- WELCOME BACK TO LAP QUILTING.

THIS TIME, COUNTRY TO COUNTRY.

WE WILL EXPLORE QUILTMAKING ON A GLOBAL SCALE.

WHY, ON TODAY'S SHOW, WE HOP FROM CANADA WITH CAROL GODDOUX TO FRANCE FOR AN INTERVIEW WITH MARTINE HOWSE AT QUILT EXPO 7.

NOW, DID YOU KNOW THAT QUILTERS HAVE THEIR OWN ALPHABET?

WE BEGIN THE HOW-TO PORTION OF OUR SERIES WITH LETTERS A AND B RIGHT HERE IN THE QUILT BUILD STUDIO.

[MUSIC] ♪ COULD YOU IMAGINE A MORE CLEVER OBJECT?

♪ ♪ WARMS THE BODY IGNITES THE MIND.

♪ ♪ A CHILD SLEEPS UNDER MOTHER'S CREATION, TOGETHER FOREVER.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND ♪ ♪ PUTS YOU TO BED ONE DAY AT A TIME.

♪ ♪ THE ART OF THE HEART AND DESIGN OF THE MIND.

♪ ♪ - LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM 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 FOUR SIZES OF LONG-ARM, HAND-GUIDED MACHINES TO QUILTERS WORLDWIDE.

BY COATS AND CLARK, AMERICA'S NUMBER ONE NAME IN SEWING, HAND-KNITTING, AND CRAFT PRODUCTS.

BY MARTINGALE AND COMPANY, HOME OF THAT PATCHWORK PLACE, PUBLISHER OF AMERICA'S BEST-LOVED CRAFT AND HOBBY BOOKS.

BY HOBBS BONDED FIBERS, MAKER OF HEIRLOOM PREMIUM COTTON AND WOOL BATTING WITH A PACKAGE LABELING SYSTEM TO HELP QUILTERS SELECT THE CORRECT BATTING FOR SPECIFIC PROJECTS.

AND BY HORN OF AMERICA, CABINETS OF THE FUTURE TODAY.

- THE QUILT ALPHABET FROM A TO Z IS MY FOCUS ON THE HOW-TO PORTION OF THE SERIES.

NOW WITH 26 LETTERS IN THE ALPHABET, TWO ON EACH SHOW WORKS OUT PERFECT.

WE'RE STARTING WITH A AND B TODAY.

A IS FOR ALBUM QUILT OR FRIENDSHIP QUILT OR AUTOGRAPH QUILT.

A QUILT MADE TO HONOR FRIENDS, FAMILY, OR AN OCCASION, QUITE OFTEN WITH GROUP PARTICIPATION.

THE MOST CLASSIC OF ALL AUTOGRAPHED BLOCKS IS THIS ONE.

AND QUITE OFTEN IT'S JUST WAITING TO BE SIGNED.

SOMETIMES A STAMP IS PUT ON SO A SIGNATURE AND A DATE CAN BE INCLUDED.

AS A REMEMBRANCE OF THE SERIES, I'VE COOKED UP MY OWN SPECIAL LITTLE RECTANGULAR BLOCK.

IT'S MADE WITH FIVE RECTANGLES.

THE THREE CENTER ONES ARE CUT TWO INCHES BY FOUR AND A HALF.

AND OF COURSE YOU KNOW THAT MUSLIN ONE WILL BE BACKED WITH SOME FREEZER PAPER.

THAT HELPS IN STABILIZING IT AS YOU'RE WRITING YOUR NAME.

THE TWO OUTSIDE SIDES ARE TWO INCHES BY FIVE INCHES.

THOSE ARE THE SIDES.

AND ONCE THEY'RE STITCHED TOGETHER, THEN IT'S ALL READY TO BE SIGNED.

AND I WOULD LIKE TO USE A FINE LINE PERMANENT MARKING PEN.

AND I'M GOING TO GET THE TV CREW TO SIGN EACH OF THESE AND MAYBE A SPECIAL DATE OR WHERE THEY'VE BEEN WITH ME ON THE ROAD.

AND I'LL HAVE MY OWN SPECIAL REMEMBRANCE.

A IS FOR APPLIQUE, MEANING TO PUT OR LAY ON.

CUT OUT FIGURES ARE SEWN TO A LARGER FOUNDATION PIECE OF MATERIAL.

A GOOD EXAMPLE IS THIS HAWAIIAN APPLIQUE, WHICH IS DONE WITH THE SNOWFLAKE PAPER FOLDING TECHNIQUE.

