[upbeat acoustic guitar music] ♪ ♪ >> WELCOME TO OUR FIFTH LAP QUILTING SHOW.

TODAY WE'RE GONNA WORK ON MONKEY WRENCH PATTERN, ONE OF FIVE NEW PATTERNS WE'RE GOING TO BE LOOKING AT AND ACTUALLY CONSTRUCTING THREE OF THEM ON THE SEWING MACHINE AND TWO OF THEM HERE AT THE TABLE.

WE'RE GONNA BREAK AWAY FROM OUR BASIC FOUR-PATCH AND OUR BASIC NINE-PATCH AND DO A FEW DIFFERENT THINGS.

WITH THE MONKEY WRENCH PATTERN, YOU HAVE FOUR PATTERNS.

YOU START OFF IN THE MIDDLE WITH A BASIC FOUR-PATCH.

SO THAT'S GONNA, OF COURSE, BE YOUR SQUARE.

THEN YOU'RE GOING TO HAVE THREE TRIANGLES, ALL IN DIFFERENT SIZES: A SMALL, MEDIUM, AND LARGE TRIANGLE.

IN EACH CASE, YOU CUT TWO OF EACH ONE OF THESE PIECES.

BUT REMEMBER, I FIND THAT THIS IS BETTER IF THERE IS A GOOD CONTRAST.

FOR INSTANCE, A LIGHT AND A DARK, A MUSLIN, AND IN THIS CASE, THE BROWN.

YOU WANT TO START WITH YOUR BASIC FOUR-PATCH AND THEN ADD YOUR TRIANGLES IN A CONSECUTIVE CIRCLE GOING ROUND AND ROUND.

THE FIRST TRIANGLE I'M GONNA ADD, MAKE SURE THAT THE RIGHT ANGLE OF YOUR TRIANGLE IS FALLING RIGHT ON THE SEAM OF YOUR FOUR-PATCH.

SEE HOW THAT FALLS OVER?

AND I'LL MACHINE STITCH THIS, OF COURSE, AND LET THE DOG EARS HANG OFF EACH SIDE, THE SAME AMOUNT-- OF THE SAME AMOUNT.

SO CENTER IT.

ALL RIGHT, IF I'VE SEWN A DARK, THEN I'M GONNA SEW A LIGHT, BUT EACH TIME, SWITCH THAT TRIANGLE TO THE BACK SIDE.

I'M GONNA SEW A LIGHT AND SWITCH.

THEN I'D COME OVER HERE WITH THE TWO RIGHT SIDES TOGETHER, SEW, AND GO OUT.

AND THEN, OF COURSE, I'D FIND MY OTHER LITTLE TRIANGLE, SEW, AND TURN OUT.

I HAVE ONE A LITTLE FURTHER ALONG I THINK YOU CAN SEE HERE, AND OF COURSE, IF I SHOW THIS, YOU CAN GET AN IDEA OF HOW IT LOOKS WHEN IT'S DONE.

NOTICE THIS STARTED OUT WITH A BASIC FOUR-PATCH, ADDED DARK, LIGHT, DARK, LIGHT, CAME OVER HERE, ADDED A DARK TRIANGLE.

IN THIS CASE, MAKE SURE THAT YOU SEW ON THIS SIDE.

YOU CAN SEE, TO MACHINE STITCH AND NOT GO INTO YOUR BASIC FOUR-PATCH THERE.

THAT WOULD LOOK KIND OF FUNNY IF YOU ATE UP TOO MUCH OF THAT SQUARE, WOULDN'T IT?

SO SEW THAT, FLIP IT BACK, SEW AND FLIP, SEW AND FLIP.

AND WHEN YOU'VE ADDED THIS ONE, YOU'LL HAVE YOUR SECOND SET OF TRIANGLES.

THEN GO TO YOUR LARGE TRIANGLES AND SEW THOSE ALL THE WAY AROUND IN THE SAME MANNER.

SO ALL OF YOUR SEAMS ARE PRESSED OUT, AND WHEN YOU GET READY TO QUILT THIS, YOU'LL LIKE IT, BECAUSE YOU CAN QUILT ON THE INSIDE AND NOT HAVE TO FIGHT THAT SEAM ALLOWANCE.

HERE IT IS IN A PLACE MAT ALREADY PUT TOGETHER.

THE OTHER PATTERN IS THE HOUSE ON THE HILL.

NOW, THIS HAS A LOT OF POTENTIAL.

IT'S A FUN PATTERN TO WORK WITH.

DON'T BE DISCOURAGED BECAUSE THERE ARE 14 PIECES.

IT'S--THERE ARE WAYS TO CHEAT ON THIS.

I'LL SHOW IT TO YOU IN A MINUTE.

BUT I LIKE THE FACT THAT THERE ARE SEAMS THERE.

IT LOOKS LIKE THE HOUSE HAS JUST BEEN SEWN TOGETHER AND CONSTRUCTED IN THAT MANNER.

THE BASE OF THE HOUSE IS NOTHING MORE THAN A RECTANGLE.

NO PROBLEM THERE.

THE KEY TO PUTTING THIS TOGETHER IS TO REMEMBER RECTANGLES ON ALL THE REST OF IT.

THE FIRST SET WILL BE YOUR WINDOW AND YOUR DOOR.

IT'S A MATTER OF SEWING YOUR WINDOW TO THE BOTTOM THEN THIS SECTION IS GONNA SEW TO THE SIDE.

