♪ male announcer: THE FOLLOWING PROGRAM IS MADE POSSIBLE BY GRANTS FROM GINGHER INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY, AND WAMSUTTA O.T.C.

FABRICS, A DIVISION OF M. LOWENSTEIN CORPORATION.

[light guitar music] ♪ ♪ >> WELCOME TO "READY, SET, SEW."

BEFORE WE CAN GET READY AND SET WITH OUR NOTIONS, WE NEED TO TAKE A CLOSER LOOK AT THE SEWING MACHINE.

ONCE UPON A TIME, WHEN I WAS ON A PLANE TRIP, I TRIPPED OVER A MAN GETTING TO THE WINDOW SEAT CARRYING MY SEWING MACHINE, AND HE WANTED TO KNOW IF I ALWAYS CARRIED MY TOASTER OVEN WITH ME, AND THAT, OF COURSE, PROMPTED A LONG EXPLANATION ABOUT WHY I DID SEWING, BUT I THINK--I ALSO WANTED TO POINT OUT THAT IF YOU TRAVEL OR IF YOU TAKE YOUR MACHINE ON A VACATION, YOU NEED TO INVEST IN THIS WONDERFUL LUGGAGE CARRIER WITH WHEELS, AND THEN YOU CAN TAKE YOUR MACHINE EVERYWHERE YOU GO.

TODAY THE SEWING MACHINE IS MORE THAN JUST A UTENSIL FOR CURTAINS AND GARMENTS.

WE ARE FINDING THAT IT'S AN IMPORTANT TOOL IN THE CRAFT PROCESS.

I LOOK ON MY SEWING MACHINE AS A THING OF BEAUTY, AND I TAKE A LOT OF PRIDE IN MAINTAINING IT AND USING IT A LOT.

IT'S ALSO INTERESTING TO NOTE THAT, OTHER THAN THE CLOCK, THE SEWING MACHINE WAS THE FIRST DOMESTIC APPLIANCE EVER INVENTED.

SO TODAY WE'RE GOING TO LOOK CLOSER AND REALIZE THAT MACHINES, A WHOLE ARRAY THAT WE HAVE IN FRONT OF US, HAVE SIMILARITIES AND THEY DO HAVE PARTS THAT HAVE NAMES TO 'EM, AND WE'RE GOING TO EXAMINE EACH ONE WITH A PROTOTYPE DIAGRAM AND THEN REFER TO THE PARTS THAT ARE ON THE MACHINES.

NOW, MACHINES COME IN ALL SIZES AND ALL SHAPES AND FROM ALL COUNTRIES, AND DON'T BE UPSET IF YOUR PARTICULAR MACHINE IS NOT HERE.

WE'RE GONNA START WITH THIS MACHINE AND TALK ABOUT THE TAKE-UP LEVER.

WE KNOW THAT THIS IS THE TAKE-UP LEVER.

THE PRESSURE CONTROL IS ON THIS SIDE OF THE MACHINE, AND SOMETIMES, IT IS UP ON TOP.

THE WINDER PRETENSION IS WHAT WE USE FOR WINDING A BOBBIN.

THE ORNAMENTAL STITCH DECORATOR MECHANISM IS USUALLY IN THE TOP OF MOST MACHINES OR RIGHT IN THE FRONT.

THE STITCH PATTERN CONTROL IS ALSO IN THE FRONT.

MOST OF OUR MACHINES TODAY HAVE A NEEDLE THAT CAN MOVE, SO YOU WANT TO MAKE SURE YOU KNOW WHERE THAT LITTLE BUTTON IS TO MOVE YOUR NEEDLE.

THE THREAD SPOOL PINS ARE ALWAYS IN THE BACK, AND SOME SPOOL PINS COME IN THIRDS, BECAUSE YOU HAVE THREE SPOOLS OF THREAD FOR A TRIPLE NEEDLE.

THE BOBBIN WINDING ASSEMBLY ON THIS MACHINE IS IN THE FRONT.

QUITE OFTEN, IT'S ON THE TOP OF THE MACHINE.

THE HANDWHEEL ON THE RIGHT-HAND SIDE SHOULD ALWAYS BE PULLED TOWARDS YOU.

INSIDE, YOU WILL FIND THE CLUTCH KNOB, AND ON THIS PARTICULAR MACHINE, YOU RELEASE THAT CLUTCH KNOB IN ORDER TO WIND THE BOBBIN.

THE STITCH WIDTH CONTROL WILL BE FOUND OVER ON THIS PART OF YOUR MACHINE.

