♪ TRADITIONALLY, QUILTS HAVE BEEN MADE TO SLEEP UNDER, TO STAY WARM, OF COURSE.

BUT WHAT ABOUT THE QUILTS THAT ARE MADE TO WARM THE WALLS AND DECORATE DOCTORS' OFFICES, CORPORATE BUILDINGS, AND BANKS?

WE ARE HERE TODAY IN HENDERSONVILLE, NORTH CAROLINA, AT THE FIRST FEDERAL SAVINGS BANK TO SEE AND VIEW SUCH A COLLECTION.

OUR GUEST TODAY IS ELLEN KOCHANSKY, AND SHE'S ABOUT TO SEE HER WALLPIECE FOR THE VERY FIRST TIME.

♪ "LAP QUILTING" WITH GEORGIA BONESTEEL IS MADE POSSIBLE BY GRANTS FROM GINGHER INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR THE HOME, CLASSROOM, AND INDUSTRY.

AND COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING J&P COATS DUAL DUTY PLUS THREAD.

ELLEN, IT IS SO EXCITING SEEING YOUR PIECE FOR THE FIRST TIME.

HOW DO YOU FEEL?

I'M EXCITED TOO.

IT'S STUNNING TO BE ABLE TO EXPERIENCE THIS BUILDING FOR THE FIRST TIME WHEN I'VE ONLY SEEN IT IN BLUEPRINTS.

THE DIFFERENCE IS 3 DIMENSIONAL AND IT'S DELIGHTFUL.

ALL THE SUDDEN IT'S COME ALIVE.

I ALSO ENJOY A LOT BEING IN THE CONTEXT OF THE DESIGN OF TRADITIONAL QUILTING BECAUSE THAT'S A STRONG PART OF MY HERITAGE AND I LOVE THE OTHER PIECES, WHICH I HADN'T SEEN EXCEPT IN FABRIC SCRAP FORM.

THEY'RE WONDERFUL.

HOW HAS YOUR WORK EVOLVED UP TO THIS POINT TODAY?

A LOT OF MY BACKGROUND IS IN THINGS VISUAL RATHER THAN TECHNICAL AND MY ORIENTATION IS TOWARD PAINTING.

I'M USING THE QUILTS AS PAINTING.

THE BACKGROUND THAT LED TO MY INTEREST IN TEXTILES WAS THEATER DESIGN AND FASHION DESIGN, BOTH OF WHICH I STILL ENJOY PERIPHERALLY, BUT THE TRADITION THAT I STARTED WITH GREW INTO A MORE ECCENTRIC VERSION OF QUILTING AND MY FABRIC FASCINATION IS THE OBVIOUS SOURCE OF THE MATERIALS THAT I USE.

ELLEN, HOW DO YOU SCHEDULE ONE OF YOUR PIECES FOR COMPLETION?

WELL, THE DERIVATION OF A PIECE I ALWAYS LAUGH TO SAY IT TAKES 20 YEARS, THAT LONG TO COLLECT THE ASSORTMENT OF FABRICS AND THAT LONG TO DO THE THREAD OF THE CONTINUUM OF THE VISUAL IMAGES BECAUSE THESE WORKS NEED TO HAVE MY SIGNATURE ON THEM AND THEY NEED TO REPRESENT THE CURRENT STATE OF THE HISTORY OF MY WORK.

YOUR GROWTH, REALLY.

YEAH.

AND WHEN I'M SCHEDULING A COMMISSIONED PIECE, IT'S USUALLY BASED ON SOMETHING THAT I'VE DONE IN THE PAST ON SLIDES THAT A REPRESENTATIVE HAS SHOWN TO THE CLIENT AND I SCHEDULE THOSE BASED ON THE DELIVERY DEADLINE.

THE SPECULATIVE PIECES, WHICH I USUALLY DO IN CONJUNCTION WITH COMMISSIONED WORKS, ARE MORE EXPERIMENTAL AND IF THERE'S NO DEADLINE FOR THOSE, I CAN TAKE AS LONG AS I WANT TO DEVELOPING A PIECE, SO I'M FREQUENTLY WORKING ON SEVERAL PIECES AT A TIME.

AND WHAT DO YOU USE FOR INSPIRATION, ELLEN?

WE LIVE IN THE COUNTRY AND OUR GARDEN IS A WONDERFUL SOURCE OF IMAGERY AND CALM.

