[synthesized jingle] [upbeat acoustic guitar music] ♪ ♪ >> WELCOME TO THE LAP QUILTING STUDIO.

TODAY IT IS SO COLORFUL HERE.

WE HAVE A LOT OF PRETTY QUILTS TO SHARE WITH YOU.

THE FIRST ONE IS KATHARINE TROWICK'S QUILT CALLED SISTER'S CHOICE.

I CALL IT THE 25-PATCH STAR.

BUT THE THING THAT IS UNIQUE ABOUT THIS, IT IS LAP QUILTED, AND THE BLOCKS ARE TURNED ON THE DIAGONAL RATHER THAN BEING STRAIGHT ON.

THEY ARE OFFSET SO TO SPEAK.

AND I THINK IT IS JUST A LOVELY COLORFUL CALICO, ALMOST A HAPPY QUILT.

THERE IS A LOT OF MUSLIN IN IT, BUT IF YOU CONSIDER THE FACT THAT THIS PORTION WOULD COVER THE TOP OF THE BED AND THEN THIS PORTION WOULD SIMPLY COVER THE MATTRESS SIDES ALL AROUND THE SIDES.

WE ARE GOING TO CONCENTRATE ON THE FINISHING TOUCHES TODAY.

AND I THINK THAT KATHARINE HAS DONE A LOVELY JOB WITH HER CALICO BORDER ALSO ON THE TRIANGLES ALL AROUND THE OUTSIDE.

SHE HAS ALSO RESOLVED HER CORNERS SO NICELY.

I THINK THAT'S VERY GOOD.

YOU CAN SEE THAT THE BORDER WAS ADDED AFTER THE PIECING WAS DONE, AFTER THE WHOLE QUILT WAS PUT TOGETHER.

ANOTHER QUILT THAT I PIECED, BUT THEN HILDA FRIETAG QUILTED, WAS DONE ON THE DIAGONAL ALSO.

IT'S A SAMPLER, BUT YOU CAN SEE THE DIFFERENT LOOK THAT YOU GET WHEN YOU TURN YOUR BLOCKS ON THE DIAGONAL.

YOU GET REALLY, A WHOLE DIFFERENT IDEA GOING ON.

LET'S LOOK AT SOME CURVED QUILTS.

I THINK THE GRANDMOTHER'S FAN IS SO IN KEEPING THE OUTSIDE EDGES OF HAVING THE SOFTER, MORE FEMININE LOOK OF THE RUFFLE BECAUSE YOU'VE GOT THE NICE CURVES HERE.

JUDY GRAY DID THIS QUILT, AND I LIKE THE DARK, OLD-FASHIONED COLOR ALONG WITH THE PINKY, SALMON COLOR OF THE PIECED FAN.

VERY NICE.

KAREN PURVEER DID THIS GRANDMOTHER'S FAN, AND SHE'S EVEN INCORPORATED A PIQUE FABRIC.

I HADN'T THOUGHT ABOUT USING PIQUE AS A QUILTING FABRIC, BUT THIS HAS A GENTLE TOUCH WITH A NARROWER DOUBLE RUFFLE ALL AROUND THE OUTSIDE.

MORE THAN LIKELY, YOU'RE GOING TO WANT TO PUT A BIAS EDGING ON YOUR QUILT RATHER THAN A RUFFLE.

MAYBE THAT WOULD BE FOR YOUR SECOND QUILT.

BUT WHAT YOU'RE GOING TO NEED TO DO IS MAKE A CONTINUOUS BIAS TUBE.

NOW, YOU COULD JUST TAKE FABRIC AND, USING YOUR 45-DEGREE ANGLE, DRAW ON THE FABRIC.

GIVE YOURSELF A GOOD LINE TO START WITH, AND THEN EVERY 2 1/2 INCHES, YOU'RE GONNA HAVE TO MEASURE DOWN.

WELL, THAT GETS VERY TEDIOUS AND VERY LONG.

WHY NOT GO AHEAD AND MAKE YOURSELF A CONTINUOUS BIAS TUBE?

I THINK IT WORKS VERY NICE THAT WAY.

WHAT YOU WANT TO DO FIRST OF ALL IS MAKE SURE YOU BUY ENOUGH MATERIAL.

IT WILL PROBABLY TAKE A YARD AND QUARTER OF EXTRA MATERIAL.

FOR INSTANCE, IF THIS MAROON CALICO WAS A PORTION OF YOUR QUILT, AND YOU WANTED TO BUY EXTRA TO PUT ON THE EDGING OF YOUR QUILT WHEN YOU'D FINISHED, MAKE SURE AND BUY THAT YARD AND A QUARTER EXTRA.

YOUR FABRIC, MOST OF IT TODAY, IS 45 INCHES WIDE.

SO TO MAKE A PERFECT SQUARE, YOU'RE GONNA NEED A YARD AND A QUARTER.

I ALWAYS REMOVE THE SELVAGE.

IN FACT, KEEP THESE LITTLE SELVAGE PIECES.

THEY'RE NICE AND TAUT.

AND YOU DON'T WANT THEM INSIDE YOUR QUILT, BUT I HAVE ANOTHER WAY OF USING THEM, AND WE'LL TALK ABOUT THAT WHEN WE DO TOTE BAGS.

