>> WELCOME TO LAP QUILTING IN THE COTTON FIELD.

COTTON, A PART OF OUR DAILY LIVES, FROM THE COTTON TOWELS IN THE MORNING TO THE VERY SHEETS WE CRAWL INTO AT NIGHT, OUR COTTON CLOTHING, AND OF COURSE, THE MOST IMPORTANT OF ALL, OUR COTTON CALICO.

COTTON CONTINUES EVEN AFTER SOME 8,000 YEARS TO BE THE MOST MIRACULOUS FIBER UNDERNEATH THE SUN.

OUR SHOW "FROM FIELD TO FABRIC" BEGINS IN THE COTTON FIELD.

THE COTTON BELT ITSELF SPANS THE SOUTHERN HALF OF THIS COUNTRY-- 17 STATES.

THE MAJOR CROP IN 14 OF THOSE STATES IS COTTON.

ALL PARTS OF THE PLANT ARE USEFUL.

THE LINT, AND ALSO THE SEED, THE POD ITSELF.

WE'RE GONNA CONCENTRATE ON THE LINT, BECAUSE THAT'S WHAT WE PUT INTO COTTON CALICO.

IN FACT, WE'RE GONNA MEET MAX BOGGS, WHO I BELIEVE GREW THIS VERY FIELD OF COTTON.

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.

WE'RE IN THE FIELD HERE WITH MAX BOGGS.

MAX, THANK YOU FOR LETTING US-- THANK YOU.

SHARE SOME OF THE TIME HERE IN THE FIELD.

I SUPPOSE YOU THINK IT'S FUNNY FOR SOMEONE THAT IS A CITY GIRL TO BE THIS EXCITED WITH WHAT YOU PROBABLY CONSIDER A VERY NATURAL PROCESS-- RIGHT.

BUT IT REALLY IS EXCITING AND, UH, WE SEE ALL STAGES OF THE COTTON HERE.

AND EXPLAIN TO US A LITTLE BIT ABOUT THE GROWING PROCESS.

WELL, WE USUALLY PLANT THE COTTON SOMETIME THE FIRST OF MAY AND, OF COURSE, ALONG AND, UH-- ABOUT JULY FOURTH OR SOMETHING WE START HAVING BLOOMS ON THE COTTON WHICH IS FORMED BY THAT AND THEN, OF COURSE, IT, UH-- HERE WE ARE UP INTO SEPTEMBER.

WE START TO FOLIATE AND GET THE LEAVES OFF OF IT, WHERE WE CAN GET THE COTTON OPEN.

WELL, ENOUGH TO WHERE WE CAN PICK IT.

THAT'S A SPRAY THAT YOU PUT ON HERE-- RIGHT.

AND THAT'S WHY IT LOOKS KIND OF SICK RIGHT NOW.

THAT'S RIGHT-- THE GREEN IS GONE.

WE HAVE TRIED TO GET THE LEAVES OFF OF IT.

WE HAVEN'T BEEN QUITE AS SUCCESSFUL AS WE HAVE SOME YEARS, BUT, UH, IT'S DONE A PRETTY GOOD JOB RIGHT HERE.

YOU PROBABLY DIDN'T NOTICE, BUT IN THE CORNER OF MY COTTON BOLL QUILT I HAD SOME LITTLE VARMINTS RUNNING AROUND-- THOSE WERE BOLL WEEVILS.

AND, UH, DO YOU STILL HAVE PROBLEMS WITH THOSE IN THE FIELD?

WELL, WE DON'T REALLY HAVE ANY BOLL WEEVIL PROBLEM HERE IN THIS PARTICULAR AREA NOW.

WE'VE HAD AN ERADICATION PROGRAM GOING ON NOW FOR THE FOURTH YEAR, I BELIEVE, AND, UH, PRETTY WELL-- THEY'VE DONE A REAL GOOD JOB.

WE'VE ERADICATED THE BOLL WEEVIL, BUT WE STILL HAVE A FEW OTHER PESTS, THE BOLL WORM AND SO ON, BUT, UH, NOT THE WEEVIL.

AND THEN YOU ALSO-- NOW YOU HAVE TO WORRY ABOUT GRASS GROWING IN BETWEEN THE PLANTS, THAT'S SOMETHING THAT TAKES YOU BACK INTO THE FIELD REPEATEDLY.

THAT'S RIGHT, WE HAVE THE SAME PROBLEM YEAR AFTER YEAR.

OF COURSE, WE HAVE SOME SPRAYS THAT DOES A REAL GOOD JOB OF KEEPING IT DOWN TO A CERTAIN POINT, BUT WE STILL HAVE TO PLOW IT AND CULTIVATE IT THROUGHOUT THE YEAR.

SEVERAL TIMES USUALLY.

