[synthesizer jingle] [upbeat acoustic guitar music] ♪ ♪ >> WELCOME BACK TO LAP QUILTING AND MORE ON MASTERING THE MACHINE.

WE'RE GOING TO PICK UP TODAY RIGHT WHERE WE LEFT OFF LAST TIME WITH OUR SAWTOOTH STAR.

REMEMBER THE CONCEPT OF THE FACT THAT WE CAN CREATE A SQUARE WHENEVER THERE'S A TWO-COLOR SYSTEM GOING ON IN A BLOCK BY SIMPLY TAKING OUR TRIANGLE AND TRACING AROUND IT?

AND THEN--OF COURSE IN THIS CASE, IT WAS OUR LARGE PINWHEEL AND THEN OUR STARFLOWER TRIANGLE.

AND 12 TIMES WE'RE GOING TO TRACE AROUND THAT TRIANGLE, AND THEN WE GAVE OURSELF-- THIS WAS DRAWN WITH A SOLID LINE, AND THEN WE GAVE OURSELF-- ON EITHER SIDE OF THE DIAGONAL LINE, WE GAVE OURSELF A SLASHED LINE WHICH WAS 1/4 OF AN INCH FROM THAT LINE.

THAT WAS OUR SEWING LINE, AND WE SEWED THAT IN A CONTINUOUS FASHION ON THIS WHOLE PIECE OF FABRIC.

THEN WE CUT IT APART.

ONCE IT WAS CUT APART, THIS IS STILL A BASIC-FOUR PATCH, BUT IN THIS CASE, WE CAN GO AHEAD AND SEW IT IN THREE RECTANGLES.

I'VE ALREADY GONE AHEAD AND SEWN A SET ON EITHER SIDE OF THE MIDDLE SECTION.

AND MAKE SURE WHEN THAT HAPPENS THAT YOU GET YOUR POINTS JUST RIGHT AND THAT YOU'RE LEFT ON THE OUTSIDE EDGE WITH A 1/4 INCH SEAM ALLOWANCE.

YOU NEED THAT SEAM ALLOWANCE TO ATTACH TO ANOTHER BLOCK OR TO ADD YOUR BORDERS ON.

YOU'RE THEN GOING TO CUT THESE APART, OF COURSE, AND THEN YOU'RE GOING TO SEW THESE INTO RECTANGLES, ONE ON EACH SIDE.

ONE THING THAT I LIKE TO DO TO KIND OF DOUBLE-CHECK AND MAKE SURE THAT I'M ON-TARGET IS TO LINE THESE UP AND THEN TAKE YOUR MASTER TEMPLATE-- IN THIS CASE, IT WOULD BE THE SQUARE-- AND PLACE IT RIGHT ON TOP.

AND YOU SEE YOUR LITTLE DOG-EARS THAT STICK OUT?

YOU KNOW IF YOU DON'T SEE ANY FABRIC ON EACH SIDE OF THAT SQUARE, YOU HAVE SEWN YOUR LITTLE SQUARE TOO SMALL AND YOUR BLOCK IS NOT GONNA SHOW OUT RIGHT.

SO AT THIS POINT, TAKE A PAIR OF SCISSORS THAT WILL CUT LAYERS OF FABRIC.

I LIKE TO USE THESE.

THEY'RE A LITTLE BIT HEAVIER THAN NORMAL SCISSORS, BUT THEY WILL CUT LAYERS.

AND TRIM OFF ANY EXCESS, AND OF COURSE, YOU'RE GONNA GET RID OF THOSE DOG-EARS AT THE SAME TIME.

I THINK IT MAKES IT VERY NICE AND KIND OF CLEANS UP YOUR BLOCK, AND IT'S KIND OF AN INSURANCE THAT YOU KNOW IT'S GONNA GO TOGETHER CORRECTLY.

THERE'S A LITTLE BIT OF EXCESS.

AND THEN FROM THERE, YOU'RE READY TO COME BACK.

AND REMEMBER EXACTLY HOW THOSE GO, AND SEW THAT ALL TOGETHER, PLACING 'EM CORRECTLY.

I'VE GOT THIS ONE SEWN TOGETHER.

AND YOU CAN SEE EACH PLACE I'VE GOT FROM THE RAW EDGE IN A 1/4 OF AN INCH.

THEN THIS ONE WILL GO TO HERE, AND I THINK THIS IS A GOOD TIME TO REMEMBER STAGGERING OUR SEAMS.

PLACE THIS RIGHT HERE.

YOU CAN EVEN PEEK AND MAKE SURE THOSE TRIANGLES ARE COMING RIGHT ON TARGET.

AND THEN WITH A PIN, STICK THAT RIGHT IN THE SEAM.

AND THEN I COME DOWN HERE, AND THE SAME THING.

LET'S SEE, THAT SEAM'S GOING IN THAT DIRECTION, SO THIS ONE WILL GO IN THE OPPOSITE DIRECTION.

AND LINE THAT RIGHT UP.