TODAY I THINK WE RELY MOST OFTEN ON EITHER THE MACHINE OR THE HAND APPLIQUE STITCH WHERE WE PUT FREEZER PAPER IN PLACE AND THAT ALLOWS US TO EITHER WITH OUR FINGERS OR WITH OUR NEEDLE, NEEDLE TURN THAT RAW EDGE UNDER.

AND OF COURSE THE APPLIQUE STITCH IS NOTHING MORE THAN PUTTING OUR NEEDLE INTO THE FOUNDATION RIGHT UNDER WHERE THAT THREAD HAS COME UP, PULLING YOUR THREAD VERY TIGHT AND GOING IN PLACE.

I HAVE FOUND AN EASIER WAY TO DO 20 OF THESE BLOCKS.

I LIKE THE FACT THAT BLACK SATIN STITCHING FRAMES EACH OF THESE PIECES.

SO WHAT I'VE DONE IS CUT OUT MY FREEZER PAPER TEMPLATE, PUT IT IN PLACE WHERE IT WOULD BE IN A MIDPOINT OF MY BLOCK AND THEN STITCH A STRAIGHT LINE OF STITCHING ON EITHER SIDE KNOWING THAT I CAN CUT AWAY THE EXCESS WITH MY LIP SCISSORS AND THEN REMOVING THE FREEZER PAPER AND PUTTING A PAPER STABILIZER UNDERNEATH, I'M READY TO DO A SATIN STITCHING.

I WOULD USE THAT OPEN TOE EMBROIDERY FOOT AND I LIKE TO TIGHTEN MY BOBBIN STITCHES BY EITHER ADJUSTING THE TENSION OR SOMETIMES THREADING THAT FINGER ON MY BOBBIN.

AND WITH MY FOOT IN PLACE, I SOMETIMES PICK UP THAT BOBBIN THREAD.

I LIKE TO HAVE IT SECURED AND KNOW IT'S NOT GETTING TANGLED ON THE UNDERNEATH SIDE.

AND THEN I'M READY TO JUST START MY SATIN STITCHING.

NOTICE THAT I'M COVERING THE STRAIGHT STITCHING BUT GOING RIGHT INTO THE FOUNDATION MATERIAL.

WHO BETTER TO SHOW OFF APPLIQUÉ THAN CAROL GODDOUX FROM CANADA.

EACH FIGURE IS TREATED INDIVIDUALLY AS A PAPER DOLL AND THEN PUT ONTO THE FOUNDATION.

THE FOXTROT, THE TANGO, THE SWING HAVE NEVER LOOKED BETTER.

LET'S MEET CAROL GODDOUX FROM TORONTO, CANADA, ANOTHER TEACHER HERE AT THE WORLD QUILT EXPO.

CAROL, I FEEL YOU SHOULD COME IN DANCING AFTER VIEWING YOUR QUILTS.

HOW DID YOU GET TO THIS POINT IN YOUR CAREER?

- WELL, I STARTED MAKING QUILTS IN 1972.

FOR ABOUT 10 YEARS, I MADE RATHER TRADITIONAL PATCHWORK QUILTS.

BUT IN THE '80S, I STARTED MAKING PICTORIAL APPLIQUÉ QUILTS.

MY BACKGROUND IS IN THE HISTORY OF ART.

I WANTED TO KIND OF BLEND MY LOVE OF QUILT MAKING WITH MY BACKGROUND IN THE HISTORY OF ART.

THE FIRST THINGS I MADE WERE PICTORIAL QUILTS OF HENRY VIII AND HIS 6 WIVES.

JUST BASICALLY TAKING THE OIL PAINTINGS OF THE PERIOD, THE HOLBEIN PORTRAITS, AND TRYING TO TRANSLATE THEM AS WELL AS I COULD INTO FABRIC.

I MADE HENRY VIII, HIS 6 WIVES.

I MADE ELIZABETH I. I MADE LADY JANE GREY.

WHEN I RAN OUT OF TUTORS, I JUST WENT ON TO THE STEWARDS.

- NOW, ARE THEY HANGING ALL AROUND YOUR DINING ROOM, I PRESUME?

- WELL, THEY STARTED OUT IN MY LIVING ROOM, AND THEY'VE KIND OF-- GRADUALLY, AS I'VE MADE MORE QUILTS, THEY'VE KIND OF BEEN DEMOTED TO THE BASEMENT.

