[synthesized jingle] [upbeat acoustic guitar music] ♪ ♪ >> WELCOME TO LAP QUILTING.

I'M GEORGIA BONESTEEL INVITING YOU TO ANOTHER SERIES ON PATCHWORK AND QUILTING.

IT'S BEEN A COUPLE OF YEARS SINCE WE'VE HAD A CHANCE TO BE TOGETHER, AND IN THAT TIME PERIOD, I HAVE STUDIED A LOT MORE, I HAVE HAD A CHANCE TO RUB ELBOWS WITH SOME VERY GOOD PROFESSIONAL QUILTERS, AND MORE THAN ANYTHING, I'VE HAD A CHANCE TO TEACH A LOT, WHICH IS WHERE I THINK I DO MOST OF MY LEARNING.

ONCE AGAIN, OUR FOCUS IS GOING TO BE ON THE BEGINNING SEAMSTRESS, PERHAPS WHOM BY NOW MAYBE HAS MADE HER FIRST QUILT, WHETHER IT WAS A SAMPLER OR MAYBE ONE OF HER OWN DESIGN, BUT WHO WANTS TO STUDY MORE AND LEARN MORE, PERHAPS, THE TRICKS OF THE TRADE, HOW TO PUT BLOCK-TO-BLOCK TOGETHER WITHOUT BORDERS, HOW TO MAKE VESTS, AND REALLY EXPLORE A LOT MORE IN THE FIELD OF QUILTING.

WE'RE ALSO GOING TO CONCENTRATE ON MACHINE-PIECING BECAUSE I STILL THINK THAT IT'S SOMETHING TO CROW ABOUT.

WE'RE GOING TO SPEND TIME AT THE MACHINE BECAUSE I THINK THIS IS A VERY NOT ONLY SECURE WAY BUT A SPEEDY WAY TO GET OUR BLOCKS TOGETHER.

I LIKE TO THINK TODAY OF LAP QUILTING AS AN ALTERNATIVE METHOD OF MAKING A QUILT.

IT CERTAINLY ISN'T THE ONLY WAY, AND A LOT OF PEOPLE ASK ME, "WELL, WHAT IS LAP QUILTING?"

IT'S QUILTING IN SECTIONS.

THE IDEA OF MAKING A WHOLE QUILT ON A FRAME ALMOST SEEMS DEFEATING AT TIMES.

BUT IF YOU WOULD QUILT THESE IN SECTIONS AS WE HAVE DONE BEFORE AND THEN PUT 'EM TOGETHER TO FORM YOUR WHOLE UNIT, THAT IS HOW WE CAN BUILD OUR WHOLE QUILT.

WHEN WE STOP AND THINK ABOUT THE COLONISTS MANY YEARS AGO, THEIR PRIMARY CONCERN WAS FOOD AND SHELTER, AND UNDER THAT CATEGORY OF SHELTER, THEY HAD TO KEEP WARM.

WHETHER IT WAS TO COVER THE WINDOWS OR THE FLOORS OR MAYBE LAYERS OF CLOTHING ON THEIR BODY OR, MORE IMPORTANT, TO KEEP WARM AT NIGHT, THEY HAD TO WORK WITH THREE LAYERS.

AND THAT'S WHAT WE'LL BE WORKING WITH AGAIN: THE BACKING, THE BATTING, AND OUR DECORATIVE FRONT.

THE WORD "QUILTING" ACTUALLY COMES FROM THE LATIN WORD CULCITA, WHICH MEANS "STUFFED SACK."

THIS IS WHAT WE'LL BE WORKING WITH ON EVERY SHOW, BUILDING OUR DESIGN ON THE SEWING MACHINE, ATTACHING THE THREE LAYERS, AND THEN PRODUCING A QUILT.

A LOT OF PEOPLE HAVE ASKED ME DID I INVENT LAP QUILTING, OR HOW DID IT GET STARTED AND EXACTLY WHAT WERE MY BEGINNINGS?

I LIKE TO THINK THAT LAP QUILTING WAS MORE OR LESS A NATURAL EVOLVEMENT FOR A LOT OF TEACHERS AT A TIME PERIOD WHEN QUILTING HAD BECOME REALLY MUCH MORE POPULAR.

FOR MYSELF, I HAD A CHANCE TO DO SOME TELEVISION WORK WHEN I LIVED IN NEW ORLEANS.

AND DOWN IN THE CAJUN COUNTRY, I WAS GIVEN A BOX OF FRESH THAI FABRICS, AND IN WORKING WITH THE THAI FABRICS AND MAKING THINGS THAT LOOKED VERY PATCHWORK, I FOUND THAT I LIKED WORKING WITH REMNANT MATERIAL BUT WHAT I WAS PRODUCING HAD KIND OF A LIMP LOOK.

IT REALLY DIDN'T HAVE ANY BODY OR ANY DIMENSION TO IT.

