♪ ON "LAP QUILTING" TODAY, THE FEATURED QUILTS-- COPYCAT, BABY BUGGY BOOMERS, AND THE ULTIMATE POSTAGE STAMP QUILT-- MAKE THE FINAL ALL-IMPORTANT CONNECTION, SOMETIMES BY HAND AND SOMETIMES BY MACHINE.

REVIEW THE MANY QUICK-PIECING TECHNIQUES, AND LEARN A NEW FLYING GEESE METHOD.

♪ 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.

YOU'VE BEEN WONDERING WHAT TO DO WITH ALL OF THOSE SELVAGES.

WELL, PULL PONY BEADS THROUGH THEM AND STITCH THEM ANYWHERE YOU WANT TO ON AN OLD DENIM JACKET.

WELL, WE'RE GETTING DOWN TO WORK TODAY, GOT MY WORK SHIRT ON, AND I'D LIKE TO WELCOME EVERYONE IN THE STUDIO AUDIENCE.

WE LEFT YOU LAST WEEK WITH QUICKIE PIECING.

THIS TIME, I SUGGEST THAT YOU'D MAKE A 6" SQUARE.

ADD THE QUARTER INCHES ON ALL FOUR SIDES, AND THEN MAKE THE GEOMETRIC COMPONENTS THAT GO WITH IT-- A RECTANGLE, 3" x 6", A FOUR PATCH--A 3" SQUARE WITH THE SEAMS ALL THE WAY AROUND IT-- A RIGHT-ANGLE TRIANGLE, THAT OHIO STAR TRIANGLE OR WE SOMETIMES THINK OF THAT AS THE FLYING GEESE TRIANGLE, AND THEN A RIGHT-ANGLE TRIANGLE THAT GOES WITH THAT 3" SQUARE.

NOW, IF YOU PUT THESE TOGETHER-- THE COMPONENTS, PUT THEM TOGETHER IN THE MASTER TEMPLATE IN A DOUBLE FOUR PATCH, YOU'D HAVE A 24" BLOCK.

IF YOU STARTED WITH A 3", PLUS SEAM ALLOWANCE, YOU'D HAVE A 12" BLOCK.

THE IMPORTANT THING IS TO LEARN TO TAKE ADVANTAGE OF THESE QUICKIE-PIECING TECHNIQUES AND THEN FIND WHERE YOU CAN USE THEM IN YOUR QUILTS.

FOR INSTANCE, ON THIS GOING-MY-WAY BLOCK, I KNOW I CAN USE IT HERE AND I CAN USE IT HERE.

ON THE BORDER OF THE FLYING GEESE-- THIS IS A STAR PATTERN THAT YOU'LL BE LEARNING AND FLYING GEESE GOING ALL THE WAY AROUND THE BORDER.

HERE'S A CHANCE TO USE IT.

I'D LIKE TO GO OVER SOME OF THE WAYS THAT YOU CAN.

FOR INSTANCE, IF YOU'RE MAKING A BAR QUILT, WE WOULDN'T CUT OUT ALL THESE INDIVIDUAL RECTANGLES TODAY.

WE'D SEW STRIPS TOGETHER THAT ARE CUT THE WIDTH OF THIS PARTICULAR TEMPLATE.

THEN I CAN SIMPLY PLACE THIS ON, CUT IT ON EITHER SIDE ONCE I'VE MARKED IT.

AND, OF COURSE, YOU'VE GOT LOTS OF BARS, AND YOU CAN CHANGE COLORS WHENEVER YOU WANT TO OR FOUR PATCH.

NOW, THAT'S AN EASY THING TO DO BY CUTTING OUT INDIVIDUAL SQUARES, BUT THERE'S A QUICKER WAY.

GO AHEAD AND CUT THOSE SAME LONG RECTANGLES, SEW THEM TOGETHER, AND THEN PRESS.

MAKE SURE THAT THE CLOSED SEAM IS GOING AGAINST THE DARK IN EITHER DIRECTION.

LINE THESE UP.

TAKING THAT SAME RECTANGLE, DRAW ON EITHER SIDE ALL THE WAY DOWN THAT LONG SPAN.

THEN YOU'RE GOING TO MACHINE STITCH ONE TIME WITHIN EACH ONE OF THOSE SECTIONS.

FROM HERE TO HERE, STITCH ONCE.

THEN WHEN YOU CUT THOSE APART, OF COURSE YOU'RE GONNA HAVE YOUR FOUR PATCH.

I WOULD GO AHEAD ON THE BACKSIDE AND UNDO THE STITCHING ALL THE WAY OUT TO THE RAW EDGE.

NOT ACROSS THERE.

YOU'VE USED THAT AS YOUR CONNECTING SEAM.

BUT WHEN YOU GET READY TO PRESS, YOU'LL REALLY LIKE WHAT HAPPENS HERE.

IT DISTRIBUTES THE WEIGHT OF YOUR SEAMS, IT'S VERY MUCH LIKE THE HAND PIECING-- A VERY NICE, SOFT INTERSECTION RIGHT THERE.

