♪ OUR LAST SHOW FOR THIS SERIES IS JAM-PACKED WITH MORE BRIGHT IDEAS, FROM GARMENTS TO HOMETOWN-INSPIRED QUILTS-- AUTUMN WINDOWS, LITTLE TOOT, AND DEWEY DECIMAL 746.

THEN TOUR THE NEW ENGLAND QUILT MUSEUM IN LOWELL, MASSACHUSETTS.

AND FINALLY, A SUMMARY OF EACH SHOW WILL CATCH YOU UP ON ANY DANGLING THREADS.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

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

EVERY FALL IN NORTH CAROLINA, WE HAVE LEAF-LOOKERS.

THEY COME TO THE MOUNTAINS TO SEE THE FALLING LEAVES AND OUR BLUE RIDGE MOUNTAINS.

DO YOU SEE THE TORTOISE SUNGLASSES THEY'RE WEARING?

INSPIRED HOMETOWN QUILTS.

WHAT A BEAUTIFUL ONE.

ALICE THOMURE HAS PUT TOGETHER A QUILT THAT SHE CALLS AUTUMN WINDOWS.

SHE WAS SO INSPIRED BY USING THE FREEZER PAPER AND LEAVES THAT NOW ONCE YOU'VE PRESSED ALL THOSE LEAVES IN THE BOOKS, THEY CAN GO INTO CLOTH.

SHE PHOTOCOPIED THEM, PUT THEM INTO PANELS-- BOTH RECTANGLES AND CIRCLES-- AND YOU SEE WHAT SHE'S COME UP WITH.

USING A ZIGZAG ON HER SEWING MACHINE, SHE HAS CROSSHATCHED-- IN FACT, DOUBLE CROSSHATCHED-- ON THE NAVY BLUE, AND I LIKE THE WAY EVERY WINDOW AND RECTANGLE ARE THE SAME.

BUT THE COLORS CHANGE IN THE LEAVES EACH TIME.

GOING DOWN TO THE TRAIN STATION, WE HAVE MARILYN FLUHARTY'S LITTLE TOOT.

THIS IS A NURSERY QUILT, AND IT'S DONE IN PANELS.

RED AND GREEN TRAINS GO EVERY WHICH WAY.

IT'S SO BRIGHT AND COLORFUL.

SHE LIKED THE IDEA OF THE STRIP-PICTURE PIECING.

KEEP IN MIND WHEN YOU'RE DOING THE ENGINES AND SINCE IT HAS A DIRECTION, TO DO YOUR DESIGNING ON THE SHINY, OR POLY-COATED, SIDE OF THE STRIPS.

THAT WAY YOUR ENGINE WILL BE GOING IN THE RIGHT DIRECTION.

NOW, HILLSIDE VILLAGE-- RAMBLING HOUSES GOING ONE WAY AND THEN ANOTHER.

WE COULD CALL THESE MOTHER-DAUGHTER QUILTS-- A LARGE VERSION AND A SMALLER WALL HANGING TO GO IN THE SAME ROOM.

KEEP IN MIND THAT YOU HAVE 10 HOUSES-- FIVE AND FIVE GOING ONE WAY, AND THEN FIVE AND FIVE REVERSED.

NOW, WHAT MAKES THESE HAPPEN IS THE FACT THAT THE TRIANGLES AND THE PANELS THAT ARE STITCHED TO EITHER SIDE ARE ALL THE SAME FABRIC.

THIS HAPPENS TO BE AMERICAN CLASSIC FABRIC.

I THINK IT'S A CLASSY QUILT.

WHAT DO YOU DO WHEN YOUR LIBRARIAN RETIRES?

WELL, YOU MAKE HER A QUILT, OF COURSE.

BETSY FREEMAN DESIGNED THIS QUILT FOR THE LANDRUM LIBRARY QUILTERS.

OF COURSE, IT'S A BOOK.

ON THE SPINE, ALL OF US SIGNED OUR NAMES FOR A TRUE MEMORABILIA FOR RUTH FARRAR.

NOW, A LITTLE BIT OF QUILT TRIVIA.

THE DEWEY DECIMAL NUMBER FOR ALL QUILT BOOKS ACROSS THE COUNTRY IS 746.

QUILT RECOGNITION AND PRESERVATION ARE HIGH PRIORITIES AT THE NEW ENGLAND QUILT MUSEUM IN LOWELL, MASSACHUSETTS.

COME ALONG WITH US FOR A TOUR.

THE EXHIBIT AT THE TIME WAS AFRO-AMERICAN QUILTS.

NOW I'D LIKE YOU TO MEET CHARANN BROWN AND DOREEN BURBANK.

