Aug 14 2011
Metallic Quilling Papers
Even though it is scorching outside, I’m busy working on inventory for a big Christmas show I participate in each year. With this in mind, I decided to quill some metallic cross ornaments to add to my offerings. I remembered some metallic papers I purchased from Quilled Creations and thought they would be perfect (Metallics Sparkling Quilling Paper, Silver & Antique Gold).
These are really nice, heavy papers that hold their quilling shapes well, but, as I soon found out, they can be a bit tricky to work with. Here are some general tips I discovered while quilling my ornaments:
- It takes longer for the glue to set when creating your coils and assembling your pieces. You have to be patient! Hold the glued end of your coil down longer than you think is necessary — and then hold it just a little longer. Use pins to hold your pieces as you glue your design together to speed up the assembly process and help ensure a secure bond.
- On the plus side, because this paper is “slicker” than regular quilling paper, it is super easy to remove excess glue and have a really clean piece of quill art when you are done.
- Because it is a heavier paper, you can really see the glued seam on your coils, even when gluing down a torn edge. I have found that burnishing the seam with a clean toothpick does wonders in smoothing out the seam and making it much less noticable.
The biggest thing I learned is that while the papers themselves are metallic and look great from the side, the edges are quite dull. As you can see, this cross quilled from Antique Gold look like is it made from a plain brown paper (Figure 1), but the sides of the cross are nice and glitzy (Figure 2).
To solve this problem, I used a gold metallic pen (I used one made by Krylon) and colored the edges (Figure 3). What an amazing difference! Now I have a stunning gold quilled cross ornament to sell at the show.
The same holds true for the silver metallic paper which has a dull gray appearance when quilled. Just run a silver metallic pen over the edges to turn them a dazzling silver.
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. 
July 4
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Along with a bit about the background history of this fascinating art form, I’ll introduce you to the tools and supplies you’ll need to get started. Then its time to learn the basics of quilling –coils and scrolls — and how to assemble your completed piece of 
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 
