♪ 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.

[light guitar music] ♪ ♪ >> WELCOME TO "MORE LAP QUILTING."

WHEN I ANNOUNCED TO MY FAMILY ANOTHER TV SERIES AND A COMPANION BOOK TO GO WITH IT, MY AMY SAID, "BUT, MOTHER, COULD THERE BE MORE ABOUT QUILTING?

HAVEN'T YOU SAID IT ALL?"

AND THAT PUT ME TO THINKING THAT MAYBE I DID NEED AN EXPLANATION.

IT SEEMS TO ME THAT FROM THE VERY FIRST TIME THAT THE FIRST LINE WAS DRAWN, THERE HAS BEEN A NEED TO INTERPRET DESIGN.

WE SEE THESE DESIGN ELEMENTS OVERLAPPING IN MANY CRAFTS, EVERYTHING FROM WEAVING TO BASKET MAKING AND TO EVEN THE WONDERFUL FLOWING DESIGNS ON THIS HANDLE, WHICH WAS, OF COURSE, IN BLACKSMITHING.

IT SO HAPPENS THAT OUR DESIGN ELEMENTS COME FORTH IN FABRIC AND IN THE GEOMETRICS OF PATCHWORK, AND AS LONG AS WE CONTINUE TO HAVE THIS WONDERFUL ARRAY OF FABRICS TO WORK WITH AND THE SQUARES AND THE TRIANGLES AND THE PARALLELOGRAMS, WE CAN'T BE STOPPED MAKING QUILTS.

WE JUST ARE ON A ROLL, AMY, AND WE WILL BE MAKING WONDERFUL QUILTS ON OUR NOW NEXT LAP QUILTING SERIES.

THERE WILL ALWAYS BE AS MANY QUILTS, PATTERNS, AND POSSIBILITIES AS THERE ARE HANDS TO CREATE THEM.

WE WANT TO GIVE YOU A TOUR OF THE STUDIO AND ALSO A PREVIEW OF THE THINGS TO COME IN LAP QUILTING.

THE SHOWS ARE TAPED, AND WE HAVE CREATED FOR YOU A SEWING STUDIO WITHIN A TELEVISION STUDIO.

WE HAVE CONTROL OF THE LIGHTS AND ALSO MANY KNOBS AND BUTTONS IN A CONTROL ROOM TO BRING YOU THE VERY BEST OF PATCHWORK AT THE SEWING MACHINE.

SOME OF THE THINGS TO EXPECT ON THE NEXT SERIES WILL BE THINGS AS A LID FOR A BASKET MADE WITH ONE OF OUR 12-INCH BLOCKS BUT SIMPLY PLACED ON WITH AN OPENING FOR THE HANDLE.

WHAT ABOUT A QUILTER'S TOTE FULL OF ALL THE NOTIONS AND TOOLS FOR QUILTING?

WE WILL EXPLORE THE NEW NOTIONS, THINGS AS A ROUND ROTARY CUTTER, THE BIAS BARS THAT WE USE IN APPLIQUE.

SO MAKE SURE AND SAVE THOSE POCKETS FROM YOUR BLUE JEANS TO PUT INTO OUR QUILTERS TOTE.

THIS MAKES OUR QUILTING EVEN MORE PORTABLE, BECAUSE WE CAN CARRY ALL OF THESE TOOLS WITH US.

I HAVE INVITED GRANDMA PONDER TO JOIN ME ON THE SET.

SHE IS A FIBER FIGURE MADE BY ELLEN TURNER AND JOINS ME AT HOME IN MY STUDIO AND WATCHES OVER ALL OF MY PATCHWORK, SO SHE HAS COME TO JOIN US ON THE SET.

"RESCUE THE PERISHING.

CARE FOR THE DYING."

THAT'S FROM AN OLD PROTESTANT HYMN AND HAS BEEN CAPTURED IN THIS LITTLE PLAQUE HERE, AN ACTUAL PAGE FROM THE HYMNAL.

IT REFERS TO RECYCLING OLD PATCHWORK.

RATHER THAN CUTTING UP AN OLD QUILT, WHY NOT TAKE ONE AND REJUVENATE IT, RECYCLE IT?

AND WE DO THAT QUITE OFTEN.

YOU CAN SEE IT IN MY DRESS, AND WE'LL BE SEEING IT IN THINGS SUCH AS LOTTIE'S LILY, A PATTERN FROM AN OLD QUILT THAT CAN THEN BE CAPTURED AGAIN IN OUR NEW SPINNING SPOOLS QUILT.

IMAGINE 30 WOMEN WORKING ON A NORTH CAROLINA LILY PATTERN.

THIS QUILT IS CALLED "STRING ALONG WITH ME."

