Scribd Logo
Upload

Welcome to Scribd!

  • Great Book of Celtic Patterns PDF

    Uploaded by

    dennis morey
    11 views192 pages

    Original Title

    Great_Book_Of_Celtic_Patterns.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    11 views192 pages

    Great Book of Celtic Patterns PDF

    Uploaded by

    dennis morey

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 192
    eee Same rc kerry peer nae lL pene Lariat ee Lindsay Hess Peete Pe) ee Crary ey Acknowledgments Special thanks go to Alan Giagnocavo, Peg Couch, Gretchen Bacon, Troy Thome, Lindsay Hess, Chanyn DeShong, and everyone at Fox Chapel Publishing who worked on this project. Their encouragement and support throughout the creation of this book have been indispensable. It has, once again, been a delight forme to work with such a well-organized and creative team, Lota 5. Ish 1007 by Fax Chapel Publishing Company, Inc. Great 800k of Celtic Fattems is an otiginal work, first published in 2007 by Fox Chapel Publishing Company, inc. The pattems contained herein are copyrighted by the authar. Readers may make copies af these patterns for personal use; however, the patterns are not to be duplicated for resale or distribution under any circumstances, Any such copying is a violation of copyright lave ISBN 978-1-56523-314-0 Publisher's Cataloging: in-Publication Data lish, Lora, Great book of Celtic patterns,/ by Lora S. rsh. ~ East Petersburg PA : Fox Chapel Publishing, «2007. pcm. ISBN 978-1-56523-314-0 Includes index. 1.Knotwork, Celtic. 2. Knotwork, Celtic-History. 3. Knotwerk Coltie~Patterns. | Title NK1264.175 2007 746.42/2041089916~de22 0705 To learn more about other great books from Fox Chapel Publishing, orto find a retailer near ou, cal toll kee 1-800-457-9112 oF visit us at www-FoxChapelPublishing.corn Printed in China 098765432) Note to Authors: We are always looking for talented authors to write new books in our area of woodworking, d and related crafts. Please send a brief letter describing your idea to Peg Couch, Acquisition Editor, 1970 Broad Street, East Petersburg, PA 17520, ang the projets n ths boak safe for everyone: For tisFeakOn hs books sel wahaut of any kind, expres rages caused inary way by jets presented here. The pl werantles or guna for any injuries losses. or sede 0 complete te content of tis ook or the readers we ofthe to 'der andthe author urge al siete to thoroughly rev fxch project and to understang use af a tools etereaeginning aby Pols CONTENTS FROM THE AUTHOR/ARTIST.......... SR erererencaval ‘CNAPTER | _THE ORIGINS OF CELTIC KNOTS....... eet Anintroduction to the History of inteflocking and interiocing ine designs CNAPTER 2 GALLERY... pease Hee ‘sing Celtic knot werk n various medfa CDAPTER 3 _ CELTIC LINE AND KNOT PATTERNS. .20..0.01.. 23, adenstanding tite brads and inated Ines ‘CDAPTER 4 PLOTTING AND GRAPHING KNOTS 3 Using graph paper ta create and modify knotted ines (CHAPTER 8 _LAVOUTIDEAS oie ‘Creating borders, corners. and multiple interlocking knots Chapter © parrerncHanaes st ‘Altecing designs to work within a specie layout orspace ‘CNAPTER 7 _FINIALS FOR INTERLOCKING DESIGNS... ‘Wang animals leaves, and serols to finish knotted lines CNAPTER 8 _LINE ENHANCEMENTS. ‘aiding accontc and interior designs to Greate mare comple, lexiured paieme CDAPTER Q appwecolon. A step-by-step abide to enhancing your work wtih color ‘CDAPTERIO ceumc KNOTPATTERNS gt Fantasy o+.01s Feligious Srmbols. GLOSSARVOETERMS a Rae viii From the Auchor/ARcst Growing up ima Family ful of eraftemen and artisans, I had no doubt I would focaas my attention on the arts, It scemed that there was always something being created in my childhood home, The dining room table was often fall cof newly cut quilt pieces, ceramic bisque and gazes, or plans for the most recent woodworking furniture endeavor. I can remember the pieces of old muzzle-loading rifle submerged in abutter tub of oil, waiting for restoration, while the barrel, coated with bhaing, hung from the patio door curtain tod and the gun stock sat ready to be carved, Not hidden in some basement ar workshop, all the creating seemed to happen living room or dining room, Wand ascociated with these memories: wrpentine and linsoed oil, cedar wood and walnut for earving, newly bought calico fabrics, and the makings for stratber y jelly on the stove Great Book of Celtic Patterns My houso, just like my mom, is filled with art A basket of clath and thread sits.on the floor next to my living room chai and ceaft suppl ‘The yarn ball basket rests across the vom in the comer with the needles and hooks ready for the next afghan to be started. My studio area is stuffed ‘with boxes and totes full of paints, canvases and papers, glue, scissors, and accessories. ‘When Fox Chapel offered me the opportunity to doa book thst focused on presenting techniques and pattems for Celtic knot work, it seemed to be the porfoct new project.n my ‘experiones, few artisans do just one craft of one of style of art, Many of us enjoy a wide va creative endeavors. And many of us already have a strong understanding of our favorite art; all we really need afe new ideus and patterns with which to express ourselves, Dow co use this 600k As you work through the pages of this book, you ‘will see that there are no spiral, key pattern, of gcomtric designs included here, These excellent design motifs belong to the pre-Christian Celtic era, However, because the pre-Christian ‘ra covers such a broad span of time and development, | decided ta narrow the focus of this book to Celtic art from 700 AD to 1150 AD. During this time, the Vikings invaded the British Isles and influenced Celtic art. The madera Celtic srt so popular today cam be traced back to the interlace knot patterns that appeir on the eaely ilhaminated manuscripts, a slirest result of the Influence of the Viking culture on the British Isles, We will start by exploring the basics of the Knotted lin, including simple twists and braids, plus one: line and rmultiple-Line knot patterns. Knotted line patterns ean include inserted tits, such as squares circles, and hearts, and they can be created by interlocking self-contained not patterns ‘Once you have an understanding ofthe way not patterns can be created, we-will go step-by- step through the process of plotting and graphing a basic knot design, This will teach you how to adapt the patterns in this book to your eraft ot project and how to graph your own new knot dlcsigns. Once the knot pattern is created, we svll explare haw that kiot ean Be incorporated into different styles of pattern layouts, including ine work, and corner ideas. squares, circle Celtic knot work often contains split lines, and finials, and we will study techniques wend {to ervate these elements next. The lines 4 Celtic knot ears change in the middle of the pattern. They ean change size, becoming thinner or thicker than in other areas of the work, They. can also suddenly split into two or more thin lines with those lines then reartaching or reuniting in one line, Because not all Celtic knots are closed or self-contained, you will arn haw to add ornamentation or animal motif heads to the open ends of your knot work. Knot work and interlocked of interlaced line designs are mot constrained just to Celtic art; they appear in almost every art style and throughout art history. Early Greck bas-relie carvings show Jong, thin plant stems that flow from ane area af the work to another, crossing over other stems {ma twist pattern, The Romanesque period of armamentation heavily incorporates the interlocking line design, often with heavy foliage and turned-back leaves. Early Russian desi show the knotted design as both stylized line patterns and as intricate Fepeating motifs. Even the Victorian era used the interlaced line to create wines vines of oral sprays ancy during the Inte German Renaissance this matif appears as highly dette ironwork: So, as we explore the idea of sling finials to your Celic knot dexigns, swe will ako Book at hove diferent historical art iiflencan wie the CAE Enc york un thd bast a ae Finally, we will work through the varias that the line itself can inensporates including texturing, pattern work, and even rope designs. So let's begin our journey through the knotted path of Celtic art by first exploring the origins of the art Great Book of Celtic Patterns | ix: Abouc the Auchor HORAUS! IRISI) vs sedeas teen erent sate terre oer eer emer ie Disclose tenis meester Nec vmeeepne eh ooo Gar bate oneea reper ea Reker Pew exfoeiioerriteh me rtmtects SE rreotis ue ouer|pereneitouer wo reoeenayeteaeed Sacere rear aicen teerseee vaca ee ee eeee eee isto bea neg ero he pec drat ee ee ee See cae ee eee eee rreear Fan et boniemin eee temaniesie Classic Carving Patterns is their Intemet woodearving studio, focusing on online tutorials, projects, andl patterns created exclusively by the author for the rafter and artisan, Che ORIGINS OF Celtic Knots AN INTRODUCTION TO THE HISTORY OF INTERLOCKING AND INTERLACING LINE DESIGNS Todays Celtic knot work, the topic ofthis book, Features complex designs that developed over several centuries in Scotland Ireland, Wales and North England, with song