View Full Version : Celtic Knots 101 - Running Borders

05-11-2006, 02:02 PM
The wait is over! here's the tutorial:

When designing a border for a knotwork piece, there are a couple of things you need to decide from the very beginning.
#1) What is itís purpose? Is it to add a sense of order to an otherwise chaotic piece (like the Cead Mile Failte Iím working on)? Or is this your last ditch attempt to direct the viewerís eye? Or is it simply to add some intricacy to a simple piece (like with a fairly simple bit of calligraphy)?
#2) How important is it to make it all one line? To me, this is the holy grail of knotwork. In every piece I have to decide whatís more important, the overall composition or making it one band of interlace? As a general rule, composition wins out. But that doesnít mean I donít make myself crazy trying to get both.
#3) Where do you want the emphasis? The center? The corners? Or balanced so the eye isnít pulled to one thing or the other?

So what Iíll be showing is what I think of as running borders. The difference between a running border & a knotwork border (like what I showed in the previous thread) is pretty small. The main thing being that each basic unit that is repeated canít stand on itís own very well.

So here are some examples of very simple running borders:


Notice that as you add bands, you also increase the width. In this image, Iíve marked where the repeats are. Notice that you need as many curves for a full repeat unit as you have bands (bringing the band of your first curve back up & ready to curve again). Now, when doing a simple plait/braid/twist border, you donít need to worry about fitting full repeats into the space youíre trying to fill (unless youíre shooting for the ďholy grailĒ which is a tutorial in and of itself).


Corners, when you arenít working a separate knot for emphasis, come in two varieties. Spade & split spade (close kin to the pretzel knot, btw.) To keep the spaces between your bands consistent, corners come with some special space considerations. A spade corner = *half* of one of the curves. In this scale, it needs 1 square. A split-spade needs the *same* amount of space as one of your curves.


You also need to consider what the types of corners do to your pattern. A spade corner allows all of the bands to pass through and on to the next side. A split-spade joins two bands & only allows however many you have left to pass through (in this example, 2 bands.)

But what if you donít want a corner? What if you just need a column/bar? These are some of the most common ways to end a running border:


Ok, just a little bit more to show you before we get going on the first design.

05-11-2006, 02:10 PM
Iím going to show you George Bainís method for doing interlace, slightly modified (his book, ďCeltic Art-- the Methods of ConstructionĒ is really really useful if you donít have it already). I hardly use this method anymore Ďcause itís a bit fussy. But it *is* an excellent way to start and to train your eye/hand. So hereís a step by step of how to do a basic 4-band plait, using a center line for a guide. Think of the center line as the bones of your design. Youíll draw the edges of the bands equally spaced on either side of it. Once youíve got the edges drawn in, erase the center line and there ya go!

#1: Use where the lines from the graph paper cross to guide the center line. Weíll draw the curves in first. In this scale, draw the curve across two boxes to create the top & bottom curves, leaving 2 rows of boxes between them. For my demo, Iím only doing 4, but do as many as you want to get comfortable with it.


#2: Draw in your bars, connecting the curves with an ďXĒ


#3: Start drawing in the edges of the bands, stopping & starting at the graph paper lines before you reach the ďoverĒ of the ďX.Ē how you stop & start the curves will create the ďunderĒ portions.


#4: Draw in the ďoverĒ parts of the ďXĒ.


#5: Erase your center lines & do any clean-up.


Thatís it. Itíll take practice, but this demo should give you lots of it!

Now, letís do a spade corner using the same method. If you want to start where you left off on the previous bit of practice, thatís just fine.

#1: draw in 4 curves across the top. Mirror with only *two* on the bottom. Now draw in 4 going down the next side, with the topmost one crossing the last curve across the top. Mirror the last 2 curves on the inside.


#2: Draw in straight lines, connecting the curves. Erase the parts of the corner that donít connect to a straight part (the antennae looking bits).


#3: Just like before, draw in the edges of the curves.


#4: Now do the over parts of the ďXĒ.


#5: Erase the center line & clean up.


Iíll show how to do a split-spade a bit later. Itís a little trickier because the center line becomes one of the outside band linesÖ Anyway.

Ready for the first design? Here we go!

05-11-2006, 02:33 PM
Remember the questions from the first post, about what purpose the border is going to serve? For this first design, Iím going to make a few executive decisions. #1: Weíre adding intricacy to something simple, but donít want to overpower it. #2 composition rules! If it becomes one band itís a happy accident. #3 No emphasis required.

