WELCOME TO LAP QUILTING.

TODAY, RAISE THE FLAG FOR JOLLY OLD ENGLAND.

COME TOUR THE BEAMISH MUSEUM WITH ROSEMARY ALLAN TO LEARN MORE ABOUT ENGLAND'S QUILT HERITAGE.

MY TRIBUTE TO ENGLAND IN FIBER IS A SPECIAL SAMPLER.

LEARN HEXAGONS... FEATHER APPLIQUE... AND THREE NEW BLOCKS-- RAILS, THE U.K. GUILD BLOCK, AND THE BRITISH FLAG, OF COURSE.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

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

WHAT'S MORE BRITISH THAN A TEA PARTY COMPLETE WITH QUILTED TEA COZY AND FLOWERED HAT?

AND WHAT'S MORE SPECIAL FOR A WEDDING GIFT THAN THAT VERY FIRST TEA COZY IN PATCHWORK AND THEN THE COUPLE'S VERY FIRST HOME, SHERYL AND ADAM'S HOME, CAPTURED ON THE OTHER SIDE OF THE TEA COZY?

GO ONE STEP FURTHER, AND LINE THAT TEA COZY WITH SILVER CLOTH TO PROTECT YOUR SILVER TEAPOTS.

TO STUDY AND LEARN MORE ABOUT PATCHWORK, IT HELPS TO HAVE A KEEN UNDERSTANDING OF THE QUILTS MADE IN ENGLAND, WHERE MANY OF OUR FOREMOTHERS LEARNED THE ART.

A LARGE COLLECTION CAN BE FOUND AT THE BEAMISH MUSEUM, SOUTH OF NEWCASTLE, BUILT IN 1971 AND STILL GROWING.

THE MUSEUM IS A WORKING EXAMPLE OF WHAT LIFE IN THE NORTH OF ENGLAND WAS REALLY LIKE IN THE EARLY 1900s.

SET IN 3OO ACRES OF WOODLAND AND ROLLING COUNTRYSIDE ARE THE COLLIERY... AND A HOME FARM.

THE FARM DATES FROM 1790, AND IN THE BACK KITCHEN THAT SERVED AS THE WASH HOUSE, I WANTED YOU TO SEE THIS WASHING MACHINE.

IN THE OLD TOWN, BUILDINGS ARE ORIGINAL STRUCTURES, BROUGHT TO THE BEAMISH FROM ALL OVER ENGLAND AND THEN RESTORED.

THE CO-OPERATIVE STORE HOUSED MANY DEPARTMENTS.

THE DRAPERY DEPARTMENT SOLD EVERYTHING FROM ARTISAN CLOTHING TO LIBERTY BODICES AND HIGH-BUTTON SHOES.

ALSO, A WIDE RANGE OF MATERIALS WERE ON DISPLAY AND, OF COURSE, A MOST IMPORTANT ITEM-- WADDING FOR QUILTS.

YOU WILL WANT TO SPEND THE DAY AT THIS EXCEPTIONAL EXHIBIT AND SEE QUILT DISPLAYS.

OUR AUTHORITY WAS ROSEMARY ALLAN, KEEPER OF SOCIAL HISTORY AT THE BEAMISH MUSEUM IN COUNTY DURHAM.

SHE WAS OUR GUIDE AT THE HOME OF MISS FLORENCE SMITH, TEACHER OF PIANOFORTE AND SINGING, TO SHOW US EXAMPLES OF QUILTMAKING IN THE NORTH OF ENGLAND.

COME JOIN US IN THE UPSTAIRS BEDROOM.

OH!

THIS QUILT, WELL, IT'S NOT REALLY A QUILT.

THIS SPREAD REMINDS ME OF CANDLEWICKING.

IT'S A COVERLET AND IT WAS MACHINE-WOVEN IN LANCASHIRE, DATING BACK TO 1868.

YOU CAN SEE THE THREADS FROM THE WEFT HAVE BEEN PULLED UP BY HAND.

AND THIS ONE ILLUSTRATES THE LORD'S PRAYER.

WE'VE ALSO GOT THE TEN COMMANDMENTS AND OTHER SIMILAR-- HOW NICE.

AND WE HAVE PATCHWORK!

YES.

NOW, THIS IS A RATHER MORE UNUSUAL EXAMPLE BECAUSE AS WELL AS THE PATCHWORK, ALL AROUND THE PATCHWORK IS PIPED.

WE ONLY HAVE ONE QUILT LIKE THIS IN OUR COLLECTION.

SO WE'RE NOT SURE HOW OLD THIS PARTICULAR ONE IS, BUT I HAVEN'T SEEN ANOTHER ONE LIKE IT.

WHAT A BEAUTIFUL DISPLAY!

A MEDALLION-TYPE QUILT.

