- THERE'S SPRING IN THE AIR ACROSS THE COUNTRY.

AND HERE IN KENTUCKY, QUILT FEVER IS ON THE RISE.

EVERY APRIL, THE AMERICAN QUILTERS SOCIETY SHOW BECOMES A MECCA FOR QUILT MAKERS.

PART OF THE SHOW IS VISITING THE MUSEUM, WHICH IS NOW OPEN ALL YEAR ROUND.

JOIN US AS WE DISCOVER HOW THIS MUSEUM IS DEDICATED TO PROMOTING TODAY'S QUILTER.

♪ 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 OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY LEISURE ARTS, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

ADDITIONAL FUNDING BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, FOR THE HOME, SEWING, QUILT, AND CRAFT INDUSTRIES, AND BY BERNINA, DELIVERING SEWING TECHNOLOGY AND EDUCATION TO SEWERS WORLDWIDE.

ALL ROADS LEAD TO PATCHWORK IN PADUCAH EVERY SPRINGTIME FOR THE BIG SHOW, BUT NOW OPEN ALL YEAR 'ROUND IS THE MUSEUM OF THE AMERICAN QUILTERS SOCIETY, WHICH HAS MUCH TO OFFER.

IT'S A MONDAY.

THE MUSEUM IS CLOSED, SO WE HAVE THE MUSEUM AND ALL THE QUILTS TO OURSELVES.

WE CAN'T SEE EVERY ONE OF THEM, BUT LET'S GIVE IT A TRY.

COME ON IN.

I CAN HARDLY WAIT.

BEHIND EVERY QUILT MUSEUM THERE ARE DEDICATED, HARD-WORKING PEOPLE WHO TRULY BELIEVE IN CREATIVE ARTS AND FIBER STITCHING.

MEET BILL AND MEREDITH SCHROEDER.

TELL US, WHY PADUCAH, AND HOW DID IT ALL GET STARTED?

WHY PADUCAH?

PADUCAH'S OUR HOME, PADUCAH'S THE HOME OF THE AMERICAN QUILTERS SOCIETY.

PADUCAH LOVES QUILTERS.

IT'S A MAGNIFICENT PLACE TO HAVE IT, WE'RE RIGHT ON THE INTERSTATE, TOO.

MEREDITH, WE KNOW THAT THE MUSEUM IS FULL OF QUILTS.

TELL US HOW YOU GOT THE QUILTS HERE, AND WHAT ELSE GOES ON HERE IN THE MUSEUM.

WELL, WE ALSO HAVE CLASSES THAT GO ON ABOUT FOUR TIMES A YEAR, EXTENDED CLASSES ABOUT FOUR DAYS WITH A PARTICULAR TEACHER, AND THEY HAVE BEEN VERY SUCCESSFUL, AND PEOPLE LOVE TO HAVE INTENSIVE STUDY.

AND, OF COURSE, WE HAVE A PERMANENT COLLECTION OF QUILTS THAT STAY HERE YEAR 'ROUND, AND THEN WE HAVE TWO GALLERIES THAT CHANGE PERIODICALLY, APPROXIMATELY THREE TIMES A YEAR THEY WILL CHANGE.

BILL, I'M IMPRESSED WITH THE WAY THE QUILTS ARE HUNG.

TELL US ABOUT THIS BUILDING.

WELL, BEFORE WE EVER STARTED THE BUILDING, WE GAVE AN AWFUL LOT OF THOUGHT TO THE DESIGN OF IT, TO THE CLIMATE CONTROL, TO THE LIGHTING.

WE USED A LOCAL ARCHITECT, IT WAS HIS FIRST JOB, AND THEN WE GOT SOME DESIGNERS OUT OF CALIFORNIA TO COME IN AND DO THE DECORATING.

WE CONTROL--OF COURSE, WE CONTROL THE HUMIDITY AT 50%, AND WE SCREEN THE LIGHTING AT SEVEN CANDLEPOWER.

IT'S JUST A-- IT'S MORE THAN-- IT'S NOT A QUILT SHOW, IT'S ACTUALLY AN ART MUSEUM.

WE PUT A LOT OF THOUGHT INTO THIS MUSEUM.

WE WANTED TO REALLY HONOR TODAY'S CONTEMPORARY QUILTER.

WELL, YOU CERTAINLY HAVE, AND WE ARE SO EXCITED TO BE HERE AND LOOK FORWARD TO TALKING TO VICKY AND ERIC AND LEARN MORE ABOUT YOUR QUILT COLLECTION.

THANK YOU.

THANK YOU.

THANK YOU.

VICKY, WITH SO MANY QUILTS HERE, WHERE CAN WE BEGIN?

WELL, IT MIGHT BE BEST TO START RIGHT HERE, WITH THESE TWO QUILTS.

TELL US ABOUT THEM.

THIS PARTICULAR QUILT IS CALLED "MOUNT PLEASANT MINERS," AND IT'S BY NANCY BROWN.

