Quill Ing With Confidence

Quilling with Confidence (more than just a beginner’s guide)

Charlotte Canup www.theartofquilling.com

theartofquilling.com

First, the legal stuff: Copyright © 2009 Charlotte Canup, theartofquilling.com

All rights reserved. reserved. This oo! and and the information contained herein is protected protected under international copyright laws and treaties. "o part of this oo! may e reproduced or transmitted in any form or y any means electronic or mechanical without the prior written consent of the author. #iolation of this copyright will e enforced to the fullest e$tent of the law.

%asically, you can&t copy, sell, or give it away. 'f you&d li!e to recommend it to a friend, please refer them to my wesite at http())theartofquilling.com where they can also sign up for my valuale free newsletter.

*hile we have made every effort to e as accurate as possile, the changing nature of the internet means that lin!s to wesites or associated information may e su+ect to change which is eyond our control. nder no circumstances can the author or pulisher of this oo! e held accountale for any result of any action ta!en y any reader of this oo!. -lease send all inquiries to infotheartofquilling.com .

Now, on to the quilling!

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Contents: Introduction .................................................................................................../ *hat is uilling1......................................................................................./ A %rief istory of uilling.......................................................................... / uilling( Art or Craft1.................................................................................3

5 Tips Every uiller hould "now##########################################4 $asic Tools and upplies########################################################9 uilling Techniques###############################################################52 3 %asic uilling Coils..............................................................................56 3 %asic uilling 7crolls............................................................................ 5/ Assemling 8our uillwor!...................................................................... 53

%et&s tart uilling#################################################################54 lements of a uilling -ro+ect................................................................. 54 Aout the -atterns.................................................................................. 54

'll (ccasion Card##################################################################5: Fra)ed Cross#########################################################################20 Fan Treasure $o*###################################################################22 olutions to Co))on +role)s############################################23

Clic!ing on any of the titles aove will ta!e you to that section. Throughout this eginner&s guide, any te$t you see in lue and underlined li!e this is a clic!ale lin! that will ta!e you to the relevant we page if you are connected to the internet.

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Introduction *elcome to The Art of uilling. ' fell in love with quilling many years ago when ' ought my first craft oo! on this intricate paper art in a local craft store. ' was immediately fascinated y the creative possiilities ; from delicate, lacy designs reminiscent of romantic times gone y to ama sculptures ; ' !new that this craft was the one for me. ' lost no time in ma!ing quilled items for gifts. They were so well received that ' egan participating in local craft fairs and giving lessons. ' am so thrilled that technology has progressed to the point where ' can share my passion with you. %ecause, after all this time, ' still love the art of quilling.

-hat is uilling. uilling ?. paper filigree ? quillwor! == y any name, this lacy paper art has captivated creative imaginations for centuries. uillwor! is created from strips of paper that are rolled, scrolled, crimped, fringed, spiraled, and hand pressed into shapes that are glued to each other to form intricate designs. *hile there are few asic shapes, variations allow for endless possiilities. 'f you can imagine it ? you can quill it@

' $rief /istory of uilling 7urprisingly, for an art form so old, not much definitive information is availale as to its origins. ost of the resources l find trace the eginning of this art to the uropean monasteries of the 53 th century, while some sources say it started as early as the 56 th or 5/th century. 't is elieved to have first een practiced y Brench and 'talian "uns and)or on!s using the quill of a feather as a tool to roll the strips of paper, thus giving the technique its name. Biligree wor! was used to decorate religious o+ects and to simulate more costly handwor! such as carved ivory or wrought iron. ventually this decorative artwor! spread into the homes of the wealthy in Brance and ngland during the 500s. %y the late 500s, quilling

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had ecome the pastime of refined young ladies of leisure and patterns resemling emroidery motifs were even pulished in the women&s magauring the 5:00s, quilling ecame all ut forgotten. Dnly after the turn of the century did this delicate art start to ma!e a comeac!, en+oying a rise in popularity in the 590s that rought several instruction oo!s Ewhich are now considered vintageF, pre=cut papers, and specialty quilling tools to local craft stores. nfortunately, due to the fragileness of the materials, few e$amples of early quillwor! have survived. These date mostly to the 500s and are now housed in museums and art collections.

uilling: 'rt or Craft. There is an on=going deate within the quilling community as to whether the technique of quilling is an art or a craft. Those who quill, or who understand the artistry and time that goes into creating a wonderful piece of quillwor!, overwhelming feel that quilling is an art. 't seems that those not familiar with quilling, however, are not as sure, and perceive quillwor! as having less intrinsic value ecause it is, after all, +ust made from paper. As a memer of the "orth American uilling Guild, ' promote quilling as an art form and even carry this message through to the name of my log, The Art of uilling.

