Order within Borders- Art for All Ages

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.

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.

 

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:

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.

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

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

 

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.

 

Source: The Basics of Folk Art by J. Jansen

 

Os Rosemaling

 

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.

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.

-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.

 

Rosemaling and Art Coloring in Designs

Rosemaling is an art form that evolved in Norway post Renaissance. It is a stylized form  that is highly parochial due to the relative isolation of the valleys in Norway. Consequently, each valley developed their own particular style adapting what the influences brought to them via itinerant artists roaming the countryside.

Rosemaling

Some of us don’t feel very artistic, but I believe we can learn to tap into that side of us. We can start by coloring in Rosemaling designs. This develops muscle memory and our brains learn the forms, shapes and lines used in this style of art. That makes it easier when we come to reproduce our own.

These designs are for your personal use in coloring in, or to paint, in practising Rosemaling design

 

A simple Rosemaling flower with Telemark Scroll like leave

Rogaland Rosemaling

Hallingdal Rosemaling

 

You can also find more images to colour on the net, like this one:

This drawing is taken from the following source:-

http://www.supercoloring.com/pages/norwegian-rosemaling

Click to learn more about  developing LINE and SHAPE as an element in sketching.

 

Something therapeutic to Ponder About

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

Do you think you aren’t arty? I love to design but don’t have any technical training. Nevertheless, we can learn a lot more about design techniques and apply them to art.

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.

 

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.”

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.

 

 

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.”

 

Something Arty to Ponder About

Previous weeks:

Week 1 – Shape

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How to Design your own Artwork – Week #1 Design Challenge

I love art but I don’t feel I am artistic; I love to draw, but don’t feel I am adept; I love to design but don’t have any technical training. What to do about it?   Thanks to the World wide web, we can learn a lot more about design techniques and apply them to our art.

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.

Week 1 – SHAPE

Firstly, let’s look at the element: ‘shape’ and its role in design.

“A shape is defined as a two or more dimensional area that stands out from the space next to, or around it, due to a defined or implied boundary, or because of differences of value, color, or texture. All objects are composed of shapes and all other ‘Elements of Design’ are shapes in some way.”[Kovalik and King]

• Mechanical Shapes or Geometric Shapes might be the shapes drawn i,n a design, using a ruler, compass or drawing template or tool. Mechanical shapes, whether simple or complex, produce a feeling of control or order.

Geometric border using a ruler to space the mechanical shapes

• Organic Shapes are freehand drawn shapes that are complex and normally found in nature. Organic shapes produce a natural freer feel.

Rangoli design using a combination of mechanical and free form shapes

Rangoli is a traditional and transient form of art drawn in chalk by Hindu women, in southern India, on the front steps and entrances of buildings as part of a daily devotional practice.  The decorations use ‘shape’ in a variety of styles and motifs which vary according to different tribal groups and festivals. There is more information about Rangoli here.

Rosemaling Styles

The Acanthus leaves is an organic shape used prolifically in Norwegian Rosemaling: particularly Gudbrandsdal style. Os Rosemaling frequently uses mechanical shapes such as circles and diamonds.

Acanthus leaves in Gudbrandsdalen Style of Rosemaling

Os Rosemaling

Design Challenge

I am currently running a Design Sketching Challenge in a Facebook group I admin, and I’d love to extend this invitation to you, to join a blogging version of this challenge here, on our blogs. The challenge is a great way to encourage those who would like to sketch, but don’t yet have the confidence or motivation, to try.

Seeing others strive for, and share, their artistic journey can increase inspiration and awareness of one’s design skills. You never know what you are capable of, unless you try! You can opt in and out as you wish. See more about joining in below.

Here are my sketches based on the first prompt: Shape

Using organic shapes of leaves and flowers I found,  in my garden, I created this sketch:

It needs further adjustment and improvement, so I try another.

Still not satisfied, my final sketch for this first prompt, comprises circles, semi-circular arches, some natural elements in the leaf like scrolls and the heart-shaped flowers. I used a simple border to frame and hold together the design in one cohesive unit.

Would you like to join me in the Design Challenge?

What you Need to Do:

1. Draw a 15-20 minute sketch or sketches using your own idea, or the prompt ‘shape.’
2. Write a post about titled Design Challenge Week 1, upload your sketch and include a link back here to Something to Ponder About
3. Next week I will post links to those blogs that participated.
4. Leave a comment here on this post, so others can find their way to your blog.
5. Follow me to view each week’s prompt posted on a Sunday.

