Finger (Paper) Quilling 101 | Ashley Chiang | Skillshare
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8 Lessons (59m)
    • 1. Finger Quilling - What You Need

      4:40
    • 2. Choosing and Cutting Paper

      5:52
    • 3. Starting Curls and Coils

      4:26
    • 4. Parallel and Wavy Lines, Webs, and Bursts

      15:08
    • 5. Closed, Open, Long-Tailed

      10:05
    • 6. Rolls and Tapering

      10:30
    • 7. Strip Sizes and Shadows

      6:55
    • 8. Questions? Comments?

      1:29

About This Class

In this class, you'll learn all the basic finger quilling techniques I use in all of my work ( "Look Mom! No tools!"). You'll be able to practice each technique to perfection and be able to complete future classes or quilling projects much faster and with much more ease. We'll be covering some basics like curling and coiling with only your fingers, as well as cover some more techniques to stretch your art muscles, like tapering and playing with shadows.

Tha main difference between my finger quilling techniques and those of traditional quilling are, of course, that I don't use any tools to fold, curl or coil my shapes. I only use my fingers as I have from the beginning. If you're wanting to start quilling but don't yet have tools or you're interested in giving it a try without tools, this class will give loads of insight into whether these techniques will work for you.

Transcripts

1. Finger Quilling - What You Need: welcome to finger calling one a one. So in this video, just a short introduction and what calling is and also the things you need and some of the things that you don't. So when I started killing five years ago, I didn't have any tools on hand. I didn't have any of the paper that most people said they were calling with, and I definitely did not have pre cut strips. So I used what I had on hand, which was card stock, some paperboard and my fingers. So in this video, I'm just gonna go over quickly. A couple things that I use that help the process along two of the things that you absolutely must have and some of the things that you don't. And some of the things that would be helpful if you're doing big projects or really, really tiny work that requires tinier fingers than I have. So to start, you'll need some sort of backing. What I've been using for a long time is either a watercolor board or you'll see them in the art store labeled as an illustration board, something that's been pressed really flat and is also archival. So it's not gonna yellow or fade over time. Next, you can use any number of papers, and we'll talk about that in the next video. But what I've been using for the last five years is card stock, and it's £65 card stock paper. You can find them in a variety of colors at your part craft store in your by and or mine. The two things that you definitely need are a pair of tiny scissors and acid free or photo safe glue. We'll also talk in another video about different methods that you can use for gluing if you can't find one of these glue pens. But this has been my favorite method since I started, and I tried a couple. But this is what I've been using for the last five years really helps with keeping everything really precise and not making a mess of all the glue. And again, you do want it to be either photo safe or acid free. That way, your glue doesn't yellow over time if you have your piece sitting in direct sunlight. So a couple other things that I used depending on the project, almost always you'll find me with my tweezers and these air just a old pair of tweezers that I had in my little craft box on. And it's really helpful for holding things in place or placing things down when it's in a tight space and your fingers can't get to it. Another tool that I use this is generally if I'm doing a smaller project where pieces air closer together. Having this really sharp, narrow pair of scissors helps me to cut things off if I already glued it down, and I don't wanna rip the entire thing off and ruin the whole piece. And lastly, if I'm doing a big project where I really need everything to be centered and or I'm doing lettering and I want it to be in a line, I use one of my rulers. I also have some yardsticks that I use if I'm doing something really huge. But generally, just a regular ruler will be just so back to what willing ISS quelling is really old art form where people take tiny strips of paper and use various tools or their fingers to curl them into various shapes. A lot of people do three D quill ing which is something that I've seen other people dio. What I've always done is glued my strips to a backing instead of gluing them together or gluing them in some sort of form, sort of a free flow willing if you will. Another thing is, I don't plan out any of my projects in advance. The only time that I will ever sketch anything out is if I have a really specific font style that I'm going for. Otherwise. Everything that I do is free form and done in the moment I'll see you in video to we'll talk about what kind of paper you'll need. 2. Choosing and Cutting Paper: So when I started quelling years ago, as I said in the last video, I only had card stock on hand. I had