This design is based on a 4-strand plait, divided into a twist. Hereís the step by step. This small section is your unit that will repeat (itís not a true repeat unit. To take one band completely through requires 4 1/2"). Feel free to do as many as you want to get comfortable with it.


Ready to apply what Iíve shown you? Lets work it into a 5x7 frame.

#1 Start by marking out your working space, I like to mark inches & the center. In this scale, you need 2Ē for a repeat unit, 1Ē thick.


#2 Start drawing in the bones of your pattern. Because of the space needed for repeats, Iíll center the basic unit at the midpoint on the top and bottom of our frame. And because I donít want to put too much emphasis on the midpoints, Iíll let the unit repeat twice on the sides, balanced on the midpoints.


#3 Now do a spade corner. Iíve done each one as a progression in the example so you can see how it comes together.


#4 Just like I showed in the previous steps, draw in the edges for your bands.


#5 Erase & clean-up & thatís it!


Just for giggles, here it is with color so you can see how many bands. Sigh.


So now you have a really nice little border frame with an opening of 3x5. Hopefully, Iíve been clear enough that you can see how to expand it to make a larger frame. Iíll come up with some more ďbonesĒ you can use as a template in a bit. Stay tuned.

Any questions? Letís see how you do!


05-11-2006, 04:13 PM
I enjoyed this very much and I think I'll take a stab at it later. You have a ver interesting method of making the knot path. BTW- I've never used graph-paper, should I?

Finally, is there an easy way to make it one continuous line? George Bain said that in a panel the number of horizontal and vertical intersections should have no common factor (i.e 4x3 9x13 15x67,) but I don't think that would work for a border... Anyway, it's just as pretty with many lines as one.

Once again, pretty knots and I enjoyed the various ending treatments. I also liked the technicolor worms. :)

05-12-2006, 07:14 AM
Glad you enjoyed it, Flurkiele! Technicolor worms... :lol: :lol: :lol:

About graph paper: you don't need to use it, but it is helpful. Especially when you want to create something that's fairly uniform in it's shape/line. I don't use it very often in drafting my own. I tend to like knotwork that's a bit more organic looking. BUT, when starting out, graph paper can save you lots of frustration. And help you avoid the "tangled spaghetti" thing. :rolleyes:

About making it into one line... Bain's rules about working with panels is essentially correct. He just said it the hard way. Think of your curves, instead (ignore the corners, 'cause they always come in pairs). An even & odd number of curves on the outside edge will give you 1 band (like 2 & 3). As will an odd number on all 4 sides, as long as it isn't the *same* odd number (like 3 & 5). Working with a border has some different rules. And if this particular design will do it... I'm not sure. let me play with it (I *think* it will, with some minor modifications).


Merry Scribe
05-12-2006, 08:41 AM
:clap: :clap: :clap: :clap: YAY Master you have kept your promise forgive me for being so impatient. I am but a young student of the Master and don't know the was of the celtic knotwork world as of yet. But I will promise you that I will make you proud of me.

Young Grass Hopper.:clap: :clap: :clap: :clap:

05-12-2006, 04:53 PM
I am but a young student of the Master and don't know the was of the celtic knotwork world as of yet.

oooooKaayyyyy... no more kung fu movies for you! :lol:

Bear with me-- I've got more to add to this, but my internet connection has slowwwwwwwed tooo a crawwwwwlllllll. Aaaaargh! It's almost *painful* trying to upload anything. grumble grumble.


05-12-2006, 08:23 PM
Here's my work. Okay, so it's not exactally the same pattern, but it is a four-cord braid, so I thought it should fit. The long bars on the bottom were to fix some ackward endings. I didn't control my cord thickness as well as Tess, but that's the pen's fault. :)


PS- part of why it looks weird is that I took the picture at an odd angle.

05-12-2006, 09:07 PM
Here is the finished and fully colored version in "more or less" complementary colors. (The complement of blue is orange, not yellow-orange) It looks much better in color, IMHO, and also I took more care in photographing it. What do you think?

I really like this method of border-work and I think I'm going to stick with it. However, I was completely stumped by the double spade corners, so please cover that next!!


Notice it is actually three pieces. (Tiny blue peice w/ shorter bar at the bottom) I was reluctant to add a third color to my design, so I colored it blue to offset the large yellow bar.