THIS WILL SEW TO THIS.

THEN COME OVER AND GET YOUR DOOR DONE.

THE CHECK GOES TO THAT AND TO THAT.

THEN THIS WHOLE SECTION GOES HERE.

THEN THE HOUSE WILL GO ON TOP.

REMEMBER THAT THE SKY ATTACHES TO THE TRIANGLE, THE PARALLELOGRAM OVER HERE, AND THEN THE OTHER SKY GOES OVER ON THIS SIDE.

THEN THE SKY WITH THE TWO LITTLE CHIMNEYS ARE SEWN ON.

LET ME MAKE SURE YOU SEE-- THERE'S A HINT I WANT TO SHOW YOU HERE.

IT'S KIND OF IMPORTANT NOT TO LET YOUR CHIMNEYS FALL OFF INTO THE SKY.

THAT'S GONNA LOOK KIND OF FUNNY, ISN'T IT?

SO MAKE SURE, WHEN YOU SEW THIS ON, IT'LL FIT JUST PERFECTLY, THE TWO CHIMNEYS FIT RIGHT ON THE ROOF.

NOW, WHEN YOU GET READY TO QUILT THIS, THERE ARE ALL SORTS OF FUN THINGS YOU CAN DO.

A TINY BUTTON AS A DOORKNOB LOOKS CUTE.

YOU COULD QUILT A PATH GOING DOWN TO THE GARDEN, EMBROIDER SOME FLOWERS ON THERE.

HOW ABOUT SMOKE COMING OUT OF THE CHIMNEY, CLOUDS IN THE SKY?

THIS IS A FUN PATTERN TO WORK WITH.

LET'S GO TO THE SEWING MACHINE NOW AND PUT TOGETHER A DRUNKARD'S PATH PATTERN.

HERE IT IS IN A TOTE BAG THAT IS JUST HALFWAY ASSEMBLED.

I THINK YOU CAN GET A GOOD IDEA OF THE CURVES THAT GO INTO A DRUNKARD'S PATH.

ACTUALLY IT'S A BASIC FOUR-PATCH.

AND TO MAKE THIS PATTERN, YOU NEED A COMPASS.

BUT I THINK IT'S FUN TO LEARN HOW TO SEW THIS ON THE SEWING MACHINE.

IT IS POSSIBLE TO DO IT.

AND JUST BECAUSE IT'S A CURVE, DON'T THINK THAT IT'S GONNA BE REAL HARD TO DO.

BEFORE I SEW IT, I WANT TO POINT OUT ONE THING.

THE BORDER ON THIS TOTE BAG THAT'S HALFWAY DONE, WE KIND OF CALL THE GRAPE VINE DESIGN.

IF YOU TAKE YOUR BLUE PEN AND SIMPLY, JUST AT RANDOM DO A CURVY DESIGN.

LOOK AT THE NICE, INTERESTING QUILTING DESIGN YOU GET JUST AS A BORDER ON THE DRUNKARD'S PATH.

LET'S PUT THIS TOGETHER NOW, REMEMBERING THAT WE HAVE CURVES.

AND KIND OF A TIP TO KEEP IN MIND IS, IF YOU GO AHEAD AND CREASE THIS MUSLIN, PUT A PIN THERE WHERE THE CENTER PART IS, AND THEN THIS CURVED PART THAT'S GONNA FIT-- IT'S GONNA BE SEWN RIGHT IN THERE.

PUT A PIN HALFWAY AROUND ON THAT, AS WE START SEWING, IF THOSE TWO PINS MEET, WE KNOW WE'RE ON TARGET, DON'T WE?

IF THIS COMES UP SHORT, WE KNOW WE'VE GOT TO EASE IT AND PULL A LITTLE BIT MORE IN.

NOW, REMEMBER, THIS IS GOING TO BE SEWN IN THERE, SO LET'S TURN THAT BACK, RIGHT SIDES TOGETHER, AND LINE THIS UP.

IT'S IMPORTANT TO HAVE THIS HAPPENING.

NOT THAT, AND DON'T LET IT COME OVER.

MAKE SURE THAT YOUR TWO RAW EDGES ARE LINED UP PERFECTLY, AND WHAT'S GONNA HAPPEN ON THE MACHINE IS, MUSLIN'S GOING THIS WAY, PRINT'S GOING THIS WAY.

AND THEY'RE GONNA MEET, AND THE RAW EDGES ARE GOING TO BE COINCIDING.

NOW, LET'S JUST VERY SLOWLY-- TAKE YOUR TIME DOING IT, BUT SEE HOW I'M TURNING, PULLING THE BROWN AROUND.

AND I CAN SEE I NEED TO STRETCH THAT BROWN A LITTLE BIT TO MEET THAT PIN.

THEN I'M GONNA REMOVE MY PINS.

AND NOW WITH THE NEEDLE IN THE MACHINE-- REMEMBER, IF I HAVE TO DO ANYTHING LIKE THAT, KEEP THAT NEEDLE IN.

IT LOCKS YOUR FABRIC IN PLACE.

ALL RIGHT, COME ALL THE WAY AROUND.

I'M GONNA BE PULLING MY BROWN A LITTLE BIT MORE.

PULLING MY BROWN.

IF IT'S OFF 1/8 OF AN INCH, THAT'S OKAY.