WE WILL EXPLORE HOW TO FORM A GUILD OR A GROUP IN YOUR AREA AND THEN GO EVEN FURTHER AND MAKE A GROUP QUILT.

THE STRING ALONG LILY PATTERN IS A 20-INCH PATTERN, AND WE'LL ALSO SEE IT IN A 12-INCH PATTERN.

WE CAN EVEN MAKE A FIBER-- SOFT FIBER FRAME, AND OF COURSE, ALL THE LADIES THAT WORKED ON THE QUILT WERE INCLUDED ON THIS FRAME.

CHRISTMAS IN JULY.

WHY NOT MAKE YOUR ITEMS ALL YEAR ROUND?

AND WE'LL LOOK AT ALL THE DIFFERENT, FUN CHRISTMAS ITEMS THAT WE CAN MAKE.

THIS HAPPENS TO BE A RED AND GREEN APPLIQUE WALL HANGING MADE BY PENNY WORTMAN.

SO CHRISTMAS CANNOT BE FORGOTTEN.

WE WILL HAVE A "CHRISTMAS IN JULY" SHOW.

THE MAPLE LEAF PATTERN ADAPTED TO GARMENTS.

WE WILL LOOK AT THAT IN OUR "WHERE IT'S AT" SHOW AND TAKE ONE SIMPLE PATTERN AND ADAPT IT TO MANY IDEAS, ALL DIFFERENT COLORS AND ALL DIFFERENT SETTINGS OF THE MAPLE LEAF PATTERN.

IT CAN BE TURNED STRAIGHT ON.

IT CAN GO IN A WONDERFUL ARRAY OF PINKS AND MAUVES.

IT CAN LOOK VERY GEOMETRIC.

IT CAN LOOK VERY CONTEMPORARY.

IT CAN ALSO FLOW.

STEMS CAN FLOW INTO EACH OTHER FOR A NEW, MODERN LOOK OF THE MAPLE LEAF PATTERN.

ON EACH SHOW, WE WILL BE BUILDING AN ENTIRE QUILT.

IT WILL BE CALLED THE SPINNING SPOOLS QUILT, AND EVEN THOUGH IT'S A SAMPLER, IT'S GOING TO HAVE A NEW LOOK, AN ENTIRELY NEW LOOK, A MEDALLION CENTER, A RECTANGULAR CENTER, AND IN THIS CASE, FOUR OF THE SPOOL BLOCKS HAVE BEEN PUT TOGETHER AND TURNED ON THE OFFSET WITH LARGE TRAPEZOIDS ON ALL SIDES TO FORM OUR MEDALLION CENTER.

SO WE WILL LOOK AT LAP QUILTING, BUT WORKING WITH LARGER SECTIONS.

WE WILL BE NEEDING HOOPS AND FRAMES FOR THIS, AND WE'LL LEARN A NEW WAY TO HOLD THE HANDS WHEN WE'RE WORKING WITH THOSE HOOPS AND FRAMES.

AROUND THE OUTSIDE WILL BE FOURTEEN NEW BLOCKS, AND ON EACH SHOW, WE WILL INTRODUCE ONE NEW PATTERN, SOMETIMES MAYBE TWO BLOCKS, BLOCKS SUCH AS THE BOW BASKET.

NOTICE ALSO CAREFULLY THAT BY STAGGERING THE MITERED BORDERS, WE ALSO GET THE LOOK OF A LARGER SPOOL PATTERN.

THE BRICK WALK WAS CAPTURED FROM A VERY OLD ANTIQUE QUILT BUT TAKES ON AN ENTIRELY NEW LOOK.

OUR LOTTIE'S LILY PATTERN SEEN AGAIN, CAPTURED IN A 12-INCH SQUARE.

THE SPINNING SPOOL BORDER ATTACHED TO THE BLOCK WILL BE LAP QUILTED ALL AT ONE TIME, SO THEN WHEN IT JOINS TOGETHER, THE SPOOLS WILL SPIN ALL THE WAY AROUND THE OUTSIDE.

STRING PIECING HAS BEEN VERY POPULAR IN THE LAST FEW YEARS, AND WE CAN NOW SEW AND FLIP CURVES.

INSTEAD OF STRAIGHT LINES, WE CAN DO CURVES, AND THIS IS A WAY FOR YOU TO BE VERY CREATIVE AND DO YOUR OWN CURVES, RELYING ON THE DRAFTSMAN'S TOOL, A FLEXIBLE CURVE.

WE'LL HAVE ONE WHOLE SHOW ON THIS, AND I HAVE A GREAT QUILT CALLED "STARS OVER THE SMOKIES" THAT WILL BE ADAPTED FROM THE FLEXICURVE.