THIS IS A PARTICULARLY FINE EXAMPLE USING THE VERY TRADITIONAL COLORS THAT WERE USED A LOT IN THE NORTH OF ENGLAND.

THE RED BECAUSE RED WAS A VERY FAST DYE DEVELOPED IN GLASGOW, TURKEY RED IT WAS KNOWN AS, AND THE GREEN AND WHITE.

NOW, THIS IS PROBABLY ONE OF OUR FINEST QUILTS, DATING BACK TO ABOUT THE 1850s-- WAS MADE IN WEARDALE, WHICH WAS AN AREA IN THE NORTH OF ENGLAND VERY WELL-KNOWN FOR QUILTING.

AND IT OBVIOUSLY, I THINK, SHOWS QUITE A LOT OF AMERICAN CHARACTERISTICS.

QUITE A NUMBER OF PEOPLE FROM THE WEARDALE AREA EMIGRATED TO AMERICA.

AND THEY EXCHANGED PATTERNS WITH RELATIONS.

SO, IT'S QUITE AN INTERESTING ONE.

IT'S FASCINATING TO HAVE ONE THAT WE COLLECTED FROM THE FAMILY.

AND THE COLORS HAVE STAYED SO WELL.

THEY HAVE.

THIS IS ANOTHER SIMILAR EXAMPLE, BUT THIS ONE DATES BACK EVEN FURTHER, TO THE 1840s, ILLUSTRATING SOME VERY, VERY FINE QUILTING.

BUT AGAIN, THIS ONE HAS A RATHER NICE, RATHER INTERESTING HISTORY.

UNFORTUNATELY, THIS LADY HADN'T ENOUGH MONEY TO PAY HER RENT.

AND SO, IN LIEU OF HER RENT, AND BY THE LIGHT OF A CANDLE, SHE MADE THIS QUILT AND GAVE IT TO HER LANDLORDS.

OH.

NOW, THIS REMINDS ME OF SOME OF OUR COLORS.

WHAT PATTERN DO YOU CALL THIS?

I DON'T THINK WE HAVE A NAME FOR THIS PARTICULAR ONE, ALTHOUGH IT'S RATHER LIKE A CRESCENT, ISN'T IT?

YES.

THIS IS A VERY DIFFERENT QUILT.

THE QUILTING IS MUCH LOOSER IN THIS WAVE DESIGN HERE, MUCH MORE TYPICAL OF THE LAKE DISTRICT OVER IN CUMBRIA.

BUT AGAIN, USING THE TRADITIONAL COLOR SCHEME, THE TURKEY RED.

THE WADDING IS THICKER HERE.

IT'S A MUCH HEAVIER QUILT.

IT'S A MUCH HEAVIER QUILT ALTOGETHER.

IT ALMOST FEELS AS THOUGH THEY'VE USED A BLANKET FOR THE INFILL.

THIS QUILT HAS A VERY INTERESTING HISTORY ALSO.

YOU PROBABLY HEARD OF THE TRADITION THAT WAS DEVELOPED IN ALLENHEADS, NORTHUMBERLAND, OF QUILT STAMPING.

NOW, STAMPING WAS A PROFESSION WHICH WAS DEVELOPED BY GEORGE GARDINER, AND HE HAD A VERY WELL-KNOWN PUPIL CALLED ELIZABETH SANDERSON, WHO STAMPED, OR MARKED OUT, THE TOP SURFACE OF THIS QUILT.

ELIZABETH WOULD HAVE PIECED THIS.

ALL THE BASKETS ARE PIECED, THE HANDLES ARE APPLIED.

ALL THESE PATTERNS WOULD HAVE BEEN PIECED AND MARKED.

YOU CAN JUST SEE THE TRACES OF THE BLUE PENCIL WORK.

AND THEN SOMEONE ELSE WOULD HAVE QUILTED IT?

AND THEN THE QUILT TOP WAS SOLD.

THIS ONE WAS ACTUALLY QUILTED BY A MRS. ADAMSON IN 1912.

A MUCH HEAVIER QUILT, THIS ONE DATES BACK TO ABOUT THE 1890s, PROBABLY AT A TIME WHEN SEWING MACHINES WERE COMING IN.

CERTAINLY IN THIS AREA.

IT COULD BE SLIGHTLY EARLIER.

THE SEWING MACHINE WAS OBVIOUSLY LOOKED UPON AS BEING A RATHER SUPERIOR INSTRUMENT BECAUSE THE EDGING HERE HAS BEEN MACHINED.

THE REST OF THE QUILT HAS BEEN STITCHED BY HAND.

IT'S ALMOST A DRUNKARD'S PATH.

AND SOME PEOPLE HAVE BEEN KNOWN TO SAY THAT I THINK THIS IS CERTAINLY A DRUNKARD'S PATH, BECAUSE SOMEWHERE ALONG THE LINE, THE PATTERN'S GONE SLIGHTLY WRONG.

