- COWS, COWS EVERYWHERE.

WHAT BETTER REASON TO MAKE A QUILT THAN THE AMERICAN JERSEY CATTLE ASSOCIATION?

LEARN SOME SIMPLE STEPS FOR THREAD SKETCHING YOUR OWN COW QUILT OR MAYBE EVEN A VEST.

THEN TRAVEL WITH US TO LUCINDA, PENNSYLVANIA AND VISIT THE COUNTRY BEAR QUILT SHOP.

(UPBEAT MUSIC) ♪ COULD YOU IMAGINE A MORE CLEVER OBJECT ♪ ♪ WARMS A 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 ♪ (UPBEAT MUSIC) ♪ ♪ - 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.

- YES, I WOULD LIKE TO THINK THERE'S A JERSEY COW IN EVERY STATE.

IN THIS PARTICULAR QUILT, 50 STATE FLOWERS ADORN THE NECK OF 50 COWS.

CAN YOU FIND YOUR STATE?

STARTING WITH ALABAMA AND ALL THE WAY DOWN TO WYOMING, COWS TAKE CENTER STAGE.

AND OF COURSE WE DID NOT FORGET THE DISTRICT OF COLUMBIA.

THIS PARTICULAR QUILT IS MADE FOR THE AMERICAN JERSEY CATTLE ASSOCIATION.

IT'S A JOINT EFFORT BETWEEN MYSELF AND THE LANDRUM QUILTERS GUILD.

NOW THAT'S LANDRUM, SOUTH CAROLINA.

IN PLACING THE BLOCKS AND DECIDING UPON THE SETTING, WE FIRST THOUGHT THAT WE WOULD HAVE THE HEADS GOING IN OPPOSITE DIRECTIONS.

AND ALL OF A SUDDEN WE HAD A TWO HEADED COW.

SO WE DECIDED TO HAVE THE ROWS ALTERNATE AND THE COWS ARE LOOKING IN DIFFERENT DIRECTIONS.

HOW WOULD YOU DESIGN A QUILT LIKE THIS?

IT COULD BE CATS, IT COULD BE DOGS OR EVEN HORSES.

LET'S CHECK OUT HOW THIS QUILT BEGAN FROM THE VERY BEGINNING.

DOESN'T IT MAKE SENSE THAT PICTURE QUILTS BEGIN WITH PICTURES?

WELL, I HAD PLENTY OF THOSE.

AND A TRIP TO THE COPY MACHINE, REDUCING AND ENLARGING, ENABLED ME TO START WITH SOME DESIGNS.

I TRIED CRAZY PATCH, TOO MANY PIECES.

I TRIED STRIP PICTURE PIECING, THINKING WE WOULD PUT IT TOGETHER WITH LONG RECTANGLES.

NO, TOO COMPLICATED.

I THEN DESIGNED A 12 INCH BLOCK AND IT SEEMED A LITTLE LARGE BECAUSE 25 LADIES WERE MAKING TWO BLOCKS EACH AND THE QUILT WAS GETTING ENORMOUS.

SO I WENT DOWN TO A 10 INCH SIZE SQUARE AND THIS TIME IN ORDER TO KEEP IT SIMPLE, I CHOSE TWO PIECES.

WELL, WE HAVE TWO EARS, BUT THEY WERE MINOR.

SO I THINK THAT WORKED OUT VERY NICELY.

WITH RIGHT SIDES TOGETHER OF TWO FABRICS, WE SIMPLY IRONED ON THE HEAD AND THEN IRONED ON THE SKY BACKGROUND.

YOU WILL NOTE THAT THERE ARE SOME OBTUSE ANGLES THAT YOU'RE GONNA BE SEWING AND PIVOTING AND BACKSTITCHING.

AND OF COURSE, THEN WE CUT OUT THOSE BLOCKS AND I LIKE TO USE THE ROTARY CUTTER WHENEVER I HAVE A CHANCE.

BUT HERE WE DO HAVE SOME GUIDELINES THAT WE HAVE TO BE CAREFUL ABOUT.

YOU CAN'T GO ALL THE WAY UP OR YOU'LL BE RUNNING OVER.

SO YOU HAVE TO DO JUST A LITTLE BIT WITH THE ROTARY CUTTER AND THEN IT MEANS PICKING UP A PAIR OF SCISSORS AND COMING UP TO THOSE ANGLES.

AND I LIKE TO THEN SNIP DOWN TO THOSE OBTUSE ANGLES.

A LITTLE DOT WITH YOUR PENCIL THERE TELLS YOU WHERE TO DO YOUR PIVOTING.

THEN I'M READY TO STITCH THOSE BLOCKS TOGETHER.

