LAVENDER BLUE DILLY-DILLY, LAVENDER GREEN DILLY-DILLY.

TODAY'S LESSON IS ENTITLED "EXPAND-A-BLOCK."

LEARN MANY NEW WAYS TO UPDATE YOUR QUILT DESIGNS.

WE WILL LEARN NAMES SUCH AS "SPOOL SPIN OFF," "SPOOL TWIST," AND "SPIRO-GIRO."

AND THEN, WOULD YOU BELIEVE, MACHINE AND HAND QUILTING IN THE SAME BLOCK?

Narrator: "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINT WORKS COMPANY, AMERICA'S OLDEST TEXTILE PRINTER.

WELCOME TO LAP QUILTING.

WE HAVE 2 BASIC WAYS OF DECORATING A QUILT TOP-- THAT WOULD BE APPLIQUÉ AND PIECE WORK.

WE'RE GOING TO SPEND A LOT OF TIME WITH PIECE WORK, BUT BEFORE WE LEAVE APPLIQUÉ, LET'S HAVE A QUICK REVIEW.

A VERY PRIMARY AND ELEMENTARY WAY TO DO APPLIQUÉ WOULD BE WITH A RAW EDGE-- YOUR FIGURE CUT-OUT PLACED ON THE FOUNDATION.

AND WITH THE RAW EDGE EXPOSED, A SIMPLE BUTTON HOLE STITCH.

THIS IS SOMETIMES CALLED A BLANKET STITCH.

ISN'T THIS A LOVELY DOUBLE WEDDING RING THAT RUTH O'NEAL HAS FINISHED USING THAT VERY METHOD?

IN THIS CASE, SHE'S USED A BROWN EMBROIDERY THREAD, PROBABLY A 3-- 3 STRANDS.

AND IT ALMOST BECOMES A DECORATION ON ITSELF ALONG WITH ALL THE BRIGHT, OLD-FASHIONED COLORS.

ANOTHER COTTON BOLL QUILT, AND THIS DESIGNER HAS DONE THE SAME THING, THE BUTTON-HOLE STITCH AROUND THE OUTSIDE OF BOTH THE LEAF AND THE COTTON BOLL ITSELF.

WE THINK PRIMARILY THE APPLIQUÉ IS TURNING UNDER THOSE RAW EDGES.

AND CERTAINLY YOU CAN DO THAT, FINISHING THAT WITH A CONTINUAL BLANKET STITCH, BUT THIS TIME REVERSING IT.

WE SAW THIS IN EMBROID-- EMBROIDERY OR BROIDERY PURSE, WHICH IS PERSIAN EMBROIDERY.

THE STEM STITCH ALSO CAN HIGHLIGHT THE TURNED-UNDER EDGE OF A CUT-OUT FIGURE.

AN EXPOSED RUNNING STITCH WITH TURNED-UNDER EDGES IS ANOTHER VERY FAVORITE WAY OF MINE.

YOU WOULD WANT TO MAKE CERTAIN THAT YOUR THREAD EXACTLY MATCHED THE CUT-OUT LEAF IN THIS INSTANCE.

NOTICE HOW THE NEEDLES HAVE BEEN LEFT IN THIS WORK.

I LEARNED THAT AT THE VICTORIA AND ALBERT MUSEUMS IN LONDON, AND I THINK THAT INSTANTLY TELLS YOU HOW TO WORK THAT STITCH.

THE SLIP-STITCH EDGE IS THE MOST OFTEN SEEN, AND I LIKE TO PRE-BASTE THAT TURNED-UNDER EDGE ALWAYS REMEMBERING TO KEEP THE KNOT IN THE OUTSIDE OF MY FABRICS SO I CAN REMOVE THAT BASTING STITCH LATER ON.

NOW, ANOTHER WAY OF PRE-SETTING THOSE RAW EDGES SO THEY'LL STAY IN PLACE WAS A FAVORITE METHOD OF HELEN KELLY'S.

YOU REMEMBER HELEN KELLY'S SPRAY STARCH METHOD.

SHE WOULD SIMPLY SPRAY THE STARCH IN THE LID OF HER CAN AND THEN WITH HER FINGERS, SHE WOULD MOISTEN ALL THESE EDGES AND WITH A DRY IRON, SECURE THOSE EDGES ON TOP.

IT'S ALSO EASY TO BASTE YOUR CUT-OUT FIGURE IN PLACE AND THEN ALMOST A STITCH-AS-YOU-GO METHOD WOULD BE USING THE POINT OF THE NEEDLE TO TURN UNDER THOSE RAW EDGES TO MANIPULATE THOSE IN PLACE.

NOW, FREEZER PAPER.

I'VE BEEN TELLING YOU THAT WE'RE GOING TO BE USING IT A LOT.

WOULD YOU BELIEVE IT FOR APPLIQUÉ?

IT DOES ADHERE TO FABRIC.

THE WAXY SIDE, LEAVING THAT EXPOSED, AND CUT SMALLER, OF COURSE, THAN YOUR FIGURE AND THE RAW EDGES WITH A POINT OF AN IRON CAN THEN BE IRONED AND STAYED IN PLACE.

