♪ WELCOME TO OUR SHOW TODAY, A POTPOURRI SHOW.

IT WILL BE A MEDLEY OF SPECIAL GUESTS AND A VIEWING OF HERITAGE QUILTS, QUILTS THAT TRANSFORM ONE'S LOVE OF THE LAND INTO CLOTH.

QUILTS WITH HISTORIC BUILDINGS, BRIDGES, AND OTHER SITES OF INTEREST FOUND IN EVERY HOMETOWN.

REMEMBER WHEN I WON THE LOS ANGELES APPLIQUE QUILT?

WELL, I DID IT AGAIN.

WHILE IN BLOOMINGTON, INDIANA TEACHING A WORKSHOP, I WAS LUCKY ENOUGH TO PULL THE WINNING TICKET.

I'M SO EXCITED TO OWN THIS QUILT AND TO KNOW THAT IT'S EVEN REGISTERED.

♪ Announcer: 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.

OUR FIRST GUEST TODAY IS ROBERTA HORTON.

SHE IS AN INTERNATIONALLY-KNOWN QUILT MAKING TEACHER, AUTHOR, AND LECTURER.

SHE LIVES IN THE SAN FRANCISCO BAY AREA.

NOW MEET ROBERTA.

FROM STAINED GLASS TO AMISH AND CALICO AND BEYOND, ROBERTA HORTON FROM BERKLEY, CALIFORNIA JOINS US TODAY.

WELCOME, ROBERTA.

THANK YOU.

GIVE US A STORY ABOUT YOUR QUILTING EVOLVEMENT.

THE BOOKS THAT YOU'RE HOLDING REPRESENT CLASSES THAT I'VE TAUGHT.

I WAS TRAINED AS A HOME ECONOMICS TEACHER, AND AS I BEGAN TEACHING, THESE WERE THINGS THAT I LEARNED ALONG THE WAY.

I TEND TO WRITE A BOOK AFTER I'VE TAUGHT THE CLASS, NOT THE OTHER WAY AROUND.

SO "STAINED GLASS" CAME FROM GROUP BOOKS THAT WE MADE.

THEY WERE 41.

ONE OF THEM HAPPENED TO BE IN STAINED GLASS.

IT WAS PICTURED IN THE NEWSLETTER, AND SO MANY PEOPLE WROTE IN TO ASK ABOUT IT, THE TECHNIQUE, THAT I DID THE BOOK.

AND THEN I LATER ON GOT INTO AMISH QUILTS.

THEY'RE THE STUDY OF HOW YOU USE SOLID COLORS, AND IT'S ACTUALLY HOW YOU USE COLOR IN GENERAL-- CAME OUT OF THAT CLASS.

IT'S A COLOR CLASS, AND THAT'S WHAT PEOPLE ASK ABOUT MOSTLY IN THE CLASS ANYWAYS: HOW DO YOU DO COLOR?

AND THAT'S WHAT AMISH WAS FOR ME: HOW TO UNDERSTAND USING COLOR.

AND THEN THE CALICO FOLLOWED THAT.

SOME OF IT WAS HAPPENING SIMULTANEOUSLY.

IT DEALS WITH ALL THE CLASSES THAT ARE ABOUT PRINTED FABRIC THAT I TEACH.

THERE'S 4 OF THOSE.

SO THESE HAVE JUST EVOLVED OVER ALL THE YEARS THAT I'VE TAUGHT.

AND I KNOW THAT YOU HAVE A PRINCIPLE: WHEN YOU'RE TEACHING IN CLASS, YOU REALLY ADVOCATE THAT THE STUDENTS CARRY THROUGH WITH YOUR SUGGESTIONS AND HOW YOU WORK WITH COLOR AND HOW YOU ANGLE PLAIDS AND INNOVATIVE THINGS, AND YOU WANT THEM TO STAY WITH ROBERTA HORTON FOR AT LEAST THAT DAY IN CLASS.

THAT'S IMPORTANT BECAUSE MOST OF US ARE VERY OPINIONATED, AND WE TEND TO SEE THE WORLD ONLY ONE WAY, AND I DREW PARTICULARLY IN THE AMISH AND THE ANTIQUE SCRAP QUILT, I STUDIED THEM TO TRY TO SEE WHAT WAS ACTUALLY THERE, AND THEN IN THOSE CLASSES DUPLICATE WHAT'S IN THOSE QUILTS SO THAT WE CAN LEARN THE MOST.

IF WE GO IN WITH OUR PRECONCEIVED NOTIONS, WE DON'T ACTUALLY LEARN ALL THE INFORMATION THAT'S THERE, SO THAT'S WHY IN A CLASS I MAKE PEOPLE ACTUALLY DO THINGS.

I THINK YOU ONLY LEARN THROUGH DOING THEM YOURSELF.

IT'S NOT ENOUGH TO SAY, "YES, THAT SOUNDS RIGHT."

YOU PHYSICALLY WITH YOUR HANDS HAVE TO EXECUTE THAT MANEUVER, AND THEN YOU UNDERSTAND WHY IT WORKED IN THAT TYPE OF QUILT.