IT'S A VERY INTERESTING QUILT BECAUSE, LIKE MANY QUILTS THAT ARE BEING MADE TODAY, IT REALLY GROWS OUT OF HER BACKGROUND.

IT'S BASED ON A PHOTOGRAPH THAT HER GREAT-GRANDFATHER WAS A PART OF.

HE WAS A MINER FOR 17 YEARS.

AND SHE RESEARCHED THE QUILT, USED THAT PHOTOGRAPH, CAME UP WITH A CENTRAL IMAGE, RESEARCHED A LOT OF MINING EQUIPMENT AROUND THE OUTSIDE EDGES, AND ENDED UP PRODUCING A WONDERFUL QUILT, WHICH WON THE "BEST WALL QUILT" AWARD IN THE 1993 A.Q.S.

SHOW.

AND THEN, LOOK AT THIS EXPLOSION OF COLOR.

I UNDERSTAND THIS IS THE BERNINA AWARD QUILT?

YES, THIS WAS THE WINNER OF THE FIRST BERNINA AWARD, WHICH IS AN AWARD FOR OVERALL EXCELLENCE IN MACHINE WORKMANSHIP.

AND THIS IS BY DEBRA WAGNER, WHO IS ONE OF THE FOREMOST QUILT MAKERS, WHO IS WORKING WITH MACHINE TECHNIQUES.

IT'S INTERESTING, BECAUSE WHEN PEOPLE THINK MACHINE, THEY THINK THAT SOMEONE MIGHT NOT BE INTERESTED IN ANTIQUE QUILTS AND, IN FACT, DEBRA TURNS TO ANTIQUE QUILTS FOR HER INSPIRATION.

VICKY FAORO, THE CURATOR OF THE MUSEUM, IS OUR TOUR GUIDE TODAY.

WE'RE RIGHT IN THE CENTER.

TELL US ABOUT THIS ROOM.

WELL, THIS CENTER GALLERY ACTUALLY PRESENTS A SELECTION OF QUILTS FROM OUR PERMANENT COLLECTION.

AND THE CENTERPIECE OF THAT IS GENERALLY THE QUILTS THAT HAVE BEEN "BEST OF SHOW QUILTS" IN PAST A.Q.S.

SHOWS.

THOSE QUILTS THAT WE SEE RIGHT BEHIND US HERE.

WELL, THEY'RE SO INSPIRING, AND WE'D LIKE TO HEAR FROM YOU A LITTLE BIT ABOUT EACH ONE OF THE QUILTS HERE.

WELL, THEY'RE FASCINATING QUILTS TO LOOK AT.

THE FIRST QUILT IS CALLED "MIDSLUMBER NIGHT'S DREAM," BY NANCY ANN SOBEL, AND IT'S ONE OF THOSE QUILTS THAT YOU REALLY DO HAVE TO GET A CHANCE TO LOOK AT YOURSELF, BECAUSE IT HAS ALL KINDS OF FASCINATING DETAILS.

AND THERE ARE GREAT STORIES CONNECTED WITH IT, AND THOSE ARE SHOWN WITH THE QUILT AS WELL.

SHE USED A MARBLED FABRIC THAT HER DAUGHTER WAS WORKING WITH, AND THERE WERE SPOTS LEFT IN THE DRYER AND SHE ENDED UP WITH SOME LITTLE AREAS SHE HAD TO COVER UP, AND ENDED UP ADDING SOME ANTS AND OTHER KINDS OF DETAILS TO THAT.

THE NEXT QUILT IS BY DAWN AMOS, AND IT'S CALLED "THE BEGINNINGS."

AND THIS IS A TRIBUTE TO HER BEGINNINGS AS A QUILT MAKER.

SHE USED A STAR PATTERN THAT SHE LEARNED FROM SOME OF HER HUSBAND'S FAMILY, AND HER HUSBAND IS NATIVE AMERICAN, SO OFTEN THE THEMES OF HER QUILTS GROW OUT OF HIS BACKGROUND AND THE CONCERNS OF NATIVE AMERICANS IN THIS COUNTRY.

THE NEXT QUILT IS "CORONA TWO, SOLAR ECLIPSE," BY CARYL BRYER FALLERT.

IT WON THE "BEST OF SHOW" AWARD IN 1989 AND WAS A QUITE CONTROVERSIAL QUILT AT THAT TIME IN THAT IT WAS THE FIRST TIME THAT A TOTALLY MACHINE-MADE QUILT HAD WON AN OVERALL AWARD LIKE THAT.

VICKY, TELL US ABOUT THE AIRPLANE QUILT.

WELL, THIS QUILT IS CALLED "AIR SHOW," AND IT'S BY JONATHAN SHANNON OF CALIFORNIA.

JONATHAN'S BEEN FASCINATED FOR YEARS BY PLANES, PARTICULARLY BIPLANES, AND HE DECIDED TO INCORPORATE THAT IMAGE IN A QUILT, AND CAME UP WITH THIS PARTICULAR QUILT.

THE OTHER THING THAT JONATHAN FEELS IS A STRONG CONNECTION WITH THE TRADITION OF QUILTING.

