Landscape q Graphics REI-L emmuoricept sketch io presentation render oeLandscape Graphics Grant W. Reid ASLAContents Foreword 8 How to Use This Book 9 Graphic Language and the Design Process 10 Freehand Drawing 36 Concept Drawings 46 Drafting 54 Lettering 70 Presentation Plans 78 Section-elovations 112 Graphic Symbol File 128 Quick Perspectives 154 Appendixes 182 1 Use of the Vertical Measuring Line on Perspective Charts 183 Field of Vision Diagrams 186 IM Nontraditional Perspective Techniques 189 IV Exercises 198 CON AMEOH Hs Bibliography 213 Metric Conversion 214 Index 215Foreword Landscape Graphics is an instructional book. The emphasis is on easy, time-saving techniques. The format is how-to. Although irected primarily 1 the person just taking up landscape design, it also contains techniques and reference material that will be of value to established professionals who wish to refine their graphic skils ‘The language of landscape graphic communication is too ‘extensive (0 cover in one book. For that reason, the focus here is exclusively on black-and-white techniques. In addition, simpiified techniques are featured instead of complex ones. For example, there are more technical, and perhaps more accurate, methods of perspective drawing than those shown here. But the ones ‘demonstrated in this book have the advantage of simplicity and ‘comprehensibily. The very important area of computer graphics is touched very lightly here. The computer is now able to perform many graphic tasks which were formerly done only by hand, including some ‘manual techniques described here. Yel computer graphics is far foo specialized a subject for inclusion in a basic book like this one. ‘There will alvays be a need for landscape architects who can draw well and draw fast. Graphic instructional aids are, at best, only twenty percent of the learning process. The rest is confidence and tactice. improved graphic skils will have a positive effect on your ability to develop creative design ideas and on your success at selling those ideas. tis up to you. Accept the challenge; practice allt, and have fun doing itHow to Use This Book tk you are a beginning student or a graphics instructor, you will get the mast out ofthis book if you study each chapter, then follow through with appropriate exercises from Appendix IV. These. exercises are keyed into each chapter and follow the same sequence. The first group of exercises (1-14) do not need to be: worked in any specific sequence, In fact, they are best intermixed ih exercises lor other chapters as a way to develop the looses, freehand expressive drawing skills o fully exploit the chapter on quick perspectives (Chapter 9), a different approach is necessary. Here, the exercises should be ‘Gone as the text is being studied —not at the end of the chapter, Each perspective exercise builds on skills developed in previous exercises, They depend on explanations given in the preceding orion of text and follow a logical progression of skill development ‘The professional or more advanced student may wish to skip over sections that seem familiar, such as drafting or lettering. Chapters 6, 7, and 8 coniain the most graphic examples and may be used as aeference file. Copy the examples that suit your needs and ‘adapt them to your own styl. Every technique shown in the book—except drafting and pencil lettering —Is compatible with color rendering techniques. The reader should practice quick color applications concurrently with each black-and-white graphic technique presented here.4 Graphic Language and the Design Process ‘There are five generally recognized stages, or phases, in the ‘design process, At each of these stages, graphic products are generated to record, externalize, and communicate ideas or information. These graphic products range from the simplest sketches to the most detailed drawings of construction details. They all have one {quality in common, however. They are all products of graphic thinking—visualizations of something thal does not yet exist. The relationship between the five major design phases and their ‘appropriate graphic products can be expressed as follows: Design Phase Graphic Product Program development Whitten program Inventory and analysis Site analysis drawings Conceptual design Concept pians and sketches Design development Presentation drawings Final design Implementation documents In practice, the design process is olten a litte disorderiy Depending on the project, a stage may be repeated or even. skipped. Also, these “discrete” stages sometimes overlap or blend into one another. There is, however, logic to following this specific ‘sequence of design phases. In the following pages, we will look briefly at the purpose of each stage and how the graphic language appropriately expresses the information that must be ‘communicated at each stage.Program Development Content and Purpose Program development is a research and information-gathering phase in which data is collected from property owners, administrators, and users. The social, political, financial, and personal characteristics of a project are established at this stage. ‘The focus is on facts, attitudes, needs, constraints, and potentials Graphic Character and Media Aprogram is often comprised of notes, completed questionnaires, and other logically organized written material. Drawings are seldom needed or made.Inventory and Analysis Content and Purpose ‘Aithe inventory and analysis stage, the landscape design protessional gathers and records information on the physical characteristics of a site, such as lot and building dimensions, vegetation, soils, climate, drainage, views, and other pertinent affecting factors. ‘The purely objective recording of site data is an inventory. Interpretive manipulation of this data and subjective comments constitute a site analysis, This information, together with the written program, are the basic guidelines for design. Graphic Character and Media ‘Sometimes the inventory and analysis are separate graphic items; ‘sometimes they are combined. In all cases, they are accurate, clear, and comprehensive plan view drawings that explain site specific conditions, constraints, and potential For small sites, the inventory and analysis may be done with pencil ‘on vellum or graph paper and may be heavily annotated, Felt tip pen on marker paper is also appropriate. Large sites may require a ‘series of maps drawn with a combination of freehand and dratting techniques. They are usually more refinad, are often used as transparent overlays, and sometimes involve color. Computer assisted site analysis techniques are valuable for larger tracts of land. The graphic materials are generally for the designer’ use only, Dut ‘on regional-scale projects, site analysis drawings may be reviewed by the client. In any case, the graphics are an abstraction of the landscape features and do not need to be realistic.Mier tes Potton Blue River-Gore Pass ‘Transmission LineConceptual Design Content and Purpose ‘The conceptual design phase is when carly,design ideas and functional relationships are explored. The graphic products at this slage are sometimes calles functional diagrams, concept plans, ‘or schematic plans. They are sketches or sketeh-ike drawings. For small projects, they are usually made only for the designers sell-communication: a record of ideas that forms the basis for further idea development. On larger and more complex projects, the graphic products may be presented to other designers and the ‘lient for early feedback, All are drawings that suggest more drawings Graphic Character and Media Concept plans and sketches should begin as honest, open, rough freehand drawings that may be a series of creative scribbles and jumbled diagrams. Initially, they are loose and approximate and should look ike the decision-making, idea-development, conflict resolution drawings they are, Simple plan view diagrams, quick sections, or thumbnail sketches—and even cartoon-like Crawings—can serve, Itis common to see bubble shapes, aows, ‘and abstract symbols on concept drawings. These may be refined as more drawings are produced but should always remain vigorous, powerful, and direct. For lower-budget projects, soft pencil or color felt tip pen on butt- colored sketch paper are appropriate media. Higher-budget projects may require use of colored markers on marker paper. Both should be marked by boldness and vigor. Concept graphics are supposed fo be done rapidly, with ideas flowing freely. They should Be ey Heats koiipms enyone ones ounFunctional DiagramConcept Plan CONCEFTUAL AGRA PONHOMURABE CLIVAHITY PAREDesign Development Content and Purpose ‘tthe design development stage, specific ideas beain to formulate. At fist, the drawings are quick freehand