OF COURSE, WE ALL KNOW ABOUT THE RIGHT-ANGLE TRIANGLE.

WE'VE ALL BEEN DRAWING AROUND THAT, FLIPPING IT CONTINUALLY, AND THEN SEWING ON EITHER SIDE, AS WE'VE DONE HERE.

MARKED HERE.

SEWN HERE.

ONCE THAT'S CUT APART, EVERY TRIANGLE REPRESENTS A SQUARE.

WE KNOW, ONCE AGAIN, IF WE PUT THOSE TWO TOGETHER, WE HAVE A FLYING GEESE COMPONENT.

WE DO HAVE THAT EXTRA SEAM DOWN THERE, BUT IT CERTAINLY DOES WORKS.

NOW, WE HAVE THIS TEMPLATE THAT CREATES THE OHIO STAR.

DRAWING AROUND THAT FOUR TIMES-- THIS IS ON TWO FABRICS WITH THE RIGHT SIDES TOGETHER-- THEN SEWING THIS TIME JUST ON EITHER SIDE OF ONE DIAGONAL.

IF WE SEWED HERE, WE'D MAKE PITA BREAD SANDWICHES, AND YOU DON'T NEED THAT.

YOU'D STITCH IT ALL UP INTO A POCKET.

THEN WHEN YOU TAKE THIS APART, AND IT'S BEEN SEWN, GO TO THE OPPOSITE SIDE, AND THESE TWO WE'LL SEW TOGETHER JUST LIKE WE'VE DONE HERE.

THE LAST ONE I'D LIKE TO SHARE WITH YOU IS THAT FLYING GEESE.

YOU CAN SEE WE'VE GOT THE LARGE TRIANGLE, AND WE HAVE THE SMALL TRIANGLE-- THE GEESE AND THE SKY, THE BACKGROUND.

I HAVE COME UP WITH A WAY THAT WE CAN MAKE THAT COMPONENT BY SIMPLY CUTTING OUT LONG BIAS THAT IS THE DEPTH OF THIS TEMPLATE-- FROM HERE TO HERE, RIGHT ALL THE WAY THROUGH.

ONCE YOU'VE DONE THAT, THEN PLACE YOUR GEESE ALL THE WAY DOWN AND CONTINUE SEWING.

ONCE YOU'VE DONE THAT, THEN YOU CAN COME AND OPEN THIS UP, TAKING THIS TEMPLATE AND PLACING IT RIGHT ON YOUR SEAM WHERE YOU'VE GONE.

YOU CAN THEN SEW AND THEN CUT.

AND I USUALLY MARK THAT WITH A LITTLE PENCIL LINE.

THERE'S A LITTLE LIGHT LINE RIGHT THERE.

EVERY TIME YOU DO THAT, COME HERE AND HERE, YOU HAVE ONE ALREADY SEWN.

THEN THIS ONE YOU'VE CUT OFF COMES RIGHT AROUND HERE AND SEWS ON THERE.

IT'LL BE A PERFECT TEMPLATE THAT WILL FIT RIGHT THERE.

NOW, THERE'S ANOTHER WAY I'VE LEARNED IN ENGLAND.

TWO WAYS AREN'T ENOUGH.

WE HAVE ANOTHER WAY.

OF COURSE, YOU COULD ALWAYS JUST CUT THESE OUT AND MACHINE STITCH THEM.

NOTHING WRONG IN THAT.

WHEN YOU DO THAT, TAKE ADVANTAGE OF THAT 45-DEGREE ANGLE THAT YOU'VE GOT.

SEE HOW NICELY THAT'S GOING TO STITCH?

ONCE THAT'S BEEN SEWN, THEN YOU CAN FLIP THAT BACK.

YOU'RE GONNA HAVE SOME DOG-EAR UP HERE.

THEN YOU'VE GOT YOUR NEXT TO LINE UP.

THAT WILL GIVE YOU YOUR AMOUNT OF SEAM ALLOWANCE YOU NEED AT THE TOP.

I LEARNED THIS TECHNIQUE FROM PAULINE ADAMS IN ENGLAND.

WHAT SHE'S COME UP WITH IS TO TAKE OUR FLYING GEESE TEMPLATE, MARK AROUND IT FOUR TIMES TO CREATE A SQUARE.

ONCE SHE'S DONE THAT, SHE TAKES THE SKY TEMPLATE AND TRACES IT ONCE AND THEN TWICE, CUTS OUT FOUR SQUARES, AND DRAWS A DIAGONAL ON EACH ONE OF THEM.

NOW, I WANT TO CUT OFF WHAT I CALL THE "NOSE" ON THAT TEMPLATE, SO I COME AND OVERLAP IT RIGHT HERE, AND WHERE THESE COME TOGETHER, I KNOW TO JUST CUT THOSE OFF ABOUT THAT MUCH HERE AND THE SAME AMOUNT OVER HERE.

THEN I JUST-- ONCE THOSE HAVE BEEN CUT OFF, THEN MY NEXT STEP IS TO LINE TWO OF THOSE UP.

I SAVED TWO, BUT I TAKE THESE TWO AND LINE THEM UP OPPOSITE SO I CAN MACHINE STITCH ALL THE WAY ACROSS.

