HOME, SWEET HOME.

YOU REMEMBER THE HOUSE ON THE HILL PATTERN, AND NOW THE HOMESTEAD PATTERN.

OR IT COULD BE THE SCHOOLHOUSE.

YOU WILL BE LEARNING MANY DIFFERENT SETTINGS FOR ALL THESE HOME DESIGNS.

PLUS, WE'LL GO TO SCHOOL WITH A QUILT ENTITLED, "FROM A TO Z."

Announcer: "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... ...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.

HOUSE PATTERNS HAVE ALWAYS BEEN A FAVORITE.

THEY ARE VERY GRAPHIC AND VERY INVITING.

THIS PARTICULAR QUILT IS A MOUNTAIN MIST PATTERN, AND IT'S DONE BY LINDA SAGE.

SHE CALLS IT "BROWN COUNTY CABINS," AND I THINK IT'S A VERY CLASSY QUILT.

I FIRST SPIED THIS AT THE HOUSTON QUILT MARKET, AND SHE WAS NICE ENOUGH TO SHARE IT WITH US.

THIS PARTICULAR BLOCK-- LOOK HOW SHE HAS USED HER BROWN FABRIC TO ITS UTMOST, AND DOESN'T THAT SUGGEST THE BROWN CABIN ITSELF?

ALSO, I LIKE THE RANDOM COLORS THAT SHE HAS USED IN THE WINDOWS AND IN THE DOORS-- YOU JUST KNOW THE LIGHT IS ON IN THIS PARTICULAR CABIN, AND SHE'S INSIDE QUILTING.

ALSO, NOTE SHE WENT A LITTLE BIT FURTHER WITH HER STRIPED FABRIC.

RATHER THAN JUST QUILTING THOSE STRAIGHT LINES, SHE INTRODUCED A CURVE, AND I THINK THAT, THAT JUST-- YOU CAN SEE ALL OF HER CREATIVITY IN HER QUILTING LINES.

THEN IN THE ROOF LINE-- RATHER THAN STOPPING, SHE EXTENDED THAT LINE RIGHT INTO THE MIDNIGHT SKY, AND I THINK THAT'S VERY EFFECTIVE.

LOOK AT THE WAY SHE TREATED THE BORDER, CROSS-HATCHING AND FAN QUILTING ON THE SIDE, AND THEN, NOT ONLY THE PINE TREE EDGING, BUT LOOK AT HER ADAPTATION OF STRIPED FABRIC.

IT JUST ZINGS, THE QUILT IS VERY NICE.

GAZING AT ANOTHER HOUSE QUILT, WE SEE THAT MARION MARA FROM NASHVILLE, INDIANA, HAS ADAPTED THE SAME SORT OF PATTERN IN A SMALLER VERSION.

AND LOOK WHAT NICE CHARACTER IT HAS.

GRAY, FEATHER-WREATH, SOLID BLOCKS THAT ARE JUST QUILTED ARE OFFSET WITH A PIECED BLOCK.

SHE'S ALSO TAKEN ADVANTAGE OF AN ECRU AND A VERY FEMININE BORDER PRINT.

A FAVORITE OLD QUILT OF MINE IS THIS BROWN QUILT, AND IT'S REALLY ON ITS LAST LEGS.

MAYBE THAT'S WHY I WANTED TO DO THIS PATTERN, TO-- TO KIND OF SAVE THE IMAGE.

AND WHEN I DESIGNED THIS PATTERN, I DID IT A LITTLE BIT DIFFERENTLY, TRYING TO ELIMINATE SOME OF THE TEMPLATES.

IN SOME OF THESE PATTERNS, THERE ARE AS MANY AS 15 OR 20.

AND I'VE BROKEN THIS DOWN SO THERE ARE JUST 11 IN THIS PATTERN.

IT IS A 14-INCH BLOCK, AND QUITE OFTEN, YOU DO SEE AN ANGLE LINE HERE.

I THINK IT MAKES IT A LITTLE BIT EASIER TO MAKE THIS ONE-PIECE A LONG LINE.

TRADITIONALLY, I SEE THIS PATTERN DONE MOST OFTEN IN JUST 2 CONTRASTING COLORS, ALTHOUGH, LINDA SAGE, IN HER "BROWN COUNTY CABINS," CERTAINLY DID A BEAUTIFUL JOB IN A MULTI-COLORED QUILT.

SO IF IT'S HANDLED CORRECTLY, IT CAN HAVE MORE COLORS IN IT.

I WANTED TO ALSO POINT OUT THAT IN THIS AREA, WHERE THE WINDOW IS, ON ONE SIDE, AND ON THE OTHER SIDE, ALONG WITH THE CHIMNEY AREA IS A PERFECT PLACE TO SEW BANDS OF FABRIC TOGETHER, AND I'LL SHOW YOU THAT IN JUST ONE MINUTE.

AND JUST KEEP THAT IN MIND, HOW WELL THAT WILL WORK.

BUT YOU DO HAVE YOUR ANGLE POSITION UP HERE, AND THEN YOUR TEMPLATES "F," DOWN HERE AND HERE, ARE ALL THE SAME.

