♪ TODAY, DISCOVER THE STEPS IN MAKING A COMPASS DESIGN.

LEARN HOW TO ADAPT A SIMPLE STAR INTO MANY MOTIFS.

THESE RADIATING STARS FIND A HOME IN BANKS, BUSINESSES, AND HOSPITALS TO WARM HEARTS AND WALLS.

♪ ...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 A LOVELY OLD COMPASS DESIGN, AN ANTIQUE QUILT WITH MANY POINTS.

WE NEED TO LEARN HOW TO DESIGN THOSE.

I'VE TRIED TWO QUILTS LIKE THIS.

YOU PROBABLY REMEMBER MY "GOLDEN THREADS, SILVER NEEDLES" QUILT FROM THE FIRST FEDERAL SAVINGS BANK IN MY OWN HOMETOWN.

IT WAS A BIG ONE.

IT'S A LONG QUILT WITH MANY RADIATING STARS, BUT IT'S NO LONGER MINE, SO I MADE IT AGAIN, AND THIS TIME, I CALL IT "GOLDEN THREADS, SILVER NEEDLES NUMBER 2."

I'D LIKE TO SHARE WITH YOU HOW I DESIGNED THAT.

I START WITH A 24-INCH SQUARE.

THE REASON I STARTED WITH THAT, IT'S THE LENGTH OF MY RULER, AND IT WORKS VERY WELL.

SO IF YOU START ON PAPER WITH A 24-INCH SQUARE, AND THEN, WITH YOUR COMPASS-- YOUR YARDSTICK BEAM COMPASS IS REALLY A GOOD ONE TO WORK WITH HERE-- AND A RADIUS OF 12 INCHES, DRAW A CIRCLE.

AT THE SAME TIME, DIVIDE THAT INTO EIGHT EQUAL PARTS.

YOU CAN SEE A PIE SHAPE.

THE NEXT STEP IS, WITH A PENCIL AND A RULER, GO AHEAD AND DECIDE ON THE SQUARE THAT YOU'RE GOING TO PUT IN THE CENTER.

I FOUND THAT A 4-INCH SQUARE WORKS VERY NICELY HERE.

AND GO AHEAD AND USE THAT 45-DEGREE ANGLE THAT'S RIGHT ON THAT MID-DIVISION THERE, AND THEN FIND YOUR 4 INCHES, COMING DOWN TO THIS SIDE.

DRAW A LINE AND TURN ALL THE WAY EACH TIME, GETTING A PERFECT 4-INCH SQUARE IN THE CENTER.

THEN, WITH THIS MIDPOINT UP HERE, REACH OUT THERE AND LINE THIS UP AND DRAW A LINE.

COME AROUND AND DO IT ON FOUR SIDES, SO THAT YOU HAVE ONE LONG POINT FOUR TIMES.

THEN COME UP TO THIS POINT AND DOWN HERE AGAIN.

USE THIS AS A REFERENCE POINT, BUT THIS TIME, DON'T COME ALL THE WAY THROUGH.

STOP RIGHT HERE.

ALL OF A SUDDEN, YOU HAVE DESIGNED A SPLIT STAR.

EVERY TIME YOU SEE A LINE, YOU'VE CREATED A SEAM.

NOW, THAT DOESN'T FINISH, BECAUSE I HAVE ALL THESE BACKGROUND COMPASS POINTS TO ADD TO THAT.

SO WITH THE RULER ONCE AGAIN, WE COULD CALL THIS OUR MAJOR POINTS, AND THEN A SECONDARY POINT WOULD BE FOUND BY FINDING THE MIDPOINT ON THAT CIRCLE-- THE QUARTER-CIRCLE OVER HERE-- FIND THE MIDPOINT, LINE THAT UP WITH THIS SQUARE OF MY...CENTER SQUARE AND COME RIGHT OUT HERE EACH TIME.

YOU FOLLOW WHAT I'M DOING HERE?

LINE THAT UP RIGHT HERE.

DON'T GO ALL THE WAY THROUGH.

YOU'RE CREATING ANOTHER SEAM WHEN YOU DO THAT.

SO I'VE GOT, ALL OF A SUDDEN, ANOTHER SET ALL THE WAY ROUND.

AND THEN ONCE AGAIN, FIND THE MIDPOINT FROM HERE TO HERE AND LINE THAT UP, AND YOU'VE CREATED MORE STARS.

THIS TIME, THIS POINT AND THAT POINT ARE YOUR REFERENCE POINT FOR THAT NICE POINT BACK HERE.

ONCE THAT HAS BEEN DONE, YOU NEED TO DECIDE ON YOUR PIECING SEQUENCE AND YOUR COLORS.

GO AHEAD AND CREATE THESE QUARTER WEDGES THAT GO BEHIND THE MAJOR STAR.