YOU GET THAT NICE CURVE HERE.

REMEMBER ON YOUR CONCAVE CURVES TO CUT THAT LITTLE NOTCH SO YOU DON'T HAVE AN ACCUMULATION OF FABRIC.

YOU WOULD THEN POSITION THAT IN PLACE AND THEN WITH YOUR MATCHING THREAD, DO A SLIP STITCH.

AT THIS POINT, RIGHT BEFORE YOU'RE JUST ABOUT DONE, YOU'RE GOING TO WANT TO LOOSEN THAT FREEZER PAPER AND PULL IT OUT.

OTHERWISE YOU HAVE TO SLASH THE BACKING AND PULL IT OUT FROM THE BACK SIDE.

THE FREEZER PAPER CAN ALSO BE IRONED TO THE FIGURE ITSELF AND THEN YOU WOULD HAVE TO HAND MANIPULATE THOSE RAW EDGES UNDERNEATH.

OUR LAST WAY IS, OF COURSE, WITH THE SATIN STITCH.

THE SHAM FOR THE COTTON BOLL QUILT IS COMING ALONG, IT'S NOT QUITE FINISHED.

THE LEAVES ARE ON.

AND YOU REMEMBER THE IMPORTANCE OF WHEN YOU ARE STITCHING THE SATIN STITCH, YOUR ZIG ZAG STITCH, TO BE DOING THAT ON TOP OF A THIN PAPER.

SO THEN WHEN YOU'RE DONE WITH THAT, IT'LL JUST VERY EASILY PULL OFF.

AND ONCE THAT HAS BEEN PULLED OFF, THEN TAKE THOSE WONDERFUL SCISSORS THAT HAVE THE-- WE CALL THEM THE APPLIQUÉ SCISSORS WITH THE LIP ON THEM, AND WITH YOUR PALM UP, GO TO YOUR FIGURE, FIND YOUR LITTLE SLIT HERE, MAKE A SLIT AND THEN REMOVE-- THE FIGURE ALL THE WAY AROUND LIKE SO.

THAT WILL REVEAL YOUR LEAF UNDERNEATH, AND THEN THAT COMPLETES YOUR SINGLE SURFACE APPLIQUÉ.

THE ONLY PLACE IT'S OVERLAPPING IS WHERE ONE FIGURE WAS SATIN STITCHED TO ANOTHER.

I HAVE A CONTINUAL LOVE AFFAIR WITH THE SPOOL PATTERN.

I'M CONTINUALLY FASCINATED WITH ITS DESIGN AND ITS SHAPE.

LET'S REMEMBER THE SPINNING SPOOL QUILT AND THEN GO LOOK AT OUR SPOOL DISPLAY.

CONSIDER THE SPOOL SHAPE.

THE SPINDLE AND THE SPOOL HAVE BEEN SO IMPORTANT IN THE HISTORY OF AMERICAN TEXTILE.

AND JUST CONSIDER THE LONG, SKINNY ONES, THE SHORT ONES, WHY, THE WOODEN ONES THAT HAVE NOW BECOME CANDLESTICK HOLDERS.

AND WHAT ABOUT THE LITTLE TEENSY TEENSY ONES?

THE WOODEN ONES, THE CURVED ONES, THE ONES FROM A LONG TIME AGO, JUST AS THIS OLD QUILT TOP.

THANK HEAVENS THIS QUILT TOP FOUND A HOME, IT'S ON ITS LAST LEGS.

AND, OF COURSE, WHEN IT WAS LABELED IN THE ANTIQUE STORE, IT WAS CALLED "THE BOW TIE QUILT," BUT YOU AND I KNOW THAT IT'S REALLY THE SPOOL QUILT.

CONSIDER THE VARIATION OF FABRICS AND HOW SOMETIMES IT LOOKS LIKE A WHIRLIGIG, BUT THEN OTHER TIMES YOU SEE THE SPOOL MOTIF.

I LOVE THIS ONE BLACK TRAPEZOID IN THE WHOLE QUILT TOP.

QUILTERS SOMETIMES GO OFF THE DEEP END, AND I JUST LOVE IT WHEN THEY DO.

FRAN GALLOP FROM TEXAS HAS DONE A BEAUTIFUL SPOOL MOTIF EVERYWHERE.

WHY THERE'S EVEN YARN COMING ACROSS, CASCADING DOWN THE SHOULDER.

AND THEN SHE, TO FURTHER THAT, HAS TOPPED IT OFF WITH A SUPER SPOOL ON THE BACK.

HER LINE OF GARMENTS ARE CALLED "FRANTASTIC," AND IT REALLY IS.

WITH ALL THIS INSPIRATION, LET'S GO TO THE DRAWING BOARD.

THE SPINNING SPOOL DESIGN RELIED ON 2 TRIANGLES, A LARGE ONE AND A SMALL ONE, AND A TRAPEZOID.

