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Designing Chinese Knots

Chinese knots (and tassels) have traditionally been used to decorate accessories and artifacts such as jade, fans, wind chimes and lanterns. Tied by family or friends, they have also long been used as colorful hangings on festive occasions or during important rites of passage such as weddings. The knots themselves were never considered to have much artistic value and little attention was paid to how they were made. They were simply there and taken for granted!

Yet, when we look closely at Chinese knots, we find that each is an extremely systematic, intricate and delicate item, the fine details reflecting the very thoughts, feelings and artistry of the ancient Chinese women who made them. Only then do we see that knotting is an art in itself.

Once we acknowledge the artistic merit of knots, we can break away from the concept of a knot being merely an accessory to enhance the elegance of some other, main object. We can make it the main focus of attention and embellish it with other ornaments. In this way, the design of Chinese knots offers infinite creative possibilities.

But to design a simple or compound knot and to explore its potential, one must first of all have a sound knowledge of the basic skills of knotting. One also needs to have a knowledge of such fundamentals as the choice of format, the most suitable colors, the most appropriate cord materials and the best embellishments. This chapter provides the basic skills necessary to help readers design and apply their own knots and also gives handy tips on knotting.

Introduce elements from modern art into Chinese knotting. Here, multiple colored cords add fresh appeal to the inherent beauty of traditional forms, injecting a new dimension into the art. Colors outside the normal spectrum – gold, silver, black and white – used in combination with the basic seven colors can produce dazzling results.

BASIC SKILLS

All Chinese knots, be they simple or compound, are based on the same underlying three-step principle: tying the knot, tightening the cord, and adding the finishing touches. Once this basic principle has been grasped and the method for making each knot mastered, all the knots you have learned can be freely recombined to produce boundless creative knots.

The fundamentals of Chinese knotting can be broken down into basic skills and formation skills. Central to the basic skills is the use of a single cord and double or multiple cords, coupled with the choice of running the cord ends separately or in parallel, to make a multitude of knots or knot formations. Formation skills involve the extension of the cord ends and outer loops, as well as the hook-up of outer loops. Using these techniques, all the knots can be hooked up into a formation to make an elegant ornament.

Making a Knot or Formation

As noted above, making a knot or formation involves three basic steps: tying the knot, tightening the cord, and adding the finishing touches. These general guidelines apply to every knot in this book and provide the foundation on which you can build your knotting skills. If you want to further enrich the knot, you can always use two, three or even more cords of different colors to make a striking multicolored ornament.

The practice of running the cord ends separately or in parallel can achieve other desirable effects. For example, using cords of different colors, with the core ends running in parallel or separately, can give rise to very colorful and elegant knots, such as round brocade, pan chang, cloverleaf, and good luck knots. In addition, tightening or loosening certain colored cord(s) can produce various patterns on the outer loop, thereby changing the design.

In the olden days, people used nothing but their bare fingers to hold the cord in place while tying even the most complicated of knots. These days, most knotters benefit from a few simple tools: a piece of corkboard of a shallow cardboard box on which to place the cord as the knot is formed; a number of push pins for anchoring the cords as they are knotted, perhaps in different colors for the body and loops; a crochet hook or a pair of slim tweezers for feeding the cord through narrow spaces and ensuring that the cords do not twist or bend out of shape; a pair of scissors for trimming, and a needle and different colored threads for sewing delicate and discreet stitches to ensure the knot holds its shape permanently.

Knotting a single cord

Basically all Chinese knots can be done using a single cord. The same result can be achieved by knotting one end or both ends of the cord, but as it is quite difficult to analyze the knot, beginners are encouraged to knot both cord ends to give a clearer cord path, thus avoiding confusion arising from the tying. Hence, knotting both ends of a single cord is the simplest and most convenient of all knotting skills.

