♪ [birds chirping] WELCOME BACK TO LAP QUILTING.

WE SPEND 1/3 OF OUR LIVES IN BED, SO WHY NOT SLEEP IN STYLE AND STAY WARM AT THE SAME TIME?

I AM GEORGIA BONESTEEL, HERE TO TEACH, STIMULATE, AND MOTIVATE YOU INTO QUILTMAKING.

YES, FROM OUR STUDIO HOME TO YOUR HOME, LEARN THE BASICS ON A NEW SERIES, BUT BE PREPARED TO STRETCH FOR NEW AND BRIGHT IDEAS AS WE EXPLORE THE MANY WAYS TO USE THE 36O-DEGREE ANGLE.

LET'S KEEP AMERICAN QUILTMAKING A LIVING ART FORM.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

AND BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

WHAT WE HAVE HERE ON THE BED IS A MOUNTAIN OF QUILTS, ALL FRESHLY STITCHED TO INSPIRE.

YOUR FINGERS WILL BE ITCHING TO STITCH THESE BEAUTIES.

LET'S NAME A FEW OF THE PATTERNS YOU WILL LEARN ON MY NEW SERIES.

HIPP STRIP IS THE FIRST ONE.

WOVEN WONDER.

MOOSE, MASK, AND QUPAK.

BABY BUGGY BOOMERS.

LOG LANTERNS.

GRANDMA EVANS' CHICKEN FEET.

THE LANDRUM LIBRARY QUILTERS MADE THIS WONDERFUL BOOK QUILT.

AUTUMN WINDOWS.

THE INTERLOCK QUILT MADE WITH BATIK FROM THE ISLAND OF ST. LUCIA.

AND ANOTHER INTERLOCK QUILT.

GOLDEN NEEDLE, SILVER THREADS.

AND AMISH IMAGES FOR OUR TRIP TO THE MENNONITE IN AMISH COUNTRY.

WHAT'S IN A NAME, ANYWAY?

THE NAMING OF QUILT PATTERNS IS DRAWN FROM THE WHOLE REALM OF AMERICAN EXPERIENCE-- RELIGION, NATURE, POLITICS, GAMES, PLACES, COMMON OBJECTS, AND EVEN LADIES' HEROINES.

IT'S NO WONDER THAT RELIGIOUS NAMES ARE IDENTIFIED WITH MANY OF OUR QUILT BLOCKS.

RELIGIOUS FREEDOM WAS A MOTIVATING FACTOR FOR THE ORIGINAL COLONIES.

THERE WAS CROSS AND CROWN, STAR OF BETHLEHEM, AND KING DAVID'S CROWN.

NOW, NATURE ENCOMPASSED THE SIMPLE OUTDOOR LIFE.

OF COURSE, THAT INCLUDED FLOWERS, VEGETABLE GARDENS, BIRDS, ANIMALS, AND EVEN INSECTS, AS IN SPIDER WEB.

THERE'S ALSO TALL PINE TREE AND OAK LEAF.

POLITICAL EVENTS, WARS, AND DRAMATIC INCIDENTS BECAME INSPIRATIONS FOR DESIGN IN CLOTH.

ISN'T IT INTERESTING THAT LADIES SHOWED POLITICAL BIAS LONG BEFORE THEY HAD THE RIGHT TO VOTE?

DURING THE JACKSON/ADAMS CAMPAIGN OF 1824, POLITICAL OPPONENTS CAME TO BLOWS OVER WHETHER A PATTERN WAS MAYBE A DEMOCRAT ROSE OR A WHIG ROSE.

HERE WAS A CASE OF GENTLEMEN FIGHTING OVER THE QUILT PATTERN MADE BY WOMEN.

STARS WERE ALWAYS POPULAR QUILT DESIGNS.

THE BASIC DIAMOND PATTERN FOR STARS ORIGINATED ALONG THE MISSISSIPPI RIVER.

IT WAS NAMED FOR THE LE MOYNE BROTHERS, WHO EXPLORED THE RIVER AND FOUNDED THE CITY OF NEW ORLEANS.

YES, CITIES WERE HONORED WITH SUCH NAMES AS GEORGETOWN CIRCLE AND PHILADELPHIA PAVEMENTS.

LADIES' HEROINES HAD NAMES LIKE DOLLY MADISON AND MRS. CLEVELAND'S CHOICE.

NAMES REALLY VARIED DEPENDING ON THE DATES, WHERE IT WAS CONCEIVED, AND BY WHOM.

OUR OWN NORTH CAROLINA LILY TOOK ON SEVERAL NAMES FROM REGION TO REGION, AND THE SHAPE OF EACH TEMPLATE COULD CHANGE, EVEN THOUGH THE CONCEPT REMAINED THE SAME.

NOW, WHAT IF ALL THESE NAMES WERE TAKEN LITERALLY TO CREATE A PUN ON PATCHWORK?