BUT THEY STILL ARE HANGING AS A GROUP.

- HOW DID YOU--DID YOU HAVE TO STUDY THE ACTUAL DANCING?

- WELL, I ACTUALLY ENJOYED GOING OUT AND DOING THE RESEARCH.

LIKE FOR MOULIN ROUGE, YOU CAN RESEARCH THE TOULOUSE-LAUTREC PAINTINGS OF THE PERIOD.

YOU CAN RESEARCH THE MOVIE STILLS OF THE MOVIES, LIKE THE CAN-CAN MOVIES, POSTERS OF THE PERIOD.

SO I FIND THAT JUST AS ENJOYABLE AS MAKING THE QUILT IS DOING ALL THE RESEARCH.

NEXT WE HAVE TAFELMUSIK, WHICH IS A RENAISSANCE BANQUETING SCENE.

AND THAT'S WHERE I GOT CARRIED AWAY AND PUT 40 FIGURES INTO ONE QUILT.

AND HAVING DONE THAT, I FEEL I'D NEVER HAVE TO DO THAT AGAIN IN MY LIFE.

- A LOT OF EMBELLISHMENT ON THAT QUILT.

- YEAH, AND BECAUSE THERE WERE THE 40 FIGURES, THEY'RE ON A LITTLE BIT SMALLER SCALE THAN I USUALLY WORK, AND I FOUND THAT IT WAS VERY TIME-CONSUMING TO DO IT.

IT JUST SEEMED TO GO ON FOREVER AND EVER.

- TEDIOUS IS THE WORD.

[BOTH LAUGH] AND WHAT ABOUT THESE TANGO QUILTS, THEN?

- YES, AND ON THE NEXT WALL WE HAVE BLUE TANGO.

AND WE HAVE A SPANISH DANCE QUILT CALLED FANDANGO, COMBINING THE PICTORIAL APPLIQUÉ PEOPLE WITH PIECED SPANISH FANS.

-WELL, CAROL, WE ENJOYED TALKING TO YOU TONIGHT, AND KEEP MAKING THOSE WONDERFUL QUILTS.

IT MAKES US WANT TO DANCE.

- THANK YOU.

- B IS FOR BACKING.

THE BOTTOM OR BACK LAYER OF A QUILT, OFTEN CALLED THE LINING.

A FEW TIPS.

AVOID SLIPPERY BACKING, LIKE TAFFETA.

IT'S BOUND TO COME OFF THE BED EVERY NIGHT AT 3 O'CLOCK.

NO PERCAL SHEETS.

IT'S HARD TO PUT A NEEDLE THROUGH A PERCAL SHEET.

PRE-SHRINK ANY BACKING THAT YOU'RE GOING TO USE.

WE FIND TODAY THAT MUSLIN IS THE MOST POPULAR BACKING.

IT COMES 90 INCHES WIDE AND 108 INCHES WIDE, AND SOME BEAUTIFUL PRINTS TODAY ALSO.

WHEN SELECTING A BACKING FOR A LAP-QUILTED QUILT, I WOULD FIND A PRINT OR EVEN A PIN DOT THAT WILL HIGHLIGHT YOUR QUILTING STITCH, BUT DISGUISE THAT LAP-QUILTING CONNECTION.

LIGHT, FLOWERED PRINTS THAT WILL SHOW OFF YOUR QUILTING STITCH ARE REALLY THE BEST WAY TO GO.

WHEN YOU COME TO SELECTING PRINT FABRIC, AND YOU'RE USING TWO 45-INCH WIDE FABRICS, YOU WANT TO AVOID A CENTER SEAM.

I'VE FOUND THE EASIEST WAY TO DO THAT IS TO MACHINE STITCH YOUR TWO LENGTHS TOGETHER, AND THEN, ALIGNING THOSE SEAMS, YOU CAN PIN THAT IN PLACE OR JUST HOLD IT, COME OVER AND FIND THE MIDPOINT OF THAT 45-INCH WIDE FABRIC, SNIP THAT, AND THEN SIMPLY TEAR THAT DOWN ALL THE WAY, AND BEFORE YOU KNOW IT, YOU HAVE YOUR BACKING DONE WITH YOUR SIDE SEAMS PROPERLY BALANCED.

B IS FOR BASTE, A TEMPORARY RUNNING STITCH USED TO SECURE FABRIC PRIOR TO MACHINE STITCHING OR HAND QUILTING.

MANY NEW THINGS AVAILABLE TODAY FOR US.