I USE THE GRID-GRIP BECAUSE IT ALLOWS ME TO SEW RIGHT UP THROUGH THE POINTS OR RIGHT NEXT TO IT ON EITHER SIDE.

YOU WANT TO CREATE THAT NICE 1/4-INCH SEAM ALLOWANCE THAT ALLOWS THIS TO BE CONNECTED TO YOUR BACKGROUND.

KEEP THESE LINES STRAIGHT.

THEN, ON MY FIRST QUILT, I WENT AHEAD AND LEFT THIS AS ONE MAJOR POINT, ALTHOUGH YOU CAN DIVIDE IT.

I'VE LEFT IT AS ONE, MAKING CERTAIN THAT I WILL SNIP RIGHT UP TO THIS.

MAKES IT EASIER FOR PIECING.

CONNECT THIS, TREATING THIS AS ONE WHOLE PORTION.

WITH THAT IN PLACE, I WOULD SEW THAT TO MY CENTER SQUARE FOUR TIMES-- 1, 2, 3, 4.

THAT LEAVES THESE LONG SEAMS UNPIECED, SO THE LAST PORTION I WOULD DO WOULD BE TO STITCH THAT HERE, THEN COME AROUND AND STITCH HERE.

THAT WAS 2, 3, AND THEN MY LAST ONE IS 4.

TO COMPLETE THIS 24-INCH SQUARE, I SENT-- I SET THESE OFFSET SQUARES IN A BAND AROUND IT.

THERE'S SOME SASHING IN BETWEEN HERE, BUT I DID SEW THESE TOGETHER.

JUST HAD FUN CUTTING OUT ALL THE MAJOR COLORS IN MY QUILT.

AND TO DO THAT, CREATE A PARALLELOGRAM BY SEWING A TRIANGLE ON EITHER SIDE OF THE SQUARES.

ONCE THOSE HAVE BEEN STITCHED, PRESS SEAMS TO THE OUTSIDE, AND THEN STAGGER YOUR SEAMS AND SEW ALL THE WAY ACROSS HERE, AND YOU'LL LIKE WHAT HAPPENS HERE.

COME BACK, AND YOU SEE THAT NICE STRAIGHT LINE YOU'RE GETTING?

TURN IT OVER, AND YOU CAN ALSO OPEN THOSE SEAMS UP AND HAVE THAT NICE WINGING EFFECT THAT HAPPENS ON THE SEAM ALLOWANCE.

IT REALLY BALANCES WHAT'S HAPPENING.

I WOULD SNIP THESE OFF, GET RID OF ANY EXTRA DOG-EARS.

NOW, TO COMPLETE THE BACKGROUND OF OUR QUILTS, I HAVE LITTLE STARS, AND I'D LIKE TO SHOW YOU THE SEQUENCE IN PIECING THOSE.

FOLLOW RIGHT ALONG.

STARTING WITH A 6-INCH SQUARE, I DREW A 1 1/2-INCH SQUARE INSIDE.

IT'S CENTERED.

THEN I CAME OUT AND CREATED A DIAGONAL LINE FROM THAT CENTER SQUARE.

THE NEXT TIME, I USED THE CORNER AND THIS CORNER OF MY INSIDE SQUARE, AND DREW A LINE ONCE, TWICE, THREE, AND FOUR TIMES.

WE COULD LEAVE IT JUST LIKE THAT AND MAKE THAT A DESIGN, COULDN'T WE?

BUT I WENT FURTHER.

THIS TIME, I WENT ON THE OTHER SIDE OF THIS DIAGONAL AND DID NOT COME ALL THE WAY THROUGH BUT USED THIS AS A REFERENCE POINT FOUR TIMES.

1, 2, 3, AND 4.

THEN TO COMPLETE IT, I PUT THESE LITTLE POINTS BEHIND IT, AND ONCE AGAIN FOUND THE MIDPOINT AND JUST CONNECTED THEM.

I THINK IT'S SO EXCITING IN PATCHWORK.

YOU KNOW, THE GENTLEMEN LIKE TO WATCH THESE SHOWS BECAUSE THEY ENJOY THE DRAFTING.

MAYBE THEY'RE MAKING THEIR OWN QUILTS, OR MAYBE THEY'RE HELPING THE LADIES.

BUT IT IS FUN TO SEE THE OPTIONS THAT WE HAVE IN PATCHWORK.

AND IF WE MADE THIS A 1-INCH SQUARE AND DID THE SAME THING, LOOK HOW TINY OUR POINTS GET.

OR IF WE WENT TO A LARGER SQUARE, WE GET FATTER POINTS.

MAYBE WE'D WANT TO PUT THAT SQUARE OFFSET.

LOOK AT THE INTERESTING DESIGN WE GET HERE.