SO YOU'LL NOTICE THAT AROUND THE BORDER THERE ARE PIECED STARS THAT REALLY DO GROW OUT OF TRADITIONAL PIECEWORK DESIGNS.

THE NEXT QUILT IS BY JANE BLAIR, AND JANE HAS A VERY SPECIAL WAY OF WORKING WITH FAIRLY TRADITIONAL PATTERNS, BUT MAKING THEM HER OWN, AND COMES UP IN THIS QUILT WITH SOMETHING THAT'S VERY LIKE AN ORIENTAL CARPET, ALMOST.

SHE IS A QUILT MAKER WHO'S BEEN IN MANY DIFFERENT A. Q. S. SHOWS, AND THIS IS A QUILT THAT REALLY WARRANTS CLOSE LOOK.

THE FABRICS ARE JUST BEAUTIFUL WHEN YOU BEGIN TO LOOK AT THE WAY SHE'S WOVEN THEM TOGETHER IN HER QUILT.

THE NEXT QUILT IS "AUTUMN RADIANCE," AND THIS HAS AN INTERESTING STORY IN THAT SHARON RAUBA, WHO MADE THE QUILT, DISPLAYED IT, RATHER, IN ONE OF THE FIRST, OR ENTERED IT IN A SHOW, AND RECEIVED SOME NEGATIVE COMMENTS ABOUT IT.

SO SHE ACTUALLY BROUGHT THE QUILT BACK HOME, TORE IT APART TO A CERTAIN EXTENT, REWORKED IT, AND THEN WON THE "BEST OF SHOW" AWARD HERE SHORTLY AFTER.

QUILTERS ARE NEVER TO BE STOPPED, ARE THEY?

THEY JUST GO FORWARD.

THEY'RE ALWAYS IMPROVING ON WHAT THEY'VE DONE IN THE PAST AND EXPANDING.

AND THE LAST QUILT THAT WE HAVE IN THE CENTER AREA RIGHT NOW IS "MOMMA'S GARDEN," BY ANNE OLIVER, WHO IS PARTICULARLY WELL-KNOWN FOR HER VERY ELABORATE HAND-QUILTING.

THIS HAS AN INTERESTING STORY, IN THAT THE PARTICULAR DESIGN THAT SHE USED IN THE BORDER OF THIS QUILT GROWS OUT OF MARSEILLAIS QUILTING AND MARSEILLES QUILTS.

AND SHE'S ACTUALLY COPIED THAT DIAMOND PATTERN THAT SHE FOUND SO FASCINATING ON A SPREAD THAT SHE HAD, AND COMBINED IT WITH A BEAUTIFUL, JUST SORT OF JEWEL-TONE CENTER APPLIQUE.

AS WITH ALL THE OTHER QUILTS HERE, IT'S WHEN YOU SEE IT UP CLOSE AND REALLY HAVE THAT CHANCE TO LOOK AT THE STITCHING AND THE PARTICULAR FABRICS, YOU SEE WHOLE LEVELS THAT YOU REALLY CAN'T SEE FROM A DISTANCE.

APPLIQUE IN ALL ITS GLORY, VICKY.

WHO DID THESE?

THESE QUILTS ARE BY FAY ANDERSON.

THIS PARTICULAR PIECE, "SPRING WINDS," WAS A WINNER OF THE "BEST IN SHOW" AWARD AND HAS JUST GREAT DESIGNS RENDERED IN PRINT FABRICS, A REALLY INTERESTING ARRAY.

ONE OF THE THINGS WE'RE REAL FORTUNATE TO HAVE IN THE MUSEUM IS THAT WE OFTEN HAVE A SECOND QUILT BY THE SAME QUILT MAKER.

THIS IS ANOTHER PIECE BY FAY ANDERSON CALLED "GARDEN PARTY," WHICH WAS MADE SEVERAL YEARS LATER.

AGAIN, WE SEE HER REVIEWING SOME OF THE-- SOME SIMILAR APPLIQUE DESIGNS AND JUST BEAUTIFUL APPLIQUE WORK IN GENERAL.

BUT ONE OF THE THINGS THAT'S THE MOST FASCINATING IS TO BE ABLE TO LOOK AT THIS QUILT, AND THEN LOOK AT THE WORK DONE EARLIER AND NOTICE THE SIMILARITIES AND THE DIFFERENCES.

AND THE GROWTH, TOO.

YES.

IT'S VERY APPARENT, AND I THINK EACH QUILT LOOKS DIFFERENT IN THE CONTEXT OF SEEING THE TWO TOGETHER.

WE ARE WITH ERIK REID, THE ASSISTANT CURATOR HERE AT THE MUSEUM, WHO TOURS A LOT OF THE CHILDREN AROUND THE MUSEUM.

TELL US THEIR FAVORITES.

WELL, THESE TWO QUILTS ARE SOME OF THEIR FAVORITES.

THIS ONE IS CALLED "COUNTRY SCHOOL."

IT'S BY ADABELLE DREMANN, AND SHE WAS AN ART TEACHER HER WHOLE LIFE.

