♪ THIS SHOW IS A WRAP-UP FOR THE QUILT TRIO-- COPYCAT, THE ULTIMATE POSTAGE STAMP QUILT, AND BABY BUGGY BOOMERS.

EACH QUILT HAS ITS OWN UNIQUE FINISHING TREATMENT.

PLUS, WE WILL STUDY OTHER BINDING OPTIONS TODAY.

THEN SEE THE NUMEROUS APPLIQUÉ METHODS USED THROUGHOUT THE SERIES.

NOW STAY TUNED FOR MANY BRIGHT IDEAS ON LAP QUILTING.

♪ 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.

THIS SEGMENT GIVES ME A CHANCE TO TOUCH ON THE MANY APPLIQUÉ METHODS THAT YOU WILL SEE ON ALL THE QUILTS ON THIS SERIES.

FOR THE BABY BUGGY BOOMERS QUILT, YOU WILL NEED SOME DOUBLE-FOLD BIAS TAPE.

THE FIRST THINGS THAT YOU WILL BE APPLIQUÉING, OR ATTACHING, TO THESE 11 1/2 x 13 1/2 RECTANGLES WILL BE THE WHEELS.

ONCE YOU PLACE THE SPOKES DOWN-- I WOULD GO RIGHT ANGLES AND THEN ACROSS, DIVIDING IT IN EIGHT SECTIONS-- YOU WILL ATTACH THAT WITH A BLIND-HEM FOOT AND A MONOFILAMENT THREAD IN A BLIND-HEM STITCH VERY MUCH LIKE YOU'D BE HEMMING YOUR HUSBAND'S TROUSERS.

I'LL SHOW YOU THAT.

REMEMBER, WHEN THOSE ARE SET IN PLACE, YOU WILL PLACE THE OVAL AROUND THE SPOKES, AND THAT SAME DOUBLE FOLD WILL OPEN UP AND GO FOR THE HANDLE AS WELL.

NOW, WHEN YOU DO THAT, I WOULD USE A MATCHING BOBBIN THREAD UNDERNEATH.

I'VE STARTED THIS DOWN A LITTLE BIT FURTHER.

SO WATCH THIS COME.

AND WHAT YOU'RE REALLY GONNA LIKE IS THAT NEEDLE IS PLACED HALF-LEFT SO IT GOES RIGHT DOWN NEXT TO THE BLUE.

IT'S VERY--IT'S HIDING RIGHT DOWN THERE.

THEN, EVERY ONCE IN A WHILE, A LITTLE ZIGZAG COMES OVER AND CATCHES THE BLUE.

IT'S LIKE A BLIND APPLIQUÉ STITCH.

NOW I'M GOING TO CHANGE COLORS OF THREAD FOR MY NEXT METHOD.

ANOTHER MACHINE APPLIQUÉ METHOD DEPENDS ON THE BUTTONHOLE STITCH.

I HOPE YOU HAVE A NEW SEWING MACHINE AND THAT YOU CAN DO THAT ALONG WITH ME.

I USED IT ON THE MOOSE PANEL-- YOU'LL BE SEEING THAT QUILT COMING UP SOON-- AND THE AMISH IMAGES QUILT, ON THE LETTERS FOR THE "AMISH IMAGES."

YOU WILL NEED SOME FUSIBLE BONDING MATERIAL.

DO YOU GET CONFUSED ABOUT ALL THESE INTERFACINGS THAT YOU PURCHASE?

WHEN YOU GET THESE SHEETS, GO AHEAD AND FOLD THEM INTO BAGS AND ZIGZAG THEM TOGETHER, THEN YOU CAN STORE ALL THOSE DIFFERENT THINGS INSIDE.

ONCE YOU HAVE THAT FUSIBLE BONDING MATERIAL, IRON THAT TO THE BACKSIDE OF YOUR MATERIAL.

ONCE THAT HAS BEEN DONE, PUT YOUR MOOSE DOWN AND DRAW AROUND THE OUTSIDE.

ONCE THAT HAS BEEN DRAWN AROUND, THEN YOU CAN CUT THE MOOSE OUT.

I'M IN THE PROCESS RIGHT NOW OF TEARING OFF THAT PAPER BACKING.

ONCE YOU TEAR THAT OFF, THAT SURFACE WILL THEN APPLY WITH A WARM IRON.

I'M GOING TO POSITION THIS IN PLACE AND USE THIS AS AN EXAMPLE TO THEN POSITION THIS IN PLACE, AND IT MEANS HOLDING IT JUST FOR A FEW SECONDS.

THE PURPOSE IN DOING THAT IS BECAUSE I'M GOING TO BE STITCHING AROUND ALL THESE RAW EDGES, AND IT KEEPS IT FROM SLIDING.

REALLY ANCHORS IT IN PLACE.

IT'S MUCH THE SAME MATERIAL THAT YOU USE TO PUT YOUR HEARTS AND FUN THINGS ON YOUR SWEATSHIRTS TODAY.

ONCE THAT IS IN PLACE, THEN WE'RE READY TO GO TO THE SEWING MACHINE.

NOW, I AM GOING TO USE AND START OUT FIRST WITH A BUTTONHOLE STITCH.