AND NOW YOU TIME IT JUST RIGHT SO THE BIG TRUCKS COME IN AND TAKE IT OFF TO THE COTTON GIN.

THAT'S RIGHT, WE PICK IT WITH MECHANICAL PICKERS AND, UH-- OF COURSE, THEN IT'S CARRIED TO THE GIN AND PROCESSED AND FROM THAT TO THE WAREHOUSE AND FROM THAT TO THE MILL.

AFTER SEEING THAT MACHINERY, MAX, IT'S HARD TO IMAGINE THEY USED TO DO IT BY HAND.

I HAVE AN AUTHENTIC COTTON PICKIN' BAG-- LOOK AT THE LENGTH OF THAT THING.

NOW, IS THIS-- HAVE I GOT IT RIGHT?

IS THAT WHAT HAPPENS?

THAT'S RIGHT.

THAT'S THE WAY IT'S USED.

OVER THE SHOULDER-- FLING THAT BACK-- WITH BOTH HANDS, RIGHT?

THAT'S RIGHT, THAT'S-- OH, BOY.

THAT'S IS A JOB TOO-- MY BACK ALREADY-- BUT BELIEVE IT OR NOT WE STILL-- THEY DO IT, UH, IN OTHER COUNTRIES-- THEY'LL USE-- DO IT THE SAME WAY RIGHT THERE.

THAT'S THE WAY THE MAJORITY OF IT'S PICKED.

AND IT SEEMS TO ME YOU'D LEAVE THE FIELD JUST LIKE THIS ALL DAY, RIGHT?

I MEAN, HOW DO YOU STAND UP AGAIN?

[Laughing] WELL, IT'S A BACK-BREAKING JOB, I CAN TELL YOU-- IT CERTAINLY IS.

EVEN AS KIDS, WELL, WE DESPISED PICKING COTTON 'CAUSE IT HURTS YOUR BACK.

AND HOW MUCH COTTON CAN YOU PICK IN ONE DAY?

WELL, ON AVERAGE, ABOUT 200 POUNDS IS WHAT THE AVERAGE PERSON WOULD PICK, BUT SOME PEOPLE COULD PICK 300 TO 400 POUNDS, BUT THEY REALLY HAD TO SCRAP FOR IT.

AND THERE'D BE SOMEONE AT THE END OF EACH ROW OR YOU'D DUMP THIS INTO SOMETHING?

WELL, THEY HAVE A SHEET THAT THEY POUR THAT OUT ON.

AND THEN THEY EMPTY IT AND GO RIGHT BACK TO PICK IT AGAIN.

JUST TURN AROUND?

AND AT THE END OF THE DAY THEY WEIGHED IT UP SEE HOW MUCH YOU HAD PICKED.

Bonesteel: AFTER THAT COTTON IS PICKED WITH THE GIANT MACHINERY, IT GOES OFF TO THE COTTON GIN.

MAX, WE ARE HERE, IN THE COTTON GIN, IT'S COME IN FROM THE FIELDS AND NOW WHAT HAPPENS?

WELL, AFTER WE GET IT HERE, THEY PULL THE WAGONS IN AND, OF COURSE, MOST OF THE WAGONS HAVE 5 TO 6 BALES PER WAGON AND, UH, WE SUCK IT OFF, PULL IT THROUGH AND DRY IT.

PRE-CLEAN IT-- TO GET THE MAJORITY OF THE TRASH OUT OR WHAT WE CAN.

AND A GOOD BIT OF IT HAS A LOT OF LEAF AND FIRST ONE THING THEN ANOTHER IN IT.

AND THEN IT COMES DOWN TO THIS PROCESS RIGHT HERE INTO THE-- ACTUALLY THE GIN STAND ITSELF AND, UH, OF COURSE THE LINT AND THE SEEDS ARE SEPARATED RIGHT AT THIS POINT.

THE SAWS COME THROUGH THE RIBS THERE IN THE CRACKS AND PICKS UP THE LINT, CARRIES IT TO THE BACKSIDE, AND IS DROPPED OFF.

AND THEN ONCE THE SEED IS CLEANED ENOUGH, IT DROPS STRAIGHT THROUGH THE BOTTOM, DROPS OUT, AWAY FROM THE REST OF THE SEED IN THIS AREA.

AND THAT'S BASICALLY ALL THERE IS TO-- A GIN.

IT'S JUST A-- ONE PROCESS JUST CONTINUOUSLY DOES THAT RIGHT ON THROUGH.

OK, NOW WHEN YOU-- FAIRLY SIMPLE-- TECHNIQUE, THERE'S NOT AN AWFUL LOT TO IT-- IT, UH-- NOW WHEN YOU SAY, "LINT," YOU'RE ACTUALLY REFERRING TO THE COTTON ITSELF.