Now, what to put in the center??

05-12-2006, 10:51 PM
Tess! Another amazing tutorial!! I'll have to try these boarders as well. :thumbsup: :thumbsup:

Brian, We have our work cut out for us.:D

Flurkiele, Great first shot! Now that you've use the graph paper, you should be up to creating your own grid!! :eek:

- Chris

05-13-2006, 02:25 AM
Wonderful tutorial Tess. Many thanks for doing this for us.:clap: :clap:
I have made both your tutorials into stickies so that they stay at the top of the forum and will be easy for everyone to find.:D :wave:

05-13-2006, 06:40 AM
Flurkiele-- Great job! And I love seeing a variation of the pattern. Do you see where it went odd (leading to the bars) & do you think you could do it without them?

I really like this method of border-work and I think I'm going to stick with it. However, I was completely stumped by the double spade corners, so please cover that next!!

Yep, braids & split-spades if (mighty big if) my internet connection isn't dog slow.

Chris (CPM Chris)-- Thanks! Let's see you combine a running border & the knotwork borders... :evil: You know you can do it!

:eek: Stickies? lil' ol' me? :o Thanks, Chris! Jakeally-Chris. Oy, too many "Chris" people... :lol: By the way.... haven't seen one from you yet. :evil: :angel:


05-13-2006, 09:00 AM
I can see it went odd but how?? I'm guessing that my vertical curves should have been added upon by one curve, or elso a curve should have been taken away, to make the vertical sides even-numbered. *Checks* Yes, 15 curves... must count them next time...

05-13-2006, 09:26 AM
I can see it went odd but how?? I'm guessing that my vertical curves should have been added upon by one curve, or elso a curve should have been taken away, to make the vertical sides even-numbered. *Checks* Yes, 15 curves... must count them next time...

Good girl!

And here's how I worked the pattern into one band:


The trick is to make it double back on itself asymetrically. Because when dealing with an even number of bands, symmetry is NOT your friend. If I were to use a pattern like this in a piece, I'd make that happen so it's a bit more hidden in the corners. But this works for the demo. And doesn't look all that bad, really.


05-13-2006, 09:31 AM
My connection seems to be zippy, so here's the next part!

Braids are one of my favorites to work with. First off, Iíve got a thing about threes. Second, so very very easy to make it into one band. Unlike the four-band plait, which has a natural inclination to stay four bands or become two.

So hereís the step by step of a braid. Notice that the curves on the bottom *do not* mirror the curves along the top. Theyíre offset by 1, straddling the juncture of the curves along the top. And once again, do as many as you want to feel comfortable. Unlike the four-band plait, a braid doesnít really have any bars. Itís just overlapping curves.


Now, on to the split-spade corner. Those of you who did the triangles & pretzel project have already worked with these. The only difference is that the other side of the pretzel is at the other end of your border. Hereís the top portion of the corner.


Now draw the same thing going down the side. Notice the corner actually shares a line. Usually, thatís a no-no. But in this case itís ok.


Add in your bars.


Now for the fun part. Because the split-spade shares a guideline, youíre going to have to just eyeball it, using that center line as the outside line of the bands. Also keep in mind that youíre dealing with two bands right next to each other when youíre doing your over/under pattern. I recommend starting at the corner & establishing the over/under. If Iím going to goof up on the weaving, this is where it usually goes wrong for me.


Continue drawing in your bands.


And as usual, erase & clean-up. And thatís it.


Ready to work it into a frame? Here we go!

05-13-2006, 09:36 AM
Hereís a simple little braid-based pattern:

#1 Start by drawing a spade end (pointing up), with one curve coming off of it across the top. On the bottom edge, draw another curve (connected to the first spade) and then another spade end pointing down.

#2. Draw in your bars.

#3. Skip two boxes, drawing the same thing with your first spade end pointing down. And repeat with the next spade end pointing up.

#4. Draw in the bars & connect them with curves.

#5. Outline the bands.

#6. And finally, erase & clean-up. Now we have three little knots.


For our border frame, weíll only use two of the knots (one full repeat) and split-spades at the corners. Notice that it only needs 3/4" in width, so youíll have a slightly larger opening than before.

For speed & posting size, Iím doing 5x7 again. So mark out your space. Iíve balanced the knots at the midpoints on each side, with the spade ends pointing down to the middle. The split-spade corners have been adjusted to fit the overall pattern & size constraints.