SHE'S ONE OF THE MORE ELDER QUILTERS REPRESENTED IN THE COLLECTION.

IF YOU LOOK AT THE FINE SHADING THAT SHE'S DONE THERE AT THE BASE OF THE FLAGPOLE, AND EACH CHARACTER IN THERE HAS A SHADOW THAT GOES AROUND BESIDE THEM.

THAT'S MUCH EASIER FOR AN ART TEACHER TO DO, QUILTING, THAN IT IS FOR SOME PEOPLE TO JUST SKETCH.

THE ONE NEXT TO IT IS CALLED "CORN CRIB."

THAT'S ALSO BY HER.

THAT'S BASED ON THE CORN CRIB THAT WAS ON HER FARM WHEN SHE WAS GROWING UP AS A CHILD, TAKEN FROM A SKETCH, BEFORE PAINTING.

SHE'S DONE SOME TRAPUNTO WITH THE PIG DOWN THERE, AND THE CHILDREN REALLY RESPOND TO THE PICTORIAL QUILTS.

THAT'S THE KIND OF THING THAT THEY'RE MORE INTERESTED IN THAN SOME OF THE MORE TRADITIONAL WAYS OF PUTTING PIECES TOGETHER.

ACROSS FROM US IS ANOTHER PARTICULAR QUILT THAT IS SORT OF TRADITIONAL AND FEATURES SOME FINE STITCHERY.

THIS WAS THE FIRST GINGHER AWARD WINNER.

THE GINGHER AWARD IS A $10,000 PRIZE FOR HAND WORKMANSHIP.

THIS DESIGN, BY DOROTHY FINLEY, HAS LEFT OUT ONE GRAPE.

IT'S A CURIOSITY FOR SOME OF THE KIDS WHEN THEY COME IN TO FIND THE MISSING GRAPE.

BESIDES THE PERMANENT COLLECTION HERE AT THE MUSEUM, THERE ARE TWO OTHER REVOLVING EXHIBITS.

ONE CONTEMPORARY AND THE OTHER ANTIQUE.

HERE WE ARE IN A ROOM OF ANTIQUE QUILTS, VICKY, AND YET, A.Q.S.

PROMOTES TODAY'S QUILTER.

TELL ME, WHY THE OLD QUILTS?

WELL, AS YOU CAN SEE, ANTIQUE QUILTS CAN BE VERY INSPIRING FOR TODAY'S QUILT MAKER, BUT WE ALSO INCLUDE THEM FOR ANOTHER REASON.

WE REALLY FEEL THAT IF PEOPLE ARE GOING TO UNDERSTAND WHAT QUILTING IS TODAY AND WHAT ROLE IT PLAYS, THEY NEED TO LOOK AT QUILTING OVER A CONTINUUM AND UNDERSTAND THE TRADITION OUT OF WHICH HAD HAS GROWN.

AND WE FIND THAT WHEN PEOPLE COME IN AND LOOK AT THE QUILTS CLOSELY, THEY OFTEN LEARN A GREAT DEAL ABOUT TECHNIQUES, AND THEY ALSO ARE INSPIRED AND LEARN ABOUT THE WAY THE FABRICS HAVE BEEN USED AND ABOUT ALL OF THE THINGS THAT QUILTING CAN BE FOR A PERSON.

AND IT CAN BE AN INCENTIVE TO PICK UP A NEEDLE AND THREAD AND START.

IT CERTAINLY CAN BE.

ALL THESE QUILTS HAVE ONE STATE IN COMMON, AND I UNDERSTAND IT'S THE STATE OF NEW JERSEY.

YES.

THESE WERE ALL PART OF THEIR QUILT DOCUMENTATION PROJECT.

THEY RECORDED THAT IN A BOOK CALLED "NEW JERSEY QUILTS," AND THE QUILTS THAT ARE HERE IN THIS EXHIBIT HAVE BEEN PULLED FROM THAT, AND, IN MANY CASES, SHOW THE RANGE OF QUILTS THAT WERE FOUND.

WONDERFUL QUILTS, LIKE THIS BORDERED NINE-PATCH.

MANY VARIATIONS OF THE NINE-PATCH WERE FOUND IN THEIR DOCUMENTATION DAYS.

WOULDN'T IT BE NICE IF ALL OF THESE DOCUMENTATION PROJECTS COULD COME UNDER ONE ROOF, VICKY?

WELL, I'M DELIGHTED TO SAY THAT THEY WILL IN 1995.

WE'VE BEEN WORKING ON A LONG-RANGE PROJECT WITH THE NATIONAL ADVISORY BOARD THAT IS, IN FACT, GOING TO BRING SOME EXAMPLES FROM EACH OF THE STATE PROJECTS TO OUR MUSEUM.

FUNDED BY THE LILA WALLACE READER'S DIGEST FUND, WE'VE BEEN ABLE TO GET IN TOUCH WITH EVERYONE AROUND THE COUNTRY.

