♪ QUILTS, QUILTS, AND MORE QUILTS HERE AT QUILT EXPO IN HOLLAND.

PEOPLE FROM MORE THAN 30 COUNTRIES HAVE GATHERED TOGETHER IN DEN HAAG FOR A QUILT CONFERENCE SPONSORED BY THE AMERICAN INTERNATIONAL QUILT ASSOCIATION.

THE PURPOSE IS TO EXPERIENCE AN OPEN EXCHANGE OF INFORMATION, IDEAS, AND INSPIRATION THROUGH EXHIBITS, LECTURES, AND CLASSES, PLUS HAVE A LOT OF FUN WITH YOUR FRIENDS.

NOW LET'S MEET SOME OF THOSE QUILTERS.

♪ 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.

Georgia: WELCOME, KAREY, TO ALL THE EXCITEMENT GOING AROUND HERE AT THE THIRD BIANNUAL QUILT EXPO EVENT THAT YOU HAVE ORGANIZED.

AND IT GIVES ME THE OPPORTUNITY TO ASK THE DIFFERENCE IN QUILTMAKING IN EUROPE VERSUS THE STATES.

WELL, IN THE AMERICAN INTERNATIONAL QUILT ASSOCIATION, WE'RE THE SPONSORS OF THIS EVENT, AND WE HAVE FOUND THAT THE BASIC DIFFERENCE IS THAT THE EUROPEAN QUILTMAKERS DO NOT NECESSARILY DRAW ON A TRADITION OF QUILTMAKING AND OF QUILT PATTERNS THAT WE HAVE IN THE UNITED STATES.

INSTEAD, THEY CREATE VERY INDIVIDUALISTIC STATEMENTS, VERY CREATIVE, ARTISTIC EXPRESSIONS OF THEIR OWN INTERESTS, THEIR OWN LIVES, THEIR OWN CULTURES, AND IT'S JUST A DIFFERENT FEELING, A DIFFERENT LOOK.

THEY DO THINGS THEIR WAY.

ONCE WE BRING AMERICAN QUILTS OVER THERE, OVER TO EUROPE, DO THEY CONTINUE IN THEIR INNOVATIVE, OR DO THEY FEED ON WHAT WE'RE SHARING?

WELL, THEY FEED ON WHAT WE'RE SHARING IN THAT IT'S ALWAYS AN INSPIRATION TO SEE A MAGNIFICENT QUILT.

I DON'T CARE WHAT IT IS, IT'S ALWAYS AN INSPIRATION.

SO THEY FEED ON THAT.

THEY MIGHT GET COLOR IDEAS, OR PERHAPS THEY'LL GET NEW TECHNIQUE IDEAS OR SOMETHING LIKE THIS, BUT THEY ARE CONTINUING TO PRODUCE REALLY VERY IMAGINATIVE AND VERY INDIVIDUALISTIC QUILTS.

NOW, IN SOME OF THE COUNTRIES, THEY DO HAVE A QUILTMAKING TRADITION.

HERE IN HOLLAND, FOR EXAMPLE, YOU'VE SEEN THE EXHIBIT, I BELIEVE, IN ARNHEM, AND YOU CAN SEE THE TRADITION THAT THEY HAVE.

SO THEY HAVE DEPARTED-- THE CONTEMPORARY QUILTERS IN HOLLAND HAVE DEPARTED QUITE A WAYS FROM THE NORMAL TRIANGLES AND SQUARES THAT YOU SEE IN ANTIQUE DUTCH QUILTS.

YES, AND HOW MANY DO YOU EXPECT THIS WEEK?

WELL, WE HAVE MORE THAN 2,000 PEOPLE PREREGISTERED FOR THE CONFERENCE.

THAT DOES NOT INCLUDE THE AMERICAN DELEGATION OF 100 THAT ARE COMING.

THAT DOES NOT INCLUDE THE EXHIBITORS, AND THAT DOES NOT INCLUDE THE PEOPLE WHO WILL JUST COME FOR THE DAY.

QUILTERS ALL OVER THE WORLD WANT TO PUBLICLY THANK YOU FOR MAKING THIS POSSIBLE AND BRINGING SO MANY QUILTMAKERS TOGETHER.

WE ARE SO EAGER TO SEE THE COLORFUL QUILTS THAT ARE GOING TO BE PRESENTED.

THEY'LL BE BEAUTIFUL.

THANK YOU.

ALL THE WAY FROM GERMANY, WE HAVE BRIDGET INGRAM BARTHOLOMAUS.

