♪ VISIT A QUILT SHOP IN AMSTERDAM AS PART OF OUR HOLLAND TOUR.

BACK HOME, IN OUR STUDIO HERE, I TURNED TO CRAZY PATCH, A LA KITTY CAT, AND WE'LL LEARN TO QUICK-PIECE THE CLASSIC PATTERN BURGOYNE SURROUNDED.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.

AMSTERDAM IS SUCH A UNIQUE AND EXCITING CITY WITH ITS 1,000 BRIDGES, 40 MUSEUMS, AND 10,000 SHOPS.

WE SEARCHED OUT ONE A FRIEND HAD TOLD US ABOUT-- A PATCHWORK SHOP, OF COURSE.

IT'S OPERATED BY RUDOLF DEN HAAN AND HIS PARTNER.

YOU ENTER HIS STORE BY A TYPICAL AMSTERDAM STONE STAIRCASE AND IMMEDIATELY SEE SOME VIBRANT LOG CABIN QUILTS.

THE FIRST PART OF THE STORE HAS A COLLECTION OF PASTEL CALICOES AND THE BOOK DEPARTMENT.

UPSTAIRS ARE RUDOLF'S OWN FABRICS AND THOSE OF HIS COLLEAGUES-- ALSO SOME QUILTS MADE FROM THESE MATERIALS.

THE MAIN PART OF THE STORE HAS HIS BIGGEST STOCK OF FABRIC ARRANGED IN A FABULOUS PALATE OF QUILTERS' COLORS.

IT'S HERE THAT RUDOLF AND HIS STAFF ADVISE QUILTERS IN CHOOSING THEIR COLORS, A PROCESS HE KNOWS IS ONE OF THE QUILTER'S MOST DIFFICULT TASKS.

THAT IS ALSO THE STRONGEST POINT OF OUR COMPANY-- BEING AS HELPFUL AS POSSIBLE WITH THIS VERY IMPORTANT THING-- CHOOSING COLORS FOR THEIR PATCHWORK.

AND WE STARTED A VERY UNUSUAL COMPANY IN SELLING AND BUYING, OF COURSE, DUTCH COSTUME JEWELRY, AND, OF COURSE, ALSO THE PARTS OF THE COSTUMES-- THE ANTIQUE PIECES LIKE IN THIS--THIS IS, OF COURSE, A DOLL, BUT THINGS LIKE THIS.

SUDDENLY, IT APPEARED THAT LADIES WHO WERE NOT WEARING TRADITIONAL COSTUMES AT ALL WERE BUYING SMALL PIECES, AND WE WERE WONDERING WHAT THEY DID WITH IT.

AND THEY WERE THE FIRST PATCHERS IN HOLLAND, AND BECAUSE OF THAT GROUP, WE FINALLY TURNED ABOUT 180 DEGREES TO WHAT WE ARE DOING NOW.

WELL, WE'RE SO GLAD YOU ARE.

PUT YOUR HANDS ON THIS AND TELL US ABOUT THESE PRINTS AND EXACTLY HOW THEY'RE MADE.

THEY'RE NOT ROLLER-PRINTED.

TELL US THE DIFFERENCE HERE.

NO, THE DIFFERENCE BETWEEN FLAT-PRINTING, SCREEN-PRINTING, AND ROLLER-PRINTING IS THAT THIS-- MY DESIGNS-- ARE ALWAYS BETTER TO PRINT WITH SCREENS ON A TABLE.

THAT MEANS FLAT-PRINTING.

THAT MEANS HANDWORK, QUITE A LOT OF WORK, AND THE MODERN CALICOES, FOR EXAMPLE, USUALLY ARE DONE WITH A ROLLER-PRINTING MACHINE, AND THAT IS FULL AUTOMATICALLY.

THAT'S MUCH MORE CHEAPER, OF COURSE, BUT THE ATMOSPHERE IS NOT THE SAME, IS NEVER POSSIBLE TO GET THE SAME RESULT AS THE OLD WAY OF PRINTING.

AND I THINK THAT THE OLD WAY OF PRINTING BELONGS TO THE OLD PATTERNS.

NOW, I'VE GOT MY EYE ON THE BLUE AND WHITES OVER THERE.

PLEASE WALK OVER AND DESCRIBE THOSE TO US.

BOTH OF THEM.

WELL, THIS IS VERY UNIQUE, ACTUALLY.