SO YOU ARE ABLE TO ELIMINATE SOME OF THE, UH, SEWING AND CUTTING.

WHEN I DID THE SETTING FOR THIS QUILT, I DID SOMETHING VERY GRAPHIC, SO THAT IN REVERSING THE IMAGE OF THE HOUSE, THE HOMESTEAD PATTERN, YOU'RE ABLE TO COME UP WITH AN INTERESTING LOOK.

YOU ALMOST LOSE THE HOUSE LOOK.

WHAT HAPPENS IS, YOU GET A NEW SHAPE THAT TRANSCENDS OVER THE BORDER THEMSELVES.

ALSO IN THIS AREA HERE, YOU START SEEING THIS SQUARE AREA, AND I THINK THAT BECOMES VERY INTERESTING.

DON'T FORGET WHEN YOU'RE USING THAT PARALLELOGRAM THAT YOU NEED TO REVERSE THE PARALLELOGRAM SO YOU DON'T GET, UM, A MISTAKE AS I DID.

YOU CAN SEE WHAT HAPPENED HERE.

I WAS FRANTICALLY CUTTING OUT ALL MY PARALLELOGRAMS AND REALIZED I HAD DONE THEM WRONG.

THERE IS A WRONG AND A RIGHT SIDE TO THIS.

SO I HAVE SOME MATERIAL FOR ANOTHER PROJECT.

IT'S IN THIS AREA RIGHT HERE WHERE THE CHIMNEY IS THAT YOU CAN GO AHEAD, AND NOW'S THE TIME WHEN YOU CAN GET OUT YOUR CALCULATOR.

ALL YOU'RE GONNA NEED TO DO IS MEASURE THE DEPTH OF THIS PARTICULAR SKY, AND THEN MULTIPLY THAT TIMES THE 24, AND THAT WILL TELL YOU HOW LONG A BAND YOU NEED TO SEW.

THEN THE SAME THING IN THIS AREA IN HERE.

AND, OF COURSE, THIS IS YOUR ONE WHITE HOUSE, AND THEN YOUR BLUE HOUSE WOULD HAVE THE WHITE SKY.

AND I LIKE THE PLAID ACCENTS FOR THE CHIMNEY.

AND THE SAME THING OVER HERE.

THEN YOU'RE READY TO TAKE YOUR TEMPLATES TO THE MACHINE AND CUT THESE APART, AND WE'RE READY TO SEW.

WITH THE FINISHED QUILT IN PLACE, PLUS A PICTURE OF HOW IT'S SUPPOSED TO LOOK WHEN IT'S DONE, AND A SAMPLE BLOCK SET OUT, WE'RE ALL SET TO HAVE A FEW SUGGESTIONS AND HINTS ON PUTTING THIS TOGETHER.

WE CAN'T GO WRONG, I HOPE.

YOU WANT TO CONCENTRATE ON THIS BLOCK AS BEING DONE IN 3 SECTIONS.

WE HAVE ONE PORTION THAT HAS THE 2 WINDOWS IN IT, AND THEN THE OTHER SIDE OF THE HOUSE THAT HAS THE LARGER ONE, AND THEN THE ROOF LINE.

I LIKE TO GO AHEAD AND PUT THIS ROOFLINE TO THIS SIDE, SO THAT'S ONE SECTION.

AND THEN, OF COURSE, YOU DID THE LONG CHIMNEY AND SKY IN ONE LONG BAND AND THEN JUST CUT THAT APART.

NOW WE HAD THIS OTHER BAND SEWN TOGETHER AND ONCE YOU GET THAT DONE, YOU CAN JUST TAKE THE LENGTH THAT YOU HAVE HERE, AS I'VE CUT, AND SIMPLY POSITION THAT IN PLACE.

IT ALWAYS HELPS, IF YOU'RE RIGHT-HANDED, TO HAVE THE THINGS, THE CLOTH, ON THE RIGHT SIDE OF YOU.

AND THEN TAKE YOUR TEMPLATE, TAKE YOUR RULER, AND JUST LINE THIS UP.

AND, OF COURSE, THIS COULD BE MULTIPLE, OR IT COULD HAVE THE REVERSE PATTERN ALSO.

YOU COULD DO BOTH OF THEM AT THE SAME TIME.

AND THEN YOU'RE READY TO JUST SIMPLY GO AHEAD, HOLD THAT IN PLACE, AND CUT THAT.

AND YOU'LL HAVE ALL THOSE SECTIONS READY TO GO, ON ALL 12 OF YOUR WHITE ONES.

AND THEN YOU'D NEED 12 FOR YOUR DARK ONES ALSO.

ALRIGHT, ONCE THAT'S DONE, WE'RE READY TO DO OUR SEWING.

NOW, I WOULD GO AHEAD AND SEW THIS SIDE OF THE SKY ON SO THAT IT LINES UP EXACTLY WITH THE ROOF LINE, AND THE REST OF THE HOUSE.

YOU NEED TO PIN THAT FIRST TO MAKE CERTAIN THAT HAPPENS.