YES, IT HAS!

OH, IT'S WONDERFUL, THOUGH.

OH!

WHAT, IS THIS AN INSIGNIA IN THE CENTER?

WHAT IS THIS?

WE DON'T KNOW ANYMORE ABOUT THIS, WHETHER OR NOT THIS WAS AN INITIAL "EE," BUT THIS AGAIN IS ONE OF THOSE LAKE DISTRICT QUILTS WITH THE LOOSE WAVE QUILTING.

ON THE BACK, YOU CAN SEE THE CONTRAST BETWEEN THE VERY LOOSE QUILTING ON THIS QUILT AND THE FINE QUILTING ON THE FORMER QUILT.

A LOT OF THE TRADITIONAL PATTERNS ARE BEING USED IN THE QUILTING.

WE'RE SEEING THE LARGELY PATCHWORK.

THE NORTH OF ENGLAND IS KNOWN FOR WHAT HAVE BEEN CALLED DURHAM QUILTS, BUT, IN FACT, OUR COLLECTION-- WHICH WE NOW HAVE AT BEAMISH OF ABOUT 180 QUILTS-- DOES INCLUDE PLAIN, WHOLE CLOTH QUILTS, STRIP QUILTS, AS WELL AS THE PATCHWORK ONES.

AGAIN, THIS IS A RATHER STARTLING EXAMPLE MADE FOR THE BOTTOM DRAWER, A WEDDING.

AND YOU CAN SEE THE LARGE PIECES HAVE BEEN MACHINE-APPLIED.

WE REFER TO THIS AS A PRINCESS FEATHER DESIGN.

DO YOU ALSO CALL IT THAT HERE?

YES.

THIS, AGAIN, IT'S VERY LIKE THE STAMPED QUILTS FROM THE ALLENHEADS TRADITION.

AND I THINK THIS HAS ALMOST UNDOUBTEDLY BEEN STAMPED BY ONE OF THOSE PROFESSIONAL MARKERS.

THE PATTERN RUNNING HERE FROM THE EDGE TO THE CENTER IS VERY, VERY TYPICAL OF ELIZABETH SANDERSON'S WORK OR ONE OF HER APPRENTICES.

AND THE STYLE OF THE BORDERS, THE OUTER BORDERS, ALTERNATING IN COLOR, VERY TYPICAL OF THAT GENERATION OF QUILTS.

IT'S IN FINE CONDITION AND MADE WITH A COTTON SATEEN, WOULDN'T YOU SAY?

YES, IT IS.

COTTON SATEEN, IN THIS AREA, BECOMING VERY TYPICAL OF THE 1920s AND 1930s PERIOD.

IN THIS ROOM, WE HAVE EXAMPLES OF STRIPPY QUILTS.

TELL US ABOUT THESE.

I THINK STRIP QUILTS IN THIS REGION TENDED TO BE THE ONES WHICH WE USED FOR EVERYDAY, AS OPPOSED TO THE WHOLE CLOTH ONES, WHICH WERE PERHAPS LOOKED UPON AS BEST.

THE STRIP QUILTS, OF COURSE, COULD HAVE BEEN MADE UP OF REMNANTS.

OF OTHER MATERIAL.

THEY WOULDN'T SHOW THE DIRT UP QUITE SO MUCH BECAUSE THEY WERE OFTEN MADE OF DARKER COLORS.

AND THIS ONE, WHICH WAS MARKED OUT OF USING A TAILOR'S AWL, OR A NEEDLE, BECAUSE THE DESIGN SHOWED UP SO MUCH MORE EASILY.

SO, THIS WAS PROBABLY THE SIDE FROM WHICH THE QUILT WOULD'VE BEEN WORKED.

OF COURSE, ALL THESE QUILTS WERE WORKED ON LARGE WOODEN FRAMES.

AND IT COULD HAVE BEEN QUILTED AND MARKED OUT STRIP BY STRIP.

AND THIS--I REFER TO THIS AS AN ORANGE PEEL DESIGN.

YES.

WE WOULD CALL THAT A WINE GLASS.

THIS IS A LOVELY STRIP QUILT COMPOSED OF THE PIECE SECTIONS HERE AS WELL.

THIS IS ONE OF THE FEW QUILTS WHICH IS SIGNED AND DATED, 1877, BUT IT'S VERY MODERN IN THE COLOR COMBINATION.

IT COULD, IN FACT, BE A PRESENT-DAY QUILT.

YES.

WE CALL THESE BAR QUILTS SOMETIMES ALSO.

THEY-- NO.

I HAVEN'T HEARD OF THAT EXPRESSION AT ALL.

A MUCH MORE MODERN QUILT MADE BY MRS. FLETCHER AND WAS MADE IN 1958 WITH SOME VERY-- MORE UNUSUAL DESIGNS, THE PINEAPPLE HERE.