THIS IS WHAT THEY CALL A PAULENPORA, AND A PAULENPORA MEANS LIFE TREE.

IT'S A LIFE TREE.

IT'S A VERY OLD AND WELL-KNOWN DESIGN OF LIFE.

THIS ONE IS A REPRODUCTION.

IT'S ALSO DONE WITH A FLAT SCREEN ON A TABLE.

SO, THIS IS ALL HANDWORK.

AND THERE ARE QUITE A LOT OF-- ABOUT 12, 13 DIFFERENT COLORS TO MAKE THIS AS IT IS NOW.

UH...PERHAPS YOU THINK, WHAT DOES THIS HAVE TO DO WITH PATCHWORK?

NOTHING, BUT ON THE OTHER HAND, IT COULD BE, WHEN IT IS NICE QUILTED, A VERY BEAUTIFUL WALL DECORATION.

IT'S BEAUTIFUL.

AND THE CUPS AND SAUCERS.

DESCRIBE THAT TO US, ALSO.

WELL, THE CUPS AND SAUCERS ARE ALSO DONE IN THIS WAY.

YOU SEE THEM IN BLUES.

THIS IS DONE BY A COLLEAGUE OF MINE, PIERRE FRIE.

HE'S THE MAN FROM FRANCE.

AND HE HAS THIS WONDERFUL IDEA BECAUSE HE TOOK THIS IDEA FROM AN OLD CATALOG FROM ROYAL MINTON, A BONE CHINA FACTORY IN ENGLAND, AND HE JUST MADE FABRIC OF IT.

NOW, ANOTHER VERY NICE THING IS THIS BORDER PRINT.

THIS IS ALSO A HAND PRINT, AND THIS ONE WAS USED FOR ONE OF OUR TRADITIONAL COSTUMES.

SPAKENBURG, IN HOLLAND, USES THESE BORDERS-- 70 CENTIMETERS OF THIS-- FOR THEIR SHOULDER PART OF THE COSTUME.

TO PUT THIS INTO A QUILT, YOU REALLY FEEL LIKE YOU HAVE A LOT OF DUTCH HISTORY ALONG WITH THE QUILT, DON'T YOU?

YOU REALLY DO.

YEAH.

WELL, I THINK IT'S SO DIFFERENT FROM WHAT YOU SEE ELSEWHERE, AND THIS IN COMBINATION WITH THE PLAIDS, I MUST SAY, IS SO COMPLETELY DIFFERENT THAT ONLY BECAUSE OF THAT I LIKE IT ALREADY, BUT, I MUST SAY, THE COLORING IS BEAUTIFUL.

RUDOLF, HOW WOULD YOU GREET AN AMERICAN COMING IN OR TELL ALL AMERICANS TO COME TO YOUR STORE?

OH, THEY'RE ALWAYS WELCOME, BUT IF AN AMERICAN COMES TO THE STORE, I MUST SAY THAT IT'S NOT VERY DIFFICULT FOR ME.

I USUALLY SEE THAT IT'S SOMEONE FROM AMERICA, NOT ALWAYS, OF COURSE, BUT USUALLY I SEE IT.

AND THEN I FIRST ASK VERY CAREFUL, "DO YOU SPEAK ENGLISH?"

AND IF THEY SAY, "YES," I SAY, "HELLO" IN THE WAY YOU DO THAT IN YOUR COUNTRY.

WHEN I MAKE A MISTAKE, THEN I SAY IN DUTCH... GOEDEN DAG.

KAN IK QU ASKEN HELPEN?

AND THAT IS THE SAME AS YOU SAY, "HELLO.

HOW ARE YOU TODAY?

CAN I HELP YOU?"

AND I'VE, OF COURSE-- I HOPE THAT I CAN HELP THEM, BUT USUALLY, THEY SAY, "NO, THANK YOU.

I'M JUST LOOKING."

OUR FIRST BLOCK IS ENTITLED BURGOYNE SURROUNDED.

IT'S A 15-INCH BLOCK, AND IT HAS FIVE TEMPLATES.

CAN YOU FIND THE BLOCK IN THIS VERY COLORFUL QUILT OF JENNIFER AMOR'S?

NOW, THE TAPING CREW HAS RENAMED THIS ONE.

IT'S CALLED LIKE, TOTALLY RADICAL, WHICH IS WHAT IT TRULY IS.