ONCE I TOOK THE SAME IDEA AND PIECED THE FABRICS TOGETHER BUT THEN LAYERED IT WITH A BACKING AND THEN WITH A BATTING IN BETWEEN AND THEN STARTED QUILTING IT, NOT WITH REALLY QUILTING THREAD BUT WITH EMBROIDERY THREAD, AND PRODUCING INTERESTING STITCHES-- MUCH THE WAY WE'D BE DOING CRAZY PATCH, BUT INSTEAD OF JUST BUILT ON NEWSPAPER OR ON MUSLIN, I INSERTED THE BATTING IN BETWEEN-- ALL OF A SUDDEN, THE WORK MORE OR LESS CAME ALIVE, AND I LIKED THE DIMENSION AND THE LOOK THAT IT PRODUCED.

THESE WERE ADAPTED SO NICELY INTO EVENING BAGS.

SOMETIMES I WOULD EVEN TAKE SOME OF THE MATERIAL AND SIMPLY QUILTED THE DESIGN, BECAUSE ONCE YOU WENT AROUND THE DESIGN, A LOT OF IT CAME OUT.

WE SOMETIMES REFER TO THIS AS CHEATING, BUT IT'S A GREAT WAY TO LEARN HOW TO WORK IN SMALLER SECTIONS.

A LOT OF THE HANDBAGS HAVE MORE OF A CRAZY PATCH LOOK.

AND OF COURSE, I TRIED TO BALANCE MY COLORS AND PUT A LOT OF BRIGHT COLORS IN THEM.

SOME OF THEM HAD THE LOOK OF STRING QUILTING, WHICH WE THINK OF TODAY AS GOING INTO OUR QUILTS OR INTO VESTS SOMETIMES.

WE'LL BE USING THIS SAME IDEA IN OUR PATCHWORK VESTS.

I HAD A SHOP FOR ABOUT A WEEK IN THE FRENCH QUARTER, AND IN FACT, THE FIRST BAG I EVER SOLD CAME BACK THE NEXT DAY.

THE PINS WERE STILL ON THE INSIDE, AND I HAD TO FINISH IT WHILE THE LADY WAITED.

WE THEN MOVED TO NORTH CAROLINA, AND I HAD A CHANCE TO DO SOME TEACHING AT A TECHNICAL COLLEGE.

AND IN WORKING WITH THE FABRIC AND WITH THE CONVENTIONAL FRAME, WE ALL FELT FRUSTRATED.

WE COULDN'T-- IN A TEN-WEEK PERIOD, WE COULDN'T REALLY FINISH A QUILT.

SO I GOT THE IDEA THAT IF WE WOULD BREAK THE QUILT INTO SMALLER SECTIONS, THAT THEN THE PEOPLE COULD WORK AT THEIR OWN PACE, AND PERHAPS WHEN THEY FINISHED 10 OR 15 BLOCKS, THEN THEY'D SEW THOSE TOGETHER, AND THEY WOULD HAVE CREATED AN ENTIRE UNIT.

SO THAT WAS HOW I REALLY GOT STARTED IN LAP QUILTING.

YOU'RE PROBABLY WONDERING WHAT THIS THINGAMABOB IS I HAVE AROUND MY NECK.

IT'S REALLY-- SCISSORS REMIND ME.

I KEEP THE SCISSORS AT ONE END, AND I KEEP MY TAPE AND MY THREAD AND MY THIMBLES AT THE OTHER END.

LET'S LEARN HOW TO MAKE ONE OF THESE.

A VIEWER WROTE ME AND INFORMED ME THAT WHAT I WAS WEARING AROUND MY NECK WAS A CHATELAINE, AND I THOUGHT, "WELL, THAT'S GREAT.

I CAN BARELY SAY IT, AND I KNOW I CAN'T SPELL IT."

ANOTHER STUDENT IN CLASS INFORMED ME THAT WHEN SHE WAS READING HER MEDIEVAL HISTORY AND HER NOVEL BOOKS THAT THE MISTRESS OF THE CHATEAUS ALWAYS WORE HER KEYS AROUND HER NECK OR AROUND HER WAIST ON A CHAIN FOR ALL THE DOORS IN THE CASTLE.

SO I KNEW THAT IF CHATEAU WAS SPELLED C-H-A-T-E-A-U THAT THAT WAS HOW I SPELLED "CHATELAINE."

SO THAT HELPED ME A LOT.

I LEARNED SOMETHING.

BUT IT IS A HANDY LITTLE DEVICE TO USE TO CARRY YOUR THREAD, YOUR THIMBLES, YOUR NEEDLES, OR WHATEVER INSIDE, AND THEN, OF COURSE, YOU KEEP YOUR SCISSORS ON THE OTHER END.

NOW, WHAT YOU'RE GOING TO NEED TO MAKE THE CHATELAINE ARE TWO PIECES OF FABRIC, AND I LIKE TO USE A DARKER CALICO.

