painting templates

Use these sheets to colour in, collage or cut up. You can trace them onto watercolour paper to paint, or just print one out and go for it with felt tip pens or pencils. 

Download  your printable PDF template here:

Circle_Painting_Template1_Liz_Foster_art

Circle_Painting_Template_2_liz_foster_art

Circle_Painting_Template_3_liz_foster_art

I painted my original painting at my kitchen table on Saturday 28th March using my trusty set of watercolours and a number 4 round brush. I drew the circle in pencil (using a cereal bowl) and then painted each section, one at a time – I didn’t draw any of the design, first.

 

 

 

 

Things to try:

  • Limited palette: select a limited range of colours to use before you start…it could be warms and cool tones, or all shades of blue. 
  • Include gradating light to dark colour to create depth within the design. 

I’d love to see what you come up with- please share your results!

 

This is a free resource for you to use at home and not for commercial use -copyright remains with the artist, Liz Foster. 

A note on monoprinting (and faces…)

I thought I’d write about different aspects of my studio practice, to share a little of how I work and the various materials and methods I use.

So, to begin, let me tell you a little about my love of monoprinting. As an artist who has drawing at the heart of her work (in even in the most abstract of painting) I use monoprinting as a  key part of my practice and have continually returned to it since my art school days.

The technique of monoprint drawing, through the back of a piece of paper, either with a pencil or my finger allows the accidental and unexpected to happen in  way that direct-drawing does not.

Unlike other forms of printmaking, a monoprint is an edition of one. I tend to work in short runs, producing groups of images in a printing session. They share similarities, maybe even a narrative, but importantly each print in unique.

When working, you don’t know what the image will really look like until you peel back the paper. I tend to work quickly and each image is unplanned, beyond having a general overview of a theme. I just begin to draw and go with it. I think this method relies on trusting your own ability and having confidence in what you are doing- just draw and allow yourself the freedom of going wrong.

I often draw heads, sometimes distilling the image to just three or four lines, often just using black ink. It is an eternally fascinating image to use as a starting point, recognisable in just a few marks. Expressing emotion and feeling with the tilt of a line. From birth our brains are hard-wired to recognise and ‘read’ faces, it is arguably the most powerful of images

If you’d like to see more, a selection of monoprints are available from my online shop…or have a go at creating your own.

Have a go yourself…

  1. Using a printers roller, roll out a very thin layer of black printing ink on a sheet of safety glass. Cover an area roughly the same size as the paper you are going to use.
  2. Lay a piece of light weight cartridge paper on top…at this point, if the paper sticks to the ink then you know the ink is too thick. In which case, dab some off and re-roll it thinner.
  3. Draw on the paper…wherever you apply pressure ink will adhere to the paper underneath. You can use a pen or pencil for lines, your thumb for areas of shade. Experiment on a few pices of paper to develop your mark-making and then just start drawing.

Once you’ve got the hang of it, try using different colours or printing on different types of paper or fabric.

New Website

I am currently busy building a new responsive website, and will be introducing my new blog feature where I shall write about my work and studio practise to give you an insight into what makes me tick. While I’m doing this though, a good place to see my work is on the Axis artists website, or over on Instagram were I post daily from the studio.