♪ WELCOME TO OUR SHOW, "PASTIME TURNS PROFESSIONAL."

TEXTILES MIGHT BE YOUR MAJOR IN COLLEGE, OR IT COULD JUST BE A HOBBY, BUT ALL OF A SUDDEN, IT'S YOUR LIFE'S WORK.

MEET FULL-TIME PROFESSIONALS JINNY BEYER, JUDY MATHIESON, AND GLORIA ALLEN TODAY ON "LAP QUILTING."

♪ "LAP QUILTING WITH GEORGIA BONESTEEL" IS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR THE HOME, CLASSROOM, AND INDUSTRY.

AND COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING J&P COATS DUAL DUTY PLUS THREAD.

WELL, GUESS WHO THE LUCKY WINNER WAS, AND I WONDER WHO WILL GET IT NEXT YEAR AT FREEDOM ESCAPE.

THIS IS THE SAMPLER THAT I MADE YEARS AGO, AN ASYMMETRICAL OF MANY OF OUR BLOCKS, AND IT WAS UNTIL I WAS SITTING AT A CRAFT SHOW WHEN I SPIED THE MISTAKE IN THE VIRGINIA REEL AREA, REASON ENOUGH TO DO IT ALL OVER AGAIN.

WE RE-CREATED THIS AREA USING 4 MONKEY WRENCH BLOCKS AND INTO A BASIC 9-PATCH.

IT COULD HAVE BEEN DONE IN 12 INCHES OR 8 INCHES.

AND HERE IS OUR FINISHED PRODUCT ALL DONE, COMBINING BOTH HAND-QUILTING AND A LITTLE BIT OF MACHINE-QUILTING.

LEE ROSKAM ALSO FINISHED HERS IN A WONDERFUL MEDLEY OF BLUES.

SHE USED THE 8-INCH BLOCKS.

WE INDEED WANT TO THANK LILA KING FROM MONTANA, WHO SHARED WITH US THE TIP OF THE DAY LAST WEEK.

IT HAD TO DO WITH SEWING INTERSECTIONS AND BEING ABLE TO SWIRL OUR SEAM ALLOWANCES AFTER WE RELEASE THEM.

I KNOW YOU'LL ENJOY DOING THAT, AND NOW FOR OUR SHOW TODAY.

WHILE IN WASHINGTON, D.C., I HAD THE OPPORTUNITY TO VISIT THE D.A.R.

MUSEUM AND MEET GLORIA ALLEN.

THE EXHIBIT IS WONDERFUL, AND YOU'RE GOING TO LOVE A PARTICULAR RED-AND-WHITE QUILT.

NOW IF YOU SHOULD PLAN A TRIP TO D.C., DO WRITE AHEAD AND INQUIRE AS TO WHAT IS GOING TO BE SHOWN, AS THE EXHIBITS TO ROTATE.

I HAD THE OPPORTUNITY TO ASK GLORIA THEN, "HOW DO YOU PREPARE, AND WHAT DO YOU HAVE TO DO "IN ORDER TO BE A TEXTILE AUTHORITY OR A CURATOR AT A MUSEUM?"

WELL, I THINK EDUCATION CERTAINLY IS AN IMPORTANT FACTOR.

MY BACKGROUND CONSISTS OF AN ART HISTORY DEGREE FROM SMITH COLLEGE AND THEN A MASTER'S DEGREE IN AMERICAN STUDIES.

THAT LED TO AN INTERNSHIP, WHICH I ENDED UP DOING AT THE D.A.R.

MUSEUM, AND ONCE I HAD A FOOT IN THE DOOR, THEN THAT LED EVENTUALLY TO PAID EMPLOYMENT.

SO I THINK INTERNSHIPS, I CONSIDER TO BE A VERY IMPORTANT ASPECT OF IT.

NOT ONLY DOES IT GIVE YOU A BACKGROUND IN ASPECTS OF MUSEUM WORK, CURATORIAL WORK, BUT IT SHOWS THE STAFF OF AN INSTITUTION WHAT YOU CAN DO, WHAT YOU'RE CAPABLE OF, AND SINCE IT IS SUCH A COMPETITIVE FIELD, I THINK ANY KIND OF HELP YOU HAVE, ANY CHANCE YOU HAVE TO GET A FOOT IN THE DOOR IS VERY IMPORTANT.

OTHER ASPECTS OF AN EDUCATION IN TEXTILES MIGHT BE GOING INTO APPRAISAL, AND I KNOW YOU WANTED TO DISCUSS APPRAISAL.

I DON'T KNOW IF THIS IS THE TIME YOU WOULD LIKE TO GET INTO THAT.

I THINK TO BE AN APPRAISER, WHICH I AM NOT BECAUSE MUSEUM PROFESSIONALS BY THEIR STANDARDS OF ETHICS CANNOT DO APPRAISALS-- AN APPRAISER WOULD BE AN INDEPENDENT PERSON, AND I THINK TO APPRAISE TEXTILES, AGAIN, YOU HAVE TO HAVE A THOROUGH BACKGROUND AND UNDERSTANDING IN THE HISTORY OF TEXTILE PRODUCTION AND TEXTILE USAGE, BUT ALSO IT COMES FROM MANY, MANY YEARS OF EXPERIENCE OF LOOKING VERY CLOSELY AT TEXTILES FOR THE TYPE OF FABRICS, QUALITY, CONDITION.

WHEN WE'RE SAYING THE WORD APPRAISER, YOU'RE ACTUALLY REFERRING TO THE MONETARY VALUE ON TODAY'S MARKET WHAT A QUILT IS WORTH.

THAT'S RIGHT.