THIS IS A WONDERFUL WALL HANGING.

WELL, THIS IS A SPECIAL SURPRISE.

WE'RE GONNA SAVE THIS FOR THE LAST SHOW, AND I KNOW YOU'LL ENJOY IT.

RESCUE THE PERISHING AGAIN, SEEN IN A LAP QUILTED QUILT THAT WAS DONE IN ROWS.

WE CAN TAKE OUR BLOCKS AND TURNED 'EM ON POINT OR OFFSET, AND THESE PARTICULAR LITTLE BLOCKS HERE WERE FROM A CHURCH BAZAAR.

SO RATHER THAN JUST KEEP THEM SEPARATE, WE HAVE INCORPORATED THEM INTO AN ENTIRE QUILT AND JOINED THEM WITH OUR SAMPLER BLOCKS TO GET A MARVELOUS ZIGZAG EFFECT.

YOU WOULDN'T THINK OF MACHINE QUILTING, BUT I'VE HAD A LOT OF FUN EXPLORING THE MACHINE QUILTING WAYS THAT WOULD BE SIMILAR TO DARNING ON THE SEWING MACHINE.

THAT MEANS DROPPING THE FEED DOGS, AND IN THIS CASE, I'VE EVEN GONE ONE STEP FURTHER AND EVEN WRITTEN MESSAGES ON THIS QUILT.

THIS WAS ROW LAP QUILTED ALSO, IN LONG SECTIONS, AND WE'LL LOOK AT A WHOLE NEW EXERCISE CALLED THE BACK DOOR BLOCK, THE WAY YOU CAN BE CREATIVE IN PATCHWORK.

YOU PROBABLY THINK WE'VE IGNORED APPLIQUE, BUT WE'RE GOING TO APPLAUD APPLIQUE THIS TIME AND HAVE AN ENTIRE SHOW ON THE APPLIQUE BLOCK, THIS TIME LAP QUILTED IN A VERY FLORAL FEELING.

HELEN KELLY, A QUILTER FROM MINNESOTA, WILL BE JOINING US AND STANDING OVER MY SHOULDER AND GIVING ME HER FINE POINTS ON HOW TO TURN UNDER THE RAW EDGES AND CREATE APPLIQUE PATTERNS.

NOTICE THIS IN THIS TRI-STATE TULIP PATTERN, HOW THE LITTLE FLORAL FIGURE CURVES TO THE OUTSIDE.

NOTICE IN THIS OTHER TULIP PATTERN HOW IT CURVES ON THE INSIDE.

EACH ONE HAS A DIFFERENT WAY OF BEING TURNED UNDER.

I LIKE THE FEELING OF THE FLOWING OF THIS PATTERN.

EVEN THOUGH IT'S LAP QUILTED, NOTICE HOW THE THREE APPLIQUE FIGURES HAVE A NICE, LONG FEELING ALL THE WAY THROUGH THE QUILT.

ALL OF OUR QUILTS ARE GONNA TELL A STORY.

THERE'LL BE A BACKGROUND STORY WITH EACH ONE OF THEM, AND THE PARTICULAR DRESS THAT I HAVE ON MATCHES A QUILT.

NOW, THAT'S SOMETHING YOU WILL NOT BE SEEING ON THE SHOW.

I'M NOT MAKING A DRESS FOR EVERY QUILT, BUT WHEN WE HAVE MITERED CORNERS, REMEMBER ALL THE TRIANGLES THAT WE HAVE LEFT OVER?

WELL, I HAD TO CAPTURE THOSE IN THE APRON OF THIS DRESS, AND THIS IS CALLED "THE GYPSY IN MY SOUL."

THE INSPIRATION FOR THIS CAME FROM A GYPSY CARAVAN WHILE ON A TRIP IN ENGLAND.

I SAW IT OUTSIDE OF A WINDOW OF AN ANTIQUE STORE, AND THOSE REDS AND MAROONS AND GOLD COLORS JUST STUCK IN MY MIND, AND OF COURSE, WHERE WOULD IT SHOW UP AGAIN?

IN A QUILT.

SO WE HAVE A DRESS TO MATCH THE QUILT, AND IT ALL CAME AND STARTED FROM SOME BATIK FABRIC, AND I ALSO THINK OF THIS AS BEING OLD FRIENDS IN A NEW SETTING.

WE'LL START WITH OUR DRUNKARD'S PATH.

THE DRUNKARD'S PATH BLOCK HAS A NEW SETTING AND HAS ALSO BEEN CAPTURED IN THE CORNER OF THE QUILT.

THAT WAY, IT WILL HAVE A NEW ANGLE AS IT FALLS OFF THE BED.

PERHAPS YOU REMEMBER THE KING'S "X" BLOCK.