ANN BOYCE FROM NEW HAMPSHIRE IS A PATCHWORK AND APPLIQUE DESIGNER WHO DID JUST THAT.

SHE IS THE COAUTHOR WITH SANDRA HATCH OF PUTTING ON THE GLITZ AND HAS ASSEMBLED A MACHINE QUEEN SHOW WHICH DISPLAYS HUMOROUS WALL HANGINGS MADE BY QUILTERS ALL OVER THE COUNTRY.

MY CONTRIBUTION WAS THE BLOCK ENTITLED PANDORA'S BOX.

IT IS SOMETIMES THOUGHT OF AS JUST 6O-DEGREE DIAMONDS OR A SQUARE WITH A PARALLELOGRAM.

I CHOSE TO CREATE REAL, DIMENSIONAL BOXES THAT OPEN UP TO REVEAL SURPRISES ON EACH LID.

THE INSCRIPTION READS, "PANDORA'S BOXES.

"IN CLASSICAL MYTHOLOGY, ZEUS SENT PANDORA TO EARTH "WITH A BOX WHICH CONTAINED ALL HUMAN ILLS AND SORROW.

"CONQUERED BY CURIOSITY, SHE OPENED UP THE BOX, "FROM WHICH EMERGED ALL EVILS OF THE WORLD.

"FOR QUILTER PANDORA, THE LIDS REVEAL "THE EVERYDAY, MUNDANE THINGS "THAT KEEP US AWAY FROM OUR NEEDLE AND THREAD.

"SHE TEARFULLY CRIES OUT, "FREE ME FROM THE PHONE..." "COOKING, YARD WORK, CARS... "FINALLY, SHE IS FREE JUST FOR QUILTING."

AND NOW, LET'S SEE SOME PUNS ON PATCHWORK WITH ANN BOYCE.

ANN, TELL US HOW THIS COLLECTION GOT TOGETHER.

I FIRST DID A SHOW FOR THE VERMONT QUILT FESTIVAL CALLED MACHINE QUEEN I, WHICH WAS A FASHION SHOW OF PUNS ON THE NAMES OF CLOTHING, LIKE A MINISKIRT WITH MINNIE MOUSES ON IT.

AND THE SECOND SHOW, MACHINE QUEEN II, THAT I CALLED IT, WAS A SHOW BASED ON THE PUNS THE NAME OF QUILT BLOCKS.

AND ON THE SECOND SHOW, I ASKED FRIENDS AND COLLEAGUES AROUND THE UNITED STATES, AND ONE CANADIAN, TO MAKE PIECES TO INCLUDE IN THE SHOW.

AND THE FIRST ONE THAT WE'RE FEATURING TODAY IS CALLED CHURN DASH.

WE NEED AN EXPLANATION OF THIS.

THIS IS MADE BY MARIAN ESBACH NEWELL, AND SHE'S FROM AMHERST, MASSACHUSETTS.

AND IT'S THE CHURN DASH BLOCK ALL PIECED IN THE BACKGROUND OF THE QUILT, AND IT'S BUTTER CHURNS RUNNING A ROAD RACE.

PASTEURIZED-- PAST YOUR EYES-- OH, I SEE THE EYES.

FOR THE LAND O LAKES CLASSIC.

WELL, IT'S DONE VERY WELL, SHADING HER BLUES AND HER GREENS AND THE ROAD ALL THE WAY DOWN, AND WE SEE THE WINNER AT THE FINISH LINE, RIGHT?

THAT'S CORRECT.

A PHOTO FINISH.

A PHOTO FINISH.

HURRAH FOR CHURN DASH.

LET'S LOOK AT SOME MORE.

THIS ONE LOOKS GOOD ENOUGH TO EAT, ANN, BUT I'M STILL NOT QUITE SURE ABOUT IT.

WELL, THIS IS A BARGELLO PATTERN, AND BETH SWARTZE, THE QUILTMAKER, FROM NEWTON JUNCTION, NEW HAMPSHIRE, LOVES WORKING IN BARGELLO PATTERNS AND DECIDED TO DO A MELLOW JELLO BARGELLO QUILT.

SHE MADE A PLASTIC CHAMPAGNE GLASS AND FILLED IT WITH JELL-O CUBES MADE OUT OF SATINS.

THIS QUILT IS A DELECTABLE MOUNTAINS HOT FUDGE SUNDAE QUILT MADE BY HELEN KELLEY OF MINNEAPOLIS, MINNESOTA.

AND SHE IS ALLERGIC TO CHOCOLATE, SO SHE THOUGHT SHE WOULD INDULGE HERSELF BY MAKING A CHOCOLATE DESSERT IN HER QUILT.

AND SHE HAD QUITE A TIME FINDING CHOCOLATE FABRIC.

