALE AND COMPANY, HOME OF THAT PATCHWORK PLACE, PUBLISHER OF AMERICA'S BEST LOVED CRAFT AND HOBBY BOOKS.

BY HOBBS BONDED FIBERS, MAKER OF HEIRLOOM PREMIUM COTTON AND WOOL BATTING, WITH A PACKAGE LABELING SYSTEM TO HELP QUILTERS SELECT THE CORRECT BATTING FOR SPECIFIC PROJECTS.

AND BY HORN OF AMERICA, CABINETS OF THE FUTURE TODAY.

- NOW, TRAVEL WITH US TO WACO, TEXAS, THE HOME OF A VERY BUSY BATTING FACTORY.

MR. HOBBS, IT'S A PLEASURE TO MEET YOU.

- CALL ME CARRIE, PLEASE.

I'D LIKE TO CALL YOU CARRIE.

- WE'RE DELIGHTED TO HAVE YOU HERE TODAY.

JUST WANT TO SHOW YOU THE PLANT, SHOW YOU WHAT WE DO, AND APPRECIATE YOU MAKING THE TRIP DOWN TO WACO TO SEE US.

- I'M SO EXCITED.

LET'S SEE.

- ALL RIGHT.

- WE BEGIN OUR FACTORY TOUR IN THE RECEIVING WAREHOUSE.

THE PRODUCTION OF BATTING BEGINS WITH THE DELIVERY OF RAW FIBER.

FIRST WE HAVE THE WOOL BALES.

AND THEN, OH, THAT SOFT COTTON.

THERE GOES THE CHIEF MECHANIC ON HIS BICYCLE, OF ALL THINGS.

IT'S HIS OWN INVENTION, A MOBILE TOOLBOX.

WITH FORKLIFT DELIVERY, THE BOX OF RAW LOOSE FIBER IS SNAPPED OPEN.

CARRIE HOBBS LEADS US ALONG THE WAY.

CARRIE, WE HAD A CHANCE EARLIER TO SEE THE RAW POLYESTER FIBER COMING IN WITH THE BALES, AND I GOT TO ACTUALLY FEEL THE COTTON AND THE WOOL IN THE SEPARATE BALES.

NOW, THIS -- WHAT HAPPENS HERE?

IS THIS THE FIRST PHASE?

- YES, THIS IS THE FIRST PHASE OF THE OPERATION.

THIS IS WHERE WE DO OUR FIRST OPENING PROCESS, AND TO GET THE FIBERS TO CART A UNIFORM PROCESS, WE HAVE TO GET IT OPEN.

THIS IS THE FIRST PROCESS.

AND, INTERESTINGLY ENOUGH, A LOT OF PEOPLE THAT COME TO THE PLANT, THEY SEE THIS AND THEY FEEL IT, AND THEY SAY, "MY LENS, THAT LOOKS A LOT LIKE COTTON."

MY RESPONSE TO THAT IS, THAT'S NO ACCIDENT.

DUPONT AND PEOPLE HAVE SPENT BILLIONS OF DOLLARS TO TRY TO MAKE IT LOOK AND ACT LIKE COTTON, AND THEY'VE ACCOMPLISHED A LOT OF THE CHARACTERISTICS, BUT, OF COURSE, A LOT OF IT THEY CAN'T ACCOMPLISH.

THE OTHER THING ABOUT THIS PROCESS RIGHT HERE, OFTENTIMES THAT WE BLEND, AND WE'LL PUT ONE FIBER AND ONE HOPPER AND ONE IN THE OTHER HOPPER OVER HERE, AND THEN WE'VE ENTERED THE PROCESS IN A BLENDED STATE.

- COMBINE THE TWO.

- RIGHT.

WELL, GEORGIA, AFTER WE HAVE THE INITIAL OPENING, WE CAN VENT PNEUMATICALLY OVER TO THIS MACHINE, AND THESE ARE FEEDS THAT START BACK THERE WITH THE FEEDS, AND THEY START MAKING THE PROCESS UNIFORM.

INTRODUCED IT TO THE CART IN A UNIFORM MANNER.

AND THIS IS A CART, MUCH LIKE THE OLD HAND CARTS THAT OUR GREAT-GRANDMOTHERS USED TO COMB WOOL OR COTTON BEFORE THEY PUT IT ON THE SPINNING WHEEL.

WELL, THIS IS A HIGH-SPEED CART.