SEE HOW I NEEDED TO GET RID OF THAT NOSE?

MY NEXT STEP IS TO TAKE MY THIRD ONE, PLACE IT HERE, PULL THESE BACK, THUMB-CREASE, MACHINE STITCH UP TO HERE, BACKSTITCH AND COME ALL THE WAY DOWN HERE.

THIS EXCESS NEEDS TO COME MEET THAT LINE.

NEXT THING, TAKE THIS OUT, THUMB-CREASE THAT BACK, COME HERE, AND HERE'S THE LAST ONE SEWN.

THEN--THIS IS LIKE MAGIC.

THIS IS THE FUN PART.

COME LIKE SO, PUT MY RULER TO THE DIAGONAL, ALL THE WAY THROUGH, AND THEN TURN.

SAME THING.

I CAN GO FROM CORNER TO CORNER AND ALL THE WAY THROUGH, AND WHAT DO I HAVE?

FOUR FLYING GEESE.

THE NICE PART IS FROM HERE TO HERE, I HAVE THAT SEAM ALLOWANCE.

KEEP IN MIND I WILL GO BACK TO MY MASTER TEMPLATE TO CHECK IT.

I WANT TO MAKE SURE ALL OF THESE ARE GONNA GO IN MY WHOLE BORDER OF A QUILT.

SO I COME AND PUT THIS ON, LINE THIS UP, AND MAKE CERTAIN AS I'M PRESSING IT THAT I HAVE JUST THE RIGHT AMOUNT THAT THAT IS COMING RIGHT TO THAT DIAGONAL LINE RIGHT THERE.

NOW WE'RE GOING TO GO TO OUR COPYCAT.

I HOPE YOUR COPYCAT QUILT LOOKS JUST LIKE MINE.

TAKE THE TIME ON THOSE LONG VERTICAL SEAMS THAT ARE ON THE BACK, THE ONES THAT CONNECTED THE ROWS, TO PRESS THOSE IN OPPOSITE DIRECTIONS.

THESE SEAMS ARE GOING THIS WAY, AND THESE SEAMS ARE PRESSED THIS WAY.

THEN GO AHEAD AND FIND THE MIDPOINT ON YOUR LAYERED BATTING AND BACKGROUND OR BACKING MATERIAL.

HERE'S THE MIDPOINT.

THEN YOU'RE GOING TO LINE THESE UP RIGHT TOGETHER.

I'D LEAVE ABOUT AN INCH UP HERE AT THE TOP.

ONCE THOSE ARE LINED TOGETHER, YOU COULD BE READY TO QUILT JUST LIKE THIS.

YOU MIGHT WANT TO DO SOME BASTING AND PUT IT ON YOUR HOOP OR LAP QUILT JUST LIKE THIS.

HOWEVER, I'M GOING TO SHOW YOU A WAY TO GO AHEAD AND DO WHAT I CALL INSIDE QUILTING, WHICH ENABLES YOU THEN TO BRING THIS ALL THE WAY BACK TO THIS CENTER SEAM THAT WAS PRESSED GOING IN THAT DIRECTION, AND YOU'RE THEN GOING TO MACHINE STITCH ALL THE WAY DOWN, MAKING CERTAIN THAT THIS SEAM-- AND I'D GO AHEAD AND PUT A COUPLE PINS HERE AND MEASURE SO THIS SEAM IS PARALLEL TO YOUR SELVAGE SIDE.

REMEMBER, THIS MEASUREMENT WAS SELVAGE TO SELVAGE OR 45" WIDE x 67" LONG.

WITH THAT PINNED ALL THE WAY DOWN, YOU'RE READY TO GO TO THE SEWING MACHINE.

NOW, I WOULD SUGGEST WITH THIS MUCH BULK THAT YOU MIGHT WANT TO ROLL YOUR QUILT UP JUST LIKE THIS.

ONCE YOU'VE ROLLED IT, YOU CAN PUT BICYCLE CLIPS ON IT.

YES, THEY MAKE THESE FOR QUILTERS TODAY.

ISN'T THAT NICE?

WHAT THAT DOES IS ALLOW YOU TO TAKE THAT MUCH FABRIC TO THE MACHINE, ALL THE WAY DOWN HERE, AND IT WILL STAY THERE STATIONARY AND NOT GET YOU IN TROUBLE WHEN YOU HAVE THAT MUCH BULK.

THERE IT IS IN PLACE, KNOWING THAT YOU'RE GETTING READY TO STITCH UP HERE.

I'D ALSO PUT A WALKING FOOT ON.

IT ALLOWS YOU TO NOT ONLY SEW PLAIDS TODAY AND KEEP THEM STRAIGHT, BUT ALSO FOR YOUR QUILT-MAKING.

IT WILL FIT RIGHT ON YOUR MACHINE.

COMES UP.

YOU MIGHT WANT TO PUT A LITTLE LONGER STITCH ON HERE SO IT IS NOT GOING TO BE TOO TIGHT.