SHE SAID, "HOW CAN YOU EXPLAIN TO A SHOP OWNER WHAT CHOCOLATE REALLY LOOKS LIKE?"

WHAT IS THE NAME OF THIS PATTERN, ANN?

AND TELL ME ABOUT THOSE FEET.

THIS IS WANDERING FOOT.

IT'S MADE BY NANCY NORTH STRICKLAND OF NEWBURYPORT, MASSACHUSETTS.

HER MAP OF WHERE SHE COMES FROM IS ON THE QUILT IN THE CENTER.

AND IT SYMBOLIZES QUILTING ON A SHOESTRING.

AND IT HAS A WONDERFUL FRINGED BORDER AND A WONDERFUL USE OF MACHINE QUILTING THROUGHOUT.

ANN, I THINK I COULD HAVE GUESSED THIS ONE.

HOLE IN THE BARN DOOR, RIGHT?

THAT'S CORRECT.

THIS IS MADE BY JANE NOBLE OF GLOUCESTER, MASSACHUSETTS.

AND SHE DOES BEAUTIFUL, BEAUTIFUL HAND APPLIQUE.

HAND PIECING.

AND SHE HAS DONE STRIP PIECING IN THIS FOR THE FIRST TIME OF HER WHOLE QUILTING CAREER.

AND HER FAMILY WAS ABSOLUTELY HORRIFIED THAT SHE CHOPPED RIGHT THROUGH THE CENTER OF THE QUILT AND LET THE BATTING SHOW THROUGH AND EVERYTHING FOR HER HOLE IN THE BARN DOOR.

WELL, I'M STUMPED ON THIS ONE, ANN.

WHAT IS THIS?

WELL, IT'S JACOB'S ADDER FOR JACOB'S LADDER.

IT'S MADE BY JO DIGGS FROM PORTLAND, MAINE.

AND SHE HAS MACHINE APPLIQUED THESE SNAKES ONTO A PATTERN ON THE LADDER.

SHE HAS FREELY CUT ALL THE TEMPLATES.

SHE DID NOT PRE-DRAW THEM.

IT'S VERY ARTISTIC.

AND I WOULD NEVER HAVE GUESSED IT.

WHAT HAVE WE HERE?

A GAME SHOW?

WELL, WE HAVE QUILTING FOREVER, HOUSEWORK NEVER.

IT'S MADE BY LYNN HATCHER, AND SHE'S FROM WALNUT CREEK, CALIFORNIA.

NOW, THIS ONE IS A WINNER.

IT'S DEFINITELY A BOW TIE QUILT.

IT'S MADE BY HELEN YOUNG FROST.

AND SHE DID BOW TIES BECAUSE IT REMINDED HER OF RICHARD CLEVELAND, WHO RUNS THE VERMONT QUILT FESTIVAL.

AND HE ALWAYS WEARS BOW TIES.

SHE THOUGHT THAT WOULD BE FUN TO DO.

NOW, THIS IS A GIVEAWAY.

THIS HAS GOT TO BE IRISH CHAIN, RIGHT?

YES, IT IS, AND IT'S MADE BY AN OLD, DEAR FRIEND OF MINE CALLED SHAN D. LEAR-- CHANDELIER.

THAT IS HER MARRIED NAME.

ANN, THIS ONE JUST BREAKS ME UP.

I JUST LOVE IT.

WHAT ABOUT IT?

WELL, IT'S TREE EVER-LASTIC FOR TREE EVERLASTING.

IT'S MADE BY JEAN V. JOHNSON.

AND SHE'S FROM OLATHE, KANSAS.

AND SHE'S USED ALL SORTS OF RUBBER THINGS AND ELASTIC THINGS TO EMBELLISH THE QUILT.

HER LINGERIE LINE HANGING IS MADE OUT OF AN ACE BANDAGE, AND YOU'LL SEE LITTLE RUBBER GLOVES AND RUBBER SHOES ON THE LIONS.

IT'S A WHOLE BUNCH OF FUN.

WE HAVE SOME GLITZ WITH THIS ONE, ANN.

YES.

WE DO.

IT'S MY STRIPPER PIECE.

IT'S MADE BY LAURA REINSTATLER FROM SEATTLE, WASHINGTON.

LAURA DOES LOTS OF 1/4-INCH STRIP PIECING.

AND SHE WANTED TO DO SOMETHING THAT SHOWED OFF THE TECHNIQUE THAT SHE DOES SO MUCH IN HER QUILT AND GARMENT WORK.

ANN, WHERE DID YOU FIND CARD TRICK FABRIC?

WELL, IN MY TRAVELS GOING TO DIFFERENT SHOPS, I ACTUALLY FOUND THE CARD TRICK FABRIC IN A SHOP IN NEW HAMPSHIRE.

I CALL THIS, NOT PLAYING WITH A FULL DECK.

AND THIS IS YOUR PIECE?