TO THE COTTON-- THE COTTON LINT, THAT'S RIGHT.

WELL, WE THANK YOU SO MUCH AND, UH-- WE KNOW WITHOUT THIS PROCESS, UH, IT WOULD TAKE A LOT LONGER AND, UH, WE'VE GOT MR. WHITNEY TO THANK FOR THAT AND, UH-- WELL, THAT'S RIGHT.

I THINK, UH, HEARD MY FATHER SAY THAT, UH-- HE COULD REMEMBER WHEN THEY SAT AROUND THE STOVE IN THE WINTERTIME AND PICKED IT OUT WITH HANDS.

I'D HATE TO HAVE TO START DOING THAT.

OH, NO-- NO, WE WOULDN'T WANT TO DO THAT.

SO WE HAVE ADVANCED A LONG WAYS, BUT, STILL WE HAVE BASICALLY THE SAME TECHNIQUE THAT THEY USED YEARS AGO IN SEPARATING THE SEED FROM THAT LINT.

THE IMPORTANT THING IS THAT IT WORKS, RIGHT?

IT WORKS.

Bonesteel: FROM THE COTTON GIN, THE BALES GO OFF TO THE SPINNING PLANT, WHERE THE COTTON WILL NEVER LOOK THE SAME AGAIN.

WE VISITED A YARN MANUFACTURING PLANT IN RANLO, NORTH CAROLINA, RIGHT OUTSIDE GASTONIA.

THE PROCESS BEGINS WITH THE LAY-DOWN OF COTTON BALES.

IT COMES INTO THE PLANT, GRATED IN TIGHT, HEAVY BALES WEIGHING BETWEEN 500 AND 600 POUNDS AND IS THEN GRATED AGAIN.

THE COTTON IS IN VARIOUS SHADES OF WHITE, NOT UNLIKE MY WHITE-ON-WHITE MUSLIN SAMPLER.

A BLENDING MACHINE RUNS SLOWLY ALONG THE TOP OF THE ROLL OF BALES, PLUCKING TUFTS OF FIBER FROM EACH ONE.

THESE FIBERS ARE COLLECTED, THEY'RE MIXED, AND THEN TUMBLED INTO A LARGE CHAMBER.

IT TAKES ABOUT 21 HOURS TO MIX A STACK OF BALES.

IN THIS CHAMBER, THE FIBERS ARE FLUFFED UP AND IMPURITIES ARE REMOVED.

COTTON WITH DIFFERENT PROPERTIES THUS ARE BLENDED TO OBTAIN UNIFORMITY AND TO MAINTAIN CONSTANT YARN QUALITY.

NEXT, THE FIBERS ARE CARDED TO CREATE PARALLEL LINES WHICH ADD STRENGTH AND FURTHER CLEAN THE FIBERS.

THIS IS DONE BY A MACHINE WITH THOUSANDS OF TEETH.

THE RESULT OF THIS CARDING PROCESS PRODUCES A THIN WEB WHICH IS DRAWN THROUGH A FUNNEL-SHAPED DEVICE AND THEN BECOMES A SLIVER.

AT THIS POINT, THE COTTON IS COILED INTO A ROPE SO THAT IT WILL NOT GET TWISTED.

THIS PARTICULAR COTTON CAME FROM CALIFORNIA AND TEXAS AND ARRIVED BY RAIL AND TRUCK.

IMAGINE, THIS WHOLE PROCESS IS UNTOUCHED BY HUMAN HANDS.

AT ONE POINT, 36 DIFFERENT CANS ARE FED INTO ONE LAP-- A SUPER LAP IS THUS CREATED.

ALL OF THESE EARLY STEPS CONSTANTLY IMPROVE THE SMOOTHNESS, THE FINENESS AND THE STRENGTH OF FIBER.

NEXT, THESE FIBERS MAY BE COMBED AS WELL AS CARDED.

A LAP ABOUT 12 INCHES WIDE IS PASSED THROUGH THE COMB.

IN COMBING, LONG FIBERS ARE HELD AT ONE END WHILE SHORT FIBERS ARE COMBED OUT.

FURTHER DRAWING OUT IS DONE TO BLEND FIBERS EVEN MORE.

AFTER THIS PROCESS, IT IS POSSIBLE TO CREATE A COMBED COTTON BY ELIMINATING THE SHORT STAPLES.

AT THE NEXT PLANT, COTTON, IN THE FORM OF ROVING, IS FED TO THE SPINNING FRAME, WHERE IT IS DRAWN OUT TO ITS FINAL SIZE AND TWISTED INTO YARN AND WOUND ON BIG BOBBINS.

