[synthesized jingle] [upbeat acoustic guitar music] ♪ ♪ >> I CAN'T THINK OF ANY OTHER CRAFT THAT DEPENDS AND RELIES MORE ON PRECISION WORK THAN WE DO IN QUILTING.

NOT ONLY DO WE HAVE TO BE A SEAMSTRESS, BUT WE HAVE TO BE PART MATHEMATICIAN AND PART DRAFTSMAN.

LET'S EXAMINE SOME OF THE GEOMETRIC SHAPES THAT WE USE IN PUTTING OUR BLOCKS TOGETHER.

THE SQUARE IS ONE OF THE MORE BASIC SHAPES THAT WE USE AND I GUESS A GOOD BEGINNING, A GOOD PRELIMINARY SHAPE TO WORK WITH.

THE RECTANGLE WE SAW IN THE RAIL FENCE AND, OF COURSE, IN THE ROMAN STRIPE AND MANY OTHER DESIGNS.

THE CIRCLES WE FIND IN THE CENTER OF DRESDEN PLATES.

WE FIND THEM DIVIDED TO PUT INTO MOON OVER THE MOUNTAIN AND MANY OTHER PATTERNS.

THE TRIANGLE, NOT ONLY IN THIS SHAPE BUT IN ANOTHER SHAPE ALSO.

TRIANGLE AND THE SQUARE ARE PROBABLY THE TWO MOST USED GEOGRAPHIC SHAPES.

THE TRAPEZOID, WHICH IS REALLY A SQUARE AND A TRIANGLE PUT TOGETHER, BUT I HAVE BEEN USING A TRAPEZOID A LOT.

FOR INSTANCE, IN THE ATTIC WINDOWS PATTERN THE TRAPEZOID WAS USED.

THE PENTAGON, WE SEE THAT USED IN THE BOW TIE PATTERN, YOUR FIVE-SIDED FIGURE.

THE CURVED SQUARE IS USED IN YOUR DRUNKARD'S PATH PATTERN, AND OF COURSE ALONG WITH THAT, YOU NEED THE QUARTER CIRCLE.

THAT'S THE COMPANION THAT GOES WITH THE CURVED SQUARE.

A DIAMOND IS USED, OH, IN OUR OH, MY STARS QUILT AND THE STAR OF BETHLEHEM, AND WE USE THAT QUITE OFTEN, AND IT'S NOTHING MORE THAN A SQUARE GONE ASKEW.

THE PARALLELOGRAM: SIMILAR TO A DIAMOND, BUT TWO OF THE SIDES ARE ELONGATED, SO YOU HAVE A LONGER FIGURE.

I THINK IT'S NICE TO ACTUALLY SEE THE GEOMETRICS SHAPES PUT INTO CLOTH.

AND WE'RE GOING TO START OUT AND GO THROUGH, AND I'M GOING TO TRY AND REFER TO THE SHAPES THAT GO WITH EACH OF THESE PATTERNS.

OF COURSE, THE FIRST ONE IS NOTHING MORE THAN A NINE-PATCH, A QUARTERED NINE-PATCH.

IF WE DIVIDE THIS UP INTO YOUR FOUR EQUAL PARTS, YOU CAN SEE THAT IT'S YOUR 6-INCH SQUARE DIVIDED INTO THIRDS, WHICH WOULD BE 2 INCHES.

BUT REMEMBER, WE'VE GOT TO ADD THAT 1/4 INCH AROUND IT, SO IT COMES OUT TO BE YOUR 2 1/2 INCH SQUARE.

THEN WE HAVE YOUR DOUBLE PINWHEEL, AND OF COURSE, IN THIS CASE, WE'D BE RELYING ON TWO SIZES OF YOUR TRIANGLES: YOUR LARGER TRIANGLE AND THEN, OF COURSE, YOUR SMALLER TRIANGLE.

WE HAVE TO CONSIDER GRAIN LINES WHEN WE'RE MAKING THESE PATTERNS, AND WE'LL TALK ABOUT THAT LATER.

A CHECKERBOARD MADE WITH ONE SMALL SQUARE, AND THEN WE HAVE OUR DOUBLE FOUR-PATCH, RELYING ON TWO SIZED SQUARES.

WE THEN HAVE A RIBBON DESIGN MADE WITH OUR PINWHEEL PATTERN AND TWO DIFFERENT SIZES OF TRIANGLES, SO ACTUALLY THREE TRIANGLES TO MAKE THIS RIBBON DESIGN.

THIS IS CALLED CLAY'S CHOICE, MADE WITH A SQUARE, A TRIANGLE, AND THEN WE'RE INTRODUCING A NEW FIGURE HERE; WE HAVE THE TRAPEZOID FIGURE.