NOW IT HAS TAKEN ON A LITTLE MORE DIMENSION, BECAUSE WE HAVE TAKEN THE TRAPEZOID AND BROKEN IT UP INTO THREE SEGMENTS, AND WE WILL SEW THESE AT THE MACHINE IN A FEW MINUTES.

ALSO, INSTEAD OF DOING THE NORMAL QUILTING WHERE WE WOULD SIMPLY FOLLOW THE OUTLINE THE WAY IT HAD BEEN PIECED, I'VE INTRODUCED A FLEUR-DE-LIS PATTERN, AND I THINK WE GET A WHOLE NEW LOOK IN OUR PATCHWORK WHEN WE PUT A FOREIGN DESIGN ON TOP OF A PRE-PIECED BLOCK.

WE NEED TO BE VERY CONSCIOUS OF HOW WE SET OUR BLOCKS IN OUR QUILT.

IT'S ONE THING TO JUST TURN OUT BLOCK AFTER BLOCK, BUT DO TAKE THE TIME TO WORK OUT HOW THEY'RE GOING TO SET ON YOUR QUILT.

IF THIS BLOCK WERE TURNED THIS WAY, WE WOULD ALWAYS HAVE A TOP AND A BOTTOM TO OUR QUILT, BUT THE FACT THAT THE CHURCH ON THE HILL HAS BEEN TURNED TO THE OUTSIDE, IT WILL FALL OFF THE BED, AND YOU'LL SEE IT AS YOU WALK INTO THE ROOM.

WE HAVE SIMPLY TAKEN THE HOUSE ON THE HILL, ELIMINATED ONE OF THE CHIMNEYS, AND HAVE PLACED A STEEPLE ON IT.

THIS COULD BE A SCHOOLHOUSE OR A CHURCH, AND NOTICE HOW THE INTERESTING LINES CREATE A NEW DIMENSION WITH THE CHURCH ON THE HILL.

NINE PATCH IS REALLY STUDIED IN THIS QUILT.

THERE ARE FOUR BLOCKS THAT HAVE BEEN BROKEN UP AND GIVEN YOU A CHANCE TO BE MORE CREATIVE IN YOUR PATCHWORK.

THIS IS A NINE PATCH VARIATION OR A NINE PATCH REPEAT.

LOOK HOW I'VE INTRODUCED A COMPASS LINE HERE ALSO, AN ENTIRELY NEW LOOK IN QUILTING RATHER THAN FOLLOWING THE WAY IT WAS PIECED.

THE RAIL FENCE BLOCK IS FAMILIAR IN THE UP CORNER, BUT ONCE AGAIN, WE'VE GOT SOME NEW DIAGONAL LINES IN QUILTING.

GRANDMOTHER'S FAN NOW HAS POINTS TO IT, AND WE'LL STUDY THAT AT THE SEWING MACHINE.

I HAVE CENTERED THE FANS ON THE TOP AND THE BOTTOM SO THAT THEY FALL ON THE TOP OF THE PILLOWS, AND I THINK THIS IS ANOTHER PLACE TO THINK ABOUT YOUR SETTING.

LOG CABIN AND THE FLEUR-DE-LIS PATTERN AGAIN.

INSTEAD OF STRAIGHT LINES ON QUILTING, INTRODUCED A DESIGN.

YOU REMEMBER THE STAR FLOWER DESIGN.

THIS TIME, WE'VE TAKEN THAT CENTER SIX-INCH SQUARE AND BROKEN IT UP INTO EVEN A SMALLER SECTION.

SO WE REFER TO THIS AS A DOUBLE STAR FLOWER.

ALSO NOTE THE 1/4-INCH LINES ALL THE WAY THROUGH WITH THE QUILTING.

WE HAVE TAKEN ADVANTAGE OF THE 1/4-INCH MASKING TAPE HERE.

SOMETIMES IT'S NICE TO PUT THAT QUILTING LINE INSIDE AND AWAY FROM THE SEAM, AND THEN YOU DON'T HAVE TO WORRY ABOUT GOING THROUGH THOSE EXTRA LAYERS WHEN YOU'RE QUILTING.

THE MAPLE LEAF SHOW WILL TEACH US THE MAPLE LEAF BLOCK, AND THAT WILL BE WHEN WE WORK ON GARMENTS, BUT I THINK IT'S NICE TO NOTE HERE IN THE "GYPSY IN MY SOUL" QUILT THAT EACH POINT OF THE MAPLE LEAF JUST RADIATES QUILTING LINES, AND ONCE AGAIN, LOOK AT YOUR BLOCK AND REALLY STUDY IT, AND TRY TO INVENT SOME NEW LINES.

