♪ COME TO A GARDEN PARTY TODAY.

THE GUESTS ARE ALL QUILTED.

WELCOME TO OUR FLOWER POWER SHOW FROM ATHENS, OHIO.

THE HARMONIOUS FABRIC OF NATURE COMES TO LIFE IN SO MANY WAYS-- PIECED, PAINTED, APPLIQUED, BUTTONS AND BEADS, AND EVEN METALLICS.

WE WILL DISCOVER HOW TO DESIGN A QUILT EXHIBIT.

BUT FIRST, MEET HILARY FLETCHER, THE PROJECT MANAGER.

♪ "LAP QUILTING WITH GEORGIA BONESTEEL" IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.

THIS IS A DEJA VU APPEARANCE FOR US HERE IN ATHENS, OHIO, TO BE WITH HILARY FLETCHER AND LEARN MORE ABOUT ANOTHER QUILT SHOW.

RIGHT.

WELL, WE DO QUILT NATIONAL EVERY OTHER YEAR, AS YOU KNOW, AND QUILT NATIONAL TRAVELS.

AND ONE YEAR WHEN QUILT NATIONAL WAS IN JAPAN, THE JAPANESE HAD ASKED US IF WE WOULD WORK WITH THEM TO ASSEMBLE AN INTERNATIONAL EXHIBIT OF QUILTS THAT ALL RELATE TO THE THEME OF GARDENS AND GREENERY, AND THAT'S HOW THE FABRIC GARDENS EXHIBIT CAME TO BE.

WORLDWIDE?

ABSOLUTELY.

ENTRIES FROM 17 COUNTRIES.

AND THEN IT'S BEEN SEEN ALL OVER THE WORLD.

IT MADE ITS DEBUT IN JAPAN AND HAS BEEN TRAVELING THROUGHOUT THE UNITED STATES, AND WILL CONTINUE TO TRAVEL FOR ABOUT ANOTHER YEAR AND A HALF.

ANN MONEY-PENNY, TELL US TODAY HOW YOU DESIGNED THIS QUILT SHOW.

TO US, THAT MEANS PUTTING IT ON PAPER.

IS THAT HOW IT STARTS?

WELL, IT FIRST STARTS WITH SPREADING OUT PICTURES OF ALL THE QUILTS AND FINDING, OH, COMPARISONS THAT JUST JUMP OUT AT ME.

I LIKE TO PLACE TOGETHER COLORS THAT LOOK GOOD AND MAYBE SIMILAR FABRICS USED, FLORAL PRINTS, AND THESE BEING CONTEMPORARY.

THEN I ALSO LOOK AT STYLE, SPEAKING OF CONTEMPORARY.

WE HAVE TRADITIONAL AND CONTEMPORARY QUILTS SIDE-BY-SIDE HERE IN THE BARN FOR THE FIRST TIME, AND IT WAS VERY CHALLENGING TO TRY TO PUT THOSE TOGETHER SO THAT YOUR EYE WAS ALWAYS PLEASED AND NOT JARRED BY THE DIFFERENCE.

AND THEN EVEN THE BACKS ARE A CHALLENGE TODAY, AREN'T THEY, FOR HANGING?

MANY CONTEMPORARY QUILTMAKERS LIKE TO MAKE THEIR BACKS INTERESTING, AND SOME OF THOSE ARE QUITE HARD TO PLACE BACK-TO-BACK TO SOMETHING MAYBE TRADITIONAL OR SUBTLE.

SOMETIMES THEY DON'T REALIZE HOW HARD IT IS TO HANG A SHOW WHEN YOU'RE HANGING QUILTS IN SPACE RATHER THAN BACK AGAINST THE WALL.

AND SPEAKING OF BACKING, WHAT ABOUT YOUR BACKGROUND?

HOW-HOW WERE YOU ENABLED TO DO THIS?

I HAVE A BACHELOR'S DEGREE IN ART HISTORY, AND I TOOK A LOT OF STUDIO COURSES IN FIBERS AND QUILTMAKING, SPECIFICALLY.

RIGHT NOW, I'M BUSY RAISING A FAMILY AND WORKING WITH MY HUSBAND IN OUR BUSINESS, LATE-NIGHT PIZZA.