WHERE, EXACTLY, IN GERMANY?

IN BERLIN.

AND EVERYONE WOULD LIKE TO KNOW WHY YOU ARE A QUILTER AND MAYBE HOW LONG YOU'VE BEEN A QUILTER.

I'VE BEEN A QUILTER FOR ABOUT 12, 13 YEARS.

I USED TO BE A DANCER, AND DANCERS DON'T DO ENERGETIC THINGS IN THEIR SPARE TIME, SO I USED TO DO JIGSAW PUZZLES.

AND THEN MY MOTHER SENT ME A BOOK ABOUT PATCHWORK AT THE RIGHT MOMENT, AND I ALSO GOT MY HANDS ON A BAG OF SCRAPS, AND THE JIGSAW PUZZLES WENT TO THE CORNER, AND I STARTED DOING FABRIC JIGSAWS, IN OTHER WORDS.

TELL US WHAT YOU'RE TEACHING HERE IN THE NETHERLANDS.

I'M TEACHING SEMINOLE PATCHWORK HERE IN THE NETHERLANDS.

IT'S A TECHNIQUE THAT IS FULL OF SURPRISES, AND IT'S A WAY OF WORKING WITH SMALL PIECES.

I LIKE WORKING WITH SMALL PIECES BECAUSE I LIKE TO MIX THE FABRICS, MIX THE COLORS.

I FIND I CAN DO THAT BETTER WITH SMALL PIECES.

WE'LL WANT TO LOOK AT YOUR WONDERFUL PIECE IN THE TEACHERS' SHOWCASE.

DESCRIBE THAT TO US A LITTLE BIT.

IT'S FOR MY DAUGHTER, SO SHE CHOSE THE FIRST PIECE.

SO THAT WAS VERY DOMINANT, AND EVERYTHING HAD TO FIT IN WITH THAT.

THERE ARE ALSO SOME SCRAPS OF GROSGRAIN FABRIC IN IT, WHICH GAVE ME THE FACES, AND I'VE NOW GONE ON TO DO MORE OR LESS ALWAYS MACHINE PIECING.

I FIND IT A CHALLENGE TO DO MACHINE QUILTING OR MACHINE-EMBROIDERY QUILTING, SO THAT'S ALWAYS SOMETHING THAT'S THERE TO GET ME, SEE HOW FAR I CAN GO, SO IT'S MACHINE-MADE, AND IT SORT OF GREW ROUND BY ROUND.

I WANTED THE CORNERS TO LOOK FAIRLY NICE, BECAUSE I'VE SEEN SO MANY QUILTS DONE LIKE THIS WHERE THE CORNERS DON'T FIT UP PROPERLY.

AND IT JUST GREW AND GREW THAT WAY.

IT'S WONDERFUL.

THE PINEAPPLE THAT YOU'VE GOT THERE, DESCRIBE THAT INTEREST.

THIS IS THE AMERICAN BLOCK THAT I LIKE BEST.

I FIND IT VERY RICH.

IT WAS THE ONE THAT WENT "AHH!"

TO ME.

WHEN IN DOUBT, I GO BACK TO PINEAPPLE.

I MAKE A CUSHION OR A BAG OR SOMETHING LIKE THAT, AND IT WAS ONE OF MY MOST SUCCESSFUL EARLY WALL HANGINGS AS WELL.

NOW, SO MANY WAYS OF DOING PINEAPPLE.

DO YOU WORK ON PAPER OR ON A FOUNDATION OF CLOTH?

I WORK ON A FOUNDATION FABRIC.

I SEE.

SO YOU MARK IT FIRST AND THEN BUILD FROM THERE.

YES, BECAUSE I FIND YOU CAN GO VERY, VERY WRONG JUST HOPING.

IT DOESN'T WORK.

YOU ENJOY PLACING QUILTS IN SHOWS.

I LIKE TO EXHIBIT.

I THINK IT'S HEALTHY TO EXHIBIT EVERY SO OFTEN TO BE ABLE TO SEE YOURSELF WITH COMPETITION, AND ALSO, YOU THEN SUDDENLY COME ROUND A CORNER, AND THERE'S YOUR QUILT.

AND IT'S A SURPRISE CONFRONTATION.

IF YOUR QUILT REALLY COMES FROM DEEP INSIDE YOU, IT GIVES YOU THE CHANCE TO EVALUATE YOUR OWN WORK.

EXCELLENT THOUGHT.

SEE HOW YOU'RE DOING.

WHAT'S HAPPENING IN GERMANY TODAY IN QUILTMAKING?