I HAVE FOUND THAT IF YOU USE A MUSLIN, THAT WE WORK WITH SO READILY, THAT IT DOES GET DIRTY AS YOU'RE CARRYING IT AROUND, SO CHOOSE A DARKER FABRIC AND CUT OUT TWO 10-INCH SQUARES.

IF YOU WORK WITH A CARDBOARD TEMPLATE, I LIKE TO GO AHEAD AND PUT MASKING TAPE AROUND THE OUTSIDE AND ESPECIALLY THE CORNERS, BECAUSE IF YOU'RE CUTTING OUT A LOT OF THESE, IT JUST SAVES.

OR YOU COULD WORK WITH A PLASTIC.

NOW, IF YOU'RE NOT HAPPY WITH THE 10-INCH SIZE, MAKE YOUR CHATELAINE A LITTLE BIT LARGER.

YOU COULD WORK WITH A 12-INCH.

YOU'RE ALSO GOING TO NEED YOUR INSET COLOR.

THIS IS WHERE YOU GET YOUR DESIGN ON THE INSIDE.

NOW, I'VE DEVISED TWO PLANS.

ONE IS PLAN "A," AND THE OTHER IS PLAN "B."

PLAN "B" LOOKS MORE LIKE YOUR CATHEDRAL QUILT, AND THAT REQUIRES TWO LITTLE FABRICS, ONE ON EITHER SIDE, CUT IN A 3-INCH SQUARE.

OR, AS SYLVIA MASON, ONE OF MY FRIENDS, HAS MADE FOR ME, WE'RE GOING TO PUT THIS IN THE POLKA DOT, AND YOU COULD EVEN PUT YOUR INITIALS ON SOME HARDANGER.

YOU COULD DO SOME CROSS-STITCHING, AND THAT 3-INCH SQUARE WOULD GO ON PLAN "B."

FOR PLAN "A," WHICH IS ACTUALLY A LITTLE BIT EASIER THAN PLAN "B," YOU'RE GOING TO NEED A 4 1/2 INCH SQUARE, TWO OF THESE CUT, ONE FOR EACH SIDE.

YOU'RE GOING TO START WITH YOUR SQUARE THAT IS FOLDED INTO A RECTANGLE.

NOW YOU'RE GOING TO PUT YOUR TWO RIGHT SIDES TOGETHER.

IF YOU'RE WORKING WITH FABRIC THAT HAS, OF COURSE, A WRONG OR A RIGHT SIDE, MAKE SURE THAT THE RIGHT SIDES ARE TOGETHER, FOLD IT INTO A RECTANGLE AND MACHINE STITCH 1/4 INCH ON EACH SIDE.

I'VE ALREADY DONE THIS ON THE RED ONE.

THIS IS GOING TO BE SYLVIA'S.

I DID MY 1/4 INCH.

I BACKSTITCHED AT EACH END.

I'VE STILL GOT THE RED THREAD IN THE MACHINE, AND I THINK IT'LL SHOW UP NICELY FOR THIS ON THE NAVY BLUE, SO I'LL GO AHEAD AND KEEP IT THERE.

AFTER YOU'VE SEWN YOUR RECTANGLE, OPEN IT UP AND LET IT FALL INTO MORE OR LESS A TRIANGLE.

CAN YOU SEE WHAT'S HAPPENING HERE?

I'M GOING TO PUT THIS RIGHT NEXT TO THIS ONE, AND YOU CAN MORE OR LESS GET THE IDEA OF HOW THAT'S GOING TO WORK.

THE NICE THING ABOUT THE CATHEDRAL CHATELAINE IS THAT IT GIVES YOU MORE OR LESS A REMINDER ON HOW WE PUT OUR PIECEWORK TOGETHER.

WE NOT ONLY USE A 1/4 INCH SEAM ALLOWANCE, BUT THEN WE ALSO STAGGER OUR SEAMS.

I'M GOING TO LET ONE SET OF SEAMS GO IN THAT DIRECTION, AND THEN ON THE BOTTOM SIDE, THEY'RE GOING IN THE OPPOSITE DIRECTION.

I'M GONNA MAKE SURE, PEEK AND MAKE SURE THAT THEY'RE BOTH FIT RIGHT IN TOGETHER, AND I PUT A LITTLE PIN RIGHT THERE AT THAT INTERSECTION.

THEN I'M GOING TO MACHINE STITCH BUT NOT ALL THE WAY ACROSS.

YOU NEED TO LEAVE AN OPENING TO INVERT THIS, TO TURN IT INSIDE OUT IN JUST A FEW MINUTES.

SO I'M GONNA START AT ONE END.

USE YOUR 1/4 INCH, BACKSTITCH, AND THEN GO FORWARD, OH, I'D SAY ABOUT AN INCH OR TWO.

ONE YOU'VE TAKEN THAT OFF, GET RID OF YOUR THREADS, AND I LIKE TO MAKE SURE MY THREADS ARE ALL THE WAY AT THE BACK OF MY MACHINE.

GIVE YOURSELF ABOUT AN INCH TO A 2-INCH OPENING AND START AGAIN.