HER FOUR BURGOYNE SURROUNDED ARE JOINED BY A NINE PATCH IN THE CENTER.

A LITTLE MORE CONSERVATIVE COMBINATION IS DONE BY LYNN CARLSON IN A VERY CLASSIC ARRANGEMENT OF NAVY BLUE AND WHITE.

I LIKE THE WAY LYNN HAS RESOLVED HER BORDERS WITH MORE OF THE SUGGESTION OF THE ROWS ALL THE WAY AROUND THE OUTSIDE.

AND WE HAVE IT IN TWO COMBINATIONS HERE ON OUR TABLE-- THE CLUB SANDWICH, AND THEN IN TRUE COLORS-- A NICE CONTRAST WITH A PURPLE AND RED, MAKING IT ALMOST A TRIANGULAR COMBINATION RIGHT DOWN THE CENTER WITH THE WHITE SQUARES.

NOW, THE BLOCK IS BASED ON A 1-INCH SQUARE, SO WE HAVE FIVE ROWS THAT WE'RE GOING TO GET PIECED.

I'D LIKE TO GIVE YOU SOME QUICKIE PIECING HINTS FOR DOING THAT.

THE CORNERS ARE THE FOUR PATCHES, AND THE NINE PATCH IS RIGHT HERE.

THAT'S WHAT'S MISSING RIGHT HERE IN OUR COMBINATION.

FOUR PATCHES IN ALL OF THE CORNERS AND THEN FOUR SETS OF NINE PATCHES.

FOR THE FOUR PATCHES-- AND I HAVE GONE AHEAD AND USED DARKS AND LIGHTS, EVEN THOUGH WE DO HAVE GREENS AND REDS OVER HERE.

I JUST WANTED YOU TO GET THE GOOD CONTRAST.

I WOULD CUT YOUR STRIPS OUT WITH THE OUTSIDE OF THE FABRIC VISIBLE AND YOUR RIGHT SIDES ALIGNED NEXT TO EACH OTHER.

CUT 1 1/2 INCH STRIPS AND MACHINE-PIECE ONE TIME.

AND THEN WHEN YOU REALIGN THOSE, MAKING CERTAIN THAT YOUR LIGHTS ARE OPPOSITE, ALL YOU NEED TO DO IS MARK YOUR 1 1/2 INCHES ALL THE WAY DOWN.

WITHIN THAT 1 1/2 INCHES, SEW ONE TIME.

THEN, WHEN YOU GET READY TO CUT THAT APART, IT'S SO MUCH FUN BECAUSE ALL OF A SUDDEN, YOU'RE GOING TO JUST SEE YOUR FOUR PATCH.

IT'S ALL READY TO GO.

AND YOU CAN LOOK ON THE BACK SIDE, TURNING YOUR LITTLE SEAMS, YOU'VE GOT A NICE COMBINATION THERE ALREADY TO GO.

AS FOR YOUR NINE PATCH, YOU REALIZE THAT YOU'RE GOING TO HAVE ROWS THAT HAVE BEEN CUT 1 1/2 INCHES, AND THIS ROW, BECAUSE IT'S REPRESENTED TWICE-- HERE AND THEN TURNED FOR DOWN HERE-- IS GOING TO BE LONGER THAN YOUR MIDDLE ROW OF LIGHT, DARK, AND LIGHT.

THE EASIEST WAY TO REALLY SEW THOSE AND CUT THEM APART IS TO PUT THE TWO RIGHT SIDES TOGETHER.

NOTICE HOW I'VE PRESSED THE SEAMS IN HERE AND THEN I'VE PRESSED THEM OUT HERE.

SO, GET THOSE ALL LINED UP.

AND YOU COULD MARK AND SEW, BUT I THINK IT'S EASIER IN THIS CASE JUST TO GO AHEAD-- IF YOU WANT TO PIN THIS, SO IT'S NOT GOING TO MOVE-- I LIKE THOSE NICE FLAT-HEADED PINS BECAUSE THEN I CAN PUT MY RULER RIGHT ON TOP OF THAT AND GET MY 1 1/2 INCHES RIGHT LIKE THAT.

AND ONCE I OPEN THAT UP, I REALIZE THAT I NEED ANOTHER ONE DOWN HERE THAT I WOULD CUT OUT THAT WOULD BE--WHOOPS-- IT WOULD BE TURNED SO IT WOULD BE LIKE THAT-- AND SEWN TOGETHER FOR MY NINE PATCH.

