Image Collection: Basic Knotwork Designs

I can't find the original for this pattern, but it's based on a simple 1 and 1/2 cell wide pattern (in fact, one of the "foundation knots" analyzed by Romilly Allen in 1883!) turned on it's side. The pattern is also related to "circular" knots, as on the Nigg Stone. The basic underlying pattern looks like .

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These tiles are the first attempts to replicate a pattern I originally found in [BainG] page 32, plate 7. The original pattern was from Durrow folio 125V, seen in [BainI] page 54. Embarrassingly, I did it wrong! The underlying tile for this incorrect rendering looks like: , while the real pattern looks like: . Oh, well... I added a "mirror image" of the pattern one below the other to get a more interesting texture when tiled. Tiles 2.a-d are rendered using a stone texture, 2.e is rendered in "pressed paper", 2.e-f imitate paint on parchment or vellum, and 2.g is done representing "gold wire".

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These tiles are the correct version of the pattern I first found in [BainG] page 32, plate 7, page 53 Plate J, and [BainI] pg. 54. The original source was the Book of Durrow folio 125V, and looks like: . It is interesting to compare this to a design from the Durham Gospels, shown as: Knotwork Tile 27, which looks like: . The tiles in this set use the basic band treatment, "Kells" style bands, and doubled knotwork. For details, see the Line Treatments section from the knotwork tutorial pages. Tiles 3.h-o use a non-square (4:3 ratio) grid. The tiles are rendered in shades of gray, "paint on vellum", "gold wire", and "carved stone".

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These tiles are based on a design pattern used in the Book of Lindisfarne folio 27r, the Book of Kells folio 124r, and other places-- one of my favorites, as you can see from the large number of samples! The basic pattern tile looks like: . I tried to give the effect of "carved stone", "carved wood", "gold wire/jewelry", "paint on paper", and simple gray-scale in these tiles. Band styles include basic, wide, "Kells" style, and doubled. For details on band styles, see the Line Treatments section from the knotwork tutorial pages.

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These tiles are based on a pattern found in Lindisfarne Folio 27r, right side. It is also similar to one found on the Norham Stone, and has an underlying pattern that looks like or . Compare with the pattern from Tile 6 below. I rendered Tile 5.a in "carved stone" and 5.b-c in "gold wire". Tiles 5.d and e are rendered using Lindisfarne-style double interlacing. For details, see the Line Treatments section from the knotwork tutorial pages.

a.  b.  c.  d.  e. 

These tiles use a (4:3 ratio) pattern originally from the Woodwray Stone, Tayside (see [BainI] page 110); and similar to one on the Nigg Stone (see [BainG] page 49) and also found in Kells Folio 290V. The underlying tile design looks like: or and use a 4:3 ratio grid underlying the pattern. Non-square ratio grids are covered in the Alternative Grids section of the knotwork tutorial pages. Tiles 6.a-d use simple dark and light shades (6.c and d use a space-filling variant of the template pattern). Tile 6.h is rendered (appropriately) as "carved stone" in the space-filling variant. Tiles 6.f-j are rendered in "copper" and "gold wire/jewelry" textures. Tiles 6.k-n use doubled knotwork band treatment. For details, see the Line Treatments section from the knotwork tutorial pages.

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This tile uses a pattern from the Monifieth Stone, Tayside, the Ardagh Broach, and others (see [BainI] page 52-53 and [Meehan2] page 125). The original was done using a 3:4 ratio grid while this version uses a square grid. The basic tile structure looks like: . Tiles are rendered in "carved stone", "paint on parchment", "gold wire/thread", and in simple gray-scale. Tiles 7.c-e, h and i use Lindisfarne-style double interlacing. For details, see the Line Treatments section from the knotwork class pages.

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The original source for this tile is unknown, but I found it in [BainG], pg. 35, Plate 13 LR, and [Meehan2] pages 140, and 141. [Meehan2] refers to these as "Spiral Knots", as he does the one from the Monifieth Stone above. The basic tile structure looks like: . The tiles using this pattern have been rendered in simple dark and light shades, "carved stone" textures, "paint on parchment", and "gold wire". Tiles 8.f-h. are rendered using "doubled knotwork". See the Knotwork Class page on Line Treatments for further details.

