- FOR OUR NEXT QUILT SHOP TOUR, MEET MARY AND JUDY TO DISCOVER THEIR TEAM TEACHING SUCCESS WITH A FLORAL PATTERN AT QUILTER'S SQUARE IN LEXINGTON, KENTUCKY.

THEN IN THE QUILT BUILD STUDIO, MEET PENNY WERTMANN AND HER SPECIAL ANTIQUE-LOOKING QUILT THAT WAS MADE YESTERDAY.

♪ ♪ ♪ COULD YOU IMAGINE A MORE CLEVER OBJECT ♪ ♪ WARMS THE BODY IGNITES THE MIND ♪ ♪ A CHILD SLEEPS UNDER MOTHER'S CREATION ♪ ♪ TOGETHER FOREVER ♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND ♪ ♪ PUTS YOU TO BED ONE DAY AT A TIME ♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND ♪ ♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

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

NOTHING SEWS LIKE A BERNINA...

NOTHING.

BY GAMMILL QUILTING MACHINE COMPANY, OFFERING LARGE-THROAT, MOBILE, HAND-GUIDED QUILTING MACHINES.

ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER.

AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.

- TODAY'S SHOW TAKES US TO THE BLUEGRASS AREA OF KENTUCKY THE QUILTER'S SQUARE SHOP.

MARY, YOUR STORE IS SO EXPANSIVE.

I LOVE ALL THE COLORS ARRANGED HERE.

AND WHAT PARTICULAR, ARE THESE ALL YOUR COTTONS?

- THESE ARE ALL MY COTTON FABRICS.

- AND UNIQUE SHELVING HERE.

- YES, WE KEEP ALL OF OUR FAT QUARTERS IN BETWEEN.

WHEN WE GET NEW FABRICS IN, WE ALWAYS CUT FAT QUARTERS SO THAT OUR CUSTOMERS CAN HAVE THE SELECTION TO CHOOSE FROM.

THEY'RE GREAT FOR APPLIQUEING.

- AND THEN YOU DON'T HAVE TO CARRY A WHOLE BOLT OF FABRIC AROUND THE STORE.

- THAT'S TRUE, TO PICK OUT YOUR QUILT.

- WHAT ARE THE IN COLORS TODAY?

- WELL, RIGHT NOW, I WOULD SAY THAT IT'S THE 30S AND HAND-DYED.

THEY'RE VERY POPULAR RIGHT NOW.

THEY'RE HARD TO KEEP IN STOCK.

- AND I NOTICE I DON'T SEE ANY ROTARY CUTTERS OR CUTTING MATS HERE.

HOW DO YOU DEAL WITH YOUR FABRIC?

- WE TEAR ALL OF OUR FABRIC BY HAND.

- YOU FIND THAT TO BE THE BEST WAY?

- YES, I PREFER IT MUCH OVER ROTARY CUTTING.

- AND THEN YOU DO SOMETHING UNIQUE WITH BORDER PRINTS, I THINK IS NICE.

- YES, WE CUT FABRICS FOR OUR CUSTOMERS THAT ARE 22 INCHES BY 3 YARDS LONG.

THEY ONLY HAVE TO BUY A YARD AND A HALF, AND THEY DON'T HAVE TO PIECE THEIR BORDERS.

- THAT'S GREAT.

WELL, LET'S TALK A LITTLE BIT ABOUT YOUR BUSINESS.

- WELL, THE QUILT SHOP STARTED IN WILMORE, KENTUCKY, AND WE HAD 18 BOLTS OF FABRIC, AND IT WAS OWNED THEN BY BECKY OLSON.

AND WE MOVED FROM THAT LOCATION TO AN OLD SCHOOL HOUSE CALLED DUDLEY SQUARE IN THE DOWNTOWN LEXINGTON AREA, AND WE WERE THERE FOR ABOUT FIVE YEARS.

AND THEN WE MOVED TO A STRIP MALL RIGHT DOWN THE STREET FROM HERE, AND WE HAD 2,000 SQUARE FEET.

AND THEN TWO YEARS AGO, WE MOVED TO THIS FREESTANDING BUILDING, AND WE'VE BEEN VERY FORTUNATE TO HAVE THE SPACE THAT WE'VE GOT.

- AND I UNDERSTAND YOU INVOLVE YOUR FAMILY SOMEWHAT IN THE BUSINESS.

- YES, MY SON IS IN CHARGE OF THE SEWING MACHINE DEPARTMENT, AND HE DOES SOME OF THE REPAIR, AND I HAVE ANOTHER SON THAT DOES REPAIR ALSO.

AND I HAVE A DAUGHTER THAT WORKS HERE.

- THE STORE HAS LOTS OF NOOKS AND CRANNIES AND LITTLE ALCOVES.

ONE CORNER IS FOR A GROUP OF HEIRLOOM SEWERS FULL OF LACES AND SPECIAL MATERIALS.

THERE'S A ROOM OF BOOKS AND NOTIONS.