THERE'S A LOT OF ACTIVITY.

THE GERMAN QUILTMAKERS LIKE TO BE VERY MODERN, PARTLY, PERHAPS, BECAUSE THEY DON'T HAVE THE SAME-- THEY HAVE THE FEATHER COVERS, WHICH DON'T NEED A QUILT, UNLIKE THE ENGLISH OR THE AMERICANS, SO THEY DON'T HAVE THE SAME SORT OF HISTORY, AND THEY LIKE TO MAKE WALL HANGINGS, I THINK.

I THINK THE GERMANS CONCENTRATE VERY MUCH ON TONE CONTRASTS, WHERE MAYBE OTHER PEOPLE CONCENTRATE MORE ON COLOR.

THE GERMANS ARE VERY STRONG ON TONE CONTRASTS AND GET THEIR EFFECTS THAT WAY.

IT'S QUITE INTERESTING.

WELL, THAT'S A GOOD THOUGHT.

IS YOUR FAMILY ALL EXCITED ABOUT YOUR WORK AND SHARE YOUR ENTHUSIASM?

MY HUSBAND'S VERY SUPPORTIVE.

HE LIKES TO BE ASKED.

HE LIKES TO LOOK AND SAY, "NO, I WOULDN'T," OR, "YES, I WOULD," WITH SOME THINGS.

AND MY CHILDREN SOMETIMES RESENT IT A BIT, 'CAUSE I SAY, "NO, I HAVE TOGO UPSTAIRS TO MY ROOM NOW."

THE QUILT THAT I'VE MADE THAT IS HERE IS ACTUALLY FOR MY DAUGHTER, AND MY SON WAS VERY, VERY INSULTED TO FIND OUT THAT SHE WAS GETTING ONE AND HE WASN'T.

SO HE'S TOLD ME, "GOOD, WHEN I AM THAT OLD, I HAVE ONE, TOO."

AND SHE'S VERY, VERY WORRIED THAT I SHOULDN'T LEAVE IT HERE, I SHOULDN'T SELL IT.

IT IS HER QUILT.

[LAUGHS] OH, THAT'S GOOD.

WELCOME TO DAWN CAMERON-DICK FROM BELGIUM.

AND WITH YOUR LACE COLLAR AND THE HISTORY OF LACE, YOU'D EXPECT US TO TALK ABOUT LACE TODAY, BUT WE'RE MORE INTERESTED IN KNOWING ABOUT QUILTMAKING AND WHY YOU ARE A QUILTMAKER IN BELGIUM.

WHY I'M A QUILTMAKER.

WHAT ELSE COULD I BE?

I HAVE LIVED IN NUMEROUS PLACES OVERSEAS, AND WE'VE BEEN IN BELGIUM FIVE YEARS NOW, AND MY ONLY THOUGHT WHEN I CAME HERE IS, "A WHOLE COUNTRY WAITING TO KNOW ABOUT QUILTMAKING."

AND FORTUNATELY, IT HAS TURNED OUT TO BE A COUNTRY THAT'S REALLY INTERESTED IN QUILTMAKING.

I THINK PART OF THEIR INTEREST IN ALL KINDS OF HANDMADE THINGS, IN DOING-- WHETHER IT'S SCULPTURE, THE FAMOUS PAINTERS FROM BELGIUM, AND, AS YOU MENTIONED, LACEMAKING, HAS MADE THEM A PEOPLE THAT IS INTERESTED IN CREATING BEAUTIFUL THINGS WITH THEIR HANDS.

AND PATCHWORK CAME TO THEM ALMOST LIKE A REVELATION.

"WHAT A WONDERFUL IDEA."

THEY LOVE COLOR.

THEY HAVE A NEED TO DO THINGS WITH THEIR HANDS THAT ARE CREATIVE, AND PATCHWORK JUST WAS AN ANSWER TO ALL THOSE QUESTIONS.

SO YOU'RE A TEACHER.

I'M A TEACHER, AND MY GOAL IS SOLELY TO EXCITE PEOPLE ABOUT QUILTMAKING.

I DON'T LOOK AT MYSELF AS BEING ANY GREAT QUILT ARTIST.

I DON'T THINK I'LL GO DOWN IN THE ANNALS OF QUILT HISTORY, BUT IF PEOPLE--IF 5 MORE PEOPLE OR 50 MORE PEOPLE WILL DO PATCHWORK BECAUSE I INTRODUCED IT TO THEM, THEN MY GOALS HAVE BEEN MET.