THAT MIGHT BE THE SPRINGBOARD TO START THINKING ABOUT DESIGNING THAT ON THE FRONT OF A VEST.

SAME IDEA, BUT LOOK AT THIS WONDERFUL LONG POINT WE'RE GOING TO GET HERE.

SO MANY WAYS TO GO IN PATCHWORK.

I REALLY WISH THAT WE WOULD HAVE LEARNED MATH AND GEOMETRY IN SCHOOL THROUGH OUR PATCHWORK.

WOULDN'T THAT HAVE BEEN NICE?

TAKING THAT SAME IDEA BUT ENLARGING IT TO A 12-INCH SQUARE.

SMALL, MEDIUM OR LARGE, AND OFFSET.

NOW, THERE IS ANOTHER SMALL SQUARE IN THE BACKGROUND OF MY QUILT, AND I CALL IT THE "CARIBE STAR."

THAT'S FOR A SHIP WE SAILED ON.

SAME IDEA--FIND A 1 1/2-INCH SQUARE IN THE CENTER, AND THIS TIME, DRAW THIS LINE ALL THE WAY OUT, ALL THE WAY ROUND TO THOSE MIDPOINTS EACH TIME, AND LOOK WHAT HAPPENS.

YOU GET AN OCTAGON-SHAPED PIECE IN THE CENTER, AND THEN THESE POINTS RIGHT HERE.

LOOK WHAT HAPPENS HERE IF YOU STARTED WITH A LARGER SQUARE.

SAME IDEA, SMALL, MEDIUM, AND LARGE.

SO MANY WAYS TO GO.

NOW, IF YOU'LL TAKE A LOOK AT THOSE SMALL 6-INCH SQUARES, THEY ARE REALLY VERY CLOSE IN NATURE, AREN'T THEY?

LOOK WHAT HAPPENS.

THE BACKGROUNDS ARE THE SAME, BUT THERE IS THAT, AND THERE IS THAT.

TWO TEMPLATES MAKE IT DIFFERENT.

IN THIS ONE, THREE TEMPLATES MAKE IT DIFFERENT, RIGHT HERE AND HERE-- 1, 2, AND 3, AND SO FORTH.

I CAN GIVE YOU A LITTLE TIP IN THE WAY I PIECED MY STARS.

NORMALLY, I WOULD WORK ON EACH INDIVIDUAL BLOCK AND PICK OUT THE COORDINATING COLORS, BUT THIS TIME, KNOWING THAT I HAD TO DO A LOT, I JUST HAD FUN PULLING ALL MY FABRICS OUT, AND JUST CUT OUT A WHOLE LOT OF THESE, A WHOLE LOT OF THESE, THESE, AND THESE, AND THEN STARTED COORDINATING THEM AS I PIECED THEM.

I'D LIKE TO SHOW YOU THAT AT THE SEWING MACHINE.

THE CARIBE STAR CAN BE SEWN IN THREE SECTIONS.

GO AHEAD AND GET YOUR BACKGROUND PIECES ATTACHED TO TWO OPPOSITE POINTS, ON THIS SIDE AND THIS SIDE.

NOTICE HOW YOU'RE GONNA SEW ALL THE WAY TO THE RAW EDGE AND THEN COME HERE.

YOU WANT TO ESTABLISH THAT 1/4 INCH.

YOU NEED THAT LITTLE FUTZY PART RIGHT UP THERE TO SEW YOUR STAR TOGETHER.

THEN I WOULD PUT THESE SECTIONS TOGETHER SO THAT CAN BE ATTACHED, AND TO DO THAT, I'D GO AHEAD AND LINE THIS UP, AND BEFORE I SEW THAT, I WOULD SNIP RIGHT DOWN TO THAT TURN RIGHT THERE.

IN FACT, I MIGHT EVEN START SEWING RIGHT IN THAT SECTION RIGHT IN THE MIDDLE.

START, BACKSTITCH, AND COME ALL THE WAY OUT TO THE END.

AND, YES, IT'LL TAKE ANOTHER TURN TO COME THEN, AND TURN THAT TO ALLOW THOSE RAW EDGES TO LINE UP AGAIN.

AND THEN I'M GONNA SEW AGAIN.

IT'S AN ANGLE THAT'S BEST DONE IN TWO STEPS.

COME HERE, AND BACKSTITCH.

ONCE THAT'S DONE ON THE OPPOSITE SIDE, YOU'VE GOT THAT SEWN.

THEN YOU CAN COME-- THIS WILL BE SEWN OVER HERE.

THEN YOU CAN COME AND STITCH THAT IN PLACE.

AND ONCE AGAIN, SNIP UP RIGHT TO THERE TO RELEASE IT.

NOW FOR THE SPLIT STAR.

I WOULD PUT THAT TOGETHER IN FOUR SECTIONS THAT ARE ATTACHED TO YOUR CENTER SQUARE.