BUT WHEN THAT GETS A LITTLE MORE SETTLED AND I'M OLDER, I HOPE TO PRODUCE SOME OF THESE BEAUTIFUL QUILTS THAT I FEEL VERY PRIVILEGED TO HELP DISPLAY.

COME BACK AND SEE YOUR QUILTS HERE.

DO YOU HAVE ANY HINTS FOR, SAY, THE LOCAL QUILT SHOW PRESENTERS WHO ARE DOING EXHIBITS?

SOMETIMES I THINK IT'S HARD.

THE LOCAL GUILD SHOWS HAVE THE CATEGORIES SUCH AS APPLIQUE AND PIECED, AND SOMETIMES WHEN I VIEW THOSE, I THINK, "WOULDN'T IT BE NICE TO JUST MAYBE PUT A TAG THAT SAYS "APPLIQUED?""

BUT IF IT WOULD LOOK SO WONDERFUL NEXT TO A PIECED QUILT, WHY DON'T WE JUST DO THAT, TRY THAT AND LET THE TAGS SAY WHAT THE CATEGORY MIGHT BE?

SOMETIMES IT'S A LITTLE STIFLING TO TRY TO LOOK AT THE SHOW AND SEE JUST ONE CATEGORY AND THEN SEE JUST THE OTHER.

ACTUALLY DESIGN A QUILT SHOW, JUST AS YOU DESIGNED THE QUILTS, SO TO SPEAK.

YEAH, WITH THE LOOKS FIRST, THE VISUALS FIRST, AND MAYBE THE CATEGORY SECOND.

WELL, THANK YOU VERY MUCH, ANN.

THANK YOU.

AND NOW SOME POINTS TO CONSIDER AS YOU VIEW THESE QUILTS.

ALL THREE RESPOND TO CIRCLES BEAUTIFULLY.

IN ONE CASE, THEY'RE VERY SMALL, FLOATING AGAINST BARS ON THE BACKGROUND.

IN ANOTHER CASE...

CIRCLES THAT FLOAT AND CURVE OUTWARD FROM A CENTER CORE.

NOTICE THE PLAY OF PLAID AND METALLIC FABRIC.

OR SUNFLOWERS COMING TOGETHER IN ANGULAR CIRCLES AGAINST A TEAL BACKGROUND.

THERE IS SO MUCH TO SEE IN THIS "CELEBRATION FLOWER" PIECE THE EMBELLISHMENTS, THE RICHNESS, THE TEXTURE, AND YOUR EYE WANDERS FROM LACE TO BUTTONS... A NEW WAY OF USING YO-YO... ...DOWN TO THE BACKGROUND, THE WONDERFUL STITCHING LINES.

JANE BLAIR FROM CONSHOHOCKEN, PENNSYLVANIA, HAS CREATED A PIECE CALLED "SUMMER."

SHE CLAIMS, AS A LOVER OF THE IMPRESSIONIST PERIOD OF PAINTING, "IT SEEMED LIKE A GOOD IDEA TO TRY THE SAME THING IN FABRIC.

"SINCE ALL MY QUILTS BEGIN WITH A TRADITIONAL BLOCK, "SUMMER STARTED WITH THE MAPLE LEAF BLOCK.

"IN VARIOUS SIZES, "IT HAS BEEN SQUEEZED, WIDENED, ELONGATED, "ADDED TO, AND SUBTRACTED FROM TO CREATE A VIEW OF MY FAVORITE SEASON."

HERE THE ARTIST REPRESENTS THE WINDBLOWN PATTERNS AS SEEN ACROSS THE DESERT.

ADDING TO THE ASYMMETRICAL BORDER ARE THE WONDERFUL DIMENSIONAL STEMS THAT GO IN AND OUT ALONG THE VINES.

OTHER DIMENSIONAL PATTERNS ARE REPRESENTED IN MANY OF THE QUILTS IN THIS SHOW.

WE COULD BE UNDERNEATH A REAL CHERRY TREE HERE.

NOTICE THAT ALL THE BLOSSOMS, A MULTITUDE OF BLOSSOMS, HAVE BEEN CUT FROM ACTUAL CLOTH, IN MANY CASES JUST SECURED WITH A SINGLE STITCH.

SOMETIMES A SEQUIN OR A PEARL BECOMES THE CENTER.

