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

FABRICS, A DIVISION OF M. LOWENSTEIN CORPORATION.

[upbeat acoustic guitar music] ♪ ♪ >> WELCOME TO OUR SHOW TODAY ENTITLED TYING UP LOOSE ENDS.

WE HAD EXAMINED A MACHINE-QUILTED QUILT, AND I WANTED TO KIND OF FINISH A PORTION OF IT TO SHOW YOU A LITTLE BIT MORE ABOUT HOW MACHINE QUILTING WORKS.

I HAD TWO PANELS THAT WERE SEWN TOGETHER SO THAT I LAP QUILTED 18-INCH-WIDE LONG PANELS.

AND LET'S PRETEND THIS IS OUR PIECED PANEL, AND I HAVE ONE MORE SWIRL TO MAKE ON OUR MEANDER WITH ME BLOCK.

SOME OF THE POINTS TO REMEMBER WHEN YOU'RE DOING MACHINE QUILTING: I FIND THAT IF THE BOBBIN THREAD AND YOUR TOP THREAD ARE THE SAME COLOR, YOU GET A MORE UNIFIED LOOK IN YOUR QUILTING.

ALSO YOU WANT TO REMEMBER OUR FEED DOGS.

YOU WANT TO DROP YOUR FEED DOGS SO THEY ARE DOWN ALL THE TIME.

YOU WANT TO PUT YOUR DARNING FOOT ON, WHICH HAS USUALLY JUST A ROUND OPENING IN IT.

SO ONCE THAT HAS BEEN DONE, WE ARE READY TO SLIDE YOUR HOOP INSIDE.

NOW, IT WILL TAKE A NARROW HOOP.

OTHERWISE, IF YOUR HOOP'S WIDER, YOU'RE GOING TO HAVE TO REPLACE YOUR PRESSER FOOT EACH TIME, ONCE THE HOOP IS SLID UNDER, AND THEN PUT YOUR PRESSER FOOT BACK.

IT IS IMPORTANT TO REMEMBER THAT YOUR PRESSER LEVER IN BACK DOES GO DOWN.

AND ONCE YOU HAVE POSITIONED IT, HOLD YOUR TOP THREAD.

AND WITH ONE CLICK, PULL UP THAT BOBBIN THREAD.

THAT IS SO NICE TO HAVE THAT.

HOLD ON TO THOSE TWO, AND THEN, POSITIONING WHERE YOU WANT TO START, GO UP AND DOWN A COUPLE OF TIMES.

THEN YOU'RE READY TO START YOUR MEANDERING.

I GO A FEW STITCHES, HOLD MY NEEDLE DOWN.

AND THEN I CLIP THOSE INITIAL THREADS OFF.

I DON'T HAVE TO WORRY ABOUT THEM ANYMORE, AND THEY'RE OUT OF THE WAY.

THEN I CAN TURN THIS ANY WAY I WANT TO TO DO MY MEANDERING.

ONE THING TO REMEMBER IS THAT IF YOU MOVE TOO FAST, YOU'RE GOING TO TAKE A BIG STITCH, AND YOU'LL END UP WITH TOE-CATCHER STITCHES.

SO YOU WANT TO-- YOU ARE, AFTER ALL, CONTROLLING THE LENGTH OF YOUR STITCH.

IF YOU SLOW DOWN, YOUR STITCHES ARE GOING TO BE VERY CLOSE TOGETHER.

IF YOU GO LONG, THEY WILL BE DIFFERENT.

IT REALLY IS FUN.

AND WHEN YOU REALLY GET INTO IT, YOU'LL REALIZE THAT THERE IS KIND OF AN ACTION.

THE JUICES ARE FLOWING FROM HERE THROUGH YOUR HANDS THROUGH THE NEEDLE AND INTO THE MATERIAL.

AND IT REALLY IS EXCITING.

I WOULD ENCOURAGE YOU TO PRACTICE AND TRY IT A COUPLE OF TIMES.

WHEN YOU GET TO THE END, JUST SIMPLY STOP AND GO UP AND DOWN.

AND THEN LIFT, AND YOU'RE READY TO TAKE IT OFF.

NOW, WHEN I MARK THE QUILT, OF COURSE, I HAD SAYINGS ON THE PANEL.

AND ONCE YOU HAVE GOTTEN THAT MARKED, YOU WOULD WANT TO THEN TAKE A WET SPONGE OR RAG AND JUST DAMPEN THAT, AND YOU WILL GET RID OF YOUR MARKING PEN.

AND IT'S SO MUCH FUN.

THEN WITH A LIGHTER THREAD, ALL OF YOUR LETTERS ARE GOING TO COME UP AND BE VERY-- ONCE IT DRIES, YOU'RE GOING TO SEE YOUR THREAD MUCH, MUCH MORE.

THERE ARE SEVERAL HOOPS ON THE MARKET.

I LIKE THIS PINCH ONE.