SO, ONCE THOSE ARE TRIMMED AND CUT IN PLACE, THEY WOULD GO FOR MY ROWS.

AND I WOULD END UP WITH MY 15-INCH BLOCK PLUS MY SEAM ALLOWANCES.

NOW TO CRAZY PATCH.

OUR BLOCK IS CALLED CRAZY CATS.

IT'S A 12-INCH BLOCK BASED ON AN ORIGINAL DESIGN BY DOUG MARMEE.

NOW, THE FOUNDATION IS PIECED AND SO IS THE CAT ITSELF.

I DON'T THINK A QUILTING SHOW WOULD BE COMPLETE WITHOUT CRAZY PATCH.

AND OUR SERIES HAS ALWAYS HAD A CAT ON IT, SO, WE'RE COMBINING THE TWO TODAY.

LET'S REVIEW CRAZY PATCH JUST FOR A MINUTE.

THE OLD CRAZY PATCH WAS BASED ON A FOUNDATION WHERE THE PIECES WERE JUST EITHER STARTED IN THE CENTER OR IN THE CORNER.

THEY WERE PLACED AT RANDOM.

AND THEN ONCE THEY WERE IN POSITION, THEY WERE TURNED UNDER, THE RAW EDGES WERE TURNED UNDER.

AND IT WAS THE DECORATIVE STITCHES THAT HELD IT TOGETHER, GOING THROUGH THAT FOUNDATION.

AND THEN WE CAME TO UPDATING IT, AND WE STARTED TO USE FOUNDATION PIECES OF FABRIC, QUITE OFTEN MUSLIN, WHERE THIS TIME WE SEWED AND FLIPPED ON THE SEWING MACHINE, PLACING YOUR PIECE DOWN AND THEN MACHINE STITCHING AND FLIPPING BACK.

IT WAS THAT OLD SEW AND FLIP ROUTINE.

AND, ONCE AGAIN, FOUNDATION HOLDING IT IN PLACE BY LINING UP THE RAW EDGES, SEWING AND FLIPPING BACK SO WHATEVER EXTENDED OUT FROM THE FOUNDATION YOU WOULD TRIM OFF.

AND THEN WE COME A LONG WAY, SO THAT WE ADAPTED INTO A DESIGN BASED ON MY GRID GRIP, WHERE I'M ABLE TO HAVE MIRROR IMAGES AND TEMPLATES.

YOU CAN SEE THAT THESE ARE BOTH THE SAME, BUT I'M CHANGING THE COLOR, AND THIS TIME COMBINING IT WITH A MACHINE QUILTING, A METALLIC THREAD, AND THE HANDWORK OF THE FIN AND FEATHER.

THE "CRAZY CATS" IS PIECED, TOO.

THERE ARE 10 TEMPLATES THAT ALLOW YOU TO CUT OUT EACH PIECE INDIVIDUALLY, AND THEN STITCH IT BACK TOGETHER, AND YOU CAN SEE THE LEGS AND THE TAIL WILL THEN EXTEND.

YOU'RE GOING TO PLACE THAT ON A FOUNDATION THAT IS PIECED, AND THERE ARE NOT ANY TEMPLATES FOR THIS, BUT IT'S VERY EASY TO DO.

LET ME GIVE YOU SOME HINTS FOR DOING THAT.

JUST LOOKING AT THE SCHEMATIC WILL ALLOW YOU TO TAKE A 12-INCH PIECE OF YOUR GRID GRIP AND DIVIDE IT INTO THE MANY SECTIONS THAT YOU NEED.

THAT WOULD BE THE FOUNDATION, BUT PIECED.

ALL RIGHT?

ONCE YOU'VE DONE THAT, YOU WOULD TURN OVER ON THE GRIDDED SIDE AND PUT YOUR SAME LINES ON THIS SIDE.

THIS TIME, THE NUMBERS THAT YOU HAVE, THE SEQUENCE OF PUTTING IT TOGETHER-- ONE TO TWO, THREE, FOUR, FIVE AND SIX-- YOU PUT THOSE NUMBERS ON THE REVERSE SIDE, BECAUSE, AFTER ALL, IT'S THIS POLY-COATED SIDE THAT YOU'RE GOING TO BE IRONING TO THE WRONG SIDE OF YOUR FABRIC.

