♪ male announcer: THE FOLLOWING PROGRAM IS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND: [upbeat acoustic guitar music] ♪ ♪ >> WELCOME TO LAP QUILTING.

TODAY'S LESSON IS A STUDY OF THE RECTANGLE AS ADAPTED TO PATCHWORK AND ALSO A CHURCH WALL HANGING.

AS A CHILD, I USED TO SPEND MANY ANXIOUS MOMENTS WITH MY GRANDMOTHER IN CHURCH.

AND I WOULD IMAGINE I WAS A VERY FIDGETY YOUNGSTER.

TO KEEP ME QUIET, SHE WOULD RESORT TO SEVERAL TACTICS.

THE FIRST ONE WAS TO FOLD THE CHURCH BULLETIN INTO A HAT AND THEN A BOAT, AND THEN SHE'D LET ME GO THROUGH HER ENTIRE PURSE.

AND AS A LAST RESORT, SHE WOULD WHISPER INTO MY EAR, AND WE WOULD FOLD OUR FINGERS, AND SHE WOULD SAY, "HERE IS THE CHURCH.

"HERE IS THE STEEPLE.

OPEN THE DOOR, AND THERE'S THE PEOPLE."

WITH THIS RHYME IN MIND, WE HAD A NATURAL NAME FOR A CLASS PROJECT WITH THE LANDRUM LIBRARY QUILTERS.

I HOPE YOU ENJOY A VISIT TO A REAL-LIVE CLASSROOM.

>> GOOD MORNING, LADIES.

HOW IS EVERYONE TODAY?

IT'S SO GOOD TO SEE YOU.

AND AS I WAS COMING DOWN THE MOUNTAIN THIS MORNING, I WAS REMINISCING ABOUT HOW OUR CHURCH QUILT WALL HANGING HAS DEVELOPED.

AND WHEN I GOT HERE AND SAW ALL THE SECTIONS PUT TOGETHER, I WAS REALLY TAKEN BACK.

I THINK BECAUSE WE HAD YOU PIECING IT IN SECTIONS AT HOME AND THEN PUTTING IT ALL TOGETHER AT ONCE, IT'S LIKE OUR WALL HANGING IS ALL COMPLETED.

I THINK WE NEED TO ADD A FEW LITTLE SPECIAL TECHNIQUES TO IT TO KIND OF SHAPE IT UP.

AND I THINK YOU ALL WILL AGREE WITH ME THAT THE CHURCH, THE SIDE OF THE CHURCH KIND OF LOSES SOME OF ITS EMPHASIS OVER HERE.

AND WE'LL TRY ONE OF THE LITTLE OVERHANGS OR THE LEDGES, ONE OF SHIRLEY'S LEDGES OVER ON THIS SIDE.

DO YOU AGREE THAT THAT HELPS A LITTLE BIT?

AND THEN ALSO WHERE OUR ROOFLINE STOPS, I THINK IF WE EXTEND THAT TRIANGLE OVER HERE A LITTLE BIT, SOME MORE GREY WILL GIVE US MORE OF A ROOFLINE AT THE TOP.

BUT THE-- YOU GET SUCH A DIFFERENT LOOK WHEN YOU'RE STANDING AWAY FROM IT.

AND THEN WHEN YOU COME UP CLOSE AND SEE ALL THE TEXTURES OF THE WHITE BRICK, IT REALLY IS BEAUTIFUL.

OUR LESSON TODAY, I WANT TO REVIEW OUR TEMPLATES AND HOW TO PIECE THOSE.

I WANT US TO TALK ABOUT THE FABRIC THAT WE'RE GONNA PUT BETWEEN THE CHURCH AND WHERE THE CROSSES WILL BE AT THE OUTER EDGE.

AND THEN WE'RE GONNA TALK ABOUT THE BATTING AND THEN HOW WE'RE GONNA QUILT IT.

BUT BEFORE WE GET GOING, I WANT TO ALSO BACKTRACK AND TALK ABOUT OUR BANNER, OUR CLUB BANNER.

AND I'VE GOT THAT A LITTLE FURTHER ALONG.

WE'RE GONNA SHOW TODAY HOW YOU ACTUALLY PUT THE LITTLE MEMBERS TOGETHER.

AND BETSEY IS GONNA HELP ME HOLD THIS UP.

AND OKAY, BETSEY.

IT'S ALL IN WEIRD SECTIONS HERE.

BUT ISN'T IT GROWING JUST WONDERFUL?

OH, I JUST CARRY THIS WITH ME EVERYWHERE AND SHOW IT OFF.

AND I TRIED MANY DIFFERENT WAYS.

I TRIED PUTTING IT TOGETHER AS A FLAG.

I TRIED IT AS A QUILT, BUT IT ONLY LOOKS BEST HOLDING HANDS, TRIPPING AROUND THE LIBRARY HERE.

SO THAT'S WHAT WE'RE GONNA DO.

AND OF COURSE, OUR FIRST MEMBER OVER HERE AT THE RIGHT IS RUTH FARRAR.

IN EVERY GROUP, THERE ALWAYS NEEDS TO BE THE TELEPHONE COMMITTEE, WHICH IS RUTH, THE PERSON WHO DOES THE LEGWORK, WHICH IS RUTH.

AND SO WE PUT HER NUMBER ONE IN THE BANNER.

AND NOTE THAT SHE'S GOT HER LITTLE MAROON VEST ON.

NOW, YOU KNOW THE STORY ABOUT RUTH.