THE REVERSE STITCH KNOB, USUALLY ON THIS PART OF THE MACHINE, AND YOU'LL EITHER HOLD IT DOWN OR UP.

THE STITCH LENGTH CONTROL, RIGHT ABOUT HERE, AND YOUR BUTTON HOLE DEVICE IS QUITE OFTEN BUILT IN ON MOST MACHINES TODAY.

THE LIGHT AND POWER SWITCH WILL EITHER BE OVER HERE.

QUITE OFTEN YOU'LL FIND IT IN THE FRONT OF YOUR MACHINE.

THE FREE ARM IS A NEW INVENTION OF RECENT, AND I THINK IT'S VERY NICE FOR SEWING GARMENTS.

IT MAKES IT GREAT FOR PULLING SLEEVES ALL THE WAY THROUGH.

YOUR NEEDLE CLAMP SCREW IS RIGHT DOWN HERE.

IT NEEDS TO BE RELEASED, USUALLY, WITH A LITTLE SCREWDRIVER, AND YOUR FEED DOGS RIGHT INSIDE THE THROAT PLATE ARE THE DOGS THAT FORCE THE FABRIC TO GO THROUGH YOUR MACHINE.

THE LIGHT ON THIS PARTICULAR MACHINE IS ON THIS SIDE.

QUITE OFTEN, YOU WILL FIND THE LIGHT COMING FROM THE TOP BODY OF THE MACHINE UNDERNEATH.

THE THROAT PLATE AND YOUR NEEDLE PLATE ARE ONE AND THE SAME.

YOUR TOP TENSION CONTROL IS IN THE FRONT.

YOUR PRESSER FOOT, A VERY IMPORTANT FEATURE ON YOUR MACHINE, AND YOUR PRESSER FOOT LEVER.

THAT TAKES THAT PRESSER FOOT UP AND DOWN.

HAVE YOU STOPPED TO THINK ABOUT WHERE YOUR MACHINE IS IN YOUR HOUSE?

I HOPE YOU HAVE IT IN A SPECIAL PLACE.

JUST LIKE YOUR FOOD PROCESSOR, IF YOU DON'T HAVE IT OUT, YOU'RE NOT GONNA USE IT AND TAKE FULL ADVANTAGE OF IT.

SO INDULGE YOURSELF AND HAVE A STUDIO, HAVE A PLACE WHERE YOU CAN SEW ALL THE TIME.

I LIKE TO HAVE MY MACHINE IN FRONT OF A WINDOW.

SOMEHOW NATURE INSTILLS BEAUTY WHEN YOU'RE SEWING.

INVEST IN GOOD THREAD FOR YOUR MACHINE.

INEXPENSIVE THREAD WILL REALLY HINDER THE MECHANISM AND IS NOT GOOD TO HAVE.

THE BOBBINS, KEEP THEM FULL ALL THE TIME.

THERE'S NOTHING MORE AGGRAVATING THAN TO RUN OUT OF BOBBINS, AND IF YOU HAVE PLASTIC BOBBINS, CHECK THEM TO MAKE SURE THERE AREN'T ANY NICKS OR SCRATCHES IN THEM.

OIL YOUR MACHINE FREQUENTLY, ESPECIALLY IF YOU SEW A LOT.

YOU MIGHT WANT TO INVEST IN SOME DUST OFF.

YOU GET THIS AT A PHOTOGRAPHER'S SHOP, AND IT'S A CAN OF AIR, AND WHEN YOU-- [air hissing] WHEN YOU SPRAY THAT, YOU CAN RELEASE AND GET RID OF ANY LINT AROUND YOUR FEED DOGS OR INSIDE THE BOBBIN MECHANISM.

ALSO, THE HEART OF YOUR MACHINE IS THE NEEDLE, AND I WOULD REPLACE YOUR NEEDLE OFTEN IF YOU SEW A LOT.

IMAGINE THAT NEEDLE GOING UP AND DOWN 1,200 STITCHES PER MINUTE.

I REMEMBER THE STORY ABOUT THE LITTLE FEATHERWEIGHT MACHINE THAT WAS BROUGHT IN BY A LADY.

SHE'D HAD IT FOR 50 YEARS AND WAS SO PROUD THAT SHE HAD NOT REPLACED THE NEEDLE.

WELL, THAT'S NOT GONNA BE VERY GOOD ON SEWING, SO GO AHEAD, REPLACE YOUR NEEDLE FREQUENTLY, AND THEN SAVE THOSE OLD NEEDLES.

