I NEVER KNEW MY GREAT-GRANDMOTHER.

HER NAME WAS CHARLOTTE BRADSHAW SAILOR FROM PORTAGE, OHIO.

I UNDERSTAND SHE WAS A HARD-WORKING WOMAN ON A FARM, QUITE A COOK-- IN FACT, THIS IS HER VERY APRON-- AND SHE WAS A QUILT-MAKER ALSO.

ALL 3 OF THESE ARE HER QUILTS.

AND I FEEL A LITTLE BIT CLOSER TO GREAT-GRANDMA SAILOR AND THE PAST, JUST TOUCHING THESE QUILTS.

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.

YES, GRANDMA TAUGHT US HOW, AND NOW WE'RE IN THE PROCESS OF DOING QUILT CENSUS ALL OVER THIS COUNTRY.

ONE OF MY VERY INSPIRATIONAL BOOKS, REMEMBER ME, BY LINDA LIPSETT, VERIFIES AND TALKS ABOUT WOMEN AND THEIR QUILTS.

IN FACT, IT IS THE MOTIVATING FORCE BEHIND OUR LESSON TODAY-- THE ALBUM QUILT.

WE'LL LEARN HOW TO MAKE THIS BLOCK.

THERE ARE SOME 15 STATES, AND PERHAPS MAYBE MORE BY NOW, THAT ARE UNDERGOING QUILT RESEARCH AND DOCUMENTATION DAYS-- CALIFORNIA, TEXAS, AND ARKANSAS-- THOSE STATES ARE CELEBRATING THEIR 150TH ANNIVERSARY.

IN FACT, TEXAS HAS 2 RESEARCH PROJECTS GOING ON.

ARKANSAS CULMINATED THEIR RESEARCH WITH A WONDERFUL BOOK-- STITCHES IN TIME: A LEGACY OF OZARK QUILTS.

WE ALSO HAVE MISSOURI.

THE FUNDING BEHIND THE MISSOURI PROJECT WAS FROM SILVER DOLLAR CITY.

WHEN A PERSON WOULD ATTEND ONE OF THE QUILT DOCUMENTATION DAYS, THEY GOT A BROCHURE ON HOW TO CARE AND CONSERVE THEIR QUILTS.

WE ALSO HAD NEBRASKA, KANSAS, COLORADO, AND ON THE EASTERN PART OF OUR COUNTRY, WE HAVE TENNESSEE, VIRGINIA-- HAZEL CARTER HAS BEEN RESPONSIBLE FOR WORKING ON THE QUILT DOCUMENTATION PROJECT IN VIRGINIA.

SHE'S DOCUMENTING QUILTS FROM 1788 TO 1985.

YOU'VE ALSO HEARD HER NAME LINKED TO THE CONTINENTAL QUILT CONGRESS.

WE HAVE PENNSYLVANIA.

JEANNETTE LASANSKY-- SHE'S DOING AN ORAL RESEARCH-- WOULDN'T THAT BE WONDERFUL TO LISTEN TO THESE ACTUAL WOMEN TALK ABOUT THE QUILTS AND HOW MEANINGFUL IT HAS BEEN TO MAKE FIBER ART IN OUR TIME?

OHIO, MICHIGAN, NORTH CAROLINA, SOUTH CAROLINA-- LAUREL HORTON HAS WRITTEN SOCIAL FABRIC: SOUTH CAROLINA'S TR ADITIONAL QUILTS.

SHE IS MOST HOPEFUL THAT IN THE FUTURE SHE WILL BE ABLE TO HAVE AN INTERACTIVE VIDEO LASER DISK PROGRAM SO THAT NOT ONLY SOUTH CAROLINA, BUT OTHER STATES CAN BENEFIT FROM THE RESEARCH, THE SURVEYS THAT THEY HAVE DONE.

OUR LAST STATE IS KENTUCKY.

IT'S LAST, BUT IT WAS ONE OF THE FIRST.

WE HAVE AN OPPORTUNITY TO MEET AND TALK WITH KATY CHRISTOPHERSON, AN EARLY ORIGINATOR IN THE RESEARCH PROJECTS AROUND THIS COUNTRY.

KATY, IT'S SO NICE TO HAVE YOU HERE TODAY.

KATY CHRISTOPHERSON FROM LOUISVILLE, KENTUCKY, RIGHT?

RIGHT, THANK YOU.

IT'S FUN TO BE HERE.

WELL, I HAVE HEARD YOUR NAME ALWAYS LINKED WITH THE KENTUCKY QUILT PROJECT, AND I WANT TO KNOW, WHAT HAS BEEN YOUR ROLE IN THIS PROJECT?

WELL, I WAS A CONSULTANT TO THE PROJECT, AND HAD THE LINKAGE TO THE QUILT WORLD THAT MADE IT POSSIBLE TO SECURE AND TRAIN PEOPLE WHO HELPED WITH THE BACKING AND THE CONSERVATION OF THE QUILTS THAT WERE USED IN THE SHOW, AS A MATTER OF FACT.