YOU CAN LIVE WITH THAT.

IF IT'S 1/2 AN INCH, YOU'RE IN TROUBLE.

THEN BACK TO THE DRAWING BOARD.

THAT WON'T WORK.

BUT THIS WILL BE JUST FINE.

THEN I'LL--LET ME DO ANOTHER ONE.

YOU'LL GET AN IDEA OF HOW THIS-- ALWAYS KEEP YOUR DRUNKARD'S PATH HANDY THERE, BECAUSE THIS IS A PATTERN THAT'S EASY TO KIND OF GET GOOFED UP.

ALL RIGHT, IF THAT ONE GOES THERE, THIS ONE COMES OVER HERE.

SEE HOW THAT'S GOING TOGETHER?

AND JUST YOUR BASIC FOUR-PATCH.

OVER HERE, I'VE GOT MY PINS IN PLACE, PUT THE TWO RIGHT SIDES TOGETHER, LINE THIS UP JUST PERFECT, NEEDLE IN THE MACHINE, RAW EDGES ARE COMING AROUND.

I'M GONNA STRETCH THAT A LITTLE BIT.

AND AS IT'S COMING AROUND, I'M TURNING IT, AND THERE WE ARE.

ALL ON TARGET.

NOW, YOU WANT TO REMEMBER THAT TO ASSEMBLE THIS, IT'S JUST THE BASIC FOUR-PATCH.

ALSO, CLIP THESE SEAMS.

IF I WANT THAT CURVED SEAM TO GO, OF COURSE, TO THE DARK SIDE, CLIP IT ABOUT THREE TIMES, AND THEN WHEN YOU GO TO THE IRONING BOARD, SEE HOW NICELY THAT'LL FAN OUT?

THAT MAKES IT VERY NICE.

IF YOU WANT IT TO GO IN, IN OTHER WORDS, I WANT TO GO IN TOWARDS THE DARK, MAKE A NOTCH.

THAT ALLOWS ROOM FOR THAT FABRIC TO ACCUMULATE, DOESN'T IT, IN MUCH THE SAME WAY YOU'D BE MAKING THE COLLAR ON A GARMENT OR SOMETHING.

BUT SEE HOW WHEN YOU'VE CLIPPED THAT, THERE'S ROOM TO PRESS THAT IN TOWARDS THE DARK?

OKAY, THERE'S YOUR DRUNKARD'S PATH ALL PUT TOGETHER.

BASIC FOUR-PATCH.

ANOTHER EXAMPLE WOULD BE YOUR MOON OVER THE MOUNTAIN.

THIS IS KIND OF A FUN PATTERN.

IT USED TO BE AN APPLIQUE, WHERE YOU WOULD APPLIQUE THE CURVE ON THE BLUE SKY.

WE COULD CALL THIS SUN ON THE MOUNTAIN TOO, COULDN'T WE?

BUT I LIKE TO MAKE A PATCHWORK OUT OF IT.

AS LONG AS WE'RE DOING DRUNKARD'S PATH, IT'S JUST AS EASY TO DO THAT SORT OF CURVE ALSO.

FOR THE BLACK QUILT THAT I'M DOING, THE BLACK AND WHITE LITTLE STUDY, WE HAVE A CHECKERED MOUNTAIN AND WE HAVE A MIDNIGHT SKY AND A FLORAL SOMETHING OR OTHER SUN OR A MOON.

IN EACH CASE, WE'RE WORKING IN FOUR TRIANGLES, AREN'T WE?

BUT THE FIRST THING THAT WE'RE GOING TO DO IS INSERT OUR MOON INTO THIS BLACK PART RIGHT HERE.

AND THE SAME IDEA AS THE DRUNKARD'S PATH.

LINE IT UP, COMING OVER HERE, GET THESE OUT OF THE WAY, AND IN THIS CASE, I'M GONNA JUST MAKE THAT GAMBLE AND HOPE THAT I CAN-- WITHOUT PUTTING THE MID-POINT-- ALL THE WAY AROUND.

AND THEN YOU'VE GOT YOUR THREE SKY SECTIONS.

THEN I WOULD SIMPLY SEW THIS TRIANGLE TO THIS MOUNTAIN, SEW THESE TWO TOGETHER, AND THEN WITH THREE PINS, ONE HERE, ONE HERE, AND ONE HERE, SEW YOUR FOUR LARGE TRIANGLES TOGETHER.

THIS IS A FUN PATTERN TO WORK WITH.

YOU COULD ALSO MAKE A WALL HANGING OUT OF THIS.

ONE TIME I MADE FOUR MOON OVER THE MOUNTAINS AND PRETENDED THEY WERE THE FOUR SEASONS AND THEN QUILTED TO EVERYTHING THERE WAS A SEASON.

AND, OH, I HAD FUN DOING-- THE WINTER ONE HAD A LITTLE CABIN IN IT WITH SMOKE, THE SUMMER ONE HAD A LOT OF FLOWERS, THE SPRING HAD A RAINBOW, AND I PUT A LOT OF EMBROIDERY ON IT.

SO THAT WOULD BE A WAY YOU COULD KIND OF JAZZ UP YOUR MOON OVER THE MOUNTAIN.

ANOTHER PATTERN THAT IS ONE OF MY FAVORITES IS THE LOG CABIN.

NOW, THIS HAS BEEN MADE IN MANY DIFFERENT WAYS.