SO, YES, I MAKE PEOPLE DO THINGS A CERTAIN WAY.

THE QUILT BEHIND US, THE BROKE CONDITION, IT SPARKLES BEHIND US, AND I KNOW IT HAS A SPECIAL STORY.

SHARE THAT WITH US.

I WAS TEACHING AT THE NORTH CAROLINA QUILT SYMPOSIUM THAT WAS IN RALEIGH, AND I STAYED WITH MY AUNT ELSIE, WHO LIVES IN RALEIGH.

SHE LIVES IN A PINK HOUSE, PINK CARPETS, WALLS, COUCH, BED COVERING-- SHE'S A PINK PERSON!

ABSOLUTELY, AND I'D FORGOTTEN THAT ABOUT HER.

AND THEN I WENT TO THE SYMPOSIUM, AND THEY HAD SHOW AND TELL, AND 1/4 TO 1/3 OF THE QUILTS WERE PINK, WHICH YOU DON'T SEE IN CALIFORNIA.

CALIFORNIA HAS A DIFFERENT-- A DARKER COLOR, AND I FIND IT'S REGIONAL.

SO WHEN I WENT HOME, I WAS READY FOR A PINK EXPERIENCE.

I WENT OUT AND BOUGHT SOME PINK FABRIC, AND THE FABRIC THAT'S ON THE BACK OF THAT QUILT ACTUALLY MADE ME MAKE THE FRONT, AND IT HAS TO DO WITH A STORY SHE TOLD ME.

WHEN SHE WAS A YOUNG GIRL, SHE GREW UP ON THE BORDER BETWEEN NORTH AND SOUTH CAROLINA.

SHE WAS HELPING HER MOTHER PREPARE SANDWICHES FOR A GATHERING--2 BOOK CLUBS THAT HER MOTHER BELONGED TO.

AND THEY HAD TO BORROW FINERY-- EXTRA CRYSTAL AND CHINA IN ORDER TO ACCOMMODATE THESE 2 LARGE GROUPS.

AS SHE WAS HELPING PREPARE THE FOOD, SHE MADE THE MISTAKE OF LEANING AGAINST THE TABLE.

IT COLLAPSED.

THE FINERY WAS BROKEN.

AND THAT STORY, WHEN SHE TOLD US THIS-- MY SISTER AND I--THAT STORY, IT JUST KIND OF HAUNTED ME.

IT ALLOWED ME TO KNOW MY AUNT ELSIE BETTER.

AND SO THIS WAS A QUILT I HAD NOT PLANNED TO MAKE, IT JUST CAME OUT.

AFTER I BOUGHT THE ROSE FABRIC AND THE PINK FABRIC, IT REMINDED ME ALSO OF DISHES, AND LITERALLY I HAD TO PUT ASIDE THE QUILT I WAS WORKING ON AND MAKE THIS PARTICULAR QUILT.

SO IT FEATURES ON IT A TEAPOT THAT IN QUILTING HAS THE WATER SPEWING OR THE TEA SPEWING OUT.

SOME OF THE DISHES ARE BROKEN.

I CHOSE THE PARTICULAR ARRANGEMENT TO SUGGEST THE FRAGMENTATION-- THE BREAKING APART.

IN THE QUILTING, THERE'S ALSO SILVERWARE THAT IS FALLING ACROSS THE QUILT.

AND THE PATTERN AROUND THE OUTSIDE EDGE IS CALLED BROKEN DISHES, WHICH I DID IN 2 SIZES TO TRY AND ALSO GIVE THAT FRAGMENTED FEELING.

AND WE ENDED WITH A MORAL BEHIND THE STORY: DONE BORROW FINE CHINA.

I GUESS.

SO THIS--IT'LL BE MY AUNT ELSIE'S QUILT WHEN I GET THROUGH TRAVELING WITH IT.

SHE WILL EVENTUALLY GET HER TURN.

AND SHARE WITH US YOUR OTHER QUILT, THE ONE WITH THE PILLAR.

IT'S ENTITLED...

IT'S CALLED A LONG, HOT SUMMER, AND MY MOTHER IS FROM MISSISSIPPI, AND I'D ALWAYS WANTED TO DO A QUILT ABOUT THE SOUTH, ABOUT MY HERITAGE-- THAT PART OF MY HERITAGE.

I WAS WATCHING THE MOVIE "THE LONG, HOT SUMMER."

WHEN I WAS WATCHING THAT MOVIE, IN THE CLOSING SCENES, WHICH THAT'S THE BACKDROP OF THE CLOSING SCENE, THE QUILT JUST CAME BEFORE MY EYES.

SO THAT'S MY INTERPRETATION.

NOW IT'S ACTUALLY AMISH.

THE COLORATION IS VERY AMISH.

IT'S WHAT I'VE LEARNED TO DO WITH COLOR.

SO ONCE YOU GET INTO AMISH, IT'S IN EVERYTHING ELSE.

AND--SO THAT WAS ACTUALLY INSPIRED BY WATCHING THAT MOVIE.