IT IS VERY NICE.

REMEMBER, OUR BIGGER HOOP GOES ON THE BOTTOM, AND THEN THIS ONE SIMPLY FITS INSIDE.

THERE IS A NARROW WOODEN ONE ALSO, AND THAT'S NICE TO HANDLE.

I'M ALMOST DONE WITH THE ATTACHE CASE.

WE REMEMBER THAT IT WAS ALL MACHINE QUILTED.

AND YOU'RE GOING TO LIKE THE FEEL OF THAT CONTINUOUS STITCH RIGHT NEXT TO EACH OTHER ALL THE TIME.

EVERY TIME I MOVE TO A NEW COLOR, I WILL BE CHANGING THE COLOR, THE GREEN HERE.

AND I WILL KEEP A DARKER THREAD ON THE BACK SIDE BECAUSE I HAVE THAT WILD PRINT INSIDE.

BUT WHEN THIS IS DONE, I WILL THEN BE ABLE TO OPEN MY ZIPPER.

AND ONCE THAT IS READY, I WILL MACHINE STITCH THAT TO THE TOP WITH MY ZIPPER ON THE TOP SIDE.

WE ARE NOW GOING TO BEAUTIFUL-- SEE A BEAUTIFUL QUILT.

AND I'M CALLING OUR NEXT LITTLE SEGMENT FROM RICHES TO RAGS.

SO LET'S GO TO SEE A BEAUTIFUL CRAZY PATCH QUILT.

OUR CRAZY PATCH QUILTS OF YESTERDAY CAN BE THE SPRINGBOARD FOR A WHOLE NEW IDEA IN A DENIM QUILT.

WE'RE GOING TO USE THE SAME CONCEPT OF OVERLAPPING RAW EDGES.

AND I KNOW WITH SOMETHING AS VALUABLE AND AS PERISHABLE AS AN OLD CRAZY PATCH QUILT, I HOPE YOU ARE STORING YOUR QUILTS ON POLES THAT ARE COVERED WITH MUSLIN.

THAT'S THE BEST WAY TO STORE A QUILT, TO ROLL IT UP RATHER THAN FOLD IT.

BUT LET'S EXAMINE A WAY TO USE ALL THOSE LEFTOVER JEANS, THE ONES THAT ARE FRAYED AND WORN OUT AT THE KNEE BUT STILL HAVE SOME LIFE TO THEM.

I'VE CUT UP A LOT OF OLD JEANS, AND I'VE FOUND THAT THE BEST PORTION WILL BE ON THE BACK OF THE LEG.

THAT'S THE LEAST WORN PART.

YOU WANT TO ELIMINATE SOME OF THE HEAVY SEAM ALLOWANCES.

THAT DOES ADD BULK WHEN YOU'RE SEWING IT.

BUT THE IDEA BEHIND IT IS THAT YOU CUT UP ODD-SHAPED PIECES, AND THEN YOU PLAY WITH THEM AND ARRANGE THEM ON A FOUNDATION PIECE OF FABRIC.

NOW, WHEN YOU TAKE THAT FOUNDATION-- AND I HAVE USED A NICE OVERSIZED BANDANA HANDKERCHIEF THAT I HAVE PRE-WASHED.

IT'S NICE BECAUSE IT COMES WITH A HEM ALREADY IN IT.

THIS IS ABOUT A 26-INCH SQUARE.

YOU COULD ALSO SIMPLY CUT SOME OF YOUR PASTEL FABRIC OUT AND USE THAT AS A BACKING.

BECAUSE I WANT WARMTH FOR THE QUILT, I GO AHEAD AND CUT A PIECE OF BATTING THAT WILL GO INSIDE OR ON TOP OF MY BACKING FOUNDATION.

I CUT THAT ABOUT 1/2 INCH SMALLER THAN THE BACKING.

AND THE IDEA BEHIND THAT IS THAT I'M GOING TO PLACE, THEN, ALL OF MY PATCHWORK PIECES AT RANDOM.

YOU CAN START IN ONE CORNER, OR YOU CAN START IN THE CENTER, AND THEY COME ALL THE WAY OUT AND MEET THE OUTSIDE EDGE.

THIS EDGE IS THEN GOING TO BE SEWN TOGETHER WITH THE RAW EDGES COMING UP.

AND THAT WAY, YOU WILL NOT HAVE TO WORRY ABOUT SEWING THAT EXTRA WEIGHT OF THE BATTING ON THE OUTSIDE EDGES.

BUT IT ALMOST LOOKS LIKE, AT A DISTANCE, WHEN YOU LOOK AT THE CRAZY PATCH, ALMOST LIKE AN AERIAL VIEW FROM AN AIRPLANE OF CRAZY PATCH.

AND THE SHADES OF BLUE JUST MELD TOGETHER AND REALLY GIVE A NICE LOOK.

YOU KNOW IT'LL BE STURDY AND WARM.