INSTEAD OF DOING 10 POUNDS A DAY, WE DO 1,000 POUNDS AN HOUR.

AND AFTER THAT, THEN WE TAKE IT OUT AND WE START LAPPING IT, JUST LIKE THE VERY GOOD EXTENSION OF WHAT WE DO, AND WE LAP IT ON A MOVING CONVEYOR TO THE THICKNESS AND WIDTH THAT WE WANT TO COMMENCE THE BONDING PROCESS.

- OKAY, THAT'S WHERE THE RESIN IS PUT ON.

THAT'S WHERE THE RESIN IS PUT ON.

- ALL RIGHT.

- MAINLY THE RESIN IS JUST TO GIVE IT ADDITIONAL TENSILE STRENGTH.

THIS WEB, AS IT LAYS ON THIS APRON, HAS NO STRENGTH.

IF YOU CAN TAKE IT AND SHAKE IT, IT BECOMES HARD.

SO WE ADD THE RESIN PRIMARILY FOR ADDITIONAL STRENGTH, BUT IN ADDITION TO THAT, SOME OF OUR OTHER OPERATIONS WHERE WE HAVE TO WANT TO ADD OTHER CHARACTERISTICS TO THE BATTING, LIKE ANTIMICROBIAL OR FLAME RETARDANT, THIS IS WE ADDED TO THE RESIN STATIONS, TO MIX WITH THE RESIN.

- AND THEN WHAT HAPPENS WHEN IT GOES THROUGH HERE?

WELL, THIS IS THE FIRST STATION.

THIS IS THE FIRST SPRAY STATION, AND WE SPRAY THE TOP OF THE WEB HERE.

THEN WE RUN IT THROUGH ONE PASS IN THE OVEN, AND WE DRY THAT TOP SIDE.

THEN WE TURN IT OVER AND SPRAY THE BOTTOM.

THEN IT RUNS BACK ANOTHER PASS IN THE OVEN, WE DRY IT, AND WE TURN IT AROUND AND RUN IT THROUGH AGAIN, AND THAT'S THE CURING PROCESS.

AS WE CURE IT, THEN YOU CAN'T WASH IT OUT, AND IT GIVES IT ALL ITS PERMANENT CHARACTERISTICS.

- LET'S WATCH THEM ROLLING IT, OKAY?

- ALL RIGHT.

YOU SEE THOSE HANDLES STICKING UP THERE?

THOSE ARE SLITTERS, AND WE CAN PUT THOSE DOWN, AND WE CAN SLIT LIKE SIX-INCH WIDE ROWS.

IN THIS CASE, THIS IS LIKE SIX-INCH WIDE ROWS.

WE CAN SLIT IT, THEN WE ROLL IT UP AND PUT IT IN THE PLASTIC BAGS AND SHIP IT OUT.

- OKAY.

LOOK HOW THICK IT COMES OUT.

THAT'S GREAT.

NOW, WHAT WILL THAT BE USED FOR?

- THIS IS SLEEPING BAGS.

- AH!

- ACTUALLY, THIS IS SLEEPING BAG MATERIAL GOING TO EUROPE.

- OH, GREAT.

THIS IS GREAT.

IN A QUIETER PART OF THE FACTORY, MEET A FAMILIAR FACE YOU MIGHT HAVE SEEN AT ONE OF THE QUILT EVENTS.

MEET MR. H.D.

WILBANKS, WHO IS DIRECTOR OF THE CRAFT DIVISION FOR HOBBS BONDED FIBERS, AND A PERSON WELL-KNOWN IN THE QUILT WORLD, A HARD WORKER AT SYMPOSIUMS AND CONVENTIONS.

WE APPRECIATE YOU BEING HERE TODAY AND HAVING THIS OPPORTUNITY.

WHAT HAS SURPRISED US MORE THAN ANYTHING IS THE SAME PROCESS THAT CREATES BATTING FOR QUILTS AND HAS MANY OTHER USES IN OUR LIVES.

EXPLAIN.

- WELL, GEORGIA, THE SAME EQUIPMENT THAT WE USE IN MAKING QUILT BATTING MAKES EVERYTHING FROM CARRIERS FOR PIZZA, OUTDOOR FURNITURE PADS, AIR FILTERS, FISH FILTERS, OIL SPILL CLEANUP PADS, AND WE CAN GO ON AND ON AND ON.