ALL WITHIN A GIVEN SQUARE.

IN THIS CASE, IT WAS A 16 PATCH.

IN THIS INSTANCE, THE BLOCK IS SET WHAT WE CALL STRAIGHT ON AND THE SPOOL ITSELF, THAT SHAPE, IS TURNED.

OR WE COULD TAKE OUR BLOCK AND TURN IT WHAT WE CALL ON POINT.

AND THEN ALL OF A SUDDEN, WE VISUALLY SEE OUR SPOOL SITTING STRAIGHT UP OR ON ITS SIDE.

IT'S INTERESTING TO NOTE THAT ONCE WE TAKE THE TRAPEZOID AND COLOR IT IN, IT BECOMES MAGNIFIED AND ALL OF A SUDDEN WE LOSE THE SPOOL DESIGN.

IN WORKSHOPS, I LIKE TO MEET THE CHALLENGE OF PATCHWORK BY TAKING THIS DIVISION AND WHAT I CALL JUGGLING THE SECTIONS.

WOULDN'T IT BE NICE TO ONCE AGAIN TAKE THE 2 SIZES OF THE TRIANGLES AND THE TRAPEZOID AND TURN IT EVERY WHICH WAY?

CREATE AND DESIGN YOUR OWN BLOCKS ALL OF A SUDDEN.

WE SEE A REMINDER HERE OF THE SPOOL, BUT ALL OF A SUDDEN IT'S LOST WITH THE LARGE SQUARES AND THE SMALL SQUARES.

EVERY TIME YOU TURN IT, IT BECOMES A NEW DESIGN.

WE COULD TAKE THE MOTIF AND THIS TIME LET THE TRAPEZOID BE DARK.

ENTIRELY NEW PATTERNS.

THEY LOOK VERY INDIAN, DON'T THEY?

NAME IT, MAKE IT YOUR OWN BLOCK.

WHAT IF WE COMBINED THE 2 BLOCKS?

WE GET EVEN FURTHER DESIGN.

I TOOK THIS WHOLE IDEA TO A MATHEMATICIAN, AND WOULD YOU BELIEVE 4,294,967,283 COMBINATIONS OF THIS ONE BLOCK AREA?

NO WONDER WE AS QUILTERS JUST KEEP GOING ON AND ON.

THERE ARE OTHER WAYS FOR US TO CREATE NEW DESIGNS WITH OUR MOTIFS.

WHAT ABOUT ELONGATING A DESIGN?

TAKE THAT SAME DIVISION AND TURN IT INTO A RECTANGLE 2 INCHES BY 4 INCHES HERE.

FIND THE MID-POINT-- THE MID-POINT AND HAVE A SMALL TRIANGLE WITH A LARGE ONE AND OF COURSE, I GUESS WE JUST HAVE TO CALL THIS A QUADRILATERAL FIGURE OF SOME SORT.

LOOK HOW OUR SPOOL HAS CHANGED.

ALL OF A SUDDEN, IT HAS A NEW LOOK TO IT.

COMBINE RECTANGLES AND SQUARES.

LOOK WHAT HAPPENS HERE.

WHAT ABOUT INTRODUCING A PROTRACTOR?

IN THIS INSTANCE, WE WOULD BE DRAWING A STRAIGHT LINE, FINDING OUR 60 DEGREE ANGLE, AND THEN COMING DOWN 12 INCHES, COMING UP 12 INCHES WITH OUR 120 DEGREES, AND ALL OF A SUDDEN, WE HAVE THAT FAMILIAR DIAMOND THAT WE SAW IN THE HEXAGON, THE TUMBLING BLOCKS.

BUT THIS TIME WE'VE BROKEN IT UP INTO A 16 PATCH.

I SEE A LONG, SKINNY SPOOL, AND I SEE A SHORT, FAT ONE.

WE CAN GO EVEN ONE STEP FURTHER AND TAKE OUR 45 DEGREE ANGLE.

SAME IDEA, BUT 45 DEGREES.

AH!

OUR SPOOL GETS LONGER AND SKINNIER.

EXPANDING THIS IDEA, WE CAN TAKE OUR SQUARE AND EVEN ELO-- OOP!

I HAVE ONE I NEED TO ELIMINATE.

ELIMINATE LINES.

WE CAN ADD NEW LINES.

CAN YOU SEE?

THERE'S A SMALL TRIANGLE, THE LARGE ONE, AND THE TRAPEZOID, BUT ALL OF A SUDDEN, I'VE INTRODUCED A NEW LINE.

ALL OF A SUDDEN, I HAVE A VERY CONTEMPORARY LOOK IN MY QUILT BLOCK.

A 9 PATCH.

TAKE THAT SAME DIVISION, INSTEAD OF A 16 PATCH, MAKE IT INTO A 9 PATCH.

INTRODUCE A CURVE.

IN OUR DESIGN WORK, ALL OF A SUDDEN, WE MIGHT WANT TO USE OUR FLEXIBLE CURVE AND TAKE A LITTLE BIT OF A CURVE IN OUR DESIGN.