THERE IS QUILT BASTING SPRAY.

THAT HAS TO BE SPRAYED ON BOTH THE BATTING AND THE INSIDE OF THE BACKING AND THE QUILT, AND I LIKE IT FOR SMALL WALL HANGINGS, NOT SO MUCH FOR BIG QUILTS.

THERE ARE BINDING AND HAND CLIPS, WHICH WILL SECURE IT IN PLACE BEFORE YOU ACTUALLY BASTE, AND OF COURSE, THEN THERE ARE ALL SORTS OF SAFETY PINS, GREAT FOR MACHINE QUILTING.

THEY EVEN COME IN CURVES, WHICH MAKES IT EASY TO SECURE YOUR THREE LAYERS TOGETHER.

I'M KIND OF OLD-FASHIONED.

I PREFER USING THE BASTING THREAD THAT IS AVAILABLE, AND THEN I KEEP MY LONG NEEDLE IN A SPECIAL CASE, AND THERE'S ALSO CURVED NEEDLES THAT WORK VERY NICE.

KEEP YOUR KNOTS VISIBLE, AND I HAND BASTE ABOUT EVERY 6 TO 7 INCHES.

B IS FOR BATTING, THE FILLER OR MIDDLE PART OF THE QUILT SANDWICH, WHICH BECOMES THE INSULATION.

TODAY, BATTING COMES IN VARIOUS FORMS, POLYESTER, COTTON, IN BLENDS, AND EVEN DARK BATTING FOR YOUR AMISH QUILTS.

WHY, IT'S SO INTERESTING, WE'RE GOING TO GO TO A BATTING FACTORY ON ANOTHER ONE OF OUR SHOWS.

MY TIP OF THE DAY FOR YOU IS THAT WHEN YOU FINALLY PUT THE BINDING ON YOUR QUILT AND IT'S ALL DONE, GO AHEAD AND, WITH THAT INDELIBLE PEN, MARK THE KIND OF BATTING ON SOME TWILL TAPE.

THEN SNIP THAT OFF AND ATTACH IT TO THE BACK OF YOUR QUILT.

AND THEN WHEN SOMEONE ASKS YOU WHAT BATTING IS INSIDE, YOU WILL ALWAYS KNOW AND REMEMBER.

B IS FOR BIAS, THE TRUE DIAGONAL OF FABRIC THAT HAS MORE GIVE AND STRETCH.

TO FIND THE BIAS, WE TAKE THE SELVAGE OR THE STRAY OF THE GRAIN OF FABRIC, FOLD IT TO CREATE A PERFECT 90 DEGREE ANGLE, AND THE RESULTING ANGLE, THIS 45 DEGREE, GIVES US THAT STRETCHY, TRUE BIAS.

TODAY, WE RELY MORE OFTEN ON OUR RULERS TO TRY AND FIND THAT TRUE BIAS.

45 DEGREES ARE MARKED ON OUR RULERS, LINE THAT WITH THE SELVAGE OR THE CROSSWISE, AND WHAT RESULTS IS A TRUE BIAS.

NOW, THIS IS A HALF OF YARD OF FABRIC, THE WIDTH BEING 45 INCHES, ABOUT.

WHEN THAT IS CUT IN HALF, WE HAVE 22 INCHES BY 18, AND THAT'S WHAT WE REFER TO IN THE QUILT WORLD AS A FAT QUARTER, RATHER THAN TAKING THE WIDTH OF THE FABRIC AND CUTTING 9 INCHES.

SOMEHOW, WE JUST SEEM TO GET MORE FABRIC THIS WAY.

B IS FOR BINDING, A NARROW STRIP OF FOLDED FABRIC THAT IS SEWN TO THE OUTSIDE RAW EDGES OF A COMPLETED QUILT OR A WALL HANGING.

IT'S PREPARED EITHER ON THE STRAY OF THE GRAIN OR THE BIAS.

LET ME SHARE WITH YOU A FORMULA THAT WILL GIVE YOU THE AMOUNT OF FABRIC YOU NEED TO EITHER MAKE A BIAS TUBE OR CUT THOSE STRAIGHT STRIPS.

MEASURE THE PERIMETER OF YOUR QUILT, ALL THE WAY AROUND YOUR QUILT, MULTIPLY THAT TIMES 2 1/2 INCHES.

ONCE YOU GET THAT AMOUNT, PUSH THE SQUARE ROOT ON YOUR CALCULATOR.