ONCE THAT HAS BEEN PINNED IF THERE'S ANY EASING TO DO IN BETWEEN, YOU CAN SEE THAT ONE SIDE MIGHT BE A LITTLE FULLER.

EASE THAT A LITTLE BIT.

IF YOU'RE WORKING WITH 100% COTTON FABRIC, YOU WILL FIND IT HAS MORE GIVE, ALTHOUGH I FIND I WORK WITH BOTH COTTONS AND FABRICS THAT HAVE A BLEND OF POLYESTER IN THEM.

NOW YOU'RE READY TO FINISH SEWING YOUR SAWTOOTH STAR TOGETHER.

REMEMBER, THE SAME IDEA CAN BE DONE WITH THE OHIO STAR, IN WHICH CASE, WE HAD OUR TRIANGLE THAT HAD THE LONGER; THE DIAGONAL HAD THE STRAIGHT OF THE GRAIN.

SO WE HAD TO DRAW AROUND THAT.

IN THIS CASE FOR EACH ONE, WE WOULD HAVE DRAWN AROUND IT EIGHT TIMES.

AND THEN I'M GOING TO FINISH SEWING.

YOU SEE I HAVE MY SLASH LINE.

I'M GOING TO SEW ALL THE WAY DOWN... ON THE DIAGONAL.

AND WHEN I GET TO THE END, I CAN SIMPLY... SEW OUT IN THE OUTER EDGE, JUST COME AROUND, BECAUSE I KNOW IN A FEW MINUTES, I'M GOING TO CUT THAT OFF.

TURN AND COME ALL THE WAY BACK.

PERHAPS, IF YOU HAVE A GOOD EAGLE EYE, YOU WOULDN'T EVEN HAVE TO MARK THIS 1/4 OF AN INCH, BUT KEEP IN MIND, YOU DON'T HAVE THE OUTSIDE EDGE TO GO AS A GUIDE.

ALL RIGHT, STOP THERE.

AND THEN I'VE GOT THIS PARTIALLY CUT APART, AND THEN JUST GO AHEAD AND CUT THIS OUT.

AND THEN REMEMBER, YOU'RE CUTTING ON YOUR SOLID LINES.

LET ME MAKE SURE.

I'M GONNA COME DOWN THIS WAY FIRST SO I CAN FOLLOW EXACTLY WHERE I'VE GONE.

AND THEN YOU'RE GOING TO OPEN THESE UP, TAKE YOUR PINS OUT.

I THINK THE PINS HELP TO SECURE YOUR EACH-- YOUR EACH LITTLE SECTION.

AND COME AND CUT THIS APART.

AND REMOVE YOUR PINS.

I'VE BEEN USING THIS MAGNETIC PINCUSHION, AND IT IS REALLY GREAT.

IT JUST GRABS THE PINS.

I'VE ENJOYED USING THAT.

QUITE OFTEN, THEY GO EVERY WHICH WAY.

REMEMBER, CUT ON THE SOLID LINE.

AND THEN AS SOON AS WE PULL THESE APART, I THINK I'LL BE ABLE TO SHOW YOU.

IT'S AT THIS POINT THAT YOU WILL HAVE TO GO AHEAD AND STAGGER YOUR SEAMS.

BUT YOUR OHIO STAR, I THINK, IS SIMPLIFIED QUITE A BIT, ESPECIALLY IF YOU WERE MAKING AN ENTIRE QUILT WITH THIS SAME IDEA.

OKAY, NOW LET'S GET RID OF ALL OF OUR EXCESS SO YOU DON'T GET CONFUSED.

AND NOW OPEN THIS UP, AND I WOULD GO AHEAD AND THUMB-CREASE YOUR SEAM TOWARDS YOUR DARK IN EACH CASE.

I'M GONNA GO LIKE SO AND LIKE SO.

AND YOU CAN JUST KIND OF GO AROUND.

OF COURSE, YOU'D WANT YOUR NAVY BLUE AGAINST THE GREEN, WOULDN'T YOU?

IT WOULD GET LOST IF YOU TURNED IT AGAINST THE... NOW, THAT'S NOT RIGHT.

YOU WANT TO COME OVER HERE AND KEEP COMING AROUND UNTIL YOU--WELL, WHOOPS.

I'VE DROPPED ONE.

EXCUSE ME.

NOW WE'LL COME BACK HERE.

HERE WE GO.

SO FOUR MORE TIMES I NEED TO GO TO THE MACHINE AND SEW THIS TOGETHER.

BUT I THINK YOU GET THE IDEA OF HOW THIS ONE COMES HERE AND THIS ONE COMES HERE.

SO FOUR MORE TIMES, AND YOUR OHIO STAR WOULD BE SEWN TOGETHER.

NOW TAKE A LOOK AT ESTHER KLUG'S BEAUTIFUL FORMAL GARDEN QUILT.

SHE HAS REPEATED THAT ONE DESIGN IN THE ENTIRE QUILT.

AND I WANT TO MAKE A POINT REMINDING YOU ABOUT THE PIVOTING ON THE MACHINE.

REMEMBER, IN THE FLORAL GARDEN, WE ARE WORKING WITH THREE TEMPLATES.