WE'RE GOING TO BE ABLE TO POINT THESE OUT IN THE BOOK FOR YOU, BUT I THINK IT'S ALSO NICE FOR YOU TO DO ORIGINAL LINES WHEN YOU'RE QUILTING.

ONCE AGAIN, WE HAVE A NINE PATCH STUDY, AND I'VE NAMED THIS BLOCK BUTTONS AND BOWS.

IT'S A VARIATION OF THE OHIO STAR.

WE HAVE TAKEN THIS SEGMENT OF TRIANGLE FROM THE CENTER OF THE BLOCK AND PULLED IT OUT TO THE CORNER.

WE'VE ALSO WORKED WITH OUR JACOB'S LADDER SQUARE, BUT ALL OF A SUDDEN, YOU HAVE A CHANCE TO BE CREATIVE WORKING WITH YOUR BASIC NINE PATCH BLOCK.

THE BOTTOM BLOCK IS A SHOOFLY VARIATION, AND INSTEAD OF HAVING THE TRIANGLE IN THE CENTER A DARK COLOR, WE HAVE IT A LIGHTER COLOR, SO IT PUTS A WHOLE NEW LOOK TO YOUR BLOCK.

THE "GYPSY IN MY SOUL" QUILT REALLY RADIATES MAROON, GOLD, AND RED, AND I'M VERY THANKFUL TO THE FRIEND WHO EXCHANGED HER BATIK FABRIC WITH ME.

I HAD MADE A VEST FOR HER, AND SHE GAVE ME THE FABRIC IN EXCHANGE.

I ALSO THANKFUL TO MARY LOU KIMBALL, WHO QUILTED THE CENTER PANEL WHILE I WAS QUILTING THE OUTSIDE SAMPLER BLOCKS.

THE OTHER SPECIAL FEATURE OF THIS QUILT IS THAT I HAVE REVERSED THE LAP QUILTING CONNECTION.

WE NORMALLY THINK OF MACHINE STITCHING THE FRONT SIDE OF OUR BORDERS.

IN THIS CASE, I MACHINE STITCHED THE BACKING AND THEN HAND APPLIQUED OR SLIPSTITCHED THE NAVY BLUE STRIPS ALL ON THE OUTSIDE SO THAT YOU CAN REVERSE THAT AND DO YOUR HANDWORK ON THE FRONT SIDE.

I WANT TO GIVE YOU A CLOSER LOOK AT HOW THE NINE PATCH WERE CREATED TO BE ORIGINAL.

SO OFTEN MY STUDENTS WILL ASK IN CLASS, "HOW CAN I BE MORE ORIGINAL IN MY DESIGNS AND PATCHWORK?"

AND I THINK WE DID THAT IN THE "GYPSY IN MY SOUL" QUILT BY SIMPLY INTERCHANGING THE ELEMENTS IN A 12-INCH BLOCK.

IN A WAY OF REVIEW, LET'S GO BACK AND KIND OF RECALL OUR BASIC, TRADITIONAL BLOCKS.

THE OHIO STAR AND THE JACOB'S LADDER, FOR INSTANCE, ARE BOTH 12-INCH BLOCKS, AND WHEN WE MEASURE THEM AND SEE OUR 12-INCH AND THEN DIVIDE IT BY THREE BOTH WAYS, BECAUSE IT'S A BASIC NINE PATCH BLOCK, WE END UP WORKING WITH FOUR-INCH SQUARES, BUT WE HAVE TO REMEMBER THAT THAT FOUR-INCH SQUARE ALSO HAS A 1/4-INCH SEAM ALLOWANCE AROUND IT, SO WE'RE ACTUALLY WORKING WITH A 4 1/2-INCH SQUARE.

FROM THERE, THE SEGMENTS ARE BROKEN UP INTO SMALLER SECTIONS SO THAT THESE FOUR TRIANGLES SEWN TOGETHER WOULD EQUAL A 4 1/2-INCH SQUARE.

THE TWO TRIANGLES FROM THE JACOB'S LADDER SEWN TOGETHER WOULD EQUAL A 4 1/2-INCH SQUARE.

LET'S PLAY WITH THOSE AND INTERCHANGE 'EM, AND WHAT HAPPENS IS THAT WE CREATE THE BUTTONS AND BOWS BLOCK.

WE'VE MOVED THE TRIANGLES TO THE OUTSIDE CORNERS, AND WE'VE INTRODUCED THE SQUARES, AS YOU SAW IN THE BUTTONS AND BOWS.