sketches which allow the designer to evaluate solutions 2s they evolve. Many wil be rejected outright; some will be added to, changed, and improved, {As the ideas are refined to integrate all tne functional and aesthe! Criteria, the more developed drawings contain specific information 25 to Spatial organization, form, color, materials, and user potential. These more refined drawings are termed presentation drawings ‘and are used by the designer to communicate ideas to the client or user group, to sell ideas, anc to get additional feedback for later design refinement. Typical tiles for such presentation drawings are Preliminary Plan, Master Pian, and Proposed Development Plan. Graphic Character and Media ‘Although the initial drawings are usually very rough and very preliminary they do need to show specific shapes, materials, and ‘spaces for the designers evaluation. (See pages 21 and 23.) The refined presentation drawings need to be fairly realistic and convincing, because they are usually reviewed by the client A Combination of plan view, sections, and perspectives with color are most effective. They need to be self-explanatory, with script limited tobrief labels. Rough models or phoiographic presentations are also effective. Presentation drawings require a fairly durable surface medium, such as marker paper, heavy print paper, or bboard-mounted artwork. ‘A combination of freehand and mechanical drawing techniques is necessary Computer graphics can be very useful, especialy in the rapid production of various perspective views. Computer graphics ‘can be used as they ate or can be enhanced with ftechand ‘additions.Design Development DrawingDesign Development Sketch Library Admiwisiretionaster Plan Preliminary Plan (partial) Protiminary Plan FRAGRANCE GARDEN Denver Botanic Gardens l €Master Plan MASTER PLAN NORTH BOULDEA COMMUNITY PARICFinal Design Content and Purpose The landscape architect’ final ideas, once they are approved BY the client, need to be communicated to the people who will Build the project A series of construction implementation documents that contain working drawings must be produces for use by the Various installation contractors. Along with detailed writen instructions, called construction specifications, go a set of drawings that show exact sizes, shapes, quantities, types, and locations of all elements, Contractors use these documents initially to prepare prices and bids. A typical set of landscape working drawings may contain a site plan, grading plans, layout plans, irrigation plans, planting plans, and detail sheets. Graphic Character and Media Technical drafting is used to produce working drawings, although some freehand graphics are needed for lettering and organic ‘symbols. The graphics must be complete, accurate, and very easy to read. Since multiple copies must be made of each finished drawing, the media usec are pencil on vellum or ink on Mylar, Precision and good line quality are essential characteristics. Color is not necessary, For many kinds of projects, the computer ‘generation of construction documents can save a significant ‘amount of time.Preliminary Landscape Plans reliminary Pl esign Drawir INARY LANDSCAPE PLANS a ea 30% of actus! ze stat shown actaPreliminary Planting Design Drawing Panel an clin alli fie — Palos, Arild Opies Yeh (Planting Plans ivicoomertuse'er sien otpanmatos Proviso loeatons ave shown ‘aansiianeatsyin oan ars i ang quanties a+x »,construction Detai Planting Plancons and plans this king of working drawing Usual axpandes ows the Gataled components of siuctures,ineuding intemal loments, and how they go together Construction Details P Tere en en Bo as : es SERS pote 23% of actual sizeFreehand Drawing The very first graphic ideas in the design process are best expressed with freehand drawings. Concept drawings, thumbnail sketches, and preliminary plan ideas are all open, honest, free- fiowing drawings that use few, if any, drafting aids or techniques. A more accurate label for freehand drawings would be “free arm drawings,” because it is the fluid coordination of all arm joints (including the elbow and shoulder joints) that come into play more so than the finger and hand joints. Exercises 1 through 9 in Appendix IV are useful for getting loosened up with freehand techniques.Tools and Materials ‘Choose the drawing tools that alow smooth, easy, gliding stokes ith expressive line character. These are soft graphite-based tools felt tip pens, and sketch fountain pens ‘Soft graphite smudges easly but allows a variety of very datk ang very ight lines. The ordinary 4B or 68 lead pencil Point gives a fine line and, chiseled down, gives a wi Lead holders are available fo large diameter (3 mm) sketch leads, which ate very good for bold preliminary work. ae) Graphite sticks get a ite messy but are excelent fo: drawing fas, Wide lines and for toning lerger areas. The larger stick has a 4.95 em width and the smaller stick has a 7 mm width, The flat sketch pencil, or carpenters pene has a wy cross section in the lad which allows very brose age {tip pons a= aa Ss Ss More stable sketching mecia that wll not emaar or sme the following Soft color rendering pencil det poited a +eel- port mah Color art stick ‘fountain se ation yields face s ned Harder andi more waxy than oraphita, this product norks el —=—=——= for sketching on MylarTo te ets say oho ange of DMN sas OMT {he ema numbar of examples below Meaunvpoint pen en (ise point marker Ink fountain sketch pens aive song black tines, Pressure vation lcs interesting changes in ine weigh, A smocth Surtace is needed for goad results, ‘Sketching surfaces, such as Ightweight vacing paper (fimsy’ or "Bum nal), comes in ls of various wishs The corsmon clore are ve, yellow, or bul (canary papor. Thi is used for oohand design devalopment drawings, enement overlays, and auc sketehes tis nexponsive and yet transparent enough fo are aihough tis not recommended fr fished dramings because tS asi) ripped. Best resule ae obtalnad wi a fet ip pen or = 5 pencil A backing sheets nopded or Usa with mark, ‘Sketch paperin mary diferent brands is avaabl in varying woights, eurfaces inches, and transparencies. Selec a suraoD “which sults th typo of sketching '00| and the elect desis. Soa, Conse surtaces are good for detaled, re ne crawings: Coarser papors provide textured nerest for pono tong, Special ‘dense, smooth papers are avalab for nk sketching. Foe Teprocucibie were use the more stabi transparent eketch papa, Bleod-proot marker papers ae spectally ated to prevent marker fd ftom bleeding through, Some laterl bleeding should ‘be expected, bux this vates significantly fom one brand to ‘anathor For some crauengs, alee! bleating and bonding Uesirable, fox olhes,ersper ines and deta are needed Some marker papers have high-contest, dense white surlaoes and ‘a nal meant or reproduction, Os have a Gearee of transparency tat allows for pining, Select the brand to su the purpose. Butcher paper or eezer paper can be Bought arge rls and is txcollont for oulezed conceptual or priminary danings done with marker, though not or epreduction Drafting film, such as Myla, ic ectonally used with nk or technical drawings, but ts also a versa surface fox pencil tketching, A wise range of one denies can be east and. ‘uicky orawn on the fly foathed suiace. The best skston too for Mar are the sharp 28 pencil, he fat setch pen the ‘raphe block, ortho more waxy art sicksTechniques Keep the pencil or pen ata low angle and hold with a relaxed rip. Praclie cketching. Coordinate al ofthe arm and hand joints together Note how diferent joints come into play wien sketching the fve typos of ines discussed here. Free-lowing lines Incrawing curved, nterconnacted tines ovr @ rate surface area oF sheet, We forearm isnt sup held ng. All movement comes trom the elbow the smal fingers gliding actoss the surlace fe stabiny th finger or wrist movement pg Straight Li ‘ob keeping ine 3est Sap an "ying is. Shoulder, @ Se Wit is + agora or santa he obo30 1) capes with one jine should havo a clean connection, or Freeform ines ae ooo quick and affective Fisch with a sight cap Muliple O00 Right ‘rong, Ag Long Straight Lines F Tree Ste aisle fo contol by resting the elbow and using it asa hot keoping the wnet and fingers immobile. Horizontal ines a Basiet Slop and stat if necessary eadjusting the elbow to craw vor ong lines. smal gap acceptable 1g. Sal gap accept Fox clagonal or veical lines, adjust Body positon o the paper to mainiain the olbow 28 a prot ‘nen jening two point witha eight ina, stant at one pit, ook fatthe ate then draw the pencl quickly foward it ‘Shorter Straight Lines hese are cone he same way ae ong straight nes, again wih NO ‘yrist movement ‘raw each tine with confidence ard speed. Make definite