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These tiles are based on a design from the front of the St. Vigean's Stone number 1, Tayside (see [BainI] page 15 for a picture of the stone). The basic pattern is: , though some of the tiles below use a slightly simplified version which looks like: . Tiles 9.a-d are rendered in various "carved stone" textures, while 9.e, f, m and n are rendered in "gold wire". Tiles 9.g, h, i, k, l, and o are done using simple dark and light shades. Tile 9.j is intended to represent "embossed paper". Tiles 9.k, l, and o use "doubled knotwork" bands and a space-filling pattern variant. Doubled knotwork is discussed on the Line Treatments page of the knotwork tutorial section. Tiles 9.m-o use a non-square, 4:3 ratio grid. Non-square grids are covered in the Alternative Grids section of the knotwork tutorial pages.

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These background tiles use a pattern originally from the side of the St. Vigean's Stone number 1, Tayside (see [BainI] page 15 for a picture of the stone). The basic tile pattern looks like: . Tiles 10.a, b, e, f, g, and i use a variant of the pattern that makes it more space-filling. Tiles 10.a-f are rendered in simple shades of gray, while tiles 10.g-h simulate "gold wire". Tile 10.i is rendered (appropriately) as "carved stone". Tiles 10.e and f use "doubled knotwork" bands, discussed on the Line Treatments page of the knotwork tutorial section.

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These background tiles use a pattern originally from the Book of Lindisfarne folio 27v (in the vertical "I") and others, including Folio 2. I got the original template pre-analyzed from [BainI] page 72. The basic tile pattern looks like: . Tiles 11.a and e use the original pattern, while the others use a novel variation on this that tiles in a continuous line. Other images are rendered here as "carved stone" (tiles 11.a-e), simple shades of dark and light (tiles 11.f, g, k, and l), and "gold wire/jewelry" (tiles 11.h-j). Tiles 11.k and l use "doubled knotwork", which was also used in the original design. Doubled knotwork is discussed on the Line Treatments page of the knotwork tutorial section.

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These tiles are based on a pattern originally from the Tarbat Stone, Easter Ross. I found it analyzed in [BainI] page 111. It is interesting to compare the underlying pattern from this tile, which looks like: with the pattern from Tile 11 above. Tiles 12.a-d, f and g are done using simple shades of gray, while 12.e is rendered as "carved rock". Tiles 12.f and g use "doubled knotwork". This technique is discussed on the Line Treatments page of the knotwork tutorial section.

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The following are based on a pattern of interlocking loops sometimes called the "Celtic Lover's Knot". Adrian Meehan in [Meehan2] calls this a "Josephine Knot". It is also found on the Meigle Stone number 5 and also the Book of Durrow Folio 8r, (see [BainI] page 104 and [Meehan2] page 36-42 for an analysis of this pattern). I have transformed the basic CLK design (see the Knotwork Border page, design 6, for the basic pattern, which looks like: ), adapting it to make a space-filling repeating tile. Thanks to Kathy Marsten who asked about the CLK design and caused me to research and develop the pattern! The tiles are variously rendered in simple dark and light colors, "pressed paper", "carved stone", painted vellum", and "gold wire/jewelry". Tiles 13.k, l, and n use a "doubled knotwork" band pattern, which is described in the Line Treatments section of the knotwork tutorial pages.

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These tiles are based on patterns found in the Book of Durrow, Folio 86r. The pattern, which basically looks like: ,is analyzed in [BainI], page 104. It is very similar to the "Celtic Lover's Knot" seen above. The tiles are rendered in gray-scale and as "gold wire".

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The following tiles are based on a pattern from the Book of Durrow Folio 125v (Plate 6, the vertical panels). See [BainG] page 52-53 and [BainI] page 82-83 to see it in context. The basic pattern looks like: . I've rendered these as "carved rock", "carved wood", "gold wire", "paint on parchment", and simple gray-scale.