' elieve that quilling is much li!e painting. %oth use simple, ine$pensive materials and are fairly easy to learn. 't ta!es time, talent, and practice, however, for an artist to produce a painting worthy of a gallery show. The same is true for quilling. The quality of the finished quillwor! depends on the s!ill, creativity, and design created y the quiller.

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5 Tips Every uiller hould "now ' am a self=taught quiller and years ago wor!ed mostly in my own creative ule Esocial networ!ing as we now !now it on the internet did not e$istF. ' often wished that ' had !nown a seasoned quiller who could have shared her e$periences with me. 't is in this spirit that ' offer you these five quilling tips.

1. Use the quilling tool that works for you. There are many commercial tools availale for curling paper, oth slotted and straight needle types. A round toothpic! or corsage pin can also e used. As for me, ' prefer the most asic tool of all H my fingers. Ieep in mind that quilling tools are +ust that, tools to help you create the desired coil or spiral. %y all means, follow the instructions that come with the tool or those you find on the internet, ut if the directions +ust don&t seem to wor! for you, don&t hesitate to try using the tool in a slightly different way. The instructions that came with my first slotted tool told me to curl the paper toward me. ' tried many times, ut my fingers struggled with that motion. owever, when ' rolled the paper away from me it felt right and that is how ' use that tool today. 'f after several tries you find that you still have troule using a tool, it is perfectly DI to put it away and try a different one for curling your paper. All tools are not for all quillers. 8ou will soon find the one that is right for you.

2. All quilling paper is not created equal. 8ou would thin! that one pac!age of 5):J wide paper would e the same as another, ut that&s not the case. As we all !now, paper comes in different weights and even among those of the same weight, some papers simply have more KodyL than others ma!ing them more suitale for quilling. The weight of the paper used to create the strips will vary slightly etween manufacturers

Each coil is made from a 6” strip of quilling paper from a different manufacturer.

and even within the same manufacturer. 'n fact, there is one manufacturer out there selling quilling strips made from thin card stoc! that is very

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difficult to wor! with since it crac!s and splits. 'f you are having troule, efore you give up out of frustration, try a strip of paper from a different company. 8ou may find that the prolem with your coils is with the paper and not you.

3. Quilling paper has a “right” and a “wrong” side. 'f you e$amine a strip of quilling paper, you will notice that one side has smooth edges that curve down ever so slightly. The other side has edges that slightly curve up. This is ecause the paper cutting lade pushes down on the paper as it cuts. The smooth side is considered the right side of the paper and you will want to !eep it to the outside of your coils and scrolls. This difference is especially noticeale when +oining several strips together end=to=end to form a large tight coil for use as a ase, etc. This e$ample is made from four 4L strips with alternating right and wrong sides. "otice the striations ; they loo! li!e the rings found in a tree.

4. eatness counts ! control the glue. "othing will ruin the loo! of a piece of finished quilling more than seeing its of glue all over it or gos of glue under it where it is attached to its ac!ing. 't only ta!es the tiniest drop to seal the end of a coil to itself or to attach one coil or scroll to another as you uild your design. A it more adhesive may e needed to attach the paper quilling to the o$ or frame ac!, ut not much. Clean hands are an asolute must when wor!ing with paper filigree and you&ll want to wash your hands

If you can see the bits of glue so can others.

efore starting any quilling pro+ect. The est quilling tip '&ve found to help !eep glue off the fingers is to have a wet paper towel handy to wipe your fingers on as you quill. ' also !eep a dry hand towel in my lap to dry my fingers on so they are not too wet for handling the paper. 'n addition, !eep hand lotions to a minimum so the oils don&t discolor the paper.

