- Have you ever dreamed of being marooned on an island with your sewing machine and all of your plaid material?

Well, here we are in Scotland on the Isle of Arran, at a special house called Park House, where we're making quilts.

Tune in for our show entitled "Highland Fling."

[upbeat music] ♪ Could you imagine a more clever object ♪ ♪ Warms the 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 ♪ [gentle guitar music] - [Announcer] "Lap Quilting" with Georgia Bonesteel is made possible in part by grants from Omnigrid, the original patented black and yellow ruler, by Leisure Arts, publisher and distributor of "Needlework" and "Craft" publications, including an assortment of quilt books and related products.

Additional funding by Fairfield Processing, maker of Poly-fil brand products for the home, sewing, quilt, and craft industries, and by BERNINA, delivering sewing technology and education to sewers worldwide.

- Our quilt class this week has been unique.

Here on an island, surrounded by sheep in the pastures, you'd think we'd be working with wool tartans, but instead, we have stayed true to our cotton, stitching with cotton plaids and checks.

[upbeat bagpipe music] Inside The Piggery, lassies are hard at work, stitching on our quilt.

It's entitled "Check and Double Check."

Of course, we have to stop for afternoon tea, for those melt-in-your-mouth shortbread cookies.

Let's go on in and discover exactly how the quilt is made.

[upbeat bagpipe music] [door thuds] Our quilt studio today is far from home, on the Isle Of Arran in Scotland.

We'll have a chance to talk to each of these lassies about the progress of their quilt after I have a chance to give you a drafting and a sewing lesson.

Our quilt study is entitled Check and Double Check.

With all these plaids and calicos, I think you can understand the title.

I was so inspired by a piece of Christmas wrapping paper and also a wonderful slide of glass inside of a restaurant that I designed this quilt using eight different plaids, and you can get by with half yard pieces of those woven plaids, not printed, but woven.

Eight calicos in your colors to coordinate yet contrast, half yard pieces of those, and then your background material, two and a half yards of those.

Now, we did a full-size quilt this week, but you could also make a table runner.

As you can see here, I've used just two different plaids to go over and under in an entire table runner.

We are going to see how to make this quilt without any templates.

So armed with a ruler and a calculator, let's see how this eight and a half by 12 inch rectangle was designed.

It starts with one line in the corner.

Place your ruler in one corner, dividing the 90 degree in half and coming down over here, not to this corner, but up two and a half inches, draw a line, two and a half from here to here.

And then from that line, I'm going to come down two and a half inches and draw another line.

So these corresponding distances are the same in each opposite corner.

Then I'll come over and do the same thing over here, one line, but instead of going all the way through, I'm gonna stop.

Then come up and two and a half inches again.

I will then come with that unit left here and divided here and here so that we now have our three units that we worked with this week.

A, we call these A pluses, our B units, and our C unit.

You can see these units represented in the patchwork block, our diagonals A, A pluses, Bs, and our two Cs.

I wanna show you how we did this without any templates.

By taking our parallelogram, the A, that is that quarter inch added on all four sides and the two A pluses, we're going to line those up on the cloth, putting them right next to each other.

And then once we measured, we know that we have established a 23 and a half inch from the obtuse to the acute angle on both sides for this long parallelogram.

Now we needed to divide this to get the two A-plus units.

That measurement from that point up here is six and seven eighths, and with that we have a straight line.

We simply swung this around and used the cloth pattern to cut the second one.

You realize that in doing this, we now can go to our half-yard pieces of plaid.

We have eight different plaids.

Every time we cut out one of these bands, we are representing one plaid in each row.

But first of all, I wanna get that true bias cut.

So I put my 45 degree angle on probably the salvage of my fabric or any woven line that's straight, and I'm gonna go ahead and cut that true bias all the way down the whole half-yard width of my plaid material.

Then I'm going to come, and every three inches, and of course that's the adding the quarter inch on each side, I'm gonna cut four bands.

Let's pretend those have been all cut.