FOUR TIMES, YOU'RE GONNA GO TO THE MACHINE, SEWING THIS UNIT TOGETHER.

THAT LITTLE TEMPLATE WILL JUST FIT IN VERY NICE.

THEN FOUR TIMES, YOU'RE GOING TO TAKE THIS ONE.

WHEN YOU DO THAT, MAKE CERTAIN THAT EACH TIME, THIS SEAM IS GOING TO THE BACK SIDE.

THAT WAY, YOU JUST GET A UNIFORM PIECING THAT REALLY ESTABLISHES TO MAKE YOUR SECTIONS GROW.

ALL THE WAY DOWN.

AND CHECK, AND SOMETIMES YOU HAVE TO PEEK.

YOU CAN DO THE OLD PIN AND PEEK ROUTINE.

ONCE THAT'S DONE, YOU HAVE CREATED THESE UNITS, WHICH WILL THEN ATTACH TO YOUR CENTER SQUARE.

AND IF YOU HAVE A LITTLE PIECE OF GRID-GRIP THERE, YOU CAN SEE THAT YOU CAN COME RIGHT UP TO THAT AND BACKSTITCH.

YOU'RE GONNA END UP WITH THESE NICE ANGLES THAT ARE NOTHING MORE THAN MITERED ANGLES TO ALLOW THAT STAR TO COME TOGETHER.

DON'T FORGET YOUR BACKGROUND MATERIAL.

YOU WILL NEED A 6 1/2-INCH SQUARE, AND THE TRIANGLE SHOULD BE CUT WITH A DIAGONAL ON THE STRAIGHT OF THE GRAIN.

FOR MY COMPASS CENTER HERE, I GOT SMART, AND BY SPLITTING IT, IT MADE IT A LOT EASIER TO PIECE THAT IN QUARTER SECTIONS.

NOW, I'VE USED THE SPLIT STAR THREE OTHER WAYS.

I'VE USED IT AS A VEST, IN THE "BIG SHIP," AND AS A WALL HANGING IN A SPECIAL COLLECTION.

DUKE UNIVERSITY HOSPITAL CULTURAL SERVICES PROGRAM IS USING THE POWER OF THE ARTS TO ENCOURAGE AND CONSOLE.

OVER 90 FRAMED QUILTED PIECES-- FIVE OF WHICH ARE MINE-- COME FROM ALL ACROSS THE STATE OF NORTH CAROLINA TO WARM THE WALLS OF THE OBSTETRICS AND GYNECOLOGY UNITS.

ALL OF THE ARTISTS WERE INVITED TO SEE THEIR WORK AT A SUNDAY AFTERNOON RECEPTION.

THE REQUEST AND STIMULUS FOR THE INSTALLATION CAME FROM RUTH ROBERSON AND JANICE PALMER.

IT IS REALLY AN HONOR TO BE A SMALL PART OF A LARGE PROGRAM TO BRING ART RESOURCES OF THE COMMUNITY INTO THE HOSPITAL FOR THE BENEFIT OF THE PATIENTS AND THEIR FAMILIES, AS WELL AS PEOPLE WHO WORK IN THE MEDICAL CENTER.

WE TALKED TO THE DIRECTOR OF CULTURAL SERVICES AT DUKE MEDICAL CENTER IN DURHAM, NORTH CAROLINA, TO DISCOVER HOW THE PROJECT BEGAN.

WELL, IT'S PART OF A LARGER PROJECT, WHICH IS TO BRING THE WORK OF NORTH CAROLINA ARTISTS, THE ORIGINAL WORKS OF NORTH CAROLINA ARTISTS, INTO THE HOSPITAL.

WE KNEW ABOUT THE NORTH CAROLINA QUILT PROJECT THAT HAD BEEN GOING ON FOR A COUPLE OF YEARS WITH THE DOCUMENTATION DAYS IN COUNTIES ACROSS THE STATE, AND RUTH ROBERSON, WHO WORKED WITH THAT PROJECT, HAD WORKED WITH US ALSO.

I KNEW HER, AND WE HAD WORKED TOGETHER ON A FEW SUCH--A FEW OTHER EVENTS, OTHER PROJECTS.

SO I ASKED HER IF SHE WOULD BE INTERESTED IN COMING TO HELP US AS A CONSULTANT TO WORK OUT SOME WAY TO BRING QUILTS AND QUILTINGS ONTO THE OBSTETRICS AND GYNECOLOGY UNITS.

THERE WAS AN INTEREST FROM THE OTHER SIDE FOR THIS PARTICULAR APPROACH BECAUSE QUILTS ARE PART OF A WOMAN'S EXPERIENCE, ALWAYS HAVE BEEN.