THEY'RE GREAT FOR USING AS NAILS ON YOUR WALLS FOR LIGHTWEIGHT PICTURES.

IF YOU USE YOUR MACHINE A LOT AND KEEP IT OUT, MAKE SURE THAT YOU KEEP IT COVERED WHEN IT'S NOT IN USE.

TURN YOUR LIGHT OFF, AND THEN COVER YOUR MACHINE.

WE'RE GOING TO TAKE A CLOSE EXAMINATION OF THE PRESSER FEET FOR YOUR MACHINE.

THE LOOK OF THE ADJUSTABLE ZIPPER FOOT WILL DEPEND ON WHETHER OR NOT YOUR NEEDLE MOVES OR NOT.

THE SPECIAL PURPOSE FOOT AND THE ZIGZAG FOOT ARE ONE AND THE SAME.

THE BUTTON HOLE FOOT WILL HAVE A WIDE OPENING, MUCH LIKE THE ALL-PURPOSE FOOT.

THE OVERCAST FOOT.

THE GATHERING FOOT HAS ONE OPENING, AND OF COURSE, HERE YOUR NEEDLE HAS TO BE CENTERED.

IT CANNOT MOVE.

THE RUFFLER FOOT LOOKS VERY AWESOME, BUT IT MAKES WONDERFUL, REGULATED PLEATS, AND REALLY, I THINK, SHOULD BE CALLED A PLEATER.

THE STRAIGHT STITCH FOOT IS ONE OF MY FAVORITES.

I'M RATHER SENTIMENTAL ABOUT THIS FOOT.

THIS WAS ON THE MACHINE WHEN I LEARNED TO SEW.

A NARROW HEMMER FOOT.

THE DARNING FOOT IS A SPECIAL ROUND FOOT THAT WE'LL BE USING A LOT WHEN WE DO OUR MACHINE QUILTING.

A LOCKSTITCH IS THE ESSENCE OF ALL MACHINE SEWING.

WE HAVE HERE A DIAGRAM OF THE ROTARY HOOK SETUP INSIDE A BOBBIN CASE.

THE THREAD HAS BEEN PUT INTO THE NEEDLE ON TOP, AND IT PENETRATES THE FABRIC.

THE HOOK IS COMING AROUND TO MEET THE EXCESS OF THE THREAD AS THE NEEDLE GOES BACK UP.

AS THE NEEDLE RISES UP, THE HOOK THEN CATCHES THIS THREAD THAT IS RELEASED AND LEFT UNDERNEATH.

THE HOOK ACTUALLY PULLS THE THREAD OVER THE CASE, AND IN THIS AREA, WE HAVE THE LOCKSTITCH IN THE LOOP JOINING THE BOBBIN THREAD AND ACTUALLY MAKING THE STITCH.

IF YOU HAVEN'T TAKEN A CHANCE TO LOOK AT THIS MECHANISM HAPPENING IN YOUR MACHINE, LET'S TAKE A LOOK NOW.

I'M HOLDING THE BOBBIN THREAD AND THE TOP THREAD TOGETHER IN MY LEFT HAND AND PULLING THE HANDWHEEL TOWARD ME.

YOU CAN WATCH THE OUTSIDE ROTARY HOOK COME AROUND AND THE GREEN THREAD COVER THE BOBBIN CASE AND COME UP AGAIN TO FORM THE LOCKSTITCH.

ANOTHER BOBBIN SETUP IS CALLED THE OSCILLATING SHUTTLE.

IN THIS INSTANCE, THE THREAD THAT PENETRATES THE FABRIC AND COMES DOWN TO THE BOBBIN AREA REACHES A HOOK ON AN OSCILLATING SHUTTLE.

THE SHUTTLE COMES AROUND JUST 180 DEGREES AND THEN ROTATES BACK, SO THEREFORE, THE THREAD ONLY HAS HALFWAY TO COVER THE BOBBIN CASE AREA RATHER THAN THE ENTIRE CASE.

WATCH CAREFULLY AS THE OSCILLATING SHUTTLE ROTATES PARTWAY AND THE LOOP IS FORMED OVER THE BOBBIN CASE.

AS CRAFTERS, TAKE THE TIME TO BECOME MORE FAMILIAR WITH YOUR SEWING MACHINE.

I LIKE TO THINK OF OUR CREATIVE CLUTTER AREA AS BEING DIVIDED INTO THREE PARTS.