WHEN I DID THE STITCHING, I FOUND THAT IT REALLY HELPED TO PIN FROM THE CENTER PART OF THE BLOCK OUTWARD.

NOW I'VE STITCHED ONE SIDE, ALWAYS KNOWING THAT I START WHERE THAT LITTLE SNIP IS, BACKSTITCH AND COME ALL THE WAY DOWN, BACKSTITCH AND I ACTUALLY TOOK IT OFF THE MACHINE AND KEPT GOING AROUND UNTIL I MADE THAT FINAL STITCHING AND I WAS REAL HAPPY THAT THESE EDGES ARE ALL STRAIGHT.

I'VE GOT THAT DOG EAR STICKING OUT.

NOW I HAVE THE OTHER HALF OF THE BLOCK TO DO AND THIS TIME I'M SIMPLY TURNING OVER TO THE OPPOSITE SIDE.

SO THEN I MAKE SURE I DON'T HAVE A PLEAT ON THE BACK SIDE AND I'M READY TO COME IN HERE AND STITCH AGAIN.

AND I'M AIMING RIGHT DOWN, I THINK I WILL BACKSTITCH, JUST LOCKING THAT IN PLACE.

I'M COMING RIGHT DOWN TO WHERE THAT CUT WAS, BACKSTITCHING, TAKE IT OFF AND THEN I HAVE ANOTHER ANGLE TO DEAL WITH.

DO YOU SEE HOW I'M NOW TURNING IT?

AND I'LL PUT THE PIN ON THIS SIDE SO I CAN SEE EXACTLY WHERE I START AGAIN.

SO I CAN JUST CONTINUE THAT STITCHING UNTIL MY BLOCK IS ALL THE WAY PIECED.

NOW SOME OF THE LADIES GOT KIND OF CLEVER, THOSE APPLIQUÉ LADIES, AND THEY SIMPLY APPLIQUÉ THE COW HEAD ON A WHOLE CLOTH BACKGROUND OF BLUE AND THEN CUT AWAY THE BLUE SKY.

BUT I LIKE A LITTLE MORE PIECING CHALLENGE THAN THAT.

NOW I THINK WHAT GAVE ALL OF THE 50 COWS CHARACTER AND PERSONALITY IS SOMETHING THAT I CALL THREAD SKETCHING.

I FIRST HEARD ABOUT THIS IDEA AND SAW IT WHEN I WAS IN ENGLAND.

WHY, HERE'S A LITTLE CARD THAT I HAVE WHERE MARGARET JUST TOOK A PIECE OF PRINT FABRIC, PUT IT ON SOME MUSLIN, AND THEN DROPPING HER FEED DOGS AND WITH A CONTRASTING THREAD JUST DID A MULTITUDE OF FLOWERS.

THERE ARE SOME STEPS THAT LEAD UP TO THREAD SKETCHING.

FIRST, THAT CONTRASTING THREAD, NOT ONLY IN THE TOP, BUT YOUR BOBBIN ALSO.

I LIKE THOSE TOP THREADS TO GO AROUND THE MATERIAL AND THAT MEANS TIGHTENING THE BOBBIN THREAD.

ON SOME MACHINES IT MEANS TURNING A KNOB ON TOP.

ON MY MACHINE IT MEANS THREADING THE FINGER EXTENSION THAT COMES UP.

SOMETIMES I MOISTEN THAT END AND THAT ALLOWS THAT THREAD TO COME THROUGH.

THEN I SIMPLY HOLD ON TO MY BOBBIN AND PUT IT UNDERNEATH.

ONCE THAT HAS BEEN IN PLACE, THEN I WILL TAKE, HOLDING ON TO THIS TOP THREAD, ONE STITCH AND PULL UP THAT BOBBIN THREAD.

THE NEXT STEP IS TO REMOVE THIS PRESSER FOOT AND PUT MY DARNING FOOT ON.

I LIKE A CLEAR PLASTIC DARNING FOOT.

IT ENABLES ME TO SEE MY WORK VERY CLEARLY.

IT HAS A LITTLE SPRING IN IT AND IT GOES ON VERY NICELY.

ONCE THAT IS ON AND IN PLACE, THEN I DROP THE FEED DOGS.

REMEMBER, I'M GOING TO BE MEANDERING OR LOITERING ON THE MACHINE.

I WILL THEN ENGAGE MY ZIGZAG STITCH.

NOW, IT'S NOT A DEEP STITCH.

IT'S VERY SHALLOW.

SO THAT MEANS ADJUSTING THE WIDTH OF THAT UP ON TOP.

I WANT JUST A LITTLE BIT OF ZIGZAG.

ONCE ALL THOSE ARE IN PLACE, I GO TO MY HOOP.