SHE HAS BEEN IN MANY OF MY QUILTING CLASSES.

AND THIS IS THE ONLY PROJECT SHE HAS FINISHED.

SO IT'S ONLY FITTING THAT SHE WOULD PUT THAT AS NUMBER ONE.

I WANT TO AT THIS TIME-- AND BETSEY'S GOING TO HELP ME HERE-- ALSO TAKE THIS TIME TO MAKE A SPECIAL PRESENTATION TO RUTH.

AND IT'S BEEN REALLY SUCH AN HONOR TO WORK WITH RUTH OVER THE YEARS THAT I COULDN'T HELP BUT GOING AHEAD AND DOING A LOVELY CHURCH BANNER TO GO IN HER HOME.

AND IT'S EVEN MORE FITTING BECAUSE, AS YOU KNOW, HER HUSBAND IS THE MINISTER HERE IN TOWN.

AND SO, RUTH, DOWN AT THE CORNERSTONE IT DOES SAY, "TO RUTH AND REVEREND FARRAR, THE CORNERSTONE OF THE LANDRUM QUILTERS.

AND WE WANT TO MAKE THIS PRESENTATION.

AND PLEASE EXCUSE THE NEEDLES AND NOT REALLY COMPLETED YET, BUT IT WILL GET DONE.

I PROMISE YOU.

WE HAVE CERTAINLY COME A LONG WAY, HAVEN'T WE, WHEN WE CONSIDER THAT WE STARTED WITH THIS PIECE OF GRAPH PAPER, SCRIBBLED OVER AND TORN APART?

AND NOW THAT WE'VE GOT OUR CHURCH GOING WITH US, I WANTED TO KIND OF EXPLAIN ONE TECHNIQUE, LADIES, THAT HAS ENABLED ME TO-- ENABLED ALL OF US TO ONLY WORK WITH EIGHT TEMPLATES IN THIS WHOLE WALL HANGING.

AND NORMALLY WHEN YOU STUDY PARTS OF THE CHURCH, FOR INSTANCE, RIGHT HERE ABOVE THE DOOR, IT WOULD LOOK, FOR INSTANCE, AS IF YOU WOULD HAVE TO HAVE A SEPARATE TRIANGLE HERE, WHICH WE DID HAVE A SEPARATE TRIANGLE.

BUT THEN YOU'D HAVE TO HAVE A COMPLETE NEW SHAPE HERE.

WELL, I DIDN'T WANT TO HAVE THAT MANY TEMPLATES.

SO WHAT I DECIDED TO WORK WITH WAS SIMPLY START WITH OUR REGULAR RECTANGLE, WHICH WAS OUR 3x5-INCH RECTANGLE PLUS THE SEAM ALLOWANCES, AND THEN TAKE THE TRIANGLE TEMPLATE THAT IS TO GO HERE.

AND THE WHOLE SECRET IS USING YOUR HOLE PUNCH-- AND I'M GONNA SHOW THIS A LITTLE BIT CLOSER IN A MINUTE-- BUT USING YOUR HOLE PUNCH AND MARKING THOSE DOTS.

IN OTHER WORDS, HERE IS YOUR TEMPLATE THAT GOES RIGHT LIKE SO.

AND THEN THIS YOU KNOW IS GOING TO END UP LIKE SO.

BUT YOU HAVE TO MATCH UP WHERE YOUR SEAM ALLOWANCES ARE.

AND BY USING YOUR HOLE PUNCH AND PUTTING EXACTLY WHERE THAT IS, YOU CAN LINE THOSE UP.

MACHINE SEW THAT, AND FLIP THAT BACK.

AND OF COURSE, NATURALLY, BECAUSE IT'S A DARKER COLOR UNDERNEATH, YOU WOULD CLIP AWAY THAT TRIANGLE OF BLUE UNDERNEATH.

AND THAT ELIMINATES HAVING TO HAVE A WHOLE SEPARATE TRIANGLE THERE.

YOU JUST SIMPLY WORK WITH THE EXISTING ONE.

AND I'M GOING TO DO THE SAME THING WITH THE STEEPLE.

REMEMBER, WE MADE THE STEEPLE A LITTLE BIT LONGER.

AND I THINK YOU CAN SEE WHAT HAPPENS HERE.

I'M GONNA PLACE IT DOWN.

THE SAME IDEA WENT HERE.

HERE IS YOUR STEEPLE.

AND I'VE GONE AHEAD AND WITH A HOLE PUNCH TAKEN AND PUNCHED OUT HOLES ALL ALONG UP HERE, CUT OUT THE WHITE STEEPLE.

AND IN THIS CASE, THE RECTANGLES JUST EXTEND ALL THE WAY UNDERNEATH.

AND DID YOU ALL ALSO NOTICE HOW PRETTY THE ILLUSION LOOKS PLACED ON TOP OF THE RECTANGLE?

THAT'S SIMPLY THAT SHEER ILLUSION FABRIC THAT WHEN PLACED ON TOP OF THE DARKER COTTON GIVES A REAL NICE SOFT, ALMOST SKY APPEARANCE.

AND I THINK THAT ADDS A LOT OF CHARACTER TO THE SKY.

BUT ONCE AGAIN, IF YOU TAKE THIS TEMPLATE, PLACE IT OVER WHERE THE RECTANGLES EXTEND AND SIMPLY MARK WHERE YOUR SEAM IS, THEN YOU CAN LINE THE WHITE UP ON TOP OF THAT, MACHINE SEW IT, CUT AWAY YOUR EXCESS, AND FLIP THAT BACK.