AND THAT'S A LITTLE BIT DIFFERENT THAN EVALUATING A QUILT FOR SOMEONE JUST TO-- PERHAPS SOMEONE DOESN'T HAVE ANY KNOWLEDGE OF QUILTING AND THEY WANT TO KNOW ABOUT THE PATTERN AND THAT SORT OF THING.

WE DO WHAT WE CALL IDENTIFICATION, WHICH WOULD BE WHAT YOU'RE CALLING EVALUATION.

AND CAN YOU DO THAT JUST THROUGH THE MAIL?

WE CAN DO IT TO A LIMITED EXTENT THROUGH THE MAIL IF SOMEONE WILL SEND US PHOTOGRAPHS, ANY AVAILABLE FAMILY HISTORY.

THE PHOTOGRAPHS, WE REQUEST BOTH CLOSEUPS IN ADDITION TO AN OVERALL.

FROM THAT, I CAN GENERALLY TELL THE APPROXIMATE DATE RANGE OF A QUILT, DEPENDING ON THE TYPE OF TEXTILES THAT WERE USED IN IT.

IF THE CLOSEUP IS DETAILED ENOUGH SO I CAN SEE THE STITCHING, THAT'S CERTAINLY HELPFUL.

IT'S HELPFUL TO SEE THE BACK.

WE GET INQUIRIES LIKE THIS QUITE OFTEN, BUT FREQUENTLY, PEOPLE WILL SAY, "WELL, HOW MUCH IS MY QUILT WORTH?"

THAT UNFORTUNATELY I CANNOT TELL THEM.

AND LET'S GET BACK TO THAT, THE APPRAISAL.

IS THERE AN OFFICIAL ORGANIZATION?

THERE'S THE AMERICAN SOCIETY OF APPRAISERS, AND MY UNDERSTANDING IS THAT THE IRS WILL LOOK MUCH MORE FAVORABLY ON AN APPRAISAL FROM SOMEONE WHO IS ACCREDITED BY THE AMERICAN SOCIETY OF APPRAISERS.

WELL, WE'RE SO GLAD WE FOUND YOU TODAY, AND WE WANT TO TAKE A LOOK AT SOME OF THE QUILTS THAT YOU HAVE HANGING, AND I HAVE MY EYE ON THAT RED MAZE QUILT.

I HAVE NEVER SEEN ANYTHING LIKE THAT BEFORE.

THAT'S FASCINATING.

NOW, GLORIA, THIS IS A FASCINATING QUILT.

TELL ME ABOUT THIS.

THIS IS PART OF OUR CURRENT EXHIBITION, GEORGIA, A FEW OF OUR FAVORITE THINGS.

THE DIFFERENT STAFF MEMBERS SELECTED A NUMBER OF OBJECTS FROM OUR COLLECTION, ONCE WE PARTICULARLY LIKED OR THOUGHT WERE POPULAR.

THIS PARTICULAR QUILT IS ACTUALLY A FAIRLY RECENT ACCESSION.

THIS QUILT, THOUGH, DOES HAVE A VERY INTERESTING STORY.

IT DEPICTS THE LABYRINTH AT THE PALACE OF KNOSSOS IN CRETE.

YOU SEE THE "C" IN THE CENTER, AND THAT DESIGNATES CRETE.

IT APPEARS TO BE BOTH PASTE AND APPLIQUÉD, USING A TURKEY RED FABRIC.

PROBABLY DATES ABOUT 1850, BUT THE MAZE, I THINK, IS GREAT FUN.

WE HAVE NOT BEEN ABLE TO FIND OUR WAY INTO IT.

IT'S SO COMPLEX.

WHEN WE HAVE CHILDREN COME, AS WE FREQUENTLY HAVE SCHOOL GROUPS COME, WE USUALLY GIVE THEM THE TASK OF "CAN YOU FIND YOUR WAY IN?"

AND THEN WE TELL THEM A LITTLE BIT ABOUT THE STORY.

I AM PROMPTED TO THINK WHAT MADE THIS WOMAN MAKE A QUILT LIKE THIS?

DO YOU SUPPOSE SHE HAD AN INTEREST IN GREEK MYTHOLOGY?

THAT'S POSSIBLE.

THE GREEK THEME RUNS THROUGHOUT THE QUILT.

YOU EVEN HAVE A GREEK KEY DESIGN HERE, AND THIS OUTER BORDER MOTIF, ACCORDING TO THE DONOR, REPRESENTS THE WALLS OF TROY.

SO YOU HAVE ANOTHER MYTH OR ANOTHER GREEK LEGEND INVOLVED IN THE DESIGN OF THE QUILT.

SO MANY STORIES IN JUST ONE QUILT.

LET'S GO ON AND LOOK AT THAT ALBUM QUILT.

ALL RIGHT.

THAT ONE HAS AN INTERESTING STORY, AS WELL.

WHAT A COLORFUL ARRAY OF APPLIQUÉ WE HAVE HERE.

ARE THESE THE SO-CALLED BALTIMORE QUILTS?

THESE ARE ALL MARYLAND ALBUM QUILTS.

ONLY ONE CAN PROBABLY REALLY BE ATTRIBUTED TO BALTIMORE, BUT WE FIND ALBUM QUILTS ALL OVER MARYLAND, NOT JUST IN BALTIMORE.

I NOTICE THAT THERE ARE PENCIL MARKS ON THE OUTSIDE OF THIS.

WHEN YOU SEE THIS HAPPEN, GLORIA, DO YOU HAVE ANY SUGGESTIONS FOR HOW WE DEAL WITH MARKING OUR QUILTS TODAY?

AND THERE'S NOTHING YOU CAN REALLY DO ABOUT THAT NOW.

IT'S PART OF THE QUILT.

IT'S PART OF THE QUILT.