YOU ALSO WANT TO LEAVE AS MUCH FRAYING AS POSSIBLE.

AND EVEN WHEN YOU DO YOUR ZIGZAGGING OR YOUR DECORATIVE STITCH, COME IN A LITTLE BIT FROM THE RAW EDGE.

AND THAT WAY, IT WILL FRAY AS IT IS WASHED.

WE DO NOT USE THE SEW-AND-FLIP METHOD.

NORMALLY, WE THINK OF CRAZY PATCH AS PUTTING THE TWO RIGHT SIDES TOGETHER, PINNING, SEW, AND FLIPPING BACK.

ANY TIME YOU'RE WORKING WITH A POLYESTER KNIT OR A HEAVY DENIM, YOU'RE CREATING A LOT OF EXTRA BULK.

WHY NOT JUST OVERLAP?

THEY ARE SIMPLY OVERLAPPED AND PINNED IN PLACE.

I DO THINK IT HELPS.

AND I'VE HAD A LITTLE HELP FROM MY MOTHER HERE.

THIS WILL BE MY SON'S QUILT.

AND I'VE, ON THE FIRST BLOCK, WENT AHEAD AND WROTE HIS NAME WITH THE MACHINE IN ONE OF THE BLOCKS.

SO THAT'S ALL TAKEN CARE OF.

I'LL, OF COURSE, HAVE TO DATE IT WHEN I FINALLY FINISH IT.

BUT I DID GET SOME HELP FROM MY MOTHER.

AND I THINK IT'S VERY NICE TO BASTE THIS IN PLACE.

WHEN YOU USE PINS, YOU HAVE TO NEGOTIATE AT THE MACHINE, AND THERE'S ALWAYS A CHANCE YOU'RE GOING TO CATCH A PIN IN THE NEEDLE.

SO LET'S GO TO THE MACHINE AND SEE EXACTLY WHAT HAPPENS NEXT WITH THE DENIM QUILT.

I'M GOING TO TAKE THE PINS OUT.

IT WAS POSITIONED IN PLACE SO YOU COULD SEE HOW IT WOULD BE FINISHED.

AND I'M GOING TO SIMPLY SHOW YOU HERE.

YOU WOULD BE SEWING UP ON THE TOP SIDE.

AND ONCE THE PINS ARE OUT, THE IMPORTANT FEATURE, AS IN LAP QUILTING, IF YOU WERE DOING THIS BY HAND, IS TO START IN THE CENTER.

SO ONCE MY PINS ARE REMOVED AND I'M ALL SET TO GO, I WOULD PULL MY STITCH IN.

AND I THINK I WILL START-- LET'S SEE WHERE A GOOD PLACE WOULD BE.

ALL THE WAY HERE, WHICH IS RIGHT IN THE CENTER.

AND YOU CAN USE ANY SORT OF A DECORATIVE STITCH OR JUST A SIMPLE ZIGZAG.

AND YOU CAN DETERMINE-- I LIKE TO, ONCE AGAIN, KEEP THE RED THREAD ON TOP AND THE RED ON THE BOTTOM, MORE OR LESS TO UNIFY IT, AND THEN SIMPLY DO YOUR DECORATIVE STITCH.

NOW, ONE THING TO KEEP IN MIND: BUY A LOT OF THREAD.

IT WILL TAKE A LOT OF THREAD TO DO THIS DECORATIVE STITCHING.

AND I WOULD BUY EXTRA IF YOU WANT TO KEEP THE SAME SHADE ALL THE WAY DOWN.

BUT YOU JUST KEEP GOING.

AND OF COURSE, WHEN YOU COME TO A PLACE WHERE YOU WANT TO STOP, I THINK IT WOULD BE A GOOD IDEA TO BACKSTITCH AND LOCK IT IN PLACE, AND THEN YOU'D BE READY TO GO.

AND QUITE OFTEN, IT HELPS TO PLAN AHEAD.

IF I WERE GOING TO DO THIS ONE, THEN I COULD TURN AND COME DOWN HERE SO THAT YOU COULD JUST KEEP GOING.

IT WOULD ALSO BE POSSIBLE, WHEN YOU COME TO A RIGHT ANGLE, TO STOP AND CHANGE TO ANOTHER DECORATIVE STITCH.

BUT I THINK YOU'LL ENJOY YOUR DENIM QUILT.

AND MORE IMPORTANTLY, I THINK YOUR CHILDREN WOULD ENJOY THE DENIM QUILT.

WE ARE TYING UP SOME LOOSE ENDS TODAY.

AND I WANTED TO MENTION OUR MAPLE LEAF AGAIN.

WE ENJOYED LEARNING ABOUT THE MAPLE LEAF BLOCK AND HOW IT WORKS.

LET'S REMEMBER OUR OFFSET MAPLE LEAF PATTERN FROM THE GYPSY QUILT.