AND THIS QUILT, MADE BY MRS. SHEPHERD OF AMBLE, WHICH IS A SMALL FISHING VILLAGE UP THE NORTHUMBERLAND COAST.

IT'S A RATHER NICE ONE IN PRISTINE CONDITION.

AND SHE MADE IT FOR HER SON, FOR HIS BOTTOM DRAWER, BUT HE NEVER GOT MARRIED, AND SO IT WAS NEVER USED.

AND IT'S BEEN PRESERVED IN ABSOLUTELY PRISTINE CONDITION.

BUT MRS. SHEPHERD HAD, UM, SHE RAN QUILTING CLUBS.

HER HUSBAND HAD BEEN INVALIDED OUT OF THE PITS.

HE HAD BEEN INJURED, AND HE COULDN'T GET ANY COMPENSATION.

AND MRS. SHEPHERD HAD QUITE A FAMILY OF CHILDREN TO BRING UP.

SO, WHAT SHE DID WAS TO RUN QUILTING CLUBS.

AND BY RUNNING A QUILTING CLUB, I DON'T MEAN THAT A FEW PEOPLE GOT TOGETHER TO WORK ON THIS QUILT, BUT SHE WOULD ACTUALLY GO AROUND TO HER NEIGHBORS AND PERSUADE THEM TO GIVE HER A SHILLING OR TWO SHILLINGS A WEEK.

AND AT THE END OF 2O WEEKS, THEY WOULD GET A QUILT.

AND THIS WAS DONE IN A LOT OF THE PIT VILLAGES IN THE NORTHERN REGION, WHERE PERHAPS SOMEBODY HAD BEEN WIDOWED, AND IT ENABLED THEM TO BRING UP A FAMILY OF CHILDREN, BY QUILTING.

DOWN BY THE MINES, WE VISITED A ROW OF PIT COTTAGES BUILT AROUND 1860.

THEY SHOW A SIMPLER LIFESTYLE, AND IN ONE BEDROOM, THE FEATURE QUILT WAS MADE OF HEXAGONS.

THAT LEADS US TO OUR STUDY TODAY AS WE BID FAREWELL TO THE BEAMISH.

FIND YOUR PRETTIEST ENGLISH COUNTRY GARDEN FABRIC TO MAKE THIS ENGLISH SAMPLER.

IT STARTS WITH A 16-INCH SQUARE BASED ON HEXAGONS, GOES TO FEATHER APPLIQUE, A PIECE BLOCK CALLED RAILS, THE U.K. GUILD BLOCK, AND OF COURSE, IT ENDS WITH THE BRITISH FLAG.

NOW, TO MAKE THAT CENTER SQUARE, THAT 16-INCH SQUARE, WE RELY ON FOUR TEMPLATES BASED ON A HEXAGON.

THE TOP AND BOTTOM HAS A HALF A HEXAGON.

THE SIDES ARE A TRIANGLE.

AND THEN THE CORNERS-- NOW, DON'T LOSE THESE.

DON'T COUGH OR SNEEZE WHEN YOU'RE WORKING WITH THESE.

THE IDEA BEHIND THIS IS THAT YOU CAN CUT YOUR TEMPLATE OUT OF FREEZER PAPER WITHOUT THE SEAM ALLOWANCE.

ONCE THAT HAS BEEN CUT OUT-- AND YOU CAN CUT OUT SEVERAL OF THOSE, REMEMBERING THAT YOU CAN REUSE THEM-- POSITION THOSE ON THE BACK SIDE OF YOUR FABRIC, ISOLATING THE PINK FOR THE FLOWER, OR THE BACKGROUND FABRIC, AND THE WHITE FOR THE LETTERS, THE U.K. NOW, WHEN YOU POSITION THOSE ON YOUR FABRIC, I LIKE TO LINE UP THE GRID OF MY FREEZER PAPER EXACTLY WITH THE CLOTH, MAKING CERTAIN THAT THERE'S ONE IN WHITE AND HERE'S ONE ON PINK-- THAT I KEEP THEM LINED UP WITH THE STRAIGHT OF THE GRAIN.

REMEMBER TO KEEP A HALF AN INCH IN BETWEEN.

THAT NEEDS ONE MORE LITTLE HIT WITH THE IRON.

AND THEN I LIKE TO USE THE SMALLER TOOLS WHEN WORKING WITH SMALLER TASKS.

LINING UP THE EDGE OF MY RULER THAT ALLOWS ME TO HAVE A 1/4-INCH SEAM, I WOULD THEN TRIM AROUND EACH OF THOSE HEXAGONS.