I'VE GOT THIS ON MY BUTTONHOLE, AND I'M MAKING IT VERY WIDE SO YOU CAN SEE EXACTLY WHAT HAPPENS.

VERY WIDE.

I'M GOING TO STOP AND SHOW THAT TO YOU.

CAN SEE HOW WIDE THAT LONG STITCH IS IN THE INSIDE?

WELL, THAT'S NOT THE BRODERIE PERSE.

I'M GOING TO THEN TAKE THAT OFF AND START AGAIN.

THIS TIME, WITH THAT REVERSE-IMAGE BUTTON IN PLACE, I'M GOING TO SHORTEN EVERYTHING.

I WANT TO MAKE A VERY TINY STITCH, AND WHAT YOU'RE GOING TO SEE HAPPEN IS JUST SO NEAT.

I'M GOING TO PULL THAT APART JUST A LITTLE BIT.

THAT LONG STITCH IS NOW DOWN IN THE DITCH.

AND HONESTLY, THIS LOOKS LIKE IT'S BEEN DONE BY HAND, BUT IT'S SO CLEAN AND SMOOTH.

NOW I'LL TAKE THIS OFF, AND I THINK IT'S REALLY GOOD FOR YOU TO LOOK AT IT HERE SO YOU CAN SEE HOW NICE, RIGHT HERE-- DO YOU SEE HOW NICE THAT HAPPENS?

THAT IS YOUR MACHINE BRODERIE PERSE.

YOU REMEMBER THE LAP-IT-UP-AGAIN KITTY CATS.

NOW THEY'RE PRANCING AROUND THE LOVE KNOT WALL HANGING.

I USED A SIMPLE ZIGZAG STITCH TO ATTACH THE KITTY CAT.

I DREW THE KITTY CAT ONTO SOME GRID GRIP, AND THEN SIMPLY PRESSED IT ON THE OUTSIDE OR THE TOPSIDE OF THE FABRIC, PLACED IT ON THE FOUNDATION, AND THEN JUST DO A STRAIGHT RUNNING STITCH USING THE OUTLINE RIGHT NEXT TO THAT GRID GRIP IN ORDER TO SECURE IT TO THE FOUNDATION.

OF COURSE, I'D GO ALL THE WAY AROUND THE KITTY CAT, ANCHORING IT IN PLACE.

ONCE THAT HAS BEEN DONE-- I'M GOING TO STOP HERE SO I CAN SHOW YOU WHAT HAPPENS NEXT.

ONCE THAT HAS BEEN DONE, THEN I WOULD TAKE MY LIP SCISSORS, PULL THIS BACK IN ORDER SO I CAN SHOW YOU WHAT'S HAPPENING, THEN I TAKE THOSE WONDERFUL APPLIQUÉ-- WE CALL THEM A LIP SCISSORS-- AND THEN JUST SIMPLY TRIM RIGHT UP TO THE REALLY-- THE STITCHING--THE FIRST STITCHING THAT I'VE PUT DOWN.

IT'LL COME VERY NICELY.

SOMETIMES I JUST HOLD ON TO THIS, KNOWING I'M NOT GOING TO CUT THE UNDERNEATH SIDE.

AND ONCE THAT'S BEEN DONE, CUT THAT AWAY, THEN I WILL TAKE A PIECE OF NEWSPRINT, OR ANY LIGHTWEIGHT PAPER, AND PUT UNDERNEATH, AND THEN I'M READY TO CHANGE, PUT MY APPLIQUÉ FOOT ON.

ONCE THAT'S IN PLACE, THEN I WILL GO TO A NARROW ZIGZAG STITCH.

ZIGZAG A LITTLE BIT, AND THEN I'M READY-- I WANT THAT ZIGZAG STITCH TO JUST COVER THE STITCHING, BUT ALSO COVER THE RAW EDGE.

I DON'T LIKE TOO WIDE A ZIGZAG STITCH.

AND YOU'LL BE HAPPY.

NOW, ON THE KITTY CATS, ONCE I FINISHED, I DID GO TO THE BACKSIDE, PULLED THE PAPER OFF, AND ALSO CUT AWAY THE FOUNDATION UNDERNEATH IN CASE THIS DARK PRINT WOULD COME THROUGH THE LIGHT SHADOWS.

NOW WE WILL GO TO ANOTHER APPLIQUÉ STITCH.

ANOTHER APPLIQUÉ STITCH IS A VERY SIMPLE ONE.

IT'S THE ONE WE USED ON THE UNITED KINGDOM SAMPLER.

IT'S NOTHING MORE THAN A RUNNING STITCH COMING RIGHT NEXT TO THOSE EDGES THAT HAVE ALREADY BEEN TURNED UNDER.

REMEMBER HOW WE PREPARED THOSE.

SO I USE A BLENDING THREAD AND JUST STITCH RIGHT ON TOP, RIGHT NEXT TO THE EDGE.

THE APPLIQUÉ METHOD, THE CLASSIC ONE OR TRADITIONAL ONE, WAS SEEN ON THE QUILTING AROUND THE CLOCK WALL HANGING.

