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

AND: [upbeat acoustic guitar music] ♪ ♪ >> WELCOME TO OUR SHOW ENTITLED THE BACK DOOR BLOCK.

SEVERAL YEARS AGO, I HAD A CHANCE TO SEE A QUILT THAT I ENTITLED THE ONE THAT GOT AWAY, BECAUSE IT SLIPPED RIGHT THROUGH MY FINGERS.

BUT IT WAS A PANEL OR STRIP QUILT, AND IT LOOKED TO ME IN STUDYING THE QUILT THAT IT WAS THE RESULT OF A LIFETIME OF PATCHWORK.

THE WOMAN HAD OBVIOUSLY HAD MANY SQUARES AND TRIANGLES LEFT OVER, AND SHE PLACED THOSE IN A LONG STRIP OR PANEL QUILT.

I HAVE SINCE THEN BEEN STUDYING PANEL QUILTING AND HAVE ADAPTED THAT IDEA TO MY OWN GEOMETRIC STUDY.

I'D LIKE TO SHARE THIS QUILT WITH YOU.

IT IS MADE WITH TEN TEMPLATES ALL BASED ON A 3-INCH SQUARE.

THE FIRST PANEL IS CALLED A STITCH IN TIME.

AND IT'S ALSO MADE IN AN 18-INCH WIDTH.

THE BEIGE FABRIC WAS CUT OUT 9 1/2 INCHES WIDE, AND THEN THE PANEL TO BALANCE IT IS 9 INCHES, THREE 3-INCH SECTIONS.

THE FIRST PANEL IS A STUDY OF THE DRUNKARD'S PATH.

AND I THINK IF YOU LOOK CLOSELY, YOU CAN SEE MANY DIFFERENT ARRANGEMENTS OF THAT IDEA: LOVE RING, AND ROBBING PETER TO PAY PAUL ALL IN THIS ONE FIRST PANEL.

THE SECOND PANEL IS CALLED WASTE NOT, WANT NOT.

AND IT DEALS WITH A PYRAMID TRIANGLE AND THE COMPANION TRIANGLE TO GO WITH IT.

THE NEXT PANEL THAT WAS LAP QUILTED-- AND BY THE WAY, JUST AS IN ALL QUILTING, ONCE THE PANELS ARE BASTED, I STARTED THE MACHINE QUILTING IN THE CENTER, WORKED UP, AND THEN CAME BACK IN THE OTHER DIRECTION FOR A GOOD BALANCE.

THIS PANEL DEALS WITH THE TRIANGLE: THE RIGHT-ANGLE TRIANGLE, ITS SMALLER COMPANION, AND THEN A DIAGONAL TRIANGLE.

IF YOU LOOK CLOSELY, YOU CAN SEE MANY SUGGESTIONS OF OUR NORMAL PATCHWORK BLOCKS, SUCH AS A SMALL PINWHEEL, AND EVEN A FLYING GEESE.

THE LAST PANEL IS A LITTLE BIT WIDER AND WAS A LITTLE BIT BULKIER ALSO WHEN I TOOK IT TO THE SEWING MACHINE.

BUT IT HAS A SAYING ON IT THAT STARTS, "USE IT UP.

"WEAR IT OUT.

MAKE DO, OR DO WITHOUT."

AND IT IS A STUDY OF THE SQUARE, THE RECTANGLE, AND A SMALLER SQUARE OR A FOUR-PATCH.

THE LAST PANEL IS ENTITLED PATCH FUN SHUFFLE.

THIS WAS THE LAST ONE I MACHINE QUILTED, AND I WAS ABOUT TO WORK PATCHWORK SHUFFLE ON IT AND DECIDED IT WAS ENTIRELY TOO MUCH FUN.

SO I WROTE "PATCH FUN SHUFFLE."

I ENJOYED PICKING OUT THE COLORS WITH ALL THE ARRAYS OF PAPRIKA AND GREEN, BECAUSE I FELT IT HAD A VERY RICH AND ALMOST AN OLD-FASHIONED LOOK TO IT.

WE'RE GOING TO STUDY AN EXERCISE THAT I HAVE DERIVED USING THESE TEN GEOMETRIC SHAPES.

WE'RE ALSO GOING TO DEAL WITH OUR BLOCKS OF THE DAY, WHICH IN THIS CASE FOR OUR SPINNING SPOOLS QUILT IS CALLED THE BOW BASKET AND OCEAN WAVES.

WE NEED TO GO TO THE DRAFTING TABLE NOW.

THE FRONT DOOR APPROACH TO A BLOCK DEALS WITH WORKING WITH THE ASSIGNED NUMBER OF PIECES TO CUT OUT FOR A TRADITIONAL PATCHWORK BLOCK.

IN MOST CASES, IT'S SO MANY DARK TRIANGLES, SO MANY LIGHT, AND SO MANY SQUARES.