WE HAVE SEEN THE SEWING MACHINE PART, AND THEN WE HAVE THE PRESSING AREA.

IF YOU USE A STENOGRAPHER'S CHAIR, YOU CAN SCOOT ON WHEELS RIGHT BACK TO THIS AREA.

KEEP A SMALL IRONING BOARD ON HAND.

IT'S GREAT FOR PRESSING ALL THOSE LITTLE PATCHES.

KEEP A COUPLE OF IRONS HANDY, A LIGHTWEIGHT ONE FOR TRAVELING, BUT THEN ALSO LOOK INTO ALL THE OTHER AIDS THAT ARE AVAILABLE TO HELP YOU OUT IN PRESSING.

THE THIRD PART IS THE INSPIRATIONAL AREA OF THE SEWING AND QUILTING PROCESS.

YOUR BOOKS ON HAND, YOUR GRAPH PAPER, AND OF COURSE, ALL THE WONDERFUL FABRIC.

NO MATTER HOW YOU STORE IT, IT'S ALWAYS FUN TO KEEP AN ARRAY OF FABRIC ON HAND.

WE PROMISED YOU TO LOOK INTO ALL THE NOTIONS THAT ARE AVAILABLE TODAY.

AS WE TAPE THIS SHOW, WE KNOW THAT SOMETHING NEW IS BEING CREATED TO AID US IN MAKING ALL OF OUR PATCHWORK PERFECT, BUT LOOK AT THIS WONDERFUL QUILTER'S TOTE WITH AN ARRAY OF NOTIONS INSIDE.

WE'LL START WITH PROBABLY THE MOST IMPORTANT TOOL WE USE, AND THAT'S THE SCISSORS.

IF WE CAN'T CUT UP THE FABRIC, WHAT CAN WE DO?

WE HAVE WONDERFUL SCISSORS.

WE HAVE, OF COURSE, A HEAVY PAIR THAT CUTS MANY LAYERS.

WE HAVE THE PAPER SCISSORS, THE ONES YOU LET YOUR FAMILY TOUCH.

WE HAVE A LIGHTWEIGHT PAIR WHEN YOU'RE CUTTING A LOT OF FABRICS, SO YOUR HANDS DON'T GET SO TIRED.

WE KEEP AN APPLIQUE PAIR ON HAND WITH A LITTLE WEDGE UNDERNEATH.

THAT'S WONDERFUL WHEN YOU'RE DOING APPLIQUE TRIM, AND SHIRLEY SAID THIS DOES WONDERS FOR CUTTING HAIR.

WE ALSO KEEP SOME EMBROIDERY SCISSORS WITH A NICE, SHARP POINT ON HAND, AND I LIKE THESE NEW NIPPERS TO PUT AT THE END OF YOUR CHATELAINE.

THE ROTARY CUTTER IS SOMETHING NEW, AND WE'LL EXAMINE IT LATER.

YOU CAN ALSO BUY AN EXTRA BLADE TO GO WITH THAT.

ALL THE MARKING TOOLS THAT WE USE IN QUILTING WOULD BE YOUR FABRIC MARKER, A SOFT LEAD PENCIL, A SOAPSTONE, A WHITE PENCIL, AND THERE'S EVEN A NEW PEN THAT DISAPPEARS AFTER SO MANY HOURS, SO YOU HAVE TO QUILT VERY QUICKLY.

WHATEVER YOU DO, MAKE SURE THAT THIS WORKS ON YOUR PARTICULAR FABRIC AND WILL DISAPPEAR.

OF COURSE, WE HAVE ALL THE TOOLS THAT HELP US IN MAKING OUR TEMPLATES.

WE HAVE OUR LITTLE HOLE PUNCH, OUR 1/4-INCH HOLE PUNCH.

OUR DREAM SEAMERS, PLASTIC TEMPLATES, AND EVEN WINDOW TEMPLATES, SOME OF THEM WITH SANDPAPER ON THE BACK.

THEY'RE VERY NICE, BECAUSE YOU HAVE A LINE INSIDE THAT IS FOR ACTUAL SEWING, AND THE OUTSIDE LINE IS FOR CUTTING.

OF COURSE, SUCH THINGS AS SCOTCH TAPE, OUR QUILTER'S QUARTER.

I LIKE THIS WIDE ONE, BECAUSE YOU CAN HAVE A GOOD GRIP ON IT.

LET'S SEE WHAT ELSE.

OH, OUR MAGNETIC PIN CUSHION.

WHAT WOULD WE DO WITHOUT A PLACE TO STORE OUR PINS?