NOW, TO GO A LITTLE BIT FURTHER, WE'LL EXPERIMENT WITH THE SHOOFLY PATTERN-- YOU RECALL THE SHOOFLY BLOCK AND THE NINE PATCH VARIATION-- SO THAT BY COMBINING THE TWO, WE GET GET A SHOOFLY VARIATION BREAKING UP THE CENTER SECTION IN A BASIC NINE PATCH, AND THEN, GOING ONE STEP FURTHER, WE TAKE THE NINE PATCH REPEAT AND TAKE THAT LITTLE NINE-INCH BLOCK ALL THE WAY UP.

IT'S ACTUALLY NOT A NINE-INCH BLOCK BUT A NINE PATCH BLOCK THAT EQUALS A 4 1/2 INCH SQUARE.

REPEAT THAT THREE TIMES WITH OUR TRIANGLES ON THE OUTSIDE, AND WE GET A WHOLE NEW DESIGN PATTERN.

THE RED LINES INDICATE THE QUILTING LINES, AND A 1/4 INCH MASKING TAPE WAS USED HERE AGAIN, BUT A WHOLE NEW LOOK IS CREATED BY CHANGING THE QUILTING LINES.

FOR THIS TO BE BETTER UNDERSTOOD, LET'S GO TO THE SEWING MACHINE AND SEE HOW SOME OF THESE ARE SEWN TOGETHER.

THE CHURCH ON THE HILL BLOCK WORKS WITH SOME VERY SMALL TRIANGLES, AND OF COURSE, THE SMALLER WE GET, I THINK, THE MORE HAZARDS WE RUN INTO, AND WE HAVE TO BE VERY CAREFUL, BUT WE'RE WORKING WITH ONE RED ROOF AND TWO GOLD SKIES THAT GO ON EITHER SIDE OF IT.

THEY HAVE TO BE SEWN TOGETHER, BUT TO KNOW WHERE TO PLACE THOSE ANGLES, IT CERTAINLY HELPS TO TAKE YOUR TEMPLATE AND CUT OUT THE HOLE, THE 1/4 INCH HOLE AT THE TURN, BECAUSE THEN, IF WE TURN THE RIGHT SIDES TOGETHER AND LINE UP THOSE HOLES, WE CAN SEE EXACTLY HOW MUCH RED HAS TO EKE OUT WHEN WE SEW THAT.

THAT'S A GOOD INDICATOR FOR US.

SO NOW LET'S SEW THAT AND HAVE A BETTER IDEA OF WHAT HAPPENS.

I'M GONNA LINE THIS UP, AND AS ALWAYS, WE HAVE TO HAVE OUR PATCHWORK RIGHT NEXT TO US, HOW IT'S GOING TO HAPPEN.

TURN THAT.

RIGHT SIDES TOGETHER, A LITTLE BIT OF RED EKING OUT.

IT SEEMS LIKE THE MORE ACUTE OUR ANGLE, THE LONGER THE DOG-EAR, BUT ONCE ONE IS SEWN-- I LIKE THESE NEW NIPPERS FOR GETTING MY THREADS AT JUST THE RIGHT SPOT-- AND THEN FLIP THE GOLD BACK, AND MAKE SURE THAT THAT SEAM ALLOWANCE GOES TO THE OUTSIDE, BECAUSE THAT'S YOUR KEY FOR PUTTING THE RIGHT SIDE OF THE GOLD ON AGAIN, AND SEE HOW, IF YOU LINE THAT RIGHT UP THERE, SEW, AND FLIP BACK, YOU'RE GOING TO GET A PERFECT STRAIGHT LINE, AND THAT'S YOUR KEY FOR GETTING A PERFECT SEAM.

GET THAT ALL THE WAY LINED UP, THE RAW EDGES.

TAKE YOUR 1/4 INCH SEAM ALLOWANCE... [sewing machine whirring] ALL THE WAY OUT TO THE EDGE.

AND THEN, WHEN YOU FLIP THAT BACK, YOU'VE GOT, FROM THE RAW EDGE IN, YOUR PERFECT 1/4 INCH.

YOU'D WANT TO ALSO GET RID OF ANY EXCESS HERE.

NOW, LET'S ALSO TOUCH ON THE TRAPEZOID THAT WE WERE WORKING ON AND RECALL THAT THREE SMALL TRIANGLES ARE GONNA BE SEWN TOGETHER, AND LET'S-- WE'RE GOING TO OVERLAP THIS SO I THINK YOU GET A GOOD IDEA OF WHAT HAPPENS.

THAT IS GOING TO EQUAL THAT ONCE IT'S SEWN TOGETHER.

WE TURN THIS LIKE SO.

THREE SMALLER TRIANGLES WHEN SEWN TOGETHER, BUT WHAT WE DON'T DO IS PULL THAT ALL WAY OUT TO THE END.

REMEMBER, THAT'S GONNA GET US IN TROUBLE.