Something Creative to Ponder About

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* N.B. I am not a tertiary qualified Art teacher and don’t purport to be one. I have based this information on my own research and experience. I am happy to take on board further input and or any corrections, deemed necessary, by way of comments on this post.

Traditional Art – Boleslawiec Stoneware

The Polish Pottery Festival in Boleslawiec, Poland celebrates a tradition of ceramic pottery dating back to the 14th century. Largely unknown in some parts of the world, it has become a sought after souvenir by tourists visiting the German-Czech border region. In this month’s Traditional Art Post, I explore Bolesławiec (pronounced Bowl-e-swa-vee-etz) stoneware.

Polish Pottery Festival in Bolesławiec

 

Using a fine, white kaolin clay found in the river basins of the surrounding area, Boleslawiec pottery is molded or turned, and then fired in ovens, at temperatures in excess of 1350°C with a clear, lead-free glaze, thus making it non-toxic and highly impervious to abrasives. Incredibly, it doesn’t chip or crack easily and can not only be used in the oven or microwave, but is also dishwasher safe!!  The perfect stoneware!!!

Traditional Boleslawiec patterns were punched using hand-stencils,  originally using vegetables such as the humble potato. [Remember doing this kind of stamping in kindergarten art?]

This was the preferred decorative design standard for hundreds of years until the master potter, Johann Gottlieb Altman, introduced designs of circles, dots, scales and clover leaves in the early 1830’s.  The colorful and durable work of arts on white backgrounds appealed to the European nobility and as a result, Boleslawiec’ popularity grew.

Today, the contemporary ‘Unikat’ series has taken Boleslawiec ceramic design to a whole new level. With ever more complicated motifs, patterns and colours, and complemented by hand-painting techniques, this means a finished piece of Boleslawiec pottery will now easily command a high price in the marketplace.

The fine grain white clay, Kaolin, is of such high quality, it is used to make fine porcelain dishes as well. Once processed to the right consistency it begins its metamorphosis from earth to heirloom quality stoneware. Either molded or formed on a potter’s wheel, the piece is air-dried, trimmed and cleaned, then pre-burnt in preparation for the application of the final design. Originally stamped or “punched” using vegetables, the artists’ tools have evolved to longer lasting media like sea sponges or rubber stamps. This time-consuming process may require from one to ten different sized or shaped stencils to fill the ceramic’s surface design.  Moreover, the number of punches may reach into the thousands on a particular piece. The paints used are completely non-toxic, free of lead and cadmium. Source: http://neveradulldayinpoland.com/boleslawiec-poland-aka-polish-pottery-heaven/

Stamped pottery decorations with the famous “eye of the peacock’s tail” motif have been produced since the beginning of the 19th century and are recognized among the finest examples of European pottery. Village craftsmen and peasants of lower Silesia, inspired by the peacock’s feather motif, have added incredible strength and beauty to these objects, which have long been admired for their quality and decorative appeal. Each piece is hand painted and initialed/signed by skilled artisans. 

 

In 1897, the Professional School of Ceramics was established in Bolesławiec.  The many technological advances and innovative methods taught helped town of Bolesławiec to earn the reputation, “town of good clay” in the region.

However, World War II took its toll on the Bolesławiec ceramics industry. The ceramic workshops were destroyed. In 1946, efforts began to revive the ceramics industry in Bolesławiec. Over time, new cooperatives were formed and the skilled and talented potters in the region began rebuilding the pottery industry in Bolesławiec to what it is today. Source: (http://www.polishstoneware.com/about_polish_pottery/sec_polish_pottery_history/)

 

Traditional art is always something so inspiring to ponder about.

Something to Ponder About

 

Easter Eggs – Traditional Art in Eastern Europe

Eggs are given as gifts around Easter time in many countries, but they are not always made of chocolate. In Eastern Europe, egg decorating is taken to a heightened art form, using real hen’s eggs.

Some of the methods include the batik dye method whereby the entire egg is wrapped in several knots made of wires, and then brushed with wax. As with the typical tie dye method, the surface is scratched to reveal the underlying colors, which forms the pattern. Materials used include bee’s wax, straw and watercolors. Some eggs are also made from purely natural materials, including clay, wood, twigs, straw and even linen.