KATY, THE MERE NAME OF YOUR-- OF THE PROJECT-- KENTUCKY QUILT PROJECT, DENOTES WORK.

I SUPPOSE IT HAS BEEN A LOT OF WORK INVOLVED IN THIS?

I WAS A LOT OF WORK, A LOT OF FUN, AND, REALLY, IT'S MORE WORK THAN YOU EVER EXPECT IT TO BE, OF COURSE.

AND "PROJECT" REALLY DENOTES SOMETHING THAT HAS A BEGINNING AND AN END, WHEREAS YOU CAN HAVE A PROGRAM THAT HAS A KIND OF ONGOING, UNDEFINED FUTURE EXPECTATION.

AND IN THE CONTEXT OF THIS PROJECT, IT WAS A MATTER OF 3 DIRECTORS-- MYSELF AS A CONSULTANT, A CURATOR AND A DESIGNER.

AND THE BASIC DECISIONS WERE MADE-- FOR INSTANCE, THE GEOGRAPHICAL AREAS THAT WERE CHOSEN-- THEY TOOK THE MAJOR CENTERS OF POPULATION IN THE STATE, DREW A CIRCLE WITH A RADIUS OF 75 MILES, AND AS SOON AS THEY GOT TOTAL OVERLAP, THEY ENDED.

THAT WAS 12 CENTERS.

UH, 2 OR 3 PLACES WE WENT BACK TO MORE THAN ONCE.

BUT YOU HAVE, IN PUTTING A PROJECT TOGETHER, TO THINK IN TERMS OF THE PUBLIC RELATIONS NECESSARY TO GET THE WORD OUT, THE PROBLEMS OF FUNDING ONE WAY OR ANOTHER, THE STRUCTURE OF THE COMMITTEE IF THERE ARE MANY PEOPLE TO BE INVOLVED AS IS TRUE IN A STATE WHICH HAS A STRONGLY-ORGANIZED NETWORK OF QUILTERS ALREADY IN EXISTENCE.

THEY HAVE TO BE INCLUDED.

THEY NEED TO FEEL A PART OF IT.

THAT'S RIGHT.

AND THEY ARE THE SOURCE OF YOUR VOLUNTEERS, AS A MATTER OF FACT.

YOU COULDN'T DO IT WITH-- OH, THIS COULDN'T BE DONE WITHOUT VOLUNTEER WORK.

IT COULD NOT BE DONE WITHOUT THEM.

I SEE.

UH, ALL OF THOSE THINGS.

THE CALENDARING OF THE QUILT DAYS, HOW LONG IT'S GOING TO BE, HOW FAR IN ADVANCE, BEYOND THAT, ARE YOU GOING TO EXPECT THE SHOW TO BE READY.

IF THERE'S GOING TO BE A CATALOG, WHAT KIND OF A CATALOG?

LOTS OF TEXT, ONLY PICTURES-- ALL OF THOSE THINGS HAVE TO BE RESOLVED IN THE CONTEXT OF THE PROJECT.

IN GETTING TO MEET AND KNOW THE VOLUNTEERS, KATY, I HAVE FOUND THAT THERE ARE SOME ACTUAL VOLUNTEERS WHO ARE MORE HISTORICAL-MINDED WOMEN THEN-- I'VE ALWAYS ASSUMED EVERYONE WANTS TO MAKE A QUILT, BUT NOT SO.

SO THIS GIVES A WHOLE NEW AVENUE, A WHOLE NEW FIELD FOR WOMEN TO LEARN AND RESEARCH FIBER AND PATTERNS AND ALL OTHER THINGS AND-- AND JUST USE THAT AS A HOBBY WITHOUT ACTUALLY BEING A QUILT MAKER.

I THINK IT'S GOING TO BE FASCINATING TO SEE WHAT EMERGES OUT OF ALL THESE PEOPLE WHO'VE BEEN INVOLVED.

WHO FINDS HERSELF, OR HIMSELF, TURNED INTO A REAL QUILT HISTORIAN.

THAT'S RIGHT.

A REAL RESEARCH NUT AS IT WERE-- I KNOW.

BECAUSE THERE ARE SO MANY FASCINATING THINGS THAT EMERGE IN TERMS OF NAMES ON QUILTS, DATES ON QUILTS, UH, WHETHER OR NOT PATTERNS EMERGE ONE PLACE AND HOW THEY TRAVEL.

AND AS WE BEGIN TO SEE A WEALTH OF INFORMATION GARNERED ACROSS THE COUNTRY-- AND IT'S, UM, BEING-- EVENTUALLY THIS STUFF'S GONNA BE INTO A COMPUTER.

THAT'S RIGHT.

WE'RE GONNA BE ABLE TO LINK INFORMATION IN ONE REGIONAL CENTER WITH ANOTHER.

AND THE POSSIBILITIES FOR DEFINING NEW RESEARCH STUDY AREAS IS GOING TO BE AMAZING.