THE COLORS AND THE PATTERNS AND TEXTURES ARE A GORGEOUS RESOURCE.

LOOKING OUT THE WINDOW AT THE DISTANT MOUNTAINS IS AN OBVIOUS ONE.

AND OTHER ARTISTS' WORK IN OTHER MEDIA BESIDES QUILTS IS A TREASURE HOUSE.

AND WHAT ABOUT FABRIC?

THAT SEEMS TO BE--YOU DON'T LIMIT YOURSELF TO COTTON.

I LOVE FABRIC AND I LOVE TEXTURE AND VARIETY AND THE VARIETY OF TEXTURES IN MY WORK COMES FROM THE FACT THAT I USE ANYTHING I CAN GET A HOLD OF.

THE COMBINATION OF ANTIQUE MATERIALS AND OLD CLOTHING AND CONTEMPORARY DESIGNED PRINTED FABRICS ALSO DESIGNS THAT I SUPERIMPOSE ON THE EXISTING FABRICS GIVES ME A PALETTE THAT APPEALS TO ME.

I DON'T COME FROM A PURIST THEORETICAL TRADITION.

VARIETY OF TEXTURES IS A REAL IMPORTANT PART OF MY WORK, SO I USE ANY FABRIC I CAN FIND.

WE ALSO WOULD LOVE TO HEAR ANY LITTLE TIPS OR ADVICE THAT YOU WOULD HAVE FOR THE PROFESSIONAL QUILTER THAT MIGHT WANT TO GO THE AVENUE THAT YOU HAVE GONE.

DO YOU HAVE ANY ADVICE TO GIVE?

THERE ARE TWO IMPORTANT THINGS THAT NEED TO BE REMEMBERED.

ONE IS THAT TO DO WHAT I'M DOING AND MAKE A LIVING AT IT, YOU HAVE TO THINK OF YOURSELF AS A BUSINESS AND YOU HAVE TO SATISFY THE CUSTOMER.

IN ORDER TO DO THAT, YOU HAVE TO MAKE VISUALLY EXCITING WORK.

THAT'S THE PRIMARY CONCERN.

THE WORK HAS TO BE SIGNATURE WORK.

IT HAS TO REPRESENT AN IMAGERY THAT'S RECOGNIZABLE AS YOURS AND YOU HAVE TO DELIVER ON TIME.

YOU HAVE TO BEHAVE PROFESSIONALLY.

YOU HAVE TO RECOGNIZE WHAT YOUR CONTRACTUAL RESPONSIBILITIES ARE IN NEGOTIATING FOR THE PIECE.

THE OTHER THING THAT I THINK IT'S IMPORTANT TO DO AND THAT I ALWAYS HAVE TO URGE MYSELF TO DO MORE OF IS TO USE MY EYES.

USE YOUR EYES.

LOOK AT OPTIONS WHICH ARE NOT TRADITIONAL OPTIONS, WHICH AREN'T THE FIRST THING THAT YOU EXPECT TO SEE AND PUSH YOUR OWN VISUAL BOUNDARIES.

I USE A CAMERA JUST TO LOOK THROUGH THE LENS, NOT EVEN NECESSARILY TO TAKE A PICTURE WITH, BUT TO TEACH MY EYE TO USE A BORDER, TO USE A FRAME.

AND YOU ISOLATE THINGS THAT WAY.

IN OTHER WORDS, LEARN TO CONCEIVE HOW YOU WANT YOUR PIECE TO BE DONE IN THE END.

PICTURE IMAGES AND DON'T LIMIT YOURSELF TO STRUCTURES WHICH ARE THE WAY YOU'VE BEEN TAUGHT.

ALLOW YOUR TECHNIQUES TO FOLLOW YOUR IDEAS INSTEAD OF THE OTHER WAY AROUND.

AND NOW WE HAVE THE OPPORTUNITY, ELLEN, TO GO TO YOUR HOME IN PICKENS, SOUTH CAROLINA, AND TO YOUR STUDIO AND SEE HOW THIS IS ALL DONE.

ELLEN, TELL US ABOUT THE PROCESS.

WHAT HAPPENS NEXT?

WELL, I GET MY INSPIRATION FROM SOME SOURCE.