IT IS A BASIC FOUR-PATCH, BUT THERE ARE TWO SEGMENTS IN IT.

ONE IS A 6 1/2 INCH MAPLE LEAF AND A SMALLER ONE.

IT IS ALSO BOUND WITH RECTANGLES TO BUILD UP TO THE 12-INCH PATTERN.

I WASN'T SURE IF YOU WERE PERFECTLY CLEAR HOW TO PUT THAT MAPLE LEAF PATTERN TOGETHER.

IT DOES RELY ON SEWING RECTANGLES TOGETHER, WHICH ARE THEN SEWN TO THE DIVIDED SQUARE.

THE FIRST RECTANGLE IS MADE UP OF JUST YOUR TRIANGLES, AND THEN THE OTHER SET HAS A SQUARE ON THE END.

AND THAT WOULD BE SEWN TOGETHER.

OF COURSE, IF YOU DID SOMETHING LIKE THAT BY MISTAKE, YOU SEE WHAT'S GOING TO HAPPEN.

SO MAKE SURE THAT IT IS SEWN THAT WAY.

YOUR SEAMS ARE GOING TO BE STAGGERED.

AND THEN YOU'RE READY TO SEW.

WHEN YOU HAVE A PATTERN SUCH AS THIS THAT HAS AN ASYMMETRICAL SETTING WITHIN A BLOCK, I THINK IT'S FUN TO EXPERIMENT WITH IT AND SEE THE POTENTIAL THAT CAN HAPPEN.

KAREN IS WORKING ON A QUILT TOP, AND I WANTED TO SHARE THAT WITH YOU.

EXCUSE THE RED THREAD.

I WILL REMOVE THAT LATER.

BUT THIS WAS FROM OUR DENIM PROJECT.

YOU CAN SEE WHAT HAPPENS.

NOW, IT WAS WHEN YOU HAD ALL THESE MAPLE LEAVES THAT YOU COULD BUILD AND HAVE FUN EXPERIMENTING WHEN YOU WERE MAKING GARMENTS.

BUT THIS SAME IDEA, OF COURSE, COULD BE TURNED INTO A QUILT.

AND LOOK HOW KAREN IS WORKING ON A QUILT TOP THAT HAS SUCH A LOVELY FLOW OF THE MAPLE LEAVES.

AND HERE YOU CAN SEE THE 6 1/2 INCH SQUARE ENCIRCLED BY ALL THE SMALLER ONES.

AND REMEMBER, THIS PORTION IS YOUR 12-INCH BLOCK.

BUT THEN AS FOUR 12-INCH BLOCKS ARE SEWN TOGETHER, YOU GET MORE OF THE DESIGN ELEMENT HAPPENING.

AND I THINK IT'S GOING TO BE LOVELY.

I WANTED TO MENTION ALSO ABOUT OUR BATTING TODAY.

IT COMES IN ALL SIZES, SHAPES, AND WEIGHTS.

AND OF COURSE, THE COTTON BATTING WE DON'T USE SO MUCH ANYMORE, BUT THERE IS A COTTON AND POLYESTER BLEND OF BATTING.

THE POLYESTER BATTING COMES THICK.

IT COMES THINNER.

IT COMES IN PELLON FLEECE AND EVEN WEIGHTS OF THAT THAT WE USE FOR OUR GARMENTS.

AND I HAVE USED A PELLON FLEECE FOR A QUILT AND HAVE ENJOYED IT.

THE VERY LATEST BATTING THAT I HAVE DISCOVERED IS A 100% WOOL BATTING.

AND WHAT A LOVELY, WONDERFUL FEELING THAT IS.

AND WOULDN'T THAT BE NICE FOR A BABY QUILT?

THAT WOULD REALLY KEEP SOMEONE WARM.

OUR BLOCK OF THE DAY IS CALLED LOTTIE'S LILY.

AND WE'RE VERY THANKFUL TO RUTH KENNERSON, WHO HAS LET US BORROW HER PATTERN FROM HER OLD QUILT THAT HAD BEEN IN THE FAMILY.

AND YOU CAN SEE THE WONDERFUL DESIGN THAT FORMS FROM THAT OLD QUILT.

SHE HAS MADE A SMALL PILLOW.

AND LOOK WHERE SHE HAS DONE HER QUILTING LINES.

I THINK THAT'S SO INTERESTING.

SHE HAS DIVIDED THE SMALL PATCHES.

AND IT LOOKS LIKE SHE EVEN HAS MANY LITTLE PATCHES IN THAT LILY PATTERN.

IT RELIES ON SQUARES AND TRIANGLES, A VERY SIMPLE COMBINATION.

BUT AS YOU CAN SEE, ONCE IT'S PUT TOGETHER, IT IS VERY EFFECTIVE.

I HAVE IT DONE IN OUR PURPLE AND IN OUR BLUE.