influences from the Viking culture. The fst examples of knot work in Ceti art appeared ater the fst Viking Invasions of Britain circa 600 AD. The Viking influence upon Celtic art continued through si stages of Viking artwork until 1150 AD. In this chapter, well take a lookat illuminated manuscripts—wnitings that were embellished with hand: decorated and gold eafed borders letters anc itustrations—of the Christian Bible and explore the merging of there different cuttural art styles into what is known today as Celtic knot work. Chapter |: The Origins of CeLaic Knots Early Celtic aRT WY » D NNN Figure 1.1. The earliest Calle designs were created using the most basic of geometric shapes and patterns. NI Early Celtic at, of pre-Christian Celtic art, consisted of spiral, maze, and hey pattern designs (see Figure 11). Key patterns are often described as either angular maze desiges or straight-line spirals, Zigzag patterns and diamond designs were common during this period, These geometric shapes did not include the interlocking line designs or the animal mati that are associated with Celtic knot work today. ln 635 AD, an Irish monk named Aidan was summoned by King Oswald of Northumbria to be the bishop of the northeen area of King Oswald lands, Aidan, a Scots-Celtic monk from the Isle of lona, established his monastery an an isolated island named Lindisfarne, His life was devated to converting the Northambrians to Christianity By the time of St. Aidan’ arrival at Lindisfarne, the carlies illuminated manuscripts were already being created, Around 575 AD, a copy of the Psalms called the Cathaah of St. Colincille (Columba) was written. St. Colmcille, the author and scribe associated with this early work, decorated the manuscript with enlarged, ‘ornate, initial lettering. The initial letters in the manuscript use the pre-Ch tian Celtic art style of spices, xigeag lines, and curved line shapes but na interlocking knots of line designs, VIKING INFLUENCES ON CELTIC ART 700 AD, the Vikings, wassiors from the north, began their movement into Europe then into England and Ireland, It was in 793 AD that Lindisfasne experienced the frst Viking raid on Britain, These raids continued until 875.AD when the monks fled the sland “The Book of Kells, scribed by Irish monks, is probably the mest noted of the illuminated Chit manuscripts and includes the four Gospels written in Latin. Work on this book began 1d 800 AD. The book is often associated with Iona and Northumbria, where the writing was begun, but itis now clasely associated with the Kells monastery, located thirty miles northwest of Dublin, retand. All but two of the manuseripes 680 pages ave rilsly decorated with pre-Christian Celtic spiral and key pattern art, terlaced Viking animals, and Celtic knot patterns (see Figure 1.2 and Figure 1.3). Animals and knot patterns are twisted of Incorporated to become Initial letters of sections of the text, So the Book of Kefls shows the 2.| Great Book of Celtic Patterns blending of the pre-Christian Celtic art with the Viking influence that had established itself in the British Isles by the time ofits weiting, Figure 1.2. This page from the Book of kes features the symbols forthe four evangelists. Matthew is represented by the man, Mark by the lion, Luke by the calfand John by the eagle. Great Book of Celtic Patterns; Chapter 1: The Origins of Celtic Knots Timeline of Celicic Art 550 AD 600 aD x 700 AD 730 AD 00 AD COX oe OS EDs EUW) 750 AD - 840 AD Early Celtic Arc Cortera el 0) ter rrel ete) BEES Pcl ee ye ey Ese mea Oorre stage JeLling scage 4 | Great Book of Celtic Patterns DS < He AG ne a2 as bs a2 E3 COUR) TDammen stage SOLES BELT. Dy OLE se Ne Chapter |: The Origins of CeLcic Knots ThcOseberg/Bras —_lnelcingand his deconions ae Figure period, between 750 1.6). The ribbon bodies of the animal during this ADand 810 AD,» pidgin to onan thon doorton comet feat of of lle ites, pet oom pao the Ring tote Tho mest fhe nitnal ae opened ad ii Antnlshnfsll—Upearesseided baci Kao petra Ins nie Spel ian aco al Figure 1.4.Early Viking bodies created with ‘The fourth stage of Viking artis called the Smakhadtite ured nes. Often, Slammenstage, cca 0 AD 1050 AD. More Mimabiheyiepened, stank cannot relat or ata boldenone alma plc the particular species (see Figure 1A}. Geametric stylized animals of patlere steed tostrocnd he sll noi caer work Yt the "The on notable Vig aint tages bolle hte animal called the Gripping Beast or Great Beast, often now include very taking on a dragonlike appearance. complex decorations of Between 830 AD lines, dots, and stripes Figure 1.7. ani 970 AD, Viki (sce Figure 1.7). The imalscanc a ae 4 Imterlocking shapes at moved into its spiral patterns along ihtherboches and second stage: the the hip joint and jaw those bodies can contain pattemns ane designs Borce stage. Animal line become more bodies become thinner, exaggerated. Plants aiid leaves begin to appear in the artwork, The feet of an animal may often be more eibbontike, and begin to intertwine of Figure 1Sstotelacking hard to distinguish because they can take on the See eae gan av earance of two or thee plant eaves Curved bodies begin fo appear ung ti By 980 AD and through 1050 AD, bath animals twarch sharply. During Bor Stage and knot work appear, This is the Ringerike (ovine within the design, this stage the ring-chaia pattern is notable and is stage, the filth stage ‘one of the fitst interlocking repetitive designs of of Viking art. Small, Celtic knot work. This isthe first appearance of thin tendrils are added the interlacking knot design as part ofan animal’ to the designs. These body or as a stand-alone pattean (sce Figure 1.5), The Jelling stage, the third stage of ‘Viking art, probably thinner lines split from either the line work or the animal's body to carve and Figure 1.8. The Ringerike stage shoves the heavily Influence on the deverated bedy designs (see Figure 1.8), The of the animals. had the greatest curl independently animal bodies lose Cette art of today Between 890 AD aid much of thei imterlor decoration, and the eyes Figure 1.6.6 10000, 000 AD, the Viking begin tv take on a strong almond shape. More the animal frm hod theanimal form ted 4g —alimal designs bocame elaborate fllage appears, as docs the use of plants intricate patterns intricate in both thei and vines as framework to the main design. G | Great Book of Celtic Patterns . Between 1010 AD and 1150 AD; animals can incude more than one head, and snake hove, sotpents, and dragon heads are often part ofthe pera, The open mouths establihed during the Jeling stage now grip or bit other animals, oF the head and neck f the animal turns hack pon itself to graspts own legsor tal (sce Figure 19), The round eyes ofthe ealie stages have been fepliced with almond eyes. The Figure 1.9. Late viking animale cancain bath thick and thin line work, which often creates 2 random knotting pattem. eect often tain back tes (graxp the fegs or tail spiral hip joints become ‘minimal yet sil remain, By this stage, animals have become the Celtic knot pattern, their ‘bodies interlaced upon themselves and with other animals of inserted geometric designs. This sith or last period of Viking artis called the mes stage. PV Cea ele ReL Viking animals are an important part of the Celtic Knat work design style The major ‘animals include deer, wolves, birds. and ‘dragonlike creatures. Snakes are often found in Viking knot wok but many of the easly animals a so stylized that they cannot be identified. Both the Celtic cufture and the Viking culture believed that adorning an object with an animal gave that object the strength or atnbutes of the animal shown, yet there sno evidence that individual ‘animal matifshad special symbolism, spintual powers or association with specific gods, eties or mythological stories. Nor do any individual knet patterns hold a symbolic meaning. Animals. animal knot work, and line knot work can be used interchangeably 1 create a Celtic design, andall three can ‘eppear within one pattern. TDooerRN Celtic ART ‘One of the last major Viking eaids occurred in 1066 when the am Anglicized Viking, defeated the Viking army saxon King Harold Godwinson, led by Harald Hardrade. Ironically, Godwinson was defeated later in the same year by Williams, the Duke of Normandy, and his invading army, ‘William was also of Viking des Although thecarliest Vikings arrived inthe British Intesasinvaders, Scandinavian peoples. including the Vikings later settee into the areas farmers, estublishing villagesane smalltowns, Dublin, Ireland, was originally aViking settlement, Before theVikingpeoplewere absorbed intotheBritish cculture, ound the eleventh eentury,they would, expandthelr ares ofinfluenceintathe Byzaiitine tablish trade with Arab merchants,and to the Middle East, Empice, ereatetraderoute Considering the pre: Christian’ Celtic love for repetitive geometric patterns, spiral tarns, and lowing curved lines, it is casy to understand how the Cekic artists Figure 1.10. Today's Celtic and Viking animals ‘an incorporate some or allof the elements of the Interlocking Cekic kro of Ireland, Scotland, Wales, and North Bri the intricate knat desiges and animal motifs of the rould