THEN YOU HAVE THIS DIAGONAL PIECE, THE CONNECTING PIECE, THAT IS SEWN, AND ONE IMPORTANT FEATURE OF THAT IS TO SEW RIGHT DOWN TO THAT QUARTER-INCH TURN.

THAT'S GONNA BE, NOT WHERE YOU PIVOT, BUT WHERE YOU STOP AND BACKSTITCH.

YOU'RE GONNA BE INSERTING A RIGHT ANGLE, AND THAT'S GONNA BE NECESSARY NOT TO GO OUT TO THE RAW EDGE, BUT STOP RIGHT THERE.

I'M GONNA GO AHEAD AND SEW THIS, AND, OF COURSE, AT THE SAME TIME, YOU WANT TO MAKE CERTAIN THAT YOU'RE GONNA GET A NICE STRAIGHT LINE WHEN YOU COME OFF OF THAT, AND I'LL SHOW YOU THAT IN JUST A MINUTE.

ONCE AGAIN, GO ALL THE WAY OUT TO THE RAW EDGE.

IN JUST ABOUT ALL OF QUILTING, WE DON'T NEED TO-- OR PIECING-- AT THE MACHINE, WE DON'T NEED TO BACKSTITCH, BECAUSE WE'RE ALWAYS CROSSING OVER THOSE LINES AGAIN.

AND THAT REALLY, IN ESSENCE, LOCKS THEM IN PLACE.

WHEN YOU COME DOWN, STOP, BACKSTITCH.

AS I'M SEWING THESE, YOU MIGHT WANT TO TAKE A LOOK AT THE WONDERFUL QUILTING LINES THAT HAVE BEEN DONE.

MINNIE JACKSON DID THE QUILTING FOR ME AFTER I DESIGNED IT AND PIECED IT.

I NEEDED SOME HELP, AND SHE DID JUST A BEAUTIFUL JOB.

NOTICE, UH, IN THIS AREA WHERE WE ARE PIECING RIGHT NOW THAT THE QUILTING LINES HAD BEEN DONE IN A CONTRASTING THREAD, WHICH REALLY PULLS OUT THE DESIGN.

AND IN THIS AREA THAT WE JUST PIECED, JUST THE MASKING TAPE HELPS AS A QUARTER-INCH LINE THERE.

NOW, ONCE THAT HAS BEEN PIECED, YOU WANT TO PULL THAT OUT, AND THEN, YOU GET THAT FULL QUARTER INCH THERE, PLUS THAT STRAIGHT LINE COMING ACROSS.

THEN DOWN HERE, NOTICE THAT YOU'VE JUST GONE TO THE QUARTER INCH, TO THAT BLUE DOT-- STOP AND BACKSTITCH.

THAT GETS THAT SIDE DONE.

THEN WE'RE GOING TO COME, THE SAME THING HERE.

YOU WOULD GO AHEAD AND POSITION THIS SKY ON HERE SO THAT YOU GET THAT NICE STRAIGHT LINE COMING ACROSS.

AND THEN THIS WOULD POSITION HERE ALSO.

AND THE WAY YOU CAN TEST IT-- I LIKE TO PIN AND PEEK.

IT SAVES RIPPING OUT.

BUT GO AHEAD AND JUST PIN THAT IN PLACE, KNOWING THAT ONCE THAT HAS BEEN PINNED, BOTH THE TOP AND THE BOTTOM-- AND IT'S HARD TO GUESS SOMETIMES HOW MUCH DOG-EAR TO LET OVEREXTEND THERE.

BUT THEN, IF THAT HAD BEEN STRAIGHT, YOU CAN REST ASSURED THAT YOUR BLOCK WILL GO TOGETHER.

THE SAME THING IN THIS AREA.

PIECE THOSE TOGETHER, AND THAT-- THE BLUE TOP.

AND THEN THIS ONE, ONCE ALL THESE SEAMS HAVE TAKEN UP, THIS CAN SEW TO IT.

THEN THAT CAN BE SEWN IN BY SEWING JUST TO THAT STOCK POINT-- BACKSTITCH.

NOW, ONCE THAT HAS BEEN DONE, OF COURSE, YOU'RE READY TO PUT YOUR BLOCKS TOGETHER AND QUILT IT.

I DID DO THE QUILTING IN A RECTANGULAR WAY THIS TIME SO THAT 2 BLOCKS WERE PUT TOGETHER.

I NOW HAVE THE ROWS DONE, AND THEY ARE BEING PUT TOGETHER IN THAT CONNECTING FASHION.

NOTICE ALSO IN THE ROOF AREA, I DID SOME CLAMSHELL QUILTING, WHICH I THINK IS VERY NICE.

THE, UM-- I'M GOING TO SLING THIS OPEN SO YOU GET A FULL SHOT OF THE QUILT.

ONE OF MY CHILDREN HAS BEEN AFTER ME FOR THIS QUILT, AND I'VE TOLD THEM, THEY CAN'T GET THIS UNTIL THEY LEARN HOW TO MAKE THEIR BED EVERY SINGLE DAY.

AND THEY'RE GROWN ADULTS-- WOULD YOU BELIEVE THAT?

OK, HERE IS THE QUILT.