FOR FURTHER RELIEF, NOTICE THAT THE BRANCHES AND THE STEMS HAVE BEEN STUFFED.

IN "BIRDS OF PASSAGE," BARBARA CRANE WANTED THE VIEWER TO FEEL LIKE A BIRD SUSPENDED BETWEEN EARTH AND SKY.

THE PRIZE-WINNING QUILT FROM THIS SHOW IS "SUNBURST MAGIC," MADE BY TAKAKO SATAKE, A JAPANESE QUILTER.

IT'S A FASCINATING STUDY IN LIGHTS AND DARKS.

HIGHLY CONTRASTING FLOWERS EMERGE FROM A BORDER OF NEUTRALS FADING INTO BLACK.

WELCOME BACK TO THE LAP QUILTING STUDIO.

AREN'T YOU READY TO MAKE A FLOWER QUILT?

NOW, BEFORE THAT, LET'S VIEW A FUND-RAISING QUILT MADE BY THE ROCHESTER, NEW YORK, AREA QUILT GUILD ON BEHALF OF WXXI, THE PBS STATION FOR ROCHESTER.

THE LUCKY WINNER IS IRENE SHARROW.

WHAT A UNIQUE COMBINATION THEY DID, PAIRING THE OLD FAVORITE HOUSE BLOCKS WITH AN OVERLAY OF TRELLIS FLOWERS.

AND NOW, FOR TODAY-- A BOUQUET OF CLOTH FLOWERS RIGHT HERE IN OUR LAP QUILTING STUDIO, ONE, AN APPLIQUE BLOCK, AND THE OTHER IS PIECED.

THE OAK LEAF AND REEL BLOCK IS OUR APPLIQUE PATTERN FOR TODAY.

IT'S BASED ON A 16-INCH FOUNDATION, AND THERE ARE FOUR TEMPLATES.

YOU CAN SEE IT COMPLETED IN "THE CLUB SANDWICH" QUILT, AND RIGHT NEXT TO IT, THE "TRUE COLORS" QUILT.

WE FIRST SAW THIS VERY CLASSIC APPLIQUE PATTERN AT THE TENNESSEE STATE MUSEUM.

AS WE WANDERED THROUGH THE COUNTRY, WE SAW IT AGAIN AT THE McMINN LIVING HERITAGE MUSEUM, WHERE IT WAS SET WITH LITTLE, TINY NINE PATCHES RIGHT INSIDE THE BORDERS.

TODAY YOU CAN VIEW IT AGAIN AS JUST A BLOCK IN PROGRESS, OF COURSE.

HERE ARE THE FOUR TEMPLATES-- THE LARGE LEAF, THE CENTER CORE, THE REEL ITSELF, AND THEN THE BUD.

NOW, I KNOW WHAT YOU'RE MOST INTERESTED IN KNOWING IS, "WHERE DO I START?

WHAT IS THE SEQUENCE?"

WHAT I WOULD DO WOULD BE TO FIRST TAKE THAT 16-1/2-INCH FOUNDATION AND PRESS IT.

GET THE DIAGONAL LINES.

GET THE CENTER SECTIONS AS IF IT WERE A FOUR PATCH.

THIS GIVES YOU A POINT OF REFERENCE.

THEN MACHINE-STITCH THE CORE TO THESE LEAVES, AND LAY IT IN PLACE.

SEE HOW YOU CAN PINCH THIS AND FIND THE MIDPOINT AND GET IT RIGHT LINED UP.

THEN YOU COULD PUT THE REEL DOWN UNDERNEATH.

THAT ALLOWS YOU TO APPLIQUE THE REEL FIRST, AND THEN YOUR NEXT ONE WOULD BE THE LITTLE STEMS AND THE BUD, AND LAST, THIS LARGER PIECE WOULD BE THE OVERLAY RIGHT ON TOP, TO BE APPLIQUED.

NOW, LET'S COVER SOME OF THE APPLIQUE METHODS TODAY.

MOST PEOPLE ARE USING THE FREEZER PAPER, AND IT CAN BE USED TWO WAYS.

ONE WAY WOULD BE TO SIMPLY PRESS THE REEL WITHOUT THE SEAM ALLOWANCE RIGHT ON THE TOP OF YOUR FABRIC.

THEN, WITH YOUR SNIPPERS, YOU COULD RELEASE THAT CONCAVE AREA, AND NOTICE HOW IT'S JUST GOING TO TURN BACK.