IT ALLOWED ME TO BRING THOSE IMAGES OUT.

AND YOU'RE KNOWN FOR YOUR BACKINGS.

THE BACKINGS OF YOUR QUILT BECOME AS IMPORTANT AS THE FRONT.

WELL, I'VE ALWAYS HAD THE RULE THAT THE BACK SHOULD GO WITH THE FRONT, BUT IF POSSIBLE BE A SURPRISE.

SO IN OTHER WORDS, YOU DON'T REPEAT FABRIC THAT'S ON THE FRONT.

WHEN I STARTED STUDYING AFRO-AMERICAN QUILTS, THE BACKS OF THOSE QUILTS ARE OFTEN PIECED BECAUSE OF NEED.

AND WHEN I'M DUPLICATING SOMETHING THAT'S ACTUALLY MADE, THEN I TRY AND PUT IN IT WHAT I SEE IN THE REAL QUILT.

I THEN OFTEN ACCIDENTALLY LEARN SOMETHING-- INFORMATION I DIDN'T KNOW WAS THERE.

SO I PIECED THAT PARTICULAR QUILT ON THE BACK, AND I SO ENJOYED THE FACT THAT THE BACK WAS BROKEN UP RATHER THAN A SOLID PIECE OF FABRIC THAT I DON'T THINK I'LL EVER PUT ONLY ONE PIECE OF FABRIC ON THE BACK.

WELL, THAT'S A GOOD APPROACH.

I LIKE THAT IDEA.

SO WHEN I DID THE BROKEN DISHES, I HAD BOUGHT THE BACKING FABRIC BEFORE I EVEN KNEW I WAS MAKING THE QUILT, AND OF COURSE THERE WASN'T ENOUGH FABRIC WHEN THE QUILT GOT DONE BECAUSE I HAD NO IDEA HOW BIG IT WAS GOING TO BE.

SO I HAD TO ADD ON FABRIC TO MAKE IT LARGE ENOUGH.

AND IT DIDN'T EVEN BOTHER ME BECAUSE I'D HAD THIS PRIOR EXPERIENCE WITH THE AFRO-AMERICAN.

AND I THINK ANY ONE QUILT YOU MAKE IS NOT IMPORTANT.

IT'S HOW IT INFLUENCES THE QUILTS THAT COME AFTER IT THAT'S REALLY IMPORTANT.

THAT'S A VERY GOOD APPROACH.

ROBERTA, I WOULD CALL YOU A RISK TAKER IN QUILTING.

LOOK AT WHAT YOU'VE GOT GOING ON IN ONE BLOCK.

DO YOU HAVE SOME SUGGESTIONS FOR SOME OF THE VIEWERS IN QUILT MAKING AND COLOR?

WELL, THE QUILT YOU'RE LOOKING AT IS ACTUALLY MY INTERPRETATION OF ANTIQUE SCRAP QUILTS.

STUDYING THEM, THEY WERE THE HARDEST QUILTS FOR ME TO UNDERSTAND, AND IT TOOK ME ALL THE OTHER WORK THAT I'VE DONE TO FINALLY UNDERSTAND TRADITIONAL AMERICAN SCRAP QUILTS, AND I TRIED TO PUT INTO THIS QUILT WHAT I'D SEEN DONE IN THE ANTIQUE ONES.

IF I SAW A PIECE OF FABRIC ON THE WRONG SIDE, WHICH I HAVE SEEN IN ANTIQUE QUILTS, I PUT SOME OF THAT IN THERE.

OR FABRIC OFF GRAIN, UNUSUAL FABRICS TOGETHER, CHANGE IN SCALE.

WHAT I FIND AS A TEACHER IS THAT SO OFTEN A STUDENT WILL SAY TO ME, "OH, I CAN'T DO THAT.

I'M A TRADITIONALIST."

AND MY POINT IS THAT AS A TRADITIONALIST, YOU SHOULD STUDY AND SEE WHAT THE TRADITION IS, THAT THROUGH LOOKING AT ANTIQUE QUILTS-- REALLY LOOKING WITH YOUR EYES-- YOU'LL FIND THAT THEY HAVE A WONDERFUL INTERPLAY OF FABRIC.

EVERYTHING IS NOT WHAT WE CONSIDER TODAY A TYPICAL LITTLE CALICO PRINT.

THERE'S CHANGE IN SCALE.

THERE'S A LOT OF PLAIDS.

WE DON'T TEND TO USE PLAIDS AND STRIPES BECAUSE WE KNOW FROM OUR SEWING BACKGROUND-- MANY OF US START OUT AS SEWERS, AND WE'RE INTIMIDATED WITH THE BIG BLACK ARROW ON THE TISSUE PAPER PATTERN.

AND WE KNOW THAT HAS TO BE PARALLEL, AND SO WE CARRY THAT EXCESS BAGGAGE INTO OUR QUILTING CAREER.

