Patterns by Elizabeth of OPQuilt · Quilts · Sawtooth Stars · This-and-That

This and That • January 2026

I used a new-to-me number generator, rolling electronic dice and it came up with number 10. So Karen, you are the lucky winner of the pattern. I’ve already emailed you and we’ll get the pattern sent off. And just like a roll of the dice, we are off and running into this New Year, and I’ll start with a This and That post, as I’ve been saving them up for a while.

There always seems to be a pile of tips for the New Year, whether or not you are one to do resolutions. I prefer to think of these as tips for getting started on a road trip. How about these:

I thought some Route 66 stamps — which will be issued this year in honor of The Mother Road’s 100th birthday — need to join my stamp stash.

Head to the Route 66 Centennial website to see calendars, and to get your merch.

And these! Confession: I like small square things, like quilt blocks, stationary items or stamps. Always in our house we have stamps for about 300 letters because I love stamps. I saw some of Harriet Powers’ quilts when I traveled back to Boston, and met Carol there at the Museum of Fine Arts-Boston. Good memories.

Speaking of roads, did I mention I had two quilts accepted to next week’s 2026 Road to California quilt show? The quilts’ split portrait is above, in front of a local modern building I love.

I’ve had some great correspondence with Beth R., and she sent me a couple of her quilt photos, which I really enjoyed. I’d asked about them because she’d done some squircle blocks, and I was interested in her process for her quilt. She wrote:

“One of my favorite new things to do is when I make a more “regular” quilt, like all Log Cabins or all Courthouse steps (albeit wonky improv versions, with lots of scraps) is to make improv blocks at the same time as I am making the “regular” quilt, with the offcut smaller pieces that don’t fit into that regular design, and I just set them aside at the time, each day while I am making that “regular” quilt, to “clean up” the scraps of the day. Then as soon as I get the current “regular” quilt bound, I begin the very next quilt starting from those improv blocks, and add as many more blocks as I need, of the same/similar colors.”

I thought this was a really great idea, and also thought of my stuffed-to-the-max orphan block box, and how much easier it would have been to follow Beth’s ideas. I’m putting this out there for everyone else; thank you, Beth!

In browsing the news, I came across an article about Sue Bender, announcing her death. I still have both of Sue Bender’s books on my bookshelf. As a quilter who has done her fair share of Amish-type quilts (and recognizes that they were the genesis of today modern quilt movement), we quilters owe Sue Bender a thank you for bringing an understanding of those communities we might not ever visit. I have since ordered the third book in the Trilogy, Stretching Lessons, and was happy to see it was a signed, first edition. I hadn’t looked at Everyday Sacred in a long while, and I had forgotten that it was given to me by my parents, my Mother’s inscription on the fly leaf reminding me.

From the New York Times article (gift link, above):
“She wrestled with the tension between being a woman who hated housework and defined herself by her artwork and professional achievements, and her desire to internalize the Amish sense of identity that came from community, godliness and manual labor.”

One of my Amish-style quilts, from 1986

from Plain and Simple:
In writing about her To-Do lists: “I never thought to stop and ask myself, “What really matters?” Instead, I gave everything equal weight. I had no way to select what was important and what was not. Things that were important didn’t get done, and others, quite unimportant, were completed and crossed off the list” (p. 7, Bender).
“All work is important. All work is of value” (p. 138, Bender).
“What really matters?” (p. 148, Bender)

from Everyday Sacred:
” ‘Art is order, made out of the chaos of life.’ Saul Bellow” (p. 2, Bender)

Maybe a little bit too far back into the past for some, but it is lovely to read IN a time where the author wasn’t living with the instantaneousness of social media and the internet, but took the time to think about what she felt, and how she wanted to work. I find so much of the time I’m reacting to what is going on around me; certainly we live in an era of in-your-face politics and news. But the last few nights I’ve immersed myself in her writing and in her thinking, and it’s helped me cope with the terrible news we’ve been having this week (I’m not linking to it; either you know about it or you don’t).

I was struck by what many of you mentioned when you left comments last week. It was your relationships with your people, for one. Others had ways to keep their proverbial chin up and I especially liked Mary’s: “Look for things to be happy or hopeful about instead of focusing on the parts of our world that are going to hell.” Yvonne mentioned “dark chocolate” (a woman after my own heart). Kit reminded me to “Don’t rush. Enjoy. Life is not a fire drill.” These were just some of the tidbits of wisdom and slivers of your thoughts. Thank you all. (And I just appreciate Sharon’s illustration, even if it is from a couple of years back.)

I found the downloadable chart to be informative. Here’s the link. Thanks, Bob!

Zeitgeist is one of my favorite words. It’s that description when something is just all around you, and you see it different places, but they are not the same thing. Technically, it refers to history, but I use it more colloquially. Like the following two things. First, mine, from our Covid Year, 2020:

and then what I did with the rest of my ideas:

Twenty-three different types of Sawtooth Stars.