JUST IMAGINE A WHOLE MUSEUM DEVOTED TO QUILTS.

WE'RE HERE TODAY WITH CHARANN BROWN AND DOREEN BURBANK, WHO ARE GOING TO FILL US IN A LITTLE BIT MORE ABOUT THE NEW ENGLAND QUILT MUSEUM.

TELL US HOW IT ALL GOT STARTED, CHARANN.

WELL, BACK IN 1983, A GROUP OF TEACHERS ALL GOT TOGETHER AND HAD A MEETING AND TALKED ABOUT STARTING A GUILD, AND IT SORT OF SNOWBALLED FROM THERE AND GREW VERY QUICKLY.

AND WE JUST SEEMED TO GET MORE AND MORE MEMBERS EVERY YEAR, AND ALL OF A SUDDEN ONE DAY SOMEBODY STARTED THINKING ABOUT A MUSEUM THAT WOULD SHOW QUILTS OF NEW ENGLAND, AS WELL AS QUILTS FROM OTHER PLACES, AND IT JUST SORT OF-- KIND OF GREW LIKE TOP SEED, LIKE THEY SAY.

WELL, YOU'RE NESTLED RIGHT IN A COMMUNITY THAT HAS SUCH A LONG HISTORY OF TEXTILE-- LOWELL, MASSACHUSETTS.

THE MINUTE YOU SAY THAT, IT RINGS ALL KINDS OF BELLS.

DOREEN, CAN YOU TELL US A LITTLE BIT ABOUT THAT AND WHAT'S AHEAD FOR THE MUSEUM HERE?

WE HAVE BEEN VERY FORTUNATE IN OUR LOCATION.

WE'RE RIGHT ACROSS THE COURTYARD FROM THE STATE AND NATIONAL HISTORICAL PARKS WHICH CELEBRATE LOWELL'S INDUSTRIAL HISTORY.

WE HAVE BEEN WONDERFULLY FORTUNATE IN OUR LOCATION.

WE DO WISH WE HAD MORE SPACE, AND THAT'S ONE OF THE MORE EXCITING THINGS THAT WE'RE GOING TO BE DOING IN THE COMING YEAR.

WE ARE GOING TO EXPAND OUR WALLS A LITTLE BIT-- A LITTLE MORE ROOM FOR PROGRAMS, A LITTLE MORE ROOM FOR CLASSES, A LOT MORE ROOM FOR STORING QUILTS.

WE HAVE RUN ON VOLUNTEERS SINCE WE STARTED.

WE HAVE A VERY TINY STAFF.

IT WOULD NOT BE POSSIBLE TO DO IT WITHOUT THE VOLUNTEER COMMITTEES.

THE NEW ENGLAND QUILT MUSEUM HAS A PERMANENT COLLECTION.

WE ARE WITH STEPHANIE HATCH, WHO IS GOING TO HELP US UNDERSTAND MORE ABOUT THESE QUILTS THAT YOU PERMANENTLY OWN, CORRECT?

THAT'S RIGHT.

AND YOUR POSITION IS?

I'M A MEMBER OF THE CURATORIAL ACQUISITIONS COMMITTEE, AND I'M ALSO ON THE BOARD OF TRUSTEES, WHERE I SERVE AS A CLERK.

I SEE.

WELL, WE ENJOYED LOOKING AT THIS FIRST CRAZY PATCH QUILT THAT HAS A LOT OF HISTORICAL ASPECTS IN IT.

EXPLAIN TO US ABOUT THAT QUILT.

THIS PARTICULAR QUILT WE'RE VERY EXCITED ABOUT BECAUSE IT WAS MADE RIGHT HERE IN LOWELL.

AND INCLUDED IN THIS QUILT WE HAVE POLITICAL RIBBONS AND WE HAVE A COMMEMORATIVE HANDKERCHIEF FROM THE COLUMBIAN EXPOSITION, KNOWN AS THE WORLD'S FAIR.

AND IN ADDITION TO THIS, WE HAVE SEVERAL OTHERS THAT ARE ACTUALLY DATED ON THE QUILT SO THAT WE KNOW, DESPITE DOCUMENTATION WHICH TELLS US THE DATE, IT'S ALWAYS NICE TO KNOW FROM THE QUILT ITSELF THAT IT WAS ACTUALLY MADE IN THE 1890s.

AND IT WAS SIGNED BY ITS MAKER, WHO WAS BLANCHE STAPLES.

THE QUILT WAS GIVEN TO US BY HER GRANDDAUGHTER JUDY HALL, WHO REALLY FELT IT BELONGED IN A MUSEUM HERE IN NEW ENGLAND, WHERE MANY PEOPLE COULD STUDY AND ENJOY IT.