SO THAT WHEN YOU'RE DONE, THE RIGHT SIDE OF YOUR FABRIC WILL BE UP.

SO YOU WANT TO SEE THAT, AND ONCE YOU'VE NOT ONLY PUT YOUR SEQUENCE DOWN, PUT THE COLOR OF THE FABRIC THAT YOU'RE GOING TO INDICATE.

I WOULD THEN CUT THAT APART, USUALLY WITH A ROTARY CUTTER, AND YOU CAN SEE WHAT I'VE DONE HERE.

I'VE GONE AHEAD AND PRESSED THIS TEMPLATE RIGHT ON THE BACKSIDE OF MY FABRIC.

NOW, YOU CAN REUSE THE GRID GRIP TIME AND TIME AGAIN, AND I'D LIKE TO SHOW YOU HOW I'VE DONE IT.

ONCE I TAKE THE TEMPLATE OFF AND LINE IT UP, AND, OF COURSE, I HAVEN'T MARKED ANY GRAIN LINES, BECAUSE NOW I CAN TAKE THE GRID GRIP AND LINE IT UP WITH THE GRAIN LINE OF MY FABRIC.

I WOULD THEN PRESS THAT WITH JUST A DRY IRON, YOU DON'T NEED ANY STEAM FOR THAT, MAKING CERTAIN THAT YOU'VE GOT A QUARTER-INCH ON ALL SIDES OF THE OUTSIDE OF YOUR TEMPLATE.

ONCE THAT'S PRESSED IN PLACE, THEN WITH YOUR SEE-THROUGH RULER YOU CAN JUST CUT THAT OUT.

NOW, IF I WERE DOING, SAY, NINE OF THESE, I WOULD HAVE EIGHT OTHER FABRICS UNDERNEATH THIS, OR MAYBE AT LEAST FOUR, SO I'D HAVE ONE TEMPLATE THAT ALLOWS ME TO CUT OUT REPEATED PATTERNS.

AND ALL I'M DOING HERE IS TAKING THE SEE-THROUGH RULER, LINING THAT QUARTER-INCH MARK UP WITH THE WHITE SIDE, THE OUTSIDE EDGE OF MY PAPER.

AND THERE, ONCE AGAIN.

NOW, IF I'M GOING TO USE THAT AS A LINE TO SEW BY, I'M ALL READY TO GO.

AND AS YOU CAN SEE, I'VE DONE JUST THAT HERE.

I LINE UP MY CLOTH, WITH THE RIGHT SIDES TOGETHER, AND I USUALLY PIN AND PEEK.

THAT ALLOWS ME TO PIN THIS UP.

WHEN I OPEN IT, YOU SEE HOW MY GRIDS ARE LINED UP?

I CAN GET SUCH PERFECTION IN MY PIECEWORK THIS WAY, KNOWING THAT ONCE IT'S ALL PUT TOGETHER, I CAN TAKE THIS OFF AND REUSE IT MANY TIMES.

IT WILL ALWAYS ADHERE TO THE BACKSIDE OF MY FABRIC.

ALL RIGHT, ONCE THAT'S ALL DONE, I WOULD THEN GET MY FOUNDATION ALL SET UP AND GET MY KITTY CAT, ALL PIECED, AND I COULD MAKE THAT DECISION.

I THINK I'LL TURN HIM SO I CAN SEE HIM THIS WAY.

AM I GOING TO HAND-APPLIQUE THIS, OR AM I GOING TO MACHINE-APPLIQUE IT?

NOW, I'VE DONE ONE OF EACH WAY ON OUR CLUB SANDWICH, I'VE HAND-APPLIQUED AND I'VE MACHINE-APPLIQUED ON THE TRUE COLORS.

ONCE YOU HAVE THAT ALL SITUATED, THEN I THINK IT'S EASY TO GO AHEAD AND OVERLAP YOUR KITTY CAT DESIGN, LINING UP EXACTLY WHERE IT'S GOING TO BE SEWN, AND THAT ALLOWS YOU TO TRACE AN EXACT DUPLICATE OF YOUR KITTY CAT, THE OUTSIDE EDGES, WITHOUT THE SEAM ALLOWANCE.

I WOULD THEN PRESS THAT RIGHT HERE, AND I'LL JUST PRESS IT LIGHTLY TO GIVE YOU AN IDEA OF WHAT THAT WOULD DO.