IN THIS CASE, YOU CAN EITHER BASTE AHEAD OF TIME OR USE THE NEEDLE-TURN METHOD.

THE NEEDLE GOES IN RIGHT UNDERNEATH WHERE THE THREAD HAS BEEN CAUGHT IN THE FOLD ON TOP, AND TAKING A SMALL STITCH, PULL THAT NICE AND TIGHT.

NEEDLE DOWN AND TAKE A LITTLE BIT OF THE FOLD EACH TIME.

IT DOES HELPS TO HAVE THE GRID GRIP IN PLACE TO COME AROUND THAT EDGE.

OR YOU MIGHT WANT TO KEEP THE POLYCOATED SIDE UP, AND THEN PRESS THAT IN PLACE IN ORDER TO BE PUT DOWN.

I ALSO LIKE THE IDEA OF KEEPING THE GRID GRIP ON TOP.

AFTER ALL, THOSE RAW EDGES ARE ONLY GONNA GO AS FAR AS THE GRID GRIP.

I THOUGHT I HAD SEEN IT ALL IN APPLIQUÉ, BUT I HAVE DISCOVERED A NEW TIP.

KAREN PERVIER FROM WINSTON-SALEM, WHAT IN THE WORLD ARE YOU UP TO NOW?

WELL, AS YOU KNOW, I'M DOING A QUILT THAT'S AN ADAPTATION OF THE COVER OF THE NORTH CAROLINA QUILT PROJECT.

IT'S A STAR QUILT, AND THE TRIANGLES AROUND THE EIGHT-POINTED STARS HAVE APPLIQUÉD TREES, AND THE TREES ARE LITTLE TINY CIRCLES.

THE TEMPLATE THAT I ENDED UP USING FOR THIS WAS THE SHIRT BUTTON FROM MY HUSBAND.

AND I CUT IT OUT OF A MANILA FOLDER AND CUT OUT HUNDREDS OF LITTLE FABRIC CIRCLES WITH A SEAM ALLOWANCE AND HUNDREDS OF LITTLE BATTING, BECAUSE THESE ARE STUFFED.

BUT WHEN I WENT TO DO THE LITTLE BASTING STITCH IN THE SEAM ALLOWANCE TO PULL UP AROUND THE BATTING, I WAS GETTING VERY LUMPY, BAD APPLIQUÉ STITCHES.

SO WHEN WE WERE TALKING ABOUT THAT, THE SUGGESTION THAT THE PAPER CIRCLES THAT YOU CAN-- THE PRESS-APPLY ONES-- WORKED JUST BEAUTIFULLY.

THEY COME IN A 1/2" SIZE.

I STUCK THEM ON THE LITTLE BATTING CIRCLE.

NOW I CAN PULL MY BASTING STITCH UP, AND WHEN I LAY IT DOWN TO APPLIQUÉ IT ON MY TRIANGLE, I HAVE A LITTLE EDGE TO RUN THAT NEEDLE AGAINST.

ABOUT THE TIME THE NEXT POSTAGE STAMP QUILT GETS DONE, MAYBE YOU'LL FINISH THIS ONE.

I THINK WE'RE RIGHT IN LINE.

OK, GOOD.

GOOD LUCK.

THANK YOU.

BEFORE WE DO BINDINGS TODAY, I'D LIKE TO REVIEW THE LAP QUILTING CONNECTION.

ALICE WORTMAN HAS SHARED TWO QUILTS WITH US.

ONE IS ALL COMPLETED.

IT'S A WONDERFUL BROWN LOG CABIN QUILT.

SHE'S MADE A BASKET OUT OF DIAMONDS, AND THEY ARE LOG CABINS, TOO.

SHE'S ALSO DONE A LAVENDER LOG CABIN QUILT.

SHE'S VERY ORGANIZED.

ALL OF HER BLOCKS ARE NUMBERED, AND SHE'S READY TO GO.

IT ISN'T QUITE QUILTED, BUT I CAN SHARE WITH YOU THE TECHNIQUE AND SHOW YOU THAT CONNECTION.

REMEMBER IN LAP QUILTING, YOU DO NOT QUILT UP TO THE RAW EDGE.

LEAVE AT LEAST AN INCH FREE OF QUILTING.

ONCE YOUR BLOCKS ARE DONE, TRIM THE BATTING AND BACKING EVEN WITH THE FRONT OF YOUR BLOCK.

THEN WITH THE TWO RIGHT SIDES TOGETHER OF THE FRONT, PIN IT IN PLACE, ALIGNING BOTH ENDS OF YOUR BLOCKS.

I LIKE TO INCLUDE THE BATTING ON ONE SIDE.

IN MEANS THEN THAT THE BACKING AND BATTING OF ONE SIDE PULLED TO THE BACK AND JUST THE BACKING OF THE OTHER.

MACHINE-STITCH THAT WITH A 1/4" SEAM.

ONCE THAT'S BEEN DONE, DO WORK ON A FLAT SURFACE THEN SO THAT YOU DON'T GET ANY LUMPS IN THE FRONT OF YOUR QUILT.

TRIM A LITTLE BATTING OFF ALL THE WAY DOWN, AND THEN ONE SIDE GOES STRAIGHT, ONE TURNS UNDER 1/4".