AND THIS QUILT IS A QUILT THAT WAS MADE BY NANCY HALPERN.

AND IT WAS COMMISSIONED BY THE NEW ENGLAND QUILTERS GUILD IN HONOR OF OUR LARGE SHOW YOU HEARD ABOUT BEFORE, THAT WAS HELD IN TOPSFIELD.

AND THE COMMISSIONING WAS PAID FOR BY THE MASS.

COUNCIL ON ARTS AND HUMANITIES.

AND WE FEEL VERY FORTUNATE TO HAVE IT IN OUR COLLECTION.

WELL, I WOULD DRIVE A LONG WAY TO SEE THIS QUILT.

THAT'S FOR SURE.

IT IS ABSOLUTELY BEAUTIFUL.

AND WE HAVE ALL ADMIRED NANCY'S WORK.

THIS IS A MID-19th-CENTURY QUILT WITH VERY RICH COLORS, WHICH WAS GIVEN TO THE MUSEUM BY ELSIE BELL SIMMONS.

THE QUILT, HERE AGAIN, WAS MADE BY HER GRANDMOTHER, WHO WAS BORN IN 1838 AND LIVED IN TOLLAND, MASSACHUSETTS.

SO, ONCE AGAIN WE'RE LOOKING AT A NEW ENGLAND QUILT.

FOR A CHANGE OF PACE, WE CAN NOW LOOK AT A FOLKY RENDITION OF THE PEONY, WHOSE MAKER HAS FIRMLY CALLED IT THE PIONY.

THIS QUILT WAS MADE AGAIN IN THE MID-19th CENTURY BUT IN NEW HAMPSHIRE.

ON THE QUILT, IN ADDITION TO THE PEONY, WE ALSO SEE SOME WONDERFUL BIRDS WHO SEEM TO BE PERCHED ON BRANCHES THAT ARE SUSPENDED IN MID-AIR OVER WHAT APPEARS TO BE CHERRY BUSHES.

IN THE FOUR CORNERS, THERE ARE SOME WONDERFUL TREES THAT WE LIKE TO CALL HERE AT THE MUSEUM THE RICKRACK TREES.

WHAT A UNIQUE SETTING FOR EACH OF THESE BLOCKS.

AND TELL US ABOUT THE INTEREST IN THE FABRIC HERE, STEPHANIE.

WELL, THIS BOSTON PAVEMENT QUILT HAS A VARIETY OF FABRICS THAT PROBABLY DATE TO THE TURN OF THE 20th CENTURY.

AND SOME OF THEM ARE CALLED CHINOISIER PRINTS BECAUSE THEY FOLLOW THE CHINESE TRADITION AS IN THE FAN AND THE FIGURES, THE PAGODA, ET CETERA.

OTHERS ARE SIMPLY DRAPERY FABRICS, SUCH AS THE PEOPLE PLAYING SPORTS AND THE CAT AND VARIOUS OTHERS.

AND THEY'RE PUT TOGETHER TRYING TO KEEP THE SPACES MORE OR LESS EVEN AS ONE WOULD FIND THE COBBLESTONES ON THE STREETS OF BOSTON A LONG TIME AGO.

AN EXTRA ADDED ATTRACTION TODAY, TO BE WITH THE MAKER, THE HANDS BEHIND THIS QUILT, RUTH McDOWELL.

THIS IS A REAL PRIVILEGE.

IT REALLY IS.

WELL, NICE TO SEE YOU AGAIN, GEORGIA.

TELL US ABOUT YOUR QUILT.

I MADE THIS QUILT FOR THE NEW ENGLAND QUILT GUILD AS A COMMISSIONED WORK FOR THEM.

ONE THING I HAVE BEEN INTERESTED IN WORKING WITH IS DEALING WITH NATURE, ESPECIALLY PARTS OF NATURE THAT ARE HERE IN NEW ENGLAND.

THIS QUILT IS BASED ON BLOODROOT.

BLOODROOT IS REALLY ABOUT THIS HIGH.

IT'S AN EARLY SPRING WILD FLOWER.

AND ONE OF THE REALLY NICE THINGS ABOUT IT IS, WHEN IT COMES UP OUT OF THE GROUND, THE LEAVES ARE FOLDED AROUND THE BUD AND THE STEM JUST THE WAY QUILTS ARE WRAPPED AROUND PEOPLE.

AT THE TIME I WAS INTERESTED, AND I STILL AM INTERESTED, IN WORKING WITH THREE-DIMENSIONAL ELEMENTS, SINCE MOST OF MY WORK IS MADE AS A WALL HANGING.