WE'RE WORKING WITH OUR SQUARE, OUR PARALLELOGRAM, AND OUR TRIANGLE.

AND THE SQUARE GOES IN THE CENTER OF OUR QUILT, OF OUR BLOCK FOR OUR WHOLE QUILT.

AND THEN YOU'RE GOING TO SEW IN SECTIONS YOUR PARALLELOGRAM AND YOUR TRIANGLE TOGETHER TO REALLY FORM A TRAPEZOID.

AND WE WOULD SEW THAT CONTINUALLY AND THEN CUT IT APART.

AND BY THE WAY, WHEN YOU DO THAT, MAKE SURE THAT A LITTLE TRIANGLE EXTENDS FROM EACH SECTION.

THEN THESE GO ON OPPOSITE SIDES, LIKE SO, AND THAT WOULD BE THE WAY YOU'D PUT IT TOGETHER.

AND BECAUSE THIS IS MORE THAN, GREATER THAN, YOUR RIGHT ANGLE OR YOUR 90 DEGREES, THIS IS WHAT WE REFER TO AS AN OBTUSE ANGLE, REMEMBER?

A LITTLE REMINDER OF OUR GEOMETRY.

AND I WOULD HAVE GONE AHEAD AND SEWN THIS SIDE TO HERE AND THIS TO HERE, AND THEN THIS PARTICULAR FIGURE SIMPLY PIVOTS IN.

THERE IS ANOTHER SOLUTION YOU CAN DO THERE.

IF YOU ARE WORKING WITH EITHER CARDBOARD OR YOUR PLASTIC, YOU CAN GET A HOLE-PUNCHER WHICH COMES WITH A VERY TINY HOLE.

I DIDN'T REALIZE THAT THESE CAME IN DIFFERENT SIZES.

BUT YOU CAN GET A LITTLE TINY HOLE PUNCHER AND THEN PUNCH THIS OUT.

AND ONCE YOU RELEASE THAT, WHEN YOU'RE MARKING YOUR TEMPLATE ON YOUR FABRIC WHEN YOU INITIALLY CUT IT OUT, GO AHEAD AND MARK THAT 1/4 INCH SEAM ALLOWANCE, AND YOU CAN SEE EXACTLY YOU'VE GOT A MARK AT EACH END HERE, AND THAT'S WHAT I HAVE DONE ON THIS ONE.

AND SO WHEN YOU SEW THIS TOGETHER, DO YOU SEE WHAT HAPPENS HERE?

SEW IT UP TO THAT 1/4 INCH SEAM ALLOWANCE.

AND THE SAME THING.

I'D COME ON THE OPPOSITE SIDE, AND I'VE DONE THE SAME THING.

SIMPLY SEW UP TO THE 1/4 INCH.

YOU HAVE NOT GONE OFF THE RAW EDGE.

WHAT HAPPENS THEN: I'M GONNA GO AHEAD, AND I'VE GOT THIS MARKED.

I KNOW IT'S HARD TO SEE ON THIS FABRIC, BUT IT IS MARKED, AND I'LL SIMPLY SEW FROM THE 1/4 INCH OUT.

AND OF COURSE, HERE YOU CAN REMEMBER TO BACKSTITCH.

REMEMBER, I'VE GOT TWO SEWN.

AND KEEP THAT SEAM ALLOWANCE OUT OF THE WAY.

KIND OF SCOOT IT BACK AND LINE THIS UP AND START RIGHT AT THE 1/4 INCH.

AND WHAT HAPPENS THEN-- NOW I'M GOING TO START HERE AND BACKSTITCH JUST A COUPLE STITCHES, AND I'M READY TO GO AGAIN.

AND WHEN I COME DOWN HERE, I CAN SEE THAT IT'S GOING TO BE-- I'M GOING TO HAVE AN EXCESS OF THE 1/4 OF AN INCH.

COME ALL THE WAY DOWN, BUT DON'T RUN OFF.

STOP RIGHT THERE.

AND YOU CAN EVEN PEEK IF YOU WANT TO, AND YOU CAN SEE-- OH, THAT'S GOOD.

I'M RIGHT UP TO WHERE I'D GONE BEFORE.

SO THEN I GO BACK, LOCK THAT IN PLACE.

AND WHAT HAPPENS AT THIS POINT, I REALLY HAVE CREATED TWO MITERED CORNERS, AND IT'S ALL-- IT HAS BEEN FREED.

DO YOU SEE WHAT I MEAN?

AND THEN I'LL JUST COME AND ON THAT DIAGONAL SEW THAT TOGETHER.

SO YOU MIGHT WANT TO TRY THAT WAY OF WORKING WITH A FORMAL GARDEN.

I'M ALSO TAKING THAT SAME CONCEPT AND WORKING THE CUBE ACCENT DESIGN I GOT SO INSPIRED WHEN I SAW THIS LOVELY PAISLEY FABRIC THAT I THOUGHT I WOULD WANT TO DO A BLOCK AND INCORPORATE THIS IN A VEST AND A SKIRT TO MATCH.