AND HERE YOU CAN SEE RATHER THAN HAVING A SEAM EXTENDING DOWN HERE, WE WOULD GO AHEAD AND COMBINE OUR SQUARE WITH OUR TRIANGLE, AND WE HAVE A TRAPEZOID FIGURE.

WHENEVER WE DO THIS SORT OF THING, THIS WILL CHANGE THE WAY WE'D PUT THIS TECHNIQUE-WISE, THE WAY WE'D PUT THE BLOCK TOGETHER.

CAN YOU VISUALIZE THAT?

YOU WOULD GET YOUR-- FOR INSTANCE, YOUR CENTER SECTION WOULD BE PUT TOGETHER FIRST.

THEN YOU COULD ADD YOUR SQUARE TO YOUR TRAPEZOID, YOUR TRIANGLE TO YOUR SQUARE, AND FORM THESE TWO LONG RECTANGLES THAT THEN WOULD BE SEWN TO YOUR CENTER RECTANGLE.

WE THEN HAVE A BLOCK THAT'S CALLED BELT BUCKLE, AND THIS RELIES ON YOUR TRAPEZOID FIGURE FROM YOUR KING'S X.

WE'LL TURN THIS OVER AND YOUR TRIANGLE AND YOUR PINWHEEL.

IT'S FUN TO INTERCHANGE YOUR PATTERNS SOMETIMES.

THIS IS WHERE YOU START BEING MORE ORIGINAL IN YOUR DESIGNS.

THIS IS YOUR FLY FOOT PATTERN, RELIES ON ONE TRIANGLE, ONE TRIANGLE.

WE THEN GO FROM THE OTHER FIGURE TO ONE WHERE WE WOULD, OF COURSE, INCORPORATE THE SQUARE IN THE CORNER AND THE SAME TRIANGLE AGAIN, BUT WE WOULD CALL THIS THE SAWTOOTH SQUARE.

NOW, THIS COULD BE FILLED IN WITH JUST A SOLID PIECE OF MATERIAL, OR IT COULD BE BROKEN UP INTO MANY OTHER DIFFERENT SHAPES.

THIS IS CALLED RUTH'S BLOCK.

THIS IS ONE OF MY STUDENTS, AND SO I HAD NOT SEEN THIS BLOCK BEFORE, SO WE JUST NAMED IT RIGHT AFTER HER.

AND I LIKE THE WAY SHE'S BALANCED HER DARK AND HER BRIGHT YELLOW AND HAS A GOOD VARIATION HERE DEPENDING ON THAT TRAPEZOID.

AND ACTUALLY TWO DIFFERENT TRAPEZOIDS ARE COMBINED.

WE THEN HAVE A FIGURE THAT'S CALLED ANOTHER STAR VARIATION.

AND I THINK THIS IS INTERESTING HERE.

WE HAVE AN OPPORTUNITY TO CREATE A NEW TRIANGLE BY SIMPLY ELIMINATING A SEAM LINE HERE.

AND WE HAVE ANOTHER TRIANGLE.

THE KING'S X, WHICH YOU'RE FAMILIAR WITH, RELYING ON THE TRAPEZOID AND A TRIANGLE.

THIS IS OUR ROAD TO OKLAHOMA.

I LIKE THE DIAGONAL EFFECT THAT YOU GET IN THIS BLOCK.

THIS IS CALLED THE PIECED BLOCK, AND I THINK YOU CAN SEE THE MOTION THAT'S CREATED IN THIS BLOCK.

I LIKE THE CONTRAST OF ALMOST THE ASYMMETRICAL, THE YELLOW AT DIFFERENT SIDES RELYING ON TWO DIFFERENT-SIZED TRIANGLES.

HOUSE ON THE HILL.

I ALWAYS KEEP THIS IN THE CATEGORY OF THE FOUR-PATCH BECAUSE IT IS DIVIDED INTO FOUR RECTANGLES.

THIS WOULD RELY ONCE AGAIN ON YOUR RECTANGLES BUT THEN INTRODUCES THE PARALLELOGRAM FOR THE ROOFLINE.

THE SAILS IN THE SUNSET WE TURN TO A CURVE FROM THE DRUNKARD'S PATH, SO ACTUALLY, WE WOULD HAVE ONE, TWO, THREE, FOUR GEOMETRIC SHAPES TO MAKE THIS ENTIRE BLOCK.

WE'RE GETTING A LITTLE MORE PIECEWORK IN SOME OF THESE BLOCKS.

WE'RE TURNING ONCE AGAIN TO A BLOCK CALLED KANSAS TROUBLE.

THIS RELIES ON A PINWHEEL SQUA-- A TRIANGLE, RATHER.