NOW, THAT WOULD BE A NARROW WOODEN HOOP.

I LIKE THAT BECAUSE IT SLIPS UNDERNEATH THE PRESSER FOOT VERY NICELY.

ONCE THAT IS IN PLACE, AND OF COURSE I FIND I HAVE TO STAND TO PUT MY COW IN PLACE, I'M GOING TO UNPIN HIS EAR SO THAT PIN WON'T GET CAUGHT IN THE HOOP.

BUT ONCE THAT'S IN PLACE, I WILL COME AND PUT THAT IN AND THEN TIGHTEN IT.

I WANT TO GET THAT JUST AS TIGHT AS I CAN SO IT'S SECURING IT VERY NICELY.

NICE AND TAUT.

I DO NOT USE A STABILIZER BECAUSE I FOUND THAT WHEN YOU PULL OFF THE STABILIZER, IT DISTORTS THE THREADS, AND IT ALSO ADDS THAT EXTRA BULK.

SO THEN I'M READY TO GO, AND THAT MEANS DROPPING MY PRESSER FOOT.

IT'S DOWN IN PLACE, AND ONE TAP ALLOWS ME TO START THAT, WHAT I CALL, NERVOUS-NORVOUS STITCH.

AND THE SECRET IN DOING THIS IS TO REALIZE THAT ONE ROW OR ONE LONG LINE REALLY DOESN'T COVER.

YOU NEED TO GO BACK OVER MORE THAN ONCE.

AND I HAVE FOUND, AFTER I'VE STARTED, I LIKE TO GET RID OF THOSE THREADS, SEE HOW YOU CAN SEE BETTER.

NOW, I'M SIMPLY GOING UP AND DOWN.

THIS IS ON THE JERSEY COW'S FOREHEAD.

I'M MAKING A LITTLE FURROW ON HIS BROW.

AND YOU SEE HOW I'M GOING DOWN ONCE, AND THEN I'M GOING BACK AGAIN?

ONE LINE JUST DOESN'T DO IT.

AND IF I WANT TO, AS I'M STITCHING, WIDEN THAT ZIGZAG A LITTLE BIT, I CAN.

THE ONE THING I LIKE ABOUT THIS PARTICULAR TECHNIQUE IS THAT YOU REALLY CANNOT MAKE ANY MISTAKES.

NOW, WHEN YOU'VE STOPPED, GO UP AND DOWN IN PLACE, AND YOU'RE READY TO CUT YOUR THREADS AND START AGAIN.

EACH TIME YOU GO, YOU ARE BUILDING ONE STITCH AFTER ANOTHER.

AND JUST A LITTLE OUTLINING WITH YOUR WATER-ERASABLE PEN GETS YOU GOING.

NOW, EACH TIME I DID A COW, I DID ALL 50 COWS, I FELT LIKE I WAS JUST PUTTING PERSONALITY IN THE COWS.

AND IF ONE MOUTH WAS A LITTLE BIGGER THAN THE NEXT, I REALLY DIDN'T GET TOO UPSET.

BUT THE NICE THING IS, I'M GOING BACK OVER.

AND IF ONE LINE GETS CROOKED, JUST GO BACK OVER THE LINE AGAIN.

YOU'RE BUILDING THAT AND CREATING DESIGN.

AND IT'S THE HOOP THAT KEEPS IT TAUT.

ONCE I GOT EACH SECTION DONE, THEN I WOULD GO TO A WASHCLOTH AND JUST LIGHTEN THAT, MOISTEN IT, AND GET RID OF ALL OF THAT MARKINGS THAT I HAD ON HERE, AND THEN PRESS IT ON THE BACK SIDE.

NOW, WHEN YOU GET READY TO DO THE EYE ITSELF, I'M GOING TO CUT OUT A CIRCLE, AND PUTTING MY HOOP ON HERE, I COULD GO OVER THAT OUTLINE AGAIN.

AND YOU'LL SEE THAT DONE QUITE OFTEN IN THREAD SKETCHING, WHERE DESIGN IS PUT ON TOP OF WHERE MATERIAL HAS ALREADY BEEN.

NOW, I'M GOING TO GO BACK AGAIN HERE.

CAN YOU SEE THAT ZIGZAG?

ALL RIGHT, NOW I'M GOING TO GO BACK OVER HERE AGAIN.

I WANT MORE CHARACTER GOING IN HERE.

I CAN SIMPLY GO ON TOP OF PREVIOUSLY MADE STITCHES.

IT'S ALMOST LIKE YOU'VE CREATED A PIN AND GOING BACK OVER CONTINUALLY.