- WE HAVE REALLY COME A LONG WAY IN THE QUILT WORLD FROM THAT COTTON BATTING THAT WAS SO HARD TO PUT A NEEDLE THROUGH.

TELL US ABOUT THE VARIETY THAT YOUR COMPANY MAKES TODAY.

- WELL, GEORGIA, BECAUSE WE HAVE EVERY KIND OF EQUIPMENT THAT IS USED IN THE INDUSTRY, WE CAN USE THESE TYPES OF MANUFACTURING TECHNIQUES TO MAKE COTTON, WOOL, COTTON AND WOOL BLENDS, OR POLYESTER AND COTTON BLENDS, 100% POLYESTER, AND WE MAKE MANY, MANY DIFFERENT TYPES OF BATTINGS TODAY SO THAT WE HAVE WHAT WE THINK IS A PERFECT ONE FOR EACH USE.

- NOW FOR THAT QUILTER, HOW IS SHE GOING TO KNOW WHAT TO BUY TO GET THE EFFECT SHE WANTS IN A QUILT?

- WELL, THAT'S BEEN A BIG PROBLEM, AS YOU KNOW.

ONE OF THE BIGGEST PROBLEMS FOR A QUILTER WHEN SHE WALKS INTO A RETAIL STORE IS TO LOOK AT THE PACKAGE AND DETERMINE WHETHER IT'S PROPER FOR HER PARTICULAR APPLICATION.

AND BECAUSE OF THAT, WE AT HOBBS HAVE JUST DEVELOPED A NEW SYSTEM THAT WE CALL OUR SYMBOL SYSTEM.

AND THIS SYMBOL SYSTEM IS A SET OF SEVEN SYMBOLS, AND THESE SYMBOLS TELL THE QUILTER WHETHER OR NOT IT'S GOOD FOR LIGHT OR DARK FABRICS, WHETHER IT'S GOOD FOR HAND OR MACHINE QUILTING, WHETHER IT IS GOING TO SHRINK, AND IF SO, HOW MUCH, THE APPROXIMATE LOFT, AND ANY OTHER WE THINK THE SEVEN QUESTIONS THAT A QUILTER IS GOING TO ASK.

SO WE WANT TO ENSURE THAT IF SHE PICKS A HOBBS BAT, THAT THE BAT THAT SHE SELECTS IS PROPER FOR THAT PARTICULAR APPLICATION.

- AND TODAY WE HAVE SUCH A CHOICE AND SO MUCH VARIETY.

IN OTHER WORDS, WE DON'T HAVE TO SETTLE ON THE SAME BAT FOR EACH QUILT BECAUSE WE WANT TO HAVE A DIFFERENT EFFECT FOR EACH QUILT.

- THAT'S TRUE.

- NOW WHAT ABOUT THAT B WORD OR THAT M WORD, OTHERWISE KNOWN AS MIGRATION AND BEARDING?

EXPLAIN THAT.

- WELL, AS YOU KNOW, GEORGIA, THEY ARE DIFFERENT.

MIGRATION MEANING THEY WILL BUNCH AND SHIFT AND MOVE, AND BEARDING IS THE FIBERS WORKING THEIR WAY THROUGH THE FABRIC AND CREATING A FUZZ.

THERE ARE DIFFERENT WAYS TO HANDLE MIGRATION THAT ARE NOT THAT GREAT FOR BEARDING.

AND WE CAN NEEDLE PUNCH OR THERMAL BOND AND STOP FIBERS FROM MIGRATING.

BUT WE THINK THAT THE BEST WAY TO HANDLE THE BEARDING ON POLYESTER OR WOOL IS RESIN BONDING.

AND WE NEEDLE PUNCH A LOT OF PRODUCTS THAT DON'T HAVE A TENDENCY TO MIGRATE LIKE COTTON.

BUT WE ALWAYS, IN POLYESTER AND WOOL, USE A RESIN BONDING TECHNIQUE WHICH HELPS ELIMINATE BEARDING.

- AND ALSO IF I WERE MAKING THAT DARK AMISH QUILT, YOU OFFER THAT GRAY BAT, WHICH IS A GOOD OPPORTUNITY.

- THAT'S TRUE.

WE DEFINITELY HAVE A RESIN BONDED GRAY POLYESTER FOR THE DARK AMISH LOOKING QUILTS.

- WELL, I KNOW PART OF YOUR JOB IS TO LISTEN TO THE QUILT MAKER TODAY, AND YOU'RE THE ONE THAT HANDLES THE COMPLAINTS AND THE COMPLIMENTS, RIGHT?