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". #our rolls and scrolls will $e unique to you. They will not loo! e$actly li!e mine Eor anyone else&sF. veryone uses different tension when they curl the paper strips resulting in variations in the coils and scrolls. "ot only that, ut your own quills will vary from each other depending on your mood and how you feel at the time. To see for yourself, compare coils that you made when you were tired or fra<
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$asic Tools and upplies Quilling %ool 8ou will need to use something to curl your paper strips. A corsage pin, round toothpic!, slotted tool, or needle quilling tool can all e used. *ith the pin, toothpic!, and needle tool, the paper strip is curled y rolling it around the center shaft. A slotted quilling tool gras the end of the quilling paper and you wind the paper into a coil y turning the handle. There are pros and cons for each type. The needle tools ma!e a smaller center, ut starting and rolling the coil can e a it tric!y. The slotted quilling tool leaves a tell=tale end in the paper at the center of the coil, ut is y far the easiest tool for eginners to use. ' recommend that you purchase a slotted tool with a long cushioned handle. Dnce you get the hang of quilling, you can ranch out and try the needle tool or finger rolling. 'f you simply refuse to spend another dime on supplies, then try the toothpic!. 't is easier for paper to gra onto the wooden surface than the smooth

quilling tools

shaft of the needle tool or pin

Quilling &aper 'trips The most common width of paper strip used in quilling is 5):J, however, other widths are availale. "arrower strips E5)54JF are used for fine, detailed quilling, while wider strips E5)/J, 5)2J, and 6):JF are used primarily for fringed flowers and 6> sculpting. "ot only does modern quilling paper come in a rainow of colors, you&ll find an ama
8ou&ll want to avoid the strips that are sold in a tue. They are very difficult to wor! with and ' don&t want you to ecome easily discouraged.

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(lue Any good quality white tac!y craft glue that dries clear will wor! fine. Dver time you will notice some slight differences and no dout choose a favorite, ut for now, use what you have on hand.

)ork *oard 8ou can purchase one of the many nice ones availale on the mar!et today, or ma!e your own from a sturdy piece of corrugated cardoard. A good si
'traight &ins %esides holding the wor! oard covering in place, pins are used to hold your coils and scrolls on the oard as you wor! on your quilling pattern. This allows you to Kdry fitL the pieces and ma!e any ad+ustments efore gluing.

+uler 8ou will usually want to measure the length of your paper strips so you can form shapes that are uniform in si
%wee,ers 7ome of the individual shapes you create will e pretty small. 8ou will find twee
'cissors sually you tear your paper strips to lengthM however, there are times when a cut end loo!s neater.

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%oothpicks %esides eing an all around handy tool to have in your crafting arsenal of supplies, toothpic!s are e$cellent for apply glue to your quilled shapes.

basic quilling tools and supplies

A quality slotted tool manufactured y Na!e City Craft Co. is availale from 7crapoo! 7uper Center where you will also find their rand of quilling paper. Ooann carries a larger variety, stoc!ing oth the Na!e City Crafts line as well as tools and papers from uilled Creations Emy personal favorite for the papersF. Oust enter KquillingL into the search menu.

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uilling Techniques The first step is to tear a strip of paper to the desired length. Tearing the paper creates a frayed end that is less noticeale when glued than a cut end. Bor practice, a 4J strip is a good si
'nstructions for using a slotted quilling tool should come with the pac!age, ut it is quite easy to use. 7imply insert one end of the paper into the tool E+ust enough to catch in the slotF and turn the handle. ' roll paper away from me, so ' insert the strip with the smooth side facing me and the curl of the paper that we created y loosening the fiers is toward the floor. 'f you are more comfortale rolling paper toward you, insert the paper with the wrong side up Ethe curl in the paper ends will e towards youF and roll towards you. ither way, use your other hand to guide the paper, !eeping the edges aligned as evenly as possile. se an even tension on

slotted quilling tool

the paper strip when rolling your coil.

uilling with a needle tool, pin, or toothpic!, is a it tric!ier and may require more practice, ut certainly can e done y a eginner. -lace the end of the paper etween your thum and inde$ finger and pinch the paper edge around the shaft of your tool and start rolling the paper. 'f you have difficulty in eginning the roll, try moistening your finger tips or the tip of the paper. The eginning of the coil should e tightly wound to ensure a small round center. Noosen your tension slightly as you roll to the end of the strip.