AND I CAN'T-- I'M NOW ON MY 115th STUDENT, AND I KNOW OF ONLY ONE WHO HASN'T FINISHED HER QUILT.

AND SOME OF THESE PEOPLE DON'T EVEN SPEAK ENGLISH, BUT THEY SPEAK QUILTESE.

TELL ME ABOUT THE BALTIMORE COLLECTION ON YOUR LAP.

THESE ARE SOME EXAMPLES FROM THE CLASS I HAVE JUST BEGUN THIS YEAR IN MAKING TRADITIONAL BALTIMORE ALBUM BLOCKS.

THEY ARE A THING THAT I WAS ABLE TO FINALLY INTRODUCE TO THE BELGIAN QUILTERS, BECAUSE I NOW HAVE BEEN TEACHING THERE FOUR YEARS, AND SOME OF THE BEGINNING STUDENTS ARE LOOKING FOR MORE CREATIVE, DIFFICULT THINGS TO DO, AND THEY LIKE THE HANDWORK.

WE'VE ALL DONE ROTARY CUTTING AND THE MACHINE PIECING.

BUT WHAT THEY'D REALLY LIKE TO DO NOW IS GO BACK AND USE THEIR HANDS, AND OF COURSE THE BALTIMORE ALBUM BLOCKS ARE DONE BY HAND, AND THEY LIKE THE STORIES AND THE TRADITIONS THAT GO ALONG WITH THEM-- THE NAMES OF THE BLOCKS, AND WHY THEY WERE MADE.

AND THEY CAN SPEND A LONG TIME MAKING THESE.

AND WITH THE FABRIC BEING A LITTLE BIT EXPENSIVE, THEY'RE ABLE TO TAKE A YEAR OR TWO YEARS AND MAKE THESE BALTIMORE ALBUM BLOCKS AND FEEL VERY PROUD OF THE QUALITY AND THE TYPE OF WORK THAT THEY WERE ABLE TO MAKE.

I CAN SENSE THE EXCITEMENT IN WHAT YOU'RE DOING.

WE APPRECIATE YOU TAKING THE TIME TO TALK WITH US TODAY.

THANK YOU, DAWN.

THANK YOU.

IT IS A PLEASURE TO INTRODUCE JENNI DOBSON AND VIVIAN FINCH TODAY, BOTH FROM THE UNITED KINGDOM.

DO TELL ME WHERE YOU'RE FROM, JENNI.

I LIVE AT LOUGHBOROUGH, IN THE MIDDLE OF ENGLAND, AND I'VE BEEN TEACHING CLASSES IN THE MIDLANDS FOR A NUMBER OF YEARS.

AND YOUR THRUST IN QUILTMAKING TODAY IS WHAT?

I'M HERE, REALLY, TO TEACH PERSONALIZING FABRICS, A WAY OF ADDING PATTERN AND TEXTURE TO YOUR OWN SPECIFICATIONS.

ONE THING THAT I'M SO INTRIGUED WITH IS THE COMBINATION OF HAND AND MACHINE WORK IN SO MANY OF THE PIECES I SAW IN ENGLAND.

IS THAT TYPICAL?

I THINK PERHAPS WE TEND TO BE FAIRLY PRAGMATIC ABOUT THESE THINGS.

WE LOOK AT THE BEST WAY TO DO A JOB, AND THEN WE GO AHEAD AND DO IT.

AND OF COURSE IT DOES ENRICH THE WORK, I THINK, TO HAVE THIS COMBINATION.

IT ALLOWS YOU TO USE THE MACHINE FOR SPEED AND THE HANDWORK WHERE YOU FEEL IT IS MOST APPROPRIATE.

AND WHAT ELSE?

SHOW ME THE COLORFUL SAMPLER HERE.

I'VE BEEN TEACHING A WORKSHOP ON HAND APPLIQUE AND USING THE BALTIMORE STYLE AS A WAY OF SHOWING WHAT YOU CAN DO.

A LOT OF PEOPLE IN ENGLAND I THINK ARE CONCERNED AT ADDING MIXTURES OF COLORS.

THEY THINK EVERYTHING NEEDS TO BE BEAUTIFULLY COORDINATED, WHEREAS I THINK THAT THE BALTIMORE STYLE ACTUALLY HAS A LOT OF VIGOR, AND IT PRODUCES A VERY EXCITING AND RICH SURFACE.

VIVIAN, YOU'RE HERE AS A JUDGE BUT A LOT MORE THAN THAT.