IF YOU LOOK AT ANTIQUE QUILTS, YOU'LL FIND THINGS BOTH OFF AND ON GRAIN, AND WE TEND TO FORGET THAT IN A QUILT, THE BACKING IS ON GRAIN, AND YOU'VE GOT THE BATTING, AND YOU'VE GOT THE QUILTING STITCH THAT ANCHORS THROUGH THAT, SO THAT IF A PIECE HERE AND THERE IS OFF GRAIN, IT'S NOT GONNA MAKE THE QUILT SELF-DESTRUCT.

IT'S NOT A CATASTROPHE.

AND WHAT I LEARNED BY PURPOSELY PUTTING SOME THINGS OFF GRAIN IS THE EXCITEMENT THAT'S GENERATED FROM IT, WHICH I DIDN'T REALIZE UNTIL I DID IT.

SO I NEVER KNOW WHEN I'M DOING SOMETHING WHAT I'M GOING TO LEARN.

I DO IT, AND THEN IT'S LIKE, "OH!"

THAT'S WHAT HAPPENS.

I KNOW THE ORIGINAL QUILT MAKER DIDN'T PUT A FABRIC OFF GRAIN BECAUSE THEY WANTED THAT TO HAPPEN.

THEY DID IT OUT OF NECESSITY.

IT'S ALL THE FABRIC THAT THEY HAD.

BUT THEY LUCKED OUT DESIGN-WISE.

AND I FIND THAT AS QUILT MAKERS TODAY, WE NEED TO BE MORE DARING IN OUR USE OF FABRIC... TO INCORPORATE A FULLER RANGE OF TYPES OF PRINTS, GEOMETRICS, ALONG WITH THE LITTLE FLORALS, IN LARGE SCALE ON THE STRIPES.

I AM REALLY A LOVER OF FABRIC.

I THINK THAT'S WHY I'M A QUILT MAKER.

I WAS BORN TALL AND WAS TOLD I HAD TO WEAR LARGE- SCALE PRINTED FABRIC, AND THIS WAS MY EXCUSE.

NOW I COULD LEGALLY AS A QUILT MAKER BUY SMALL-SCALE FABRIC THAT I WAS NOT ALLOWED TO HAVE IN MY CLOTHING, AND I WORKED EXCLUSIVELY WITH SMALL-SCALE WHEN I STARTED.

AND THEN I GOT TIRED OF IT.

SO I USED ALL KINDS OF FABRICS, AND I'M LUCKY IN CALIFORNIA WE HAVE SUCH A WIDE RANGE.

SO TO ME, THE FABRIC IS WHAT MAKES THE QUILT, AND I COULD NEVER MAKE A QUILT WHERE ALL THE BLOCKS WERE THE SAME AND THE FABRIC WAS THE SAME IN EACH ONE.

I DON'T LIKE REPETITION.

SO MY QUILTS HAVE A LOT OF VARIETY, A LOT OF FABRIC IN THEM, AND I JUST LOVE BUYING FABRIC.

WELL, WE LOVE YOUR QUILTS, AND IT SHOWS-- YOUR LOVE OF THE QUILTING SHOWS THROUGH ITS WORK.

WELL, WHAT'S AHEAD, ROBERTA?

DO YOU HAVE ANY PERSONAL GOALS THAT YOU WOULD LIKE TO ATTAIN?

I REALLY DON'T KNOW WHAT MY NEXT DIRECTION IS.

OF THE LAST 4 QUILTS I'VE MADE, 2 HAVE APPLIQUE IN THEM, AND FOR A NUMBER OF YEARS, I'VE ONLY BEEN WORKING IN PIECING.

I ORIGINALLY WAS AN APPLIQUER.

I THINK YOU COME OUT EITHER AN APPLIQUER OR A PIECER.

AND I UNDERSTAND--WELL, IT'S WHETHER YOU'RE RIGHT OR LEFT BRAINED.

BUT I ORIGINALLY WORKED ONLY IN APPLIQUE, AND THEN FINALLY WHEN I STARTED MACHINE PIECING, STARTED DOING MACHINE WORK, AND I FOUND THAT WAS FASTER, IT TOOK ME LONGER TO LEARN HOW TO DESIGN IN PIECING.

AND I THINK WHAT THOSE 2 QUILTS THAT COMBINE-- IN FACT THE 2 THAT WE'RE LOOKING AT ARE THE ONES THAT COMBINE-- WHAT IT MEANS FOR ME INSIDE MY HEAD IS THAT BOTH THE APPLIQUE PART OF ME AND THE PIECING PART OF ME HAVE COME FULL CIRCLE, THAT I NOW USE WHICHEVER TECHNIQUE IS EASIEST IN THE AREA, AND IT'S NO PROBLEM.

I CAN EXPRESS MYSELF IN EITHER, WHERE BEFORE IT WAS VERY DIFFICULT TO EXPRESS MYSELF IN PIECING.

I THINK THAT'S TELLING A LOT TO ALL OF US, THAT MAYBE IT'S A WAY TO BALANCE OUR LIFE MAYBE.

TO TRY A LITTLE BIT EVEN IF YOU THINK-- RIGHT, 'CAUSE YOU DON'T KNOW WHAT'S THERE.