WHEN I'M DOING THE ABOUT 50% OF THE PIECES THAT I DO JUST FROM MY OWN PLEASURE AS SPECULATIVE PIECES, I'LL GET MY IDEAS FROM NATURE, FREQUENTLY FROM PHOTOGRAPHS AND A LOT OF TIMES FROM LOOKING OUT THE WINDOW.

WE'RE VERY INVOLVED AS GARDENERS AND I SPEND A GREAT DEAL OF TIME.

COLOR IS MY RESOURCE.

THAT'S THE THING I START WITH: COLOR AND VALUE.

I'LL USE THIS KIND OF IMAGE AS A BACKGROUND.

IF THE PIECE IS A COMMISSIONED PIECE, WHICH IS THE OTHER 50%, THAT MEANS THAT I'M NOT ONLY PLEASING MYSELF, BUT I'M SOLVING AN ARCHITECTURAL PROBLEM.

I'LL DESIGN A PIECE FOR A SPECIFIC SITUATION, WHICH INVOLVES A GREAT DEAL OF PAPERWORK AND A CERTAIN AMOUNT OF PERCEPTION OF WHAT THE END POSITION IS FOR THE PIECE TO BE ASSIGNED TO.

IF A PIECE IS DESIGNED FOR A SITUATION THAT YOU'LL SEE FROM A GREAT DISTANCE, I'LL DESIGN IT DIFFERENTLY THAN I WOULD IF SOMETHING IS GOING TO BE SEEN FROM CLOSE UP.

TO START WITH, IN THE CASE OF A COMMISSION, THE FIRST STEP IS I'LL GET A PHONE CALL AND SPECIFY A PRICE AND THROUGH A GALLERY OR AGENT I'LL BE REPRESENTED AND IF A PIECE COMES THROUGH, I GET PAINT CHIPS IN THE MAIL AND RUG SAMPLES.

THESE ARE THE FOUNDATION FOR MY COLOR CHOICES ALONG WITH THE SPECIFIC INFORMATION THAT I NEED TO DEAL WITH.

AND FROM THAT, I'LL BUILD A COLOR SERIES.

OH, THERE'S THE COLOR YOU WERE TALKING OF.

I PULL MY PAINT THE SAME WAY AN ARTIST USES PAINT.

I'LL USE A PALETTE BASED ON THE VALUE AND CONTRAST THAT I NEED IN A SITUATION AND ON THE COLORS THAT I'M WORKING WITH.

AND FROM THAT I'LL DO A MOCKUP.

THIS IS A REAL CRITICAL PHASE OF THE DESIGN PROCESS BECAUSE WHEN YOU ARE SELLING AN EXPENSIVE PIECE TO A CLIENT WHO MAY OR MAY NOT BE VERY ABLE TO TAKE VISUAL LEAPS OF FAITH, YOU HAVE TO HAVE A WAY OF SHOWING WHAT THE FINISHED PIECE IS GOING TO LOOK LIKE ACCURATELY AND APPEALINGLY.

SO MY COLOR MOCKUP TECHNIQUES ARE BASED ON MAGAZINE ILLUSTRATIONS WHICH I--FIRST I PULL THE COLORS THAT I'M ACTUALLY GONNA USE AND I'LL COMBINE THAT PRESENTATION WITH THE PAPER MOCKUP.

VISUALLY I CAN UNDERSTAND EXACTLY HOW IT'S GONNA LOOK NOW WHEN IT'S DONE.

THAT'S WONDERFUL.

THAT'S ONE OF THE MOST IMPORTANT PARTS OF MY BUSINESS.

THERE IS A GREAT DEAL OF PAPERWORK INVOLVED, A TREMENDOUS NUMBER OF PHONE CALLS.

I ALWAYS KEEP MY PHONE RECORDS AND A LOT OF BLUEPRINT AND LETTER WRITING.

ALONG WITH THIS PACKAGE, I'LL SEND A CONTRACT THAT SPECIFIES THE DELIVERY DATE AND THE PRICE STRUCTURE AND TERMS AND HOW TO TAKE CARE OF THE PIECE AND WHO'S RESPONSIBLE FOR HANGING AND MOUNTING IT.

SO YOU'RE DEALING, ELLEN, WITH ARCHITECTS AND CORPORATE PRESIDENTS AND THAT SORT OF THING IN ORDER TO MAKE EVERYONE HAPPY.

MM-HMM.