Then I would go ahead and stack those, and it's nice to even up the raw edges when you do that.

So they are all stacked.

And notice I still haven't cut the ends yet.

We want to have those all stacked, even up the sides, and then I would come and measure very accurately from here down to 23 and a half.

It helps to have a 24 inch ruler to do that.

It means coming and using one of those woven plaid ends to come just like that.

And I'd come down and then measure 23 and a half and cut another.

I have one already cut, and you can see exactly what we're getting right here, here, and right here.

So once I had cut here, I'd come down here and cut, measure up six and seven eighths and swing this around.

Let's look at the quilt and see where those are represented.

You can see what's interesting in the quilt is that here are our rectangular units, and here is one of the parallelograms, but notice how the next one that we cut flows into the next block, and that's what makes our quilt interesting.

Now for the B unit, which is based on an eight and a half inch measurement, but notice dealing with each calico one at a time and the background fabric, we're gonna be able to speed-piece these in units.

One will go here, and opposite one will go at the top.

What we'll do is rely on our calculator for this.

All those wonderful decimal figures I've put in the back of my calculator so I can always refer to them.

Half of eight and a half is four and a quarter.

We've learned that whenever we're dealing with a right angle triangle, we need to add seven eighths, which would be plus 0.875 on the calculator, and that's going to equal five and an eighth from here to here.

But we need to do two of these, so that let's go ahead and say times two, and that's gonna equal 10 and a quarter.

So we, repeatedly, will cut out our background squares, eight different calicos and a background fabric, 10 and a quarter.

Once they've been cut out, machine stitch a quarter inch on all four sides.

Then I can go ahead and with my long ruler, I will simply set up and cut through the diagonal once, then come over and cut again, making sure that I'm even each time, and then come, and this measurement from this raw edge in is going to be five and an eighth, what we just saw in our calculator.

And once again, five and an eighth, come this way and this way.

And all of a sudden, I'm ready to open up, realizing that I have my templates done ahead of time so that I am then ready to put dark in here and dark on this side.

We have one left to do, and that would be our C unit.

For that measurement, we go back to five inches on our drafting.

Knowing that this time we're gonna add an inch and a quarter.

So, anyone can figure an inch and a quarter to our five inches will give us six and a quarter.

We'll cut out squares that are six and a quarter and cut them on the diagonal once.

And of course I'd layer those probably about four times And again, and with just two each time, and two of these and our plaid, we're ready to stitch those on the machine.

With our schematic we can see exactly that we're all ready to start piecing our band.

Offset on either side of these check and double check bands is our solid band of just 12 inch dimension from here to here of our light and dark calico, cut four and three quarters inches wide, and those will be set in between these long bands.

To the sewing machine.

Excuse me, having a little spot of tea here.

This block goes together in such an easy manner.

You want to make sure that your C unit and your A-pluses come together, and when they're sewn, they'll be the same size as your B units.

So, when you line that up, align that inside right angle so that when that is sewn and extended, you get a nice straight line along here.

Let's go ahead and sew one of these, and quite often I pin and peek here.

Pin, open that up, making certain that you have that straight line that you want.

We'll sew it once, and if you've done all your measurements right, you won't have any problem.

Of course, taking your nice quarter-inch seam allowance all the way down, and you could be doing this for several units all the way across.

Just get your little factory going.

And once that's all the way extended, then come, and I'd get rid of any excess threads.

On the B unit, make sure that you trim off that dog-ear because that allows you each time to align the right angles there.

And then you're ready to sew all the way down again.

Now this is bias edges that you're sewing, so make certain that you're not tugging that too much.

And you'll wanna make sure that after you've sewn, and I'll show you that in just a minute, that you've got that nice quarter-inch seam allowance all the way down.

And of course you'd be doing two of these units for each of your blocks.

You'd have this one, and here's your nice quarter-inch seam allowance from the raw edge in.

And of course this unit would come together.

