The next design element o be carved is the area of Celtic knot-work on the right hand side merging at the top portion that encapsulates the swivel at the top of the spoon. This knot-work panel at its right-most edge will describe a line that is the overall spoon’s profile leading up to the crowning swivel and ring at the top.
A considerable amount of material needs to be removed to reach the thin edge of the knot-work panel. This material needs to be removed carefully however so as to not compromise the positioning of the dragon’s tail below or the level and orientation of the Celtic cross toward the top centre of the lovespoon.
With these profile lines drawn in the level of both the knot-work and the surface of the Celtic cross are worked down to. By using a narrow but deep gouge with a stabbing-fist grip, considerable controlled cutting force removes the very hard timber down close to the required level.
When the level is approached close to the finished top of the knot-work and cross a shallower gouge can be used to to smooth the furrowed tool marks ready for re-drawing the knot-work.
With the knot-work drawn in and the negative spaces shaded, as a precaution, ready for carving. The edges are outlined with stop cuts to form the knot’s ribbon edges and the pierced openings between the knot ribbon strands.
I had decided not to fret out these openings because of the thickness of hard, dense timber at that point. I opted instead for holes drilled through the blank to expedite piercings with chisels. In retrospect It would have been more convenient to have done without these holes, as they offer little help and I now consider the option of not passing right through the blank preferable.
As the knot-work will not be shown in reverse on the spoon back the through holes will need to be utilised in the intended abstract ‘art nouveau’ forms on the other side.
The Celtic knot-work in relation to the dragon’s tail and the Celtic cross is established and now attention an be payed to the positioning of the Celtic cross and its spatial axis in that part of the overall spoon’s form.
To the left of the Celtic cross will be the daffodil, which will needs relating both to the Celtic cross and to the head of the dragon at the right level enabling a harmonious dimensional juxtaposition to them both. But for now the orientation of the left hand level of the Celtic cross will need carful consideration as this next element is layer out and carved.
Lovespoons, Graphics and other Wood-Art 