NOW, FINALLY, MANY OF THESE BOBBINS, OR SPINDLES OF YARN, ARE SET SO THAT MANY STRANDS ARE ALIGNED ON A ROLLER.

THIS WAS AN AWESOME OPERATION TO WATCH.

THESE YARNS FORMED THE LENGTH-WISE FIBERS OF FABRIC, THE ONES THAT RUN PARALLEL TO THE SELVAGE.

THEY REQUIRE A HIGHER DEGREE OF TWIST THAN THE CROSS-WISE YARNS, WHICH ARE CALLED THE FILLING.

IF ANY YARN BROKE IN THIS WHOLE PROCESS, THE ENTIRE SET-UP WOULD STOP AND AN OPERATOR WOULD TIE THE BROKEN ENDS AND THEN IT WOULD START UP AGAIN.

SLASHING IS THE NEXT STEP.

AND THAT IS WHERE THE CORNSTARCH IS APPLIED TO ALL OF THE WARPED YARNS.

THE STARCH ACTS AS A SIZING AGENT AND GIVES THE YARN STRENGTH.

JUST THE RIGHT TEMPERATURE IS REQUIRED SO THAT THE WARP DRIES BEFORE IT IS ROLLED AGAIN OR IT MIGHT MILDEW ON THE ROLLER.

FINALLY, THE WEAVING PROCESS BEGINS.

IT WAS VERY NOISY, SO WE ALL HAD TO WEAR EARPLUGS, BUT WHAT WE SAW WAS JUST INCREDIBLE.

WE SAW OVER 200 LOOMS IN FULL OPERATION IN ONE ROOM.

THE MACHINES WERE PROGRAMMED BY ROUND PAPER ROLLERS WITH HOLES SET APART, REALLY VERY SIMILAR TO A PLAYER PIANO'S PROGRAM.

THE FILLER YARNS WERE FED INTO THE ENORMOUS WARP ROLLERS IN A GYRATING MOTION.

IT WAS AS IF THEY WERE DANCING WITH A REPEATED CLANGING NOISE.

A SHUTTLE WITH THE FILLING YARN IS DRIVEN AT A VERY HIGH SPEED THROUGH THE OPENING BETWEEN THE UPPER AND LOWER LAYERS OF YARN.

THE YARNS REVERSE, AND THEN THE FILLER SHUTTLE IS DRIVEN BACK AGAIN.

AND DOWN BELOW, OUT COMES FABRIC, THE GRAY GOODS.

ON OUR TOUR, WE WERE VERY IMPRESSED BY THE CLEANLINESS, THE SHINY, LACQUERED WOODEN FLOORS, THE PRIDE OF THE EMPLOYEES, AND THE UP-TO-DATE MACHINERY.

AND THE TREMENDOUS AMOUNT OF FIBER THAT THEY COULD PRODUCE.

THERE WAS A WHOLE NEW VOCABULARY TO LEARN AND UNDERSTAND-- SLIVERS, ROVING, BLENDING, SUPER LAP-- IT JUST WENT ON AND ON.

AND AS FOR THE END PRODUCTS, DID YOU REALIZE THAT SOME FABRICS ARE NAMED FOR HOW THEY WERE USED?

FOR INSTANCE, CHEESE CLOTH WAS USED TO WRAP CHEESE.

HOPSACKING IS A CLOTH USED TO COLLECT HOPS.

TOBACCO CLOTH IS A VERY THIN COTTON USED AS A SHADE COVERING FOR GROWING TOBACCO PLANTS.

WHY, EVEN BATISTE FABRIC GOT ITS NAME FROM JEAN BATISTE, A FRENCH LINEN WEAVER.

WE REALLY ENJOYED OUR VISIT TO BOTH THE SPINNING AND THE WEAVING PLANTS THAT DAY.

WE ARE INDEBTED TODAY TO NANCY SHRUM OF CAROLINA MILLS.

WE REALLY DO APPRECIATE YOU PUTTING US IN TOUCH WITH THE RIGHT PLANTS, TO FIND OUT MORE ABOUT THE EARLY PRODUCTION OF COTTON.

ONCE IT LEAVES THE FIELD, WHAT HAPPENS?

AND WE FOUND OUT TODAY.

THANK YOU SO MUCH.

WELL IT'S CERTAINLY BEEN OUR PLEASURE TO HAVE YOU HERE AT CAROLINA MILLS.

I THINK WE'RE ALWAYS PLEASED TO SHOW CONSUMERS HOW COTTON YARNS, COTTON FABRICS ARE MADE, AND SHOW THAT HERE IN THE UNITED STATES, OUR PRODUCTS ARE JUST AS GOOD AS ANYWHERE, CERTAINLY.

OH, IT'S-- THOSE ARE GOOD WORDS TO OUR EARS.