always been, um, a paper crafter and card stock has always been my favorite. You can also use construction paper if that's what you have on hand and or printer paper. Both of those will be thinner than the card stock. But they will also be much easier for you to make shapes with and to roll with your fingers . So it's up to you. If you'd like a challenge, I'd without some card stock. I also think the color depth that the card stock is gonna be much more pure than with construction paper and or printer paper. I've never used construction paper or printer paper, so I can't promise that it'll hold up a swell. But again, it may be something that would be easier to start with as you're just learning the hand motion to make your coils and your curls and things like that. So, um, and the last thing is, this is my board here. This is one of my eight by tens that I use for my monograms on and other small projects, and I just wanted to show you that this Exacto cutter, which I've been using for oh, probably a decade now I've never had to change the blades. And it's my favorite one. You can find them on Amazon for, I think, less than 30 bucks. I also have a big, heavy duty would one when I want to cut a larger board for a larger project. But this one will do just fine for most of your board and or paper cutting needs. So when I started, I was very used to using my Exacto cutter for cutting papers of various shapes and sizes and things like that. So I started cutting my boards and paper with it, and I'll show you. I'm just gonna cut this down eight by eight, and it slices really cleanly so again, and I've never had to change the blade. So I think it's the best investment you could get now for cutting paper. I have seen other people who cut their strips with an Exacto knife, which is amazing to me because that would take some serious patients over my Exacto cutter . So if you don't have a paper guillotine or some other way of cutting it. You can if you have scissors and or an Exacto knife line up your ruler, however, think you'd like it to be on and run your Exacto knife down, just moving over and making strips as you go. I have also heard of some people using a paper shredder. If you have one with different settings and you can set it, Teoh, run the papers straight through just cutting it in a line that sounds super easy and is also a good option that I'll show you now how I cut my paper. So to start, most of the paper that I buy is either 12 by 12 or 8.5 by 11. This one is slightly more than 8.5. You can see I can't even see the line here, so I'm just gonna cut off the tiniest little bit. My little strip off that way haven't even first cut, so I just line it up on guy. Cut my paper to 1/2 inch. If you're not familiar with paper quelling, you'll soon learn that most people use either an eighth of an inch or 1/4 of an inch. So we're looking at half to 1/4 of this strip here. Um, I prefer using Khalfan Inch and even sometimes go larger just for a more graphic feel to the artwork. Um and I think also, I'll explain in a later video how it helps with color play and shadows in your work. So I'm just gonna cut a few strips here of each color. And Uschi, as long as I take my time and line them all up, they are fairly uniform. Um, and if I feel a difference, if one feels slightly larger than the rest, I can pull it out. Now it feels like they're all just about the same size, generally in your projects. It's not gonna make too much of a difference if it's just a hair larger than the rest. But sometimes it can make a big difference, especially if you're taking pictures of it from an angle. So there you have it, and we'll move on to the next video. How to start forming your coils and your curls with just your fingers, not using any other tools 3. Starting Curls and Coils: Hopefully Now you've got a collection of strips, and I'm going to give you how I start all of my strips when I'm making coils. Um, So even if I'm going to make a role which will show you in another video unopened and coil or closed oil, I always start by softening the end of my paper with my fingernail. Um, if you just rub your finger now over the end of the paper, it helps you get a nice tight circle or coil center in the middle instead of with most quelling tools. What you'll have is a bent, um, sort of line in the middle of your coil, so I prefer to have a rounded center in my coils. If you're used to using a tool, by all means, go ahead and do that. But you could also give this a try a little bit more labor intensive than sliding the strip into the tool and having it curl pretty easily from there. But again, you won't have that nice coiled center. You'll have a bit of ah, line and an opening, whereas if you do it with your fingers and with your hands, you can usually get the coil to be really tight in the middle, so I just done this one on. I'll show you if I'm doing a large project where I need a lot of coils, whether they're the same size or various sizes. Um, the thing that I like to do the most is to make a bunch of coils and let them rest. You'll see this one is spinning out, and the problem is, if you glue it down before it's done unraveling all the way, you'll