If you have been wondering whether you should paint from imagination, real life or a reference photo, the answer is yes, yes and yes.

The most important thing to do is to scratch that painting itch. The next most important thing is to banish the word should. ‘Should’ implies that you must meet the expectations of others.

There isn’t a right or a wrong way. Imagination, real life and reference photos all have their own merits and drawbacks as painting inspiration. Let’s dive in to each in turn.

Painting from reference photos

Painting from a reference photo is the most likely way that we all begin our painting journey. Let’s consider some of the advantages of using reference photos:

• Reference photos are convenient, patient subjects.

• The lighting stays the same no matter how long you take to paint.

• The image is already flat ie 2 dimensional which can mean that some of the work is done for you in figuring out how to represent a 3 dimensional object in 2 dimensions. Point of view and perspective has been determined at the time of taking the photo.

• The image has already been composed by the photographer so that can be a help too.

Photos are a great way to get started and very important when you are trying to get accurate proportions and details. However, if you are trying to replicate the photo you are limited not only by your own current skill level but by the skill objectives and view of the photographer.

It is not very satisfying (or legal in most cases) to copy the work of another. You may have different ideas about composition and point of view.

Don’t be afraid to experiment with these ideas and use the reference as a jumping off point. Move things around, change colours, simplify by removing something or add something that is not in the photo. There are so many ways to use a reference as inspiration and then take it in your very own direction. Make the most of the reference to get things like proportions right and then follow your own heart.

I follow this approach in all of my watercolour tutorial classes. If you would like to follow along with me step by step from reference photo inspiration to loose expressive watercolour painting just choose a tutorial and start today!

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Painting from imagination

Sitting down to dash off a painting from the imagination sounds rather wonderful, doesn’t it?

It is easy to assume that those that can do this are some sort of mystical creature with talents beyond us mere mortals. In reality, it is a question of practice. I’m sure it comes more naturally to some, but all of us can build the visual vocabulary to do it, if we choose to.

To paint from imagination requires us to picture something in our mind’s eye in great detail. If we are painting a car for example, we need to remember how all the parts fit together and in what proportion.

Where is the wheel in relation to the passenger door?

How long is the bonnet/trunk?

Where are the reflectors and mirrors placed?

How far does the bumper stick out?

So if you want to paint a car from imagination you will probably need to paint many, many cars from reference or real life until you know its form so well that you can paint it from memory.

The more familiar you are with a subject, the easier it will be to paint from the imagination. For me, flowers are a good starting point. I love flowers, look at them often and have painted them quite a bit.

The other great advantage of flowers is that they are natural, organic shapes rather than perfect machine made forms. That means you have a lot more leeway when it comes to accurate rendering. And unlike trying to draw a person it is quite alright if you make a flower asymmetrical or choose to omit a leaf or petal!

Painting from real life

When you paint from real life you get to capture the image fresh, through your own eyes, heart and hand, without any other influence.

As good as cameras are these days, there is no substitute for the real thing. Often we are capturing an experience in our painting, a feeling - not just a likeness.

Painting a vase of roses in real life involves more of the senses. The velvety feel of the petals, the heady fragrance of the blooms. All of these things might find their way into your painting somehow. The camera just can’t do it all justice.

When you paint from real life you have to decide what is in and what is out of the image. Figuring out what to leave out of a painting can be one of the trickiest things. Our eyes have a wide field of vision - you can’t put it all in one painting. This is going to be a good thing. Sure, its overwhelming to start with, but the point is that you get to say what you want to say about what you see.

Painting a plein air landscape or urban scene is one of the first things that comes to my mind when I think of painting from real life but that is definitely not where I would recommend starting! It is a wonderful thing to capture your own world in exactly the way you see it. However, we see so much at once that that can be a terribly daunting prospect. Whatever you can do to give yourself a small and manageable task will be helpful.

I recommend starting small, with a simple still life. Paint whatever is right in front of you. The art supplies on your desk, your favourite tea cup, perhaps? Or a lovely fresh flower arrangement. If that is too much, then maybe just a single bloom?

What you need is to build up a little confidence on these smaller projects.

And before you know it, you will be taking on that grand plein air landscape after all.

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