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These background tiles are based on a pattern found in the Book of Kells folio 114v. See [BainI] page 107 for an analysis of this knot pattern. The "raw" tile pattern looks like: . The tiles below are rendered as dark or light shades (16.a-d), "paint on vellum" (16.e, f), and "gold wire" (16.g).

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This pattern was also originally found in the Book of Kells, Folio 114v, but appears other places as well. I found it in [BainI] page 108. The basic pattern looks like: . Most tiles are done in shades of dark and light gray. Tiles 17.e-g are done simulating ink or paint on paper and tiles 17.k-l are rendered as "gold wire/jewelry". 17.d. uses a "Kells-style" band treatment, and 17.c, d and g-j use doubled knotwork. All these band variants are described in the Line Treatments section of the knotwork tutorial pages. Tiles 17.i-l use non-square (4:3 ratio) "Pictish" grids. Non-square grids are covered in the Alternative Grids section of the knotwork tutorial pages.

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The underlying pattern for these tiles is similar to the one in Tile 17 above, and looks like: . It's originally from the Maiden Stone, Aberdeenshire, with an analysis found in [BainI], page 106. Note that [BainI] also refers to this as a "double Stafford knot". The tiles are rendered in simple gray-scale, "carved stone", and "gold wire". Tiles 18.f-h. use non-square (4:3 ratio) "Pictish" grids. Non-square grids are covered in the Alternative Grids section of the knotwork tutorial pages.

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The original pattern for these tiles can be found in the Book of Lindisfarne, folio 210v. I found it pre-analyzed in [BainI], page 106. The basic version of this pattern looks like: . It is interesting to compare this with the two above, as they have a similar underlying cell template structure. The tiles from this template are resented in shades of gray and "gold wire". Tiles 19.a and b use the basic pattern, while 19.c and d use the doubled version of the pattern, common in Lindisfarne. Doubling techniques are discussed in the Line Treatments section of the knotwork tutorial pages.

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This simple 3-cell design forms the underlying knotwork pattern on the large capital T from the Book of Kells folio 124R. I found it described in [BainI], page 49. The "raw" underlying template looks like: . It is structurally related to the "Celtic Lover's Knot" pattern (see Tiles 13 and 21 on this page). Tiles are rendered in simple gray-shades, "gold wire", "beaten gold", and "carved stone". Some use the basic pattern, and others use a space-filling variation that connects them completely when used as a page background. Tile 20.g is structured using a non-square, 4:3 ratio cell layout. For instruction on how to build knots using non-square grids, see the Alternative Grids section from the knotwork tutorial pages.

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These tiles use a pattern related to Tile 20 above. It is found in the Book of Kells Folios 2v (the "cross theme"), 129v, and 290v, as well as in the Book of Lindisfarne Folio 210v. I found it analyzed in [BainI] pages 105 and 107. The base pattern looks like: . Tiles 21.a-e are rendered using shades of gray, while 21.f is rendered as "paint on parchment" and 21.g-i are rendered as "gold wire/jewelry". Tiles 21.c-e are doubled versions of the basic design, while 21.f uses a "Kells"- style band design. Doubling and other band decoration techniques are discussed in the Line Treatments section of the knotwork tutorial pages.

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This design is found in many original sources, including the Ardagh Broach, the Monymusk Reliquary, and the Book of Lindisfarne Folio 13. I found references to this pattern in [BainG] page 36, and [Meehan2] page 106. This is the simplest of what [Meehan2] refers to as "spiral knots", so it is also related to Tiles 7 and 8 above. The underlying template for these looks like: . Tiles 22.a-d and 22.g-j are rendered using shades of gray. Tiles 22.c, d, i and j use a doubled version of the basic pattern. Doubled knotwork is discussed on the Line Treatments page of the knotwork tutorial section. Tile 22.e-f, k, and l are rendered as "gold wire/jewelry" in reference to their original origins, with Tile 22.k attempting to replicate the exact look of the brooch. Tiles 22.g-h use a single-double combination style.