AND NOTICE THAT WHAT HAPPENS WITH THE LILY IS THAT, I WOULD WORK ONCE AGAIN IN BUILDING A RECTANGLE ON THIS SIDE, A LONGER ONE TO GO ALL THE WAY TO YOUR 12 1/2 INCH, AND THEN YOUR TRIANGULAR SEGMENT.

THIS WOULD BE SEWN TO THIS PORTION.

AND ONCE THAT WAS FINISHED, I'D SEW THIS ON.

THEN YOUR LONG TRAPEZOID WOULD GO DOWN HERE.

AND YOUR BASE IS A SEGMENT OF THE TRIANGLES.

NOW, ONCE AGAIN, THIS IS A PLACE WHERE YOU COULD USE THAT QUICKIE PIECE METHOD.

REMEMBER?

YOU HAVE YOUR TWO CONTRASTING FABRICS.

AND ONCE YOU MAKE THOSE, THEY NEED TO BE SEWN TOGETHER AND THEN SEWN ON.

THIS IS NOT QUITE QUILTED YET.

BUT I'LL PROBABLY DO JUST OUTLINE QUILTING AND PERHAPS A LITTLE CURVE AT THE BASE OF EACH ONE OF THE FLOWERS.

THE ACCENT HERE WOULD BE OUR BIAS STEM, WHICH IS A VERY IMPORTANT PART.

WE ARE GOING TO GO NOW AND LOOK AT OUR FINISHED RESCUE THE PERISHING QUILT.

OUR RESCUE THE PERISHING QUILT IS NOW COMPLETED.

THE PANELS HAVE BEEN JOINED.

IT WAS ROW LAP QUILTED.

BUT IN THIS INSTANCE, THE BLOCKS WERE DROPPED HALF A BLOCK.

AND THAT GAVE THE EFFECT-- THIS LARGE TRIANGLE ALMOST BECAME A BORDER, AND THEN YOU GET THE MARVELOUS ZIGZAG EFFECT.

THIS IS A GOOD OPPORTUNITY FOR US TO EXAMINE ALL THE OPTIONS THAT WE HAVE IN LAP QUILTING.

AND I'D LIKE US TO GIVE YOU SOME IDEAS OF THOSE OPTIONS.

WE CAN, WHEN WE ARE LAP QUILTING, USE MITERED BORDERS IN A BLOCK ARRANGEMENT.

WE CAN USE BLOCK TO BLOCK WITHOUT ANY BORDERS TO CREATE AN EFFECT MUCH LIKE YOU SAW IN THE MAPLE LEAF DESIGN.

WE CAN USE SQUARE INSETS, WHICH WOULD BE LIKE OUR STARS OVER THE SMOKIES QUILT, WHERE WE HAD AN ACCENT OF BLACK.

AND WHEN THAT HAPPENS, REMEMBER, QUITE OFTEN, YOU ARE LAP QUILTING BLOCKS THAT DO NOT HAVE FOUR BORDERS ON EACH SIDE, BECAUSE IT IS NOT UNTIL THEY ARE QUILTED AND THEN JOINED, BECAUSE TWO BLOCKS WOULD SHARE ONE BORDER.

WE ALSO, AS WE HAVE SEEN IN OUR SPINNING SPOOLS, HAVE A CENTER PANEL WITH MITERED BORDERS ALL THE WAY AROUND.

SHIRLEY'S QUILT HAS A CENTER PANEL WITH NARROW BANDS, 1 1/2 BAND IN BETWEEN HER 12-INCH BLOCKS.

AND THEN WE HAVE OUR ROW OR OUR STRIP QUILTING, IN THE CASE OF THE MACHINE QUILTED THE BACK DOOR QUILT.

IN THAT CASE, I WAS QUILTING ON THE MACHINE-- OR YOU COULD DO BY HAND-- 18-INCH-WIDE PANELS.

ANOTHER OPTION WOULD BE THE OFFSET BLOCK AS WE SAW IN THE NORTH CAROLINA LILY, THE STRING ALONG WITH ME BLOCK, WHICH WERE, OF COURSE, JOINED TOGETHER TO FORM THE LARGE QUILT.

AND THEN OUR LAST ONE IS THE DIAGONAL OFFSET.

ISN'T IT GREAT TO THINK OF ALL THE OPTIONS THAT WE DO HAVE IN LAP QUILTING TODAY?

THINKING OF THIS QUILT AND THE NAME MAKES ME REMEMBER MY FRIEND FRANCIS GARDENA, ONE OF MY QUILT FRIENDS IN HENDERSONVILLE, WHO GAVE ME THE WONDERFUL FRAME WITH THE HYMNAL ALL COMPLETED.

SHE AND A GROUP OF MY FRIENDS HAVE A GROUP THAT ARE NAMED COVER LOVERS, AND SHE HANDED ME THIS THE OTHER DAY AS I LEFT THE HOUSE.