embeace Vikings. Today's Celie knot is an incorpoeation of all the cultures that inhabited the British Isles during the eighth through twelfth centuries (see Figure 1.10}. Great Book of Celtic Patterns elec A GALLERY USING CELTIC KNOT WORK IN VARIOUS MEDIA. ‘Now that you understand the history f Cetic knot work let's takealeokat some examples of knots used in diferent media to get you thinking about how you might want to use Celtic art in your particular craft. You wl find variety of knot work on these pages, everything fram simple twists and braids. to.complex interlacings and large knotted designs. As you browse through the examples youll notice that Cet knot work ean stand alone or be part of an overall plece of art and that the interlocking andi Interlacing designs can alse forma fiamework for ather art. ve also pointed out how elements fom the six stages of Viking history have influenced some ef the designs, Chapter 2: GaLlery Ce Sena RAR Laat eee ed Ree eed Pesto ote) coer 10 | Great Book of Celtic Patterns eee eee Der emt) ‘Man fece is surrounded eet) rena eee ed eee es Pent) Ce ees Cred tea Cera eens size ofthe Drogon Flight rete ny re el Cee eae Crete Sets taehetuaiee eee eee eee! eee ee pee ete ea we for this projectean be Cone aoe Great Book of Celtic Patter Che ORIGINS OF Celtic Knots AN INTRODUCTION TO THE HISTORY OF INTERLOCKING AND INTERLACING LINE DESIGNS Todays Celtic knot work, the topic ofthis book, Features complex designs that developed over several centuries in Scotland Ireland, Wales and North England, with song influences from the Viking culture. The fst examples of knot work in Ceti art appeared ater the fst Viking Invasions of Britain circa 600 AD. The Viking influence upon Celtic art continued through si stages of Viking artwork until 1150 AD. In this chapter, well take a lookat illuminated manuscripts—wnitings that were embellished with hand: decorated and gold eafed borders letters anc itustrations—of the Christian Bible and explore the merging of there different cuttural art styles into what is known today as Celtic knot work. ead Pecan ee were used to create the shaded coloring prot eerieioy Crea weadburned tones, ee ens otc eet eat ed Chapter 2: GaLLery Cee econ) eee aes Spedal spoons or scoops were carved eee et er eerie te et eae fee ee eet eee eee Cee eer decorated by waodbuming he knot eee ease ate) [yee teria ‘This LeaTalled Dragon would bea perfect accent forayoung lady’ jewelry box or hope chest. \Woceburned on birch piywod, the design alzo includes aitle lettering to personalize the burning Noties how easy it isto adda small knot to the lettering togive the name aCelclook The Mammen stage of Celtic art Introduced organic laments, such as this dragon’ lea tall The pattern fortis project can bbe found on page 135, Great Book of Celtic Patterns | 15 Chapter 2: Gallery Dae ee aad Pre raaenree etre eet iat ure tele ease trea ee eee ee tee ee tee ees ee ee eee tree ied Cf Viking/Celtc arework The pattern far this project can be found.an page 172. 16 | Great Book of Celtic Patterns Religious crosses, such as this Citic Cross 2, are popular patternsin today's Celtic art. Though thls project was created by weodzurning a birch plywood blank, it would be as beautiful ‘atved,scrollsawn, oreven stitched a3 an appliqué quilt top. The patter for this project can be found on page 181. Great Book of Celtic Patterns}: 17. Chapter 2: GaLLery Ce oe ie) Ss Caner ear reIRE PULA el | eepaanalingl 71 ra average Po setae te ayy eres avert re tania aio doen ice aaiaa, Fece ears werent pocroes genie eared | wa Coe eee aC i a) Gréat Book of Celtic Patterns been Sag yaa ei ae) cs “ (bao aki NR ee Muchoth etnrrnee rine erica ut Ay Dee eke ate eee et cea tens Seer rg cover sever thicknesses dl cardboard and secured the area with straight pink Ce a eres the painting with water and splattered the ehtive area using a toothbrush. Tithe nics teh ene tl eu) een aaa e ata Great Book of Celtic Patterns | 19 Chapter 2: GaLlery CCebic not designs lend themselves enero rere ee eal ee Pecan etry paper. The outlines of the tracing were eMetrics Lee ee) ee ere es Ea er a eas pote ahaa eu Eee ener! Celtic Line ANO KNot PATTERNS ‘UNDERSTANDING TWISTS, BRAIDS, AND KNOTTED LINES Interlacing and interlocking line designs come in a variety of twisted, braided, and knotted patterns, know as straight-line designs. The simplest type of straight-line design isa twist. Adding additional lines turns a ‘twist into.a braid, Other types of straight-line designs include stand- alone patterns, such as one-line knots and multipie-iine knots. The most complicated types of straight-line design are tangle designs. In this chapter, ‘well take look at how to create each of these designs. (ep N 161 ae a Chapter 3: Celtic Line AND Knot PACTERNS REPEATING PATTERNS IN STRAIGNT-LINE OESIGNS CUISTS Great Book of Cel Although some are complicated tangles of interlaced loops, most Celtie-style knot designs tase a rhythmic repeating pattern to create the final line work, Those repeating patterns can easily be seen in straight-line designs, Celtic lines can also be made up of interlocking, self contained knot patterns and inserted knot units. Free-flowing lines interlace whereas independent self-contained knots ean interlock. Within any Celtic knot, twist brad, oF langle, the lines that ereate those knots follow an over anch-undee pattern of weaving. Each line will ecoss ‘over another line at an interseetion, At the next Intersection this same ling comes 10, it will be ‘woven under the crossing line, So each lin will 0 over one line, and then go under the next line the intersections ofa line continue throughout ‘Twists are the simplest line designs for Celtic knot patterns and are creates when two or more ines ae laid one over the ther to create an ntrlocing patern See Figure 3.1 and Figure 3.2), Twist patterns always repeat the over-and ander rhythm, [A tilt patter ie vill adapted ts specie meanurement need tx peteen work simon each telat unit ental io all other twit i the Line You can vary the height and wikkls ofthe twist, and each pattern can contain several diferent height anc width variations (sce Figure 3.3 and Figure 3.4). Several sets of two-line twists can be combined or laid over each other to create more complicated. looking designs (see Figure 3.5 and Figure 3.6). Twisted li Celtic knot design, can use both curved sides and patterns, as with any angled sides (see Figure 3.7), Twists are per for straight edges, curved or circular designs, and curved corners. Simply add or subtract twists Patterns the design in this over-and-under pattern, that pattern is called a perfect weave. For some pattems, because insertions have been added or because the knot pattern is used to frame an inner design, that oyer-and-under ‘weaving pattern can be broken or disturbed, You will ind several patterns in the pattern section where one line is forced over two or more intersections or forced under two or more intersections. These types of non-continious ‘woven designs are called imperfect weaves Discovering the repeated knot or interlock pattern will allow you to easily adapt that knot design to corners, circles, and free-flowing, artwork in the following chapters, Let's take a ‘loser look at each of these designs. from a twisted line pattern to adjust that pattern to fit your particular project requirements. By dropping a twist, you decrease the length of the line pattern, Ifyou add twists, you increase the length ofthe design (see Figure 3.8). Figure 3.1. Two lines twisted one across the other over ‘aneven spacing creates the most basic of interlocking line patterns. Notice how the top line always falls over {he bottom fine of in ather words, how the left ine ‘blways crosses over the ight line, + + Figure 3.2. The sizeof the line patteen can be changed! by widening the spacing or by widening the height ‘of the curves within the tet, but the everandiunder rhythm ofthe line remains the same. + + Figure 3.2. This ine hat s simple repeat of one lange twist folowed by ane small twist creating arichrack look, Again, the ever-andl-under rhython ‘of the line remains Figure 34, The number of small and large twists ‘within one line can be easily changed, making this pattern type extremely versatile Figure 3.5.For this pattern, two sets of rvietng lines have been interlaced. Each set contains the identical one-large-tiat-and-one-small-twist pattem. Even inthe fourine twist, the rhythm of the interlacing, remains the some in every repeat ofthe pattern. 