AND ORIGINALLY WHEN LOG CABIN WAS MADE, IT WAS ATTACHED-- YOU WOULD START-- ALWAYS, YOU START WITH A SQUARE IN LOG CABIN, AND YOU ARE ADDING STRIPS OF LEFTOVER MATERIAL.

AND IN THE CASE THAT I LIKE TO USE, IT'S EITHER 1 1/2 INCHES OR 2-INCHES-WIDE STRIPS.

JUST YOUR LEFTOVER REMNANTS.

AND ORIGINALLY, THE IDEA OF THE LOG CABIN PATTERN WAS THAT THE CENTER SQUARE WAS EITHER BRIGHT RED OR BRIGHT YELLOW, AND THAT WAS TO REPRESENT THE FIRE IN THE LOG CABIN.

AND YOUR LIGHT SIDE AND THEN YOUR DARK SIDE.

THIS REPRESENTED THE LIGHT SHADOWS IN THE CABIN, AND THIS REPRESENTED THE DARK SHADOW.

BUT IT WAS A WAY TO USE UP ALL YOUR LEFTOVERS.

AND ORIGINALLY, YOU WOULD TAKE THIS CENTER SQUARE AND PIN IT TO A FOUNDATION PIECE OF MATERIAL.

THEN YOU WOULD SIMPLY START SEWING AND FL-- FLIPPING IT OUT AND KEEP ADDING STRIPS AS YOU'RE GOING.

THAT IS ONE METHOD AND ONE WAY TO DO IT.

I PREFER ANOTHER METHOD, AND I WANT TO SHOW YOU HOW TO DO THAT.

THE WAY I PREFER IS TO START, OF COURSE, WITH YOUR SQUARE, EITHER BRIGHT RED OR BRIGHT YELLOW, AND THEN WHATEVER YOU'VE GOT LEFT OVER IN SOLIDS.

IN THIS CASE, THEY'RE PRINTS.

COULD BE LIGHT VERSUS DARK, WHATEVER.

YOU'RE GOING TO START-- WELL, IN THIS CASE, WHY DON'T WE START WITH OUR DARK SIDE?

TAKE OUR STRIP, AND OF COURSE, IT MAKES SENSE TO START WITH OUR SHORTEST LEFTOVER PIECES FIRST, BECAUSE THEY'RE GOING IN THE CENTER.

AND THAT'S ONLY 2 1/2 INCHES RIGHT THERE.

I'M GOING TO ADD ON-- THAT SQUARE'S THE BASIS FOR STARTING, ISN'T IT?

I'M GONNA START THERE, AND I'M GONNA TRIM THAT OFF, USING MY SQUARE AS A GUIDE.

ON BOTH SIDES, TRIM OFF.

ALL RIGHT, I'VE ADDED ONE LOG TO THE CABIN, LET'S SAY.

AND I'M LETTING THE SEAM GO TO THE OUTSIDE.

CREASE IT WITH YOUR THUMB OUT.

ALL RIGHT, THEN, WELL, I'VE GOT ENOUGH OF THIS ONE.

LET'S GO BACK TO THIS ONE.

AND THEN EACH TIME, I'M ADDING STRIPS IN A CIRCULAR MOTION, AREN'T I?

I'M ADDING ANOTHER STRIP.

IT MAKES NO DIFFERENCE WHICH DIRECTION YOU GO, JUST GO THE SAME EACH TIME.

OKAY, I'VE ADDED ANOTHER STRIP, TRIM IT OFF, IT REALLY ISN'T NECESSARY TO MEASURE THEM EXACTLY EACH TIME.

THAT IS, HOW LONG THEY ARE.

JUST START WITH YOUR SHORTEST ONES FIRST, I'VE ADDED ONE THERE, ONE HERE, AND NOW I'M GONNA ADD TWO PRINTS.

AND IF I'VE STARTED THIS WAY, LET'S KEEP GOING IN THAT DIRECTION.

ALL RIGHT, LET'S FIND SOME SHORT ONES HERE, OKAY?

I'LL ADD A SHORT ONE OVER HERE, ONLY THIS TIME, IT'S A PRINT.

AND I'LL ADD THE PRINT TWICE, WON'T I?

ONE THERE, YOU SEE HOW THE ORIGINAL SQUARE IS MY BASIS FOR TRIMMING EACH TIME?

THAT WORKS OUT VERY NICELY.

OKAY, NOW I'M GONNA ADD THE OTHER PRINT.

AND I'M JUST GONNA KEEP GOING AFTER I'VE ADDED THIS PRINT.

AND EACH TIME YOU'RE ADDING ANOTHER LOG, BUT YOU'RE CONTRASTING IT IN TWOS.

GETTING KIND OF HAVE SOME EXTRA STRINGS HERE.

ALL RIGHT, I'VE ADDED TWO PRINTS, THEN I'LL ADD A DARK HERE, DARK HERE, TWO PRINTS, AND I'LL JUST KEEP BUILDING MY WHOLE BLOCK.

THAT IS YOUR LOG CABIN.

THEN I WOULD TREAT THAT AS A REGULAR BLOCK.

IN THIS CASE, I'M GETTING READY TO MAKE AN ENTIRE BLOCK-TO-BLOCK ASSEMBLY OF A LOG CABIN.

