We are daily bombarded with so much information our mind has unique ways to manage all this information. One of the most basic concepts of graphics is that the human mind seeks to identify patterns. Even when a scene contains essentially random elements, the mind looks for order.

If a point is placed within a frame, and the point is located in the center, a viewer will recognize that the pattern is symmetrical and thus balanced. If the point is displaced from the center, symmetry will be lost and a sense of imbalance will result, but complete symmetrical balance within a composition is usually uninteresting; a general rule, complete visual symmetry should be avoided.

So, how do we have a balanced illustration and not have the focal point in the center of the frame?

It is the illustrator’s responsibility to ensure that within his illustration there is some kind of order imposed on the objects enclosed within the frame. This order can follow some established formulas. One rule is called the Golden Section. The Golden Section is the proportional relation between two divisions of line or two dimensions of a plane figure such that short : long :: long : (short + long)

If the point is displaced from the center the addition of another point displaced an equal distance from the center but in the opposite direction will restore the feeling that the composition is symmetrical and thus balanced. A similar relationship can occur even if the points have different visual weights. If the center of the frame is thought of as acting like a fulcrum, then a “heavier” point close to the center counteracts the weight of a “light” point located farther away in the opposite direction. The size of an object, its tone, and its nature all contribute to a viewer’s subjective evaluation of how much visual weight the object has.

The rule of thirds is one of the most important and often referenced rules of subject placement.

Imagine that your rendering canvas is divided into thirds, both horizontally and vertically.

The rule of thirds says to align the center of interest with one of the points where those lines cross. That means the center of interest is one third of the way “into” the picture space – from either the top or bottom, and from either the left or right; it’s not in the middle.

In the above illustration my subject placement, which is my center of interest, is the front entrance.  Notice how I placed my center of interest where the bottom right lines cross?

Counterpoint

You can improve the rendering composition by creating a counterpoint. If you place the center of interest in the thirds position, you can place a secondary focal point at the diagonally opposite thirds position.

Horizons

A natural extension to the rule of thirds is to place your horizon line along the one-third (bottom line) or two-third (top line) of the grid, rather than in the middle. 

Whether you place the horizon closer to the top or closer to the bottom of the picture space, depends on which you want to emphasize more: the land or the sky. If you have a dramatic sky, by all means, give it two thirds of the picture space!

Again, in the above example, I placed the horizon line on the bottom one third….

Each rendering should have only one main center of interest that the viewer’s eyes are drawn to. Any other elements within the rendering should focus attention to the main center of interest.

A rendering without a center of interest can confuse the viewer. Subsequently, the viewer wonders what the rendering is all about. When the rendering has one, and only one, center of interest,” the viewer quickly understands the rendering.

When there is nothing in the rendering to bring the viewer to a particular area, the viewers eyes wander. The center of interest can be one object or several objects arranged so attention is directed to one part of your rendering.

When the center of interest is a single object that fills most the rendering, such as a red door on a white house, attention is brought quickly to it. 

A person attracts attention more than anything else, and unless the person is the main object you should leave them out of the rendering. When people are included in a rendering for scale, keep them from looking in the direction of the camera. When people look at the camera, the viewer tends to look back at them. 

Center of Interest Placement

Good composition is rarely obtained by placing the center of interest in the center of the picture; it is generally a bad idea to place it there. A lot of the times it divides the rendering into equal halves and makes the rendering boring and hard to balance. By dividing the rendering into 1/3, both vertically and horizontally, and placing the center of interest at one of the intersections, you can usually create a well balanced composition.

Yes, technical skill, is necessary for a successful rendering, but, technical expertise is nothing more than a requirement with which one might then be able to do terrific renderings. Technical proficiency alone does not make for a good rendering; it is just one of the necessary parts.

Start with the basics. No matter how dull they may be, they are essential for creating a foundation that can later be built upon. Below is a list of topics that can be investigated, learned about, and eventually used in practice.