AND YOU'RE GOING TO STITCH THROUGH ALL LAYERS-- THE TWO SEAM ALLOWANCES RIGHT HERE, THE BATTING, AND THE BACKING, ALL THE WAY THROUGH.

COME ALL THE WAY.

I WOULD USE A MATCHING THREAD THAT MATCHES THE BACKING OF YOUR LAYERS, AND I WOULD STITCH, PROBABLY, RIGHT ON THAT SEAM.

YOU DON'T WANT TO TAKE UP ANY MORE, SO STARTING HERE, BACKSTITCH.

YOU'RE GOING TO COME ALL THE WAY DOWN, RIGHT EXACTLY ON THAT PREVIOUS SEAM.

YOU'RE REALLY JUST REINFORCING YOUR QUILT, AREN'T YOU?

JUST KEEP COMING ALL THE WAY AND DON'T TURN THOSE SEAMS.

THEY'VE ALREADY BEEN SEWN IN ONE DIRECTION.

MAKE CERTAIN THEY STAY THE WAY THEY SHOULD.

I WOULD KEEP ON STITCHING-- I'M GOING TO TRIM THIS OFF-- EACH SIDE, ONE SEAM AT A TIME, KNOWING THAT EACH TIME, ONCE THAT ONE IS STITCHED, PULL THIS ONE OVER, GO TO THE FRONT AND DO A LITTLE BIT PINNING, AND YOU'RE GOING TO START TO SEE A NICE PUFFINESS THAT'S GONNA HAPPEN HERE.

THAT'S THE SHADOWS THAT ARE CREATED WHEN YOU'RE INDENTING THAT FABRIC.

BEFORE YOU KNOW IT, YOU'VE GONE ALL THE WAY ON THIS SIDE.

TAKE YOUR CLIPS OFF, AND THEN YOU'RE READY TO START ON THIS SIDE WITH THESE SEAMS GOING IN THIS DIRECTION.

TRIM THE BATTING OFF, LEAVE THAT EXCESS, AND WE'LL TELL YOU WHAT TO DO NEXT WEEK WITH COPYCAT.

HAS YOUR STRING QUILT GROWN?

I HOPE YOU HAVE ONE WHOLE PANEL DONE AT LEAST.

WE'RE GOING TO DO A "LET'S PRETEND" PANEL ONE THAT'S JUST PART OF A CORNER SO I CAN SHOW YOU HOW THE MACHINE QUILTING GOES.

NOTICE THAT THE PANEL ITSELF HAS A 2" BORDER ON THIS SIDE AND THEN A 1.5" BORDER ON THE INSIDE BECAUSE PART OF THAT 1.5" IS CONNECTED TO THOSE BOTTOM STRING PANELS ON THE INSIDE.

FINISH IT OFF WITH A 2.5" AT THE BOTTOM.

WHEN I DO THE MACHINE QUILTING-- AND ONCE AGAIN, I'D LIKE TO KEEP IN MIND THAT YOU COULD DO STRING PIECING JUST ON FABRIC.

IT DIDN'T NEED TO BE PAPER.

BUT I WOULD REALLY SUGGEST YOU DO NOT PULL THE PAPER OFF UNTIL YOU HAVE ALL THESE BORDERS SEWN ON.

THAT WAY, YOUR RECTANGLE IS STABLE.

THEN GO AHEAD AND PULL OFF ALL THE PAPER.

EVEN GO TO THE SEAM ALLOWANCE AND RIP EVERYTHING OUT.

WE'VE GOT A LITTLE PILE OF PAPER THERE.

AND IT'S ALL TRIMMED TO THAT 10.5" x 7.5" RECTANGLE.

I THEN LAYER THE BACKING, THE BATTING, AND PIN IT IN PLACE.

I DO PUT QUITE A FEW PINS HERE, AND I HAVE FOUND IT'S EASIER TO PIN RATHER THAN BASTE, BECAUSE MY BASTING THREADS GET CAUGHT IN THE PRESSER FOOT.

ONCE THAT'S DONE--I DO CHOOSE A LIGHTWEIGHT BATTING.

IT MAKES IT EASIER TO QUILT THROUGH.

I MACHINE QUILT ALL THE WAY OUT TO THE EDGE, BOTH ON THE OUTSIDE AND IN THE INSIDE, EVEN THOUGH I'M JUST WORKING IN PANELS.

AND I'M GOING TO SHOW YOU WHAT HAPPENS HERE.

I THINK IT'S NICE THIS TIME TO CREATE A DESIGN RIGHT ON TOP OF THE SEAM WHERE I'VE DONE THE STRING PIECING.

IT ANCHORS IT IN PLACE AND REALLY STRENGTHENS YOUR SEAM.

IT'S ALSO VERY DECORATIVE.

I THINK IT HELPS TO SIT UP STRAIGHT AT THE MACHINE.

PUT BOTH HANDS ON EITHER SIDE AS YOU WATCH THAT ZIGZAG HAPPENING.

THEN WHEN YOU GET UP CLOSE TO WHERE YOU'RE GONNA MAKE A RIGHT-ANGLE TURN, I LIKE TO PLAY WITH THE ZIGZAG.