AND IT LOOKS ALMOST DONE, BUT IF YOU REALLY SCRUTINIZE IT, YOU CAN SEE THAT THERE ARE SOME FLOATING THREADS.

AND THAT MEANS THAT EVEN THOUGH THE BLOCKS ARE DONE, I AM NOW DOING WHAT WE CALL THE ROW ASSEMBLY.

AND-- OH I'VE LEFT THIS RED HERE.

I WAS GOING TO PUT THE PLAID AS THE BINDING, BUT WOULDN'T YOU KNOW, I RAN OUT OF PLAID, BUT YOU KNOW, I THINK THAT I LIKE THIS BRIGHT RED ACCENT ON THE QUILT MAYBE EVEN BETTER THAN THE PLAID, SO HERE'S AN INSTANCE WHERE BY RUNNING OUT I HAD TO SWITCH IN MIDSTREAM, BUT I THINK I WILL PUT RED.

AND AS YOU CAN SEE, I'M JUST FINISHING THAT LONG ROW ASSEMBLY.

AND SOMETIMES THAT CAN BE KIND OF A-- WELL, YOU'RE GONNA LOSE ME HERE FOR A MINUTE, BECAUSE THIS GETS TO BE A REAL CUMBERSOME THING.

AND IT'S AT THIS POINT YOU SAY, "OH, MY GOODNESS!"

WELL, JUST REMEMBER, KEEP TELLING YOURSELF, "IT'S ALL QUILTED."

I HAVE A COUPLE JUST OF LAST STITCHES TO DO RIGHT HERE AT THE VERY END.

AND WHEN I DO THAT, I LIKE TO CATCH THE BATTING ON THE BACKSIDE-- I'LL SHOW YOU THAT IN JUST A FEW MINUTES SO THAT WHEN YOU'RE COMING ALL THE WAY, AND THEN YOU'RE DONE, YOU CAN THEN LAY THIS DOWN ON A FLAT AREA.

NOW, IT IS VERY IMPORTANT THAT YOU'RE WORKING ON A FLAT SURFACE HERE.

IT REALLY DOES MAKE SENSE, BECAUSE YOU DON'T WANT TO DO YOUR HANDWORK AND TAKE UP TOO MUCH ON THE BACK SIDE.

THAT'S GONNA PRESENT SOME FULLNESS IN THIS AREA, AND YOU JUST DON'T WANT THAT TO HAPPEN.

I MIGHT ALSO POINT OUT THE BORDER.

CAN YOU SEE HOW INTERESTING IT IS WITH THE LITTLE OFFSET SQUARES?

NOTICE THAT THIS IS WHERE THE LAP QUILTING CONNECTION CAME TOGETHER.

THAT DOES HAVE A BLUE TRIANGLE HERE THAT GOES AHEAD AND MATCHES THE REST OF THAT FIGURE.

IT'S AT THIS POINT THAT ONCE YOU'VE SEWN, AND YOU CAN SEE THAT YOU'VE GOT THE BATTING CAUGHT ON ONE SIDE, AND THAT WILL GO RIGHT AGAINST YOUR FEED DOG, SO YOU WON'T HAVE ANY PROBLEM-- YOU ARE GOING TO WANT TO TRIM, THEN, JUST A LITTLE BIT OF THE BATTING ON THE OTHER SIDE, SO THAT THAT WILL FALL FLAT, THEN YOUR ONE BACKING WILL GO TO-- IN ONE DIRECTION, THIS ONE WILL COME-- IT NEEDS TO GO UNDER A QUARTER OF AN INCH, FALL RIGHT ON TOP OF THAT, AND BY WORKING ON A FLAT SURFACE, YOU CAN PIN THAT IN PLACE.

I WOULD USE A BLUE QUILTING THREAD, AND DO A VERY TINY SLIP STITCH, MAKING CERTAIN NOT TO GO TO THE FRONT SIDE.

NOW, TO COMPLETE THIS, I WILL COME BACK AND RETHREAD, WITH MY NEEDLE, THESE FLOATING THREADS, AND FINISH UP ANY QUILTING STITCHES.

I'LL ALSO WANT TO PUT SOME MASKING TAPE, AND DO ANOTHER-- AS YOU CAN SEE, THE BLUE QUILTING THREAD GOES ON THIS SIDE, AND THAT WILL COMPLETE THIS QUILT, PLUS THE BINDING.

I MIGHT USE A HOOP IN THE CENTER WHERE IT'S A LITTLE CUMBERSOME TO HANDLE.

WE HAVE ONE MORE LITTLE HOUSE TO SHOW YOU, AND IT IS A LITTLE-- A LITTLE ONE.

COME WITH ME.

LITTLE HOUSES FOR LITTLE PEOPLE.

GAIL TUTTLE HAS PUT A LITTLE HOUSE, COMPLETE WITH LITTLE TEDDY BEARS, DOORS THAT OPEN, AND PIG TAILS THAT FALL BEHIND FENCES, IN A LITTLE VEST, AND THEN EVEN ADAPTED THE SAME IDEA INTO A TOASTER COVER.

I THINK, ALSO, YOU NEED TO TAKE ADVANTAGE OF PREQUILTED FABRIC.