AND I HAVE INCLUDED SOME THREE-DIMENSIONAL FLOWERS MADE OUT OF SILK AND THE THREE-DIMENSIONAL LEAVES THAT ARE ALL FACED WITH A DIFFERENT-COLORED FABRIC.

RUTH, IT WOULDN'T BE COMPLETE WITHOUT SEEING THE BACK OF YOUR QUILT.

WELL, I REALLY BECAME INTERESTED IN THE FACT THAT QUILTS HAVE TWO SIDES, AND WHY ARE WE ONLY DEALING WITH DESIGN ON THE FRONT SO I DEVELOPED A PATTERN THAT'S BASED ON A LOT OF THE PIECING IN THE FRONT OF THE QUILT AND USED IT AS A PIECED BACK FOR THIS PARTICULAR QUILT.

ON THIS QUILT, I DID THE QUILT AS A FULL-SIZED DRAWING, WHICH IS 10 FEET WIDE AND 5 FEET HIGH, AND THEN CUT THE DRAWING UP, AND THE PIECES OF PAPER FROM THE DRAWING BECAME THE TEMPLATES FOR EACH PIECE OF FABRIC HERE.

THAT'S WONDERFUL.

THE WHOLE THING IS MACHINE PIECED AND THEN HAND QUILTED.

IT'S AMAZING.

IT TRULY IS.

CONGRATULATIONS.

THANK YOU.

WE ARE JOINED BY ANOTHER ONE OF THE CURATORS, PATSY NELSON.

TELL US ABOUT THIS QUILT.

THIS IS CALLED THE KATE GREENAWAY QUILT.

IT'S REALLY A COVERLET, NOT A THREE-LAYER QUILT.

KATE GREENAWAY WAS AN ILLUSTRATOR AND ILLUSTRATED MANY CHILDREN AND LADIES IN HER BOOKS, AND THE FIGURES WERE USUALLY TRANSFERS THAT WERE IRONED ONTO THE FABRIC AND THEN EMBROIDERED, USUALLY IN RED, LIKE YOU SEE THIS ONE.

THIS ONE IS UNUSUAL BECAUSE IT HAS SIGNATURES AROUND THE EDGE, SO IT MIGHT HAVE BEEN A MONEY-RAISER QUILT-- IN THAT PEOPLE PAID TO HAVE THEIR SIGNATURE PUT ON IT.

AND THEN IT WAS A GIFT TO THE MUSEUM?

IT WAS A GIFT TO THE MUSEUM FROM ARNOLD BLAKE.

NOW, DO YOU ALL JUST TAKE ANY QUILT THAT'S GIVEN TO YOU?

OR ARE YOU SELECTIVE IN THAT PROCESS?

WELL, WE ARE SELECTIVE IN THAT WE LIKE TO HAVE QUILTS THAT ARE ABLE TO BE SHOWN AND NOT SO FRAGILE THAT WE COULDN'T DISPLAY THEM.

A FLORAL QUILT.

TELL US ABOUT THIS ONE.

WELL, THIS IS A 1930s ART DECO QUILT.

IT WAS DONATED BY ELIZABETH McCLEARY AND MADE BY HER MOTHER, WHO HOPED THAT ELIZABETH WOULD HAVE A DAUGHTER, BUT SHE NEVER DID.

SHE DONATED THIS QUILT TO OUR MUSEUM.

IT'S VERY INTERESTING THE WAY THE LILY PADS ARE SET OFF WITH THE TWO BORDERS.

WHAT A SHINY EXAMPLE AS A CONCLUSION.

TELL US ABOUT THIS ONE, PATSY.

WELL, THIS IS A VERY EARLY 1800s GLAZED-WOOL QUILT.

AS YOU CAN SEE, IT'S A SNOWBALL PATTERN DONE IN A LARGE SCALE.

THIS QUILT WAS MADE IN PEMBROKE, NEW HAMPSHIRE, AND HANDED DOWN THROUGH THE CUMMINGS FAMILY.

THERE ARE MANY DIFFERENT QUILTING PATTERNS IN THE CORAL COLOR, UM, SNOWBALLS IN THIS QUILT.

WE THANK YOU FOR THE HIGHLIGHTS OF ALL THESE QUILTS AND WISH YOU MANY MORE IN YOUR COLLECTION.

THANK YOU.

THANK YOU FOR BEING HERE.

AND NOW FOR OUR SERIES REVIEW.

I HOPE YOU'VE BEEN TAKING GOOD NOTES AND WILL FOLLOW ME FROM SHOW NUMBER ONE.