I'M GONNA WORK ON A SMALL SQUARE SO YOU REALLY GET THE IDEA.

AND IN YOUR SEWING ROOM, YOU MIGHT EVEN WANT TO MAKE TWO LITTLE, MAYBE, 6-INCH SQUARES.

AND KEEP THAT BY YOUR MACHINE SO YOU CAN ALWAYS REMEMBER HOW THIS TECHNIQUE WORKS.

I THINK YOU CAN SEE IT ON PAPER, BUT IF YOU HAVE THE VISIBLE EVIDENCE THERE, IT MAKES IT A LOT EASIER.

I HAVE TAKEN AN 18-INCH SQUARE, AND YOU'RE GOING TO FOLD IT INTO TWO PERFECT TRIANGLES AND THEN LINE IT UP COMPLETELY, AND THEN CUT THAT.

NOW, SOME PEOPLE ALWAYS ASK ME, "DO I TEAR MY FABRIC, OR DO I CUT IT?"

I THINK THAT, OF COURSE, ON THE DIAGONAL, I THINK YOU HAVE TO CUT IT.

IF YOU'RE WORKING WITH STRAIGHT OF THE GRAIN FABRIC, YOU REALLY NEED TO TEST YOUR FABRIC FIRST.

100% COTTON FABRIC WILL TEAR NICELY, BUT IF IT HAS A BLEND, IF IT HAS SOME POLYESTER IN IT, I HAVE FOUND IT REALLY WILL NOT TEAR VERY NICELY.

YOU ALWAYS END UP WITH THOSE EXTRA STRINGS ALSO.

ONCE YOU HAVE CUT YOUR TWO TRIANGLES, THEN YOU'RE GOING TO TURN THAT, AND YOU'RE GOING TO GET THIS LOOK.

WHEN YOU GET YOUR TWO-- YOU'RE ALWAYS GOING TO BE WORKING.

WHEN YOU'RE DOING THIS TUBE, YOU'RE ALWAYS GONNA BE WORKING WITH YOUR FABRIC SEWING WITH EITHER THE STRAIGHT OF THE GRAIN OR THE CROSS-GRAIN.

YOU WILL NEVER BE SEWING A BIAS EDGE.

THIS IS YOUR BIAS EDGE THAT YOU JUST CUT, AND IT WAS A PERFECT BIAS EDGE.

SOME PEOPLE HAVE ASKED, "HOW WILL THIS BE A TRUE BIAS ALL THE TIME?"

WELL, YOU KNOW THAT WHEN YOU CUT A PERFECT TRIANGLE THAT YOU HAD THAT PERFECT 45-DEGREE ANGLE.

SO YOU'RE GOING TO SIMPLY BE CUTTING IN FROM THAT TO FORM YOUR CONTINUOUS BIAS TUBE.

NOW I'M GOING TO MACHINE STITCH THIS ALL THE WAY DOWN THIS EDGING.

AND I USUALLY TAKE, OH, JUST 1/4 INCH SEAM ALLOWANCE HERE, I THINK WORKS VERY NICELY.

AND YOU WANT TO MAKE SURE, IF YOU WERE USING FABRIC THAT HAD A WRONG OR RIGHT SIDE, THAT THE TWO RIGHT SIDES ARE TOGETHER.

YOU CAN SEE WHAT'S HAPPENING HERE.

KEEP YOUR RAW EDGES LINED UP.

I THINK IF YOU TOOK A 5/8 SEAM, THAT WOULD BE TOO MUCH FABRIC TO HAVE INSIDE.

NOW, ONCE YOU HAVE DONE THIS SEAM, YOUR NEXT STEP--OH, EXCUSE ME-- IS GOING TO BE ONE OF THE IMPORTANT FOLDING FEATURES.

AND I WANT TO SHOW-- IT'S AT THIS POINT THAT YOU'RE GOING TO DECIDE-- NOW, I HAVE THAT-- FOR INSTANCE, AT THAT PORTION, YOU'RE GOING TO DECIDE HOW WIDE YOUR BIAS STRIP IS GOING TO BE.

I LIKE TO THINK OF 2 1/2 INCHES IS REALLY ABOUT YOUR BEST WIDTH FOR GOING AROUND THE OUTSIDE OF A QUILT.

AND I LIKE TO SIMPLY TAKE A PIECE OF SOAP OR A PENCIL AND GIVE YOURSELF A 2 1/2 INCH, AND THEN DRAW A LINE OH, MAYBE ABOUT 3 INCHES INTO YOUR FABRIC.

NOW, THIS IS A BIASED EDGE.

AND YOU KNOW YOU'RE COMING IN FROM THAT.

SO I HAVE GONE DOWN ABOUT 2 1/2 INCHES.

ALL RIGHT.

NOW I'M GONNA OPEN THIS UP, AND WHAT I'VE GOT IS REALLY A NICE PARALLELOGRAM, ISN'T IT?

IN FACT, LET'S LOOK AT THIS ON A LARGER SCALE TO KIND OF GET THE WHOLE IDEA.

THIS IS GOING TO BE-- THIS STARTED OUT TO BE A VERY WIDE FABRIC, AND THAT'S-- I'VE GOTTEN TO THIS PORTION, AND WE COULD CALL THAT BAGGY PANTS FOR AN ELEPHANT.