Then I'll come and line up this unit and make certain that once you pin here, that you can then open up, extending this dog-ear out to here, so that one side will go to the parallelogram in that fashion, and then the other side.

We have Anne's let me use some of her blocks, and I think you'll get a good idea of how these go together.

The important thing is that when you're sewing this unit together, that you press this seam to the outside because that allows perfect staggering when your blocks come together.

And I'll show you that if these are pressed out, then these long ones are pressed in, and look how nice that happens.

You get that perfect staggering.

These are going out, and those are going in.

And so you're able to pin each of the blocks together.

You get nice seaming all the way down in each one of your segments.

Notice that this parallelogram has its mate over in the next block just as here, the other mate goes in the next block.

Of course, you'll end the quilt by doing your piece blocks, and then your bands of calico and foundation fabric will be sewn together in between these piece bands.

Let's check on the girls and see how they're doing.

Hi Anne.

How's it going?

- Hello, Georgia.

- Slowly.

- Slowly?

Each of our quilts has a unique color story.

Each one is different.

Yours has a wonderful blue and pink, almost the same colors you've got on.

Were they hard to pick out?

And how did you make the selection?

- It was quite difficult because I started off actually with a different color scheme.

I could find some reds and blues, but I got stuck there, and I changed to pinks.

- [Georgia] So, but they're so wonderful.

And so you've tried to do a balance between the bigger plaids and then the tiny ones and the pink, and every row we're alternating as we go down.

So, this is not a normal selection for you, checks and plaids, woven material?

- It certainly isn't.

I find it very difficult to find checks and plaids in Central Scotland.

- [Georgia] That's too bad.

You'd think we all always associate tartans with Scotland, but those are wool fabrics when you say tartan.

- Yes.

- And what do you normally use for quilt making?

- Well, cotton prints and plains normally.

- [Georgia] Yes.

Well, hopefully in the future, maybe some of your new shops will have some plaids and checks.

- Until quite recently, we were very poorly served with shops, but we have a local shop now, and we were, as a group, were invited to the shop, and she sent a slip of paper 'round for suggestions, so I quickly put down check materials please.

[chuckles] - [Georgia] That's good, that's good.

Well, now let's talk to Grace, and I understand you and Anne are friends.

How did that come about?

- We've been friends for many years, since we became married.

Our husbands had been friends prior to that, and we then became friends, but have been quilting for only about six years.

- [Georgia] And you live in central Scotland?

- We do, yes.

- That's good.

Now tell me about your colors, and more importantly, about the design that you've, that you're going to change a little bit maybe.

- Well, I found it quite difficult working with so many different fabrics.

Normally, if I have four fabrics, that's as many as I can cope with at a time.

So this was quite a challenge.

And I think, because of that, I haven't felt completely happy with some of my choices.

So I feel I would like to shorten those bars.

- Yes, yes.

Okay.

- And perhaps turn the quilt 'round the other way.

- Oh, and so normally we would think of the quilt as being the top of the bed here and this be the length.

- That's right.

- And so you're thinking of turning it this way.

- That way.

And having half of one of the bars on either side and two full bars down the center.

I'm not sure how that will work.

- [Georgia] I see no problem.

And that way take the piece bands and even add more to that for your length.

- Add to the length.

Yes.

- So I think- - Perhaps I might try that.

- [Georgia] Sounds good.

Well, just plod ahead, okay?

Good luck to you.

- Thank you.

- Hi ladies.

- Hello.

- Eleanor, from the state of Maine, what brings you all the way over here to Scotland and to Park House?

- I came to visit my friend Margaret and also to attend this class.

I came originally with my sister who was doing genealogy work, and our ancestors had come from the village that Margaret lives in.

So we came to stay at Margaret's sister's cottage, and then through her I met Margaret.

- Well, we're glad you're here, and I know that yours has been the biggest project going, many measurements going on here, but it is a queen-size quilt, and I think it's gonna be beautiful.

You've got what, almost four rows done?

- Yes.

- Yes.

Feel great.