I PUT THIS SITUATION TO SOME OF MY QUILT STUDENTS AND MARY BARRY HAS COME UP WITH SOME NEW SPOOL MOTIFS.

WE CALL THIS ONE, IN HONOR OF MARY BARRY, "MARY-LY WE ROLL ALONG."

DO YOU SEE THE SPOOL MOTIF OVERLAPPING EACH OTHER?

SHE'S ALSO DESIGNED ONE SHE CALLS "SPIRO-GIRO."

VERY EXCITING TURNS.

I LOVE "WOODEN FANGS."

"APPLE CORE."

ALL OF THESE REMINISCENT AND KIND OF A SPIN-OFF OF OUR DESIGNS.

"THE PRETTY POSEY"-- NOW SOMETIMES WE CAN EVEN LOOK TO EVERYDAY SYMBOLS THAT WE SEE.

I SEE THIS LITTLE FLOWER AT MY SEWING MACHINE WHEN I SIT THERE EVERY DAY.

AND ALL OF A SUDDEN, I DESIGNED THAT.

NOW, WHAT HAPPENED WHEN I PUT 2 OF THESE DESIGNS TOGETHER, ALL OF A SUDDEN, LOOK WHAT HAPPENED.

MORE SPOOLS.

CAN YOU FIND THE LITTLE SQUARE SPOOL RIGHT THERE?

SO I CAN'T REALLY GET AWAY FROM SPOOLS, CAN I?

THEN WE HAVE "THE SPOOL TWIST," THAT IS OUR PATTERN FOR TODAY AT THE SEWING MACHINE.

OTHER SPOOLS DOWN THROUGH THE HISTORY IF YOU GO TO SOME OF YOUR QUILT BOOKS-- I KNOW YOU'LL ENJOY FINDING SOME OF THE OLD SPOOL DESIGNS.

I ESPECIALLY LIKE THIS ONE, IT'S CALLED "SECRET DRAWER."

ALL OF THESE HAVE THAT SAME SHAPE THAT JUST GO ON AND ON.

NOW, PRETEND THAT YOU HAVE SETTLED ON YOUR DESIGN, BUT YOU'RE NOT QUITE SURE OF YOUR FABRIC.

I HAVE A NEW IDEA FOR YOU THAT I CALL, "PAINLESS PATCHWORK PROJECT."

IT'S ALL BASED ON THE IDEA THAT YOU CAN TAKE YOUR DESIGN AND PUT IT ONTO FREEZER PAPER.

YOU ARE GOING TO TRACE THE EXACT SIZE OF YOUR SHAPE-- IN THIS CASE, IT'S THE SPOOL TWIST PATTERN, WITH A PENCIL ON THE NON-WAXY SIDE OF FREEZER PAPER.

NOW, THIS IS THE EXACT SIZE WITHOUT ANY SEAM ALLOWANCE.

AFTER YOU HAVE DONE THAT, YOU WOULD BE GOING TO YOUR CUTTING BOARD OR YOUR SCISSORS, ONE OR THE OTHER, AND I LIKE THESE SMALL CUTTING BOARDS FOR SMALL PROJECTS.

AND YOU WOULD TAKE THIS AND SIMPLY CUT EXACTLY ON THE LINE THAT YOU HAVE DRAWN.

KNOWING THAT AFTER YOU HAD DONE THAT, YOU'RE GOING TO SIMPLY CUT THAT OUT THE EXACT-- THE EXACT SHAPE.

YOU CAN EVEN TURN THIS LIKE SO.

AFTER YOU HAVE THIS CUT OUT, THEN YOU ARE GOING TO-- AND OF COURSE IT WOULD HELP TO PUT YOUR GRAIN LINE THERE.

THEN YOU'RE GOING TO GO TO YOUR FABRIC.

SAY YOU'RE NOT QUITE SURE IF YOU WANT AN AQUA OR A RED.

TAKE YOUR DESIGN-- AND BEING CONSCIOUS OF YOUR GRAIN LINE ALL THE TIME, YOU'RE GOING TO POSITION THIS ON THE FABRIC.

NOW, ONCE YOU GET THAT LINED UP AND YOU SAY TO YOURSELF, "OH, DEAR, IT MOVED A LITTLE BIT."

THE NICE THING ABOUT THE FREEZER PAPER IS THAT I CAN PEEL IT OFF AND REPOSITION IT EXACTLY SO IT IS PARALLEL TO THE SELVAGE.

NOW, I'M GOING TO CUT THAT OUT.

I WOULD DO THE SAME THING WITH THE RED IF THAT WERE GOING TO BE THE TRIANGLE.

POSITION THAT.

IRON THAT ON-- IT'S GONNA STAY FOR A LONG TIME.

THE I'M GOING TO COME AND CUT THAT EXACTLY ON THAT LINE AGAIN.

POSITION THAT-- AND I'M REALLY BASICALLY JUST CUTTING OUT MY TRAPEZOID SHAPE AGAIN.

COME LIKE SO.