THERE IS ONE AREA FOR QUILTS MADE BY STAFF AND STUDENTS.

SEWING MACHINES ARE ON DISPLAY AT THE FRONT DOOR.

AND, OF COURSE, THERE IS A CLASSROOM AREA WHERE WE MEET OUR TEACHERS.

OUR LESSON TODAY IS BLANKET STITCH APPLIQUÉ.

OUR TEACHERS ARE MARY CATHCART AND JUDY MORWILL.

HOW ABOUT TEAM TEACHING?

TELL US ABOUT IT.

- WELL, JUDY AND I HAVE BEEN FRIENDS FOR YEARS, AND WE'VE ALWAYS ENJOYED DOING SEWING PROJECTS TOGETHER.

BUT JUDY WAS A CONFIRMED FEATHERWEIGHT SEWER, AND I WAS A CONFIRMED BERNINA SEWER.

AND FORTUNATELY, I THINK FOR BOTH OF US, SHE CAME IN THE SHOP ONE DAY WHEN I WAS BLANKET STITCHING ON MY MACHINE AND WAS ABSOLUTELY FASCINATED THAT SOMETHING SHE'D BEEN DOING BY HAND THAT TOOK HOURS, I WAS ABLE TO DO SO QUICKLY AND EASILY ON THE SEWING MACHINE.

AND IT LOOKED BETTER TO ME.

- SO YOU'VE PUT YOUR CREATIVE JUICES TOGETHER AND HAVE COME UP WITH A LINE OF PATTERNS, AND YOU TEACH HERE AT QUILTER'S SQUARE.

I ASKED TO LOOK AT A FEW SAMPLES TODAY, AND YOU SAID, "WELL, THE WHOLE ROOM FULL."

- IT'S AMAZING THE WORK THAT YOU'VE DONE OVER THE YEARS.

AND NOW WE'VE TURNED TO OUR PROJECT TODAY.

SHOW US THAT.

WHICH HAPPENS TO BE A BASKET OF FLOWERS.

- YES.

AND HOW DOES THAT RELATE TO YOUR ACTIVITIES, JUDY?

THAT RELATES BECAUSE I LIKE TO PLAY AT GARDENING, BUT I DON'T GET A LOT OF TIME.

THERE'S NOT ENOUGH HOURS IN THE DAY TO DO THE SEWING AND TO DO THE GARDENING, AND ESPECIALLY WITH THREE CHILDREN.

WELL, THIS LOOKS VERY COMPLICATED.

I SEE A LOT GOING ON IN THIS PROJECT.

CAN YOU GIVE US A RUNDOWN ON THE TECHNIQUE?

SURE.

WHAT WE'RE GOING TO SHOW YOU TODAY IS JUST A GENERAL OVERVIEW OF THE BASIC STEPS YOU'RE GOING TO GO THROUGH TO TAKE A DESIGN AND THEN MAKE IT IN FABRIC.

WHAT JUDY'S GOING TO SHOW YOU IS THIS IS THE ORIGINAL DESIGN SHE STARTED OUT WITH.

IF YOU WANTED IT SMALLER, LIKE IT'S FEATURED ON THE BACK OF OUR VEST, THEN IT'S VERY EASY TO GO TO YOUR LOCAL PHOTOCOPY SHOP AND HAVE THEM REDUCE IT DOWN.

ALSO, IF YOU WANTED A LARGER DESIGN FOR WALL HANGING OR QUILT OR SOME OTHER USE, THE PHOTOCOPY SHOP CAN EASILY ENLARGE THE SIZE OF YOUR DESIGN.

WE'VE FOUND IF YOU'RE NOT ARTISTIC, IF YOU DON'T DRAW THINGS, IT'S VERY EASY TO TAKE GIFT CARDS, CALENDARS, THINGS YOU MIGHT HAVE AROUND YOUR HOME, GEORGIA, THAT YOU JUST LIKE THE LOOK OF.

SO WHAT JUDY'S GOING TO SHOW YOU IS WITH A GOOD QUALITY FUSIBLE FILM THAT'S DESIGNED FOR APPLIQUE AND MAKE SURE THAT IT SAYS IT'S DESIGNED FOR MACHINE SEWING, YOU'RE GOING TO WANT TO PUT THE GLUE SIDE DOWN AND THE PAPER SIDE UP OVER EACH ELEMENT OF YOUR DESIGN AND TRACE AROUND IT WITH SOME SORT OF PERMANENT MARKER OR COLORED PENCIL SO YOU GET A NICE, GOOD, DARK LINE THAT YOU'LL BE ABLE TO SEE LATER ON BECAUSE YOU'LL NEED THAT LINE TO CUT WITH.

AND IF YOUR DESIGN ELEMENT HAS MORE THAN ONE PART, FOR INSTANCE, THE CENTER OF THE FLOWER, YOU'RE GOING TO NEED TO TRACE EACH ONE OF THOSE PARTS SEPARATELY BECAUSE THEY'RE GOING TO BE DIFFERENT COLORS OF FABRIC.