AND IF YOU ARE BORN AN APPLIQUER AT FIRST, IT'S HARD TO EVEN SEE THE DESIGNS IN PIECING.

ALL THAT MEANS IS THAT YOU HAVE TO DEVELOP THE LEFT SIDE OF YOUR BRAIN.

AND SOME PEOPLE WHO ARE PIECERS TEND TO BE VERY VERY RIGID, AND THEY NEED TO LEARN TO BEND, WHICH USUALLY APPLIQUE IS A MORE FREE-FORM THAN A LOT OF THE PIECING THAT'S DONE.

WELL, WE JUST WISH YOU SUCCESS AND CONTINUE MAKING BEAUTIFUL QUILTS.

IT'S BEEN A REAL PLEASURE TO TALK TO YOU.

THANK YOU.

THANK YOU, ROBERTA.

YOU WILL BE PLEASED TO KNOW THAT QUILTING RUNS IN THE FAMILY WITH ROBERTA.

SHE HAS A SISTER, MARY MASHUTA, WHO'S QUITE A QUILT MAKER HERSELF.

NOW THE VERY LATEST WITH ROBERTA IS THAT SHE HAS COME OUT WITH A LINE OF FABRIC, AND IT'S CALLED LINES.

IT'S 100% COTTON FABRIC, VERY LIGHTWEIGHT, THAT IS BASED ON PLAIDS AND STRIPES.

IT FEELS SO GOOD.

AND I KNOW YOU'RE GONNA END UP SEEING PART OF THIS COLLECTION IN ONE OF MY QUILTS.

NOW, TRANSFORMING ONE'S LOVE OF THE LAND INTO QUILTS IS ONLY NATURAL FOR A QUILT MAKER.

LET'S TAKE A VIEW OF NOT ONE BUT 2 QUILTS THAT CONCENTRATE ON THE GOLDEN GATE BRIDGE.

THE BIRTHDAY QUILT WAS MADE BY THE SAN FRANCISCO QUILTERS GUILD DURING 1987 FOR PLACEMENT IN THE PERMANENT MUSEUM OF THE GOLDEN GATE HIGHWAY AND TRANSPORTATION DISTRICT.

IT IS COMPOSED OF 20 OF THE BEST BLOCKS RECEIVED IN A CONTEST.

CEILA LOPINTO CONDUCTED THIS CONTEST, THEN THE ARRANGEMENT, AND THE SETTING WAS DONE BY CAROLINE LIEBERMAN.

AND THE QUILTING WAS DONE BY MARIA TORREZ.

WHAT A MARVEL--MARVELOUS INTERPRETATION OF THE MANY WAYS THAT ONE CAN VIEW THE BAY BRIDGE.

IF YOU LOOK UP AT THAT LAST BLOCK, YOU EVEN SEE A SIDE VIEW, AND IT'S CALLED RIVETED EDGE.

ANOTHER GOLDEN GATE BRIDGE QUILT WAS MADE BY THE LINCOLN PARK COMMUNITY COLLEGE.

THEIR TEACHER WAS CAROLINE LIEBERMAN.

IT FEATURES A CENTER MEDALLION OF THE GOLDEN GATE BRIDGE ITSELF AND THEN SCENES OF SAN FRANCISCO DEPICTED IN THE SAMPLER BLOCKS.

EACH BLOCK IS FRAMED WITH A DOUBLE EDGE OF FABRIC.

THE BLOCKS ARE SO EXCITING, AND THEY REALLY MAKE YOU WANT TO MAKE YOU GO TO SAN FRANCISCO.

CATCH THE LACE WAVES ON ONE BLOCK.

ALL THE WAY OVER TO THE SAN FRANCISCO BAY ZOO, THE 49-MILE SCENIC DRIVE, OR MAYBE JUST A VIEW OF THE HOME SETTING IN SAN FRANCISCO.

NOW WE GET TO VISIT THE MAKING OF A HISTORICAL QUILT IN FAIRBANKS, ALASKA.

WELCOME TO THE CABIN FEVER QUILTERS IN FAIRBANKS, ALASKA, AND THANK YOU SO MUCH FOR INVITING US TO SHARE THIS WONDERFUL HERITAGE QUILT.

ANN--ANN-LILLIAN IS GOING TO SHARE AND TELL US A LITTLE BIT ABOUT THE QUILT ITSELF.

WHY DID YOU MAKE IT, AND WHERE IS IT GOING, AND WHAT'S HAPPENING?

THIS IS THE FAIRBANKS HISTORICAL QUILT, AND THE GUILD DECIDED THAT THEY WANTED TO COMMEMORATE THIS TOWN THAT WE ALL LOVE AND THIS STATE.

AND SO WE FORMED A COMMITTEE WHICH CAME UP WITH A NUMBER OF TOPICS.

WE BOILED THEM DOWN TO A DOZEN SUBJECTS THAT WERE SUITABLE FOR QUILTING THAT WE COULD PUT INTO THE LARGE BLOCKS.