ONCE THAT HAS BEEN TRIMMED, I THEN CAN START EITHER BASTING THOSE SEAM ALLOWANCES OVER ON THE PAPER, OR IF YOU'RE WORKING WITH A FABRIC THAT HAS A NICE GLAZE ON IT, YOU'LL FIND THAT JUST CREASING THE FABRIC AROUND-- AND I WOULD DO ALL SIX SIDES BECAUSE ONCE THOSE HAVE BEEN DONE, YOU WANT TO LINE THOSE EDGES UP TOGETHER, AND WITH A MATCHING THREAD-- NOW, I'M USING A CONTRAST SO YOU CAN SEE IT-- YOU WOULD WANT TO TAKE THEN A TINY WHIPSTITCH.

THAT WHIPSTITCH IS NOT GOING TO CATCH THE PAPER, BUT IT IS GOING TO CATCH THE EDGE OF THE FABRIC AND SECURE EACH HEXAGON TOGETHER.

YOU CAN ONLY DO ONE SIDE AT A TIME, BUT YOU COULD GO AHEAD AND SEW ONE LONG ROW TOGETHER.

AND THEN ONCE YOUR NEXT PINK ROW IS SEWN TOGETHER, IT CAN LOCK IN HERE.

KEEP IN MIND THAT YOU CAN LINE UP YOUR GRIDS AND KEEP YOUR BLOCK ALL ON THE STRAIGHT OF THE GRAIN.

THIS CAN ALSO BE DONE ON THE SEWING MACHINE.

THE SAME IDEA, ONLY WITH AN EDGE STITCH FOOT AND YOUR MACHINE ON ZIGZAG, WITH A VERY NARROW ZIGZAG.

NOW, IF YOU DON'T WANT TO DO A WHOLE 16-INCH BLOCK, YOU MIGHT TRY SEWING FOUR OF THEM TOGETHER AND MAKING A LITTLE PINCUSHION, OF COURSE.

BUT THAT IS VERY INDICATIVE OF WHAT HAS BEEN DONE BEFORE US IN ENGLAND-- THE HEXAGON.

FEATHERS ARE SO FEMININE.

YOU PROBABLY ASSOCIATE FEATHERS WITH THE WREATH DESIGN WHEN IT'S USED AS A QUILTING LINE, BUT IT CAN ALSO BE APPLIQUED.

I SAW IT AT THE VICTORIAN ALBERT MUSEUM IN LONDON, WHERE IT COVERED A WHOLE QUILT.

IT CAN ALSO BE DRAMATIC.

LOOK AT IT ON MY GARMENT FOR FAIRFIELD.

I CALL THIS FEATURING FEATHERS FOR FAIRFIELD.

AND, OF COURSE, IT TRAVELED AROUND THE COUNTRY AFTER IT WAS PREVIEWED IN HOUSTON.

NOW, TO PUT IT ON OUR ENGLISH SAMPLER, I HAVE CHOSEN VALUES OF BLUE AND DIFFERENT SHADES OF RED THAT ARE GOING TO BE ATTACHED WITH A FEATHER DESIGN ON THREE PANELS, THREE SIZES OF PANELS THAT GO AROUND THE ENGLISH QUILT IN WHAT I CALL A SEW AND EXTEND METHOD.

SO, TAKING THE HALF A HEART DESIGN, AND KNOWING THAT YOU HAVE THREE SIZES OF TEMPLATES-- SMALL, MEDIUM, AND LARGE-- YOU THEN WOULD CUT OUT YOUR DIFFERENT BLUES AND REDS.

NOW NOTICE THAT THERE IS A CENTER TEMPLATE, AND THERE'S ALSO AN END TEMPLATE.

YOU CAN GO BACK TO YOUR ORIGINAL TEMPLATES TO FIND THOSE.

THAT LINE DOWN THE MIDDLE INDICATES THAT YOU FOLD YOUR FABRIC, AND THEN YOU WOULD CUT OUT THE CENTER PANELS.

THE END PANELS GO FROM ONE DOT TO ANOTHER.

AND SO YOU WOULD CUT THOSE OUT, REALIZING THAT YOU HAVE TO ADD YOUR 1/4-INCH SEAM ALLOWANCE FOR THOSE ENDS.

THE WAY I FOUND-- THE EASIEST WAY TO ATTACH THESE FEATHERS ON EACH PANEL WAS TO GO AHEAD AND MAKE ANOTHER TEMPLATE OUT OF MY FREEZER PAPER THAT WAS JUST THE TURNOVER LINE, OR THE SEWING LINE, THE APPLIQUE LINE.

IRON IT ONTO A MANILA-WEIGHT FOLDER.

AND CUT IT OUT.

THEN TAKE THE CLOTH THAT YOU HAVE CUT OUT TO THE IRONING BOARD.

AND THIS BECOMES THE HELEN KELLEY METHOD.