endings by using a pressure start and a pressure siop Let eine in between develop a tonal character Go fastin migale to give character to Ihe ina. —_— \ stat sar of sickCorrect: Fast, contident lines, with strong ends and positive ‘connections from slight crossing, Wrong: Slow, deliberate, heavy pressure lines with weak corners. ‘Wrong: Hesitant hatch lines and scratch lines. Lack confidence: and character arker L Detail Lines Very shart hatch lines or smaller curved line: Wrist and fingers working in harmony, The hand aay WW ly : = Hatching or Toning Lines Keep lines parallel and try to connect each ne to the outine aight oveep ls accepatie MW i i] ont a Fineliner Pencil RightMarker Lettering color maikers ae versatile tools for quick, functional isesipned ices ert ctorng, and coor rendering Is dora Io pg por toear bow fuse thom propery loo pent ncaa ane larg pape! unde the deara begins jars wl bled though many papers and can pure sanine rang an utc Keep marr thy Marker Grip tart ouch allthat ie needed. Evon moderate pressure wil Aa tne ip Wdortip markers wih a rectangular ond nacd to be Fa chat this enc touches the paper along the entire edge. Side view Wrong Wrong ight Onytnetoe Only the heel Entre edge touching, _is tovening. is touching, Top view Horizontal stoke provides @ wide ine. 4 Vertical sroke produces a thn ne. ‘The marker is ld tipped tom vertical fo put one edge in ‘coniact withthe paperFreehand Lettering == utlining Freehand ites and subliies requiring large letters can be ‘2ecompished with markers and fe tip pens. This techrique's Good fer schematic and preliminary drawings on marker paper, But {he trosnand cutining techniques shown can be adapted to other Begin with guiceines about 1” inches apart Hold the marker gently. Make some letters. checking these pointers as you go: + The ente tp edge touches the paper aan ‘The edge i aligned vertically all he ime for vertical, iagonal, Sear he and ercular strokes ron ae + The markers nol rotated withthe fingers, which would tip the marking surface ont is point or the heel + Neither arm nor body are rotated he +The eters are made with aight touch, letting the edge of the tea ‘marker create line width changes. po + The toe ang heel donot extend over horizontal guidelines. + Vertical stokes are consistenlly vertical. Use ght vertical guideines if necessary, +, Smal leters use the small edge at the tip ofthe marker vetne paper Semi com vent stoke het dots ana pry eos ec Plart Peyground PURLZG se cae $8 and 16. Bu first check Chapter 5 for correct letor8 Concept Drawings Conceptual drawings are loose and free in character. There are no conventional symbols that are right or wrong. However, most of the graphics at this beginning design stage are very abstract and are not meant to convey exact shapes, textures, or forms. They primarily express functions, activities, spaces, and their relationships. For example, use areas may be shown simply as bubbles or blobs, and movement corridors as arrows. At this stage, there is no attempt to show exact forms or edges of materialsconceptual Diagram > arterial strect OoDpoD SDSS SSecaasaS Annan ) Lf OibososoaS5o Dooconoodd) 1 collector street 3Some Symbols for Practice Concept diagrams ean be done wth any toe 184 68 pend, fal tip pens, or colored markers suggestions given nthe previous chapter, ty ep various graphic symo!s Pe Foctoning areas, lst define wth a narowe nth even, paral soxer of awide-p marker. You may nee ‘0 ti out the edges fa precseinil = desi For drectnal signa vith wide, broken st Colored marker then outline with thick and hin ft technique similar to that frie lettering (see page For naroner lines, change the marker grip fo place the narrow edge on the pape Try vertical anc horizontal strokes joined in continuous ‘roverent-—wih no change ol gfip. You may need to change your body postion fo get a smooth cuning symbo Parallel or radiating stokes of conssiont wih are efflecive symbols fr landscape barriers. ‘On the folowing pages ae just afew ofthe many abstract graphic, language elements wich rave meaning for conceptval design. Using any of these symboss, ry exeriga 17 ‘CONCEPToRAHINGS Ly bafta AE uacings ana seuckzes Y vein! oa ras, points ' ) § \2 = Lineal Symbols‘Active Lineal Symbols Automobile ciation Pedestian circulation Access points View directon Wing direction Ecological processes Movement of anything ontany,, WF oncepuial Diagrar a" Swmamgeee’®Conceptual DiagramConcept Plan anceptual DiagConceptual Diagram4, Drafting The production of precisely drafted construction documents comes near the end of the design process, as discussed in Chapter 1 However, drafting is introduced here because all phases of landscape graphics require some knowledge of drafting equipment and media, Also, many of the basic drafting skills are used in the very early stages of design, such as lettering, and in the refinement of preliminary freehand drawings. The two most ‘common manual drafting media are pencil on vellum and ink on drafting film or Mylar.Plan Nonesap Finis CranrinesPencil Drafting Perel ie sti a favorite modium for many designors and craters Seas sens tanto sine vith and dere Ns ako ‘9a5y 0 erase and modity, The majer disadvantage compares to inkon Maris that pencil drawings are loss permanent and less ‘urable, They havo a tendency fo smudge, and thay produce @ \woaker blueprint Equipment and Materials Mechanical poncil or lead holder This is the mein too! for pene! drafing, There are many diferent brands available. Leads ‘Available in a variety of hardnesces, the mast common leads used HE soft, For wider dark infil ines or texturing. Smudges easily Dut also erases easily H medium, Good al-nurpose drafting lead. Idea! fr lettering on velum, Prints wel ‘2H medium to hard. Good for layout lines and precision work. More oficut to erase but will not smudge as easly. 4H hard. For guidelines and light layout ines, Use with a very sharp point and alight touch. Wil oot print woh ‘Soter leads, ranging from the extremely solt 7B 0 sot, are avaiable but ste mare sued to sketching than to crafting, Harder Tea, up tothe enremely hard SH, ae also available bu! are seldom used \Nonphoto ue is used for drawing guidelines because it does not reproduce when photacopied. ‘Pencil Pointor ‘A pointer i fr sharpering ead, Emply the bow efor putting it as ‘Squore ana Pert ule vee and backs tls ont ese pros hon Fas ‘a8 rete ora aaeeae creates aoe ompass woe cies co slate a Tee metcrmsy Tm creetonpan cao ae ion ona Md win povcees MeL tag and reauee am ‘roto makes che es ina sate‘Tsquare and Parallel Rul Ta efor ciawng paral! ines and quicing ether dating These 3 ga angles The recommended length for a T scares Sences vege wot, vs a paral, which atachs tothe abe with FeG Naciet ols orto caing sures, naniiong 2 ae vomlerahis Rocarmenaesergine a 36°42 nd 48 ches ‘faing erm s amare expensive, adjustable straightedge ‘ed wth paral rules, Viangles are used to ort straight free iva varety of cectons. Adjustable iangles save ime and) flow precise angles o be Grawn, made ol pasic, do not use as cattng edge, Also, do nol use them wih markers, and avid Gamage to 20008, Compass , For dauing larger citces a compass is necessary. Buy @ goo ne. The eneaper ona fond be inaccurate ana dilfcuc to use: For very large acs, a beam compass is used Template ‘he lempte most commonly used by landscape architectsis the ‘mpl ors template. Get one with very large ccles and another wih megium to small circles. Many other template Shapos are Bealabie as wel Dry Cleaning Pad Filed with pondered rubber itis used to prepare a surface for rating an to ecuce smudging, Use sparingly Eraser Everyone makes changos. The kneaded oraser is good forintialy renovng graphite wih no smudging. Folow-up erasing can be ‘done wh any ofthe eoter pac erasers,Erasing Shield For use with erasers to mask areas that shouls remain, a shield ie very necessary when using an elbctic eraser Dratting Brush ‘Available in various sizes, itis used to sweep drafting surfaces clean Flexible Curve Many brands are avaliable. An excellent aid for dratting freeform. flowing ines and better than French curves for landscape work. Got one which can be used with both pencil ang ink Scales Architects scales and engineer’ scales are more used in the United States than elsewhere. Metric scales of varicus types ere Used by landscape architects in most other counities. Do not use scales as a straight edge. ‘Sandpaper Block For putting a wedae or chisel point on the lead, a block is used ‘when letting and for sharpening the compass laad. Store the block in a sealed envelope with one end sit open Drafting Tape ‘Supplied in rolls or as strips of "dots," it's used to secure the [Paper to the drafting surface The best brands hold