THAT WILL GIVE YOU THE AMOUNT OF FABRIC YOU NEED.

I ALWAYS ADD 2 INCHES.

THAT'S WHAT I CALL "QUILTER'S INSURANCE."

NOW, IF YOU'RE CUTTING STRAIGHT STRIPS, DON'T PIECE THAT TOGETHER WITH A STRAIGHT LINE.

GO AHEAD AND INTRODUCE THAT 45-DEGREE ANGLE, AND ONCE YOU'VE CUT THAT, THEN YOU CAN SWING THAT AROUND AND PIECE THOSE TOGETHER.

SOMEHOW, THOSE THREADS JUST KIND OF MERGE INTO EACH OTHER, AND THEY DISAPPEAR.

WHEN IT COMES TO PUTTING THE BINDING ON, REMEMBER THAT YOU'RE GOING TO USE A WALKING FOOT.

YOU'RE GOING TO MAKE SURE THAT EVERYTHING IS ALIGNED PROPERLY, AND YOU TAKE A QUARTER-INCH STITCH, GO UP TO THE END, JUST A QUARTER-INCH, BACKSTITCH, AND THEN I PUT MY FINGER IN MY BIAS OR MY STRADAGRAND BINDING LIKE THIS.

YOU HAVE TO TAKE IT OFF THE MACHINE FOR THAT SO YOU GET A NICE FOLD AND THEN CONTINUE STITCHING.

WHAT HAPPENS IS THAT GIVES YOU THAT NICE MITERED CORNER, WHICH WILL JUST TURN UNDER, AND THEN YOU'RE READY TO DO YOUR HANDWORK ON THE BACK SIDE WITH YOUR FOLDED EDGE.

B IS FOR BISCUIT QUILTING, A PUFF-TYPE QUILT MADE BY STUFFING BATTING OR EVEN NYLON HOSE INTO A POCKET.

THESE POCKETS ARE CREATED BY CUTTING A BACKING OR A FOUNDATION PIECE ONE INCH SMALLER THAN YOUR TOP DECORATIVE PIECE.

IF THIS IS FOUR INCHES, THIS IS CUT FIVE INCHES.

MAKE A TUCK IN THE MIDDLE PART OF EACH SIDE.

I USUALLY PIN THOSE IN PLACE, AND THAT CREATES THIS POOF THAT ALLOWS YOU TO PUT THE BATTING INSIDE.

AND MAKE ONE MORE TUCK, PIN THAT IN PLACE, AND THEN YOU'RE READY TO STITCH ALL THE WAY AROUND.

THE PROBLEM IS THAT WHEN ALL OF THESE ARE DONE, THESE NEED TO BE STITCHED TOGETHER, AND THEN YOU HAVE TO PUT A WHOLE BACKING ON THERE AND TIE-TACK IT IN PLACE.

B IS FOR BLOCK, A UNIT OF PATCHWORK OR APPLIQUE, USUALLY IN A SQUARE FORM, THAT IS REPEATED TO CONSTRUCT THE QUILT TOP.

ALL OF US HAVE COLLECTIONS OF BLOCKS, WHETHER THEY'RE ANTIQUE ONES, WHETHER THEY'RE ONES THAT NEVER QUITE MADE IT INTO A QUILT, STAR BLOCKS, AND EVEN JAR BLOCKS.

YOU'LL SEE SOME OF THESE JAR BLOCKS PUT INTO A QUILT AT A MUSEUM IN TALLAHASSEE ON OUR NEXT SHOW.

B IS FOR BORDERS, PANELS THAT SET OFF A BLOCK OR AN ENTIRE QUILT WHERE FRAMING IS NECESSARY.

SAILBOAT FABRIC FRAMES SAILBOATS.

THE MOST RECENT BABY QUILT DONE FOR, OF COURSE, A VERY SPECIAL BABY, JONAH, WOVEN BONE STEEL, JUST BORN.

SO THESE ARE STRAIGHT BORDERS.

THEY CAN BE MITERED OR THEY CAN BE SQUARED OFF, OR THEY CAN HAVE SQUARE INSETS, AS THIS LITTLE WALL HANGING HAS.

B IS FOR BROIDERY PURSE, CUT-OUT FLORAL PRINT APPLIED TO A FOUNDATION FABRIC WITH A REVERSE BUTTONHOLE STITCH.

TWO EXAMPLES HERE, A VERY PRIMITIVE EXAMPLE IN THE LITTLE DUTCH GIRL BLOCK, A MORE ELABORATE EXAMPLE IN A BEAUTIFUL ANTIQUE QUILT FROM THE CHARLESTON AREA.

