Sámi drums
Tracings of the drumskin designs

Characterised by a central sun cross (missing on a single drum) and an unbroken path around the edge, and by the absence of horizontal lines separating the field in separate compartments as in all other styles. Individual figures are commonly placed on the arms of the sun-cross, on the outer path or floating between these. Smaller straight or moderately curved paths forming the baseline for further figures might be floating or branching off from the outer path, the sun cross or each other.

The sun-cross is normally shaped as a lozenge with arms protruding in all cardinal directions. This feature seldom strays from the center along the horixontal axis, but is often placed markedly below the exact center, and more rarely above.

The terminal of the lower arm is often embellished, in many cases with a sort of (cave?) opening. This is according to old descriptions the starting position for the brass ring or antler piece placed on the drumskin when used for divination. The only other figures commonly found on this arm are the holy day men. These three figures (sometimes just one or two) are usually the most simplified of all human figures, frequently represented by simple crosses.

The upper terminal is also often embellished, but in different ways than the lower. A common type is a short crossbar forming a baseline path for one or more figures in an upright position. Otherwise, no significant preference for the orientation of individual figures can be seen.

Characterised by a horizontal line dividing the drum in a smaller upper and a larger lower field. Very often, three or more gods are standing on this line, while a reindeer floats above them. A few other figures might also be floating in this area, and structures (possibly representing dwellings) are often attached to the outer edge of the top field.

It is the use of the lower field that distinguish between the four subtypes within this category. Ume Sámi drums here have a sun cross like the neighbouring South Sámi ones. The Pite Sámi designs instead have a central vertical dividing line, so that the drums are divided into three fields of roughly equal size. The Lule Sámi drums again have a representation of the sun centrally placed in the lower field, but here it is circular rather than cross-shaped. The North Sámi drums have a second horizontal line spanning the entire width, so that the field is divided into three rows of roughly equal size. A single North Sámi drum sometimes considered a subtype of its own (the only one from Finnmark) has both the upper and the central field further divided by horizontal lines, making five rows (even more if partial lines are also counted).

Though probably an over-simplification, the upper field seems to represent the realm of the gods in all types, with the realm of men below. The underworld is represented as a separate lower row on the North Sámi drums, while on the other ones this is a more limited region on the lower part of the outer edge.

The two surviving Kemi Sámi drums have the two horizontal lines in common with the North Sámi ones, but differ from these in numerous ways. Being flanged frame drums, they are significantly larger – actually the largest of the frame drums. Their size allows for an enclosing border which is frequently missing on the smaller bowl drums, and both this and the horizontal lines are drawn with double lines with ornamentation between them. An unique feature shared by these two drums alone is that both the border and the horizontal lines are interrupted where they intersect the central vertical axis (which is otherwise not indicated in any way).