BECAUSE THEN WE PUT A LITTLE BIT OF SPRAY STARCH IN THE LID OF OUR CAN AND POSITIONING THIS, OUR TEMPLATE, AND THEN WETTING JUST THE EDGES OF OUR FABRIC SO THAT IT'S JUST DAMP, YOU CAN THEN COME AND TURN THAT OVER.

AND YOU'LL FIND-- I HAD IT DAMPENED A LITTLE BIT AHEAD OF TIME.

AND YOU CAN SEE HOW READILY THAT WILL JUST TURN UNDER.

IT SAVES YOU HAVING TO HAND-BASTE OR DO THE NEEDLE-TURN METHOD.

AND THE WAY I APPLY THESE TO THE FOUNDATION IS WITH JUST A RUNNING STITCH.

AND ONCE THOSE NICE EDGES ARE ALL TURNED UNDER-- AND IT DOES IT SO NICELY BECAUSE THIS IS A BIAS AREA HERE.

ONCE THOSE ARE TURNED UNDER, MY THREE SIZES, I CAN THEN THINK ABOUT MY PANELS.

I WILL USE A FLEXICURVE IN ORDER TO GET THAT NICE SWOOP ON MY PANEL, FOLD MY PANEL IN HALF, FINDING THE MIDPOINT, AND THEN WITH MY FLEXICURVE GET A NICE, ALMOST A SWAG DESIGN ALL THE WAY ON THIS AREA.

IF YOU DON'T HAVE ENOUGH LENGTH, GO AHEAD AND JUST PUT TWO FLEXICURVES TOGETHER.

YOU WANT TO REMEMBER, ALSO, NOT TO GET THAT FLEXICURVE TOO CLOSE TO THE IRON.

THAT'S WHAT WILL HAPPEN.

TRACE THAT DESIGN ON THE OTHER SIDE BY USING EITHER A LIGHT BOX OR HOLDING IT UP TO A WINDOW.

AND YOU HAVE IDENTICAL SWOOPS ON EACH SIDE.

YOU CAN THEN START THINKING ABOUT PLACING, AND OVERLAP EACH ONE OF YOUR FEATHER DESIGNS.

DO YOU SEE HOW THEY OVERLAP?

HERE ARE THE RAW EDGES UP HERE.

I HAVE CHOSEN TO USE A SIMPLE RUNNING STITCH WITH A BLENDING BLUE THREAD ON THE VERY OUTSIDE EDGE.

IT'S NOT AN APPLIQUE STITCH.

IT'S AN ACTUAL RUNNING STITCH RIGHT WHERE THE TURNOVER IS.

MY LAST STEP WOULD BE THEN TO OVERLAP MY RED ONES, TURN THESE AT THE INSIDE-- ALMOST THE VEIN, OF WHERE THE FEATHERS COME TOGETHER, AND THEN WITH ONE ROSE-COLORED THREAD, ATTACH THIS ALL AROUND AND THEN COME AROUND EACH FLOWER.

I WANT TO MAKE SURE AND STITCH THIS LITTLE END PIECE UNDERNEATH.

AND THEN WHEN MY OTHER SIDE IS DONE, I CAN PUT MY CENTER SIDES ON.

TO COMPLETE THE SWAG-- NOTICE THAT SOMETIMES WITH THE LIGHTER FABRICS, YOU CAN SEE THE PRINT COMING THROUGH.

IT REALLY IS NICE TO GO AHEAD AND TAKING YOUR APPLIQUE SCISSORS, REACH RIGHT IN HERE, OPEN UP THE BACKING, THAT IS, THE FOUNDATION, AND THEN TRIM OUT.

YOU'VE GOT THAT LIP TO PROTECT YOUR FABRIC FROM BEING CUT UNDERNEATH, BUT YOU CAN GET RIGHT IN THERE AND REMOVE ALL OF THAT EXTRA WEIGHT.

SEE HOW ALL OF THAT WILL COME OUT?

LET ME SNIP THAT THERE.

AND YOU'VE GOT A NICER SINGLE SURFACE TO QUILT THROUGH, AND YOU DON'T HAVE ANY OF THE ROSE FABRIC COMING THROUGH.

WE WANT TO GO TO THE MACHINE AND SEE HOW TO PIECE THOSE THREE BLOCKS.

THE RAILS BLOCK IS A 1O-INCH SQUARE BASED ON THE BRITISH RAIL SYSTEM.

IT'S ALSO A FOUR-PATCH DONE IN FOUR SECTIONS.

THERE ARE FOUR TEMPLATES-- THE CENTER RECTANGLE, A QUADRILATERAL, A PARALLELOGRAM, AND A TRIANGLE.

EIGHT TIMES, YOU PUT THIS SECTION TOGETHER.

THAT IS THEN SEWN TO THAT RECTANGLE.

JUST A COUPLE OF TIPS IN SEWING THAT TOGETHER.