I LIKE TO SEE IT BECAUSE IT GIVES MORE OF AN INDICATION OF THE WORKING OF THE QUILT MAKER.

FREQUENTLY, WE'LL SEE A BLUE LINE RATHER THAN A PENCIL MARK.

SINCE THIS WAS QUILTED IN THE 20th CENTURY, THAT MAY INDICATE WHY SHE USED THE PENCIL RATHER THAN THE BLUE TYPE OF MARKING THAT'S MORE CHARACTERISTIC OF THE 19th CENTURY.

WE WOULD NOT-- CERTAINLY NOT TRY TO REMOVE THE MARKS.

THIS QUILT PROBABLY HAS BEEN LAUNDERED, AND THE MARKS WERE PROBABLY STRONGER BEFORE THEY WERE LAUNDERED.

AND THAT'S ONE TIP YOU WANTED TO SHARE WITH US.

I DIDN'T MENTION THAT EARLIER.

YOU REALLY WOULD ADVISE ON PRECIOUS OLD QUILTS SUCH AS THIS NOT TO LAUNDER THEM AT HOME.

CERTAINLY NOT AT HOME.

IF YOU HAVE A QUILT THAT YOU FEEL REALLY NEEDS SOME ATTENTION, I WOULD CONSULT A PROFESSIONAL TEXTILE CONSERVATOR, WHO HAS THE PROPER FACILITIES FOR LAUNDERING, IF THAT'S WHAT IS NECESSARY FOR THE PRESERVATION OF THE QUILT.

I GUESS ONE OF THE BENEFITS OF LAUNDERING IS THAT YOU REDUCE THE ACIDIC LEVEL IN THE QUILT, AND ACID IS VERY HARMFUL TO FIBERS.

ONCE THE ACIDIC LEVEL IS REDUCED, THEN THE QUILT IS MORE STABLE.

IT WILL PROBABLY LAST OVER A LONG PERIOD OF TIME, BUT PEOPLE SHOULD NOT ATTEMPT THIS ON THEIR OWN.

IT'S INTERESTING TO STUDY THE QUILTS.

I NOTICED ON THIS ONE, IF WE REALLY GET DOWN AND REALLY LOOK AT IT CLOSELY, YOU COME UP WITH THE IDEA THAT PERHAPS MORE THAN ONE SET OF FINGERS WORKED ON THIS ONE.

IS THAT TRUE?

I THINK IN THIS CASE THAT IS TRUE.

THIS QUILT, ACCORDING TO DONOR HISTORY, WAS MADE BY BETSY HARPER, WHO LIVED IN LYNCHBURG, VIRGINIA.

WE HAVE TRACED THE NAMES THAT ARE ON THE QUILT, AND THERE ARE A NUMBER OF INK NAMES AND I THINK SOME CROSS STITCH NAMES.

WELL, I REALLY LIKE THE PRICKLY EFFECT THAT IS EVIDENT IN THE WAY-- AFTER THE LEAVES ARE PUT DOWN.

IN FACT, THAT IS THE SOLE WAY OF SECURING THOSE LEAVES IS WITH A-- ALMOST A HEAVIER BROWN THREAD...

I THINK IT'S ACTUALLY A WOOL.

A WOOL?

I SEE.

A WOOL EMBROIDERY THREAD.

WE DO SEE THAT ON MARYLAND QUILTS.

I'VE SEEN IT ON OTHER MARYLAND ALBUM QUILTS FROM THE SAME PERIOD, PARTICULARLY WITH THE ROSE VINE.

GIVES ME SOME IDEAS TO DO TODAY.

IT REALLY IS.

I WANT TO SEE THE ABSOLUTELY BEAUTIFUL WHITE-ON-WHITE QUILT THAT YOU HAVE.

THAT IS SPECTACULAR.

YES.

LET'S TAKE A LOOK AT THAT.

GLORIA, THIS QUILT MUST BE IN THE MASTERPIECE CATEGORY.

WE THINK OF QUILTS AS BEING EITHER PIECED OR APPLIQUÉD, BUT THIS IS A WHOLE NOTHER WAY OF DOING QUILTING.

MM-HMM.

AND I THINK BEING A WHITE-WORK QUILT, THE QUILTING IS MUCH MORE IMPORTANT.

THERE ARE NO FABRICS TO GIVE CONTRAST, INTEREST TO THIS QUILT.

THIS IS BOTH QUILTED AND STUFFED.

I USE THE TERM STUFFED, WHICH IS A PERIOD TERM, RATHER THAN TRAPUNTO, WHICH I THINK A LOT OF QUILT MAKERS ARE MORE FAMILIAR WITH.

WE FIND THAT THAT'S A LATE VICTORIAN TERM AND WOULD NOT HAVE BEEN USED AT THE TIME THIS WAS MADE, WHICH WAS ABOUT 1840.

IS IT POSSIBLE-- THIS IS SUCH A LARGE QUILT-- TO ALSO DATE A QUILT BY THE SIZE OF THE QUILT?

I WOULD SAY GENERALLY THE EARLIER QUILTS TEND TO BE LARGER.

THEY WERE USUALLY USING FAIRLY FULL FEATHER SACK ON THE BED AS A MATTRESS, NOT AS A FEATHER BED AS WE THINK OF AS A DOWN COMFORTER.

SOME OF THESE FEATHER BEDS WOULD WEIGH AS MUCH AS 80, 90 POUNDS, SO THAT'S A LOT OF FEATHERS.

SO TO COVER THIS HUGE MOUND OF THE BEDDING, THE QUILTS TENDED TO BE FAIRLY LARGE.

IT IS BEAUTIFUL.

THANK YOU FOR LETTING US VIEW THIS ONE.