Now one from 2025:

Same idea, different execution. It’s in the zeitgeist.

I called mine Sawtoothmania, because it was kind of a like a celebration of Sawtooth Stars. (And weren’t we all a little manic in 2020?) I just put my pattern on sale and you can get it from now until the end of January for 25% off. I had a very nice birthday last week, so consider this my gift to you if you want to make some fun stars. And if you want Leila’s pad of stars, well, you have her name and will be able to find it. (She’s very nice.)

In other construction news, I finally made good on my threat to dump the 50-year-old “workbench” table (left) and replace it with something more modern. Of course, my timing was great as we don’t use much more than a screwdriver and a hammer these days, but hey: we’re equipped. The bulky item trash people have already been called, and will be here shortly to haul a lot of that junk away.

Found this message from the Workbench Gods while cleaning out.

New Year’s service at the local car place. Still working on my squircles. It’s fun to see these on Gladi’s blog, too.

I’m getting together some lists of blogs I like to read–starting to write a post about that. If you have a blog you enjoy, drop me a comment with the name of the blog, and maybe a link to one of your favorite posts. Thanks.

Truly, it was only a matter of time until AI found me; I love how the system just makes stuff up. Hope they enjoy hoovering up all of my blog and creativity! (I am working on my Aerial Beacon pattern.)

For my birthday, I asked for three things: a trip to IKEA to buy bins, a stop at Tokyo Central to have lunch, and a final check in at Whole Foods. All of these are about an hour away from our house. Do I like Hokka biscuits? (shown above) Can’t say they are my favorite, but since I am a box sort-of gal, I loved their tins.

Happy Birthday! Happy New Year!
Happy Great Food at the Tokyo Central Food Court!

(still quilting this)

300 and Beyond · Happy Old Year Ending (Wrap-up) · Quilts

Happy Old Year Ending for 2025

Happy 2026!

Sharp eyes will have noticed that 12-plus thing. One quilt has not yet had its beauty portraits released, nor the pattern thing settled (I keep adding with new ideas), so while that is officially a 2025 quilt for counting purposes, you’ll see it next year.

Here, for the record was my attempt at cheerful and interesting Monthly Markers on Instagram, although you all keep telling me that its demise is coming quickly. I’m still there, but sporadically.

This is also the Happy New Year post, so here are my reflections:

  • Thoughts on 2025: none.
  • Wishes for 2026: none.
  • Things I Learned in 2025: Don’t read too much of the news. Focus on color, nature, a funny meme, poetry, good friends (both in real life and online), art, quilts, books, musicandallthegoodthings and most definitely chocolate. Take a trip. See new sights. Avoid clichés like the ones in this paragraph. Smile at the hummingbird outside your window.
  • Things I Hope for in 2026: Peace inside me, even if it’s crazy outside me. A new insight here and there. Some good Substack reading (here’s one). Morning walks. Interesting quilts. Happy children and safe grandchildren. New recipes that delight. More of my focaccia. Less distractions from near and far.

Although my birthday is right around the corner, I’m hopefully not heading towards my demise, but instead can sporadically can crank out a quilt, like this one I finished on New Year’s Eve after just a few days. It really really, legitimately is going onto my 2026 list, as it’s not yet quilted (but I’ve cut the backing…does that count?).

And I had to make it because I’d purchased the pattern ages ago online, and then when I bought the kit it came with a pattern, so I’m offering up the Real Live Pattern to you all. Free, and I’ll pay postage.

Just leave me a comment with your best *whatever* for the New Year. Your best wish, your best resolution, your best un-resolution, your best hope, the name of your best friend (kidding on this one, but maybe the best quality of your friend). Whatever. Be funny, be serious, be thoughtful, as I’ve corresponded with you and I know you are all the smartest quilters. Just write Whatever. But do leave us with something that can help us with our whatevers.

I read on my blog about the time I made 24 quilts in one year, and now the thought seems staggering. Isn’t it funny that even though we lived that past life, we can’t quite believe it? And because of this reason — that you’ll likely forget all the times you un-sewed, or messed up, or got angry, or were filled with frustration — I encourage us all sally forth into 2026, trying to avoid the minefields. Head for the daisies. And if something explodes, I hope it’s your scrap drawer as you are hunting for the perfect color.

Leave me a comment, and a very Happy New Year, everyone!