have to sit there and hold it until the glue is completely dry. Andi. Even then, you might have a bit of an issue where it's continues to unravel on your project. Which mayor may not be something that you want. I'll show you another one here quickly and give you an idea of how quickly they unravel after about, you know, 20 seconds, 30 seconds. It should be good to glue down on your project. So again, I just take my thumb Now work the end of the paper, probably about half a Nen church or one centimeter in, just to soften it so that it will roll easier in my fingers. So go that's pressing it down. And from there you should be able to roll it pretty easily. Just gonna roll up this entire strip again, and you can watch as it unravels pretty quickly. But just a helpful hint. If you let them rest a bit before you go them down to your project, you won't have as much time holding everything down until the glue dries and you will be able to just set it down and leave it without much change to the coil. So when I'm using coils in my projects, usually I'll have a variety of sizes that I'll be making, and I can cut my strips in advance. Sometimes I roll it completely and then determine how big I'd like the cold to be and just snip it off from there. And in another video will talk about closing your coils, having a long tail coil onda, cutting them to various sizes. Hopefully, that was clear. If you have any questions, leave them in the comments down below the video, and I'll be sure to answer them as soon as I can 4. Parallel and Wavy Lines, Webs, and Bursts: So in this video, I'm going to go through just a couple different things you can do with your paper strips when you're filling in your artwork or filling in your typography. So to start, um, one of the ways that's easiest to fill a project in is to use your strips to make, um, some sort of wavy lines. Um, and when you're forming your strip again, you don't have to use any tools. It can really be more cumbersome than necessary, so just use your finger as if you are curling a ribbon on the end of a balloon. You'll just put some pressure towards the center of the strip and pull outward. You can always make it tighter or, you know more loose, depending on the project and what I'd like to do. If I'm going to be making a series of lines that I'd like to be parallel, I will normally shape them, lay them out on the paper and start shaping the rest to sort of go along with them in line . So before you even glue anything down, um, if you're forming your paper, it makes it much easier once you're ready to glue it down and really solidify where you want your pieces to be. It just helps knowing that everything is going to stay in place in advance. Some artists who may use thinner cooling paper may be able to get away with just gluing their strip and placing it down. And it should hold really well with card stock. Since you're using a bit of a thicker paper, it helps to form it in advance. That way, you don't have to sit here and hold it so that it doesn't unravel, Um, and spread your glue everywhere. So I'm gonna get started. Just gluing some of these down and I'm gonna trim them down to fit in here, and I'll show you quickly how I use my glue pen. So a trim this one down? Um, let's try that. See how that looks and all right, So if you're using a glue pen like me, all you need to do let's wait for your clue to get down to the tip, and once it's there, I just spread a thin line of glue along the bottom again. This just helps keep my backing fairly clean and me so that I'm not putting glue down where I may end up not using it, Um, and it also doesn't spread as much. And since we've preformed are stripped, it's staying. I don't need to hold it. Some of the other artists use a small dish of glue, Um, and they will just slide there, strip through it. So if you weren't able to get a glue pen, that's definitely an option, and it would also not create too much of a mess on your backing. So let's see what's out. A couple more and we'll call You are way these strips and the final alternative. If you do not want to have a whole dish of glue and or did not get a blue pen, you can always use whatever glue you could find and sort of dab it along the paper in the direction that you're hoping you're stripped to go as well, or try them all out and see which one you like the most. There, right, and you'll see. I'm pressing them down a little bit. This one, it's got a little too close. I'm not liking it, so the glue is not yet to dry, so I can move it without any problem on some smaller basis. Another thing that will help you along just again so you don't have to sit and hold your strips down too much. If you're using a larger strip and curling it like this a lot of times, what will happen? Put this on other ports. You can see it a lot of times. What will happen is they'll be some of the places, especially towards the end, where it's raised off the paper. And if you put glue on it like this, you will have to sit here and hold it down. Um, so it just takes a little bit of practice, making sure that you've got your strip laying completely flat to concede. There still some light coming through