IT SEEMED TO US THAT THE REFERENCE TO QUILTS AND QUILTING WOULD BE A VERY REASSURING KIND OF WORK TO HAVE IN THAT PART OF THE HOSPITAL.

SO RUTH AGREED TO COME AND HELP US, AND WE TALKED ABOUT HOW WE MIGHT GO ABOUT PUTTING THIS TOGETHER AND SETTLED ON THE IDEA OF COMMISSIONING TRADITIONAL PATTERNS FROM THE QUILTMAKERS ACROSS THE STATE.

WE HAVE A TOTAL OF-- I THINK WE'RE UP TO 90 NOW-- IT'S GROWN A LITTLE SINCE WE STARTED-- IN EACH ONE OF THE PATIENT ROOMS AND IN A FEW OF THE PUBLIC AREAS.

THE QUILTS ARE BEING TREATED AS FINE ARTWORK.

THEY'RE BEING VERY CAREFULLY FRAMED.

THEY ARE PUT ON ACID-FREE PAPER, BOTH IN THE FRONT AND THE BACK, PLUS THE GLASS IS A FEW MILLIMETERS AWAY FROM THE SURFACE OF THE QUILT, SO THERE'S NOT GOING TO BE CONDENSATION COLLECTING ON THE ARTWORK.

THE PROJECT IS WARMING THE WALLS AND THE HEARTS OF PATIENTS AND STAFF.

IT'S BEEN OVERWHELMING AS FAR AS FOR MYSELF AND THE STAFF.

THE FIRST POSITIVE COMMENTS WERE FROM THE STAFF AS THEY WERE BEING PUT UP.

AND AS THE STAFF WAS TAKING THEM OUT OF THE CONTAINERS AND HE WAS PUTTING THEM UP ON THE WALLS, EVERYBODY WAS OOHING AND AHHING AT THAT POINT AND COMMENTING HOW BEAUTIFUL THEY WERE AND HOW NICE IT WAS NOT TO HAVE A PRINT ON THE WALL.

BUT FROM THE PATIENTS AND FROM THE FAMILY MEMBERS, THEY HAVE JUST BEEN OVERWHELMED AT HOW MUCH WORK HAS GONE INTO EACH INDIVIDUAL ONE.

AS THE WORKS HAVE GONE UP, WE'VE HEARD JUST NOTHING BUT POSITIVE COMMENTS FROM BOTH STAFF AS WELL AS THE PATIENTS.

AND THE NICE BIG PLUS WITH THIS WHOLE PROJECT IS WE TYPICALLY GET ABOUT 5,000 ADMISSIONS THROUGH THESE UNITS ON A YEARLY BASIS.

SO NOT ONLY IS THE STAFF GOING TO SEE THE WORKS, BUT AT LEAST WE KNOW APPROXIMATELY 5,000 DIFFERENT PEOPLE EVERY YEAR ARE GONNA WALK THROUGH... QUITE A TURNOVER.

...RIGHT, EXACTLY, AND BE EXPOSED TO THIS.

DO WE WANT TO GIVE YOUR LITTLE TIP AWAY THAT YOU GAVE US AT OUR SPEECH?

IT ALSO HELPS WHEN YOU GO INTO A PATIENT'S ROOM TO GET THEIR MIND OFF OF THEMSELVES.

ACTUALLY, IT DOES.

TYPICALLY, MY INVOLVEMENT WITH PATIENTS, UNFORTUNATELY, IS IF THERE'S BEEN A PROBLEM, AND THAT'S WHEN I'LL GO OUT TO THE PATIENT'S ROOM.

THE NICE THING I'VE BEEN ABLE TO USE OVER THE LAST MONTH OR SO IS WHEN I GO INTO A ROOM AND THERE IS A PROBLEM, I TYPICALLY CAN DIVERT THEIR ATTENTION TO THE QUILT WORK ON THE WALL, AND FROM THERE, WE HAVE A COMPLETELY DIFFERENT CONVERSATION, AND THINGS GO VERY WELL FROM THAT POINT ON.

SO IT'S BEEN A BIG ADDED PLUS FOR ME.

OUR PATIENTS ARE HERE FOR VARYING LENGTHS OF TIME.

THEY ARE IN A SOMEWHAT OF... A FOREIGN SITUATION.

IT'S IMPORTANT TO HAVE THINGS IN THE PATIENT ENVIRONMENT THAT WOULD REMIND THEM OF HOME, THAT WOULD MAKE THEM FEEL COMFORTABLE.

THE QUILTINGS-- I THINK MOST WOMEN CAN IDENTIFY WITH QUILTINGS, EITHER FROM THEIR EXPERIENCES WITH THEIR MOTHERS OR GRANDPARENTS AS CHILDREN OR THINGS THAT THEY MAY, IN FACT, BE INVOLVED IN DOING THEMSELVES.

SO I THINK IT'S A PIECE OF HOME.