NOW, MAKE SURE THAT YOUR SEAMS ARE GOING IN OPPOSITE DIRECTION AND BACKSTITCH.

AND IF YOU ARE IN THE HABIT OF SEWING OVER YOUR PINS, YOU CAN GO AHEAD AND DO THAT.

I LIKE TO GET RIGHT UP TO THE SPOT AND THEN REMOVE MY PINS.

SEW ALL THE WAY DOWN.... AND THEN BACKSTITCH.

ALL RIGHT.

NOW YOU HAVE ANOTHER ONE TO DO.

THERE ARE TWO, OF COURSE, FOR EACH POCKET THAT YOU MAKE.

KEEP IN MIND THAT IF YOU ARE MAKING 20 OF THESE FOR THE CHURCH BAZAAR, ONCE YOU HAD 'EM IN THIS RECTANGLE, YOU COULD HAVE JUST KEPT GOING LIKE YOU HAD A MINI FACTORY SET UP, COULDN'T YOU?

AND THE SAME THING HERE.

YOU WOULD DO THIS TECHNIQUE ON HOW MANY EVER SETS YOU WERE MAKING.

NOW, ANOTHER KIND OF A NEW IDEA I WANT TO SHOW YOU WOULD BE TO TAKE YOUR POCKET AGAIN, OPEN IT UP SO IT FORMS A TRIANGLE, AND PRETEND THAT THIS WAS SOME PIECEWORK OR WHERE YOU HAD MORE THAN TWO INTERSECTIONS THAT WE'RE GOING TO BE JOINING HERE.

YOU WOULD KEEP BOTH OF YOUR SEAMS GOING TOWARDS YOU AND PUT A PIN SO THAT IT'S HELD RIGHT THERE.

BOTH THESE SEAMS ARE COMING TOWARDS ME.

AND I'M GONNA START DOWN HERE DOING THE SAME IDEA.

I CALL THIS A "FLOATING SEAM."

QUITE OFTEN, WE ARE NOT SURE HOW WE WANT OUR SEAMS TO GO WHEN WE GET READY TO PRESS, AND THIS WORKS VERY NICELY.

SEW, BACKSTITCH, THEN TAKE OFF.

ALL RIGHT.

NOW THE SAME IDEA, ONLY NOT STAGGERING YOUR SEAMS.

START, BACKSTITCH.

NOW COME RIGHT UP TO THOSE SEAMS.

I WANT TO GET THIS DOWN FLAT SO YOU CAN HAVE A GOOD VIEW OF THIS.

COME RIGHT UP, PULL YOUR NEEDLE OUT-- YOUR PIN, RATHER, AND COME RIGHT UP, STOP, AND BACKSTITCH.

NOW, WITH YOUR PRESSER FOOT UP, TAKE BOTH OF THESE SEAMS AND SCOOT 'EM TO THE BACK SIDE.

MAKE SURE THEY'RE GOING ALL THE WAY BACK.

YOU CAN KIND OF CREASE IT AND MAKE SURE THAT'S HAPPENING AND THEN COME ALL THE WAY OVER SO YOU'VE GOT SOME LEEWAY UNDERNEATH THAT BOBBIN THREAD AND THEN START UP AGAIN AND BACKSTITCH.

LINE UP YOUR SEAMS SO YOU'VE GOT YOUR SEAM ALLOWANCE GOING CORRECTLY AND COME ALL THE WAY TO THE END.

YOU'VE GOT TO MAKE SURE YOUR SEAMS ARE LINED UP.

NOW, WHEN YOU TAKE THAT OFF, YOU DIDN'T HAVE A CHANCE TO BEFORE, BUT NOW YOU CAN COME AND CLIP THAT RIGHT THERE AND ON THIS SIDE.

AND WHAT YOU HAVE CREATED IS REALLY A FLOATING SEAM, AND YOU HAVE COME RIGHT UP TO THAT.

AND THEN YOU CAN DIRECT THAT ANY WAY YOU WANT TO.

IT'S AT THIS POINT THAT THEN YOU CAN TAKE YOUR LITTLE POCKET AND TURN IT INSIDE OUT.

AND I THINK IT'S NICE TO USE A TAILOR'S POINT RIGHT HERE, A WOODEN POINT.

YOU'RE ALWAYS TEMPTED TO USE YOUR SCISSORS, BUT IT REALLY WORKS NICER IF YOU WILL SIMPLY POKE OUT YOUR CORNERS.

AND QUITE OFTEN, I TRIM SOME OF THE EXCESS SEAM ALLOWANCE DOWN AT THE END.

YOU DO THIS TWICE, AND THEN YOU WOULD THEN-- YOU CAN PRESS THAT, DIRECTING HOWEVER YOU WANT THE SEAMS TO GO, SLIP-STITCH THE OPENING CLOSED, AND THEN FIND THE MIDPOINT ON EACH ONE OF THESE SIDES AND CONNECT 'EM BY DRAWING WITH YOUR PIECE OF SOAP AND YOUR LITTLE RULER SO THAT THESE LINES THAT YOU HAVE CREATED WILL THEN BECOME YOUR SEWING LINES.