WE NEED TO HAVE A LITTLE BIT OF DOG-EARS PEEKING OUT AT THE CORNER, AND THEN WE CAN GO AHEAD AND MACHINE SEW THAT.

I'VE SEWN TWO.

I'LL SEW THE THIRD.

I'VE TALKED A LOT ABOUT MASTER TEMPLATES, AND I REALLY THINK THAT IS A BIG HELP IN OUR PATCHWORK, BECAUSE IF, AT THIS POINT, WHEN WE'VE SEWN THIS AND THEN GO TO OUR IRONING BOARD WITH OUR MASTER TEMPLATE, IF THESE THREE THAT ARE SEWN TOGETHER DO NOT EQUAL THIS, WE'RE IN BIG TROUBLE.

WE'VE GOT TO COME AND JUST LINE THOSE UP, AND IF THOSE EQUAL, THEN WE KNOW THAT WE'RE ON TARGET.

WE'RE OKAY.

WE CAN GO ON FURTHER.

ONCE AGAIN, I'D TRIM OFF OUR DOG-EARS, AND WE'D BE-- WE'D KNOW THAT THAT'S GONNA WORK IN WITH OUR WHOLE PATCHWORK BLOCK.

TAKE A GOOD LOOK AT THE GRANDMOTHER'S FAN BLOCK IN THE "GYPSY IN MY SOUL" QUILT, AND YOU CAN SEE THAT WE REALLY ARE WORKING WITH A FREE-FLOATING TRIANGLE AT THE OUTSIDE EDGE.

TO MAKE THAT, IT ALL GOES BACK TO THE TEMPLATE, OF COURSE.

THE TEMPLATE HAD TO BE EXTENDED 1 1/4 INCH, BECAUSE YOU DO HAVE TO SEW UP THAT END.

I'M GONNA SEW A FEW OF THESE TO GIVE YOU A BETTER IDEA OF HOW IT WORKS.

COURSE, YOU'D GET YOUR LITTLE MINI FACTORY GOING, BUT TAKE THE WIDE END AND DO YOUR 1/4 INCH, AND AT EACH OF THE FOLD, I LIKE TO BACKSTITCH.

YOU KNOW THAT'S GONNA SECURE THAT POINT WHEN YOU INVERT IT IN JUST A FEW MINUTES.

BUT ALL THE WAY DOWN.

CONTINUE SEWING.

[sewing machine whirring] BACKSTITCH, AND EACH TIME, JUST SLIDE THAT LITTLE SECTION UNDERNEATH.

[sewing machine whirring] I'LL DO ONE MORE, AND THEN WE'LL INVERT THEM.

I THINK IT REALLY HELPS TO HAVE A POINT-- ONE OF THE POINT TURNERS, LITTLE WOODEN OBSTACLE, CLOSE BY...

WHEN YOU TURN THAT INSIDE OUT, BECAUSE YOU ALSO ARE GOING TO ELIMINATE THAT EXCESS RIGHT HERE, AND THEN, BY TURNING IT INSIDE OUT, YOU GET A NICE, FIRM POINT.

AT EACH POINT, JUST ELIMINATE THAT AND GET RID OF THAT EXTRA THREAD, AND THEN TURN THAT INSIDE OUT, AND YOUR LITTLE POINT TURNER WILL JUST PUNCH THAT ALL THE WAY OUT, AND ONCE YOU HAVE THOSE LINED UP, YOU'RE GONNA SEW THAT AS IF IT WERE A REGULAR GRANDMOTHER'S FAN, BUT ONCE AGAIN, WHEN YOU COME UP TO THIS POINT HERE, I LIKE TO BACKSTITCH.

SO YOU WOULD DO THAT IN SECTIONS OF TWO.

IN OTHER WORDS, I'D SEW TWO TOGETHER, THEN TWO MORE, AND EACH TIME, COME UP LIKE SO.

GET THAT ALL THE WAY OUT.

SO THESE TWO, THEN THESE TWO.

THESE TWO TOGETHER IN TWO.

THEN COME BACK AND DO YOUR QUARTER SECTIONS TWICE.

THEN SEW YOUR WHOLE FAN.

ONCE THAT CURVE IS CREATED, YOU HAVE A DRUNKARD'S PATH CURVE TO SEW TOGETHER.

I WOULD THEN PLACE THAT-- ALIGN THAT ON YOUR 12 1/2 INCH FOUNDATION PIECE, AND I LIKE TO DO A-- JUST A QUILTING OR A HAND STITCH ALL THE WAY AROUND HERE, AND WHAT HAPPENS IS, YOU THEN HAVE CREATED THAT FREE-FLOATING TRIANGLE.