1/4-INCH MASKING TAPE.

ALL THE WONDERFUL TOOLS FOR PUTTING ON OUR FINGERS SO THEY WON'T GET SORE, TO PROTECT THEM THE SOAP SLIVERS.

THE GLUE STICK.

MARKING CHALK.

RULERS ARE VERY IMPORTANT.

THEY COME THIN.

THEY COME WIDE.

THIS PARTICULAR QUILTER'S TOTE IS BASED ON A THREE-INCH WIDE RULER THAT FORMS THE BASE OF THE TOTE.

IF YOUR RULER IS SLIPPING AROUND WHEN YOU PLACE IT ON THE FABRIC, A LITTLE BIT OF SANDPAPER PLACED WILL GIVE IT AN EXTRA GRIP.

NOW, LET'S PEEK INSIDE THESE POCKETS ON THE OUTSIDE.

THERE, OF COURSE, THE BIAS BARS, WE DON'T FORGET ABOUT THOSE.

THE POCKETS OPEN UP TO REVEAL LAP BOARDS, GRAPH PAPER, PLASTIC, TRACING PAPER, AND, OF COURSE, GRAPH PAPER.

THERE'S EVEN ANOTHER WIDE RULER.

YOU DO NEED A NICE, THICK RULER WHEN YOU'RE WORKING WITH A ROTARY CUTTER.

ON THIS SIDE, WE HAVE A NICE MAT, AND THAT'S IMPORTANT WHEN YOU'RE WORKING WITH A ROTARY CUTTER ALSO.

THE TOTE BAG ITSELF IS BASED ON THIS DIMENSION, 18x24.

WE HAVE NEEDLES.

THAT'S A VERY IMPORTANT PART OF QUILTING.

WE ALSO HAVE A COMPASS; A SEAM RIPPER, REGRETFULLY; AND A SHARPIE PEN.

THIS IS AN INDELIBLE PEN THAT WE USE TO MARK ON OUR PLASTIC.

I'VE DECIDED TO SECURE THE THREAD RIGHT IN THE MIDDLE WITH ELASTIC ALL THE WAY DOWN, AND OF COURSE, SOME NARROW RIBBON.

YOU CAN ALSO SLIP YOUR SPOOLS OF THREAD RIGHT IN THERE.

NOW, LET ME TELL YOU ONE THING THAT HAPPENED.

THE FIRST TIME I TAUGHT THIS TOTE BAG-- YOU CAN SEE HOW HEAVY-LADEN IT GETS.

I HAD A SUGGESTION FROM A GIRL IN SAVANNAH, AND I DON'T THINK IT WAS SUCH A BAD IDEA.

SHE SAID THAT, WHEN IT GETS ALL DONE, YOU CAN GO AHEAD AND PUT SOME ELASTIC AND PUT AN OLD SKATEBOARD IN THE BOTTOM, AND YOU'VE GOT YOUR TOTE BAG ON WHEELS.

SO IF YOU'VE GOT A SKATEBOARD AROUND THE HOUSE, YOU MIGHT TRY THAT LITTLE DEVICE.

TO GIVE YOU THE EXACT MEASUREMENTS, YOU NEED TO--AN EXACT WAY TO DO THE TOTE BAG.

I HAVE REALLY STREAMLINED IT.

THE FIRST TIME I MADE THE BAG, I LINED BOTH SIDES, AND IT GOT VERY INVOLVED, BUT ACTUALLY, I THINK THE PROCESS IS DONE BEST WITH YOUR DOUBLE-FACED PRE-QUILTED FABRIC.

IT'S ALL DONE FOR YOU, AND IT'S BASED ON TWO RECTANGLES.

THE INSIDE RECTANGLE SIMPLY HAS ALL YOUR LEFTOVER JEAN POCKETS SECURED.

NOW, THIS IS A QUICK--QUICKIE PROJECT THAT YOU CAN USE THE ZIGZAG ON YOUR MACHINE.

THAT WILL TAKE CARE OF ANY RAW EDGES.

YOU DON'T NEED TO WORRY ABOUT TURNING THEM UNDER, BUT PLACE THEM KNOWING THAT YOUR TOTE BAG IS GOING TO BE CARRIED LIKE THIS, SO ALL THE POCKETS ARE GOING UP.

YOU'RE ALLOWING THAT THREE INCHES IN THE CENTER, AND YOU'RE PUTTING YOUR ELASTIC AND SECURING IT SO YOUR SPOOLS OF THREAD COULD GO UNDERNEATH, AND THIS IS ALL SECURED.

