- "HAND IN HAND, HEART TO HEART" IS THE NAME OF THIS ENSEMBLE.

IT'S INSPIRED BY AN ANTIQUE QUILT FEATURED AT THE MUSEUM OF SOUTHERN DECORATIVE ARTS.

TOUR THIS MUSEUM AND THEN LEARN HOW TO RECREATE HEARTS INTO A COLORFUL, FULL-SIZE QUILT.

[MUSIC] ♪ COULD YOU IMAGINE A MORE CLEVER OBJECT?

♪ ♪ WARMS A BODY, IGNITES THE MIND.

♪ ♪ A CHILD SLEEPS UNDER MOTHER'S CREATION, TOGETHER FOREVER.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND ♪ ♪ PUTS YOU TO BED ONE DAY AT A TIME.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND.

♪ [MUSIC] - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

BY BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

NOTHING SEWS LIKE A BERNINA.

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE THROAT, MOBILE, HAND-GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER.

AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.

- NOT FAR FROM DOWNTOWN WINSTON-SALEM, NORTH CAROLINA, IS THE RESTORED MORAVIAN VILLAGE, OLD SALEM.

STEP BACK IN TIME, WANDER THROUGH GARDENS, SAVOR BAKERY DELIGHTS, AND MARVEL AT ARCHITECTURE FROM THE PAST.

THEN DISCOVER A MUSEUM DEDICATED SOLELY TO RESEARCHING, PRESENTING, AND PRESERVING THE HERITAGE OF THE SOUTHERN DECORATIVE ARTS.

THE MUSEUM OF EARLY SOUTHERN DECORATIVE ARTS, SOMETIMES REFERRED TO AS MESDA.

OUR VISIT CONCENTRATES ON WHAT ELSE?

QUILTS!

IT IS A PLEASURE TO INTRODUCE PAULA LOCKLEAR, WHO IS CURATOR OF THIS EXHIBIT, QUILTS, COVERLETS, AND COUNTERPANES.

WE ARE HERE AT MESDA.

TELL US, WHAT DOES MESDA STAND FOR?

- MESDA STANDS FOR THE MUSEUM OF EARLY SOUTHERN DECORATIVE ARTS, AND THAT IS BECAUSE OUR PERIOD OF INTERPRETATION AND RESEARCH ENDS AT 1820.

SO ALL OF THE COLLECTION HERE, WHICH IS ABOUT 2,000 OBJECTS, DATE PRETTY MUCH BEFORE 1820.

- WELL, LET ME COMPLIMENT YOU ON THE EXPANDED BUILDING.

IT IS VERY EXCITING, AND WE LOOK FORWARD TO MANY NEW EXHIBITS HERE.

- THANK YOU.

- BUT, IN PARTICULAR TODAY, WE WANT TO SEE QUILTS, COVERLETS, AND COUNTERPANES.

- THAT'S RIGHT.

(MUSIC) - PAULA, IT IS ONLY FITTING THAT WE WOULD START WITH THE OLDEST PIECE IN YOUR COLLECTION HERE.

THIS IS A COUNTERPANE.

TELL US ABOUT THAT WORD.

- WELL, GENERALLY WE THINK OF A COUNTERPANE AS BEING ONLY ONE THICKNESS, AND THE DECORATION IS BY EMBROIDERY INSTEAD OF BY QUILTING.

AND THIS IS CANDLE-WICKED ALSO?

IT IS.

IT'S CALLED TUFTED CANDLE-WICKING, AND UNLIKE SOME OF THE OTHER ONES, THE BACKGROUND IS A TWILL WEAVE, SO THAT GIVES A LITTLE BIT MORE TEXTURE INSTEAD OF A PLAIN WOVEN COTTON.

- I LIKE THE OUTSIDE TREATMENT.

- IT'S ONE OF THE MORE UNUSUAL FRINGES THAT WE HAVE ON THE COUNTERPANES IN OUR COLLECTION.

IT'S CALLED BALL AND TASSEL, AND IT IS ORIGINAL TO THE PIECE.