In the Czech Republic, Easter typically means the heralding of spring because any religious connotations were buried under the table with communism. Even though Easter is by no means a huge or significant religious holiday in the Republic, the traditions of hand painting the eggs are strong and vibrant. By far the most recognizable patterns are the geometric ones, especially in various shades of the same color, but you’ll also see leaves and flowers and other patterns like snowflakes. Red and other bright colors are thought to symbolize joy and happiness, so many Easter eggs are decked in these, especially with the advent of spring.

Many regions in the Czech Republic have acquired certain specialties when it comes to decorating the Easter egg: in Valassko (Wallachia), eggs are decked in certain colors to depict roosters (red, orange and black). In South Moravia, Easter eggs make use of the scratching (tie dye) technique. Because these eggs were actually given as gifts, it was unthinkable to give someone pure white eggs without any thought or effort behind them.

 

In Prague, a shop called Manufaktura, was created to preserve and present Czech and Moravian craft which is in danger of disappearing nowadays. The shop has managed to bring together more than 250 small craftsmen, former masters of folk production, to ensure that this tradition stays

Source: http://butterflydiary.com/in-the-czech-republic-hand-painted-easter-eggs-as-art-form/

Here is how one girl recounts this tradition of swapping a whipping for a highly prized and decorated egg:

Me and my sister used to love making kraslice either from boiled or blown eggs using different techniques – bee’s wax, hay, watercolours, onion peels and picture stickers. And Mom the gingerbread lamb. There was no lie-in on Easter Monday, as boys would come carolling to our door from early morning. They would recite an Easter carol, asking for an egg, while symbolically whipping us, the girls, on the legs with a pomlázka (literally ‘making younger’) – willow braided whip. The pagan tradition being that willow twigs are supposed to bring health and youth to anyone who is whipped with them. Boys would either make their own pomlázkas or buy them in shops.

A saying goes that if you are not whipped by a pomlázka, you will dry up and wilt away within a year. We would then reward the boys with painted eggs and tie a ribbon around their pomlázkas (the older ones would also get a shot of liquor). If the boy chose a red painted egg, it meant he fancied you. There is a time limit of midday for boys to be allowed to knock on your door, if they come later than 12 o’clock, girls can douse them with water.

The magic of Great Nights somehow evaporated in my early teens when Easter traditions suddenly became embarrassing and the logic of labouring over an egg to give to someone who whips you incomprehensible. I know that my Mom has made her kraslice this year again and there is a pomlázka in the house for Dad to make her and my sisters ‘younger’. As I myself get older and drier each year, perhaps I wouldn’t mind being whipped a little again 😀

Source: https://bohemianconnection.wordpress.com/tag/czech-republic/

Eggs are also found in traditional designs from Opoczno, Opatow, Opole, and other regions of Poland.

Hand painted egg from Opole

traditional designs on eggs – Opoczno

 

Something to Ponder About this Eastertime

WP Photograpy Challenge Monochrome Art Project

Wedgwood and Sons, produce Wedgwood, fine china, porcelain, and luxury accessories. The company was founded on 1 May 1759, by Josiah Wedgwood.

It is not my favourite thing but I do admire the artistry in its production. I used wedgwood and the Moravian designs frrom the Czech Republic for inspiration for this jewellery box.

A simple monochrome palette can look effective on a blue background.

Linking to WordPress Daily Post Photography challenge
Monochromatic<a href="http://Monochromatic“>http://Monochromatic

Acrylic on pine
Pattern Available (free shipping)
Are you a fan of monochrome designs? If so, why?

Something  to Ponder About

Rangoli – What is it? (Women in Art)

Rangoli

Rangoli is a traditional women’s art form common in Hindu households throughout southern India. Designs are drawn directly on the ground and entranceways as part of a ritualistic religious practice. The front steps, entrance, and walkways of buildings are properly cleaned and then decorated with designs and patterns made with chalk powders. There are a remarkable variety of styles and motifs which vary according to the tribal groups and festivals.

The activity is a welcoming of deities into the home or space. In particular, the way is prepared to welcome  Lakshmi, the goddess of good fortune but many gods and powers are honored. The activity of drawing the forms is a religious rite and the devotional intention is more important than the end product. The temporary nature of the designs make it clear that the significance is in the deed for it is not creating an object to be held aside and preserved. The designs are quickly lost to the passing of feet, wheels and paws, fading into the dust and bustle of daily life and the ritual of washing and drawing is rhythmically repeated, particularly on auspicious days.