OF COURSE, HAVING FUN WITH THE COTTON MOTIF HAS GIVEN ME THE IDEA OF PUTTING THAT IDEA INTO A WHOLE QUILT.

AND WE LEARNED HOW TO DO THIS LAST WEEK, AND I WANTED YOU TO SEE THIS-- HOW WE CAN USE THAT END PRODUCT-- THE FABRIC, THE CALICOS-- AND MAKE A QUILT.

I TOOK AN ENLARGED MOTIF AND PUT IT 4 TIMES ON THE SURFACE OF THE QUILT, AND THEN WENT ONE STEP FURTHER, AND THIS I WILL NOT HAVE THIS YEAR.

IT'S TRAVELING THE COUNTRY AND I WANTED YOU TO SEE IT.

OH, THIS IS BEAUTIFUL.

IN HOUSTON, FAIRFIELD PROCESSING PREVIEWS A GARMENT FASHION SHOW, AND DONNA WILDER WILL BE CARRYING THIS AROUND THE COUNTRY, AND IT'S NOT YOUR-- WELL, MAYBE YOU'D SAY, MAYBE THIS IS WHAT YOU WOULD WEAR TO YOUR PARTY, RIGHT?

RIGHT.

BUT IT IS-- I CALL IT THAT COTTON PICKIN' GARMENT, AND HAD A LOT OF FUN DOING IT.

OK, EXPLAIN-- EXPLAIN A LITTLE BIT TO US HOW YOU DID THE BLUE IN THE LEGS.

WELL, I WANTED, OF COURSE, TO USE COTTON FABRIC.

AND THE YELLOW REPRESENTS THE SUNSHINE, THE PURPLE IS THE GROUND, AND THE GREEN, THE PLANT.

BUT THE BLUE IS THE CAROLINA BLUE SKY REFLECTING OFF THE PODS IN THE FIELDS, OF COURSE.

BUT USED THE COTTON BATTING HERE, THAT HAS A LITTLE BIT OF POLYESTER IN IT, AND IT WORKS BEAUTIFULLY ON THE SEWING MACHINE.

I DID THIS ALL WITH MACHINE QUILTING.

AND IN SOME PLACES DROPPED THE FEED DOGS ON THE SEWING MACHINE, AND JUST MEANDERED-- WE CALL THAT MEANDERING.

AND ONCE AGAIN, THOSE BOLL WEEVILS-- THEY'RE ON THE PANTS LEGS, AND ON THE FRONT OF THE GARMENT.

THANK YOU SO MUCH FOR BEING WITH US, NANCY.

THANK YOU.

HERE WE SEE THE RESULTS OF THOSE HARDWORKING LOOMS.

THIS IS THE GRAY ROOM OF A FINISHING PLANT.

AND IT'S AN ENORMOUS WAREHOUSE WHERE ALL THIS FABRIC IS STORED, UNTIL IT GOES THROUGH MANY PHASES TO COME OUT AS OUR FINISHED CALICO.

FABRIC COMES INTO THE WAREHOUSE IN 2 FORMS, EITHER IN VEILS OR ROLLS.

THE BALES HAVE TO BE UNSTAPLED, THE PAPER RIPPED OFF, AND THEN THE 2 ENDS ARE FOUND SO THEY CAN BE STITCHED TOGETHER.

ALL THIS FABRIC NEEDS TO BE UNFOLDED, STITCHED TOGETHER, SO IT GOES IN ONE CONTINUOUS PIECE, ON PULLEYS THAT ARE ATTACHED TO THE CEILING.

I WAS FASCINATED WATCHING ONE OF THE STITCHERS ON THE OVERLOCK MACHINE.

I KIDDED HIM ABOUT MESSING UP, AND HE SAID HE DIDN'T DARE DO THAT, BECAUSE HIS COLOR OF THREAD WAS BLUE, AND THEY COULD TRACE IT BACK TO HIM.

THE FIRST MAIN STEP FOR ALL THIS FABRIC IS CALLED THE SINGEING PROCESS.

IT'S A COMBINATION OF CAUSTIC SCOURING AND PEROXIDE BLEACHING.

ALL THIS FABRIC ENTERS THIS PROCESS AT ABOUT 200 YARDS A MINUTE.

THIS IS PART OF THE MERCERIZING PROCESS ALSO.

FROM THERE, THE FABRIC IS DRAWN.

THE WIDTH NEEDS TO BE SET.

THIS PROCESS REQUIRES A VERY HIGH HEAT, AS HIGH AS 390 DEGREES.

AND ONCE AGAIN, IT'S GOING VERY FAST-- 200 YARDS A MINUTE.

THE FABRIC IS THEN ROLLED ONTO BIG CONTAINERS, WHERE IT WAITS IN WHAT IS KNOWN AS THE WHITE ROOM.