- NOW, WOULD THIS JUST BE A SUMMER SPREAD OR ALL YEAR ROUND?

- WE DON'T REALLY KNOW FOR SURE, BUT COMING FROM THE EDENTON, NORTH CAROLINA AREA WHERE IT'S A FAIRLY MODERATE CLIMATE, IT COULD HAVE BEEN USED VERY EASILY YEAR ROUND.

(MUSIC) - PAULA, ANOTHER COUNTERPANE, SO FLAMBOYANT, IT'S SOMEWHAT ASYMMETRICAL YET BALANCED.

TELL US ABOUT IT.

- THIS PARTICULAR ONE WAS MADE BY A WOMAN WHOSE NAME WAS AMELIA CHENOWETH NASH, AND SHE AND HER HUSBAND, COLONEL HARMON NASH, WERE THE FIRST COUPLE MARRIED IN KENTUCKY, JUNE 1, 1792.

SO WE DATE THIS ABOUT 1800, AND I THINK IT'S A REAL TOUR DE FORCE OF THE EXAMPLES OF EMBROIDERED COUNTERPANES THAT WE KNOW ABOUT.

- AND DRAWN THREAD WORKS WITHIN EACH OF THESE FLORAL MOTIFS, ESPECIALLY THAT TOP CENTER ONE, IT APPEARS TO BE A SAMPLER.

EVERY PETAL HAS A DIFFERENT TECHNIQUE IN IT.

- I THINK THAT'S TRUE, AND THE MORE YOU LOOK AT EACH OF THESE INDIVIDUAL FLOWERS, THE MORE YOU REALIZE THAT SHE EXPERIMENTED WITH A LOT OF DIFFERENT EMBROIDERY TYPES HERE.

(MUSIC) - PAULA, THIS PARTICULAR QUILT HAS A LOT OF VINE WORK ON IT AND SOME OTHER IMPORTANT DETAIL.

FILL ME IN ON THIS.

- THIS QUILT WAS MADE IN TENNESSEE ABOUT 1830, AND IT SHOWS A VERY FINE TECHNIQUE OF CORDING AND STUFFED WORK.

AS YOU CAN SEE, IT'S VERY OBVIOUSLY GRAPES AND GRAPE LEAVES AND VINES, AND THE OVERALL RANDOM, CLOSE QUILTING OF THE BACKGROUND REALLY MAKES THE PATTERN STAND OUT, I THINK.

THAT WAS ACHIEVED BECAUSE THE TOP OF THE QUILT IS A VERY FINELY WOVEN COTTON, BUT THE BACK OF THE QUILT IS A MUCH WIDER WEAVE, AND IT WAS BY SEPARATING THOSE THREADS THAT THE MAKER WAS ABLE TO THEN FORCE THE STUFFING IN.

(MUSIC) - THESE ARE THE MARION FAMILY QUILTS, A WHOLE COLLECTION.

TELL ME ABOUT THEM.

- THEY WERE MADE BY A WOMAN BY THE NAME OF HARRIET KIRK MARION AND HER DAUGHTER NEAR CHARLESTON, SOUTH CAROLINA.

THE EARLIEST ONE WE HAVE IS THE CHILD'S QUILT THAT HARRIET KIRK MARION MADE FOR HER GRANDDAUGHTER IN 1830.

THE NEXT ONE IS THE QUILT THAT SHE MADE FOR THAT GIRL'S BROTHER, WHICH IS THE HEXAGON MOSAIC QUILT.

AN ABSOLUTELY AMAZING QUILT, ASTOUNDING.

- IT IS.

IT REALLY IS.

(MUSIC) - AND THIS IS A PARTICULAR APPLIQUÉ QUILT?

- IT IS, AND IT'S REPRESENTATIVE OF THE TYPES OF CHINTZES ESPECIALLY THAT WERE IMPORTED INTO CHARLESTON.

THESE QUILTS WERE ALL MADE NEAR CHARLESTON, AND EACH PANEL ON THIS ONE IS SIGNED AND DATED BY THE WOMAN WHO MADE IT.