AND THEN YOU'LL HAVE ONE SIDE OF YOUR STEEPLE.

YOU SEE HOW-- DOES THAT MAKE SENSE TO YOU?

I TRIED ON RUTH'S TO APPLIQUE A POINT UP HERE, AND YOU REALLY CAN GET A PRETTY POINT.

IT HAS TO HAVE A SEAM ALL THE WAY UP.

THAT'S WHAT REALLY MAKES IT WORK.

SO THERE IS A SEAM IN THE CENTER OF THE STEEPLE GOING UP.

AND I THINK THAT THAT WILL COMPLETE IT.

AND THAT'S HOW WE'RE ABLE TO HAVE OVERLAPPING.

I CALL IT AN OVERLAPPING TECHNIQUE.

NOW LET'S GO AND STUDY SOME OF THE DIFFERENT TRIANGLE SITUATIONS HERE.

I WANT TO MAKE SURE THAT YOU ALL UNDERSTAND EXACTLY HOW THAT WORKS.

WE REMEMBER WORKING WITH OUR 45-DEGREE TRIANGLES-- THAT THERE'S NO PROBLEM-- THAT YOU'RE SIMPLY GONNA TAKE TWO TRIANGLES, SEW THEM TOGETHER, AND WHAT'S GONNA HAPPEN, IT'S GONNA EQUAL A SQUARE.

NO PROBLEM THERE.

BUT THE MINUTE YOU START WORKING WITH THE TRIANGLES THAT ARE BASED FROM A RECTANGLE-- NOW, REMEMBER, WE HAD OUR LARGER RECTANGLE.

HALF OF THAT SIMPLY GIVES US A SMALLER RECTANGLE.

AND THE DIVISION OF THAT GIVES US TWO TRIANGLES.

AND WHEN WE WOULD PUT THOSE TOGETHER AS OUR 45-DEGREE AND TRY AND SEW IT-- THEY'RE ALL LINED UP.

LOOKS GREAT-- OPENS UP, AND LOOK WHAT'S HAPPENED.

WE COULD GO BACK TO OUR MASTER TEMPLATE, AND BY SIMPLY PUTTING THIS ON TOP, WE CAN SEE HOW OFF WE ARE.

NOW, WHAT I'VE DONE IS GONE AHEAD AND SEWN THAT TOGETHER AND WITH A BIG "NO!"

ON IT.

WE'RE GONNA PASS THAT AROUND.

BETSEY, TAKE THAT AND PASS THAT AROUND.

I THINK IF YOU FEEL IT, YOU CAN UNDERSTAND.

AND THEN THIS IS THE WAY IT'S GOT TO LINE UP.

THIS IS GONNA BE YOUR "YES!"

TRIANGLE.

AND YOU CAN UNDERSTAND THAT IF YOU WOULD GO AHEAD AND PUT YOUR DOTS WHERE YOUR 1/4 INCH WOULD BE, AND WHEN THAT'S SEWN TOGETHER, OF COURSE, AND OPENS UP, THAT'S GONNA EQUAL YOUR SMALLER RECTANGLE.

AND THAT WILL PUT YOU ON TARGET.

NOW, THAT-- IT DOES HELP NOT ONLY WITH THIS ONE BUT WITH YOUR LARGER TRIANGLE TO USE YOUR HOLE PUNCH.

I HAVE PUNCHED AND PUT A LITTLE HOLE AT YOUR 1/4 INCH TURN.

AND LET ME REFRESH YOUR MEMORY ABOUT THE HOLE PUNCH.

IF YOU TAKE A LARGE HOLE PUNCH AND OF COURSE PUT THAT AT THE CORNER OF YOUR TEMPLATE AT YOUR 1/4 INCH TURN, YOU GET A VERY LARGE HOLE.

I LIKE THE SMALLER ONE, BECAUSE WITH THE SMALLER ONE, YOU HAVE LESS DEGREE OF MISTAKE IF YOU ONLY HAVE ONE LITTLE PLACE THAT YOU CAN PUT A DOT.

WITH THIS ONE, IT'S TOO EASY TO GET OFF.

I ALSO LIKE THE HOLE PUNCHES THAT HAVE THE LITTLE CONTAINER AT THE END.

SO AS YOU COLLECT YOUR LITTLE CIRCLES, THEY DON'T FALL ALL OVER YOUR STUDIO.

AND THAT WORKS NICELY ALSO.

ALL RIGHT, NOW HERE WE HAVE TWO TRIANGLES GETTING READY TO SEW TOGETHER.

THAT'S YOUR SMALLER ONES.

AND YOU'RE FACED WITH THE SAME SORT OF PROBLEM BUT NOT AS EXTENSIVE IN THE LARGER TRIANGLE THAT TWO ARE FORMED THE LARGE RECTANGLE.

AND THAT-- WE KNOW WHAT HAPPENS HERE.

IF WE MEET THE VERY END HERE AND HERE AND TRY SEWING AND FLIPPING OUT AND EXTENDING, WE DO NOT GET OUR PERFECT RECTANGLE, DO WE?

ONCE AGAIN, WE HAVE TO LINE UP WHERE THOSE 1/4 INCHES ARE, AND WE GET A LITTLE BIT OF EXTENSION.

DOG EARS ARE GONNA COME OFF EACH END.

AND I THINK THE BEST THING TO DO IS TO GO AHEAD AND MARK IT ONCE.