wel, yet peel ‘off easily without ripping the paper Drafting Paper Vollum is a fatty stable paper suitable for pencil drafting, Some brands include Clearprin, 000-H and K & € Albanene. These are 16 to 20 pound, 100 percent rag papers. Not fecommended for nk work: ‘Drawing Board Cover ‘A vinyl Covering is recommended because itis durable anc resists ‘small holes, Attach to the board with double-sided tape along the {op and bottom. To avoid buckling, Keep out of direct sunlight and ‘avoid close proximity to hot objects. ‘echniques Jeaageecl pena on iia se tag ne Quatty LTE we onsisteney of hires vaends, arcane vo dons or dates er sed (ousner pas 2plect tne pened 2tup the she olin de ot sour Tagua orp eaning powse alee apport am pop he vary ond ‘per —_ 6, ound tha comers Sap sheet. Tho ends tlTechniques nished working drawings o son are important. Tha sevantages at here 9@ wating period Vicon to dy), etasing Is easier, and pencil is general fasie: {itibe several advantages over pen. (See Ink Drating on Lune Quality Lis ices important line characteristics of pencil dating ar: (1) the density or value ofthe in. (2) he wich ofthe ne, and (8) he Conssteney cf eines. The ideal ine is dense, has sharp edges Sn enc, and mainlains a consistent wicth along its entre length The density or darkness ofa line depends on th load anc t paper use (rougher paper needs harder leeds) and the pressure Epplied fo the pencil Set up the sheet o vellum by tning up the top edge with the unper Sice ct yout T square of parallel ule. Apply a ight sptinking ol dry ring powdet, Select he appropriate laad and sharpen fo a pont in the pencil ponte Now pop the very and off by tapping gently on a scrap pies ot paper —_ [ Next round the comers ofthe lead by quickty doeaing on the Scrap sheet. The end should stil be fay sap but not needle-like. —_ Hold he panei fimiy (but rot to igh), <0 that you ol ty as you palit along the straightedge. Too much slope. sll couse thee Tip the penal afew egress Push thumb ow you diow fp roll the panel roan gece Js rotation maxim.Use of Stralghtedge Toots \With your non-crawing hand, make sure the head ofthe T square is firmly against the edge of tho board and hold the tangle temly ‘against the top edae the pencil ot 90° +o the surface oP the T eine, or For the nex line, side the tiangle with very light prossuro or it then move it to avoid smudging. If you use fel tip pens, be sure to ‘lean the straightedge with cleaner or rubbing alconcl Bs bers | By led raly “The parallel rule is used in much the same manner, except that tis held in a paraliel positon with wires and is not meant to be Temoved from the table, Adjust the wires to puta litle tension on the spring ares and Circles When using the compass, sharpen the oa the sandpaper olock Tost the point on ap then scibe the circle, always keeping an s the ate rat al ma Connections Make eure that all comers have positive connections aveak. comer + A te 1 paaloirg Joo much + cast sddten flop saeuiten incorrect ever Pres nshes mo Siero elires fouch or have correct light vertangie with paper. ptroushout Pencil Drafting Sequence +, Limi dst your erating surface 2. Lay out shapes wih very ight, sharp lines drawn wth needle ponted 2H or ¢H feade. (I tacing a prabminary drawing. the Slop may be omitec) 2, Draw arcs. 4, Draft al major lines with F H, or 2H leads, Work ram top to bottom ana from let to right 5, Add thinnar dimension ines, 6. Add lateing, 7. Last ad textural or fonal shading with HB or H leads to work ‘round latteing and avo smudging 8. When nishaa, cneck the back side ofthe shaet and remove. ‘ny graphite that may have been picked up fromthe work Surface or rom tracing,Conventional Symbols and Line Weights as for Landscape Working Drawings Line Symbols (construction plans) ‘eral Symbos (construc lect nes, = vere Existing contours oe re oce a ind ove changes Tom 3 Proposed contours corencred one ¢ erty line Pattern lines ks and stones: eee. (joints, decking, otners) | ~ contr tne nnsion ies Dimension ines ——_ cece Fence ne Point Symbols (ie plans) ae io. tity pole o coed alt ormat ‘ulsngs yarn a u Maelo e a - = er -o- These aw mosMoterial Symbols (construction details) Concrete Be a oo MO oie h———} NM ee i Note: These are mostly freehand, ocks and stones Sol Stone, brick EZB BBtuminovs paving SS oo TT Fitor mat Stee Rebar Bolts and roa Note: These are mosty drafted. CCheck your pencil crafting quality against these eriteria Blackness. Alllines shouldbe dense and black enough 0 produce a high-qvalty print when submited to the pining process. 2. Consistent ine weight. Each tine should have an even fiokness, or weight, through its length wih no natroning or widening and no fuzzy ede. 4, Acauracy. Lines should meet, tne up wit precision, and have Celine ends. 4. Hierarchy of lines. The various descriptive lines mustbe easy to dietinguish from thir with or patimn 5, Tonal quality. ntl toning and texturing is used only to clty the message. No unnecessary toning should cle the work 6, Sheet appearance, Overall the sheets clean and ee of smugges, sais, and tearsInk Drafting Inicon flm nas several advantages over pencil on vllum. Ink Grating makes precise, consist line widths poss be, wih Ines that ate denser and that produce mcn clearer prints Film s more fessslantfo damage than paper and is more stable. til not shink fr stetch wih vanatone in Rumi. Equipment and Materials Technical Pens These are precision crafting too's designed to be used on fim = (MIF tp exeembly wa Hie housing pacer [I Fill sien. «+ barrel Pons come in a variety of sel sizes and brands. The best sets nave {evel tips, but these are expensive. Tungsten tips are less expensive and quite durable. Siainioss steel tips are the least ‘expensive. A good staring sel would have # mic of four pont sizes. 2x0 0102mm—fine 41.0r 0.4 mm—medium 2.0706 mm—medium broad 40r 1.0 mm—bread Point sizes as tine as 5x0 and as broad 9s 6 ave available. To fil, ‘emove only the barre, the color coded cola, and the reservoit ‘Add ink (%to Ye inch), then reassemble. “DRAFTING Cond ike eye aeediantiee her srowr ter, Ti, CCC oodllnaio fe tp acembh is deleate and ecny oes ee Moth fm dow, Pen care ti scree Handle carefully and aveid shocks or jarring Keep caps on and store with ports up or secured in containers Emply and rinse wih warm water peiodicaly trough and alvays below slonng when thy ae nt going io oe monn oreo ‘Stubborn, “rozen’ pens should be soaked in warm stapes immersed in a special conic bath for tecrical pens 1 Inking TTiangles and Templatos iF working wit bath ink and pene! purchase inking var templates, These hava a fecessed 6 beveled edge from running beneath tne guide li, Uli, Way. Ink Eraser ‘These are impregnated wih erasing fluid especialy desigrest erasing ink ines trom crating fms. Ink Usually ink comes with a set of pens, but it can be bovatt separately. Lock for brands wich ave true, inience Discs # free-flowing, ast-arying, and have Good adhesion fo rata! Drafting Film Use polyester film which is 3 to 4 mil hick, Tne most comet ‘= Mylar which hae a roughened surace, calles maton a" both sides. Do not craft on ine smooth side. Look for fim na" high degree of transparency. ‘Other tools are simi to these shown under pencil cating materials (pages 87, 58).Techniques CTT sp iso very light touch, do not press down, Move slowly anc evenly ‘acfoss the i. (Fast strokes wil disrupt the even line quay) Wat Lntil he ink cies before moving fools across the fm iting {templates between strokes may be necassaty, Erase wih ink ‘efaset or moistened eraser soon alter the ink has driéd. Old inked. Cramings can be srased with rubbing aleohol To obtain sharp comers on large areas of sold black, begin by ‘outlining with a natrow pen size, such 2s 0, and then nll witha wider pen siz, such 2s a3 or a4. Za 27 outlne.North Indication and Scale ‘oth north ineation and eoale must be craun ono al landscape plans Ott they are integrated into @ combined oraphio element. Now inaicatins ehoul 1, Bo-sinpo, unobtrusive, yet easy to tnd. 2. Have a prominent, straight shaft portion. 