BUT THEN LET'S DIVIDE THAT TRIANGLE INTO ONE, TWO, THREE, FOUR DIFFERENT SECTIONS.

NOW WE'RE GETTING PRETTY SMALL IN THAT TRIANGLE, AREN'T WE?

BUT A LOT MORE INTEREST IS CREATED IN THIS BLOCK.

THIS IS CALLED YOUR DOUBLE Z PATTERN.

AND ONCE AGAIN, WE'RE INCORPORATING A TRIANGLE AND A LARGER TRIANGLE.

I CALL THIS THE COVERED BRIDGE.

DO YOU GET THE SUGGESTION OF A COVERED BRIDGE?

RELYING ON THE TRAPEZOID FIGURE, THE DRUNKARD'S PATH CURVE, AND YOUR TRIANGLE AND YOUR PINWHEEL DESIGN.

THIS IS CALLED THE CIRCLE IN A CUBE.

WE TURN TO THE OH SUSANNA BLOCK, WHICH RELIES ON THE TRAPEZOID FIGURE AGAIN.

IT REALLY IS AMAZING HOW WE CAN TAKE THESE SAME FIGURES AND GET AN ENTIRELY DIFFERENT LOOK.

THE RAIL FENCE YOU'RE FAMILIAR WITH.

THIS IS THE STARFLOWER DESIGN, RELYING ON SIMPLY THE TRIANGLE AND THE SQUARE.

AND I CALL THIS CUBE ACCENT, AND WHEN YOU REALLY STUDY THIS BLOCK AND BREAK IT DOWN INTO THE QUARTER SECTIONS, IT IS VERY FAMILIAR AND VERY SIMILAR TO THE FORMAL GARDEN BLOCK, AND WE'RE GOING TO BE PUTTING THIS BLOCK TOGETHER ON THE MACHINE IN ANOTHER SHOW, AND I THINK YOU'RE GONNA BE INTERESTED IN THAT BLOCK.

HERE'S THE FORMAL GARDEN AND ENLARGED A LOT, BUT LOOK AT THE MOTION THAT THAT HAS.

ONCE AGAIN, WE'RE RELYING ON THE PARALLELOGRAM AND THE TRIANGLE WITH THE CENTER SQUARE.

ATTIC WINDOWS DONE A LITTLE BIT DIFFERENTLY.

RATHER THAN ALL THE DIFFERENT CALICOS, PLACING THE RED ON THE LEFT-HAND SIDE EACH TIME OF YOUR 6-INCH SQUARE.

NOW, WE TURN TO A COMPASS WHENEVER WE'RE GOING TO MAKE SOMETHING AS--I CALL THIS THE MINI MOONS OVER THE MOUNTAIN OR THE FOUR SEASONS.

YOU COULD THINK OF THIS AS BEING THE FOUR DIFFERENT SEASONS, AND YOU'RE GOING TO NEED A COMPASS TO DRAFT THIS PATTERN.

THIS IS YOUR LARGER MOON OVER THE MOUNTAIN.

YOUR BOW TIE IN TWO DIFFERENT SIZES, RELYING ON THE PENTAGON SHAPE.

OVER, A LITTLE BIT LARGER.

I LIKE THE COFFEE CUP DESIGN, AND BOTH THE COFFEE CUP AND THE BASKETS RELY ON A LITTLE BIT OF APPLIQUE, A TOUCH OF APPLIQUE FOR THE HANDLES ON EACH CASE.

THE SPIDERWEB DESIGN RELIES ON THE EIGHT DIFFERENT SHAPES OF A DIFFERENT TRIANGLE, AND THE TRAPEZOID IS A DIFFERENT SHAPE ALSO.

HERE IS THE TRAPEZOID THAT WOULD BE GOING, ATTACHING TO THESE ELONGATED TRIANGLES.

THE MONKEY WRENCH.

AND I PUT THE MONKEY WRENCH IN A CATEGORY THAT-- BLOCKS THAT START IN THE MIDDLE, MUCH THE WAY THE LOG CABIN WOULD START, BECAUSE IN THIS CASE, YOU WOULD ASSEMBLE YOUR BASIC FOUR-PATCH FIRST.

THIS IS CALLED STORMY SEA, AND YOU'RE RELYING ON THE TRIANGLE, A SMALLER VERSION OF THE ONE THAT YOU'RE USED TO SEEING IN 54-40 AND FIGHT, THAT TRIANGLE.

AND THEN THIS IS THE COMPANION TO THAT TRIANGLE.

REMEMBER IN A FIGURE LIKE THIS THAT YOU CAN'T CUT ALL OF THEM GOING IN THE SAME DIRECTION.

THIS IS A TRIANGLE THAT IS A PAIR.