NOW, I'M GETTING DOWN TO THE POINT I WANT TO DO HIS MOUTH, AND I'VE RUN OUT OF ROOM HERE.

MY HOOP IS HITTING THE INSIDE.

ALL I DO IS RELEASE THE HOOP, MY NEEDLE IS IN THE MACHINE, AND MOVE THE HOOP DOWN SO I CAN THEN SEE MORE OF THE MOUTH.

SO USE THE FACT THAT YOUR NEEDLE CAN BE LOCKED IN THE MATERIAL TO ALLOW YOU TO KEEP GOING.

I'M COMING UP HERE, AND I'M STOPPING.

AND ANY TIME YOU WANT TO STOP, JUST STITCH IN PLACE UP AND DOWN.

I'M GOING TO STOP NOW, KNOWING THAT I CAN COME BACK HERE, AND I'M GOING TO GET RID OF THOSE THREADS, REALIZING THAT NOW I WOULD-- IF I WANTED TO SHOW YOU HOW THOSE EYES GO ON, I WOULD SIMPLY PUT THIS IN, MY HOOP GOES ON TOP AGAIN, AND A LITTLE BIT OF GLUE STICK, I THINK, CAN ANCHOR THAT EYE IN PLACE.

BUT JUST HOLDING THAT ALLOWS ME TO COME OVER, AND ONCE AGAIN, I'M GOING TO DROP THE NEEDLE IN, PULL UP MY BOBBIN STITCH, AND NOW I'M READY TO START MOVING THAT NEEDLE BACK AND FORTH.

THE PRESSER FOOT HAS GOT TO BE DOWN.

I'M GOING BACK AND FORTH.

ON TOP OF THE EYE.

SO YOU'LL SEE A LITTLE BIT OF THE MATERIAL, BUT IT'S THAT BLACK THREAD SKETCHING THAT REALLY SETS THE PACE FOR THE EYELASHES AND ALL AROUND THE PUPIL.

HAVE FUN WITH THREAD SKETCHING, AND JUST THINK OF ALL THE WAYS YOU CAN PUT IT INTO YOUR PATCHWORK.

I'M GOING TO CONTINUE THAT DESIGN INTO A VEST.

MAYBE I'LL NAME THIS "HOW NOW, BROWN COW."

I'M GOING TO GO TO CHILDREN'S COLORING BOOKS, DOWN ON THE FARM DESIGNS FROM "SCARECROWS" TO "BARNS" TO "ROOSTERS."

I WILL PLACE THOSE ON THE BLUE SKY BACKGROUND AND THEN JUST THREAD SKETCH THE BACK AND THE FRONT OF THIS VEST.

WE HAVE A SPECIAL TREAT FOR YOU.

BEFORE GOING TO PENNSYLVANIA, WE'RE GOING TO GO TO THE NEW ENGLAND QUILT MUSEUM.

MANY YEARS AGO, WE VISITED THE NEW ENGLAND QUILT MUSEUM IN LOWELL, MASSACHUSETTS.

THE MUSEUM WAS ON A LOWER LEVEL, AND IN 1990, THE BASEMENT FLOODED.

IN 1993, AN OLD BANK WAS PURCHASED, AND IT BECAME THE MUSEUM'S NEW HOME.

- WELL, WHEN YOU WALK IN, THE BUILDING VERY MUCH HAS A FEELING OF WHEN IT WAS BUILT IN THE 1830S.

WE HAVE THE ORIGINAL FIREPLACE, AND WE HAVE QUILTS ON DISPLAY DOWN THERE FOR PURCHASE, AS WELL AS MUSEUM PRODUCTS AND TONS OF QUILT BOOKS.

IF YOU LIKE QUILTS AT ALL, SO MUCH SHOPPING TO DO.

WE ACTUALLY KEEP OUR QUILTS FROM THE COLLECTION IN THE OLD VAULT.

SO WHAT SAFER PLACE COULD THERE BE FOR OUR TREASURES?

- UPSTAIRS IN THE BANK ARE SEVERAL GALLERIES.

THE BANK OFFICES HAVE BEEN CONVERTED INTO PERIOD ROOMS.

THE VICTORIAN ROOM HAS "CRAZY PATCH."

THE DEPRESSION-ERA ROOM HAS QUILTS FROM THE '20S THROUGH THE '40S.

AND THEN THE ROOM DISPLAYING THE HEIGHT OF AMERICAN QUILTMAKING, QUILTS MADE IN THE 1840S TO THE 1870S.

WHEN WE VISITED THE MUSEUM, THERE WAS ALSO AN INTERESTING CONTEMPORARY COLLECTION ON VIEW.