ONCE THAT'S BEEN PRESSED, THEN I WOULD HAVE THAT EDGE, THAT WOULD ALLOW ME TO MACHINE-STITCH THAT TO MY FOUNDATION.

NOW I'VE GONE AHEAD AND DONE A LITTLE MOCK SAMPLE HERE THAT WOULD GIVE YOU A--A BETTER INDICATOR AT HOW THAT WOULD WORK.

HERE'S A LITTLE PORTION OF HIS TAIL.

THE GRID GRIP ON HERE.

AND WHAT I DID WAS, DO A STRAIGHT LINE OF STITCHING RIGHT NEXT TO THE OUTSIDE OF HIS BODY.

THEN WITH MY SCISSORS, THAT ALLOWS ME TO REMOVE THAT RIGHT UP TO THAT STITCHING LINE.

AND I'D GO ALL AROUND THE CURVES, AND THAT LIP MAKES IT VERY NICE FOR ME TO BE SURE I'M NOT GOING TO CUT MY FOUNDATION.

THEN I WOULD PULL THAT OFF, AND, OF COURSE, I'D CONTINUE ALL THE WAY AROUND.

BUT THEN, WITH A PIECE OF PAPER UNDERNEATH AS A STABILIZER, I'M THEN READY TO DO MY MACHINE-APPLIQUE.

AND I WOULD START RIGHT UP HERE.

I THINK IT WILL BE EASIEST FOR YOU TO SEE, THEN I WOULD JUST DECIDE ON THE WIDTH THAT I WANTED TO DO THAT AND COME ALL THE WAY DOWN.

I PROBABLY WENT A LITTLE NARROWER.

AND WHEN I'M SITUATED THERE, AS I'M GOING AROUND THE CURVE, AND THAT ALLOWS ME TO SECURE MY KITTY CAT TO THE FOUNDATION AND YOU CAN SEE HOW NICE, THEN THAT COMES OFF WHEN YOU'RE ALL DONE.

IT'S REALLY A PERSONAL DECISION WHETHER OR NOT, ONCE YOU HAVE APPLIQUED THE KITTY CAT, EITHER BY HAND OR MACHINE, WHETHER YOU CUT AWAY THE FOUNDATION UNDERNEATH.

ANOTHER IDEA FOR "CRAZY CATS" IS TO OVERLAP THE TEMPLATES EXACTLY WHERE THE SEWING LINE IS GOING TO GO, AND HAVE IT COPIED.

WHY, YOU CAN COME UP WITH ALL SORTS OF REDUCTIONS AND INCREASES, BECAUSE I WANTED TO MARCH THOSE KITTY CATS RIGHT AROUND THE WHOLE VEST, AND, OF COURSE, YOU CAN SEE THE FABRIC THAT WAS THE INSPIRATION.

NOW, I WASN'T SURE HOW TO MAKE THAT WORK UNTIL I REMEMBERED THE ISLANDS THAT TED STORM HAD DONE IN HER HOLLAND'S GLORY.

WHY, I JUST STACKED THE BACKING, THE BATTING, AND THE FABRIC AND I'M DOING THE MACHINE APPLIQUEING, AND THEN WE'LL ATTACH IT TO THE VEST.

WON'T THAT BE FUN?

AND NOW TO VELDHOVEN, HOLLAND, TO THE HOME OF HANNE VIBEKE DE KONING-STAPEL, BY THE WAY, STAPEL IS HER MARRIED NAME, AND HER MAIDEN NAME, DE KONING, PRECEDES THAT.

THAT IS THE CUSTOM IN HOLLAND.

WE ARE HERE IN HER STUDIO WORK ROOM, SURROUNDED BY ALL OF HER LOVELY QUILTS AND AN OPPORTUNITY TO TALK TO HANNE TODAY.

IS THIS WHAT GOT YOU INTO QUILT MAKING AND INTRODUCED YOU TO A NEEDLE AND THREAD?

TELL US THAT STORY.

I THINK THIS WAS THE INTRODUCTION FOR ME TO NEEDLE AND THREADS.