SO YOU CAN SEE THIS SAME IDEA.

THAT'S JUST REALLY FOUR LITTLE MINI FORMAL GARDENS PUT TOGETHER.

CAN YOU SEE THE SQUARE, THE TRIANGLE, AND THE PARALLELOGRAM?

BUT IT'S BEEN TURNED IN MORE OR LESS A DIFFERENT ANGLE.

LET'S GO OVER AND LOOK AT SOME QUILTS THAT USE THE CONCEPT OF WORKING WITH THE TRIANGULAR METHOD.

THE OHIO STAR DONE BY NANCY MICHAEL FROM WINSTON-SALEM I THINK IS A GOOD EXAMPLE.

WE CAN SEE A REPEATED OHIO STAR AND BEAUTIFUL BURGUNDIES AND HER ECRU AND HER TOUCH OF BLUE IN THE CENTER.

AND LOOK HOW SHE'S REPEATED HER STAR DESIGN IN THE FOUR CORNERS OF HER OHIO STAR.

SHE HAS LAP QUILTED THIS, AND WE'LL TALK LATER ABOUT PUTTING BANDS TOGETHER AND INCORPORATING THAT IN LAP QUILTING.

INEZ BIRD HAS DONE AN ENTIRE STARFLOWER QUILT USING THE PINKS AND THE BROWNS.

AND HERE'S AN IDEA.

EIGHT TIMES IN EACH ONE OF THESE SHE COULD SEW HER TRIANGLES TOGETHER TO FORM THE SQUARE AND THEN CUT IT APART.

THE SAME WAY WITH THE CHURN DASH: BANDS OF RECTANGLES AND THEN THE TRIANGLES DONE TOGETHER.

I THINK WHEN YOU STUDY THE WALL HANGING, THAT IT'S DONE WITH THE FORMAL GARDEN, BUT IT'S FOUR BLOCKS SEWN TOGETHER.

I KNOW IT'S HARD FOR YOU TO GET THAT CONCEPT.

BELIEVE IT OR NOT, THAT WALL HANGING AND ESTHER KLUG'S QUILT ARE THE SAME PATTERN.

QUITE OFTEN, I THINK, ONE WAY WE CAN WORK THAT OUT IN OUR MIND AND MORE OR LESS EXPERIMENT WITH OUR TEMPLATES AND OUR PATTERNS IS TO USE CONSTRUCTION PAPER, OR MAYBE YOU'D WANT TO USE FELT AND NOT WASTE YOUR MATERIAL.

MAYBE YOU HAVE A SPECIAL CALICO THAT YOU'VE BOUGHT.

HERE IT IS ALL SET UP AS THE WALL HANGING.

NOW, THESE ARE FOUR 12-INCH BLOCKS SEWN TOGETHER.

LET ME TURN THIS A LITTLE BIT BY SIMPLY SWITCHING THE PARALLELOGRAM, AND I THINK YOU'RE GONNA SEE THE FORMAL GARDEN PATTERN AGAIN.

THEN IT SIMPLY TURNS, AND THERE WE HAVE THE FORMAL GARDEN.

BUT THESE ARE FOUR 12-INCH SQUARES SEWN TOGETHER.

AND OF COURSE IN THE CASE OF THE WALL HANGING, THE CENTERS ARE THE VELVETS.

REMEMBER WHEN YOU'RE CUTTING OUT YOUR FORMAL GARDEN THAT THIS PARALLELOGRAM HAS TO BE CUT OUT FOUR RIGHT IN A ROW.

YOU CAN'T PUT YOUR FABRIC TOGETHER AND THINK YOU'RE CUTTING OUT FOUR, TWO SETS, BECAUSE TWO OF 'EM WILL BE GOING IN THE WRONG DIRECTION.

WE HAVE OTHER WAYS.

GLORIA PETERSON HAS DONE A FINE JOB IN COMBINING FOUR 12-INCH SQUARES TOGETHER.

IN THIS CASE, SHE'S COMBINED THE GRANDMOTHER'S FAN AND JACOB'S LADDER.

ISN'T THAT A MARVELOUS COMBINATION OF HER PINKS AND BROWNS?

VERY, VERY LOVELY COLORS.

THE SAME CONCEPT I AM INCORPORATING IN A HUGE QUILT, A BLACK-AND-WHITE QUILT.

AND I'M GONNA FOLD THIS, AND I THINK YOU'LL SEE A HINT OF THE JACOB'S LADDER AGAIN.

NOW, THE FOUR CORNERS-- OR ACTUALLY THE TWO CORNERS, EXCUSE ME, I HAVE GONE AHEAD AND DONE WITH TRIANGLES RATHER THAN A BASIC FOUR-PATCH.

A JACOB'S LADDER WOULD HAVE THE FOUR-PATCH IN EACH CORNER.

BUT BY DOING THAT AND COMBINING IT, LOOK AT THE WHOLE IDEA OF A NEW CONCEPT IN LAP QUILTING.

AND BY THE WAY, SEE ALL THE DANGLING THREADS?