AND WHAT A FITTING LITTLE BANNER FOR THEIR GROUP, OR I'M SURE MAYBE ONE OF THEM IS GOING TO HANG IT ALL ACROSS THEIR FAMILY ROOM, THE HOUSE ON THE HILL JUST CONNECTED ON AND ON AND ON.

THIS MIGHT BE AN IDEA TO DECORATE ONE OF YOUR ROOMS.

I THINK IT'S A REALLY CLEVER WAY OF USING THE HOUSE ON THE HILL.

WE NEED TO SPEND SOME TIME QUILTING TODAY, AND I JUST WANTED TO TALK TO YOU ABOUT IT.

IN A FEW MINUTES, YOU'RE GOING TO HAVE A CHANCE TO SEE A QUILT SHARING DAY.

AND YOU'RE GOING TO SEE MANY, MANY STITCHES PUT ON THE QUILT.

I AM ALSO REMINDED OF THE EXPRESSION, "THE BEST THINGS IN LIFE ARE FREE."

I THINK THE BEST THINGS IN LIFE TAKE A LONG TIME TO COMPLETE.

SO YOU'VE GOT TO REALIZE THAT YOUR HAND QUILTING DOES TAKE TIME.

BUT SOMEHOW, WHEN YOU'RE LAP QUILTING, IT SEEMS LIKE YOU CAN FINISH YOUR BLOCKS QUICKER BECAUSE YOU'RE WORKING WITH ONE SEGMENT AT A TIME.

DO REMEMBER TO START IN THE MIDDLE.

AND OF COURSE, YOU CAN START WITH A KNOT, OR YOU CAN START WITH THAT THREAD THAT'S TWICE AS LONG AND LEAVE HALF OF IT DANGLING AND COME AND PICK IT BACK UP AGAIN.

I LIKE TO ALSO REMEMBER THAT ONCE YOU PULL THAT KNOT IN, THAT OFF HAND, THAT FINGER UNDERNEATH, IS GOING TO TEST EACH TIME AND MAKE SURE THAT YOU ARE PICKING UP ALL THREE LAYERS.

THERE'S KIND OF A CLICKING LITTLE NOISE THAT HAPPENS.

AND YOU WANT TO MAKE SURE THAT YOU'RE GOING ALL THE WAY THROUGH.

IF YOUR QUILTING OR YOUR FABRIC ACCUMULATES ON THE BACK SIDE, YOU HAVE DONE SOMETHING WRONG, AND YOU WANT TO STOP AND TAKE OUT.

YOU WANT A NICE, SMOOTH BACK.

AND SOMETIMES I REFER TO THAT AS CATAWAMPUS.

IT JUST--IT JUST BUILDS UP.

AND YOU'RE NOT GOING TO BE HAPPY WITH THAT OVERLAPPING EFFECT ON THE BACK SIDE.

SO STOP AND TAKE IT OUT.

PERHAPS YOU NEED TO QUILT IN A HOOP, OR MAYBE YOU SIMPLY NEED TO PUT MORE BASTING IN YOUR THREE LAYERS.

I QUITE OFTEN TAKE ABOUT THREE TO FOUR STITCHES EACH TIME.

AND I TRY TO SWING MY HAND UP SO THAT NEEDLE IS GOING DOWN AS CLOSE TO PERPENDICULAR AS I CAN.

NOW, IT'S NOT THE SAME MOTION THAT YOU WOULD BE USING WHEN YOU'RE WORKING WITH A HOOP.

REMEMBER WHEN WE WATCHED IRMA QUILT THAT THERE WAS THAT DEFINITE ROCKING MOTION.

AND THAT THUMB IN FRONT OF THE NEEDLE-- WHEN YOU'RE IN A HOOP, YOU HAVE THIS FLOATING HAND.

AND YOU CAN MORE OR LESS MANIPULATE THE FABRIC AS IT GOES BACK AND FORTH.

AND IT'S AN ENTIRELY DIFFERENT TECHNIQUE.

IN EACH CASE, YOU'RE CONNECTING THE THREE LAYERS.

AND I THINK THAT'S THE IMPORTANT THING TO REMEMBER.

AND WE ALL WILL HANDLE THE FABRIC, AND WE'RE ALL GOING TO HANDLE A NEEDLE AND A THIMBLE DIFFERENTLY.

BUT IF YOU'RE HAPPY WITH YOUR STITCHES, IF THE THREE LAYERS ARE CONNECTED AND IT'S NOT TOO LONG, THEN I'D JUST HAVE FUN AND MAKE YOUR QUILT.

OF COURSE, YOU KNOW WHEN YOU END, I LIKE TO GO AHEAD-- AND LET'S PRETEND I AM OUT OF THREAD.

I LIKE TO MAKE A LOOP IN MY THREAD, PUT THE POINT OF MY NEEDLE IN-- AND YOU CAN DO THIS TWICE IF YOU WANT TO-- AND PULL THAT KNOT RIGHT DOWN CLOSE TO YOUR FABRIC.

