LINDA LUNNON | 1ST PLACE
2025 DRAWINGS COMPETITION

Linda Lunnon, a scratchboard artist based in the Hunter Valley of New South Wales, Australia, combines scientific precision and artistic sensitivity when she creates, and this fusion of science and art, of observer and artist, is at the heart of her work.

With a background in environmental science and a degree in natural history illustration, Lunnon’s artistic journey has been shaped by a deep respect for the natural world. It was during her illustration studies that she first encountered scratchboard, a medium she came to embrace for its capacity to render meticulous detail and dramatic contrast.

Her technique is rooted in methodical craftsmanship: starting with a white surface that has been completely coated with black ink, she scratches away the coating to reveal light, texture, and form, resulting in a striking interplay of realism and emotion. Her work often features native Australian wildlife and botanical subjects, as well as human portraits.

Lunnon’s work has garnered many awards, has been included in numerous exhibitions, and is held in private collections in Australia, the U.K., Canada, and the U.S. She is a Master Scratchboard Artist in the International Society of Scratchboard Artists; and a member in the Society of Animal Artists and Botanical Art Society of Australia.

We recently talked to Lunnon about her work.

Your scratchboard pieces are filled with detail. What is it about detail that appeals to you?

I’m definitely a details person! I really enjoy the process of observing a subject and interpreting it into art. I feel that details can add depth and character to a subject. The furrow of a brow, tilt of the head, an animal’s general posture; observing and adding details can help strike an emotional connection with the viewer.

Scratchboard artists often speak of the medium as meditative. Do you feel this way?

Yes. I truly find it a meditative medium, except when I’m adding color. You have to work quite quickly and decisively when applying color on scratchboard, as the clay sucks up the moisture rapidly. Then you need to wait for it to dry before scratching again or adding more color. But if I’m just adding texture with scratch tools, especially in black and white pieces, then I tend to get into a rhythm and can lose hours scratching away while listening to music or a podcast.

In your piece, “Garden Delight,” how did you determine the composition?

The blueberry ash, a little rainforest tree native to Australia, is one of my favorite garden plants. When I noticed it was in flower (tiny, fringed bells that look like fairy skirts!), I found a good branch and brought it into my studio. I set up a piece of black cardboard and a lamp, and spent the morning rearranging it into various compositions, taking lots of photos and finally settling on one that I thought was appealing and had good lighting.

Do you render the light in your work as it appears in a reference photo, or do you adjust it to enhance the composition and overall appearance of a piece?

I like to start with a subject that has good lighting, but it isn’t always possible if I’ve photographed something in poor light or have pieced together a composition using various references that have light hitting the subjects at different angles.

With “Garden Delight,” I set out to get the lighting right from the start, so I was observing what I saw with this one. I always like to stand back to see how the subject is ‘sitting’ on the board and adjust values as needed to bring something forward by brightening it or pushing it back by keeping it subtle and darker.

How do you decide to add ink to one of your scratchboard pieces and what do you feel this process adds to a piece?

I usually plan whether I’ll color a piece when I’m looking at the subject and composition before transferring to the board, but sometimes I’ve gotten halfway through a piece, decided it’s too dull and that color would add extra depth. Some subjects definitely sing on scratchboard when you add color, like our beautiful Australian birds. I couldn’t imagine leaving a rainbow lorikeet in black and white for example!

Your scratchboard work often emphasizes the contrast between image and the black background. Is this intentional?

Yes it is. I do tend to go with a minimal background intentionally to maintain sharp focus on my main subject. I also find the black background very dramatic and different; it often adds to the mood of a piece.

How do you decide what you’ll create next?

Oh my goodness, I have an incredibly long list of scratchboard pieces in mind, more than I’ll ever have time to create. Every time we go camping or day tripping to explore different places, I come back with tons of photos, inspiration, and wonder about the natural world, so my list gets longer! Usually I have exhibitions coming up, or commissions to do, so I focus on creating pieces for them; but then I go to my wish list to see what I feel like creating.

All images © Copyright Linda Lunnon, shared with permission