KATY, I HAVE PEOPLE COMING INTO THE STORE QUITE OFTEN TRYING TO SELL QUILTS.

AND IT ALWAYS DISTURBS ME.

I TRY TO ENCOURAGE THEM TO HAVE THE QUILT GO BACK TO THE AREA IT WAS MADE.

IF THEY DON'T WANT IT, AND THERE'S NO ONE IN THEIR FAMILY THAT WILL TAKE IT.

YOU KNOW, THERE SHOULD BE SOMEONE WHO CAN CHERISH THIS AND TAKE CARE OF IT.

OTHERWISE-- DO YOU AGREE WITH ME THAT IT SHOULD GO BACK TO THE AREA WHERE IT'S BEEN MADE?

YES, I DO AGREE, AND I THINK IT'S USEFUL TO TRY TO GET THEM TO MUSEUMS, HISTORICAL SOCIETIES.

I THINK PEOPLE WHO ARE TRYING TO PRESERVE THE ARTIFACTS OF THEIR FAMILIES NEED ALSO TO REALIZE THAT THESE INSTITUTIONS NEED SUPPORT.

AND SOMETIMES YOU GO INTO A MUSEUM, A SMALL MUSEUM, AND YOU FEEL, "WELL, THEY'RE NOT TAKING CARE OF THINGS "AS THEY SHOULD."

IT MAY INDEED BE IGNORANCE ON THE PART OF THE STAFF.

MORE FREQUENTLY, IT'S THE FRUSTRATION OF NO BUDGET, NO SUPPORT, FOR DOING THE THINGS THAT THEY HAVE LEARNED NEED TO BE DONE.

THEY WILL THEN TRY TO DEAL WITH THEIR OWN OPINION OR AN ADVISORY OPINION AS TO WHERE THE PRIORITY RELATIVE TO THE THINGS THAT ARE SAVED-- PUT WHERE THERE'S GOOD HUMIDITY CONTROL-- THAT'S RIGHT.

THERE-- WE CAN'T SAVE IT ALL.

THERE ARE HARD CHOICES TO BE MADE, BUT I CERTAINLY FEEL THAT ANY FAMILY WITH SOMETHING WITH HISTORICAL CONTENT, OF VALUE, IT NEEDS TO GO THROUGH SOME OUTSIDE EXPERT ANALYSIS OF WHERE THIS BELONGS AND WHAT SHOULD BE DONE WITH IT.

RIGHT, AND I THINK WE HAVE TO RECOGNIZE THAT WE'RE WORKING IN A VERY PERISHABLE MEDIUM-- YES.

FIBER DOES NOT LAST FOREVER UNLESS IT IS TAKEN CARE OF WELL.

EXACTLY, AND THAT MEANS LOTS OF THINGS LIKE CLEANING AND REPAIR AND PRESERVATION FROM LIGHT.

LIGHT'S ONE OF THE MOST DESTRUCTIVE THINGS THERE IS.

I UNDERSTAND, I UNDERSTAND.

MORE AND MORE PEOPLE ARE DISPLAYING QUILTS AT 5 AND 10 CANDLE POWER.

MMM.

WHICH IS-- SEEMS VERY DIM, BUT YOU CAN REALLY SEE THE QUILT.

Bonesteel: WHAT ABOUT THE ACTUAL DAY OF RECORDING FACTS?

WE DROPPED IN ON A DAY IN PROGRESS IN NORTH WILKESBORO, NORTH CAROLINA.

THE NORTH CAROLINA QUILT PROJECT IS UNDER THE LEADERSHIP OF RUTH ROBERSON, AND HAS SO FAR DOCUMENTED OVER 4,000 QUILTS.

YES, IT'S JUST AS KATY SUGGESTED.

IT'S HAPPY BEDLAM.

THE ACTUAL DAY, CROWD CONTROL IS THE CLUE.

THESE PARTICULAR QUILTS NEEDED TO BE MADE BEFORE 1976.

NORTH CAROLINA SET THAT DATE TO ENSURE INCLUSION OF UTILITARIAN QUILTS, AFRO-AMERICAN QUILTS, AND ESPECIALLY QUILTS WHOSE MAKERS ARE STILL ALIVE AND CAN BE INTERVIEWED.

NOW, THE CUT-OFF DATE VARIES FROM STATE TO STATE.

FOR INSTANCE, TENNESSEE SET 1930, AS THEY FELT THAT DEPRESSION AND MODERN QUILTS NEEDED TO BE IN A SEPARATE CATEGORY.

BETS RAMSEY AND MARY KAY WADVOGEL ARE THE CO-COORDINATORS OF THIS PROJECT.

THEIR SURVEY IS UNIQUE IN THAT THEY DID NOT HAVE ANY GOVERNMENT OR AGENCY FUNDING.

THE GREATEST SINGLE SOURCE CAME FROM $5 DONATIONS, FROM INDIVIDUALS WHO WANTED COPIES OF THEIR QUILT DOCUMENTATION.