YOU WOULD CUT THAT ONE AND THEN REVERSE IT, REMEMBER, ON INSTANCES LIKE THAT.

THIS IS CALLED THE SAWTOOTH SQUARE, AND QUITE OFTEN AN OLD QUILT CAN BE THE INSPIRATION FOR PURSUING A PATTERN LIKE THIS.

THIS IS AN OLD QUILT I HAVE IN MY COLLECTION, AND DO YOU SEE THE RESEMBLANCE?

THE PINWHEEL DESIGN AND THEN JUST THE ONE TRIANGLE REPEATED.

I THINK THIS QUILT HAS A KIND OF A MASCULINE FLAIR TO IT.

I LIKE THIS QUILT.

AND LET'S LOOK AT HOW WE CAN DRAFT THIS PATTERN AND TURN IT INTO TEMPLATES.

THE SAWTOOTH SQUARE IS MADE USING TWO DIFFERENT-SIZED TRIANGLES.

LET'S EXAMINE THIS BLOCK FROM THE VERY BEGINNING.

I THINK IT HELPS US TO EXAMINE A LITTLE BIT FURTHER IF WE ACTUALLY DIVIDE THAT BLOCK INTO THE 16 DIFFERENT SECTIONS.

I'M GONNA GO AHEAD AND JUST GIVE US SOME LINES HERE, AND I THINK, VISUALLY, ALL OF A SUDDEN, THIS BLOCK WILL BREAK UP FURTHER INTO YOUR MIND.

LET ME COME ACROSS HERE.

THESE LINES THAT I AM DRAWING OF COURSE WILL BE, IN THIS CASE, SEAM LINES, ALTHOUGH HERE, THAT'S GONNA BE YOUR LARGE TRIANGLE THAT WE WILL DISCOVER IN JUST A FEW MINUTES.

NOW, WHEN WE HAVE THAT BROKEN UP, HOW DO WE BEGIN ON THIS BLOCK?

I THINK THE BEST WAY IS TO WORK IN EITHER THE SIZE PAPER THAT YOUR BLOCK IS GONNA END UP WITH-- FOR INSTANCE, IN THIS CASE, A 12-INCH PIECE OF PAPER, OR, IF YOU FEEL MORE COMFORTABLE, WORK ON GRAPH PAPER.

NOW, I HAVE FOUND THAT WHEN YOU BUY A PAD OF GRAPH PAPER AT THE STORE, THEN OBVIOUSLY, THIS IS NOT YOUR 12-INCH SQUARE.

YOU'RE GOING TO HAVE TO GET SCOTCH TAPE AND SCOTCH-TAPE YOUR GRAPH PAPER TOGETHER, OF COURSE, LINING UP THE LINES SO THEY'RE PERFECTLY STRAIGHT.

AND OF COURSE, WE STILL HAVEN'T REACHED A 12-INCH SQUARE.

WHY NOT GO TO A BLUEPRINTER'S SHOP OR A DRAFTSMAN'S SHOP-- AND I HAVE JUST DISCOVERED THIS RECENTLY.

YOU CAN BUY ENTIRE ROLLS OF GRAPH PAPER OR LARGER SHEETS THAT YOU CAN WORK ON, AND IT SAVES YOU PUTTING ALL THAT GRAPH PAPER TOGETHER, AND YOU HAVE ALL THE STRAIGHT LINES TO WORK WITH.

AND THAT'S A GOOD WAY TO START.

THE OTHER WAY WOULD BE SIMPLY TO FOLD YOUR PAPER INTO HALF.

WE KNOW THIS IS GOING TO BE IN QUARTER SECTIONS TO BEGIN WITH.

WE'RE GONNA FOLD IT AGAIN.

SOMETIMES I EVEN USE NEWSPAPER.

AND THEN WE'RE GONNA FOLD IT AGAIN TO GET THESE 16 EQUAL DIVISIONS.

WHEN THOSE HAVE BEEN REACHED...

WAIT, I'VE GOT TO FOLD IT ONCE MORE THIS WAY SO YOU CAN SEE THE SQUARES.

THEN I LIKE TO TAKE AND DRAW MY TRIANGLES IN SO I CAN VISUALLY SEE EXACTLY HOW THAT PATTERN IS GOING TO GO TOGETHER.

LET'S GO, AND I'LL START AND SEE IF WE CAN GET ALL THE WAY--JUST LIKE THIS ALL THE WAY DOWN.

AND ONCE THESE HAVE BEEN DRAWN IN, THEN YOU CAN ACTUALLY SHADE THESE IN.

AND THAT WAY, YOU CAN BREAK YOUR PATTERN UP INTO THE LIGHT AND TO THE DARK.