• Center of interest 
• Subject placement
• Simplicity
• Viewpoint and camera angle
• Balance
• Shapes and lines
• Pattern
• Volume
• Lighting
• Texture
• Tone
• Contrast
• Framing
• Foreground
• Background
• Perspective

We often put the photos we take into frames as a way of displaying and drawing attention to our favorite photos – but there is another type of framing that you can do as you’re setting up your virtual camera that can be just as effective doing just the same thing!

Framing is the technique of drawing attention to the subject of your rendering by blocking other parts of the rendering with something in the scene.

The benefits of framing your rendering include:

1. giving the rendering context (for example framing a scene with an archway can tell you something about the place you are by the architecture of the archway or including some foliage in the foreground of a render can convey a sense of being out in nature).
2. giving renders a sense of depth and layers (in essence framing a render generally puts something in the foreground which adds an extra dimension to the render).
3. leading the eye towards your main focal point (some ‘frames’ can draw your viewer into the picture just by their shape). Some also believe that a frame can not only draw the eye into a rendering but that it keeps it there longer – giving a barrier between your subject and the outside of the render.
4. intriguing your viewer. Sometimes it’s what you can’t see in a  rendering that draws you into it as much as (if not more than) what you can see in the rendering. Clever framing that leaves those viewing your image wondering a little or imagining what is behind your frame can be quite effective (get it wrong and it can also be quite annoying!).

Frames for renderings come in all shapes and sizes and can include rendering through overhanging branches, rendering through windows, using tunnels, arches or doorways – you can even use people (for example rendering over shoulders or between heads) etc.

Your frame doesn’t need to go completely around the edges of your rendering – they might just be on one or two edges of your render.

My rule of thumb when considering framing is to ask the question – ‘will this add to or take away from the rendering?’ Sometimes framing can just add clutter to a rendering and make it feel cramped – but at other times it can be the difference between an ordinary rendering and a stunning one.

Lastly – if you do use framing techniques you also need to consider whether you want your frame to be in focus or not. In some instances a nicely blurred frame will really add a sense of mood and depth to your rendering (in this case use a large aperture) but in other cases to have your frame in focus can help with adding context to the scene (in this case choose a narrow aperture.)

Planned images hold the viewer’s interest longer and often lure the viewer to look again. Visual artists found that following certain composition principles improves interest. Follow the steps to ensure that your renderings are impressive.

1. Determine a primary center of interest that is the most important to you before you push the render button. Compose to emphasize that point of interest.
2. Keep it simple by allowing only things you want to be seen to be in the render. Know that your message will be lost if numerous objects are cluttering the background. Look for an angle to avoid showing the clutter or frame the center of interest to isolate it. If clutter is still visible, keep the background unfocused by using depth of field control.
3. Use light and darkness to your benefit. Place a light subject against a dark background and a dark object against a light background. The placement adds interest and emphasis to the renderin. Using contrasting colors can become distracting if the usage is not considered carefully.
4. Realize that informal balance or asymmetric is more pleasing in a render than formal (symmetric) balance. Place the main center of interest off-center. Balance the “weight” of the main interest with other objects (lower impact or smaller). Understand that unbalancing the render is more effective than having the subject centered in the render.
5. Framing is when an object in the foreground leads the viewer into the picture. Framing may give the viewer a 3D view of action in the render. Know that the best kind of framing is when the foreground object occupies three to four of the corners, leading the viewer’s attention to the center of interest. Realize that framing usually improves a picture. Understand that the “frame” does not need to be in sharp focus and that it could be a distraction if it has too much detail.
6. Move the camera up or down or step to one side to change your render dramatically. Realize that a good way to create prize-winning renderings is to take the render from an “unusual” point of view.
7. Leave some space in front of your subject if the subject is a person or a living thing that can move. Understand that doing so makes the object appear to be moving into, instead of out of, the render.
8. Place linear elements such as waterways, roads and fences diagonally to give a more dynamic render than horizontals. Know that this rule is called “leading lines” because the lines lead the viewer’s attention to the center of interest.
9. Use the “rule of thirds,” based on a principle taught in photography. Know that the theory says the eye goes naturally to a point that is about two-thirds up from the bottom of the page. Visually divide your image into thirds (either horizontally or vertically) to achieve asymmetric or informal.