AND ONE OF THE IMPORTANT PARTS OF THE BUSINESS IS HAVING A NETWORK OF AGENTS AND GALLERIES WHO ARE ENTHUSIASTIC ABOUT YOUR WORK AND WHO YOU KEEP CURRENT WITH SLIDES OF AVAILABLE WORK OR EXCITING PIECES THAT YOU'VE DONE THAT ARE SOLD AHEAD OF TIME AND IF THOSE PEOPLE REPRESENT YOU WELL, THEY CAN DESCRIBE ENTHUSIASTICALLY HOW YOU PROCEED AND HAVE CONFIDENCE IN YOUR ABILITY TO FULFILL A COMMISSION.

I HAVE MORE OF AN UNDERSTANDING NOW HOW YOU HAVE REALLY BUILT SUCH A REPUTATION OVER THE YEARS.

WHEN YOU SAY IT'S BEEN LONG COMING, I CAN SEE HOW THESE THINGS, THEY DO GROW AND THEY BUILD.

NOW, GETTING TO THE CLOTH, IS THAT 50% OF IT, TOO, BECAUSE THAT IS REALLY GETTING DOWN TO THE NITTY GRITTY.

I SEE THAT--LET ME TAKE THIS AWAY AND YOU TELL US WHAT THE NEXT STEP IS, THEN.

WE'LL, BASED ON THE SWATCHING, DO THE PANELS.

THERE ARE CERTAIN SIZES, CERTAIN AMOUNTS OF MATERIAL I NEED TO START WITH.

THIS IS A COLLAGE THAT I START WITH.

I'LL LAY OUT THE LAYERS.

A LOT OF TIMES TRANSPARENT AND OVERLAPPING IN THE SEQUENCE THAT I KNOW I NEED FROM THE SKETCHES.

THEN I TAKE THESE PANELS OVER TO A LOCAL FACTORY WHERE THEY HAVE A SEWING MACHINE THAT JUST FASCINATES ME.

THIS TEXTURE ON THE SURFACE IS MY, THAT'S MY TRICK FOR BLENDING AND MODIFYING THE COLORS UNDERNEATH.

THAT SUPERFICIAL TECHNIQUE HAS A LOT OF EFFECT.

AND WHEN DOES THE PAINT COME?

IS THAT BEFORE OR AFTER?

AFTER I'VE GOT THE STITCHING DOWN, I'LL MODIFY THE COLORS EVEN FURTHER.

IT HAS MORE OF A BLENDING EFFECT.

THAT GETS BUILT AND THEN CUT UP AND REASSEMBLED IN WAYS THAT ARE BASED ON A SEMINOLE TECHNIQUE, THE SEMINOLE EMBROIDERY STRUCTURE.

THIS PIECE HAS BEEN CUT AND REASSEMBLED.

SO IT'S REALLY PIECING AND THE REPIECING, THAT WHOLE TECHNIQUE, BUT IN A VERY ARTISTIC MANNER.

IT TRULY IS.

AND WHAT HAPPENS HERE, THEN?

WELL, I'M DEMONSTRATING THE CUTTING STRUCTURE, WHICH IS--THANK GOODNESS FOR WHOEVER INVENTED THIS TYPE OF A TABLE.

IT'S GOT A GRID ON IT AND MY PIECES NEED TO BE VERY STRICTLY ACCURATE IN SIZE AND IN WIDTH FOR THE PIECE TO LOOK THE COMBINATION THAT I WANT OF FLUID AND SOFT AND RIGID AND ACCURATE.

THAT COMBINATION I THINK IS ONE OF THE MOST EFFECTIVE THINGS ABOUT THE VISUAL EFFECT OF THE WORK.

SO FROM THERE, YOU START-- I LINE UP THE FOLD ON THE PANEL AND I'LL EITHER USE A PIECE OF TAPE OR THE TRANSPARENCY OF THE RULER TO BE SURE OF THE ACCURATE WIDTH.

AND THEN FROM THERE, THESE ARE CUT AND THEN REPIECED AND THEN FROM THERE YOU GO TO THE SEWING MACHINE.

YOU'VE GOT MORE SEWING AHEAD HERE.

THIS IS A PIECE.

I'LL SOMETIMES REARRANGE THE STRIPS IN A DIFFERENT SEQUENCE.

OH, YES.

THAT'S WHERE MORE OF YOUR ARTISTIC KNOWLEDGE COMES IN HAND.