here, just a little bending my board slot. There we go. So this point I've gotten the ends to stay down in the center is being difficult there. That's closer than it waas. So now if I put glue on it, I don't have to sit here and hold it because it's laying pretty flat on the board next, especially if you're doing some typography or filling out a background an area that you'd like to cover quickly without making it too busy with coils. You can also fill it in groups with some parallel lines. These can be a bit harder if you don't have something to put them up against. I'll show you what I mean. So take a smaller strip here. This is just a smaller strip because it came out of my, ah, scrap stripped box. So it was a piece that was used for another project putting my glue on the edge. And what will happen is, if you're putting it down, I'm wanting it to stand up. It's already starting to lean, and it's totally gonna fall over. So if you have something an edge, you know, whether it's your typography or some other shape that you have in your work, it will make putting in parallel lines much easier, and they can have a really dramatic graphic effect on the finished project. So I'm gonna pull this one off, see this tiny little strip of blue left and let's try. We're gonna put in a circle a little bit. Here we go. So I'm just gonna put this circle here, and we're gonna have our lines leading up to it just to give you an idea. So in this instance, you're not shaping the line in any way. You're just going, Teoh. When them up, you can always makes them even or make a pattern out of it. Okay, just doesn't want. When I'm feeling in a project, it's I never measure in advance. It tends to cause more problems than help. You never know how the paper is going toe lie once you get it down and you don't want any gaps in between anything. And unless you have some really precise typography or shaped to fill in, you're usually not going to have an issue. I think the most important thing, um, with making straight or parallel lines is going to be that the edge that you're gluing up against the other aspect of your piece is perfectly straight. Otherwise, again, you have a little gap. All right, we'll call that done good practice for straight lines. Um, you can see a little bit of color play in with all the angles, Um, and we'll talk about in one of the final videos about shadow play and how to use it when you're using different colored strips. You don't have to feel them in so closely. If you have a little bit of shadow going on, it sort of feels in the paper for you. So and finally, in this video, I'm just gonna show you one more technique of filling things in. Um, this would also be helpful if you're doing typography, monograms or any sort of area that you'd like to fill in quickly without using too many coils. If that's overwhelming your project. So in here, I'm going to call this web or burst on. And really, all it is is having your strips come from some central spot and having them burst out from there. So let's try doing it. So I just called my strip were gonna test it, see if it'll go where I wanted to go without me holding it. All right, let's do that. So I glued both ends that will be upright and sticking to the other paper as well as the bottom of the strip, which will hold it to the backing. All right. And then you can just continue from there Internet and do some person. All right, so we're gonna call that a Web or burst. Um, and I included these in the first video because I think when most people think of willing, you are thinking about coils and curls and filling in your project that way. But I think having a couple of different ideas in your arsenal to fill in your project adds variety and visual interests. And I think you know, if you try these out in your project to balance out coils and other curls that you're doing , it can have a really nice graphic effect, depending on, um, what you'd like it to look like. 5. Closed, Open, Long-Tailed: All right, So now in this video, I'm going to show you the various coils that I use in my projects on about how you can use them to fill in your projects. So what, We're going to look at our coils and the different ways that you can shape them. Obviously, when you first start coiling and here I've coiled an entire strip 12 inch or 11 inch strip . Um, and you can see now that I've let it rest and unravel of it, it's pretty big. So depending on the size that you want, you can go in and cut it down. But for now, what? I wanted to talk about waas in projects. It seems like a small difference, but it can really have an impact on the final piece. And the difference would be having an open coil or having it closed. So one of the things that I like to do in my projects is have coils coming off of the project s O. They're not necessarily attached to anything else in the project, so they will sort of be out here like this, and the main project will be here in the center, so If you're doing that with an open coil, it looks a little unfinished to me. So one of the things that I like to do is once I've let the coil rest and it's unraveled and I've cut it to the size that I'd like it. I take a little