WHAT IS INTRIGUING HERE ARE THE DATES, 1865, 1866, AND 1864.

YOU KNOW IT TOOK A LONG TIME TO DO THIS QUILT.

WE HAVE A SWIFTER WAY OF DOING IT TODAY.

IT'S ALL BUILT IN IN MY SEWING MACHINE, AND IT SURE MAKES IT NICE.

I JUST PUSH NUMBER 329.

THE REVERSE STITCH IS ALREADY BUILT IN.

I'VE GOT MY BLACK THREAD IN GEAR, AND I HAVE CUT OUT A FLORAL PRINT FROM A BIG FLORAL PRINT FABRIC.

AND IF I WERE DOING A BORDER, I'M ALL READY TO GO.

THEN I JUST START STITCHING.

I KNOW THAT ON THE OUTSIDE CURVE, I WOULD TURN, ALLOWING MYSELF TO JUST KEEP ON STITCHING.

NOW WE PROMISED YOU COUNTRY-TO-COUNTRY QUILTS.

HOW ABOUT FRANCE?

WELL, I COULD NOT RESIST THIS FABRIC WHEN WE WERE IN FRANCE, AND ACTUALLY WE FLEW THROUGH PARIS ON OUR WAY TO STRASBOURG.

PATCHWORK AND QUILT EXPO 7 TOOK PLACE LAST SPRING IN STRASBOURG, FRANCE, AND WE WERE THERE.

THIS CITY ON THE BANKS OF THE RHINE RIVER WAS KNOWN FOR AN AREA CALLED PETIT FRANCE, A GREAT TOURIST ATTRACTION.

THERE IS COLOR, THERE IS BEAUTY, THERE IS DESIGN, BUT IT'S NOT A MONET OR A RENOIR EXHIBIT.

IT IS QUILT EXPO 7 IN STRASBOURG, FRANCE, WHERE YOU CAN SHOP FOR QUILTS, BUY SUPPLIES TO MAKE QUILTS, TAKE LESSONS, AND HEAR LECTURES.

IT IS A QUILT BONANZA THAT STARTS IN HOUSTON, TEXAS, WITH THE INTERNATIONAL QUILT ASSOCIATION.

MARY BRESSENHAM, HER ABLE STAFF, AND MANY EUROPEAN HELPERS ONCE AGAIN HAVE CREATED A QUILT MECCA.

EVERY TIME RECORDS ARE BROKEN, I'M SURE IT'S HAPPENED AGAIN.

LET'S SEE IF WE CAN SPOT A QUILTER.

[MUSIC] AN EXCITING VARIETY OF QUILTS ARE BEING MADE IN EUROPE TODAY.

THE EXHIBITS AT QUILT EXPO SAMPLED PRIZE WINNERS FROM EVERY CORNER OF THE GLOBE.

SPECIAL EXHIBITS SHOWCASE TEXTILE ART CREATED BY MEMBERS OF THE PATCHWORK AND QUILT EXPO FACULTY.

IT'S THERE THAT WE MET AN OLD FRIEND.

JUST WHAT IS A FRENCH QUILTER WHO REALLY LIVES IN NORTH CAROLINA DOING BACK IN FRANCE?

MEET MARTINE HOUSE, WHO IS FROM TRYON, NORTH CAROLINA.

TELL ME HOW YOU GOT HERE AND WHAT HAVE YOU BEEN DOING, MARTINE?

- WELL, I STARTED QUILTING WHEN I MOVED TO THE UNITED STATES, BUT I THINK IT'S QUITE NICE TO BE BACK IN FRANCE TEACHING QUILTING.

AND ALTHOUGH I HAVE TAUGHT IN FRANCE BEFORE, IT'S THE FIRST TIME I'M TEACHING FOR QUILT EXPO, AND I THINK IT'S A VERY EXCITING EXPERIENCE.

- WE ARE HERE AT THE TEACHER'S EXHIBIT.

TELL ME ABOUT THE QUILT BEHIND YOU.

- THE QUILT BEHIND ME ACTUALLY IS VERY DIFFERENT FROM WHAT I USUALLY DO.

THIS IS SOMETHING THAT IS COMPLETELY MACHINE DONE, AND IT REPRESENTS THE ALZHEIMER DISEASE.

AND HOW THE ILLNESS PROGRESSES AND DESTROYS A PERSON.