THIS IS A NEW TERM WE'RE GONNA TALK ABOUT LATER.

WE HAVE TO WORK ON THIS WHEN WE'RE PUTTING OUR BLOCKS TOGETHER.

LET'S GO AND LOOK AT MORE BASIC NINE-PATCHES.

ANOTHER BREAKDOWN OF OUR BASIC NINE-PATCH PATTERN MEANS TAKING OUR 4-INCH SQUARE AND BREAKING IT DOWN INTO FIVE DIFFERENT SECTIONS WITH, ACTUALLY, YOUR SQUARE THAT'S OFFSET AND THEN TRIANGLES GOING ON EITHER SIDE OF IT.

NOW, WHEN YOU CUT THIS PARTICULAR SQUARE OUT, THE STRAIGHT OF THE GRAIN OF THE MATERIAL CAN EITHER GO ALONG THE EDGE OR IT CAN DOWN THE CENTER.

BECAUSE IT'S IN THE MIDDLE OF THAT BLOCK, I REALLY DON'T THINK IT MAKES ANY DIFFERENCE.

BUT I DID WANT TO POINT OUT SOME THINGS ABOUT SEWING THAT.

WE HAVE FOUND THROUGH TRIAL AND ERROR THAT THE BEST THING IS TO SEW YOUR OPPOSITE TRIANGLES ON FIRST AND THEN WITH YOUR SEAMS, OF COURSE, HAVE THEM EITHER GOING IN OR OUT.

HAVE IT GO THE SAME WAY EACH TIME.

AND THEN COME AND SEW ANOTHER TRIANGLE ON.

AND LET'S PRETEND THAT HAS BEEN SEWN AND FLIPPED BACK.

YOU WANT TO MAKE SURE THAT NOT ONLY DO YOU HAVE YOUR 1/4 OF AN INCH FROM THE RAW EDGE, BUT THAT THAT EDGE LINES UP WITH THAT EDGE.

THAT'S A GOOD WAY TO KNOW THAT YOU'RE RIGHT ON-TARGET.

AND THEN OF COURSE, YOU'D COME AND SEW ON THE OTHER TRIANGLE.

WHEN THIS IS SEWN TOGETHER, YOU GET A DESIGN THAT I CALL ANOTHER STAR, BUT IT RELIES ON YOUR OHIO STAR CONCEPT.

THIS PARTICULAR IDEA YOU'RE GOING TO SEE IN OTHER BLOCKS, SOMETIMES IN THE CORNERS.

I REALLY LIKE THIS RED FABRIC.

TO ME, IT'S A CROSS BETWEEN A PAISLEY AND A CALICO, AND I'VE BEEN TRYING TO DECIDE HOW I WANT TO INCORPORATE THAT IN A QUILT, AND SOMETIMES IT MEANS MAKING SEVERAL DIFFERENT BLOCKS AND JUST STUDYING THEM.

I'VE WORKED WITH A CROSS AND CROWN DESIGN AND HAVE TRIED THE BLUE-GREEN FABRIC AND ALSO THE DARK GREEN.

AND I MIGHT END UP JUST PUTTING THEM TOGETHER.

BUT SOMEHOW, I REALLY LIKE THE IDEA OF THIS PATTERNING A LITTLE BIT BETTER.

I TRIED IT WITH A MUSLIN, AND IT SEEMED LIKE ALMOST TOO MUCH WHITE.

I THINK THE COLOR WAS RICHER WITH THE DARKER COLORS.

AND THEN I ALSO HAD THESE FABRICS, AND IT SEEMED TO GET SO BUSY WHEN I WAS MIXING THE PAISLEY WITH THE STRIPES.

SO I THINK YOU HAVE TO JUST PLAY AROUND WITH YOUR FABRICS.

AND I'VE MADE TWO BLOCKS, SO MAYBE I'LL JUST GO AHEAD AND PUT THOSE IN A TOTE BAG INSTEAD.

LET'S LOOK AT SOME OF THE NINE-PATCH VARIATIONS WE CAN MAKE.

THAT SAME IDEA WHEN PLACED IN THE CORNER, TURNS OUT TO BE THE ROLLING STONE PATTERN.

THIS IS CALLED THE DOUBLE "T" PATTERN.

ALL BASIC NINE-PATCHES.

THIS IS CALLED ANOTHER STAR WITH A GREEN ACCENT, AND HERE IS YOUR BRASSTOWN STAR.

THEN YOU REMEMBER, OF COURSE, THE JACOB'S LADDER, THE BASIC NINE-PATCH.

AND I'VE HEARD THIS CALLED EITHER CHURN DASH OR HOLE IN THE BARN DOOR.

THIS IS 54-40 OR FIGHT.

AND THE MAPLE LEAF DESIGN, THE SHOO FLY, AND I CALL THIS THE CORNER NINE-PATCH.

IT ALSO RELIES ON THAT ROMAN STRIPE IDEA OF THE RECTANGLES.

