Try some Traditional Art – Hallingdal Rosemaling

Hallingdal Rosemaling

Norwegian Rosemaling is the style of traditional painting now very popular in America, where it is a favoured style of interior decorating, especially amongst those folk with Scandinavian heritage. Each region, or ‘fylke’, in Norway, developed its own individual interpretation of traditional Rosemaling style and design, which initially appeared back in  the 18th century and even earlier.

Hallingdal style on a cupboard in Geilo

History of Rosemaling

In the 17th century, itinerant painters brought new ideas and artistic trends, from the cities of Europe, into the mountains and Valleys of rural Norway, painting Renaissance and Baroque motifs on the walls of the wooden Norwegian Stave churches. In the Hallingdal, Telemark and Vest Agder provinces, it was their relative geographic isolation that led to further development and evolution, of a peasant folk art form, into a highly distinctive and unique art.  Reaching its zenith in Norway during the 18th century, Rosemaling was then revived by the Norwegian peoples during a fiercely Nationalistic decorating movement in the 19th and 20th centuries, following the country’s political separation from Sweden. Following this, a similar resurgence in Norwegian traditional painting began amongst Norwegian immigrants, living in the American Midwest, in the mid to late 20th century, and this trend continues to flourish there today.

Read more here

Hallingdal style of Rosemaling

The Halling Valley, itself, is situated in an area of southern central Norway, covering towns such as Gol, Ål and Hol and this is where one finds many examples of Hallingdal Rosemaling, appreciated and loved, even today.

Elements of Halling style can be found in the Embroidery on the Norwegian women’s national costume, (called the Bunad), in Norwegian wood carving, on hanging cupboards, and on wooden objects around the Norwegian home.

Features of this Style:

  • Hallingdal Rosemaling colours: rich, varied, exuberant and strong
  • Background colours: red/orange-red, in later years, blue and green
  • Black appeared as a background colour following influences from Telemark
  • Flowers colours: – Blue, White, or Gold on Red grounds; Red and gold on blue/ green backgrounds
  • Early Hallingdal Rosemaling had more floral elements; scrolls were minor. Over time, scrolls became a frame around which the flowers were placed, in order to achieve a sense of balance, either side of the design’s vertical axis. Scrolls still maintained a simplistic form, with little or no shading, and were heavier than the lyrical scrolls seen in the Telemark area
  • Motifs: symmetrical in round/rectangular design shapes, often depicted in mirror image split along the vertical axis
  • Round floral patterns could also be segmented into 4, 6 or 8 divisions, typically with blossoms of four or more petals
  • Leaves: large, often surrounding a central flower,  or mirror image split vertically
  • Design elements are sometimes filled in with fine, cross – hatched lines.
  • Flower shapes of Hallingdal are classified into 3 groups: circles, triangles or half circles.
Claudine Schatz

Circle Flowers

  • A circular centre is painted first and then concentric bands of colour added
  • Petals are added around the central circle in an even number, four or more, with petal length limited by the sectional diameter of the circle, and defined with liner work.
  • Ball flowers are circular flowers painted as a series of round balls surrounding a centre circle.

Triangular Flowers

  • Simple flowers with three petals, similar to a tulip; usually painted in strokes from the outside tip down to a base at the centre.
  • Blooms with more than three petals can have an oval centre, similar to a daisy.  Are  also combined into more elaborate and complex floral designs.
  • Triangular flower petal strokes can double as leaf forms.

Half circle Flowers

  • Usually are seen as larger elements within the Hallingdal design.
  • Comprise a semi-circular band of colour around a base.
  • Adorned with over strokes and details that illuminate the flower in a new way.
  • Half circles can also become petals of a flower form.

Leaves

Two types are seen in Hallingdal Designs

  • Stroke – work leaves, similar to the triangle flower petals
  • Shaded leaves, which are large and heavy and used in conjunction with large round central flowers. They do have some liner work stems.