My classic Happy Old Year Ending Post

A whole bunch of Happy Old Year Ending Posts

Carrefour Quilt Show · European Patchwork Meeting · Quilt Shows · Quilts

Carrefour IV: Shin-Hee Chin, Tara Glastonbury, and Janet O’Dell

This post covers:

• Venue 7: Église Ste. Madeleine, with Shin-Hee Chin
• Venue 8: 86 Wilson, with Tara Glastonbury
• Venue 9: Chapelle St. Joseph, with Janet O’Dell

I have a main Carrefour Quilt Show page that lists all the posts of all the meetings I’ve gone to, and includes the posts from this year too. If I haven’t mentioned it before, you might enjoy these posts more if seen on a desktop computer or even a tablet. Cell phones re-format the layout and can sometimes do strange things to how it looks on the screen.

If you are interested in going to Carrefour, I wrote two posts for them about our travel, and how we put the trip together. You can find them here and here. Their main website is HERE, where you can subscribe to their newsletter (scroll to the bottom).

Venue 7 is the St. Madeleine Church.

Inside, the organizers set up a metal scaffolding framework to see the quilts. The lights are strong and the quilts are well-lit (sometimes with shadows, but we tried to work around them). I appreciated the effort they made for us to see the quilts. Sometimes, we’d have to walk down the bench to see details, which is what you see going on here with people moving in, then back out to the main aisle.

Okay, here we go with Shin-hee Chin.

She was born in Seoul, and earned her BFA/MFA from Hongik University and an MA in Fiber Arts from Cal State Long Beach, in California. She is now a professor at Tabor College (Kansas), where “her work explores identity, hybridity, and belonging through feminist traditions and spirituality” (from catalogue). The catalogue goes on to say that her work also “honors the deep bond between humanity and nature. Through meditative hand stitching, she reflects on our share facility and interconnectedness. Each stitch connects with nature’s rhythms, creating texture and depth to celebrate the patterns that sustain life.”

Now here’s the surprise. Perhaps you glimpsed through the threads a different quilt.

She uses quilts and blankets as the basis for her thread work. This caught me by surprise, and at first I didn’t know how to think about it. We quilters get our knickers in a twist if people make coats, etc out of old quilts. How do we feel about someone obliterating the quilt with their own work? Well, generally that is one reason that I come here: to have my eyes opened to what else is going on in the quilting world. I just needed to accept this artist on her terms, and look at her work. We all have seen quilts at guilds and local shows that surely might be well-suited to a second life (I’m looking at you, pre-printed panels!), and what an impressive life they would have with this quilt and fiber artist.

(Click to enlarge the photos.)

Confession: somewhere along here, I lost track of which quilt belonged this title card (sorry).

Fronts of quilts…

…and the backs of the quilts.

A quilt from her nature series, a collection up on her website. One of the reasons I was interested in this was because her materials: a thick thread with little squares attached, which I’ve seen knitters use to make decorative scarves.

Her work appears literal, like — yes, this is a reflection of tree branches — but then you get closer, and the thread stitches and tangles add another dimension.

The tiled floor, of course.

Last look: the interplay of the church’s stained glass with Chin’s threaded images.

As we walked to the next site, we loved the brilliant yellow against the wood-carving on this small house.

We notice the quilts in all the windows around town. We’re headed to Venue called 86 Wilson, which is really just a street address. It’s where Tara Glastonbury is exhibiting, another quilter from Australia.

The view across the street.

Now do you recognize her work? She has a pattern line, as she has “a background in graphic design, and a long history in textile crafts” (from catalog). She titled her exhibit “Balancing Act,” as it “explores her evolution as a design-led modern quilter through her use of bold color and striking geometry.”

Tara and her mother sat inside, just a bit away from the front door, in front of a sunny window lighting the space. She had copies of her newsletter and patterns (yes, I bought one). The atmosphere was genial and happy.

I struggled to get the right color balance, because the lights cast a really warm light.

I love that she had tote bags that echoed her quilts.

Two quilts that I don’t have title cards for are below, but you can find them in her pattern shop.

I love that she “jazzed up” her Log Cabin with some triangles.

See her card (below) for a truer representation of the colors. It’s such a terrific design.

Tara’s penultimate quilt:

She uses small pieces of fabric in an interesting way. Scrappy-not-scrappy, but more ordered.

Last one from Tara:

We jumped in the car and drove to Venue 12, passing another house with a carved wood exterior. We’re skipping Venue 11 for now, as it’s not on the way. After finding a parking place around the corner, we arrived.

Venue 9 is a tiny little church where we saw the European Bobbin Spool Invitational Quilts last year. What will it be this year? Again (you’ve heard me say it before), I am always just blown away by the diversity of quilts and quilters at this quilt show — it really pulls me out of the US manufacturers/quilters/design loop and makes me think and appreciate the diversity we have. I hope these posts help you see your quilting and creativity with new eyes, or maybe spark a new idea.

Photo of stained-glass taken by my husband. As always, we both took lots of photos, so many of the images in these Carrefour posts are his.

This time, we will meet our great-grandmothers of quilting.