YOU MIGHT WANT TO BASTE THAT 1/4" STRAIGHT BEFORE YOU APPLIQUÉ IT OR SLIP-STITCH IT IN PLACE.

TAKE A LOOK AT OUR POSTAGE STAMP QUILT.

THE ENTIRE HORIZONTAL ROWS, ALL FOUR OF THEM, WERE CONNECTED WITH THAT LAP QUILTING CONNECTION.

COPYCAT IS ALMOST FINISHED.

REMEMBER WE DID THE INSIDE QUILTING THAT CREATED CHANNELS, NICE PUFFY CHANNELS, ON THE BACKSIDE.

THE BACKING WAS LARGER.

IT WAS 45" WIDE AND AT LEAST 67" LONG.

AS YOU'RE DOING THAT CHANNEL QUILTING, MAKE CERTAIN TO KEEP YOUR ROWS EVEN AND GO SLOWLY, PINNING A LOT BEFORE YOU GET READY TO SEW.

THEN I WOULD SUGGEST BASTING WITH A DARNING NEEDLE RIGHT ALONG THE RAW EDGES THROUGH ALL THREE LAYERS.

ONCE THAT'S SECURED, THEN YOU CAN COME, AND WITH YOUR LIP SCISSORS OR YOUR APPLIQUÉ SCISSORS, TRIM ANY EXCESS BATTING RIGHT UP TO THE SIDE OF YOUR QUILT.

THEN WHAT I DO IS TO LEAVE AN EXTENSION.

FROM THIS EDGE, THE EDGE OF YOUR QUILT, LEAVE AN INCH BACKING.

THAT ALLOWS YOU, ALL THE WAY AROUND THE QUILT, TO HAVE ENOUGH OF AN EXCESS TO COME AND TURN IT ONCE AND THEN INTO THE TOP, JUST MEETING KITTY CAT'S EARS.

YOU CAN HAND- OR MACHINE-QUILT THAT IN PLACE.

FOR THE WHISKERS, I WOULD SUGGEST A LONG ZIGZAG STITCH TO HOLD THOSE IN PLACE, THROUGH ALL THREE LAYERS, AND IT WILL GET NICE AND PUFFY.

THEN WE HAVE BUTTONS FOR EYES.

GET THOSE IN PLACE, AND YOUR CAT REALLY COMES TO LIFE, AND YOU MIGHT USE THAT BUTTON ATTACHMENT TO SECURE THOSE.

BABY'S GOING TO BE WARM ANY MINUTE NOW.

STILL PIECING?

OR MAYBE YOU'RE QUILTING THE POSTAGE STAMP QUILT.

BUT YOU DO NEED TO KNOW THOSE OUTSIDE MEASUREMENTS.

THERE'S A 5" BORDER ALL THE WAY AROUND.

FIRST A 1" BORDER, CUT THAT 1 1/2" WIDE, MORE POSTAGE STAMPS, AND THEN A 3" NAVY BLUE.

ONCE THAT IS SEWN ALL THE WAY AROUND AND ATTACHED AND INCLUDED WHEN YOU DO THE QUILTING, I ADDED A 2 1/2--NOW, THAT'S 2.5 ON YOUR CALCULATOR-- A 2-1/2"-WIDE BIAS BINDING THAT IS FOLDED AND PRESSED IN TWO ALL THE WAY AROUND THE OUTSIDE.

I WANTED TO GIVE YOU A FORMULA THAT WILL HELP YOU DECIDE ON HOW MUCH FABRIC TO BUY ONCE YOU HAVE COMPLETED YOUR QUILT.

IF YOU WILL TAKE THE PERIMETER IN THE CASE THE POSTAGE STAMP, IT'S 89 WIDE, SO YOU'RE GOING TO SAY 89 TWICE, AND IT'S 115" LONG.

SO, 1-1-5 AND THEN 1-1-5 AGAIN.

NOW, THAT GIVES YOU THE PERIMETER AROUND YOUR QUILT.

MULTIPLY THAT TIMES 2.5.

THAT'S THE WIDTH OF YOUR BIAS.

AND THAT WILL GIVE YOU... A LARGE NUMBER.

THEN PUSH YOUR SQUARE ROOT SYMBOL.

THAT GIVES YOU 31.9.

SO YOU KNOW YOU NEED TO BUY, OR AT LEAST HAVE, A 32" SQUARE OF NAVY BLUE.

YOU WILL THEN CUT THAT AND MAKE THAT WONDERFUL BIAS, TOO.

LET'S GO TO THE SEWING MACHINE AND SEE A FEW HINTS ON HOW TO PUT THAT ON, PLUS BABY BUGGY BOOMERS.

WHEN I DID THE BABY BUGGY BOOMERS, I USED THE STRIPE AND CUT IT ON THE DIAGONAL.

IT REALLY MAKES A NICE ACCENT FOR THE OUTSIDE.

REMEMBER, WE HAVE OUR "LET'S PRETEND" BLOCK, AND I'M USING THAT AS A SAMPLE TO SHOW YOU.

FOLD IT IN TWO.

THE BIAS IS STITCHED WITH A 1/4" SEAM ALLOWANCE ALMOST TO THE END.