ONCE YOU'VE DONE THAT, THE NEXT STEP IS TO ROUGH CUT AROUND THAT SHAPE.

NOT ON THE LINE ITSELF?

NOT ON THE LINE.

YOU'RE GOING TO WANT TO LEAVE ABOUT A QUARTER OF AN INCH AROUND THE EDGE OF YOUR DESIGN, LIKE JUDY'S SHOWING YOU.

AND THE REASON YOU WANT TO DO THIS IS BECAUSE YOU WILL HAVE TO FUSE IT TO THE BACK SIDE OF YOUR FABRIC AND YOU NEED TO HAVE ENOUGH AREA LEFT THAT YOU CAN SEE THAT LINE THAT YOU DREW AND CUT OUT ON THAT LINE.

ONCE YOU'VE DONE THAT, IT'S EASY TO PLACE IT ON THE BACK SIDE OF YOUR FABRIC, FOLLOW YOUR MANUFACTURER'S INSTRUCTIONS, AND FUSE EACH PART OF YOUR DESIGN.

ONE THING JUDY AND I FOUND THROUGH THE YEARS, PARTICULARLY WITH THE FLOWERS AND FENCES AND TREES AND LEAVES, DON'T JUST FUSE THE EXACT NUMBER YOU NEED.

IF YOU WANT SIX FLOWERS, DRAW TEN BECAUSE YOU NEED TO AUDITION.

YOU NEED TO LAY THE THINGS OUT AND KIND OF LOOK AND SEE WHAT COLORS YOU LIKE TOGETHER BECAUSE YOU MAY FIND THAT AS YOU PUT THE PIECES DOWN FOR YOUR DESIGN, WHAT YOU THOUGHT WAS PERFECT JUST WON'T WORK WHEN YOU LAY IT OUT.

BUT THIS IS WHERE THE ARTISTIC PART COMES IN.

IT DOESN'T TAKE ANY REAL ART.

IT'S JUST A CASE OF LAYING THE ELEMENTS OUT.

AND SOMETIMES YOU CAN SPEND AS MUCH TIME LAYING OUT AS YOU DO-- I LIKE THE RANDOM LOOK.

THEY LOOK SO NATURE-RELATED.

NOTHING'S SYMMETRICAL.

IT'S JUST KIND OF LOPSIDED AND VERY, VERY NICE.

AND THE COLOR IS A LOT OF FUN TOO, GEORGIA.

THAT TO ME--SOMETIMES THERE MIGHT BE A PIECE OF FABRIC THAT YOU JUST LOVE, THAT YOU JUST HAVE TO USE, AND YOU TRY IT AND IT DOESN'T WORK.

ANOTHER PIECE THAT YOU WOULDN'T HAVE THOUGHT WOULD ADD THE SPARKLE OR THE PUNCH TO THAT, AND THAT'S WHAT'S SO MUCH FUN.

BUT WHEN YOU'RE AUDITIONING, THAT'S WHEN YOU'LL KNOW.

AND THEN YOU DO HAVE TO--ONCE IT'S CUT OUT, YOU DO HAVE TO REMOVE ONE LITTLE FILM BEFORE YOU IRON IT IN PLACE.

RIGHT, THAT PAPER BACKING WE TALKED ABOUT.

ONCE YOU'VE CUT YOUR DESIGN OUT, YOU NEED TO PEEL THAT PAPER OFF.

ONE COMMON MISTAKE I THINK OCCASIONALLY WE STILL DO, AND WE SEE A LOT IN CLASSES, IS YOU'LL HAVE THE WHOLE DESIGN LAID OUT, PARTICULARLY SOMETHING COMPLICATED, LIKE THE BASKET AND THE FLOWERS, AND YOU'LL GO TO FUSE AND YOU'LL REALIZE THAT THE PIECE-- GENERALLY THE HARDEST TO GET TO--WILL STILL HAVE THE PAPER BACKING.

AND OF COURSE WITH THE PAPER BACKING, IT'S NOT GOING TO FUSE.

NO.

OKAY.

NOW ONCE THAT'S ALL SET, ARE YOU READY TO GO TO THE MACHINE THEN?

WELL, NOT QUITE.

YOU NEED TO TAKE YOUR IRON AND FUSE THESE PIECES DOWN.

AND ONE THING WE RECOMMEND, JUST BECAUSE WHEN WE TEACH CLASSES, SOMETIMES WE HAVE SEVERAL PEOPLE USING THE SAME EQUIPMENT, IS THEY MAKE TEFLON PRESSING SHEETS.

IF YOU'LL JUST GET IN THE HABIT OF PUTTING THAT OVER, IT DOESN'T AFFECT THE APPLIQUE AT ALL.

IT DOESN'T MAKE IT STITCH BETTER, BUT IT SURE MAKES CLEANUP BETTER.

IF YOU HAPPEN TO HAVE PUT ONE OF THOSE FLOWERS DOWN WITH THE STICKY SIDE UP, I CAN TELL YOU FROM LOTS OF PERSONAL EXPERIENCE, IT IS NO FUN TO TRY TO GET FUSIBLE WEB OFF THE BOTTOM OF AN IRON.