THIS IS YOUR AUTOGRAPH QUILT, OR YOUR FRIENDSHIP BLOCK, AND YOU CAN SEE THAT THERE'S AN AREA HERE THAT'S LEFT FOR YOU TO EMBROIDER YOUR NAME AND MAYBE THE DATE THAT YOU FINISHED YOUR QUILT.

THIS WOULD BE NICE FOR A CHURCH GROUP TO WORK ON.

THEN CARD TRICKS IS A MARVELOUS PATTERN WITH THE UNDERPLAYING.

IT HAS A NICE FLOW ABOUT IT.

THIS IS A VARIATION ON THE NINE-PATCH AND YOUR OHIO STAR.

AND THIS IS VERY MUCH LIKE THE MAPLE LEAF, BUT I CALL THIS BABY BUD.

AND THEN WE CAN TAKE OUR 12-INCH SQUARE AND DIVIDE IT INTO 25 DIFFERENT SECTIONS, SO I CALL THIS A 25-STAR VARIATION.

THIS IS YOUR CROSS AND CROWN BLOCK AGAIN, AND THEN A HORSE DESIGN WHICH WOULD ALSO LOOK VERY CUTE IN A BABY QUILT.

THIS IS YOUR BALTIMORE WHITE MARBLE STEPS DESIGN.

SEVERAL MONTHS AGO, I HAD NOT ONLY THE PLEASURE BUT THE HONOR OF BEING ASKED TO HELP JUDGE A QUILT SHOW.

ACTUALLY, IT WAS CALLED THE GREAT BALTIMORE'S BEST QUILTING CONTEST.

AND THIS WAS A CONTEST THAT WAS SPONSORED BY THE CITY OF BALTIMORE, AND THEY SENT THESE FLIERS OUT, OH, FOUR OR FIVE MONTHS AHEAD OF TIME, SO PEOPLE HAD PLENTY OF TIME TO WORK ON THEIR FIBER ART.

AND THEN I WENT AND VISITED FOR A DAY ALONG WITH DENA KATZENBERG AND FRED COWLEN.

AND IT TOOK US ALL DAY TO JUDGE OVER 300 QUILTS, AND IT WAS REALLY AN INSPIRATIONAL TIME.

THESE PEOPLE WERE NOT ONLY MOVED WITH THE FACT THAT THEY ENJOYED WHERE THEY LIVE, AND THEY WERE PROUD OF BALTIMORE AND HOW FAR BALTIMORE HAS COME, BUT ALSO THE FACT THAT THEY LOVE NEEDLEWORK.

AND WHEN WE FINALLY FINISHED, THE OUTCOME OF THE WHOLE CONTEST WAS JUST MARVELOUS.

THESE ARE QUILTS THAT WILL BE IN A PERMANENT COLLECTION IN THE CITY OF BALTIMORE, SO IF YOU'RE IN THE AREA, DO GO SEE THESE QUILTS.

THEY ARE JUST OUTSTANDING.

THEY WERE WRITTEN UP AND A SPREAD WAS PUT IN THE QUILTER'S NEWSLETTER, AND I'D LIKE TO SHARE WITH YOU THE WINNING QUILTS.

THE FIRST PRIZE WAS DESIGNED AND CREATED BY SALLYE SILESKY, AND IT'S CALLED THE BALTIMORE WHITE MARBLE STEPS.

ANOTHER PRIZEWINNER WAS DONE BY THE SUMMERHILL QUILTERS, AND IT'S CALLED PAST, PRESENT, AND FUTURE.

SUCH A LOVELY SPECTRUM IDEA AND A WAY OF INCORPORATING SAMPLERS AROUND THE OUTSIDE OF THAT QUILT.

ANOTHER PRIZEWINNER WAS CALLED PEOPLE IN BALTIMORE, DONE BY NANCY SAYEZ HORNEY.

JUST A HUGE BATIK PIECE THAT WAS FIRST-- I THINK IT WAS HER FIRST QUILTING EFFORT, BUT SHE HAD DONE A LOT OF BATIK BEFORE, AND IT WAS JUST A MARVELOUS QUILT.

ALL OF THE QUILTS CAME WITH TESTIMONIAL LETTERS, AND THEY WERE AS MUCH FUN TO READ AS IT WAS TO VIEW THE QUILTS.

ANOTHER PRIZEWINNER WAS CALLED TRANSPORTATION AND WAS DONE BY MARY BEAN.

AND THIS QUILT NOT ONLY WAS MACHINE APPLIQUE, BUT IT WAS MACHINE-QUILTED ALSO.

I GOT SO INSPIRED FROM BEING UP THERE, JUST SEEING ALL OF THEIR MARVELOUS ROW HOUSES, THAT I HAD TO CREATE A VEST.

PERHAPS YOU CAN SEE ALL THE DIFFERENT ROW HOUSES.

I WAS VERY INSPIRED.

I DID LEAVE OFF THE WHITE MARBLE STEPS, DIDN'T I?

BUT I REALLY WAS TAKEN BY THAT WINNING QUILT, AND OF COURSE, BEING A TEACHER, I HAD TO STUDY THE TECHNIQUE AND THE WAY THAT BLOCK WAS BROKEN DOWN.