ONLY GO UP TO THAT 1/4", STOP, AND BACKSTITCH.

THEN I LIKE TO TURN IT-- IT HELPS TO PUT YOUR FINGER IN-- SO THAT THE FOLD IS RIGHT OUT AT THE RAW EDGE.

CREATE THAT 90-DEGREE ANGLE RIGHT HERE, AND THEN YOU'RE GONNA START STITCHING 1/4" RIGHT HERE, ALL THE WAY DOWN.

I'M GOING TO PUT THAT ON, AND WHEN YOU START STITCHING THERE, COME IN THAT 1/4".

I WOULD DO ALMOST A HALF-RIGHT NEEDLE POSITION, MAKING CERTAIN THAT YOUR WALKING FOOT IS ALL THE WAY ON ALL OF THE MATERIAL.

ONCE YOU'VE COME ALL THE WAY DOWN HERE-- I'M JUST GOING TO GO AWAY SO YOU CAN SHOW YOU.

THEN YOU REALIZE YOU HAVE THAT NICE TRIANGLE CORNER, THAT MITERED CORNER, THAT COMES ALL THE WAY TO THE BACKSIDE.

NOW, I FINISHED THIS QUILT-- LET ME GET THAT RIGHT SO YOU CAN SEE EXACTLY WHAT HAPPENS THERE.

DO YOU SEE HOW NICE THAT MITER ANGLE IS?

AND YOU'LL GET THE SAME THING ON THE BACKSIDE WHEN YOU COME ALL THE WAY.

SEE HOW NICE THAT IS?

I FINISHED THAT BY PINNING IT IN PLACE AND DID A SERPENTINE-- A DECORATIVE SERPENTINE STITCH ON WITH, OF COURSE, MY PINK THREAD, COMING ALL THE WAY, AND YOU WILL LIKE WHAT HAPPENS HERE.

IT'S VERY DECORATIVE AND VERY SECURE ON THE OUTSIDE OF THE BABY BUGGY BOOMERS.

TWO MORE FINISHING TREATMENTS-- THE DECORATOR COVER FROM MY SISTER JILL.

SHE USED PUFFY CORDING AND A RUFFLE.

THEY WERE COMBINED AND THEN SEWN ON THE FRONT OF HER QUILT, GOING RIGHT THROUGH THE BATTING.

ONCE THAT'S BEEN SECURED WITH A ZIPPER FOOT, TURN THAT TO THE BACKSIDE.

TURN THE BACKING IN PLACE AND SLIP-STITCH CLOSED.

DON'T FORGET THE PRAIRIE POINTS.

THEY MAKE NICE ACCENTS.

YOU CAN START IN ANY SIZE SQUARE.

FOLD IT INTO A TRIANGLE ONCE, TWICE, AND SLIP IT INSIDE EACH OTHER, AND IT CAN BE SECURED THE SAME WAY AS THIS WAS.

NOW, I WAS WRONG.

THERE'S ONE MORE THING YOU NEED TO DO ON YOUR QUILT.

DON'T FORGET TO DATE IT AND SIGN YOUR NAME.

IT COULD BE JUST YOUR INITIALS AND THE DATE, OR IT COULD BE YOUR FULL NAME AND THE NAME OF THE PATTERN YOU CREATED.

THERE ARE WONDERFUL NEW PENS THAT MAKE IT VERY NICE TO DO THAT.

OR BETTER STILL, YOU COULD FINISH YOUR QUILT AND PUNCH IN YOUR COMPUTER MACHINE THE NAME OF WHO'S GOING TO OWN THE QUILT.

"TO MEGAN BICKEL."

ONCE YOU HAVE FINISHED YOUR QUILT, YOU MIGHT WANT TO PROTECT IT LEGALLY.

LET'S HEAR FROM JODI RUSH FROM THE LIBRARY OF CONGRESS AND THE COPYRIGHT OFFICE.

TODAY IT IS A PLEASURE TO WELCOME JODI RUSH, ASSISTANT CHIEF, EXAMINING DIVISION, OF THE COPYRIGHT OFFICE.

THIS IS IN ORDER TO BECOME BETTER INFORMED ABOUT LEGAL PROTECTION FOR FIBER ARTISTS, QUILTERS, AND DESIGNERS.

NOW, ONE REASON FOR COPYRIGHT LAWS IS TO INSTILL CREATIVITY AND ORIGINALITY, REALLY TO INSTILL CHANGE.

WOULD YOU AGREE WITH ME ON THAT, JODI?

ABSOLUTELY.

WELL, I'M GLAD TO KNOW THAT.

NUMBER ONE-- WHAT IS THE DIFFERENCE BETWEEN A PATENT, A COPYRIGHT, AND A TRADEMARK?

PATENTS AND TRADEMARKS AND COPYRIGHTS ACTUALLY ALL ORIGINATE IN THE SAME CLAUSE AND SECTION OF THE CONSTITUTION.

PATENT AND TRADEMARK REGISTRATION, HOWEVER, IS HANDLED BY THE PATENT AND TRADEMARK OFFICE, AND THAT'S PART OF THE DEPARTMENT OF COMMERCE.