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This interesting pattern (with a grid related to Tile 22 above) is found in the Book of Lindisfarne Folio 13, Kells Folio 3R (theme of the right hand column), and on the Leek Stone, Staffordshire. I found it analyzed in [BainG] page 27, and [BainI] page 102. The underlying pattern looks like: . The tiles are rendered in simple shades of gray, "carved stone", or "gold wire/jewelry". Some of the tiles use variant band treatments: wide, narrow, doubled, etc. as discussed on the Line Treatments page of the knotwork tutorial section.

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This pattern is related to Tile 23 (their underlying grids are quite similar). It is found often through the Book of Lindisfarne, on Folios 13B, 14, and 95 (at least). I found it analyzed in [BainG] page 40, Plate E upper left. The basic pattern looks like: . Tiles are rendered using shades of gray and "gold wire". Tiles 24.b, c, and g-i use doubled bands, which were also used in the original Lindisfarne versions. Doubled knotwork is discussed on the Line Treatments page of the knotwork tutorial section. Tiles 24.i-j use a non-square underlying grid. For instruction on how to build knots using non-square grids, see the Alternative Grids section from the knotwork tutorial pages.

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The following pattern is found in a number of original sources, including the Book of Lindisfarne Folio 95 (and others), the Book of Kells Folios 3R and 4R, and St. Chad's Gospels Folio 221. The Lindisfarne original used a doubled band, and was colored yellow/red on black. Doubled knotwork is discussed on the Line Treatments page of the knotwork tutorial section. There are two slight pattern variations; one that simply repeats the following motif: , and one that repeats and inverts part of the basic pattern, which forms the following repeating tile: . The clip-art tiles in this series use both variations of the basic template, as well some that "stack" two inverted variations to make a more complex pattern when tiled accross a page/window (see tiles 25.e, j, and k). Tiles are done in shades of gray, "paint on parchment" and "gold wire".

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Tile 26 uses a pattern from the Book of Lindisfarne, folios 94B and 95. It is also found in the Book of Durrow, and probably others. It can be found pre-analyzed in [BainI] pages 21 and 101. The basic tile pattern looks like: . The tiles are rendered in shades of gray, "paint on parchment", and "gold wire". Tiles 26.c, d, i, j, and l all use doubled knotwork bands, as did the original. Doubled knotwork is discussed on the Line Treatments page of the knotwork tutorial section. Tile 26.l was constructed on a non-square grid (4:3 ratio rather than 1:1, or square). For instruction on how to build knots using non-square grids, see the Alternative Grids section from the knotwork tutorial pages.

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This tile uses a pattern found in the Durham Gospels AII.10, folio 3V. I found it pre-analyzed in [BainI] page 104. The underlying grid template is similar to that used in Tile 26 above, and looks like: . The tiles below use this pattern, and are rendered in shades of gray and as "gold wire/jewelery". Tiles 27.d-g, and i use "doubled" bands. For details on doubled knotwork, please see the Line Treatments section from the knotwork tutorial pages. Tile 27.k uses a non-square grid; in this case, using a 4:3 ratio rather than a 1:1 ration square grid. For instruction on how to build knots using non-square grids, see the Alternative Grids section from the knotwork tutorial pages.

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This rather sinuous pattern forms the theme from the Book of Lindisfarne, Folio 11B, and is analyzed in [BainI] page 101. It is a type of "stepped repeat" of the patterns used in Tiles 26 and 27, and looks like: . Tiles in this series use simple gray shaded band treatments and "gold wire" effects. Tiles 28.e-f use a doubled knotwork band, as did the original Lindisfarne version, while Tiles 28.j-k use a "Kells" style band. For details on doubled knotwork and other band treatments, please see the Line Treatments section from the knotwork tutorial pages.

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This interesting pattern is another taken from the Book of Durrow; in this case the original source folio is not further identified. It is analyzed both in [Meehan2] pg. 148 and [BainG] pg. 33, and looks like: . Tiles in this series use simple gray shaded treatments and rendering as "gold wire/jewelry". The tiles displayed use different band widths, and some use doubled bands. For details on doubled knotwork and other band treatments, please see the Line Treatments section from the knotwork tutorial pages.