- AND THIS WAS DEDICATED MAINLY TO YOUR GRANDMOTHER.

- THIS IS DEDICATED TO MY GRANDMOTHER BECAUSE SHE IS THE ONE WHO IS SICK WITH THIS ILLNESS.

- WELL, SO MANY OF US HAVE BEEN TOUCHED BY THIS, AND SO IT'S A QUILT OF EXPRESSION, IT REALLY IS.

- IT IS.

IT'S VERY--IT'S MUCH BIGGER THAN WHAT I USUALLY DO.

IT'S ALL MACHINE DONE, MACHINE PIECED, MACHINE EMBROIDERED, MACHINE QUILTED.

I WORK ON VERY SMALL PIECES THAT ARE COMPLETELY COVERED WITH STITCHES.

WHAT IS IMPORTANT TO ME IS THE TEXTURE, AND SO NOT ONLY DO I GET TEXTURE ADDING QUILTING AND TRAPUNTO, BUT I ALSO ADD EMBROIDERY AND EMBELLISHMENT.

- TELL ME ABOUT THE PIECES THAT YOU'VE GOT HERE, STARTING WITH THAT FIRST ONE.

- THE FIRST ONE IS CALLED 1900, AND I TOOK ART NOUVEAU DESIGNS AS A STARTING POINT FOR THE DESIGN.

THIS WAS ONE OF THE FIRST PIECES I DID WITH TRAPUNTO.

AND IT'S VERY IMPORTANT THAT THE LIGHT SHINES ON THE QUILT PERFECTLY, OTHERWISE IT JUST DIES, IT'S FLAT.

AGAIN, IT'S DEDICATED TO MY GRANDMOTHERS BECAUSE THEY TAUGHT ME HOW TO DO VERY CAREFUL WORK AND VERY PRECISE WORK.

- YES.

AND THEN THE BLACK PIECE, TELL ME ABOUT THAT.

THE BLACK PIECE I DEVELOPED AFTER I HAD DONE SEVERAL SAMPLES OF MY EMBELLISHED TRAPUNTO TECHNIQUE, WHICH COMBINES THE TRAPUNTO AND THE EMBELLISHMENTS.

BUT THE SAMPLES I HAD SO FAR WERE VERY TRADITIONAL.

THEY WERE WHITE ON WHITE, MOSTLY VERY TRADITIONAL.

AND I WANTED TO BE ABLE TO SHOW MY STUDENTS THAT THEY COULD WORK ON OTHER PIECES A LOT MORE CONTEMPORARY LOOKING USING THE SAME TECHNIQUE.

- AND NOW I LIKE THE BRODERIE PURSE ONE ON THIS LITTLE BEIGE ONE.

TELL ME ABOUT THAT.

- THE BRODERIE PURSE IS VERY SMALL.

IT'S A MINIATURE QUILT.

I HAD ALWAYS WANTED TO MAKE A BRODERIE PURSE QUILT, HOWEVER, THEY ARE USUALLY HUGE.

AND I THOUGHT IF I DO THE KIND OF WORK I USUALLY DO, IT WILL TAKE ME ABOUT 30 YEARS.

SO I DID THE MINIATURE VERSION OF THAT.

- GOOD.

AND THIS LAST ONE IS SO COLORFUL.

YOU REALLY WENT IN FOR THAT BLUE, DIDN'T YOU?

-YES, THE LAST ONE, I HAD LOOKED AT SOME INDIAN PICTURES USING THOSE VERY PRIMARY COLORS.

AND I KIND OF LIKED HOW THEY WENT TOGETHER.

SO THAT IS WHAT I USED.

THAT ONE WAS PIECED ALL BY HAND BECAUSE THE DESIGN UNIT IS JUST A ONE SQUARE INCH WITH A CURVED SEAM.

AND I DECIDED IT WAS EASIER TO DO IT BY HAND THAN TRY TO PIECE IT BY MACHINE.

-WELL, YOU'VE PUT A LOT OF STYLE INTO EACH OF YOUR PIECES.

AND I'M SURE YOU'RE GOING TO GET MORE INSPIRATION HERE.

AND WE APPRECIATE YOU TALKING WITH US TODAY.

-WELL, THANK YOU FOR HAVING ME.

- AND GOOD LUCK.

WHY, MARTINE EVEN HAS HER OWN BOOK ON LANDSCAPE APPLIQUÉ AND PATCHWORK.

TOO BAD IT'S IN FRENCH.

I WISH I KNEW FRENCH.