Knotting one end of a single cord

When making a formation, there is, however, a need to use this particular technique for better flexibility. With frequent references to the step-by-step illustrations on basic and compound knots, starting from the last step of tightening the knot, it is easy to follow one end of the cord to trace back to the other end and make an elegant knot employing this technique. This knotting technique is frequently used to tie side knots on the outer loops, or when making necklaces and belts with Chinese knots.

The Parts of a Knot

TIPS

• It is better to use more cord (at least 3 meters) than less so that you do not come up short at the end.

• Seal off the ends of cords with tape, thread, liquid glue or hot wax to prevent fraying.

• Make sure you keep the cord flat as you follow the step-by-step diagrams.

• String on beads, etc. at the appropriate point in the knotting process.

• Leave enough space for the cord to pass through as many times as required.

• Make sure than no bends, twists or kinks develop in the cord as you knot.

• Be patient and cautious when tightening the cords and pulling out the loops.

• Stitch the knot at relevant points (e.g. pendant junctions) to help retain the shape.

Knotting both ends of a single cord

Usually, a knot tied with a single cord is made of only one color. To provide variety in the color of a formation, the ends of two different colored cords can be tied to form a single cord. Diagram 1, the cloverleaf knot, is an example. By making the join of the two different colored cords fall at the junction of the top outer loop, the two colors become evenly distributed in the body of the knot. Also, as shown by the pan chang knot in diagram 2, by making the join of the two different colored cords fall at the top outer loop, the two colors become evenly intertwined in the knot body and are represented equally on both sides of the knot.

Knotting Double Cords

Another way of adding color is to knot two different colored cords together as if they were one. Since two cords are being knotted together, the end result tends to be bigger and in some cases, for example the button knot, also thicker.

Knotting two cords as one

This knotting technique is normally confined to simple knots. Complicated knots when done this way, such as the pan chang, tend to end up messy. A better way of carrying out this technique is to tie one cord first then, before tightening the knot, tie the second cord following exactly the same path as the first cord before finally tightening both cords. If the two cords are different in color, hardness and thickness, the harder or thicker cord should always be tied first followed by the softer or thinner one. To achieve a pleasing knot, the second knot should always be kept on the right or left side of the first one, not on a mixture of both sides.

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See project 124 on pages 154–155 for instructions on making the pendant above.

Knotting two cords separately

Knotting two cords as one not only produces a body comprising two different colors, but also allows one cord to be tied separately to form outer and side loops. This further enhances the combination of colors. For example, diagram 4 shows a butterfly knot tied in this way. The body of the knot was tied by knotting two cords as one. Then, as the outer loops were reached, one of the cords was tightened. The other cord was separated and tied into a butterfly wing. Another example is shown as a clover-leaf knot in diagram 5. When the outer loop was reached, one cord was tightened while the other one was pulled longer. Notice that the knot body and outer loops are of different colors as are the top outer loop and the outer loops on both sides.

Knotting Multiple Cords

The technique of knotting with multiple cords is similar to that of knotting two cords. But since more cords are involved, there is much more opportunity for experiment and variation. Added to this are the factors of cord colors and textures. The number of possible combinations that can be achieved is enormous.

Knotting multiple cords as one

The cords can get easily tangled up when knotting multiple cords as one. However, with all the different cord colors and textures involved, the entanglement might produce a unique design, much like the knot shown in diagram 6. However, if you want the end result to be like that illustrated in diagram 7, where all the different colors are lined up properly, a technique similar to that of knotting two cords as one should be employed; that is, the thickest or hardest cord should be tied first, followed by the second cord, third cord, etc. Each cord should be inserted in its proper place in the design before all are tightened.

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The thoughtful use of single, double or multiple cord knotting techniques, either tied as a single cord or as separate cords, can give rise to a great deal of color and stylistic variation.

See project 125, page 155, for instructions on making the knot formation above.