KEEP GOING.

AND YOU CAN SEE WHAT HAPPENS HERE IN THE CENTER AND VISUALLY YOU CAN SAY, "WELL, THAT LARGE PINWHEEL PATTERN IS MADE UP OF ONE SQUARE AND TWO TRIANGLES."

GO AHEAD AND SHADE THIS IN.

VISUALLY, I THINK THIS BECOMES A LITTLE MORE CLEAR.

AND DOWN HERE, IT'S THE BOTTOM TRIANGLE EACH TIME, ISN'T IT?

THIS BECOMES MUCH MORE VISUAL-- AT LEAST IT DOES TO ME.

IF I JUST--AND OF COURSE, CRAYONS WORK NICELY OR WHATEVER YOU WANT TO USE.

KEEP GOING.

OF COURSE, I MISSED A FEW UP HERE.

WE HAVE THREE MORE TO DIVIDE UP.

THREE MORE, TWO MORE ON THIS SIDE, AND WE'RE ALL DIVIDED.

AND THEN ONCE THAT HAS BEEN DONE, BOTTOM ONES HERE... GIVE YOURSELF A GRAIN LINE.

WE KNOW THAT WE WANT ALL OF OUR BLOCKS TO BE WORKING ON THE STRAIGHT OF THE GRAIN, AND IN THIS CASE, THE TRIANGLE, THE RIGHT ANGLE, WILL BE ON THE STRAIGHT OF THE GRAIN.

I USUALLY DO A DOUBLE LINE WITH AN ARROW, LIKE SO.

AND ON MY LARGER TRIANGLE, I KNOW THAT THAT'S GONNA BE ON THE STRAIGHT OF THE GRAIN ALSO.

WE ALWAYS WANT THE OUTSIDE EDGES OF OUR FINISHED CLOTH BLOCK TO EITHER BE ON THE CROSSWISE OR THE STRAIGHT OF THE GRAIN.

WE DON'T WANT BIAS EDGES, AND THAT'S WHY WE, AT THIS POINT, GO AHEAD AND FIGURE OUT YOUR GRAIN LINE.

NOW, AT THIS POINT, I'VE GOT TO STOP AND THINK, "MY GOODNESS, I HAVEN'T ADDED MY 1/4 OF AN INCH."

THIS IS WHAT MY FINISHED BLOCK IS GOING TO LOOK LIKE.

THERE ARE THREE DIFFERENT WAYS TO ADD YOUR 1/4 OF AN INCH.

YOU CAN TAKE YOUR PAPER AND PLACE IT ON TOP OF-- I KNOW I NEED TWO TRIANGLES, A SMALLER ONE AND A LARGER ONE.

I'M GONNA GO OVER THIS JUST A LITTLE BIT MORE SO I'VE GOT A FIRM BLACK LINE.

YOU WANT TO BE ABLE TO SEE THROUGH THIS.

I'M GONNA GO OVER IT REALLY SO IT MAKES A GOOD LINE FOR ME TO SEE THROUGH.

AND THEN I'M GONNA PLACE A PAPER ON TOP OF THIS, AND I'M GONNA ADD 1/4 OF AN INCH.

NOW, YOU CAN RELY ON THESE RULERS THAT ARE CLEAR PLASTIC AND THAT ARE MARKED FROM THE OUTSIDE IN A 1/4 OF AN INCH.

AND SIMPLY LINE THIS UP, LOOKING THROUGH AND THEN ADDING YOUR 1/4 OF AN INCH THERE AND HERE... AND, OF COURSE, ON YOUR LONGER SIDE.

I GO AHEAD AND LEAVE THE POINTS OF MY TRIANGLE ON, AND VISUALLY, YOU HAVE TO SEE RIGHT THROUGH THAT.

YOUR TRIANGLE, YOU HAVE TO EXTEND THAT LINE A LITTLE BIT MORE.

BUT THAT WOULD BE, LET'S SAY, YOUR SMALL TRIANGLE.

AND GO AHEAD AND MARK THAT YOUR SMALL TRIANGLE.

AND PUT YOUR GRAIN LINE ON.

NOW YOU'RE GOING TO GO TO YOUR LARGER TRIANGLE AND DO THE SAME THING.

WITH YOUR LARGER TRIANGLE, LET'S LOOK AT A DIFFERENT WAY OF ADDING YOUR 1/4 INCH SEAM ALLOWANCE.

THE LITTLE LOTUS PATH ROLLER, WHICH IS A CIRCLE THAT FROM THE INSIDE OPENING TO THE OUTSIDE OF THIS CIRCLE IS EXACTLY 1/4 OF AN INCH.

IT ALSO COMES IN AN 1/8 OF AN INCH ALSO.

