TODAY'S LESSON IS SINGLE SURFACE APPLIQUÉ, WITH THE COTTON BOLL PATTERN AS OUR DESIGN.

DON'T YOU LIKE THE IDEA OF USING JUST 4 BLOCKS FOR A WHOLE QUILT?

THIS IS A METHOD OF APPLIQUÉ-ING AND CUTTING AWAY FROM THE BACK SIDE.

WE'LL ALSO LEARN 6 WAYS OF ENLARGING OUR DESIGNS.

THEN, THE HAWAIIAN APPLIQUÉ AND THE LITTLE DUTCH GIRL.

SHE'S GOTTEN ALL WET THIS TIME.

WE'LL HAVE A STUDY OF THOSE.

NOW, DON'T FORGET YOUR SUPPLY LIST.

THAT WAS TRACING PAPER, A PENCIL, AND SCOTCH TAPE.

Announcer: "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINT WORKS COMPANY, AMERICA'S OLDEST TEXTILE PRINTER.

APPLIQUÉ-- THE WORD "APPLIQUÉ" COMES FROM THE FRENCH WORD, WHICH MEANS TO "APPLY" OR "PUT ON."

AND WE SEE IT IN PATCHWORK FROM ITS MOST SIMPLEST FORM, OUR ALL-AMERICAN LITTLE DUTCH GIRL PATTERN, TO THE MOST ELABORATE FORM, THE HAWAIIAN.

WE FEEL VERY FLATTERED THAT RUTH ISADA FROM FLORIDA HAS MADE THIS WALL HANGING ESPECIALLY FOR OUR SHOW.

IT'S CALLED "ENCHANTING POLINAHE."

AND I NEED TO STAND CORRECTED ABOUT SOMETHING I SAID PREVIOUSLY ABOUT HAWAIIAN QUILTING.

IT IS NOT AUTHENTIC HAWAIIAN QUILTING IF YOU TRY TO CUT AWAY UNDERNEATH THIS YELLOW PORTION.

I HAD MENTIONED THAT THIS WAS A POSSIBILITY, SAY, FOR INSTANCE, IF THIS DESIGN WERE THE YELLOW, WERE A LOT LIGHTER THAN THE BACKGROUND FABRIC, THAT YOU COULD CUT IT AWAY.

BUT RUTH CLAIMS THAT IT IS NOT AUTHENTIC THEN.

SO WE WANT TO THANK HER FOR MAKING THAT POINT, AND MAKING THIS BEAUTIFUL WALL HANGING.

I WANT TO GIVE YOU A NICE TIP ON HAWAIIAN QUILTING, OR ANY OTHER APPLIQUÉ FORM, AND THAT'S SOMETHING I LEARNED BY SIMPLY OBSERVING AND WATCHING.

IN FACT, THIS TIME IT WAS CHRIS WOLF EDMONDS.

I WOULD ENCOURAGE YOU TO WATCH ANY OF YOUR PROFESSIONAL QUILTERS, OR EVEN YOUR NEXT DOOR NEIGHBOR.

AND WATCH HOW SHE HOLDS THAT NEEDLE, BECAUSE YOU'RE GONNA LEARN SOMETHING BY WATCHING SOMEONE ELSE DO THAT.

WHEN I HAD DONE APPLIQUÉ, I'D ALWAYS THOUGHT TO GO FROM RIGHT TO LEFT WITH MY NEEDLE, AND TURN THAT RAW EDGE UNDER AND PEER OVER THAT TURNED EDGE.

AND WATCHING CHRIS, I NOTICED THAT SHE TURNS UNDER THAT RAW EDGE AND THEN PEERS INTO THAT CREVICE, AND IT CERTAINLY WORKS A LOT BETTER.

DOESN'T IT MAKE SENSE TO PUT THE NEEDLE IN RIGHT UNDERNEATH, AND THEN COME GRAB THAT TURNED-UNDER EDGE, AND CONTINUE ACTUALLY WATCHING AND BEING ABLE TO SEE WHAT THE NEEDLES DOES, AND PERFORM THAT WAY?

NOW, OUR LITTLE DUTCH GIRL HAS GOTTEN ALL WET.

LET'S TAKE A LOOK AT BETSY'S WONDERFUL QUILT CALLED "THAT'S DUCKY."

THIS IS A CHARMING DESIGN THAT BETSY FREEMAN HAS COME UP WITH.

CAN'T YOU JUST FEEL THE RAIN COMING DOWN AND YOUR FEET SLOSHING AROUND IN THOSE BIG BLACK BOOTS?

THE LITTLE GIRLS ARE COMING AND GOING IN BRIGHT COLORS.