YOU'VE FOUND THE MIDPOINT, AND THESE WILL BECOME YOUR SEWING LINES.

AND IN PLAN "A," YOU SEW IN A "U" SHAPE.

NOW, BEFORE YOU WOULD ACTUALLY SEW, I THINK IT'S NICE TO CUT OFF A YARD OF GROSGRAIN RIBBON-- AND YOU REMEMBER A YARD IS FROM HERE TO YOUR NOSE; THAT'S ALWAYS A YARD-- AND SEW THAT ON THE INSIDE.

AND I LIKE TO SEW AND LEAVE A LITTLE BIT OF IT HANGING OUT, ATTACHING VELCRO ON ONE SIDE, AND OF COURSE, THEN YOU WOULD ATTACH THE VELCRO ON THE OTHER SIDE.

MAKE SURE THESE TRIANGLES ARE UP BEFORE YOU DO THAT.

THEN COME AND MACHINE STITCH IN A "U" SHAPE.

AND THEN HERE IS YOUR PLACE, THIS OPENING WHERE YOU WOULD THEN GO AHEAD AND PUT YOUR DECORATIVE COLOR ON THE INSIDE.

THESE TRIANGLE POINTS WILL THEN FALL OVER IT, AND THEN THIS BECOMES-- THESE ARE CONNECTED.

I LIKE TO TAKE A NEEDLE-- OF COURSE IT HAS A KNOT IN THE END OF IT-- AND PULL THAT RIGHT THROUGH THE POINT, RIGHT, RIGHT THROUGH, AND THEN COME OVER AND CONNECT EACH ONE OF THESE POINTS.

AND THE THING THAT'S SO NICE IS THAT THIS FOLDED EDGE IS A BIAS EDGE, AND WHEN YOU DRAW ALL THESE POINTS UP SO NICELY, JUST LIKE THAT, THAT THESE HAVE A LOT OF GIVE.

SEE HOW THAT WILL TURN BACK?

THEN YOU SLIP-STITCH ALL THAT BACK, AND YOU TRY NOT TO, OF COURSE, GO ALL THE WAY TO THE BACK SIDE.

YOU COULD ALSO, WHEN YOU GET READY TO PUT THIS PIECE DOWN, YOU COULD PUT A LITTLE BIT OF EITHER POLYESTER BATTING, OR HOW ABOUT A PIECE OF WOOL?

NEEDLES AND PINS WORK SO NICELY AND STAY.

THEY DON'T RUST IF THERE'S WOOL UNDERNEATH THERE.

SO THAT WOULD BE ANOTHER THING THAT YOU COULD USE.

NOW, IN PLAN "B," YOU GET REALLY AN ENTIRELY DIFFERENT LOOK, BUT IT'S BASED ON THE SAME IDEA.

WE GOT TO THIS POINT, THE SQUARE WITH THE ENCLOSED SEAMS.

WE THEN TAKE THOSE, LINE THEM UP TOGETHER, FIND THE SQUARE WITHIN THE SQUARE, BUT INSTEAD OF SEWING A "U" SHAPE, DON'T GO ALL THE WAY AROUND.

SIMPLY SEW ON OPPOSITE SIDES, BECAUSE THEN WHAT HAPPENS: THIS WILL OPEN UP LIKE SO.

LET ME PUT THIS NEXT TO THE VISUAL HERE, AND I THINK YOU'LL GET A GOOD IDEA OF WHAT HAPPENS.

THIS IS YOUR FLOATING TRIANGLE, AND THAT'S GONNA BE SECURED.

THAT FALLS BACK, AND THESE TRIANGLES SIMPLY BEND TO MEET EACH OTHER.

WHEN THEY BEND, YOU'LL PUT YOUR NEEDLE AND THREAD IN.

CONNECT THESE ON THE OUTSIDE.

YOUR LITTLE SQUARE GOES ON THE OFFSET.

IT TURNS ON THE DIAGONAL AND WILL FIT IN THERE.

NOW, IT'S OPTIONAL WHETHER OR NOT-- THIS ONE HAS SOME BATTING IN IT ALSO, YOU CAN SEE.

AND IT'S OPTIONAL WHETHER OR NOT YOU TURN THOSE BACK OR NOT.

SOMETIMES I HAVE, AND SOMETIMES I HAVEN'T.

IT JUST DEPENDS ON THE MOOD, HOW YOU FEEL.

THIS ONE ALSO HAS A LITTLE BIT OF BATTING IN IT.

BUT I THINK WITH SOMETHING LIKE THIS, YOUR INITIALS ARE REALLY HIGHLIGHTED A LITTLE BIT BETTER IN THIS PLAN.

THE THING ABOUT-- THAT IS A LITTLE BIT TRICKY IS, YOU CAN'T REALLY ATTACH YOUR VELCRO AND YOUR GROSGRAIN RIBBON UNTIL YOU GET ALMOST DONE AT THIS PLAN.