bit of glue on to the end and hold it so that the end is full circle. Um, and it makes it a closed oil. So while that dries, I'll show you. I've made some here the's air, both closed coils and you can see the edge is made full circle just by gluing the tiniest little bit down. And to me, it just has a more finished look to the project. There isn't anything sort of left off looking like something should come off of it. So when I have coils that are on their own sort of away from the center of the project, I do tend to close them like this. So for this video, I went ahead and coiled a number of strips and different sizes, and this is something to also pay attention to. I think when you're making a project, you can sort of get stuck using the same color, the same size coils or even the same density of coils. You can see some like this one gets pretty tight in the middle. Where is this one's a little do, sir. It has a little bit more of an open feel. So depending on how you'd like your project to look, you can play with that. And I wanted to show you one other thing. This was while I was coiling. I made my little I've had been pulling strips out of my scrap box to use this one had a little bend in it, and I thought it wouldn't make too much of a difference. But you can see how imperfecta it is, and it won't stay down no matter how I bend it. So you know when you're coiling, not every center is gonna be perfect. Not every Coyle's gonna be perfect. And unfortunately, even though they take quite a bit of time away from your project, some you just gonna have to discard. So in addition to leaving your coil open and having a little bit of ah, run on here or closing your coil, the's are what I'd like to call long till coils. Um, and you can use thes to fill in places where maybe you have a lot of oil's going on on. Do you need a little bit of a break up in pattern? And using these in a variety just helps to balance everything out. So I'm gonna make a couple more of these. I think I'm just going to soften the end can. And if I'm starting any project, and as I said, I don't know what direction it's going to take. I tend to picking colors amusing, and then I will make a bunch of coils on a bunch of other shapes just so that I can place them down quickly and get a feel for what I'd like. It's that I don't ruin the flow of creation, so I have everything to the side of my project and add the men as I go along. Sometimes it helps to figure out quickly what works and what doesn't. So you may have noticed once I've coiled it all the way. Um, I just apply a bit more pressure on the outside. It helps just make everything curl nice and evenly, and it can make your coil tighter, if that's the effect you'd like to have. So you can see I put a lot more pressure on this one than I did on these two. And they're a little looser and this one staying a bit tighter. So let's do you're gonna clear the coils off. Let's work with some of our longer tail coils as the base to the project. Make sure that flat. All right, I like that presentation. So I'm gonna glue these down, and then we will add some of the, um, open coils and close close around it. You can embellish as you like when I'm gluing my coils. I tend to make sure I cover the entire coil. That way, once it is glued down, it won't unravel any further. Sometimes the glue can create attention if you just glue the outside portion of the coil and cause it to unravel of it, which it may not work well with your project, Yeah, just so slight pressure down and it's going to stay. Seems reformed. It already. It's always gonna be easier to correct the shape before you blew it down than to try and correct it. Leader with tweezers or holding it. All right, Well, a variety you're spacing is always attractive. There were. So now I'm gonna add in some coils. Just make our practice peace here and live it more interesting. This is probably a good portion of my work. Time is playing around with placement. Everything. This coil, you can see the little imp. Perfect sometimes. Um, you can correct it with your tweezer. Um, and it looks like gotten to be pretty around here. There we go. So just to recap, if you like, I think it makes it easier to begin a project by choosing your colors, whatever palette you'd like to use. Andi sort of pre forming some strips or pre coiling some strips that way. Um, it makes it easier just placing everything down quickly and finding out what you like and what you don't. And you can always save the extra coils for another project. So again, you've got your open coils here and here, some long tail coils, and then you're closed coils which make the full circle there just to add a little bit of variation to your next piece. 