- IT CERTAINLY ADDS VALUE TO THE QUILT, DOESN'T IT?

- OH, IT DOES.

THESE ALL HAVE VERY STRONG FAMILY HISTORIES.

- AND A TREE OF LIFE.

- YES, THIS ONE IS PARTICULARLY NICE FOR THE INGENIOUS USE OF THE APPLIQUÉ, I THINK, FOR FORMING THE TREE.

AS YOU CAN SEE, IT'S OBVIOUSLY TWO DIFFERENT PATTERNS THAT SHE'S PUT TOGETHER.

(MUSIC) - AND NOW FOR A VERY COLORFUL QUILT HERE IN THE EXHIBITION.

IT'S HEARTS AND STARS.

- IT IS, AND IT WAS MADE BY ALICE BAINES IN BALTIMORE ABOUT 1850.

AND IT'S PROBABLY ONE OF THE MOST WHIMSICAL QUILTS THAT WE HAVE IN THE EXHIBITION.

- MANY PEOPLE HAVE LOOKED AT THIS AND THOUGHT, "HOW COULD SHE HAVE CUT THAT HOUSE BLOCK IN HALF?"

BUT MAYBE THAT ADDS TO THE WHIMSY.

- I THINK IT DOES, AND YOU CAN NOTICE THAT OTHER OF THE SIDE PANELS ARE ALSO CUT IN HALF.

- WHAT LED YOU TO BELIEVE IT WAS A WEDDING QUILT?

- WE BELIEVE IT'S A WEDDING QUILT BECAUSE OF THE TWO HOUSES UNDER THE TREE, AND IT SEEMS TO SYMBOLIZE THE JOINING OF TWO FAMILIES.

- IT'S SO EXCITING TO SEE THIS QUILT IN PERSON FINALLY.

I'VE BEEN WORKING ON THREE DIFFERENT DESIGNS USING THIS HEART PATTERN, AND IT IS SO COLORFUL.

THE HEARTS ARE IN A SMALL, MEDIUM, AND LARGE DESIGN, STARTING OUT WITH A BABY QUILT CALLED SO DEAR TO MY HEART IN SHADES OF BLUE WITH PRAIRIE POINTS THAT TURN INTO HEARTS AROUND THE BORDER.

THE MEDIUM-SIZED QUILT IS A FULL-SIZE QUILT DONE IN AS MANY REDS AND ORANGES AS I COULD FIND.

THE LARGE HEART IS A FOLK RENDITION IN A PILLOW DONE IN WOOL WITH RANDOM EMBROIDERY STITCH.

AND, OF COURSE, I HAD TO COMPLETE MY FAIRFIELD PROCESSING 20TH ANNIVERSARY ENSEMBLE IN EVEN MORE HEARTS, SO I CALL IT HAND IN HAND, HEART TO HEARTS.

AND I TURNED TO OUR GRANDCHILDREN FOR THE PHOTO TRANSFER DESIGNS INSIDE THE HEART AND EVEN THE STITCHING AND QUILTING LINES.

IT'S BEEN A LOT OF FUN TO USE GRANDCHILDREN IN THE HOME DECORATING SCENE, EVEN IN THE KITCHEN.

THE ALPHABET HAS THAT SHAKER TOUCH ON A BEAM IN THE KITCHEN, BUT WHAT WAS REALLY A LOT OF FUN WERE THE PATCHWORK PILLOWS AND THE WINDOW SEATS.

YES, THEY ARE THE INITIALS OF OUR GRANDCHILDREN, AND AS THEY LEARN THEIR LETTERS, THEY CAN MAKE NEW WORDS.

BUT MOSTLY, JP PREFERS TO KEEP THEM IN EXACT ORDER.

CHECK WITH MESDA FOR THEIR CURRENT EXHIBITION IF YOU'RE GOING TO WINSTON-SALEM.

THOSE COLLECTIONS DO CHANGE WITH TIME.

THERE WAS A BOOK AND EVEN A T-SHIRT.

IT WAS INTERESTING THAT MANY ARTISTS DID DESIGNS FROM THAT HEART SPRINGBOARD.

