Introduction
Welcome to the second chapter of the Art of Rendering Masterclass. Step one in our journey to better renderings is Composition. A well-composed image will always look good. It doesn't matter if it's a 3D rendering, drawing, or painting. In fact, image composition is essential in traditional art forms. You learn it alongside how to draw or paint. So then, why is composition so rarely talked about when it comes to 3D graphics? Let's find out!
Before we Start
Knowing how both 3D and analog cameras work is essential for this chapter. In the video below I'm describing the settings and features I'll be using the most. To learn even more about the topic you can revisit Chapter 03 from my Interior Visualization Course.
Perspective & Planes
Step number one in our journey to a better composition in perspective and image planning. Understanding perspective was one of the biggest milestones in painting. The same principles that were discovered in the XV century we can now apply to our 3D renderings! We can identify four different perspective types.
Planes: tell a story with your image.
Every image has a story to tell. Even if it's a product rendering on a white background - you're still sending a message. It can be very simple and straightforward - Hey, look at me, I'm a chair! But it's still something that viewers can read. You may not even use a single word! In general, we can identify three different image planning concepts.
● Single Plane Image: The most simple type of image like a product rendering, or a portrait on a white background. Best for product or idea presentation. Since everything except the model is simple, all the extra details (or their lack) become more visible.
● Two Plane Image: Similar to the Single Plan Image but it usually introduces perspective and a more complex background. A typical example would be a bird's eye / top view or a product rendering/portrait with a colorful background.
● Three Plane Image: The one you should really get right. The most versatile and used image type. Usually consists of the background (3rd plan), an "actor" (2nd plan), and some environmental elements helping us in framing the image (1st plan). It's a go-to choice if you want to tell a story with your image. Easy to learn and not that hard to master.
Perspective: choose the right one.
Understanding perspective was one of the biggest milestones in painting. The same principles that were discovered in the XV century we can now apply to our 3D renderings! We can identify four different perspective types:
● Single Point Perspective: The easiest one to work with, uncomplicated, and very popular. Brings calmness, stillness, and peace to the image. Great for presenting ideas and focusing the viewer's attention. Recommended for beginners since it's not hard to get it wrong,
● Two Point Perspective: One of the most commonly used choices for architectural visualization. Adds dynamics and life to the image. Great for presenting interiors and spaces in general. Easy to learn and master if you know what you're doing.
● Three Point Perspective: Used in specific situations such as bird's eye / top views. Often applied by mistake in more regular situations. Suitable for creative applications as it adds a lot of dynamics to the image. A great tool in the hands of an experienced artist.
● Random/Free Perspective: Easy to learn, hard to master. Has the potential of making any boring image instantly better. You rarely use it in regular architectural visualization projects. Still, it's a great tool for creative expression.
Combine it all together.
In the video below I'll show a few examples of how to stage and plan the elements in a 3D scene. To get the most from what you've already learned I'd suggest opening some of your old projects and seeing if they can be improved only by fixing the composition. I'm sure you'll be able to add small bits of "story" into any image just by planning it differently!
Balance & Contrast
We now move to step number two in our journey to a better composition. An image that's nice to the human eye always has one component - a balance between all the elements. The easiest way to achieve balance is by aligning things in a symmetrical manner. However, images like that are boring. This is where you will learn about the power of contrasts! In the next videos, I'll explain how to use the contrasts correctly so your image still keeps its balance!
There are unlimited ways you can build contrast in your images. Here are some ideas you may use in your projects:
● Geometry Contrasts: small vs big, heavy vs light, straight vs curved, many vs few, etc.
● Color Contrasts: warm vs cold, bright vs dark, lights vs shadows, etc.
● Material Contrasts: matte vs reflective, soft vs hard, new vs old, dead vs alive, etc.
In the video below I will now show practical examples of how you can build tension and use different contrasts in your images. Please remember you can download the scenes from the video below in the Resources section of this chapter!
EMPTY SPACE HAS ITS WEIGHT
Leaving the bigger part of your rendering empty is not a bad thing! It's the perfect way of focusing the viewer's attention on what you want to show. Since the bigger part of the image is... empty, the details on your 3D model become more visible. That can be a good or bad thing. Good if you actually want to showcase the extra details and niceties of what you've created. Bad if the 3D model is simplistic and lacks details. You may want to choose a different form of presentation in that case.
There is one more thing I would like to share before we move forward. Having two or three contrasting ideas to build balance in your image is usually enough. Try not to overdo it. If you go way above that, your image may become too confusing. It will be hard for the viewer to understand what you're trying to express. If I told you to remember twenty things for tomorrow, you probably won't remember a single one. But if it was one thing, you might have remembered it for years. The same applies to our artworks. If everything in your image is important, nothing stands out.
Golden Ratio & Framing
The third and final step in our journey to a better composition is correct framing. This is where I'll talk about the Golden Ratio. Most of us have probably heard about it, some may wonder what is it all about. Will it magically make your renderings better? Well, actually yes, but only if you use it consciously! In the videos below I'll explain how I personally understand and use the Golden Ratio in my projects. Let's dive in!
In the video below I'll again show a few examples of how I'm using the Golden Ratio in practice. You can download the scenes from the video below in the Resources section of this chapter!
There is still more to the correct framing than understanding the Golden Ratio. In the video below I'll share a few more of my thoughts on how I'm staging elements in my 3D scenes. This especially applies to 3D product renderings!
