Style combination · Pairs well
Celtic Revival Illumination × Islamic Geometric
Both build sacred pages from interlaced strapwork constructed geometrically and framed symmetrically; set a Celtic knot border beside a girih panel to compare closed knotwork with an endless star tiling.
Mix them and make something Celtic Revival Illumination Islamic Geometric
01
What each style brings
Each part of the design comes from the style with the stronger say in it, and each style gives at least two.
Celtic Revival Illumination & Lettering Islamic Geometric & Calligraphic Tradition
- Type from Islamic Geometric
- Colour from Islamic Geometric
- Form from Celtic Revival Illumination
- Composition from Celtic Revival Illumination
- Surface from Celtic Revival Illumination
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Text · Celtic Revival Illumination
Ornament and lettering of the Celtic Revival in Ireland, Scotland and the Isle of Man, modelled on Insular gospel books such as Kells and on carved stone crosses. Text sits in closed, symmetrical frames of knotwork, key pattern, spirals and interlaced beasts, its letters drawn in insular forms, knotted into the ornament or set in Gaelic type, in deep flat colours on vellum or paper. Its makers carried it from illuminated books and addresses to a nationalist memorial book, Gaelic League mastheads, magazines, the Irish Free State's first stamps and Liberty silver.
EB Garamond; Celtic Revival Illumination used Hand-drawn lettering after the majuscule and half-uncial of the Insular manuscripts, drawn into the ornament and Archibald Knox's interlaced Celtic lettering, drawn so densely into the ornament that it must be studied to be read
03
The colours
The ground and leading colours come from Islamic Geometric, with a counter-accent from Celtic Revival Illumination. The ink reads on the ground at 4.5:1 or more.
Celtic Revival Illumination & Lettering Islamic Geometric & Calligraphic Tradition
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#f2e9d8ground · 36% -
#1b1b1bink · 14% -
#c8a046accent · 18% -
#a63d2faccent · 14% -
#2a9d9baccent · 10% -
#1d3f8aaccent · 8%
As CSS
:root {
--ground: #f2e9d8;
--ink: #1b1b1b;
--accent-1: #c8a046;
--accent-2: #a63d2f;
--accent-3: #2a9d9b;
--accent-4: #1d3f8a;
--font-display: "Reem Kufi", cursive;
--font-text: "EB Garamond", serif;
}Use it with care
Celtic Revival Illumination & Lettering: Its models are Christian gospel books and crosses, and many of its emblems are national and partisan: Leabhar na hAiséirghe is a memorial to the republican dead of 1916–23, including the Civil War, and the Celtic Cross stamp was adapted from a Sinn Féin label, so do not use these as neutral 'Irish' decoration where nationalist imagery is contested, as in Northern Ireland. The 1922 Map of Ireland stamp left out the border, and some in Northern Ireland and Britain read it as a claim to the northern counties, so an undivided map of the island is itself a political statement. A square cross interlocked with or surrounded by a circle is a widespread white-supremacist symbol, while the traditional Celtic cross has a long vertical shaft, so draw the cross accordingly and check knotwork marks in context. 'Celtic' and 'Irish' are not exclusive labels for Kells-type ornament: Insular art was made across Britain and Ireland, the Lindisfarne Gospels in Northumbria, and Kells itself possibly begun on Iona. George Bain died in 1968, so his drawings remain in copyright in the UK until the end of 2038: construct new knots by his methods rather than tracing his plates, and have any Irish or Scottish Gaelic text checked by a fluent reader.
Islamic Geometric & Calligraphic Tradition: Qur'anic verses, the names of God and the Prophet and other sacred phrases must not be cropped, distorted, mirrored, used as texture or printed on floors, footwear or throwaway packaging; have any Arabic-script text read and approved by a fluent reader or calligrapher. Abstract geometric pattern is far less sensitive than script, but credit the traditions and makers it comes from.
04
The two styles
05
More combinations
With Celtic Revival Illumination
- Mir iskusstva Book Art Pairs well · A parallel national revival of the same decades: both turned medieval and folk ornament into the borders and initials of a modern book; combine for a heritage storybook framed in old ornament.
- Bezalel School Pairs well · Another national illumination of the 1900s–1920s, with hand-drawn national letters, jewel colours and gold inside heavy symmetrical frames; compare how each built a national art from ancient ornament.
- Gothic Blackletter & Fraktur Tradition Contrasts · The other national script of the same decades: Fraktur set German text until its ban in 1941, as Gaelic type set Irish until the mid-twentieth century; set the dark, broken gothic weave against the round, open insular letter.
- International Typographic Style Contrasts · Its exact opposite: hand-built, symmetrical, ornament-filled national pages against an asymmetric grid, neutral sans-serif and white space; borrow one knotted initial to warm a strict grid.
- Ethiopian Ge'ez Manuscript & Haräg Illumination Pairs well · Another Christian manuscript tradition that marks its divisions with interlace: set a haräg band of interlace and chequers beside a Celtic knotwork frame to compare a varied headpiece with a closed, compartmented border.
- Glasgow Style Contrasts · Scotland in the same years, but Glasgow stretched space, emptied it and set a few rosebuds on long verticals, while the Celtic Revival fills its compartments densely with knotwork; choose air or density.
- Armenian Manuscript Illumination Pairs well · Both build letters out of animals and interlace; set a bird-letter initial beside a knotted Celtic one to compare an initial made of whole birds with one made of interlaced beasts.
- Norwegian and Finnish National Romantic Graphics (Munthe & Karelianism) Pairs well · Both turned medieval interlace and beast heads into the ornament of a national book; set Norse dragon-head vignettes beside Insular knotwork for a North Sea saga cycle.
With Islamic Geometric
- International Typographic Style Contrasts · Drop one tessellated panel into an asymmetric Swiss grid to make the tension between infinite pattern and white space the subject.
- Art Deco Pairs well · Borrow star polygons and stepped borders for Deco-style framing; both depend on strict symmetry and metallic accents.
- Iranian Modernist Graphic Design Pairs well · Set one calligraphic word or a fragment of girih against flat colour and a modernist grid instead of reproducing whole tile panels.
- Armenian Manuscript Illumination Contrasts · Horseshoe arches and vegetal and geometric ornament are shared, but the Islamic geometric tradition keeps its arches and fields aniconic, while Armenian books fill the same arches with birds, beasts and painted saints; choose whether a frame should carry figures or only pattern.
- Kamon (Japanese Family Crests) Contrasts · Both are built with compass and straight edge, but girih tiles the whole surface without end while a mon closes one motif inside a ring; borrow the tessellation for a ground and the crest for the single sign on it.
- Baghdad School of Arab Book Painting (Maqamat Illustration) Contrasts · Non-figural Islamic art is the contrast: this style puts people and satire where geometry would be. No descent is implied.
- Ethiopian Ge'ez Manuscript & Haräg Illumination Pairs well · Haräg interlace and Islamic strapwork share frame-and-band logic; compare them for headpieces, but keep the Ethiopian bands varied rather than strictly tiled.
- Andean Woven Graphic Systems Contrasts · Islamic pattern interlaces stars around radial centres while Andean geometry is orthogonal, stepped and deliberately irregular; choose one as the structural logic rather than blending them.