2 + Figure 3.6. Here, the two sets of twisted lines ere diffeent from each other The outer twist contains & ‘one farge-twist-and-one-medium-twist pattem, wh le the inser twists created with a thiee-smalltwist-and- cone-megiumetwist pattern 2 2 Figure 3.7. This pattern uses two sets ofidentical twist patterns. Each twist contains one curved side and one angled side to make the diamond edges. Figure 3.8. This sample has three twists within one larger twist atea, The number of times thet ou repeat the twist pattern determines the length of the line, Great Book of Celtic Patterns} 25. Chapter 3: Celtic Line AND Knot PACCERNS Oralos Interlacing thece or mote lines creates a braided pattern, which is lightly more complicated than a tovist, Here are samples af basic three- (soe Figure 32.9), four: (soe Figure 3.10), and five-bne (see Figure 3.11) braids, Usually, braids are worked with an evenly repeated spacing, but you can vary this spacing, ac shown in Figure 3.12 and Figure 3.13. Braids do not have tobe created. with the same size lines throughout, either. Braids. are excellent design choices for borders, straight edges, curves, and comers and can be used to fil very large areas of pattern work ina lattice effect, es Figure 3.9. The three-ine braids the most basic Interlocking line patter, e+ Figure 3.10, Working a braid with four lines ads an X pattem to the center of the braid. 26 | Great Book of Celtic Patterns Figure 3.11. The fve-ne braid begins ta take onthe look ofatticework. The mare ines you add to a brad, the langer the center ofthe latticework becomes. + + Figure 3.12. This patier ies one pair of thin lines in ‘contrast fo the second pair of thick ines. Even though Infellows the fourine braid weave, by changing the size of the loops In diferent areas, the overall ook of ths braid ie altered Figure 3.13. Twist and breld patterns can vary in the numberof lines used, in the sizeof each loop: ‘tea used, an even in the thickness-of the lines that areinterlaced, Knocced Lines ‘Once you've mastered twists and braids, knotted Lines are your next challenge. When making Iknots, the line turns back upon itself to create thei tetlacing. Knots can he created using only ‘ene line oF using multiple lines, and they can be as simple as one loop or as complex as multiple oops that become tangles, If you wish to completely fillan area or move from one design pattern into another, the knotted Let's take a look at Line is an excellent choi the three types of knotted lines: one-line knots, rmultiple-line knots, and tangles. One-Line Knots “The one-line knot pattern is a common theme in Getic work tcan be as simple asa one-line twist (Gee Figure 3.14) The look ofthe knotted line can be quicly changed by adjusting the shape of the oops and by adding angles within the loops 4 (see Fignre 3.15 and Figure 3.16). You ‘can thtead the line through the loops of a bev knot as many times as you wish to sreate larger Aknot patterns (sce Figure 3.17). Very simple looped knots can often exeate beautiful repeated patterns that Mow throughout the artwork {see Figure 3.18), Figure 3.14 This simple nat pattern turns back upon itselfin one oop, stil repeating its coverand-undsr rhythm throughout the Ine. You canvsee that the upper line of the loop always les over the curved a1ea ofthe loop Figure 3.15.Forthis sample the line creates a loop, as in Figure 3.14, butthen s threaded ‘Uvoush the opening made by that loop. Thisisa halfhitch knot. Figure 3.16. in this pattern, the knot has been stretched to make along knot, plus one cof the loons is angled while the other retains 2 curved profile, Figure 3.17. ven though this knot intarlaces thee Limes through ts oops, the overand-under fhythm remains the same Inallof the knots. Figure 2.18. ecouse these samples use simple knots, your eye cen Quickly follow the overs anchunder tythin that leads into the next kot Great Book of Celtic Patterns 27. Chapter 3: Celtic Line aNd Knot PacceRNS 28 | Great Book of Celtic Patterns Figure 3.22. This pattein sample Is made up of three Identical tangles. ivthin the actual knot pattern, the line turnsand interlaces itself over and over again until ‘the knot area has been filled Figure 3.23. The shaded version of ths knot pattern hows beth the under and over interlacing of the pattern as wellashow the knot is repeated to create the Final line. INSERTED UNITS Some Celtic knot patter wave inserted units that are self-contained, These inserts enhance a simple twist, braid, oF knot pattern. Circles (see Figure 3.25), igure eights commonly inserted units. Inserted units ean be and diamonds are some tused at every intersection to enhance a corner cor centeal point in the line. INTERLOCKING UNITS Just as self-contained units ean be added to a Tine design, several self-contained units can be Interlocked to ereate the knotting pattern of a tine, With interlocking knots (see Figure 3.26). each knot is woven into the knot behind it and the knot ahead of it to continue the line movement. jure 3.24. This Viking animal sample shows how a tangle knot can) betused tof the space of adesign. The tangle Iscreated using four Interlaced lines. One line Inthe basic spiral knot created by the dragon's bboy That body spiral interlock with a two-line mirrerimage knot, The fourth tangle line is from the elongated muzzle ancl also laces withthe turor line mirtorimage knot Figure 3.25. This pattern isa simple twist design using tw ines A ccle design has been added atthe intersections of the twist, Figure 3:26. 7his pattem Isereaed by Interlocking one 1lfcorteined unt wath another Each unt one ue and another tniton the other side Repeating this pattem: keeps there growing Great Book of Celtic Patterns)})'29: PLOTTING ANO Grapbinc Knots USING GRAPH PAPER TO CREATE AND MODIFY KNOTTED LINES Graphing or plotting a knotted line is the easiest way to create new layouts and new knot patterns.To plot aline pattern, you will need graph paper, colored pencils. and an eraset. The scale of the graph paper, rom four squares to the inch to ten squares to the Inch,acts as.a guide to the size and thickness of your knotted line. Using graph paper with fewer squares perinch will give youa large and thick knot. The more squares per inch, the: smallerand thinner your knot will be_Let’s take a closer look, Ae Se LS Di Graph paper, or a photocopy of the provided sheets 1 Colored pencils. OD Eraser Chapter 4: PLOTTING AND Graphing Knots ©XERCISE |: PLOTTING A SIMPLE KNOT PATTERN ‘This isa simple hall-hitch knot pattern that ereates a heart shape. To ereate a the pattern, graph out and connect the lines, as shown in the dlemonsteation below. Startatone end of the thread, and notice how the over and-under patlern that we saw throughout Chapter 2is repeated here. With a colored pencil, mark where the knotwill touch the intersections of ‘the graph squares. Note how the graph paper can guicle youn creating, both straight and diagonal lines. The fst pencil plotting will have angular comers, These will become curved lateria the graph work. 32 | Great Book of Celtic Patterns r ‘ 3 ‘Once the knot has been plotted, connect the dats with 3 pencilline. tither side of the original line. As you establish the thickness of the line, also smooth out the curves in theloaps, ens cise i in Place your finger on one end of the knotted Ine Fol theline up tothe first intersection of your knot. With a pencil, mark the line as ying an top of or over the intersected line, Move you finger along the same line to the nextintersection. Here, mak the line a: going beneath or under the second line, Continue marking the intersections in an over-an-uneler pattern untlthe entire knot has been worked. Great Book of Celtic Patterns |) 33, DAPTER 4: PLOTTING AND GRAPHING Knocs ©XERCISE 2: CREATING A NEW PATTERN FROM A PLOTTED PATTERN Now that you have ereated a hall-hiteh knot, lets alter it to make it a self-contained knot by looping the lines back theough the design and joining them together, Study the pattern You can see the basic heart shaped knot showin in Step 1 of Exercise | within this new pattem. In the previous exercise, the knot ened with straight tines For this patter, those lines wl be looped back into the knot tojoin tthe top of the heart If you trace your fingeralong the path ofthe knot, youll notice that the overandhun der pattern is still present. Plot the original heart-shaped knot patter in red ink Here, [ve marked ‘the ends of the lines at the bottom of the heartknot in gold. These gold. plot marks will not be used in the new knot. The-blue plot marks show ‘where the end lines loop backinto the knat to join at the top of the heart, oe oo eee ele ° e ee ee So Here isthe new pattern plotted out. 34 | Great Book of Celtic Patterns. F 58 Zens draw 3 guideline connecting allof the plot marks. BW JS Mite tne othe tthe of the knotted line. BR Place your finger on one area of the line, Move your finger along that line, marking each intersection as an over or under junction, Great Book of Celtic Patterns 35. Chapter 4: PLOTTING AND Graphing Knots ©XERCISE 3: CREATING MORE COMPLICATED PATTERNS FROM PLOTTED DESIGNS As you become mote at ease with plotting Celtic knots, your will begin to work more camplicited designs from the patterns in this book. Bs king a line into two segments then lengthening those new segments isa simple way to give your pattern more depth. Study the pattem, This one is worked from the knot wejust finished Inv Exereise 2, and you can stil see the simple heart pattern knot fram Exercise 1 that both knots are based on, Using red, craw the plot marks that will be incorporated from Step 3 of Exercise 2, Because this new pattem willneed space for the adgitional limes inside the loops of the heart, the original laops (gold plot marks) have been changed. Draw the larger loop in blue plotting marks.The gold plotting marks will not beused In the new design, 36 | Great Book of Celtic Patterns: interlocking lines as you like. Here, 'lbe adding Here are the plot marks for the new knot up to this point. You can make the laops as large as necessary to create room for as many new ust one additional line [Extend and cross the original interlocking lines that run through the ‘center of the heart, shown in red, to break the line into two places, Use blue plot marks to show where these lines will eross in between the two Ioops then fold back down into the loop areas above the original interlocking lines. The gold plot mark will not be used in the new design. Great Book of Celtic Patterns 37. Chapter 4: PLOTTING AND Graphing Knocs ©XERCISE 3: CREATING MORE COMPLICATED PATTERNS FROM PLOTTED DESIGNS (entinued) Add a pencilline ta connect the piot marks You can see the two new lines inside the upper sections of the loops. 