Knotting multiple cords separately

When knotting multiple cords as one, on reaching the outer loop one or several of the cords can be used to produce outer loops or side loops, thus adding another variation. For example, in the cloverleaf knot tied with three different colored cords in diagram 8, the three outer loops are formed of different colored cord. Similarly, in the pan chang knot tied with four different colored cords in diagram 9, the outer loops are highlighted with a number of color combinations. In addition, all sorts of side loops of different colors can be created with the lengthened outer loops.

The most critical part of knotting is, of course, the tightening of the knots, especially when multiple colored cords are used. It is necessary, first of all, to determine which cords are to be pulled (usually indicated by black arrows on the step-by-step diagrams). A gentle, even pressure should be applied to make sure that no twists or kinks develop. The body of the knot should always be tightened first before pulling out the slack, loop by loop, until the cord ends are reached. It is important not to let the body of the knot loosen, or its shape will be distorted.

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A necklace created by the author. Once you have mastered the basic skills, you can then apply the formation skills freely to create other graceful and elegant accessories and ornaments.

See project 129 on page 157 for instructions on making this necklace.

FORMATION SKILLS

A knot formation, as the name suggests, is not a single knot but a group of simple or compound knots linked together. This section focuses on the various ways of connecting the unrelated knots to make such a formation.

All compound knots and knot formations originating from simple knots follow three techniques: cord end extension, outer loop extension and outer loop hook-up. Coupled with the techniques of knotting single, double and multiple cords, as well as the skills of cord addition and reduction, it is possible to make fascinating and innovative knot formations.

Cord End Extension

The simplest and most common technique for making knot formations is the cord end extension technique. This involves using the end of a cord to tie another knot after a knot has already been made with one or both ends of the cord. Besides enabling the formation of a long series of knots, the technique also allows the knotter to adjust the distance between individual knots to produce a pleasing formation arrangement. This technique applies to the extension of one or both cord ends.

Extension of one cord end

The extension technique using one cord end comprises making a knot with one cord end, then making a second knot on the same cord end. In most cases, all the knots tied will fall on the same side of the cord, as shown in the cloverleaf knot in diagram 10. The few exceptions include the double coin knot as well as the button knot, as shown in diagram 11. To add variety, cords of different colors and textures can be tied using this technique.

Extension of both cord ends

The extension technique using both cord ends involves folding a cord and tying a knot using the two cord ends, as shown in diagram 12. Using both cord ends again, another knot is made. In this technique, most knots will be formed equally on both sides of the cords, with both cord ends as their centers, as shown in the cloverleaf knot in diagram 13. Variations in color and texture can be added by knotting two or more cords of different colors and textures as one single cord.

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See projects 126 and 127 on page 156 for instructions on making the knot formations on the left and on page 15.

Application of the Extension Technique

The extension technique of using one or both cord ends together can be applied in a knot formation. The methods involved are random combination, knot body penetration and rim embellishment.

Random combination

After making a knot with multiple cords – and depending on the desired design – different cord ends can be randomly combined and the knotting continued using the extension technique of one or both cord ends. The knot formation in diagram 14 has been made by first folding four different colored cords and then tying a good luck knot, then breaking the eight cord ends into three groups of two, four and two. Each group was then tied into a knot using the extension technique of both ends. The eight cord ends were then regrouped into three groups of one, six and one. Finally, the extension techniques of one cord end, two cord ends and one cord end were used to tie the three groups into three individual knots.

Knot body penetration

When making knot formations with multiple cords, the knot body penetration technique involves pushing some cords through the knots. For example, some of the cord ends from the first knot can be used to tie a second knot, while the remaining cord ends are pushed directly through the body of the second knot to meet up with the other cord ends below. Knotting is then continued using the extension technique of one or both cord ends. However, to be able to push the cord ends through a knot body, the knot concerned must be a thick one, such as the pan chang, button, flat (see Chinese Knotting, page 58) or double connection knot. This method is normally employed when only a few cords are needed to make the second knot, and the same cords are used to make a third knot, with the non-essential cords being pushed through the second knot body, as shown in diagram 15, where double cords are used to form a knot formation.