THEN I DO WHAT I CALL A HALF BACKSTITCH.

PUT THE POINT OF THE NEEDLE IN, AND SLIDING IT ABOUT AN INCH AWAY, COME UP IN THE MIDDLE, RIGHT IN THE MIDDLE OF MY BATTING, AND THEN GIVE IT A CLICK.

AND ONCE THAT HAS PULLED THROUGH, YOU KNOW THAT YOU HAVE SECURED THAT KNOT INSIDE.

CLIP OFF THAT FLOATING THREAD, AND YOU'RE READY TO RETHREAD AND START AGAIN.

I KNOW YOU'RE GOING TO ENJOY A SHARING DAY AT THE FOLK ART CENTER IN ASHEVILLE.

WHAT A NICE OPPORTUNITY TO GET TOGETHER WITH THE ENTIRE COMMUNITY, HAVE EVERYONE BRING THEIR QUILTS, AND HELP EACH OTHER IDENTIFY AND OOH AND AHH THE MARVELOUS QUILTS THAT HAVE BEEN MADE IN OUR TIME.

HAVE YOU CONSIDERED A QUILT SHARING DAY IN YOUR COMMUNITY?

WE OPENED THE DOORS OF THE FOLK ART CENTER ONE DAY RECENTLY AND INVITED PEOPLE TO JUST COME AND BRING THEIR OLD, THEIR NEW, THEIR ANTIQUE QUILTS AND SIMPLY SHARE WHAT THEY KNEW ABOUT THEM.

WE WERE REALLY AMAZED AT THE NUMBER OF PEOPLE THAT CAME.

WE ALL LEARNED A LOT BY STUDYING THE QUILTS VERY CLOSELY.

EVERYONE HAD A CHANCE TO BRING THEIR QUILT UP FRONT, NAME THE PATTERN IF THEY KNEW IT, WHEN IT WAS MADE, AND WHO MADE IT.

WE FOUND THAT BY STUDYING THE QUILTS CAREFULLY, WE WERE MORE KNOWLEDGEABLE ABOUT HOW TO CARE FOR THEM, HOW TO HANG THEM, THE DYES AND THE COLORS THAT WERE USED, AND THE DIFFERENT PATTERNS AND HOW THEY WERE NAMED.

THE THING THAT STRUCK ME THE MOST ABOUT OUR ENTIRE SHARING DAY WERE THE VARIETY OF GEOMETRIC SHAPES AND ALL THE WONDERFUL APPLIQUE QUILTS THAT WERE BROUGHT TO US.

IT WAS INTERESTING THAT SOME OF THE QUILTS-- FOR INSTANCE, ONE OF THE FIRST ONES THAT WE SAW WAS CALLED BURGOYNE SURROUNDED.

THE LADY DID NOT KNOW THE NAME OF THE QUILT, AND LAUREL HORTON DID NAME IT FOR US.

BURGOYNE WAS, OF COURSE, A REVOLUTIONARY WAR GENERAL.

THE SAME QUILT WAS ALSO KNOWN AS HOMESPUN.

ANOTHER QUILT HAD A FUN STORY TO IT.

IT WAS ONE THAT WAS WON AT A BOX SUPPER AT A CHURCH SOCIAL.

IN THE CENTER PORTION, PEOPLE PAID 25¢ IN ORDER TO HAVE THEIR NAME EMBROIDERED ON THE SURFACE OF THE QUILT.

NOTICE THE MARVELOUS APPLIQUE BLOCKS THAT ENCIRCLE THIS ENTIRE QUILT.

ANOTHER QUILT THAT WAS BROUGHT IN TO US WAS ONE THAT WAS CARRIED ON A WAGON BY THIS PARTICULAR PERSON WHEN THEY WERE FLEEING SHERMAN.

YOU COULD JUST SENSE THE HISTORY IN THE ENTIRE SURFACE OF THE QUILT.

SOME OF THE SURFACE HAD WORN THROUGH, AND YOU COULD ACTUALLY SEE THE BATTING FROM THE MIDDLE PORTION.

SOMETIMES WE LEARN FROM OUR MISTAKES IN HOW TO HANDLE AND CARE FOR A QUILT.

NOTICE IN THIS JONQUIL QUILT THAT BELONGS TO MARILYN MUNSON THAT TWO OF THE OUTSIDE LEAVES ARE QUITE A BIT LIGHTER.

SHE WAS TRYING TO BRIGHTEN AND CLEAN THIS QUILT, AND SHE USED A LITTLE BIT OF CLOROX, AND REGRETFULLY.

BECAUSE SOME OF THE DYE LOTS ARE DIFFERENT IN FABRICS, THE TWO OUTER STEMS BECAME LIGHTER.

IF YOU LOOK CAREFULLY, YOU CAN TELL THAT THERE ARE THREE JONQUILS IN EACH BLOCK BUT FOUR STEMS.