I LIKED THE BLUE HEARTS WITH WHITE ZIGZAG TREATMENT BECAUSE IT ADDED A VERY CRISPNESS TO THE WHOLE QUILT.

IT LOOKS LIKE IT'S AN ENTIRE WHITE BACKGROUND, BUT REALLY I WORKED IN 12-INCH BLOCKS.

I SIMPLY APPLIQUED FOUR HEARTS ON THAT 12-INCH AFTER I SET THE CORNER SQUARES WITH SOME MORE OF THAT SAME BLUE FABRIC.

NOW, THERE ARE MANY WAYS TO DO APPLIQUÉ TODAY.

YOU COULD DO HAND APPLIQUÉ, BUT I LIKE THE MACHINE WORK.

SO I SIMPLY RAN A STRAIGHT STITCH NEXT TO MY FREEZER PAPER, MY GRID GRIP THAT'S BEEN IRONED RIGHT ON THAT TOP FABRIC.

AND WITH A STRAIGHT STITCH, AND I'M JUST COMPLETING THIS ONE SO I CAN SHOW YOU WHAT'S HAPPENING, I'M AS CLOSE TO THAT PAPER AS I CAN BECAUSE THAT'S GIVING MY EXACT DESIGN.

AND AFTER I FINISH THAT, I'LL BACKSTITCH JUST ONCE.

THEN I'M READY TO USE THOSE APPLIQUÉ LIP SCISSORS THAT WE ALL LIKE SO MUCH.

AND FINDING THAT LITTLE CORNER RIGHT HERE, SLIP THAT LARGE LIP UNDERNEATH AND THEN HOLDING IT ON A FLAT SURFACE.

AND I LIKE THE PAPER THERE IN PLACE.

IT ADDS A STIFFNESS TO WHEN I'M DOING MY CUTTING.

AND WHAT YOU MIGHT CONSIDER IS AS YOU CUT THAT OUT, IF IT'S INTACT, WHY YOU CAN USE THAT AS A DESIGN ON A VEST AGAIN.

SO ONCE THAT IS CUT OUT ON BOTH THE INSIDE AND THE OUTSIDE, AFTER YOU'VE DONE STRAIGHT STITCHING, YOU WILL DO WHAT EVERY GOOD QUILTER DOES, AND THAT'S TO MAKE A TEST SAMPLE BEFORE YOU DO YOUR SATIN STITCH.

SO AT THAT POINT, I'LL TAKE OFF MY STRAIGHT PATCHWORK FOOT AND PUT ON AN OPEN APPLIQUÉ FOOT.

I LIKE THAT VISIBILITY THAT'S GOING TO HAPPEN HERE.

I'LL PUT MY SATIN STITCH ON WITH MY FINGER JUST TOUCHING THE SCREEN.

AND THEN I'M GOING TO COME AND ADJUST, AND I LIKE IT JUST A LITTLE BIT OVER 1 1/2, AND A VERY TIGHT OR ALMOST A BUTTONHOLE SATIN STITCH.

BUT I'LL DO A SAMPLE HERE TO MAKE CERTAIN THAT THAT ZIGZAG IS COVERING THE RAW EDGE, BUT IT'S ALSO GOING INTO THE BLUE FABRIC AND COVERING THAT WHITE STITCHING.

WHEN I GET TO THE CORNERS, I WANT TO STOP ON THE OUTSIDE, PIVOT, AND THEN I'M READY TO START AGAIN.

AND YOU WANT TO REMEMBER ONE THING.

THE PRETTIEST SATIN STITCH IS WHEN YOU RUN THAT MACHINE.

I ALWAYS SAY THEY'RE BORN TO RUN, SO GIVE IT ALL YOU'VE GOT, AND IT'LL DO THE PRETTIEST STITCH.

NOW I'D LIKE TO SHOW YOU HOW I DID THE MEDIUM-SIZE HEART.

I LIKE WORKING WITH STRIPE MATERIAL BECAUSE SOMETIMES YOU CAN CUT THE STRIPES ALL GOING ROUND ON THE OUTSIDE.