GO AHEAD AND LET IT BECOME A LITTLE NARROWER, A LITTLE NARROWER, AND ALL OF A SUDDEN, IT'S GOING STRAIGHT.

THEN YOU'RE READY TO TURN.

YOU KNOW HOW QUITE OFTEN WHEN YOU'RE TURNING WITH THE ZIGZAG, YOU'LL GET ALL THOSE OVERLAPPING.

NOW I'M COMING OUT AGAIN, AND THEN I START GOING WIDE AGAIN.

SO I JUST CONTINUE ALL THE WAY DOWN.

JUST KEEP MACHINE QUILTING WITH THAT ZIGZAG COMING NARROWER AND COVERING THESE SEAMS TO ANCHOR ALL THREE LAYERS TOGETHER.

NOW, WE HAVEN'T TALKED ABOUT THE BABY BUGGY ITSELF.

IT'S COMING RIGHT ALONG.

WE CAN'T COMPLETE IT UNTIL NEXT WEEK WHEN WE DO THE APPLIQUÉ STUDY AND SHOW YOU HOW TO DO THE HANDLE.

KEEP IN MIND, WHEN YOU SEW THAT FOUR PATCH TOGETHER, GO AHEAD AND PIN THE POCKET DOWN SO IT DOESN'T GET CAUGHT.

IT IS ALL THE WAY UP HERE, ALLOWING 1/4" ON EITHER SIDE TO SEW TOGETHER.

ONCE THOSE THREE PANELS ARE DONE, I DID CONNECT THE QUILT ON THE INSIDE WITH AN ACCENT BAND ON THE BACK.

IT DOES HELP TO GO AHEAD ON THIS INSIDE AREA AND TRIM OUT AT LEAST, SAY, 1/4" TO 1/2" OF BATTING.

AND YOU MIGHT DO THAT REALLY BEFORE YOU START YOUR QUILTINGS, BECAUSE IT WILL BE ANCHORED DOWN, THEN.

THAT ALLOWS JUST TWO LAYERS HERE AND TWO FROM THE OTHER SIDE.

AND WHEN YOU'RE STITCHING THAT, INCLUDE 1.5" OF-- AND I USE BIAS HERE BECAUSE I LIKE THAT DIAGONAL ACCENT.

MACHINE STITCH THAT ALL TOGETHER.

AND THEN ON THE BACKSIDE, PULL THAT FLAT, THUMB-CREASE, AND DO A LITTLE APPLIQUÉ STITCH ALL THE WAY DOWN.

TODAY WE CAN GO AHEAD AND ACCENT THE FACT THAT WE'VE DONE LAP QUILTING OR THAT IT'S BEEN DONE IN SECTIONS, AS I'VE DONE HERE, OR EVEN ON THE STARGLAZE QUILT USING THE VIRGINIA REEL PATTERN.

TOOK SOME FABRIC FROM THE FRONT AND PUT IT ON THE BACK.

MY SISTER, JILL MOORE, HAS RECENTLY FINISHED A MACHINE-QUILTED QUILT.

IT'S WITH DECORATOR FABRIC.

NOTICE HOW SHE USED FLORAL PRINTS, AND THEN RED AND GREEN DIAGONAL DESIGNS THAT CREATE A SECONDARY PATTERN AS IT GOES AROUND THE QUILT.

SHE WENT ON FURTHER TO USE A PATTERN ON THE BACK AND THEN TURNED HER BLOCKS EACH TIME WHEN SHE PUT IT TOGETHER.

WHEN YOU'RE MACHINE QUILTING IN THAT MANNER, IT DOES HELP TO DO A FEW LITTLE TIPS THAT I CAN SHARE WITH YOU.

FIRST OF ALL, YOU'LL CONSIDER THE KIND OF HOOP THAT YOU USE.

I LIKE TO HOLD IT TAUT WHEN I'M PUTTING ALL THREE LAYERS TOGETHER.

IF USING A WOODEN HOOP, A NICE NARROW ONE, PUT THE LARGER PORTION DOWN FIRST, AND THEN PUT YOUR BATTING AND YOUR BACKING AND YOUR FRONT TOGETHER, AND YOU HAVE TO STAND AND REALLY PUSH IT IN PLACE.

ONCE THAT'S HELD TAUT, THEN YOU'RE READY TO DO YOUR MACHINE QUILTING AFTER, OF COURSE, YOU PUT YOUR DARNING FOOT ON.

IF YOUR MACHINE WILL DARN, YOU CAN DO THIS MEANDERING OR LOITERING ON ANY MATERIAL THAT YOU WANT TO.

ONCE THAT'S IN PLACE, I WOULD LOWER THOSE FEED DOGS-- MAKE SURE YOU'RE JUST ON STRAIGHT STITCHING-- AND THEN PUT THOSE LAYERS INSIDE.

I LIKE TO DECIDE WHERE I'M GOING TO GO AND TAKE ONE STITCH, PULL THAT BOBBIN THREAD UP, AND THEN, HOLDING THAT IN PLACE, GO UP AND DOWN TWO OR THREE STITCHES.