AND IT'S GOING TO BE A UNIQUE QUILT, BECAUSE THE BACKSIDE TAKES ADVANTAGE OF LAP QUILTING.

SHE HAS ALL THE BRIGHT COLORS ON THE BACKSIDE.

AND IT WILL BE CALLED "SOMEWHERE OVER THE RAINBOW."

THIS IS A NICE PATTERN TO THINK ABOUT ENLARGING ALSO, MAYBE FOR A TOTE BAG, OR THE CORNER OF A SKIRT.

OR EVEN A LITTLE DOLL TO GO WITH THE QUILT.

SO WE ARE NOW GOING TO THINK ABOUT TRACING OUR PATTERN AND ENLARGING.

GET READY TO PUT YOUR PAPER UP ON THE SET OF THE TV WITH SCOTCH TAPE.

WITH YOUR SCOTCH TAPE APPLIED TO THE TOP AND BOTTOM OF YOUR TRACING PAPER, SIMPLY PLACE THAT ON YOUR TV SCREEN, AND COVER THE WHOLE SCREEN.

AND NOW WITH YOUR PENCIL, WE'RE GOING TO TRACE THE OUTLINE OF THE COTTON BOLL QUILT.

WE'RE GOING TO TRACE AROUND THE OUTLINE OF THE COTTON ITSELF.

SEE IT BURSTING OUT OF THE ENTIRE AREA?

AND THAT IS YOUR TEMPLATE NUMBER 1.

AND MARK THAT IN THE WHITE OUTSIDE AREA.

THEN NUMBER 2 STARTS UP, AND THAT IS THE POD.

AND THEN COME OVER ON THE OTHER SIDE.

AND THAT'S YOUR SECOND NUMBER 2 TEMPLATE.

WHILE YOU'RE THERE, YOU'RE GONNA DO THIS LITTLE GREEN AREA RIGHT HERE, AND RIGHT THERE.

AND THAT'S NUMBER 3.

THERE'S ANOTHER NUMBER 3 OVER HERE, AND THOSE ARE BOTH DONE.

MARK THOSE NUMBER 3 TEMPLATES IN LIGHT GREEN.

THEN NUMBER 4 STARTS HERE, COMES UP, AND ALL OF THIS IS IN YOUR GREEN FABRIC, ACCENTING THE WHITE AND THE GRAY POD.

THAT WAS NUMBER 4.

NUMBER 5 IS THIS LAST LARGE LEAF AREA, ALL THE WAY AROUND, COMING DOWN-- THAT'S ALL ONE PIECE.

AND NUMBER 6 IS THE STEM.

COME ALL THE WAY DOWN, ARC OVER, AND ALL THE WAY UP.

AND NUMBER 7 IS THAT LITTLE BASE OF THE STEM.

NOW, YOU HAVE THE DESIGN ON PAPER, AND WE'RE GOING TO LEARN HOW TO ENLARGE IT.

TO ENLARGE DESIGNS, WE TURN TO MECHANICAL MEANS SOMETIMES.

NOW, KEEP IN MIND, IF YOU'RE AN ARTIST, YOU CAN JUST DRAW THESE DESIGNS ON PAPER.

BUT A LOT OF US HAVE TO RELY ON OTHER MEANS.

THESE-- THESE WAYS CAN ALSO BE APPLIED TO SUCH THINGS AS CHINA PAINTING, NEEDLE POINT, OR STAINED GLASS.

THE FIRST ONE IS THE OPAQUE PROJECTOR.

IT'S THE ONLY MECHANICAL MEANS OF PROJECTING A SOLID IMAGE ON A WALL.

IT WORKS BEST IN A DARKENED ROOM, AND ALSO ON A CART THAT HAS WHEELS, SO THAT YOU CAN MOVE IT FORWARD OR BACK.

THERE IS A HOME ENLARGER MACHINE THAT YOU CAN ORDER FROM THE BACK OF A MAGAZINE, AND THEY WORK VERY WELL.

IT SOMETIMES RELIES ON A VERY SMALL DESIGN, SO YOU WOULD HAVE TO GO TO A COPYING MACHINE, AND HAVE THAT DESIGN REDUCED.

OF COURSE, THERE'S YOUR FAVORITE HOME CAROUSEL.

THAT WOULD MEAN TAKING A PICTURE OF YOUR DESIGN WITH A 35MM CAMERA, AND THEN PUTTING IT INTO A SLIDE TRAY.

AND, YOU REMEMBER OUR EAGLE FROM LAST WEEK?

PROJECTING THAT, OR IT COULD EVEN BE THE BADGE FROM THE SLEEVE-- THE EAGLE IS THERE AGAIN.