- WE HAVE A RETROSPECTIVE EXHIBITION OF CONTEMPORARY QUILTS BY A COLLABORATIVE TEAM OF ART QUILTMAKERS NAMED GALE FROST AND DUNCAN SLADE.

THEY'VE BEEN WORKING SINCE THE 1970S, AND THEY REALLY PIONEERED THE USE OF FIBER-REACTIVE DYES ON QUILTS AS PAINT.

- THE PERMANENT COLLECTION ROOM DISPLAYS QUILTS FROM THE MUSEUM COLLECTION.

THEY HANG A FEW QUILTS AT A TIME TO GIVE VIEWERS A TASTE OF QUILT HISTORY, - SUCH AS THIS LEMOYNE STAR, WHICH WAS MADE IN THE 1840S.

NOW WHAT'S FUN ABOUT THIS QUILT IS IT'S VERY DRAMATIC, AND IT'S NOT A NEW ENGLAND PIECE.

NEW ENGLAND WOMEN WERE MUCH TOO CONSERVATIVE TO MAKE ANYTHING LIKE THIS, AND IT'S FROM PENNSYLVANIA.

PENNSYLVANIA WAS THE SECOND BIGGEST MANUFACTURER OF COTTONS PRIOR TO THE CIVIL WAR, EXCEPT FOR LOWELL.

AND THE FABRIC IS MUCH TOO FUNKY FOR NEW ENGLAND TASTE.

AND WE ALSO HAVE ON DISPLAY HERE OUR QUILT BY RUTH MCDOWELL, WHICH WAS MADE AS A COMMISSION.

AND WE DO COLLECT CONTEMPORARY QUILTS AS WELL AS ANTIQUE QUILTS, AND THAT DISTINGUISHES US A LITTLE BIT FROM SOME OF THE OTHER MUSEUMS WITH LARGE COLLECTIONS OF QUILTS IN THE COUNTRY.

WELL, WE REALLY ENJOY SEEING RUTH'S QUILT AGAIN.

THAT'S A DEJA VU FOR US.

NOW, I UNDERSTAND THE WHOLE CITY IS GOING TO GET INVOLVED HERE IN LOWELL WITH YOUR QUILT MUSEUM IN THE YEAR 2000.

YES, WE'RE DELIGHTED THAT THE CITY OF LOWELL HAS COMMITTED RESOURCES TO HELP THE NEW ENGLAND QUILT MUSEUM AND THE NEW ENGLAND QUILTERS GUILD AUXILIARY DO A HUGE CELEBRATION IN THE CITY OF LOWELL.

THE ENTIRE CITY WILL BE COVERED WITH QUILTS AND QUILT FESTIVITIES.

THERE'LL BE SHOWS AND WORKSHOPS.

IT SHOULD BE A WONDERFUL WEEKEND.

AND IT'S AUGUST 17TH THROUGH 19TH, THE YEAR 2000, AND WE HOPE YOU ALL COME VISIT US.

- WE HOPE TO COME BACK THEN.

SO THANK YOU FOR SHARING A FURTHER INSIGHT INTO THE NEW ENGLAND QUILT MUSEUM.

- WELL, THANK YOU SO MUCH FOR COMING.

- NEXT TIME YOU'RE IN NEW ENGLAND, CHECK OUT THE MUSEUM.

TUCKED AWAY ON A BACK ROAD IN NORTHWEST PENNSYLVANIA IS THE TOWN OF LUCINDA AND THE QUILT SHOP CALLED THE COUNTRY BEAR.

[BIRDS CHIRPING] THE OWNER, SHARON KENNEDY, GAVE ME A TOUR OF THE MAIN ASPECTS OF HER SHOP.

YES, THEY HAVE ALL THE FUN NECESSITIES--THE BOOKS, THE STENCILS, THE NOTIONS.

THERE ARE WOODWORK QUILT RACKS MADE BY KEITH KENNEDY, HER HUSBAND.

THE FABRIC AREA IS WATCHED OVER BY THE STORE MASCOT, PATCHES.

BUT WHAT HAS PUT THIS QUILT SHOP ON THE MAP IS THEIR SPECIALTY, APPLIQUE PATTERNS.

NOW MEET SHARON AND SEE FOR YOURSELF WHAT THEY HAVE DEVELOPED.

WHAT HAS BEEN THE SUCCESS OF YOUR QUILT SHOP OVER THE YEARS, SHARON?

- WELL, I THINK OUR BIGGEST SUCCESS IS OUR CUSTOMERS.

WE BELIEVE THAT WE WANT OUR CUSTOMERS SERVED AND SERVED THE WAY WE'D WANT TO BE SERVED IF WE WENT INTO A STORE.

AND OUR CUSTOMERS ARE VERY IMPORTANT TO US.