SO I HAVE PUT MY BLOCK TOGETHER, ADDING MY LOGS, CUT OUT A PIECE OF BATTING AND THE BACKING, AND I'VE STARTED QUILTING IN THE CENTER.

THE FUN PART ABOUT QUILTING THIS-- LOOK HOW WHEN I START IN THE CENTER, I CAN JUST KEEP QUILTING ALL THE WAY AROUND.

AND LOOK AT THE DESIGN I GET ON THE BACK SIDE.

OF COURSE, I'LL BE QUILTING ON THIS SIDE, BUT IT DOES LEAVE A NICE DESIGN ON THE BACK SIDE.

THAT'S YOUR LOG CABIN.

THERE ARE SOME OTHER VARIATIONS OF A LOG CABIN.

WE WON'T GO INTO ALL OF THEM, BUT YOU MIGHT ENJOY SEEING SOME OF THEM.

THIS IS THE ONE THAT WE JUST DID: A SOLID VERSUS A PRINT.

ANOTHER ONE WOULD BE-- AND WE CALL THIS TRIP AROUND THE WORLD.

IF YOU START WITH YOUR CENTER SQUARE, AND THE FIRST TIME AROUND, YOU WOULD ADD ALL ONE COLOR.

REMEMBER, YOU'RE STILL GOING IN A CIRCULAR MOTION.

GREEN, GREEN, GREEN, GREEN, THEN YOU'RE GONNA SWITCH TO A STRIPE, AREN'T YOU?

STRIPE, STRIPE, STRIPE, ALL THE WAY AROUND, AND THEN ANOTHER GREEN.

WE CALL THAT TRIP AROUND THE WORLD.

ANOTHER ONE THAT'S KIND OF FUN TO DO-- NOW, THIS COULD BE THE BEGINNING OF A WHOLE QUILT, YOU REALIZE.

THIS IS JUST A STUDY OF FOUR DIFFERENT BLOCKS.

THIS ONE'S CALLED CAPITAL STEPS OR COURTHOUSE STEPS, WHERE YOU ARE SEWING OPPOSITES.

YOU START WITH YOUR CENTER, AND YOU SEW TWO BLUE, AND THEN YOU SWITCH TO TWO PRINTS.

SOLID, AND THEN PRINT.

THIS ONE IS A LITTLE STUDY IN THE BASIC FOUR-PATCH.

WE STARTED OUT WITH FOUR CENTERS.

SO THESE ARE JUST THE VARIATIONS ON THE LOG CABIN.

WE WANT TO SPEND A FEW MINUTES TALKING ABOUT THE BLOCK-TO-BLOCK ASSEMBLY.

THIS IS VERY IMPORTANT, AND THIS IS WHAT WE'RE ALL SO EXCITED ABOUT IS BEING ABLE TO MAKE OUR QUILT IN SECTIONS.

LET ME GET SOME OF THIS OUT OF THE WAY SO WE CAN SWITCH TO ANOTHER SECTION HERE.

WE WANT TO MAKE SURE YOU UNDERSTAND THIS.

I'M WORKING IN ROWS.

AND I WANT TO ALSO POINT OUT THAT THE BEST WAY, WHEN YOU HAVE FINISHED ALL YOUR BLOCKS, WHETHER IT'S NINE FOR A PARTICULAR QUILT-- IN THIS CASE, I'M GONNA BE HAVING NINE BLOCKS-- OR WHETHER IT'S 15, I REALLY FEEL IT'S BEST TO GET ALL OF YOUR BLOCKS QUILTED AND THEN GO AHEAD AND DECIDE WHAT SORT OF ARRANGEMENTS YOU WANT.

ANOTHER TIP TO REMEMBER IS, TRY TO KEEP THE SAME AMOUNT OF QUILTING IN EACH BLOCK.

IN OTHER WORDS, AS YOU QUILT EACH BLOCK, IT'S GONNA DRAW UP, ISN'T IT?

AND IF YOU PUT TOO MUCH QUILTING IN ONE, IT'S GONNA BE SMALLER THAN THE OTHER.

AND WHEN WE GET READY TO DO OUR BLOCK-TO-BLOCK ASSEMBLY, WE REALIZE HOW IMPORTANT IT IS THAT OUR BLOCKS WERE TRUE AND THAT OUR BORDERS WERE THE RIGHT SIZE ALSO.

OKAY, WHAT I'M GOING TO DO IS REMOVE MY BASTING THREADS, AND THEN I'M GONNA TAKE MY SCISSORS AND TRIM MY BLOCK.

THERE MIGHT BE A LITTLE EXCESS.

TRIM IT SO THE BATTING AND THE BACKING ARE ALL THE SAME SIZE.

THEY ALL COME OUT EVEN.

I'M NOT GONNA FINISH TRIMMING ALL THAT BECAUSE-- BUT I WOULD IF I HAD ALREADY-- IF I WAS GETTING READY TO ADD IT.

ON THESE TWO, I'VE DONE THAT.

I HAVE TRIMMED BOTH OF THEM, AND I HAVE REMOVED ALL THE BASTING STITCHES.

ALL RIGHT, THEN, I FEEL ONE OF THE SECRETS HERE IS TO PIN THE BATTING AND THE BACK OF MY BLOCK TO THE BACK OF THE QUILT.

THAT FREES THE FRONT BORDER, DOESN'T IT?

SEE MY RED-AND-WHITE CHECKED BORDER?

