Jan 30 2010
Enhance Your Quilling with Blending Chalks
Fig 1
Blending chalks are an excellent choice when you want to add a bit of color to your quilling. Made by several manufacturers, they come in a wide array of colors from soft pastels to bright jewel tones. Some even have a bit of shimmer mixed in (Fig. 1).
Fig 2
You can apply chalks directly to your finished quills. This allows you to add color without splicing strips together. For the leaf (Fig. 2), I applied a darker green to the lower portion of the shaped marquise and yellow to the top with just a touch of red on the tip. In the photo, a plain leaf is on the left for comparison.
Fig 3
Fig 4
Adding a color that blends or contrasts with your quilling is a great way to add interest and draw your eye into the quilling, just like when you add a mat to a piece of framed art (Fig. 4).
Fig 5
The chalk highlights the subtle texture of the background paper without taking anything away from the true focus of the card — the quilled floral heart wreath (Fig 5).
Tip: Blending chalks are actually quite inexpensive and last a very long time. They are softer, however, than the sidewalk or blackboard chalks you might have played with as a child and they crumble easily. Also, I found out the hard way that the individual pieces of chalk are not glued inside their trays and will fall out if dropped, making a mess on your carpet if you are not careful.
In my last post (
I was browsing through the bargain bins of ribbon and found a funky retro paisley design in yellow, green, and orange that simply screamed mini skirt and go-go boots. 
I used the ribbon as my inspiration for a fun retro birthday card featuring a quilled go-go boot. The boot was created using an “outline & fill-in” quilling technique. You can use this technique to create any design you wish by following these simple steps:
Tear several strips of paper (I find 6″ to be a good length) and quill them into loose coils. Starting at either the top or bottom of your design, pinch the coils into shapes that fit within the outline of your design. Glue the quills together where they touch and pin into place. 
Spread a very thin layer of glue as large as your quilllwork onto a flat surface like a plate or plastic lid. Using a pair of tweezers, pick up your quilling, touch the bottom edges of the paper to the glue, then place it on the desired backing. A thin glue (such as Elmer’s) works best for this technique. If you normally use a thick, tacky glue for quilling, you might try thinning it with a drop or two of water. You want the glue thin enough to spread thinly and evenly over your flat work surface. A foam brush helps to spread the glue. If the glue is too thick, the loose center of the coils will stick to the gluing surface, pulling them apart and ruining your piece. This method works especially well when tendrils and vines are part of the design. Once you have the glue on the back of your quillwork, you need to attach it exactly where you want it. If you try and slide your quilling into the correct placement, you will leave glue smudges. Any glue you see will turn shiny and even though it is clear, it will be noticeable.
You can also use a small paintbrush to paint the glue onto the back of your quilling. Use care in touching only the bottom edges of the paper with the glue to avoid unwanted globs or smudges. Again, a thinner glue is easier to spread with the paintbrush. Tweezers are useful to help hold the quilling and assist in placement when glued. 
I actually don’t use either of these methods. I spread glue on the back of my quilling using a toothpick. I pick up a little glue on the tip of the toothpick and roll the toothpick over the quills. Depending on the design, I apply glue to the tight rolls and centers of the quills to allow a little more “wiggle room” when placing the quilling on my background. If glue is not over the entire back, I can slide the quilling just a tad if needed without the glue showing. If I do end up with a bit of glue on the background, I slightly moisten a fresh toothpick (you don’t want it dripping) and gently wipe up the glue. 
The trunk of the palm tree is made from a coil called a “rectangle” because it is, well, a rectangle. To make this quill, roll a loose coil and pinch it into a marquise. Next, move the marquise slightly between your thumbs and index fingers and pinch again, forming two more points near the original ones. You should now have a rectangle quill that has two long sides and two short sides. 
We’ll also be playing with a new tool — a paper 
Finally, I want to show you a bit about 
Free Quilling Pattern - Palm Tree & Small Goldfish
A simple, temporary board can be made from any 
For symmetrical work, a design grid can be created from a piece of graph paper cut to fit your quilling 
The ladybug quilling pattern introduces a new coil called a “half circle.” To make a half circle, roll a loose coil and pinch it into a teardrop. Next, instead of pinching the coil again directly opposite from the first point (which forms a marquise), pinch the paper a second time closer to the first point. You can vary the height of the half circle by placing the two pinched points closer or further apart.
Free Quilling Pattern — Ladybug
Additional Materials for Framed Ladybug
For example, I found the cutest matchbook notepad template from 
So instead of:
What in the world is a “
Additional Materials for Card