I HAD AN OLD AUNT, A SPINSTER, WHO HAS A DOWRY, GOT BEAUTIFUL LINENS AND THREADS FROM HER FATHER, AND SHE MADE THIS KIND OF EMBROIDERY FOR A LIVING, AND SHE THOUGHT THAT ALL GIRLS ABOUT 12 YEARS OLD SHOULD LEARN THE SAME, SO SHE TOLD MY MOTHER THAT, AND MY MOTHER THOUGHT SHE WAS RIGHT, AND SHE COMPELLED ME TO GO TO THIS AUNT'S HOUSE EVERY THURSDAY AFTERNOON AFTER SCHOOL.

I HATED IT, BUT AFTERWARDS I'M HAPPY THAT I GOT THIS TRAINING FROM HER.

NOW, YOUR FIRST FULL-SIZED QUILT IS A DRUNKARD'S PATH BUT DONE IN AN UNUSUAL MANNER WITH A DIFFERENT FABRIC.

TELL US ABOUT THAT.

YES, THIS ONE IS DONE IN SILKS.

BECAUSE IN THE EARLY EIGHTIES, WHEN I STARTED MAKING FULL-SIZED QUILTS, WE COULDN'T GET APPROPRIATE COTTONS HERE, NOT ENOUGH.

SO I THOUGHT I WOULD HAVE TO CHOOSE ANOTHER MATERIAL, AND THAT WAS SILK.

AND I LOVE WORKING WITH SILKS BECAUSE THEY HAVE A LUSTER THAT YOU DON'T FIND IN COTTONS.

VERY RICH LOOKING, AND DO YOU WORRY ABOUT THE WARP AND THE WEFT, THAT IS THE DIRECTION OF THE NAP IN THIS?

I DIDN'T IN THIS ONE.

IT WAS THE FIRST THING, MIND YOU, I MADE, AND AFTERWARDS I THOUGHT I SHOULD HAVE MINDED MORE, AND I START SMALL EXPERIMENTS WITH VERY RIGID THREAD DIRECTIONS AND I THOUGHT THAT WAS LOOKING QUITE FLAT.

SO I STOPPED WORRYING AND JUST USED THE SIX AT RANDOM.

THAT'S GOOD.

HAD TO.

BUT NOW YOU, THE QUILTING REALLY SETS IT APART, AND I SEE FLOWERS THERE.

IT'S A SIMPLIFIED VERSION OF FRENCH LILY WITH FRENCH KNOTS IN IT, AND I THOUGHT THAT WAS AN APPROPRIATE QUILTING PATTERN.

AND NOW A RED WHITE AND BLUE, A FEATHERED STAR.

THIS IS ALSO SILK, BUT I WANTED TO COMBINE IT WITH COTTONS.

THAT COTTON'S USED IN DRESSES STILL WORN IN SOME OF THE VILLAGES AROUND HERE, AND THEREFORE I CHOOSE TO WORK IN MATERIALS RED, WHITE, AND BLUE-- THE DUTCH COLORS.

AND THEN A WONDERFUL QUILT THAT HAS A BIG RIBBON ON IT, AND IT--MORE SILK.

IT'S ALSO, AGAIN, IT'S ALL SILK.

IT ACTUALLY STARTED AS A TABLECLOTH.

I WANTED TO MAKE AN OCTAGON FOR A SMALL ROUND TABLE THAT I HAD.

THE LAST OF OUR CHILDREN HAD JUST LEFT HOME, THEN I WANTED TO PUT ALL THE PICTURES OF THE CHILDREN ON THAT SMALL ROUND TABLE WITH A BEAUTIFUL TABLECLOTH.

BUT MY HUSBAND DIDN'T LIKE IT.

HE GOT ME TO PUT IT INTO THE CUPBOARD, ACTUALLY.

AND IT STAYED THERE FOR SOME MONTHS, AND THEN I THOUGHT, WELL, I MIGHT JUST AS WELL TAKE IT OUT AGAIN BECAUSE I DON'T DISLIKE IT.

AND I MADE A BIG QUILT OUT OF IT.

AND THAT'S THE RESULT.

I'M VERY GLAD IT CAME OUT OF THE CLOSET.

AND HERE WE HAVE TRIANGLES THAT REMIND US OF THE HISTORICAL ONES WE SAW AT THE MUSEUM.

IS THERE A NAME FOR THIS QUILT, HANNE VIBEKE?

YES, THIS QUILT'S CALLED "M&M'S QUILT."

MORE AND MORE AND MORE FAST QUILT.

THOSE ARE THE DANISH NAMES THAT OUR CHILDREN USE FOR THEIR DANISH GRANDPARENTS AND THIS BED, THIS QUILT IS COVERING MY FATHER'S DAY BED WHEN HE'S NOT IN IT.