1936 WAS THE DATE SET FOR ARKANSAS AND FOR TEXAS ALSO.

NEBRASKA WILL SEARCH OUT QUILTS BROUGHT TO THE STATE BEFORE 1920, A DATE THAT EMBRACES ALL THE HOMESTEAD ACTS FOR NEBRASKA.

MICHIGAN, ON THE OTHER HAND, PUT NO TIME LIMIT.

THEY SAID THEY'LL TAKE ALL QUILTS-- BIG, SMALL, OLD, OR NEW.

THAT'S A GOOD ATTITUDE.

THEIR STATE IS ALSO CELEBRATING ANOTHER SESQUICENTENNIAL.

THEIR PROJECT IS SPONSORED BY THE FOLK ARTS DIVISION OF THE MICHIGAN STATE UNIVERSITY MUSEUM.

I MARVEL AT THE ORGANIZATION AND THE SYSTEMATIC INVESTIGATION OF EACH QUILT.

VOLUNTEERS ARE TRAINED FOR EACH STATION.

THEY HAVE AN EAGLE EYE AND COMPLETE THEIR PARTICULAR TASK.

YES, PAPERWORK ABOUNDS.

FIRST, ONE REGISTERS THEIR QUILT.

A FACT SHEET NEEDS TO BE FILLED OUT.

EVERY QUILT IS THEN ASSIGNED A NUMBER.

THE CALIFORNIA FACT SHEET IS QUITE INCLUSIVE.

IN FACT, IT'S FILLED OUT IN TRIPLICATE.

I NOTICED THAT THERE WERE 2 BLANK LINES LEFT TO ANSWER THE QUESTION.

IF THIS QUILT WAS NOT MADE IN CALIFORNIA, HOW DID IT GET HERE?

THE QUILT IS MEASURED, THE PATTERN IS IDENTIFIED, THERE ARE LARGE REFERENCE BOOKS TO REFER TO-- EXACTLY WHAT PATTERN IS IT?

BARBARA BROCKMAN IS THE AUTHOR OF SOME WONDERFUL RESEARCH BOOKS.

I'M SURE BARBARA IS A PART OF THE KANSAS RESEARCH PROJECT.

THEN THE QUILTS GO TO AN OFFICIAL, TRAINED DOCUMENTER, AND SHE COMPLETES THE EXAMINATION.

IS THE QUILT PIECED?

AND IF SO, IS IT BY HAND?

IS IT IN A BLOCK STYLE?

IS IT MACHINE PIECED OR AN ALL-OVER PATTERN?

OR PERHAPS IT'S AN APPLIQUÉ QUILT, AND THEN YOU HAVE TO MARK, IS IT A BLIND STITCH, A BUTTON HOLE STITCH, REVERSE, MACHINE?

PERHAPS IT'S A CRAZY PATCH QUILT.

EVERYTHING HAS TO BE PUT DOWN ON PAPER.

THAT'S EXACTLY RIGHT.

FINALLY, THE QUILT IS PHOTOGRAPHED.

IT'S THESE PHOTOGRAPHS THAT ARE TURNED INTO SLIDES AND WILL BE ASSOCIATED WITH THE WRITTEN WORD.

NEBRASKA HAS AN INTERESTING OUTCOME IN THEIR RESEARCH.

THEY HAVE FOUND THAT THERE IS A BRIDGE BETWEEN THE WHITE AND INDIAN CULTURES IN THEIR STATE.

MISSIONARIES TAUGHT INDIAN GIRLS TO SEW AND QUILT, AND CONSEQUENTLY, THEY SEE AN ACTIVE BEADWORK AND NEEDLEWORK TRADITIONS OF THE PLAINS INDIANS, ESPECIALLY THE SIOUX.

IN COLORADO, THEY ARE DEVELOPING A BOOK THAT WILL ASSIST YOU IN SELF-DOCUMENTATION, DOWN TO THE FABRIC SAMPLES, THE BATTING SAMPLES, AND THE PICTURES.

AFTER ALL, THERE ARE NOT MANY NATIVES IN COLORADO, BUT THEY DO HAVE A STRONG GROUP-- SOME 500 LADIES ON THEIR COUNCIL THAT ARE WORKING TOWARDS THIS PROJECT.

QUILT MAKING IS ONE OF THOSE FAMILY-BASED FOLK ARTS THAT HAS ENDURED THROUGH GENERATIONS.

ISN'T IT WONDERFUL THAT WE ARE FINALLY TAKING AN ACCOUNT OF THESE PRICELESS PIECES OF FIBER ART?

BECAUSE QUILTS ARE CULTURAL DOCUMENTS WHICH CAN BE READ BY KNOWLEDGEABLE FOLKLORISTS, WE CAN LEARN MUCH ABOUT THE LIFE OF THE QUILT MAKER AND THE LIFE OF THE COMMUNITY IN WHICH THE QUILT MAKER LIVED.