ONCE THAT'S BEEN ANCHORED IN PLACE, THEN I HOLD THAT AND START MY QUILTING FOR ABOUT, SAY, AN INCH.

ANCHOR THAT NEEDLE DOWN IN AGAIN TO HOLD IT IN PLACE, AND CLIP THOSE LOOSE THREADS AWAY.

GET RID OF THOSE.

THEN LEARN HOW TO RELAX YOUR SHOULDERS.

PUT YOUR FINGERS ON THE HOOP AND JUST START GOING.

YOU CAN GO ANY DIRECTION YOU WANT TO.

WHY, YOU CAN EVEN CREATE A SHADOW BY COMING RIGHT NEXT TO THAT RIBBON.

YOU DO WANT TO REMEMBER AS YOU'RE DOING THE MACHINE QUILTING NOT TO COME OUT TO THE EDGE.

YOU NEED THOSE EXCESS SEAM ALLOWANCES TO PUT EACH BLOCK TOGETHER.

WHEN YOU STOP, JUST GO UP AND DOWN IN PLACE.

THAT LOCKS YOUR STITCH IN PLACE.

THEN YOU'RE READY TO TAKE YOUR HOOP OUT AND MOVE TO ANOTHER AREA.

OR QUITE OFTEN, I WILL PUT MY NEEDLE DOWN IN THE MATERIAL AND MOVE THE HOOP, RATHER THAN HAVING TO STOP AND START EACH TIME.

STILL STITCHING ON THE POSTAGE STAMP?

I HOPE SO.

AND NEXT WEEK, WE'LL GIVE YOU THE MEASUREMENTS FOR THE BORDER.

IN THE MEANTIME, I'D LIKE TO SHARE WITH YOU HOW I DO THE PILLOW AND THE VEST.

I KNOW YOU PROBABLY HAVE THAT 25" SQUARE DONE.

GO AHEAD AND BORDER IT WITH A 1" MUSLIN, MORE 1.5" PATCHES ALL THE WAY AROUND, AND THEN A 2" BORDER.

LINE IT COMPLETELY.

I LIKE THE WAY THAT LINING HIDES ALL THOSE RAW EDGES.

THEN GO AHEAD AND DO THE SAME THING FOR A BACKING.

DARK ON THE BACK, AND LINE IT WITH THE WHITE OR THE MUSLIN ON THE INSIDE.

NOW, TO SPEED THAT UP, I SIMPLY SEWED ON ALL FOUR SIDES, SLIT IT DOWN THE MIDDLE, AND TURNED IT RIGHT-SIDE OUT.

TO COMPLETE IT, I PUT A ZIPPER ON ONE SIDE AND THEN STITCHED IN THE DITCH ALL THE WAY AROUND TO ANCHOR MY FLUFFY PILLOW.

AS FOR A VEST, I WOULD CHOOSE A BOX-STYLE VEST OR ONE THAT YOU HAVE THAT YOU CAN THEN STRAIGHTEN OUT OR BLOCK OUT UNDERNEATH THE ARM AREA BECAUSE YOUR VEST REALLY HAS TO GO STRAIGHT ALL THE WAY AROUND.

GRAPH IT OUT IN YOUR 1" SQUARES ONCE AGAIN WITH YOUR LONG STRIPS AND YOUR NAVY AND MUSLIN ACCENTS, THE SAME IDEA AS YOUR QUILT, KNOWING ONCE THAT'S PINNED IN PLACE, YOU'RE READY TO SEW.

OR YOU COULD TRY GRIDDING ON THE POLY-COATED SIDE AND PUTTING YOUR PATCHES HERE.

ONE LITTLE HINT I DO HAVE IS WHEN YOU TAKE YOUR 1/4" SEAM AT THE UNDERARM AREA, THEN START TAKING UP A LITTLE BIT MORE ON ABOUT 4 OF THESE VERTICAL SEAMS RIGHT HERE, AND THAT WILL MAKE THE VEST AROUND THE WAIST AREA NICE AND SNUG.

TO COMPLETE THE VEST, I LAYER THE BATTING AND THE BACKING AND MACHINE-QUILTED IT WHILE THESE SHOULDER SEAMS WERE STILL OPEN.

THEN I COMPLETED THE SEAMS WITH A BIAS BINDING AND TRIMMED IT WITH MORE NAVY BINDING.

WE ARE NOW GOING TO DO SOME QUILTING AT LAST.

I THINK I'M READY TO QUILT.

THERE MIGHT NOT BE ROOM FOR THE NEEDLE.

THE QUILTING LINES ON THE SURFACE BECOME A SECONDARY LINE, REALLY A SHADOW THAT CONNECTS ALL THESE LAYERS.

IT HOLDS THE SANDWICH TOGETHER.

IF THESE LINES ARE A REPEAT STENCIL, THEN THEY SHOULD BE MARKED ON THE QUILT TOP ONCE THAT IS COMPLETED.

THAT BECOMES, REALLY, AN ENTIRE STEP DONE WITH, SOMETIMES, A LIGHT BOX SO THAT YOU ARE TRACING ONTO THE QUILT TOP FROM AN ILLUMINATED TRACE PATTERN, OR IT COULD BE USING A STENCIL THAT IS CUT OPEN.