A finished coil or scroll is called a Kquill.L

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5 $asic uilling Coils Coils are the uilding loc!s of most quilling patterns. They can e made in all shapes and sionPt forget that when ma!ing coils, it helps to condition your paper y running the wrong side of the strip over your quilling tool or thumnail. The paper will start to end with the smooth side out which is what you want.

%ight -oil sing your quilling tool of choice, roll a strip of paper tightly, eing sure to !eep the paper aligned as you roll. -lace a small da of glue at the end of the strip, glue to the roll, and hold until set. Qemove the tool.

/oose -oil Qoll a strip into a tight coil. Qemove the tool and allow the roll to uncoil. Glue the loose end of the paper to the coil.

%eardrop0 +aindrop0 &eacock ye a!e a loose coil. old the coil etween the inde$ fingers and thums of oth hands. sing one hand, pinch your finger and thum together catching the paper and forming a point. Neave the other end rounded.

arquise a!e a loose coil. old the coil etween the inde$ fingers and thums of oth hands. 'nstead of pinching the paper with one hand to form the teardrop, pinch the paper with oth hands at the same time, leaving the center of the coil round.

&ressed eart a!e a loose coil and pinch it into a teardrop. *ith your fingernail or toothpic!, indent the center of the round end to form a heart shape.

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5 $asic uilling crolls Dpen scrolls help create the eautiful lace=li!e quality quillwor! is !nown for. They are made y rolling one or oth ends of a paper strip, ut, unli!e coils, the rolled ends are not glued down. ' mentioned earlier that you should tear your strips since the frayed end is less noticeale when glued. This is the method followed y most quillers. Bor e$tra neatness, however, ' li!e to cut oth ends of the paper strip since it gives a sharp definition to the scroll ends. *hen ma!ing scrolls, you will still want to condition the paper in the direction you want to roll.

/oose 'croll sing your quilling tool of choice, loosely roll a strip into a coil. Qemove the quilling tool and allow the roll to rela$. >o not glue.

''croll Noosely roll one end of a paper strip half=way down. Blip the paper and loosely roll the other end in the opposite direction to form an R7R shape. >o not glue.

-'croll Noosely roll one end of a paper strip half=way down. Blip the paper and loosely roll the other end toward the center until it meets the loose coil made from the other end and forms a RCR shape. >o not glue.

5'croll Bold your strip of quilling paper in half. Noosely roll each end outward to form a R#R shape. >o not glue.

eart 'croll Bold your quilling strip in half. Noosely roll each end toward the center to form a heart shape. >o not glue.

7=scrolls and C=scrolls ma!e wonderful KfillerL quills for larger pro+ects. #=scrolls and loose scrolls are often used as eautiful tendrils to accent quilled looms. 7crolls can also e comined to form some lovely designs for interesting special effects.

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'sse)ling 0our uillwor1 uilling designs are assemled with the help of a wor! oard. -lace your quilling pattern under the wa$ paper or clear plastic covering and pin it in place at the corners. 7tart your design y pinning a single quill in place at the edge of your design. Bollowing the pattern, position a second quill ne$t to the first and pin in place. 'f you are pleased with the placement, lift the second quill and apply glue sparingly where the second quill touched the first. Qeplace the second quill and pin to hold. Continue this process until your design is completed. %e careful not to glue your quills to the wa$ paper or plastic sheet ; glue them only to each other.

Assembling a quilling design using a cardboard work board.

*hen the glue has dried, unpin your quillwor! and carefully lift it from your wor! oard. 't is now ready to e attached to the ac!ground of your choice.

