Spellstone Pattern Books

Ancient Blue

Ancient Blue, Patterns from Pagan Europe, is inspired by the art of the Celts and the Vikings. This pattern collection is supported by two sister publications a technical guide for the experimental use of indigo on skin and a set of pattern templates. SPELLSTONE Pattern Books are published as electronic books for printing out at your desk, the perfect format for the busy summer festival season, making it easy to replace pages that get worn or spoiled!

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Tulips of Topkapi

Patterns based on the art and ornament of the Ottoman Empire, the richest and most powerful of all Islamic dynasties. The Art of this period is characterised by discord and exuberance. It is a world inhabited by strange flowers and plants. Tulips and carnations grow together from the same stem; supported on massive trunks or gossamer thin stalks. This book reflects the Ottoman obsession with flowers. 40 pages of body art patterns created for gilding, jeweling and Zardosi work.

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Warrior

SPELLSTONE Warrior is a book of ornament derived from arms and armour. Many beautiful patterns are to be found adorning the weapons and instruments of war. Unlike other books of body art patterns this collection contains patterns both for the warrior and for his or her war-horse. This collection explores the techniques of henna application with paste resist and contains artwork for the beginner as well as the accomplished artist.

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Jewish Patterns from Kurdish Folk Art

Jewish peoples of many cultures have used henna as a part of their social and religious way of life, in celebrations and rituals. Among the Jews of Kurdistan the practice of hennaing hands and feet for important events has a rich and varied history. These patterns are derived from the Jewish art of the Kurdish region.

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Origin Part One

Origin is the second SPELLSTONE collection of tribal ornament. This book takes a closer look at the process of design. Family groups of organic tribal patterns are used to illustrate the techniques and concepts discussed, expanding upon the design themes and ideas introduced in SPELLSTONE Tribal.

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Origin Part Two

In Origin Part Two you will be introduced to a pattern called 'Frank'. Frank is a rather clumsy combination of elements or limbs in much the same way as his namesake 'Frankenstein' was a crude collection of parts or limbs. Frank has been created to illustrate the concept of anatomy in tribal design. Just one of the concepts discussed in this collection.

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Europe

The SPELLSTONE Europe pattern book is an eclectic mix of Folk patterns from European cultures. These patterns were collected from Eastern Europe, neolithic sites, little-known but powerful places. Many of them are adapted from relics of early solar and fertility religions, and have the beauty and vigor of ancient beliefs.

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Africa

The Africa collection comprises patterns from many parts of the African continent. Its aim is to provide the artist with a taste of the rich variety and variation that exists there. A few cultures have been selected to illustrate some of the diverse styles and symbolic languages in use across a vast continent. The collection includes traditional Moroccan designs and patterns from the Kingdom of Kuba, adapted for tape resist style henna application.

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Tribal Part One

SPELLSTONE Tribal is a collection of patterns in the modern style ranging from purely abstract shapes and designs to patterns based on natural plant and animal forms. The inspiration for this collection came from many sources including Celtic art and calligraphic penmanship. This SPELLSTONE collection includes small, simple motifs, quick and easy to reproduce in a festival setting along with challenging symmetrical pieces that will take longer to master.

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Tribal Part Two

Tribal Part Two completes the first SPELLSTONE collection of patterns in the tribal style. The first section comprises a selection of patterns that deal exclusively with beasts and creatures. The book also looks at sources of inspiration for neo-tribal art, including Chinese-, Celtic- and Maori-inspired designs. The collection ends with a discussion on composition, placement and the use of space when working with the body as a canvas.

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