BUT I THINK IT'S INTERESTING TO REALLY STUDY THE GEOMETRIC SHAPES IN REGARD TO ONE GEOMETRIC SIZE; IN THIS CASE, A 3-INCH SQUARE AND ALL THE GEOMETRIC SHAPES THAT GO INTO THAT 3-INCH SQUARE.

LET'S START WITH A RECTANGLE FIRST.

WE TOOK ONE HALF OF OUR 3-INCH SQUARE, AND WE COME UP WITH A 2-INCH WIDE RECTANGLE.

OF COURSE, THAT INCLUDES OUR SEAM ALLOWANCE AND OUR 3 1/2 INCH WIDTH FOR OUR LENGTH.

IF WE WOULD CUT LONG STRIPS OF FABRIC WITH THE TWO RIGHT SIDES TOGETHER, SEW IN A LONG BAND WITH OUR 1/4 INCH SEAM ALLOWANCE, AND THEN SIMPLY CUT OFF IN SEGMENTS, WE'RE ABLE TO DEVELOP SOME BRICK PATTERNS THAT-- I WOULD JUST KEEP GOING AND KEEP CUTTING-- THAT ARE THEN SEWN TOGETHER AND STAGGERED FOR A NICE, INTERESTING EFFECT.

WE CAN GO A LITTLE BIT FURTHER AND STUDY OUR BASIC FOUR-PATCH.

AND I HAVE A NICE WAY TO PUT THAT TOGETHER.

GO AHEAD AND OPEN UP THAT SAME BAND.

PRESS THE SEAM, OF COURSE, TO ONE SIDE, AND THEN TAKING OUR SAME BAND AGAIN AND STAGGERING IT THIS SIDE.

STAGGER YOUR SEAM TO THAT SIDE.

ALIGN THAT, AND IN BETWEEN EACH ONE, WE ARE GOING TO CUT ON THE SOLID LINE AND DRAW ONE LINE IN BETWEEN.

ONCE THAT HAS BEEN SEWN, WE ARE GOING TO CUT IT APART AND FIND THAT ONCE WE OPEN UP, WE HAVE A BASIC FOUR-PATCH.

THAT'S A NICE WAY.

MILES OF FOUR-PATCH CAN BE MADE THAT WAY.

IF WE WOULD WORK WITH OUR TRIANGLE-- DO YOU REMEMBER TAKING OUR LARGE TRIANGLE?

THAT WOULD BE THE DIAGONAL OF A 3-INCH SQUARE, PUTTING THE RIGHT SIDES TOGETHER, SEWING, AND THEN OPENING UP TO DEVELOP OUR 3 1/2 INCH SQUARE.

WE CAN DO THAT ON A LARGER SCALE, OR WE CAN GO SMALLER, USING THE DIAGONAL OF OUR SMALL FOUR-PATCH.

SO WE HAVE MANY ALTERNATIVES TO WORK WITH, KNOWING THAT IN EACH CASE, THIS SEGMENT, THE TWO DIAGONALS WHEN SEWN EQUAL OUR 3-INCH SQUARE.

EACH TIME, WE CAN GO BACK TO THAT ORIGINAL SEGMENT.

AND THAT IS BASICALLY WHAT I DID IN THE BACK DOOR QUILT, BECAUSE I KNEW THEY ALL EQUALED EACH OTHER.

I HAD AN INTERESTING TIME DOING THIS RECENTLY IN A WORKSHOP AND FOUND THAT ONE OF THE SECRETS TO WORKING WITH THE LADIES WAS, OF ALL THINGS, A SNOWSTORM.

WE WERE GOING TO MEET A WEEK LATER BUT WERE DETAINED BECAUSE OF BAD WEATHER.

THEY HAD MORE TIME TO WORK WITH THEIR PATCHWORK.

AND NOT ONLY THAT, THEY GOT THEIR FAMILY INVOLVED IN ALL THE DECISION MAKING OF WHERE ONE TRIANGLE TURNED.

I HAD PEOPLE COMING UP WITH-- THEIR SON HAD DESIGNED AN ATOMIC BLOCK.

AND EVERYONE HAD THEIR INPUT.

AND I THINK THAT THAT'S A GOOD CLUE TO MAYBE SPENDING A LITTLE MORE TIME IN THE DESIGN AREA OF OUR PATCHWORK AND LETTING OUR FAMILY GET INVOLVED.

WHAT HAPPENS IN WORKING IN THE BACK DOOR BLOCK IS THAT ONCE ALL OF YOUR SEGMENTS-- YOU WILL HAVE A LITTLE PILE OF FOUR-PATCH, SOME BRICK DESIGNS-- ONCE THEY ARE DEVELOPED, THEN YOU CAN GO BACK AND PUT THEM TOGETHER.

IN OTHER WORDS, FOUR PUT TOGETHER WOULD EQUAL A 6-INCH SQUARE.

THREE ACROSS AND THREE UP WOULD EQUAL A 9-INCH SQUARE.

