Design & Sell a Wrapping Paper Collection | Abbi Page | Skillshare

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Design & Sell a Wrapping Paper Collection

teacher avatar Abbi Page, Graphic Designer & Illustrator

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro

      1:00

    • 2.

      Class Project: What You'll Learn

      0:37

    • 3.

      Gathering Inspiration

      2:00

    • 4.

      Pattern Glossary

      2:59

    • 5.

      Sketching

      3:14

    • 6.

      Step 1: Making Motifs

      4:34

    • 7.

      Step 2: Color & Arrange

      8:35

    • 8.

      Step 3: The Final Touch

      6:02

    • 9.

      Quick Run through Shiny Brite Pattern

      4:21

    • 10.

      Quick Run through Christmastime in the City Pattern

      4:33

    • 11.

      Test Sheets

      1:23

    • 12.

      Selling Your Wrapping Paper

      2:34

    • 13.

      That's A Wrap

      0:30

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About This Class

Designing a collection of wrapping papers is a great way to get a personal project under your belt - whether you just use it to wrap your own presents, or you make some extra money with it!

The first personal project I ever did was a set of wrapping papers, and it was perfect for getting started - low pressure, and it allowed my community to come out and support me. I did make a couple of mistakes along the way - which I will tell you about, so you don’t have to make similar mistakes!

In this class, we’ll go over

  • Coming up with ideas
  • Using Adobe Photoshop & Illustrator to develop patterns
  • Options for selling your designs

Meet Your Teacher

Teacher Profile Image

Abbi Page

Graphic Designer & Illustrator

Teacher

I'm a graphic designer who is all about inventive ideas, artful work, and keeping a positive mental attitude! 

I like to incorporate illustration into my work, and I especially love working on projects that are meant to be printed - like books, packaging, and patterns.

I'm also super passionate about helping creatives experience less stress by improving their approach to the work they do - whether that means improving their process, overcoming limiting beliefs, or getting some perspective on how to get to the next level.