WE DID PANDORA'S BOX-- STARTED OUT WITH A 3-INCH SQUARE, AND THEN TOOK HALF OF THAT-- 1 1/2 INCHES OVER, 1 1/2 INCHES UP-- AND MADE A PARALLELOGRAM BASED ON THAT 1 1/2-INCH MEASUREMENT.

OR IF WE WENT TO A 6-INCH, HALF OF THAT IS 3.

COME OVER 3 AND UP 3, AND WE HAVE ANOTHER PARALLELOGRAM.

GOING DOWN TO A 2-INCH.

WELL, THESE ARE FOR PEOPLE THAT LIKE TO DO MINIATURES.

AND THEN WE'D COME OVER AND HAVE A 1-INCH BASE.

KEEP IN MIND THAT THE DIAGONAL OF EACH ONE OF THOSE FORMS THE TRIANGLE WHICH WOULD GO INTO THE CORNERS OF A SQUARE.

WE ENDED UP DOING A 9-INCH SQUARE THAT WENT ON THE LID OF OUR PANDORA'S BOX.

I TOOK THAT SAME IDEA AND PUT IT INTO THE ASYMMETRICAL ARRANGEMENT OF A VEST.

SO, YOU CAN JUST TAKE YOUR STANDARD PATTERN BUT PULL THOSE DESIGNS OVER A LITTLE BIT.

I LIKE THE WAY IT RADIATES UP TO THE NECKLINE.

I KEPT JUST A THIN OR JUST A MUSLIN BASE FOR THIS, NOT EVEN ANY BATTING, SO I CAN WEAR IT YEAR-ROUND.

OUR SILLY WALL HANGING PANDORA'S BOX ENDED UP, THE SAME DESIGN, IN AN APRON.

TOOK THAT NARROW AT THE TOP-- FOR A NARROWING WAISTLINE, WE HOPE-- AND WENT WIDER DOWN TO THE BOTTOM.

I BACKED THAT WITH MORE MUSLIN IN THE BACK AND THEN BOUND ALL THE EDGES WITH THE SERGER.

YOU CAN EVEN MAKE A SILLY HANDBAG TO GO WITH THE SAME IDEA.

OUR SECOND SHOW WAS OUR BRITISH SHOW-- THE U.K. QUILT.

HOW NICE THAT WE CAN TAKE THE GRANDMOTHER'S FLOWER GARDEN AND UPDATE IT TODAY AND PUT THE INITIALS U.K. WITH A HEXAGON.

I'D LIKE TO POINT OUT HOW I QUILTED THIS.

TRADITIONALLY, WE THINK OF GOING AROUND THAT SIX-SIDED FIGURE EVERY TIME.

THIS TIME, I WENT THROUGH EACH SIDE, AND THEN LOOK WHAT HAPPENED.

ALL OF A SUDDEN, YOU CAN FIND TRIANGLES.

AND YOU CAN ALSO FIND DIAMONDS.

WHEN I DID THE UNITED KINGDOM BLOCK, THE GUILD BLOCK, OUT HERE, I HAD THIS LARGE 8-INCH AREA THAT WAS UNQUILTED, SO I CHOSE TO TAKE A SQUARE AND FOLD IT INTO A TRIANGLE ONCE, TWICE, AND THREE TIMES.

AND WITH THE FOLD OUT HERE AND OVER HERE, I DREW WITH A DOUBLE PENCIL THE INITIALS U.K. WHERE THE Xs ARE, I CUT OUT.

NOW THE SECRET HERE, JUST LIKE MAKING SNOWFLAKES, IS NOT TO CUT WHEREVER THESE FOLDS-- WHERE THE LETTERS FALL ON THE FOLD.

ONCE YOU OPEN THAT UP, BECAUSE IT'S BEEN DONE ON THE FREEZER PAPER, YOU CAN PRESS THAT ONTO THE BLUE SQUARE.

AND BEFORE YOU PUT THE BATTING UNDERNEATH, MARK ALL THE WAY AROUND IT.

IF YOU LOOK VERY CAREFULLY, YOU CAN SEE THE "U" AND THE "K." AND LOOK AT THE WONDERFUL STAR DESIGN IT MAKES ALSO.

WHY, WE EVEN HAD FABRIC THAT HAD THE BRITISH FLAG TO USE AS CHIMNEYS FOR THE HOUSES.

ENGLISH COUNTRY GARDEN DRESSES.

OF COURSE, A HAT TO MATCH.

DON'T FORGET, WHEN YOU'RE MAKING THIS HAT, THE FURTHER YOU CUT ON THOSE HALF-CIRCLES, THE LARGER YOUR HAT WILL GET.