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The knot above illustrates the use of the rim embellishment method (page 16) to combine the green ling hua knot (page 94) with the brown side knots, at the same time embellishing the rim of the green knot.

Rim embellishment

This method shares the same principle as the knot body penetration method in that only certain cords are used to tie a knot in the formation. The difference between them is that instead of penetrating the knot body, the cords concerned are used to decorate the rim of the knot body using the extension technique of one cord end, as shown in diagram 16. After embellishing the rim, the cord end(s) concerned can meet up with the other cord ends underneath to make other knot(s) using the extension technique of one or both cord ends.

Outer Loop Extension

The outer loop extension technique is used to make a side loop on an existing outer loop. Upon reaching the outer loop, another knot is tied on this loop, as shown in diagram 17. The side loop can also be extended to make other side loops, as shown in diagram 18. The knotter works from the inside to the outside when tying this series of side loops, although they are completed in the reverse.

Besides extending an outer loop into a side loop, two outer loops can also be used to tie a side loop. For example, on a pan chang knot, two outer loops can be used on the same side to tie a side loop, as shown in diagram 19; or, as shown in diagram 20, an outer loop and a corner loop can be used to tie a side loop; or, as shown in diagram 21, the outer loops from different sides can be used to tie a side loop.

Outer Loop Hook-up

This method can be used to hook up two different knots to make a formation. The method can be broken down into direct hook-up, double coin hook-up and rim embellishment hook-up.

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Life can be injected into a knot formation using the extension technique of the outer loops and the hook-up technique. This knot, depicting a basket of flowers and a butterfly flirting with flowers, exhibits joy and prosperity.

See project 111 on page 149 for instructions on making this knot formation.

Direct hook-up

Two knots can be directly hooked up through their outer loops to create a formation or to hold them in position in the formation. Hook-up can be done through corner loops, as shown in diagram 22, or through all the outer loops, as shown in diagram 23. When extending loops, hook-up can be employed on all the extended loops to form a knot, as shown in diagram 24.

Double coin hook-up

This method is much the same as the direct hook-up, except that two knots are hooked up by tying the outer loops of the two knots into a double coin knot, as in diagram 25. To achieve this, it is necessary to first form the outer loop of the first knot into a figure eight before introducing the outer loop of the second knot into the figure to produce the double coin.

Rim embellishment hook-up

As shown in diagram 26, in the rim embellishment hook-up method, two knots are tied, then the cord ends of one knot are tied to the two sides of the other knot, thereby hooking up the two knots and achieving an embellishment effect at the same time.

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See project 128 on page 157 for instructions on making this knot formation.

Ornament Design

It is important to consider the purpose of making an ornament before deciding on its size, form and color. It is usually helpful to draw the ornament on a piece of paper and think of which basic and compound knots could be used to make it. The four concepts below – traditional lucky designs, general design principles, application compatibility and planar (flat) options – provide guidelines on ornament design.

Traditional lucky designs

A casual glance at traditional Chinese knots tells us that the majority of them are tied with a single cord, with both sides being equal and the front and back exactly the same. They also exude auspiciousness, for example, the five happiness knot (page 86) and prosperity knot (page 99). Ornaments can also be designed with a traditional flavor. Diagram 27 shows how the butterfly knot has been modified into a bat knot and double coin knot. The ornament is named “Good Fortune Bat,” denoting luck and good fortune, since bat and luck have the same sound. Diagram 28 shows how a swastika knot (Chinese Knotting, page 44) can be combined with a longevity knot (Chinese Knotting, page 64) to produce a knot named “Long Live the Good Fellow.”

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Chinese knots tend to follow lucky designs. Hanging a longevity tassel tied with yellow cords on a knot formation will impart good wishes.

See project 130 on page 158 for instructions on making this knot formation.

TIPS

• When making ornaments from decorative knots, it is necessary to consider the purpose and the occasion for which the ornament is being made.