FOUR ACROSS AND FOUR UP WOULD DEVELOP INTO A 12-INCH SQUARE.

SO THIS IS MORE OR LESS COMING IN THE BACK DOOR NOT REALLY KNOWING HOW YOUR BLOCK IS GOING TO EVOLVE.

BUT YOU BECOME THE OWN DESIGNER, BECAUSE YOU'VE GOT YOUR SEGMENTS ALREADY PUT TOGETHER.

THERE ARE TWO OTHER SHAPES WE NEED TO TOUCH ON.

ONE OF THEM IS CALLED THE DIAGONAL TRIANGLE.

AND I THINK WE ARE MOST OFTEN FAMILIAR WITH THIS IN THE OHIO STAR BLOCK.

WE SEE IT QUITE OFTEN IN THAT TRADITIONAL BLOCK.

WE ARE GOING TO SEE IT IN A FEW MINUTES IN OUR BOW BASKET BLOCK.

IF YOU CAN IMAGINE IT AS THE BASE OF OUR BASKET, AND NOTICE WHERE THE STRAIGHT OF THE GRAIN GOES ON THAT LONG DIAGONAL.

BECAUSE IT'S ON THE OUTSIDE OF OUR BLOCK, THE STRAIGHTER THE GRAIN IS ON THE LONG DIAGONAL.

IT'S ALSO TIME TO SEW A CURVE.

WE HAVEN'T SEWN A CURVE IN A LONG TIME.

AND OF COURSE, I HAD ONE LONG PANEL OF CURVES.

AND THERE'S NOTHING BETTER THAN SEWING A LONG PANEL TO TEACH YOU THE BEST WAY TO DO CURVES.

WELL, NOW GO TO THE SEWING MACHINE.

THE ATTACHE CASE IS COMING RIGHT ALONG.

I WANTED TO SHARE WITH YOU HOW IT IS GROWING.

I HAVE A FEW MORE HANDQUILTING STITCHES TO PUT TO IT, BUT I THINK YOU SEE EVIDENCE OF A LOT OF OUR QUICKIE PIECE METHODS.

HAVE KIND OF AN INTERESTING NEW STRIP HERE.

I HAVE ALTERNATED IT WITH SOME BORDER PRINTS, SO IT HAS A REAL SPRINGTIME LOOK TO IT.

WE'LL SHOW HOW TO FINISH THIS ON ANOTHER SHOW.

I WANTED TO ALSO SHOW YOU CURVES AGAIN.

I THINK IT TAKES A LOT OF EXPERIENCE TO FEEL CONFIDENT WITH CURVES ON A SEWING MACHINE.

BUT IT DOES HELP ON BOTH OF YOUR CONCAVE AND YOUR CONVEX CURVE TO GO AHEAD AND PINCH AND FIND THE MIDPOINT EACH TIME.

SOME PEOPLE LIKE TO CLIP JUST A LITTLE BIT TO RELEASE THE FABRIC.

BUT I FIND THAT IT WORKS BEST IF YOUR CONCAVE CURVE GOES AGAINST THE FEED DOGS.

YOU WANT TO MAKE SURE AND REVERSE YOUR FABRIC AND LINE IT UP ALL THE WAY SO IT'S EVEN TO BEGIN WITH.

IT TAKES TIME, AND DON'T BE DISCOURAGED IF THE FIRST TIME IT JUST DOESN'T SWING INTO PLACE.

ONCE YOU START, SIMPLY SWING IT AROUND VERY SLOWLY.

AND THE IDEA OF THAT PIN IS THAT AS YOU'RE COMING AROUND, YOU CAN TELL, IF THE PINS LINE UP, YOU'RE ON TARGET.

IF THE TOP ONE IS AHEAD OF YOU, THAT MEANS YOU'VE GOT TO PULL AND STRETCH THAT BOTTOM PIECE A LITTLE BIT.

WHEN I GET ABOUT TO THE PINS, I PULL MY PINS OUT.

I DON'T LIKE TO SEW OVER THEM.

BUT THEN I JUST KEEP GOING.

WHEN I GET ABOUT THIS FAR, I KEEP THE NEEDLE IN THE MACHINE AND SWING IT AROUND A LITTLE BIT MORE.

AND WHEN I GET EVEN CLOSER, THEN I CAN LIFT AND PULL IT ALL THE WAY.

JUST MEANS SQUIGGLING JUST A LITTLE BIT THERE.

AND THEN OF COURSE, ONCE YOU CLIP THAT, YOU REALIZE THAT IF YOU'RE GOING TO PRESS THAT TO THE BACK SIDE, YOU WANT TO COME AND NOTCH THAT OR CLIP IT, RATHER, AND THAT RELEASES IT AND LET'S IT FREE AND GO SPANNING OUT.

IF YOU WANTED TO HAVE IT PRESSED TO THE INSIDE, THEN I WOULD NOTCH IT.