3. Pointoiraight up, possible, and alnaye al some angle above horzontal 4, Nowe point down Tho north indication is usually piacod closo tothe scale and. sometines integrated witha graptic scale It's usualy placed ‘ear the botiom or te righ sd ofthe sheet and often inthe ttle Block area, Graphic scales Taevalue of a graphic scales that it retains ts rue lationship Me raving inthe event he drawings are reducod or eniargod, | North indicators writter sre iett 50 Teper. fre actual fe orang chitects 8 Ne and au Forexamole expanded 3 Sailer unit ‘iad for dat pulling. Engineers se. For ove ieee projects, i= 500 Do not mix scale conve The metric simele ratio and 11000,Written Scale Conventions ‘The lft side ofthe written scale equation tells the size of & unit on the plan, whereas the riht side tolls the size of this same unit on the actual ste. Forexample, 4" = 11-0" would mean that one quarter of an inch on the drawing equals one foot on the site, ‘architects scales are written with fractions of an inch on the left ‘side and a unit of one foot on the right side. Forexample, 1" = 1-0", %" = 1', and" = 110" are used for expanded details such as those for deck construction or steps. Smale units, such as Y" = 1'-0", 6" = 1-0", and Ms! = 1-0", ave {ised for detailed site work such as the landscaping close to a ‘building Engineers scales are written with a unit of one inch on the tet side ‘and incremen's of ten feet or one hundred feet on the right side, Thus one inch on the scale equals fen or twenty feet on the actual sie. For overall site plans, itis common to use scales of 1" = 10’, ¥ = 20), 1" = 30), and 1" = 50’ Forlarge urban or gional ‘poles itis common to use scales of 1” = 100", * = 200', and i= 500. ‘Boot mix the architect's scale convention with the engineers ‘scale convention itis incorrect to use 1" = 4-0", or 4" = 20" The metic system of measurement uses the metric scale and lao to eho the sale elaonti: 10,1100, 200, 1500,Reading Scales Architect's Scale Engineer's Scale 5 ea read the inches qi-e! 1 with the Close: this end —, foot mark numbers for — thets weale ecale start the tg ie!" i a4 J indicat Inch 1 €——Irdheates one t ‘a tat ten feet 26'-0" indicates multiples = a ten feet = Title B i plan vie Elements Fite of she Nori ind Many co wath the these feTitle Blocks ‘organized tile hvhand si6e of Ihe sheet Shores East Townhomes 618 Front Sweet Design company (with logo anc’ Gordon Associates aaress) Spaces forcheck signatures Checked Date Revisions and dates: Revised Date Scale Noth indication Many companies have standard preprinted Mylar base sheets withthe gaps and company ogo laid out to save rodrafting time for these repetitive elements ‘AK RIDGE BUSINESS PARK BASE ONE5 Lettering Lettering on a drawing fulfils an important requirement. Information that cannot be revealed by graphic shapes and lines alone must be included in the form of notes, titles, labels, dimensions, and identification. The lettering can either enhance the drawing by making it easy to interpret and pleasant to look at, or it can ruin an ‘otherwise good drawing by making it difficult to read and unsightly to look at. Legible lettering should be planned as part of the overall graphic composition of the drawings on which they appear.MO6éT LANDSCAPE ARCHITECTS USE A SIMPLE U CASE (CAPITALS) STYLE WITH HO SERIFS As HERE, XBEP LETTERS VERTICAL AND cCOnsIS 4HAPE THIS UNIFORM STYLE IS EASY TO READ 3 2 2 Chane KLMMANOF @R SST Pex 2. 12 34 56) exe $ lover case letters are less formal and for use on concept plane, preliminary plant liste. : —aabedef ag ghijkimnop4aPencil Lettering Shape and Spacing ‘ost eters snout fit within a slohty narrowed squire. Spacing between words should be the equivalent of the leer N, Size Alwaye use quidelines to obtain correct size and uniformity The ‘Ames Laterng Guide, shoxn her, wll help. thas a rotating dise ‘Which allows quick set-up of guidelines of any size Running through the center ofthe dscis a row of evenly spaced holes, Atthe end ofthis rowis the number ten. Rotate the disc so thal the ten lines up with the frame index mark near the base of the frame, Insert aneedie-sherp 4H pencil nfo the op hole. Move the pencil ightly across the paper, Keeping a sight pressure toward the staightedge. Shift the pencil down to the next hole and repeat the back-and-forth motion until there are enough ines for the ‘purpose, Ifyou want closer lines, rotate the disc fo a lower number. SEEING |O CENTER ROW WES LINES WITH EQUAL — SPACING ATTHIS SIZE — “The fons of holas on either side ofthe center row produce sets of ‘ree lines (between the brackets) which have the middle guideline -sightly above center A middle quidaline is halptul to obtain sistency of shape for upper case letters such as B, E. FH, and) “consistency This is particulary tre fr lrger letters (Ye-inch of mor) Several ferent lettering sizes and their applications are shown on the nex page. CLEFT OF THE CENTER CS THE 34 ROW WHICH CA=SLIGHTLY RAISED. (GUIDELINE — MIDDLELetter Sizes and Applications LETTER GuIDE GOoU FOR SHALL LApeLe ¢ kept CAN WRITE A LOT IN A SMALL pA ALNAYS LEAVE A GAD BETWEEN UNEO: CENTER ROV AVERY COMPDRTABLE size SETTING & LABELLING % Rov Goop FOR SUBTITLE L SETTING G CENTER GUIDE LINE ee % ROW UPPER LIMIT FOR SETTING 2 LETTERING, —Technique ‘Alter setting up guidelines and lightly dusting th Gry cleaning pad. begin wih a small triangle on the ower si the paral rule [nn ‘4.05 mm pencil with H or HB lead is ideal because you never have to sharpen it Regular lead holders are bette for large letters (4 inch) but the lead must be periodically sharpened, For Mylar, use @ harder lead (2H) of pestc leads. ‘The Lettering Grip Wrong: Pencil too vertical Aight: Pencil held at alow angle hit 92 hit. VA Flatten the end of the lead on a scrap sheet or with asancpase Watch the gue -' pers sope! EEE VE | beraontas Rolate the pencil slightly, 90 that the flattened edge is agars paralle| Verlial guide. S ousavericats sin ines with strong, dark end hitJ@ ) )@emphasis e (ft | | Thin line. hit emphasis PPLE EEE) PT guidelines, keeping the verticals a consistent size Watch ‘ould be drawn as thicker, darker lines, Maintain a fghout. Avoid brushing olf the ends. A slight EEE E €correer INCORRECT ee = 7.8 Tonzontals horizontals horizons Pees (a= Crhaisel ends pushed excessive out sla Do not move the figs, tan the palm a fxearm muscle and let the fingers slide and stoady the hand, an stead iC vith Figers Pct on aa A smnall wrist movernent may be necessary for norizartals emamber Make thin verticals with strong ends and thick, drs horzontals. As the lead wears down, simply ofate the pene Sight to place the new chiseled side against the vertical guide ‘and thus maintain the narrow verticals. & F Hes Diegonal strokes and circular strokes are done wih an even Pao re. Some variation oie with wi ocout 2:3 FSRCS eres ton change. Do not move wrist or erm positon, Mv He iro je aay and use quck, confident seokes wih adequate pressure AKMAVWXYZ BCDOFPQ RESSMore Hints for Better Lettering * Letter a drawing last to avoid smudges and overlapping with other areas of the drawing. This will enable you to space out your lettering and to avoid lettering through important details, + Don't try to develop speed al frst. Make each stroke quickly, but take your time between letters and between strokes until you have mastered each letter. Then gradually increase your speed You will soon be able to letter almost as fast as you can write soript + Organize lettering in logical blocks. Wherever possible, align notes down a vertical guideline, Place notes where they will not obscure other messages + Relate the size of the lettering to the importance of the labeling, * Choose a style of lettering that is compatible with the character of the presentation ang maintain that style consistently. + Make letters bold and distinctive. Avoid a delicate, fine touch Try ‘emphasizing the beginnings and ends of strokes + Form the habit of lettering whenever possible—as you take notes, address envelopes, write letters, and compose memos. a Lettering Evaluation Gui idelines Check your pencil lettering against these criteria + Allleters are dark with no fuzzy gray lines. (Test b blueline print) + The shapes are similar to the example alphabet consistent throughout. + There is a uniformity of size, with all letters meeting the guidelines. + The verticals are thin, dark lines with strong ends + The horizontals have a slight upward slant and are thick « and paralle} + The sheet has a neal, clean appearance with no smudgePrepared Letters ‘a vaety of prepared lettering systems is available. These are A aret/ od nstead of fechand lettering when a more finished Bpearance is required. Dry Transfer Letters ‘Aso cae rub down letes, these ae avalable in mary diferent Ae os Hevetca mecium sa etal sve favored by mary ice arrests Dry Warsterlelers core na vail o| ond names, such ae Chartpak and Letraset ‘Advantages + Awide variety of font styles is avaiable any pont ses ave avaliable + Diyttanstr letters give a protessional inished appearance, Disadvantages «They ate expensive, especialy inthe larger sizes. They ale time-consuming, especially when working with smaller ses itis @ good practice to cover dry transier letters with clear tape to prevent their being dislodged dunn printing or fling. Sumish weil fo remove ar bubbles. ‘A.cuick touch with clear tape is a good way fo remove transfor ies, Kroy Lettering System iy ea