I'VE DONE A BLOCK FOR EACH ONE OF THE SHOWS.

THEY'RE ALL SIX INCHES.

AND WE'RE STARTING OFF WITH, OF COURSE, THE EIFFEL TOWER.

JUST A COUPLE OF TIPS IN SEWING THIS TOGETHER.

I ALWAYS START WITH THE SMALLEST SECTIONS FIRST.

SO IT'S A TWO PATCH.

ONCE YOU GET ONE HALF DONE, THEN YOU'D SEW THE OTHER HALF TOGETHER.

AND I SEW THIS SMALL SECTION RIGHT ALONG HERE TO THE INSIDE OF THE EIFFEL TOWER.

IT'S A STRAIGHT LINE.

AND THEN THIS IS A CURVED LINE.

I HAVE FOUND IT BEST THAT THAT CONCAVE AREA--YOU ALWAYS WALK INTO A CAVE.

THAT'S HOW I REMEMBER THAT THAT'S THE INDENTED CURVE.

THAT GOES AGAINST THE FEED DOGS.

AND I LIKE TO PIN EACH END.

I CALL IT PIN AND PEAK.

PIN, BECAUSE THERE'LL BE A LITTLE DOG EAR THAT STICKS OUT THERE.

AND THEN WHEN YOU OPEN THAT UP, DO YOU HAVE A STRAIGHT LINE THERE?

THAT'S REALLY WHAT YOU'RE LOOKING FOR AT BOTH ENDS.

THEN YOU KNOW THAT YOU'RE STITCHING IN BETWEEN THOSE TWO PINS.

SO ONCE I HAVE THAT LINED UP, KNOWING THAT I'M GOING TO KEEP MY RAW EDGES EVEN, THEN I'M READY TO REMOVE THAT PIN AND DO MY STITCHING.

AND SOMETIMES JUST A LITTLE POINTER OR A SEAM RIPPER, JUST ALIGNING THAT TOGETHER AS YOU'RE COMING DOWN, WILL MAKE ALL THE DIFFERENCE AS YOU'RE EASING THAT INTO PLACE.

I LIKE TO USE A PATCHWORK FOOT, SO I'VE GOT THAT GOOD QUARTER INCH.

AND YOU'D BE SURPRISED AT HOW NICELY THAT JUST EASES INTO PLACE.

IF YOU NEED TO PEAK, I PUT THE NEEDLE DOWN IN THAT FABRIC, AND THAT ALLOWS ME TO KEEP MY FABRIC STABILIZED ALL THE WAY DOWN.

AND ONCE I'VE DONE THE OTHER HALF, THEN I CAN SIMPLY PUT EACH HALF TOGETHER AND I'LL HAVE MY EIFFEL TOWER.

WE'LL SEE YOU NEXT TIME ON LAP QUILTING WHEN WE TRAVEL TO FLORIDA.

SEE YOU THEN.

[MUSIC] CLOSED CAPTION MADE POSSIBLE BY OMNIGRID, MANUFACTURER OF THE ORIGINAL PATENTED BLACK AND YELLOW RULERS AND GREEN CUTTING MATS, AND COLLINS, WELL KNOWN FOR NOTIONS AND TOOLS FOR QUILT MAKERS.

[MUSIC] ♪ - FOR MORE INFORMATION ABOUT PATTERNS AND DESIGNS SHOWN ON THIS SERIES, VISIT GEORGIA AT WWW.GEORGIABONESTEEL.COM.

♪ LAP QUILTING WITH GEORGIA BONESTEEL IS MADE POSSIBLE IN PART BY GRANTS FROM 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 FOUR SIZES OF LONG-ARM HAND-GUIDED MACHINES TO QUILTERS WORLDWIDE.

BY COATS AND CLARK, AMERICA'S NUMBER ONE NAME IN SEWING, HAND KNITTING, AND CRAFT PRODUCTS.

BY MARTINGALE AND COMPANY, HOME OF THAT PATCHWORK PLACE, PUBLISHER OF AMERICA'S BEST-LOVED CRAFT AND HOBBY BOOKS.

BY HOBBS BONDED FIBERS, MAKER OF HEIRLOOM PREMIUM COTTON AND WOOL BATTING, WITH A PACKAGE LABELING SYSTEM TO HELP QUILTERS SELECT THE CORRECT BATTING FOR SPECIFIC PROJECTS.

AND BY HORN OF AMERICA, CABINETS OF THE FUTURE TODAY.