See full profile

Level: Intermediate

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Transcripts

1. Intro: Hi. My name is Abby, and I'm a graphic designer. I really love to design for printed material. So catalogues, packaging and surface patterns. It's so much fun to see your work printed in this class. I'll teach you how to use photo shop and illustrator to design a holiday wrapping paper collection, get it printed and sell it if you would like to. Ah, holiday wrapping paper said It was one of my first personal projects, and I really loved it because it's low pressure. I knew it was gonna be tourney up, hopefully recycled. It gave me a chance to see what really works and doesn't what people really responds to. And it was a lot of fun. And most importantly, I learned about what didn't work. I made a couple of mistakes that I want to let you know about, so you don't have to waste time making them. I've packed this class full of resource is to help you up. That included a mood board template, a pattern glossary, help you understand more about patterns and a step by step technical guide to creating pattern sentiment for print. I can't wait to see what you come up with. You 2. Class Project: What You'll Learn: here is a super quick overview of the sexual take to complete your class product. First will gather inspiration and create a mood board. I'll go over pattern making basics and some of the mistakes that I've made before we jump into getting our ideas out on paper. After that will begin to create the motifs and elements that will make up our patterns, will create a repeatable patterns, watches in illustrator, finalized them in photo shop and then take them for a test drive. And from there we'll go over all the options you have for ordering wrapping paper and selling it at the end of each lesson. I'll provide an action step to help keep you on track. And don't forget each of the action steps can be shared in your class projects. 3. Gathering Inspiration: the hardest part for a lot of people is deciding what to make. I know that I struggle with this every time I sit down to design a collection, so we'll begin by just writing down everything that comes to my mind. I'm designing a holiday collection, and I've decided I'm going to create three wrapping papers. So a good theme for me will have three patterns that fit well within that theme. As soon as you're feeling pretty good about your theme, open up your mood door document. A lot of people miss the point of having a mood board. It's not just so you can carry it all of the beautiful things that you like to see that could make you prone to copying other artists. The purpose of a mood board is so that you can define the feeling the real mood that you're trying to evoke. Think about the situation being used in. How do you want the gift giver to feel? How do you want the recipient to feel so with my theme? My mood is Christmas nostalgia. I listened to a lot of 19 forties Christmas music growing up, so think about the things that really resonate with you or someone you know when you're coming up with your mood board. And for the purposes of this class, I'm using images that are copyright free. My actual mood board had a few more specific copyrighted images. Once my mood board has been completed, I'd like to start on a preliminary color palette. This isn't every color that I'm going to use and will grow, but it's a good place to start. So as I'm sampling colors or figuring out what colors I want in that color palette, I'm keeping in mind that this is for CME. Like a printing soc and like a printing is scion, magenta, yellow and K or black dots, all being printed on a page. So if I'm sampling a color and it has 35% a gente 35% yellow and 2% scion, I'll just remove that 2% scion. So this no science dots are being printed in that area, so it'll keep it a really clean pink or orange. So the action step for today is come up with a theme, fill out your mood board and come up with a preliminary color palette. 4. Pattern Glossary: in the class. Resource is, you'll find the pattern glossary. This isn't exhaustive, but it is a quick look as several different pattern types. The real magic happens when you have a rough idea, and then this helps you be a little bit more creative. It helps your brain make new connections and new combinations. I've left blanks for you to sketch in or at your own patterns, watches through Illustrator. And here are a couple of examples of how you can use this kind of boring pattern wire frame to explore new possibilities. So at first glance, this grid pattern type seems pretty boring. But my toast pattern is basically a fancy grid and my clouds pattern. All it is is organic lines. Another favorite pattern type that I go to when I want to be a little bit more creative is the composite overly that's basically ah, pattern laid over another pattern. Contrast is a really powerful tool for making sure that your pattern collection is interesting and that people actually purchase more than just one of your patterns. You can even combine two or three of these contrast types to create an even more interesting pattern. So the three main types of contrast that I focus on our large scale versus small scale packed versus loose and uniformity versus variety. There are also three big things to watch out for when you're creating patterns. The 1st 1 is lineups, which is any time you are unintentionally creating a line in your pattern. The 2nd 1 is holes, and this is where your unintentionally creating an empty space in your