DOES THAT LOOK ABOUT RIGHT?

ALL RIGHT, AT THIS POINT, AND I CAN OPEN THIS UP AND YOU CAN SEE, THIS IS GONNA BE A WIDE RUFFLE FOR AROUND A PILLOW.

SEE THE LARGE PARALLELOGRAM YOU'VE GOT GOING ON THERE?

ALL RIGHT, I MEASURE IN.

HERE'S MY BIAS EDGE.

AND I'M GONNA WANT A NICE, WIDE, I THINK ALMOST A 12 INCH.

SO I WOULD COME ALL THE WAY IN FROM MY BIAS EDGE AND MARK A 12-INCH BAND.

COME HERE.

AND I'D COME ALL THE WAY DOWN HERE KNOWING THAT THAT'S HOW WIDE, BECAUSE I WANT A DOUBLE RUFFLE.

I'M GOING TO MAKE THAT.

I WOULD SIMPLY MARK THAT.

NOW, LET'S GO BACK TO THE SMALLER ONE.

I THINK IT'S A LITTLE BIT EASIER TO WORK WITH.

THIS IS AN IMPORTANT STEP RIGHT HERE.

YOU KNOW THAT YOU'VE DECIDED HOW WIDE YOU WANT YOUR BIAS EDGING.

YOU SIMPLY TAKE THIS, WHICH IS YOUR CROSS-WISE OR YOUR STRAIGHT OF THE GRAIN, AND HAVE IT COME UP AND MEET THIS RIGHT HERE.

AND YOU'RE GONNA NOTICE THAT WHEN THOSE MEET-- NOW, HERE'S YOUR EDGE THAT YOU'VE CUT-- THAT SAME AMOUNT-- AND I'M GONNA PIN THIS RIGHT HERE BECAUSE THAT WILL HELP YOU AS FAR AS THIS IS WHERE WE'RE GONNA SEW.

NOW, THIS IS NOT A BIAS EDGE THAT WE'RE SEWING.

IF IT WERE A BIAS EDGE, YOU'VE DONE SOMETHING WRONG.

BUT WHEN YOU COME DOWN HERE, LOOK WHAT'S HANGING OUT.

IT'S THAT 2 1/2 INCHES.

THAT'S AT THE OPPOSITE END WHEN YOU'RE GONNA CUT IN A CIRCLE.

OKAY, I'M GOING TO MACHINE SEW ALL THE WAY DOWN HERE, AND YOU'RE GONNA SAY, "THAT IS NOT A BIAS TUBE."

IT WILL NOT BECOME ONE UNTIL YOU'VE SEWN IT.

THAT'S THE WHOLE SECRET.

IT'S GOT TO BE SEWN BEFORE IT WILL ACTUALLY FORM A BIAS TUBE.

NOW, ONCE AGAIN, TAKE YOUR 1/4 INCH SEAM ALLOWANCE, ALL THE WAY DOWN.

OF COURSE, IN THAT BLACK-AND-WHITE FABRIC, YOU'D BE TAKING IN MUCH LONGER SEAM THAN THIS.

I THINK IT'S MORE OR LESS SELF-EXPLANATORY.

ALL RIGHT, COME ALL THE WAY TO THE EDGE, AND THEN WHEN YOU'VE CUT THESE THREADS AND YOU OPEN IT UP AND HOLD IT, ALL THE SUDDEN, YOU CAN SEE YOUR LITTLE BIAS TUBE HAS BEEN FORMED.

NOW, YOU CAN SIMPLY USE THIS AS A GUIDE.

AND I LIKE TO PUT THIS IN ON, REALLY, ON AN IRONING BOARD, AND I CAN USE THIS AND JUST SIMPLY KEEP FLIPPING THIS BACK AND USE THIS AS A GUIDE TO KEEP CUTTING.

IF YOU WORK ON A FLAT SURFACE, THEN WHAT HAPPENS IS THAT YOU RUN THE RISK OF CUTTING THIS FABRIC UNDERNEATH.

SO SIMPLY KEEP CUTTING LIKE THIS, AND THEN IF THIS WERE OPEN ON AN IRONING BOARD, I THINK THAT WORKS VERY NICELY.

NOW, HOW ARE YOU GOING TO USE THAT ON THE OUTSIDE OF A QUILT?

LET'S EXAMINE THAT.

HERE'S A CONTINUOUS BIAS TUBE THAT HAS ALREADY BEEN MADE.

AND I AM SIMPLY GOING TO-- I'VE CUT IT 2 1/2 INCHES WIDE.

I'M GONNA FOLD THAT SO THAT THE RAW EDGES ARE LINED UP TOGETHER.

AND I LIKE TO GO AHEAD AND PIN THAT LIKE THIS BECAUSE IT'S SO EASY FOR THAT BIAS TO GO CATTYWAMPUS.

YOU DON'T WANT THAT TO HAPPEN.

YOU WANT IT TO BE LINED UP.

WE HAVE FOUND, IN OLDER QUILTS, ONE OF THE FIRST THINGS TO WEAR OUT WAS THAT SINGLE EDGING.

SO WHY NOT GO AHEAD AND MAKE THAT A DOUBLE EDGING?

I THINK IT WORKS A LOT NICER.