Not in the flesh, but in the work they left behind, courtesy of quilt collector Janet O’Dell, from Australia. She (as the catalogue says) “is a keen collector of antique quilts. Her collection of hexagon and medallion quilts has been built up over the past 25 years from a variety of sources. All have been chosen because they appeal to her personal taste.”

And the one quilt that I will flood here with photos and which I loved-loved-loved, I did not get a photo of the title card. Interestingly enough, it was inspiration for another quilt in Venue 12, from Fiona Lindsay (a future post). Okay, back to Janet O’Dell’s quilts.

Here’s the one I loved and I’ll intersperse my comments with the photos. Just keep remembering. These are OLD.

So, the Big Picture, to closer-up, and then to these hearts with their worn spots.

This block, with its free-form cut “corners” of minty blue-green, the broderie perse flower in the center, and those random circles was another favorite. It was interesting being in that space, with these very old quilts. People were quietly moving around them, and then taking a minute to sit and gaze. In so many other venues, we are dashing to take it all in, but here, sitting with the quilts was the point.

Okay, maybe I was just tired.

Or maybe I was fascinated with their technique on their appliqué stitch, each bit of thread taking a bite over the top of the shape, so different than how I do it now: trying to come out on the fold so you don’t see my bits of thread.

And the back — it didn’t appear to have any batting at all in the quilt, so they must have just done the stitching over two layers of fabric, then did a “quilt-as-you-go” to get those flat-fold seams on the back? I’m not usually that over-the-moon about antique quilts, but for some reason I really liked these.

I read a piece this past week about how difficult it is for us to go back in time and really know how people 100 years ago thought or felt or processed image or feelings — or, since most of these quilts were from around 1830, nearly 200 years ago. And we are so “feeling-centric” these days that we even use the term in all our phrases, such as I felt you might like this — or–I felt badly for you, and so on. Did fatigue register the same way for them, or were they always tired (thinking of their housework)? Did that feeling we all have of a lovely quilt finish, register on this quilter the same way? I’d like to think that this woman, as she put the last stitch on that now-worn red zig-zag binding and unfurled it onto the bed, had a sense of satisfaction over the many years it took to stitch.

(If any reader sees this post, and has any information about this quilt, please leave me a comment. Thanks.)

Love that border print! Click to enlarge the title, which is Wood Hey, from the country of Wales. It was made in 1833 and displayed at the National Eistedfodd of Wales in 1933. It’s hand-pieced, with appliqué and is unquilted.

In case you can’t read the title: Sailing Ship & Manor House, from Pays de Galles in Wales, c. 1833. Check out the sailing ship, below.

This quilt was another stunning example of applique, and I love the title: Animal, Vegetable, & Mineral. It’s appliqué and unquilted and was made c. 1842 in England.

Check out this type of appliqué! Criss-cross, a type of tailor’s stitch; I learned this in my clothing and textile classes when I was a freshman, and have rarely used it since. There is a smaller bite of fabric on one side, and then the needle travels before taking the next stitch, and you are stitching backwards, from left to right. I don’t know what the “official” name is, I just know we used it to tack down our wool jacket facings.

It appears they went over a raw edge. I’ve seen variations of this animal-vegetable-mineral quilt pop up every once in a while. Lovely to see it here. Note the pieced backing, even though it “reads” as a whole piece of fabric. Would we add “digital” to the categories? And how would we depict that…with images of our hardware?

So, a form of offset nine-patches? With a spacer?

Normal quilt show pose.

That is a lot of quilting!

Who was M.A.R? and what was the world like in 1818? (You do realize this quilt is over 200 years old, right?) Some notable events (just to get you in her head, and which maybe she never knew about?) are listed below.

Historical Events when this quilt was made:

  • Official reopening of the White House
  • Netherlands and England sign treaty against illegal slave handling
  • First steam-vessel to sail Great Lakes launched
  • 49th parallel forms as border between U.S. and Canada
  • 1st known Christmas carol (“Silent Night, Holy Night”) sung (Austria)
  • Handel’s Messiah, U.S. premieres in Boston

I love the name of this. Apparently BallyGawley is a town in Ireland, north of Dublin, so perhaps the quilt came from there?

Last one for this post.

This is Broken Dishes Square, and from the United States, c. 1830. It is hand-pieced and unquilted, in the medallion style. These fabrics are so interesting, so busy and I love the bands of color in between each section of the triangles. Some woman spent hours and hours piecing this quilt.

I’m really grateful that the organizers of Carrefour Patchwork Show arranged with Janet O’Dell to have these brought to the show. As always, this show has something interesting around every corner!

Like this replica of the Eiffel Tower, stuck in some sort of a construction yard. We saw it last year in two pieces, so we’re happy it was put together this year.

More Carrefour Patchwork Show posts to come!