pattern. And the 3rd 1 is alleyways, and this is unintentionally creating either a shape or a line in the white space of your pattern. Let's get into some of the mistakes I made with my first set of wrapping paper number one. I didn't proof these before I sent them to the printer, so when I got them back, I was surprised by a couple of things. Part of the reason I didn't do that was timing. I was designing these in October, which had me ordering them in November, and a lot of people had already purchased wrapping paper and even wrap their gifts. At that point, I didn't make these s scalable patterns, and so when I went to order, I was kind of stuck with the patterns and the colors that I had chosen. I didn't have any flexibility to make it larger or smaller, and the red and pink checked pattern probably would have turned out a little bit better if it was smaller on my wreath pattern. That one was just too specific of a use. It had to be on a certain size box. A lot of people purchased it anyways, but it kind of limited the application of that wrapping paper. Overall, this project did turn out really well. They were just a couple of things that I really wish that I would have done. Number one proofing the artwork before I ordered number two, making the pattern scalable so that I could change the size and color super easily and three, making the wrapping paper a little bit too specific in its use. 5. Sketching: Now I'm ready to start sketching my patterns, watches I keep my mood board nearby so that I can refer to it and make sure that everything I'm doing is truly supporting. That feeling that I'm trying to get across sketching will help me make sure that I have a clear vision for each individual pattern and how the work together as a set while in sketching and paying special attention to contrast loose versus packed patterns, large scale versus small scale and variety versus uniformity. All speed up my sketching. But you will notice I'm not a great sketch artist. The point of this is just to build a clear idea not to make a pretty swatch right now. So I'm starting with my simplest pattern, the cookies. I think this will be small scale, a mix of cookie shapes but tightly packed. I'm also starting to think about how it would look wrapped. Maybe it's wrapped with bakers twine. If I make a gift tag, maybe it looks like a wooden spoon or a recipe card. I'll try to think of pattern names at this point to I like the name cookie swap for this one. Next, I'll sketch out a swatch of my ornaments pattern. I want this one to be a little looser in a little larger scale than the last one. I wanted to be a really bright and light. I'm actually thinking of making this one a composite overlay, So let's where you've got a background pattern and a foreground pattern basically laid on top of it. I want the background to feel like Frostee tree branches, and then I want the foreground pattern to be a variety of vintage ornaments, pretty much evenly spaced. There's a particular brand of ornaments was huge in the 19 fifties called shiny bray, and they had all these amazing designs and they came in super phone boxes. So if I do a tag, maybe it will be inspired by those boxes. And finally, I'm gonna sketch us watch for the pattern inspired by the song Silver Bells. I think I'll call it Christmastime in the City, and I want this one to be a really fun Holiday Street city scene. I have always been inspired by artwork that kind of transports you to a scene and like another time in place, reeking like feel yourself in that scene, so this one will be a little bit more intense to create than the other two. But I'm really excited about it. I'll start with the buildings and the city, street and snow coming down Christmas wreaths on the shop doors, maybe presents or Christmas trees in the shop windows. I think having snow on everything will really be cute. And then sometimes I'll just write stuff down. Like instead of drawing, each individual shop will think of a list. A bakery, a toy store, department store, a cafe. I want there to be some street lights and people walking around, holding presence and shopping bags, maybe a little Scottish terrier wearing a coat on a walk. If I make a gift tag for this one, then maybe it'll be like a taxi or something like that. So that's it for my sketches. And I just want to say I thought a lot about what I was going to sketch before I did it because I was recording it. But you can get a lot messier with your sketches, cross stuff out, figure out what's working and what isn't working, and really just build that clear idea of what you want the pattern to look like, guided by your mood board, guided by the feeling so that you've got a really good idea when you go to make your motifs . So the action set for today is to sketch your patterns, watches, make sure that you are keeping contrast in mind and keep your mood board close. I would love to see your sketches in your class project. 