THEN WE CAN TAKE, FOR INSTANCE, THIS IS THE FINISHED SIDE OF A QUILT, THE FRONT SIDE.

AND YOU'RE SIMPLY GONNA PLACE THIS ON, AND YOU'RE GOING TO PIN THIS IN PLACE.

AND I LIKE TO GIVE MYSELF A FULL 1/4-INCH SEAM ALLOWANCE, AND I'M GONNA SEW THIS ON THE MACHINE.

AND I REALLY FEEL THAT THE GOOD THING TO DO HERE IS TO HANDBASTE THIS.

IT REALLY HOLDS IT IN PLACE.

ONCE YOU'VE MACHINE STITCHED THAT, THAT WILL SIMPLY ROLL OVER, AND THEN YOU WILL BE DOING YOUR HANDWORK ON THE BACK SIDE.

NOW, I ALSO THINK IT'S NICE THAT ON THE CORNERS-- IF YOU WANT TO, JUST SOFTEN THOSE A LITTLE BIT-- AND YOU'LL FIND THAT YOUR BIASED EDGING GOES AROUND A LOT EASIER IF YOU ROUND OFF THOSE CORNERS.

NOW, AS FAR AS RUFFLES GO, YOU CAN GO AHEAD AND DO A DOUBLE RUFFLE ON YOUR QUILT, AND WHEN YOU FINISH THAT, AND YOU'VE GATHERED IT, ATTACH IT TO THE FRONT OF YOUR QUILT, LOCKING IN THAT BATTING AT THE SAME TIME.

IN OTHER WORDS, AT THE MACHINE, YOU'D BE SEWING THAT.

THEN ON THE BACK SIDE, YOU WOULD TURN IT OVER, AND TAKING YOUR BACKING, FOLDING THAT UNDER 1/4 INCH, THAT WILL SIMPLY FALL ON TOP OF THAT RUFFLE, AND THEN YOU WOULD DO YOUR HANDSTITCHING THERE.

NOW, OF COURSE, ONE OF THE OTHER ACCENTS IS THE PRAIRIE POINTS OR THE SAWTOOTH EDGING WHICH IS NICE TO DO ALSO.

THAT'S A MATTER OF SIMPLY TAKING A SQUARE AND FOLDING IT INTO A TRIANGLE AND THEN A SMALLER TRIANGLE.

AND THEN THESE TRIANGLES WOULD SIMPLY KIND OF-- OOPS, EXCUSE ME-- OVERLAP, AND THEN YOU HAVE THAT KIND OF EDGING.

THAT EDGING CAN ALSO BE MACHINE SEWN THE SAME WAY.

AND THEN AS YOU CAN SEE, THE PINS WOULD HIDE THE SEAM ALLOWANCE, AND THE BACK SIDE COMES OVER THAT.

SO THAT'S A NICE EDGING.

NOW, ON BEA GREEN'S QUILT, SHE WAS GOING TO GO AHEAD AND TAKE TWO CIRCLES AND SEW THOSE TOGETHER ALL THE WAY.

THOSE HAVE BEEN SEWN TOGETHER, TWO RIGHT SIDES TOGETHER.

THEN FOLDING THAT IN HALF-- AND YOU CAN GIVE IT A CREASE, IF YOU'D LIKE.

OR GO AHEAD AND COME LIKE THIS, AND WITH YOUR SOAP, CUT THAT APART.

NOW, YOU HAVEN'T LEFT ANY OPENING.

YOU'RE JUST GONNA GO AHEAD AND CUT THAT APART, AND I'D GIVE YOURSELF 1/4 INCH OR MAYBE EVEN NARROWER-- EVEN 1/8 OF AN INCH.

AND YOU'D COME AND TURN THAT INSIDE OUT.

AND THEN, I THINK A TRIP TO THE IRONING BOARD WOULD REALLY HELP HERE.

KIND OF WORK THAT WITH YOUR FINGERS AND GET IT NICE AND CURVED SO YOU DON'T HAVE ANYTHING THAT ISN'T-- WON'T RUN SMOOTH ALL AROUND THE OUTSIDE.

I THINK THE IRON WILL REALLY HELP THIS.

THEN SHE'S GOING TO GO AHEAD AND TREAT THIS.

YOU'LL GET THIS EFFECT GOING ON ALL THE WAY AROUND THE OUTSIDE OF HER QUILT.

AND SHE HAS DECIDED TO USE THE SAME PRINT ALL THE WAY, BUT FIRST, SHE WOULD GO LIKE THIS AND TAKE HER BACKING ALL THE WAY BACK SO THAT SHE WOULD BE MACHINE SEWING WITH THAT BACKING CAUGHT BACK.

LET'S PIN THAT AND SEE EXACTLY HOW THAT WOULD LOOK.

I THINK YOU'LL GET MORE OF THE EFFECT ONCE THIS GOES HERE, ANOTHER PIN HERE.

YOU CAN EVEN OVERLAP THOSE SCALLOPS IF YOU WANT TO.

THEN THAT WILL COME LIKE THAT, AND YOU'LL GET KIND OF A SOFTER KIND OF AN EDGING ALL THE WAY AROUND THE OUTSIDE.

NOW, YOU REMEMBER THE LONE STAR QUILT.

AND WE TALKED ABOUT HOW WE WERE GONNA FINISH THAT OFF.