I TOOK A PICTURE OF OUR COTTON BOLL DESIGN, AND NOW I CAN ENLARGE THIS, BY MAKING THE CAROUSEL GO EITHER FORWARD OR BACK.

NOW LET'S LOOK AT AN OVERHEAD PROJECTOR.

THIS DEVICE ALSO ENLARGES OR REDUCES, BUT IT DOES RELY ON SOME CLEAR ACETATE, WHICH YOU NEED TO PURCHASE AT AN OFFICE SUPPLY STORE, AND GET A SPECIAL PEN TO GO WITH THAT.

THEN SIMPLY TRACE YOUR DESIGN ON THIS.

AND AS YOU CAN SEE, THE EAGLE IS THEN TRANSPOSED.

AND WE'LL TAKE A LOOK EXACTLY HOW WE USED THE EAGLE LAST TIME.

MOST OF THESE DEVICES ARE AVAILABLE AT YOUR LOCAL LIBRARIES OR SCHOOLS.

AND I'M SURE THEY'D BE WILLING TO HAVE YOU USE THEM.

CAN YOU SEE THE EAGLE?

NOW FOR THE PANTOGRAPH.

THE PANTOGRAPH IS ONE OF THE OLDEST TOOLS USED FOR ENLARGING OR REDUCING.

IT RELIES ON OVERLAPPING BEAMS.

IT HAS A BASE, WHICH YOU NEED TO ANCHOR IN PLACE.

YOU ALSO NEED A VERY UNCLUTTERED AREA, WHICH IS SOMETIMES HARD TO FIND IN A SEWING ROOM.

IT ALSO HAS A TRACER PEN POINT, WHICH IS RIGHT AT THIS BASE.

THEN ON THE OTHER END OF THE BEAM, YOU WILL HAVE YOUR PENCIL.

THE RATIO SCREWS CAN BE CHANGED.

WE HAVE IT SET ON 2 AND A QUARTER.

ONCE YOU START TRACING-- REALLY, YOU NEED BOTH HANDS TO DO THIS-- ONCE YOU START TRACING, YOU SIMPLY COME DOWN, AND I'M COMING AROUND THE BASE OF THE BOOTIE, TO COME IN AND MEET THIS FACE RIGHT HERE.

ONCE YOU HAVE GONE AROUND THAT, I THINK IT HELPS TO THEN ALSO COME AND TAKE A RULER, OR MAYBE EVEN A FLEXIBLE CURVE, TO GET AND GO OVER THAT PENCIL MARK AGAIN.

SOMETIMES IT'S A LITTLE BIT WAVY.

AND THAT HELPS TO GET IT IN PLACE.

BUT THIS WILL WORK ALSO, IT JUST TAKES TIME AND A CLEAN SPACE.

THE LAST DEVICE THAT I RELY ON MOST OFTEN, MEANS BUYING SOME ENLARGER GRAPH PAPER.

YOU CAN BUY THIS AT MOST FABRIC STORES, OR YOU CAN BUY YOUR OWN GRAPH PAPER, AND MAKE YOUR OWN SQUARES, DEPENDING ON HOW LARGE YOU WANT YOUR DESIGN TO BE FORMED.

I WOULD ALSO MAKE A GRID THAT CAN BE PLACED OVER YOUR ORIGINAL TRACING.

NOW, ONCE YOU START THAT AND PRESENT A CODE, BOTH VERTICALLY AND HORIZONTALLY, THEN WE CAN GO TO OUR AREA.

LET'S GO ALL THE WAY DOWN TO OUR 1A.

YOU CAN SEE THAT I HAVE TRACED JUST THAT ONE LITTLE SCOOP AREA.

THEN I COME OVER TO 2A, KNOWING THAT I'M COMING OUT ON THE BASE OF MY STEM.

AND YOU JUST CONTINUE-- IT TAKES TIME, BUT IT'S WELL WORTH IT, AND AS LONG AS YOU'RE DOING JUST SECTION BY SECTION, YOU'LL SEE IT GROW.

NOW, WE'RE GETTING CLOSER TO DOING OUR ACTUAL APPLIQUÉ.

IT MEANS DECIDING ON OUR TEMPLATES.

WE HAD THE COTTON ITSELF, WHICH IS TEMPLATE NUMBER ONE.

NOW, BEING NUMBER ONE, THAT MEANS IT'S THE FIRST FIGURE TO BE PUT ON OUR FOUNDATION PIECE.

NUMBER 2 ARE THE 2 PODS, AND NOTICE THE IMPORTANT THING.

I HAVE MADE A GRAIN LINE ON EACH ONE OF THESE FIGURES.