6. Step 1: Making Motifs: Let's jump right into the first pattern cookie swap. I'm gonna use a 4000 pixel square image, 300 pixels per inch cm like a color and 16 bit. We're using such a large resolution because I need to be able to create these as vectors without losing any of my detail. So I'm gonna start by creating all of the shapes that are of one color on one layer, and that's gonna be a common theme. I'm going to create a new layer for each, um, detail or color that I'm adding. So I'll start with a bunch of cookie shapes and I'm using a tablet hooked up to a Mac book pro. I'm also using brushes from Kyle's ultimate Brush back. And if I need to change the shape of a motif that I'm making, I just use the free transform tools and kind of pull on the handles in different directions to adjust the shape we'll see again. I'll create another layer cause I'm gonna start in on the peppermint stick cookie. And for each color, I'm creating a new layer so that these can be independently modified later. But they'll work together perfectly and look hand drawn but be completely scalable vectors . Once we bring them into illustrator, I'm just using the free transform tool to kind of shift. It's looking good time to add some detail. I had to do a few tries on the face of the gingerbread man cause he's looking a little creepy. So all of my white icing is going to be on one layer. I'll make a new Well. You don't technically have to make a new layer for those red buttons, because when you do use life trace and illustrator, it will just be all black, and I'll show you what I'm talking about in a little bit here. But basically, that one doesn't have to be on its own layer just because it's in the same category. So as you can see, I'm also just like experimenting a little bit with different cookie types, finally landing on something that really works for the thumbprint cookie. The basic idea here, though, is that you're creating shapes that can be ultimately brought into illustrator and live traced, so something like water color won't really work. If you've got opacity, then that's not really gonna work, either. Those are things that we will take care of in our final touches section. But we're just getting our shapes down. And I like using this method because I really enjoy having that hand drawn. Look to my artwork. Decided that his face needed to be redone. I didn't want a little jacket. Then I'm going to make a copy of each layer group them. I'm gonna name this one original, and then I need to turn these layers black so that they'll work with live trace. So I'm gonna go in hit color overlay, make it black, and then I'm gonna copy that layer style and paste the layer style on the rest of the layers. So I did keep my originals turn off every layer you don't need. Go to export layers as files cookie, swap from a new folder and then make sure it's PNG. Transparency is on and run it 7. Step 2: Color & Arrange: now we're gonna bring it into illustrators. So an illustrator file is going to be 4000 by 4000 pixels. Just go down the one art board, make sure you're in cm like a color, and then you're gonna import your pattern files that you just exported all of those PNG's. And you can see that all of my elements are on separate layers here. So go to image trace, just docket. And then I have some presets here that give me the results that I want cause life trees can be a little bit tricky to work with. But this preset at this resolution gives me what I want so you can play around with the settings. And if you go too high, you can see that it kind of creates these little lines. So I've got one that's a little bit more, um, textured, and then one that's a little bit more detailed. So my default, though, is and you can save new presets when you find the settings that you like. But my default is the gritty one, so you can see my settings there and make sure you turn off preview hit trace and then expand, and now you've got vectors. So I'm gonna do that same thing with the rest of the images that I brought in gonna hit gritty and expand in your quick actions. This makes the super easy once you have a preset put together and that's it. So I'm gonna go to my color palette. I'm gonna create a red background because I think that that is gonna feel super cozy and fun. I'm gonna lock it so that I don't have to deal with it and then begin just cull arising all the pieces and parts. And I started with my color palette that I created a few lessons ago. But I'm going to modify it from here. Sometimes re coloring live traced images in Illustrator can be a little bit tricky. You might have toe ungroomed some of the images to get it to re color correctly. And I have spent this that video up because really pattern making is about making a ton of tiny little decisions that end up being a really beautiful and result. But it definitely takes time to get through all of those little artsy decisions. And now I'm going to start arranging my first to tile. There is a pattern tool in illustrator that I will get into momentarily. I used to go right into the pattern tool and that put a really big strain on my computer for some reason. So now I create my first watch just in a regular tile like this. And then I create the pattern once I've got a little bit better of an idea of what I'm doing. This is starting to come together. Exactly how I was hoping, though. Just kind of a fun vintage cookie feel. All right, I'm going to make sure that my background swatches exactly 4000 pixels tall and wide. I'm gonna cut all of my objects, go to pattern make, and that's gonna make sure that my pattern is exactly 4000 by 4000 pixels. I'll rename it and then here, Cem pattern auctions. So you've got your grid brick by Rober by column those air the main ones that I use those air, the edges that are overlapping, and then you've got, um, how large your grid is. You condemn the pattern swatch copies so that you can see exactly what you're working with and this pattern tool is pretty much magic because you used to have to do a bunch of math, basically, when you were making a pattern, and now you can just paste all of your items in and you can see