THIS PARTICULAR QUILT THAT BELONGS TO BERNICE TOMKINS CAME FROM UPSTATE NEW YORK AND HAS BEEN CARED FOR VERY CAREFULLY IN HER FAMILY.

THE THING THAT MAKES THIS QUILT SO UNIQUE IS THAT IT WAS MADE BY AN EIGHT-YEAR-OLD GIRL.

WE ALL FELT THAT THERE WAS HOPE FOR ALL OF US IF AN EIGHT-YEAR-OLD COULD MAKE A QUILT WITH THIS CALIBER.

WE STUDIED THIS VERY CAREFULLY AND NOTED THAT THERE WAS STIPPLING-- THAT IS, VERY CLOSE QUILTING-- ON SEVERAL AREAS OF THIS QUILT.

WE WERE ESPECIALLY TAKEN WITH THIS WONDERFUL RED-AND-GREEN QUILT.

WE ASSUMED THAT IT WAS APPLIQUE WHEN WE STUDIED IT, BUT ON CLOSER EXAMINATION, WE FOUND OUT THAT IT WAS PIECED.

IT WAS CALLED EITHER A WHIG ROSE OR A ROSE/CROSS VARIATION PATTERN.

WE FOLLOWED UP THAT PARTICULAR APPLIQUE QUILT WITH ANOTHER ONE THAT HAD BEEN GIVEN TO ME TO REPAIR.

AND WHEN I EXAMINED THIS ONE CLOSER, I FOUND OUT THAT IT HAD BEEN PIECED ALSO INSTEAD OF BEING APPLIQUED.

WE WERE ESPECIALLY IMPRESSED WITH THIS IRISH CHAIN QUILT, BECAUSE THE CLOSER WE LOOKED, WE DISCOVERED THAT THIS ENTIRE QUILT HAD BEEN MADE ON THE SEWING MACHINE.

NOW, EVEN THOUGH IT LOOKS OLD, WE KNEW THAT THE SEWING MACHINE CAME INTO VOGUE AND INTO USE AROUND 1850.

SO WE COULD DATE THIS QUILT PROBABLY AROUND 1860.

WE LOOKED AND FELT AND HANDLED THIS QUILT AND KNEW THAT THIS LADY PROBABLY STRUGGLED, PULLING THIS ENTIRE EXPANSE THROUGH THE SEWING MACHINE.

GREAT-GREAT AUNT LUCY KIPPS FROM MADISON COUNTY MADE THIS QUILT.

WE WERE PARTICULARLY TAKEN WITH THE VARIETY OF SHAPES AND TRIANGLES ON THE SURFACE.

BUT WHEN WE TRIED TO NAME THE PATTERN, WE WERE STUMPED.

WE HAD TO GO TO OUR QUILT ENCYCLOPEDIAS TO DISCOVER THIS ONE.

WE FOUND ANOTHER INTERESTING QUILT FROM SOUTH CAROLINA, FEATURING MORE OF THE ALAMANCE PLAID ON THE BACK.

AND THIS WAS DISCOVERED UPON THE DEATH OF A RELATIVE IN THE FAMILY.

LOOK AT THE VARIETY OF SHAPES IN THIS PARTICULAR RED, GREEN, AND WHITE QUILT.

THIS WAS NOT DONE BY YOUR BEGINNING QUILTER.

AND IT HAD MORE OF THAT BROIDERY PURSE OR ENGLISH CHINTZ ON THE OUTSIDE BORDER.

YOU COULD TELL IT HAD BEEN LAUNDERED BECAUSE IT HAD LOST SOME OF ITS SHEEN.

IN STUDYING THIS QUILT, WE FOUND THAT THE PARTICULAR QUILTER HAD CHANGED COLORS WITH HER QUILTING THREAD WHEN SHE GOT TO THE RED AND TO THE GREEN.

THROUGHOUT OUR QUILT SHARING DAY, WE SAW SEVERAL MEMORABILIA OR FAMILY TYPE QUILTS.

THIS IS A WONDERFUL WAY TO SAVE GENERATION AND GENERATION OF EVENTS AND PEOPLE'S LIVES ON CLOTH.

SOMEONE SUGGESTED WE SHOULD CALL THESE QUILTS THIS IS YOUR LIFE.

WE REALLY HAD A FUN TIME THAT DAY AND WAS JUST ANOTHER CHANCE FOR US TO EXCHANGE IDEAS, LEARN MORE ABOUT OUR QUILT BLOCKS, TAKE PICTURES, DATE OUR QUILTS, AND SIMPLY EXCHANGE IDEAS AND FEEL VERY PROUD THAT WE ARE QUILTERS TODAY.

Captioning by CaptionMax 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 WAMSUTTA O.T.C.

FABRICS, A DIVISION OF M. LOWENSTEIN CORPORATION.

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