YES.

THIS IS MY PIECE.

IT'S ALL, OF COURSE, MACHINE QUILTED, AND IT'S PURCHASED DECALS.

WONDERFUL.

ANN, TELL US ABOUT THIS ONE.

I UNDERSTAND THERE'S A PLAY ON WORDS HERE.

YES.

THIS IS MONKEY WENCH FOR MONKEY WRENCH BLOCK.

YOU DON'T SEE THE QUILT BLOCK.

BUT YOU CERTAINLY SEE THE GLITZED-UP MONKEY.

IT'S MADE BY DONNA BISTER OF BURLINGTON, VERMONT.

THE PINEAPPLE CACTUS PATTERN IS ON THE BACK OF THIS QUILT.

AND THIS IS BY FRAN SOIKA.

FRAN HAS MADE A PINEAPPLE CACTUS QUILT.

AND IT LOOKS LIKE THE SOUTHWEST, HER NEW INTEREST THESE DAYS.

YES, IT DOES, AND IT'S ALSO ALL HAND APPLIQUED.

HAND QUILTED.

I BELIEVE FRAN DOES NOT OWN A SEWING MACHINE.

THIS ONE'S WONDERFUL.

TELL US ABOUT IT, ANN.

WELL, THIS IS DONE BY ANN BIRD OF OTTAWA, CANADA, AND IT'S CALLED BROKEN DISHES.

AND ALL THE QUILT BLOCKS ARE DONE IN PERSPECTIVE.

ANN TRIED TO PICK THE EASIEST BLOCK SHE COULD FIND IN RUBY McKIM'S BOOK AND ENDED UP CUTTING EVERY SINGLE TEMPLATE SEPARATE.

NOW, THIS IS A REAL PUN.

DEFINITELY.

ALYOCE YORKO HAS DONE NOSEGAY.

AND SHE EVEN HAS DOG NOSES AROUND THE NOSEGAYS.

SHE'S FROM BOKEELIA, FLORIDA, AND SHE LOVES HAVING FUN WITH HER WORK.

WHO WOULD HAVE THOUGHT OF REAL PEACOCK FEATHERS?

WELL, MARY RYAN OF RUTLAND, VERMONT, DID A FEATHERED STAR AND USED REAL PEACOCK FEATHERS IN HER BACKGROUND PATCHWORK.

AND HER CHOICE OF FABRICS ARE UNIQUE, ALSO, WITH SOME GLITZ.

DEFINITELY SOME LAMEs PUT IN THERE AND A BEAUTIFUL USE OF BORDER PRINT.

ANN, THIS HAS BEEN GREAT FUN.

I'VE GOTTEN SOME GOOD IDEAS FOR NEW QUILTS.

WE REALLY APPRECIATE YOU JOINING US.

WELL, THANK YOU VERY MUCH.

I'VE ENJOYED IT, ALSO.

NOW MAYBE YOU CAN MAKE YOUR OWN PUN ON PATCHWORK.

PANDORA'S BOX CAN BE JUST FOR FUN, AS IT IS IN THIS LITTLE PURSE, BUT LET'S GET SERIOUS NOW WITH OUR PANDORA'S BOX.

IT CAN ALSO BE A 6O-DEGREE DIAMOND THAT COMES TOGETHER FOR A SIX-POINTED STAR, AND MAYBE YOU SEE A HEXAGON THERE, ALSO.

OR IT CAN BE A SQUARE WITH TWO PARALLELOGRAMS ON EITHER SIDE.

WE'RE GOING TO PUT THIS TOGETHER INTO A 9-INCH BLOCK AND MAKE A SOFT BOX.

IN ORDER TO FINISH OUR SOFT BOX, YOU'RE GOING TO HAVE TO CUT OUT A 9 1/2 INCH SQUARE FOR THE BOTTOM OF THE BOX AND FOUR SIDES THAT WILL BE CUT 3 1/2 INCHES BY 9 1/2 INCHES.

NOW, THAT INCLUDES YOUR SEAM ALLOWANCE, BECAUSE WE ARE THEN GOING TO PIECE A 9-INCH SQUARE THAT ENDS UP HAVING THE 1/4-INCH SEAMS ON ALL 4 SIDES.

WHENEVER WE START DOING PATCHWORK, WE HAVE TO START ON PAPER.

AND IN TEACHING THIS BLOCK TODAY, THIS WILL GIVE ME A CHANCE TO REVIEW THE BASICS IN PATCHWORK.

FOR INSTANCE, IF YOU WOULD DRAW A SQUARE AND THEN DRAW ANOTHER SQUARE WITHIN THAT... AND THEN CONNECT THOSE DIAGONALS... AND THEN DO A LITTLE ERASING RIGHT HERE AND HERE, YOU WOULD HAVE IN ESSENCE WHAT I'M GOING TO TEACH YOU TODAY-- A SQUARE WITH TWO PARALLELOGRAMS.