IT'S ONLY GONNA GO AS FAR AS THE PAPER, AND THAT ALLOWS YOU TO GO AHEAD AND DO YOUR APPLIQUE BOTH ON THE OUTSIDE AND THE INSIDE.

OR, A LOT OF PEOPLE WILL KEEP THE FREEZER PAPER UP SO THE POLY-COATED SIDE IS REVEALED, AND THEN WITH AN IRON, YOU CAN SIMPLY PRESS THAT SEAM ALLOWANCE ON TOP.

OF COURSE, WHEN YOU DO THIS METHOD, AT ONE POINT AFTER YOUR APPLIQUE, YOU'RE GOING TO HAVE TO SNIP THE BACK OF YOUR FOUNDATION AND RELEASE THAT FREEZER PAPER.

THE BUD ITSELF, NOW, THAT'S A FUN THING TO DO.

YOU COULD MAKE A LITTLE MANILA WEIGHT CARDBOARD CIRCLE HERE, OVAL, BUT WITHOUT THE SEAM ALLOWANCE, BECAUSE THEN WITH THE SEAM ALLOWANCE OF YOUR FABRIC, YOU CAN GATHER IT, AND BY SIMPLY PULLING THAT, IT'S GONNA JUST HUG THAT CARDBOARD AND MAKES A VERY NICE-- NICE CURVE THERE.

WITH A LITTLE BIT OF SPRAY STARCH, IT'LL EVEN KEEP IT IN PLACE, BECAUSE YOU'RE GONNA REMOVE THAT TO APPLIQUE IT ON TOP OF THE STEM.

NOW, THE STEM IS POSITIONED RIGHT HERE IN THE SIDE, AND IT WILL TURN BECAUSE IT'S ON THE BIAS.

YOU REMEMBER PHILOMENA AND HER WONDERFUL CELTIC BARS.

WELL, NOW SHE'S COME OUT WITH A NEW BOOK.

IT'S CALLED "CELTIC SPIRALS," AND IT'S JUST BEAUTIFUL.

SHE EVEN USES AN 1/8-INCH CELTIC.

WE'RE GOING A LITTLE BIT LARGER THAN THAT.

THE BAR THIS TIME IS 1/4 INCH.

TO MAKE THOSE NICE CURVES, TAKE YOUR BIAS FABRIC-- IT CAN BE CUT, OH, SAY, FOUR TIMES THE WIDTH OF YOUR BAR-- AND YOU'RE GONNA FOLD IT SO THE WRONG SIDE OF YOUR FABRIC IS TOWARDS THE INSIDE.

THE RIGHT SIDE'S ON THE OUTSIDE.

AND I'M GONNA MAKE, FROM THAT FOLD IN HERE, A 1/4-INCH SEAM, LEAVING A VERY TINY SEAM OVER HERE.

NOW, I'M GONNA GO AHEAD, AND USE--BECAUSE I'VE GOT MY NEW PATCHWORK FOOT ON, I CAN JUST LINE UP THAT FOLD RIGHT WITH THAT AND COME DOWN-- I'LL STITCH JUST FOR A WAYS SO YOU CAN SEE HOW THIS WORKS, MACHINE-STITCHING ALL THE WAY DOWN.

I WOULD THEN COME AND SLIP MY BAR IN HERE.

IF MY SEAM ALLOWANCE WAS PRETTY FULL AT THIS POINT BEFORE I SLIP THE BAR IN, I COULD TRIM IT OFF.

IN OTHER WORDS, IF I WANTED TO GET IT REALLY, REALLY NARROW, TRIM THAT OFF, AND THEN SLIP THAT DOWN, AND MANIPULATE THAT LITTLE, TINY SEAM ALLOWANCE SO IT'S ON THE BACK SIDE.

STEAM PRESS THAT AND PULL IT OUT, AND YOU'RE READY TO GO.

NOW, ONCE THAT IS ALL APPLIQUED, YOU'D BE SET TO PUT THAT INTO YOUR "CLUB SANDWICH" QUILT.

BUT ANOTHER OPTION, IF YOU WANTED TO PLAY WITH THIS BLOCK, WHAT ABOUT LARGE FLORAL PRINTS AS A FOUNDATION?