THEN WE DESIGNED SMALLER BLOCKS TO FILL IN AROUND THOSE MAIN PICTURES.

AND THIS IS OUR LEGACY TO FAIRBANKS.

WELL, IT'S AN AWESOME QUILT.

IT'S SO LARGE.

YOU'VE GOT 12 BLOCKS.

WHAT IS THE FULL SIZE OF IT?

7 FEET BY 11 FEET.

AND THAT'S BECAUSE ALASKA'S SO BIG.

IS THAT WHAT YOU'VE DECIDED TO DO?

YES, YES.

WE MATCHED A GIANT QUILT TO MATCH A GIANT STATE.

THAT'S WONDERFUL.

WELL, GIVE US A LITTLE BIT OF A HISTORY ON HOW IT WAS DESIGNED.

I UNDERSTAND YOU HAD A BIG PART IN DOING SOME OF THE BLOCKS.

WELL, THE FORMER PRESIDENTS AND I ORIGINALLY GOT TOGETHER AND STARTED SKETCHING ONE SATURDAY, AND WE CAME UP WITH THIS SHAPE.

WE STARTED WITH A HEXAGON AND THEN DECIDED TO CUT OFF THE POINTS, AND THEN THAT GAVE US A CHANCE TO PUT AN OCTAGON IN-BETWEEN SO THAT EVERYTHING FITTED TOGETHER.

WE HAVE THE FLOWERS AROUND FAIRBANKS, THE BERRIES DEPICT OUR FAVORITE SUMMER PASTIMES.

WE HAVE ALL THE ANIMALS THAT ARE IMPORTANT TO ALASKA INCORPORATED INTO OUR PICTURES.

AND WE'RE VERY PROUD OF IT.

WELL, IT'S ONLY FITTING THAT QUILTERS TODAY WOULD DEPICT OUR HERITAGE AND TURN TO CLOTH, AND I THINK YOU'VE JUST DONE A WONDERFUL JOB.

TELL US ABOUT THE AURORA BOREALIS.

WE LOOKED FOR SOME OF THAT LAST NIGHT AND GOT A LITTLE INKLING OF IT.

I LOVE WHAT YOU'VE DONE UP HERE WITH THIS-- THE--THE NORTHERN LIGHTS IS ONE OF THE MOST SPECTACULAR FEATURES IN THE WINTER.

I'VE USED WHITE SATIN RIBBON ON GREEN CHAIR FABRIC WITH THE MAGENTA AND THEN SILVER THREAD TO DEPICT THE IRIDESCENCE OF THE DANCING AURORA.

NOW SOME OF THE OTHER GIRLS HAVE WORKED ON SOME OF THEM.

BARBARA, WHAT DID YOU GO?

WHAT DID YOU WORK ON?

MY BLOCK IS SUPPOSED TO BE IN THE WINTERTIME WHEN THERE'S REALLY HEAVY ICE FOG AT THE CORNER OF SECOND AND CUSHMAN.

AND THIS IS A SIGNIFICANT CORNER IN FAIRBANKS BECAUSE YOU CAN ALWAYS DRIVE BY THERE AND SEE JUST HOW COLD THE TEMPERATURE IS.

AND ON THIS PARTICULAR DAY, IT'S 44 BELOW ZERO.

GO ON!

I DON'T BELIEVE THAT!

AND THESE 2 PEOPLE ARE STANDING DRESSED IN THEIR BEST WARM WINTER GARB LOOKING DOWN THE STREET.

AND THIS BLOCK WILL LOOK A LOT BETTER WHEN IT'S DONE, BECAUSE A LOT OF THE DETAILS ARE PUT IN WITH THE QUILTING STITCH ITSELF.

ALL THE BLOCKS ARE SO WELL-PLANNED, AND I CAN JUST FEEL THE THOUGHT IN THEM.

LAURIE, WHERE'S YOUR ONE?

THIS IS MY BLOCK, AND I WAS SUPPOSED TO DESIGN A BLOCK THAT HAD A SALMON FISH RACK, A SALMON FISH WHEEL, AND A FOOD CACHE IN IT, SO I DESIGNED A SCENE THAT DID THAT.

OF COURSE IT WOULD BE ON THE RIVER, WHICH HAS USED OUR PAISLEY, AND OUR MOUNTAINS BEHIND IT.

AND ULTRA SUEDE WAS A BIG PART OF MINE.

I GOT A LOT OF PERSPECTIVE, I THINK.

AND THOSE ARE THE SALMON DRYING OUT?

THESE ARE THE SALMON-- THEY CUT THEM IN HALF AND LOOP THEM OVER AND LET THEM DRY FOR THEIR WINTER FOOD.

AND THEN I HAVE THE SOD ROOF ON THE CACHE WITH THE WILDFLOWERS.

AND THE BEAR EYEING THE SALMON.

THE BEAR--THE BEAR'S LOOKING AT THE SALMON.

WELL, THERE'S A LOT OF CHARACTER, AND I THINK IT WAS NICE OF THEM TO GIVE YOU ABOUT 6 THINGS TO PUT IN ONE BLOCK.