I WOULD GIVE MYSELF A NOTCH LIKE SO AND LIKE SO, BECAUSE YOU HAVE AN ACCUMULATION OF FABRIC THAT WILL OVERLAP.

THIS RELEASES SOME OF THAT FABRIC IF YOU NOTCH IT.

NOW WE WANT TO TALK ABOUT OUR BLOCKS OF THE DAY, IN THIS CASE, THE BOW BASKET.

AND I THINK YOU CAN SEE THAT IT'S A BASIC FOUR-PATCH GOING ALL THE WAY ACROSS.

ONCE AGAIN, WE CAN SEE EVIDENCE OF OUR QUICKIE PIECE METHODS.

I'M GONNA TRY AND DIVIDE THIS.

IT'S NOT ALL PUT TOGETHER, BUT YOU CAN GET A GOOD IDEA OF THE FACT THAT YOU HAVE A TRIANGLE AS THE BASKET ITSELF.

AND THEN THE TWO-- THAT'S YOUR BASKET.

AND ONCE THAT'S PUT TOGETHER, YOU WOULD SEW THIS TRIANGLE TO THE BLUE PIECE, AND THEN YOU'D HAVE ONE FELL SWOOP ALL THE WAY DOWN.

THE SAME THING ON THIS SIDE.

NOW, THERE ARE SOME SEGMENTS, FOR INSTANCE, HERE, HERE, HERE, WHERE YOU CAN DO THE QUICKIE PIECE METHOD.

AND THAT HAS TO DO WITH SEWING ALL THE WAY AROUND THE OUTSIDE WHEN YOU CLIP AND RELEASE AND OPEN UP.

THEN YOU'RE READY.

I HAVE A FEW STRINGS.

THEN WHEN YOU'RE READY TO OPEN UP AND REALIZE THAT THAT WILL GO RIGHT IN THAT PLACE.

YOU NEED TO ADD THEN SOME OTHER TRIANGLES ON THE OUTSIDE OF IT.

BUT YOU'RE HELPING YOURSELF A LITTLE BIT ALL ALONG THE WAY.

THE TOP HALF-- THE BOW PART IS SEWN IN ONE LONG LINE.

THE BASE IS SEWN, AND THEN THIS IS SEWN TO THE LARGE SQUARE ON THE LEFT.

BUT BEFORE YOU CAN DO THAT, YOU NEED TO APPLIQUE YOUR LITTLE BASKET HANDLE ON ONE SIDE AND THEN ON THE OTHER SIDE.

THIS IS JUST PINS, SO YOU WOULD PUT YOUR BASKET HANDLE.

THEN ONE LINE ACROSS THE TOP.

AND YOUR BOW BASKET WOULD BE ALL DONE.

I'M GONNA GIVE YOU A CLOSER LOOK AT IT SO YOU CAN STUDY IT.

IT HAS NOT BEEN QUILTED YET.

BUT WE WILL SHOW YOU THE QUILTING LINES ON ANOTHER SHOW.

CAN YOU SEE THE NICE HANDLE ALL THE WAY UP AND ALL THE WAY, THE LARGE SQUARE ON THIS SIDE?

AND THAT COMPLETES YOUR BOW BASKET.

NOW, THE OCEAN WAVES IS ANOTHER FUN PATTERN AND RELIES HEAVILY ON THAT SAME IDEA.

TO EXAMINE THE OCEAN WAVES BLOCK, LET US REMEMBER THE TEMPLATES THAT IT NEEDS.

IT RELIES ON JUST TWO TEMPLATES, BUT A LOT OF PIECING.

WE HAVE ONE 6 1/2 INCH SQUARE AND A DIAGONAL TRIANGLE.

THE DIAGONAL TRIANGLE CAN BE QUICKIE PIECED ALSO.

I'M GONNA TEST YOU RIGHT NOW.

CAN YOU LOOK AT THE OUTSIDE OF THIS BLOCK AND FIND WHERE YOU CAN RELY ON QUICKIE PIECING?

I THINK YOU CAN SEE THAT IN THIS INSTANCE ALL THE WAY AROUND IN THE CENTER SECTION YOU CAN RELY ON IT.

IF WE WERE GOING TO LINE THIS UP ON TWO FABRICS WITH THE RIGHT SIDE FACING EACH OTHER, I WOULD SEW ON THE SEAM ALLOWANCE WHERE THE DIAGONAL IS, FLIPPING THIS BACK AND FLIPPING THIS BACK.

THE SOLID WHITE LINE IS WHERE I'VE DRAWN AROUND THE TEMPLATE, AND THEN INSIDE FROM THE LONG DIAGONAL IS WHERE I HAVE SEWN.

ONCE I'VE CUT THAT APART, I THINK YOU CAN SEE EXACTLY WHERE THAT'S GOING TO FALL.

ONCE THAT HAS BEEN CUT APART, IT WILL OPEN UP AND FALL JUST LIKE THIS.