REMEMBER OUR EXPAND-A-BLOCK SHOW?

ANOTHER WAY TO CREATE NEW QUILT PATTERNS WOULD BE TO TAKE A 9-PATCH, SOMETHING AS TRADITIONAL AS OUR JACOB'S LADDER, AND TURN IT INTO A 16-PATCH.

VIVIENNE LEBEAU HAS TAKEN THE SAME COMPONENTS, THE SQUARES AND THE TRIANGLES, AND HAS DONE A WONDERFUL, HAPPY PRIMARY QUILT.

SHE ALSO HAS TURNED TO THE VARIABLE STAR, BUT THIS TIME THE TRIANGLES TAKE ON AN ENTIRELY NEW SLANT.

VIVIENNE LEBEAU HAS FINISHED THIS ONE, AND WE CALL IT A NO-NAME QUILT.

SHE'S FROM INDIANA.

MARY LOU KIMBALL HAS DONE A WONDERFUL ADAPTATION OF OUR SPOOL TWIST PATTERN.

IN FACT, IT'S HARD TO FIND THE SPOOL HERE.

IT'S THERE, AND SHE HAS ADAPTED THIS INTO A REVERSIBLE PILLOW THAT STARTS WITH A SQUARE, AND BY JUST SEWING THE RIGHT ANGLES, AND A LITTLE BIT OF VELCRO, YOU HAVE A REVERSIBLE PILLOW.

VERY NICE, MARY LOU.

NOW, THE MAPLE LEAF QUILT.

YOU REMEMBER THOSE WONDERFUL COLORS-- BROWN, FALL COLORS-- ALL ADAPTED IN A GROUP QUILT MADE BY KAREN PERVIER'S CLASS FROM YADKINVILLE, NORTH CAROLINA.

THE DELECTABLE MOUNTAIN BORDER HAS ACCENTS OF HEARTS ALL THE WAY AROUND THE OUTSIDE.

THIS WAS A PROJECT TO GET THE AMERICAN HEART ASSOCIATION STARTED IN YADKINVILLE.

AND THEY RAISED OVER 3,000 DOLLARS FOR THAT PROJECT.

A WONDERFUL STORY.

THE ALBUM QUILT BLOCK HAS SOMETIMES BEEN REFERRED TO AS THE CHIMNEY SWEEP BLOCK.

IT'S A VERY CLASSIC AND TRADITIONAL PATTERN.

BUT IT'S MORE THAN JUST TAKING OUR SQUARES AND OUR RECTANGLES AND PUTTING THEM TOGETHER.

IT HAS TO BE DRAFTED.

HOW ABOUT A QUICK DRAFTING LESSON?

TAKE ANY SIZE SQUARE-- THE SIZE SQUARE THAT YOU WANT IN YOUR QUILT-- AND DIVIDE IT INTO QUARTER SECTIONS ON ALL SIDES.

EACH SIDE, QUARTER SECTIONS.

THEN GO ONE STEP FURTHER, AND DIVIDE IT INTO 8 EQUAL DIVISIONS ALL THE WAY ACROSS.

THEN GO TO YOUR CORNERS AND CONNECT THOSE LINES.

SKIP AN 8TH DIVISION AND CONNECT, CONNECT, ALL THE WAY DOWN.

ONCE THOSE HAVE BEEN DRAWN, THEN YOU CAN START ERASING SOME LINES.

BACKTRACK A LITTLE BIT, AND ERASE THESE LINES 4 TIMES, AND THESE IN THE CENTER.

IT'S THAT CENTER RECTANGLE THAT LETS YOU HAVE A LITTLE BIT OF FUN.

THAT'S WHERE YOU CAN CREATE YOUR ALBUM BLOCK.

NOW, I'VE DONE SOMETHING KIND OF INTERESTING THAT YOU CAN DO ALSO.

AS LONG AS YOU HAVE THE DESIGN THAT YOU WANT-- IN THIS CASE, IT'S EITHER AN EAGLE, OR A LILY OF THE VALLEY DESIGN-- YOU CAN GO TO A STATIONERY STORE AND HAVE STAMP PADS MADE.

THEN, BY STAMPING ON A PAD THAT HAS INDELIBLE INK ON IT-- AND WE'LL TEST IT FIRST ON A PIECE OF PAPER-- NEED TO KIND OF SET ON THAT HARD AND COME RIGHT DOWN-- YOU CAN THEN TRANSFER THAT ONTO YOUR CLOTH.

I MIGHT SUGGEST, DEPENDING ON WHAT STAMP YOU USE, THAT WHEN YOU GET READY TO THEN USE AN INDELIBLE PEN AND PUT THE DATE, AND PERHAPS YOUR NAME ON IT-- YOU WOULD WANT TO SET THAT CLOTH IN A PINCH HOOP, AND THAT WILL HOLD IT STEADY WHEN YOU DO THE ACTUAL WRITING.