- This is for my sister.

- Well, that's good.

And now for our overachiever today, Margaret has finished her quilt, and I know you're very proud.

It's in tones of blue on blue, perfect for what you have on today.

- Mm-hmm.

- But we want to talk a little bit about your quilting here in England.

You live whereabouts in England?

- In South Yorkshire, which is halfway down the country.

- I see.

And you attended my class previous to this, here at Park House, so I consider us quilting friends.

Tell us why you quilt and maybe how, what it means to you.

- Well, I quilt as a hobby.

- Yes.

- And I find it very relaxing, and it's a good way to make presents for friends and relations.

- Yes.

Which this one is.

- Yes, it's for my nephew.

- [Georgia] Yes, well, everyone wants to see it.

We're gonna show off now.

And if you can pull it one way.

All rows, all bands stitched together in a medley of scraps.

And it looks like you're about ready for quilting any minute, right?

- Yes, I wondered if you had any suggestions as to how I should quilt it.

- Well, if you remember looking at my red, white, and blue one, I think something that looks very good, and I'm gonna give the girls a little hint here, is that when I cut the five-pointed star, I cut it out of contact paper, and you're welcome to trace this one.

And I cut several of these, and then this will stick right onto the quilt as I get ready to quilt and then can be moved from one place to another.

And you might have to make a couple more because it starts gathering the threads, but it makes a great stencil for quilting around.

- I'm sure it does.

- Yes.

So, we're going to check out Peggy and Alice now and see how they're doing.

- Thank you for the hint.

- Okay.

Now for the maverick quilt along with the maverick quilter.

Peggy, I've enjoyed having you in class so much this week.

I feel like I've learned something from you too.

This isn't exactly what I had down for the lesson plan.

What happened here?

- Well, I found this stripe, this material, we all fancied it, and it was for a boy's quilt.

I thought it was suitable.

So I got that, and I couldn't find any checks like it I liked at the time, so I went for that.

- So you altered the pattern, and I think it's wonderful.

- Yes, I did.

- Do you find this easy to do because not many students will do this.

What?

- Well, yes, it's not terribly difficult.

- Well, now tell me what your background is that makes this easy for you.

- Well, I've always sewn.

I've made my own clothes for many, many years.

Many years.

- Mm-hmm.

- And I started when I was about 13.

And so sewing is easy and a pleasure to me.

Relaxation.

And I do find quilting great relaxation.

- [Georgia] And now you were a professional years ago.

- I trained as an architect, yes, so the geometry comes easily to me and the arithmetic.

- And you shared a quote with me that I think pertains to so many beautiful quilts in the world that are made today.

Tell me about your feelings that the beauty in a quilt.

- Well, a friend of mine told me, "Peggy, you must find pleasure in a quilt because that shows.

If you don't enjoy making it, it shows.

But if you've enjoyed it, it comes out in the quilt."

- Well, it certainly does.

And I see it in your quilt.

And now you have one more to make just like this, right?

- Yes, another one.

This is a single bed quilt.

- Well, I'm gonna let you get busy while I talk to Alice.

Alice, welcome.

Glad to have you here.

And your quilt is entirely different because of the background.

- Yes, I wanted to use dark fabrics in mine and decided that a white background was too stark, so I searched for a solid color, couldn't find it, and decided instead to go for the soft print.

- [Georgia] And I understand you're from Edinburgh.

- Yes.

- And I must make comment on your orderly scrap basket here.

[both chuckle] Not only are your scraps, what, why is that?

Does that have to do with your profession?

- [Alice] Possibly, yes.

I mean, those who see my desk at work wouldn't believe this was me, but I like when I'm sewing to work out a system.

- Yes.

- And to try and have something that speeds up the process for me.

- Well, you certainly have.

- So, a system there.

- [Georgia] And tell me your tip about putting the blocks together.

I think that we have all been doing it in horizontal rows, the pieced units, and then the bands have gone together, but you've come up with a new idea.

Well, I found that the length was difficult to handle.