• It is also important to think about the size, the most appropriate knots and the most suitable colors.

• Consider what other embellishments, e.g. tassels, beads and bindings, can be incorporated to enhance the beauty of the knots in the ornament.

General design principles

The most elegant knot formations are invariably the result of taking into account such basic design principles as balance, contrast, harmony and variety. When designing a hanging ornament, care must be given to its center of gravity. When enhancing a knot formation with a hanging ornament, it is also important to check that the knot formation can support the ornament without distorting the shape.

Application compatibility

Since a knot formation comprises a combination of two or more different knots, it is necessary to decide at the outset of a project which knots in an ornament will be the major ones and which will be the minor ones. In the example shown in diagram 29, four cloverleaf knots form the minor knots, and these are used to highlight the central pan chang knot, which is the major, dominant knot in the formation.

It is also necessary to consider what will be the dominant element in a formation – the knot itself or the decorative embellishment(s) – as the dominant element must be more eye-catching. Diagram 30 shows that the knot formation, enhanced by a small circular piece of jade, is the major feature. When the embellishment is to be the main design element, it must not be overshadowed by a knot formation whose purpose is merely to support and augment the embellishment. As an example, diagram 31 shows how a smaller knot can be used to grace a larger piece of agate.

Consideration must also be given to the compatibility between the knot formation and the embellishment(s). For example, hair clasps – long hanging ornaments with tassels – are designed in such a way that when the wearer walks the tassels will dangle in harmony, contributing to a graceful appearance. Diagram 32 illustrates a fan decorated with a knot formation sprouting a tassel. A woman using this fan will attract attention as the long tassel swings to the movement of her hand.

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See project 131 on page 158 for instructions on making this knot formation.

Planar options

Traditionally, knot formations are three-dimensional hanging ornaments, but they can also be used to grace planar or flat surfaces, for example as buttons on traditional robes. A knot formation can also be sewn directly onto a garment, making a unique outfit as well as imbuing it with a touch of elegance. Diagram 33 illustrates a necktie adorned with a knot formation, adding a traditional flavor to a Western concept. It is also possible, after a knot formation has been held in place, to draw on the outer loop and bend and twist it in other ways, such as into a lively wing or a bouquet of flowers and leaves, as shown in diagram 34. In addition, a different colored cord can be bent or twisted and sewn onto the lengthened outer loop for a more pleasing aesthetic effect.

A variation on sewing the knot formation flat on a garment is to pack the space between the two surfaces with a filler such as cottonwool and then sew around the edges of the knot formation. This produces the effect of a relief sculpture.

Color Blending

A traditional knot, tied with a single cord, normally comes in a single color, as in diagram 35. Being plain and – some might say – monotonous, a single color knot often needs other knots or embellishments to enhance it. Using the basic skills, two or even three different colored cords can be tied together to produce knots like those in diagrams 36 and 37. Adding or reducing cords freely during the knotting process offers many more visually interesting options than a single color.

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This beautifully knotted flying phoenix would look wonderful on any plain colored outfit. A series of similar formations, perhaps in different colors, could be used to decorate the corners of cushion covers or table mats. The possibilities are endless!

See project 132 on page 159 for instructions on making the phoenix.

Principles of color blending

Most people select colors according to personal preference. However, a simple insight into the principles of color blending can intensify knotting formations.

Through a prism, sunlight can be broken down into its seven colors, namely red, orange, yellow, green, blue, indigo and violet, each having its own clarity and brightness. As shown in diagram 38, the blending of blue and yellow, with yellow being brighter and clearer than blue, produces a pleasant contrast and also emphasizes the weave pattern of the knot. Blending colors of low brightness and clarity tends to produce a harmonious effect, for example dark green and dark brown, dark purple and dark blue. For loud, eye-catching contrast, colors like yellow and purple, orange and blue or, as in diagram 39, red and light green, are best.