- YES.

- WE HAVE CERTAINLY APPRECIATED THIS TOUR THROUGH THE FACTORY.

WE FEEL MUCH MORE KNOWLEDGEABLE, AND I HOPE THE QUILTER OF TODAY WILL APPRECIATE WHAT GOES INTO THAT MOST IMPORTANT MIDDLE PART OF OUR SANDWICH.

- THANK YOU FOR BEING HERE.

WE'VE ENJOYED HAVING YOU.

- CARRIE, THANK YOU SO MUCH.

WE'VE ENJOYED IT.

- WELL, GEORGIA, THANK YOU FOR COMING.

LOOK FORWARD TO SEEING YOU AGAIN.

COME BACK TO SEE US.

- I WILL.

THANK YOU.

- BYE BYE.

- BYE-BYE.

WHAT TEXAS HOSPITALITY WE HAD IN WACO.

WE THANK THEM AGAIN.

BACK TO OUR QUILTER'S ALPHABET.

S IS FOR SAMPLER QUILTS.

WHERE WOULD WE BE WITHOUT THEM?

IT'S A QUILT COMPRISED OF VARIOUS BLOCKS UTILIZING DIFFERENT TECHNIQUES AND DESIGN.

THESE BLOCKS MAY BE THE SAME SIZE OR UNEVEN SIZES, BUT THEY COME TOGETHER AS AN ENTIRE QUILT.

WE HAVE FOUR EXAMPLES HERE IN THE STUDIO TODAY.

ABOVE OUR MANTEL, WE HAVE A SMALL SAMPLER THAT I'VE DONE BASICALLY FOR BEGINNING QUILTERS.

IT'S CALLED SAMPLER CITY.

AND THEN BEHIND ME, YOU MIGHT REMEMBER OUR SPINNING SPOOL SAMPLER.

VERY BRIGHT, UTILIZING THE LOG CABIN AS A SETTING.

IN FRONT OF ME IS AN OLD-FASHIONED SAMPLER, AND I HAVE USED SPOOLS AS THE SQUARE INSETS IN BETWEEN THE SASHING.

AND THEN WHAT DO I HAVE UNDERNEATH BUT A SPECIAL SAMPLER THAT I'M MAKING IN HONOR OF OUR SERIES.

STARTING WITH THE EIFFEL TOWER AND GOING ON UP TO THE BASKET QUILT, OUR SNAIL TRAIL, AND ALL THE WAY OVER.

AND FROM OUR LAST SHOW, THE SWISS ALPS, THE FLAG FROM SWITZERLAND.

S IS FOR SASHINGS, STRIPS OF FABRIC SEWN BETWEEN BLOCKS, SOMETIMES CALLED LATTICE STRIPPING.

IN THE CASE OF THIS SAMPLER, I'VE USED A BORDER PRINT, AND YOU CAN SEE THIS IS THE SASHING IN BETWEEN THE BLOCKS.

BACK ON THE SPINNING SPOOLS, THE ATTIC WINDOWS BLOCK IS SET IN A LOG CABIN ARRANGEMENT, AND THEN THE SASHING IS IN BETWEEN.

S IS FOR SLEEVE.

THOSE ARE THE TUBES THAT YOU STITCH ON THE BACK OF A WALL HANGING OR ON THE TOP OF A QUILT WHEN YOU'RE ENTERING IT INTO A QUILT SHOW.

QUITE OFTEN, THEY'RE TEMPORARY.

AND I THINK ANOTHER TIP AND SOMETHING TO REMEMBER IS THAT THE PLEATER TAPE THAT YOU BUY TO HANG CURTAINS WITH WORKS JUST AS WELL.

IT WILL STITCH ON IN A VERY TEMPORARY FASHION.

S IS FOR SETTING, THE RELATIONSHIP OF ONE BLOCK TO THE NEXT IN AN ARRANGEMENT TO FORM THE WHOLE QUILT TOP.

IT'S A PLEASURE TO FEATURE LORNA O'FALLON'S QUILT.

SHE'S FROM NAPLES, FLORIDA, AND CAME TO OUR FREEDOM ESCAPE CLASS THE YEAR I WAS TEACHING PHOTO TRANSFER.

PRETTY CLEVER OF HER, SHE BROUGHT ALL THE PICTURES OF THE QUILT SHE HAS MADE THROUGHOUT A LIFETIME.