ANOTHER OPTION FOR YOUR OAK LEAF AND REEL.

OUR NEXT BLOCK IS ENTITLED THE OLD-FASHIONED NOSEGAY.

IT'S A 14-INCH BLOCK WITH 7 TEMPLATES.

NOW, THE CREW AND BILL DID NOT KNOW WHAT A NOSEGAY WAS, SO WE HAD TO PUT AN OLD-FASHIONED VICTORIAN NOSEGAY TOGETHER.

YES, IT IS FLOWERS, BUT THIS TIME WE TURN TO FLOWER CLOTH, AND IT TURNS OUT TO BE A VERY PRETTY BLOCK.

THE SEVEN TEMPLATES-- I'M GONNA SHOW THEM TO YOU-- ARE RIGHT HERE.

DON'T GET CONFUSED WITH THESE TWO TEMPLATES.

THEY LOOK VERY SIMILAR, BUT THE SMALLER ONE GOES IN THE INSIDE-- THAT WOULD BE THE HOLDER FOR THE NOSEGAY-- AND THIS BECOMES THE OUTSIDE PORTION, SO I WOULD MAKE THIS THE SAME COLOR AS MY CORNERS, PROBABLY.

THERE IS A LONG PARALLELOGRAM, ALMOST A DIAMOND, AND RECOGNIZE THE FACT THAT IT IS A MIRROR IMAGE.

IT WILL FLIP BACK AND FORTH.

THEN THERE ARE SQUARES, TWO SETS OF SQUARES, ONE THAT GOES--A LARGER ONE OFF...ON-POINT AND THEN A CORNER ONE THAT GOES IN THE CORNERS, AND IT'S REPEATED THREE TIMES.

AND THEN THERE'S A FOUR-SIDED FIGURE AND A TRIANGLE.

SO LET'S GO OVER THIS BLOCK AND MAKE SURE WE UNDERSTAND HOW TO PUT IT TOGETHER.

FIRST I WOULD TAKE THOSE STAR POINTS AND SEW THOSE TOGETHER, MAKING CERTAIN THAT I DID NOT SEW THE INSIDE RIGHT ANGLE ALL THE WAY OUT.

KEEP THAT 1/4 INCH FREE.

JUST BACKSTITCH AT THAT INSIDE RIGHT ANGLE.

COME ALL THE WAY DOWN TO THE RAW EDGE HERE, ESTABLISHING THAT NICE 1/4 INCH.

THEN I'D PIECE THESE SECTIONS.

I'M GOING TO PIECE THIS ON THE MACHINE SO I CAN SHOW YOU HOW NICE IT IS TO HAVE THAT FREEDOM GOING ON.

COME HERE, START IN BACKSTITCH.

I'VE ALREADY GOTTEN ONE SECTION PUT TOGETHER.

FORWARD AND THEN BACK, ALL THE WAY DOWN TO THE TIP.

AND ONCE THAT'S TAKEN OFF, YOU CAN SEE THAT I'M READY TO THEN TURN THAT.

YOU SEE WHAT I MEAN BY FREE FLOATING?

SEE HOW I CAN TURN THAT AGAIN?

AND I WOULD START FROM HERE AND BACKSTITCH.

LINE UP THOSE POINTS.

GET THEM PERFECTLY EVEN.

BECAUSE YOU'VE GOT BIAS IN HERE, THERE'S SOME PLAY ON THAT, SO IT WOULD BE NICE TO PIN DOWN HERE AND MAKE SURE THAT THEN YOU CAN--YOU CAN EASE THAT SO THAT IT WILL BE NICE TO THEN PIECE TO THIS SECTION RIGHT HERE.

AND ONCE AGAIN I'M GONNA SHOW YOU I HAVE NOT REALLY DETERMINED HOW I WANT TO PRESS THIS, AND IT DOESN'T MAKE ANY DIFFERENCE.

LOOK AT THE MANY WAYS I COULD GO, AND IT'S ALL BECAUSE I HAVE NOT COMMITTED THAT SEAM AREA RIGHT THERE.

IT'S LOOSE.

WE CALL THAT FREE FLOATING.

ALL RIGHT, THOSE WOULD BE SEWN TOGETHER AND ATTACHED TO THIS CORE OF MY NOSEGAY, AND THEN I HAVE THE CORNERS THAT WOULD BE SEWN, AND THEN I WOULD HAVE TWO TRIANGLES.