YOU HAVE TO KIND OF THEN HAND-STITCH THAT VELCRO IN THERE.

ON THE OPPOSITE END, OF COURSE, ARE YOUR SCISSORS.

AND YOU WANT TO MAKE SURE AND PUT SOME VELCRO OR EVEN A SNAP ON THAT END, AND THEN THAT SECURES, AND YOUR SCISSORS ARE KEPT THERE.

SO I HOPE YOU ENJOY MAKING A CHATELAINE, AND THEN YOU'LL BE ALL READY TO SEE ALL THE WONDERFUL THINGS WE'RE GONNA BE DOING ON THIS SERIES.

FOLLOW ME TO THE QUILTING FRAME.

IN ADMIRING THIS LOVELY STAR SAMPLER THAT MADGE THOMLEY HAS DONE, I'M TRYING TO REALLY POINT OUT WHAT I THINK ARE THE BEST CHARACTERISTICS OF THIS QUILT.

AND I THINK THE WARM COLORS JUST KIND OF JUMP OUT AT YOU AND THE FACT THAT MADGE HAS GONE ONE STEP FURTHER.

SHE LIKES TO DO PATTERN DRAFTING, AND EVEN THOUGH YOU RECOGNIZE A LOT OF OUR OLD FAMILIAR BLOCKS-- 54-40 OR FIGHT, THE OHIO STAR-- SHE HAS EXPERIMENTED WITH HER 12-INCH BLOCK AND HAS DONE A LOT OF OTHER STAR VARIATIONS; ALSO I THINK THE FACT THAT HER QUILTING LINES ARE ANGLED IN SUCH A WAY THAT IT EMPHASIZES THE POINTS ON ALL THE STARS.

EVEN AT HER MITERED INTERSECTION, LOOK HOW SHE HAS GONE AHEAD AND EMPHASIZED.

IT REALLY BRINGS OUT THE FACT THAT IT'S MITERED.

THE OTHER POINT TO LOOK AT IS THE FACT THAT SHE HAS ADDED A BEAUTIFUL, MORE OR LESS STRING-TYPE QUILT BORDER ALONG WITH THIS.

AND WE'RE GOING TO HAVE A CHANCE TO REALLY STUDY THE FACT THAT QUITE OFTEN WHEN WE FINISH A SAMPLER, THEN IT'S ANOTHER STEP TO ADD A BORDER TO ENLARGE YOUR QUILT.

ALSO, AS A PREVIEW TO SOME OF THE OTHER THINGS THAT WE'RE GONNA HAVE A CHANCE TO SEE, WE'RE GOING TO BE ABLE TO LEARN HOW WE CAN TAKE OUR PATCHWORK BLOCKS AND MAKE ALBUMS, WHETHER IT'S AN ALBUM FOR YOUR FAMILY PHOTOS OR MAYBE A QUILT ALBUM.

BUT IT'S A NICE IDEA, AND I'M GOING TO BE ABLE TO SHOW YOU HOW TO DO THAT AND EVEN PUT HANDLES ON THE ALBUM COVERS.

VESTS HAVE BECOME SO POPULAR, AND WE'LL BE SPENDING TWO SHOWS KIND OF EXPLORING THE WAY OF TAKING BLOCKS AND INCORPORATING THEM INTO VESTS TO KEEP YOU WARM.

YOU COULD ALSO BUILD YOUR VEST ON A MUSLIN FOUNDATION.

WE'LL BE GOING THROUGH THE WHOLE TECHNIQUE OF MAKING VESTS.

I THINK IT'S NICE TO THINK OF THE FACT THAT WE WILL MAKE A SHORT TRIP TO A QUILT SHOW, AND SOME OF MY ORIGINAL STUDENTS FROM MY FIRST VEST CLASS WILL ACT AS HOSTESSES TO THAT QUILT SHOW.

AND THIS IS A KIND OF THING WE'LL BE SEEING AND STUDYING MORE.

THIS IS A QUILT CALLED THE CHURN DASH, OR IT COULD BE CALLED HOLE IN THE BARN DOOR, THAT SARAH MONK MADE.

AND I THINK IT'S A LOVELY EXAMPLE OF LAP QUILTING.

IN THIS INSTANCE, SHE QUILTED INDIVIDUAL 12-INCH BLOCKS AND THEN PUT THOSE TOGETHER.

I THINK HER DESIGN IN THE MUSLIN PORTION IS JUST HANDSOME.

SHE'S ALSO THEN ADDED A SEPARATE BORDER THAT'S BEEN SCALLOPED ALL AROUND THE OUTSIDE WITH MORE QUILTING TO MATCH HER INSIDE AREA.

ANOTHER THING THAT WE WILL BE EXPLORING MORE IS THE FACT THAT WE CAN TAKE A 12-INCH BLOCK AND ADD BORDERS ON THEM IN A MORE UNIFORM LOOK RATHER THAN A SEAM DOWN THE CENTER HIGHLIGHTED WITH A SQUARE IN BETWEEN.