ANOTHER TIME, YOU CAN CUT THE STRIPES GOING IN.

AND, OF COURSE, I USED THAT CONCEPT FOR THE CORNERSTONE ON THE HEART DESIGN.

REMEMBER, I WANTED A LOT OF ORANGE AND RED IN THIS QUILT.

TO FINISH THE HEART ONTO THE FOUNDATION OF EACH SQUARE, I DECIDED TO USE THE BLIND HEM TREATMENT.

IT WORKS VERY WELL.

ONCE MY EDGES WERE TURNED UNDER, AND YOU KNOW THERE ARE MANY WAYS YOU CAN DO THAT, YOU CAN EVEN DO THE OLD-FASHIONED WAY OF HAND BASTING.

THERE IS PLASTIC TODAY THAT YOU CAN IRON ON, AND WITH A LITTLE SPRAY SIZING, THE IRON WILL JUST TURN RIGHT ON TOP OF THAT.

IT IS IMPORTANT TO CLIP AND SNIP THOSE INSIDE ANGLES TO RELEASE THE FABRIC.

ONCE THAT IS DONE, I'VE GONE AHEAD AND PUT AN EDGE STITCH FOOT ON MY MACHINE.

WHAT I LIKE HERE IS THAT THERE'S A NICE BAR THAT RIDES AGAINST THAT FOLD, BUT I HAVE AN OPEN VISUAL AREA ALSO.

NOW I GO FROM STRAIGHT SEWING TO THE PATCHWORK DESIGN.

AND BY JUST HITTING THAT, I GET MY PATCHWORK MOTIF, AND THEN I COME DOWN HERE TO THE BLIND HEM STITCH.

AND THEN, WITH MY PROPER FOOT ON, AND I'LL START HERE.

I LIKE TO START IN THE MIDDLE OF AN AREA.

I'M READY TO START THAT DESIGN.

I'M GOING TO INCREASE THE LENGTH OF MY STITCH A LITTLE BIT.

AND WHAT HAPPENS IS THAT MY STITCH IS GOING RIGHT DOWN IN THAT FOLD AND THEN ZIGZAGGING OVER.

THREE STITCHES STRAIGHT, AND THEN ZIGZAG OVER.

AND AS I COME AROUND, I WILL SIMPLY STRAIGHT SATIN STITCH OVER.

AND IT'S JUST THAT ONE STITCH THAT'S ANCHORING THE FOLD.

AND I SIMPLY KEEP THAT BAR RIGHT AGAINST THAT SIDE AS I'M GOING.

YOU CAN BARELY SEE IT, EXCEPT YOU KNOW IT'S ANCHORED TO THE FOUNDATION.

NOW, AS YOU LOOKED AT THAT QUILT, I THINK YOU WONDERED ABOUT THAT MOTIF ON THE OUTSIDE.

WELL, WHEN I CUT OUT THE HEARTS OF ALL THOSE COLORS, I ENDED UP WITH THIS WEIRD SHAPE.

WELL, OF COURSE, I DIDN'T WANT TO THROW IT AWAY.

AND SO ONCE I TOOK MY RULER AND CUT IT APART, I HAD A NICE DESIGN THAT I COULD MIX AND MATCH ALL THE WAY AROUND THE OUTSIDE.

AND, OF COURSE, THAT'S WHAT HAPPENED TO GIVE IT AN EXTRA SPARK.

MY WALKING FOOT IS IN PLACE, ALL SET TO DO MACHINE QUILTING.

IF YOU'LL NOTICE, I HAVE A NEW SOLE PLATE ON.

I REMOVED THE NORMAL ONE BECAUSE NOW I WANT A LOT OF VISIBILITY, AND IT IS AN OPEN SOLE PLATE.

I HAVE DONE SOME STRAIGHT LINES THAT EXPLODE OUT FROM THE HEART, JUST AS A GUIDELINE FOR QUILTING.

I'LL SLIP THIS UNDER.

NOTICE I'M STARTING IN THOSE CENTER PANELS.