COME ALL THE WAY DOWN, POSITION THAT AGAIN.

AND SO FORTH SO THAT YOU CAN CUT OUT YOUR DESIGN COMPLETELY.

ONCE ALL YOUR SHAPES HAVE BEEN CUT OUT, THEN, WITH RUBBER CEMENT, YOU CAN SIMPLY POSITION THESE IN PLACE.

AND THEN YOU CAN TEST-- YOU COULD EVEN COVER THIS WITH SHRINK WRAP, PUT A LITTLE HOLDER ON THE BACK AND YOU HAVE AN INSTANT PATCHWORK PROJECT.

NOW, BEFORE WE GO SHOW YOU A SUPER GIGANTIC PROJECT, I WANT TO REMIND YOU THAT WE EVEN FOUND A SPOOL DESIGN ON A NAVAJO ART STAMP.

WOULD YOU BELIEVE--?

SO SPOOLS ARE EVERYWHERE.

YOU REMEMBER SAMPLERS.

HERE WE HAVE A SPOOL SAMPLER THAT TAKES ADVANTAGE OF BORDER PRINTS.

THEY'VE BECOME VERY POPULAR IN PATCHWORK AND WE CAN CUT THEM APART, INSERT THEM INTO OUR BLOCKS AND ALSO ACCENT OUR BORDERS.

I'M GOING TO GO THROUGH THE BLOCKS WITH YOU ONE AT A TIME, GIVING YOU SOME TIPS ON HOW TO PIECE THEM.

"WOODEN FANGS" WE WILL COVER AT THE OVERLOCK MACHINE.

THE NEXT ONE IS CALLED "HITHER AND YON" AND IT'S A BASIC 4 PATCH IF YOU STOP AND STUDY IT, NOTING THAT IT TAKES, UM, ADVANTAGE OF THE FACT THAT WE HAVE TRIANGLES THAT ARE SEWN TOGETHER TO FORM ONE LARGE TRIANGLE.

ONCE THAT IS DONE IN 4 SECTION, I WOULD SIMPLY SEW THAT TOGETHER.

THE NEXT ONE IS CALLED "MARY-LY WE ROLL ALONG" AND NOTICE THAT IT TAKES ADVANTAGE OF OUR WONDERFUL BORDER PRINT.

ISN'T IT NICE THAT WE HAVE THE OPAQUE OR THE CLEAR TEMPLATES NOW THAT WE CAN POSITION RIGHT ON TOP OF OUR BORDER FABRIC FINDING IN EACH CASE REPEATING THAT DESIGN ALL THE WAY AROUND.

THEN THAT CAN BE SEWN TOGETHER INTO OUR BASIC DIAGONAL 4 PATCH AND THEN, ALL OF A SUDDEN, LOOK, A NEW STAR EMERGES UP IN OUR "MARY-LY WE ROLL ALONG."

COMING DOWN TO A DESIGN WE CALL "APPLE CORE", WE'RE GETTING PRETTY DIFFICULT HERE, LADIES.

I WOULD BE VERY TEMPTED TO DO THIS JUST AS A PAINLESS PATCHWORK PROJECT ON THE FREEZER PAPER, BECAUSE ONCE YOU START HAVING A DESIGN THAT FADES INTO OBLIVION, LIKE THIS DOES, WE'RE TALKIN' PRETTY DIFFICULT.

IT IS A VERY INTERESTING DESIGN.

GOING ON, WE HAVE JUST A SIMPLE SPOOLS DESIGN.

I DID WANT TO MAKE NOTE OF THE FACT THAT THERE IS A SEAM HERE AND HERE, BUT IT RELIES ON GETTING THIS LARGE TRIANGLE TOGETHER AND THEN-- 4 TIMES-- AND THEN GOING ON FROM THERE.

"THE SPOOL TWIST" WILL BE AT THE SEWING MACHINE.

"SPOOL SPIN-OFF" RELIES ON THE TRIANGLE, THE TRAPEZOID, AND THE LARGER TRIANGLE THAT HAS BEEN DIVIDED.

NOTICE THAT EACH OF THESE QUARTER SECTIONS RELIES ON 4 TEMPLATES AND IN THIS CASE, 2 OF THEM ARE ONES THAT HAVE TO BE REVERSED, SO THAT THAT ONE WOULD BE CUT OUT IN DUPLICATE, AND THEN IT COULD BE REVERSED TO THE OTHER SIDE.

AND IN THIS CASE, IT'S JUST A MATTER OF STITCHING THE 4 PIECES TOGETHER-- 1, 2, 3 AND YOUR 4-- IN ORDER TO MAKE YOUR WHOLE BLOCK.

"SECRET DRAWER" HAS THOSE WONDERFUL, TWIRLING SPOOLS AND ONE WHOLE FIGURE-- THE TEMPLATE BECOMES ONE WHOLE FIGURE.

USE THAT EIGHTH OF AN INCH HOLE-PUNCH AND PUNCH OUT THE EXACT TURNS THERE.

