Renaissance, Baroque And Classical Architecture - How To Draw All Styles With Extreme Detailing

bad boy Palladio stuff here, the Villa Bertonda, that's a Chiaricati, this is Santa Maria Novella, if you want to draw like this, large drawings. Let's talk a bit about the classical architecture, this is obviously Baroque and we are going to have a look at a bit of Renaissance as well, as well as Mannerist because it's a Palladio stuff, it's the bad boy Palladio stuff here, the Villa Bertonda, that's a Chiaricati, the Capitoline Hill and San Pietro plazas, Il Gesu, Palazzo Carignano and a couple of details, right? And yeah, if you look at these drawings, you are going to be shocked because they seem like, they probably seem like they're impossible to do. So, if you're just starting off, like, well, how can you draw something like this? You know, just look at this, this is getting better towards Renaissance, we'll just skip this for a bit, let's focus on the Baroque. What I want you to understand is that, you know, you need to look beyond the image, okay? These are drawings done in, will be close to eight hours, maybe eight to ten hours, hours. Yeah, and obviously, my courses kind of cover everything, you know, starting point wise, right? Because you can't really know how a drawing is going to look like, although it's a monument, the reality of pen on paper is that you never ever know how the drawing is going to look like. You see, like, some of them have a bit of a more interesting layout. So, the Il Gesu here is like on top, it's like acting like a foreground, it's like the image is overlapping a bit and then you've got all this empty space here to put the Chiaricati and the Villa Bertonda, a bit of a reflection. So, you see, this is actually a really good image. It's probably lacking a bit from graphics, like the hatching isn't as good as I'd like it to be, but regardless, it's very, very, very good here as well. So, obviously, a bit of a proportion mistake here. This is good, this is good, this is good, this has got a perspective mistake, by the way. Always keep the horizon line where it needs to be. You don't want a weird drone-level perspective, right? You want a normal ground-level perspective, okay? So, this should be looking something like this, okay? And yeah, we are in the freehand architecture courses, we are in lessons, we are covering all of this. It's very important that you understand the historical phenomenon of this type of architecture, how it evolved from Neolithic architecture, and how it's going to slowly stop at eclectic and then start with modernist architecture. And yeah, obviously, to draw something like this, step number one, you sketch a thumbnail sketch of it, okay? Do them on separate sheets of paper, because you can't see them here, but when you, let's say, leave the La Bertonda, you sketch it in a small thumbnail sketch first, and then when you start the large drawing, it's going to be really easy to finish it, okay? You start off, you feel, you go for the, you need to feel the volumes, of course, but you need to also go for the four-step formula. If you remember, we talked about this. Short recap, number one, fill the page with lines, fill page lines. Number two, ruler, right? So, get the crisp edges, right? Number three, hatching, which is for materials and shadows, right? And number four, re-thicken shadows, right? So, the gist of this is that if you stick to this with the freehand architecture courses and with everything here, the formula, you can draw stuff like this, which is very, very impressive. So, imagine, you know, you're adding this in your portfolio, portfolio, right? Portfolio, or you want to, you know, just, you're an architect and you never understood this stuff, right? You always couldn't get your head around it. Well, you start, you do it now, build up the skill set, which you were lacking for years and years and years. Yeah, mannerism, this is just beyond the Renaissance. Obviously, there's perspective mistakes here and there. What can you do? Draw this, probably the dome would be somewhere closer in for the Villa Rotunda. The graphics are a bit, they're kind of bad here. Why? Well, there's that instinct and hopefully, when you're watching my videos, you get used to the absolute reality that you need to take notes. So, everything I've said here, right? About the thumbnail sketches, about this perspective mistake here, hopefully, you've already taken notes on this. You don't want to have a lot of filler space, right? You see this is filler, just a lot of hatching, which doesn't really mean anything. This is the correct way of doing things, right? A very juicy line drawing and then you just hatch it with a couple of perspective mistakes. So, obviously, they slip. What can you do? Don't forget, 80% of all drawing is line drawing, right? So, the line drawing is your drawing and 20% is hatching. You can see the student from here, one second, they kind of, yeah, it's probably 60 to 40. So, too much hatching, looks bad. Okay, going back a bit towards the Renaissance. Florence dome here, very nice. I would actually add some cityscape in the back. It's like that cityscape would be the foreground for, it's probably San Andrea Mantua, the party chapel, the Ospendali dell'Innocenti, the Tempietto. I have actually a diagram with all the architecture monuments and the architecture styles. So, if you'll guess who was the other one, this is Santa Maria Novella, if I remember