THEY ARE TO BE PLACED PARALLEL TO THE OUTSIDE OF YOUR BLOCK.

YOU WANT ALL THESE FIGURES THAT YOU'RE APPLYING TO THE SOLID FOUNDATION TO BE IN LINE-- GRAIN LINE.

ALRIGHT, NUMBER 3, THERE'S 2 NUMBER 3'S, AND THEN THERE'S ANOTHER 3 OVER HERE.

NUMBER 4 IS THE ONE WE'LL BE DOING TODAY.

NUMBER 5 AND NUMBER 6, AND THEN THE STEM INSIDE IS NUMBER 7.

SO ONCE YOU HAVE THAT CODED, THIS BECOMES AN IMPORTANT TOOL TO REFER BACK TO-- YOU NEED TO KNOW WHERE TO PLACE THESE FIGURES EVERY TIME.

THEN GO AHEAD AND MAKE YOUR TEMPLATES.

I HAVE FOUND THAT I AM INCREASINGLY RELYING ON FREEZER PAPER FOR WORKING WITH THAT, BECAUSE-- AND THIS IS A LITTLE TIP ONTO SOME OF OUR FURTHER SHOWS-- THE WAXY SIDE OF THE FREEZER PAPER WILL ADHERE TO THE BACKSIDE OF FABRIC.

WITH A DRY, OR JUST A-- A DRY IRON SET ON ABOUT A MODERATE HEAT.

SO I WOULD MAKE ALL THE TEMPLATES-- AS YOU CAN SEE, HERE IS NUMBER ONE, AND THEN NUMBER 2, THE PODS.

AND THEN NUMBER 3, WHICH HAVE ALREADY BEEN DONE.

I HAVE SEVERAL OF THESE IN PROGRESS.

NUMBER 4, THAT WE'RE DOING TODAY.

NUMBER 5 AND NUMBER 6 AND 7.

NOW, AS YOU CAN TELL, THE COTTON BOLL QUILT IS DONE.

I AM WORKING ON THE SHAM, AND I HAVE SEVERAL OF THESE IN PROGRESS, SO YOU'LL JUST FOLLOW ALONG WITH ME TODAY.

YOUR BASE NEEDS TO BE PREPARED, AND I LIKE TO THINK OF THAT AS BEING CUT 24 AND A HALF INCHES SQUARE.

NOW, FINISHED THAT MEANS IT'LL BE 24 IN YOUR QUILT.

I HAVE GONE AHEAD AND PLACED A GRAY BORDER AROUND THIS 24-INCH SQUARE, BECAUSE I WANTED THE COTTON TO LOOK LIKE IT WAS JUST BURSTING OUT OF THE WHOLE QUILT.

AND THAT'S EXACTLY WHAT HAPPENED.

THIS INITIAL PIECE HAS BEEN PUT ON, AND ONCE IT WAS PUT ON IN THE SYSTEM THAT I'M GONNA SHOW YOU, THEN THE BACK OF THE FOUNDATION WAS CUT AWAY.

YOU CAN SEE EXACTLY WHERE IT CAME FROM.

HERE IS THE PIECE WHICH WAS CUT AWAY.

THE ONLY PLACE THAT THIS OVERLAPS IS WHERE THE WHITE MEETS THE PRINT FOUNDATION.

THE SAME THING FOR THE POD, IT WAS PLACED AND THEN CUT AWAY-- ON THAT SIDE AND ON-- ON THIS SIDE.

IT WAS CUT, IT WAS SEWN, AND THEN CUT AWAY.

SO NOW WE'RE GOING TO GO-- OUR NEXT STEP AFTER MAKING THE TEMPLATES, CODING OUR BIG MASTER SHEET, IS GOING TO TAKE OUR NUMBER 4, AND WE'RE GOING TO CUT OUT THIS FIGURE TO PUT ON THIS.

WE'LL GO NOW TO THE DRY IRON.

WITH THE TEMPLATES READY, WE ARE NOW READY TO APPLY IT TO THE CLOTH, KEEPING THE GRAIN LINE IN MIND.

FOR INSTANCE, HERE'S A FABRIC WITH A SELVAGE, AND BECAUSE THE WAXY SIDE IS GOING TO ADHERE TO THE BACK OF THE FABRIC, SIMPLY PLACE THIS-- THIS IS MY GRAIN LINE RIGHT HERE-- AND THEN PRESS THAT.

ONCE THAT IS IN A STATIONARY POSITION, THEN I CAN START CUTTING.

NOW, DO NOT CUT EXACTLY ON THE EDGE.

GIVE YOURSELF ABOUT A HALF AN INCH ALL THE WAY AROUND THIS FIGURE.