AND OUR TEACHING.

WE HAVE A GOOD STAFF OF TEACHERS AND WE GIVE CLASSES AND A LOT OF ONE-ON-ONE WHEN WE GIVE OUR CLASSES.

A LOT OF HAND-HOLDING.

YES.

WELL, WE ARE IN LOVE WITH THESE BEAUTIFUL APPLIQUE QUILTS.

- HOW DID THAT GET STARTED?

- WELL, WE REALLY DIDN'T GET IN IT TO DESIGN APPLIQUE QUILTS, BUT WE HAD A CUSTOMER FROM TITUSVILLE, ABOUT AN HOUR AWAY FROM HERE.

A LADY IN HER 80S.

HER NAME WAS MAUDE DOOLITTLE.

AND SHE WANTED TO MAKE A PANSY QUILT.

AND I COULD NOT FIND WHAT WE CONSIDERED TO BE A GOOD PATTERN FOR THE PANSY QUILT.

AND SHE KEPT BRINGING ME OLD, OLD PATTERNS WITH THE LITTLE PANSY WITH THE BUTTONHOLE STITCH.

AND MARY ALICE DIDN'T THINK THAT THAT WAS SOMETHING THAT WE REALLY WANTED TO DO.

SO I SAID TO HER ONE DAY, "I GUESS MAYBE WE'RE GOING TO HAVE TO DRAW IT."

AND I CAN'T DRAW, BUT I COULD VISUALIZE WHAT I WANTED IT TO LOOK LIKE.

AND SHE'S THE ARTIST OF THE TWO OF US.

AND SHE DREW THE PATTERN OUT AND WE MADE IT FOR MAUDE.

AND MAUDE TOOK THE CLASS AND HAS A BEAUTIFUL PANSY QUILT.

IT WASN'T UNTIL LATER THAT ANOTHER QUILTER SAID TO ME, "ARE YOU GOING TO PUBLISH IT?"

AND WE ENDED UP PUBLISHING IT AND DECIDED IT WASN'T AS HARD AS WE THOUGHT IT WAS.

SO WE'VE ALWAYS WANTED TO DO A DOGWOOD BECAUSE WE LOVE THE DOGWOOD.

SO THE DOGWOOD QUILT WAS OUR SECOND ONE.

- BEAUTIFUL.

IT REALLY IS.

AND THEN FROM THERE-- AND THEN FROM THERE, WE DECIDED TO CHANGE OUR LOOK JUST A LITTLE BIT.

AND WE DID A ROSES AND IVY.

AND THE ROSES AND IVY IS A BLOCK QUILT WITH IVY INTERTWINING THE BLOCKS.

- SO NOW YOUR SHOP HAS BEEN SYNONYMOUS WITH THESE APPLIQUE.

- YES, WE'RE KIND OF BECOMING KNOWN AS AN APPLIQUE SHOP, ALTHOUGH WE DIDN'T REALLY SET OUT TO DO THAT.

- WE LOOK FORWARD TO MEETING MARY ALICE AND HAVE HER GIVE US A LESSON NOW.

- OH, GOOD.

GOOD.

SHE'D LOVE TO DO THAT.

- MARY ALICE SCHMADER FROM LUCINDA, PENNSYLVANIA, IS OUR TEACHER TODAY.

SHE'S ALL SET TO GIVE US A RUNDOWN ON HER DESIGNED DOGWOOD PATTERN.

IT'S SUCH A PLEASURE TO SEE A PATTERN OFFERED FULL SIZE IN THE WHOLE KIT.

SO THEN YOU'RE READY TO START.

WHAT HAPPENS NEXT, MARY ALICE?

- WELL, YOU'LL TRANSFER THE PATTERN ONTO YOUR BACKGROUND FABRIC SO YOU KNOW WHERE TO PLACE YOUR PIECES.

THEN, STARTING WITH THE STEM, TAKE A 1-INCH BIAS STRIP, FOLD IT INTO A TUBE, AND SEW IT SO THAT YOU HAVE ABOUT A QUARTER OF AN INCH THAT YOU CAN SLIP THE BIAS PRESS BAR, WHICH IS MADE OF A HEAT-RESISTANT PLASTIC, INTO THAT TUBE.

PRESS YOUR SEAM ALLOWANCE TO THE BACK SO THAT YOU'LL HAVE A NICE, SMOOTH STEM.

BUT NOW YOU DON'T CENTER THAT STITCHING, DO YOU?

- YOU LEAVE IT OFF TO ONE SIDE, I NOTICE.

- I LIKE TO LET IT OFF TO ONE SIDE SO THAT YOU HAVE THE WIDTH OF THE PRESS BAR TO HIDE YOUR SEAM ALLOWANCE.