TAKE ADVANTAGE OF THAT WONDERFUL 45-DEGREE ANGLE THAT YOU'VE GOT WHEN YOU LINE UP THE TRIANGLE WITH THAT PARALLELOGRAM, AND THEN SEW ACROSS.

DON'T BE WORRIED THAT YOU'VE GOT A LITTLE DOG-EAR HANGING OFF THERE.

THEN YOU HAVE TO ATTACH THIS FIGURE TO THAT QUADRILATERAL.

DON'T TRY AND JUST LINE UP THE ENDS.

REMEMBER, WHEN YOU'RE PUTTING THE TWO RIGHT SIDES TOGETHER, THAT YOU NEED TO LET THE SAME AMOUNT OF DOG-EAR AT THAT SIDE EXTEND OVER HERE.

AND QUITE OFTEN I WILL DO WHAT I CALL "PIN AND PEEK."

BECAUSE YOU WANT TO MAKE CERTAIN WHEN YOU'VE SEWN THAT AND OPEN IT UP, YOU GET A NICE, STRAIGHT EDGE COMING ACROSS THERE.

USE YOUR 1/4-INCH SEAM ALLOWANCE.

IF YOU'D LIKE, SEW ON A HALF-RIGHT NEEDLE POSITION.

AND THAT WAY YOU DON'T TAKE SUCH A FULL 1/4-INCH.

THERE'S A LITTLE MORE PLAY IN YOUR TEMPLATES AS YOU SEW THEM TOGETHER.

SEW TO THE RAW EDGE, ALL THE WAY TO THE END.

AND THEN ONCE YOU EXTEND THAT, YOU CAN SEE WHERE YOU CAN TRIM OFF YOUR DOG-EAR.

YOUR NEXT BLOCK IS CALLED THE UNITED KINGDOM GUILD BLOCK.

IT COMES FROM THE LOGO, OR TRADEMARK, OF THE ENGLAND QUILTERS' GUILD.

THEY'VE COME A LONG WAY FROM THE BEGINNING PAMPHLET TO THE MORE COLORFUL ONE.

THIS BLOCK HAS FOUR TEMPLATES-- A SQUARE THAT IS TURNED OFFSET-- AND NOTICE THAT I TRIED TO USE YELLOW AND GREEN IN MY ENGLISH SAMPLER.

IT DIDN'T QUITE WORK OUT, BUT THEN I HAD THE OPPORTUNITY TO USE THESE TO SHOW YOU.

THESE BLOCKS HAVE A SQUARE WITH TRIANGLES PIECED AROUND THE SIDE AND LOTS OF LITTLE TRIANGLES.

REMEMBER HOW WE'VE LEARNED THAT WE CAN TAKE OUR TRIANGLE WITH A SEAM ALLOWANCE INCLUDED AND DRAW AROUND IT AND FLIP IT REPEATEDLY, KNOWING THAT IF WE STITCH ON EITHER SIDE OF THE DIAGONAL, THEN WHEN WE CUT APART WITH OUR ROTARY CUTTER, WE HAVE THE SQUARES THAT WE CAN THEN MAKE A MASTER TEMPLATE AND TRIM OFF.

THOSE ARE SEWN THREE ACROSS WITH A TRIANGLE SEWN TO THAT TO THE LARGER TRIANGLE.

AND THEN FOUR HERE WITH A TRIANGLE.

THOSE SEWN TOGETHER AND GO AHEAD AND STAGGER YOUR SEAMS HERE-- GOING UP THIS WAY, PRESS DOWN THIS WAY.

SEW TOGETHER, AND THEN THESE PIECES FIT IN RIGHT HERE TO ATTACH.

AND THEN YOU'VE GOT YOUR 12-INCH BLOCK SEWN TO GO TO EACH END OF YOUR PANEL.

HOW ABOUT THE BRITISH FLAG?

THE BRITISH FLAG IS A UNIQUE DESIGN ELEMENT.

FOR OUR QUILT, IT MEASURES 15 INCHES BY 2O.

IT'S BASED ON VERTICAL AND HORIZONTAL STRIPS THAT REPRESENT ENGLAND.

IT THEN HAS DIAGONAL STRIPS THAT REPRESENT IRELAND AND SCOTLAND.

NOTICE THAT THEY ARE ASYMMETRICALLY ARRANGED SO THAT NEITHER COUNTRY WOULD HAVE GREATER DOMINANCE.

IN ORDER TO PIECE IT, YOU WANT TO CONCENTRATE ON GETTING THESE RECTANGLES PUT TOGETHER FOUR TIMES.

NOW, EACH ONE OF THESE RECTANGLES HAVE MORE OF THESE STRIPS INSIDE.

GO AHEAD AND PIECE THOSE TOGETHER.