NOW, THE PARTICULAR FABRIC THAT I'M USING FOR THIS ONE HAS ALREADY BEEN CUT OUT.

THE BEAUTY OF THE FREEZER PAPER IS THAT I CAN LIFT THAT AND ONCE AGAIN, SIMPLY POSITION THAT.

THAT IS MY KEY FOR HOW MUCH I'M GOING TO CUT OUT.

NOW I NEED TO FIND EXACTLY WHERE THIS IS POSITIONED ON MY CLOTH, SO WE HAVE TO GO TO THE TRANSPOSED STEP.

WITH A LIGHT BOX SITUATION, THIS COULD BE A SUNNY WINDOW, OR IN THIS CASE, A REAL BOX WITH A LIGHT IN IT.

I AM THEN GOING TO TAKE THIS OFF, POSITION THIS EXACTLY WHERE I WANT THIS TO GO, ALIGN THIS AGAIN-- KNOWING THAT ONCE THAT IS IN PLACE, I CAN PULL THAT OUT AND THEN TRACE AROUND THIS FIGURE.

THE TRACING LINE WILL BE EXACTLY NEXT TO THE WHITE EDGE.

I'M DOING THIS SO I CAN SEW RIGHT ON THIS EDGE.

HOLDING THIS IN PLACE, I WILL THEN TRACE ALL AROUND THIS, AND ONCE THAT'S BEEN TRACED ON THE EXACT LEAF EDGE, I'M READY TO SEW AT THE SEWING MACHINE.

HOPE YOU'VE ADMIRED MY DRESS TODAY.

IT'S MADE BY JO DIGGS FROM PORTLAND, MAINE AND IT'S JUST FULL OF APPLIQUÉ.

WE'RE AT THE POINT WHERE I HAVE TAKEN OUR TEMPLATE NUMBER 4, IT HAS BEEN DRAWN AROUND, WE KNOW THE EXACT PLACE TO DO OUR STRAIGHT LINE OF STITCHING.

NOW THAT STRAIGHT LINE OF STITCHING-- I'M JUST FINISHING THAT-- IS ANCHORING THIS FIGURE IN PLACE.

THAT POSITIONS IT SO THEN I CAN TRIM AROUND THE OUTSIDE.

ONCE THAT'S BEEN DONE, I WILL COME-- AND WITH MY PALMS UP AND WITH THESE APPLIQUÉ SCISSORS, IT ALLOWS ME TO COME IN VERY CLOSE TO THIS FIGURE.

AND AS YOU CAN SEE, I AM CUTTING AWAY THE EXCESS, THAT WAS WHY I CUT THAT FABRIC A HALF AN INCH WIDER ALL THE WAY AROUND, BECAUSE THEN I WANTED TO COME IN VERY CLOSE.

IT WOULDN'T HAVE WORKED IF I HAD CUT THE EXACT SIZE.

I WOULD'VE HAD A HARD TIME SEWING THAT CLOSE TO THE EDGE.

THE OTHER 2 MARKS THAT YOU SEE ON HERE HAVE BEEN MARKS THAT I HAVE TRANSFERRED FROM THE TEMPLATE ONTO THE FABRIC.

THAT TELLS ME THAT IN THIS AREA I NEEDED TO ANCHOR IT IN PLACE, BUT I DON'T NEED TO DO A SATIN STITCH THERE BECAUSE MY LEAF-- MY LAST LEAF, NUMBER 5-- WILL OVERLAP THAT AREA IN JUST A FEW MINUTES, SO IT WON'T BE SEEN, IT'LL BE UNDERNEATH.

BUT I WOULD CONTINUE THIS CUTTING AWAY WITH THE PALMS UP, GETTING VERY CLOSE, AND THAT'S GONNA GIVE ME A LINE TO ZIG ZAG ON PLUS THE STATIONARY AND THE REINFORCEMENT OF THE STRAIGHT LINE OF SEWING.

NOW, I HAVE ONE THAT'S A LITTLE FURTHER ALONG, AND WE CAN SEE EXACTLY WHERE TO GO FROM THERE.

IT HAS ALL BEEN CUT AWAY AND MY NEXT STEP IS TO PLACE A PIECE OF TISSUE PAPER, THIN PAPER, ON THE UNDERNEATH SIDE OF THIS FIGURE.

AND SOMETIMES IT MEANS TURNING THIS OVER-- SO THAT YOU KNOW YOU'RE GONNA COVER ALL THE GREEN AREA-- AND YOU'LL SIMPLY HAVE TO PIN THAT IN PLACE AND THEN I'D PROBABLY REMOVE THOSE PINS AGAIN WHEN IT'S ON THIS SIDE, THEN PIN THIS IN PLACE, AND I WILL START MY SATIN STITCH.