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%et&s tart uilling uilling is most eautiful when the coils and scrolls used in the design are uniform in si
Ele)ents of a uilling +ro2ect There are three fundamental elements to consider when planning a quilling pro+ect( 5. The quilling itself H the type and color of the papers and the choice of quilled shapes used to create the designM 2. the emellishments H with the e$plosion of scrapoo!ing onto the craft scene has come a seemingly endless supply of ephemera that can e used to enhance quilling pro+ectsM 6. the KcanvasL H how the quilling is displayed Ein a frame, on a card, mounted on a o$, etc., or not used at all as is the case with free=standing 6> piecesF. Together, these components contriute to the overall loo! and feel of a finished piece of quilled art and are addressed in all of my patterns.

There are many ways to use and display a piece of quillwor!. y patterns suggest only one. Get creative@ 'nstead of a card Eeginner pro+ectF ; ma!e a order of flowers for a scrapoo! page. 'f you don&t have a papier machS o$, recycle a throw=away container you do have to create a unique treasure o$ all your own. Dnce you start, you&ll thin! of many ways to enhance your world with quilling.

'out the +atterns Bor each pro+ect you will need the asic tools and supplies discussed earlier, along with the additional supplies listed.

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y pattern instructions tell you the numer, si
6&7+%A%8 8ou may print the patterns any si
As we discussed earlier, your quills may e smaller or larger than mine depending on the paper you are using and your own rolling tension. 't is a good idea efore starting any pattern to ma!e a test coil for comparison. 7imply ta!e a strip of paper the length specified in the pattern, roll and shape the quill as instructed, and compare the si
Qememer, your quills will e unique to you. >on&t spend hours trying to ma!e them loo! e$actly li!e mine. se the pattern as a guideM variations are normal. 'f your fingers fumle a it, don&t e discouraged and !eep practicing. ' promise you will see improvement with each new pro+ect.

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'll (ccasion Card This colorful card is perfect for a irthday, anniversary, or +ust ecause. The elements can e used together or separated to adorn gift enclosure cards ma!ing it a very versatile design.

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%asic quilling tools V supplies

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uilling paper strips, 5):L( lue, green, pin!, yellow, lac!

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E5F 3=5)2L $ /L lan! greeting card, lavender

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-lain circle punch, 5=)54L

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Bluted circle punch, 5=)54L

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Card stoc!( white, lue, yellow, pin!

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%lac! fine tip pen E7harpieF

Quilling &attern:s; *lue &osy w<*ud E3F 6L arquise coil, lue E5F 6L Teardrop coil, lue E5F 5=5)2L Tight coil, yellow E5F 6L #=scroll, green E5F 2L #=scroll, green Glue one point of each lue marquise to the yellow tight coil to form the flower. Glue the end of the 6L green #=scroll etween two flower petals for a tendril. Glue the lue teardrop to the top of the 2L green #=scroll to form a flower ud, then glue the green tip etween two flower petals.

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&ink -arnation E6F 4L -ressed heart coils, pin! E5F 6L -ressed heart coil, green E5F 6L 7=scroll, green

Glue the tips of the three red pressed heart coils together to form the flower petals. Glue the top of the green pressed heart under the flower petals to form a caly$. Attach the 2L 7=scroll to the side of the green pressed heart for the stem.

*utterfly E2F 4L Teardrop coils, yellow E2F /L Teardrop coils, lue E5F 6L #=scroll, lac! Bor the utterfly ody, glue 5)2L of the lac! #=scroll together at the tip end, leaving the scrolls loose. Glue the pinched tip of the lue teardrop coils to each side of the end of the lac! #=scroll to form the ottom wings Ee sure to leave a it of the #=scroll tip showingF. Glue the tip of each yellow teardrop coil to each side of the lac! #=scroll to form the top wings.

Asse=$le #our -ard sing the photo of the completed card as your guide, tear a 3=5)2 inch strip of pin!, yellow, and lue quilling paper and glue them vertically to the front of the cardM trim ends flush with card edge.

-unch three E6F fluted circles from the white card stoc!.

lines around the inside edge. yellow card stoc!.

*ith your pen, draw stitch

-unch three E6F plain circles, one each from the pin!, lue, and

Glue the white fluted circles on top of the plain circles and glue onto card.

Glue the lue posy with ud, pin! carnation, and utterfly in place on the card.