DO THAT ON BOTH SIDES, GO AHEAD AND PIN THAT ALL THE WAY BACK.

THEN I LIKE TO TAKE EACH CORNER AND PIN EACH CORNER, AND THEN LAY MY BLOCK DOWN AND PUT A PIN IN THE MIDDLE, AND WHAT THAT DOES IS, IF THERE IS ANY EASING TO DO-- THERE MIGHT BE A LITTLE BIT OF EASING.

IF THERE IS, YOU'LL BE DISTRIBUTING THAT EASING BETWEEN THESE TWO POINTS, WON'T YOU?

ALL RIGHT, I'M GONNA GO AHEAD AND PIN.

AND THE REASON I PIN THAT BATTING BACK IS, YOU DON'T WANT TO GET THAT CAUGHT IN THE SEWING MACHINE.

THAT DOES NOT SEW VERY WELL.

ALL RIGHT, WE ARE GOING TO MACHINE STITCH THIS 1/4 INCH SEAM ALLOWANCE.

I'M ATTACHING TWO BLOCKS TOGETHER AFTER THEY HAVE BEEN QUILTED, OKAY?

IT DOESN'T HURT TO BACK STITCH.

THERE, THAT KIND OF LOCKS THAT IN PLACE.

KEEP YOUR RAW EDGES RIGHT UP NEXT TO EACH OTHER.

MAKE SURE--SEE HOW, AT ONE POINT I HAVE TO SHOVE THAT BATTING BACK?

I DON'T WANT TO GET IT LOCKED IN THERE.

AND THEN AT EACH-- AT EACH CORNER-- BY THE WAY, ANOTHER THING I'D LIKE TO MENTION, YOU'VE GOT THOSE NICE MITERED BORDERS, DON'T YOU?

DON'T QUILT THOSE BORDERS.

I LIKE TO SAVE THAT TILL THE VERY END.

I'LL POINT OUT WHAT I MEAN-- IT'S KIND OF HARD TO SEE ON THIS SIDE.

SEE WHERE YOU'VE GOT THE MITERED-- THE NICE SEAM THAT GOES DOWN HERE?

LEAVE THAT UNQUILTED.

THAT ALLOWS YOU TO PUT YOUR TWO BLOCKS TOGETHER.

OKAY, NOW, IT'S AT THIS POINT, I'M GONNA WORK ON A FLAT SURFACE, I'VE MACHINE STITCHED TWO BLOCKS TOGETHER.

REMOVE YOUR PINS.

AND THEN I'VE GOT THE PINS ON THE FRONT SIDE OVER HERE.

I'LL JUST REACH OVER AND GET THEM.

GET ALL OF YOUR PINS OUT.

IF YOU HAVE A THICK BATTING IN YOUR QUILT, YOU MIGHT WANT TO TAKE YOUR SCISSORS AND TRIM A LITTLE BIT OF THE BATTING.

IF YOU DO THAT, BE REAL CAREFUL THAT YOU DON'T CATCH ANY OF YOUR BACKING MATERIAL IN IT.

THAT WOULD BE A CATASTROPHE IF YOU CUT THAT AFTER IT'D BEEN ALL QUILTED.

TRIM A LITTLE BIT OF IT OFF.

IT WON'T BE MUCH.

THIS IS A THIN LAYER OF BATTING, AND I REALLY COULD LEAVE IT IN THERE, BUT IT IS NICE.

SO THE BATTING WILL BUTT RIGHT UP NEXT TO EACH OTHER.

OKAY, AT THIS POINT, I'M GONNA LET MY SEAM FALL IN THE SAME DIRECTION, AND MY BATTING IS GONNA BUTT RIGHT UP NEXT TO EACH OTHER.

SEE HOW THAT'S WORKING VERY NICELY?

I'LL KIND OF CREASE IT.

THEN, I LIKE TO WORK, SO LET ONE SIDE FALL STRAIGHT, MAKE SURE THAT YOUR BLOCKS ARE FLAT.

ONE SIDE FALLS STRAIGHT, AND THEN I'M GOING TO TAKE AND TURN THAT UNDER 1/4 INCH AND PIN THAT IN PLACE.

AND I ALWAYS LIKE TO START IN THE MIDDLE AND WORK OUT.

THAT WAY I'M KIND OF BALANCING THE MATERIAL.

SAME THING OVER HERE.

SEAMS GOING IN THE SAME DIRECTION.

ONE SIDE GOES STRAIGHT.

TURN THAT UNDER.

YOU SEE HOW NICELY THAT WORKS BECAUSE YOU HAVE EATEN UP THAT SEAM ALLOWANCE, HAVEN'T YOU, ON THE FRONT SIDE?

ONE SIDE GOES STRAIGHT, TURN UNDER 1/4 INCH.

I WANT TO MAKE SURE ALSO-- WE'RE GONNA GO OVER TO THE WORK TABLE IN A FEW MINUTES, AND I WANT TO SLIP STITCH THIS IN PLACE.

IT'S IMPORTANT TO HAVE THE HANDWORK BACK HERE, I THINK, BECAUSE YOU CAN SEE ALL YOUR PRETTY QUILTING STITCHES SO WHY NOT GO AHEAD AND FINISH THIS OFF?

WE WOULDN'T WANT TO HAVE A MACHINE STITCHING AT THIS POINT.

ONE SIDE GOES STRAIGHT.