brand name for @ mechanical process wher [eters are pehos out onto an aghesive stip. After removing the backing thestip is applied to the drawing ‘Advantages + Gives fast, uniform, and proessionatooking tiles. + Avatetyo styles is avalable. Disadvantages ++ The equipment and discs are expensive. * Current machines have se limits Sticky Back Transfers \Wmen latge blocks of roles or plan! lists te requked on a drawing is asiero Use to tpewnter and an adhosie backed clear sheet Simply fype or copy the noes ont the transl shack. emave ine protective backing, and apply the sheet adhesive fo the drawings. ‘Advantages +The method permis fast and uniorm laters Disadvantages + Whan printed, a ghosting fleet sometimes appears due tothe ‘extra richness and the adhesive meteta. + Htcannotsubstitvt forthe character of handletering “Ty exercises 26, 27, ana 28.6 Presentation Plans Presentation plans need to combine both straightedge and freehand techniques. They should be looser in style than working drawings, but more realistic than concept plans. ‘The most commonly used projection in the landscape design process at the design development stage is the plan view There fre Some good reasons for this. In a plan view, itis easy to ‘manipulate and show the horizontal relationships between objects ‘and spaces. Furthermore, these elements can be accurately drawn toscale Picture the plan view as a diagram of the site as seen looking straight down from a hot air balloon, The graphic symbols represent the real objects and materials which are to be part of the {esign. Of course, this is an abstraction of reality and the symbols chosen can create a fairly realistic message or a rather abstract message. Absiract symbols are simple and fast to create but are not as convincing as the more realistic drawing. The graphic artist must choose the correct balance between time and realism to sult the message, the budget, and the time available. The symbols and signatures shown in this chapter have been’ ‘developed to produce the most convincing message of realty with ‘economy of time in mind. Only black-and-white techniques are shown here. After mastering these methods, adapt them to color ‘media and replace some with faster, more vivid color rendering techniques. Keep in rind thal a black-and-white rendering is less ‘expensive to reproduce than is a color rendering, Understand the objects you are representing. Know somethin: about their shape, texture, and reflective qualities. Choose: ine tone afd lextural symbols that match these qualities. Practice plan “Graphics by copying ideas fiom the follawing pages, developing “Your own symbols and stye along with proficiency.Landscape Pian LANDSCAPE PLAN s.r, Wiliam Wall Residence Besketretonage MoU Ronen. | © 30% of actual sz0 Medium: Pencil on MylarQuick Trees ‘ery test template and frechand outline symbols Simple single circle “hoes shod be atawn at about eee imstue, utes spread This gv ‘roar o the paring design nha roa cf twenty ty years ‘Aways use aight guide and show he center of he ree Double circle \ template outline, offset Froohand doubles ‘around aight goss circle ‘Thick and thin double cutie with quiek branching Circular outies ‘mall Ws reno a Bitos out ofthe eo? = ew ar out with Angular outing meansThick outside line } Good for showing deta fon the ground plane y - good for , (Open branching with 8 oF triangles o Suggests leaves. 7 Note: This size is geod for one-eighth or one-quarter scale plans,Trees with Foliage Texture — {simple shape peated around the edge ang pied tipon he shaded side fo gv an appearance ot Leave a large area of each tree symbol luncluttered by dtall a dh Simple straign Mar cuts Irregular bum Loose squiggles with Cirele doodies: thick and thin tinesTrees with Branch Patterns for showing winter effec ath, this king of eye ‘Simple straight lines Many lines toward the ‘outside defines the edge. Angular lines ‘regular bumpy tines Lightning bolts ‘Smooth curved lines ‘When ony @ few branches fe stonn the uisie ol the symbol fay need some edge definitionSequence for Drawing Branched Trees +. Start with alight guideline 2. Draw in the main branch. 3, Add a few more secondary ‘rele and locale the center. structure, Solid branches branches, each one should taper from thick near touching the outer the center to thin near the guideline outsidesedous n moneys pus deed ndap pappe ue ‘senj6 opis 2u0 uo soul, ‘owes ou S0umt ITY ‘210U! Jo WORIPPE aU. seal rniear 1aueo eu ¥ S8019 S9uI fe TELL INS ENS joyo aX) 01 9p 200 10 seul neup pue ovo 12519) 2u) 1070 ejeiduo) rajeus 24 20e}d 'sjoquiAs pueyees 104 ‘ateidwor 91019 aut jo dot vo ai5ue1a ini 8auy me19 'SOqUAS pays 104 1 punoxe ejeiciuo) ojo19 19018) 29eIg ‘jou apind dn jag Zee sjoquiAs our jepey 40} eouenbos —— ‘sou pauesa ‘soul una pue a seauj SNosesU0Dog -eouynno 10} posn ore ‘rBuIs Toararep seul Atm 99007 peso) 24 104 Ao 10 Ae 6121429 SVENON “seunn9 0) pesn ai ‘v8 Tropical ots © ax ‘cout seinBuy “Thin in leat rib k G sate05 jeu _sqruys jo sono10 30 52/208 128 = 598i san010 pur ssa 19388 ‘\pasn aq Ueo soded aout 24) uo pu siay unoys soawhs —————Tropical Plants Combine thick and thin lines to provide interest. Some symbols also have ‘an inner guide circle.More Deciduous Shrubs or - ise Groups Scalloped edges Fee Stee ines toauapest 1 | ee ay Ay (> ) Deut ating ont? é SO, m, ia oe an i cma @&,; 1. fu LA Cie) ay G) “* ‘ee a) A", 3 Putty cute with some L ror pencil hatching on one. Side to show roundnessFine-textured Shrubs Repeated U-shaped strokes Varied U shapes Good for shrubs with Two or three rows on needle-ke or pointed ‘one side for showing foliage, such as conifers roundness ‘and other sharp-leaved Jagged strokes penetrating the circleHedges or Rows I) Topical or arge-eated plants oA c=) Box shapes fora ‘rimmed hedge and to ‘define space Rounded, smooth edges that show two pen sizes ‘overlappingGround Covers soe a0 0! sts maybe (Aus 0 srou wh apple natn est eoult re obtained by keeping rows hoveontal end paraliel, Make sure that Suceesaive ros touch or over slightly Aut Li ww AUN LLL UM) Mild’ COTELD wiMore Ground Covers “The basic ine shape shown on the let is ‘repeated to form a bule-up of patrn as, shown onthe right “Those shapes can be drawn feetiand with ro horizontal quides. eid Connected squares zee eo Downward arches we we, Upward arches au ly fee Connected loops. au “Wie Diagonal Ws rae A ‘Snake loops eeEeEay Tone Contra and Balan Lange are of un ‘nay be needed Ry Ol dense tone. Wy nen ground toned, the shal lett white fo 0Tone Contrast and Balance Large rea of untoxtured surtace ‘may be needed to balance areas ot dence tone, ‘Trees in planting beds can be drawn with a simple, bold Cutline fo show layering of plapte underneath, When ground covers are heavily toned, the shrub groupss can be left white for contrast Medium tones.»Layering La E F Naeem \ “I ‘Symbols too ‘similar Pines of similar ‘size Interweave ree el at edges anes Edges coincide top of edging line Bezegez2oLandform = \ rd a 17 wa ee rae im i cy i: t 7 nde specng. Wy, Ip: 2 Sy Closely spaced lines = mon i a ieee” ‘ip Bo nt show te : ; ii pater is also ne ‘needing dense tone but are z very time-consuming to. rowWater natural waterways, such sponds, lakes, and ‘reams can| write The addition of Emoath, flowing ines: near the edges give a int of mation. ‘Waterfalls and rapids should be left white or be indicated aieer Le Water Surface Texture pace a textured material such as plywood, pressboard. or sandpaper, under drawing, jhe came techniques can be used with coir at slicks Aub surlace with a graphite This technique produces a rippled ctfectprepa CL Ty SO wePrepared Hardscape Patterns Irregular patterns are best for curving forms. Decking ssquare-cut stoneBuildings Single outline gives basic shape of building, fear | ‘Thinner tines show root shape. Positive connections are important. Thick-thin double outline ‘adds power to the structure.Freehand Buildings cr than dratted buildings, rechanc ares are permissible f accuracy oot shading is etfective on larger-scale Frans where ground details ae less Prporant Leave buldings simple iecale plans, Use guidelines or graph paper od rot pattems ijarge overhangs exist, Roof shading adds a three- ‘dimensional quality and indicates light direction,Roads and Sidewalks Cars and poeple show activity and wore P lg e ¢ [an tight cor People ‘Oval with ablack @ ‘dot for the head ‘Abstract shadow tant ot tet possivie ‘Ay onlacger people anShadows Snadows bring depth 0 a pian by inaic north arrow points uo on tealate rection for shadon rete is above the sy pattern is crtcl (2. solar st ‘rector plan, the most 5), use ins ‘Amor pasierlulthree-dimensional eects obiained py pacing shadows on the ower side to the let or Tigh This is because our eyes