REMEMBER THAT YOU CAN APPLIQUÉ HEARTS, HOLLY WREATHS, AND LITTLE DRESDEN PLATES TO LITTLE VESTS.

I'VE DESIGNED A HOUSE THAT HAS SOME PERSPECTIVE TO IT, ALMOST AS IF YOU'RE LOOKING RIGHT DOWN ON TOP OF IT.

AND GAIL HAS INCORPORATED THIS INTO A LITTLE GREEN VEST, COMPLETE WITH OUR STARS WITH PERSONALITY.

I WANTED TO SHOW YOU HOW THIS CAN BE PIECED WITH FREEZER PAPER.

REMEMBER, WE'VE TALKED SO MUCH ABOUT IT, BUT HERE'S AN INSTANCE WHERE YOU MIGHT JUST WANT TO TRY THIS OUT FOR THE FIRST TIME.

AND YOU DIDN'T WANT TO MAKE A WHOLE SET OF TEMPLATES.

IT REALLY DOES WORK NICE.

I'VE GOT THIS ALL SEWN, AND THE NICE THING ABOUT IT-- THE FREEZER PAPER IS STILL THERE.

ONCE IT'S BEEN SEWN, YOU CAN JUST SIMPLY START PEELING THAT OFF, REMEMBERING THAT IT WILL-- CAN BE REUSED AGAIN.

THIS IS VERY MUCH LIKE THE OTHER HOUSE, IN THAT, ONCE THAT AREA HAS BEEN SEWN, YOU'RE GOING TO HAVE ANOTHER ANGLE THAT YOU'RE GOING TO SEW UP TO, STOP AND BACKSTITCH, SO YOU CAN GET THAT LAST DIAGONAL.

BUT THAT MAKES A VERY NICE LITTLE HOUSE.

YOU COULD EVEN PUT IT ON A GROWN-UP VEST, ALL THE WAY AROUND THE BOTTOM OF A VEST.

WE'VE BEEN GOING TO SCHOOL, SO IT'S TIME FOR US TO STUDY OUR ABC'S.

PATCHWORK LETTERS HAVE ALWAYS INTRIGUED ME, BUT WHEN I STARTED PONDERING HOW THEY COULD BE DRAFTED, ALL I COULD SEE WAS A DIFFERENT TRIANGLE FOR EACH LETTER.

BUT WHEN I TURNED TO INTERRUPTED RECTANGLES, AS I DID IN JUST THIS TEST BANNER FOR OUR GUILD, OUR WESTERN NORTH CAROLINA GUILD, I FOUND OUT THAT IT COULD BE DONE IN STRIP PIECING, OR THE INTERRUPTED RECTANGLE IDEA.

AND, OF COURSE, THE ANSWER, ONCE AGAIN, WAS FREEZER PAPER.

I DID ALL THE DESIGN WORK ON ONE-AND-A-HALF-INCH VERTICAL STRIPS AND SIMPLY PLACED THE POSITION OF NOT ONLY THE LETTERS, BUT THE MOUNTAINS, AND NATURALLY, OUR APPLE OVER THE MOUNTAIN.

THEN I CUT ALL OF THE CLOTH IN 2-INCH STRIPS.

THAT WAY I DID MY PIECING.

FROM THERE I TURNED TO A FULL-SIZE QUILT.

AND I WANTED TO GIVE YOU A VERY LOGICAL WAY THAT YOU CAN WORK AT HOME MAKING YOUR OWN LETTERS.

I HAD SOME HELP WITH THE PIECING FROM SOME FRIENDS.

AND, UH, ALICE, BARBARA, MARY AND SHIRLEY ALL WORKED VERY HARD TO GET THIS TO THIS POSITION.

YES, WE HAVE ANOTHER UNFINISHED QUILT HERE.

A LOT OF QUILTING STITCHES WILL PUT THIS TOGETHER SOON.

BUT I WANTED TO GIVE YOU A GOOD INSIGHT INTO THE ACTUAL DRAFTING PART.

ALL THE LETTERS ARE BASED ON 9-INCH SQUARES.

NOW, THOSE 9-INCH SQUARES ARE DIVIDED INTO VERTICAL STRIPS THAT ARE ONE AND A HALF INCHES WIDE.

SO THERE ARE 6 BANDS ALL THE WAY ACROSS.

IF YOU CAN SEE-- 1, 2, 3, 4, 5, 6.

IF YOU CAN SEE THE "K." I DID HAVE SOME FUN CHANGING SOME OF THE DESIGN AREA.

AND I WANTED TO SHOW YOU THE "S" ALSO.

YOU CAN SEE THAT IN ORDER TO GIVE THE FULL DIMENSION FROM THIS ANGLE DOWN HERE, I EVEN, IN THIS PARTICULAR ROW, ADDED AN EXTRA TRIANGLE HERE AND HERE, SO YOU GET THAT SAME ONE-AND-A-HALF-INCH WIDTH HERE.

QUITE OFTEN, WHEN WE WERE DOING THE ACTUAL PIECING, I CHANGED SOME OF THE LINES.