AND JUDY AND I, I THINK, SPEND LOTS OF TIME DOING THAT SAME THING.

THIS IS EXACTLY WHAT I WAS TALKING ABOUT.

SEE, IT COMES RIGHT OFF.

IF IT HAD BEEN ON THE IRON, IT WOULD NOT HAVE DONE THAT.

BUT THE BEAUTY OF THIS SHEET IS-- YOU CAN CLEAN IT UP RIGHT AWAY.

--YOU CAN KEEP GOING.

AND FORTUNATELY, WHEN YOU PEEL IT OFF THAT TEFLON SHEET, YOU CAN TAKE IT, PUT IT BACK DOWN THE RIGHT SIDE UP, AND FUSE IT RIGHT ONTO YOUR DESIGN, AND IT'S READY FOR YOU TO USE.

THEN THEY'RE ADHERED IN PLACE, AND THEY'RE READY TO USE.

NOW WE'LL SHOW YOU WHAT OUR LITTLE TRICKS ARE AT THE SEWING MACHINE.

GREAT.

NOW WE'RE LEADING UP TO THE ACTUAL SEWING, AND WE HAVE TO CONSIDER OUR SEWING MACHINE.

RIGHT.

WELL, HOPEFULLY, YOU'RE GOING TO BE FORTUNATE ENOUGH THAT YOU HAVE A SEWING MACHINE THAT HAS A BUILT-IN BLANKET STITCH.

IF YOU DON'T, YOU CAN TRICK THE BLIND HEM STITCH JUST BY ADJUSTING YOUR STITCH LENGTH DOWN TO 1/2 TO 1 IN LENGTH AND LEAVING YOUR WIDTH ABOUT 1 1/2 TO 2.

IT LOOKS SIMILAR.

IT'S NOT EXACTLY THE SAME, BUT IT DOES GIVE YOU THE CAPABILITY OF DOING THE STITCH IF IT'S NOT BUILT IN ON YOUR MACHINE.

BUT FORTUNATELY, WE HAVE THIS WONDERFUL MACHINE THAT HAS A BUILT-IN BLANKET STITCH.

ONCE YOU'VE SELECTED THE BLANKET STITCH ON YOUR MACHINE, YOU'RE GOING TO WANT TO MIRROR IMAGE THAT STITCH, AND ALL THAT'S GOING TO DO IS FLIP THE FORK OF THAT STITCH FROM THE RIGHT OVER TO THE LEFT, JUST SO THE BULK OF WHAT YOU'RE SEWING CAN STAY OUTSIDE THE HEAD OF YOUR MACHINE.

THEN YOU'RE GOING TO WANT TO MOVE YOUR NEEDLE FROM CENTER OVER TO FAR RIGHT.

IN A MINUTE, JUDY WILL SHOW YOU WHY THAT'S SO IMPORTANT.

LASTLY, IF YOU HAVE THE ABILITY TO STOP YOUR NEEDLE DOWN IN YOUR FABRIC, YOU BY ALL MEANS WANT TO ENGAGE THAT BECAUSE THERE'S SO MUCH PIVOTING AND TURNING WITH THESE APPLIQUE DESIGNS.

IT JUST KEEPS ANYTHING FROM MOVING OUT OF PLACE.

IF YOU'RE NEW TO THE STITCH AND YOU HAVE THE ABILITY TO SLOW YOUR MOTOR SPEED, THEN YOU MIGHT WANT TO ALSO ADJUST THAT MOTOR SPEED NOW, TOO.

NOW WHAT ABOUT THAT BOBBIN?

ONE TRICK WE FOUND, NOT EVERY MACHINE WILL GIVE YOU THIS CAPABILITY, BUT WE LOVE THREADING THE FINGER ON THE BOBBIN.

ALL THAT DOES IS PUT A LITTLE MORE TENSION ON THAT BOBBIN THREAD AND IT'LL PULL IT MORE TO THE BACK SIDE.

IT JUST MAKES THAT STITCH A LITTLE MORE PERFECT.

SO IF YOU HAVE THE ABILITY TO DO THAT, YOU NEED TO DO IT.

THEN ALSO, AN OPEN-TOE EMBROIDERY FOOT FOR THE MACHINE.

THAT'S JUST FOR VISIBILITY.

IT JUST MAKES IT EASIER TO SEE WHAT YOU'RE DOING.

OKAY, NOW ARE WE READY?

WE'RE READY.

OKAY, HOW DO YOU KNOW WHAT SIDE TO PUT THE RAW EDGE AGAINST YOUR FOOT?

BECAUSE I'M USING THIS FOOT AS MY GUIDE.

I CAN SEE WHAT I'M DOING BECAUSE IT'S OPEN, AND I WANT TO ALWAYS KEEP THE OUTSIDE OF MY DESIGN NEXT TO THE TOE OF THIS FOOT.