I HAD A NICE TIME SENDING THAT LILY OF THE DESIGN-- LILY OF THE VALLEY DESIGN TO THE POCOMOKE CITY GIRLS-- THE GIRLS WHO QUILTED THE COTTON BALL QUILT-- AND THEY WERE ABLE TO ALL AUTOGRAPH THIS.

AND I HAVE THAT FOR POSTERITY ON THAT QUILT.

THE ONLY WAY YOU CAN REALLY FIND OUT HOW A QUILT IS GONNA COME OUT IN THE END IS TO HAVE A CLASS, AND GET TO SEE THE OUTCOME OF ALL THEIR WORK.

THIS PARTICULAR PIECE WAS MADE BEFORE OUR TIME, BUT IT CERTAINLY IS A SPRINGBOARD DESIGN FROM THE ALBUM QUILT.

IN FACT, I SEE A DATE ON HERE THAT SAYS 1850-- A LONG TIME AGO.

BUT LOOK WHAT HAPPENS WHEN YOU TAKE THE ALBUM QUILT PATTERN AND CREATE ALL THE DIFFERENT, WONDERFUL DESIGNS.

THIS HAPPENS TO BE AN 8-INCH RENDITION OF THE ALBUM BLOCK, DONE BY LEIN VAN WALKTENDONK.

ALSO, ROSE ALICE DISHNER IS DOING A WONDERFUL ARRAY OF LAVENDERS, ALL FOR HER GRANDDAUGHTER.

THEA HARRIS' QUILT HAS ALREADY COME AND GONE.

SHE FINISHED IT, AND IT'S GONE TO A FAMILY REUNION.

I LIKED THE INITIALS THAT SHE'S PUT IN THE CORNER.

I TRIED DOING ONE AND USED A DIFFERENT COLOR RED AND PINK IN EVERY SINGLE PIECE.

THAT MAKES IT KIND OF INTERESTING.

SOMETIMES YOU CAN COLLECT OLD BLOCKS THAT WILL JUST GIVE YOU AN IDEA OF HOW YOU WANT YOUR BLOCK TO END UP, WHAT YOU YOU WANT YOUR QUILT TO LOOK LIKE.

PERHAPS IT MEANS DOING A MOCK SETUP, IN JUST FABRIC ON CARDBOARD, TO KIND OF GET AN IDEA WHAT YOU WANT IT TO LOOK LIKE.

NOW WE HAVE OUR FINAL EXAMPLE.

THIS ONE HAS BEEN DONE BY LORRAINE BELAMY, AND SHE CALLS THIS "MY HORRIBLE EXAMPLE."

I GUESS IF YOU-- YOU HAVE TO START SOMEWHERE, AND I CAN'T FIND THAT MANY FLAWS, BUT SHE SAID SHE LEARNED A LOT IN HER INITIAL, FIRST PROJECT.

ONCE YOU HAVE THE DESIGN DONE, AND OF COURSE, YOU'VE PIECED THE BLOCK, THEN YOU HAVE TO MAKE THAT DECISION-- WHERE ARE YOU GONNA QUILT?

LET ME GIVE YOU A LITTLE TIP ON THAT.

IF YOU WILL, TAKE YOUR BLOCK AND PUT IT ON A FLAT SURFACE, AND GET SOME TRACING PAPER.

YOU CAN THEN START DOING YOUR DESIGN WORK RIGHT ON TOP OF THE TRACING PAPER, POSITIONING THIS WHERE YOU WANT IT, AND ALL OF A SUDDEN, THIS WILL GIVE YOU AN IDEA, BY PLAYING WITH PENCIL AND A PEN, WHERE YOU WANT YOUR QUILTING LINES TO BE CREATED ON THE SURFACE.

THESE LINES WOULD BE WHAT WE CALL CONTRARY LINES.

THEY DON'T EXACTLY FOLLOW EXACTLY THE WAY IT WAS PIECED.

BUT I WANT TO CREATE A SECONDARY DESIGN ON THE SURFACE OF MY QUILT.

OR YOU MIGHT WANT TO DO FLOWING AND CURVED LINES.

EXPERIMENT WITH YOUR QUILTING LINES, LADIES.

WE HAVEN'T HAD A CHANCE TO DO ANY ACTUAL QUILTING YET.

I ENJOY QUILTING, MY LAP QUILTING, EITHER IN A HOOP OR WITHOUT ONE.

I'M GONNA QUILT IN A HOOP FOR JUST A FEW MINUTES.

I LIKE THE ROUND SUPPORTED HOOP.

IT COLLAPSES EASILY, AND GIVES YOU A NICE WAY TO TILT THE DESIGN TOWARDS YOU, AND YOU GET GOOD LIGHT COMING OVER YOUR SHOULDER.

LET'S TAKE A LOOK AT SOME ACTUAL QUILTING STITCHES.

MY ALBUM QUILT IS A COLLECTION, REALLY A MEDLEY OF BEAUTIFUL CALICOS.

I WANTED TO QUILT JUST A LITTLE BIT MORE ON THE HANDS.