IF YOU'RE DOING A WHOLE SERIES OF THESE, MARK IT ONCE SO THAT YOU CAN SEE EXACTLY WHERE THAT HAPPENS.

AND THEN PIN IT IN PLACE.

AND SEE HOW MUCH BLUE EXTENDS FROM THERE AND ON THIS SIDE HOW MUCH WHITE?

IT'S ABOUT THE SAME AMOUNT.

BUT YOU'LL KNOW THAT ONCE THAT HAS BEEN SEWN AND OPENED UP, YOU CAN EVEN TEST IT BY TAKING AND TESTING YOUR MASTER TEMPLATE RIGHT ON TOP.

AND WHEN THAT'S BEEN SEWN, DOES IT COME AND EQUAL THAT TO THERE TO THERE?

YOU KNOW, GOOD NEWS THAT YOU KNOW THAT'S WHAT YOU WANT TO HAPPEN.

SO LET'S SEW THESE TWO.

AND I'LL GO AHEAD AND PASS THESE AROUND.

I THINK IF YOU CAN FEEL THEM, IT MAKES A BIG, BIG DIFFERENCE.

ONCE THESE ARE SEWN, I THINK YOU'LL UNDERSTAND MORE.

WE CAN OPEN THEM UP AND REALIZE THE IMPORTANCE OF THE MASTER TEMPLATE.

IT REALLY IS THE WHOLE KEY IN SO MUCH OF OUR PATCHWORK IF WE HAVE SOMETHING THAT'S A LARGER SCALE BUT, OF COURSE, IS GONNA BE DIVIDED.

WE CAN ALSO BE THINKING HOW YOU'RE GONNA PRESS YOUR SEAMS, WHETHER YOU'RE GONNA PRESS THAT CLOSED SEAM TOWARDS A DARK OR WHATNOT.

BUT THE MINUTE YOU TAKE THIS OFF, AND THEN YOU'LL WANT TO REACH FOR YOUR MASTER TEMPLATE AGAIN, AND THAT WILL GIVE YOU THE WHOLE KEY AS TO WHETHER OR NOT YOU'VE PUT THAT TOGETHER CORRECTLY.

THE OTHER TECHNIQUE THAT I WANTED TO REVIEW JUST BRIEFLY WAS TO TALK ABOUT THE CROSSES AND I GUESS KIND OF TELL A STORY ON MYSELF.

WE STARTED OUT WITH A LARGER CROSS.

AND WE'VE GONE TO A SMALLER ONE, BECAUSE IT JUST FITS BETTER INTO THE PROPORTIONS OF THE CHURCH.

AND IN DOING THE 5-INCH SQUARES, I HAD SEVERAL OF THEM TO DO.

I THINK IT WAS 26 MAYBE.

AND WHEN I WAS PICKING THEM UP AND GINGERLY SEWING ALONG, I DISCOVERED THAT I TURNED THE WRONG SIDE.

AND PERHAPS THIS HAPPENED TO SOME OF YOU ALSO.

IT'S--WE HAVE TWO LONG STRAIGHT SIDES HERE.

AND I SIMPLY HAD THE WRONG SIDE SEWN ON.

AND IT WASN'T UNTIL I WAS PRESSING THAT I SAW ALL THESE BIAS EDGES ON THE OUTSIDE OF MY SQUARE.

AND I THOUGHT, "OH, DEAR."

SO I HAD TO SIT DOWN AND KIND OF GIVE A LITTLE TALK TO MYSELF.

"IS IT AT THIS POINT THAT I ABANDON IT AND CUT OUT AGAIN?

OR DO I GET TO KNOW THE SEAM RIPPER REAL WELL?"

WELL, WE GOT TO KNOW EACH OTHER REAL WELL.

AND YOU KNOW, SOMETIMES I THINK WE SAY THAT-- I HEAR A LOT OF TEACHERS SAY, "YOU'VE GOT TO HAVE PATIENCE TO DO QUILTING AND CRAFTS."

I THINK YOU LEARN PATIENCE IN DOING THEM.

AND THAT'S WHAT I THOUGHT THE WHOLE TIME.

"AREN'T I LEARNING AND DEVELOPING A LOT OF PATIENCE THROUGH THIS WHOLE PROCESS?"

BUT WHAT HAPPENS WITH THAT IS, FOR SOME REASON, I GO AHEAD AND PICK MY LARGER PIECES UP FIRST ON THE CROSS.

AND I WOULD SEW THAT TO THAT AND THE OTHER SIDE TO HERE CORRECTLY.

THEN IT'S A MATTER OF SEW AND FLIPPING THE LITTLE TRIANGLE AT THE BOTTOM.

AND THEN YOU HAVE TWO MORE SEGMENTS, THE WIDE CROSS ACROSS HERE WITH THE TWO ENDS, THE SMALLER TOP PIECE WITH THE TWO ENDS.

THIS ONE SEWS ON HERE.

AND THEN IT'S MORE OR LESS OF JUST SEWING IT TOGETHER.

I THINK YOU'RE PRETTY CLOSE TO SEEING HOW IT DEVELOPS FROM THERE.

DOES THAT MORE OR LESS MAKE SENSE TO YOU?

YOU GOT THAT?

OF COURSE, YOU HAVE THE EXPERIENCE OF DOING ENOUGH OF THEM.

AND I CERTAINLY LEARNED MY LESSON.

LADIES, I WANTED TO TAKE A FEW MINUTES TO REVIEW HOW WE PUT THESE PEOPLE TOGETHER.