NOW, I THINK IT'S IMPORTANT THAT YOU PROBABLY TEST THE SIZE OF THE SATIN STITCH YOU WANT FIRST ON JUST ANY KIND OF A MAKESHIFT PIECE OF FABRIC.

SEW YOUR LITTLE LEAF ON, THEN, WITH JUST A STRAIGHT STITCH, PUT YOUR PAPER UNDERNEATH, AND THEN TEST THAT THE WIDTH OF THE ZIG ZAG THAT YOU WANT.

I HAVE DONE THAT.

I NEED TO CHANGE AND PUT MY-- EMBROIDERY FOOT ON MY MACHINE-- AND THEN I'M READY TO START MY MACHINE STITCHING.

I WOULD START EXACTLY MY SATIN STITCH AT THAT MARK, AND KNOWING THAT MY ZIG AND MY ZAG ARE GOING TO COVER THE RAW EDGE, BUT ALSO ENCOMPASS THAT STRAIGHT LINE OF SEWING.

PUT MY MACHINE ON ZIG ZAG AND THEN DOWN TO PROBABLY A VERY TIGHT SATIN STITCH.

NOW I'M READY TO COVER THAT.

NOW, ONE THING THAT'S KIND OF FUN AS YOU'RE DOING THAT SATIN STITCHING-- IT'S A PRETTY WIDE SATIN STITCH, AND AS I GET CLOSE TO THE POINT ON THE LEAF-- I'M GOING TO NARROW IT.

IT'S A VERY GRADUAL THING, BUT YOU CAN CONTROL THAT AS YOU'RE DOING YOUR STITCHING.

AND I THINK YOU'LL LIKE THAT AS IT'S HAPPENING.

I'M NOT QUITE THERE YET.

YOU'LL LIKE WHAT IS HAPPENING WITH THAT PAPER UNDERNEATH, THOUGH.

SEE HOW NICE AND SMOOTH THAT IS?

NOW, I'M GOING TO START AS I'M COMING TO THE POINT OF MY LEAF-- VERY, VERY GRADUAL-- UNTIL I GET ALMOST TO THE VERY POINT.

AND IT'S ALMOST DOWN TO NOTHING.

THEN PUT THAT NEEDLE DOWN THE MACHINE AND TURN IT.

AND THEN MAKE SURE THAT YOUR PAPER IS STRAIGHT UNDERNEATH, THEN GO WIDE AGAIN.

AND YOU'RE COVERING-- AND WHERE YOU'RE GOING OVER PREVIOUSLY-SEWN SATIN STITCHING, YOU'LL FEEL IT KIND OF COME UP AND GO OVER, BUT IT'LL MAKE IT JUST FINE.

NOW, THIS PATTERN COULD BE DONE WITH HAND APPLIQUÉ, BUT I REALLY LIKE DOING IT WITH A SATIN STITCH.

THERE'S A SHEEN TO THE THREADS, YOU KNOW THAT IT'S VERY STURDY AND VERY STRONG.

AND NOW I'M GOING WIDER AGAIN.

NOW I'M GOING TO CONTINUE THAT-- IN FACT, WHEN I GET TO THIS POINT, I MIGHT EVEN WANT TO CONTINUE THAT SATIN STITCH DOWN A LITTLE BIT JUST TO GIVE SOME DEFINITION TO THE LEAF ITSELF.

I'M GONNA CONTINUE THAT, AND I'LL SHOW WHAT I MEAN HERE.

IT IS IMPORTANT WHEN YOU'RE DOING THIS KIND OF SATIN STITCHING TO KEEP A LOT OF THREAD ON HAND.

YOU WILL GO THROUGH A LOT OF THREAD.

NOW, THIS IS A GOOD PLACE FOR ME TO STOP AND BACKSTITCH IN PLACE AND LOCK THAT SO I CAN SHOW YOU THE NEXT PROCEDURE THAT HAPPENS.

AT-- AT THIS POINT, IF I HAD GONE AROUND THE ENTIRE LEAF, THAT I CAN COME AND VERY EASILY-- AND I THINK YOU CAN SEE THIS-- SIMPLY TEAR AWAY THE PAPER.

YES, THERE'S A LITTLE TINY BIT OF PAPER UNDERNEATH THAT ZIG ZAG, THAT SATIN STITCH, BUT THAT WON'T HURT ANYTHING.

NOW, THE OTHER THING THAT MAKES THIS WHOLE TECHNIQUE SO SPECIAL IS THAT ONCE THAT HAS BEEN DONE-- AND I'M GOING TO GO JUST IN THE AREA WHERE WE'VE DONE THE SATIN STITCH-- YOU THEN HAVE TO KIND OF LICK YOUR FINGERS AND PULL THAT APART.