IT ADDS A NICE DIMENSION INTO YOUR QUILT, KIND OF A NEW TOUCH, AND CERTAINLY A GYPSY TOUCH.

ONCE THAT HAS BEEN DONE, YOU'D ADD YOUR MITERED BORDERS, AND OF COURSE, IN THE CASE OF THE GYPSY QUILT, A NAVY BLUE STRIP WAS ATTACHED TO ALL OF THE BORDERS AND THEN SEWN ALL THE WAY AROUND WITH MITERED CORNERS.

YOU WERE THEN READY TO QUILT.

I ALSO WANTED TO MENTION ABOUT THE NEW CONNECTION, REVERSING THE CONNECTION, AND WHAT HAPPENED HERE, AND I HAVE-- THESE ARE SAMPLES.

THESE HAVE NOT BEEN QUILTED, BUT I THINK I CAN GIVE YOU A GOOD IDEA OF HOW WE REVERSE THAT.

THE BACKING OF YOUR QUILT.

YOUR DECORATIVE FRONT, AND ONCE THAT'S BEEN QUILTED, WE REMEMBER TO LEAVE AT LEAST 1/2 INCH ON ALL FOUR SIDES OF OUR BLOCKS FREE OF QUILTING.

ONCE THAT HAS BEEN QUILTED, THEN PIN YOUR BATTING AND YOUR BACKING TO THE FRONT SIDE.

NOW, THAT'S JUST THE REVERSE OF WHAT WE DID BEFORE.

THEN YOU'RE GOING TO MACHINE STITCH THE BACK OF YOUR QUILT, AND THAT, OF COURSE, ADDS STRENGTH, AND IT DOES MAKE SENSE, BECAUSE YOU'VE GOT ALL THAT PULL ON THE BACK OF A QUILT.

SO LINE THOSE UP.

MACHINE STITCH... [sewing machine whirring] ALL THE WAY DOWN, KEEPING YOUR RAW EDGES ALIGNED.

THEN ALL YOUR HANDWORK IS GONNA BE LEFT FOR THE FRONT SIDE.

[sewing machine whirring] ONCE I GET TO THE END, I LIKE TO BACKSTITCH HERE ALSO ON ALL OF MY LAP QUILTING CONNECTIONS.

THAT ADDS YOUR EXTRA STRENGTH.

[sewing machine whirring] ELIMINATE THOSE EXTRA THREADS.

I HAD PART OF THAT SEAM SEWN FOR YOU.

THEN I WOULD GO-- AND ALWAYS WORKING ON A FLAT SURFACE-- TAKE YOUR PINS OUT, AND ONE SIDE INSIDE HERE IS GONNA FALL FLAT.

DON'T OPEN THAT SEAM.

WE KEEP ALL OF OUR SEAMS CLOSED IN PATCHWORK, AND I WOULD EITHER OVERLAP THE BATTING, BUT IF IT'S A THICK BATTING, YOU MIGHT TRIM OFF ABOUT 1/4 INCH FROM ONE SIDE.

THEN LET ONE SIDE GO FLAT, AND WITH THIS FREE, YOU'RE THEN GOING TO LINE UP YOUR NAVY BLUE STRIPS AND MACHINE STITCH ALL THE WAY DOWN.

YOU NEED TO COME OVER A LITTLE BIT, BECAUSE YOU WANT THAT NAVY BLUE STRIP TO BE CENTERED ONCE IT'S HAND SLIPSTITCHED.

IF THAT'S BEEN MACHINE STITCHED, FLIP THIS ALL THE WAY OVER.

TURN THAT UNDER, AND YOU'RE GOING TO HAND SLIPSTITCH THAT WITH NAVY BLUE THREAD ALL THE WAY DOWN, BEING CERTAIN NOT TO GO THROUGH TO THE BACKSIDE, BECAUSE THEN YOU'RE GONNA HAVE SOME NAVY BLUE SHOWING, AND THAT IS THE WAY YOU BUILD YOUR ENTIRE QUILT AND CONNECT YOUR ROWS TO FORM THE PANELS THAT GO ON THE SIDE OF THE BATIK CENTER.

HAVE YOU NOTICED HOW I'VE BEEN KIND OF MOVING AROUND ON THE SET FROM MY SEWING MACHINE?

I HAVE FOUND THAT A STENOGRAPHER'S CHAIR IS ONE OF THE BEST THINGS TO SIT AT AT THE SEWING MACHINE.

WE'RE GOING TO SHOW YOU WHAT HAPPENS ON THE SEWING MACHINE NEXT TIME, THE DIFFERENCE BETWEEN A ROTARY HOOK AND AN OSCILLATING SHUTTLE.

[light guitar music] ♪ ♪ 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.