Up to this point, we've already talked quite a lot about storytelling. Your image can tell a story just by the way you've ordered the plans and placed the elements around them. You can also contrast certain things with each other to build tension and absorb the viewer. By only applying the above techniques, your renderings will be better than what most people create. But is there anything more to storytelling? Let's find out!
Storytelling
It is difficult to tell a story with every single image we create. Sometimes we work on projects where it's not possible to add anything meaningful. It may be due to the budget as we are not getting paid for adding the "extra touches". Or the project itself and the designs received from the client may be uninteresting and of poor quality. Yet there is one thing you could always try. It's as simple as asking the question:
● Example 01: Living Room Interior. Always try hinting what type of people would be spending their time in that interior. Is it a family with young children? Or are you visualizing a single-room apartment for students? By placing different types of clothes, appliances, and other details around the scene, you can easily build a very simple narrative.
● Example 02: Kitchen Visualization. By placing different types of food, drinks, and even cutlery, you're able to hint at what type of people will be using that kitchen. Adding a bottle and a glass of red wine will trigger different emotions than a can of Monster Energy Drink (white) and a pizza box.
● Example 03: Daytime. You can emphasize the illumination type by adding different details to the scene. For mornings, try placing a cup of coffee, a newspaper, and maybe an open laptop if it's a workspace visualization. For evenings, you may add a party-like feel to the image. A bottle of champagne and fancy lighting or a few bottles of beer and a TV screen with a football game on. Each one of these examples will trigger different emotions in the viewers. Some are of course better for a hobby, rather than commercial projects, but you get the idea
What emotions do I want the viewer to feel?
This simple question had saved me on many occasions. It allowed me to push so many boring projects to the point where they became at least somewhat interesting. Here's how you can do this practically:
Exercises & Questions
There are two ways you can practice what you've learned in this chapter. The first is quite obvious - from now on, start working towards better composition in all your images. If necessary, you can go through the steps from this chapter every time you're working on a new project. Over time, choosing the right perspective, planning, and correct image framing will become second nature. You can also revisit some of your old projects. Try improving their composition and adding some story elements if you've never included them.
TAKE YOUR TIME AND STEP BACK
The second way is simply watching others and letting the time do its job. My drawing teacher used to say - "Once you reach a certain skill level, you will start getting better by observing the world around you". I believe this also applies to 3D graphics. When you understand how composition and visual storytelling work, you'll be able to learn from watching others. Remember the inspirations I talked about in the first chapter? Try analyzing the works of your favorite artists from the composition point of view. What perspective types are they using? Can you read the stories they try to tell with their images? What contrasts do they use in their images?
I like to draw inspiration from pictures like these from Philip Architekten. Some of them are ready to copy interior/exterior rendering layouts. Here are some interesting examples from John Pawson. A good way to visualize the contrast and balance we've talked about in this chapter.
Finding the right composition and adding a story is a very personal and subjective experience. You will often find yourself going around in circles. Sometimes your very first idea will be the best one. But you will still waste time trying all the other concepts, only to realize you should have stayed with the one you've begun with. That's totally normal! It happens all the time to everyone, regardless of the experience level. What I like doing is stepping back from the image for some time. I try not to think about it and do something different. When I get back after 2-3 hours, ideally the next day, I give the image a fresh look. I'm trying to find 1-2 things that I don't like and fix them. You can repeat that process one more time but don't overdo it. Just carry on, don't waste too much time trying to make a perfect image. Your skill will get better by making more images, not by polishing the one you find special.
Resources & Downloads
Below I wanted to share a few books that I recommend reading, or at least checking out! These are the positions that helped me better understand composition, proportions, and the Golden Ratio. I didn't read them from start to finish, but I still benefited greatly! Where possible, I've tried including some of the samples freely available online. Be sure to check them out!
● "The Visual Story" by Bruce Block: If there was one book I could recommend, it would be this one. A book that forever inspired me to learn more about composition and visual storytelling. Written mainly for filmmakers and cinephiles, but once you read it, it will forever change your perception of movies and other visual arts. Truly amazing position, just get it if you can, especially if you like cinema.
● "Geometry of Design: Studies in Proportion and Composition" by Kimberly Elam: Another fantastic book which, If I could recommend only two, would be on the list. It's an amazing position showcasing many examples of the Golden Ratio and correct image framing in various forms of art. From paintings and drawings to furniture design. Get it and read it if you can.
● "Objektfotografie im Detail" by Eberhard Schuy: The best book about product photography that I've ever read. Includes many great examples on how to illuminate different studio setups. These examples can be later transferred to any 3D application. I did it many times for my commercial projects in Blender. It may not be available in English, but all you need are the image examples.
● "If it's Purple, Someone's Gonna Die: The Power of Color in Visual Storytelling" by Patti Bellantoni: The best book I came across when it comes to color theory. I wish I had time to read it from start to finish. You will get better at visual storytelling only by reading some of the chapter introductions. Like the first book I've recommended, it's made for filmmakers and cinephiles. However, it will benefit anyone doing anything in the field of visual arts.
Below you can download all 3D files used as the examples in this chapter.
Who inspires you?
Are you following any 3D artists or creators in general? Who inspires you and why them? Is it someone you've learned about in school, a childhood memory? Or someone you simply found on a site like Artstation or Behance?