AND TAKING THOSE NICE, SHARP SCISSORS, I'M GOING TO COME AND FIND A LITTLE HOLE-- AND IT'S THIS MATERIAL ON THE BACKSIDE THAT I CAN THEN COME AND REMOVE.

THIS BECOMES YOUR SINGLE SURFACE APPLIQUÉ.

NOW, YOU HAVE TO DO THIS VERY CAUTIOUSLY, BECAUSE YOU DON'T WANT TO HURT THAT FRONT FABRIC, BUT ALL OF A SUDDEN YOU CAN JUST COME IN, COME DOWN TO YOUR POINT, AND THEN ALL OF A SUDDEN YOU SEE YOUR OTHER GREEN UNDERNEATH.

THE ONLY PLACE THAT YOUR FIGURE IS OVERLAPPING IS WHERE ONE GREEN MEETS THE OTHER GREEN.

I WOULD GO ALL THE WAY TO THE POINT, TURN, AND WITH PALMS UP, BEING VERY CAREFUL, I CAN COME ALL THE WAY DOWN AND CONTINUE AND REMOVE ALL OF THAT SO I CAN SEE THE POINT.

NOW, THE BEAUTY OF THAT IS THAT YOU WILL HAVE THE SINGLE SURFACE TO QUILT THROUGH, AND I KNOW HOW IMPORTANT THAT IS TO YOU AS QUILTERS.

THE NEXT STEP THAT I WANTED TO MENTION ABOUT THE QUILT IS THAT THE BORDERS, NOT ONLY ON THE SHAM, BUT ON THE QUILT THEMSELVES, ARE 5 INCHES.

THEY ARE ONE AND A HALF HERE AND THEN 2 OF HALF OF A GREEN ON EITHER SIDE.

ON THE VERY OUTSIDE IS A SWAG BORDER, BOTH ON THE CORNERS AND IN BETWEEN.

AND I WANTED TO GIVE YOU SOME TIPS ON DOING THE SWAG.

I HAVE FOUND THAT IN SEWING SOMETHING LIKE THIS, THE 2 CURVES ARE SEWN OR PIECED ON THE SEWING MACHINE.

THIS CURVE AND THIS CURVE.

I DO THINK IT HELPS TO FIND THE MID-POINT OF CURVED PIECES SUCH AS THIS, BOTH ON THIS PIECE AND ON THIS PIECE, AND THEN MATCH THOSE UP STARTING AT THE CENTER AND SEWING OUT.

START HERE AND SEW OUT.

I THINK THAT WORKS VERY, VERY NICELY.

THEN, ONCE THAT CURVE HAS BEEN SEWN, OR PIECED, THEN THIS PARTICULAR SEAM CAN BE PIECED ALSO.

THEN THE NEXT STEP WOULD HAVE BEEN-- ONCE THAT WAS DONE ON YOUR SWAG BORDER-- AND THESE ARE 7 INCHES BY 10, BY THE WAY.

7 INCH THIS WAY AND 10 THIS WAY.

THEN YOU WOULD COME AND SIMPLY POSITION THAT SCALLOP-- KIND OF THE REPETITION OF THE BURSTING COTTON ON THE BASE OR THE BOTTOM OF YOUR BORDER.

NOTICE HOW THAT HAS BEEN SIMPLY PLACED ON TOP, AND THEN I HAVE DONE JUST STRAIGHT STITCHING.

I'M AT THAT POINT WHERE WE JUST SIMPLY CUT AWAY, AND I HAVE ONE MORE CUTAWAY TO DO.

ONCE THAT IS DONE, THEN IT'S TIME TO TAKE MY PAPER-- JUST ANY PIECE OF PAPER WOULD DO, OF COURSE-- PLACE THIS ON TOP, AND NOW THIS TIME WITH WHITE THREAD BOTH ON THE BOBBIN AND THE TOP, I WOULD DO MY SATIN STITCH ALL ACROSS THERE.

ONCE THAT HAS BEEN DONE, THEN WHAT'S MY NEXT STEP?

I'M GOING TO CUT AWAY THIS BACK FABRIC.

ISN'T THAT NICE?

I CAN COME HERE AND THEN CUT AWAY.

SO ONCE AGAIN, THIS WOULD BE AN ANGLE THAT'S REALLY TOO DIFFICULT TO PIECE ON THE MACHINE, BUT I HAVE TAKEN ADVANTAGE, RIGHT THERE, OF THAT OVERLAPPING-- JUST THE ORANGE AND THE WHITE OVERLAP IN JUST THAT ONE POSITION.

