Hallingdal Rosemaling
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Traditional Art – DIY Hallingdal Rosemaling

Norwegian Rosemaling is the style of traditional painting very popular in parts of 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 around the 18th century.

Hallingdal style on a cupboard in Geilo

History of Rosemaling

As early as 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.

The relative geographic isolation in the Hallingdal, Telemark and Vest Agder provinces led to further development and evolution of this 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.

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.

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.

Free Hallingdal Rosemaling Designs

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] 
Painting

Hand Painted Flower – DIY Dry Brush / Overlay Technique- Free Pattern

A quiblog pictures 004ck but effective way to decorate a small object is by painting a simple garland of hand-painted flowers. “Oh! But I am not a painter I hear you say!!” Well, that’s ok, because you don’t need any specific skills for this technique. It is VERY forgiving! And it does not have to be perfect.

1. First, download the image of the flower in the garland below, and print it from your computer, or if you feel particularly competent,  hand draw on tracing paper.

2. Copy the image using chalk or pencil or transfer paper,  on card, fabric, or a paper mache/wooden box that has already been prepared with 1-2 coats of a suitable acrylic background paint. I use a transfer paper in light or dark shades according to the colour of the background paint. ( light on dark backgrounds, vice versa on light backgrounds)

3. Using your chosen dark colour, (in the example: Paynes Grey/Dark Blue) stroke in the petals with shape-following/comma strokes, beginning at the outside of the flower and pulling the strokes towards the centre, using a synthetic/sable round brush in size 3 or 4, depending on how big you want the petals.

*If you know how to do ‘comma’ strokes, use them, but a fine tapered tip near the centre of the petal is not necessary. So don’t stress. If you need more help in forming the strokes: see the linked articles below.

2013-04-11 tiffany heidi pics

4. Load a round or filbert synthetic brush (hogs hair or sable brushes don’t work so well here), with Warm White, or a light contrasting colour.

NB: In this technique, you do not wet the brush, or if you do dip it in the water jar, squeeze out most of the moisture, on some kitchen paper towel.

5. Begin to gently stroke in some colour, on top of the already existing blue colour, pulling just the top half of the brush over each petal, starting at the outer edge. Lift off completely before reaching the end of the petal, so that the darker blue colour will still show towards the centre. The dark colour then acts as your shadowed area, and the white is the highlighted area of the petal. This gives your flower more of a three-dimensional look.

6. Continue adding layers of warm white in this dry brush technique until you are happy with the effect.

Caution: It is always easy to dry brush additional highlight into the petals, if there is not enough, however, removing it if you have put on too much to begin with is extremely difficult and messy. **** If this happens, just re-do your basecoat of dark blue again, and start from #4.

7. If need be, use a brighter white, in an even smaller area near the very edge of the petal, to create ever more of a highlight.  Watch the leaf that has the turn-back, as this leaf will be in more shadow than the others, and as such, still retains most of the blue shade. flowercentre

8. Paint the centre with a ‘stipple’ effect, in a c shape, leaving the centre in the dark blue colour. The highlight colours I used include: gold oxide, yellow and white on the very highest edge. The ‘stipple’ effect is sort of like dot, dot dotting, the colour in just with the very tip of the brush. You can use an older brush for this, or a round hogs hairbrush, as it is not so imperative to have a fine point.

In this example, I also used the same dry brush technique for painting the leaves: Using a pine green colour for the base, and adding progressively more yellow to the green to get a lighter colour, using this as my dry brushed highlight.

Related Articles:

how-to-paint-comma-strokes-beginner-folk-art-painting-tutorial/

Flower

Image of pencil outline adapted from V. Phelps, FADP.

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