WHY, TODAY WE EVEN HAVE A DOUBLE-BLADE KNIFE AND SPECIAL PLASTIC THAT ALLOWS US TO CUT OUR OWN STENCIL.

I INVITE YOU TO BE VERY ORIGINAL WITH THIS STEP.

THE TOOLS THAT ONE USES TO MARK ARE IMPORTANT, ALSO.

IT SHOULD BE A LINE THAT WILL DISAPPEAR ONCE IT IS QUILTED.

YOU WANT THE QUILTING STITCH TO BE THE SIGNIFICANT LINE.

THERE ARE CHALK ROLLERS AND MARKERS.

NOW THERE ARE EVEN ERASERS THAT WILL HELP YOU GET RID OF THOSE PENCIL LINES.

MASKING TAPE--IT GOES ON AND ON.

BUT WE KNOW THAT EACH QUILT HAS ITS OWN PERSONALITY AND ITS OWN SPECIAL MARKING REQUIREMENTS.

WHAT YOU DO ON ONE QUILT WILL NOT NECESSARILY WORK ON ANOTHER QUILT.

BALANCE THE AMOUNT OF QUILTING, NOT TOO MUCH IN ONE AREA VERSUS ANOTHER.

WE HAD OUR OWN REQUIREMENTS FOR THE POSTAGE STAMP QUILT.

MAYBE IT'S BECAUSE WE HAD SO MANY 1" SQUARES.

BUT ON THESE LONG STRIPS, WE DID QUILT RIGHT NEXT TO THE PIECING LINE AND THEN IN THE PRETTY AREAS THAT THE COLORS RADIATED ON A DIAGONAL, I CHOSE TO JUST DRAW HEARTS ON CONTACT PAPER, KNOWING THAT WE COULD PULL THAT PAPER OFF AND THAT WOULD ADHERE TO EACH OF THE AREAS WE WERE GONNA QUILT.

AFTER ALL, THIS QUILT WAS BEING TRANSFERRED AROUND TO A LOT OF HANDS.

AND SO WE HAD THAT SITUATION OF THE LINES, EVEN THE CHALK LINES, COMING OFF.

NOW, TO QUILT, WE NEED THAT QUILTING THREAD, A NICE SHORT NEEDLE, AND, OF COURSE, THAT FOOLPROOF KNOT THAT ALLOWS YOU TO GET A PERFECT KNOT AT THE END.

PULL THAT THROUGH ON TOP SO YOU CAN SEE IT.

I LIKE QUILTING IN A SUPPORTED HOOP LIKE THIS, BECAUSE THE--REALLY, THE WEIGHT OF THE QUILT IS NOT ON MY ELBOW.

IT IS HELD FREE.

ONCE I PULL THAT THROUGH, THEN I'M READY TO DO MY ROCKING-- PUT THAT THUMB OUT IN FRONT EACH TIME-- AND I CAN GAUGE THE AMOUNT OF NEEDLE THAT'S COMING THROUGH.

TAKE BETWEEN TWO AND THREE STITCHES EACH TIME.

OF COURSE, AS YOU KNOW, THE MORE YOU QUILT, THE MORE COMFORTABLE YOU'LL BE USING THE FRAME AND THE MORE SATISFIED YOU'RE GONNA BE WITH YOUR STITCHES.

WE'LL BE QUILTING MORE ON THIS SERIES, BOTH IN A HOOP AND WITHOUT, BUT THIS IS THE TIME THAT LETS YOU SPEND A LOT OF QUALITY TIME WITH YOUR QUILT.

YES, QUILT-MAKING IS INTERNATIONAL.

YOU CAN NOW VIEW THE RESULTS OF WHAT I CALL THE HOUSE EXCHANGE PROGRAM.

SHEILA SCAWEN AND I MAILED PIECED HOUSES ACROSS THE ATLANTIC.

WHY, I CALL THEM "TILT" SINCE WE HAD FUN JUST ANGLING THE HOUSES EVERY WHICH WAY, ALMOST LIKE THEY WERE THUMBNAILED, WAITING TO BE SET STRAIGHT OR MAYBE JUST ARRANGED ON A CROOKED STREET.

IT'S A NEW TWIST.

WE HAVE A SPECIAL GUEST TODAY ALL THE WAY FROM SHEFFIELD, ENGLAND.

WELCOME, SHEILA.

IT'S SO GOOD TO HAVE YOU HERE.

NICE TO BE HERE.

LET ME TAKE A FEW MINUTES AND SHOW OUR AUDIENCE HOW WE DID TILT THOSE HOUSES.

I WORKED WITH A 13" SQUARE.

IF MY HOUSE WAS 12", I DID PUT A LITTLE 1" BORDER AROUND IT.

AND THEN THE TICKET, WHAT YOU HAVE TO DO, IS SIMPLY, IN THAT 15" SPAN, TURN YOUR HOUSE AND TILT IT SO THAT THE SAME DISTANCE ON ONE SIDE IS EQUAL OVER HERE TO THIS SIDE.