AND OUR MEMBERS, ISN'T IT INTERESTING TO SEE HOW ANONYMOUS THEY LOOK LIKE THIS?

AND WHEN AS NETTIE GETS ALL FIXED UP AND WITH HER FRILLS AND HER HAIR, HOW MEANINGFUL IT BECOMES.

THE BLOCK IS A 12-INCH BLOCK, AND IT'S MADE WITH SEVEN TEMPLATES.

AND REALLY, IT'S VERY MUCH LIKE DOING ALMOST A HOUSE ON THE HILL, BECAUSE IT'S ALL DONE IN RECTANGLES.

AND THE FIRST-- YOU CAN START EITHER AT THE TOP OR THE BOTTOM.

WE WANT TO REMEMBER THAT THIS IS VERY MUCH LIKE WHAT I HAD SHOWN YOU WITH THE SECTIONAL PIECING WITH THE LEGS.

IT'S A MATTER OF LINING UP WHERE THAT SEAM IS, SEWING, AND FLIPPING BACK.

AND ONCE AGAIN, IT'S OPTIONAL WHETHER OR NOT YOU CUT THE BLUE FABRIC UNDERNEATH OFF OR NOT.

BUT IT SAVES HAVING AN EXTRA TEMPLATE.

AND YOU CAN SEE HOW THAT WORKS.

SO THEN THAT SEWS IN THERE.

AND YOU HAVE THE BASE DONE.

THEN THE DRESS IS CUT OUT, AND IT IS SEWN HERE.

AND OF COURSE, IF YOU'RE GONNA PUT A FANCY BELT ON OR ANY LACE, THIS IS THE TIME TO DO IT.

AND ONCE THAT IS DONE, THE TWO SIDES ARE SEWN TOGETHER.

AND THOSE CONNECT, AND HALF OF YOUR FIGURE IS DONE.

THEN THE ARMS CONNECT ON THE SIDE OF THE BODICE.

IF YOU'RE GONNA PUT A VEST ON OR A FRILLY NECKLINE, THIS IS THE TIME TO DO THAT.

THEN I WOULD COME UP AND ATTACH THE HEAD ON THIS SIDE AND THIS SIDE.

AND ONCE AGAIN, IT DOES HELP TO HAVE SOME DOTS AT ANY ANGLE TURNS, BECAUSE THEN WHEN YOU GET READY TO SEW IT TOGETHER, YOU KNOW JUST WHERE TO GO TO AND DO YOUR PIVOTING.

ONCE IT'S ALL PUT TOGETHER, THEN YOU HAVE TO START DECORATING AND ADDING THE EXTRA DETAIL ON THE FACE.

I WANTED TO SHOW YOU HOW I DID COMPLETE IT.

I FELT THAT WITH THE ARMS TOGETHER, YOU GET REALLY THE UNIFIED IDEA OF THE MEMBERS.

AND I SIMPLY TOOK TWO PIECES OF MUSLIN, LINED THEM UP-- AND THIS WAS 3 1/2x9 1/2 INCHES-- AND THEN WITH THE BATTING UNDERNEATH, CONNECTED AT ONE SIDE, AND THEN INVERTED IT.

AND THEN THE ENDS ARE ALL TAKEN CARE OF.

THEN ALL YOU NEEDED TO DO WAS TO FOLD THAT.

BY HAVING THE BATTING IN THAT, IT GAVE IT SOME EXTRA OOMPH.

AND I BELIEVE-- BETSEY, IF YOU WANT TO HAND THAT TO ME, I CAN SHOW HOW THEN THEY ARE CONNECTED.

THANK YOU-- SO THAT YOU CAN REALLY ADD A MEMBER JUST LIKE YOU'VE HEARD OF ADD A BEAD.

WELL, THIS IS CALLED ADD A MEMBER.

AND SO THAT THEN WHAT HAPPENS IS, ONCE THIS HAS BEEN DONE, I FOLD THAT IN TWO.

AND LET ME FIND NETTIE AGAIN.

AND PIN THAT DOWN SO THE GOOD PART IS GOING DOWN.

AND I WOULD MACHINE STITCH THIS ALL THE WAY ACROSS, KNOWING THAT IN A FEW MINUTES, IT'S GONNA POP UP, AND THAT'S GONNA BE THE PART THAT WILL HANG UP.

BUT I WILL JUST SIMPLY PIN THAT IN PLACE.

AND I THINK IT HELPS TO BASE THAT.

AND THEN THAT WILL COME UP.

THEN TAKE YOUR MUSLIN BACKING AND YOUR BATTING AND PIN THAT TOGETHER REAL GOOD.

AND THAT SHOULD BE A FULL PIECE OF BATTING.

I HAVE A LITTLE BIT OF A SHORT PIECE HERE.

AND THEN PUT THE TWO TOGETHER AND MACHINE STITCH ALL THE WAY ACROSS.

AND OF COURSE, YOU WANT TO LINE UP AND MAKE SURE YOU'VE GOT THE SAME CORNERS MATCHING.

BUT PIN THAT ALL THE WAY ACROSS.

THIS WAY, YOU CAN DO EACH ONE INDIVIDUALLY.

THEN AS YOU GET READY TO ADD A NEW ONE, YOU CAN SIMPLY COME LIKE THIS MACHINE LINE.

THIS WOULD BE ALL THE WAY OUT TO THE END.

AND I THINK WHAT'S NICE IS, EVERY TIME YOU ADD A MEMBER, YOU WOULD QUILT AROUND THE FIGURE.