AND LET'S SEE WHAT HAPPENS NEXT AT THE SEWING MACHINE.

ELLEN, ONCE THE STRIPS ARE ALL CUT, WHAT HAPPENS NEXT?

WELL, I HAVE A VERY CRITICAL PROCEDURE WHICH INVOLVES CUTTING THEM AND ARRANGING THE SEQUENCE IN THE ORDER THAT I WANT IT TO END UP AND THEN I PICK THEM UP WITH CODING ON THE LAYERS AND ASSEMBLE THEM AT THE MACHINE IN THE SAME ORDER THAT I PICKED THEM UP, SO I KNOW EXACTLY HOW THE PIECE IS GONNA COME OUT.

AND THERE'S NO TRIPPING BETWEEN ONE TABLE TO THE NEXT.

RIGHT.

IF YOU LOSE TRACK OF THE SEQUENCE, YOU'RE SUNK.

LET'S SEE WHAT HAPPENS NEXT HERE.

OK.

I'VE ASSEMBLED THESE TWO STRIPS IN THE SEQUENCE THAT THEY HAVE TO GO AND I'M DOING ABOUT A QUARTER INCH SEAM ON ONE EDGE.

IN ORDER TO KEEP THE PANELS AS LINEAR AS THEY ARE AND AT THE CORRECT ANGLE, IT'S REAL IMPORTANT TO PULL THE BOTTOM LAYER SO I FEED THEM THROUGH THE MACHINE WITH MY FINGER IN BETWEEN THEM AND I YANK ON THE BOTTOM LAYER WITH TWO FINGERS UNDERNEATH.

SO THAT KEEPS ANY CREEPING FROM HAPPENING UP ABOVE AND SPACES IT OUT EVEN.

AND IN THIS CASE, I'M BUILDING THE PIECES AT AN ANGLE SO I HAVE EXACTLY THE SAME DISTANCE THAT I NEED AT THE TOP OF EACH PAIR OF PIECES.

AND I NEED TO END UP WITH THE SAME AMOUNT OF DISTANCE AT THE BOTTOM.

AND WHEN I'M DONE WITH ONE PAIR, I LAY IT OFF ON THE TOP OF THE PILE AND THEN I TAKE THE NEXT SEQUENCE, TURN IT OVER, KEEP IT IN ORDER, BUILD THE SAME DISTANCE IN BETWEEN THE TWO LAYERS, AND START IT UP AGAIN ON THE MACHINE.

I SEE.

AND THEN NOW FROM HERE, THESE SEAMS AT ONE POINT WHEN IT'S ALL PUT TOGETHER, THEY ARE PRESSED OPEN.

THAT'S AN IMPORTANT THING.

WE MENTIONED THAT EARLIER.

AND THEN I'VE GOT ONE THAT'S A LITTLE BIT FURTHER ALONG.

THIS IS THE ROWS THEN PUT TOGETHER WITH NOT ONLY THE ROWS, BUT THE BATTING?

THIS IS A FINISHED QUILT.

I THINK THIS IS A 4 X 6 SIZE.

AFTER THE QUILT'S BEEN QUILTED AND THE BORDERS AND EDGES ARE PUT TOGETHER--THIS ONE IS A FINISHED PIECE ON WHICH I'M JUST ASSEMBLING SOME KIND OF GRAPHIC DETAIL BOXES WITH AN APPLIQUE STITCH.

IT HAS BEEN QUILTED IN THE DITCH AS YOU DESCRIBED IT.

AND YOU HAVE A BACKING ON THERE.

AND THEN, OF COURSE, WHEN THAT'S PULLED TAUT, YOU GET THE PLAY OF THE SHADOWS IN THE BATTING.

THE RELIEF IS THEN-- YEAH, STRETCHING THEM IS REALLY QUITE IMPORTANT TO THE FINISHED LOOK OF THE PIECES AS HANGINGS.

AND WHAT ABOUT COLOR?

NOW YOU'VE KIND OF TURNED LOOSE ON THIS ONE.

WAS THIS A SPECIAL REASON FOR THIS?

WELL, THERE ARE TWO REASONS WHY I DO HIGH COLOR.

ONE IS TO GET MYSELF OUT OF MY NATURAL RUT.