- Yes.

- So what I've actually done was to work with the the square block - Yes.

- and then add on the long piece.

- Yes.

Okay.

So you're working with a vertical rectangle.

- Working with a vertical rectangle, yes.

- [Georgia] Well, that really does seem to help, and I'm gonna let you continue working while we go in and have a chance to meet with Ken and Judy McAlister.

Oh Judy, this looks wonderful.

Can we switch to a cooking show and maybe abandon the quilting?

[both chuckling] It looks like leg of lamb for dinner, and it's only natural that I'd find you in here.

But can we interrupt you a few minutes and talk to you?

- I think so.

- Okay, fine.

- We'll put this meat in the oven, and then I'll come and talk to you.

- [Georgia] We'll see you in the parlor.

Okay.

- Yes, all right?

- [Georgia] Judy and Ken McAlister, it's so nice to meet you finally and get you out of the kitchen.

Tell us a little bit about the Isle of Aaron and specifically the quilt classes here.

- Well, the island is quite small.

It's about 58 miles 'round, but you have two roads that cross over in the middle so you can go all ways.

The classes we've started really because we have a house that is too big for just ourselves, and we wanted to give people the chance to come and share and learn different techniques of quilting and stay with us.

- Yes, and that has led to many different teachers coming not only from the states, but in England and Scotland, and what do they do during the week?

- Oh, well, they start their class at 10 o'clock in the morning, and they work 'til one o'clock.

They have a break for coffee if they like to do so, and they come back over to the house.

The workshop is actually outside in The Piggery, and they eat and live with us in the house.

Now they're free after lunch to go and explore the island and see some of the lovely places that are here and enjoy the wildflowers too.

Or they can go back to the workshop and work.

But there's no tuition in the afternoons.

- [Georgia] I see.

Well, it's hard to get them away, to get them out of The Piggery.

They're usually having so much fun.

The winters must be kind of long here, Ken.

What do you do all winter?

- Well, to be perfectly honest, Georgia, we find that the winters don't have enough hours in the day.

We've got so much just generally maintenance in the house itself.

The garden needs a lot of looking after in the winter, where possible.

And we have, Judy has a hobby of quilting, and I've got mine of wood turning.

- Ah.

- So, we have, we have plenty of interests to keep us going.

- [Georgia] This pile of unfinished things over here, Judy, I can see why you're so busy all winter.

Please show it, your latest quilt project.

It's so pretty.

I just love it.

Tell me what you call it.

- Well, these are crazy patches, but it actually has a stained glass window effect.

- It's lovely.

- It's really.

- [Georgia] And you do all your work by hand, I understand.

- [Judy] Yes, I do.

I find it very therapeutic and very relaxing to work by hand.

- [Georgia] It's so nice.

We're gonna take a sneak in those wonderful bedrooms upstairs, and we'll see you later.

[upbeat bagpipe music] It's the end of the day here at Park House, and traditionally we gather in the parlor every evening for sherry, which is always nice.

And it's a time for me to tell you about an American tradition that we have.

It's called a quilting party.

And you see before you an unfinished quilt.

And what we'll do is each one of you will take a corner, and we'll just quilt until it's done.

[group chuckling] Is that not right?

- Yes, yes.

- [Georgia] No, really what we're here for is to make sure that Eleanor is going to sign this contract that says she will finish her quilt.

Is that right?

- Right, I will.

- Well, thank you so much for all of you.

I've enjoyed the week together with you and look forward to many happy stitches in the future.

[gentle music] - [Announcer] "Lap Quilting with Georgia Bonesteel" is made possible in part by grants from Omnigrid, the original patented black and yellow ruler, by Leisure Arts, publisher and distributor of "Needlework" and "Craft" publications, including an assortment of quilt books and related products.

Additional funding by Fairfield Processing, maker of Poly-fil brand products for the home, sewing, quilt, and craft industries.

And by BERNINA, delivering sewing technology and education to sewers worldwide.