IT MAKES THE ENVIRONMENT A LOT MORE FRIENDLIER, AND IT SAYS SOMETHING ABOUT CARING TO HAVE THESE QUILTS HERE THAT PEOPLE HAVE PUT MANY HOURS INTO.

IT SAYS WE CARE ABOUT YOU, AND THAT MAKES US FEEL GOOD, IT MAKES OUR NURSING STAFF FEEL GOOD, IT MAKES OUR PATIENTS FEEL GOOD.

"CAR STAR" IS THE NAME OF THIS PIECE.

I GUESS YOU KNOW WHAT KIND OF CAR I DRIVE NOW.

TRADITIONALLY SPEAKING, THOUGH, THIS FIVE-SIDED STAR WAS BASED ON A PATTERN CALLED EVENING STAR.

TO PIECE THIS AND PUT THE WHOLE WALL HANGING TOGETHER, I THINK IT'S IMPORTANT TO START WITH A PAPER CARTOON, A FULL-SIZED DRAWING OF HOW YOU WANT YOUR PIECE TO TURN OUT.

ONCE THAT IS IN MIND, AND WITH ALL OF YOUR TEMPLATES CODED CORRECTLY, THEN YOU CAN PIECE THIS.

NOTICE THAT I HAVE CHANGED THE VALUES OF THE BLUE AS I GO FROM THE STRAIGHT-LINE PIECING TO THE CURVE-LINE PIECING TO BRING OUT THE FIVE-SIDED SHAPE.

ONCE THAT WAS ALL PIECED-- AND I'LL SHOW YOU MORE OF THAT IN THE SEWING ROOM-- I TURNED TO THE STARS THEMSELVES.

I USED A METALLIC MATERIAL THAT I BACKED WITH SOME MUSLIN, BECAUSE IT IS LIGHTWEIGHT, FOR THE ACTUAL POINTS, THEN I SET IN THE BACKGROUND MATERIAL.

I LIKE TO USE THE METALLIC THREAD FOR QUILTING, THEN.

IT REALLY LOOKS NICE IN THE CROSSHATCHING DESIGN.

ONCE THOSE WERE ALL PIECED, I COULD GO BACK AND MEASURE FROM MY ORIGINAL CARTOON FOR THE FIGURES THAT WOULD TELL ME EXACTLY WHAT TO CUT OUT IN THESE OPENINGS.

THEY COULD BE APPLIQUED IN, BUT I LIKE TO PIECE THEM IN.

JUST KEEP IN MIND THAT IN THIS AREA, YOU HAVE TO ADD 1/4 OF AN INCH INSIDE THAT OPENING TO PIECE IT IN.

LET ME SHOW YOU AT THE SEWING TABLE HOW TO DO THE ACTUAL PIECEWORK.

TO SHOW YOU "CAR STAR" PIECEWORK, I'M GOING TO USE THE "MODERN MOON OVER THE MOUNTAIN" AS AN EXAMPLE.

I USED AN 18-INCH SQUARE THAT WAS FOLDED ON THE DIAGONAL ONCE AND THEN TWICE.

ALL OF A SUDDEN, YOU CAN SEE THE MOUNTAIN AND THE SKY.

I USED A 4-INCH RADIUS TO MAKE THAT SUN, OF COURSE STOPPING AT THE MOUNTAIN.

NEXT, I PICKED UP MY FLEXIBLE CURVE AND CREATED THESE HORIZONTAL WAVY LINES.

CODING WAS MY NEXT STEP.

WHERE DO I START?

START RIGHT AT THIS ROW NUMBER ONE KNOWING THAT PART OF THE MOON OR THE SUN GOES TO THE SKY BACKGROUND.

I THINK IT HELPS TO HAVE WHAT I CALL CROSSOVER CLUES THAT HELP YOU, AND YOU'LL SEE WHERE THOSE ARE GONNA BE USED IN A FEW MINUTES.

I'LL PUT ONE RIGHT DOWN HERE WHERE THE SKY GOES INTO THE MOUNTAIN.

JUST COLOR THAT IN.

NEXT, I'M GOING TO CUT THIS PIECE OUT.

I'VE STARTED HERE, AND I'M GOING TO FINISH.

AND THEN I HAVE A MOUNTAIN PIECE THAT I'M GOING TO PRESS.

NOW, THE ONE NICE THING ABOUT THIS GRIDDED PAPER IS ALL OF A SUDDEN-- YOU NOTICE I DID NOT PUT ANY GRAIN LINES ON ALL OF THIS.

IF YOU THINK OF THESE VERTICAL LINES AS THE WARP LINES OR THE STRAIGHT OF THE GRAIN AND THESE AS YOUR CROSSWISE, YOU CAN AUTOMATICALLY KNOW EACH TIME WHERE YOU PLACE YOUR TEMPLATE.