6 Widen your guideline to the correct thickness for your knot. 38 | Great Book of Celtic Patterns Place your finger on one end of the knot Follow along the line, marking each intersection as an over or under junction. F Great Book of Celtic Patterns | 39. Chapter 4: PLOTTING AND Graphing Knots ©xercise 4: BREAKING A KNOT PATTERN INTO MULTIPLE LINES New loups and tuené are not the only elements you ean auld tea platted pattern You can alse beeak the pattern lines into new ecctions Lo eteate multiple-line patterns. Study the pattem. Again, this pattem is worked from the previously. plotted pattem for Exercise 3. The new pattern contains tvo lines. Onetine is very similar to the original heart pattem in Exerciso-1 {tisinterlocked with a second line that encircles the heart Begin by plotting aut the pattern from Step 5 of Exercise 3, shown in ted plot marks. The loops of the original heart shape are marked in gold and will not be used in the new pattem. Widen the loops to allow room for the new intersection lines, shown in blue, 40 | Great Book of Celtic Patterns i i ' Break the bottom tight loops into two individual fines. The new plot marks are shown in blue; the old plot marks in gold ‘Your new design should have three apen-ended lines on each side of the heart area, rer Great Book of Celtic Patterns |) 41 Chapter 4: PLOTTING ANO Graphing Knocs ©xercise 4: BREAKING A KNOT PATTERN INTO MULTIPLE LINES (continued) ‘Connect the upper open-ended lines to each other by plotting a laige loop below the heartares, as shown in blue. 6 Draw pen line between the plot marks to connect the dots. 42 | Great Book of Celtic Patterns =~ 7 ‘Widen the guideline to the thickness you want for your fished knot. Place your finger on one endl of the knot Fellow that lina, marking each intersection as an over or under junction. Because thes pattern is created Using two separate lines, you willnced to repeat this stop for the second line, continuing the over and:-under layout for each junction point. The Next StEps “Any type of Celtic twist, braid, ur knot can be plotted and akered ia the same manner. If you ‘would like to practice on some de plotting the illustrations in Chapter 3 and then ‘altering them. ‘Once your knot is plotted, you'll want to trace itonto plain paper. Aller you have become familiar with the process of graphing Celtic designs, you may also want to try out one of the drawing of Calsic knot computer programs that are available ‘These may help speed up the process. Your final iMlustration should show all of the over-and-under sections clearly, similar to the final step in. cach of the exercises shown here F Great Book of Celtic Patterns 43. Chapter S Layout loeas CREATING BORDERS, CORNERS, AND MULTIPLE INTERLOCKING KNOTS Once you have created a knot patter, it'stime te place that pattem ina layout for your design work Interlaced and interlocked patterns are easily adapted and ean be used for any design area, including line work. comers, ciicles and cameo motifs Ths section will explore afew ofthe basic layouts used with knot pattems and lines. 46 Chapter 5: Layout eas basic layoucs ‘The half-hitch pattern, of heart, that we plotted (sec Figure 5.2), A self-contained knot ily in Exercise 1 in Chapter is an exeellent knot be placed in the corners of along the sides of a sample to show how layouts can be arranged. Two square (sce Figure 5.3). By orienting the hearts to oF more hearts can be steung together side-by- diferent positions, other complox designs can he side (see Figure $.1), or they can be intertwined created (sce Figure St to Figure 5.5) Figure 5.1.(0 ths sample, the heart knot has been conneciedto ceate a straight-line pattern with ‘gach knot standing alone, Figure 5.2. Heve.the lonpsof one heart interiace withthe loops ‘of the next heart kt This pattern connects rvttiple knots with new intersections Great Book of Celtic Patterns Chapcer 5: Layout be CORNER IOEAS 48 Line designs will necal to be adjusted when they are used around the corner af a equate ot rectangular layout pattern, and using a different knot pattern in the corner gives greater emphasis to that comer-area Several visually interesting aptions are available for corners. One option is to create a corner by overlapping two one-line designs that end Figure 5.6, This comeris created using two one-ine designs Each line hes # finial ‘which Is an arlded decoration on a line to stop of break that line, The finials are ‘allowed ta simply overlap at the corner intersection Great Book of Celtic Patterns in finials (soe Figure 5.6), A second option is to interlock two independent line patterns (see Figure 5.7). If your design incorporates braids, the braids can be woven together to create one sell-comtained corner pattern (see Figure 5.8). A final option includes the use af newly created knot patterns that are simply placed over the comers (see Figure 5.9 and Figure 5.10). Comer motifs canbe placed directly over the adjoining knot lines so that the lines disappear under that motif “As you've seen in this chapter, not all knet patterns are self-contained, meaning that riot all knots are created from one continuous, connected line, Geltic knot patterns and lines can use finias, can have added decorations oma line, and can have stapped or broken lines, Figure 5.7\n thi: sampla, the corners alto created fram tao independent line pattems. The open loop atthe end of one line allowed ta overlap and there interlock with the loop of the secondline. OlpNeTes:4 6 PATTERN CDANGES ALTERING DESIGNS TO WORK WITHIN A SPECIFIC LAYOUT OR SPACE Because there are no rules in Celtic knot work other than the aver-and- under pattern of intersections, knotted line pattems can easily be changed for adjusted to fit within the space requirements of your craft or art. Splits, points, and insertions are just a few of the ticks that can be employed to alter Celtic knots to fit any scenario. Each of these-changes is equally easy to accomplish, and several can be used together to create a new design. 52 Chapter O: Pattern Changes Spliccing che Line ‘The lines within a Ci tie Knot pattern can be split cot divided at any place inside the knot, These split sections ca fallow the original linc ever: and-under lacing pattern, or they can become ‘sow lines thas interlock independent form the original line (see gure 6.1), Split lines can even join other split lines to create new loops within the knot (sce Figure 6.2). Adding split sections to your knot pattern creates more overand-under work within the lacing. It also gives variety tothe fine work within the knot because some of the lines will be thick ‘comparison to the thinner split lines, Figure 641. The O-ring knot patter op) employs 4 line ofthe same thickness throughout the design. Ithase simple and easy-to-follow interlacing. The bbottom samples based on the above D-ring knot pattem. In the new design, the right-hand se of ‘ach curve inthe knot has been spit into twa pieces. Each part of the split line has then been allowed to Interlace. The very simple knot trom the Dring pattern ‘now har a compl look The use of thick and thin line areas in the design emphasizes the wide vertical ‘nd horizontal croseed lines. Great Book of Celtic Patterns Figure 6.2: The body of this double bird pattern salts at the top of the circular loop, one spit Ine per side ‘Those two spit ines then join within the loop ta create knot inside the citcle area. The long serll feathers {at the top of the desigh aso jin to become alknot pattern, This design shows the use of tick and thin lines, with the body area being the widest portion of the line and the spit nats becorning the thinnest ADDING ANGLES ANO POINTS TO FILL youR SpAce Adding angles and poi Lends intoxest to the and flowing pat hl eye to that area of the knot design (soe Figure 6.3). Cw . Cay . Cay Figura 6.3. Tit i 4 tnvo-line pattern that has open areas betiveen the knotted sections f the line, Angles have been used to emphasize the tangle shape within the main knot. ADDING INSERTED UNITS Inserted units ean be added to fill in an otherwise ‘open lacy design (see Figune 6-4), Squares, diamonds, circles, and heart designs are simple inserts that can add interes to a knotted ine design Figure-eight designe and self contained knot designs can also be used to create a more complicated