NOW MEET JUDY MATHIESON FROM CALIFORNIA.

WHY, SHE'S A QUILT MAKER, SHE'S A DESIGNER, AN AUTHOR, AND A TEACHER.

I KNOW YOU'LL ENJOY SEEING HER MANY QUILTS.

JUST LOOK AT THESE PRECISE POINTS DONE WITH THE ABLE FINGERS OF JUDY MATHIESON FROM LOS ANGELES.

JUDY, YOU ARE TO BE COMMENDED FOR ALL THESE WONDERFUL ELONGATED POINTS THAT YOU'VE DONE.

ARE THEY IMPOSSIBLE?

CERTAINLY NOT IMPOSSIBLE.

COMPASS DESIGNS TO HAVE THE REPUTATION FOR BEING VERY DIFFICULT, BUT THEY'RE A LOT EASIER THAN MOST PEOPLE THINK THEY ARE, AND I'M TRYING TO ENCOURAGE PEOPLE TO DO THEM BECAUSE THEY ARE REWARDING.

PEOPLE ARE USUALLY PLEASED WITH THEIR EFFORTS, AND I THINK THAT THEY'RE STUNNING AND LOVELY.

DO YOU START ON PAPER?

DOES IT ALL START ON PAPER?

IS THAT--ARE YOU A DRAFT PERSON?

I GENERALLY DRAFT THE DESIGNS, YES, BECAUSE THERE REALLY AREN'T VERY MANY COMPASS DESIGNS AVAILABLE.

THEY WERE A DESIGN THAT WAS USED TRADITIONALLY AS LONG AGO AS 150 YEARS, BUT THERE AREN'T MANY PATTERNS AVAILABLE BECAUSE QUILTERS DO TEND TO THINK OF THEM AS GRADUATE WORK.

DID YOU ACTUALLY GO TO MAPS AND TO STUDY HOW THEY WERE DESIGNED?

I WENT TO MAPS AND OLD QUILTS FOR THE SOURCE MATERIAL FOR THESE THINGS.

BUT YOU HANDLE THEM IN A UNIQUE WAY.

THIS IS CERTAINLY AN ASYMMETRICAL QUILT WITH 3 COMPASS POINTS ON THEM WITH STARTS THAT ARE DISPERSED.

WHAT DO YOU CALL THIS PIECE?

I CALL THIS PIECE "FIREWORKS" BECAUSE OF THE COLOR.

THIS, HOWEVER, WAS A HEX SIGN FROM A PENNSYLVANIA RESTAURANT PLACE MAT.

OH, MY GOODNESS.

YOU NEVER KNOW WHERE IT'S GOING TO APPEAR.

AND OF COURSE YOUR BEAUTIFUL QUILT THAT YOU WON MANY AWARDS WITH AND IS NOW TOURING THE COUNTRY OR IS ON DISPLAY, AND THAT WAS ENTITLED... "NAUTICAL STARS."

IT WAS A BREATHTAKER.

IT JUST TOOK YOUR BREATH AWAY, AND THAT IS ON THE COVER OF YOUR NEW BOOK.

YES.

THE CENTER OF THE BOOK HAS THE CENTER OF THE QUILT, AND THEN THERE ARE PATTERNS AND DIAGRAMS ON HOW TO DRAFT THEM, HOW TO PUT THEM TOGETHER.

AND SOME OF THE REAL SECRETS ON HOW TO HANDLE IT.

RIGHT.

HOPEFULLY ENCOURAGING PEOPLE NOT TO BE SO AFRAID OF THIS KIND OF DESIGN.

NOW YOU ALSO WORK WITH ATTIC WINDOWS, AND THE ONE WE'RE DISPLAYING ON THE BACK, THAT'S MOST HANDSOME.

ITS A VERY ART-WORTHY QUILT.

YOU ENJOY THE ANGLES THAT-- I LIKE 3-DIMENSIONAL DESIGNS.

THAT NOT ANY MORE DIFFICULT TO MAKE IN FABRIC THAN THEY ARE TO PAINT OR TO DRAW ON PAPER, BUT THEY ARE IMPRESSIVE, AND THEY DO GIVE YOU A FEELING OF BEING THERE.

THIS ONE'S MADE WITH JAPANESE FABRICS, AND SO I CALL IT "JAPANESE WINDOWS."

I HAVE A SMALL ONE THAT HAS FANS FLOATING IN THE BACKGROUND WITH A PERSPECTIVE ANGLE.

THAT ONE IS CALLED "FANS IN PERSPECTIVE."

DO YOU DO HAND-PIECING OR MACHINE-PIECING?

GENERALLY, I PIECE ON THE MACHINE.

I STARTED OUT AS A HOME ECONOMICS MAJOR, AND I PIECED ON THE MACHINE, AND SO I REALLY NEVER QUIT.

OF COURSE, I DO LIKE TO HAND-PIECE, AND I DO A LOT OF IT.

DO YOU DO YOUR OWN QUILTING?

YES, I DO MY OWN QUILTING.

MM-HMM.

YEAH.

DO YOU THINK THAT WE'RE EXPERIENCING A LOT OF INNOVATIVE QUILTING LINES?

BECAUSE I SEE THEM WITH YOURS.

I MEAN, THIS IS REALLY UNIQUE TO HAVE THE ANGLES GOING.

DO YOU FIND THAT'S HAPPENING?

WELL, I THINK PEOPLE ARE GROWING UP AND DOING CREATIVITY IN THE WHOLE PIECE, NOT JUST IN THE PIECING OR IN THE APPLIQUÉ OR IN THE DESIGN, BUT THEY'RE TRYING TO PUT ANOTHER LAYER OF CREATIVITY INTO THEIR QUILTS BECAUSE, AFTER ALL, YOU COULD PAINT THESE THINGS IF YOU REALLY JUST WANTED THEM FLAT, BUT THE THIRD DIMENSION IS THE QUILTING.