BUT IF YOU PLACE THAT DOWN AND LINE UP EXACTLY WHERE YOUR LINE IS AND WITH A SHARP PENCIL GO THROUGH THIS AND SIMPLY JUST EDGE THAT, LOOK HOW THAT ROLLS BACK AND FORTH.

ISN'T THAT FUN?

IT ALSO WORKS NICELY IF YOU HAVE YOUR RULER AND YOU WANT TO GO AROUND THE OUTSIDE EDGE OF THE CORNER.

I'VE NOTICED IT WORKS VERY NICELY ALSO.

LINE UP YOUR 1/4 OF AN INCH.

AND THEN IF YOU WANT TO JUST COME AROUND THE EDGE... SEE, I'D COME DOWN A LITTLE BIT.

YOU COULD JUST COME RIGHT AROUND THE EDGE.

YOU SEE HOW IT CURVES OFF THERE?

IT MAKES A VERY NICE TURNING POINT.

THE OTHER THING IS YOUR QUILTER'S QUARTER.

YOU CAN LINE THAT UP RIGHT ON THE OUTSIDE OF THAT EDGE AND THEN MARK AND GIVE YOURSELF 1/4 OF AN INCH ALSO.

ANOTHER THING THAT I HAVE REALLY ENJOYED USING, AND WHILE YOU'RE AT THE DRAFTSMAN'S STORE OR AT THE BLUEPRINTER'S STORE, THE MYLAR.

THE PLASTIC MYLAR IS ALSO NICE TO USE.

THE ADVANTAGE OF THIS IS THAT WHEN YOU PLACE IT ON YOUR TRIANGLE, YOU CAN READILY SEE THROUGH.

I WOULD MAKE SURE AND USE A PEN THAT IS-- FOR INSTANCE, A LAUNDRY-MARKING PEN.

THIS WOULD BE THE SAME KIND YOU WOULD BUY, FOR INSTANCE, TO MARK YOUR FREEZER TAPE AT YOUR GROCERY STORE.

BUT IT HAS TO BE A PERMANENT MARKING PEN, AND ONCE YOU'VE USED THIS, ADD YOUR 1/4 OF AN INCH ON ALL THREE SIDES OF YOUR TRIANGLE, AND THEN YOU CAN CUT IT OUT.

AND MAKE SURE YOU USE THE PAPER SCISSORS TO CUT OUT YOUR MYLAR.

THERE ARE A LOT OF TEMPLATES THAT ARE ALREADY OFFERED IN YOUR BOOKS, AND QUITE OFTEN YOU HAVE TO TAKE THE TIME TO GET MORE OR LESS ALMOST A TRACING PAPER AND PLACE THIS ON YOUR BOOK AND TRACE THIS OUT.

ONCE IT'S BEEN TRACED OUT, I WOULD GLUE THIS ONTO POSTER BOARD WITH RUBBER CEMENT.

AND EVEN CLEAR CONTACT PAPER ON THE OUTSIDE WILL PRESERVE YOUR TEMPLATES.

THAT'S HOW I USE A LOT OF MINE.

AND I THINK THE ADVANTAGE HERE IS THAT YOU HAVE A PERMANENT COLLECTION IN YOUR BOOK, AND THEN HAVE THE OTHER SET THAT YOU CAN USE TO WORK WITH.

LET'S COMPLETE OUR SAWTOOTH STAR BY TRANSFERRING OUR TEMPLATES TO THE FABRIC AND THEN SEWING IT ON THE SEWING MACHINE.

AND NOW TO COMPLETE OUR SAWTOOTH STAR, WE HAVE TO TRANSFER OUR TEMPLATES TO THE CLOTH.

I HAVE FOUND THAT A GREAT TECHNIQUE TO WORK WITH IS TO TAKE A LAPBOARD AND TO GO AHEAD AND ATTACH SOME SANDPAPER TO IT.

A LOT OF PEOPLE HAVE SAID, WHY DON'T I USE SANDPAPER TEMPLATES?

I FIND THAT IT'S A LOT EASIER IF I WOULD SIMPLY HAVE A BASE TO WORK WITH WHERE THE SANDPAPER IS ALREADY ON IT.

WE HAVE OUR TWO TEMPLATES, AND I'M GOING TO INTRODUCE A WHOLE NEW TECHNIQUE FOR YOU.

BUT IT'S GREAT, ESPECIALLY IF YOU'RE GOING TO MAKE A WHOLE QUILT USING THIS VERY BLOCK IN EVERY ONE.

AND WHAT YOU WOULD DO WOULD BE TO TAKE YOUR FABRIC AND PUT THE TWO RIGHT SIDES TOGETHER.