WE'LL HAVE QUILTS, AND ALSO THE WONDERFUL STORIES CONNECTED WITH THEM, AND IT'LL BE A REAL CELEBRATION OF THIS WONDERFUL VOLUNTEER EFFORT THAT'S HAPPENED.

CALLED "GATHERINGS."

IT'S CALLED "GATHERINGS: AMERICA'S QUILT HERITAGE," AND IT WILL OPEN HERE ON APRIL 15 IN 1995.

WELL, WE LOOK FORWARD TO THAT, AND MANY MORE HAPPENINGS HERE AT A.Q.S.

THANK YOU SO MUCH FOR YOUR TIME TODAY.

THANK YOU.

ISN'T IT AMAZING, ALL THE BEAUTIFUL QUILTS THAT ARE BEING MADE TODAY?

WE CERTAINLY THANK THE AMERICAN QUILTERS SOCIETY FOR PUTTING SO MANY OF THEM UNDER ONE ROOF.

OUR LESSON TODAY IS CALLED "BRUSH UP."

BECAUSE MY QUILT SHOP IS CONJOINED WITH OUR HARDWARE STORE, MY INSPIRATION FOR THIS QUILT CAME ONE DAY AS I GLANCED OVER THE STORE'S PAINT SECTION AND SPIED A RACK OF BRUSHES.

A TESSELLATED IMAGE CAME TO MIND FOR THE BRUSH ITSELF, BRIGHT FABRIC SCRAPS BECAME THE PALATE OF COLOR.

TO COMPLETE THIS QUILT, I USED A COMBINATION OF HAND AND MACHINE QUILTING, SOMETHING THAT'S BEEN SAVING ME A LOT MORE TIME THESE DAYS.

LET'S GO TO THE MACHINE AND GIVE YOU SOME IDEAS OF HOW TO PUT THIS TOGETHER.

FIRST UP, JUST A GLANCE AT THE PAINTBRUSHES THEMSELVES WILL GIVE YOU AN IDEA OF WHY I CAME UP WITH THAT IDEA.

THIS QUILT GIVES YOU AN OPPORTUNITY TO WORK WITH SCRAPS, AND I LIKE DOING THAT.

SOMETIMES YOU'VE GOT THIS WHOLE BOX AND YOU DON'T EXACTLY KNOW WHERE TO BEGIN, SO SORT OUT THOSE SCRAPS.

GET ALL THE BLUE IN ONE PILE, ALL THE RED IN ANOTHER, ALL THE GREEN, AND THEN SOMETIMES YOU HAVE TO GET FAR AWAY FROM THEM TO GET THE LIGHT BLUE AT ONE END AND THEN THE MEDIUM AND ENDING UP WITH THE DARK.

AND SO THAT'S WHAT I TRIED TO DO WITH THIS QUILT.

WITH THE IDEA OF A COLOR WHEEL, AND I THINK ALL QUILTERS TODAY WOULD HAVE IN THEIR SEWING ROOM A COLOR WHEEL, I MEAN, THAT'S JUST A NECESSARY PART OF ALL YOUR NOTIONS.

BECAUSE THAT GAVE ME, JUST BY GLANCING AT THAT, I CAN THEN RANDOMLY START WITH THE YELLOWS, GO FOR MY ORANGE, THE REDS, THE BLUES, AND THE GREENS, ALL THE WAY UP.

AND THAT'S HOW I CUT OUT ALL MY FOUR-AND-A-HALF INCH SQUARES.

AND THEN I WAS ABLE TO PLACE THOSE ON FOUR ROWS, YOU CAN SEE, ON EITHER SIDE OF THE PAINTBRUSHES.

NOW, I TRIED DOING A SAMPLE ONE TIME, AND SPLIT THE PAINTBRUSH, THOUGHT I WAS KIND OF CLEVER TO DO A LIGHT AND A DARK AND A LIGHT AND A DARK, BUT I LOST THE IDEA OF THE PAINTBRUSH, AND I COULDN'T REALLY SEE IT.

SO MAYBE A BETTER IDEA WOULD BE TO DO LIGHT, DARK, AND MEDIUM, LIGHT DARK AND MEDIUM.

AND THEN I THINK YOU CAN SEE THE PAINTBRUSH, RIGHT?

Woman: RIGHT.

OK. WELL, WITH THAT IN MIND, LET'S SEE HOW YOU'RE GOING TO GO AHEAD AND PIECE THOSE TOGETHER.

ONE TEMPLATE IS ALL YOU NEED.

THE QUILT IS MADE WITH PANELS.

THE CENTER PANEL IS, IN THIS CASE, A LIGHT GRAY, AND THEN THERE'S TWO OUTSIDE PANELS.

THEN THE PIECED PANELS ARE MIRROR IMAGES OF EACH OTHER.

IN OTHER WORDS, ONE LONG ROW OF PAINTBRUSHES FLIPS OVER AND THERE'S ANOTHER ROW OF PAINTBRUSHES WITH THE BRIGHT SCRAPS ON EITHER SIDE.

WHEN THEY'RE PIECED TOGETHER, YOU SIMPLY HAVE A RECTANGLE, AND THOSE SEW TOGETHER.

