The Five Essentials

Sandy Terry shares the elements that are fundamental to her creative process

Ihaven’t always been an artist. Most of my professional life was as a teacher in the public school system. I was trained to draw in the style of the Old Masters while in college. I knew then that I wanted to create beautiful paintings but painting in the abstract expressionist style was the focus at the time so it was a “do your own thing” philosophy. I was disappointed that we didn’t learn technical painting skills so I am largely self-taught. I learned basic color theory by teaching children how to mix colors, paint and problem solve. I was trained as a printmaker and was associated with Malaspina Printmakers now on Granville Island, Vancouver. Through printmaking I learned about using transparent colors and blends. I started painting to fill my soul following years of giving too many. I taught myself how to paint by making a few copies of Georgia O’keeffe’s work, trying to make acrylics look like oils. Becoming a painter was a late in life discovery and I am continually in awe as my work continues to evolve. Being on hold for so many years just intensified my need and desire for self-expression when it finally had an opportunity to be demonstrated. It’s been quite a journey! When I taught both children and adults how to paint in a representational manner, I broke it down into five essential components: composition, drawing, value, color and brush control. These elements are still fundamental in my creative process today.

Composition

The composition leads the way. I am continually seeking that perfect moment in nature when the light captures the magnificence of a bloom. I’m looking for the image that takes my breath away, one that has a sense of rhythm and movement leading my eye from one area to another. I take my own photos and spend considerable time going through these photos on my computer, playfully cropping until I find a gem. I know I’ll be spending anywhere from weeks to months to complete my piece so I have to love it before I even commence the process of creation.

Drawing

Drawing is the next step. Drawing helps me to understand the inter-relationships of forms before proceeding with paint.

Accuracy of proportion is essential when working large on representational subject matter. My method of using acrylics in multiple thin layers is more like working in watercolors so it is less forgiving. Mistakes show, so care with my initial drawing saves me time and energy in the long run.

Light and Value

I usually aim to get my darks in first. Darks help to define form and the value throughout the piece. This step is quick and fast using a large brush. I don’t go into full value on the first application. This helps me define mid-tones using the same base color and l layer until I achieve the deepest values.

Color

Color is where the fun and challenge lies. Before starting a piece with a new color palette, I usually do test pages, experimenting to create tint and shades with the colors I am considering using. These tests are in a book format and provide great reference material for current and future work. My color blending is a slow and methodical process of building layers and glazing with opaque and transparent colors to create subtle transitions in color. I use a wet palette to extend the drying time for acrylic paint. My color palette is continually evolving and I seem to learn best by intuitively doing. Each piece requires it’s own process. For me, time, effort and intention yield worthy results.

Brush Control

I prefer working with hog hair filberts. The point on the tip enables me to attend to fine detail and the fullness of the base works well to achieve broad blends using one brush. Someone observing me painting said I scumble when I paint. The method works well for my subject matter and enables me to create soft edged smooth surfaces that are well suited for petals and foliage. My intention is to create timeless beauty. My florals often represent metaphors for me influenced by music, dance and light. I was a dancer in my youth and one of my daughters is a professional musician. I strive to breathe life into the two-dimensional surface of the canvas. I am most pleased when my paintings have a three-dimensional

quality that is not present in the reference photo from which I work. I live in an area filled with abundant inspiration. My home is a short drive to famed Butchart Gardens and several other horticultural gardens of note. Living in our mild climate, I don’t have to look far to gather great images of beautiful blooms. My neighbors’ gardens generously offer me gifts on a daily basis. My job is to notice and take the time to capture the light and glory at just the right moment. My day starts in quiet contemplation. I need to consciously tune out the distractions of the world and slow it down in order for me to create. I use music to help cue me to go into the zone. In the zone I am unaware of the passage of time. I am not in my head; I am in the moment. It is a blissful state of being, and it is such a contrast to my life as a teacher where I lived in a cerebral world dictated by time and bells. I am not thinking when I paint. I am doing. I am grateful for my years as a teacher in the public system. I learned patience, organization, discipline, how to meet deadlines and work with different types of people of all ages. I think all of our life’s experiences are reflected in our work as artists. Nothing is lost. As we mature our work matures. The task for me as a creator is to continue to produce so that my work continues to reflect my evolution as an artist.

Flamenco, acrylic, 24 x 30" (61 x 76 cm) It was challenging to ensure my brushwork was loose enough to express movement and controlled enough to accurately suggest the manner in which the petals grow and fold. The white edges took days to perfect using many layers of paint with a tiny brush. The work is named Flamenco for the graceful swirl of skirt fabric to fiery, passionate Latino guitar.

Cadenza, acrylic, 36 x 48" (91 x 122 cm) I found this peony in a friend’s garden. He grew up in Hong Kong. The scent of peonies reminds him of home and his childhood. This bloom was the last of the season and I caught it in a perfect moment of light. I knew I would paint it right away. Although it looks like a white flower there are so many subtle shades of amber, rose and gray blue in this piece. I love its simplicity. Named Cadenza, like an elaborate solo flourish near the end of an aria.

Peony Pirouettes, acrylic, 36 x 60" (91 x 152 cm) These “Sugar Bowl” peonies are from my neighbor’s garden. I loved the way they seemed to dance before my eyes. Capturing the complexity of the multitude of petals while retaining the delicacy of the light and color shifts, on a large-scale piece, was the challenge. The peonies reminiscent of the appearance of lightness as ballerinas twirl in tutus. This piece was displayed at Butchart Gardens in 2018.

Sunlit Splendor, acrylic, 40 x 30" (102 x 76 cm) A rose from a neighbor’s garden. I love the golden sun kiss on the petals. Soft color blends like this can be difficult to achieve using acrylics. I think a wet palette and my years as a printmaker helped. The fuzzy edges on the opening rosebud were a challenge. I had to be deep in the zone to nail it.

Calla Duet, acrylic, 48 x 24" (122 x 61 cm) This composition is a gem I found in a larger reference photo through playful cropping. I love how the callas and leaves seem to be emerging as light from the darkness. Simple, yet elegant. The gentle rhythm of the shadows on the blooms and leaves creates a visual duet.