THIS ENTIRE QUILT CAN BE DONE BY DOING THE BIAS TUBE.

AND THEN I SIMPLY CUT WIDE, RANDOM STRIPS, ALL OF THEM ABOUT 6 INCHES WIDE, SEWED THOSE TOGETHER AND FORMED A WHOLE BIAS TUBE.

AND THEN I WILL GO AHEAD AND FOLD THIS AND DO THE SAME IDEA AROUND HERE SO THAT YOU'RE GONNA HAVE A HINT OF ALL THE COLORS THAT WERE USED IN THIS QUILT EDGING THE ENTIRE THING.

ANOTHER TECHNIQUE THAT I THINK HAS PROVED TO BE VERY, VERY COLORFUL AND FUN-- I WANTED SOMETHING A LITTLE BIT DIFFERENT FOR THE ATTIC WINDOWS QUILT.

DO YOU REMEMBER THIS ONE THAT HAD ALL THE DIFFERENT COLORS IN IT?

AND I TURNED TO THE IDEA OF USING THE SEMINOLE PATCHWORK.

AND WE WILL REFER TO THIS AGAIN WHEN WE DO VESTS.

ANYONE WHO ENJOYS DOING MACHINE PIECING, I THINK THEY ARE A NATURAL FOR WORKING WITH SEMINOLE.

AND CHERYL BRADKIN HAS DONE A WONDERFUL JOB ON THIS BOOK.

AND I HAVE ENJOYED MANY OF THESE PATTERNS, ESPECIALLY THIS DESIGN, NUMBER 42.

TO ME IT WAS SO TYPICAL, THE TRAPEZOIDS, THAT I WANTED TO ACCENT THE WHOLE OUTSIDE OF THIS QUILT, AND SO I SIMPLY ENLARGED HER IDEAS.

WORKING WITH SEMINOLE, YOU'RE WORKING WITH VERY NARROW STRIPS OF FABRIC, AND INSTEAD OF USING-- NORMALLY YOU START OUT WITH FABRIC THAT'S CUT ON THE STRAIGHT OF THE GRAIN.

AND WHEN YOU FINISH YOUR DECORATIVE EDGING, IT WILL BE ON THE BIAS.

SO I SIMPLY REVERSED THAT, AND I STARTED OUT WITH BIAS STRIPS OF FABRIC.

AND I CUT THEM 3 INCHES WIDE, SEWED THE BROWN AND THE CHECKED TOGETHER, ONE SEAM, 1/4 INCH SEAM ALLOWANCE.

AND THEN I'VE MEASURED DOWN 3 INCHES, AND I'LL CUT THESE APART.

AND OF COURSE, YOU WOULD HAVE TO DO A LONG STRIP OF THESE WHEN YOU'RE GONNA DO A BORDER OF AN ENTIRE QUILT.

BUT I WENT AHEAD, AND ONCE THAT HAS BEEN-- I'M GONNA PUT THIS RIGHT ON TOP SO YOU REALLY GET THE FULL EFFECT HERE.

ONCE THAT HAS BEEN CUT APART, THEN YOU SIMPLY ALTERNATE THE WAY THIS WOULD GO.

NOW, FOR INSTANCE, LET ME GET THIS TURNED SO YOU SEE EXACTLY HOW IT GOES.

THE BROWN IS DOWN.

THE CHECK IS UP.

AND YOU SIMPLY ALTERNATE THEM.

BUT YOU HAVE TO DECIDE HOW FAR YOU STAGGER THIS DOWN.

IN OTHER WORDS, YOU'RE GOING TO RESEW THESE STRIPS TOGETHER THAT HAVE BEEN CUT APART.

AND I HAVE LEFT A SPAN OF 1 1/2 INCHES IN BETWEEN.

SO THAT WOULD BE SEWN HERE.

THIS WOULD DROP DOWN.

LET'S SEE.

LET'S GET THIS RIGHT ON SO YOU CAN SEE EXACTLY HOW THIS GOES.

THIS WOULD COME LIKE THIS, AND THERE'D BE A SPAN HERE, ONCE AGAIN, OF 1 1/2 INCHES.

THESE WOULD BE SEWN TOGETHER, AND WE'LL JUST SIMPLY SET THEM THAT WAY SO YOU CAN TELL, AND THEN YOUR DARKER STRIP IS SEWN LIKE THIS, AND YOU DO LOSE SOME OF THESE EXCESS TRIANGLES.

LET'S TURN THAT UNDER, AND YOU'LL GET THE EFFECT OF THE TRAPEZOID.

AND THEN YOU CAN SEE THE EFFECT.

NOW, WHAT I DID WHEN THAT LONG BAND WAS DONE, I SEWED THE BLACK STRIP TO THAT.

THEN THAT WHOLE PORTION WAS SEWN TO THE OUTSIDE EDGE OF THE QUILT.

IT ALSO MEANT COMING BACK, AND IT'S VERY DIFFICULT TO SEE BECAUSE OF THE TINY BROWN AND WHITE CHECKS, BUT THERE WAS A SEPARATE PIECE OF FABRIC SEWN TO THE BACKING OF THE FINISHED QUILT.

THEN THE TWO WERE BROUGHT TOGETHER.

AND OF COURSE, BATTING WAS INSERTED THERE ALSO.