ONE WIDER THAT IS A LIGHT BAND, DARKER, AND THEN A NARROWER LIGHT BAND.

ONCE THOSE ARE PIECED TOGETHER, YOU HAVE THIS TEMPLATE THAT NEEDS TO BE CUT OUT TWICE.

I'D GO AHEAD AND LAYER YOUR STRIPS RIGHT ON TOP.

CUT THAT OUT TWICE, AND THEN YOU HAVE TO REVERSE YOUR TEMPLATE IN ORDER TO CUT OUT TWO MORE FOR THE FOUR DIAGONAL STRIPS.

THE LITTLE ACCENT THAT FINISHES OFF THE RECTANGLE IS JUST SEWN ON EITHER SIDE SO THAT THEN ONE HALF CAN BE PUT TOGETHER TWICE, AND THEN THAT CENTER RED STITCHES TOGETHER.

ONCE THOSE FOUR FLAGS ARE COMPLETED, YOU CAN ATTACH THOSE TO THE FEATHERED PANELS.

AND NOW WE NEED TO LOOK AT HOW THAT QUILT AND EXTEND METHOD OPERATES.

THE QUILT AND EXTEND METHOD GOES VERY NICE FOR THE ENGLISH SAMPLER.

IN ORDER TO SHOW YOU THIS, I'VE ABBREVIATED ALL THE MEASUREMENTS OF THE QUILT, SO YOU SEE IT IN A MINISIZE.

WE'RE GOING TO DO A LET'S PRETEND.

LET'S PRETEND THAT WE HAVE PIECED THAT HEXAGON CENTER 16-INCH PANEL, CUT A BATTING OUT AND A BACKING THE SAME SIZE, AND QUILTED THAT.

ONCE THAT IS QUILTED AND THE EDGES ARE TRIMMED, YOU THEN WOULD GO TO THOSE FEATHER WREATH PANELS THAT YOU HAVE APPLIQUED.

WITH THE RIGHT SIDE LINED UP WITH THE FRONT OF YOUR QUILT AND BATTING AND BACKING AS ONE-- YOU COULD EVEN PIN OR BASTE THOSE TOGETHER-- LINE UP THE RAW EDGES, MACHINE STITCH THAT EDGE, AND THEN EXTEND.

ONCE THAT IS EXTENDED, YOU COULD GO AHEAD AND BASTE THAT TOGETHER, AND YOU'RE READY TO QUILT ON THE OUTSIDE.

DO THE OPPOSITE THING, SAME SYSTEM, ON THE OPPOSITE SIDE.

ONCE THAT IS DONE, YOU'RE READY TO GO TO THOSE RAILS BLOCKS THAT YOU'VE PIECED.

SEW THOSE ONTO THE FLOWERED PANELS, AND THE SAME SYSTEM HAPPENS.

RIGHT SIDES TOGETHER, BATTING AND BACKING OF QUILT LINED UP, AND YOU'RE READY TO MACHINE STITCH.

IF YOU HAVE ANY EXCESS BATTING ONCE YOU'VE SEWN THAT, I'D TRY USING THOSE APPLIQUE LIP SCISSORS AND TRIM OFF ANY EXCESS.

YOU DON'T WANT ANY BULK TO DEVELOP RIGHT HERE AT THIS SECTION.

I REALLY LIKE BEING ABLE TO QUILT ON THE OUTSIDE EDGES.

NOW REFER TO THE SCHEMATIC, AND YOU CAN SEE HOW EACH PANEL GROWS ONCE YOU'VE ATTACHED THE PIECED BLOCK TO IT.

WE HAVE THE UNITED KINGDOM BLOCK, AND OUR FINAL PANEL ARE THOSE BRITISH FLAGS THAT ARE ATTACHED TO, THIS TIME, A 2O-INCH-WIDE PANEL ON EITHER SIDE.

ALL OF A SUDDEN, YOUR QUILT WILL BE DONE.

NOW, WE DIDN'T GET A CHANCE TO GET TO OUR BRITISH HAT, OUR ENGLISH COUNTRY GARDEN HAT.

DID WE?

WE'RE GOING TO SAVE THAT FOR NEXT WEEK, BUT IN ORDER TO GIVE YOU A STEP AHEAD, DRAW A 15-INCH CIRCLE ON ANY PIECE OF PAPER-- NEWSPRINT OR A PAPER SACK.

AND YOU'LL BE READY FOR US NEXT WEEK.

SEE YOU NEXT TIME ON LAP QUILTING.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

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

GEORGIA BONESTEEL IS THE AUTHOR OF BRIGHT IDEAS FOR LAP QUILTING.

THE BOOK CONTAINS DETAILED INSTRUCTIONS AND PATTERNS FOR THE QUILTS IN THIS SERIES.

PUBLISHED BY OXMOOR HOUSE, THE BOOK IS AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.