THE NEW SHADOWS THAT ARE CAST ON IT.

LET'S GO THROUGH SOME THAT YOU'VE BROUGHT HERE TODAY.

I'D TO LOVE YOU HEAR YOU SPEAK ABOUT THE NAMES OF THE PIECES AND WHAT MEANING THEY HAVE FOR YOU.

THIS IS ANOTHER COMPASS DESIGN.

IT SEEMED TO ME AS I LOOKED AT MAPS THAT IN A MAP THE DESIGN OF THE COMPASS ROSE ISN'T IN THE CENTER OR ALL OVER.

IT'S USUALLY OFF TO ONE SIDE, AND SO THIS BEING A STORM AT SEA PATTERN, I PLACED IT ASYMMETRICALLY.

I LIKE TO WORK WITH GROUPS OF FRIENDS, AND THIS IS WHAT THEY CALL A FRIENDSHIP QUILT IN THAT THEY PRODUCE THE BLOCKS.

I SEE SOME INITIALS, THEIR INITIALS ON IT.

AND LOOK AT THAT WILD BORDER YOU HAVE ON THERE.

WONDERFUL.

OH, EVERYONE WILL RELATE TO THIS BUT IN A DIFFERENT MANNER.

YOU FAN HAS TAKEN ON AN ENTIRELY NEW LOOK.

WELL, AGAIN, THIS IS A FRIENDSHIP BLOCK.

YOU CAN GET A LOT OF VARIETY BY ASKING YOUR FRIENDS TO PARTICIPATE BECAUSE THEY VIEW FABRIC DIFFERENTLY THAN YOU DO, BUT IN THIS CASE, THEY WERE GIVEN A PIECE OF FABRIC, INCIDENTALLY, FROM "NAUTICAL STARS" FABRIC, WHICH HAS A VARIETY OF VALUES IN THE WORK, AND THEY PRODUCED THE FAN, AND THEN I ASSEMBLED IT TO CARRY THE COLOR ACROSS THE QUILT AND NOT BE STATIC.

I'M REALLY HAPPY WITH THE WAY THIS LOOKS.

OH.

I LOVE THE BORDERS.

AND LOOK AT YOUR LITTLE HINT OF THE FAN.

OF THE LITTLE SWIRL OF THE FAN BLADES WHEN THEY'RE OPENING.

THIS DESIGN CAME FROM A 1930s QUILT THAT I PHOTOGRAPHED AT ONE OF MY FIRST QUILT SHOWS I EVER WENT TO, AND I'VE ALWAYS REMEMBERED IT AND WANTED TO PARTICIPATE WITH IT.

I LOVE IT IT'S VERY NICE.

AND THIS HAS SPECIAL MEANING TO YOU.

THIS IS ONE OF THE MOST RECENT THINGS I'VE DONE, AND GAIN, BACKGROUND FABRICS BEING SHADES ACROSS.

SOMETIMES, WHEN I GO ON VACATION OR TRAVEL, I TAKE SMALL, LITTLE THINGS WITH ME, AND I CAN'T HAVE-- I HAVE MORE THAN ENOUGH QUILTS ACTUALLY, BUT I STILL WANT TO MAKE MORE.

ONE WAY TO GET IT OUT OF MY SYSTEM IS TO MAKE THESE SMALL PIECES, AND SOMETIMES, THEY MIGHT EVEN BE TRIAL EFFORTS FOR A LATER QUILT.

NOW YOU MADE THIS FOR YOUR SON?

THIS IS A SPECIAL GIFT?

I HAD IT IN MIND TO MAKE HIM A FULL-SIZED QUILT LIKE THIS SINCE I'VE BEEN SO HAPPY WITH IT, AND HE'S FOND OF BLUE, AND HE'S ALREADY GONE THROUGH A COUPLE OF QUILTS, SO IT'S TIME FOR A NEW ONE.

WELL, THAT'S GOOD.

IT'S LOVELY.

AND, OH, MY, HERE WE HAVE THE HEXAGON AGAIN.

I LIKE HEXAGONS.

I THE PAPER TEMPLATE PIECE WHEN I'M TRAVELING, WHICH IS A-- DO YOU DO IT ENGLISH LIKE?

ENGLISH STYLE WITH THE PAPER TEMPLATES, AND THESE ARE REPRODUCTIONS OF ANTIQUE QUILTS THAT I'VE ADMIRED, AND AGAIN, I DON'T HAVE THE TIME NOR THE INCLINATION TO MAKE A WHOLE BED QUILT OUT OF THESE PATTERNS, BUT I ADMIRE THE FEEL AND LOOK, AND SO THESE ARE MY VERSIONS.

THIS WOULD BE STUNNING ON THE WALL, THOUGH.

REALLY.

WONDERFUL WALL PIECES.

I COULD HAVE-- ONE OF THESE DAYS, I'M GONNA TAKE THE COLLECTION AND HANG IT ON A WALL TOGETHER.

AND LET'S LOOK AT THIS ONE.

ISN'T THIS BEAUTIFUL?

OH, I SEE STARS, AND I SEE PANDORA'S BOX AND ALL KINDS OF THINGS HERE.

THIS IS A REPRODUCTION OF AN OLD QUILT THAT HAD SIGNATURES IN IT.

A WOMAN IN THE 1880s SENT THE FABRIC AROUND AND HAD PRESIDENTS AND FAMOUS PEOPLE SIGN IT.

I'VE ALWAYS ADMIRED IT.