AND IT MEANT SOME EXTRA QUILTING, AND THEN THE DOUBLE BIAS TAPE THAT WAS ON THE FOLD, THE CHECK WAS PUT AROUND THE OUTSIDE OF THE QUILT.

SO IT DOES TAKE SOME PREPLANNING, BUT I THINK YOUR OUTSIDE BORDERS CAN REALLY ACCENT AND COMPLETE THE WHOLE PORTION OF YOUR QUILT.

WE HAVE A WONDERFUL ARRAY OF LOG CABIN QUILTS TO SHARE WITH YOU NOW.

THE LOG CABIN DESIGN IS ANOTHER JUST GREAT AMERICAN FAVORITE.

THERE ARE SO MUCH EXPERIMENTATION THAT'S BEEN DONE WITH JUST STRIPS SEWN AROUND A BLOCK.

LET'S GO DOWN THROUGH FOUR BASIC IDEAS AND THEN LOOK AT SOME GREAT QUILTS THAT HAVE BEEN DONE USING THIS IDEA.

WE THINK OF STARTING ALWAYS WITH OUR CENTER SQUARE, AND THEN THESE STRIPS ARE SEWN ALL THE WAY AROUND.

I LIKE TO USE A 1 1/2 INCH WIDE STRIP, BUT I THINK THAT YOU CAN EXPERIMENT.

YOU CAN USE A NARROWER STRIP, OR YOU CAN USE A WIDER ONE.

TODAY WE'RE FINDING PEOPLE THAT EVEN VARY THE WIDTH OF THEIR STRIP.

SO THERE'S A LOT THAT HAS BEEN DONE WITH THIS.

THIS IS YOUR TRADITIONAL CENTER SQUARE WITH YOUR LIGHT ON ONE SIDE AND YOUR DARK ON THE OTHER SIDE.

WE HAVE ANOTHER VARIATION STARTING WITH A SQUARE WHERE YOU WOULD ADD ONE LIGHT STRIP FOUR TIMES ALL THE WAY AROUND AND THEN A DARK ROW ALL THE WAY AROUND.

YOU COULD, FOR INSTANCE, CALL THIS TRIP AROUND THE MOUNTAIN OR SUNSHINE AND SHADOWS, WHATEVER TYPE OF THING THAT THE FACT THAT YOU'RE VARYING LIGHT FROM DARK IN A SQUARE MOTION ALL THE WAY AROUND.

THIS ONE IS CALLED YOUR COURTHOUSE STEPS, OR YOUR CAPITOL STEPS.

THE IDEA HERE IS THAT YOU START OUT WITH A SQUARE, AND YOU ADD LIGHT ON THE OPPOSITE SIDES OF THE SQUARE, AND THEN YOU ADD DARK ON THE OPPOSITE SO THAT YOU GET A FLOW OF ALL LIGHT GOING THIS WAY AND DARK GOING IN THAT PATTERN.

WE REFER TO THIS SETTING AS THE BARN-RAISING SETTING.

THE FACT THAT YOU HAVE SEWN, REALLY, YOU'VE STARTED OUT WITH FOUR 2 1/2 INCH SQUARES, HAVEN'T YOU?

AND IN THIS CASE, YOU'VE ONLY SEWN TWO STRIPS, AND IT'S A BASIC FOUR-PATCH.

IF YOU FOLLOW MY FINGER HERE, YOU CAN SEE THE DIVISION IS SIMPLY BROKEN DOWN INTO QUARTER SECTIONS.

BUT WHEN THOSE ARE PUT TOGETHER, IT'S SET IN WHAT IS KNOWN AS BARN-RAISING.

ONE OF THE NICEST LITTLE PAMPHLETS OR BOOKLETS, I THINK, GIVING A GOOD EXPLANATION OF LOG CABIN AND MANY VARIATIONS IS THIS, LOG CABIN QUILTS, DONE BY BONNIE LEMAN AND JUDY MARTIN.

AND I THINK THERE'S SOME MARVELOUS COLOR PICTURES IN HERE.

I'VE HAD AN OPPORTUNITY TO WORK WITH ONE OF THE LADIES, FLAVIN GLOVER, AND SHE AND HER HUSBAND WORK TOGETHER DESIGNING DIFFERENT LOG CABIN VARIATIONS.

IN THIS PARTICULAR ONE, SHE'S DONE MORE OR LESS A NAUTICAL THEME WITH SAILBOATS AND THE SUN, BUT IT'S ALL BASED ON THE LOG CABIN IDEA.

LET ME GIVE YOU A COUPLE OF SUGGESTIONS FOR PUTTING YOUR LOG CABIN TOGETHER.

THIS MIGHT BE AN IDEA.

MY MOTHER HAS BEEN WORKING WITH LEFTOVER WOOL FABRICS.

AND CONSIDER THE FACT THAT YOU CAN GET GOOD WOOL SKIRTS AT A THRIFT SHOP FOR SOMETIMES 25¢ OR SO.

AND CUT INTO STRIPS, THOSE WOULD MAKE A NICE QUILT.

FORGET THE BATTING, THE WOOL'S WARM ENOUGH.

AND JUST LAYER THIS ON A BACKING.

NOW, SHE RAN INTO A KIND OF A TROUBLE, PROBLEM HERE.