THIS IS IMPORTANT, ESPECIALLY IF YOU'RE DOING SMALLER STEMS.

- AND YOU USE THE SPRAY SIZING OR SPRAY STARCH METHOD FOR ALL OF YOUR APPLIQUÉ AND THIS STEM.

- JUST DAMPEN THE EDGES QUICKLY.

YOU DON'T HAVE TO MAKE THEM TOO WET.

AND TAKE THE IRON AND JUST SIT IT RIGHT ON THERE.

FORGET THE WAY YOU LEARNED TO IRON AT YOUR MOTHER'S KNEE.

THAT STEM IS USUALLY CURVED, SO KEEP THAT SEAM ALONG THE EDGE TO THE INSIDE.

THAT WILL ALLOW YOUR STEM TO CURVE EVEN FURTHER.

AND ALWAYS STITCH THE INSIDE OF THE CURVE FIRST.

IT GIVES YOU A SMOOTHER STEM.

- GOOD TIPS.

I LIKE THAT.

THEN YOU'RE GOING TO CUT OUT YOUR TEMPLATE.

I'M INTRIGUED TO THINK ALL OF THEM COME ON THIS ONE SHEET.

- THAT'S ALL THE PIECES FOR THE DOGWOOD.

IF YOU USE THIS HEAT-RESISTANT TEMPLATE PLASTIC, ONE PIECE WILL DO YOU FOR THE WHOLE ENTIRE QUILT.

YOU CAN USE IT OVER AND OVER AGAIN.

AND YOU WILL CUT EACH INDIVIDUAL PIECE OUT CAREFULLY, NOT USING YOUR GOOD SCISSORS.

USE AN OLD SCISSORS FOR THAT.

AND YOU WANT TO MAKE THE EDGES AS SMOOTH AS POSSIBLE.

BUT EVEN IN DOING THAT, ONCE IN A WHILE YOU GET LITTLE NICKS.

JUST QUICKLY GO OVER IT WITH AN EMERY BOARD TO SMOOTH IT OUT UNTIL IT FEELS SMOOTH.

AND TAKE YOUR TEMPLATE.

PUT IT ON THE WRONG SIDE OF THE FABRIC, FACE DOWN.

SO YOU HAVE THE WRONG SIDE OF THE FABRIC, THE WRONG SIDE OF THE TEMPLATE.

CUT IT OUT A QUARTER OF AN INCH LARGER.

AND DAMPEN THAT SEAM ALLOWANCE WITH THE SPRAY STARCH.

AGAIN, NOT TOO WET.

FOLD THE EDGE BACK.

- START WITH THE TIPS FIRST?

- START WITH THE TIP OF THE IRON ON THE TIP OF THE LEAVE.

THAT KIND OF HOLDS IT IN PLACE.

RIGHT, I DO BOTH SIDES.

- OH, VERY GOOD.

- THESE TIPS ARE THE THINGS THAT PEOPLE DON'T LIKE TO DO.

SO DO THE THINGS YOU DON'T LIKE TO DO FIRST.

- NOW I NOTICE YOU DIDN'T CLIP IN AT ANY CONCAVE.

YOU DON'T NEED TO DO THAT?

- NO NEED TO DO THAT.

THE ONLY PLACE YOU WOULD HAVE TO CLIP IS WHERE YOU WOULD HAVE A SHARP RECESS.

- OKAY.

- AS IN A CALYX.

SOMETIMES YOU HAVE A REAL SHARP PLACE WHERE YOU NEED TO CLIP IT.

USE THE SIDE OF YOUR IRON FOR THIS.

IF YOU GO DOWN FAR ENOUGH, HALFWAY DOWN ON THE SOLE PLATE OF YOUR IRON, YOU CAN JUST MOVE THAT AROUND WITHOUT EVEN LIFTING UP THE IRON.

THEN JUST REST THE IRON ON THERE FOR A LITTLE BIT TO LET IT DRY.

- ISN'T THAT NICE?

- THE EDGES ARE JUST NICE AND SHARP.

- I USED TO USE A MANILA FOLDER, AND THE SPRAY STARCH WOULD SOFTEN IT.

SO I CAN SEE THE ADVANTAGE OF THAT.

- WHEN WE FIRST STARTED, WE USED THAT TOO, OR THE BACK OF A TABLET OR SOMETHING.

THEN THEY CAME OUT WITH A HEAT-RESISTANT TEMPLATE, PLASTIC, AND IT'S MUCH NICER.

IT GIVES YOU A LITTLE MORE OF AN EDGE TO WORK AGAINST.

- THEN FROM THERE?