FOR INSTANCE, HERE, I WOULD LINE THAT UP SO THESE LINES ARE PARALLEL WITH THE OUTSIDE EDGE.

OF COURSE, EACH TIME, I LEAVE A 1/4-INCH SEAM ALLOWANCE AROUND EACH ONE.

NOW, THERE'S NO PROBLEM IN CUTTING STRAIGHT LINES, BUT I DID WANT TO GIVE YOU A COUPLE OF TIPS ONCE YOU START CUTTING THE CURVE LINES.

I HAVE FOUND-- OF COURSE, IT HELPS TO STAND UP, NUMBER ONE-- BUT I HAVE FOUND THAT ONCE I RELEASE MY BLADE, THAT IF I ALMOST MOVE THE BLADE ALONG WITH THE RULER, I GET A NICE FLOW THAT HAPPENS, AND ALL OF A SUDDEN, I'M JUST COMING AROUND AND AROUND, AND YOU'RE GOING TO BE SO HAPPY WHEN YOU SEE THAT NICE CURVE COME THROUGH.

ISN'T THAT NICE?

SO, WITH THOSE ALL CUT OUT-- AND I KNOW THAT I'M GOING TO MAKE THIS PARTICULAR WALL PIECE TWICE, SO I CUT IT OUT IN DUPLICATE.

I COULD CUT AS MANY AS I WANT.

I'M GOING TO PUT THESE TWO PIECES TOGETHER AND GIVE YOU A COUPLE HINTS IN DOING THAT.

I DO NOT KEEP THE PAPER ON FOR SEWING.

AS YOU CRUMBLE IT AND START BENDING IT, IT WILL START TO COME OFF, AND IT DOESN'T WORK TOO WELL, BECAUSE I MIGHT WANT TO REUSE THOSE TEMPLATES.

SO I DO A PIN AND PEEK-- PUT MY PIN IN, HOLD THAT IN PLACE.

COME OVER HERE AND DO THE SAME THING.

AND ONCE I HAVE DONE THAT-- I KNOW THAT I HAVE CUT A GOOD 1/4-INCH SEAM ALLOWANCE OUT.

REMEMBER THOSE CROSSOVER CLUES?

I COME AND LINE THOSE UP.

THOSE HAVE GOT TO BE A KEY TO WHERE--EXACTLY WHERE I'M GOING TO PIECE.

MAKE SURE I COME HERE AND HERE.

AND ONCE THAT IS IN PLACE, AMD I COME OVER HERE ALSO AND WITH A PENCIL, GIVE MYSELF A LITTLE RIGHT-ANGLE HINT RIGHT THERE ON THE BACKSIDE.

I CAN THEN COME, AND IF I'VE DONE ANY CROSSOVER CLUES, GO LIKE THAT.

COME TO THESE CORNERS HERE-- ONCE I'VE DONE THAT, I CAN PULL OFF MY PAPER, KNOWING-- OOPS, HERE'S ANOTHER ONE.

I WANT TO MARK THAT RIGHT THERE.

THEN I CAN RELEASE THIS PAPER KNOWING THAT I CAN USE THAT AGAIN.

I HAVE MY TEMPLATES ALL READY TO GO.

THEN I'M ALL SET TO SEW.

I LIKE TO SEW WITH THE CONCAVE AREA AGAINST THE FEED DOGS.

FOR SOME REASON FOR ME, IT MAKES IT A LITTLE BIT EASIER.

THEN I'M READY TO START MY STITCHING.

AND IT HELPS TO USE THAT STILETTO AS YOU'RE STITCHING.

PUT YOUR NEEDLE DOWN AS YOU'RE COMING AROUND EACH TIME.

THE IDEA HERE IS THAT YOU'RE KEEPING THE RAW EDGES ALIGNED, AND YOU JUST KEEP COMING.

THAT PIN'S ACROSS THERE, AND YOU DON'T WANT TO SEW OVER THE HEADS, SO MAKE CERTAIN THAT YOU'RE COMING ALL THE WAY.

THIS IS A GENTLE CURVE, AND IF YOU HAVE CUT IT OUT EXACT, YOU WANT TO MAKE CERTAIN THAT YOU'RE NOT GETTING ANY LIP OR ANY TUCKS ON THE BACKSIDE.

THAT'S SOMETHING WE'RE NOT AFTER, IS IT?

AND YOU'RE KIND OF PULLING.

YOU CAN TELL WHEN YOU'RE HALFWAY AROUND HOW IT'S GOING.

ALL THE WAY, AND THEN... WITH ONE MORE SWOOP, YOU'RE READY TO COME.

IT DOES HELP WHEN YOU GET DONE TO COME AND SNIP IT A LITTLE BIT.