Now, because itís easy to goof the weaving with split-spades, pick a corner to start outlining the bands. Follow the line all around the frame, double checking yourself as needed.


Doing ok so far? Hereís how mine looks with the outlining of the bands completed.


And the common refrain: Erase & clean-up.


So for the original questionsÖ What is this frame good for? Itís simple & almost delicate, well balanced, and draws the viewerís eye to the center of your piece.

Any questions? Lets see yours!


05-14-2006, 08:47 AM
Good girl! Tess

:eek: *Ryan reddens* Well, its an honest mistake, lol. I should have spelled my username without a lateral "e", methinks.

And yes, I like the reworked pattern too.


So, I've worked on the three-cord braid. Being stubborn, I seem to have allotted less space for my knot than the template given has, so it is esentially different in places. There is also one very ackward place at the beginning of the lower-right corner knot, so I will have to lengthen the knot by one square to save my feeble composition. Also, as you may have noticed by now, a strange figure eight has popped up. :confused: Oh well, anyways the thicknesses are better controlled than before. Will finish later.

05-15-2006, 07:07 AM
:eek: *Ryan reddens* Well, its an honest mistake, lol. I should have spelled my username without a lateral "e", methinks.

:Tess geeksmacks her forhead: My apologies, Ryan! I made an assumption and ... well, isn't the first time I've been radically wrong. My apologies :o :o :o And now I'm guaranteed to remember your name! :lol:

hang on a sec, there's an easy workaround for the figure 8 issue. Let me throw together visual aids...


05-15-2006, 07:25 AM
Ok-- for the figure 8 problem. The curve that leads into the knot? Change it to 1 space on either side, and add a curve to the top and bottom. Like this:


The frame is looking really good! And I don't see the awkward spot you were talking about... The width of the lines looks steadier, too. Yay!

I should have mentioned this when I introduced braids-- they have a special rule... The total number of curves (top & bottom) cannot be divisible by 3 if you want it to be one line. Here's a really quick example:


So that's what happened on Ryan's piece (see, told you I won't forget your name again!). The two curves on the bottom + 1 curve on the top = 3.

And that's not a bad thing, it's just a question of what you're wanting the border to do for your overall composition.

Now lets see some more!

05-15-2006, 04:10 PM
Well, I've fixed the errors and lengthened the whole pattern by a few squares. I'll point out the ackward place, it is simply a larger space:


And here is what I have reworked it, changing all the spaces to one square in width:


Having checked it, and verifying that it is one line indeed, I think it is officially "fixed."

05-16-2006, 06:55 AM
:clap: looks good! :clap:

Let's see something in the middle!


05-16-2006, 08:53 PM


I am finished with it. I even interlaced the daffodils. (One error is in the bottom leaf) I'm regretting the way I handled the text, but no fixing it now.

05-17-2006, 09:10 AM
Very nice! I like how you handled the daffodils. And the "error" really isn't. Slavish adherence to a weaving pattern, especially when doing something like a flower, creates a static piece. You *want* it to move. You *want* it to engage. And while the viewer will not really register the difference, it will speak to the overall piece and create interest.

Did that make sense?

Anyway. I have a few more templates for folks to try. Hopefully I'll get them posted tomorrow.


05-17-2006, 03:07 PM
I realize that weaving can make a floral seem stiff, and that is why I was not too concerned with how closely it followed the ancient rules. I do think that including weaving elements gives the stemwork a certain flair. And if there is one thing I can do, it's floral patterning!

06-16-2006, 10:33 AM
Sorry itís taken me so long to get back to thisÖ been a little distracted lately. So without further ado, itís time to talk about cornering.

Ok, for the record, I *hate* trying to miter the corners. Itís why I use triangles so much. But the corners can make or break a good border so, here we go.

Iíve shown the two basic ways of making a corner for a really basic weave: spade & split-spade. But what if youíre doing something a bit more ambitious? Something that has a definite pattern &/or direction? For me, figuring out what is going to work is usually just trial & error. Itís another good reason to plot out your knots on a separate sheet of paper from what youíll use for your final piece. The examples Iím showing here are interlocked knots, that wonít connect into 1 band without seriously breaking the pattern.