LOOK AT THE WONDERFUL EFFECT YOU GET HERE BY CARRYING-- NO ONE REALLY KNOWS WHAT TO DO WITH THESE ANGLES AT THE OUTSIDE, AND YOU'VE SOLVED THAT PROBLEM VERY WELL.

SO THAT IS ACTUALLY THE TOP AND BOTTOM?

MM-HMM.

THIS IS THE TOP, AND THAT'S THE BOTTOM.

MOST PEOPLE ARE MORE COMFORTABLE WITH IT THIS WAY BECAUSE THEY SEEM TO FLOAT RATHER THAN FALL.

I SEE.

I SEE.

WELL, WHAT'S AHEAD FOR YOU, JUDY?

ARE YOU JUST GONNA ENJOY TEACHING AND SITTING BACK AND RESTING FOR A WHILE?

WELL, I HAVE WRITTEN A BOOK AND DID A QUILT THAT PLEASED ME A GREAT DEAL AND HAS HAD A GREAT DEAL OF FAVORABLE COMMENTS, AND I HAVE NO PARTICULAR MAJOR PROJECT IN MIND FOR THE MOMENT.

I'M JUST GONNA SEE WHAT COMES BECAUSE THINGS-- DESIGNS JUST KIND OF COME.

MM-HMM.

THEY JUST HAPPEN, AND YOU JUST CAN'T REALLY SAY, "I'M GONNA DO THIS OR THAT."

THEY JUST DEVELOP SLOWLY.

SOMETIMES, YEAH.

THEY DO.

WE REALLY ADMIRE YOUR WORK AND WISH YOU THE BEST OF LUCK.

THANK YOU FOR JOINING US TODAY.

THANK YOU.

WEREN'T YOU INSPIRED BY THE MANY QUILTS AND STITCHES THAT JUDY HAS PRODUCED?

ANOTHER QUILT MAKER JUST RUNNING AWAY WITH QUILTING IS JINNY BEYER.

WE COULD CALL HER THE QUEEN OF THE MARINER'S COMPASS.

I KNOW YOU'LL ENJOY VIEWING AND MEETING THE MANY QUILTS THAT JINNY HAS MADE.

JUST LOOKING AT THE ARRAY OF BOOKS THAT JINNY BEYER HAS PRODUCED MAKES US REALIZE WHAT A CONTRIBUTION SHE HAS MADE TO THE QUILT WORLD.

WE ARE PRIVILEGED TODAY TO HAVE JINNY BEYER WITH US.

TELL ME WHAT'S NEW AND EXCITING.

WHAT'S THE LATEST WITH JINNY BEYER?

THE LATEST HAS BEEN THE VIDEO, THE FIRST ONE, WHICH YOU HAVE HERE, AND THE NEXT TWO.

THE FIRST ONE ON COLOR, THE SECOND ON ON PATCHWORK, JUST EVERYTHING YOU NEED TO KNOW ABOUT PATCHWORK, AND THEN THE THIRD ONE ON QUILTING, THE ACTUAL QUILTING PART AND PUTTING A QUILT IN A FRAME AND THE QUILTING STITCH.

THAT'S BEEN VERY EXCITING, AND IT'S BEEN PRETTY AMAZING TO ME TO DO A VIDEO AND TO SEE THE FINAL PRODUCT AND TO REALIZE HOW MUCH LESS TIME IT TAKES THAN A BOOK.

YOUR VERY BEGINNINGS IN QUILTING STARTED IN INDIA.

I UNDERSTAND THAT YOU'VE HAD A CHANCE TO RENEW THAT WITH ANOTHER TRIP.

TELL US ABOUT-- WELL, WE LIVED-- MY HUSBAND AND FAMILY AND I LIVED IN INDIA AND NEPAL FOR ABOUT 4 YEARS, AND I STARTED MY FIRST QUILT WHEN I WAS LIVING OVER THERE SIMPLY AS A PROJECT BECAUSE I'D RUN OUT OF THINGS TO DO.

YOU WERE BORED OVER THERE MAYBE.

WELL, I WASN'T BORED, BUT IN THE EVENING TIME, YOU DON'T HAVE TV TO WATCH OR HEAR ALL YOUR RECORDS OVER AND OVER AGAIN, AND YOU HAVE TO HAVE SOMETHING.

YOU'VE READ EVERY BOOK THAT THE LOCAL LIBRARY HAS, AND SO YOU NEED SOMETHING ELSE TO DO, AND I'VE ALWAYS LIKED TO HAVE MY HANDS BUSY, AND I STARTED THAT FIRST QUILT, BUT ONCE I CAME BACK TO THE STATES AND GOT MORE INVOLVED IN QUILTING, MY QUILTS, I THINK, IN A LOT OF RESPECTS-- WELL, PEOPLE WOULD TELL ME THEY LOOKED LIKE AN ORIENTAL CARPET AND LOOK AT THE ORIENTAL INFLUENCE, AND I DIDN'T SPECIFICALLY MAKE A QUILT WITH THAT IN MIND, BUT I BEGAN TO REALIZE THAT A LOT OF WHAT I HAD EXPERIENCED THERE MUST BE COMING OUT SUBCONSCIOUSLY IN MY WORK.

YOU HAVE BEEN ASSOCIATED WITH THE MEDALLION QUILT FOR A LONG TIME, AND NOW WE'RE SEEING NEW QUILTS, SCRAP QUILTS.

DO YOU FIND IT HARD TO LEAVE ONE AREA, ONE SPECIFIC AREA AND VENTURE OFF?

OH.

I DON'T EVER FEEL THAT I'M LEAVING ANY AREA, AND OFTEN, I'LL GO SOMEWHERE, AND PEOPLE WILL SAY, "WELL, NOW YOU'VE DONE MEDALLION QUILTS "AND YOU'VE WORKED WITH BORDERS, "AND WHAT ARE YOU GONNA DO FROM HERE?