SO YOU CAN CONTROL THE SIZE OF THE HAT.

FOR THE TEA COZY, I LIKED THE IDEA OF USING ONE CONTINUOUS PIECE OF WHITE FABRIC AND THEN JUST ISOLATED THE TEACUPS BY GOING AROUND IT WITH A ZIGZAG.

THEY'RE NOT ALL TRADITIONAL IN ENGLAND TODAY.

THEY'RE DOING MACHINE QUILTING WITH METALLIC THREAD FOR LITTLE HANDBAGS.

VERY CLASSY.

SHOW NUMBER THREE FEATURED OUR WONDERFUL BATIK FABRIC.

I HOPE YOU'VE LEFT CALICO JUST ONCE MAYBE.

THE OCEAN-BLUE QUILT THAT HAS BEEN MADE BY MARUSZKA HUFSTADER OF LOWELL, MICHIGAN, DID JUST THAT.

SHE TOOK THE MONKEY WRENCH PATTERN AND PUT IT INTO A WONDERFUL ENLARGED PRINT DESIGN.

I USED THE LEFTOVERS FROM OUR ST. LUCIA FABRIC-- YOU REMEMBER THE INTERLOCK QUILT.

WELL, I USED THE LEFTOVERS AND DID A STRIP PIECED JACKET, ISOLATING ALL THOSE BRIGHT COLORS ALONG THE BOTTOM, AND JUST USED A DIAGONAL AT RANDOM, WHEREVER I WANTED TO.

I TIED IT WITH JUST STRINGS, MADE IT VERY CASUAL.

NOW, WHEN IN DOUBT IN QUILTMAKING, DON'T FORGET YOU CAN ALWAYS JUST QUILT.

IF YOU LOOK HARD RIGHT HERE, YOU CAN SEE THE FISH AND THE BUBBLES.

I THINK THE QUILTING STITCH ITSELF IS JUST SO PRETTY.

I'M ACCENTING THIS WITH A FEW MORE BEADS.

SHOW NUMBER FOUR, FIVE, SIX, AND SEVEN WE DEDICATED TO THE POSTAGE STAMP QUILT, THE ULTIMATE ONE, BABY BUGGY BOOMERS, AND COPYCAT.

DON'T FORGET ON COPYCAT, WHEN YOU PUT THOSE BUTTONS ON, TO DO IT VERY SECURE IF YOU'RE GIVING IT TO A BABY, OR YOU MIGHT WANT TO JUST USE AN EMBROIDERY STITCH.

AS FOR THE GARMENTS ON SHOW NUMBER FOUR, I WORE A CRAZY PATCH VEST.

DON'T FORGET THE EMBROIDERY STITCHES ON YOUR SEWING MACHINE.

THE POSTAGE STAMP QUILT TURNED INTO A VEST.

I'D LIKE TO POINT OUT THAT SOMETIMES THOSE INSIDE RIGHT ANGLES REALLY BOTHER YOU WHEN YOU'RE PUTTING BINDING ON.

I HAVE FOUND THE SECRET IS TO CLIP ALL THE WAY INTO THAT 1/4-INCH TURN.

AND THEN OPEN UP YOUR SEAM SO IT'S STRAIGHT WHEN YOU'RE PUTTING YOUR BINDING ON.

ONCE YOU DO YOUR HANDWORK ON THE BACK, IT'LL FALL INTO PLACE VERY NICELY.

YOU CAN EVEN STITCH THAT MITERED ANGLE IF YOU'D LIKE TO.

IT'S VERY NICE THAT FOR THE POSTAGE STAMP QUILT, ALL THE MAKERS OF THE QUILT HAVE BEEN PUT RIGHT ON MUSLIN, TYPED IN PLACE.

THEY'VE LEFT ONE NAME OUT, AND I'M GOING TO ADD IT, AND I'D LIKE TO PUBLICLY THANK MY MOTHER FOR ALL THE HELP SHE'S DONE IN PIECING AND CUTTING AND THE ENCOURAGEMENT THAT SHE'S GIVEN ME IN DOING ALL THE QUILTS FOR THIS SERIES.

NOW, A GOOD, HARD-WORKING WORK SHIRT HAS SOME EXTRA ADDED PIZZAZZ WHEN YOU PUT HAND EMBROIDERY WORK AROUND ALL THE SEAMS THE WAY IT'S PUT TOGETHER.

I HAVE A FEW MORE SEAMS TO COVER HERE.

AND, OF COURSE, WHAT TO DO WITH ALL THOSE SELVAGES?