TELL US YOU'RE-- WHAT'S-- I'M VERY BUSY IN ENGLAND AT THE MOMENT.

I MAKE PATCHWORK QUILTS.

I TEACH ABOUT THEM.

I COLLECT QUILTS ON A SMALL SCALE, BUT MOST IMPORTANTLY, I'M EXECUTIVE MEMBER OF THE GUILD COMMITTEE, AND I AM EDITOR OF "THE QUILTER," WHICH IS THE MAGAZINE OF THE QUILTERS' GUILD.

IT GIVES ME THE OPPORTUNITY TO RESOURCE AND COLLECT ARTICLES FROM QUILTMAKERS ALL OVER THE WORLD FOR THE MAGAZINE AND TO GATHER THE GUILD NEWS TOGETHER, PUBLISH IT QUARTERLY.

I UNDERSTAND JENNI WRITES.

YES, JENNI WRITES FOR THE MAGAZINE.

YEAH, SHE WRITES A USEFUL COLUMN CALLED "WRINKLES AND WHITE HAIRS," WHERE WE HOPE TO SOLVE EVERYBODY'S PROBLEMS IN QUILTMAKING.

CAN YOU GIVE US SOME INSIGHT INTO THE ART OF JUDGING?

I KNOW THAT'S VERY HARD.

YES, IT'S BEEN VERY INTERESTING HERE IN THE HAAG.

I'VE BEEN FORTUNATE TO SEE A TRULY INTERNATIONAL SELECTION OF QUILTS OF A VERY EXTREMELY HIGH STANDARD, AND I THINK THAT QUILTMAKERS LEARN A LOT FROM ENTERING COMPETITIONS AS WELL, BECAUSE MANY EXHIBITIONS AND COMPETITIONS DO LET YOU SEE YOUR JUDGES' COMMENTS AFTERWARDS.

OH, THAT'S TRUE-- A GOOD WAY TO GROW IN YOUR PATCHWORK.

BUT WHAT DO YOU SAY TO YOUR BEST FRIEND WHEN SHE DOESN'T WIN A PRIZE?

I SAY THAT SHE WAS IN COMPANY WITH EXCELLENT STANDARDS, BUT UNFORTUNATELY, ON THIS OCCASION, SHE DIDN'T QUITE MAKE IT.

WE WISH YOU THE BEST AND SEND ALL OF OUR GREETINGS FROM THE STATES.

AND FROM IRELAND, WE HAVE LORETTA O'BRIEN.

EVEN THE MAIDEN NAME WAS... LARKIN.

IRISH.

IRISH.

WE ARE GLAD TO KNOW THAT THERE ARE QUILTMAKERS IN IRELAND.

HOW DID THAT COME FOR YOU?

WE WERE TRANSFERRED TO THE STATES ABOUT NINE YEARS AGO, AND I DECIDED RATHER THAN SIT AROUND DOING NOTHING, I WOULD DO SOMETHING USEFUL WITH MY TIME, AND I WENT AWAY, AND I LEARNED HOW TO MAKE LOG CABIN QUILTS.

AND HALFWAY THROUGH IT, CAME HOME AND DISCOVERED SOMEBODY TO GIVE ME A HAND.

A GIRL CALLED ALISON ELDRIDGE DRAGGED ME THROUGH THE REST OF THE PROCESS OF MAKING THE QUILT.

AND ARE YOU FINDING OTHER QUILTMAKERS IN IRELAND?

YES, THERE ARE NOW 500 OR 600-- 500 OF US, ALL TOLD IN THE ISLAND AS A WHOLE.

IS THERE A HERITAGE OF QUILTMAKING IN IRELAND?

ARE THERE OLD QUILTS?

THERE ARE.

THERE IS A HERITAGE IN KILKENNY.

THEY HAD A HERITAGE OF COLLECTION OF OLD QUILTS, BUT CONTRARY TO BELIEF, THEY WERE NOT MADE FROM OLD FABRICS.

THEY WERE IN FACT MADE FROM THE NEW FABRICS WHICH WOULD HAVE BEEN GIVEN FROM THE BIG HOUSES DOWN TO PEOPLE TO MAKE THE QUILTS.

AND THEY WOULD HAVE MADE THE QUILTS, EFFECTIVELY, FROM NEW FABRICS ALL THE TIME IN IRELAND.

THEY WOULD HAVE ALSO MADE QUILTS THROUGH SHEER NECESSITY WITH THE TWEEDS AND THINGS LIKE THAT.

