Robert Lundquist

Bri­tish Columbia, Canada, Rivers Light, wa­ter­color, 28 x 21" (71 x 53 cm)

International Artist - - Art Challenge -

Sec­ond Prize is a two-page ed­i­to­rial fea­ture in Amer­i­can Art Col­lec­tor mag­a­zine

My In­spi­ra­tion

The nat­u­ral beauty of the en­vi­ron­ment in which I live is al­most all the in­spi­ra­tion that I need; how­ever, I also draw from vague dis­tant mem­o­ries and ap­ply that to the sub­ject be­ing painted. Early morn­ing and evening light pro­vides the best con­di­tions in which to con­vey what I am feel­ing. I want my paint­ings to live some­where be­tween a re­al­is­tic present and a past mem­ory. Warm light catch­ing ris­ing mist and par­ti­cles in the air would be the strong­est in­flu­ence in my work. I love thick, warm at­mos­phere even if it’s a cold win­ter day.

My De­sign Strat­egy

Most of­ten I will use many photos to bring a fi­nal piece to­gether. When in the field gath­er­ing ref­er­ence, I pre­fer to take a larger over­all shot of what caught my in­ter­est and crop into the scene for the paint­ing rather than try­ing to com­pose a fin­ished de­sign in the cam­era. This is much more free­ing and al­lows one to see the en­vi­ron­ment that will af­fect the sub­ject. You could say the photo is re­ally just an in­spi­ra­tion, as I will change vir­tu­ally ev­ery as­pect at least a lit­tle or a lot as in Rivers Light where the large fore­ground rocks were specif­i­cally placed. I al­ways free­hand my com­po­si­tions on the pa­per to fur­ther the feel­ing in de­sign and try to draw the viewer from the fore­ground de­tails to the back­ground mys­tery.

My Work­ing Process

Thumb­nail sketches are used to re­design the sub­ject, and then I like to do a small pre-study to work out the colour and mood. For me, paint­ings are very con­trolled but should not look that way in the end. I will then draw the com­po­si­tion as lightly and with as few lines as pos­si­ble with a 4h pen­cil, as I do not want to see pen­cil lines in the end. White is never used in my wa­ter­colour paint­ings, so I mask or omit lighter ar­eas in mul­ti­ple stages. The tree line in Rivers Light was cre­ated by neg­a­tively paint­ing liq­uid mask over the sky to re­veal the pro­file of the pos­i­tive trees. This is one of my favourite tech­niques, which al­lows the free­dom of mul­ti­ple blended lay­ers with soft paint re­moval to cre­ate glow­ing light. Once all things are masked, like the rocks above wa­ter, I can be very cre­ative and fluid with the paint know­ing cer­tain light ar­eas are safe. Some­times mask­ing has to go on and off in stages, like the small back­ground trees and the re­fracted light on the rocks. Once it’s at around 90 per­cent, the mask­ing comes off and I fin­ish the rocks and gen­er­ally tie ev­ery­thing to­gether.

Con­tact De­tails

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