The matching of similar colors, for example warm colors together, such as red, orange and yellow, or cold colors together, such as blue, indigo, green and purple, tends to inject a sense of harmony and unity into a knot formation. Colors in between the warm and cold ranges, for example purple and reddish purple, as shown in diagram 40, are equally harmonious. Colors outside the normal spectrum, like black, white, gold and silver, have great potential to add interest to a knot formation as they are easy to blend with other any color.

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Color blending plays a central role in the design of knot formations. In this charming pendant, the blue of the stone face is carried through to the intertwining blue and gold of the stone chime knot, based on an ancient Chinese percussion instrument, to the golden side knots embedded in shiny beads – a fine display of the blending of cold colors with neutral colors and neutral colors with warm colors.

See project 48 on page 131 for instructions on making this bracelet.

Establishing the major and minor elements

When making knot formations, not only the knots but also the colors must be divided into major and minor elements in order to provide important contrast. For example, in diagram 41, while green is the major color, by adding a touch of red to the knot body, the whole design is made to stand out. Similarly, in diagram 42, orange is the dominant color, but by highlighting the shape of the body knot with a green rim, the elegance of the whole formation is greatly enhanced. In short, a judicious and harmonious selection and mixing of colors adds aesthetic value to any knot formation.

Blending knot formations with other objects

Not only must the individual knots in a formation blend harmoniously, but they must also coordinate – as a group – with the object(s) added to the knot formation. In diagram 43, for example, the knot formation combines superbly with a beautiful piece of jade to project an image of ancient, harmonious beauty. For a more youthful and trendy look, daring colors (including luminescent ones) and everyday or unusual objects can be introduced into a design.

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A white pan chang knot surrounded by three ru yi knots produces a striking contrast, much like the complementary affect of leaves and flowers. Combined with a blue-and-white porcelain vase, the whole ornament forms a serene and harmonious creation.

See project 133 on page 159 for instructions on making this ornamental hanging.

Embellishing Knot Formations

In addition to considering factors such as the color scheme, format and choice of cords during the initial stages of designing a knot formation, it is always a good idea to explore the possibility of incorporating small objects in the design. Such ornaments may include small hanging objects, beads, tassels, thread bindings and frames.

Hanging objects

Apart from jade or other semiprecious stones, old coins, cloth sachets, porcelain vases, porcelain and wooden sculptures, medallions and other trinkets can be used to grace a knot formation. Care must be taken, however, to ensure that the color, texture and size of the hanging object blend well with the knot formation and that it is of an appropriate size. For example, in diagram 44, the hanging ornament blends perfectly with the knot formation in terms of color, shape and size. It also fits snugly into the lower portion of the knot formation.

Beads

Jade, wood, porcelain, glass, metal and plastic beads, even love beans or fruit cores, can inject life into a knotted arrangement, their different colors, shapes, sizes and brightness adding variations and highlights. In diagram 45, green and blue beads have been added by simply pulling the cord ends through the beads at the top and bottom of the main knot, with the cords then knotted to hold them in place. Beads are also effective inserted in the outer loops of a knot, as shown in diagram 46.

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See project 134 on page 160 for instructions on making this knot formation.

Thread bindings

Thread bindings of similar or contrasting colors can both embellish and stiffen a knot formation, as shown in the outer loop in diagram 47. Binding the cord ends below a major knot is a variation on using beads or a small knot to enhance a design. Binding the join of two cord ends can both improve the appearance of a knot and hide the join. The cord ends in a tassel can also be folded back and fastened with thread or, as shown in diagram 48, the ends can be tied into a knot and then fastened with threads to the tassel cords.

Tassels

Tassels normally form the last part of an ornament and give it grace and life. Since the length of a tassel can be easily adjusted, it has a harmonious effect on the overall knot formation. There are many different types of tassels. Besides the five types taught in this book (pages 111–117), simple tassels can be made by folding back the cords and hooking them to the last knot, then tying the upper part of the tassel with threads, as in diagram 49. Alternatively, after making a knot formation, the cord ends can be tied into small knots and fastened with threads, as shown in diagram 50. Or each cord end can be strung with beads, then folded back and the cord ends bound with threads to prevent the beads from sliding down, as shown in diagram 51.