AND HOLDING MY TOP THREAD, I'M GOING TO PULL UP THAT BOBBIN THREAD.

I DON'T LIKE THAT TO GET CAUGHT IN MY STITCHES UNDERNEATH.

AND THEN BEFORE I START, I'M GOING TO PUSH A TACKING STITCH THAT JUST GOES UP AND DOWN A COUPLE OF TIMES.

I NEED TO RELEASE THAT ON MY TOUCH SCREEN.

AND THEN I'M GOING TO MY SECURING BUTTON.

AND THAT WILL GO FORWARD, AND THEN IT GOES BACK, AND THEN IT COMES FORWARD AGAIN.

NOW I'M GOING TO GO TO HONEYCOMB.

NOW, I LIKE THIS HONEYCOMB A LITTLE FURTHER APART, SO I JUST GO UP TO, OH, ALMOST THREE.

THAT WILL GIVE ME A NICE, FUN DESIGN.

AND I AM MACHINE QUILTING, BUT I'M COMING OUT TO THE EDGE AND STOPPING AT LEAST WITHIN A HALF INCH, MAYBE A LITTLE MORE, SO I CAN DO THAT SECURING STITCH AGAIN.

IT GOES FORWARD, BACK.

NOW I'M GOING TO RELEASE THAT BECAUSE I'M GOING TO DO--RELEASE THAT AND DO MY SECURING STITCH AGAIN.

I'M GOING TO LEAVE ENOUGH NEAR THE RAW EDGE TO MAKE THAT LAP QUILTING CONNECTION.

TAKE A LOOK AT HOW THE BACK OF THIS QUILT IS GOING TO LOOK.

COLOR FROM THE HEART QUILT COMES AROUND TO THE BACK IN A RANGE FROM BRIGHT YELLOW TO BURNT ORANGE.

PHOTO TRANSFER ONTO CLOTH FOR NOT ONLY GARMENT MAKING, BUT QUILT MAKING HAS BECOME VERY POPULAR.

PART OF THAT POPULARITY IS DUE TO THE WORK OF JEAN RAE LAURIE.

MAYBE YOU HAVE BEEN IN A LECTURE WITH JEAN RAE LAURIE OR MAYBE A WORKSHOP WITH JEAN.

IF YOU HAVEN'T, I'M SORRY FOR YOU, BUT TODAY WE'RE GOING TO LEARN WHAT'S CURRENT WITH JEAN RAE LAURIE.

WELCOME, JEAN.

- THANK YOU.

- FROM CLOVIS, CALIFORNIA, AND IT'S "IMAGERY," HER LATEST BOOK AND HER LATEST INTEREST.

TELL US ALL ABOUT IT, JEAN, AND WHAT YOU'RE UP TO TODAY.

- THE BOOK ACTUALLY COVERS ALL THE KNOWN METHODS FOR TRANSFERRING DRAWINGS, PHOTOGRAPHS, IMAGES OF ANY KIND TO CLOTH SO THAT THEY CAN BE USED IN QUILTS OR GARMENTS OR PILLOWS, ANY OTHER WAY.

THERE ARE TWO METHODS THAT I CAN SHOW YOU VERY QUICKLY AND EASILY.

THE FIRST IS A PHOTO TRANSFER METHOD, AND THAT'S WHAT'S USED ON THE THREE PILLOWS.

THOSE ARE PHOTOGRAPHS THAT WERE TAKEN EITHER TO A COPY SHOP OR THE PHOTOGRAPHS WERE SCANNED INTO A SCANNER.

THEN THIS IS THE ORIGINAL PHOTOGRAPH OF ONE.

THESE ARE THE PHOTOCOPIES, AND THEY WERE PRINTED ON A TRANSFER PAPER, A HEAT TRANSFER PAPER, MADE ESPECIALLY FOR THE INKJET PRINTER.

BY CUTTING OUT THE BACKGROUND, I CAN GET A CLEARER IMAGE BECAUSE I GET RID OF THIS MUDDY PART.

TO DO THE TRANSFER, WE'LL PLACE IT FACE DOWN ON A PIECE OF FABRIC AND HEAT SET IT FOR 20 TO 30 SECONDS.