AS YOU CAN SEE, ON THE "S," I EVEN THEN ELIMINATED THAT RED, BUT MADE IT SWING UP INTO THIS FIRST ROW.

SO IT WAS A LOT OF FUN TO DO.

IT'S ALL BASED ON A ONE-AND-A-HALF-INCH SCALE.

EVEN FROM HERE UP IS ONE AND A HALF INCHES.

AND YOU CAN BE YOUR OWN DESIGNER.

NOW, THERE ARE-- I'M GONNA GIVE YOU A TEST.

THERE ARE 9 LETTERS IN THIS ALPHABET THAT YOU WANT TO ALWAYS MAKE CERTAIN THAT YOU ARE TURNING TO THE BACK SIDE.

FOR INSTANCE, THE "Q."

IF YOU WOULD PUT YOUR FREEZER PAPER RIGHT ON TOP OF THIS, AND THEN DO YOUR DESIGN AND YOUR STRIP PIECING, YOU WOULD END UP HAVING THE "Q" BACKWARDS, BECAUSE REMEMBER, YOU HAVE TO ALWAYS GO TO THE BACK SIDE.

SO WHAT IS IMPORTANT ON ESPECIALLY 9 OF THESE LETTERS, SOME OF THEM IT REALLY DOESN'T MAKE ANY DIFFERENCE.

FOR INSTANCE, THE "K"-- IF YOU WOULD FORGET TO DO IT WITH A "K," YES, WHEN YOU DID YOUR PIECING, IT WOULD COME OUT BACKWARDS, BUT THAT'S ALRIGHT, BECAUSE THE "K" IS A LETTER THAT YOU CAN TURN UPSIDE DOWN.

SO IT WORKS BOTH-- IT REVERSES VERY EASILY.

BUT I WANT YOU TO LOOK AT THE QUILT AND STUDY IT, AND SEE IF YOU CAN FIGURE OUT THE 9 LETTERS THAT IT IS VERY IMPORTANT THAT YOU TRACE FROM THE BACKSIDE AFTER YOU DO YOUR DESIGN WORK.

HAVE YOU GOT IT FIGURED OUT YET?

I'LL GIVE YOU THE ANSWERS NOW, AND YOU MAKE CERTAIN AND WRITE THESE DOWN.

IT IS THE "F" AND THE "G," THE "J" AND THE "L," THE "N," THE "P," THE "Q," THE "R," AND THE "S." ALL OF THOSE, YOU ALWAYS NEED TO TURN YOUR DESIGN OVER, AND TRACE IT FROM THE BACKSIDE.

I HAVE PLANS TO DO THE QUILTING IN THE BORDERS OF THIS-- A LITTLE MORE ELABORATE IN THE WHITE-- WHITE QUILTING THREAD.

AND DO NOTICE THAT I HAVE CHOSEN, ON THE BACKING, A PRINTED MUSLIN, SO THAT IF I USE THE WHITE THREAD ON THE OUTSIDE OR THE FRONT OF THE QUILT, THEN ON THIS SIDE, THE STITCHES WILL JUST LOOK VERY NICE.

I'LL GET THAT WHITE-ON-WHITE LOOK FOR THE QUILTING.

I THINK I'M GOING TO QUILT NUMBERS 1 THROUGH 10 ON ONE SIDE, AND THEN MY VERY FAVORITE QUOTE, "MOTHER KNOWS BEST" SOMEWHERE ON THE BORDER OF THIS QUILT.

LET'S GET AN INSIGHT INTO EXACTLY HOW IT'S PIECED.

I HAVE THE "Q," OF COURSE, FOR "QUILTING" HERE.

AND THAT IS ALL READY, AND AS YOU CAN SEE-- ONCE I HAVE GOTTEN IT IN POSITION TO DO THE TRACING, I HAVE TURNED IT TO THE BACKSIDE, AND POSITIONED MY FREEZER PAPER ON TOP OF THAT.

NOW, I DO HAVE ONE ROW CUT APART-- THAT IS, THE "A" ROW.

THIS IS A-1, AND THAT "G" IS FOR THE GRAY BACKGROUND.

THE GREEN IS A-2, AND THEN A-3.

THEY HAVE BEEN PRESSED ONTO MY BANDS THAT WERE CUT 2 AND A HALF-- OR ACTUALLY JUST 2 INCHES WIDE, BECAUSE THIS WAS BASED ON THAT ONE AND A HALF INCH.

NOW I'M READY TO DO MY PRESSING, AND ONCE I GET THAT PRESSED, I CAN DO SOME CUTTING.

YOU NEED TO POSITION THIS SO YOU'VE GOT THAT QUARTER INCH ON EITHER SIDE.

PRESS THAT DOWN.

REMEMBER YOU CAN REUSE THESE TEMPLATES.

THAT'S ONE OF THE NICE FEATURES OF WORKING WITH THEM.

AND THEN ONCE YOU GET YOUR SMALLER RULER, GET THAT GAUGE RIGHT THERE WHERE YOUR QUARTER INCH IS, AND THEN TURN THAT-- LINE THAT UP EXACTLY.

SAVE THOSE FOR OTHER LITTLE-- LITTLE TRIANGLES THAT YOU'RE GONNA RUN INTO.