TELL US ABOUT THE QUILT YOU HAVE HERE, IN PARTICULAR, THE BIG ONE BEHIND--IS THAT WHAT YOU'RE TEACHING HERE?

THIS IS WHAT THEY CALL "SECRET STRUCTURES IN MEDALLION QUILTS."

IT'S A BASIC BLOCK, AS MOST PEOPLE CAN SEE.

I JUST ENLARGED THE BASIC BLOCK AND CHANGED THE DESIGN SLIGHTLY AND THEN ADDED BLOCKS AROUND IT ALL THE WAY RIGHT OUT TO THE VERY EDGE, AND THEN YOU COLOR IT IN DIFFERENTLY, AND THAT THEN CREATES YOUR NEW DESIGN.

IT'S THE WAY YOU COLOR THINGS IN.

THEN YOU GO BACK TO THE BLOCK FOR STRUCTURE, TO PIECE IT TOGETHER AGAIN.

THEN ON A SMALLER SCALE, WHAT IN THE WORLD ARE THOSE STEPS GOING UP AND DOWN ON THAT LITTLE WALL HANGING?

THAT'S WHAT THEY CALL "THE WALLS OF LIMERICK."

THAT WAS MADE FOR A LOCAL EXHIBITION AT HOME, THE TREATY EXHIBIT WE CALLED IT, AND THEY ASKED ME TO MAKE A QUILT OF THE WALLS OF LIMERICK, AND I SAID, "OH, YES, VERY BORING."

THEN I GRINNED AND I SAID NOTHING.

AND THE DANCE ROUTINE IS THE WALLS OF LIMERICK, AND IT IS THE FULL DANCE ROUTINE RIGHT ON IT.

THAT'S ONLY HALF OF IT, AS YOU CAN SEE.

GOOD IDEA, OR A VERY NOVEL IDEA.

WELCOME BACK TO THE LAP QUILTING STUDIO.

SO MANY QUILTS AND SO LITTLE TIME, EVEN IN DEN HAAG.

OUR STAR TODAY IS CALLED THE STAR OF BETHLEHEM.

IT'S A 12-INCH BLOCK, AND IT CONTAINS FIVE TEMPLATES.

I'D LIKE TO POINT OUT THAT THE CENTER HEXAGON IS ON THE FOLD WHEN YOU CUT THAT OUT.

THE TEMPLATE COMES THAT WAY.

ANOTHER BACKGROUND TEMPLATE IS ON THE FOLD, TOO.

THEN YOU HAVE YOUR STAR POINTS, AND YOU HAVE A SMALLER HEXAGON-- THEY'RE DUAL HEXAGONS-- RIGHT IN THE CENTER, A SMALLER ONE AND A LARGER ONE.

THIS WHOLE BLOCK COULD BE THE BEGINNING OF YOUR BIBLICAL SERIES.

THERE'S ONE MORE BACKGROUND TEMPLATE, THEN YOU'RE READY TO GO.

I WOULD SUGGEST EITHER HAND OR MACHINE APPLIQUEING THIS CENTER HEXAGON IN PLACE.

YOU'D SEW YOUR POINTS ON OPPOSITE SIDES OF THE HEXAGON AND THEN SEW THEM TO THIS BACKGROUND MATERIAL.

THEN YOU HAVE TO DO THAT PIN AND PEEK-- LINE THAT UP AND COME BACK.

DO YOU SEE HOW THAT'S OFF RIGHT THERE?

AND THEN I WOULD SCOOT THAT BACK.

I HAVE ONE PINNED IN PLACE.

LET'S GO AHEAD AND SEW THAT.

THIS IS THE BEGINNING OF THAT CENTER ROW.

IT'S A WIDER ROW, BUT IT HELPS YOU GET YOUR BLOCK DONE VERY QUICKLY.

NOW, I USE THE STILETTO HERE.

YOU SEE HOW THAT SEAM'S GOING TOWARDS MY PRESSER FOOT?

IT REALLY HELPS TO HAVE THAT TO KIND OF KEEP IT IN PLACE SO IT WON'T SLIP.

ONCE THAT'S DONE, I'LL COME BACK, OPEN THAT UP-- KNOWING THAT I'M HAPPY WITH THAT INTERSECTION-- AND THEN SEW THE OTHER ONE IN PLACE.

MY OUTSIDE PANELS ARE STITCHED BY SEWING THE POINTS ALMOST UP.

BACKSTITCH.

THE SAME THING ON THE OTHER SIDE.

AND THEN YOU'LL SEE THERE'S JUST A SHORT SEAM ON EACH SIDE TO COME ALL THE WAY OUT.