that we've got the beginnings of a pattern. You can see that certain things will show up differently when you pick a different side toe overlap. I'm gonna go in and lock the background layer and then begin arranging. I'm actually gonna do Brick by column, which is also known as half drop, which basically means that the tile is repeated and then dropped down by half continually throughout the pattern. It's a way to make sure that there is a lot of visual interest and flow to the pattern. Sometimes I will copy a motif over, make sure it lines up exactly if I'm having a hard time getting it to show up correctly on all sides. And then something else to note is that if you ungroomed objects, if some of them are off of your main tile, it'll disappear. Just group them back again, all right, and that, I think, is looking good. Some had done and then test out my pattern, so that's just a teeny tiny swatch. I'll move that up to the corner and then tested out in a larger swatch looking good. I'm not seeing any lineups, holes or alleyways. Nothing really significant anyways. I think I might want to try a different color way, though, so I'm gonna double click on that click. Make a copy cookie swap color way, too. I'll did my copies. Select the entire thing ungroomed pit, and then I can select same fill color to choose everything of the same color. And then I can move that around and try to experiment a little bit and see what other colors I might like select same fill color. So I've got my gingerbread cookies down a little bit darker, and then a more minty green instead of that blue gonna play around with some background options. But ultimately I really like the red, so a group, everything back up again. Everything shows up, hit done, and now I'm going to compare the two. So here is my new one, and here's the original, and pretty much immediately I can tell that I like the original better. If I had a little bit more time, I might experiment, but for now, I'm gonna go with the original. Next, we will export a tiff that is ready to be finalized in photo shop. 8. Step 3: The Final Touch: I had to make some adjustments to this because it wasn't quite working the way that it normally does for me. So we're going to start with a 4000 pixel wide by 2000 pixel tall rectangle, And then I'm gonna create an 8000 by 4000 pixel swatch. So because we created this at 4000 pixels by 4000 pixels, we need to double the width to get our half drop. Repeat so you can see that it's lining up perfectly on the sides and top and bottom, and you contest this out by dragging it out and making a copy that lines up perfectly so you can make sure that everything is repeating properly and that is looking good to me. So from here, I just need to resize my swatch so that it fits into my original box. So I'm going to change the properties to 4000 pixels wide by 2000 pixels. Everything's still lining up properly, which is what we need and why we can't just fill that up, that I'm gonna hit export export as tiff use art boards range one good to go. C m I k High resolution and art optimized super sampling. So this is going to create a very high resolution file. But I like working with more resolution than I would ever need, just in case I do need it. Then I'm gonna open up that tiff in photo shop, and from here, I'm gonna select the whole thing. Goto Edit. Define pattern just to show you this process and why I like to finalize patterns in photo shop. So now I'm gonna create a little test document wrapping paper sizes typically 28 inches by 20 for individual sheets anyways, and then I'm gonna fill it with the pattern. And then I can actually play around with scale so I can make it a lot smaller. This is a lot easier than working an illustrator for me. Plus, we get to do a bunch of artistic effects like opacity, watercolor, that kind of thing that you can't really do in Illustrator. And I learned some of that from Dylan EMS skill share classes. So go ahead and watch all of her skill share classes. They're amazing if you haven't watched them already. Highly recommend I did a select color range selected my brown and then toggled the selection until I had just my gender. Redman, that creates a selection. Then you need to create a new layer and then a layer mask so that only the cookies that you selected are masked out and you can add detail. You can also add a second color to your selection by using the little plus. So I'm gonna do that so that my powdered sugar is on the entire candy cane cookie new layer layer mask. Then I'm gonna find a brush that looks like powdered sugar and Sprinkle some powdered sugar on these guys. I'm paying extra attention to my edges so that I don't accidentally end up with a swatch of paint that doesn't follow through to the other side. I'm selecting my snowball cookies and adding a little bit of brown so that they look a little bit more like they are rolled in powdered sugar rather than just white dots. Now I'm gonna select the whole thing again, go to edit, define pattern, and then I can go into my patterns, change it to the new one, and you can see it adds just a little bit of depth and life to the pattern. Na minha, zoom in and try to double check. Oh, and it looks like there is a hairline break. And so I need to fix that. Sometimes that can happen. Working at these really large resolutions. I'm not really sure why, but all we need to do is go into our original tiff and basically expanded by a very small amount so you can just click and drag very slightly. And if you lose a couple of pixels to an