LAYER YOUR FABRIC, PLACE IT ON THE SANDPAPER, AND BECAUSE WE'RE ONLY WORKING WITH ACTUALLY TWO OF THESE LARGE PINWHEEL TRIANGLES IN THIS BLOCK, WE WILL TAKE AND DRAW AROUND ONE WITH YOUR PENCIL, KNOWING THAT WE HAVE LAYERED THE FABRIC.

AND AFTER THIS HAS BEEN SEWN TOGETHER, IT'S GOING TO FORM YOUR LARGE SQUARE THAT'S IN THE CENTER.

BUT LET'S DO IT SO YOU CAN ACTUALLY UNDERSTAND IT.

THE SAME IDEA WILL HAPPEN WITH YOUR TRIANGLE.

12 TIMES I HAVE DRAWN AROUND THE TRIANGLE, AND I AM USING THE SAME LINE EACH TIME.

IN OTHER WORDS, I AM BUTTING THE LINE RIGHT UP NEXT TO EACH OTHER.

YOU CAN SEE I'VE GONE AROUND THE WHOLE ENTIRE TRIANGLE EACH TIME, 12 TIMES.

NOW, REMEMBER TO ALWAYS USE A PENCIL OR A FABRIC MARKER OR A FABRIC PENCIL OF SOME SORT.

DON'T USE A BALLPOINT PEN WHEN YOU'RE DOING THIS.

AND THESE WERE SOLID LINES THAT I'VE DRAWN.

THOSE ARE GONNA BE YOUR CUTTING LINES.

THEN WITH YOUR SEE-THROUGH RULER, WITH YOUR 1/4 INCH EXTENSION, PLACE THIS RIGHT ON YOUR-- PLACE THE 1/4 INCH RIGHT ON YOUR LINE, AND THEN COME DOWN AND GIVE YOURSELF A SLASH LINE, WHICH WILL BE YOUR SEWING LINE IN JUST A FEW MINUTES.

OF COURSE, IF YOU'RE REAL GOOD, YOU COULD JUST ELIMINATE.

IT'S ALWAYS NICE TO HAVE A GUIDELINE HERE, BECAUSE YOUR RAW EDGE IS GONNA BE COVERED UP, ISN'T IT?

THIS IS GONNA GIVE YOU A LINE TO SEW ON AND A LINE TO CUT, SO WE'RE READY TO GO AHEAD AND SEW THIS AT THE MACHINE.

NOW, THIS SAME IDEA WILL WORK WITH THE OHIO STAR.

CAN YOU SEE THE MARVELOUS QUILT THAT VIRGINIA VIEWIG HAS DONE, TWICE, WOULD YOU BELIEVE?

SHE'S DONE A BLUE SAMPLER TWICE, AND THE OHIO STAR IS ANOTHER EXAMPLE OF WHERE YOU CAN USE THIS SAME TECHNIQUE.

WE WOULD TAKE THE FABRIC AND LAYER THE TWO RIGHT SIDES TOGETHER.

YOU CAN SEE THIS CALICO AND THE POLKA DOT, TWO RIGHT SIDES.

AND IN THIS CASE, OUR TRIANGLE-- REMEMBER, THE LONG SIDE OF THE DIAGONAL IS ON THE STRAIGHT OF THE GRAIN.

SO WE WOULD PUT THIS ONE ON THE FABRIC, AND FOUR TIMES I HAVE DRAWN AROUND IT.

YOU'RE GOING TO NEED TWO SETS FOR EACH SQUARE.

I'VE DRAWN IT HERE, AND THEN I'VE COME DOWN AND DONE THE SAME THING OVER HERE.

ONCE AGAIN, I'VE GIVEN MYSELF A SLASH LINE, WHICH IS GOING TO BE MY SEWING LINE.

I'VE COME DOWN ON THIS SIDE, AND NOW I'VE GOT TO DO THE SAME THING OVER HERE.

AND ONCE I HAVE GIVEN MYSELF A SLASH LINE, I THINK IT'S ALSO NICE TO SECURE THESE TWO TOGETHER WITH A PIN.

COME ALL THE WAY DOWN.

I CAME OVER A LITTLE BIT TOO FAR HERE.

LET ME REDO THAT.

OKAY.

THAT BECOMES MY SEWING LINE.

AND THEN RIGHT IN THE MIDDLE, PUT A PIN.

YOU'LL FIND THAT JUST SECURES THE FABRIC AND KEEPS IT FROM SLIPPING AROUND.

FABRIC HAS A TENDENCY TO ADHERE TO EACH OTHER, BUT LET'S CALL THIS A SAFETY MEASURE.

ALL RIGHT, WE'RE READY TO SEW THESE AT THE SEWING MACHINE WE'RE GOING TO SOMETIME HAVE TO SHOW YOU HOW TO MAKE A COVER TO COVER YOUR MACHINE.