BUT WE KNOW IN PATCHWORK, WE CAN'T USE THAT BECAUSE IT'S NOT ACCURATE.

SO, WE GO TO GRAPH PAPER, WHERE WE DO A LOT OF OUR WORK.

I'VE ALREADY TRACED THIS AHEAD OF TIME, BUT FOLLOW ME THROUGH-- 3 INCHES ON EITHER SIDE TO MAKE A SQUARE.

AND THEN WHATEVER SIZE SQUARE YOU USE, IF YOU TAKE HALF OF THAT MEASUREMENT-- IN THIS CASE, IT'S AN INCH AND A HALF-- AND COME OVER AN INCH AND A HALF AND UP AN INCH AND A HALF-- DRAW THAT DIAGONAL LINE.

YOU KNOW THAT'S GOING TO GIVE YOU THAT 45-DEGREE ANGLE.

COME UP AGAIN 3 INCHES AND CONNECT THOSE LINES.

MAKE THAT MIRROR IMAGE PARALLELOGRAM OVER HERE, AND YOU'VE GOT THE TWO TEMPLATES THAT YOU NEED TO MAKE THAT BLOCK.

BUT YOU NEED A THIRD BECAUSE WE'RE GOING TO FINALIZE THAT BLOCK AND MAKE IT COME INTO A SQUARE, SO YOU'RE GOING TO NEED A TRIANGLE.

THAT TRIANGLE WILL BE A 3-INCH ON EITHER SIDE, RIGHT-ANGLE TRIANGLE, AGAIN WITH THAT 45-DEGREE ANGLE.

ONCE YOU'VE DETERMINED THE NUMBER OF TEMPLATES YOU NEED, THEN YOU NEED TO DECIDE HOW OFTEN ARE THEY REPEATED.

IN THE CASE OF THE SQUARE-- 1, 2, 3, 4 TIMES.

YOU MIGHT EVEN PUT ON YOUR TEMPLATE--CUT 4.

THEN YOU'RE GOING TO NEED PARALLELOGRAMS.

1, 2, 3, 4, 5, 6, 7, 8.

BUT LET'S STOP AND LOOK AT THOSE PARALLELOGRAMS.

THEY ARE MIRROR IMAGES.

IN OTHER WORDS, THIS TEMPLATE IS THE SAME AS THIS ONE, ONLY FLIPPED, REVERSED.

SO, YOU COULD SAY CUT 4 SETS.

AND I WOULD GO AHEAD AND SAY CUT 8, OR 4 SETS.

AND THEN YOU'D NEED 2 TRIANGLES, SO I'D PUT CUT 2.

THE NEXT THING TO CONSIDER IN PATCHWORK IS THE GRAIN LINE.

I KNOW THAT ON THIS SQUARE, I WOULD LIKE THIS TO FALL ON THE OUTSIDE OF THE BLOCK AND BE ON THE STRAIGHT OF THE GRAIN.

SO I WOULD GO AHEAD AND INDICATE THAT BY SIMPLY DRAWING A STRAIGHT LINE ON MY TEMPLATE AND AN ARROW.

IN THE CASE OF USING GRID-GRIP, I CAN THINK OF THESE STRAIGHT LINES AS BEING THE WARP LINES IN MY FABRIC AND THESE LINES AS BEING THE WOOF LINES OR THE CROSSWISE.

THE PARALLELOGRAM-- THE LONG SIDE BECOMES THE STRAIGHT OF THE GRAIN.

AND THE TRIANGLE-- THE RIGHT-ANGLED SIDE-- BECOMES THE STRAIGHT OF THE GRAIN.

WITH THOSE THINGS IN MIND, I AM THEN READY TO MAKE MY TEMPLATES.

TODAY WE REALLY HAVE THREE OPTIONS IN PATCHWORK.

ONE WOULD BE TO GO AHEAD AND DO YOUR DESIGNING ON THE POLYCOATED, OR FREEZER PAPER, WITH GRID LINES ON IT BECAUSE WHEN YOU THEN CUT OUT THESE TEMPLATES, THESE BECOME THE ACTUAL SEWING LINES.

THESE TEMPLATES DO NOT HAVE THE SEAM ALLOWANCE INCLUDED, BUT THAT ALLOWS YOU THEN TO PLACE THIS ON THE BACK OF YOUR FABRIC.

IT WILL STAY IN PLACE ONCE IT'S BEEN PRESSED.

AND USE THAT AS A GUIDE TO ADD YOUR 1/4 INCH ON THE FABRIC.

ANOTHER PREFERENCE IN PATCHWORK IS TO USE THE GRIDDED PLASTIC, THE OPAQUE PLASTIC.