THIS IS CALLED THE BRASSTOWN STAR QUILT, AND WE'LL BE STUDYING HOW THIS IS PUT TOGETHER.

I'VE TAPED AROUND THIS ATTIC WINDOWS QUILT, A LARGE QUILT THAT I JUST FINISHED, SO THAT YOU CAN MORE OR LESS SEE ANOTHER TECHNIQUE WE'LL BE DISCUSSING AND DEMONSTRATING ON THE SHOW.

THE FACT THAT WE CAN TAKE 4- OR 12-INCH BLOCKS AND BY SEWING THOSE TOGETHER, WE'LL ACTUALLY BE LAP QUILTING IN A 24 1/2 INCH SQUARE.

ONCE THAT IS ALL PUT TOGETHER, THEN THE BLACK BAND AND THE BORDER IS ADDED.

IN THIS CASE, I'VE TAKEN THE IDEA OF THE SEMINOLE PATCHWORK THE PIECING ON THE MACHINE, ENLARGED THAT FOR AN ANGULAR BORDER USING THAT SAME TRAPEZOID FIGURE AGAIN.

ANOTHER FUN IDEA IS THE FACT THAT WE'RE GOING TO HAVE SOME GUESTS ON THE SHOW.

SIX GIRLS FROM THE CHARLOTTE QUILTERS GUILD WILL COME, AND WE'LL BE ABLE TO SIT AND ACTUALLY WATCH SIX DIFFERENT LADIES WORK WITH A NEEDLE AND THREAD AND SEE HOW THEY HOLD THE NEEDLE AND GET SOME REAL CLOSE SHOTS ON HOW THE ACTUAL QUILTING IS DONE.

I HAD A CHANCE TO VISIT LONDON, ENGLAND, SINCE I'VE SEEN YOU, AND I EXPLORE THE IDEA OF A DUVET.

YOU'RE PROBABLY LOOKING AT THIS AND SAYING, "WELL, I SEE THE PATCHWORK, BUT I DON'T SEE ANY QUILTING."

THIS IS AN IDEA THAT I LEARNED IN ENGLAND, AND I WANT TO EXPLAIN HOW YOU CAN MAKE A DUVET, A PATCHWORK DUVET.

ANOTHER GREAT IDEA IS THE FACT THAT WE CAN DO A COMMUNITY QUILT.

THIS BRASSTOWN-- ALMOST LIKE A BRASSTOWN STAR, THIS SAWTOOTH STAR WAS MADE BY 20 DIFFERENT LADIES, AND I THINK IT'S NICE TO THINK THAT THE QUILTING CAN CONTINUE EVEN THOUGH 20 DIFFERENT LADIES, SEPARATELY AT THEIR HOME, ARE QUILTING THE BLOCKS AND THEN THEY GET TOGETHER TO PUT THEM TOGETHER IN ROWS AND EVENTUALLY THE WHOLE UNIT.

ANOTHER IDEA THAT WE'RE GONNA SPEND A LOT OF TIME ON IS THE MOON OVER THE MOUNTAIN SQUARE.

I THINK WE WILL TAKE THIS PARTICULAR BLOCK AND SHOW YOU ALL THE DIFFERENT VARIATIONS, WHETHER IT WOULD BE A TOTE BAG, A SMALL TOTE BAG, OR EVEN WALL HANGINGS, HOW WE CAN TAKE AND, ADAPTING THIS ON MUSLIN, CAN GET THE IDEA OF A STRING QUILT, EVEN INCLUDING THE RAINBOW AND THE MOUNTAIN ALL STRING QUILTED.

I HAD AN OPPORTUNITY THIS YEAR TO HELP JUDGE A QUILT SHOW IN BALTIMORE, AND WE WILL HAVE A CHANCE TO VIEW THE WINNING QUILT AND GET A GOOD VIEW OF EXACTLY THE HUMAN INTEREST STORY THAT A LARGE CITY DID WITH QUILTS.

A LOT OF PEOPLE HAVE WRITTEN ME AND SAID, "IS IT POSSIBLE TO DO THE DOUBLE WEDDING RING IN A LAP QUILTING TECHNIQUE?"

SO I DRAFTED A DOUBLE WEDDING RING, AND THEN ONE OF MY VERY FAVORITE CLASSES IN LANDRUM, SOUTH CAROLINA, PUT A WHOLE DOUBLE WEDDING RING QUILT TOGETHER WITH A SCALLOPED BORDER.

20 DIFFERENT LADIES AGAIN, SO IT VIRTUALLY IS A COMMUNITY QUILT.

AND WE'LL HAVE A CHANCE TO STUDY THAT AND SEE HOW THAT WAS PUT TOGETHER ON THE SEWING MACHINE.