THAT WOULD MEAN A TRIANGLE HERE ATTACHING HERE AND THEN A TRIANGLE TO THIS ONE TO ACTUALLY MAKE A LARGER TRIANGLE.

ONCE AGAIN, WHEN YOU SEW THAT, YOU HAVE THAT RIGHT ANGLE THAT ENABLES YOU TO LINE IT UP BEFORE YOU SEW AND FLIP BACK.

EACH OF THOSE WOULD BE SET IN THOSE RIGHT ANGLES-- ACTUALLY, 1, 2, 3, 4, 5 TIMES-- TO MAKE YOUR 14-INCH BLOCK.

AND NOW TO ADD SOME SPARKLE TO YOUR PATCHWORK.

WE'VE TAKEN THIS BLOCK, OLD-FASHIONED NOSEGAY, AND DONE TWO SPECIAL THINGS WITH IT.

FIRST OF ALL, WE'VE USED METALLIC OR GLITZY FABRIC.

THIS COMES FROM KATIE PASQUINI MASOPUST, AND IT IS VERY NICE METALLIC.

IT COMES WITH A COATING ON THE BACK, SO YOU DON'T HAVE TO ADD SOMETHING OR IRON IT ON.

OF COURSE, YOU WOULDN'T WANT TO IRON ON THIS SIDE.

ON A VERY LIGHT SETTING LIKE A NYLON SETTING, YOU CAN IRON THE BACK SIDE.

BUT THE COLORS ARE SO PRETTY.

THEY REALLY ARE.

AND WHAT I'VE DONE HERE IS TO CUT OUT SOME MUSLIN FOUNDATIONS.

NOW, YOU COULD DO THIS WITH ANY OF THE BLOCKS THAT WE'RE TEACHING ON THIS SERIES, SO THAT A PART OF IT WOULD HAVE STRING PIECEWORK ON IT.

THAT'S THE OLD SEW-AND-FLIP ROUTINE.

WHEN YOU CUT OUT THE MUSLIN, CUT IT A LITTLE BIT LARGER, BECAUSE AS YOU SEW AND FLIP, IT MIGHT TAKE UP.

SO WHAT I'VE DONE IS TO CUT OUT LOTS OF STRINGS, ALL DIFFERENT BRIGHT COLORS, AND I'D HAVE IT NARROW AT ONE PORTION AND WIDER AT THE OTHER.

AND THEN I WOULD TAKE ONE WHERE I'VE PLACED THE POINT, AND THEN I'VE SEWN AND FLIPPED ALREADY.

TAKE YOUR PIN OUT AND LINE UP THE RIGHT SIDES TOGETHER, CREATING THAT 1/4-INCH SEAM ALLOWANCE THAT YOU WOULD THEN JUST SEW ALL THE WAY DOWN.

NOW, I'M SEWING THROUGH THAT PREVIOUS ONE, THE GOLD, AND THE MUSLIN, SECURING IT ALL.

WE CALL THIS THE OLD SEW-AND-FLIP ROUTINE, AND OF COURSE, IT USED TO HAVE BEEN DONE WITH PAPER MANY YEARS AGO, BUT TO ADD THAT EXTRA STABILITY, YOU CAN USE THE MUSLIN.

IT'S ALSO EASY TO THEN QUILT THROUGH THE METALLICS.

IT QUILTS THROUGH VERY NICELY.

ONCE YOU'VE SEWN AND FLIPPED, SEWN AND FLIPPED, YOU'D COME BACK AND PUT YOUR TEMPLATE ON HERE TO GET IT ALL TRIMMED OFF.

ANYTHING THAT'S EKING OUT, YOU WOULD TRIM IN PLACE.

SO THAT WOULD MAKE A VERY BRIGHT BLOCK.

AN EVEN PRETTIER BLOCK IS BRENDA BLACKBURN'S ARRANGEMENT OF THE NOSEGAY.

TAKE A LOOK AT WHAT SHE'S DONE.

WE ARE IN LOVE WITH THIS QUILT TOP.

SHE STARTED OUT WITH FOUR OF THE NOSEGAY BLOCKS AS A CENTER MEDALLION CORE, AND THEN THEY REACH OUT TO ALL SORTS OF LOVELY FLORAL COLORS.