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This "chained" pattern is found in the Book of Durrow, on the "Eagle Evangelist" page, Folio 94R. It forms the border around the central eagle. I have not seen it pre-analyzed, but developed this one based on an image of the page using the techniques found in the tutorial page: Knotwork Analysis. The original was colored red and yellow in a kind of triangular pattern. The basic form looks like: . Tiles made from this pattern include the basic form of the pattern (in 30.a, b) colored in shades of gray. Also included are a space-filling version of the template, rendered in shades of gray (30.a-d), as "gold wire" (30.e), and with a try at the original red and yellow pattern (30.f).

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These tiles were taken from a pattern found on the Great Wheel-Cross of Corbelin, Margam Abbey, Glamorganshire. I found it pictured in [Allen], pg. 187. It is kind of a "Celtic Lover's Knot" pattern (see Tile 13 above) on it's side (especially in the space filling variation), or a "Kells 124R" pattern (see Tile 20 above) with extra "walls" in the underlying cell template. The basic pattern looks like: . The tiles below show the basic pattern modified to be space-filling, rendered in shades of gray (31.a, b, d, e), "paint on vellum" (31.c), and "carved rock" (31.f). Tiles 31.d and e use a doubled knotwork treatment. For details on doubled knotwork and other band treatments, please see the Line Treatments section rom the knotwork tutorial pages.

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This interesting 2 and 1/2 cell pattern is based on one from the front of the carved Lärbro Stone (1), Gotland (Sweden). The carving is dated 8th century, and is of Viking origin. The basic pattern looks like: . I found it in [JonesG] (Gwyn Jones, A History of the Vikings, 1984) pg. 343 and Plate 13, and developed the underlying cell pattern using the techniques found in the tutorial page: Knotwork Analysis. Tiles 32.a-d use the basic pattern above. Tile 32.e uses doubled knotwork, in shades of gray. For details on doubled knotwork and other band treatments, please see the Line Treatments section from the knotwork tutorial pages.

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This interesting pattern is based on one from the front of the carved Alskog Stone, Gotland (Sweden). I found it in [BianI] page 108, where it is also referred to as a “doubled Stafford knot”. The basic cell template is also used on the Maiden Stone tiles (see Tile 18 above); the Alskog version is the Viking form with rounded off band corners. Tile 33.c uses a combination of single and doubled knotwork, in shades of gray. For details on constructing doubled knotwork and other band treatments, please see the Line Treatments section from the knotwork tutorial pages.

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This pattern of intersecting circles based on one from the front of the carved leather Satchel of Breac Maodhog; the image of the artifact is found in the book, Christian Art in Ancient Ireland (CAAI), plate 63. These tiles were developed as part of some research I've been doing on the influence of Northern European/Insular Celtic art on Central Asian art. The artifact image was provided to me by the art historians of the Art and Science Endowment Trust (ASET) in Berlin, Germany. The tiles use a simple gray-scale scheme, and are shown in two different resolutions.

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These tiles were developed as part of some research I've been doing on the influence of Northern European/Insular Celtic art on Central Asian art. The original pattern was taken from what I've called the David Lampas Silk, a fragment of a lampas textile (considered a luxury fabric, woven in silk with supplementary patterns laid on top, 36x53cm) in the David Collection, Copenhagen, Inv. 2/1989. The artifact image was provided to me by the art historians of the Art and Science Endowment Trust (ASET) in Berlin, Germany. I developed the underlying cell pattern using the techniques found in the Knotwork Analysis tutorial page. The tiles use both simple gray-scale schemes and an attempt at duplicating the original textile colors.

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Designs for these tiles were taken from the Book of Durrow, Folio 124v; the left and right vertical border of the page. I developed the underlying cell pattern using the techniques found in the Knotwork Analysis tutorial page. The tiles use both simple gray-scale schemes and "gold wire" rendering. Tiles 36.c-d use doubled bands, a technique described in the Line Treatments section from the knotwork tutorial pages.

a.   b.   c.   d.   e.  