I HAVE A REAL TENDENCY TO SOFT, VERY ORGANIC COLORS AND I USE THEM MOST COMFORTABLY, BUT JUST FOR REASONS OF VITALITY AND KEEPING MY WORK EXCITING, I SOMETIMES CHOOSE TO DO HIGH COLOR OR IF I HAVE A COMMISSION, AS IS THE CASE WITH THIS ONE WHERE THE CLIENT IS INTERESTED IN THE REAL POWERFUL PIECE, I'LL CHOOSE INTENSE COLORS AND REALLY ENJOY WORKING WITH THEM ON OCCASION.

IT ALLOWS YOU TO STRETCH A LITTLE BIT MORE, DOESN'T IT?

I THINK EVERYONE WILL AGREE ALONG WITH MYSELF THAT YOUR QUILTS HAVE CERTAINLY WARMED OUR HEARTS AND OUR MINDS AND WE CERTAINLY THANK YOU FOR SHARING YOUR TIME WITH US TODAY.

THANK YOU, ELLEN.

THE FIRST FEDERAL SAVINGS BANK HAS WARMED ITS WALLS WITH MANY QUILTS.

YOU CAN BANK ON THAT.

IN FACT, THEY HAVE INVESTED IN 3 CATEGORIES: A MODERN VIEWPOINT WITH ELLEN'S WALLPIECES "MIRAGE" AND "FORM CONTENT," ANTIQUE QUILTS, AND TRADITIONAL QUILTS CREATED BY THE FIVE DIRECTION QUILT GROUP.

IT IS MY PLEASURE THIS EVENING TO INTRODUCE THESE QUILTMAKERS BY THEIR VERY SPECIAL QUILTS.

PLEASE OBSERVE THAT THE QUILTS WERE CONCEIVED AS A COORDINATED GROUP, WHICH MEANT HAVING A GRASP OF THE BLUEPRINTS, THE SCALE OF THE BUILDING, AND THE DECORATING SCHEME.

MANY TRIPS TO THE FABRIC STORE LATER, WE HAD OUR QUILTS DONE.

JODY STATCHBERRY AND HER QUILT ENTITLED "BEHIND BARS."

TELL US ABOUT THE CONCEPT OF HOW IT WAS MADE, JODY, AND THAT NAME ALSO IS KIND OF INTRIGUING.

WELL, THE NAME CAME FROM THE FEELING I GOT WHEN I WAS PUTTING THE GRID ON.

IT LOOKED A CAGE OR BARS, AND I THOUGHT WELL, IN A BANK, MAYBE "BEHIND BARS" WOULD BE A NICE SUBLIMINAL MESSAGE FOR A WOULD-BE BANK ROBBER WHO DECIDED TO COME IN AND DO A DIRTY DEED.

THE THING THAT WAS REALLY NICE AND EASY ABOUT THIS QUILT WAS THE STRIP PIECING.

SEWED ALL THE STRIPS TOGETHER AND THEN CUT OUT THE SQUARE.

THAT MADE IT EASY.

THE HARD PART, I GUESS, WAS MAKING ALL THESE DIFFERENT FABRICS BEHAVE.

I HAD VELVETS AND SILKS AND TEXTURED FABRICS, SO THAT WAS A LITTLE TRICKY.

YOU SET IT OFF WITH THESE SQUARES.

I USED 9 DIFFERENT COLORS OF POPPY AND SALMON TO MAKE IT TWINKLE AND GLOW.

AND THEN THIS LITTLE HINT ABOUT THE OUTSIDE BORDER, THAT'S ALSO SPECIAL.

THAT'S A WOOL CHALLIS AND THAT COST $40 A YARD, BUT I FIGURED IT WAS WORTH IT FOR THE BANK QUILT.

NO WONDER IT'S GREAT.

THANK YOU, JODY.

BARBARA SWEENY FROM ASHEVILLE HAS CREATED A BEAUTIFUL QUILT ENTITLED "STORMY SEA."

IT LOOKS LIKE CURVE PATTERNS.

TELL US HOW THIS WAS DESIGNED.

THE PIECING LINES IN THIS ARE ALL STRAIGHT.

THE CHANGE OF THE ANGLE GIVES THE ILLUSION OF A CURVE.

AND THEN THE QUILTING LINES ARE ALL STRAIGHT EXCEPT FOR THIS DOUBLE LINE RIGHT THERE THAT'S CURVED.

ALL THE REST ARE STRAIGHT LINES.

IT'S AN OPTICAL ILLUSION.