I HAVE ALSO FOUND THAT IT'S REALLY NICE TO USE A NEUTRAL-TYPE THREAD ON YOUR MACHINE.

AN ECRU OR KIND OF A GRAY COLOR WILL GO WITH MANY BLOCKS ALL AT THE SAME TIME.

ALL RIGHT, WE'RE READY TO SEW ALL THE WAY DOWN, AND REMEMBER, WE'RE SEWING ON THE SLASHED LINE.

AND WHAT'S ALSO NICE IS WHEN YOU GET TO THE END.

I LIKE TO JUST SEW RIGHT OUT INTO THE-- I GUESS YOU'D CALL IT THE EXCESS AREA, BECAUSE THEN THAT-- YOU KNOW IN A FEW MINUTES, THAT'S GOING TO BE CUT OFF.

IT'S OUTSIDE YOUR STRAIGHT LINE, ISN'T IT?

AND THEN JUST START COMING.

AND ACTUALLY, WHEN YOU GET TO YOUR STRAIGHT LINE WITH YOUR NEEDLE DOWN IN THE MACHINE, REMEMBER: ALWAYS KEEP THAT NEEDLE IN THE MACHINE TO ANCHOR.

YOU'RE READY TO TURN AGAIN.

ONCE AGAIN, I CAN COME OUT INTO THE OUTSIDE AREA, BECAUSE THAT'S GOING TO BE CUT OFF IN A FEW MINUTES.

JUST KEEP TURNING.

IT PROBABLY SEEMS LIKE YOU'RE SEWING FOREVER, BUT THE ADVANTAGE HERE IS THAT YOU HAVE NOT CUT 12 SEPARATE WHITE AND 12 SEPARATE NAVY BLUE.

ALL RIGHT, I'VE COME TO A POINT HERE, AND I'M READY TO TURN.

I THINK I'M GOING TO ACTUALLY TAKE IT OFF THE MACHINE HERE, BECAUSE I CAN THEN COME OVER TO THIS PART AND START AGAIN.

OKAY.

LET YOUR HANDS KIND OF ANCHOR THAT MATERIAL AS YOU'RE GOING ALONG.

ALL RIGHT.

AND THEN ONCE MORE, AND THEN I'M ONLY LEFT WITH THAT CENTER SQUARE.

OKAY.

NOW I'LL GO ALL THE WAY AROUND THE CENTER.

LET'S SEE, I THINK I'LL START-- SOMETIMES, YOU HAVE TO KIND OF THINK AHEAD.

WHY DON'T I START HERE?

IF I COME AROUND, THEN I HAVE ONCE MORE SECTION TO DO AND I'LL BE READY TO GO AND CUT THIS APART.

SOMETIMES THE ARROWS KIND OF HELP AS YOU'RE MARKING IT.

IF YOU'LL GO AHEAD AND MARK IT WITH ARROWS, IT BECOMES A WAY TO WATCH.

NEEDLE IN THE MACHINE TO TURN.

NOW THAT I'M ALMOST TO THE END... LET'S SEE IF WE CAN'T COME UP TO HERE.

AND LET'S JUST TRY, AND WE'LL DO ONE OF THOSE TRICKS WHERE WE'LL COME BACK AND WE'LL CUT THE THREADS THERE.

THIS ONE WAS NOT MARKED, BUT I THINK YOU CAN TELL.

OKAY, NOW WE'RE READY TO COME, AND LET'S GO AHEAD AND ONLY CUT ON THE SOLID LINES.

AND YOU'RE GOING TO BE ABLE TO SEE IN A FEW MINUTES HOW THIS JUST SIMPLY WILL FALL APART, AND YOU HAVE FORMED... NOW YOU'RE GOING TO COME HERE.

AND LET'S ONCE AGAIN CUT ON THE SOLID LINES.

AND THEN WHEN I OPEN THESE, I'LL PLACE THEM RIGHT ON OUR-- KIND OF LIKE THIS.

AS WE OPEN, I'LL PLACE THEM ON OUR TEMPLATE, AND I THINK VISUALLY YOU'LL BE ABLE TO SEE HOW THIS PATTERN IS GOING.

CAN YOU SEE?

THERE YOU HAVE YOUR... LET'S JUST KEEP CUTTING.

AND CUT AGAIN... AND VOILA, YOU HAVE FORMED YOUR DARK AND YOUR LIGHT.

AND EVERYTHING IS-- ONCE IT'S CUT, IS READY TO PUT TOGETHER TO FORM YOUR BASIC FOUR-PATCH.

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

Captioning by CaptionMax www.captionmax.com