NOW, THE ACTUAL ENGRAVING IS A PHOTO PROCESS, BUT IT IS TOUCHED UP BY HAND, AND EVERY STEP OF THE WAY IS CHECKED CAREFULLY.

THE ENGRAVED COPPER ROLLERS ARE LATER COVERED IN CHROME PLATING, TO PROTECT THE SOFT COPPER.

THEY HAVE ROUGHLY 9,000 ROLLERS IN STORAGE AT THIS PLANT.

AND I THINK IT'S FASCINATING TO KNOW THAT THE ROLLERS CAN BE USED OVER AND OVER AGAIN.

NEXT, THE DIES THAT ARE GOING TO BE USED WITH THESE COPPER ROLLERS HAVE TO BE MIXED AND TESTED VERY CAREFULLY.

NOW TO THE ACTUAL PRINTING.

ON THE SIDE, EACH GEAR REPRESENTS A COPPER ROLLER AND A DIFFERENT COLOR.

WHY, JUST AT THE MILES OF CALICO.

WE HAD A SPECIAL TREAT AT THE FINISHING PLANT THAT DAY.

JEFFREY GUTCHEON, CREATOR OF THE AMERICAN CLASSIC LINE IN CLOTH, WAS WAITING IN WHAT IS KNOWN AS THE STYLIST OR THE DESIGNER ROOM.

HE WAS ANXIOUS TO SEE THE FIRST RUN OF HIS NEW FABRIC.

THIS GIVES HIM A CHANCE TO EXAMINE A NEW COLLECTION UNTIL IT'S PERFECT.

COMING RIGHT ALONG.

WHAT IS THIS, THE SECOND OR THE THIRD PASS?

THIRD PASS.

THIRD PASS, GOT TO BE DONE ANY SECOND NOW.

WELL, I THINK YOU'RE-- I THINK YOU'RE DOING ALRIGHT IN THE BLOTCH, AND I THINK, YOU OUGHT TO MAYBE COME A HALF A STEP FULLER IN THE ROSE COLOR ON THE FLOWER.

AND BACK OFF A HAIR ON THE LEAF, ON THE GREEN LEAF.

BUT I THINK THAT THE COLORS ARE ALRIGHT.

SO LET'S JUST CHANGE THE PERCENTAGES, AND, UH, GIVE IT ANOTHER RUN.

ALRIGHT, SIR.

OK?

WANT TO GIVE ME A RIP ON THAT?

OKEY-DOKE, THANKS.

THANK YOU.

THE FABRIC IS CLEANED AND SPECIAL FINISHES ARE APPLIED FOR SOFTNESS AND SHRINKAGE CONTROL.

IT IS THEN CAREFULLY INSPECTED FOR ANY DEFECTS AND CALCULATED BEFORE IT GOES OFF TO THE STORES.

AFTER OUR TOUR, WE SPENT A FEW MINUTES WITH JEFFREY GUTCHEON.

WE ARE HERE WITH JEFFREY GUTCHEON, AND IT IS A REAL PRIVILEGE TO HAVE YOU, JEFFREY.

HIS NAME IS SYNONYMOUS WITH QUILTING, AND IT HAS BEEN FOR A LONG TIME.

AND NOW IT'S SYNONYMOUS WITH FABRIC.

HOW DID YOU GET INTO ALL THIS?

WHAT PROMPTED ALL THIS?

PEOPLE USED TO ASK ME WHERE I GOT THE FABRICS THAT I USED IN THE QUILTS I MADE.

AND ULTIMATELY THEY ASKED ME SO LONG AND SO HARD THAT I DECIDED THE BEST THING TO DO WAS JUST PRODUCE THEM, AND MAKE THEM AVAILABLE GENERALLY.

JEFFREY, WHERE DO YOU COME UP WITH ALL OF THESE DESIGNS?

WELL, SOME OF THEM ARE DESIGNS THAT HAVE BEEN PRODUCED OVER THE LAST 10 YEARS BY SOME COMPANIES WHICH ARE WELL-KNOWN, WHICH FOR THEIR OWN REASONS STOPPED MAKING THEM.

BUT I FELT THAT COLORED IN A SLIGHTLY DIFFERENT WAY, PEOPLE WOULD LIKE TO HAVE THEM.

SO I SIMPLY OFFERED TO BUY THEM IN MY COLORS.

IN OTHER CASES, SUCH AS THIS ONE HERE, THIS TULIP IS FROM THE BAKER STUDIOS OF LONDON, YEAR 1895, BY A DESIGNER NAMED VOYSE.

THIS WAS A PATTERN THAT I FOUND ON A KIMONO, FROM THE 1930S, SO REALLY ANYTHING'S FAIR GAME.