look, ADDING SPIRAL TURNS ‘Twisting spirals that continue the over-and-under pattern of the knot can quickly and easily fill out any open space in a knot pattern (see Figure 6.5). Scretching the LINes ANO Loops Angles and points an be added inthe Loup areas to bring the design down to touch the outline of pull pate etched to Figure 6.6). phew WO A ‘the original knotted ine design. The point of the heart has been placed to match the points created in the orginalloop. The pattern now has a sold feeling tt. Figure 6.5. Thesenew a * loops can be circular or pointed or some of both, as shown here, depending on the area that you need to fill Figure 6.6. Loops.can be ulled andl stretched t filopen areasina design. Here, one ofthe lower oops hes been pulled vad the center of the. knot paitern and has been sharply pointed to. filtne space. | Great Book of Celtic Patterns 53, Chapcer 7 FINIALS FOR INTERLOCKING OESIGNS USING ANIMALS, LEAVES, AND SCROLLS TO FINISH KNOTTED LINES ‘Adding finials, the ornamental elements that cap open lines, is a great way ‘to add interest to your Celtic knot work In addition to-completing ary open lines in your designs, finials ean establish the style of a design through the use of historical elements such as Viking animals and Romanesque leaves, or other embellishments, such as scrolls and flowers. And, because interlocking line designs are used in so many art styles and throughout many historical periods, the variety of finials is wide open to your imagination. You may ‘even decide to break some of the lines in your knot work to allow for the addition of finials In this chapter, welll take a closer look at ee the various types of finials that cover the end of a line. Chapter ERLOCKING OesiGns Dow to add finiaLs TO YOUR OESIGNS Figure 7.1. This Celtic knot pattern has twa open: ended lines that can be adapted to create aking animal design using Fina Figure 7.2. Stylized arimal heads have beon added to the open lines ofthe knat in Figure 7.9, Notice how the head scrll ines interlace with the knot and the ‘auths and! tongues alsa interlock. These particular animals have three seral ines coming ftom their heads. The longest scrolling the ane on the outer edge ofthe pattem, ices twice through one loop of the original knot pattern. The two smaller ones lace as a set with one over the criginal loop and the nect under the original loop, keeping the thythm of the knot Great Book of Celtic Patterns Lots take a look at some examples of ways to add finials to your Celtic knots. The most common ways to add finials isto add thems te 1a knot with open-ended lines or to breake a knot to create open-ended lines for your finials, ‘Figure 7.1 shows a simple, open-ended hnot that isa perfect candidate for the addition of finials. In Figure 7.2, Ive added stylized animal heads to the open line areas, Notice how all of the elements keep the weaving pattern of the design. ‘Figure 7.3 shows a self-contained knot that con. be adapted to allow for finials by breaking a line to sreate two open ends, Figure 74 illustrates how the finials were added to the broken line Figure 7.3. This self-contained line pattern can be ‘adapted to accept finals ky bres ing one line tocteate the openers that ae needed to accept the animal heads. Figure 7.4, Here, the top arched line of Figure 7.3 has ‘been broken to allow forthe adltton of this pal of stylized bird heads. Notice how the birds grasp the knot line below. Leat-styled feet have been addect 10 the angled loops ofthe original knot, Whenever you add finials to your work, youll find that it's best ta do go in pairs, even if they ‘have the illusion of being 4 single unit, to keep -with the weaving pattern of your design. A one line design, for example, can easily be changed nto a Viking animal with a ewisted tail and ‘enpvined neck (see Figure 7-5}, a briar rose with interlocked stem and leaves, or even a classic Romanesque ucantin leaf design: Your finials eee a Figure 7.6. This knot features two very estinct animal heads as finials, Notice howe can also be two distinct units, such as two animal they are incorporated into the weaving pattarn of the design. ‘heads (see Figure 7.6). Adding two interlacing sateas from a finial isa way to enhance this effect. ‘This means that one arce will become the over” part and the other area will become the “under” ‘part that keeps the rhythm of your knot design {ove Figure 7.7). Figure 7.5.tn this design, the knot petter animal’ body, legs, and tail Though the animal makes ‘the design fe! ke @single unit the bread nd the tell serve as the tne flals capping the ends ofthe knot, This particular design cantains aninserted figure-eahn Unit that ades more dimension to the piece. Figure 7.2. Celtic hnots can be windows or frames for ‘Wiking animals This knotted pattern contains a large ‘open circle, The space within that circle can be filled with any design or pattern The tivo head scroll inials keep the rhythm of the original frame knot. The ail feathers are split to retain the overanchunder weaving, pater when crossing the circle Great Book of Celtic Patterns 57. Chapter 7: FINALS for INCERLOCKING Oesigns VIKING ANITDALS AS FINIALS Figure7.2. The tap row shows the classic Viking deer design, Deer antlers Me , ‘re alten shaven 9 curved 2 sxrolllines.The second! row show the Viking hate, andthe bottorn row shows the srake pattern. 3 “This spake head can also Sustains nae Figure 7.9.0093 and ret waver) damon = = topeteana hung ee frope seb hoon > Sees = > pu gonad ae F AY axe 3 eos aoe oersedthe che) Q tae carpio S ebeedeome Figure 7.10. ids ‘were afavonte Viking image. Their beaks can be stretched to clasp the knotted line, sod theirtopknots are often clusters of sev lines ‘that tangle with the knot patter. Figure 7.11. Awide variety of eg, feet, and {all designs go wath the, ‘Viking animal heads. ® Great Book of Celtic Patterns ‘Viking animals of al sorts make interesting finials. Beeause the animals are so stylized. it is ‘often hard to determine exactly what species an animal represents. Figure 7.8 to Figure 7.10 show examples of what artists have come to call deer; dogs, and birds, Figure 7.11 shows some of the different ways to styize your animals’ fect and tails. Legs in these designs tend to appear as if they were attached to the animal’ body as 4 separate piece, and that attachment point can happen anywhere within the knot design. As you can see in Figure 77, feet can be anything from a very simple hoof design te twisted and ‘curved toes, Some f even appear tw become lcaf patterns, Tails are important parts of Viking animal patterns because they can easily be lengthened or stretched to interlack with the original knot (see Figure 7.12). Additionally, Viking animals have no rules regaeding where heads, legs, bodies, or tails fall within a pattern. Any ofthe Loops in the original knot ean be aed to ctvate any variety of body parts, Figure 7.12. Notice how the tal is lengthened {and how its the only element of this Viking ceer pattern that twists and interlocks. This keeps the deer 45 arecognizableimage yet silhes the fun of the ‘over-andl-uncter weave pattern found in Celtic knots Ocber scyLes of FINALS [Aside from Viking animals, many p canbe ald LIMA PL ye Co (é Figure 7.13. Leaves lowers, and other orcanic materials create a Figure 7.14, Geometicfirials add acris finish toa line. lighter firished effect and give the overall design a beautiful air Great Book of Celtic Patterns ‘59 60 Chapter fo] Revol a] ORO oie) @115) Let look at a variety of ways finials ean ‘enhance your designs. Breaking a sefcontained knot allows for the addition of serolls ar more complex designs (sce Figure 7.15 to Figure 7.17), Figure 7.15, This self-contained twist pattein would make a wonderful accent point to any craftworkand can be easily modified to accommodate finials. Figure 7.17. Here the knet fiom Figure 7.15 has been transformed into s Romanesque-style design. Leaves have been added as finials and incorporated into the Interlocking pattern Figure 7-16. Breaking the knot from Figure 7.15 at the top loop allows forthe addition ofa simple scr finial. These serolts could now be interlaced with another knot pattern stright accent ine, or even ‘9 monogram letter, Great Book of Celtic Patterns Aare vin np Simple, selfcontained mirror image knots lochere the tap part ofthe knot is identical tthe lower part of the knot) can provide an excellent starting point for adding finials Ice Figure 7.18 to Figure 7:20). Figure 7.20, For this sample, the leef pattern from Figure 7.19 hai been changed frome leaf nto 4 realist af design, Notice how the tips of he leaves have been elongated to inteace with the lee stems. Hips 7.80. Ti wllccitaelirevinuebactea Marigerceonie kandi natun Rosoeaanen potas be easly broken to include finials and friezes. Figure 7.19. The knot pattern in Figure 7.18 has been broken atthe center to retain one half ofthe original pattern. A VikingyCete leaf design was added to the ‘opervended nes F Great Book of Celtic Patterns 61 Chapter 7: FINALS FoR INTERLOCKING Oesigns Recogntzable symbols can make great finials anel ean change the appearance of a design dramatically, In Figure 7.21 to Figure 