WE STRUGGLED TO FIGURE OUT HOW TO PUT THEM INTO A QUILT.

AND THEN IT DAWNED ON ME THAT THE ONLY PROPER SETTING WAS TO MAKE THEM AS IF THEY WERE ON THE BED.

SO WE ELONGATED THE BLOCKS INTO RECTANGLES.

AND THIS TIME, THE KEY SECRET IS SIMPLY TO CREATE THAT PERSPECTIVE BY MAKING THE TOP A LITTLE BIT NARROWER THAN THE BOTTOM.

OF COURSE, WE PUT THE TOP OF THE BED, THE POST AT THE BOTTOM, AND THE HEADBOARD.

AND JUST HAD FUN CREATING AS MANY BLOCKS AS WE COULD IN THAT MANNER.

WHY, THERE'S EVEN A LITTLE CRADLE DOWN HERE.

THEN, WHEN WE GOT ALL THOSE BLOCKS SET, HOW WERE WE GOING TO FINISH THE QUILT?

WELL, THE ANSWER WAS TO CREATE ONE HUGE HEADBOARD AND THE FOOTBOARD, AND WE WERE DONE.

OUR FEATURE BLOCK OF THE SHOW IS CALLED COVER UP IN HONOR OF LORNA'S QUILT.

AND AFTER I DESIGNED IT, I REALIZED THAT I NEED TO TRANSFER THIS ONTO MY FABRIC THAT I'VE ALSO HAD MY PICTURE TRANSFERRED ONTO.

AND SO I'LL JUST TAKE MY TEMPLATE AND FIND THE MIDPOINT, AND THEN I POSITION THAT AND FIND IT WHERE IT'S LINED UP IN THE MIDDLE OF MY BLOCK.

AND IT WORKS VERY NICE JUST TO PRESS THIS VERY LIGHTLY ON THE BACK SIDE.

BUT JUST BY HAVING THAT IN POSITION ALLOWS ME TO THEN TAKE MY SEE-THROUGH RULER AND TRIM IT OFF.

THIS WAY I CAN GET MY QUARTER-INCH SEAM ALLOWANCE ON ALL FOUR SIDES.

AND ONCE I'VE GOTTEN THAT DONE, THEN I'M READY TO ADD THOSE SIDES ONTO IT.

THE PHOTO TRANSFERRING IS VERY COMPLETE.

I CAN WASH THIS AND RUN OVER IT WITH A TRUCK, AND IT WON'T GO ANYWHERE.

IT'S THERE TO STAY.

SO YOU CAN TAKE THAT OFF, AND THEN YOU CAN SEE THAT THIS IS READY TO GO ON MY SIDES.

THE TOP AND BOTTOM ARE MERELY THOSE RECTANGLES THAT ARE PUT TOGETHER.

BUT I LIKE TO MAKE SURE THAT I HAVE PINNED, AND I'LL PEAK RIGHT HERE, THAT WHEN I HAVE PINNED THAT AND TRANSFERRED THAT BACK, I GET THAT NICE STRAIGHT EDGE ACROSS HERE AND HERE.

SO THEN I'M READY TO DO MY STITCHING.

AND I'LL PUT ONE ON ONE SIDE AND ONE ON THE OTHER.

WE'LL GET ONE SIDE DONE, AND I THINK YOU CAN SEE WHAT'S GOING TO HAPPEN ON THE NEXT.

AND SO THEN REALLY THIS IS JUST A THREE-PART BLOCK.

YOU'VE GOT THE MIDDLE PART AND THIS TOP AND THE BOTTOM FOR YOUR COVER-UP BLOCK.

S IS FOR SEMINOLE PIECING.

ORIGINATING WITH THE SEMINOLE INDIAN WOMEN IN THE FLORIDA EVERGLADES, THEY DEVELOPED A TECHNIQUE OF PIECING AND RE-PIECING THAT WE CARRY ON TODAY, ESPECIALLY BECAUSE OF THE ROTARY CUTTER.

THE EXAMPLES I HAVE TODAY ARE JACKETS AND VESTS WITH ZIPPERS IN THEM.

THE NECK RACK WAS VERY PREVALENT AS AN ACCENT TRIM, SOMETIMES JUST A SIMPLE TRIM ALONG THE SIDE.

OR HOW ABOUT AN ELONGATED COLLAR WHERE THE SEMINOLE, THE RAW EDGES, ARE SIMPLY COVERED WITH GROSGRAIN OR TINY SATIN RIBBON.