OKAY, AND PIN THAT IN PLACE.

NOW, THE SAME WAY THAT I'M DOING THIS IS THE SAME WAY THAT YOU WILL BE ATTACHING YOUR ROWS TOGETHER.

AND WE'LL DO THAT-- IN OUR NEXT SHOW, WE'LL BE WORKING ON ROWS.

BUT KEEP IN MIND, IT'S THE SAME TECHNIQUE, ONLY YOU'LL BE WORKING WITH A LONG ROW.

NOW, WHEN WE SLIP STITCH, MAKE SURE--IT WON'T HURT IF YOU CATCH SOME OF THE BATTING IN HERE, BUT YOU DON'T WANT TO COME THROUGH AND CATCH YOUR FRONT, DO YOU?

YOU NEED THAT TO ATTACH ONE ROW TO THE NEXT ROW.

LET'S GO TO THE WORK TABLE AND DO A LITTLE SLIP STITCH SO YOU CAN GET AN IDEA EXACTLY HOW THE TWO BACK SEAMS ARE PUT TOGETHER HERE.

NOW, THIS WILL GIVE YOU AN IDEA.

WE ARE WORKING IN ROWS.

AND IN A FEW MINUTES, I'M GOING TO ATTACH THIS BLOCK TO THE TWO THAT ARE ALREADY PUT TOGETHER.

BUT FOR NOW, I HAVE ONE ROW ALREADY DONE.

SO YOU CAN KIND OF GET AN IDEA.

SEE, ON THE BACK SIDE, HOW I'VE SLIP STITCHED THIS IN PLACE?

THE BATTING IS IN THERE, THE FRONT PART, THE BORDERS ARE FREE.

ALL RIGHT, THAT'S ONE ROW OF THREE.

NOW, LET ME SLIP STITCH HERE.

I'M GOING TO USE A BLACK THREAD SO IT'LL CONTRAST.

THIS'LL BE A TRUE TEST FOR ME BECAUSE A TRUE SLIP STITCH IS NOT SUPPOSED TO SHOW.

SO LET'S SEE HERE.

I'M GONNA PUT MY HAND UNDERNEATH, AND OF COURSE, WHEN I START, I'LL MAKE A FIRM KNOT HERE.

WHEN YOU ARE SLIP STITCHING-- I THINK IF I REMOVE THAT PIN, YOU CAN SEE IT A LITTLE BIT BETTER.

AND I'M GONNA START ONE HERE.

WHEN YOU PUT THE NEEDLE IN, IT GOES RIGHT BELOW WHERE THE THREAD HAS COME OUT.

AND THEN THE REAL LENGTH OF YOUR THREAD WILL BE ON THE BACK SIDE.

WHEN I COME UP, I'M GOING TO GRAB A LITTLE SECTION OF THAT MATERIAL, OKAY?

NOW I'M GONNA PUT THE NEEDLE DOWN RIGHT WHERE THE THREAD HAS COME UP.

AND IT'S UNDERNEATH, IT'S DOWN WITH THE BATTING, AND WHEN IT COMES UP, IT'S JUST GRABBING PART OF THIS TOP MATERIAL.

CAN YOU FOLLOW THAT?

ALL RIGHT, YOU CAN BARELY SEE IT, BUT I WOULD JUST KEEP DOING THAT.

IN OTHER WORDS, THE POINT I WANT TO MAKE IS, HERE YOU DON'T WANT TO USE A WHIP STITCH WHERE YOUR THREADS ARE GONNA BE MORE EVIDENT.

YOU WANT TO HIDE THAT STITCH.

SO IT'S JUST AN OVERLAPPING SEAM ON THE BACK SIDE.

WHERE ONE WENT STRAIGHT, THE OTHER TURNED 1/4 INCH.

AND IT WENT INTO PLACE.

LET'S SET THE TABLE HERE A MINUTE.

AND TAKE A LOOK, JUST FOR A SECOND, AT HOW WE COULD TAKE THE BLOCKS THAT WE'VE BEEN WORKING WITH AND TURN THEM INTO PLACE MATS.

HOW WOULD THAT BE?

YOU REMEMBER THIS PATTERN.

THIS WAS OUR SHOO, FLY PATTERN.

YOU CAN GET A LOOK HERE.

THESE ARE ALL THE SAME PATTERN.

BUT WE HAVE TURNED THEM INTO KIND OF A DIFFERENT LOOK BY USING A DIFFERENT PRINT THAT GOES WITH THE BLACK-AND-WHITE CHECK EACH TIME.

IF YOU WANTED TO MAKE A RECTANGULAR PLACE MAT OUT OF OUR BLOCKS THAT WE'VE BEEN WORKING WITH, YOU'D TAKE YOUR 12 1/2 INCH BLOCK AND CUT TWO BORDERS.

THEY WOULD, OF COURSE, BE 12 1/2 INCHES LONG AND ABOUT 3 1/2 TO 4 INCHES WIDE, DEPENDING ON HOW LONG YOU WANT YOUR PLACE MAT.

IN THIS CASE, I PLACED A KNIFE AND A SPOON AND THE TWO FORKS AND DREW AROUND IT WITH MY BLUE DISAPPEARING PEN AND HAVE ATTACHED THAT ON THE SEWING MACHINE, RIGHT?

I WOULD THEN TAKE A RULER AND SQUARE OFF EACH SIDE, ALL RIGHT?