7.23, simple knot was used to efeate 4 bird-eatehing- acfish knot and an Irish thistle knot. Figure 7.22. Here, the top line has been Broken and ‘animal heads have been added, The original pattern fram Figure 7.21 has gone ftom asimale knot toa Figure 7.21. This simple pattern is a good starting bird-catchingr=-fsh pattern point far creating knots with symbols Figure 7.23. Classic ish thties were used hereto create the fina for the knot pattern from Figure 7.21. The thistle flower sa good luck symbol forthe lish culture: 62 | Great Book of Celtic Patterns Langer knots, like the mirror image knot in Figure 7.24, can be modified to include finials, and these designs could ill tabletop or chair back (see Figure 7.25). You can also ¢etain only part af the evirror image for smaller options see Figure 7.26). Figure 7.24. This knot isa large mivorimage pattern, ‘hich could file large-area of work, such asa tabletop. ‘or chair back It is perlect for working with finials Figure 7.25. Here, the knot from Figure 724 goes into 2 Gothic styled leaf design. The leaf pattern seemsto siton top of the knot design asifit were a separate plece or nit. Figure 7.26. The design Irom Figure 724 hasbeen broken to retain one patt ofthe mirror image. A sell leat Nourish has been added F Great Book of Celtic Patterns 63 Double knots ae easily altered to become tinique finials. tans farmed the ane in Figure 7.27 into a Victorian design a8 an example (see Figure 7.28) You can also keep any Finials very sienple so that, the emphasis remains on the knot itself, Figure 7.29 and Figure 7.30 show no examples of simple but decorative fi Remember, the variations on finials and their placements are endless, and pairs of finals dont necessarily have to be the satne size. As you clevelop yout own, keep in mind the final use ‘of the project. The elements of the finished piece may dictate how many and what eypes of finials should be used (sce Figure 7.31), Figure 7.29. This is a double knot pattera where one knot fram one line section Enterlaces with the mirror image knot an the other ine section. Breaking this type of pattern can create unique finials becouse of Interlacing and rhythm. 64 | Great Book of Celtic Patterns Figure 7.28. The double knots in Figure 7.27 ‘quickly became entwined branches for this Victorian berry pattern Fee 2 eink serane ot ) hi al ‘Figure 7-30. Tis buttery knot ends nth 2 three-piece stl laf iil that was ‘common in Viking and Celtic work. \ Figure 7.31, The same butterfly knot from Figure 739 appearsin ater Renaissance art asadoorplate accent, The top partion of the open-ended fine has become ‘Green Man face (a face or figure that incarporates Cs made of leaves, branches, or vines), and the bottom portion has been transformed int a frial to accent the doorplate’s screw. Notice that the: ‘iniatsde not have to be the same size F Great Book of Celtic Patterns |) 65. Chapter 8 Line ENDANCEMENTS ADDING ACCENTS AND INTERIOR DESIGNS TO CREATE MORE COMPLEX, TEXTURED PATTERNS How you treat the actusl lin within a knot can greatly change the way the pattern looks when itisfinished.The line does not need to bea smooth, flowing line: It can become the body and legs of a Viking animal, the branches ofa vine, or even a geometric pattern. Let’slook ata few ideas on how ta adjust the line within a knot pattern, Chapter 8: Line ENbaANCeMENTS TEXTURING THE PATTERN (see Figure 8.5). sample of simple three line braid pattern Figure 8.1.Let start with this © 68 | Great Book of Celtic Patterns ADDING SPACE ANO GEOMETRIC OESIGNS Chapter 8: Line ENbaANCeMmeENtS TO PATTERNS 70 | Great Book of Celtic Patterns AOOING COLOR A STEP-BY-STEP GUIDE TO ENHANCING YOUR WORK WITH COLOR Many of the colored samples throughout this book have been created in artist’s colored pencils| enjoy this medium because of the flexibility it gives ‘meas an artist and the vibrancy it creates. Unlike many other media, colored pencils require no water or cleaning media, You can easily sharpen them to the finest of points for very thin line work or use a wide or blunt point for ‘easy fill work. By working the designs in very light layers of color, one over the other, on heavy weight, toothed paper or colored paper, your entire finished project can have a wide range of colors, tones, detailing, and ‘texture, Using lots and lots of different colors is what gives the vibrancy to colored pencil work. Colored pencils ‘are available in several styles,incluciing artist-grade wax-based penails, watercolor pencils, and oil pencils. Any of the three styles can be used for Celtic knot work designs. All of this means easy and quick fun in creating your own Celtic knot designs. Chapter G: ADDING COLOR USING COLOREO PENCILS As mentioned carlicr,| used a hoavy weight, Sea i] 80-pound, colored, textuted paper for the COLORED PENCILS illustrations in this book. The coloring of the 1 Keep your pencils very sharp. paper not only provides a colared background, beveled cds eit butt can also become part ofthe shading and 2 Lay down the colorin very thin layers, and then develop the color by adding paper gives a stone-carved feeling to the finished Taal til leper ties wae soe drawing. Colored pencils can also be used over pencils can build up quickly ifthe colored pencils applied too heavily, and that thick wax layer wallresst new colors beingadded. ccolor mixing of the drawing. The texture of the ‘many craft surfaces, including papicr-miché, pottery, and even woodburning. Because colored pencils are transacont, unger Eo diercagiral 3 Using many different colorsin one allowing some light to show theough, [ike to start ean Saleen cans shading by using dark toned pencil colors fist pencil drawing. Experiment with the (Over these dark tones layers of brighter hues are ‘lors in-your st to see which ones give you the best combinations. For example, audded. Highlights can be added toan area with youmay developa medium blue area tho use of top layers of light colors ond white che dekeecios piclactertia New colors can also be created by this layering shading and pale greens or light grays technique: a light yellow pencil color Iai over forthe highights bright sed willtint the re area to a shade of | Shading and highlights are often ienge.X coloted piel drailng ct enlly ive applied first, Once these ae applied, several light layers of a color can then 20 (2 40 layers af coloe applied (see Figuee 9.1) baplad pa cere tava On the following pages, I show you step-by” transform the shading ane highlight step how to add color to your Geltic designs, We'll «colors into tones ofthe overall calor. start with the darkest shading frst and work our | gaistakeas with colored pencils can way through the final layer af color be easily corrected using clear tape. First, gently fay tape over the area that {you wish to remove. De not press the tape down. Next, use an ink pen to mark the tape over ust the area of color to be lifted. Winen you pick up the tape, itil pick up the colored pencil that was under theink pen lines, © colored pencil work can be seated ‘with a spray sealer when the work is completed. Spray sealer protects the drawing from dirt and dust busldup. lloften use a reworkable spray sealer for my drawings. This type of spray protects the drawing but allows for new work to beapplied over the spray surface. | can seta drauting aside and then go back ancl add new color to the work. Figure 9.1 This bluebird pattern shows the affect ‘hat laers.of colored penal can create. The braided vires havea brownish ookeven though litle brown coiered pencil ‘was sed Instead orange, yellow ochre, epple green, dark cherry re indige blue, and dark French ‘gray were applied for the Fighlghes end shadows ‘Athin wyerof medium brown wasacded tothe ‘entre vine area at the ene Notice how nich the vine ‘oiorlooks compared the blusbirds wing ares, here only shades blue ‘were ted, 74 | Great Book of Celtic Patterns: i OEIMONSTRATION: USE COLOR TO ENHANCE A CELTIC KNOT “This sample pattern a four-line interlocking knot pattern done in tones of orange dnd brown colored pencil ona light ochre, textured paper background, (Vou can find the products listed in the supply fist at most hobby and craft stores or ‘enkine,) As we work through the steps to create this colored pencil work, the area contained ‘within the white rectangle will be shown as 2 close-up with cach stop, This i a simple half-hitch knot pattern that ‘ercates.a heart shape. To create the patiern, ‘graph out and cannect the lines, ax shown in the following demonstration, Ed ee 0 80-Ib, textured, acid-free, scrapbook paper (| used Rainbow Tonal CS Paper Pack) Wax-hased artst-quality colored pencils (used Prismacolar Colored Pencils) 1 Acid-ree wiite glue paste for archival work (used Yeo! Paste) A Reworkable spray sealer far drawings, including graphite and colored pencils (used Reworkable Biue Label Fixatif) O Xacto 2 Pencil sharpener fee eel ea Ge Black 1 Sienna brown (medium golden brown) 1 Light umber (medium brown) U1 Dark umber (chocolate) 1 Bumt ochre (light gotden brown) 1 Pate vermilion (ight red orange) G1 Henna (medium-dark red brown) O White F \\Gteat Book of Celtic Patterns })'75: 76 CHAPTER G: ADDING COLOR ] Make