POCKETS ON THIS SIDE ARE GREAT FOR BOOKS, PLACES TO KEEP YOUR STENCIL PATTERNS AND YOUR RULERS IN ONE SIDE.

GO AHEAD AND SECURE YOUR DUCT TAPE STRAPPING AT EACH END.

NOW, THAT WILL BE YOUR INSIDE PORTION.

I COVER ALL THE RAW EDGES WITH BIAS TAPE.

THE OUTSIDE PORTION, COVERED WITH BIAS TAPE, ALSO HAS A NICE, BIG POCKET THAT CAN BE QUILTED AND PUT ON THE OUTSIDE.

NOW, THE WHOLE SECRET TO MAKING THIS WORK IS PUTTING THE TWO TOGETHER AND MACHINE STITCHING-- OF COURSE, THESE HAVE TO MEET-- MACHINE STITCHING UP THIS SIDE.

LEAVE AN OPENING FOR YOUR RULER TO SLIP THROUGH.

MACHINE THIS SIDE.

THE SAME THING OVER HERE, LEAVING THAT OPENING.

I LIKE THE WAY THE HANDLES THEN LOCK INSIDE TO SECURE THAT AND THAT, AND YOU'RE OFF USING YOUR QUILTER'S TOTE.

LET'S EXAMINE AND SEE IF WE GOT EVERYTHING OUT OF ALL THE POCKETS.

I WANT TO MAKE SURE.

MORE SOAP SLIVERS.

OF COURSE, A PENCIL SHARPENER IS ALSO VERY IMPORTANT.

WE HAVE A BIAS MAKER, AND OF COURSE, THIS YOU HAVE TO WORK AT THE IRONING BOARD, AND AS YOU PULL THIS OUT, YOUR FOLDS ARE MADE, AND BY PRESSING IT, YOU CAN MAKE YOUR OWN BIAS TAPE.

WE DON'T FORGET OUR BEESWAX.

AND ON THIS BIG POCKET OVER HERE, WE HAVE ANOTHER PLACE TO SECURE SOME OPEN TEMPLATES, A NOTEBOOK TO CARRY TEMPLATES IN WHEN YOU'RE TRAVELING, A RIGHT ANGLE, PROTRACTOR, YOUR FLEXICURVE, AND MORE TEMPLATES.

SO YOU'LL BE ALL SET WITH YOUR QUILTER'S TOTE AND BE ON THE GO.

OUR FEATURED QUILT OF THE ENTIRE SERIES IS NAMED THE SPINNING SPOOLS.

IT'S ONLY FITTING THAT OUR BLOCK OF THE DAY WOULD BE THE SPOOL PATTERN.

COME TO THE DRAFTING BOARD, AND WE'LL EXAMINE THIS PATTERN.

I'VE ALWAYS HAD AN INTEREST IN THE TRADITIONAL SPOOL PATTERNS, BUT ONLY AFTER A CLOSE EXAMINATION OF RUTH ROBERSON'S TANGRAM WHIRL WALL HANGING WAS I ABLE TO SEE THE SPOOL PATTERN.

WHAT REALLY COMES OUT TO YOU IS THE SHAPES TWIRLING AROUND IN RED AND ORANGE.

I BASED THE 12-INCH SPOOL PATTERN ON THREE TEMPLATES, A TRAPEZOID, A TRIANGLE, AND SMALLER TRIANGLE.

REMEMBER THAT THE TRAPEZOID FIGURE, EVEN THOUGH THERE IS A LONG LINE IN THE CENTER, IS ON THE BIAS.

THE OUTSIDE SMALLER EDGE, AND BECAUSE IT'S ON THE OUTSIDE, HAS TO BE CUT ON THE STRAIGHT OF THE GRAIN.

THIS PATTERN NEEDS 48 PIECES, AND I'VE CHOSEN TO WORK IN PURPLE AND BLUE.

WE'LL GO TO THE SEWING MACHINE IN A MINUTE AND PUT IT TOGETHER, BUT I PROMISED YOU I'D TALK ABOUT THE ROTARY CUTTER AND THE MAT AND THE OLFA RULER THAT GOES WITH IT.

YOU DO NEED A NICE, THICK EDGE IN ORDER TO USE THE ROTARY CUTTER.

MAKE SURE THAT, WHEN YOU'RE NOT USING THE CUTTER, THAT THE BLADE IS RETRACTED, AND ONCE IT'S RELEASED, YOU'RE READY TO DO YOUR CUTTING.