CATHY, SHOW ME WHERE YOUR BLOCK IS.

WHERE DID YOU WORK?

MY BLOCK IS ONE OF THE CENTER ONES.

AND THESE BUILDINGS ARE IN THE CENTER OF FAIRBANKS.

IMMACULATE CONCEPTION CHURCH WAS BUILT IN ABOUT 1904 ON THE OTHER SIDE OF THE RIVER.

AND THEN THE PRIEST WHO WAS HERE AT THE TIME DECIDED THAT IT SHOULD BE CLOSER TO THE CATHOLIC HOSPITAL, WHICH IS OVER HERE.

SO THEY WAITED UNTIL THE RIVER FROZE UP.

AND IN 1906, THIS WAS.

AND THEY SKIDDED IT ACROSS THE RIVER ON THE ICE.

AND THIS PICKET FENCE GAVE ME A LOT OF TROUBLE.

I FINALLY FOUND A FELT THAT I COULD USE, AND I HAD TO TEA-DYE IT TO GET THAT SOFTNESS, WHICH WOULD MATCH THE CHURCH.

SAMSON HARDWARE IS ONE OF OUR OLDEST BUSINESS ESTABLISHMENTS.

IT'S BEEN HERE SINCE THE BEGINNING, AND IT'S STILL IN OPERATION.

THE OLD WOODEN BRIDGE, WHICH WAS ACROSS THE CHENA RIVER, USED TO GO OUT EVERY SPRING WHEN THE ICE WENT OUT.

WELL, IT'S WONDERFUL.

AND I LOVE YOUR TREE FABRIC.

HOW FITTING.

CINDY, WHERE DID YOU WORK AT ALL FROM HERE?

I DID THE FELIX PEDRO BLOCK.

OH, WONDERFUL.

IT WAS ONE OF MY VERY FIRST EXPERIENCES WITH APPLIQUE, SO I'M PLEASED WITH THE WAY IT TURNED OUT.

AND THERE'S ACTUAL GOLD THREADS IN THERE-- OH, MY.

WELL, THE VALUE OF THE QUILT JUST WENT UP, I MEAN DEPENDING ON THE PRICE OF GOLD EACH DAY.

THAT'S RIGHT.

WELL, THE BACKGROUND FABRIC, ANN, I REMARKED ON THAT.

I LIKE THE LOOK OF THE BACKGROUND FABRIC BEHIND THE HEXAGONS.

IT'S VERY GOOD.

WE'RE HOPING THAT IT'LL GIVE THE EFFECT OF PICTURES HANGING ON A TURN OF THE CENTURY WALL.

THAT'S WHY WE HAVE THE RUST FRAMES AND A SMALL PRINT SORT OF LIKE WALLPAPER.

AND WE NEEDED SOMETHING WITH THE COLORS THAT WOULD TIE-IN WITH OUR BLUE AND OUR GREEN TREES AND THE WATER AND SKY.

WELL, CONGRATULATIONS, AND I KNOW THAT THE CITY OF FAIRBANKS AND ALL OF ALASKA'S GONNA BE VERY PROUD OF WHAT YOU'VE DONE.

THANK YOU FOR SHARING.

YOU'RE WELCOME.

ANOTHER APPROACH TO A HERITAGE QUILT IS BEING DONE FOR SOUTH CAROLINA.

THIS GROUP OF QUILT MAKERS HAVE AN OPPORTUNITY TO STUDY THEIR AREA AND FIND OUT EXACTLY WHAT'S HAPPENING IN ALL THEIR COUNTIES.

THEY'VE DEPICTED IT IN CLOTH.

ALL THE ACTIVITY STARTS IN COLUMBIA AND SPANS OUT ACROSS THE LAND ALL THE WAY UP TO THE BIG LQ-- THAT STANDS FOR THE LANDROME LIBRARY QUILTERS THAT HOPE TO HAVE THIS BEAUTIFUL PIECE OF WORK DONE SOON.

HERITAGE QUILTS CAN TAKE ON A VERY PERSONAL SLANT, ALSO.

NOW LET ME SET THE SCENE: DAUGHTER GRADUATED FROM COLLEGE AND LEAVES HOME.

BOYFRIEND DOESN'T QUITE KNOW HOW TO GET HOLD OF HER.

MOTHER STEPS IN.

JODY STUTSBURY FROM HENDERSONVILLE HAS MADE THIS UNIQUE QUILT.

IT DEPICTS PHONE NUMBERS, COINS, AND EVEN THE DIAL.

NOW BOYFRIEND KNOWS HOW TO REACH GIRLFRIEND.

BUT MORE THAN THAT, JODY HAS DONE SUCH A GOOD BALANCE OF UNIQUE FABRICS, BRIGHT COLORS: THAT TEAL GREEN AND THAT BLUE THAT COMBINE TOGETHER.

EVERY PIECE HAS A LOT TO SAY IN THIS QUILT.

ANOTHER HERITAGE AND FAMILY-TYPE QUILT HAS BEEN BEEN DONE BY HEDDY LENARO.