WE DID PUT THE HANDS THAT HAD A PART OF THE WHOLE QUILT AROUND THE OUTSIDE-- THEY FORMED THE BORDER.

AND I'VE DISCOVERED THAT ONE LINE OF QUILTING IS JUST NOT ENOUGH FOR THOSE HANDS-- YOU NEED ANOTHER-- JUST, ALMOST, A RANDOM COPY OF THE OUTLINE OF THE HANDS, SO THAT YOU HAVE A DUAL LINE OF QUILTING.

THIS IS A GOOD CHANCE FOR US TO HAVE A LITTLE REVIEW OF THE FOOL-PROOF KNOT ALSO.

REMEMBER, WE TAKE THAT UNKNOTTED END AND HAVE IT COME RIGHT TOWARDS THE NEEDLE, AND THEN WRAPPING THAT 3 TIMES-- COULD BE MORE OR LESS-- AROUND YOUR NEEDLE, THEN PULLING THAT ALL THE WAY THROUGH.

NOW, EACH INSTANCE, YOU'RE GONNA GET WHAT I CALL A LITTLE TAIL.

BUT THAT'S NO PROBLEM.

JUST GO AHEAD AND SNIP THAT OFF.

THEN YOU'RE READY TO PULL THAT THROUGH YOUR QUILT.

WE KNOW WE WOULD NEVER HAVE KNOTS-- EXPOSE KNOTS ON OUR QUILT.

NOW, WHEN I'M LAP QUILTING, I WANT TO MAKE SURE THAT I HAVE A NICE GRIP ON THE FABRIC THAT HAS BEEN BASTED.

I WILL START IN THE MIDDLE EACH TIME.

IN THIS INSTANCE, IT'S A LITTLE BIT AWKWARD, BECAUSE I AM DOING SOMETHING THAT HAS VIRTUALLY ALREADY BEEN QUILTED.

BUT I THINK YOU CAN GET A GOOD IDEA HOW FEELING THAT NEEDLE COME THROUGH, I'M GOING UP AND DOWN, PULLING THAT THROUGH, GOING DOWN AND SIMPLY DOING AN OUTLINING STITCH THAT HAS PREVIOUSLY BEEN QUILTED.

THAT DOUBLE LINE IS GOING TO ENHANCE THE HAND SILHOUETTE ALL THE WAY AROUND THE BORDER.

NOW, I ALSO ENJOY, WITH LARGER PIECES, QUILTING IN A HOOP.

THERE ARE TIMES WHEN YOU HAVE A FULL-SIZE QUILT, AND IN THAT INSTANCE, YOU COULD USE THE SUPPORTED HOOP.

IT HAS A BASE, AND IT HAS AN INNER HOOP.

IT'S JUST A MATTER OF PULLING YOUR QUILT ON TOP OF THAT, SITUATING THAT, AND MAKING IT AS TAUT AS YOU WOULD LIKE IT.

IN THAT CASE, UNDO YOUR HOOP AND THEN POSITION THAT.

YOU MIGHT WANT TO TIGHTEN IT-- YOU DON'T-- I DON'T ENJOY QUILTING WHEN IT'S PING-TIED.

I LIKE A LITTLE BIT OF PLAY IN IT, BUT I HAVE FOUND THAT WHAT REALLY WORKS FOR ME-- THEN I CAN REACH UNDERNEATH THERE AND TIGHTEN THAT-- SO IT'S TILTED AND THEN THE LIGHT CAN COME RIGHT OVER MY RIGHT SHOULDER.

I HAVE FOUND, IN THIS INSTANCE, THAT-- OF COURSE IT'S THAT FIRST STITCH THAT YOU PUT IN THAT SOMETIMES CAN BE THE HARDEST ONE.

BUT ONCE THAT'S IN, I LIKE TO USE THAT INDENTED THIMBLE, AND SEE HOW MY THUMB IN FRONT, IN THE FRONT PART, JUST PRESSES DOWN THAT FABRIC?

AND IT'S WORKING IN UNISON WITH THE FINGERS UNDERNEATH.

PUT THAT NEEDLE IN, AND IN THIS INSTANCE, YOU CAN ALMOST CREATE THE PERPENDICULAR APPROACH TO THE FABRIC.

SEE HOW YOU CAN BRING THAT ALL THE WAY DOWN AND THEN COME BACK?

NOW, I GOT 3 PRETTY NICE STITCHES THERE.

I USUALLY TAKE BETWEEN 2 AND 3 STITCHES EACH TIME, AND IT'S THAT STITCH THAT YOU PUT IN THAT BECOMES THE MOST DIFFICULT ONE.

AND I WOULD CONTINUE UNDERNEATH THE FLAG THERE.

I DID DO THIS QUILT IN ROWS.

THEY WERE LAP QUILTED IN ROWS.

SO I CREATED THIS LONG EXPANSE.

I'M JUST IN THE PROCESS OF PUTTING THAT LAST CORNER ON.