THEN YOU'D SEW THESE TWO IN PLACE, AND YOUR 12-INCH BLOCK IS DONE.

I'D LIKE TO POINT OUT HOW I QUILTED THIS.

WITH SO MANY HEXAGON SHAPES, IT WAS EASY TO JUST ECHO THAT DESIGN ALL THE WAY OUT UNTIL I GET TO THE STAR POINTS, AND THEN I JUST USED MY 1/4-INCH TAPE AND BLACK THREAD, OF COURSE.

ANOTHER STAR TODAY IS THE MISSOURI STAR-- 12-INCH BLOCK WITH 5 TEMPLATES.

YOU CAN SEE IT IN AN ARRAY OF DIFFERENT COLOR COMBINATIONS HERE.

FIRST, THREE COLORS, FOUR COLORS, AND FIVE COLORS.

NOW, IN GETTING THIS ALL SEWN UP TO SHOW YOU TODAY, I PUT IT NEXT TO "THE CLUB SANDWICH" QUILT, AND ALL OF A SUDDEN I REALIZED THERE ARE ALTERNATIVE METHODS FOR DOING THIS.

THAT'S ONE WAY FOR ME TO TELL YOU THAT I DID THESE RECTANGLES WRONG.

THEY CAN BE TURNED EITHER WAY.

OBVIOUSLY, THIS MAKES MORE OF A STAR HERE.

AND THEN WHAT HAPPENS WITH THIS ONE, YOU GET OVERLAPPING SQUARES.

THE LAST SQUARE IS TURNED ON POINT.

SO TURN YOUR BLOCKS AROUND AND TRY DIFFERENT COMBINATIONS.

TO PIECE THIS BLOCK, YOU WOULD START WITH YOUR TRIANGLES, THE TWO RIGHT SIDES LINED UP, AND DO YOUR KITE THING.

AND ONCE THAT'S BEEN CUT APART, YOU CAN SEE THAT YOU WILL JUST BE OPENING THOSE UP AND POSITIONING THOSE IN PLACE.

THIS TIME, WE WANT THE GOLD TIPS ON THE OUTSIDE.

I'D PRESS THOSE FIRST, AND THEN USE OUR 45-DEGREE ANGLES TO SEW AND FLIP BACK.

THE CENTER SECTION WOULD BE PIECED BY DOING YOUR OPPOSITE TRIANGLES, AND THEN YOU CAN SEE WHAT HAPPENS.

YOU'RE GOING TO REALLY DEVELOP THREE PANELS OR THREE ROWS THAT YOU'D SEW TOGETHER-- ONE PANEL BEING LARGER, AND THE TWO ON THE OUTSIDE.

AN IMPORTANT THING FOR YOU TO DO ON ALL YOUR BLOCKS IS TO TRUE THEM UP.

IN OTHER WORDS, THIS BLOCK WILL BE A PART OF EITHER THE WHOLE QUILT OR A PANEL, AND I WANT TO MAKE SURE THAT IT'S GOING TO BE 12 1/2 INCHES.

THESE RULERS ARE SO NICE.

THEY COME 12 1/2.

SO ANYPLACE THAT IT EKES OUT, I CAN JUST GO AHEAD AND TRIM THAT OFF AND GET RID OF THAT.

HOPEFULLY, IT WILL BE A LITTLE BIT LARGER.

YOU WOULDN'T WANT IT TOO SMALL.

BUT THEY COME IN DIFFERENT SIZES, AND IT REALLY MAKES IT NICE.

WE'RE GOING TO THEN POSITION THIS IN PLACE TO ADD OUR INSIDE PANELS TO CREATE THE 18-INCH-LONG ROW.

AND NOW TO THAT SPECIAL PART OF MAKING A QUILT-- THE ACTUAL CONNECTION, THE QUILTING.

IN LINING THIS UP, I HAD AN OPPORTUNITY TO SEE A LITTLE FUNNY PART GOING ON HERE.

I MIGHT WARN YOU MY KITTY CAT PEE WEE EATS BATTING, SO BEFORE YOUR CAT CHOMPS DOWN ON IT, YOU MIGHT HAVE TO HIDE IT EVERY NIGHT.

YOU ARE GOING TO BASTE YOUR QUILT TOGETHER.

IT MIGHT BE A FULL QUILT TOP OR IT MIGHT BE IN ROWS OR IT MIGHT BE IN SECTIONS, BUT I WOULD USE A NICE, BIG, HEALTHY, LONG NEEDLE, AS LONG AS YOU CAN FIND A NICE PIECE OF THREAD, AND START AT THE MIDDLE AND DO ALL THAT BASTING.