THIS SIDE OF THE BLADE GOES AGAINST THE THICK EDGE OF YOUR RULER.

OF COURSE, IF YOU WERE DOING STRING PIECING, YOU HAVE A NICE, LONG EDGE TO FOLLOW.

FOR INSTANCE, IF I WANTED TO CUT MANY LAYERS ONE INCH, I WOULD LINE THIS EDGE UP ON THE ONE INCH.

HOLDING MY HAND AWAY FROM THE CUTTER, BUT HOLDING IT FIRM, SIMPLY CUT ALL THE WAY DOWN MANY, MANY CUTS.

WHAT IF I WANTED TO USE THIS TO CUT OUT MY TEMPLATES WITH?

I WOULD FOLD THIS, FINDING A PERFECT BIAS.

I HAVE FOUR LAYERS NOW, AND BECAUSE THIS IS A BIAS EDGE, I COULD LINE MY TRAPEZOID RIGHT UP ON THIS.

IT'S NICE, BECAUSE THE RULER IS SEE-THROUGH, AND I CAN PUT IT RIGHT ON TOP, AND I REALIZE HERE THAT THE WIDTH OF THAT IS 1 1/2 INCH, SO I WOULD LINE THIS UP, MAKING SURE THAT I DON'T CUT THE PLASTIC TEMPLATE UNDERNEATH.

IT WORKS BEST IF YOUR FABRIC IS ALWAYS ON THE RIGHT, CUTTING IT LIKE SO.

I COULD THEN REMOVE THE FABRIC, AND COMING BACK AGAIN, MOVING MY RULER, I COULD THEN SIMPLY GO DOWN AND START CUTTING MY TRAPEZOIDS OUT.

SOMETIMES I WOULD-- ONCE I HAD THIS STATIONARY, I COULD PICK THE FABRIC UP AND ACTUALLY HOLD IT IN MY HAND AND CUT IT WITH THE SCISSORS AT THIS POINT.

SOMETIMES I COULD GO LIKE THAT.

I'D HAVE TO CUT THIS LINE ALSO, BUT IT'S WONDERFUL FOR CUTTING LAYERS, ESPECIALLY WHEN YOU KNOW YOU NEED 16 OF THESE, 16 OF THESE, AND 16 LARGER TRIANGLES.

LET'S GO TO THE MACHINE AND PUT THIS TOGETHER.

THE PATTERN REALLY DOESN'T COME TO LIFE UNTIL YOU GET AT LEAST HALF OF IT PUT TOGETHER.

IT IS A BASIC FOUR PATCH, SO YOU CAN SEE THAT I'VE GONE AHEAD AND ASSEMBLED PART OF IT.

IT LOOKS JUST LIKE A PINWHEEL HERE.

IT ISN'T UNTIL HALF OF IT IS SEWN TOGETHER THAT YOU START TO SEE YOUR SPOOL SHAPE.

NOW, OF COURSE, IF THESE COLORS WERE REVERSED, IF THE DARK WERE INSIDE AND THE LIGHT OUT HERE, IT WOULD COME FORWARD, AND YOU WOULD SEE THE SPOOL MORE PREDOMINANT.

I THINK IT'S FUN TO EXPERIMENT WITH YOUR COLORS.

WE'RE GOING TO SEE A LOT OF SHIRLEY'S SAMPLER, AND LOOK HOW SHE HAS TAKEN THE SPOOL PATTERN AND HOW DIFFERENT IT LOOKS IN THIS CASE.

SHE HAS CHOSEN A PRINT IN THE CENTER, HER PIN DOT HERE, AND THEN AN ENTIRELY NEW CONTRAST OF PINK ON THE OUTSIDE.

SO EVERY TIME YOU MAKE A PATTERN, EXPERIMENT AND USE NEW COLORS.

I NEED TO GO AHEAD AND SEW THE TRAPEZOID TO THE SMALL TRIANGLE TO FORM THE LARGER TRIANGLE, SO I GET MY LITTLE FACTORY LINED UP, AND OF COURSE, I'VE DONE A HALF OF THE BLOCK ALREADY.

[sewing machine whirring] NOW, REMEMBER, YOU'RE GOING TO HAVE TO-- IF YOU'RE GONNA MAKE FOUR OF THESE, YOU'RE GONNA HAVE TO MULTIPLY AND CUT IT A LOT MORE THAN JUST 16 OF EACH ONE.