KEEPING IN MIND THAT ONE OF THE SECRETS IS TO ALTERNATE THE PRESSING OF YOUR SEAMS.

THESE PRESS IN, THOSE PRESS OUT.

AND SEE HOW NICELY THOSE WILL COME TOGETHER?

LINING UP YOUR ENDS AND GETTING THOSE CONTRASTING SEAM ALLOWANCES EXACTLY WHERE YOU WANT THEM.

I'D PIN DOWN THERE, AND PIN AT THE OTHER END.

NOW, TO ACTUALLY STITCH THE PAINTBRUSHES THEMSELVES, THE LITTLE RECTANGLES.

GO AHEAD AND PIN AT EACH END.

I THINK IT MAKES IT VERY NICE TO SET THE PACE OF WHERE YOU'RE GOING TO START AND WHERE YOU'RE GOING TO END.

AND WHEN THAT'S DONE, THEN YOU'RE READY TO REMOVE YOUR PIN AND KEEPING YOUR SEAM ALLOWANCE AT YOUR QUARTER INCH, AND I USE THE STILETTO, AS I'M COMING AROUND HERE, YOU ARE TRYING TO ALWAYS KEEP THE RAW EDGES ALIGNED AS YOU'RE COMING AROUND, AND YOU'VE GOT A LITTLE BIT OF A CURVE THERE, BUT ANY TIME THAT YOU'RE GOING AROUND A CURVE, KEEP IN MIND TO LOWER THAT NEEDLE INTO THE FABRIC.

IT MAKES IT VERY EASY, THEN, FOR YOU TO LIFT THE PRESSER FOOT TO DO ANY LITTLE MONKEY BUSINESS YOU HAVE TO DO AS YOU'RE COMING AROUND.

BUT I LIKE THE WAY THIS WILL JUST VERY NICELY COME INTO PLAY, KEEPING THAT RAW EDGE ALIGNED.

AND THEN AS I GET CLOSER TO THE END, SOMETIMES I WILL ACTUALLY, IF I FEEL THAT I HAVE TO DO SOME EASING, YOU CAN ALWAYS PULL ON THAT BOTTOM, BOTTOM MATERIAL, AND THAT MAKES IT VERY NICE AS YOU'RE COMING AROUND.

YOU DON'T, YOU'RE NOT AFTER TUCKS, DARTS, AND PLEATS, THAT'S FOR SURE.

SO, YOU'RE TRYING TO KEEP IT JUST AS SMOOTH AS CAN BE.

OH, I'M PROUD TO SAY I DID IT.

OK. ONCE THAT IS DONE, YOU CAN PULL THAT OUT, AND SEE HOW NICELY THAT HAS COME TOGETHER, AND THAT WILL COME AND LINE UP RIGHT DOWN HERE AND HERE, PRESSING IT IN THE EXACT AREA THAT YOU WANT.

NOW TO SHOW YOU THAT CENTER PANEL.

IT'S WIDER THAN THE TWO NARROW OUTSIDE PANELS AND ALL I DID WAS TREAT THAT AS A SEPARATE DECORATIVE PIECE.

THEY'RE PAINT SWIPES THAT GO ON EACH OF THOSE THREE PANELS, AND NOTICE HOW I COORDINATED THE COLORS TO GO WITH THE LITTLE FOUR-AND-A-HALF INCH SQUARES.

THINK OF THE PAINT SWIPE AS BEING NARROW AT THE TOP AND WIDER AT THE BOTTOM WITH MAYBE A FEW PAINT DRIPS COMING DOWN.

SO I SIMPLY MACHINE-STITCHED THOSE ON, WITH A STRAIGHT LINE STITCHING, REMOVED THE PAPER, AND AFTER I'VE DONE THAT, WITH MY APPLIQUE SCISSORS I CAN SIMPLY CUT AWAY THE EXCESS FABRIC RIGHT UP TO THAT STRAIGHT LINE OF STITCHING.

THEN I ATTACH THOSE PANELS TO THE LONG PAINTBRUSH PANELS.

SO I HAD A WHOLE QUILT TOP.

NOW, IN ORDER TO QUILT THAT, I WENT AND LAYERED THE THREE LAYERS, SLIPPED IT UNDER THE SEWING MACHINE, CHANGED MY FEET, THIS TIME PUT AN OPEN APPLIQUE FOOT ON, AND ONCE I COULD SWITCH TO MY ZIGZAG STITCH, I WAS READY THEN TO DO A ZIGZAG STITCH, ALL THE WAY DOWN.

THIS TIME I'M GOING THROUGH, NOT ONLY THE DECORATIVE PAINT SWIPE, BUT I'M GOING THROUGH THE WHOLE QUILT ITSELF.

WHEN I GET DOWN TO THE BOTTOM, I'LL PUT AN OPEN DARNING FOOT ON, AND THAT WILL ALLOW ME NOT TO HAVE TO CUT MY THREAD, AND THEN DO, OH, KIND OF BRISTLE STITCHES ALL THE WAY HANGING DOWN.