It is one example of the blending of religious practice and art within the rhythms of daily life that are found quite commonly throughout traditional Indian culture. Unfortunately, rapid urbanization and westernization are negatively impacting this remarkable tradition. However, even in an urban environment of modern apartment living the tradition continues on for the blending of religion, art, and everyday life is very much at the heart of Indian culture.

HOW IS IT MADE?

In the early morning hours when the world is just awakening, the woman of the house begins preparations for the day ahead. Daily rhythms include a thorough sweeping and cleaning around the home as well as the courtyard and entranceways. Special care is given to prepare a particular space for drawing rangoli designs and patterns in front of entranceways and along walkways.

The designs vary according to tribal groups and in terms of complexity and scale, there is a very wide range. Designs are generally done with white chalk powder but all reaches a colorful and exuberant zenith during festival time. The designs are laid out with a regular grid of dots or hatching lines which are developed into a wide host of motifs. Designs using a regular grid of dots are created by either connecting the marks or looping around them.

Designs are built upon basic geometric shapes and are further developed into mandalas of swirling lines flowing, curving, and twisting into complicated knots of undulating, rotating, and repeating patterns. The grids  also lend themselves to designs of fixed shapes and mosaic like tessellations of stylized flowers, plants, animals, birds, conch shells, chariots, lamps, and much more. The are also given borders and embellishments of running lines, undulating patterns, and mandala like emblems and symbols.

All the designs have an underlying wholeness built upon primary geometric shapes such as circles, squares, hexagons, octagons, and a very wide range of running forms, spirals, rotations, and looping patterns. Most commonly, a simple motif or shape will be rotated and layered to build up the designs, creating a flowing movement or spiraling gesture. The result is an organic and dynamic balance between the fluidity and movement of the hand and the fixed order and determined boundaries of direct line and shape.

The remarkably diverse forms reflect the expressive and devotional impulses of the women who make them. The variety of designs while traditional in origin, often have a very personal character and are a result of the creative vitality working to enliven the energies that connect earthly and cosmic forces. From a social perspective, rangoli is an outward sign that “this is a proper household where the gods are honored”.

Patterns are taught to girls by their mothers and by the time they are young brides, their skills with this art form are most impressive. Quite naturally, the rhythmic nature of the activity leads to some highly developed skills in terms of draftsmanship, control of hand, and balance of form.

But, all things return to the earth and the designs quickly fade into the scuff and dust of comings and goings, creating another layer to the cycles of daily life. Over the past decade, I have marveled at this Hindu practice, appreciating it’s many creative and dynamic forms as well as it’s devotional intentions. This common, everyday aspect of Indian life is a rich artistic and social tradition which imbues spaces with positive intention, heightened purpose, and deeper significance, as well as beautifying the meeting of public and private spaces. As an artist and teacher, I have been fascinated and inspired by the creativity, the endless variety, and sheer beauty of this powerful and dynamic art form.

[Source: D. Nikias]

Click here for more information and wonderful photographs

Something that should be pondered about and celebrated

Traditional Art forms – The Omnipresent Tulip

Rangoli Border in South India dnikias.wordpress.com

Rogaland Rosemaling

No matter where you travel, in the world, within each region you will find examples of  innovative forms of folk art. These are not completed by the skilled artisan, but rather by the common person, often with little training and few tools, simply decorating their homes and surrounds. Historically, an itinerant artist might travel from town to town this way, painting as he went, eeking out a meagre existence through the doors of time.

The Rose or Stordal church Norway. c 1789

Rosemaling is often seen in Churches in Norway

Border in South India

Rangoli is a traditional women’s art form common in Hindu households throughout southern India. Designs are drawn directly in white chalk,on the ground, at the house entranceway, by the women of the household, as part of a ritualistic religious practice.

My primary interest is in Norwegian and old Hansa traditional art forms, such as Rosemaling, the Danish Almuemaling, and the Dutch Hindeloopen, styles of painting that ordinary folk used to decorate their homes during the dark cold days of winter when they could not go outside to work.

I find the differnt forms of these old art styles dynamic. They feel alive and have a historic connection to a way of life long past, but still valued.

Rosemaling

In many forms of folk art, religion symbolism is rife, and the tulip is a common feature. Once  the Tulip meant the Holy trinity, something inherent in many different religions and I guess this is the reason we see it represented in art in the East as well as the West.

The following link displays border designs in South India – Take a look. How often do you see the Tulip form?

some borders –

Something Inspirational to Ponder About