HEDDY IS AN ARTIST HERSELF BUT NOT A QUILT MAKER.

NOW I THINK SHE IS.

SHE CAME TO ME WANTING TO DO THIS FAMILY HERITAGE-TYPE QUILT.

THE CENTER DEPICTS HER FATHER-IN-LAW.

HE CAME FROM CAPRUSO, ITALY, AND IF YOU LOOK CLOSELY, YOU CAN SEE THE TROWEL IN HIS HAND, SO THIS MUST DEPICT HIS TRADE.

AS YOU GLANCE OVER THE QUILT, YOU SEE THE WONDERFUL STITCHING, AND I THINK IT CERTAINLY TELLS YOU THAT HEDDY IS AN ARTIST.

LOOK AT HER FATHER-IN-LAW'S PET DOG.

YOU CAN SEE THE LONG THREADS THAT JUST DEPICT THE HAIRS THEMSELVES ON THE DOG.

ON THE SIDE PANELS THAT COME DOWN ON THE SIDE OF THE BED, WE SEE HEDDY AND HER HUSBAND WITH THEIR PET DOGS, AND THEN ON THE OTHER SIDE, MORE OF THE FAMILY HAND-IN-HAND IN A HOUSE SETTING.

TO COMPLETE THE BOTTOM OF THE QUILT, SHE HAS PUT THE GENEALOGY AT THE FOOT OF THE BED.

I CONGRATULATE HEDDY.

I THINK SHE'S DONE A WONDERFUL JOB.

SHE'S ALSO WORKING ON MOTHER-IN-LAW, AND IT'LL BE DONE SOON.

BACK TO FAIRBANKS, ALASKA, WHERE WE MEET ANN-LILLIAN SCHELL AND HER PERSONAL HERITAGE QUILT.

HERITAGE QUILTS CAN TAKE ON A VERY PERSONAL ASPECT WHEN THEY BECOME STORY QUILTS.

ANN-LILLIAN HAS CREATED A WONDERFUL STORY IN THE FACADE OF THIS QUILT.

TELL US ABOUT IT, ANN.

WELL, THIS QUILT GREW OUT OF 2 WEEKS THAT I WAS IN THE ALASKA RANGE TAKING CARE OF CLAIRE.

AND WHILE SHE WAS TAKING HER NAPS IN THE AFTERNOON, I WOULD DO WATERCOLOR SKETCHES OF THE FLOWERS THAT GREW ON THE GRAVEL BAR AND ALL THE MOUNTAINS.

AND THEN I TOOK THIS WATERCOLOR OF THE ALASKA RANGE AND ENLARGED IT FOR THIS QUILT.

AND THEN I INCORPORATED THE CABIN THAT WE STAYED AT, THE TRADITIONAL LOG CABIN BLOCK, THE CLAM SHELLS FOR THE BUSHES THAT GREW AROUND THE AREA, AND THEN I DRAFTED MY OWN PATTERNS FOR THE FLOWERS THAT GREW ON THE GRAVEL BARS.

THEN I INCORPORATED AS MANY FABRICS AS POSSIBLE TO GIVE THE VARIETY OF TEXTURES THAT I SEE IN ALASKA.

WELL, IT HAS--THE WHOLE QUILT, THE WALL PIECE, HAS A WONDERFUL CHARACTER TO IT, AND YOU'VE EVEN INCORPORATED A RAINBOW AT THE VERY TOP.

WELL, IT'S BEAUTIFUL.

CONGRATULATIONS, ANN.

IT'S LOVELY.

THANK YOU FOR SHARING IT WITH US.

GO AHEAD AND EXPERIMENT.

PLAY WHAT IF.

COLLECT SOME WEIRD FABRICS.

MAYBE EVEN MAKE A FEW MISTAKES.

DON'T TAKE IT ALL SO SERIOUSLY, AND HAVE SOME FUN.

THANK HEAVENS FOR QUILTERS TODAY, YESTERDAY, AND TOMORROW.

YES, IT'S IMPORTANT TO STAY WARM, BUT IT'S ALSO IMPORTANT TO SLEEP IN STYLE WITH OUR QUILTS.

YOU REMEMBER PANDORA'S BOX PATTERN.

IF WE MAKE A REAL PANDORA'S BOX AND THEN OPEN UP AND SEE WHAT'S INSIDE, MAYBE WE CAN LOOK AHEAD TO "LAP QUILTING" 6.

THE BEAMISH MUSEUM, CHILDHOOD MEMORY QUILTS, AND THAT LEADS US TO BABY QUILTS.

HOUSE QUILTS WITH THAT EXCHANGE WITH ENGLAND, AND AMISH QUILTS.

IT LOOKS LIKE I BETTER GET BUSY.

WE WANT TO THANK YOU FOR YOUR ATTENTION ON THIS SERIES, AND WE LOOK FORWARD TO SEEING YOU NEXT TIME.

THANK YOU.

♪ Announcer: 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," PUBLISEHD BY OX MOREHOUSE AND AVAILABLE IN BOOKSTORES AND LIBRARIES NATIONWIDE.