a copy of the pattern from, page 125, Turn the pattem copy to the backandruban even layer of pencil graphite over the paper. Place the pattern face up on your textured paper and lightly tape into place. With a colored ink pen, trace aver the pattern lines. Do not use hard pressure during the tracing steps: the ink pen’s point can cause an indent in the paper. Great Book of Cel Patterns Here’ the pattern transferred to the textured paper. Any additions or changes to the pattem can bemade at this point using a soft No.2 pencil. Choose one side of the pattern to become the shaded sideand the ‘opposite side of the design to become the highlighted side, For this sample, | have chosen the leftside of the ‘design to receive ‘the shadows with the right side to be highlighted. Working a very light layer af color, use black to shade long the shadow side of the lines. About ‘one-third of each line thickness 's colored during this step. | Great Book of Celtic Patterns, | 77. CHAPTER G: ADDING COLOR ‘With white, color the center of ‘To push the lines amay from the A thin tayer of pale vermition ‘each line at the highest point. colored paper background, add has been laid overthe entire q Thehigh points 7 t paper color. negative space calor the dark, shaded sicle of th ‘The background space that lies against the highlighted side of the lines is not shaded, 78 | Great Book of Celtic Patterns, ] Henna has been added to the areas of the line that tuck under crossover lines, This strengthens the shading in this area and brings the crossover shadows intoa deep orange tone. oli Eire aa ety eae iae Inthe following examples, ve shown several different techniques that you can use ance you've mastered the basics of colored pencil work, Each of these different finishing ideas will help your final Celtic design stand, ‘out from the background that you choose. Light on Dark Marble Effect In this sarmple, the drawing was done on an extremely ‘darkecolored background paper. To bring the knot _work off the paper, the shading tones begin wath meclium-dark to medium colors. Here, Lused a medium tone called peacock blue as my shadow color against the dark turquoise background, Black has been used as the shading color fer the background or negative space areas. Coloring the Background Area ‘The negative space captured within a Celtic knot. ‘design isa great place to add coloring, For this: pattern, the knat work has a minimal amount ‘of medium brown shading where Optian Is Light on dark marble effect ‘one line tucks under another line, ‘Otherwise, all the color works done in the spaces captured by the changing knot pattern. ‘Working the Lines with One Color Knots can be worked in colored pencil ‘on one color of textured paper then ‘cut and pasted to another color of paper. This technique uses the color ‘of the paper In this sample, the dark rust ted is the main color of the lines, By sing two different paper colors, ‘you add emphasis to the spaces between the knot lines. Working the Lines with ‘Multiple Colors ‘Many of the patterns in this book fre created using more than one line to work the knot patter, During your colored pencil drawing sessions, you can show the multiple lines ina knot pattern by making ‘each line a new color. “ ‘Option 3: Working the lines with one color Option matt joking the lines with je solors Great Book of Celtic Patterns. 79, op eres wie) Celtic Knot JDATTERNS On the following pages youl find more than 200 ready-to-use Celtic ppatterns.These pattems show allf the Celtic not variations discussed in the earlier chapters, including twists and braids, knotted lines, comer pattems, self-contained knots finials, and Viking animats Any of one these patterns can be altered to create dozens of additional patterns for your own artwork giving you the potential to create hundreds of designs. ve also included many colored examples of the patterns to give you ideas for ways to use color in your awn work. Chapter 10: Celvic KNot PATTERNS ‘SIMPLE TWO-LINE TWIST Line paccerns WIDE TWO-LINE TWIST ROLLER COASTER TWIST SSQSOSSSOS FENCE WIRETWIST a2 | Great Book of Celtic Patterns SLEEVE HONEYCome Twist janavd Snr] Chapter 10: Celvic KNot PATTERNS HILL'N’ DALE BRAID. Line paccerns THREE-LINE BRAID a4 | Great Book of Celtic Patterns ra CER VL SESE SIMPLE KNOT LINE POINTED SHOELACE KNOT LINE SHOELACE KNOT LINE DOUBLE POINT KNOT LINE Great Book of Celtic Patterns sNw822¥¢C ONI] 87, Chapter 10: Celvic KNot PATTERNS Line paccerns SEED SPIRALS KNOT LINE SIDE-BY-SIDE HEARTS LINE 8 | Great Book of Celtic Patterns Chapter 10: Celuic KNot PaccerNs Line Paccerns Chapter 10: Celicic KNow PAcceRNS sNwa22vCl NI] Great Book of Celtic Patterns SISSIES SLES ATE O LLOQ ASRS Great Book of Celtic Patterns |, 93, SZEQDNZ TIC TAC TOE KNOT LINE snwea2ve¢{ ON] OVER THE RIVER TANGLE LINE ‘THREE BLIND MICE KNOT LINE Great Book of Celtic Patterns} 95. Chapter 10: Celuic Knot PacceRNs uN ©, ss ZR 96 | Great ok of Celtic Patterns ey ay iy (OPEN BROCADE TANGLE LINE snua22vd ent] (OPEN BROCADE TANGLE BROCADE LADDER LINE Great Book of Celtic Patterns. |: 97, Ce py Gnrec) al Om Ga Karol a ofeM BD) Ca aol ANS CL, OC QL i OWNS a (OX ce} ve ne a Qa PI “A ws 2 is} >) O (3) a ) 2 v= 1S) Chapter 10: Celtic KNot PATTERNS SNU922VvCl ABNACD HONEYCOMB TWIST CORNER 102 | Great Book of Celtic Patterns sNxa22¥¢ ANACD Great Book of Celtic Patterns |103 no ve 4 K ian 5 os ws 2 is) co) O © o rv) Fa te 1S) Chapter 10: Celvic KNot PATTERNS &K C= ae ONG IS Zé ‘Xk vann © snue22vd waNxXoD Circles, Squares, ANO GY» & | a Zz 4 K ian 5 ae NS 2 is) fey } QO fe) me (3) v Fa ts 1S) Chapter 10: Celuic KNot PaccerRNs KING'S RANSOM KNOT oo) SUMMER SOLSTICE KNOT COMPLEX BOXWOOD MAZE FOUR-LINE BRAID HONEYCOMB MOTIF Great Book of Celtic Patterns OC QNY ‘SaavNs ‘S97DAlD_ sti 7 y in | } ; Ns By] 3 \ ~)) OT PATE BE SR Circles, Squares, AND Docips SD p UCR W'S (II VOROO RAS RES, ANO TDOUIES Chapter 10: Celicic KNow PAcceRNS LARGE DRAGON TANGLE INSERT sie) anv ‘sauvnds 'sa7941D. DOUBLE CROSSED BOOK ORNAMENT CLASSIC LEATHER Great Book of Celtic Patterns | 127 Chapter 10: Celicic KNow PAcceRNS Viking ANIMALS Chapter 10: Celuic KNot PaccerNs Viking ANImaLs <= NS Aso = st Chapter 10: Celvic KNot PATTERNS Viking ANIMALS i a é 5 stream sete earner Ses LES Great Book of Celtic Patterns Cel p-Wafec) alo Oa Karel Golo Ca aeL ANS GS Viking ANIMALS 8 2 = 5 3 2 < VS LX VE We \ Chapter 10: Celuic KNot PaccerNs iS) A >) J = BOIARGBR Chapter 10: Celvic KNot PATTERNS VIKING ANIMALS 143 Great Book of Celtic Patterns Viking ANIMALS 144 | Great Cel py -Woiec) al Om Ga Karedl Gof Ca aeL ANS Book of Celt A> &S > e Calta 22 mw EB PRS VIKING WOLVES AND DOGS ic Patterns eee = CEs oH oS Cel py-Aarec) elo Ga Karel a ole Ca aeL ANS stand finals FLAGSHIP’S KNOT | Great Book of Celtic Patterns 149 stand Chapter 10: Celvic KNot PAcTERNS LEAF AND ORGANIC FINALS. — =; Re Ay finals i Kf Heer RENAISSANCE DOORPLATE 150 | Great Book of Celtic Patterns Ni A | Beos37 Ye | PEP RIOR OTM Chapter 10: Celuic Knot PaccerNs AAS ferhehyrhe Sits SEpE Rete 152 | Great Book of Celtic Patterns wR SS SS <> SS SOS SEE as (ely -Warec) alo Oa alee Gof Ca GeL ANS BUNIXGD NI] NO SNOQWAKA Great Book of Celtic Patterns Fab. PLAITED PERCH ACCENT BRANCH BYN2XSQ ON] NO SNOI¥IALA, Great Book of Celtic Patterns |) 155 (eh Aarec) alo Ga Karel Gof Ca ae ANS FaNncasy 156 | Great Book of Celtic Patterns VO} DURE Great Book of Celtic Patterns fsvanvi 157 Chapter 10: Celvic KNot PATTERNS Fancasy fancasy Great Book of Celtic Patterns, | 1159 eS fo) ed v x ~~ D> Fantasy (eh Waiec) alo Ga Karel Gof) Ca acL ANS VIKING KING AND HORSE PANEL FaNncasy 164 | Great Book of Celtic Patterns Chapter 10: Celuic Knot PaccerNs Fantasy Great Book of Celtic Patterns, | 169 a Fantasy rn 473 oh Sy > Ss WS alot \ CEQ DO aa a SEES PREZ < SS we ee SSS << zx <= BO Chapter 10: Celicic KNot PATTERNS ——<$<—— = SS SS eee Re PURE YESS j fisvonvd Great Book of Celtic Patterns fiswonv Great Book of Celtic Patterns 179 Religious Symbols Chapter 10: Celtic KNot PATTERNS Religious SymboLs \WAVIES YO el l =) Religious Symbols Chapter 10: Celtic KNot PATTERNS sjogauig snoldiiea Great Book of Celtic Patterns /183 Religious SymboLs Religious Symbols Chapter 10: Celtic KNot PATTERNS Religious SymboLs i Glossary of Term Finials: Small designs that can be added to the open ‘broken end lines to complete the patterns, In this pattern, the scroll leaves, shown in ted, are finial designs that finish off the pattern. Finials can determine the histor art style of your finished pattern. Imperfect Weave Pattern: Ary Cebic ine design that does not have a perfect weave pattern. These patterns will sometimes contain an area that Breaks the rhythm ofthe lacings, whveh often happens when two independent line pattems are everlapped to create 8 frame effect or whan a mew design is aided to the knot pattem, Imperfect weaves can be avoided by acing 6 newlines tothe design Invpaits, one newline to g0"over' and the second new line to.go"under” the original line werk, The Viking King and Hore Panel design pictured ‘combines thiee designs and uses.an imperfect weave pattern A four line braid patter that lntetlocks with a pale of Viking horses is usec 10

    You might also like