I'VE LEFT IT UNDONE SO I CAN SHARE THAT WITH YOU.

THIS LAP QUILTING CONNECTION RELIES ON A LITTLE DIFFERENT CONNECTION, BECAUSE I WAS ABLE TO USE A LIGHTWEIGHT, OR A LOW-LOFT, BATTING.

NORMALLY WE THINK OF PUTTING THE 2 FRONTS OF THE QUILT TOGETHER SO IT WOULD BE JUST-- IN THIS CASE-- THE 2 MUSLINS.

THIS TIME, I WENT TO THE SEWING MACHINE WITH NOT ONLY THE 2 FRONTS, BUT I ALSO INCLUDED THE BATTING AND THE BACKING OF THAT CORNER TRIANGLE SECTION.

THEN, ALL I HAVE TO DO, WORKING ON A FLAT SURFACE AFTER THAT HAS BEEN SEWN, IS TRIM OFF AN EXCESS-- PROBABLY ABOUT A QUARTER OF AN INCH OF BATTING ON THIS SIDE-- SO THAT IT BUTTS UP TO THE OTHER ONE.

THEN, THAT IS GOING TO WANT TO GO IN THAT DIRECTION, WHERE I HAVE SEWN, AND THEN TURN THAT UNDER A QUARTER OF AN INCH, AND THAT'S GONNA FALL OVER, EXACTLY OVER THAT STITCH LINE.

I WOULD HAND SLIP-STITCH THAT TOGETHER WITH A DARK THREAD.

THEN I'D BE READY TO PUT THE BINDING ON.

THIS QUILT MAKES A WONDERFUL GROUP PROJECT.

FOR INSTANCE, A QUILTER COULD COME WITH ONE 3-YARD PIECE OF CALICO.

SHE COULD BUILD UP HER WHOLE ALBUM QUILT USING THE SAME CALICO, BUT DIVIDE HER SECTIONS INTO LITTLE PILES.

AND THEN YOU COULD GO AROUND THE ROOM AND EVERYONE TAKE A DIFFERENT CALICO, SO YOU'D HAVE A WHOLE MEDLEY OF COLORS.

THIS BLOCK IS ACTUALLY PUT TOGETHER IN OUR SECTIONS.

THINK OF GETTING THIS CENTER SECTION DONE, AND ALSO THE CORNER TRIANGLES.

THEY WILL THEN COME TOGETHER TO FORM THAT ELONGATED, HEXAGON SECTION.

I LIKE TO GET THE 9-PATCH DONE TO BEGIN WITH, AND OF COURSE, MAKE YOURSELF A MASTER TEMPLATE, SO THAT ONCE THAT HAS BEEN SEWN, YOU CAN CHECK THE DISTANCE, TAKE IT TO THE IRON, AND MAKE CERTAIN THAT THAT'S EXACTLY WHAT YOU WANT.

THEN, THESE ARE GOING TO SEW TO THAT, INTO THAT.

THEN THESE CORNER SECTIONS RELY ON THE FACT THAT YOU CAN LINE UP THE RIGHT ANGLE OF YOUR TRIANGLE AND YOUR SQUARE.

GO AHEAD AND SEW THAT TOGETHER.

'COURSE, THAT WOULD BE 4 TIMES ON THESE CORNERS, AND THEN, YOU CAN GO AHEAD, THUMB CREASE THAT DARK, TO THE CENTER, THEN TAKE YOUR OUTSIDE CORNER TRIANGLES, CENTER THAT-- THERE'LL BE A LITTLE BIT OF DOG EAR THAT EKES OUT, SEW AND FLIP BACK.

THAT WOULD SEW TO THAT, AND THEN THAT WOULD SEW TO THAT.

I WOULD THEN POSITION YOUR SEAMS, OR PIN, FOR INSTANCE, HERE AND HERE, AND SEW ONE WHOLE LINE DOWN AND ONE WHOLE LINE DOWN.

THIS QUILT DID RELY ON MUSLIN BORDERS, ALL THE WAY ON 4 SIDES.

AND THEN, OF COURSE, THE ROWS WERE CONNECTED SO THAT THE LAP QUILTING COULD BE DONE.

NOW, YOU THOUGHT YOU SAW THE LAST APRON.

NOT SO.

WE HAVE ONE MORE APRON FOR YOU TODAY.

THIS IS A BRIGHT, COLORFUL ARRAY OF SQUARES AND TRIANGLES MADE BY FRANCIS BAKER FROM HILTON HEAD.

DIDN'T SHE DO A WONDERFUL JOB?

WOULDN'T YOU JUST LOVE TO POKE AROUND THE KITCHEN IN SOMETHING LIKE THIS?

TAKE A LITTLE PATCHWORK TO YOUR KITCHEN AND HAVE FUN.

WE'LL SEE YOU NEXT TIME.

GOOD-BYE.

...IS MADE POSSIBLE BY GRANTS FROM... ...MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINTWORKS 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.