NOW WE KNOW.

DON'T WE?

JUST PUT THOSE PONY BEADS ON THEM, AND YOU'RE SET TO GO.

ON SHOW NUMBER SEVEN, I PREVIEWED THE WOVEN WONDER QUILT, BOTH IN THE FRONT AND THE BACK.

JUST TWO BLOCKS COME TOGETHER FOR A NICE JERKIN.

AND THE STRAWBERRIES THE SAME WAY, RADIATING THOSE BANDS OF COLOR.

ON SHOW NUMBER EIGHT, I FEATURED A LITTLE JUMPER THAT HAS A PINK BLOUSE WITH A PANEL THAT GOES DOWN THE PUFFY SLEEVES.

THE PINWHEEL PATTERN-- A VERY CLASSIC AND OLD-FASHIONED PATTERN, VERY SIMPLE, DONE IN MINIATURE HERE, TURNED ON POINT, AND TRIANGLES SET OFF THE DESIGN ITSELF.

OR YOU COULD MAKE THAT PINWHEEL PATTERN IN A 7-INCH BLOCK FOR A BOY'S ROOM IN PLAID MATERIAL, A VERY MASCULINE LOOK FOR A QUILT TODAY.

SHOW NUMBER NINE.

OH, MY.

GET YOUR WILDEST FABRIC FOR MASK.

THEY ALL HAVE SOULS, YOU KNOW, ONCE YOU MAKE THEM.

AND DON'T FORGET YOU CAN PUT EARRINGS ON THOSE MASKS, ALSO.

THEN SHOW NUMBER 10 FEATURES BANDANNAS.

YES, THIS TIME, FAN FOLD THEM AFTER TURNING IT INTO A TRIANGLE.

STITCH IT DOWN THE MIDDLE.

PLACE IT AROUND THE ARMHOLES, AND THE NECK AND THE BOTTOM.

AND ONCE IT'S BEEN STITCHED IN PLACE, THEN SNIP IT APART EVERY 1/4 INCHES.

AS IT'S BEEN LAUNDERED, IT'LL START TO FLUFF UP.

AND FOR SHOW NUMBER 11, MY GARMENT WAS EASY.

I JUST BOUGHT A SWEATER WITH AN AMISH BUGGY ON IT.

AMISH AND MENNONITE MAKES ME THINK OF FEATHER QUILTING.

QUITE OFTEN WHEN YOU USE THAT HALF-A-HEART DESIGN THAT GOES AROUND A CIRCLE, YOU HAVE TO SNEAK THROUGH THE NEEDLE CAN'T GO WHERE IT ALWAYS WANTS TO.

I FIND THAT IT'S EASY IF YOU COME AROUND AND THEN JUST SHADOW QUILT THAT BACK.

YOU END UP WITH A DOUBLE FEATHER DESIGN.

TO DO MY QUILTING, I USE A PENDANT LIGHT AROUND THE NECK.

AND IT ILLUMINATES YOUR QUILTING STITCHES.

WE HAD A CHANCE TO SEE A PROFESSIONAL QUILTING MACHINE IN OPERATION.

TO FINISH THOSE EDGES, WE QUITE OFTEN USE A SERGER.

IT CLEANS UP THE EDGES, FINISHES THEM, ALLOWS YOU TO TURN THAT UNDER AND DO A STRAIGHT STITCHING LINE.

YOU MIGHT WANT TO INCLUDE SOME CORDING INSIDE THAT.

SHOW NUMBER 12 FEATURED A GARMENT THAT HAD COORDINATED FABRIC IN IT.

FOUR DIFFERENT STYLES OF CLOTH COME TOGETHER.

AND THEN TO SEPARATE THE PAISLEY FROM THE BORDER PRINT, I PUT AN ACCENT OF PURPLE BIAS, STRING PIECING THE FRONT PANEL AND THE BACK, AND THEN PRAIRIE POINTS THAT ARE JUST HUNG LOOSE ON BOTH SIDES.

SHOW NUMBER 12 FEATURED QUILTS THAT WARMED THE WALLS.

AND, OF COURSE, WHAT BETTER PLACE TO WARM THAN A CAR DEALERSHIP?

I NEED TO GET THIS PIECE BACK SOON SO BOB CAN SELL MORE CARS.

BUT IT IS IMPORTANT WHEN YOU'RE PUTTING QUILTS ON WALLS TO SUPPORT THEM ON ALL FOUR SIDES.

THIS WAS JUST A HOMEMADE JOB THAT I DID HERE, BUT IT WORKS VERY NICELY.