THAT'S GOING TO ANCHOR THOSE THREE LAYERS AND ALLOW YOU TO MOVE IT AROUND, TAKE IT WITH YOU.

AS YOU CAN SEE, I HAVE BIG BASTING STITCHES, BUT THAT'S AN IMPORTANT PART OF THE QUILTMAKING.

NOW, WHEN I'M DOING THAT IN JUST THE MACHINE WORK, QUITE OFTEN I DON'T BASTE THAT MUCH BECAUSE I WILL BE ANCHORING IT WITH THE HOOP UNDERNEATH THE NEEDLE.

BUT FOR THIS SORT OF THING, IN MY LAP OR IN A HOOP, I WOULD DEFINITELY BASTE.

THERE ARE ALL SORTS OF THINGS FOR YOU TO USE ON YOUR FINGERS AND IN YOUR FINGERS, BUT A SHORT NEEDLE IS VERY IMPORTANT FOR QUILTMAKING.

AND THEN, OF COURSE, WHAT ARE YOU GOING TO PUT ON THE UNDERFINGERS?

I HOPE YOU'VE FOUND THE ANSWER.

THERE ARE ALL SORTS OF TOOLS AND DEVICES TO USE.

I HAVE FOUND THAT JUST SOME TAPE ON THESE FINGERS ALLOWS ME TO PROTECT THAT WHEN I GET READY TO QUILT.

IF I HAVE MY SIZE-12 NEEDLE ALL THREADED AND ABOUT A 24-INCH THREAD, I WILL DO THAT FOOLPROOF KNOT BY HAVING THE UNKNOTTED END COME TOWARDS THE NEEDLE, AND THEN HOLDING IT IN MY RIGHT HAND, GO AROUND IT ABOUT THREE TIMES AND COME ALL THE WAY DOWN.

YOU GET A NICE KNOT EVERY TIME.

SOMETIMES THERE'S A LITTLE TAIL ON IT, AND YOU CAN JUST SNIP THAT OFF IF YOU'RE CONCERNED ABOUT THE EXCESS.

THE IMPORTANT PART OF QUILTMAKING, OF COURSE, IS TO HIDE THAT KNOT.

YOU WANT TO PULL IT THROUGH.

I WOULD TAKE MY OFF HAND AND SECURE THE LAYERED FABRIC, AND THEN WITH MY KNOTTED END, I WOULD PULL THAT THROUGH.

AND OF COURSE YOU CAN ALWAYS HEAR IT CLICK THROUGH.

YOU DON'T WANT IT TO COME OUT, BUT SEE IT COME THROUGH, AND THEN I'M READY TO DO THE QUILTING.

IT'S A MATTER OF TAKING THOSE STITCHES, AND NOTICE THAT MY OFF HAND IS HELPING TO MANIPULATE THE FABRIC RIGHT TOWARDS THE NEEDLE.

YOU SEE HOW I'M PICKING UP THE THREADS?

NOW, WHEN I DO THE LAP QUILTING IN A HOOP-- SAY I'M STARTING WITH A FULL QUILT AND I'M IN A HOOP-- I WILL HOLD THE NEEDLE IN AN ENTIRELY DIFFERENT MANNER.

I'VE PUT MY MATERIAL UP HERE, AND I HAVE-- MY HOOP IS SECURED, AND THEN I'M STARTING-- AND THIS TIME, THE NEEDLE IS COMING TOWARDS ME, AND I'M USING THE INDENTED PART OF THAT THIMBLE TO ALLOW MY NEEDLE TO ROCK TOWARDS ME.

IT'S A VERY NICE GENTLE FEELING, JUST GOING THROUGH ALL THREE OF THOSE LAYERS.

I'VE BEEN EXPERIMENTING WITH ALL KINDS OF NEW THIMBLES.

HERE'S A NEW ONE.

IF YOU'VE GOT NICE LONG FINGERNAILS, PERHAPS THIS IS THE ONE THAT YOU WOULD LIKE.

I'M GETTING READY, AND I'LL JUST CONTINUE QUILTING AND HOPE TO SEE YOU NEXT WEEK.

DON'T MISS IT.

WE'RE GOING TO HOLLAND, AND IT'S GOING TO BE PART ONE OF OUR HOLLAND SERIES.

SEE YOU THEN.

[soft acoustic guitar] ♪ "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.