NOW, COME BACK TO HERE, AND YOU'RE READY TO PUT THESE 2 TOGETHER.

AND ONCE AGAIN, USUALLY JUST BY HOLDING IT UP TO THE LIGHT, YOU CAN GET A GOOD VIEW OF HOW IT'S GOING TO BE SEWN.

OR YOU MIGHT WANT TO POSITION THAT PIN ALL THE WAY THROUGH IT.

BUT IT IS NICE TO KNOW THAT YOU DON'T HAVE TO MAKE A TEMPLATE EACH TIME, YOU CAN SIMPLY RELY ON THAT-- THAT LINE TO FOLLOW.

YOU ARE SIMPLY FOLLOWING THAT LINE EACH TIME, AND THEN OPENING THAT UP.

YOU'VE GOT ONE SIDE DONE.

THEN COME TO YOUR NEXT ONE.

I LIKE TO, USUALLY, AS I AM SEWING THE ROWS, KEEP THE FREEZER PAPER ON ONE ROW BEFORE I GET THE NEXT ONE.

NOW I USUALLY HAVE TO HOLD THIS UP TO THE LIGHT TO SEE EXACTLY WHERE ONE LINES UP TO THE NEXT.

AND REMEMBER THAT SUNSHINE COMING THROUGH YOUR SEWING ROOM WINDOW IS THE BEST WAY TO DO THAT.

ONCE THAT HAS BEEN DONE-- AND, OF COURSE, IF YOU WANT TO CHECK YOUR WORK, YOU'D KNOW THAT THIS WOULD MEASURE 9 AND A HALF INCHES, WOULDN'T IT?

BECAUSE YOU NEED THAT EXCESS FOR YOUR SEAM ALLOWANCE.

OK, THAT'S ONE SIDE, AND THAT WOULD BE YOUR ROW "A."

NOW YOU'RE READY TO GO TO ROW "B," AND CUT THAT APART, AND I HAVEN'T QUITE COATED THAT, SO IT IS IMPORTANT THAT AT THIS TIME, YOU WOULD GO AHEAD AND GET YOUR-- THIS IS YOUR LETTER, AND THIS IS YOUR BACKGROUND, SO THIS IS GONNA BE YOUR GRAY, AND YOUR GREEN, AND YOUR GREEN.

AND CONTINUE ON IN THIS MANNER.

I WOULD ALSO NOTICE THAT YOU'VE GOT THAT LITTLE TINY TRIANGLE THERE.

NOW, DON'T GET FRIGHTENED WHEN YOU SEE A TRIANGLE THAT TINY.

IT'S JUST A MATTER OF GOING AHEAD AND PLACING THIS ON YOUR GREEN, AND PRESSING THAT.

AND THEN YOU CAN-- I THINK KIND OF A SHORT CUT FOR THIS PARTICULAR STEP IS TO PUT THIS ON THE GRAY AND PRESS IT.

THEN COME AND I'LL-- I'M GONNA GIVE YOU A LITTLE TIP HERE ON HOW I THINK IT HELPS TO WORK WITH THIS.

ONCE THAT'S BEEN POSITIONED AND PRESSED, I WOULD GO AHEAD AND CUT THIS OFF EXACTLY LIKE IT'S A QUARTER INCH.

THEN YOU CAN COME AND ACTUALLY TAKE-- REMEMBER, YOU WANT TO HAVE, FROM THAT LITTLE CORNER OUT, IS GOING TO BE JUST YOUR GREEN.

SO YOU CAN HOLD THAT UP TO THE LIGHT, AND, OF COURSE, ON THIS ONE YOU WOULD BE WORKING WITH BIAS, BECAUSE YOU WANT TO SEW EXACTLY ON THAT, THEN FLIP THAT OVER.

AND THEN YOU'VE GOT A GUIDE TO TRIM THAT GREEN EXACTLY TO THE GRAY.

NOW, YOU CAN LEAVE THE GRAY UNDERNEATH IF YOU WANT TO, OR YOU CAN PULL IT UP, CUT IT OFF, KNOWING THAT YOU REALLY WANTED GREEN ON THAT CORNER.

CAN YOU SEE HOW THAT WOULD BE DONE?

AND THEN JUST CONTINUE YOUR ROWS.

I USUALLY PULL THE FREEZER PAPER OFF OF ONE ROW, BUT DO LEAVE IT ON THE OTHERS.

SO THAT WILL ACT AS A GUIDE TO SEW YOUR 6 ROWS TOGETHER.

NOW, THE BORDERS WERE A LOT OF FUN TO DO.

I SIMPLY CUT STRIPS OF BIAS, SEWED THOSE TOGETHER, WITH THE BLACK, ALTERNATING THOSE, THEN CAME AND CUT 2-INCH BANDS ALL THE WAY AROUND, BECAUSE THAT IS THE ACCENT BORDER THAT GOES ALL AROUND EACH OF YOUR BLOCKS.

THEN YOU HAVE A 12-INCH SQUARE.

WE'LL WE'VE BEEN WORKING ON A "Q."

THAT MEANS IT'S TIME TO DO SOME QUILTING.