SHE WAS SIMPLY PUTTING HER SQUARE ON THE CENTER OF A PIECE OF MUSLIN, OR ACTUALLY A GREEN MUSLIN SHEETING-TYPE MATERIAL, AND THEN SEWING THROUGH THE MUSLIN AS SHE WOULD SEW AND FLIP ALL THE WAY OUT.

WHEN SHE GOT TO THE EDGE, SHE HAD THIS CATTYWAMPUS PROBLEM: IT WAS NOT RUNNING PARALLEL.

SO I SUGGESTED TO HER TO GO AHEAD AND MACHINE STITCH HER STRIPS TOGETHER ON THE MACHINE.

THEN SHE'S PLACING THIS, CENTERING IT ON HER GREEN MUSLIN, AND SIMPLY QUILTING THE TWO TOGETHER.

SO SHE'S QUILTING TWO LAYERS INSTEAD OF THE THREE.

ANOTHER SUGGESTION WOULD BE, WHEN YOU ARE ADDING YOUR STRIPS, IF YOU FIND THAT THEY ARE NOT STAYING EVEN AS YOU GO OUT, WHY NOT GO AHEAD AND SIMPLY, AT THIS POINT, USE YOUR 1-INCH RULER.

OR IF YOU HAVE A WIDER RULER, YOU CAN GO AHEAD AND ATTACH YOUR MASKING TAPE TO THAT.

LINE THAT MASKING TAPE UP, AND THEN WITH A PENCIL OR YOUR SOAP-- NOW, YOU WANT TO LINE THAT UP EXACTLY WHERE YOUR STITCHING-- YOUR PREVIOUS STITCHING LINE IS, GIVE YOURSELF A GUIDE TO FOLLOW.

ONCE AGAIN, IF YOU CAN GIVE YOURSELF A STRAIGHT LINE TO FOLLOW, WHY NOT GO AHEAD AND DO THAT?

AND THAT WAY, AS YOU'RE ADDING THOSE STRIPS, THEY WILL STAY STRAIGHT ALL THE WAY OUT.

LET'S TAKE A LOOK AT SOME OF THESE FABULOUS QUILTS.

ALL DONE LAP QUILTING, BUT WITH A LOG CABIN METHOD.

THIS IS DONE BY MARY DAVIS OF WINSTON-SALEM, AND I THINK IT'S ONE OF THE FINEST EXAMPLES OF LOG CABIN THAT I'VE SEEN.

I THINK THE RICHNESS OF THE REDS AND THE BROWNS JUST SPEAKS LOG CABIN.

AND I ALSO--WHEN YOU STAND BACK AND LOOK AT THIS, DON'T YOU KIND OF GET THE IDEA OF MOUNTAINS KIND OF SUPERIMPOSED ON TOP OF EACH OTHER?

IF YOU'LL ALSO NOTICE, SHE HAS A BREAK IN HER-- FROM THE FINISHED QUILT TO THE BORDER, SHE HAS A BREAK, A BAND THAT JUST BREAKS THAT.

AND LOOK WHAT SHE'S DONE.

SHE HAS QUILTED IN AN OVAL.

YOU'D THINK WITH ALL THESE STRAIGHT LINES THAT THAT WOULDN'T BE IN KEEPING, BUT IT LOOKS VERY APPROPRIATE HERE.

AND I THINK SHE'S DONE A VERY NICE JOB.

HER SQUARES ARE A LITTLE BIT SMALLER THAN A 2 1/2, SO YOU CAN START WITH ANY SIZE SQUARES YOU REALLY DESIRE.

AND THEN SHE HAS THE BANDING ONCE AGAIN, ALL THE WAY AROUND THE OUTSIDE, WHICH WAS A SEPARATE BAND THAT WAS ADDED.

NOW, MABEL WRIGHT FROM LANDRUM, SOUTH CAROLINA, HAS DONE A LOG CABIN ALSO ALL IN THE TEAL BLUE COLORS.

BUT LET ME POINT OUT ONE THING ABOUT HER QUILT THAT KIND OF GIVES IT A DIFFERENT LOOK.

IT'S STILL LOG CABIN, BUT NOTICE THAT EACH SQUARE, WHEN IT WAS FINISHED, HAD THE SAME COLOR ON THE OUTSIDE.

IN OTHER WORDS, BLUE HERE, BLUE HERE, POLKA DOT HERE, AND POLKA DOT HERE.

WHEN THEY ARE JOINED TOGETHER, YOU SEE WHAT HAPPENS; SHE GETS MORE OR LESS A DOUBLE BAND ALL THE WAY AROUND.

IT SIMPLY GIVES IT A DIFFERENT FEATURE, BUT IT'S STILL A LOG CABIN.

AND IT IS SET IN THE BARN-RAISING STYLE AGAIN ALSO.

NOW, ANOTHER QUILT, BUT DONE WITH WIDER STRIPS-- AND PERHAPS THIS IS FOR A KING-SIZE BED-- IS ANOTHER LOG CABIN, AND IT'S A VERY WARM, BEIGY, GOING INTO THE AMBER, GOLD, AND GREEN COLORS.

AND IT IS FINISHED OFF WITH THE SAWTOOTH EDGING.

THAT IS HOW THAT WAS FINISHED.