IT CERTAINLY IS AND THIS IS A TRADITIONAL PATTERN, "STORM AT SEA?"

YES, A TRADITIONAL PATTERN AND BECAUSE THE BANK HAD CERTAIN SIZE REQUIREMENTS, I NEEDED TO DRAFT IT INTO A RECTANGULAR SHAPE AND THEN ADD THE BORDERS OF THE SIDES ONLY.

WELL, IT'S REALLY SPECIAL.

AND UNUSUAL FABRIC IN YOURS ALSO.

YES, THIS HAS A CHINTZ-- THE BRICK COLOR IS A CHINTZ, A VERY HARD SURFACE AND THIS PART RIGHT HERE IS AN UPHOLSTERY FABRIC WHICH IS RATHER HEAVY TO WORK WITH.

WELL, CONGRATULATIONS.

IT'S BEAUTIFUL, BARBARA.

TESSELLATED STARS.

THE WORD "TESSELLATE" MEANS TO FORM INTO A MOSAIC PATTERN AS BY USING SMALL SQUARES OF STONE OR GLASS.

BUT THIS IS WITH CLOTH.

JODY, TELL US HOW YOU CREATED THIS INCREDIBLE 3-DIMENSIONAL STAR PATTERN.

SURE, GEORGIA.

THIS IS ACTUALLY A SPLIT DIAMOND DESIGN AND I DIDN'T MAKE THE STAR AS YOU SEE IT HERE WITH THE 18 FULL PIECES.

I MADE IT IN ROWS LIKE THIS USING THESE TRIANGULAR UNITS, THESE 3-PIECE TRIANGULAR UNITS THAT ARE FIRST ON THEIR BASE, AS IN THIS ONE, AND THEN INVERTED WITH THE POINT DOWN THIS WAY.

AND THE TRICK OF MAKING IT 3D IS IN THE COLOR SELECTION WHERE WE GO DARK, MEDIUM, AND LIGHT.

FIRST WITH THE DARK ON THIS AXIS, AND THEN THE NEXT TRIANGLE HAS THE DARK ON THE BASE.

DARK, MEDIUM, AND LIGHT.

AND THAT GIVES THE 3D EFFECT.

LINDA CANTRELL FROM ASHEVILLE IS KNOWN FOR HER PICTORIAL APPLIQUE.

NOW YOU'VE TAKEN APPLIQUE A LITTLE STEP FURTHER WITH YOUR BANK QUILT.

TELL US ABOUT THE CONCEPT.

MY BANK QUILT IS A TRADITIONAL APPLIQUE PATTERN THE LOVE APPLE, WHICH IS ACTUALLY A TOMATO.

I DIDN'T KNOW THAT WHEN I STARTED IT.

AND IT USUALLY HAS A STRAIGHT PIECE THAT GOES HERE, FORMING AN "X."

AND I THOUGHT TO GIVE IT A LITTLE BIT MORE INTEREST, WE WOULD CURVE THIS VINE AND THEN MAKE THIS VINE A CURVE AS IT GOES AROUND.

IT BREAKS IT UP.

AND IT'S CROSS-HATCHED QUILTING THAT I CARRIED ALL THE WAY OUT TO THE BORDER.

AND THAT PICKS UP THIS LITTLE SQUARE MOTIF ALSO, WHICH IS WHAT?

I CALL IT A POP KNOT.

I THINK IT HAS ANOTHER NAME, BUT FOR THE LACK OF A BETTER NAME, IT'S A POP KNOT.

AND YOUR FABRICS?

THEY'RE DRAPERY FABRICS MOSTLY.

THIS IS A CHINTZ FABRIC, THE BACKGROUND, AND MOST OF THE OTHER FABRICS ARE DRAPERY FABRICS.

SHIRLEY CLENNON FROM HENDERSONVILLE HAS DONE OUR MOST FEMININE BANK QUILT.

TELL US THE NAME AND THE CONCEPT OF IT, SHIRLEY.

WELL, GEORGIA, IT'S CALLED "STEPPING OUT" AND IT'S BASED ON TRIANGLES, SQUARES, AND RECTANGLES.

WITH THE INVENTION OF THE ROTARY CUTTER, IT HAS ALLOWED ME TO DO THE QUILT COMPLETELY TEMPLATE FREE.