NOTICE THAT I FINISHED THE QUILT WITH JUST SOME ECHOING HAND-QUILTING LINES THAT EMULATE, REALLY, THE SHAPE OR THAT OVAL OF THE PAINT SWIPE ITSELF.

A FUN QUILT TO DO.

NOW FOR SPECIAL OCCASION QUILTS.

WHAT IS MORE SPECIAL THAN A WEDDING, ESPECIALLY WHEN IT'S YOUR DAUGHTER'S?

FOR AMY, I CHOSE AN ORIGINAL "TREE OF LIFE" PATTERN BASED ON RECTANGLES, AND A DARK FLORAL PRINT THAT HAD A ROSY ACCENT TO IT.

I MAILED OFF WHITE RECTANGLES, THEY HAD THAT SAME PRINT ATTACHED TO THEM, AND, OF COURSE, INCLUDED AN INDELIBLE PEN.

THE RETURN MAIL BROUGHT MANY SURPRISING ENDINGS TO THE PHRASE, "ROSES ARE RED, VIOLETS ARE BLUE."

LET'S LOOK AT A COUPLE OF THEM HERE.

WELL, ONE ON TOP SAYS, "ROSES ARE RED, VIOLETS ARE BLUE, I AM NOT A POET, I'M JUST YOUR PAPOO."

OF COURSE, THAT'S AMY'S GRANDFATHER.

AND THEN THERE'S ONE HERE FROM, UH, "ROSES ARE RED, VIOLETS ARE BLUE, YOUR COUSINS FROM FLORIDA WISH THE BEST FOR BOTH OF YOU."

SO I HOPE THIS WILL BE A SENTIMENTAL ADDITION TO THEIR BED LINENS.

NOW, WHEN I STARTED MAKING THE DESIGN, I PUT IT ALL ON PAPER IN A VERY ROUGH WAY AND QUITE OFTEN THAT'S THE WAY MANY OF US START OUR QUILTING.

IT'S JUST THE MEASUREMENTS, HOW LARGE YOU WANT IT TO GO, AND HOW YOU'RE GOING TO FIT THOSE RECTANGLE PANELS INTO THE WHOLE QUILT.

VERY SOON I REALIZED THAT IT NEEDED TO HAVE A FULL-SCALE PAPER CARTOON.

AND THIS WAY I COULD POSITION EACH OF THE OVAL LIMBS AND WHERE EACH OF THE RECTANGLES WERE GOING TO BE PLACED.

THIS WENT UP ON THE WALL IN MY STUDIO, AND AS THESE RECTANGLES CAME IN, I COULD ACTUALLY PIN THEM IN PLACE.

ONCE I HAD DECIDED WHERE THEY WERE GOING, THEN I WANTED TO FRAME AND MAKE THE OVAL TREE.

TO DO THAT, I USED ONE OF THE BIAS MAKERS.

THIS TIME, THE WIDE ONE, THE ONE INCH, AND SIMPLY MADE CONTINUOUS BIAS STRIPS.

AND I LIKE THE WAY IT WILL JUST VERY NICELY EASE INTO PLACE AS IT FORMS A LARGE OVAL TREE.

I QUILTED IT ON MY BIG QUILTING MACHINE, THIS TIME USING A LEAF PATTERN, BUT THE LEAF PATTERN ENDED UP LOOKING LIKE HEARTS.

IF YOU LOOK CAREFULLY, YOU CAN FIND OSCAR UP HERE, SITTING ON ONE OF THE LIMBS OF THE TREES.

I FRAMED THE WHOLE QUILT IN IRREGULAR RECTANGLES IN THAT SAME ROSY AND LAVENDER COLOR.

I HOPE YOU GET A CHANCE TO MAKE A SPECIAL WEDDING QUILT IN YOUR FAMILY.

WE HAVEN'T DONE ANY LAP QUILTING IN A WHILE.

LET'S DO THAT NOW.

WELL, I AM STILL QUILTING THE "THISTLE" QUILT.

NOT QUITE DONE YET.

I HOPE THAT YOU FOUND SOME PROTECTION TO GO ON YOUR UNDERHAND.

THAT'S ONE OF THESE TWO FINGERS THAT FEEL THE NEEDLE COME THROUGH EACH TIME AS YOU MAKE THAT CONNECTION.

I QUITE OFTEN USE STILL AUNT BECKY'S FINGER PROTECTOR, THAT WORKS VERY WELL.

IT'S JUST A LITTLE WEDGE THAT FITS RIGHT OVER ON YOUR TWO FINGERS AND THEN AS THE NEEDLE COMES DOWN IT GLANCES OFF THAT SLANT.

SOME PEOPLE LIKE THE NEW FINGER SAVER.

IT'S LIKE A LITTLE PIECE OF ADHESIVE THAT GOES ON HERE, AND THAT WORKS PRETTY GOOD, TOO.

WHAT HAPPENS WHEN I'M QUILTING MY FULL-SIZE QUILT, I DO KEEP IT IN A SUPPORTED LAP HOOP.