YOU KNOW, WHAT ARE YOU AIMING FOR?"

AND I DON'T AIM FOR ANYTHING.

I JUST MAKE QUILTS THE WAY THEY HIT ME, AND I HAVEN'T MADE A MEDALLION QUILT NOW FOR A COUPLE OF YEARS, BUT THAT DOESN'T MEAN I DON'T WANT TO.

IN FACT, I HAVE A MEDALLION QUILT IN MY MIND THAT I'VE WANTED TO MAKE FOR A LONG TIME, BUT IT WAS GONNA TAKE GOING BACK TO INDIA.

I WANTED TO DO A QUILT BASED ON THE TAJ MAHAL, AND--BUT I HAD TO SEE IT AGAIN TO BE ABLE TO DO THAT.

OH, THAT GIVES ME GOOSE PIMPLES!

THEN IT WAS REALLY EXCITING BECAUSE I CAME BACK AND DESIGNED A LINE BASED ON THE-- A LINE OF FABRICS BASED ON THE TAJ MAHAL, TOO.

SO NOW I CAN-- ONCE THAT FABRIC COMES OUT, I CAN DESIGN THE QUILT USING SOME OF THE FABRICS, AND I'M REALLY EXCITED ABOUT THAT.

SO I DON'T FEEL I EVER LEAVE ANYTHING.

IT'S ALWAYS BUILDING.

IT'S BUILDING, AND YOU GO BACK TO SOMETHING THAT YOU DID BEFORE, BUT IT'S NOW CHANGED BECAUSE YOU'RE LOOKING AT IT IN A DIFFERENT WAY.

SO I DON'T LOOK AT ANYTHING THAT I DO AS SAYING, "THAT'S WHAT I'M DOING NOW, AND I'M NOT GONNA DO ANYTHING ELSE."

I JUST WORK WITH IT AS THE MOOD HITS ME.

I'M NOT TRYING TO PLEASE ANYBODY ELSE OR SATISFY SOMEBODY WHO THINKS I SHOULD BE DOING SOMETHING DIFFERENT, BUT I JUST HAVE TO SATISFY MYSELF.

YOU'RE GONNA BE TEACHING SOME CLASSES THIS WEEK.

WHAT SPECIFIC THINGS WILL YOU BE SHARING WITH THE STUDENTS?

OH, I'M GOING TO BE DOING A CLASS ON SCRAP QUILTS AND ONE ON BORDERS AND ON COLOR, AND THERE'S A DRAFTING CLASS, SEVERAL DIFFERENT CLASSES.

SOME OF THEM ON-HANDS WHERE THEY ACTUALLY LEAVE WITH SOMETHING STARTED OR WHEN THEY JUST-- MOST OF THE CLASSES ARE NOT WHAT I SORT OF CONSIDER SORT OF KIT-ORIENTED TYPE THINGS, WHERE EVERYBODY'S DOING A PROJECT PER SE, BUT I LIKE TO DO MORE IDEA-ORIENTED CLASSES.

A LOT OF THEM WILL BE EXERCISES OF THINGS THAT THEY WILL BE DOING THAT I GIVE THEM, AND THOSE EXERCISES THEY CAN TAKE HOME, BUT IT'S NOT FOR A SPECIFIC PROJECT BUT IDEAS THAT CAN CARRY THROUGH TO A LOT OF THINGS THAT THEY WOULD BE DOING, AND THAT'S HOW I PREFER TEACHING, NOT JUST A SPECIFIC PROJECT BUT AN IDEA-TYPE OF THING OR A PROCESS, WHERE THEY CAN CARRY ON IN NO MATTER WHAT THEY'RE WORKING ON.

MAKING THEM FEEL COMFORTABLE AND JUST BREAKING DOWN THOSE BARRIERS, DON'T YOU THINK-- THAT "I CAN DO THAT.

"I DIDN'T KNOW THAT'S THE WAY SHE DID IT.

I CAN DO THAT"?

I THINK THAT'S SO IMPORTANT TO MAKE PEOPLE REALIZE THEY ARE CREATIVE AND THERE IS CREATIVITY IN EVERYBODY, AND THAT'S WHAT I TRY TO SHOW THEM AND HOW EASY IT REALLY IS.

IT'S NOT THAT DIFFICULT.

WELL, LET'S ADMIT NOW.

YOUR QUILTS ARE PRETTY AWESOME-LOOKING, AND THEY--THEY ARE ENAMORED WITH THOSE LONG POINTS, THE MEDALLION POINTS AND YOUR WONDERFUL INTERSECTIONS.

DO YOU HAVE ANY SECRETS TO SHARE WITH THEM?

I GUESS THAT'S ONE OF THE MOST COMMONLY ASKED QUESTIONS I HAVE IS "HOW DO YOU GET YOUR POINTS SO SHARP?"

AND IT'S NOT REALLY THAT DIFFICULT.

IT'S JUST SORT OF A STEP-BY-STEP PROCESS, PIECING IN UNITS, AND I WOULD HAVE TO ACTUALLY DEMONSTRATE IT.

IT'D BE DIFFICULT TO SHOW YOU A COUPLE OF THE LITTLE TECHNIQUES I HAVE, BUT I DO A LOT OF-- I MEAN, I DO ALL HAND-PIECING, AND I THINK IT'S EASIER TO GET EVERYTHING TO MEET THROUGH HAND-PIECING.

NOT NECESSARILY BECAUSE THERE'S A LOT OF PEOPLE WHO DO BEAUTIFUL, BEAUTIFUL WORK BY MACHINE, BUT FOR ME, I CAN DO IT BETTER IF I HAND-PIECE.