WE CAN KIND OF PEEK UNDER AN EDGE TO SEE HOW IT'S DOING.

WHEN IT APPEARS TO BE DONE, WE'LL PEEL IT OFF IN ONE LONG, STEADY SWEEP.

OH, HOW NICE.

AND WE'LL HAVE THE PHOTO ON CLOTH.

IT LOOKS BETTER THAN THE ACTUAL FIRST PICTURE, DOESN'T IT?

IT'S MORE CLEAR, YES.

IT DOES STIFFEN THE FABRIC JUST SLIGHTLY, SO FOR THAT REASON I'VE CUT AROUND THE EDGE OF THE PHOTO SO THAT NOT ALL OF THIS TRANSFER IS THERE... WHAT A SMART IDEA.

- ...UNNECESSARILY.

THIS IS A VERY SMALL EXAMPLE OF IT, BUT THIS IS-- ORIGINALLY, THIS WAS A PAPER CUTOUT, A LITTLE PAPER COLLAGE THAT I DID.

THEN I SCANNED IT INTO THE COPIER--TO THE PRINTER, EXCUSE ME, WITH THE COMPUTER-- AND MADE THE PRINTS AGAIN ON THE TRANSFER PAPER, WHICH YOU CAN ALWAYS IDENTIFY BECAUSE OF THE GREEN LINE.

NOW, I HAVE NOT CUT AROUND THE EDGES OF THAT ONE THE WAY I DID ON THIS ONE.

IT TAKES A LITTLE WHILE, BUT IT'S A QUICK WAY OF GETTING RID OF THE EXCESS.

NOW, THERE'S ONE LITTLE SPOT THAT DIDN'T QUITE TRANSFER.

WE'LL GO BACK AND SEE IF WE CAN MAKE IT STICK.

YES, THAT DID IT.

IT SURE DID.

IT'S A FAST, EASY, VERY NATURAL-LOOKING WAY TO TRANSFER PHOTOS TO CLOTH.

THIS WAS AN ORIGINAL DESIGN YOU MADE, SO YES, THAT MAKES IT REALLY SPECIAL.

THEN ANOTHER METHOD IS ONE THAT I REFER TO AS A FREEZER PAPER TRANSFER.

IT'S A SILKSCREEN PRINT, AND WE'LL USE A SILKSCREEN FRAME, WHICH IS A WOOD FRAME.

THIS ONE'S BEEN USED A NUMBER OF TIMES.

IT HAS A PIECE OF POLYESTER FABRIC STRETCHED OVER IT VERY TIGHT, SO IT'S ALMOST TAUT ON THAT SURFACE.

I'VE CUT A PAPER HERE TO FIT THIS FABRIC.

THIS IS A PLASTIC-BACKED FREEZER PAPER LIKE WE USE IN THE PIECING, AND IT'S CUT ABOUT THE SIZE OF A PIECE OF CLOTH.

I'M GOING TO FOLD THIS NOW AND CUT A DESIGN IN HERE.

I'LL CUT SOMETHING VERY SIMPLE, AND WE'LL IRON IT ONTO THE CLOTH.

WE'RE GOING TO IRON THE BACKGROUND ON SO THAT WE'RE PROTECTING THE FABRIC, AND THEN WE'LL PRINT OVER THAT, AND THE PRINT WILL COVER THE OPEN AREAS.

WE'LL NOW PUT THE SCREEN ON TOP AND USE A WATER-BASED HEAT-SET PAINT INSIDE AND USE A VERY SIMPLE PLASTIC SQUEEGEE THAT'S VERY EASY TO CLEAN AND SPREAD THE PAINT OVER THE OPEN AREAS.

THAT TRANSFERS THE IMAGE TO THIS PIECE, AND THEN WE SHOULD LET IT DRY, BUT I WON'T.

ACTUALLY, I NEVER DO.

I DON'T SUPPOSE I'VE EVER IN MY WHOLE LIFE LET ONE REALLY DRY.

I'LL PULL THAT AWAY, AND WE'VE TRANSFERRED OUR IMAGE.