SOMETIMES JUST ONE STRIP DOWN A BRIGHTLY COLORED VEST CAN BE THE ONLY ACCENT YOU NEED.

REMEMBER THAT ONCE YOU GET YOUR SEMINOLE, YOUR PIECING AND RE-PIECING STRIP DONE, YOU DON'T JUST WHACK IT OFF.

NO, I WOULD SEW ON THE BORDER FIRST.

THAT SETS THE EDGES, AND THEN YOU CAN TRIM, AND YOU'LL SEE YOUR NICE SEMINOLE PIECING BAND.

S IS FOR STENCIL.

DESIGNS ON PAPER OR PLASTIC WHICH ARE TRANSFERRED TO THE TOP, DECORATIVE PART OF A QUILT PROVIDING LINES FOR QUILTING.

WE HAVE AN ARRAY OF PLASTIC STENCILS TODAY, AND THEY'RE WONDERFUL TO WORK WITH.

SOME ARE VERY CLASSIC.

FOR INSTANCE, THE FEATHER DESIGN HAS GONE DOWN THROUGH THE AGES.

IT'S INTERESTING TO NOTE THAT IT WAS ORIGINALLY DESIGNED BY USING A SPOON.

CAN'T YOU JUST SEE HOW THAT WORKED?

WHEN I WAS DOING THE PORCELACA QUILT, I KNEW THAT IN THIS AREA OF THE BASKET AND WHERE THE SQUARES AND THE TRIANGLES CAME TOGETHER, I WANTED A VERY SPECIAL DESIGN.

SO I DESIGNED THIS OVERLAPPING OR INTERLOCKING HEART, AND IT SEEMS TO WORK VERY WELL.

TODAY, WE'VE TURNED TO SOME UNIQUE NEW STENCILS FROM THE STICK 'N STITCH COMPANY, AND I THINK THEY'RE PRETTY INTRIGUING.

IT'S LIKE A LIGHTWEIGHT CONTACT PAPER THAT YOU CAN PULL OFF, APPLY TO YOUR FABRIC, QUILT AROUND, AND THEN PICK IT UP AND MOVE IT TO A NEW AREA.

S IS FOR STIPPLE.

VERY CLOSE QUILTING PERFORMED IN A SQUIGGLY STYLE RESEMBLING PUZZLE-LIKE LINES USED YEARS AGO TO SECURE COTTON BATTING, WHICH OFTEN WOULD LUMP OR SEPARATE.

A GOOD EXAMPLE OF STIPPLE QUILTING IS SEEN BEHIND MIMI ALEPH'S QUILT.

NOTICE THE CENTER APPLIQUÉ MOTIF HAS STIPPLING AS THE BACKGROUND.

VERY CLOSE QUILTING.

NOW WE'RE GOING TO GO OUT OF LINE A LITTLE BIT ALPHABETICALLY AND GO TO THE NEXT T, AND THAT WOULD BE FOR TOILE.

WHEN I TAUGHT MY TOILE QUILT--AND ALL OF YOU KNOW I'M A TOILEHOLIC, I LOVE TOILE FABRIC-- I ENDED THIS TEACHING BY SAYING, "IF YOU HAVE AN EXTRA PIECE OF TOILE, SEND IT TO ME."

WELL, MIMI WAS KIND ENOUGH TO DO THAT, AND SHE SENT ME A VERY SPECIAL PIECE OF TOILE.

I COMMENTED AND THANKED HER FOR IT, AND THEN SHE SENT ME THE STORY BEHIND THIS QUILT.

IT REALLY IS VERY NICE, AND I'M GOING TO READ YOU PART OF IT.

IT'S CALLED "BARBARA'S COTTAGE GARDEN."

AS IT TURNED OUT, BARBARA WAS A FRIEND OF MIMI'S, AND SHE LOVED HER HOME AND HER GARDEN, AND SHE LOVED TO SEW.

WHEN MIMI GOT A NEW SEWING MACHINE, SHE GAVE HER FRIEND BARBARA HER OLD MACHINE.

WELL, THEN SHE DEVELOPED CANCER AND SHE PASSED AWAY.

AT HER FUNERAL, HER HUSBAND TOLD MIMI THAT WHAT BARBARA REALLY WANTED WAS FOR HER TO HAVE HER FABRIC STASH.