AND YOU'RE MORE COMFORTABLE WITH THAT.

WELL, I AM.

PEOPLE ALWAYS ASK ME, "WHY DO YOU SEW EVERYTHING BY HAND INSTEAD OF A MACHINE?"

WELL, I THINK ONE REASON IS THAT THE TIME I HAVE FOR HAND-SEWING IS THE TIME THAT'S FINALLY MY RELAXING TIME.

I DON'T--I NEVER CONSIDERED IT AS WORK OR SOMETHING THAT I DO, AND IT SEEMS ALMOST DECADENT TO SIT FOR 4 HOURS IN THE MIDDLE OF THE DAY AND DO HAND-SEWING BECAUSE I SHOULD BE WORKING, AND THAT'S REALLY MY RELAXING WORK.

AND WHEN I'M RELAXING, I MAY WANT TO BE WITH MY FAMILY, WHO MIGHT BE LISTENING TO MUSIC OR WATCHING TV OR DOING SOMETHING, AND I DON'T WANT TO BE SITTING AT THE SEWING MACHINE IN THE SEWING ROOM SORT OF ISOLATED.

YOU DO SEW ON THE MACHINE, GARMENTS AND THAT SORT OF THING?

YES, BUT I DON'T MAKE A WHOLE LOT OF GARMENTS ANYMORE.

IT'S REALLY FUNNY.

I MEAN, I'VE GOT A WONDERFUL MACHINE, AND I LOVE IT, AND WHENEVER I DO USE IT, IT'S GREAT, BUT I WOULD WAGER THAT I USED MY MACHINE TWICE IN THE LAST YEAR.

OH!

HA!

SO I DON'T DO A WHOLE LOT OF WORK ON THE MACHINE.

IT'S WORK TO ME SITTING AT THE SEWING MACHINE, WHEREAS HAND-PIECING IS RELAXATION.

WE'VE ALWAYS ASSOCIATED A LOT OF YOUR WORK WITH MEDALLIONS, AND NOW YOU'RE DOING SOME OF THE SCRAP WORK, WHICH WE REALLY THINK OF JUST LEFTOVER FABRIC, BUT IT'S NOT SO MUCH THAT ANYMORE, IS IT?

IT'S A CHALLENGE.

MY FIRST QUILTS-- I CONSIDER ALMOST ALL OF THE QUILTS I'VE MADE AS SCRAP-- QUOTE SCRAP QUILTS, AND I WAS VERY CAREFUL IN MY BOOK NOT TO CALL IT SCRAP QUILTS OR THAT TYPE OF THING BUT TO CALL IT THE SCRAP LOOK BECAUSE WHAT I DO, I THINK, IS MORE THE LOOK OF A SCRAP, BUT IT'S NOT SCRAPS.

I'M NOT TAKING LEFTOVER FABRICS, AND MOST OF US WHO ARE MAKING QUOTE SCRAP QUILTS ARE NOT TAKING LEFTOVER FABRICS AND MAKING A QUILT.

WE'RE WORKING WITH FABRICS THAT WE BOUGHT SPECIFICALLY FOR QUILT-MAKING, AND I LIKE THE LOOK OF A SCRAP QUILT, THE LOOK OF MANY-- IT'S MORE REALLY NOT SCRAP QUILT BUT MULTI-FABRIC QUILTS, AND THAT'S WHAT I LIKE IS USING MANY, MANY FABRICS IN A QUILT, AND THE MORE, THE BETTER.

IT'S SO MUCH FUN TO PLAY WITH FABRICS AND LOOK AT THEM AND EVEN TO LOOK AT A QUILT.

I FIND THAT THE QUILT IS MORE INTERESTING TO LOOK AT IF IT'S GOT A LOT OF FABRICS.

YOU GO, "OH, I'VE GOT THAT ONE," OR, "OH, MY FRIEND HAD THAT ONE."

YOU RECOGNIZE, EVEN IF YOU'RE LOOKING AT SOMEONE ELSE'S QUILT.

YOU JUST GET A FEELING FOR THE FABRICS THAT ARE IN THEM, SO THAT'S WHAT I TRY TO EXPLAIN IN MY BOOK AND ALSO IN THE COLOR VIDEO IS WAYS TO WORK WITH MULTIPLE FABRICS AND MULTIPLE COLORS AND THE SHADING EFFECTS THAT YOU CAN GET, AND I THINK IT'S A LOT MORE FUN.

DIDN'T ALL THOSE QUILTS INSPIRE YOU TODAY?

JINNY BEYER LET US KNOW THAT SHE'S STILL MAKING FULL-SIZE QUILTS RATHER THAN WALL HANGINGS.

WE CERTAINLY THINK ALL OF THOSE FULL-TIME PROFESSIONALS THAT SHARED WITH US TODAY, AND NOW OUR TIP OF THE DAY.

DID YOU KNOW THAT THE TILES THAT YOU CAN PUT IN YOUR SEWING ROOM OR YOUR FAMILY ROOM CAN BE A 12-INCH SQUARE, WHICH GIVES YOU SUCH A NICE GAUGE TO SEE HOW YOUR QUILT IS GROWING.

YOU REMEMBER SOME OF OUR FAVORITES.

ALL OF A SUDDEN, YOU CAN TELL WHAT SIZE YOUR QUILT IS GROWING TO BE.

DO JOIN US NEXT WEEK IN THE "LAP QUILTING" STUDIO.

WE WILL BE GOING TO ALASKA.

♪ "LAP QUILTING WITH GEORGIA BONESTEEL" WAS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR THE HOME, CLASSROOM, AND INDUSTRY.

AND COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING J&P COATS DUAL DUTY PLUS THREAD.

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