%e sure to

sign your card on the ac! so the luc!y recipient will !now they were given a card handmade y you.

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Fra)ed Cross This cross has the loo! of rusty wrought iron. Nayering it on torn handmade paper adds te$ture to the quillwor! and enhances its Dld *orld charm. Though it loo!s complicated, if you rea! it down, the cross is assemled in four sections corresponding to the headings of a compass. 8ou&ll note that three of the sections Eeast, west, and northF are identical.

#ou9ll eed ➢


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uilling paper strips, 5):L( rown

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E5F Blat ac! crystals, 6mm, lt. topa< E7warovs!iF

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andmade paper, tan, /L$4L

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%lending chal!, lac! E'n!adin!adooF

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at oard, dar! rown, /L$4L

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Brame with glass deep enough to hold the quilling, /L$4L

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>ry adhesive EoptionalF

Quilling &attern E/F /L arquise coils E/F /L eart scrolls E4F :L arquise coils E5/F 6L Noose coils E/F 6L 7=scrolls

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Glue one /L marquise coil inside the folded tip of a heart scroll. Glue the tip of an :L marquise coil to the tip of the /L marquise. "e$t glue three E6F 6L loose coils into a triangle shape and glue them onto the open tip of the :L marquise. Add a it of glue to tac! down the loose curled ends of the heart scroll where they meet the tips of the marquise coils. Qepeat these steps to uild three E6F sections. These will e the top and two sides of the cross Enorth, east, and westF.

To create the long section of the cross, glue the remaining /L marquise inside the remaining heart scroll. Glue the tip of an :L marquise coil to the tip of the /L marquise. Tac! down the loose curled ends of the heart scroll. "e$t glue a 6L loose coil to the tip of the :L marquise coil, followed y another :L marquise coil, 6L loose coil, and the remaining :L marquise coil. Glue the remaining E6F 6L loose coils into a triangle and glue them on the open tip of the :L marquise.

To assemle the cross, glue the tips of the heart scrolls of each section together, !eeping the sections as straight as possile. Glue the flat ac! crystal to the center of the cross.

>ra=e #our -ross Tear a half inch off of each edge of the handmade paper leaving a piece that is appro$imately 6L $ 3L in si
Qu lac! chal! along the edge.

Adhere the middle of the paper to the

center of the mat oard ac!ing, allowing the edges of the paper to curl up slightly. cross to the center of the handmade paper.

%e sure to sign and date your wor!@

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Glue the


Fan Treasure $o* Ta!e one lacy quilled fan, add plenty of gold leaf, crystal +ewels and a flirty little tassel, and you have the perfect emellishment for a romantic treasure o$. a!e this o$ for a special friend, or save it for yourself to hold small !eepsa!es.

#ou9ll eed ➢


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uilling paper strips, 5):L( ivory

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5:IT Gold leafing pen EIrylonF

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E56F Blat ac! crystals, 6mm, rose E7warovs!iF

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7mall tassel, gold

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-aper crimping tool

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Dval papier machS o$, appro$imately 6=5)2L long $ 2=5)2L deep $ 5=5)2L high

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Acrylic paint, lac!

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-aint rush

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od -odgeW atte finish sealer E-laidF

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7crapoo! paper with script print, 5)2L wide $ 50L E7cript Gold Boil, -enny %lac!, 'nc.F

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Clear acrylic spray sealer

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E/F Gold eads, :mm

22


ew %echnique ? &aper -ri=ping Bor this pro+ect we will e using a quilling paper crimping tool. This is a fun tool made up of two interloc!ing gears that crimps, or flutes, the quilling paper as it is fed through the gears. To create the spo!es for this fan, crimp a piece of the 5):L ivory quilling paper and glue it etween two straight strips creating a sandwich that resemles corrugated cardoard when turned on its edge.

' have the crimping tool made y -aplin -roducts, ut there are several good ones availale.