COPYRIGHT IS HANDLED-- REGISTRATION--IS HANDLED BY THE COPYRIGHT OFFICE, AND THAT'S PART OF THE LIBRARY OF CONGRESS.

A TRADEMARK IS REALLY A SYMBOL OR A MARK THAT'S USED IN IDENTIFYING A SERVICE OR GOODS.

PATENT IS GENERALLY AN INVENTION.

COPYRIGHT, ON THE OTHER HAND, IS A FORM OF PROTECTION THAT'S AVAILABLE TO AUTHORS OF LITERARY, DRAMATIC, MUSICAL, ARTISTIC, AND CERTAIN OTHER KINDS OF INTELLECTUAL WORKS, AND IT'S PROBABLY IMPORTANT TO UNDERSTAND WHAT COPYRIGHT ISN'T.

THINGS THAT CAN'T BE COPYRIGHTED INCLUDE IDEAS, TECHNIQUES, SYSTEMS, DISCOVERIES, NAMES, TITLES, SHORT PHRASES, AND COMMON AND STANDARD WORKS.

NOW, I SEE ON MANY THINGS THE LITTLE "C" WITH A CIRCLE AROUND IT.

TELL US WHAT THAT SIGNIFIES.

WELL, YOU'LL SEE "C" IN A CIRCLE OR THE WORD "COPYRIGHT," THE NAME OF THE COPYRIGHT OWNER, AND USUALLY THE YEAR DATE OF CREATION AND PUBLICATION.

AND THAT SIMPLY SIGNIFIES THAT THE WORK IS PROTECTED BY COPYRIGHT.

AND IT'S PROBABLY IMPORTANT TO UNDERSTAND THAT IT'S NOT SOMETHING YOU HAVE TO GET PERMISSION TO PUT ON ANY KIND OF ARTICLE.

YOU DON'T HAVE TO WRITE TO THE COPYRIGHT OFFICE TO GET THAT PERMISSION.

THE COPYRIGHT LAW THAT'S IN EFFECT TODAY STATES THAT AS SOON AS THE WORK IS CREATED, AND SOON AS IT'S FIXED IN ANY KIND OF TANGIBLE FORM, YOU HAVE THE COPYRIGHT.

IT VESTS AT THAT VERY MOMENT.

IF YOU WANT TO REGISTER THAT CLAIM WITH THE COPYRIGHT OFFICE, YOU MAY DO SO, BUT THAT'S PERMISSIVE RATHER THAN MANDATORY.

AND THEN IF YOU WANT TO PROTECT IT LEGALLY, THEN YOU WOULD HAVE TO REGISTER, IS THAT IT?

IF YOU WANT TO ENFORCE YOUR RIGHTS.

THERE ARE A NUMBER OF ADVANTAGES TO REGISTRATION IN THE COPYRIGHT OFFICE.

PROBABLY TWO OF THE MOST IMPORTANT ARE THAT THERE IS A RECORD, A PUBLIC RECORD OF YOUR WORK-- THE TITLE, THE AUTHOR, WHEN IT WAS CREATED, SOME OF THE FACTS ABOUT THE WORK.

BUT ALSO, IF YOU FIND THAT SOMEONE HAS COPIED YOUR WORK AND YOU WANT TO INSTITUTE A SUIT AGAINST THEM, THEN YOU WOULD NEED THAT CERTIFICATE OF REGISTRATION THAT YOU WOULD'VE GOTTEN FROM THE COPYRIGHT OFFICE.

NOW, I HAVE READ THAT DEGAS THE PAINTER SAID, "IT'S OK TO PAINT WHAT YOU SEE, BUT IT'S REALLY BETTER TO PAINT WHAT'S IN YOUR HEAD."

AND, OF COURSE, THAT'S THE DREAM OF ALL QUILTERS, BUT WE CAN'T ALWAYS DO THAT.

WE NEED INSPIRATION, GRAPHIC THINGS, SOMETIMES EVEN A COLORING BOOK.

IS IT ALL RIGHT FOR US TO SEE SOMETHING IN A COLORING BOOK AND THEN ADAPT THAT AND CHANGE IT?

CAN WE TAKE SOMEONE ELSE'S DESIGN AND CHANGE-- HOW FAR CAN WE GO IN CHANGING SOMETHING TO MAKE IT OUR OWN?

I GUESS THE FIRST THING PEOPLE REALLY NEED TO THINK ABOUT IS THE RIGHTS OF THE COPYRIGHT OWNER.

ONCE I HAVE A COPYRIGHT, WHAT DOES THAT GIVE ME?

AND IT GIVES YOU THE RIGHT TO REPRODUCE COPIES OF THE WORK, GIVES YOU THE RIGHT TO MAKE DERIVATIVE WORKS OF THE ORIGINAL WORK, THE RIGHT TO DISTRIBUTE COPIES TO THE PUBLIC, AND THE RIGHT TO DISPLAY THE WORK PUBLICLY.

SO, GO WITH YOUR EXAMPLE OF THE COLORING BOOK.

