"A Method of Drawing Celtic Knotwork - Weaves"
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Author: Sidney_Eileen, Contributing Editor
 | I wanted the two-chord part of the weave to have a very sweeping feel to it, and I wanted the transitions to feel very natural in line with the outermost circle. To this end, I drew the broad curves that would lay against each of the bounding lines. By doing this, I knew that the outermost parts of the weave would smoothly cuddle up to the other elements. |
 | In order to evenly fill the spaces, I needed to ensure that the chords would not leave any large gaps, so I connected some of the sections by their centerlines in such a way that they formed a rough series of rows. At this point, I can be certain that the space will be filled regardless of where the crosslines fall. |
 | At this point, I realized that I was going to be unable to create a closed double-chord because of the loops under the meerkat’s chins. These loops created a section that was too bound for another chord to return through it. In order for a chord to be continuous, what enters an area must leave an area. I had to remove the loop and create a joining line over the meerkats head by which the loose ends could eventually be joined to each other. |
 | I finished defining the new two-chord line over the meerkat’s heads, and defined the transitions from top to bottom on both sides. |
 | After defining the two-chords for all the joined sections, I joined the last two open ends on each side. I created an extra loop near the meerkat’s feet to fill the space roughly as much as it is for the rest of the design. |  |
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