I WAS ABLE TO DO STRIP PIECING, WHICH ENABLED ME TO DO MORE PRECISION PIECING BY HAVING MORE PRECISION CUTTING.

AND, SHIRLEY, I LIKE YOUR STARS WITHIN STARS IN THE WHOLE PATTERN.

IT REALLY IS BEAUTIFUL.

TELL US ABOUT YOUR QUILTING LINES.

WELL, I FELT THAT I NEEDED A LOT OF QUILTING.

I FELT THAT THERE WERE OPEN AREAS THAT NEEDED TO BE ENHANCED WITH QUILTING, SO I TRIED TO FILL IN ALL THE SPACES BUT ACCENT THE PATTERN AT THE SAME TIME.

AND BOTH CURVED LINES AND SOME STRAIGHT ONES, TOO.

I LIKE THE WAY YOU'VE ALSO PULLED THE QUILTING OUT INTO THE BORDER.

YOU'VE ACTUALLY TAKEN ONE DESIGN AND QUILTED OVER ALL 3 BORDERS, HAVEN'T YOU?

I SURE DID.

I BET YOUR FAMILY'S PROUD OF THIS QUILT AND IT REALLY LOOKS BEAUTIFUL HERE AT THE BANK.

THANK YOU.

MY QUILT IS ENTITLED "GOLDEN THREADS AND SILVER NEEDLES."

I'M PROUD TO SAY THAT IT IS DISPLAYED IN THE EXECUTIVE SUITE OF THE BANK.

I AM THE FIFTH MEMBER OF THE FIVE DIRECTION QUILT GROUP AND THIS WAS REALLY AN INCREDIBLE CHALLENGE FOR ME.

THE QUILT IS 11 FEET LONG BY 5 FEET HIGH.

AND WOULD YOU BELIEVE IT STARTED OUT JUST LIKE THIS?

A LOT OF MATHEMATICS WENT INTO THIS QUILT.

AT ONE POINT I WANTED TO GET A BETTER IDEA OF THE SCALE, SO I DID COLOR IT ALL IN TO HAVE A CONCEPT OF HOW IT WAS GOING TO LOOK WHEN IT WAS FINISHED.

IT'S BASED ON A CENTER MEDALLION THEME.

IT RADIATES OUT TO OFFSET SQUARES, WHICH IS A THEME THROUGHOUT ALL THE BUILDING, EVEN ON THE OUTSIDE WORK.

I'VE INCORPORATED BEAUTIFUL PAISLEY FROM ENGLAND AND A LOT OF DIFFERENT FABRICS.

IN FACT, ALL OF THE FABRICS THAT WERE IN THE PREVIOUS QUILTS THAT YOU SAW THIS EVENING ARE IN MY QUILT.

I USED METALLIC GOLD THREAD IN THE CENTER FOR THE QUILTING AND HAD SOME HELP IN THE QUILTING ON THE OUTSIDE BY LINDA HANSBURGER FROM RACINE, WISCONSIN.

I EVEN PUT MY MOTHER TO WORK IN CUTTING OUT SOME OF THESE PIECES.

AND TWO OTHER FRIENDS, JUDY RANKIN AND GLENDA GUSSMAN, HELPED ME WITH SOME OF THE PIECING IN THE SMALLER BLOCKS.

BUT I'M PROUD TO CLAIM IT AS MY QUILT AND EVEN MORE PROUD TO THINK THAT IT HANGS IN MY OWN HOMETOWN IN THE MOST BEAUTIFUL BANK IN THE WORLD.

WE LOOK FORWARD TO SEEING YOU NEXT WEEK FOR THOSE GLORIOUS GARMENTS.

♪ "LAP QUILTING" WITH GEORGIA BONESTEEL WAS MADE POSSIBLE BY GRANTS FROM GINGHER INCORPORATED, MAKERS OF SCISSORS AND SHEARS FOR THE HOME, CLASSROOM, AND INDUSTRY.

AND COATS & CLARK, SERVING AMERICA'S SEWING NEEDS FOR OVER 125 YEARS, FEATURING J&P COATS DUAL DUTY PLUS THREAD.

GEORGIA BONESTEEL IS THE AUTHOR OF "LAP QUILTING," "MORE LAP QUILTING," AND "NEW IDEAS FOR LAP QUILTING," PUBLISHED BY OXMOOR HOUSE AND AVAILABLE IN BOOKSTORES AND LIBRARIES NATIONWIDE.