IF I LOOK IN A COLORING BOOK AND SEE THE IMAGE OF A BOY WITH A STRAW HAT AND A FISHING POLE, ROLLED-UP JEANS, WITH A DOG, AND I DECIDE I WANT TO TRANSLATE THAT INTO ANY MEDIUM, WHETHER IT'S FABRIC OR ANYTHING ELSE, IF I TRACE THAT OR IF I SET OUT TO EXACTLY DUPLICATE THAT, THEN I'VE VIOLATED ONE OF THE RIGHTS OF THE COPYRIGHT OWNER.

I HAVE COPIED THAT.

IF I MERELY LOOK AT IT AS INSPIRATION, IF I TAKE THE IDEA OF THE BOY, THE DOG, AND THE FISHING POLE AND I DO MY OWN WORK, THEN I'VE MERELY USED IT FOR INSPIRATION, AND IT'S THAT IDEA THAT WASN'T COPYRIGHTABLE IN THE FIRST PLACE, AND I HAVEN'T INFRINGED A THING.

I SEE.

NOW, FOR INSTANCE, WHAT IF I BUY A PATTERN OF SOMETHING, A LITTLE RAG DOLL, AND I MAKE THAT PATTERN UP INTO A CLOTH SAMPLE, THEN CAN I--AM I PERMITTED TO SELL THAT?

I WOULD SAY YES.

I THINK THAT'S WHY PEOPLE MAKE THE PATTERNS AND SELL THEM.

THEY EXPECT YOU TO MAKE IT UP, AND THERE'S NO PROHIBITION AGAINST SELLING THAT PARTICULAR DOLL, THAT OBJECT.

MM-HMM.

IN QUILTMAKING, WE USE SO MANY OF THE SAME GEOMETRIC SHAPES.

IS THERE SUCH A THING AS PUBLIC DOMAIN FOR CERTAIN TRIANGLES AND CERTAIN PARALLELOGRAMS?

HOW DO YOU FEEL ABOUT THAT?

WELL, QUILTS PRESENT A PROBLEM IN ONE OF 2 WAYS, BOTH IN TRADITIONAL DESIGNS THAT ARE SO OLD THAT THEY ARE PUBLIC DOMAIN AND CANNOT BE COPYRIGHTED, BUT ALSO, AS I MENTIONED EARLIER IN THAT WHOLE LIST OF THINGS THAT CAN'T BE COPYRIGHTED, COMMON STANDARD SHAPES CANNOT BE COPYRIGHTED.

SO IF THE DESIGN IS SO SIMPLE THAT IT'S JUST SQUARES, CIRCLES, TRIANGLES, IT MAY BE THAT IT DOESN'T RISE TO THE LEVEL THAT IT WOULD NEED TO TO ACHIEVE COPYRIGHT PROTECTION.

IF I WERE ASKED TO CREATE A MASTERPIECE FOR A MUSEUM AND SOLD THAT TO THE MUSEUM, THEN I WOULD NEED TO WORRY WHAT HAPPENS TO THAT FIBER ART ONCE IT GOES TO THE MUSEUM.

TALK ABOUT THAT.

OK. ONE OF THE THINGS THE COPYRIGHT OFFICE DOESN'T DO IS GIVE LEGAL ADVICE, SO I'M NOT GIVING YOU LEGAL ADVICE.

WHAT I'M TELLING YOU HERE IS WHAT YOU WOULD BE WISE TO DO AND ANY ARTIST WOULD BE WISE TO DO THIS, WHETHER YOU'RE A PHOTOGRAPHER OR A QUILTER.

I THINK YOU NEED TO HAVE SOME SORT OF LETTER OF UNDERSTANDING BETWEEN YOU AND THE MUSEUM OF WHAT WILL BE DONE WITH YOUR WORK.

WE'VE HEARD STORIES ABOUT PEOPLE WHO FIND THE MUSEUM HAS MADE SLIDES AND IS SHOWING THE SLIDES AS SOME SORT OF SHOW, OR ACTUALLY MADE PATTERNS, SELLING THE PATTERN IN THE GIFT SHOP.

SO IF WHAT YOU INTEND IS ONLY FOR THE MUSEUM TO SHOW YOUR QUILT, THEN I THINK YOU MAKE THAT VERY CLEAR IN A LETTER.

IT DOESN'T HAVE TO BE A FANCY DOCUMENT, AND IT'S CERTAINLY YOUR RIGHT TO DO THAT.

NOW, THE WAY QUILTING PERPETUATES ITSELF TODAY IS THROUGH TEACHING AND THROUGH PASSING ON THE SKILLS THAT WE'VE LEARNED.

HOW DO YOU RESPOND TO TEACHERS USING OTHER PEOPLE'S, UM...SKILLS, THEIR INSTRUCTIONS, THEIR GUIDELINES?

WHAT SHOULD THEY DO, GET PERMISSION EVERY TIME THEY COPY SOMETHING AND HAND IT OUT TO STUDENTS?

HOW DO YOU FEEL THAT SHOULD BE HANDLED?

IT'S A VERY GRAY AREA.

UM, THOSE RIGHTS OF THE COPYRIGHT OWNER THAT WE TALKED ABOUT ARE NOT WITHOUT SOME LIMITATIONS, AND THERE'S SOMETHING CALLED FAIR USE, AND FAIR USE COULD BE FOR PURPOSES SUCH AS CRITICISM, NEWS STORIES, EVEN CLASSROOM TEACHING, INCLUDING MAKING MULTIPLE COPIES.