overlap, that's gonna be way less noticeable than a white line, all right, and I'm just going to double check all of my edges. Looks like I still have that. So if I bump it over, then we still should have plenty of room so ominous, like the whole thing go to edit defined pattern Again. I'll call this on the final and go ahead and change it, and that hairline goes away. So this pattern is done. As far as I'm concerned, it's ready at least to be proofed, And other than that, I am happy with it. For now, I'll play around with the scale a little bit before I send it to the printer, create two different versions of an 11 by 17 sheet. I'll show you that more in the test drive 9. Quick Run through Shiny Brite Pattern: since this process is basically a repeat of the last one, I'm just going to go over the basics of this pattern as it sped up. So this one's gonna be a composite overlay. I'm creating the background elements right now. The background is gonna be that Frostee tree branches pattern, and I can already see this layering effect is really cool. So I'm gonna try to think of a way to retain that in Illustrator, I'm gonna start in on my ornaments and for this one, I'm gonna use the same basic shape. I'm gonna kind of do an interesting thing with variety within uniformity. So I'll start with the same basic shapes but do different things on the faces of the ornaments so that there is still some variety. But I don't have to create 17 different ornaments and again always making sure that I'm creating each new piece on its own layer. There's nothing worse than doing some detail work and then realizing that you did it all on a on on another layer. You can still salvage it by using the color range selection tool, but it kind of sucks. All right, so I'm gonna copy all of them turned them black, go through that process and export them. And now I am building out my original Swatch and I created two different live traces of the branches, one that was a little bit more detailed so that I could layer them and just show the green kind of peeking out behind the white. So it's a super faint background, but that's perfect for a composite overlay. And now I am creating several different ornaments. I'm gonna bring in my cookie pattern, just toe, reference it for color and make sure that these two are working well together in terms of scale and contrast. All right, that is good enough for the basics. I'm gonna play around with a couple different color combos, and I don't feel like I have quite enough variety, so I'm gonna make a few more and then work on my tile. I'm gonna leave one of my edges open because I know this is going to overlap. Then I have created my pattern using the pattern maker tool, and I am just going to adjust my swatch until I like it. I'm not going to do different color ways with this one, cause I'm pretty much happy with the colors the way they are and this one because it's a composite overlay. Both the background pattern and the foreground pattern are just grids, so I'm exporting. This one is a 3000 by 3000 square tiff opening up on photo shop, checking my sides. And then I'm gonna add in some shiny bits with a low opacity brush. It took a little bit to figure this part out, but I feel like I achieved a good result in the end. And I'm gonna take special care for places where the tile is repeating. So where it might repeat, I'm gonna just watch out for it and make sure that it doesn't actually cross over the edge . Then I'll go to edit defined pattern, and then it's ready to test out 10. Quick Run through Christmastime in the City Pattern: on. And finally, our Christmas in the city pattern, I suggest only starting with two patterns. If this is your first time doing this, see if you have time for 1/3 1 But just start with two and see where you get because you might be exhausted after making too. So I'm starting in with the road and road lines. I'm thinking that this one is going to be striped slash color block and I'm gonna use the brick by row. Feature an illustrator eventually. So that's gonna offset each brick by 1/2. I'm gonna do the same thing with this where I'm creating one window or aisle, create just a couple windows, a couple doors and reuse the same shapes across several different buildings. Just re color them so that I have some uniformity, but a little bit of variety within that. And as I was making this pattern, I started to realize that I had planned for a little bit more than I needed when I was doing my initial sketches because I was making the buildings fairly detailed. As I started to think about it, I didn't really need a lot of people or extras. this was gonna be busy enough as it Waas. And I'm looking at my mood board along with some other reference images. Looking at Christmassy city streets, everything that I'm creating. Whenever I'm creating something new, I'm creating it on its own layer so that it is movable and re colorable. And then the addition of holiday lights really just makes this feel like a Christmassy scene. Now I'm going to create a few more options for me to choose from When I am in. Illustrator started to draw turkey and a ham, and then I was like, You know what? I think we just need tables, chairs and a bottle of wine. All right, I think I have everything I need now just going to draw some snow and then turn all the layers black, export them and bring them into illustrator for a live trace. All right, Live tracing crazy. And I'm coloring as I go with this one. Just cause they're so many pieces in parts and I don't want to forget what goes