COME AND LET'S DO A LITTLE-- FEW QUILTING STITCHES NOW.

BEFORE I QUILT, I WANTED TO REMIND YOU ABOUT THE LIGHT BOX SITUATION.

IT IS EASY FOR YOU TO MAKE ONE AT HOME.

YOU NEED SOME OPAQUE, TRANSLUCENT-TYPE PLEXIGLAS, AND THEN A CARDBOARD BOX THAT YOU WOULD CUT AT THE TOP AND SLANT IT A LITTLE BIT SO YOU CAN CREATE A LEDGE THERE AND THIS CAN REST ON IT, AND THEN JUST A LIGHT BULB THAT YOU CAN AFFIX INSIDE.

THEN WHEN THAT'S TURNED ON, YOU CAN USE THIS FOR TRACING ALL THOSE FREEZER PAPER PATTERNS.

THE SAME THING WILL WORK WITH A GLASS-TOP COFFEE TABLE, OR A KITCHEN TABLE, OR EVEN A SLIDING DOOR, A SUNNY DOOR WHERE THE SUNSHINE'S COMING THROUGH.

LET'S QUILT FOR JUST A MINUTE.

AND FOR THOSE OF YOU THAT HAVE BEEN REALLY IN A QUANDARY AS TO WHAT CALICO TO PICK OUT, THE SOLUTION IS TO CHOOSE JUST ONE FABRIC.

AND THIS IS AN EASY WAY OUT.

I THOUGHT I WOULD JUST TRY DOING SOME PATCHWORK ON MUSLIN, AND LETTING THE SEAM ALLOWANCE ACTUALLY HIGHLIGHT THE DESIGN.

AND IT'S KIND OF A FUN AND DIFFERENT WAY TO TRY QUILTING.

I AM USING A HOOP SITUATION HERE, AND I DO LIKE THE SUPPORTED HOOP THAT DOES TILT.

IT ALLOWS ME TO BRING THE NEEDLE TOWARDS ME EACH TIME WHEN I'M QUILTING.

AND THAT GIVES YOU A LOT OF FLEXIBILITY WHEN YOU'RE DOING LAP QUILTING.

THAT MEANS THAT AS MY DESIGN CHANGES AND TURNS, I CAN TURN MY HOOP.

SOMETIMES WHEN YOU'RE AT A STANDING QUILTING FRAME, YOU FIND YOU CAN ONLY QUILT THIS WAY OR THIS WAY, AND WHEN YOU WANT TO GO THAT WAY, YOU'RE UP THE CREEK.

SO, WHEN I'M DOING THIS, I DO QUILT A LITTLE BIT DIFFERENTLY.

I LIKE THE NEEDLE TO ALWAYS COME TOWARDS ME.

AND, OF COURSE, THE HARDEST STITCH IS THAT FIRST STITCH THAT YOU PUT IN.

ONCE THAT GOES IN, THEN USE THAT THUMB, MAKE THIS FINGER UNDERNEATH COME UP IN BETWEEN.

THAT'S WHAT'S HAPPENING UNDERNEATH.

AND THAT'S FORCING THAT THUMB TO CREATE A LEDGE IN THE FABRIC.

IT RAISES IT UP-- THE NEEDLE COMES THROUGH, AND THEN IT GOES DOWN AGAIN.

YOU CREATE A LEDGE, AND COME DOWN.

CREATE A LEDGE, AND THEN UP IT COMES.

AND THAT GIVES YOU A NICE STITCH.

I ALSO THINK WORKING WITH THAT LITTLE INDENTED THIMBLE HELPS YOU TO LOCK THAT EYE INTO PLACE.

IT WORKS VERY NICELY.

NOW, ON SOMETHING THIS SIZE, IT REALLY IS OPTIONAL WHETHER OR NOT YOU USE A HOOP.

OF COURSE, WITH A FULL-SIZE QUILT, YOU WOULD WANT TO.

BUT IF YOU'RE GOING TO DO JUST LAP QUILTING WITHOUT A HOOP, ALWAYS REMEMBER TO KEEP THAT OFF HAND GOING OPPOSITE IN THE DIRECTION THE NEEDLE IS GOING.

FOR INSTANCE, THE NEEDLE IS GOING THIS WAY.

LET THIS WORK TOWARDS EACH OTHER SO YOU GET A GOOD BALANCE.

AND THEN IT'S A MATTER OF JUST CATCHING THOSE 3 LAYERS, MAKING CERTAIN THAT YOU GET A LITTLE BIT OF MOVEMENT IN THAT WRIST ACTION-- DO YOU SEE, COMING UP AND DOWN?

AND THEN YOU'RE READY TO CONTINUE YOUR STITCHES.

I'LL BE QUILTING AWAY, AND I HOPE THAT YOU WILL TUNE IN NEXT TIME.

WE ARE GOING TO HAVE A SHOW OF HANDS.

ALL THOSE YEAR QUILT STUDENTS WITH ALL THEIR BUSY FINGERS.

I KNOW YOU'RE GOING TO WANT TO SEE THE RESULTS OF THEIR WORK.

SEE YOU THEN.

"LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... ...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.