Quilling &attern EF crimped)sandwiched strips, 5=5)2L E4F 2L Teardrop coils E4F /L Noose coils E4F 6L C=scrolls E4F /L 7=scrolls E4F /L #=scrolls E4F /L Teardrop coils E"ote ; fan is assemled from the center out and quills are listed in the order they are used.F

Glue the tip of each 5=5)2L fluted strip together and fan them out forming an arch. Glue a 2L teardrop etween each spo!e. "e$t, glue a /L loose coil etween each spo!e Ethere will e a space etween the teardrop and loose coilF. Glue a C=scroll to each loose coil, with the scroll facing the coil. "e$t, glue an 7=scroll on top of the C=scroll ma!ing sure that they are all curling in the same direction. Glue a #=scroll to the center of the 7=scroll. Binally, glue a /L teardrop to the center of each #=scroll.

26


sing the golf leaf pen, gild the paper edges of the fan. 7pray the fan with two light coats of acrylic spray to help protect the quillwor!. To finish the fan, glue a crystal to the center of each /L loose coil, each /L teardrop, and at the tip of the fan where the spo!es are +oined. "e$t, glue the tassel to the ac! of the fan. E7ee photo for referenceF.

Asse=$le #our %reasure *o@ -aint the papier machS o$ with two coats of lac! acrylicM let dry. of od -odgeM let dry.

7eal the o$ with a coat

sing the leafing pen, gild the cut edges of the scrapoo! paper strip.

*ith the od -odge, decoupage the strip of scrapoo! paper around the lid edge, utting the ends together in the ac!M let dry. Glue the fan to the top of the o$.

Glue the four gold eads to the ottom of the o$ for feet. sing the gel pen, sign and date your treasure o$.

'f you have difficulty finding a tassel small enough for your fan, don&t hesitate to ma!e your own using gold emroidery floss. 'f you need help, there are many wonderful tutorials availale on the internet to show you how.

2/


olutions to Co))on +role)s The techniques used in quilling are fairly straight forward, however there are a few prolems most new quillers encounter at one time or another. '&ve offered solutions to help you solve these dilemmas so you can continue to en+oy the art of quilling.

&ro$le= The quilling paper stic!s in the slotted quilling tool. *hen the coil is removed, the center of the coil stays in the tool and the coil ecomes a mangled spiral. 'olution The coil has een rolled too tightly. Try reversing the handle slightly and ease the tool out of the coil. After the coil has een removed, you&ll want to chec! the slot to ma!e sure it hasn&t een ent closed. The tip of a pin can e used to pry the slot open again if needed.

&ro$le= The coils and scrolls do not lie flat after they are rolled. 'olution This will happen if the paper edges are not !ept even when rolling. nroll your coil or scroll and try again.

&ro$le= The pins used to hold the quilling on the wor! oard stic! to the paper quills. 'olution nfortunately, too much glue has een used and the pins are glued to the paper. Twist the pin slightly to dislodge the pin from the paper so it doesn&t pull the quills apart when removed.

&ro$le= The paper +ust won&t curl around the quilling needle or toothpic!. 'olution Try slightly moistening the end of the quilling paper strip and your fingertips efore rolling. As with glue, a little moisture goes a long way. 8ou don&t want the paper to get too wet or it will go limp and not curl.

23


&ro$le= The coil does not spring free smoothly or open as desired. 'olution sing too much pressure while rolling the paper will result in a coil that is too tight. nroll the paper and run your fingernail lightly over the strip on the ac! side of the curl to straighten it ac! out a it and re=roll the coil, using less tension this time.

&ro$le= After rolling, the coil unwinds too large with few discernile concentric circles which give a quill its distinctive spiral effect. 'olution The quill was rolled too loose. 7imply open the paper strip and re=roll the quill.

&ro$le= The quill unrolls in an uneven spiral ; tight in the center with loose circles on the edges or the middle of the coil is off=center. neven tension 'olution Croo!ed rolls are a result of applying uneven pressure while rolling. Try to roll your quills in one continuous motion without stopping and e sure to use an even pressure. 8ou might find it helpful to roll the paper ac! and forth etween your thum and inde$ finger to distriute the tension more evenly efore removing the quilling paper from the tool.

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'n creating this e=oo!, ' received invaluale assistance from K Complete Craft Book Publishing L. >etails can e found here(

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Quill Ing With Confidence

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