THAT GIVES IT A LITTLE MORE DIMENSION ALSO.

AND THEN LINE THAT UP AND SIMPLY MACHINE SEW ALL FOUR LINES ALL THE WAY DOWN.

THIS IS REALLY ROUGH.

BUT I THINK YOU CAN GET MORE OF A CONCEPT OF WHAT HAPPENS HERE.

MACHINE SEW HERE AND HERE.

AND THEN WHAT HAPPENS IS, THIS JUST SIMPLY FOLDS BACK.

AND THAT SEAM IS ALL TAKEN CARE OF.

AND YOU'VE ADD A MEMBERED.

AND SO THEN AFTER EACH ONE, I WOULD PIN IT AND BASTE IT.

AND AS I DID FROM THE VERY BEGINNING ON RUTH AND MARY BRANION'S IS SIMPLY GO AROUND THE FIGURE AND MAYBE THE WAISTLINE.

WE WANT TO INDENT THE WAISTLINE, OF COURSE.

AND THAT GIVES IT MORE DIMENSION.

THEN I JUST FINISHED THIS WITH SOME BIAS ACROSS HERE.

AND I FIGURED WHEN YOU MEET AT YOUR MEETINGS, THEN THIS WOULD HANG OVER THE BOOKS, AS YOU COULD PULL OUT THE BOOKS OR LITTLE HOOKS TO HANG THOSE UP.

AND THAT'S THE WAY THAT WOULD BE COMPLETED.

I WANTED TO SPEND A FEW MINUTES TALKING TO YOU ABOUT-- ACTUALLY, I WANTED TO KIND OF GET AFTER YOU, BECAUSE AT OUR LAST MEETING, NO ONE MENTIONED THE VEST I HAD ON.

AND I-- ON PURPOSE, I HAD WORN A VEST THAT WERE MADE OF RECTANGLES.

NOW, YOU REALIZE WHAT OUR STUDY IS ALL ABOUT: OUR RECTANGLES.

AND OF COURSE, THIS HAS A HISTORY TO IT.

THESE ARE OLD WOOLENS THAT MY MOTHER DID MANY, MANY YEARS AGO.

THEY WERE SIMPLY OVERLAPPED WITH A BUTTONHOLE STITCH.

AND I JUST LOVE WEARING THIS.

I HAD SOMEONE STOP ME IN THE GROCERY STORE THE OTHER DAY AND ASK ME ABOUT MY VEST.

AND IT'S VERY OLD.

I WANTED TO ALSO TAKE A GLANCE AT SOME OTHER QUILTS THAT WERE BASED ON RECTANGLES.

THIS ONE IS A VERY OLD ONE OWNED BY WILLIE LOU JORDAN.

AND ISN'T IT JUST CHARMING?

YOU CANNOT RECAPTURE THOSE WONDERFUL OLD COLORS ANYMORE.

BUT LOOK AT THE BRICK PATTERN JUST ALMOST MARCHING DOWN THE STREET.

BRICKS-- THE SAME RECTANGLE, JUST ONE RIGHT AFTER ANOTHER, ONE TEMPLATE FOR A WHOLE QUILT.

I LOVE THIS OLD QUILT ALSO, ALMOST A STRIPPY QUILT WITH A BRICK PATHWAY.

AND NOTICE THAT THE THING THAT SETS IT APART-- OF COURSE, IT IS A SCRAP QUILT, ALL THOSE WONDERFUL 20 AND 30 COLORS.

BUT THERE IS A TRIANGLE AT EACH POINT THAT REALLY GIVES THE DEFINITION OF THE RECTANGLE, DOESN'T IT?

YOU SEE THE BRICK COMING OUT.

KATHY WILLIS AND HER GROUP IN GREEN RIVER LOVED THE IDEA OF THIS QUILT AND FELT IT WOULD ADAPT VERY NICE TO A SCRAP QUILT FOR A RAFFLE OR A GROUP QUILT.

AND SO THEY DID THE SAME THING, ONLY THEY ELIMINATED THE TRIANGLE.

NOTICE, HERE WOULD BE THE WHITE TRIANGLE, THERE WOULD BE.

AND SHE FELT THAT FOR BEGINNING QUILTERS, SOME WHO HAD NEVER QUILTED BEFORE, THAT THIS WAS THE WAY TO GO.

AND SHE WAS VERY CAREFUL WHEN SHE DRAFTED HER PARALLELOGRAM TO MAKE SURE THAT THE SHORT SIDE WAS ON THE STRAIGHT OF THE GRAIN AND SIMPLY DID IT IN A LONG STRIPPY TYPE ARRANGEMENT.

AND I THINK IT WORKED OUT VERY NICELY.

DIDN'T THEY LEARN THEIR LESSON WELL?

NOW WE'RE GONNA TAKE A LOOK AT HOW AUDREY LEAVENWORTH CONSTRUCTED THE STAINED-GLASS WINDOWS IN THE CHURCH.

EXPLAIN TO ME HOW YOU DID THIS, AUDREY.

>> WELL, FIRST I MADE MY TEMPLATE FOR THE BOTTOM.

AND THEN I TOOK THE TWO HALF CIRCLES AND MADE A TEMPLATE FOR THE TOP HALF.

THEN SINCE WE HAD, WHEN WE WERE IN OUR BRAINSTORMING SESSION, DECIDED THAT WE WOULD LIKE IT TO LOOK LIKE THE DRESS AND PLATE, I HAD TO MAKE A LITTLE TEMPLATE FOR EACH SECTION.