THAT WILL RELEASE THAT, AND OF COURSE PRESSING ALSO WILL MAKE IT VERY NICE.

DO YOU SEE HOW NICE THAT IS?

AND, OOH, THIS IS WHAT YOU'RE LOOKING FOR.

THAT AND THAT MAKES IT SO NICE.

I HAVE USED THE BACKSIDE OF THE MATERIAL HERE, BECAUSE WRONG IS SOMETIMES RIGHT.

YOU GET A REALLY PRETTY LOOK THERE.

I'D LIKE TO TOUCH ON TWO OF OUR OTHER PATTERNS-- LAVENDER LOVE.

REMEMBER THAT THIS LOOKS VERY MUCH LIKE THE MANTECA RAFFLE QUILT.

DOES THIS COME TO MIND?

THE WAY YOU PIECE THIS TOGETHER IS TO PUT YOUR QUARTER SECTIONS TOGETHER.

I'VE TAKEN ADVANTAGE HERE OF PRESTRIPED FABRIC.

I REALLY LIKE THAT IDEA KEEP IN MIND THAT IF YOU GET YOUR QUARTER SECTION SEWN, THEN THIS WILL START BY ATTACHING TO YOUR CENTER SQUARE THAT HAS BEEN PIECED WITH FOUR TRIANGLES.

KEEP IN MIND THAT YOU CAN SEW UP TO THE END HERE, BUT STITCH ALL THE WAY DOWN TO HERE, STOP, AND BACKSTITCH.

THEN ATTACH THAT.

THEN ATTACH THAT.

THEN YOU'RE GOING TO COME AND SEW THIS ACROSS-- REMEMBER, THAT HAD TO BE OPEN THERE-- SO YOUR FINAL SEAM CAN COME DOWN IN THIS DIRECTION.

NOW ONE MORE.

YOUR PAISLEY PASTEL PIECE IS DONE WITH LARGE POINTS, AND IT REALLY WORKS IF YOU WILL SELECT YOUR TEMPLATE TO GO IN A PARTICULAR PLACE ON EACH ONE OF YOUR PAISLEY FABRICS.

DO YOU SEE HOW YOU CREATE THAT SECONDARY DESIGN, THAT LITTLE ACTION ALL THE WAY ROUND?

KNOWING THAT EACH TIME THIS HAS TO BE STITCHED, COME TO HERE AND TO HERE TO CREATE THAT NICE CIRCLE, ALLOWING THIS TO BE SET IN.

LOOK WHAT HAPPENS IN THE CORNERS.

I LIKE THESE RIGHT ANGLES, THE RADIATING FROM THE DARK TO THE LIGHT.

IT'S ACTUALLY A 16-PATCH WITH YOUR FOUR SQUARES AND THE TRIANGLES, THE SAME ACTION.

KEEP IT DARK HERE AND LET IT COME TO THE OUTSIDE.

I BET YOU THOUGHT THOSE WERE ALL THE STARS FOR TODAY.

WE HAVE TWO MORE.

LET'S GO TO THE BEDROOM.

"SINGAPORE STARS," A WALL HANGING MADE BY PENNY WORTMAN FROM ASHEVILLE, NORTH CAROLINA.

SHE TAUGHT IT IN SINGAPORE, HENCE THE NAME.

SHE'S TAKEN ADVANTAGE OF THE SQUARES AND THE TRIANGLES IN THE BACKGROUND OF A BLAZING STAR.

JUST LOOK AT HER STARS THAT RADIATE ALL THE WAY ROUND THE OUTSIDE.

AND IF THAT WEREN'T ENOUGH, PENNY ALSO MADE THIS GRANDMA EVANS' CHICKEN FEET QUILT.

OF COURSE, THOSE ARE GRANDMA EVANS' ALL LEFTOVER FABRICS, AND IT'S SUCH A PASTEL LOVELY QUILT.

CAN YOU FIND THE BLOCK?

I WANTED TO GIVE YOU A FEW SUGGESTIONS IN PUTTING IT TOGETHER.

START WITH AN 8 1/2-INCH SQUARE.

YOU HAVE FOUR TEMPLATES, AND YOU STITCH THREE TRIANGLES TOGETHER AND YOUR RECTANGLE.

ATTACH THAT TO FOUR SIDES OF YOUR SQUARE.

STOP, AND BACKSTITCH ON EITHER SIDE OF THE RECTANGLE.

ATTACH THE PARALLELOGRAMS TOGETHER FOUR TIMES, AND THEY WILL SET IN THE CORNERS.

ONE MORE LITTLE STAR IN THE CORNER, NOTHING MORE THAN A TEENY-WEENY, LITTLE LeMOYNE STAR.

WE'LL SEE YOU NEXT WEEK FOR OUR LAST SHOW.

THANKS FOR JOINING US TODAY.

♪ ...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.