 

A design by Tore Christiansen

Scrolls

  • Scrolls may represent leaves, but take the form of C and S shapes.
  • They are not shaded or blended in Hallingdal designs.
  • Used as a frame around flowers or as a cartouche border in a band that circles a round floral motif.
  • Painted in one colour; the light source is indicated by over strokes of white/ lighter colour on the top side of the scroll.
  • Scrolls are quite tight. They are not airy and lyrical, as in pieces seen in Telemark regions

Hallingdal Rosemaling even had some features borrowed from Oriental art forms. It was although typical in many ways, also malleable to outside influences. These characteristics overlap and interlace with other Rosemaling styles, and as such, should not be used as limits or boundaries, in one’s own Rosemaling journey, but merely to establish guidelines when one is starting to study this beautiful art form.

Why not get a feel for Hallingdal Rosemaling by painting or colouring in this design:

Free project

Something to Ponder About

 

[Parts of the description of features of Hallingdal style was taken from Rosemaling in the Round by Pat Virch, 1976] 

 

 

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Order within Borders- Art for All Ages

Velkommen plaque Rosemaling

Many people feel that they are not at all artistic. Yet there are many things you can do to create artistic flourishes or decorations, on objects in your world, with a few simple household tools and very little artistic technique. If you can hammer in a nail, you could paint a primitive, and delightful, border design.

buren church
Dot Daisy Border

A border can provide structure to a loose, flowing design. It will frame the design which pleases the eyes’ sense of order. Not only that but a line or motif border can direct the viewer’s eyes to the rest of the design, whilst still allowing for “breathing room” – negative space around the design itself. This,  in particular, applies to primitive or folk art/ traditional art.

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Beginners can easily create borders by combining a few basic strokes with dots made with the handle end of a brush dipped in paint, or press a series of dots with a Q-tip cotton bud, or a worn pencil eraser to form a four or five-petaled daisy.

Here are a few ideas:

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Source: Jackie Shaw

 

  • Elongate the dots made form dipping the handle of a brush into oval shapes to make flower buds.
  • Place two dots of paint side by side, pulling each to a point, with a fine brush or brush handle, to form a heart. Use the chisel edge of a flat brush to make carefree straight lines. These irregular lines result in a more primitive look, less rigid and more free-flowing than lines carefully painted with a liner brush.
  • Children can begin to develop an appreciation of border art by dabbling decorative edges on photo frames or the cover of study books. Cover the books with plain paper or card stock and arm the kids with a q tip or paintbrush as a “dotting tool.”

 

  • Rule some lines in pencil as a guide and let them create patterns  in rows across the paper with Q-tips or brushes. You will be surprised as what they come up with. They are limited only by their imagination. And you can even incorporate apply a bit of mathematics at the same time, teaching division skills.

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Something to remember when painting strokes and border designs is to aim for a flowing design. Otherwise, the rhythm of the design will appear disjointed and the eye will not flow smoothly from one section of the design to another.

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Decorate an object with one colour and then add a solid, contrasting colour border design

_bjorn pettersenkubbestol

A solid contrast border colour can be further embellished with geometric shapes, dots, stripes or swirls.

Tradycyjna-polska-ceramika-z-Boleslawca

 

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As your confidence and ability grows, build up each row upon row, to form an intricate border designs, based on basic shapes and form such as can be seen in this preliminary sketch below.

 

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Source: The Basics of Folk Art by J. Jansen

 

Norwegian Rosemaling
Os Rosemaling

geometric border

 

Rosemaling traditional art
Something to Ponder About

How to Design your Own Artwork – Space

If we are ever to begin to design our own art, we need an understanding of the various elements and principles of design, and how they combine to create an overall pleasing visual effect. So far, in previous posts, we have looked at Line and  Shape, and how they contribute to art forms. This week, we focus on the element of ‘SPACE’ and find how it can assist to create a better design.

kornaehren

Week 3 – Space 

Space as an element of art that refers to the area around objects: either Positive Space: that is areas occupied by an object or form and, Negative Space: the area in, between, around, or within objects. Every positive shape is surrounded by negative space.

You can further divide Negative spaces into: –

  – Passive negative space – this separates visual elements, and includes things like margins and the spacing between letters, words, or lines.