YOU CAN SEE THAT IT'S JUST A-- A NICE BASE THAT FITS RIGHT ON MY LAP.

AND YOU USE ABOUT A 16-INCH HOOP, AND PRETTY CAGEY HERE, I'M QUILTING WITH RED THREAD ON A RED SURFACE, SO YOU CAN'T SEE TOO WELL MY STITCHES COME THROUGH.

HOWEVER, ON THE THISTLE PART, I WAS QUILTING AGAINST A BLACK BACKGROUND, SO YOU GET TO SEE THE NICE STITCHES.

AS FOR LAP QUILTING WITHOUT A HOOP, I DO THAT QUITE OFTEN, ESPECIALLY IN A SIZE BLOCK SUCH AS THIS SMALL WALL HANGING, WHERE I CAN COME AND HAVE, WELL, AT LEAST PART OF THE QUILT, HALF OF IT, SO I CAN START QUILTING IN THE CENTER THAT MY OFF HAND WILL HOLD THAT AMOUNT OF THE FABRIC, AND AS CAN YOU SEE HERE, I'M USING AN OFF-WHITE QUILTING THREAD, AND I DO HAVE A MASKING TAPE, THE QUARTER INCH THAT ALLOWS ME TO SIMPLY FOLLOW, AS I'M GOING ALONG, THIS TIME WHEN I'M QUILTING, I QUITE OFTEN USE THAT LITTLE RIM OF THE THIMBLE ITSELF.

THAT ALLOWS MY HAND, I QUILTED IT IN A DIFFERENT POSITION THIS WAY.

AND, OF COURSE, WHEN I GET TO HERE, THEN I'LL SIMPLY PICK UP THAT MASKING TAPE AND COME DOWN AND MOVE TO A NEW AREA.

I CAN REUSE THAT.

IT'S VERY NICE FOR AREAS THAT HAVE CURVES, TO USE THAT FLEXIBLE.

IT'S LIKE A PLASTIC QUARTER-INCH TAPE.

AND IT WORKS VERY NICE JUST TO GO AROUND, FOR INSTANCE, THAT NICE CURVE.

SO THIS WILL ALLOW ME TO HAND QUILT IN THIS MANNER, AND I USUALLY KEEP THE NEEDLE PARALLEL TO MY BODY.

DO YOU SEE HOW IT'S PARALLEL?

WHEREAS WHEN I'M IN A HOOP, I QUITE OFTEN HAVE THE NEEDLE COMING TOWARDS ME, BECAUSE THEN I'LL BE DOING A ROCKING MOTION.

BUT THIS IS THE TIME WHEN YOU CAN JUST, YOUR QUALITY QUIET TIME, WHEN YOU'RE CONNECTING THESE THREE LAYERS, SOME, SOME GOOD LIGHT, GOOD MUSIC AND A BOX OF CHOCOLATES AND YOU'RE ALL SET TO GO.

FOR ANOTHER SPECIAL OCCASION QUILT, THE TWELVE DAYS OF CHRISTMAS.

FROM THE PARTRIDGE IN A PEAR TREE TO THE 12 DRUMMER BOYS, THIS QUILT SAYS MERRY CHRISTMAS.

IT BELONGS TO W. GLENN McCLUNE AND WAS MADE LOVINGLY BY HIS MOTHER, MARILYN McCLUNE.

SHE MADE IT IN 1984, AND I HAD THE GOOD FORTUNE TO SEE IT WHEN IT WAS STILL WARM, JUST IN PROGRESS.

ONLY A TRUE ARTIST COULD DRAW AND STITCH WITH SUCH FLAIR.

FOLLOW THE FIGURES ACROSS EACH ROW AS THEY CHANGE POSITIONS.

NO TWO FIGURES ARE ALIKE AS THEY FORM THE SHAPE OF A CHRISTMAS TREE.

EMBELLISHED BY WONDERFUL EMBROIDERY HIGHLIGHTS.

DIAGONAL QUILTING SETS OFF THE CENTER DESIGN WITH ACCENT TRIANGLES AROUND THE BORDER TREATMENT.

MERRY CHRISTMAS TO ALL.

WE'LL SEE YOU NEXT TIME WHEN WE GO TO THE JOHN CAMPBELL FOLK SCHOOL.

♪ WARMS THE BODY, IGNITES THE MIND ♪ ♪ 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 OMNIGRID, THE ORIGINAL, PATENTED BLACK AND YELLOW RULER, BY LEISURE ARTS, PUBLISHER AND DISTRIBUTOR OF NEEDLEWORK AND CRAFT PUBLICATIONS, INCLUDING AN ASSORTMENT OF QUILT BOOKS AND RELATED PRODUCTS.

ADDITIONAL FUNDING BY FAIRFIELD PROCESSING, MAKER OF POLY-FIL BRAND PRODUCTS, FOR THE HOME, SEWING, QUILT, AND CRAFT INDUSTRIES, AND BY BERNINA, DELIVERING SEWING TECHNOLOGY AND EDUCATION TO SEWERS WORLDWIDE.