THEN YOUR TRAPEZOID CAN LINE UP EXACTLY WITH THAT AND YOU CAN GET A FIRM-- SEWING UP TO THERE, STOP AND BACKSTITCH, SNIP OUT TO RELEASE THAT, AND THEN NOTICE HOW NICE THAT CAN SEW AT YOUR ANGLE, LEAVING A VERY NICE, CLEAN INTERSECTION THERE.

OUR LAST BLOCK IS CALLED "SPIRO-GIRO."

LOTS GOING ON HERE.

IT SIMPLY RELIES ON FORMING 2 LARGE TRIANGLES THAT ARE, OF COURSE, PIECED AND SECTIONED.

AND IN THIS INSTANCE, YOU WOULD HAVE YOUR DIAGONAL 4 PATCH-- REMEMBER TO STAGGER YOUR SEAMS, ADD YOUR TRIANGLE ONTO THE CORNER 4 TIMES.

THESE LARGE ONES GO HERE.

ALL OF THIS-- PAINLESS, NO SEWING AND NO PATCHWORK.

BUT NOW, LET'S GO TO THE REAL THING.

"PRETTY POSEY" COULDN'T BE PRETTIER THAN THIS FULL-SIZED QUILT MADE BY PATTY MAY AND JANET SHRIBER OF OHIO.

THEY HAVE CAPTURED THE PRETTY POSEY PATTERN IN A FIELD OF YELLOW.

NOTICE THAT PATTY MAY HAS DONE CLAMSHELL QUILTING ON A HUGE QUILTING MACHINE.

THE PATTERN ITSELF-- "PRETTY POSEY", IS BASED ON THE TOP PORTION, PIECED IN RECTANGLES THAT ARE ATTACHED TO A CENTER BAND.

THE BOTTOM PORTION HAS THE LEAF THAT GOES TO A TRIANGLE AND IT JUST CONTINUES ALL THE WAY OVER, LEAVING THIS TRAPEZOID, WHICH IS THE NEXT TO THE LAST PIECE AND THEN YOU FINISH IT WITH THE OUTSIDE TRIANGLES.

NOTICE OUR DECOR ABOVE THE FIREPLACE.

THAT IS DONE BY VIVIAN LEBEAU.

I LOVE THE BRIGHT KELLY GREEN AND BLUE THAT HIGHLIGHT THIS WALL HANGING.

"SPOOL TWIST" PATTERN.

FOR YEARS, I HAD BEEN SAVING GREENS AND LAVENDERS AND BLUES.

I KNEW I WANTED THEM TO GO ON ONE WHOLE QUILT.

AND THE WAY I WANTED IT TO HAPPEN WAS A RADIATING EFFECT-- I WANTED ALL THE LIGHT COLORS IN THE CENTER AND THEN TO BE PULLED OUT TO THE DARKER COLORS AROUND THE OUTSIDE.

SO WHAT YOU NEED TO DO IS THROW THEM ALL DOWN IN THE CENTER OF THE FLOOR AND THEN START SEGREGATING THEM.

GET ALL YOUR DARK COLORS, KNOWING THAT THEY'RE GONNA BE YOUR OUTSIDE BORDERS.

AND THEN ALL YOUR LIGHT.

WHETHER IT'S THE LAVENDER OR THE GREEN OR THE PINK, THAT'S ALL GONNA GO INTO THE CENTER.

LET'S GO TO THE MACHINE AND SEE HOW THIS ONE IS PUT TOGETHER.

"SPOOL TWIST" PATTERN DEPENDS ON 3 TEMPLATES.

NOW, DON'T BE MISTAKEN ABOUT THESE TEMPLATES.

THE TRAPEZOIDS LOOK VERY CLOSE IN SHAPE, BUT THEY ARE A LITTLE DIFFERENT IN SIZE.

ALSO NOTE THAT THE GRAIN LINE VARIES-- YOU HAVE A STRAY OF THE GRAIN ON THE OUTSIDE ON THE LONG SIDE.

AND THEN ON THE SHORT SIDE, A STRAY OF THE GRAIN.

ONCE AGAIN, I RELY ON PUNCHING OUT THE HOLES SO THAT I CAN MARK THAT ON THE BACKSIDE.

ONCE THAT'S BEEN MARKED, AND MY TEMPLATES HAVE ALL BEEN CUT OUT, I WOULD WORK AND GET MY TRIANGLES DONE 8 TIMES ALL THE WAY AROUND, KNOWING THAT'S GOING TO BE SEWN TO THIS TO CREATE MY 4 PATCH.

IN ORDER TO DO THAT, I WOULD RELY ON THAT WONDERFUL 45-DEGREE ANGLE, LINE THAT UP, THE POINT, KNOWING THAT I'M GOING TO MACHINE SEW RIGHT TO THAT POINT, STOP AND BACKSTITCH.

THIS IS NOT A BLOCK WHERE YOU'RE GONNA WANT TO BE PIVOTING.

IT'S MUCH EASIER TO SEW UP TO THAT POINT-- STOP, AND BACKSTITCH.