SINCE MY FINGERS ARE NOT AS NIMBLE AS THEY USED TO BE, I MADE IT A LITTLE LARGER SO I'D HAVE A LITTLE BIT MORE TO HOLD ON TO.

>> YOU LENGTHENED THIS PLATE HERE WHEN YOU CUT OUT THE CLOTH.

THAT'S A GOOD IDEA.

>> YES, BUT THEN IT WAS FIGURED SO THERE WOULD BE EXACTLY EIGHT OF THESE IN MY HALF CIRCLE.

THE BOTTOM PART OF THE WINDOW IS MERELY STRING-PIECED QUILTING.

>> YOUR--THE COLOR SELECTION IS WHAT MAKES IT.

IT REALLY IS.

I KNOW WE SEARCHED LONG AND HARD FOR THIS FABRIC.

AND YOU'VE JUST COME UP WITH THE RIGHT COMBINATION.

IT'S JUST PERFECT.

>> WELL, EVERYONE IN THE GROUP CONTRIBUTED A COLOR.

>> RIGHT.

>> THIS WAS YOURS.

THIS IS HAZEL'S.

THIS IS DIANNE'S.

>> VERY GOOD.

AND THEN WHAT ABOUT-- WHAT BLACK DID YOU USE TO HIGHLIGHT THE SOLIDS?

>> I DECIDED ON A SOUTACHE BRAID.

I DIDN'T HAVE ANY SUCCESS WORKING WITH THE BIAS TAPE MYSELF.

>> NOW, AND YOU DID PRESHRINK THIS, SO YOU DON'T NEED TO WORRY ABOUT THAT RUNNING OR FADING.

>> RIGHT, RIGHT.

>> OKAY.

>> AND IT'S ALSO PART POLYESTER, SO IT ISN'T GOING TO FADE.

>> AND I NOTICED YOU'VE GOT ALL THESE OUT HERE RAVELING.

HOW DID YOU ELIMINATE THAT BULK IN THE MIDDLE?

WHAT DID YOU-- >> WELL, THESE-- FIRST OF ALL, THESE WERE ALL SEWED, JUST THE LITTLE INCH STRIPS.

THEN THIS PIECE WAS SEWED ON AND THAT PIECE.

>> I SEE.

>> THEN THEY WERE SEWN TOGETHER.

THEN WHEN I HAD THE HALF CIRCLE ON TOP, WE DID THIS-- >> CENTER SOUTACHE, OKAY.

>> YES.

ALL RIGHT, AND THEN SO WE WOULDN'T HAVE BULK IN THE CENTER, I TOOK THIS AND MADE A "V" HERE, TAKING MY ENDS OUT.

>> I SEE.

>> AND A "V" OVER HERE.

THEN THIS WAS LEFT TO BE BRAIDED.

AND THAT LEFT ONLY THIS CENTER PIECE.

AND WHEN I GOT TO THE CENTER, I DECIDED TO PUT A LITTLE TWIST IN THERE TO MAKE AN ARCHITECTURAL FEATURE, A LITTLE DOODAD IN THE CENTER.

>> THAT JUST HIGHLIGHTS IT PERFECTLY.

AND I THINK OUR CHURCH IS COMPLETE NOW.

IT'S THE PERFECT TOUCH.

THANK YOU SO MUCH, AUDREY.

I HAVE LEFT THE BINDING UNFINISHED IN ONE CORNER OF THE WALL HANGING SO YOU CAN SEE THAT THE FOLDED CASING HAS BEEN STITCHED TO THE TOP AND WILL BE INCLUDED AS I TURN UNDER THE BINDING.

THEN I WILL STITCH IT DOWN SO THAT A PERMANENT LATTICE BOARD CAN GO IN HERE, BECAUSE IT WILL ALWAYS BE A WALL HANGING.

YOU'VE HEARD ME SPEAK OF SHIRLEY'S LEDGE.

LET'S HAVE A GOOD LESSON IN HOW THAT WORKS.

SHIRLEY, EXPLAIN YOUR LEDGE TO ME.

THIS IS SOMETHING YOU'VE BEEN DOING ON A HOUSE ON THE HILL PATTERN, AND IT GIVES IT SUCH EXTRA DIMENSION.

HOW DID YOU DO THAT?

>> WELL, WHEN I TAUGHT YOUR HOUSE ON THE HILL PATTERN, I ALWAYS FELT THERE WAS SOMETHING MISSING FROM THE ROOF HERE.

IT SEEMED LIKE THE ROOF JUST STOPPED ON ONE SIDE.

SO WHEN I WAS GONNA TEACH THE CLASS, I DECIDED RATHER THAN CHANGE THE PATTERN THAT I WOULD JUST ADD A LITTLE SOMETHING TO IT.

I ADDED THIS STRIP RIGHT HERE.

THIS IS INCLUDED IN THE PATTERN.

IT'S JUST SEWN WITH THE SEAM.

YOU TAKE THE--WHATEVER WIDTH YOU WANT, YOUR STRIP, CUT YOUR FABRIC, AND DOUBLE IT, AND ADD YOUR SEAM ALLOWANCE.

THIS IS INCLUDED RIGHT IN YOUR SEAM.

THIS CAN EITHER BE ON THE BIAS OR ON THE STRAIGHT OF THE GRAIN.

>> I WAS WONDERING THAT.

AND THEN YOU COULD SEE IT THROUGH THE BACK.

OH, YOU'VE MADE THIS ONE EVEN WIDER.

OH, I LIKE THAT.