IT'S REALLY NICE BECAUSE WHEN YOU'RE USING CERTAIN FABRICS, YOU CAN SEE THROUGH IN ORDER TO CUT OUT.

IN DOING THAT, YOU WOULD SIMPLY PLACE YOUR PLASTIC ON TOP OF YOUR SQUARE, INDICATE YOUR 1/4-INCH TURNS, ADD YOUR 1/4 INCH ON ALL 4 SIDES, FOR INSTANCE, OF THE SQUARE OR THE PARALLELOGRAM OR THE TRIANGLE, AND YOU ARE READY TO GO.

ANOTHER THING THAT IS DONE QUITE OFTEN, ESPECIALLY ON PARALLELOGRAMS OR STARS, IS TO FIND THAT 1/4-INCH TURN AND PUNCH THAT OUT WITH A LITTLE, TINY 1/8-INCH HOLE PUNCH.

BECAUSE THAT IS GOING TO GIVE YOU A GUIDE TO THEN PLACE THAT ON THE BACK OF YOUR TEMPLATE, ALLOWING YOU TO PUT A MARK THERE SAYING, "I SEW UP TO THAT AND STOP AND BACKSTITCH."

IT GIVES YOU A SEWING GUIDE.

THE THIRD WAY OF MAKING TEMPLATES IS WITH A LIGHTWEIGHT, POSTER-WEIGHT CARDBOARD.

SOME PEOPLE EVEN USE CEREAL BOXES.

IF YOU WOULD GO AHEAD AND TAKE YOUR THREE TEMPLATES ALREADY DRAWN ON PAPER AND GLUE THOSE ON WITH RUBBER CEMENT, SAY, WITH POSTER BOARD CONNECTED, YOU CAN THEN COVER THAT WITH CLEAR CONTACT PAPER AND YOU GET A NICE FINISH ON THE OUTSIDE OF YOUR BLOCK.

AND HERE AGAIN, YOU COULD PUNCH OUT THOSE 1/4-INCH TURNS.

YOU ARE THEN READY TO CUT OUT YOUR FABRIC, AND I WOULD GIVE YOU A COUPLE OF TIPS IN MIND.

NUMBER ONE--WHEN YOU'RE DOING YOUR PARALLELOGRAM, PUT THE TWO RIGHT SIDES OF YOUR FABRIC TOGETHER.

AND THEN, THIS WOULD BE WRONG, WOULDN'T IT?

HERE'S THE STRAIGHT OF THE GRAIN.

AND IF I PUT THIS LIKE SO, I WOULD HAVE THAT LINE GOING ON THE STRAIGHT OF THE GRAIN, WHERE I NEED THIS LINE.

MY ARROW INDICATES THAT'S WHERE THE STRAIGHT OF THE GRAIN GOES.

LINE THAT UP AND THEN HOLDING THAT IN PLACE, I CAN TRACE AROUND WITH EITHER A TAILOR'S CHALK OR A PENCIL-- SOME PEOPLE LIKE TO USE A CHALK WHEEL-- ANYTHING THAT WILL GIVE YOU A NICE, ACCURATE GUIDE SO THAT WHEN YOU LIFT THAT, YOU CAN FOLLOW THAT AND CUT THAT OUT WITH EITHER YOUR SCISSORS OR YOUR ROTARY CUTTER, WHICHEVER YOU FEEL MORE SECURE IN USING.

NOW, IF YOU'RE GOING TO USE, FOR INSTANCE, THE GRID-GRIP, YOU WOULD GO AHEAD AND PLACE THAT ON YOUR IRON, LINING UP THE TWO RIGHT SIDES TOGETHER.

SECURE THAT WITH A WARM IRON, AND THEN COMING OVER, USING YOUR ROTARY CUTTER AND YOUR RULER THAT HAS A NICE 1/4 INCH INDICATED-- YOU'RE THEN READY TO HOLD THIS IN PLACE.

AND LET THESE FINGERS FALL OFF THE EDGE OF THE RULER ONTO THE FABRIC, HOLDING THAT IN PLACE, AND YOU'RE READY TO SIMPLY INDICATE THAT CUTTING LINE AND THEN FOLLOW IT.

THIS RULER BY HOLDING THAT IN PLACE, I'M GOING TO GET ALL FOUR SIDES.

NOW I'VE DONE THIS ONCE.

NOW, I NEED TO DO THAT THREE MORE TIMES TO CUT OUT MY SETS TO GO TO THE SEWING MACHINE.

LET'S GO THERE AND SEE HOW PANDORA'S BOX IS PUT TOGETHER.

NOW TO PIECE OUR PANDORA'S BOX.

I'VE BEEN A LITTLE BIT SNEAKY AND GOTTEN SOME DONE AHEAD OF TIME, BUT I WANTED TO POINT OUT THE IMPORTANCE OF HAVING FREE-FLOATING SEAMS AT THESE INSIDE ANGLES.