6. Rolls and Tapering: So in this video, I wanted to talk about rolls on and tapering, which are two things that I add to my projects, just in small amounts to ads and visual interest. So what, I mean by rolls instead of coils, which is what we'll call these. A role is when I coil it, but I keep it closed, keep it completely rolled together, and I'll show you how I do that right now. So you're gonna start out the same with your coil. Let's find us. She's a prayer. Eso Same is your coil. You're just going to soften the end. And it may be even more important to have a good center when you're making a role. So you don't have too much of, um ah, hole in the middle of it. If you were using a tool, there would definitely be ah hole. And it would probably be about 1/3 the size where it would take up about 1/3 of the space there. So it may be even more important to have a tight center when you're making a role instead of a coil because that whole show up All right, here we go. So you want to roll it to just the point that you'd like it to be. So this one is about the same size. Is this roll down here? And you just want to continue holding it very tightly so it doesn't unravel. If it does unravel, you will have to start again. And if you've already put glue on it, um, you'll get very sticky and potentially get glue all over your paper. So these take a little bit longer. You're gonna have to sit here and hold it unless you have some fancy way of putting them in something that could hold it together. Otherwise, probably about 30 seconds will do it. Um, if you're using the same type of Louis me, if not, just play with it and see how long it takes you. So this one's just about dry, so we'll go ahead and make a few of these just for some practice and add some color in here . Let's do some white ones. Flower at it, softening the edge probably about a centimeter to half. Image in and make your center of your roll nice and tight. It's been a little bigger here after glue. Why you're still holding it pretty tight and again, just hold it so the edge stays there and it doesn't unravel. So when you're choosing your color, it's important to keep in mind that depending on the lighting, especially if you're gonna be putting it your artwork in a shadow box or someplace where there won't be any real direct light onto the different shades of paper, you just have to keep in mind that it's really hard to tell the difference sometimes. So these two roles here, they're actually different color pinks, and here you can see the difference more clearly. These are the same sheets of paper, I think Yep, as those. But when they're rolled up like this, especially when they're on end, it's really difficult to tell the difference. So when you're choosing your colors, just keep that in mind. You do want to choose a complementary palette, but you do want to have enough variation that you'll be able to see the difference in color , and I've run into that with a lot of my projects. So here we go. Let's on some of these in. There's also one more step you could take, say, with layering different colors. So if you have a role of white, let's say and you wanted to add color on the outside, it's a little bit more complicated, but it's also a nice effect. Sort of has a a bubble effects if I can get it to go so you can see I've just rolled the white role inside of more purple paper on top and creating another rule around it. Um, and having this in your piece is just another addition that can make a little bit more interesting. But it's a bit more graphic, so we're gonna keep it out of this sort of softer, freer peace. So I'm just gonna let that fall out. Let's see. So now that we've made a few of these weaken sort of add them in and play with them with placement and see where we like them the most, I don't know. I think that's over doing it. I think I like it just like that. So I'm gonna go with these down. So Samos the coils. You just want to glue the entire bottom, place your role. I like it and using these roles and or closed coils outside of the main part of your project just helps to clear some of the white space if you want to fill it in a bit more, but you don't want it to be, um, overcrowded with color or shapes. There were. I think I like that over there. Better. So there we are. So on this one, we've got our open coils, close coils, long tail coils and now our roles, and we're gonna move on quickly, just to one other technique. And this is something that I really like when I'm working with a softer piece, so you're gonna be shaping your strips as you normally would. So, Carl, it however you like and you can see now that I've curled it, it's sort of hanging off the baby here. So even if I added glue and have to sit here and hold this down, so just correct your shape, make sure it's lying pretty flat. There we go. That's lying pretty flat and make some big, bigger shapes here. So let's do this. So, in this project, what we're gonna work on is tapering and how you do that. You can do it however severe you'd like it. You can have a short taper or a long taper. I'm just gonna go about three inches in here and you're cutting from the bottom corner of your strip where it's gonna be glued down to the paper and you're just cutting up so that you have a nice tapered end here and it's nice towards the end of a big project. If you have some of these coming off, it just gives it a nice soft feel. I mean, you can even use your little scrap pieces to embellish. So let's go with that real. Make a few more of these on. Let's use some darker colors here. So again, I'm just gonna cut from the bottom corner and taper it up about 2.5 3 inches. The paper. Just make sure you curl it again, because sometimes cutting it will make it straight back out said the glue is still drying, so you go eyeful of that. But you can see how the Tabor Dedge it just comes down into the paper, almost as if it's an organic thing, as if your project was an organic thing coming out of the paper. So it's a nice technique to use. If you're wanting your piece to be a little bit softer, a little less graphic, maybe a little bit more organic. So there's that, and in our next to videos, we're going to talk quickly about varying your strip sizes as well as playing with shadows . 