right, and this is Palazzo Farnese, right? Early Renaissance. You see how, going back to the Baroque, again, very, very rough introduction because, to be honest, there's no point in discussing this stuff. You need to draw it. If you draw it, then you feel it and you understand it. The Baroque has these curves, these interesting organic shapes, right, even detailing here, okay? The Mannerist is kind of playing a bit with the concepts. So, first you have Renaissance, which is, sorry, early and advanced, then you move on to Mannerism, and then you move on to the Baroque, okay? So, the Baroque, which is the third one, right, progression, it obviously has these weird curves, these very interesting organic shapes. Looking at this, it's very, very good. It's a very good drawing. So, if you want to draw like this, large drawings, always exaggerate with, make your drawings like 30% larger, right, then you would instinctively would, okay? The Baroque, okay, going back, Mannerism is kind of playing around with full space and empty space, like this is empty, and you've got like full on top, okay? So, kind of like Corbusier, if you remember Corbusier, right, in the Modernism. So, this goes way in the future, right? Advanced Modernism, Corbusier, right? And if you go back to Renaissance, people were just like reinventing architecture. They were just playing with perspective, right, with a new style. I think the Ospendale dell'Innocenti is a bit too tall, needs to be longer, right, and these arches need to be lowered down. Palazzo Farnese, I think, needs to be a bit, it's too bulky right now, it needs to be closer to something like this. Tempietto is nice. Yeah, and again, going back, draw large drawings from the first attempt. You see there's like, it's probably 50% of this page here is wasted, and you can cover it up with hatching. You can trick it with perspective, so you have like detailing here and like a cityscape here, but I propose you, you know, avoid these mistakes from the get-go. This could be good, very delicate, very sensitive. Yeah, this is a shocking image, like a lot of line drawing, but again, if you stick to the way I'm teaching you architectural drawing, the freehand architectural way, you will be good to go. Some of these things will click 100% from the first go, some of them won't, and you need to kind of focus on them, like really focus your mind on getting them, but regardless, you will get the skill set, and yeah, once you understand these buildings, then you're set. You learn them once, and you've got them for the rest of your life. This is very interesting here, but a bit too emotional. Emotion sometimes distracts from the reality, okay, so like the cityscape here is too vague. Again, this is the best image. This is probably a B+. For an A, a bit more contrast would be needed, so if I just get a darker color, right, for all this really cool line drawing, you need to, nope, no, you need to have really strong cast shadows, okay, just to make everything pop off the page, right. You see, this is going to look very interesting from a distance. It looks like it's got that spatial depth. When drawing Renaissance or classical architecture in general, I would go for Renaissance because it's the most obvious where they started this stuff. By the way, don't forget, sorry, I'm jumping from one thing to another, that you need to understand that this is an analytical architecture, analytical architecture, AA, so it's meant for your eye to jump from one element to the other, like just in the Pazzi Chapel, right, there's a lot of detailing, so your eye jumps from one to the other, and that's what makes it interesting, okay. This looks like it's got chicken pox right there, right. So your eye just keeps jumping from one element to the other, like here, bam, bam, bam, bam, bam, bam, right. That's number one, and number two, I want you to understand the ratio of horizontal lines and vertical ones. Red, right, because this is what generates Renaissance, right. The balance between horizontals, the rhythm of horizontals and the verticals, okay. And obviously you can use this in all your designs, looking like the design that I have now, it's like an A2 sheet on the wall. I forgot about this stuff, you know, I know about it, I forgot to apply it, right. And if you do this, if you apply these Renaissance wisdoms, so to speak, you get that extra edge to your work, okay. It reads in your plans and in your designs. Okay, so hopefully you've taken notes, and I'll talk to you soon. Take care, have a nice day. So if you want to take your architectural drawing and design skills to levels you never thought possible, get that portfolio for architecture school, get those skills that you can learn from going to university, then visit me on my website, freehandarchitecture.com. I've got a fair bit of information here, you can see a couple of my students' drawings, what they did, how they progressed. You also have free videos, free lessons. This is me sketching here from the live lessons. We are going to talk about architecture, interior design, product design, architecture history, landscape design, urban design, everything. Have a look at the courses here, right. They shared on my website. If you are really, really determined, then feel free to click on the little box on the right and drop me a line. I'll get back to you within 24 hours, and we are going to start the architecture drawing lessons after. Take care, draw nicely.