THAT IS THE TRICK OF DOING THIS STITCH.

ONE FEATURE BERNINA HAS THAT WE JUST LOVE IS THIS HANDS-FREE KNEE LIFT THAT ALLOWS US TO RAISE AND LOWER THE PRESSER FOOT WITHOUT USING OUR HANDS.

IF YOU DON'T HAVE THAT CAPABILITY, IT'S JUST A LITTLE MORE CHALLENGING.

DO YOU HAVE TO SEW BAREFOOT, TOO?

IS THAT PART OF THE SYSTEM?

I ALWAYS DO.

THAT GIVES ME MORE CONTROL.

THAT'S THAT GARDENING THING AGAIN, ISN'T IT?

THAT'S THAT GARDENING THING.

IT JUST KEEPS COMING UP.

ONE THING THAT WE DIDN'T TALK ABOUT IS I LIKE TO GET MY BOBBIN THREAD TO THE TOP OF WHAT I'M WORKING ON.

I WILL DO THAT.

I LIKE THAT, TOO.

I LIKE THAT.

YOU DON'T GET A BIRD'S NEST ON THE BACK SIDE.

THAT'S RIGHT.

WHEN YOU'RE DOING AN AREA LIKE THIS AND YOU'RE MOVING FROM DESIGN TO DESIGN, YOU DON'T WANT ALL THOSE THREADS DOWN THERE.

I BROUGHT MY THREAD UP.

WHAT YOU WANT TO DO, GEORGIA, BEFORE YOU START ANYTHING AND WHEN YOU END, YOU MUST ANCHOR THAT STITCH.

IF YOU DON'T, IT'S ALL GOING TO PULL OUT WHEN YOU'RE DONE.

I LOOK AT MY SEWING MACHINE AND KNOW THAT I HAVE IT ON THE SETTING THAT I NEED TO DO THE STITCH, BUT I NEED TO DO A LITTLE BAR TACK OR A LITTLE STAY STITCH, IF YOU WILL.

I SEE WHERE IT'S SET, BUT I WANT TO TURN IT DOWN BECAUSE I WANT TO DO-- RIGHT IN PLACE THERE.

RIGHT IN PLACE.

EXCELLENT.

I'M ANCHORED, BUT NOW I HAVE TO REMEMBER TO GO BACK TO THE POSITION OF WHERE I WAS, AND THEN I CAN START TO SEW.

AS SHE'S SEWING, GEORGIA, ONE THING THAT WOULD BE GOOD TO POINT OUT IS SHE'S USING THE AUTOMATIC SETTINGS ON HER MACHINE FOR THAT STITCH, BUT WE'VE FOUND THAT YOU WILL PLAY WITH THOSE WIDTH AND LENGTH SETTINGS A LOT DEPENDING ON WHAT YOU'RE DOING.

THE LARGER THE DESIGN IS, THE WIDER AND LONGER YOU'RE GOING TO WANT THAT STITCH LENGTH.

IF YOU'RE DOING SOME OF THOSE TINY, FINE DETAIL ITEMS LIKE CENTERS AND VERY SMALL FLOWERS, YOU'RE GOING TO WANT TO USE A MUCH NARROWER STITCH AND A MUCH SHORTER STITCH.

KIND OF AN ODD RULE OF THUMB IS WE TRY TO MAKE THE LENGTH AND THE WIDTH THE SAME SETTING.

IF WE SWITCH THE WIDTH TO FOUR, WE'LL SWITCH THE LENGTH TO FOUR ALSO.

THIS IS WHERE A PRACTICE PIECE COMES IN HANDY.

YOU TAKE SOME OF THOSE FLOWERS YOU AUDITIONED THAT DIDN'T MAKE IT IN THE FINISHED PIECE, FUSE THEM ON A LITTLE EXTRA PIECE OF BACKGROUND FABRIC, AND JUST TRY THE STITCH WIDTHS OUT, TRY THE LENGTHS OUT, SEE WHAT YOU LIKE THE LOOK OF BECAUSE YOU'LL FIND SOME WIDTHS AND LENGTHS WILL LOOK BETTER THAN OTHERS.

ALSO, WHEN YOU'RE MATCHING THE THREAD TO THE APPLIQUE, YOU MIGHT WANT TO USE A DIFFERENT SIZE STITCH THAN IF YOU WERE DOING IT ALL IN BLACK.

BLACK, OF COURSE, IS GOING TO COME ACROSS MUCH HEAVIER AND DARKER.

YOU'RE LEADING UP TO AN INSIDE CORNER.

JUDY, WHAT DO YOU DO THERE?

WHEN YOU GET TO THE CORNER, AS LONG AS YOU LET YOUR NEEDLE COME BACK TO THE OUTSIDE OF THE PATTERN, THEN YOU CAN TURN IT.

[SEWING MACHINE] NOTICE HOW MANY TIMES I NEED TO LIFT.

IF I DIDN'T HAVE THE LEG LIFT, I WOULD BE DOING THIS.