THERE ARE SEVERAL WAYS TO PUT THE OCEAN WAVES TOGETHER.

BUT I THINK A NICE WAY WOULD BE TO GO AHEAD AND FORM YOUR TRIANGLES THAT ARE SEWN TO THAT CENTER SECTION.

THIS IS A REAL NICE HINT.

WHEN YOU GET TO THIS POINT, LOOK HOW IF YOU FLIP THAT OVER, THE RIGHT ANGLE CAN LINE RIGHT UP TO THE RIGHT ANGLE ALREADY SEWN.

AND YOU GET THE PERFECT DOG EAR HANGING OFF.

THAT WOULD BE SEWN, FLIPPING BACK TO BE SEWN TO THE CENTER SQUARE.

THEN YOU HAVE FOUR LARGER TRIANGLES TO BE SEWN TO THE DIAGONAL, AND THAT FORMS YOUR ENTIRE OCEAN WAVES BLOCK.

REMEMBER THE OLD BLOCKS.

THIS WOULD BE ANOTHER OPTION.

WHAT IF YOU HAD SEWN IT TOGETHER IN A LONG PANEL?

YOU WOULD BE FACED WITH OUR FAMILIAR MITERED CORNERS, WHICH WOULD BE SIMPLY ANOTHER WAY TO PUT THE OCEAN WAVES TOGETHER.

YOU MIGHT LOOK CAREFULLY AT THE WAY I AM QUILTING IT.

I THINK WE'VE GOT A NEEDLE STILL CAUGHT IN HERE AND SOME BASTING STITCHES.

BUT I'VE GONE AHEAD AND TAKEN THE DIAGONAL LOOK AND GONE RIGHT ACROSS THROUGH THE 6 1/2 INCH SQUARE, WHICH GIVES US A NICE CROSSHATCHING EFFECT IN THE CENTER.

I'D LIKE TO TELL YOU A LITTLE BIT ABOUT MACHINE QUILTING NOW.

NOTHING CAN EVER REPLACE THE BEAUTIFUL STITCHES THAT ARE HANDQUILTED, BUT WE OWE IT TO OURSELVES TODAY TO REALLY EXPERIMENT WITH OUR MACHINES AND WITH OUR CRAFT.

MAKE SURE AND SEE IF YOUR MACHINE WILL DARN.

IF YOU HAVE DARNING CAPABILITIES ON YOUR MACHINE, THEN YOU NEED TO GET YOUR DARNING FOOT OUT, PLACE IT ON YOUR MACHINE, DROP THOSE FEED DOGS, WHICH MEANS PROBABLY JUST EITHER A SWITCH ON THE MACHINE, OR SOMETIMES ANOTHER PLATE IS INSERTED THAT WOULD RISE UP AT THIS BASE WHERE THE THROAT PLATE IS.

YOU NEED TO HAVE A THIN HOOP.

IT'S NICE TO HAVE A HOOP THAT WILL SLIDE UNDERNEATH THE MECHANISM, AND THE FEED DOGS WOULD SLIDE EASILY WHERE THE FEED DOGS ARE DROPPED AND UNDERNEATH THE PRESSER FOOT.

YOU ALSO REVERSE THE PROCESS OF THE HOOP.

THE LARGER PART GOES UNDERNEATH, AND THE SMALLER PART INSERTS INSIDE.

NOW, WHEN I GET READY TO MACHINE QUILT, EVEN THOUGH I HAVE PREBASTED-- LET'S PRETEND THIS WAS MY LARGE BACK DOOR QUILT, AND I HAD A LONG PANEL.

AND I ALREADY HAVE ONE SECTION DONE, WHICH IS CALLED THE PEACE PANEL.

THEN I HAVE THE OTHER PANEL WHERE I DID ALL THE WRITING.

I DID USE A FABRIC MARKER TO SIMPLY DRAW THE DESIGN ON.

ONCE THAT WAS DONE, THEN I REMOVED THE BASTING STITCHES, BECAUSE THAT PRESSER FOOT SOMETIMES GETS CAUGHT WHEN YOU START DOING YOUR MACHINE QUILTING.

THE IDEA OF THE MACHINE QUILTING IS THAT YOU INSERT THE MATERIAL, HOLDING ON TO YOUR TOP THREAD.

AND THEN WITH ONE, PRESS DOWN AND PULLING UP, YOU BRING UP THE BOBBIN THREAD.

THAT WAY YOU WON'T HAVE TO-- YOU CAN HOLD ON TO THAT TO BEGIN WITH.

AND YOU WON'T HAVE TO WORRY ABOUT GETTING CAUGHT WITH THAT.

I'M THEN GONNA START MY MEANDERING.

I STOP FOR JUST A MINUTE IN ORDER TO RELEASE THOSE INITIAL THREADS.

I DON'T WANT TO HAVE TO WORRY ABOUT THOSE.