AND WHEN THE COPYRIGHT LAW WAS REVISED BACK IN 1976, SOME GUIDELINES WERE DRAWN UP TO TRY TO GET A LITTLE BETTER HANDLE ON THIS SITUATION.

PEOPLE MIGHT WANT TO TAKE A LOOK AT THAT AND SEE WHERE THEY FIT IN.

BUT IN GENERAL, YOU NEED TO THINK ABOUT THE USE YOU'RE MAKING OF THE WORK, FOR INSTANCE, WHETHER IT'S COMMERCIAL USE VERSUS NONPROFIT EDUCATIONAL USE, OR IF YOU'RE REALLY HARMING OR ADVERSELY AFFECTING THE MARKET OF THE COPYRIGHT OWNER, BECAUSE IF YOU ARE, THEN YOU CAN PRETTY WELL FIGURE IT WOULDN'T BE FAIR USE.

IF YOU DECIDE TO USE SOMETHING THAT IS NOT REALLY WITHIN FAIR USE, MERELY GIVING THE SOURCE WOULDN'T GET YOU OFF THE HOOK.

I SEE.

AND AGAIN, YOU'D BE WISE TO GET PERMISSION, AND YOU'RE VERY WISE TO GET THAT PERMISSION IN WRITING SO THERE'S SOME EVIDENCE OF THE FACT THAT YOU GOT IT AND WHAT THE TERMS OF THAT PERMISSION WERE.

IF, IN THE FUTURE, ALL OF A SUDDEN I FEEL MY RIGHTS HAVE BEEN INFRINGED UPON, WHAT DO I DO?

DO I GO TO A LAWYER IF I WANT TO, UH...

YES, I THINK YOU DO.

THE COPYRIGHT OFFICE DOES NOT HANDLE MATTERS OF INFRINGEMENT OR GIVE ANY KIND OF OPINION ABOUT WHETHER SOMETHING HAS BEEN INFRINGED, BUT IF YOU CALL YOUR LOCAL BAR ASSOCIATION, THEY CAN PUT YOU IN TOUCH WITH SOMEBODY WHO IS AN EXPERT IN COPYRIGHT MATTERS.

DID YOU SAY HOW LONG THE COPYRIGHT LASTS?

WHAT IS THE LENGTH?

IT'S REALLY NICE, BECAUSE IT LASTS FOR YOUR WHOLE LIFE, PLUS 50 YEARS AFTER YOUR DEATH.

OH, MY.

NOW, THAT'S THE LAW THAT WENT IN EFFECT IN 1978.

THERE WAS A LAW BEFORE THAT THAT WAS A SHORTER, PERHAPS, PERIOD OF TIME.

BUT IF YOU NEED TO KNOW ABOUT WORKS THAT WERE PUBLISHED OR REGISTERED BEFORE 1978, AGAIN, YOU CAN WRITE TO US OR CALL US, AND WE CAN GIVE YOU THAT INFORMATION.

IF I WANTED TO COME TO THE LIBRARY OF CONGRESS AND ACTUALLY HAVE A TOUR AND CHECK ON WHETHER SOMETHING WAS COPYRIGHTED, COULD I DO THAT, ALSO?

SURE.

WE WOULD GIVE YOU A CRASH COURSE IN HOW TO SEARCH OUR FILES, OR IF YOU WANTED TO HAVE SOMEBODY ELSE DO THAT, YOU CAN PAY A FEE AND HAVE THAT KIND OF SEARCH DONE.

THIS HAS BEEN VERY INFORMING, IT REALLY HAS BEEN.

I WOULD LIKE TO END WITH A LITTLE QUOTE THAT I HAVE DONE MYSELF, BUT I THINK IT'S SOMETHING WE ALL NEED TO THINK OF AS TEACHERS AND THAT IS THAT "COPYING HAS ALWAYS BEEN THOUGHT "AS THE SINCEREST FORM OF FLATTERY, "BUT MAKING A MISTAKE IS REALLY THE BEST FORM OF ORIGINALITY AND CREATIVITY."

SO I THINK IF--SO OFTEN, QUILTMAKERS THINK IF THEY DON'T MAKE SOMETHING EXACTLY THE WAY SOMEONE ELSE HAS DONE, THEY'VE DONE IT WRONG, BUT WE LIKE TO THINK THAT YOU'RE MOVING FORWARD AND YOU'RE GOING ON IN QUILTMAKING.

SO I HOPE THAT WE WILL ALL DO THAT AND CONSIDER LEGALLY COPYRIGHTING OUR WORKS WHEN WE GET THEM DONE.

THANK YOU, JODI, FOR COMING TODAY.

THANK YOU.

AND NOW A FAREWELL TO EACH OF OUR QUILTS-- COPYCAT, BABY BUGGY BOOMERS, AND THE ULTIMATE POSTAGE STAMP QUILT.

WE'LL BE BACK NEXT WEEK WITH MANY MORE BRIGHT IDEAS.

♪ 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.