So letís start with a fairly easy pattern:

Itís based on a 4band plait, but split up so you have 2 bands that run through the entire pattern, a figure eight, and circles. For speed, Iím just showing the center line. Let me know if you need me to draw the bands in the rest of the way.


Now, for the corners. Spade or split-spade?

Letís start with the spade. Draw in the part of the pattern you know you want to lead into the corners, giving yourself plenty of room on either side. In this case, I want the circles just before the corners, so the corners can mimic the figure 8.


Because weíre doing the figure 8 as the corner, & that part of the pattern is 3 curves across the top, your spade corner will replace the last curve. So draw in 2 curves across the top & the spade. Now draw in 2 curves coming down from the spade.


Start working the pattern going down the side & filling in where you *know* your curves need to be. This is important when working a more complicated pattern, because this is the easiest way to make sure youíre working the pattern around the corner & not doing a completely separate knot.


Now fill in the bars & any curves & thatís it.


Ok. On to the split-spade. When working out a design like this one, I like to work the alternative corner at the other end of the pattern, just to do a side by side comparison. So once again, the corner will mimic the figure 8, with the split-spade replacing the last curve. Just like the spade corner, draw in 2 curves across the top, the split-spade, & 2 curves going down the side. Remember the center line in a split-spade is shared by two bands.


Now start filling in the curves that you know.


And now the bars.


In this case, spade works better. It maintains the figure 8, allowing our 2 bands that run through to pass around the corner with the same pattern. The split-spade has the 2 bands woven around each other & then slipping free to the next side. Pretty & possibly good depending on how you want to treat the overall design, but doesnít fit the pattern.

Here they are in color (ignore my goofing the weave on the split-spade)


You can see the pattern a little better with the spade corner & why I like it for this design:


One isnít necessarily better than the other, but you need to decide what works for your overall composition. If youíre planning on adding color to your pieces, paying attention to the pattern is incredibly important. In black & white, unless someone is seriously following the weave of your design, it doesnít matter as much because the viewerís eye wonít notice a break in the pattern as easily.

Ok, on to the next.

06-16-2006, 10:36 AM
For this next one, I decided to expand on one of the examples in Bainís Celtic Art. If youíve got the book already, you can find it on page 33. Itís based off of a 4band plait, split to form interlocked figure-8ís with large bars containing the interlace.


Iíll skip showing the step by step for this one. If you want me to show it, let me know.

So here are two options using the spade corner. Because of those large bars that arc over the interlace, thereís a lot of empty space happening in the spade corners. While the first one does maintain the overall pattern, it doesnít reinforce the general feel of the border design. The second one, while technically adhering to the overall pattern, sure doesnít look like it. So these two are out.


Hereís an option using a split spade that works really well with the overall pattern, even though it technically breaks it. In this case it works because the pattern is maintained in the *negative* spaces, not the bands.


Here Iíve filled in the bands so you can see it a bit more clearly.


SoooÖ. Giving anyone ideas of how to handle the previous border? Give it a try using the circle instead of the 8s in the corners.

Ok, couple more to go.

06-16-2006, 10:43 AM
Hereís an example of how to take a fairly simple border design and expand it into something more intricate.

Remember the little braid-based border we did before? Letís take it & stack two of them together. I mentioned this in the triangles & pretzels tutorial, but hereís the rules for joining two separate knots:

1. Anywhere points come together, you can break them & join the knots.
2. Anywhere two curves run next to each other, you can break them and turn them into straight bands *or* join them to become corners.
3. Anywhere bands cross, you can turn them into curves *or* corners (very useful for breaking knots apart, too).

So for this example Iím using rule #2 to allow the bands to cross. And to make it a little denser, Iíve changed the arc between the knots to one space, instead of two. As you can see, itís two bands. If (yes, obsessive-compulsive) you want to make it one, at some point in your design youíd need to break the xís and change them to curves (only once!) so the bands could double back on themselves.


Now for the corners. I used a split-spade for the corner when we used the braid pattern on itís own. So thatís a good place to start. Except that if we do two split-spades stacked on top of each other, the spacing is wrong.


So letís fix that like this:


hmmmÖ close, but not quite right, is it? What if we do a split-spade for one and a spade for the other? Jackpot! It works with either one on the outer edge. Personally, I like the one with the split-spade on the outside. Except in both examples, the spade-corner band has a closed loop. Hmmm.