- I JUST MADE PRINT FABRIC.

I JUST SAW YOU MAKE IT.

- IT'S EXCITING.

IT'S A LOT OF FUN.

THERE ARE PROBABLY HALF A DOZEN DIFFERENT WAYS OF CREATING WHAT AMOUNTS TO A STENCIL.

THIS IS A FAST AND EASY ONE, AND I REALLY ENJOY WHAT I THINK OF AS KITCHEN PROCESSES WHERE YOU USE FREEZER PAPER OR CONTACT PAPER OR SOMETHING YOU ALREADY HAVE IN THE HOUSE.

ANOTHER METHOD WOULD USE CONTACT PAPER WHERE YOU DO SOMETHING SIMILAR, BUT YOU PUT THE STICKY-BACK PAPER ON THE BACK OF YOUR FRAME, AND THEN YOU HAVE A MOVABLE DESIGN, SO YOU CAN DO MULTIPLES.

THOSE ARE JUST TWO OF THE PROCESSES THAT ARE COVERED IN THE BOOK.

SOME OF THEM ARE MORE TECHNICAL AND MORE DIFFICULT, BUT MANY OF THEM ARE VERY BASIC AND EASY.

- ON THIS PARTICULAR PILLOW, EVERY TIME YOU SEE A COLOR, IT WAS A DIFFERENT STENCIL THAT WAS CUT?

- YES.

WHAT I DID HERE WAS TO CUT A SINGLE PIECE OF FREEZER PAPER THE SIZE OF THE DESIGN.

I DID THE DRAWING ON IT AND CUT THE PAPER ON THOSE LINES.

- I SEE.

- THEN THE WHOLE THING WAS IRONED ONTO THE FABRIC.

WHEN I WANTED TO PRINT AN AREA LIKE THE PURPLE, I WOULD REMOVE THAT STRIP OF FABRIC, SCREEN THE COLOR ON, AND LET IT DRY.

THEN I WOULD IRON THE PAPER BACK IN AND REMOVE THE NEXT ONE.

- YOU CAN USE THIS SAME METHOD FOR LESSONS AND MINI-LECTURES.

- OH, YES.

- FOR INSTANCE, LISTENING TO YOUR MOTHER.

JEAN, THIS IS WONDERFUL.

TYPICAL OF YOUR BRIGHT IMAGES THAT YOU HAVE CREATED OVER THE YEARS, IS THIS A SPECIAL ONE OR A STORY BEHIND THIS?

- IT'S A QUILT I MADE FOR MY GRANDDAUGHTER WHO STARTED COLLEGE THIS FALL.

I THOUGHT SHE SHOULD HAVE A QUILT TO TAKE WITH HER.

I KNOW WE ALL HEARD THESE THINGS FROM OUR MOTHERS.

THEN ONE DAY YOU HEAR YOURSELF PASSING THEM ON TO YOUR CHILDREN.

THIS IS A COLLECTION OF THE ONES THAT I REMEMBERED HEARING AND I KNOW THAT SHE WAS RECEIVING IN LITTLE FAMILY TALKS.

THIS WAS DONE WITH A COMBINATION OF METHODS.

THE BACKGROUNDS WERE PRINTED WITH FREEZER PAPER.

PROBABLY SOME OF THESE WERE DONE WITH CONTACT PAPER, AND SOME WOULD HAVE BEEN DONE WITH A PHOTO PROCESS THAT LETS YOU DO LETTERING.

EITHER USING A THERMOFAX MACHINE OR PHOTO TRANSFER.

- WELL, THANK YOU FOR GIVING US THE INSIGHT OF WHAT IS AVAILABLE FOR US IN FABRIC TODAY.

- IT IS SO MUCH FUN.

YOU'LL LOVE IT.

- SEE YOU NEXT WEEK ON "LAB QUILTING."

[ACOUSTIC GUITAR PLAYS SOFTLY] ♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

BY BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

NOTHING SEWS LIKE A BERNINA.

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE-THROAT, MOBILE, HAND-GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER, AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.