WITH A WOODEN FRAME, I INCLUDED A PIECE OF CLOTH IN THE BINDING ALL AWAY AROUND THE OUTSIDE.

ATTACH VELCRO WITH A ZIGZAG STITCH AND THEN MORE VELCRO STAPLED ON THE BOTTOM.

JUST PULL THAT AROUND, AND IT STAYS VERY NICELY.

THE VEST I HAVE ON TODAY IS NOTHING MORE THAN OUR OLD FAMILIAR LOG CABIN, BUT THEY ARE OLD BLOCKS THAT WERE MADE, I THINK, IN CHINA.

AND WE CALL THIS RESCUE THE PERISHING-- WHEN YOU PUT THEM TOGETHER INTO A GARMENT RATHER THAN LETTING THEM SIT IN THE BOX.

I HAVE ONE MORE QUILT TO SHOW YOU.

I'M NOT SURE WHO EVEN MADE THIS QUILT, BUT I KNOW I NEEDED TO MAKE A SPRING CHICKEN QUILT, AND WHEN I SAW THIS AT THE VERMONT QUILT SHOW HANGING AMONGST A LOT OF OLD, TRADITIONAL QUILTS, IT JUST STOOD OUT, AND I FELL IN LOVE WITH IT AND DECIDED TO BUY IT.

MANY, MANY YEARS AGO, I WAS WALKING DOWN THE STREET IN SHELDON, IOWA, WHERE MY FATHER WAS BORN AND RAISED, SEEING IF I COULD WALK TO MY AUNT RHODA'S HOUSE, AND I SAW TWO CHICKENS TIED TO A TREE.

CARS WERE SLOWING DOWN AND HONKING.

WHEN I GOT TO THE TREE, SOME CHILDREN SAID THAT, YES, THOSE WERE THEIR PET CHICKENS.

AND A SIGN OUT IN FRONT SAID "JAN IS NO SPRING CHICKEN.

HONK IF YOU AGREE."

NOW IT TOOK ME ANOTHER BLOCK TO FIGURE OUT THAT JAN WAS THEIR MOTHER.

AND IT MUST HAVE BEEN HER BIRTHDAY.

SO I HOPE IF YOU HAVE A FUN STORY, YOU'LL MAKE A QUILT TO GO WITH IT.

AND NOW IT IS TIME TO SAY GOOD-BYE FOR ANOTHER SERIES.

I HOPE YOUR CREATIVE POWERS HAVE BEEN TAPPED.

WE HOLD FAST TO THE TIME-HONORED QUILTING TRADITIONS THAT OUR MOTHERS INVENTED FROM NECESSITY, BUT WE CAN EXPLORE THE WORLD AROUND US FOR ORIGINAL IDEAS.

BEING A QUILTMAKER, YOU WORK AT THE BALANCING ACT BETWEEN CRAFT AND EVERYDAY ACTIVITIES, FINDING STIMULUS IN EVEN THE MOST MUNDANE CORNERS OF YOUR LIFE.

JUST REMEMBER, YOUR QUILTS, AND MAYBE EVERYTHING IN LIFE, WILL BE IN DIRECT PROPORTION TO THE AMOUNT OF EFFORT AND ENERGY PUT FORTH.

IT TAKES WORK TO MAKE A QUILT, BUT IT'S FUN.

SO KEEP AN OPEN MIND, NEVER SAY NEVER, AND BE PREPARED TO STRETCH.

OUR QUILT WELL WILL NEVER RUN DRY AS LONG AS WE SEARCH, THINK, DREAM, AND DESIRE.

A SINCERE "THANK YOU" TO A WONDERFUL, STEADFAST CREW-- A COUPLE OF THEM HAVE EVEN CAUGHT THE QUILT BUG, AND WE'LL WAIT AND SEE WHAT THEY PRODUCE-- AND MY UNDERSTANDING PRODUCER AND DIRECTOR, BILL HANNAH, MY HUSBAND AT HOME, PETE, AND MOST OF ALL, A BIG "THANK YOU" TO YOU FOR WATCHING.

GOOD-BYE UNTIL THE NEXT SERIES.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM GINGHER, INC., MAKERS OF SHEARS FOR THE HOME, BUSINESS, AND INDUSTRY.

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

GEORGIA BONESTEEL IS THE AUTHOR OF BRIGHT IDEAS FOR LAP QUILTING.

THE BOOK CONTAINS DETAILED INSTRUCTIONS AND PATTERNS FOR THE QUILTS IN THIS SERIES.

PUBLISHED BY OXMOOR HOUSE, THE BOOK IS AVAILABLE IN LIBRARIES AND BOOKSTORES NATIONWIDE.