I WANT TO POINT OUT THE FACT, WE DIDN'T GET A CHANCE TO TALK ABOUT THE QUILTING FRAME.

THIS IS ANOTHER OPTIONAL-TYPE FRAME SO THAT IT IS SET.

YOU CAN LOOSEN AND TIGHTEN THESE, AND WHEN YOU ARE ACTUALLY SITTING DOWN, YOU COULD USE THIS.

I--OF COURSE, WE HAD A CHANCE TO SEE A LOT OF GIRLS QUILTING, AND I THINK IT'S TIME FOR ME TO DO MORE QUILTING AND SHOW YOU HOW TO END OFF YOUR QUILTING STITCH.

WE'VE HAD A CHANCE TO DO SOME QUILTING, AND I WANT TO, IN PARTICULAR, SHOW YOU HOW TO END OFF YOUR KNOT.

THAT'S THE IMPORTANT THING WE REALLY DIDN'T GET A CHANCE TO COVER.

AND OF COURSE, SEEING THIS LOVELY, COLORFUL QUILT REMINDS ME OF JEANETTE LEDBETTER'S HUSBAND.

THIS IS ONE THAT SHE MADE USING THE PINWHEEL PATTERN.

BUT HER HUSBAND OFFERED TO HELP HER ONE DAY WHEN SHE WAS QUILTING A LOG CABIN QUILT AND HE MEASURED ALL THE RECTANGLES IN THE LOG CABIN AND CUT A THREAD ABOUT THREE MILES LONG.

AND LAUGHINGLY, SHE SAID, "THAT'S WAY TOO LONG."

THE LONGER YOUR THREAD THAT YOU'RE PULLING THROUGH YOUR MATERIAL, YOU'RE SIMPLY GONNA WEAR OUT YOUR THREAD.

HOWEVER, HE DIDN'T HAVE SUCH A BAD IDEA.

IF YOU CUT A THREAD TWICE AS LONG THAT YOU NORMALLY WOULD CUT, SAY, MAYBE 30 INCHES LONG, AND YOU WERE STARTING IN THE CENTER, YOU COULD LEAVE, PULL IT IN HALFWAY, AND LEAVE HALF OF IT DANGLING OUT, COULDN'T YOU?

QUILT ALONG, END OFF, AND THEN COME BACK TO THIS END, RETHREAD THE NEEDLE AND QUILT IN THE OPPOSITE DIRECTION.

SO THAT IS SOMETHING YOU COULD DO.

BUT LET'S GO AHEAD AND CUT OUR THREAD.

AND WHAT WE WOULD NORMALLY USE, SAY 12 TO 18 INCHES-- AND LET'S GO AHEAD AND MAKE OUR FOOL-PROOF KNOT AGAIN TAKING THE END AND WRAPPING IT THREE TIMES AND PULLING THAT DOWN.

BECAUSE THEN IT'S THIS KNOT THAT WE'RE GOING TO PULL THROUGH OUR THREE SECTIONS.

AND I'M GOING TO SIMPLY PULL THAT THROUGH AND JUST SNAKE A COUPLE OF STITCHES SO THAT I CAN SHOW YOU AND YOU CAN KIND OF HEAR THAT CLICK WHEN IT'S GONE THROUGH.

AND WHEN I QUILT, I SIMPLY TAKE, OH, ABOUT TWO OR THREE STITCHES EACH TIME, AND I TRY AND PUT THE NEEDLE IN AS STRAIGHT AS I CAN TO GATHER THAT MATERIAL THE SAME AMOUNT AS THE FRONT AS I DO ON THE BACK.

AND I WANT TO MAKE SURE AND START IN THE MIDDLE.

AND WHEN I GRAB THAT FABRIC, WORK IT OUT HERE.

IT'S WELL-BASTED.

AND I CAN FEEL IT GO THROUGH ON THE BACK SIDE, AND ANY TIME I WOULD GET ANY OVERLAPPING ON THE BACK SIDE, I WOULD STOP AND TAKE OUT-- YOU CAN SEE I'M CATCHING THE FABRIC ALL THE WAY THROUGH.

NOW, PRETEND I HAD RUN OUT OF FABRIC.

I'M GOING TO TAKE AND MAKE A LOOP, A WIDE LOOP IN MY THREAD, AND SOMETIMES WHEN I HAVE THAT LOOP, I SIMPLY TAKE THE POINT OF MY NEEDLE AND RUN THAT LOOP, WHICH IS GOING TO FORM MY KNOT, RIGHT DOWN TO THE END, AND IT'S CLOSE RIGHT ON MY FABRIC.

THEN TAKE, LIKE, A HALF BACK STITCH-- AND I HAVE PUT THE NEEDLE IN, AND I COME UP ABOUT 1/2 INCH TO AN INCH AWAY; I HAVE NOT GONE THROUGH THE BACK-- AND THEN SIMPLY PULL THAT, AND YOUR KNOT IS ALL HIDDEN IN.

WE'RE OUT OF TIME TODAY.

NEXT TIME, MANY MOONS OVER MANY MOUNTAINS.

male announcer: GEORGIA BONESTEEL IS THE AUTHOR OF THE BOOK, LAP QUILTING WITH GEORGIA BONESTEEL, BASED ON THIS TELEVISION SERIES.

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