SO IF I GET RID OF THEM, THEN I CAN JUST-- HOLDING ON VERY LIGHTLY ON THE OUTSIDE.

I'M SECURING THE HOOP.

THEN I CAN JUST START MY MEANDERING.

COME ALL THE WAY DOWN.

AND I MIGHT ADVISE YOU TO DO THIS WHEN YOU'RE FRESH IN THE MORNING.

I TRIED DOING THIS ONCE AFTER I HAD DONE THE DINNER DISHES AND THREE LOADS OF LAUNDRY.

AND I WOULD NOT ADVISE THAT.

IT'S BEST TO DO IT WHEN YOU'RE FRESH IN THE MORNING.

IT'S ALMOST KIND OF LIKE WORKING ON YOUR MASTERPIECE QUILT, BECAUSE YOU WANT TO BE FRESH AND HAVE GOOD LIGHT.

BUT IT IS FUN TO JUST MEANDER.

WHEN YOU WANT TO STOP, JUST GO UP AND DOWN.

AND THAT LOCKS IT IN PLACE, AND YOU'RE READY TO DO YOUR MACHINE QUILTING.

I HAVE A FEW OTHER QUILTS TO SHOW YOU TODAY.

LET'S LOOK AT THE BACK OF THE STUDIO.

MORE CURVES IN A GRANDMOTHER'S FAN BLOCK THAT IS DONE IN WHAT WE CALL A BLOCK-TO-BLOCK SETTING WITH A MARVELOUS DIAGONAL FEELING.

WE NOW HAVE RESCUE THE PERISHING DONE IN BLACKS AND PINKS.

THE QUILT IS NOT FINISHED YET, BUT IT WAS DONE IN FOUR LONG PANELS.

I THOUGHT YOU'D LIKE TO SEE IT AT THIS POINT AND THEN WHEN IT'S ALL FINISHED.

THE EFFECT-- THE ZIGZAG DIAGONAL EFFECT WAS ACHIEVED BY ALTERNATING THE ROWS AND DROPPING IT HALF A BLOCK.

AND LARGE TRIANGLES ARE SET APART.

NOW WE'RE GOING TO GO TO LAUREL HORTON IN THE FOLK ART CENTER IN ASHEVILLE, NORTH CAROLINA.

THE EXHIBIT WE ARE ABOUT TO SEE WAS CALLED "CLOSE UP, FIVE SOUTHERN VIEWS," PREPARED BY THE HUNTER MUSEUM IN TENNESSEE.

SINCE 1974, THE MUSEUM HAS ENDEAVORED TO PRESENT THE FINEST ACHIEVEMENTS OF QUILT MAKERS IN ANNUAL EXHIBITIONS.

TODAY LAUREL HORTON IS OUR GUIDE.

SHE HAS A MASTER OF ARTS DEGREE IN FOLKLORE FROM THE UNIVERSITY OF NORTH CAROLINA AND SPENDS MUCH OF HER TIME STUDYING QUILT MAKING.

OKAY, AND STOP TALKING BEFOREHAND TOO.

>> THIS IS ONE OF FIVE QUILTS IN THE COLLECTION FROM MACON COUNTY, NORTH CAROLINA.

IT WAS MADE ABOUT IN THE 1890s.

AND IT'S UNUSUAL TO ME IN THAT IT HAS THIS FOUR-BLOCK ARRANGEMENT.

ONE OTHER QUILT IN THE COLLECTION FROM MACON COUNTY ALSO FEATURED THAT, AND I DON'T REMEMBER SEEING THAT ANYWHERE ELSE.

>> THAT'S TRUE.

BUT THERE HAS BEEN SOME EFFORT TO ELONGATE IT SO IT ISN'T JUST A SQUARE QUILT WITH THESE BORDERS THAT ARE OPPOSITE A LITTLE BIT WIDER.

BUT IT CERTAINLY IS-- I WOULDN'T CALL THIS YOUR SCRAP QUILT.

IT CERTAINLY HAS SIGNIFICANCE IN THE COLORS THAT WERE CHOSEN.

IT'S TOO BAD THEY'VE FADED SO.

>> YES, IT'S FADED IN THIS CORNER.

PERHAPS THIS WAS ON THE BED NEXT TO THE WINDOW, AND THE SUNLIGHT FADED THIS CORNER.

THEY MAY HAVE TURNED IT AROUND, AND IT FADED THE OPPOSITE CORNER IN THE SAME WAY.

THE FABRICS IN THIS ARE THE SAME FABRICS THROUGHOUT.

IT'S THE SAME RED PRINT AND THE SAME PINK PRINT IN THE BORDER.

SO SHE BOUGHT THESE FABRICS OR HAD ENOUGH FABRIC TO PLAN THE ENTIRE QUILT TO LOOK THIS WAY.

>> LAUREL, DO YOU SUPPOSE-- LOOK, THE STAR FABRIC MIGHT HAVE BEEN THE SPRINGBOARD FOR HER TO MAKE A STAR QUILT, DO YOU SUPPOSE?

