Celtic Knots

I had a few books by George and Ian Bain but could never figure out what they were trying to get at. This book finally broke it down in a way I could understand. Now that I know the basic technique, I have expanded to all sorts of interesting knots. I can also go back to my Bain books and figure out where the break lines are so I can reproduce those knots without driving myself crazy. I agree with the other reviewers that at first the system seems a bit complicated, but the break-line and center-line drawing methods in this book have made it really easy for me to freehand knots on anything. I like not being a slave to clip art or stencils. I've gone to those pottery painting places and just plopped a gridwork of dots out and then penciled out my outline on uneven or unusual shapes. When I'm in meetings, I doodle knots on scratch paper. I gave the book four stars instead of five because I bailed out after 2/3 of the book, when it got to making corners, 3-cord and 5-cord plaits. After I understood the basic method, I figured out how to turn corners all by myself. The 3-cord and 5-cord plaits aren't as interesting to me because they can't be used in standalone knots. Also, Meehan tends to document every single variation on a knot even if it's not very pretty. I definitely recommend this as a way to train your brain. I am hoping to find a similar book that makes it easier to do triangular and circular knots.

Agree with the reviewer below; the construction methods can seem a bit complex. But this ain't clip art, and the meditation needed to grasp the framework is part of why we're doing this particular form of art in the first place, no? Even as a straightforward source of material to adapt to your own artwork (I work at a scale of roughly 1/4" to 1'), it's rich. I love the pages of permutations. I think this is my third favorite Meehan (fils?) book, after Knots and Spirals.

In a day when computer programs can generate knotwork and clip-art sources for Celtic art abound, it is refreshing to see a new and serious effort being made to train the hand, eye and mind in the skill and understanding of this art form. The technique is interesting in an historical sense because it shows how human hands could accomplish 'the work of angels' and it is also of great value to the modern hand-craftsman who wishes to continue in this tradition. The method of knotwork construction that Meehan teaches is remarkable for a reason that the author only casually mentions. This is that the layout marks are absorbed into the finish piece. An artist working in permanent ink, as did the medieval scribes who illuminated such masterpieces as the Book of Kells, after they have mastered the technique, can draw complicated knots without erasing or leaving messy layout marks. The book begins with a series of three grids, illustrated by dots and lines. These are necessary to illustrate the system, but unfortunately may give the reader the impression that the system is overwrought. Perhaps the author says a bit more than is needed at first, because the system is pretty easy to use once you understand it. In fact, by thoroughly illustrating the simplest knots in relationship to the grids in the first lessons, Meehan is making it possible (if the student perseveres) to layout more complicated knots with an economy of effort and ink. I highly recommend the book, but with the caution that the first lessons require patience. Had he cut to the chase without quite so much preliminary analysis I would gladly give it 5 stars. Stephen Walker