I SIMPLY DREW A LINE, AND BY DOING THAT, I MADE A TRIANGLE TEMPLATE THAT WAS SEWN ON ALL FOUR SIDES, AND IT WORKED.

IT DID WORK.

AND I SEE YOUR PINK HOUSE SITTING VERY PERT BACK THERE, BUT IT'S NOT IN SHEFFIELD.

TELL US WHERE YOU LIVE.

IT'S ABOUT 13 MILES WEST OF SHEFFIELD, RIGHT IN THE CENTER OF ENGLAND.

AND THAT GIVES YOU A POSITION, A GOOD POSITION TO DO WHAT YOU DO AND THAT'S TEACH ALL OVER ENGLAND.

WE'RE DOING OUR PART HERE IN AMERICA TO KEEP PATCHWORK A LIVING ART FORM, AND YOU'RE DOING YOUR PART.

TELL US HOW YOU DO THAT.

I TEACH IN THE LOCAL COMMUNITY COLLEGES, WHICH IS ALWAYS A GOOD SPOT FOR LOCAL QUILTERS.

BUT IN SUMMER, I GO TO A SUMMER UNIVERSITY AND TEACH QUILTERS FROM ALL OVER THE COUNTRY AND OFTEN FROM OVERSEAS AS WELL.

AND ON THESE OCCASIONS, BECAUSE I HAVE THE SAME STUDENTS FOR A WHOLE WEEK, I CHOOSE A THEME FOR THE WEEK.

THIS YEAR, I CHOSE "TAKE THREE," WHICH GAVE ME AN OPPORTUNITY OF TAKING THREE SHAPES, THREE COLORS, THREE LAYERS.

AND THIS WAS ONE OF THE EXAMPLES I MADE WHERE I TOOK THREE PRIMARY COLORS, THREE SHADES OF EACH OF THE PRIMARY COLORS, THREE DIAMONDS, AND I HOPE I GOT A 3-D LOOK AS WELL.

YOU CERTAINLY DID.

THEN WE DIVIDED A SQUARE WITH STRAIGHT LINES INTO THREE SHAPES OR A SQUARE WITH CURVED LINES INTO THREE SHAPES, OR WE TRIED APPLIQUÉ IN DIFFERENT METHODS, LIKE THE MOLAS FOR REVERSE APPLIQUÉ OR IN THIS HANGING, LIKE A SHADOW APPLIQUÉ WHERE WE HAVE THE FOUNDATION, THE SMALL PIECES CUT OUT OF CHINTZ, AND THEN A TRANSPARENT FABRIC ON TOP.

ALWAYS ON MONDAY MORNING, WHEN PEOPLE ARE A BIT CONFUSED AND WORRIED ABOUT WHAT THEY'RE GOING TO DO FOR THE WEEK, I TRY TO GET THEM TO MAKE A SMALL PROJECT.

AND THIS YEAR, WE TOOK THREE LEAF SHAPES, SEWED THEM TOGETHER TO GET A THIMBLE PIP... HOW PERFECT.

WHICH I THINK HAS BEEN DONE BEFORE, BUT MY FIRST ONE DIDN'T STAY SHUT.

SO BEING A TRUE SCOT WHO NEVER WASTES ANYTHING, I STUFFED A LITTLE WADDING AND COVERING TO MAKE A PINCUSHION, TIED THEM BOTH TOGETHER, AND I CAN WEAR IT AROUND MY NECK.

EXCELLENT!

WELL, NOT ONLY A TEACHER, BUT YOU ARE PUBLISHED ALSO, AND I KNOW YOU'RE VERY PROUD OF THIS "PATCHWORK & QUILTING MAGAZINE," AND TELL US ABOUT YOUR OWN ARTICLE.

YES.

THIS IS THE FIRST AND ONLY BRITISH MAGAZINE, AND I WRITE A COLUMN EVERY QUARTER-- THE MAGAZINE COMES OUT QUARTERLY-- AND IT'S CALLED "SHEILA'S SAMPLER."

AND WE COULD ORDER THAT OVER HERE.

OH, YES.

I'M GOING TO HAVE TO DO THAT.

HOW NICE.

THAT IS REALLY GREAT.

WELL, IT'S BEEN REALLY NICE BEING HERE, GEORGIA, AND I JUST I WANTED TO GIVE YOU THIS LITTLE GIFT AS A THANK YOU AND A REMINDER OF MY VISIT.

HOW NICE.

I KNOW EVERYONE'S-- OH, LOOK AT THAT.

OH, SHEILA.

HOW WONDERFUL.

AND TELL ME ABOUT THIS.

I KNOW THAT'S SPECIAL.

MY BROTHER MADE THE WOODEN THIMBLES.

LET ME SEE IF THAT FITS.

THIS IS CALLED A VICTORIAN ETUI.

IT'S A WORD WE DON'T USE EVERY DAY, BUT WE NEED TO KNOW IT FOR CROSSWORD PUZZLES SOMETIMES.

WE CERTAINLY DO.

THANK YOU SO MUCH FOR COMING.

THANK YOU.

♪ 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.