Early designs are based on simple incised decoration in linear pattern, mostly based upon the V-shaped chevron, combined with spirals and circles, connected in a variety of ways, then intriguing key and maze patterns and finally interlaced patterns and 'zoomorphics' involving interlaced animals, birds and humans. The patterns were found on burial chambers, memorial stones, metalwork, woodwork, leatherwork, pottery and manuscripts. The Nordic styles are similar but bear their own distinct stamp.
I found the spirals quite challenging. It is hard to turn the blade and keep the wood still, and easier to keep the blade still and turn the wood. You can see that I was having problems in the middle of this pattern where my hand slipped in one place and I also spoiled the key central area by not keeping my lines parallel.
copyright Shimmy 2013
This photo demonstrates quite a lot. Celtic spirals can take a number of different forms, and here you an see two-loop spirals around the edge and a three-loop spiral in the middle. Spirals can be joined to other spirals by either forming an S-configuration or a C-configuration. Another typical feature is that the space between the spirals is also a potential 'canvas' and it can be decorated to enhance the basic design and give more life to it. In this piece I used a cross-hatch to fill some of these spaces, and wider diagonal hatching for others.
I really like this next design. The spirals, S-shapes and C-shapes are still evident, but more subtle, and it was a lot easier to do. I used a cheap craft knife to score a very fine diamond cross hatch for the background, and a coarser hatching for the central spaces.
copyright Shimmy 2013
In keeping with the style of Celtic illuminated manuscripts, I divided my 'canvas' up into blocks, with the circular pattern in the centre and four blocks of woven lines on the outside. It looked good, I must admit, and it made it easier to have the straight lines to incise rather than the curves.
This next example breaks up the pattern in a different way, using a nice balance of the woven lines and empty space around the edge of the design. Again I have used the craft knife to make the shallow shading behind the interlaced men.
Such distorted interlaced figures are typical of later Celtic art, and the bearded men are often pulling one another's beards. This is my own variation of a classical figure from the illuminated manuscripts such as the book of Kells.