SO SHE WENT THROUGH, AND IN THAT STASH SHE FOUND THIS VERY SPECIAL PIECE OF TOILE.

YOU KNOW IT'S OLD BECAUSE IT'S ONLY 36 INCHES WIDE, AND IT'S VERY COARSE FABRIC.

IT'S NOT SOME OF THE FINE FABRIC WE USE TODAY, BUT IT WAS NICE ENOUGH TO ADORN THIS QUILT.

YOU CAN SEE IT IN THESE TWO PANELS, THE TRIANGLES.

YOU ALSO SEE IT ON THE BORDER.

OF COURSE, SHE HAD ENOUGH FOR THE WHOLE BACKING.

THIS QUILT, ENTITLED "BARBARA'S COTTAGE GARDEN," IS REALLY INDICATIVE OF MANY OF THE LETTERS THAT WE HAVE STUDIED ON OUR ALPHABET.

IF YOU WOULD THINK OF OUR APPLIQUE, OUR HALF-SQUARE TRIANGLES, OUR CROSS-HATCHING, AND SO MUCH OF THE MEDALLION QUILT INFLUENCE HERE IN THIS QUILT.

"S" IS FOR STRING QUILTS, REGULAR OR IRREGULAR STRIPS OF FABRIC SECURED TO A FOUNDATION THAT COMPRISE THE ESSENCE OF A QUILT DESIGN, USUALLY IN THE FORM OF A SQUARE OR A TRIANGLE.

IN THIS CASE, IT'S A TRIANGLE, AND HONESTLY, THE BACKSIDE IS ALMOST AS INTRIGUING AS THE FRONT.

WHEN YOU BUY THEM AT ANTIQUE STORES, YOU HAVE TO STUDY THE MAGAZINE, THE DATE OF THE NEWSPAPER, AND EVEN THE OLD-FASHIONED FURNITURE.

BUT IT IS TORN AWAY AFTER IT'S PUT TOGETHER NATURALLY.

THIS IS ONE WHERE I DECIDED TO MAKE IT INTO A SHOWER CURTAIN, OF ALL THINGS.

SO ALL I DID WAS PUT A BACKING ON IT AND SOME LOOPS AT THE TOP, AND IT WORKED.

"T" IS FOR TEMPLATE, A PATTERN MADE FROM DURABLE MATERIAL.

IT COULD BE CARDBOARD, PLASTIC, SANDPAPER, OR SOFT VINYL THAT IS USED TO TRANSFER SHAPES ONTO FABRIC.

TEMPLATES ARE A KEY FACTOR IN PRECISION PIECEWORK, ENSURING UNIFORMITY IN SIZE AND SHAPE.

WOW, WE'VE COME A LONG WAY TODAY.

REMEMBER CEREAL BOXES?

WELL, CARDBOARD HAS GIVEN WAY TO VINYL PLASTIC, WINDOW TEMPLATES ARE STILL AVAILABLE, AND WHAT A NICE IDEA TO BE ABLE TO DRAW ON FABRIC THE INSIDE LINE, WHICH IS YOUR PIECING LINE, AND THEN THE OUTSIDE, WHICH IS YOUR CUTTING LINE.

BUT TODAY, THERE ARE NEW SHAPES, NEW WAYS OF PUTTING OUR DESIGN ONTO FABRIC, AND EVEN FROM GERMANY, SOME METAL TEMPLATES.

AND GUESS WHAT?

THEY'RE ALL ROTARY CUTTER-FRIENDLY.

"T" IS FOR THREAD, A FINE CORD OF A FIBROUS MATERIAL MADE OF FILAMENTS THAT ARE ALL TWISTED TOGETHER.

IT IS THE GLUE OF ALL QUILTS.

I HOPE YOU ENJOYED SEEING THE SHOW WHERE WE FEATURED ALL THE STEPS IN MAKING THREAD TODAY.

WELL, I HAVE A STORY TO GO WITH THIS ONE.

YEARS AGO, I WAS IN THE DENVER AIRPORT, AND I HAD ABOUT AN HOUR LAYOVER, AND I WAS CAUGHT THERE WITH MY SCISSORS AND A NEEDLE AND NO THREAD.

WELL, I WAS DESPERATE.

I HAD A QUILT THAT I HAD TO FINISH.

I ACTUALLY HAD TO TAKE MY SCISSORS--I, OF COURSE, DIDN'T HAVE MY ROTARY CUTTER-- BUT I HAD TO CUT OFF A SIDE OF THE MATERIAL.