>> MAYBE SO.

IT CERTAINLY IS A LOVELY INSPIRATION.

>> IT IS A PLANNED QUILT, JUST AS OUR PINE BURR QUILT IS A PLANNED QUILT.

>> YES, THE MAKER OF THIS QUILT ALSO USED THE SAME FABRICS THROUGHOUT, THE SAME TWO DIFFERENT BLUE FABRICS AND THE SAME PINK AND GREEN.

AND THE BLOCK FORMATION FOR THIS QUILT IS A SQUARE BLOCK LIKE THIS.

BUT BECAUSE SHE'S USED THIS PINK FABRIC AND THE GREEN FABRIC IN THE OPPOSITE CORNER, IT ALSO DOES THIS SORT OF PINWHEEL ARRANGEMENT.

>> IT'S A WONDERFULLY GRAPHIC QUILT.

THERE'S SO MUCH GOING ON BECAUSE OF THE BLOCK-TO-BLOCK ARRANGEMENT.

AND THIS WONDERFUL BIG BLUE DESIGN COMES OUT AND THEN ALSO THE OCTAGON SHAPE OF THIS WHEN IT'S ALL FORMED TOGETHER.

AND THIS CERTAINLY WAS NOT YOUR BEGINNING QUILTER.

ANYTIME I SEE ELONGATED TRIANGLES AND CURVES, I KNOW THAT SHE HAD SOME EXPERIENCE, DIDN'T SHE?

>> YES, SHE WAS CERTAINLY EXPERIENCED AT BOTH DESIGN AND THE CONSTRUCTION TECHNIQUES.

IT'S A LOVELY QUILT.

>> IT CERTAINLY IS.

>> THIS IS A COTTON BOLL PATTERN ALSO FROM MACON COUNTY.

IT'S ANOTHER ONE THAT SHOWS THAT FOUR CORNER DESIGN.

>> AND IS THAT NOT MACHINE APPLIQUE I SEE ON EACH ONE OF THOSE FIGURES?

>> YES, ALL THOSE LITTLE CURVED PIECES WERE APPLIQUED BY MACHINE, PROBABLY BY SOMEONE WHO WAS PROUD OF HER SEWING MACHINE.

>> AND THEN THE BACKGROUND IS MORE OR LESS QUILTED IN A DIAMOND SHAPE.

AND THAT'S HANDQUILTING, IN FACT, RIGHT?

>> YES, IT IS HANDQUILTED.

THE BORDERS USED TO BE A BRIGHT RED, AND SOME OF THEM HAVE FADED TO THIS SORT OF BROWN COLOR.

THIS ROSE OF SHARON QUILT WAS REPORTEDLY MADE BY AUNT MAUDE ANDERSON IN MACON COUNTY.

SHE WAS A LIVE-IN SEAMSTRESS FOR DR. AND MRS. BRABSON AND THEIR 11 CHILDREN.

AND SHE MOVED INTO THE HOUSE IN FALL AND WINTER AND MADE THE FAMILY CLOTHING AND MADE THIS QUILT.

>> THE HAND WORK AND THE REVERSE APPLIQUE ARE VERY SIGNIFICANT IN THIS QUILT.

I THINK ALSO THE SHADOW QUILTING AROUND THE STEM CERTAINLY POINTS OUT THAT SHE WAS A FINE NEEDLE PERSON.

>> SHE REALLY KNEW WHAT SHE WAS DOING.

THE BORDER ON THIS HAS FADED TO PINK AND BLUE, BUT ORIGINALLY THE COLORS WERE RED AND GREEN TO MATCH THE REST OF THE QUILT.

>> IN THIS PARTICULAR QUILT, LAUREL, I SEE HUMOR INVOLVED.

EXPLAIN TO ME WHAT HAPPENS HERE.

>> THIS IS A VERY LIGHTHEARTED DESIGN.

I THINK THAT THE FACT THAT THESE STEMS GO UP HERE AND JUST STOP, THEY'RE NOT CONTINUOUS, AND THAT THESE ARE VERY BIG, BOLD FLOWERS MAKES IT LIGHTHEARTED.

THIS IS A VARIATION OF THE POPULAR NORTH CAROLINA LILY PATTERN WITH THESE SORT OF DAHLIA FLOWERS ADDED ONTO THEM.

THEY'RE GATHERED AND THEN ATTACHED TO THE TOP OF THE QUILT SEPARATELY.

I BELIEVE YOU CALLED IT COUCHING.

AND I BELIEVE THAT SOMEONE AT SOME POINT TOOK ONE OF THE FLOWERS OFF TO SEE HOW IT WAS PUT TOGETHER.

AND OBVIOUSLY, SHE COULDN'T GET IT BACK TOGETHER LIKE IT WAS AND JUST LEFT IT OFF.

>> THE COLORS-- WE MENTIONED THE TURKEY RED.