So this is the part where my obsessive need to make things one band (or at least avoid closed loops when they arenít part of the pattern) kicks in. And this is also where it bears mentioning: Symmetry Is Rarely Your Friend. So add a curve to one side (doesnít matter which) and there ya go.


Now, there is one other way to handle the corner. You could work a completely different knot. Which, 9 times out of 10 is what I end up doing (like in the original draft for the Cead Mile Failte). Hereís one example of how you could do it. Play around. Letís see what you come up with!


Ready for the next?

06-16-2006, 10:49 AM
Ok, this is a fairly complicated border Iíve borrowed from Aidan Meehanís ďTreasury of Celtic Knots.Ē If I havenít mentioned it before, itís an excellent resource. If you have this book already, you can find his version on page 54.


This is a great panel, but to my eye, a little too much for a border. So remember the rules about joining knots? In this case, Iíll use rule #3, to break the knots & rotate as needed.


Now for the corners. It would seem this example would be fairly easy, because it sure looks like the corners are built in already. Right? Mmm, not so much. Hereís a possibility using the corners/pattern as it is. Closed loops all over the place. And while I can ignore it (barely) if itís good for the composition, it really doesnít do it for me. Another possibility is turning it into a basic weave. Once again, closed loops everywhere & doesnít break the pattern in an attractive manner (at least to my sense of composition).


Remembering that symmetry rarely works in your favor, hereís an example of how you could do it asymmetrically.


And here it is worked into a full border. In this scale & with this number of repeats, it works up to being 6x9 inches, giving you an opening of 3 1/2x 6 1/2.


So letís see yours!

Hopefully, Iíve given yíall a good grasp on the concepts you need to work running borders. If thereís interest, Iíll work up a tutorial on working around a circle. Give me a bit, though. Iím hip deep in half-started projects I need to wrap up. Too many ideas, not nearly enough time. :wave:


06-16-2006, 11:11 AM
You are a star Tess:clap: :clap: :clap:

06-16-2006, 12:55 PM
Yow! Tess, this is great:clap: :clap: ! Alright guys .... Its homework time:eek: ! Lets get some projects together.:D

06-17-2006, 08:06 AM
Thanks, Chris! ... And Chris. :D

I have been a rather lax teacher, haven't I? Not a lot of slave-driving... hmmm... Perhaps I should change that? :lol: :evil:


09-07-2006, 11:44 PM
You're such a great teacher..thank you soo much!!:clap:
I actually suck at drawing but when I first met the celtic knotworks, about 4 years ago, I really felt like I could do something with that..In fact I didn't do much, (I was kinda busy x-stitching and crocheting) but now I want to get back to this wonderful artwork..and with such a tutorial...that's gonna be easier (i hope so!):wink2:
I'm brazilian and it's very hard or better saying, impossible to find books concerning to this subject, so once again thank you very much!:thumbsup:

09-13-2006, 06:57 AM
More than welcome!

If you run into trouble, feel free to post or pm (private message) me. I haven't been making it online as much as I'd like lately (hopefully that is changing), so please be patient with me.


Xin C
12-24-2012, 10:37 AM
Hi Tess! :wave: I know I'm like 6 years late, but hey, it's never too late :lol:
So, I've tried some of the borders in this tutorial and also the knots in the pretzels and triangles one, I can't upload them right now because I'm on vacation and I don't have a scanner at hand, but when I get home I'll show you :)
Your tutorials are AMAZING!!! :clap: I had tried other tutorials and guides before I found yours and they were either incomprehensible, or so "mathy" that my knots ended up looking like robot doodles :evil: But then I found Wetcanvas and saw the light at the end of the tunnel:cat:so thank you very much for your hard work.

Also, I would LOVE to see that tutorial about working in irregular spaces :crossfingers:

Well, I'm off to tangle myself up in celtic knots :lol: I'll upload something when I get home.

11-08-2013, 10:44 AM
OK, if the last post was six years late then mine is seven............:D

But I must say thank you to Tess for this. It's going to be a knotty winter!

I'll share...I promise :thumbsup:

11-19-2013, 01:15 PM
I can't believe I just found this forum. I'm late too, and love it! (Well, not the being late part, the celtic knot part!) Thank you for doing this!

06-19-2014, 01:40 PM
Tess, thanks for the tutorials... have always been fascinated with geometric shapes, repeating patterns... and I love the art you have in your signature.

03-15-2016, 06:19 PM
:thumbsup: Thank you for the tutorial