ONCE THAT HAS BEEN DONE, THEN I WOULD COME-- ALWAYS HELPS TO COME BACK EXACTLY WHERE YOU STARTED-- AND THEN REPOSITION THAT ON TOP OF THAT, KNOWING THAT YOU CAN LINE UP THOSE DOTS AGAIN STARTING HERE, ALL THE WAY DOWN-- OF COURSE THERE'LL BE THAT LITTLE DOG EAR THAT EEKS OUT-- COME AROUND HERE, KNOWING THAT YOU'RE GOING TO OF COURSE, WANT TO SEW EXACTLY WHERE YOU CAN SEE THAT DOT.

START, BACKSTITCH, AND THEN ALL THE WAY DOWN.

I WOULD THEN START, COME BACK HERE KNOWING THAT YOU CAN CUT YOUR THREADS, THEN REPOSITION THAT JUST LIKE SO.

I'M GONNA PIN THAT IN PLACE AND YOU CAN SEE WHERE YOU WOULD HAVE YOUR FINAL STITCHING LINE THAT CREATES THAT TRIANGLE THAT WOULD BE SEWN TOGETHER ALL THE WAY AROUND 4 TIMES.

NOW, OUR BLOCK WOULD NOT BE COMPLETE, OF COURSE, UNTIL WE WOULD PUT OUR BORDER ON.

AND I HAVE ONE THAT'S JUST ABOUT QUILTED, AND I CAN GIVE YOU A BETTER IDEA OF HOW THAT WOULD BE GOING.

THE FUN THING ABOUT THIS BLOCK IS THAT, AS THE BORDERS ARE ADDED, IT CREATES A DESIGN ON THE OVERALL QUILT.

YOU HAVE A PINWHEEL EFFECT HAPPENING ONCE YOUR BLOCKS ARE QUILTED AND JOINED TOGETHER IN THE FULL-SIZE QUILT.

HOW ARE YOU GOING TO QUILT THIS NOW?

I'VE DECIDED TO BOTH MACHINE AND HAND QUILT THIS AT THE SAME TIME.

IT ADAPTS SO BEAUTIFULLY TO LAP QUILTING, AND ALSO WHAT HAPPENS IS THAT YOU ARE ABLE TO GO AHEAD AND SET THE DESIGN STRAIGHT BY HAND QUILTING.

I'M JUST FINISHING THESE LAST STITCHES, SO LET ME GO AHEAD AND PUT ONE MORE STITCH ON HERE.

AND SHOW YOU HOW TO TIE OFF.

LET'S KIND OF REVIEW THE FACT THAT WE HAVE NOT ONLY FINISHED OUR HAND QUILTING-- IT'S GONE, OF COURSE, STARTING IN THE CENTER, IT SIMPLY SET THE BLOCK IN PLACE-- WHAT WE WOULD REFER TO AS A PINWHEEL.

NOT IN THE DITCH, BUT RIGHT NEXT TO THE SEAM LINE.

I WOULD THEN COME AND MAKE MY LOOP-- I'M ALL DONE WITH MY QUILTING.

TAKE THAT NEEDLE AND PUT THE NEEDLE RIGHT IN THAT LOOP.

I CAN THEN CLOSE THE LOOP AND POSITION THAT KNOT ALL THE WAY DOWN NEXT TO THE FABRIC.

I WOULD THEN COME AND DO WHAT I REFER TO AS A LITTLE HALF BACKSTITCH.

IT'S JUST GO-- THE NEEDLE GOES IN AND THEN IT COMES UP, OH, ABOUT AN INCH AWAY AND THEN YOU CAN CLICK, AND JUST HEAR THAT KNOT BEING PULLED IN.

ONCE THAT HAS BEEN RELEASED, YOU'RE READY TO START REMOVING ALL THE PINS.

NOW, I DIDN'T PRE-BASTE THIS TO DO THE HAND QUILTING, I JUST PUT A THOUSAND PINS IN ONE AREA.

AND THAT WOULD ONLY BE DONE IF YOU WERE QUILTING AT WHAT WE WOULD REFER TO AS ONE SITTING, BECAUSE YOU DON'T WANT TO TRAIPSE AROUND THE HOUSE WITH ALL THESE PINS IN YOUR BLOCK.

THAT'S REALLY, UH, TOO DANGEROUS WITH SHAG CARPETING, RIGHT?

BUT NOW I KNOW I'M GOING TO DO THE SPIDER WEB QUILTING ON THE MACHINE AROUND THE OUTSIDE.

THE BEAUTY OF THIS IS THAT I-- ONCE IT'S MARKED, I CAN MACHINE QUILT STARTING IN THE CENTER AND GO ALL THE WAY OUT KNOWING THAT I DON'T HAVE TO PRE-BASTE, THE HAND QUILTING HAS SET THAT.

I DON'T HAVE TO PUT ANY PINS IN AND THERE'S NOTHING TO GET HUNG UP WITH THE PRESSER FEET ON MY MACHINE.

I WOULD NEED TO MARK MY BLOCK.