Architecture renderings offer a distinct set of challenges for illustrators. There are elements of composition which are more evident when it comes to rendering architecture. The following are five tips to render better illustrations of structures.

1. Consider the Context

Some types of structures need to be illustratoed in their correct context. This is true for older structures as well as farmhouses. For modern buildings, the context is rarely necessary. illustrating people can also help the viewer identify the function of the building.

2. Play with the Light and Shadows

The weather and timing can provide an interesting combination of light and shadows. Light passing through columns and windows can affect the ambiance of the interiors and alter the way the structure looks. The same structure can also appear differently depending on the time of the day. Illustrate the same structure during different times of the day to see the effects of natural and artificial forms of light on the structure.

3. Focus on Lines and Shapes

A lot of architecture relies on the principle of symmetry. Curvilinear lines such as a long pathway can create movement in an image. Archways and windows can also become natural frames for an image. 

4. Change the View

With skyscrapers and longer buildings, use various perspectives for a different look. Go at the base of a tall building and render straight up. This will make the image appear distorted but creates an interesting dimension to the illustration.

5. Capture the Details

Structures are made from a variety of materials. Using a macro lens technique will help capture the various textures that make the structure look distinct.

The dictionary says: “Composition is the art of combining parts or elements to form a whole“.

Every render must have a focal point where the artist places the most interesting shapes and elements to create the center of interest. 

Start with visual thinking – putting your thoughts about what you feel down on paper. Decide on either a horizonral or vertical format.  Make some rough sketches of what you want your render to look like,  This is visual thinking: You are developing your composition, creating a center of interest by balancing the elements, moving or eliminating objects, deciding your values, and trying various combinations of foreground, middle ground and background.  

Your sketches can be only a suggesitive as you wish. Their main purpose is to arrive at a good working composition. Besides, they are fun to do!

Tilt-shift photography refers to the use of camera movements on small- and medium-format cameras; it usually requires the use of special lenses.

“Tilt-shift” actually encompasses two different types of movements: rotation of the lens relative to the image plane, called tilt, and movement of the lens parallel to the image plane, called shift. Tilt is used to control the orientation of the plane of focus (PoF), and hence the part of an image that appears sharp; it makes use of the Scheimpflug principle. Shift is used to change the line of sight while avoiding the convergence of parallel lines, as when photographing tall buildings.

Another, less cost-intensive technique called “tilt-shift miniature faking” is a process in which a photograph of a life-sized location or object is manipulated so that it looks like a photograph of a miniature-scale model.

Tilt-Shift Photography Photoshop Tutorial 
This tutorial was produced using Photoshop CS2 on a PC.

Receding Hairline
With very little effort, you can take existing photographs of everyday scenes and make them look like miniature models.

Free Auto Tilt-Shift Photoshop Action 
Plug-and-play solution for preparing your photos.

The time of day can be important depending on the orientation of the building. (Advice based on Northern Hemisphere conditions) If the main entrance is facing East – a morning rendering will have the most sunlight. If the building is facing South – then you will have the most latitude when you choose your time of day. If the building is facing West – then an evening rendering will give you the best daylight. And if the building is facing North – then you’re screwed! 

A building with the primary entrance on the North side, i.e. – always backlit by the sun is the most difficult exterior shot to take. Consider rendering on an overcast day, in the morning or in the evening.  

Rendering in the morning or evening is the best way to ensure the shot will be within the stop range of the camera. A rendering of the South face is probably the easiest because everything is washed with sunlight so anytime of day usually works. 

The other thing to consider is where shadows of neighboring buildings fall during the day. If the building is in an urban setting, there might be a small window of opportunity when the sun shines directly on the building depending on how narrow the streets are.