JUST SO LONG AS IT WORKS RIGHT IN WITH THE STYLE IDEA THAT YOU HAVE, YOU CAN FIND PATTERNS ANY OLD PLACE.

AND WHAT IS THIS INTERESTING DEVICE RIGHT HERE, JEFFREY?

WELL, PEOPLE ARE VERY CONCERNED TO HAVE A TRUE UNDERSTANDING OF HOW GOOD OR NOT GOOD THE FABRIC THEY'RE USING IS FOR QUILT MAKING.

AND THIS LITTLE DEVICE IS A PHOTOGRAPHER'S LOOP.

IT'S GOT 8 OR 10 TIMES MAGNIFICATION.

AND IF YOU PUT IT DOWN ON THE CLOTH AND LOOK THROUGH IT, JUST LIKE THAT, YOU CAN SEE THE WEAVE CLOSE UP, AND YOU CAN SEE HOW POROUS OR SPARSE IT IS, OR HOW DENSE AND TIGHTLY WOVEN.

AND I THINK WHAT QUILTERS REALLY WANT TO HAVE IS FABRIC WHICH IS NOT SO POROUS THAT IT WILL LET BATTING THROUGH, AND NOT SO DENSE THAT IT WON'T PERMIT A NEEDLE THROUGH, LIKE A PERCALE.

BUT THERE ARE OTHER THINGS THAT PEOPLE SHOULD LOOK FOR TOO.

THE PLACE WHERE YOU CAN TRUST YOUR HANDS IS IN THE FINISH.

IF THE FINISH IS SMOOTH, AND IF A FABRIC DRAPES, IT WILL PROBABLY RELEASE WRINKLES.

ONE THING YOU CAN DO IS ACTUALLY ADULTERATE THE STUFF.

AND SQUEEZE IT, LET IT GO.

AND THEN SEE WHETHER OR NOT THE WRINKLES COME RIGHT OUT, WITH THAT KIND OF USE.

IF THEY DO, YOU'VE GOT A GOOD FINISH ON THE FABRIC.

IN THIS PRICE RANGE IN THE MARKET, MOSTLY THE SAME DYES ARE USED.

AND THERE'S PROBABLY NOT MUCH DIFFERENCE TO BE HAD IN THAT RESPECT.

SO I WOULD THINK THE QUALITY OF THE WEAVE, THE QUALITY OF THE FINISH ARE REALLY THE PRIMARY THINGS.

AND AS FAR AS THE COLOR, YOU GET WHAT YOU LIKE, BUT EVEN IF YOU DON'T LIKE THE COLOR, THE SAME DYES ARE BEING USED ANYHOW.

THAT'S ABOUT THE BEST I COULD TELL YOU.

WELL, DO YOU THINK IT'S IMPORTANT TO ACTUALLY COUNT THE NUMBER OF-- IN THAT SQUARE INCH OR WHATEVER?

NO, THE ACTUAL NUMBER IS NOT IMPORTANT.

IT'S THE DENSENESS OR SPARSENESS OF THE WEAVE, WHICH YOU CAN TELL BY LOOKING.

IF YOU SEE REALLY BIG HOLES, IT'S SPARSE.

RIGHT.

IF YOU SEE TEENY- WEENY-WEENY HOLES, IT'S MAYBE A LITTLE BIT TOO CLOSE FOR COMFORT.

BUT, FOLKS, IF THEY TRY THAT USING THIS GUIDELINE, THEY'LL KNOW WHAT I MEAN.

OK, AND WHAT ABOUT PRE-WASHING?

DO YOU THINK THAT'S IMPORTANT FOR A QUILTER?

I THINK IF A QUILT IS GOING TO BE USED AND WASHED AGAIN, THAT IT'S IMPORTANT TO PRE-WASH IT.

I THINK IF IT'S GOING TO BECOME A WALL HANGING, NEVER GET DIRTY, AND NEVER HAVE TO BE WASHED, THAT THERE REALLY IS NO NEED TO DO IT.

DO YOU HAVE ANY HINTS ON COLOR FOR US AS QUILTERS?

DO YOU HAVE ANYTHING THAT CAN-- A LOT OF TIMES, THAT'S THE ONE THING THAT WILL HOLD A QUILTER BACK.

SHE'LL SAY, "OH, I JUST CAN'T FIGURE OUT COLOR, "SO I WON'T MAKE A QUILT, I'M NOT GONNA DIVE INTO IT."

DO YOU HAVE ANYTHING TO TELL THEM?

WELL, I DO ACTUALLY.

UH, I'M TELLING TALES OUT OF SCHOOL, BUT MY MAXIM IS NOT "LESS IS MORE", BUT MAXIM IS "MORE IS BETTER".