I DON'T NEED TO DO THAT, WHICH GIVES ME THE USE.

GEORGIA, FOR THE SAKE OF TIME, I MAY WANT TO DO EVERYTHING THAT'S ORANGE ON HERE.

IF I'M DOING A COLORED THREAD, THAT IS.

WITH BLACK, YOU CAN JUST DO EVERYTHING AND JUST KEEP MOVING.

JUMP AROUND.

NOW YOU'VE INCORPORATED THE BATTING UNDERNEATH.

IS THAT ACTING AS A STABILIZER?

YES, IT IS.

THIS HAPPENS TO BE MY VERY FAVORITE THING TO USE.

I'VE TRIED THE DIFFERENT STABILIZERS, BUT WITHOUT A LOT OF SUCCESS BECAUSE WHEN I'M FINISHED, I DON'T LIKE TO TAKE THE TIME TO TEAR IT OFF.

USUALLY, I'VE ALREADY GOT MY INNER PART OF MY WALL HANGING OR WHATEVER I'M GOING TO USE IT FOR.

THEN YOU'D SIMPLY FINISH THAT WITH A BACKING.

YOU COULD ADD SOME ACCENT QUILTING TO THAT.

EXACTLY, LIKE MANY OF THESE PIECES ARE DONE.

THAT'S EXACTLY HOW THEY'VE BEEN COMPLETED.

THE BEAUTY OF THIS, GEORGIA, IS SOMETIMES I WILL GO AHEAD AND APPLY THE BACKING AND SEW, AND WHEN I'M FINISHED, IT'S DONE.

YOU HAVE ALL THREE LAYERS THERE.

IT LOOKS LIKE QUILTING FROM THE BACK.

THE THREAD IS IN A BLACK, AND IT LOOKS GOOD.

I'VE BEEN INSPIRED JUST LOOKING AT ALL THE FINISHED PROJECTS HERE.

I WOULD NEVER THINK TO BUY A DENIM DRESS AND THEN ADD THE EXTRA TO IT.

I THINK THAT'S A GOOD IDEA.

MARY, WE'VE GOT TO SHOW YOUR IRONING BOARD.

I THINK THAT'S KIND OF SPECIAL.

THIS GOES BACK TO SOME OF THE EARLIER TECHNIQUES.

THIS IS A FUSE KNOT ON ME.

THIS IS TO AVOID THAT PROBLEM THAT QUITE OFTEN HAPPENS.

EXACTLY.

WE APPRECIATE THIS INTRODUCTION AND AN OVERALL VIEW OF DOING THE MACHINE APPLIQUÉ WITH THE BLANKET STITCH.

I THINK IT'S SOMETHING I WANT TO TRY ON A LOT OF THINGS, ESPECIALLY A FULL-SIZE QUILT.

THANK YOU SO MUCH.

WE ENJOYED IT.

THANK YOU.

WE WERE GLAD TO SHARE IT WITH YOU.

WE JUST LOVE THE TECHNIQUE.

NO ONE HAS MORE OF A LAP QUILTING HISTORY THAN PENNY WERTMANN.

YOU HAVE SEEN HER QUILTS FEATURED IN EVERY ONE OF MY BOOKS, AND MAYBE YOU'VE EVEN MADE ONE OF HER PATTERNS.

IT IS A REAL PLEASURE TO WELCOME PENNY TODAY TO THE QUILT BUILT STUDIO.

SHE LIVES NEAR ASHEVILLE IN CANDLER, NORTH CAROLINA.

HAS THAT ALWAYS BEEN YOUR HOME, PENNY?

NO, ACTUALLY I'VE HAD A LOT OF HOMES BEFORE I MOVED TO CANDLER, BUT I'VE LIVED THERE LONGER THAN I'VE LIVED ANYWHERE IN MY LIFE, SO IT FEELS LIKE HOME.

I WAS BORN IN CALIFORNIA, AND I GREW UP IN MICHIGAN.

WHEN DID YOU DISCOVER QUILTING?

I THINK THAT PERHAPS IN MY TEENAGE YEARS I WAS AWARE OF IT.

IN MY EARLY ADULT LIFE, I BECAME ACTUALLY VERY INTERESTED IN MAKING QUILTS, BUT I DIDN'T THINK IT WAS ANYTHING I COULD DO.

IT JUST SEEMED BEYOND ME.

I FELT LIKE I WAS A PERSON WHO COULD-- AND THIS WAS TRUE--I COULD KNIT A PAIR OF MITTENS, BUT I WOULD NEVER KNIT A SWEATER.

SO IT WASN'T UNTIL I SAW YOU, ACTUALLY, AT THE SOUTHERN HIGHLAND HANDICRAFT GUILD FAIR IN ASHEVILLE THAT I REALIZED BY LOOKING AT ONE OF YOUR 18-INCH BLOCKS THAT I COULD MAKE ONE OF THOSE, AND IF I COULD MAKE ONE, I COULD MAKE 20.