are used to having Fight come fam above sun Glirection oe! ‘Shrub shadows will be propertionataly smaller than tree Shadows. conto the top: Shortened and made with an irregular edge.Sequence for Drawing Shade Tree Shadows 1. Start the oreular 2. Move the template in 3, Fultna voi tree symbol Assume a sn diecton ‘aa light guideline aE For complex outlines, peste symbol shape around the ‘hacion guide circle Lea a tin white space to Gefine the edge ofthe symbol h [PRESENTATION PLANS hf_uence for Drawing Coniferous Tree Shadows 3. Filtne space ee eymbal anc fssume a sun drecton. \ \| = \ Parallel strokes with a thick Draw a loose shadow ede To show pyramidal te= form, draw a cone-ke guideline The centerine flows the sun erection:Sequence for Drawing Building Shadows 4, Stan with basi outine and assume as ‘Add texture to the shaded sido ofthe oot help 2, Add any aditional details. Note how the shadow is longer on the shaded side ofthe oof due to he foot siope rae aes Shadows a ‘ound pis Ramp wit LevelShadow Proportions rund pane Ramp with wall teak ‘Steps with wall, ‘Shorter builing Taller building (four times as high) Va dows aso indicate Slopes and level changes on the ‘Slope ret mix Diack and toned ‘Buteing with planting Buliding shadow does not cut ‘through trees. Lower plants are covered by more ‘Shadows. nbé toned, but do ‘Swimming poolFast Shadows Light sirection Keep the edge of the marker parallel to the Fight direction. The edge of 2 regular marker co, also be used te quickly ace Shadow. Follow back edge of symbol tight direction ‘yy side of the object, the Shadow must correspond to the same Hight direction. —Composite Shadows7 Section-elevations itis usually necessary to communicate more about a design idea than can be shown on plans. Despite the use of shadowing and layering in plan views, it is not possible to show the detail of vertical elements and how they relate to the horizontal shapes. Section- elevations are an excellent too! for this.ze” Section-elevations Nong C PLAN Eleatons are landscape arc Show sutface ¢ plan view of mesicape Praia: 0° eePLAN SOUTH BLEVATION Evialons are mote common on architectural drawings than clural drawings They are an effective way to srlace detail on the facades of buldings. Oten they relate fo A panview ol the same set of drawings, Fotlandscape arcntects, the combined section-elevation isthe os usfulioo. These sualy have the shorter bile of sections" In [Pecioe, he terms are inierchangeabio. The elements beyond the section, wt elevation. No cu! ine is shown on aSection-elevation Characteristics ‘The section-slevation shous the cut surface andlor the profile ine plus tuedto-scale elements a selected distance beyond the protie Fhe. itis up tothe graphic aris to decide how much to show beyond, bul normaly the claser objects have bolder ines with ‘mpl detal and distant objects, if shown at al, rendered as lighter Sitine shapes. This can be accomplished by using ink for closer ‘lements and pencil for micdleground and distant elements, especially if making diazo prints fom the finished drawing, “The two essential characteristics of a landscape section are 4. Abold, prominent profi line 2. Allvertcal features drawn at the same they ae from this profile line. ‘This makes the section very easy to draw. It can be releted to a ccortespanding plan view by labeling on the section (e.g, section though sting Pe) rac ine swing view rection on the pen, no matter how farDrawing a Section from a Plan 4. Onan overlay, drawra cul ine (AA) through the area to be shown in section Using known vertical information, place maths onthe ite corresponding to ach verical elevation in this case, fezch caniaur line represents fve more feet above the pond level. 2 Remove the overlay and construct a Ses of horizontal ines above (and) below) to represent even increments of Verical change. You may use the samo Seale oF one which multiplies the hofizontal scale by 15 or 2 for ‘exaggeration. At each mark on the base ine, draw a verical guideline and mark witha dot where it intersects the ort elevation. Join the dote, 3 On another overiay, sketch the sppropriete landscape features at their Breet heights. Make the section ineUses of Landscape Sections ‘The examples shown on this some ofthe main purposes fora section-elevations. 41. To emphasize the importance of vertical elements 4s they relate to activities and use. For sections showing people, ac evronmeny, ie boat o keep ts scale he same fo avoid unrealsection Sketch + ~t puto eating Busltine, Huldive 7 lnadited = Pane” pac” fedeman AEP Zio ue denen’ Bee ne, we Ohuiel a Plat Hast Cow a Ballo section Drawing Existing wath Visitor barrier fones Inorpeote iced or Sage 2 J Flbtonange acoass Section/Elevation WOLF AND SMALL MAMMAL EXHIBITS.lyze screening and views from specific vantage points. caled sightine studies BUFTER PLANTING:4. To study landform. Gh argerscale landscapes with subtle landtorms, tis sometimes helpful to exaggerate the lanaiorm by enlarging the vertical scale by alacior ne and a halfor two tines the horizontal scale JASMIN ALLUVIAL «SOUTHERN Laci Lakes INTERIOR, sea PANS Ace VALLEYS - REaION HILLS i Noarby ag sepends from aqui Horizontal scale: 1100,000 Nertical scale: 150,000, Horizontal and vertical scale: 1:100,000a a eS 5, To illustrate landscape processes. i 0 aS = i Nearby agriculture depends on water rom aquifer. l I ! Removal of forest cover ‘ causes rapid runoff and ! ‘Vegetation cover erosion on steeper | l ! 1 = peed runt ‘groundwater ab Underground aquifer Sediment build-up In stroams, lakes, ‘and ponds6. To demonstrate the importance of climate and microclimate. WINTER. WINDS7. To use in lighting studies. x — Ee8, To show ecological relationships. SECTIONS - PLANTING CO ROCKY MOUNTAIN ARBORETUM Spee se gooey OF cOLOMGO ermnae, Solshow the internal kinds of drawings are They usually for LL ¢\WATER FEATURE DETA! a ee UMP OUT — eae Hi =i' drawings for the design process are those that suggest shown here for both one-point and two-point "0n quick, easy techniques to lve coniidence he use of perspective fo externalze three- ly and frequently in the design process. Do ook rough, bare, maccurate, and pt ther; then revise, change, ty these techniques the more. = Tne second use of perspectives is as a sales ton) Ses pefspectves are persuasive ciawings done when the design Substantially complete, For amalle-scale, lawer-budgel cosy niques shown in this chapter ae vty poy landseane ercit 2 werings. The fechniquesreauied oy These renderngs demand move time investment, But hey ate vc ihe effortDevelopment Sketch Medium: Fek tip pen on racing paperOne-point Perspective The Basics é ‘To understand the basic elements of perspective and what each represents, follow the steps shawn on these Iwo pages. 1. Start by doing exercise 29 in Appendix IV 2, Ona sheet of tracing paper draw a long horizontal line fieshand. Label this the horizon line or eve line, ‘Now draw fast people of diferent sizes—all with their ayos on the eye line. Assuming that all the people are in really the same Size, the people drawn smaller appear farther avay, This demonstrates the fundamental principle of perspective: “The ‘apparent size of an object varies inversely with ts distance from the viewer’ In this drawing, person number 2is twice as far away as person ‘number 1, and four times as far avay as person number 3. Translated into actual cistances, this means that an objec! forty {eet from the viewer wil appear haif the size of an object twenty, {eet from the viewer because itis twice the distance avey. 3. On another sheet, draw a horizon line and place a dot ‘Somewhere on it labeled VP, for vanishing point 4. Now daw a large rectangje surrounding the vanishing point. Keep all ines horizontal and vertical as shawn, cs HL,§5 Connect the four corners of the rectangle tothe vanishing point {WP} These vanishing lines, or converGing ines, wil form the edges ot he space. '6 Place a smaller rectangle with vertical and hovzontals sie the larger one 50 that the comets intersect with te {arishing ines. This shows the basic lines ofa one-point 7. Aida large person with eyes on the horizon ine atthe vanishing paint Note the ines that represent ground ‘he ground plane, Aside view ox section, ofthis one-point perspective setup would look ke tis. The line of sight is an imaginary ine between the ‘25 ofthe viewer ana the vanishing pont on the horizon. aL. ground line ground line ~—— gourd plane.Note these key aspects of a one-point perspective: te converge to one vanishing 4. All lines parallel to the line of si point on the horizon line. 2. All horizontal ines that are perpendicular to the line of site are ‘drawn parallel to the horizon line. 3. Alllverical lines in the space are drawn vertical in the Perspective. Now do exercise 40, Appendix I.Proportion Method for One-point Perspective [perspective space s coms feo ano ep or) Each chose Berens ca be qu csltrated using mutes ofa human - Beas, catectporpche pronorn. Tor omerionce. eso ha te distance fon rund to yes fre fo Tong with Place people ing down foc! to eyes in mines ove feet to get esied wich, ve three dimensions: width To ind height ‘Stack people ur—fee 1 eves—in muliples of fe fet to get oo aL ‘To find depth 4, ae there m viewer ‘Assume iat tho fist igure you draw is located twenty feet away “om the viewer Then draw smal liques that area known fraction a eg, one hal) ofthat first que, A horizontal line through thor fect. ul ge you known ground Ina distances. 