Celtic knotwork patterns depicting birds and animals, trees and other plants, people and even the sun and the moon, as well as abstract patterns, were developed in pre-Christian times, and incorporated into illuminated manuscripts such as the Book of Kells and the Lindesfarne Gospels by early Celtic monks. Sadelle Wiltshire has been developing her techniques for the basic knotwork drawing that will be taught in this workshop.
While knotwork may seem challenging to create, there are simpler ways to approach these beautiful detailed drawings. The steps will be broken down for you and there will be plenty of worksheets to try your hand with.**
Once you get the swing of the basics, consider signing up for our Wednesday evening knotwork course, which will delve deeper into more complex interlacing, triquetra designs, working with borders and frames, adding knotwork into different shapes, adding "zoomorphic" figures (animal images) and creating your own "carpet pages".
Add some of these amazing techniques to your skillset, and prepare to dazzle your friends and family.
** (note to students: while the techniques you'll learn are much different from the Zentangle classes I teach, fear not... bring your fearless mindset AND a good white eraser and mechanical pencil, plus a thick felt tip pen and an 01 micron sized pen. This is yet ANOTHER meditative, contemplative practice, and while it does take a little repetition to get going, the quieting benefits of this detailed drawing style are just as powerful. No wonder the monks were so taken with it! )
The Work of Celtic Christian Monks....
The illustration and decorations of the Book of Kells combines traditional Christian iconography with the elaborate swirling motifs that are associated with Celtic art. The pages are adorned with figures of humans, animals and mythical beasts, along with Celtic knots and interweaving patterns in energetic and vibrant colors.
The entire Lindisfarne Gospels is the work of one man, giving it a particularly coherent sense of design. According to a note added at the end of the manuscript less than a century after its making, that artist was a monk called Eadfrith, Bishop of Lindisfarne between 698 and 721.