7. Strip Sizes and Shadows: So in this video, I just wanted to touch on quickly how you can add more visual interest to pieces by playing around with the strip size. So, as I said before most of my projects, I use half inch strips. Um and that's just what I prefer. It gives it a more graphic Look, it's also just really good feeling for me. Um, too small tensor my fingers too much. So play around with what feels good for you. So here I have some strips for another project. So these are about an inch, maybe 3/4 here, and then we have some quarter in strips also, and I have been playing around with three D strips. So here we've got sort of a twist that I would glue down like this or something similar. So, um, I just wanted to show you quickly how to add this sort of thing to your next project. So first will make a circle from our inch long stripper inch wide strip. I will say that I have coiled with the one inch strip as well, and that is much more difficult. Then trying to coil 1/2 an inch or even smaller. It is very hard to get the center to be perfect. Just cause my nail doesn't even cover the whole thing. Um, so if you have the time, try that out and let's get this thought So that's just about flat here. That and you know what? We're going to use 1/2 inch strip after that. Is it harder to distinguish color? So we're gonna take one of our purple strips on, trim it down. If I'm just doing a small section of strip, generally all eyeball it, unless it's pretty important that it be straight. In this case, it's not all right. That's a pretty even cut. And just to make sure you have any issue, that cut side will be on top. And the pre cut side that he used the guillotine on will be in the bottom just to make sure . If I didn't cut it perfectly straight that you won't be able to tell. Play with this a little bit. I want to use this opportunity to talk about shadows as well. E cut this down bits, but more a little bit of a tighter circle. Let's try that back to this wider strip for at a depth in the middle here. All right, I'm gonna loot just like that. All right? So in these last two things that I want to mention one playing with strip sizes, I think it adds a lot of visual appeal. If you are looking toe, add an element of surprise, especially if, like me, a lot of your pieces are viewed from the side and then from the front. Um, it sort of adds this element of surprise that Oh, my gosh, here's all these layers of color and shade. Um, And finally, one thing to note. And this piece works really well for this, as well as some of the other ones that we did in this class. You can see a little bit of the shadow play. So one of the reasons I keep my pieces out of shadow boxes or I prefer to do that anyway, um, is so that as the day goes, you can have this changing of light that passes over the artwork, and it changes a lot of the colors that you can see, um, or the colors that become more noticeable as the light changes around them. So especially with the taller paper. It sort of fills in the area here with a light colored pink and fills in the area here with the darker purple. So if you play around with that and maybe take pictures at different angles and or hold the light from different angles onto your artwork, you'll be able to see ah, lot more that light play where the light actually uses the paper to fill in your piece. Um, while keeping it open and airy. Andi still pretty graphic. 8. Questions? Comments?: thank you for taking this class. I hope that it covered everything that you needed to know for finger cooling. If you have any more questions, feel free to ask them down below. You can also find me on Instagram and I answer a ton of questions there in my weekly epic you posts if you have any project recommendations that you'd like me to do a class on in the future. Also, leave that down below. Thank you so much for taking this class. I hope that I answered all of your questions. As far as finger quelling goes, I tried to treat the basics, and in the near future, I'm going to have more classes that are project focused so you can home these skills and future classes. If you wanted to work on something specific, such as the tapering or the roles, or even perfecting your finger coils, just let me know if you have any ideas for future classes or anything that you'd like to learn more about. Leave the comments down below and I will work on getting more classes up for you. I hope you had a good time. Let me know again if there's anything else I can answer down below and I'll see you in the next class