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-Active negative space – this draws the viewer’s eye to something, or help viewers focus on the objects that they should see, instead of making their eyes look all over the place.

Notan negative and positive space

 

Continue reading “How to Design your Own Artwork – Space”

Blind Drawing: Good Practice

Blind or Contour drawing is a favourite with drawing teachers to develop hand-eye communication. It is essentially outline drawing, and blind contour drawing means drawing the outline of the subject without looking at the paper.

A Blind drawing hand using  the right side of brain

The end result doesn’t matter. What is important is carefully observing the subject in order to follow contours and space, with your hand and eye. This trains your brain to tap into its right hemisphere, which aids us in drawing shapes, lines and angles, positive and negative space, instead of objects that we can “name.” Naming objects is the domain of the left brain, logical, realistic but also one that shackles our drawing ability to that of a ten year old.

Above you can see my first blind drawing. My vegetable patch in the back yard. One can just make out the garden edging and the tomato plants, and stakes. I used a soft B pencil which made a nice effect when I drew on the rough Gesso finish of a hard cardboard backed frame. I painted a little colour in a pen and wash technique and then soaked it in tea overnight.  I added a little outlining in pen.  I was surprised by how much my right brain could do without the dominant left hemisphere taking over.

Continue reading “Blind Drawing: Good Practice”

How to Design your own Artwork – Week #2 Design Challenge

Rosemaling fabric

Rosemaling

Every artistic piece contains some, or all, elements of design. These elements are then combined with a number of design ‘principles,’ in order to bring together an eye-pleasing, cohesive visual unit. Knowing these elements  and how to use them, can make all the difference between being able to produce an eye pleasing piece of art, or a disjointed, unattractive one.

Elements and Principles of Design*

Every visual piece is comprised of certain design elements or parts which may include Line, Direction, Shape, Size, Texture, Value and Colour – in that order. Design Principles, (which I will talk about later), are applied to the elements in order to bring them together into a cohesive unit. How the principles are applied, determines the overall effectiveness of a design.

This week we will examine LINE as an element in art.

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Week 2:   Line

As an element of visual art, line can be straight, swirly, wavy, jagged, dotted, dashed, broken, thick, thin, zig zag, diagonal, vertical, horizontal, curved, bold, parallel or perpendicular. It might outline a shape, form a pathway, (as in a curvy line), or a stroke. The line has width, or thickness, direction and length.

  • Lines can also convey movement and mood. Thick, straight lines convey order, stoicism and rigidity and this can sometimes be monotonous. Flowing wavy lines create softness, interest and melody.
  • In surface decoration, all lines should flow from a parent stem. No matter how distant, a line should be able to be traced all the way back to its branch and root.

Using Line in Rosemaling and Stylized Designs

A beautiful flowing design feels more natural and appealing to the eye, as the lines grow out from the other in gradual undulations. “If you have free movement in the lines and scrolls, you must have freedom in the flower and leaf forms to continue that feeling.” Nils Ellingsgaard said in his book,”Norwegian Folk art,”to “..beware of leaves painted at such an angle that they look as if they are falling off, or flowers that are way out on the end of a long stem.”

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The lines depicting the leaves on the flower on the left, are set too far apart and seem separate. The leaves on the design on the right, are implied as being part of the flower, and the base is hidden underneath the flower, thus, they have become an integral part of the design element.

Lines might be used as a border framing our design; lines might be cross hatching and even tangential lines can indicate a change in value, such as that which may simulate depth of an object, or a three dimensional quality.

 

Week 1 Sketch - Shape

 

Whilst our design ‘lines’ should aim for a cohesive design, it is okay to deliberately use broken lines in certain instances. In this case, our minds will fill in the gaps. Using deliberate, broken lines and varying their thickness and length, adds interest and moreover, is an excellent opportunity to add small details or embellishments, if you so wish.

Embellishments or liner work is another way to use ‘line’ to add vitality to a drawing or a Rosemaling design.  Nils Ellingsgaard said, “The skill of the Rosemaler is in direct proportion to the amount of variety he/she can get in his strokes.”

Nils Ellingsgaard liner work

 

Something Arty to Ponder About

Previous weeks:

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