NOW, THESE COLORS ARE SPECIAL BECAUSE BRENDA MARBLED THE FABRIC HERSELF.

NOTICE THE OUTSIDE NOSEGAYS THAT EXTEND EVEN IN A DIFFERENT ARRANGEMENT.

THIS IS A PREVIEW TO LET YOU KNOW THAT ON ONE OF OUR UPCOMING SHOWS, YOU'LL BE LEARNING HOW TO DO MARBLING.

WHAT HAVE YOU BEEN DOING WITH ALL THE BLOCKS THAT YOU'RE MAKING?

I'D LIKE TO TALK ABOUT SETTING, THE STENCIL LINES THAT WE PUT ON QUILTING, AND THE BATTING.

THE BLOCKS THAT YOU HAVE BEEN STITCHING WILL BECOME A PART OF A WHOLE QUILT PIECED TOP.

NOW, THAT CAN COME TOGETHER IN MANY DIFFERENT ARRANGEMENTS IN PATCHWORK AND QUILTING.

THINK A MINUTE THAT THESE BLOCKS COULD BE SEWN BLOCK-TO-BLOCK, OR THEY COULD HAVE BORDERS AROUND THEM.

WE CALL THAT SASHING.

OR THEY COULD BE SET ON-POINT.

OR THEY COULD BE PUT IN AN ASYMMETRICAL ARRANGEMENT.

NOW, THAT'S GOING TO HAPPEN IN OUR QUILT, ESPECIALLY BECAUSE ALL OF OUR BLOCKS ARE DIFFERENT SIZES.

AND I'VE CHOSEN THE EASIEST WAY TO DO THAT IS TO BUILD UP EACH OF OUR BLOCKS INTO 18-INCH SECTIONS.

ONCE YOU HAVE THOSE SECTIONS PUT TOGETHER, YOU CAN TURN THAT MANY DIFFERENT WAYS IN YOUR WHOLE SAMPLER QUILT, AND THAT'S THE FUN AND THE EXCITEMENT THAT BEGINS.

TO DO THAT, YOU'RE GOING TO CUT SASHINGS-- AND WE COULD CALL THOSE INSIDE BORDERS, IF YOU'D LIKE-- THAT ARE GONNA BUILD THIS WHOLE PANEL UP TO THAT 18 INCHES.

IN SOME INSTANCES, IT MIGHT JUST BE A FLYING GEESE PANEL.

THAT HAS A LOT OF CHARACTER TO IT AND WILL LET YOUR EYE FLOW THROUGH THE QUILT.

WE'RE GONNA TALK ABOUT FLYING GEESE ON ANOTHER SHOW.

THE BEST WAY FOR ME TO WORK WITH THIS, SINCE I AM ROW LAP QUILTING, IS TO DEVELOP THESE LONG VERTICAL PANELS.

HOWEVER, IF YOU WANTED TO PUT YOUR WHOLE QUILT TOGETHER INTO A--I GUESS YOU'D JUST SAY A PIECED TOP, YOU COULD STILL LAP QUILT IT BY PUTTING IT ON A HOOP OR A FRAME AND STARTING FROM THE CENTER OF YOUR QUILT AND WORKING OUTWARDS.

THAT'S JUST ANOTHER OPTION.

LET'S TALK A MINUTE ABOUT THE QUILTING LINES.

THAT'S WHAT ADDS WARMTH AND BRINGS YOUR QUILT TO LIFE.

IT'S THAT WONDERFUL SHADOW THAT YOU CREATE.

HERE'S TWO EXAMPLES.

ONE, THE HAND QUILTING.

LOOK HOW PLAIN IT IS OVER HERE.

IT'S JUST WAITING TO BE QUILTED.

OR EVEN THE MACHINE QUILTING.

IT'S PULLING THOSE THREE LAYERS TOGETHER AND CREATING THE SHADOWS ON THE SURFACE OF YOUR QUILT.

YOU NEED THAT TO CREATE THE WARMTH.

NOW, THERE ARE MANY WAYS TO DO THAT.

YOU'RE GOING TO APPLY SOME LINES WITH EITHER SOAP SLIVERS, ANY SORT OF PENCIL THAT YOU'VE HAD ON HAND, BUT YOU WANT TO TEST THAT, EITHER THE SOAP SLIVER OR THE CHALK ROLLER.