YOU CAN EITHER MAKE SURE AND MARK EACH ANGLE WITH CHALK, AS WE DID THROUGH OUR PLASTIC, OR YOU CAN GO AHEAD AND IRON THE FREEZER PAPER ON THE BACKSIDE OF YOUR FABRIC, REMEMBERING THAT YOU CAN REUSE THIS EACH TIME AND MOVE IT TO ANOTHER PARALLELOGRAM.

BUT I'M GOING TO PULL THIS ASIDE SO YOU CAN SEE HOW EACH SECTION GOES TOGETHER.

YOU'RE REALLY PUTTING TOGETHER ELONGATED HEXAGONS, AREN'T YOU?

IN ORDER TO DO THAT, GO AHEAD AND PUT THE RIGHT SIDES TOGETHER OF A SQUARE AND A PARALLELOGRAM, LINING UP YOUR RAW EDGE AND CENTERING THE AMOUNT OF EXCESS ON EACH SIDE.

GO AHEAD AND TAKE YOUR 1/4-INCH SEAM ALLOWANCE, BUT START... AND THEN BACKSTITCH ABOUT THREE STITCHES SO YOU'RE NOT GOING OUT TO THE RAW EDGE.

SAME THING AT THE OTHER END.

WHEN YOU GET TO THAT POINT, STOP AND BACKSTITCH.

I LIKE TO, AS I'M GOING ALONG, GET RID OF THOSE EXCESS THREADS.

AND THESE LITTLE NIPPERS REALLY DO HELP.

THEY FIT INTO MY RING FINGER, AND I LIKE THEM, ALL RIGHT?

THIS COMES AND SLIPS IN.

AND ONCE AGAIN, I'M GOING TO MAKE CERTAIN-- I'D PROBABLY WORK ON THIS SIDE WHERE I CAN SEE THE GRID-GRIP.

LINE THAT UP RIGHT THERE AND COME ALL THE WAY DOWN.

I DON'T USE PINS TO ANCHOR IT IN PLACE.

I FIND THE FABRIC HOLDS ITSELF.

AND I DON'T LIKE TO RUN THE RISK OF ACTUALLY SEWING OVER THE PINS.

BUT I FIND THE FABRIC JUST ANCHORS IN PLACE.

KNOWING THAT AS I'M SEWING DOWN, DON'T LET THIS SEAM ALLOWANCE FALL BACK.

KEEP IT TOWARDS YOU SO IT'S NOT GOING TO BE CAUGHT IN THAT SEAM.

BUT I'M SEWING RIGHT NEXT TO THE GRID-GRIP.

COME, AND THEN BACKSTITCH.

ONCE THAT HAS BEEN INDICATED... AND YOU GET RID OF EXCESS THREADS, I CAN SEE NOW WHAT I HAVE IS A MITERED CORNER.

I HAVE SIMPLY THAT ANGLE THAT'S GOING TO GO IN RIGHT HERE.

LET'S GET RID OF THOSE EXTRA THREADS.

I HAVE A MITERED CORNER.

PICK THAT UP, PUTTING THAT TOGETHER, LINING THAT UP, AND STARTING, BACKSTITCH, ALL THE WAY DOWN.

THIS TIME I CAN GO ALL THE WAY OUT TO THE OUTSIDE BECAUSE WHAT HAPPENS HERE IS THAT IS ON THE OUTSIDE OF MY BLOCK.

I WON'T HAVE TO SET THAT IN.

ONCE THOSE TWO ARE JOINED, I THEN CAN GET THE OTHER HEXAGON, SEW ACROSS, SET IN MY SQUARES AND MY OUTSIDE TRIANGLE.

ONCE I HAVE THE PANDORA'S BOX ALL PUT TOGETHER, THEN I CAN START THINKING ABOUT THE ENTIRE BOX ITSELF.

THIS "T" FORMATION COMES TOGETHER BY SEWING THESE RECTANGLES TO THE BASE AND THEN THE LID TO ANOTHER RECTANGLE.

AS YOU SEW THOSE TOGETHER, DON'T COME OUT TO THE RAW EDGE.

ONCE AGAIN, SEW UP TO THE 1/4 INCH, STOP, AND BACKSTITCH.

THEN CUT YOUR "T" FORMATION OUT FOR THE LINING.

ALONG WITH THAT, YOU'LL NEED A BATTING THE SAME SIZE.

I LIKE A NICE, FLUFFY BATTING.

PIN THOSE TOGETHER SO YOU CAN TREAT THOSE AS ONE, WITH THE PINS ON THIS SIDE.

PUT THE TWO RIGHT SIDES TOGETHER, YOUR PIECED SECTION AND THE BATTING IN THE LINING, AND SEW ALL THE WAY AROUND THE OUTSIDE.

NOW, IT IS A SEW-AND-STOP TECHNIQUE.