THEN THE BACKING OF MY BLOCK IS A BLACK-AND-WHITE CHECK, AND I'M GONNA CUT OUT A VERY THIN PIECE OF BATTING.

DON'T USE A THICK BATTING FOR THIS.

YOU DON'T WANT YOUR GLASS TO FALL OVER.

YOU WANT JUST A THIN BATTING, AND IN SOME CASES, YOU REALLY COULD EVEN JUST PUT TWO PIECES OF CLOTH TOGETHER.

IT DEPENDS ON HOW--WHAT SORT OF PROTECTIVE SURFACE YOU WANT TO PUT ON YOUR TABLE, THAT SORT OF THING.

I LIKE TO TAKE AND PIN THE BACKING AND THE BATTING TOGETHER.

OF COURSE, MAKE SURE THAT THE HEADS OF YOUR PIN ARE ON THIS SIDE, RIGHT?

SO YOU CAN TREAT THIS AS ONE.

THEN I WOULD PUT THIS DOWN ON A FLAT SURFACE, TAKE MY PLACE MAT AND PUT THE TWO RIGHT SIDES TOGETHER.

LINE THEM UP SO THEY'RE BOTH MEETING.

SEE WHAT I MEAN?

THEN I WOULD PIN ALL THE WAY AROUND ON THE OUTSIDE.

TWO RIGHT SIDES ARE TOGETHER.

THE REASON I LIKE TO DO IT THIS WAY IS THAT IT ENCLOSES ALL YOUR RAW EDGES AND YOU DON'T HAVE TO FOOL WITH SEAM TAPE OR ANY BINDING AFTERWARDS.

ALL RIGHT, AFTER THAT WAS WELL-PINNED, I WOULD THEN MACHINE STITCH ALL THE WAY AROUND THE OUTSIDE LEAVING AN OPENING OF ABOUT, OH, 3 1/2 TO 4 INCHES.

I WOULD THEN TRIM THAT VERY GOOD WITH MY SCISSORS, TURN IT INSIDE OUT.

ONCE IT'S BEEN TURNED INSIDE OUT, I WILL WHIP STITCH THAT CLOSING ALL THE WAY CLOSED.

THEN I'M READY TO DO MY QUILTING.

YOU WANT TO MAKE SURE AND PUT A LIMITED AMOUNT OF QUILTING IN THIS IF YOU'RE GONNA KEEP YOUR BATTING FROM SLIDING AROUND.

TRUE, YOU'VE CAUGHT YOUR BATTING ON THE OUTSIDE, BUT THE QUILTING IS WHAT REALLY ENHANCES IT AND MAKES IT LOOK NICE.

MAKE SURE AND BASTE IT IN AN "X."

THAT'S GONNA HOLD IT IN PLACE.

AND ONCE AGAIN, I WOULD START QUILTING ON THE INSIDE AND WORK OUT.

BUT REMEMBER, THE FIRST QUILTING LINE YOU DO SHOULD BE ALL THE WAY AROUND THE OUTSIDE.

THAT SETS IT IN PLACE, DOESN'T IT, AND KEEPS THIS FROM HAPPENING.

YOU DON'T WANT THE BACK SIDE TO FALL ALL THE WAY DOWN.

THAT WOULD LOOK KIND OF TACKY.

AND THEN YOU HAVE A SET OF PLACE MATS.

THEY MAKE A LOVELY GIFT OR IF YOU WANTED TO-- HAD TO PATTERN THEM AFTER A CERTAIN CHINA PATTERN, THAT WOULD BE FUN TO CHOOSE SAY, THE PASTEL COLORS.

WE STARTED WITH THE MONKEY WRENCH TODAY.

LET'S END WITH THE MONKEY WRENCH.

I'D LIKE TO SHOW YOU HOW THE MONKEY WRENCH CAN BE PUT INTO A LARGE QUILT.

THIS IS AN ASYMMETRICAL STUDY IN BLACK AND WHITE.

AND IF YOU LOOK CAREFULLY, YOU CAN SEE FOUR OF THE MONKEY WRENCH PATTERNS: ONE, TWO, THREE, FOUR.

BUT REALLY, THEY'RE PUT TOGETHER IN A LARGE BASIC NINE-PATCH.

THE WHITE, OF COURSE, IS PART OF IT.

AND THE CENTER SQUARE IS DARK.

NOTICE HOW WHEN THIS CENTER SQUARE BORROWS THE LARGE TRIANGLE FROM THE MONKEY WRENCH, YOU GET A WHOLE STAR PATTERN AND GET A REALLY-- A COMPLETELY DIFFERENT LOOK.

THIS WHOLE ENTIRE NINE-PATCH PATTERN IS CALLED THE VIRGINIA REEL.

SO THAT GIVES YOU AN ENTIRELY NEW LOOK.

I'D LIKE TO ALSO MENTION ONE OF THE PRETTIEST TREATMENTS I THINK, FOR A QUILT, AND IT SHOWS UP ESPECIALLY NICE ON THE WHITE, IS JUST SIMPLE CROSS-HATCHING.

NOTHING VERY INTRICATE, JUST STRAIGHT LINES THAT HAVE BEEN PLACED ON YOUR WHITE BORDER AND THEN THE QUILTING ENHANCES IT THAT WAY.

THE MONKEY WRENCH PATTERN.

SEE YOU NEXT TIME.

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