DO TEST YOUR FABRIC AND MAKE SURE THAT IT'S EASILY REMOVED AND IT WON'T LEAVE ANY MARKS ON YOUR QUILT.

I'D BE VERY CAUTIOUS ABOUT THAT.

IF YOU'RE GOING TO USE ALL STRAIGHT LINES IN YOUR QUILTING, YOU MIGHT WANT TO WAIT AND BASTE IT TOGETHER AND THEN USE YOUR MASKING TAPE.

BUT IN MOST CASES, YOU WILL MARK THE LINES ON THE QUILT TOP AT THIS POINT.

IN OTHER WORDS, YOU'VE GOT YOUR-- IT'S ALL BEEN PRESSED, IT'S ALL BEEN CLEANED, YOUR DOG-EARS HAVE BEEN TRIMMED OFF, AND THOSE LINES CAN BE-- I SUGGEST ONE OF TWO WAYS.

THEY CAN BE COMPATIBLE QUILTING LINES, WHICH WOULD FOLLOW THE WAY YOU'VE PIECED IT.

IN OTHER WORDS, YOU'D QUILT 1/4 INCH OR MAYBE RIGHT NEXT TO THIS SEAM.

WE CALL THOSE COMPATIBLE.

OR CONTRARY QUILTING LINES WOULD BE PUT ON, OH, MAYBE VERY FLOWING SOFT LINES THAT WOULD GO ON THIS WAY.

THESE ARE PRECUT PLASTIC STENCILS, AND THEY ARE NICE TO USE.

YOU CAN REUSE THEM, AND YOUR CHALK ROLLERS WILL FIT RIGHT IN HERE, SO THAT YOU CAN PLACE A NICE QUILTING LINE.

KEEP IN MIND EVEN THOUGH THE STENCIL STOPS HERE, YOU STILL KEEP ON QUILTING THAT NICE OVAL THERE.

SO YOU WOULD MARK YOUR QUILT TOP AT THIS POINT, AND THEN YOU'D START THINKING ABOUT THE BATTING YOU WANT TO SELECT.

OH, BATTINGS HAVE REALLY COME A LONG WAY, HAVEN'T THEY?

OH, DEAR, I'M GLAD WE'RE NOT USING THIS ANYMORE-- LUMPY COTTON BATTING.

WE GET RID OF THAT BECAUSE WE HAVE AN ARRAY OF WONDERFUL WEIGHTS IN BATTING, AND IT GOES BACK TO THE QUILT TOP ITSELF.

HOW DO YOU WANT YOUR QUILT TO END UP?

DO YOU WANT IT TO BE FLUFFY, DO YOU WANT IT TO HAVE A LITTLE LOFT, OR DO YOU WANT IT TO BE FLAT AND LOOK VERY OLD-FASHIONED?

TAKE THAT INTO CONSIDERATION WHEN YOU CHOOSE THE BATTING.

YES, WE DO HAVE COTTON TODAY.

QUITE OFTEN IT HAS A LITTLE POLYESTER IN IT.

IT'S WONDERFUL.

I USE IT FOR GARMENTS.

I LIKE IT FOR MACHINE QUILTING.

OR IT COULD BE A LOW-LOFT, A VERY THIN BATTING.

OH, YOU CAN GET NICE, PRETTY STITCHES WITH THIS.

A TRADITIONAL BATT-- VERY COMPACT.

OR EVEN FOR YOUR PLACE MATS THAT YOU'RE GONNA BE MACHINE QUILTING.

NICE AND TIGHT, VERY THICK AND DENSE.

OR THOSE BABY QUILTS THAT YOU'RE TIE TACKING, USE A HIGH-LOFT BATT.

WHATEVER YOU SELECT, IT'S AT THIS POINT THAT YOU WOULD CUT IT OUT EITHER THE SAME WIDTH OF YOUR PANEL OR A LITTLE BIT LARGER, AND YOU'LL START THINKING ABOUT YOUR BASTING.

ON OUR NEXT SHOW, WE WILL TURN TO BASTING AND THE ACTUAL QUILTING.

THE SHOW IS ENTITLED "GLOBAL LOG CABIN."

SEE YOU THEN.

♪ "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.