UH, PEOPLE PUT DOWN 1 OR 2 COLORS, AND ARE LOOKING FOR THEM TO SOMEHOW BE COMPATIBLE, AND WHEN THEY ADD A THIRD, IF IT DOESN'T GO WITH THE OTHER 2, THEY GET FRIGHTENED AND BACK OFF.

WHEREAS, IF THEY KEPT ON GOING FORWARD AND ADDED A FOURTH AND A FIFTH, EVENTUALLY THEY WOULD ALL BLEND TOGETHER LIKE A STEW.

IT'S THAT THRESHOLD OF INHIBITION, WHERE THEY STOP AND SAY, "OH NO!"

RATHER THAN GO FORWARD AND SAY, "OH YES!"

THAT THEY HAVE TO GET PAST.

AND ONCE THEY DO THAT, IT'S A WHOLE DIFFERENT BALLGAME.

GO AHEAD AND BE BRAVE.

SURE.

JUMP OFF THE DEEP END, HAVE SOME FUN.

ANYHOW, FABRIC DOESN'T BITE.

NO, THAT'S RIGHT.

IT'S NOT GONNA REAR UP AND-- AND BESIDES, WE WANT YOU TO BUY A LOT OF IT, RIGHT?

WELL, I THINK YOU'VE-- YOU HAVE FILLED IN A BIG GAP.

YOUR ARTICLES IN QU ILTERS NEWSLETTER HAVE BEEN VERY MEANINGFUL TO ALL OF US, BECAUSE THERE ARE SO MANY SIDES TO QUILTING.

THERE'S THE MERCHANT, THERE'S THE PERSON WHO'S SELLING.

THERE'S THE CONSUMER.

AND I THINK THE MORE WE ARE BETTER INFORMED ABOUT THIS, I THINK-- I THINK IT'S GOOD FOR ALL OF US.

I THINK IT FILLS OUT THE FULL CIRCLE.

WELL, I'M SO GLAD THAT YOU, UH, DECIDED TO DO A SHOW LIKE THIS, BECAUSE PART OF THE PURPOSE OF THE ARTICLES IS EXACTLY TO LET PEOPLE KNOW THAT WHEN THIS STUFF ARRIVES ON A BOLT, ON THE SHELVES, IN THEIR STORE, THAT THERE'S QUITE A BIT OF HISTORY BEHIND IT, AND THAT THEY REALLY CAN'T MAKE ASSUMPTIONS ABOUT IT.

THEY WANT IT TO BE PERFECT.

THEY WANT IT TO HAVE NO FLAWS.

THEY WANT IT TO BE THIS OR THAT, OR THAT, OR THE OTHER THING.

AND REALLY, THE PRODUCTION OF FABRIC IS STILL KNEE-DEEP IN THE 19TH-CENTURY CRAFTS.

IT'S A-- IT'S A DIFFICULT THING TO MAKE WELL.

THERE'S A LOT OF WASTE.

UM, AND ANYTHING WHICH HELPS PEOPLE UNDERSTAND WHAT THIS HAS GONE THROUGH TO BECOME WHAT FINALLY ARRIVES AT THEIR STORE, I THINK IS DEFINITELY A BOON.

SO I THINK IT'S GREAT YOU'RE DOING THIS.

RIGHT, IT MAKES PEOPLE APPRECIATE PAYING WHATEVER PRICE THEY PAY FOR THE FABRIC.

IT DID HAVE TO COME THROUGH MANY STEPS TO REACH THAT BOLT OF FABRIC.

THIS LITTLE JIGGER WILL HELP PEOPLE APPRECIATE THE QUALITY OR NOT QUALITY IN A VERY DIRECT RELATIONSHIP, I THINK, SO IF THEY COULD-- RIGHT, WELL, WE CERTAINLY DO APPRECIATE YOU BEING WITH US TODAY, AND WE WISH YOU CONTINUED SUCCESS.

AND KEEP WRITING ABOUT WHAT'S HAPPENING IN THE MARKETPLACE.

THANK YOU SO MUCH, JEFFREY.

THANKS, GEORGIA, IT'S A PLEASURE.

NOW YOU HAVE SEEN THE ENTIRE PRODUCTION FROM FIELD TO FABRIC.

ISN'T IT AMAZING?

NOW GO TO THAT LOCAL FABRIC STORE AND INVEST IN FABRIC FOR A WHOLE QUILT.

WE HOPE YOU HAVE LEARNED FROM THIS SHOW, AND NEXT WEEK, WE WILL EXPAND THE BLOCK, LEARN HOW TO CHANGE THAT SPOOL DESIGN.

SEE YOU NEXT TIME.

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'S NEW IDEAS FOR LAP QUILTING IS PUBLISHED BY OXMOOR HOUSE.