SO I SIMPLY DIVIDED THAT INTO OUR BASIC FOUR-PATCH, AND IN STUDYING IT, I COULD SEE THAT THE TWO TRIANGLES WHEN SEWN TOGETHER WOULD FORM THE PARALLELOGRAM THAT FORMED THE STEPS.

ANOTHER FEATURE THAT WAS SO INTRIGUING ABOUT THIS QUILT: WE COULD WALK AROUND IT, AND ON EITHER SIDE OF THE QUILT, YOU WOULD STILL SEE THE BALTIMORE STEPS.

SOMETIMES THE RISERS WOULD BE DARK, AND SOMETIMES THEY WOULD BE LIGHT.

AT THE SAME TIME, MY SISTER JILL WAS LOOKING FOR AN IDEA TO DO A QUILT, AND SHE HAD HER WALLPAPER AND HAD HER CARPETING AND JUST COULDN'T QUITE GET INSPIRED.

BUT AFTER SEEING THIS PATTERN AND STUDYING IT, WE DECIDED TO ADAPT IT TO LAP QUILTING.

AND OF COURSE, THE ENTIRE QUILT ORIGINALLY WAS HANDPIECED, AND THEN IT WAS HANDQUITLED BY A GROUP, BUT I DECIDED TO SHOW HOW IT COULD BE MACHINE-PIECED.

AND IN THIS IDEA, YOU'RE GOING TO HAVE TO RELY ON THE DIAMOND, AND, WELL, ACTUALLY MORE THAN A DIAMOND, A PARALLELOGRAM.

IT'S DIAMOND-SHAPED, BUT IT'S A LITTLE BIT LONGER.

AND YOU'RE GOING TO HAVE TO REMEMBER THAT YOU CAN TAKE THE FOUR CORNERS AND USE YOUR HOLE-PUNCHER AGAIN, AND WHERE YOUR 1/4 INCH SEAM ALLOWANCE IS, PUNCH THOSE HOLES OUT, BECAUSE IN PUTTING THIS BLOCK TOGETHER AND ADAPTING IT FOR LAP QUILTING, YOU WILL HAVE TO SEW YOUR STEPS TOGETHER FIRST.

AND FORGET-- PRETEND THESE, THE PAISLEY AND THE POLKA DOT, HAVE NOT BEEN PUT ON YET.

I HAVE THEM PINNED IN PLACE.

SO GET THAT JUST THAT SECTION, THAT DIAGONAL STEP, PUT TOGETHER FIRST.

AND IF YOU LOOK OVER AND STUDY THE BACK, YOU CAN SEE THAT WHERE THE TEMPLATE GOES, WHERE THE 1/4 INCH, RIGHT THERE MAKE YOUR DOT.

SEW UP TO THAT POINT AND THEN BACKSTITCH.

AND THE ONLY PLACE THAT YOU'RE GONNA NEED TO DO THAT IS WHEREVER THERE IS A RIGHT ANGLE.

CAN YOU SEE?

FOR INSTANCE, IT WOULD BE HERE.

IT WOULD BE HERE AND UP HERE.

LET'S GO DOWN THIS SIDE.

YOU WOULDN'T NEED TO DO IT HERE, BUT THEN OF COURSE, A RIGHT ANGLE HERE, NOT HERE, BUT THEN DOWN HERE AGAIN.

WHAT HAPPENS THEN IS THAT YOU CAN READILY PUT THESE PIECES IN AND SEW RIGHT UP TO THE 1/4 INCH AND THEN BACKSTITCH.

IT GIVES YOU A LOT OF PLAY IN THAT WHOLE AREA.

AND THEN I WOULD SIMPLY TURN THIS AROUND AND COME ALL THE WAY DOWN.

AND WHEN I WOULD SEW DOWN TO THE END, YOU HAVE TO DECIDE WHETHER OR NOT YOUR WANT THAT DARK, WHICH WAY YOU WANT THAT TO GO.

NATURALLY, YOU WANT THAT SEAM ALLOWANCE TO FALL INTO THE DARK, SO GO AHEAD AND SEW IT SO IT WILL GO ALL THE WAY DOWN TO THE DARK.

ALL RIGHT.

I WOULD DO--SO ONE, AND THEN COME WITH YOUR OTHER.

AND THEN YOUR LAST TIME, YOU'VE GOT YOUR RIGHT ANGLE AGAIN, BUT YOU CAN SEW ALL THE WAY DOWN.

ONCE THIS HAS BEEN PUT TOGETHER, WE HAVE DECIDED TO GO AHEAD AND SET OUR MITERED BORDERS OPPOSITE.

IN OTHER WORDS, WE'LL HAVE TWO PAISLEYS AND THEN TWO POLKA DOTS.

AND ONCE AGAIN, I THINK THE IMPORTANCE OF DRAFTING THESE THINGS OUT ON PAPER: YOU CAN MORE OR LESS SEE WHERE YOU'RE GOING, AND IT HELPS YOU GO FIGURE OUT THE AMOUNT OF FABRIC YOU'RE GONNA NEED TO BUY.