BECAUSE YOU COME UP TO THIS POINT, STOP, AND BACKSTITCH.

THEN START AGAIN FOR YOUR RECTANGLE, EACH SIDE, STOP, AND BACKSTITCH.

CLIP UP TO THE CORNERS ON EACH SIDE.

AND THEN BEFORE TURNING IT, I LIKE TO BASTE THE OPENING, AND THAT OPENING SHOULD BE ABOUT FIVE INCHES.

TURN THOSE RAW EDGES BACK ALONG THE SEAM ALLOWANCE AND BASTE.

YOU'LL ALSO WANT TO REMEMBER TO SNIP THOSE RIGHT-ANGLE CORNERS.

REMOVE THE PINS THAT WERE ANCHORING THAT TOGETHER.

THAT WAS ANCHORED, AND NOW YOU CAN TURN IT INSIDE OUT.

AND THAT MEANS JUST KIND OF MANIPULATING YOUR FABRIC UNTIL YOU START SEEING THE LID AND THE BASE.

IT'S A LITTLE BIT OF SHOVING AND PUSHING HERE.

THE NICE THING ABOUT THIS, THOUGH, WHEN YOU GET ALL DONE, THE RAW EDGES ARE ALL TAKEN CARE OF.

YOU'LL HAVE THE PINS TO PULL OUT BECAUSE THEY WERE ANCHORING THAT BATTING TOGETHER.

AND YOU'LL START SEEING THE LID.

I LIKE TO JUST PULL THOSE OUT AND GET RID OF THEM AS YOU'RE COMING AROUND.

AND ONCE YOUR BASE EMERGES AND YOUR SIDES, YOU CAN EITHER THINK OF HAND QUILTING THIS OR, WITH SOME METALLIC THREAD ON YOUR MACHINE, YOU MIGHT EVEN GO AROUND THE OUTSIDE EDGE.

THAT'S WHAT I DID, AND I'LL SHOW YOU THAT.

YOU SEE HOW YOU'RE GETTING YOUR SIDES?

THEY COME ALL THE WAY OUT, AND YOUR BASE.

AND IT NEEDS TO BE REALLY TRIMMED UP.

IF YOU WANTED A TAB FOR A BUTTON, FOR YOUR JEWEL BOX, THEN GO AHEAD AND SEW THAT ON BEFORE YOU INVERT IT.

LET ME GIVE YOU A LITTLE CLEANER LOOK HERE SO YOU CAN SEE THE BOX COMPLETED.

IT IS IMPORTANT WITH THESE SIDES TO PUT THE TWO RIGHT SIDES TOGETHER AND WHIPSTITCH THAT TOGETHER.

AND I WOULD DO THAT AFTER I WENT AROUND WITH A MACHINE OR THE HAND QUILTING TO ANCHOR IT IN PLACE.

SEE HOW NICE AND FLUFFY IT IS?

TO KEEP THE LID FROM FALLING DOWN IN THE BOX, I ALSO JUST HAND WHIPSTITCH ABOUT A 1/4 OF AN INCH ON THE FRONT EDGES THERE.

WITH A BUTTON IN FRONT, YOU'RE READY FOR THE FAMILY JEWELS OR MAYBE EVEN NAPKINS AT THE KITCHEN TABLE.

I HOPE YOU ENJOY MAKING THE PANDORA'S BOX.

ANOTHER QUILT TO BE FEATURED ON OUR BRAND-NEW SERIES IS THE ULTIMATE POSTAGE-STAMP QUILT.

BUT IF THAT SEEMS TOO MUCH FOR YOU, THEN MAYBE YOU COULD CONSIDER A VEST OR MAYBE A NICE, FLUFFY PILLOW.

QUILTMAKING, LIKE ALL OTHER CRAFTS AND HOBBIES, HAS REALLY BECOME A BALANCING ACT, HASN'T IT?

TRYING TO BALANCE THE TIME ALLOTTED ON EACH SIDE-- THE HIKING, THE TENNIS, MAYBE A LITTLE BIT OF COOKING-- WITH OUR QUILTMAKING.

I HOPE A WHOLE LOT OF QUILTMAKING.

I LOOK FORWARD TO BEING WITH YOU FOR THE NEXT FEW WEEKS IN OUR SERIES.

NOW, MARK YOUR CALENDAR, SET YOUR TIMERS, CALL A FRIEND, AND TUNE IN.

SEW ALONG WITH ME.

THE BEST QUILTS ARE YET TO BE.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

AND BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP.

GEORGIA BONESTEEL IS THE AUTHOR OF BRIGHT IDEAS FOR LAP QUILTING.

THE BOOK CONTAINS DETAILED INSTRUCTIONS AND PATTERNS FOR THE QUILTS IN THIS SERIES.

PUBLISHED BY OXMOOR HOUSE, THE BOOK IS AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.