with what and from the one or two buildings that he created, I can actually create a few more buildings, just erasing different parts so that I have a greater variety without having to do quite so much work. So I'm building my cafe and my bakery over here and building a few more shops and other sorts of buildings on the other side. And this one is a little bit more labour intensive in the beginning. But when I go to put it together as a swatch, it'll go pretty quickly, all right, and then I've got my street That's going to provide some structure and basically some rose for my house is to sit on. I'll add in the snow and then go to object pattern make and then just have to make a few adjustments to make it ready to go. And then I'll export this one in a similar way for the cookies. Make it a little bit wider. We have to make this one a little bit taller to accommodate for the brick by row pattern and the steps for all that are in the technical guide. Then go ahead and bring it into photo shop. So I'm gonna go ahead and go to edit defined pattern, and this one is ready for a test 11. Test Sheets: Now it's time to take the patterns on a test drive. So I have found that there is no better way to get a feeling for your printed materials than seeing them in person. So all create a couple of different 11 by 17 pdf's for each pattern at different scales, so that I can see what 16% looks like versus 23% seeing it right in front of you physically printed. There's just no better way to tell what steps you need to take next. So for the cookie swap pattern now that I'm seeing it printed, I can see that maybe my cookies are not quite dark enough. And for the shiny, bright pattern, it's looking really good on the smaller scale. I can't really see my background pattern that well, so we'll be sure to use a little bit larger scale with that pattern. And for my Christians, time in the city pattern. Maybe now what? I'm seeing it in person. I can see that it needs a little bit more work before I order a quantity of wrapping papers or uploaded to a drop shipping site. It's just not quite there for me, but seeing it printed really gives me that perspective. I like to go ahead and wrap some boxes up at 11 by 17. You won't be able to wrap it all the way around, but you can get a really good feel for how it's going to look. And at this point, if you don't have any changes that you want to make your ready to order the real deal. 12. Selling Your Wrapping Paper: so the easiest thing to do if you don't want to order stock. If you don't wanna keep any of this, wrapping paper on hand is uploaded to a drop shipping website, so spoon floor is awesome. They have several different products, and wrapping paper is one of them, so you can upload your design. You'll make a little cut on whatever wrapping paper is sold. What, you've uploaded your design, you consent, not link out to friends and family, and they can just order it that way. So that's probably the easiest and least extensive boy. Another option is actually ordering sheets of wrapping paper, and this is what I like to dio. So all order 20 by 28 in sheets of wrapping paper. I like to use overnight prints, and I will try to order a quantity toe where I'm getting a good price. Solar. As I'm selling them, I'm making a profit. And then I saw my wrapping paper in person at craft fairs and that sort of thing. So one thing that I do to help elevate that experiences merchandise my booth. So because I've chosen a vintage Christmas beam this time, that means that My whole booth will have a vintage Christmas theme, and I try to make sure that I'm providing a gift tag in like a full gift wrapping experience with each of the wrapping papers. So for the cookie swap wrapping paper, for example, I will include several yards of baking twine and one of my heart cut out recipe cards gift tags. So I'll make sure that they all look really nice that they work together assets, and then you can sell it for even a little bit more than you maybe could if you're just selling the sheet by itself. I have had people asked like, You know, what about rules of wrapping paper? And that would be a good thing to where? Maybe you also have it uploaded on spoon flour, and then you can say, Here is the link to my school flower account. You can order a role here if you like, or you can purchase the sheets right here. So these air really just a variety of ideas at different levels to where you can get your wrapping paper printed, get something that you've created out into the hands of other people and have fun doing it . So the action separate today is decide whether you want to sell your wrapping paper or not , and then decide which avenue you want to go down. Do you want to go for drop shipping? Do you want to go for ordering actual sheets of wrapping paper? And if you want to order actual sheets, maybe you think a little bit about the merchandising, how you're gonna sell Dover gets, have fun, this process. And if you do in that, selling it in person, I really want to know how it goes. So post updates in your class projects. 13. That's A Wrap: And that wraps up our holiday wrapping paper class. Thank you so much for taking this. Plus, it is my first sculpture class. So if you have any feedback for me, anything I could have done better. I love to know about it. You can catch up with me on instagram at abbey dot page, and I just can't wait to see the ice come up with your class projects. Please feel free to upload everything from every step along the way. So until then, happy pattern making.