NOW THERE'S ONE OTHER LITTLE FIGURE IN THIS QUILT THAT I KNOW YOU'VE BEEN WONDERING ABOUT.

AND, OF COURSE, WHAT'S A COTTON BOLL QUILT WITHOUT A BOLL WEEVIL?

WE CAN HAVE THEM ON THE QUILTS-- I KNOW THE FARMERS DON'T WANT THEM IN THE FIELDS-- BUT IT IS A CUTE LITTLE INSECT, UM, WITH A STRANGE LITTLE LONG SNOUT, AND HE HAS BEEN DESIGNED TO GO IN THE 4 CORNERS OF THE QUILT.

NOW, I WANTED TO GIVE YOU JUST A FEW TIPS IN PUTTING HIM TOGETHER.

IT IS BASED ON SOME UNUSUAL FIGURES-- KIND OF THE HEXAGON, ELONGATED ONE, AND THIS FIGURE ALSO.

ONCE THE TRIANGLES ARE SEWN TO THE BODY, I WOULD THEN TAKE ADVANTAGE OF OUR HOLE PUNCH WITH OUR TEMPLATES.

REMEMBER HOW IMPORTANT THAT IS.

HERE IS OUR TEMPLATE, KNOWING THAT WE'RE GOING TO PUNCH OUT THOSE HOLES, AND ONCE THEY ARE IN POSITION, THEN YOU'LL KNOW THAT YOU SEW JUST UP TO THAT HOLE PUNCH, WHICH IS YOUR QUARTER INCH, STOP AND BACKSTITCH.

AND THEN THE LITTLE HEAD IS IN PLACE.

THEN THE TRAPEZOIDS CAN BE SEWN DOWN JUST TO THAT PLACE, AND YOU CAN SEE THE LITTLE BLUE DOT LINED UP, STOP AND BACKSTITCH, AND THEN IT WILL SWING READILY AROUND.

SO THAT ONCE YOU GET THAT DONE, THEN YOU HAVE THIS HEXAGON APPLIED TO THE BOTTOM OF THE BUG.

NOW, YOU'RE PROBABLY SAYING YOU THOUGHT ALL INSECTS HAD 6 LEGS.

WELL, THIS ONE ONLY HAS 4.

EVERY ONCE IN A WHILE, WE CAN HAVE SOME ARTISTIC LIBERTIES, AND I ONLY PUT 4 ON HIM, THERE ARE 2 UNDER-- 2 OTHER LEGS UNDERNEATH SOMEPLACE.

BUT THAT IS THE LITTLE BOLL WEEVIL THAT GOES ON THE QUILT.

I'D LIKE YOU TO LOOK AT THE QUILT WITH ME FOR A FEW MINUTES.

I JUST LOVE THE QUILTING IN THIS.

I WANT TO COMMEND AND CONGRATULATE THE HOLLY HOMEMAKERS FROM POCOMOKE CITY, MARYLAND.

THEY DID A SUPERB JOB.

AND JUST LOOK AT THE LOVELY CABLE DESIGN THAT THEY HAVE-- WE HAVE USED IN THE OVERLAPPING BORDERS, AND I THINK THAT'S VERY EFFECTIVE.

AND THE BURSTING COTTON COMING OVER THE GRAY.

I THINK THEY DID AN EXCELLENT JOB, AND I CERTAINLY WANT TO CONGRATULATE THEM.

I HOPE YOU ENJOY MAKING A COTTON BOLL QUILT.

AND, EVEN MORE IMPORTANTLY, I HOPE YOU'LL ENJOY COMING WITH US NEXT WEEK WHEN WE HAVE A TOUR-- AN INSIDE INTO THE COTTON PRODUCTION.

IT'S CALLED "FROM FIELD TO FABRIC," AND IT'S A MARVELOUS CHANCE TO UNDERSTAND WHAT'S HAPPENING WITH COTTON IN OUR COUNTRY.

WE HOPE TO SEE YOU THEN.

THANK YOU FOR JOINING US TODAY.

Announcer: "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM... GINGHER, INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR HOME AND INDUSTRY.

AND... V.I.P.

FABRICS, A DIVISION OF CRANSTON PRINT WORKS COMPANY, AMERICA'S OLDEST TEXTILE PRINTER.

GEORGIA BONESTEEL IS THE AUTHOR OF LAP QUILTING, MORE LAP QUILTING, AND GEORGIA'S NEW IDEAS FOR LAP QUILTING.

THESE BOOKS ARE PUBLISHED BY OXMOOR HOUSE, AND ARE AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.