HE'S 88 NOW.

NICE.

TELL US MORE ABOUT HANDLING THE SILK ITSELF...

WHEN YOU'RE CUTTING OUT AND STITCHING IT.

YES, SILK IS A VERY FRAGILE MATERIAL, ACTUALLY.

IT'S THIN, IT'S STRONG, BUT IT'S THIN AND FRAYS VERY, VERY MUCH, SO YOU DO HAVE TO DO SOMETHING ABOUT THE FRAYING.

AND I IRON THIS MATERIAL, THIS KIND OF INTERFACING ON THE BACKSIDE OF THE SILKS, AND THAT KEEPS EVERYTHING IN PLACE.

HOW NICE.

YOUR QUILTING STITCHES ARE JUST WONDERFUL.

THE FEATHER WREATH THAT CONTRASTS WITH THE STRAIGHT LINES.

BUT DO YOU KNOW THE SECRET, OR ANY HELP, MAYBE, YOU COULD GIVE ME FOR THE CALLUSES THAT WE GET HERE?

YES.

I THINK SO.

WELL, OF COURSE, I HAD THEM ALSO.

AND I HAD A QUILT THAT SHOULD BE FINISHED.

MY FINGERS WERE BLEEDING.

I HAVE THIS LITTLE METAL PROTECTOR, AUNT BECKY'S.

I HAVE IT, OF COURSE, UNDER THE QUILTS AND YOU PUNCH YOUR NEEDLE INTO THE FABRIC, AND YOU HIT THE RIDGE OF THE METAL PIECE, YOU PUSH THE METAL THING TO THE HEIGHT, AND THE NEEDLE WILL POP UP.

AND YOU CAN DO--THAT'S A MOVEMENT THAT YOU HAVE TO PRACTICE, BECAUSE ALL FINGERS ARE INVOLVED, ACTUALLY.

I'LL HAVE TO TRY IT.

WE APPRECIATE COMING TO YOUR HOME AND WISH YOU CONTINUED GOOD STITCHES AND GOOD LUCK.

THANK YOU.

AND NOW TO FEATURE THE BACK OF OUR QUILTS.

IT CAN BE PUT TOGETHER AS ONE ENTIRE QUILT, AND QUILTED IN A HOOP OR IN A FRAME, OR IT CAN BE LAP QUILTED IN LONG ROWS.

BOTH THE CLUB SANDWICH AND THE TRUE COLORS I HAVE LAP-QUILTED IN LONG, VERTICAL ROWS.

THE KEY BEING THAT ONCE THEY WERE PIECED, THEY'RE ALL THE SAME LENGTH.

THEN YOU PUT ABOUT THE SAME AMOUNT OF QUILTING IN EACH OF THE ROWS, SO THAT IT TAKES UP IN A UNIFORM MANNER.

NOW I'VE PUT ALL THREE ROWS TOGETHER, AND MY LAST ROW IS JUST FINISHING UP SO I PIN EVERY 18 INCHES ALL THE WAY UP TO THE TOP, MAKING CERTAIN THAT I CAN EASE ANYTHING IN THE MIDDLE AND I GO TO THE MACHINE JUST LIKE THIS.

THAT MEANS MY BACKING IS EITHER PINNED OR KEPT FREE, THE BATTING, THE TWO FRONTS, AND THEN THIS BATTING AND THIS OTHER SIDE ARE NOT INCLUDED, SO I-- BEING MACHINE STITCHING, THE TWO FRONTS AND ONE BATTING.

ONCE THAT'S DONE, WORKING ON A FLAT SURFACE, I WOULD REMOVE A LITTLE BIT OF THE BATTING FROM THIS SIDE.

YOU DON'T WANT THAT BATTING TO OVERLAP, BECAUSE IT WILL CREATE BULK IN THAT CONNECTION RIGHT IN THE MIDDLE.

ONCE THAT'S BEEN ALL REMOVED ALONG HERE, ONE SIDE WILL GO STRAIGHT AND THIS OPPOSITE SIDE TURNS UNDER A QUARTER OF AN INCH AND YOU'RE READY TO DO YOUR SLIP STITCHING.

[silent] ♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, AND BY COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING COATS DUAL DUTY PLUS SEWING AND QUILTING THREAD.