AS YOU'RE DOING YOUR SEWING, YOU MIGHT BE THINKING ABOUT HOW YOU'RE GONNA PRESS THOSE, AND IN THIS CASE, BECAUSE I HAVE THE SEAM ALLOWANCE WITH A DARK PIECE UNDERNEATH, I REALIZE I'M GONNA TRY AND PRESS THAT TOWARDS THE DARK.

WHAT'S NICE ABOUT THAT AFTERWARDS-- AND I'LL SHOW YOU AFTER I CUT THESE APART-- IS THAT YOU GET A NICE STAGGERING EFFECT WHEN YOU JOIN YOUR SEAMS.

IF YOU HAVE PRESSED ALL THESE SEAMS TO THE DARK, WHEN YOU GO AND PUT THESE TOGETHER, THEY ARE GOING IN OPPOSITE DIRECTIONS, AND IT REALLY MAKES IT NICE.

YOU'RE ABLE TO STAGGER THE BULK OF YOUR MATERIAL.

SO I'LL COME AND PRESS THIS TOWARDS THE DARK.

SEE HOW NICE IT IS TO KEEP THAT IRON RIGHT CLOSE TO YOU?

EACH TIME-- NOW, MY MASTER TEMPLATE, IN THIS CASE, IS GOING TO BE THE TRIANGLE.

ONCE THAT HAS BEEN DONE, THEN I SUPERIMPOSE THIS ON TOP.

NOW, I SEE THAT I HAVE A LITTLE BIT OF EXCESS HERE.

SLIP OF THE HAND IN CUTTING.

TRIM THAT OFF SO ALL THOSE ARE EVEN, AND THEN I WANT TO SECURE THIS HALF.

WELL, THAT ONE'S OKAY.

I WANT TO SECURE THIS HALF-- UH-OH.

REAL SLIP OF THE HAND.

BUT THIS IS GOING TO ENSURE THAT YOUR BLOCK IS GONNA COME OUT CORRECT.

AND THAT ONE'S OKAY.

ALL RIGHT, WE HAVE THESE TO PUT TOGETHER, AND YOU GOT TO DO THE OLD WET FINGER ROUTINE HERE TO GET THESE LINED UP, AND I WOULD CONTINUE IN THIS MANNER.

I'M GONNA SEW ONE OF THESE.

[sewing machine whirring] AND THEN YOU'VE EVEN GOT A LAGER MASTER TEMPLATE TO CHECK AND KNOW THAT ONCE THAT HAS BEEN SECURE, THEN YOU HAVE YOUR SQUARE TO CHECK AND TO MAKE SURE THAT THAT'S GONNA WORK TOGETHER, BUT YOU WOULD HAVE FOUR SECTIONS TO SEW TOGETHER.

NOW, LET'S ALSO GO A LITTLE STEP FURTHER AND EXAMINE HOW WE QUILTED THIS.

WE THOUGHT WE WOULD TRY AND LET YOU KNOW EACH TIME WHERE THE QUILTING LINES WENT, AND IF YOU LOOK AT THE RED PAPER, I DID RELY ON A LITTLE PROTRACTOR FOR MARKING THIS.

PUT THE OVAL AT THIS END AND THEN REVERSED IT AT THIS END.

TURNED IT GOING THIS WAY.

I LIKE TO THINK OF THE SPOOLS AS PERHAPS THREAD INSIDE HERE.

I TRIED ONE SYSTEM.

I TRIED CURVES GOING DOWN HERE, BUT I DIDN'T LIKE THAT EFFECT, SO THE EFFECT THAT I HAVE HERE ARE STRAIGHT LINES GOING AT AN ANGLE ALL THE WAY DOWN.

NOW, OUR NEXT TIME, WE ARE GOING TO VISIT THE WESTERN NORTH CAROLINA QUILTER'S GUILD, AND WE'RE GONNA HAVE A CHANCE TO HAVE A COMPLETE STUDY OF STRING PIECING.

THESE ARE THE APRONS THAT THE GUILD MEMBERS WORE, AND WE LOOK FORWARD TO HAVING A GOOD LESSON IN STRING PIECING.

THANK YOU FOR JOINING US.

Captioning byCaptionMax www.captionmax.com [light guitar music] ♪ ♪ announcer: THE PRECEDING PROGRAM WAS MADE POSSIBLE BY GRANTS FROM GINGHER INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY, AND WAMSUTTA O.T.C.

FABRICS, A DIVISION OF M. LOWENSTEIN CORPORATION.

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