This is another pattern I analyzed as part of some research I've been doing on the influence of Northern European/Insular Celtic art on Central Asian art. This one was taken from the Topkapi Museum Library Frontispiece, the frontispiece of a Qurân written on vellum ascribed to the 13th Century CE. It is now residing in the Topkapi Museum Library, Istanbul (E.H. 219, f.1v). The artifact image was provided to me by the art historians of the Art and Science Endowment Trust (ASET), Berlin, Germany. I developed the underlying cell pattern using the techniques found in the Knotwork Analysis tutorial page. The underlying cell template bears a resemblance to the pattern in Tile 36 above, and the pattern was pretty obviously drawn using the same techniques covered in the Knotwork Tutorial. Interesting, right? The tiles use both simple gray-scale and a color scheme matching the original frontispiece.

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These tiles are based on a design from the Book of Kells, Folio 202v, on both the left and right vertical borders. I found the underlying cell pattern already analyzed in [BainI] page 107. I modified it slightly to make it a "space filling" design when tiled. The tiles below use simple gray-scale color schemes, "paint on vellum", "carved rock" and "gold wire". Tiles 38.c-f use doubled bands as in the original, a technique described in the Line Treatments section from the knotwork tutorial pages. Tiles 38.j-l use a non-square (4:3 ratio) grid. For instruction on how to build knots using non-square grids, see the Alternative Grids section from the knotwork tutorial pages.

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These tiles are based on a design from the Book of Kells, Folio 27v, on a panel on the left page border. I developed the underlying cell pattern using the techniques found in the Knotwork Analysis tutorial page. The tiles use simple gray-scale schemes, "carved rock" and "gold wire". Tiles 39.c, d, h, and i use doubled bands as in the original, a technique described in the Line Treatments section from the knotwork tutorial pages. Tiles 39.f-l use a non-square grid that more closely matches the original layout. In this case, the cells use a 4x3 ratio. For instruction on how to build knots using non-square grids, see the Alternative Grids section from the knotwork tutorial pages.

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These tiles are based on a panel from the Book of Kells, Folio 34r. I developed the underlying cell pattern using the techniques found in the Knotwork Analysis tutorial page. The tiles use simple gray-scale color schemes and "gold wire/jewelry" (just for fun).

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These tiles are based on a border from the Book of Lindisfarne, Folios 95v, 211r, and others. I found the pattern analyzed in [BainI] page 107, and revere-engineered the cell template using the techniques found in the Knotwork Analysis tutorial page. The tiles use simple gray-scale color schemes. Tiles 41.c-e use doubled bands, a technique described in the Line Treatments section from the knotwork tutorial pages.

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These tiles are based on a border from the Book of Lindisfarne, Folio 2v. The cell template is closely related to Tiles 11 and 12 above. I revere- engineered the cell template using the techniques found in the Knotwork Analysis tutorial page. The tiles use simple gray-scale color schemes, "paint on vellum", and "gold wire". Tiles 42.d uses a "Kells" style band treatment, a technique described in the Line Treatments section from the knotwork tutorial pages.

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These tiles are based on a design from the side of the St. Vigean's Stone number 1, Tayside (see [BainI] page 15 for a picture of the stone). Tile 9 above is from the front of the same standing stone. The cell template is closely related to Tiles 10 and 15 above. It is also found in the Book of Kells, in a panel on Folio 8r. I revere-engineered the cell template using the techniques found in the Knotwork Analysis tutorial page. The tiles use simple gray-scale color schemes and "gold wire/jewelry".

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This sinuous design was found on “Viking Age knotwork borders”, URL: spirit-of-the-past.com (site appears to be defunct, alas). The cell template is closely related to Tile 8 above. I reverse-engineered the cell template using the techniques found in the Knotwork Analysis tutorial page. The tiles use simple gray-scale color schemes and as a "carved stone" texture.

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