I ACTUALLY HAD TO SIT THERE AND UNWEAVE THE MATERIAL IN ORDER TO RETHREAD A NEEDLE.

SO I HAVE A NEW SYSTEM.

I NEVER TRAVEL WITHOUT SOME SORT OF THREAD.

I HAVE SINCE DISCOVERED THIS WONDERFUL LITTLE RIBBON BRAID THAT IS MADE UP OF ALL THESE DIFFERENT TINY LITTLE THREADS, SO THAT IF I WANT A THREAD, I JUST PULL IT, AND NOW I'VE GOT ONE NICE YELLOW THREAD.

AND IT'S KIND OF PRETTY TO CARRY IN YOUR PURSE.

"T" IS FOR TIED QUILT.

QUILT TOP, FILLER, AND BACKING ARE FASTENED TOGETHER WITH YARN KNOTS AT REGULAR INTERVALS.

WELL, I EVEN TRIED TYING MY QUILT FROM ALASKA ONE TIME BY INSERTING A BEAD EVERY ONCE IN A WHILE.

THAT MADE IT KIND OF FUN.

BUT WE USUALLY ASSOCIATE TIED QUILTS WITH BABY QUILTS.

WITH MY THIMBLE IN PLACE AND MY LONG NEEDLE THREADED, I CAN SEE THAT THE EASIEST WAY IS JUST TO START GOING INTO THE LAYERED FABRIC BUT KEEPING ABOUT 6 INCHES IN BETWEEN.

IN OTHER WORDS, ANOTHER 6 INCHES WOULD COME HERE, AND I'M JUST GOING THROUGH ALL LAYERS, COMING UP ANOTHER 6 INCHES, AND PUSHING THAT THROUGH.

AND THEN YOU CAN COME BACK AND SNIP IN BETWEEN EACH ONE OF THESE.

COME HERE, COME HERE, HERE, HERE, HERE.

AND THAT LEAVES YOU THE OPPORTUNITY TO JUST DO A SQUARE KNOT COMING OVER, TIED ONCE, AND THEN COMING THE OPPOSITE WAY.

AND GIVE IT A NICE LITTLE TUG, AND THEN SNIP OFF AS MUCH AS YOU WANT REVEALING.

"T" IS FOR TRAPUNTO, A SOFTLY SCULPTURED EFFECT CREATED BY STUFFING A PATTERN FROM THE BACK SIDE, GIVING IT MORE DIMENSION.

MOCK TRAPUNTO IS ACHIEVED BY ADDING EXTRA BATTING IN THE MIDDLE PART UNDER A CERTAIN AREA TO BE ELEVATED.

"T" IS ALSO FOR TRAVEL.

NOW, I WOULDN'T BE WITHOUT MY QUILTER'S TRAVEL COMPANION.

AND THAT TOOK US ALL THE WAY TO ALBUQUERQUE, NEW MEXICO.

WE'LL SEE YOU NEXT TIME ON LAP QUILTING.

CLOSED CAPTIONING MADE POSSIBLE BY OMNIGRID, MANUFACTURER OF THE ORIGINAL PATENTED BLACK AND YELLOW RULERS AND GREEN CUTTING MATS, AND COLLINS, WELL KNOWN FOR NOTIONS AND TOOLS FOR QUILT MAKERS.

[MUSIC] ♪ - FOR MORE INFORMATION ABOUT PATTERNS AND DESIGNS SHOWN ON THIS SERIES, VISIT GEORGIA AT WWW.GEORGIABONESTEEL.COM.

LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM 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 FOUR SIZES OF LONG-ARM HAND-GUIDED MACHINES TO QUILTERS WORLDWIDE.

BY COATS AND CLARK, AMERICA'S NUMBER ONE NAME IN SEWING, HAND KNITTING, AND CRAFT PRODUCTS.

BY MARTINGALE AND COMPANY, HOME OF THAT PATCHWORK PLACE, PUBLISHER OF AMERICA'S BEST-LOVED CRAFT AND HOBBY BOOKS.

BY HOBBS BONDED FIBERS, MAKER OF HEIRLOOM PREMIUM COTTON AND WOOL BATTING, WITH A PACKAGE LABELING SYSTEM TO HELP QUILTERS SELECT THE CORRECT BATTING FOR SPECIFIC PROJECTS.

AND BY HORN OF AMERICA, CABINETS OF THE FUTURE TODAY.