AND I THINK YOU NEED TO TEST ALL KINDS OF DEVICES FOR MARKING.

YOU WANT SOMETHING THAT'S GONNA SHOW UP ON YOUR QUILT, BUT SOMETHING THAT WILL EASILY REMOVE LATER.

A HEAVY PENCIL WOULD NOT BE THE TICKET.

BUT ONCE YOU HAVE MARKED THIS COMPLETELY, THEN I KNOW THAT, STARTING IN THE CENTER, I CAN MACHINE QUILT ALL THE WAY AROUND, AND THEN I'M GOING TO COME OUT TO THE NEXT ROW AND MACHINE QUILT.

THAT DOES MEAN PUTTING A WALKING FOOT ON YOUR MACHINE.

THAT WOULD MEAN-- SOMETIMES THEY REFER TO THESE AS AN EVEN FEED FOOT, BUT IT MEANS THAT NOW YOU HAVE THE CAPACITY TO DO MACHINE QUILTING.

YOU CAN CONNECT 3 LAYERS AND YOU DON'T NEED TO WORRY ABOUT SOMETHING SHIFTING ON THE BACKSIDE.

IT COULD BE THAT YOU USED QUILTING THREAD, IF IT HAD-- UM, IT WAS NOT HAVE-- IT DID NOT HAVE A WAX COATING ON IT, BUT I HAVE CHOSEN JUST A WHITE THREAD, OR AN OFF-WHITE TODAY, SO YOU CAN SEE-- ACTUALLY SEE THE STITCHING.

I WOULD GO AHEAD AND BACKSTITCH.

DOESN'T HURT TO BACKSTITCH THAT IN PLACE.

AND THEN I'M DOING THAT WONDERFUL SPIDER WEB, THAT SWOOPY FEELING.

COMING OUT, NEEDLE DOWN AND TURNING ALL THE WAY.

COMING OUT, NEEDLE DOWN AND TURNING.

AND AS I GO ALL THE WAY AROUND ONE ROW, THEN I CAN DO SOMETHING KIND OF CLEVER.

I CAN INSERT A SPIDER HALFWAY BETWEEN ONE ROW AND THE NEXT.

MACHINE QUILTING GIVES YOU THAT OPTION TO BE VERY CREATIVE AND GUESS WHAT?

I THINK I'M GONNA STAY JUST AS WARM WITH A QUILT THAT HAS MACHINE AND HAND QUILTING IN IT.

BESIDES, I CAN FINISH IT.

I'M IN A HURRY, I'VE GOT 10 MORE QUILTS TO DO.

SO GO AHEAD, USE YOUR MACHINE AND YOUR HAND QUILTING AND DON'T FEEL GUILTY ABOUT THAT.

I KNOW THAT YOU'VE ENJOYED SEEING THE "WOODEN FANGS" BLOCK.

I WANTED YOU TO SEE HOW THAT WAS PIECED IN THE BASE OF THIS SKIRT.

I USED THE OVERLOCK MACHINE.

IT ALLOWS US TO DO PIECING IN GARMENTS AND NOT WORRY ABOUT PUTTING A FOUNDATION UNDERNEATH.

THE OVERLOCK MACHINE CUTS OFF AND THEN IT NOT ONLY TRIMS, BUT THEN COVERS ALL THE OUTSIDE EDGES.

THAT "WOODEN FANGS" BLOCK IS BASED ON AN ELONGATED HEXAGON, BUT I WENT AHEAD AND SIMPLY CUT A RECTANGLE FOR THE SKIRT BECAUSE THEN I COULD SIMPLY SEW MY TRIANGLES, ON MY REGULAR MACHINE-- WE REFER TO THIS AS SEW AND FLIP-- AND THEN THEY'RE ENCASED INSIDE THERE.

ONCE I'VE DONE THAT, I HAVE TO CREATE THIS BAND ON BOTH THE TOP AND THE BOTTOM-- YOU CAN SEE THE TOP AND THE BOTTOM-- THAT WOULD BE SEWN TO THAT.

BUT THE FUN PART IS TAKING THIS, LINING THIS UP AND HOLDING THIS IN PLACE, ALLOWING MYSELF TO DO THAT WONDERFUL OVERLOCK.

LOOK AT THAT MACHINE DOING ITS JOB, I JUST LOVE TO SEE THAT HAPPEN.

IT'S CUTTING OFF EXTRA THREADS AS IT GOES AND IT'S COVERING ALL THOSE RAW EDGES INSIDE.

THAT ALLOWED ME TO FINISH THE WHOLE SKIRT.

WE LOOK FORWARD TO SEEING YOU NEXT TIME "WHEN GRANDMA TAUGHT US HOW."

Announcer: LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... GINGHER INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINT WORKS COMPANY, AMERICA'S OLDEST TEXTILE PRINTER.

GEORGIA BONESTEEL IS THE AUTHOR OF GEORGIA'S NEW IDEAS FOR LAP QUILTING, PUBLISHED BY OXMOOR HOUSE, AND AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.