Frames

Knot formations can be held in position with jade or other rings or rattan, wood or metal frames. One way of using a frame is to line it tightly with flat knots or creeper knots. Another is to leave spaces around a central knot, as in diagram 52. The knot and frame are then linked using the outer loop hook-up technique (page 16).

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See project 135 on page 160 for instructions on making this knot formation.

Cord Materials

Traditional Chinese knots were – and still are – made from silk or cotton cords. For the contemporary knotter, however, there are literally hundreds of types of cord to choose from: jute, hemp, twine, string, wool, leather, synthetic fiber, metal wire. In fact, anything that can be bent and tied without tearing has potential. Many materials can be found in your own home or neighborhood, while others need to be purchased from stores dealing in crafts, yarn, embroidery, macramé and tailor’s supplies.

Because different materials have different textures, knot formations made from different cords will exhibit different styles and give totally different results. Because silk cords are fine, they are most suitable for classical knot formations. Cotton cords are thicker and tougher and hold their shape well. Jute cords express roughness and freedom and hence are suitable for bigger knot formations. Woolen cords have shorter fibers and tend to fray easily. They also tend not to show a clear-cut weave. Nylon and other synthetic cords are smooth and hard and tend to be loose, but if tightened properly are ideal for making stiffer knot formations. Generally, rigid cord is hard to control as it will not conform to shape. On the other hand, an overly pliant cord will not take on any shape at all. The secret lies in striking a balance between the two.

The grains in a cord will also have an impact on the visual effect of a knot. A cord with simple grains will not overshadow a knot pattern, whereas cords with complicated grains – intricately woven, unevenly textured or variegated cords – tend to detract attention from the knots themselves and muddle their patterns.

It is also important to ensure that a knot formation and the accompanying decorative objects are compatible with the cord chosen. Bigger and rougher objects go with thicker cords, small, elegant pieces with finer ones. To express grace and elegance, soft cords are ideal. To highlight a clear-cut weave, hard cords are best.

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The world of Chinese knotting can be greatly enriched and enlivened by departing from the use of traditional materials such as silk and cotton cords and branching out into glossy plastic, shiny metal, natural clay and colorful cloth. The plastic cords used in the knot shown above are both stain and fire resistant. They also make a strong contemporary statement.

Leather

Leather can be formed into cylindrical strips or, as shown in diagram 54, into flat cords to make knot formations which are compatible with leather bags or other similar items. Since leather has a glossy and a rough side, a choice is available according to the needs of a particular design.

Cloth

The buttons on traditional Chinese robes, as demonstrated in diagram 55, are actually Chinese knots made from cloth. A plain color cloth is suitable for making knots for more classical attire, whereas colorful cloth can form trendy knot formations for present-day fashion wear.

Plastic

Plastic cords, shown in diagram 56, are glossy and are stain and water resistant. They can can be used to make knot formations for colorful garments, or for ornaments that frequently come into contact with water.

Metal

Metallic cords, which are stiff but do not snap when bent, can be used for making knots. Guitar strings or fuse wires that are relatively pliant, as shown in diagram 57, can be made into knot formations using one’s hands alone. However, harder metallic cords such as copper wires, illustrated in diagram 58, need to be shaped with pliers.

Paper

Papers folded into long strips can be used to make knot formations, as shown in diagram 59, as a substitute for ribbon paper. Paper that does not easily crumple when rubbed, such as cotton paper, is the most suitable.

Clay

Long clay cords can be used to make simple knots, such as the one shown in diagram 60. The clay strips are formed by hand, then baked to harden them. Clay cords which are colored and then baked make for highly original knots, as in diagram 61.

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See project 50 on page 131 for instructions on making this pendant.