SO THEN I REALIZED THAT I COULD MAKE A QUILT.

WELL, ALL OF THEM HAVE THIS ANTIQUE OR OLD-FASHIONED FLAVOR TO THEM.

HAS THAT HAPPENED FOR A PARTICULAR REASON, OR WHY IS IT YOU'VE CHOSEN TO RECREATE THE PAST, I GUESS?

I REALLY DON'T KNOW THAT THERE'S A REASON OTHER THAN THAT THAT IS WHAT IS IN ME TO DO.

I'M VERY ADMIRING OF MANY OTHER STYLES, AND SOMETIMES I WISH I COULD DO THEM, BUT THIS IS WHAT COMES OUT, AND I THINK ONCE I GOT BEYOND LEARNING THE FUNDAMENTALS, THIS WAS THE STYLE THAT EMERGED.

IT'S WHAT APPEALS TO ME, AND IT'S WHAT I SEEM TO BE MOVED TO DO.

RIGHT.

I KNOW THAT YOUR LIFE RECENTLY HAS TAKEN ON SOME NEW CHARACTER IN YOUR FULL-TIME JOB.

TELL US ABOUT THAT, AND IS THERE A LINK BETWEEN QUILTING AND WHAT YOU DO NOW?

IN MY EARLY ADULT LIFE, I WAS A TEACHER, AND ABOUT 14 YEARS AGO, I BECAME A NURSE.

AS SOON AS I BECAME A NURSE, I WAS DRAWN INTO PSYCHIATRIC NURSING FOR WHATEVER REASON.

I REALLY DO FEEL THAT, YES, THERE IS A VERY STRONG LINK BETWEEN THE TWO.

I ACTUALLY BECAME MOST INVOLVED IN QUILTING AT THE TIME I WAS IN NURSING SCHOOL.

AS I LOOK BACK, IT'S REAL CLEAR TO ME THAT QUILTING, THE ACT OF QUILTING ITSELF, ESPECIALLY THE REPETITIVE, SORT OF RHYTHMIC QUILTING, IS PART OF MAINTAINING MENTAL HEALTH FOR ME.

BECAUSE I WORK IN THAT PROFESSION, I REALLY VALUE THAT.

OKAY.

I THINK, STORY, AS WE WERE REMINISCING ABOUT SOME OF YOUR BEAUTIFUL PATTERNS, THIS PARTICULAR QUILT, "GRANDMA'S CHICKEN FEET," TELL US ABOUT THE CORNER ON THAT QUILT.

THE FUNDAMENTAL BLOCK OF THIS QUILT THAT'S CALLED THE "CHICKEN FEET" BLOCK IS SOMETHING THAT YOUR EYE MAY PICK OUT OR IDENTIFY AS WHAT THE QUILT'S ABOUT, AND I HAD A LITTLE IDEA THAT AFTER I GOT THAT PART MADE THAT I WOULD ADD THIS WILD GOOSE CHASE OR GOOSE TRACKS BORDER.

THEN I PUT A LITTLE STAR IN THE CORNER, AND AS I MADE THE CORNER OF THE QUILT, I REALIZED THAT WHAT I HAD WAS A PORTION OF A STAR, AND THAT IF I HAD ALL OF IT THERE, THAT I WOULD HAVE A STAR MOTIF.

THAT IDEA STUCK IN MY MIND, SO THAT EVENTUALLY I MADE THIS LITTLE QUILT.

IT'S A KIND OF CRIB-SIZE QUILT THAT I HAD THAT STAR COMPLETED.

SO IF YOU LOOK AT THE TWO SECTIONS, YOU SEE THAT THEY'RE IDENTICAL.

THEY'RE THE SAME SIZE.

YOU JUST HAD TO GET IT OUT OF YOUR SYSTEM, RIGHT?

I JUST HAD TO GET IT OUT OF MY SYSTEM.

OKAY.

WELL, OF COURSE, WHAT WE WANT TO TALK ABOUT TODAY IS THE QUILT THAT WE'RE FEATURING TODAY, AND ALSO HOPEFULLY WILL BE IN MY NEXT BOOK.

SO WE'RE EXCITED ABOUT THAT.

WHEN I STARTED TO REHASH AND FABRIC, REALLY GENUINELY OLD FABRICS, I STARTED TO BE ON THE LOOKOUT FOR BLOCK DESIGNS THAT WERE COMPATIBLE WITH THEM.

SO I SAW THIS QUILT IN A CATALOG, AND I'D NEVER SEEN THAT DESIGN BEFORE, SO IT INTRIGUED ME PARTICULARLY BECAUSE IT WASN'T REHASHING THE SAME THING ALL OVER AGAIN.

I LOOKED IT UP IN A QUILTING ENCYCLOPEDIA AND FOUND IT UNDER THE NAMES "SUSPENSION BRIDGE" AND "INDIAN TRAIL."

SO I HAVE CALLED THIS QUILT "INDIAN TRAIL" BECAUSE IT'S A LITTLE BIT MORE AUTHENTIC OF THE NAMES.