I'VE ALSO STARTED A SMALL QUILT COLLECTION AT HOME, AND IN DOING THAT, I HAVE BECOME VERY INTRIGUED WITH HOW YOU STORE AND PRESERVE OLD QUILTS.

THIS PARTICULAR ONE IS FROM THE CHARLESTON AREA, AND IT'S A VERY OLD IRISH CHAIN WITH YOUR CHINTZ BORDER.

AND I THINK IF YOU HAVE HEIRLOOM QUILTS IN YOUR FAMILY, YOU'LL BE INTERESTED TO KNOW THE BEST WAY TO CARE FOR THEM, HANG THEM, AND STORE THEM, AND WE'LL SPEND SOME TIME TALKING ABOUT THAT.

OUR GEOMETRIC SHAPES ARE SO IMPORTANT IN PATCHWORK, AND I WANT TO SPEND A LOT OF TIME WORKING WITH THESE SHAPES SO THAT YOU KNOW THE DIFFERENCE BETWEEN, SAY, A TRAPEZOID, YOUR DIAMOND, AND YOUR PENTAGONS AND ACTUALLY DOING SOME PATTERN DRAFTING ON THE SET, TAKING ONE PATTERN FROM THE VERY BEGINNING, GOING THROUGH HOW THE BORDERS ARE ADDED, HOW YOU RELATE THAT INTO A TEMPLATE, AND THEN HOW YOU GO FROM THERE.

WE'RE GONNA ACTUALLY BREAK DOWN ONE PATTERN.

ANOTHER IDEA THAT I HAVE REALLY BEEN INTRIGUED WITH IS THE FACT THAT OUR STAR QUILTS-- THE STAR OF BETHLEHEM, THE BLAZING STAR-- ALL BASED ON JUST ONE TEMPLATE, YOUR DIAMOND PATTERN, CAN BE LAP QUILTED.

AND I'VE GOT ONE TO THE POINT WHERE I'LL BE PUTTING IT TOGETHER ON THE SET AT THE MACHINE, WHERE IT IS DONE IN TRIANGLES.

IF YOU CAN FOLLOW MY FINGER ALL THE WAY UP TO THE POINT HERE AND ALL THE WAY DOWN, WHEN THIS IS JOINED, THIS WILL FORM THE SQUARE IN YOUR QUILT AT EACH CORNER, AND THEN OF COURSE, THE TRIANGLE IS THE MIDPART.

THIS WAS OUR ANSWER TO THE AMISH COLORS AND, ONCE AGAIN, IS A COMMUNITY QUILT.

BUT I THINK YOU'LL HAVE A NICE OPPORTUNITY TO SEE HOW THIS IS PUT TOGETHER.

BECAUSE WE HAVE CREATED WHAT WE COULD CALL THE PORTABLE CRAFT, I THINK IT'S NICE TO THINK THAT WE CAN CARRY OUR THINGS AROUND IN BASKETS.

I USED TO ALWAYS JUST THROW ALL MY PIECES IN A BASKET, AND BEFORE I KNEW IT, I WAS LOSING PENS AND PENCILS THROUGH THE BOTTOM OF THE BASKET.

AND WHAT I HAVE REALLY ENJOYED ARE THE FUN LITTLE LINERS THAT GO IN OUR BASKETS, WHETHER OR NOT IT'S A HANDWOVEN BASKET OR JUST A FRUIT BASKET.

I'M GONNA SHOW YOU HOW TO MAKE A PATTERN AND HOW YOU GO ABOUT LINING A BASKET.

AND OF COURSE, WE'LL BE SPENDING SOME TIME LOOKING AT A LOT OF THE NEW IMPLEMENTS AND THE NEW IDEAS THAT YOU CAN GET AT YOUR SEWING NOTION COUNTER TO HELP YOU AS FAR AS YOUR CRAFT GOES.

THERE'S, OH, AN EVEN FEED FOOT.

I BET YOU DIDN'T KNOW ABOUT THAT TO GO ON YOUR SEWING MACHINE-- REALLY GREAT FOR SEWING YOUR CALICOS AND YOUR DIFFERENT-- YOUR HEAVIER FABRICS LIKE YOUR VELVET OR YOUR CORDUROY TOGETHER.

AND OF COURSE, IF YOU WANT TO REALLY GO UPTOWN, YOU CAN PUT A PATCHWORK COVER ON YOUR BASKET.

THIS PARTICULAR ONE IS A BASIC NINE-PATCH.

YOU CAN SEE THE NINE DIFFERENT SECTIONS, AND WE CALL THIS THE ROMAN STRIPE PATTERN.

BUT I'LL BE SHOWING YOU HOW THIS CAN GO TOGETHER WITH THE EYELET COVER.

WE'RE LOOKING FORWARD TO SEEING YOU NEXT WEEK.

THANK YOU FOR JOINING US.

male announcer: GEORGIA BONESTEEL IS THE AUTHOR OF THE BOOK LAP QUILTING WITH GEORGIA BONESTEEL BASED ON THIS TELEVISION SERIES.

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