>> I DECIDED TO GO A LITTLE WIDER ON THAT.

>> AND THEN THAT'S JUST FREE, INCLUDED IN THE SEAM ALLOWANCE IN THE BACK.

>> JUST SEWED IT IN ONCE.

>> AND THEN YOU DON'T QUILT THAT.

YOU LEAVE THAT LOOSE.

>> IT JUST ADDS A LITTLE MORE DIMENSION TO IT.

>> WELL, THAT CERTAINLY HELPED IN WHAT WE WERE DOING HERE WITH THE LEDGE ON THE CHURCH.

AND I EVEN WENT AHEAD AND COMPLETED THIS RAW EDGE DOWN HERE SO THAT THAT'S ALL INCLUDED, AND THERE ISN'T ANYTHING RAW.

BUT IT JUST GAVE EXTRA DIMENSION TO THE ROOFLINE.

AN UNUSUAL CANOPY TODAY, BUT THE LANDRUM LIBRARY QUILTERS HAVE COME TO JOIN US IN THEIR ADD-A-MEMBER BANNER.

AUDREY WITH HER STAINED-GLASS VEST NEEDS TO BE ADDED TO THE WHOLE BANNER.

TO FURTHER OUR STUDY OF THE RECTANGLE, I HAVE INVITED A LOVELY QUILT ON THE SET MADE BY ESTHER BARNWELL.

IT'S CALLED HOUSES ON STILTS, BANGKOK.

AND I THINK YOU CAN STUDY IT AND SEE HOW SHE HAS INCORPORATED RECTANGLES AND APPLIQUE IN A LOVELY SETTING.

WE ALSO HAVE A BLOCK OF THE DAY THAT FEATURES OUR BRICK PATTERN, OUR RECTANGLE, CALLED BRICK WALK.

REMEMBER IN OUR ANTIQUE QUILT HOW WE COULD USE THAT SETTING OF THE RECTANGLE WITH FLORAL DESIGNS AND ALL LEFTOVER PATTERNS OR THEN WE COULD KEEP IN A SOLID COLOR?

THE PATTERN RELIES ON THREE TEMPLATES: A LARGE RECTANGLE DOWN THE CENTER, THE BRICK PATTERN THAT REPEATS THAT SAME SHAPE.

NOTICE WHERE THE GRAIN LINE IS IN THE BRICK.

ALSO NOTICE THAT AT OPPOSITE ENDS AT THE BOTTOM, TOP, TOP, AND BOTTOM THAT YOUR BRICK IS CUT OFF.

BUT THAT WILL BE INDICATED ON YOUR TEMPLATE.

NOTICE THAT SHIRLEY HAS ALSO DONE A FLORAL DESIGN.

THE ONLY THING TO BE VERY CAUTIOUS ABOUT WHEN YOU PUT YOUR BLOCK TOGETHER IS THAT NOTICE WHEN YOU SEW YOUR OPPOSITE TRIANGLES THAT THEY FORM A PARALLELOGRAM.

THIS WOULD BE WRONG.

IF YOU WERE PUTTING YOUR BLOCK TOGETHER OR YOUR SECTION TOGETHER SUCH IN THIS MANNER, THIS WOULD BE WRONG WHEN OPENED UP.

NOTICE WHAT HAPPENS.

IT IS FLOWING INTO YOUR CENTER SECTION.

YOU'D LIKE TO TAKE THAT OFF AND TURN IT SO THAT WHEN IT IS SEWN AND FLIPPED, IT IS ON THE STRAIGHT OF THE GRAIN.

I'LL SEW ONE OF THEM FOR YOU SO YOU UNDERSTAND.

I WANTED TO MENTION SOMETHING TO YOU.

I'VE PUT A NOTE BY THE MACHINE FOR MYSELF.

IF YOU NOTICE THAT I AM LOWERING AND RAISING MY PRESSER FOOT, IT'S BECAUSE I HAVE AN AUTOMATIC PRESSER LEVER DOWN AT MY KNEE.

SO THAT ELIMINATES ME HAVING TO PUT MY HAND BACK HERE ALL THE TIME.

SO IT'S KIND OF MAGIC.

I HAVE A THIRD HAND.

IT IS HAPPENING.

I WOULD SEW THIS CONTINUALLY.

GET MY LITTLE FACTORY GOING IN A CONTINUAL FASHION ALL THE WAY DOWN.

ONCE THESE WERE ALL SEWN, I WOULD SEW THE BANDS TOGETHER.

AND THEN YOU'D BE READY TO MITER YOUR CORNERS WITH YOUR BATTING AND YOUR BACKING.

YOU WOULD ALSO INCLUDE YOUR SPOOL BORDER IF YOU WERE GOING TO HAVE A SPOOL ALL THE WAY AROUND.

WE LOOK FORWARD NEXT TIME TO HAVING A COMPLETE STUDY OF APPLIQUE.

WE HAVE INVITED HELEN KELLEY TO JOIN US ON THE SET.

WE WILL BE STUDYING THREE APPLIQUE QUILTS AND LEARNING A PROFESSIONAL'S HINTS ON THE BEST WAY TO DO APPLIQUE.

THANK YOU FOR JOINING US TODAY.

Captioning byCaptionMax www.captionmax.com announcer: THE PRECEDING PROGRAM WAS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND: GEORGIA BONESTEEL IS THE AUTHOR OF LAP QUILTING AND MORE LAP QUILTING, PUBLISHED BY OXMOOR HOUSE AND AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.