OKAY.

WELL, I'M PROUD THAT YOU ALSO TEACH AT THE JOHN CAMPBELL FOLK SCHOOL, AND I KNOW ANYONE LOOKING TO TAKE LESSONS FROM YOU COULD CERTAINLY CONTACT THEM, AND THAT'S BEEN A SPECIAL PLACE WHERE YOU'VE BEEN ABLE TO SHARE SOME OF YOUR EXPERTISE.

NOW, WE KNOW TODAY IN THE QUILT WORLD, PENNY, THAT YOU REALLY CANNOT DO PATCHWORK WITHOUT DOING A LITTLE BIT OF PAPER PIECING, AND WHEN YOU HAVE DESCRIBED THE PROCESS YOU MADE THIS QUILT, YOU INCLUDED SOME PAPER PIECING ON THIS PARTICULAR QUILT.

OKAY, I'D BE HAPPY TO DO THAT.

I FEEL LIKE I OUGHT TO SAY THAT THAT'S NOT MY AREA OF SPECIALTY AT ALL.

THIS IS THE ONLY PAPER PIECING I'VE DONE, BUT IT SEEMED SO EXACTLY THE RIGHT WAY TO DO THE ARC PORTION OF THIS QUILT THAT I TRIED IT OUT, AND IT WORKED PERFECTLY.

GOOD.

OKAY, PENNY, IS THIS YOUR SYSTEM?

YOU CUT OUT THE ARC.

THAT IS THE SYSTEM, AND I TRACED THAT OUT AND PHOTOCOPIED IT AS MANY TIMES AS I NEEDED IT.

AND IT LOOKS LIKE ALL THE DARK TRIANGLES ARE ON THE INSIDE.

CORRECT, POINTING OUT.

NOW, RATHER THAN WORKING WITH BIG HUNKS, YOU LIKE TO HAVE MORE OF A CLOSER PATTERN, RIGHT?

RIGHT, I FIGURED THAT THERE WERE THE LONGER, MORE ACUTELY POINTED TRIANGLES, AND THEN THERE WERE THE WIDER ONES POINTING IN, AND SO I MADE ONE MASTER THAT WOULD WORK FOR EACH OF THOSE TWO KINDS.

OKAY.

AND THAT'S WHAT I USED TO CUT MY FABRIC OUT, AND IT WAS EXACTLY THE RIGHT SIZE, BUT IT WAS BIG ENOUGH.

ALL RIGHT, WELL, I'VE GOT ONE DARK ON.

I'M READY FOR ANOTHER DARK.

WE'RE GOING TO SAY THAT'S DARK TODAY.

AND THE WIDER EDGE IS DOWN HERE, SO I'M POSITIONING THIS, KNOWING THAT I'M POSITIONING IT ON THIS SIDE AND LINING UP THE SEAM ALLOWANCE AND THEN SEWING ON THIS SIDE WHERE I'VE GOT THAT NICE LINE TO SEE WITH.

SO THEN I'M COMING AND JUST STARTING OUT THE RAW EDGE AND GOING ALL THE WAY DOWN.

AND IT IS NICE HOW I CAN JUST FOLLOW THAT MACHINE WORK RIGHT, RIGHT THERE, AND THEN COMING AND TRUSTING THAT I HAVE GATHERED ALL OF THAT, AND I'M READY THEN TO GO TO A LIGHT.

CORRECT, AND THEN THE ONE THING YOU WANT TO BE SURE OF BY HOLDING IT UP TO THE LIGHT IS THAT THERE IS ENOUGH SEAM ALLOWANCE SHOWING ACROSS THE NEXT LINE.

GREAT.

I THINK ANY KIND OF PAPER PIECING, ANYBODY THAT'S GOING TO TRY IT JUST HAS TO TRY IT TO KNOW EXACTLY WHAT WE'RE TALKING ABOUT.

THE CORE OF THE QUILT, IT'S WHAT REALLY MAKES IT, AND THOSE LITTLE RED SPICES THAT ARE DROPPED IN CERTAINLY ADD A LOT, TOO.

SO THANK YOU SO MUCH FOR COMING TODAY.

YOU'RE VERY WELCOME.

[ACOUSTIC GUITAR PLAYS IN BRIGHT RHYTHM] ♪ ♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM OXMOOR HOUSE, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS; BY BERNINA, MAKERS OF SEWING MACHINES MANUFACTURED WITH THE CARE OF TRADITIONAL SWISS WORKMANSHIP-- NOTHING SEWS LIKE A BERNINA...

NOTHING; BY GAMMEL QUILTING MACHINE COMPANY, OFFERING LARGE-THROAT, MOBILE, HAND-GUIDED QUILTING MACHINES; ADDITIONAL FUNDING BY OMNIGRID, THE ORIGINAL PATENTED BLACK AND YELLOW RULER; AND THE WARM COMPANY, MAKERS OF WARM AND NATURAL COTTON BATTING AND STEAM-A-SEAM FUSIBLE WEB.