YOU CAN SEE THE CONCEPT.

AND OF COURSE, EVEN ON PAPER, WE CAN TURN IT AND STILL SEE THE WHITE BALTIMORE STEPS, SO I THINK THIS MAKES A LOVELY STORY.

MY HOSTESSES IN BALTIMORE WERE MEG DIAZ AND ANNE SPOONER, AND ANNE EVEN DESIGNED THE INVITATIONS TO THE ROYAL BANQUET WHEN THEY DISPLAYED ALL THE WINNING QUILTS.

ISN'T THAT MARVELOUS?

AND HERE YOU HAVE THE DIAMOND AND THE PARALLELOGRAM ALL PUT TOGETHER IN MORE OR LESS A FLORAL ARRANGEMENT.

NEXT WEEK, WE'RE GONNA TALK ABOUT NEW CONCEPTS IN WORKING WITH LAP QUILTING.

I DON'T THINK WE NEED TO FEEL CONFINED TO SQUARES ALL THE TIME.

THERE ARE OTHER THINGS WE CAN DO, AND I'VE HAD A LOT OF PEOPLE SAY, "OH, I WANT TO DO THE DOUBLE WEDDING RING."

WELL, WE'VE WORKED THAT OUT, AND I'VE HAD AN ENTIRE QUILT PUT TOGETHER, BUT IT WILL BE BASED ON THE IDEA THAT WE'RE TAKING, IN THIS INSTANCE, A 20-INCH SQUARE AND BREAKING IT DOWN INTO 10-INCH SQUARES AND PUTTING AN ENTIRE QUILT TOGETHER.

THIS IS THE WALL HANGING THAT GOES WITH THAT QUILT, AND WE'LL BE ABLE TO STUDY HOW THIS WAS DONE A LITTLE BIT MORE AT A LATER TIME.

ALSO, THE IDEA OF BABY QUILTS IS ALWAYS A HEARTWARMING THING TO WORK ON.

AND WE'RE GOING TO SHOW A TOTE BAG AND A BABY QUILT.

AND I'M GONNA PUT TOGETHER THIS BLOCK THAT-- NOT ONLY THE LITTLE PIECED LITTLE DUTCH GIRL, BUT WE HAVE HER COMPANION, THE LITTLE DUTCH BOY, TO GO WITH IT.

AND THIS PARTICULAR PATTERN IS BASED ON THE CONCEPT OF THE MONKEY WRENCH, SO THAT YOU START WORKING IN THE CENTER AND WORK OUT.

THE PATTERN WAS ACTUALLY DRAFTED TAKING YOUR 12-INCH SQUARE AND FINDING THE MIDPOINT IN THE CENTER, SO YOU COULD ALMOST SAY IT'S BASED ON A FOUR-PATCH CONCEPT.

ANOTHER FAVORITE DESIGN IS THE DIAMOND PATTERN WORKING WITH STARS.

AND I HAVE A FRIENDLY GROUP THAT'S RIGHT DOWN THE ROAD FROM ME IN FLAT ROCK, AND IT'S A CHURCH GROUP.

AND WE THOUGHT, WELL, SINCE IT'S A CHURCH GROUP, WE'D WORK WITH ALL THE BEAUTIFUL STAINED-GLASS COLORS AND CREATE SOMETHING THAT WOULD BE LOVELY IN THE CHURCH AND A LASTING REMINDER OF HOW THEY'RE LEARNING AND WORKING WITH QUILTING.

SO WE'RE GOING TO TAKE THE IDEA OF MAKING A QUILT BUT NOT IN SQUARES THIS TIME BUT MAKING IT, CREATING THE POINTS OF YOUR STARS WITH DIAMONDS AND THEN ADDING TRIANGLES AT EACH POINT SO THAT ACTUALLY WHEN IT'S LAP QUILTED AND JOINED, WE HAVE THE CONNECTION MADE RIGHT IN THIS MIDSECTION.

SO THIS WILL BE SOMETHING FUN TO LOOK FORWARD.

AND IN THE MEANTIME, TRY SOME OF THESE 25-PATCHES, OR HOW ABOUT STARTING A BABY QUILT WITH A HORSE?

THIS REALLY NEEDS A LITTLE BUTTON SEWN UP HERE, AND OF COURSE, SOME EMBROIDERY WORK CAN GO ON THE MANE, WHICH ALWAYS MAKES IT NICE.

AND THAT WOULD BE A GOOD ACCENT AND A GOOD WAY TO CENTER THIS ALMOST AS A MEDALLION IN THE MIDDLE OF YOUR QUILT.

WE LOOK FORWARD TO SEEING YOU NEXT TIME, WHEN WE'LL BE DECIDING ON WHICH QUILT YOU'RE GOING TO MAKE.

THANK YOU FOR JOINING US.

GOOD-BYE.

male announcer: GEORGIA BONESTEEL IS THE AUTHOR OF THE BOOK LAP QUILTING WITH GEORGIA BONESTEEL BASED ON THIS TELEVISION SERIES.

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