- FROM THERE, WE WOULD DO THE PETALS THE SAME WAY AS WE DID THE LEAVE.

WORK ON THE BACK SIDE WITH YOUR TEMPLATE.

I'VE JUST MADE A LINE.

RATHER THAN TRACING THE WHOLE PETAL, JUST ONE LINE.

THEN WHEN YOU PLACE IT ON THERE AFTER IT'S PRESSED, YOU CAN JUST LINE IT UP WITH THAT LINE.

- GOOD IDEA.

THEN YOU DON'T HAVE TO WORRY ABOUT ANY PENCIL LINE EKING OUT FROM YOUR APPLIQUE STITCH.

- YOU WOULD DO THE PETALS OPPOSITE EACH OTHER FIRST TO GET BETTER ALIGNMENT, AND THEN THESE TWO.

YOUR CIRCLE FOR YOUR TIP IS THE SAME AS THE CIRCLE FOR THE CENTER, ONLY A BIT SMALLER.

I'M GOING TO SHOW YOU THE ONE FOR THE CENTER.

IT'S A LITTLE LARGER AND EASIER TO SEE.

I'VE DONE A GATHERING STITCH AROUND THAT, JUST A LITTLE BIT IN FROM THE EDGE.

TAKE THE CIRCLE.

YOU WANT TO USE SOMETHING THAT'S NICE AND ROUND, A COIN OR A CIRCLE MAKER.

YOU WANT TO HAVE A PERFECTLY ROUND CIRCLE.

PULL THAT TIGHTLY, AND AGAIN DAB IT WITH THE SPRAY STARCH AND PRESS IT.

IT WILL BECOME THIS NICE ROUND CIRCLE.

- FOR YOUR TIPS, YOU JUST DO ONE DARKER ONE AND CUT IT IN HALF.

RIGHT.

IT'S A LITTLE BIT SMALLER CIRCLE, TOO.

- TWO CIRCLES WOULD DO THE FOUR PETALS FOR THAT.

- MARY ALICE, NOW FOR THE APPLIQUE STITCH.

SHOW US YOUR TECHNIQUE FOR THAT.

- I DO A HIDDEN STITCH.

I'M USING A THREAD TO MATCH THE COLOR OF THE APPLIQUE PIECE THAT I'M PUTTING ON.

HIDE THE KNOT IN THE FOLD.

COME OUT THE SIDE OF THE FOLD AND INTO THE BACKGROUND FABRIC RIGHT AT THE SAME SPOT.

TRAVEL UNDERNEATH AND COME UP AND CATCH THE EDGE OF THE FOLD, GIVING IT A NICE LITTLE TUG.

THE APPLIQUE IS RUINED BY NOT HAVING TIGHT ENOUGH STITCHES.

AGAIN, INTO THE BACKGROUND FABRIC AT THE SAME PLACE, COMING UP A DISTANCE APART, AND CATCHING THE EDGE OF THE FOLD AS YOU COME UP.

YOU CAN SEE YOU DO NOT SEE ANY STITCHES THERE.

- I LIKE A NICE LONG NEURAL NEEDLE FOR THAT, DON'T YOU?

- I DO.

A NICE FINE NEEDLE, A MILLINER'S NEEDLE, OR A REGULAR APPLIQUE SHARP WORKS VERY NICE FOR THAT.

IF YOU NEED TO DO A LITTLE NEEDLE TURN ALONG THE WAY, THAT LONG NEEDLE IS NICE FOR THAT.

- VERY GOOD.

WE LEAVE LUCINDA AND THE COUNTRY BEAR QUILT SHOP WITH AN APPLIQUE CLASS HARD AT WORK.

JUST GLORY IN ALL OF THE COLOR AND FLOWERS COMING OUT OF ONE ROOM.

WHAT BETTER WAY TO PRODUCE PATCHWORK WITH FRIENDS AND FABRIC CLOSE BY.

A BIG THANK YOU FOR A NICE PENNSYLVANIA VISIT.

I TAUGHT THIS CLASS ONLY ONCE AND LOOK WHAT MARY PICARIDES HAS DONE ALREADY.

SHE USED A SAMPLE BLOCK AND DID BEE BALM, AND THEN SHE WENT ON TO A BABY QUILT, CREATING THREAD SKETCH KITTY CATS ON ASKEW MUSLIN SQUARES.

HAVE YOU HAD YOUR MILK TODAY?

CREATE YOUR OWN MILK MUSTACHE AND THEN CREATE YOUR OWN COW QUILT.

THANKS FOR WATCHING AND WE'LL SEE YOU NEXT TIME.

[MUSIC] - 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 AND STEAM-A-SEAM FUSIBLE WEB.