I THINK THAT'S INTERESTING.

WHAT ABOUT THE DYES THAT WERE USED HERE?

>> TURKEY RED WAS A VERY POPULAR COLOR, BECAUSE IT WAS COLOR FAST.

UNFORTUNATELY, THE GREEN OF THE STEMS AND VASES HAVE FADED TO THIS SORT OF TAN COLOR THAT'S THERE NOW.

>> AND TECHNIQUE-WISE, I THINK IT'S INTERESTING TO NOTE THAT MOST OF THE QUILT HAS BEEN HANDPIECED.

BUT THERE IS SOME MACHINE APPLIQUE NOT ONLY IN THE STRAIGHT LINES OF THE STEMS BUT EVEN THE CURVES OF THE LEAVES.

>> THAT HELPS US DATE THIS QUILT AFTER THE INVENTION OF THE SEWING MACHINE IN ABOUT 1856.

>> WELL, IT'S A WONDERFUL QUILT.

I THINK ALSO WE SHOULD TAKE NOTE OF THE FACT THAT THE HUNTER MUSEUM HAS TAKEN EXTRA CARE IN MOUNTING AND DISPLAYING THIS ENTIRE COLLECTION.

RATHER THAN HAVE ALL THE WEIGHT HELD AND SUPPORTED AT THE TOP OF EACH QUILT, THEY HAVE MADE FRAMES THAT ARE ENCASED IN MUSLIN STRIPS ON ALL FOUR SIDES OF EACH QUILT.

AND THIS ALSO DISCOURAGES PEOPLE FROM WANTING TO HOLD THE QUILT WHEN YOU'RE HAVING AN ENTIRE DISPLAY LIKE THIS AND FLIPPING THE BOTTOM OF THE QUILT OUT.

>> THIS EXHIBIT INCLUDES QUILTS FROM SEVERAL SOUTHERN STATES.

AND WE CAN'T SEE THEM ALL TODAY.

BUT WE DO WANT TO LOOK AT SOME OF THE QUILTS FROM MISSISSIPPI MADE BY BLACK QUILT MAKERS.

>> WELL, LAUREL, THIS IS MORE THAN JUST BASIC FOUR-PATCHES PUT TOGETHER.

THIS QUILT HAS A FLOW TO IT, MOVEMENT GOING IN ONE DIRECTION BECAUSE OF, MORE OR LESS, THESE LONG PANELS.

>> THESE STRIP QUILTS ARE TYPICAL OF SOUTHERN BLACK QUILT MAKERS.

AND SOME PEOPLE RELATE THIS TECHNIQUE TO AFRICAN WEAVING TECHNIQUES.

>> I WOULD IMAGINE THIS QUILT WAS QUILTED ON A LARGE FRAME.

AND ALSO, NOTICE THE FAN QUILTING, THE ARC DESIGN THAT IS REPEATED ABOUT EVERY 2 INCHES IN THE OVERALL PATTERN FOR QUILTING.

>> AND ANOTHER QUILT IN THIS MISSISSIPPI COLLECTION IS ALSO A STRIP QUILT.

AND IT'S IN A LOG CABIN VARIATION.

AND THESE ARE TWO OF THE MORE RECENT QUILTS IN THE COLLECTION.

THEY WERE MADE IN THE LAST 30 YEARS.

THE OLDEST QUILT IN THIS COLLECTION IS FROM EAST TENNESSEE.

IT WAS REPORTEDLY MADE ABOUT 1830.

AND IT'S AN UNUSUAL EXAMPLE OF A LINDSAY WILLSY QUILT.

IT HAD A LINEN WARP AND A WOOL WEFT.

AND THE BLOCKS INCLUDE SCRAPS OF A LOT OF DIFFERENT KIND OF CLOTHING AND HOUSEHOLD TEXTILES.

>> ALL IN EARTH TONES TOO.

I THINK IT HAS A VERY WARM FEELING TO IT.

WE THINK OF THIS AS A 16-PATCH BLOCK.

AND EVEN WITHIN EACH SQUARE, WHICH IS ABOUT 3 INCHES, THE FABRIC'S BEEN PIECED TOGETHER AGAIN.

>> THAT MAY HAVE BEEN A SEAM OF A PIECE OF CLOTHING, AND THEY JUST DIDN'T WANT TO WASTE ANYTHING.

>> VERY SMART, VERY SMART.

>> THIS IS DEFINITELY A UTILITARIAN QUILT, AND MANY OF THESE WERE MADE AND USED UP.

AND WE JUST DON'T HAVE VERY MANY EXAMPLES OF THEM ANYMORE.

>> LUCKY FOR US, IT'S BEEN PRESERVED, AND WE CAN VIEW IT AND ENJOY IT.

THANK YOU.

Captioning byCaptionMax www.captionmax.com announcer: THE PRECEDING PROGRAM WAS MADE POSSIBLE BY GRANTS FROM GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

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