2 GL 20 — ——— ———GL20o Set-up Sequence Wong prpora trees, tow te eon tos 0 ese ‘woes wav etdoocounyaraha swe et wee Sven et Goon surovaed on tee sce by ensogh Male Dot al fectond ita so ancl oe pono aeng aver 1. Draw person Nate norte aze appopate orn ne aze tne space Snothe sae yur soot Pace ne person reat nt ce tyour page win et per he Sor of page es of a — | LL This hoizenial ina going through the feet assures thal the ‘iguee's twenty feat rom the viewer & | 5, Draw verticals Vertical quidalines define the lett and rant edge oe y cor the wath ieee es Ay AL tc 6. Calculate height of space Place one person on top of another in fivootneremeis ‘92 the desired height. Mark the vetcalson both des 7, Adjust size it necessary, te resuting height and width are too large orto anal yur paper, g9 back 0 step 1 and redraw your pesson ala itfernt siz edo stops through 6 Bacar eee oe an ee nae emma bard vanish Daw ° raw fur In | and batom p 10. ing cepa Draw anoth fouth, one | distance ‘person one Fetizon ine© Draw varishng ines Draw four lines which connect he vanishing point tot fend ballon ofthe lll and gh vericas top ea Me 10. Find deptn o¢cistance tines Daw araiher person at ine corect rection (one-hal, one fouth, ore) of he orginal person to Simulate the back of ___ the space, Inthis case, the back ofthe space is two times the stance tom tne viewer as te ron ofthe space. Oraw tne etson one-half the orginal size, keeping the head on the horzon ine, Za ia 11 Putin the ground ine atthe back of the space by drawing @ ‘orzontal in a the foto he poreon in back. This ie GL 40, we oto 20 12 Draw the remaining bacicof the space Where the baci ground Ie itereecis vith the vanishing tines, raw two more verticals to fpresert the beck comare oie space: 18. Redraw the space (On an everlay craw the essential edges ofthe space — ‘omiting ridden lines and constructon lines Once jou have completed a very simple space tke hs you can 36 cemplaxiies ang enlourage. Use frachons fa person 10 et ‘mallet abjecta. ech as bench, low walls and shrubs. Ada to ‘ie space we fiteen-ectgh tees anywhere Now adda box ‘wo-anda-hal ft hah, fvo-eot wide, are any length, anya. Place these elements within the space by fist 'sualzing «fre ot pe'son stancing ai that locaton, The siemen wil be avrutiie oF @ fraction ofthat person. Raco sxersce 9 ans compare wih Your fist ty,Scale Method for One-point Perspective Using proportional estates to get depth is very approximate. A ‘more accurate, and also fast, method is to use a scale ‘Here isa section view of a space showing objects at various ‘stances from ina viewer. To find GL 90, GL 40, and any ahers, follow these steps: 4, Draw inthe neerest ground line (nere GL 20) near the base of the sheet, 2. Add the hoszon line al a selected distance above GL 20, 4 Select one ofthe engineers scales which seems to fit (see ston 4) ang place the zero on the horizon line 4 Keeping the zor as a pivot, rotate the scale so thatthe desied “goundine (e, number 30) es on the GL 20, Wit does nk select another scale '5. Make @ shor hrizonal mark next io the 20.0n the scale. | Remove the scale and extend the mark to make the new horizontal depth ground line. the scale. Keeping the zor asa pol, and set the new \GL number ight onthe GL 20. found line dept, always marking the 20. For hs, use the proportional method described on 3. viewer ieseaicersice ea ch zo comm cneieerdDiagonal Method for One-point Beepective arat ast technique for obtaining depth lines uses a geometric ppiinciple of diagonals, 1, Begin with the GL_20 horizon line 1B. Diaw a five-foot square which connects both (A B CO). “Flece a diagonal ne from top left comer to bottom right comer (AC), ‘Draw the frst opposing diagonal between opposite corners (8D). IS. Where it intersects with A.C, draw a horizontal ne, which wil be GL 40. 6 GL 40wilimersect A D at E ‘Draw the second opposing diagonal B E. Where it intersects | With, craw a horizoetal line for GL 60. Tel intersect AD at F Cormack Whore tiniersects AC, daw a hozontl ine for ine this process to locate ground lines of tenty-foot I.Perspective Charts for One-point Perspective (One of the best aids for doing perspectives is the propared [perspective char, These are made by a number of companies and ate available as packaged sets in places that sell other dratting ‘materials and equipment. For purposes of discussion in this book ‘we refer to Lawson perspective charts, a package that offers a particularly wice range of options. Most ofthe discussion pertaining to Lawson charts is applicable to other brands as well ‘The Lawson charts ae identified by number For exemple, chart number 8 is a one-point, or paral, perspective chart with a five foot horizon line vanish Pow | HoRZeN LINE Woezontan are f+ UNE AT Zezo— Pe ine ‘Onihe ground plane of tis paral perspectve is a gr patan “whieh reoresentsone-ot ncremens in bo crostste. Thee “hate canto gia pater ofa pan view ses tke uhen ote no @perspcive view The ines get closer together ~_sbihoy pet tuner auay Every tent ine heavier ona nets an “extatick horzonial ground ine a tne zero por line vrtea ensuring ine (VML) inthe contr This ine ao itersecta te ‘Tojzon ine atthe vanshing pot Direction of viewpose you have a preliminary plan idea for an entryway. as 3 Transior the gridded pian data onto the perspective grid using jon the previous page, and you wish fo tat it oUt on the one: rund ine ral gude Roe one ‘ne heavy ground line as a locational quide, Nee rom the tperpectve chart Foion these steps equenico al poraperve gis shows how te gisded os | Prace a fen-foot arid on tho the gtd lines parallel or become very compressed as you move from looking rectly Perpendicular tothe maj othe arciscura ine. down on a spsco to lacing on he grea lone Boeg nto Edeche veing diction and gation. Draw one othe ga "i ar jnes Heavier fo represent the horizontal around line atthe 2670 ‘nthe chart The closer ris ine to Ine point of view, the larger ihe final perspective sketch will be. Move the view point lel or ight on your plan fo achieve the desired composition of the porspocive view4. Once the loreshertened lines are on the perspective arid, craw. Add some fast people and then redraw on an overly. omn vertical ines from the comers of raised objects, Calculate their all hidden and construction lines height by using the proportional method cf the vertical measuring line (Appendix I). Finish the outlines of built objects by obeying the rules of one-point perspective. 6. Using these principles, ry exercise 42Two-point Perspective (One:point perspectives are good for streetscape views and other lineal spaces, but they tend fo be static and very specialized. More Gynamic representative views are obtained with two-point perspectives, Instead of one, there are now two vanishing points the left Vanishing point (LWP) and the right vanishing point (RVP). Assume that you are drawing some simple boxes with square co: Ther will De only three types of ines. Lines which converge to the left vanishing point HL Vertical fines Lines which converge to the tight vanishing point ‘Unlike one-point perspectives, there are no horizontal lines except tthe horizon line. An important fact to rememiver is that all parallel ‘ings on the eame plane or object surface vanish to tne same ‘vanishing point, Ty@ereise 43.Perspective Charts for Two-point Perspectives ion of these heavy tes on the determine the point al view forthe need o adjust them fo provide the most kta and errr proiminary aketohes wil ve you a cae most desirable view point (ppend eotais veel ls intrctons for har use wih selected 1 bo used fo quickly delermina the The nex step is arheavier than The tno heavy intersecting gris lines onthe plan ae then used as Breserence by malching them to the two heavy gr ines that pass through the 2270 on the chart‘Once the ground plane data is tansforred to the char, the cba ua be ltried Theale way tse Proportional method (see pages 159-161) Any point ont lane othe Noizan ine willbe the same height On L 5 itis fe feet. Simply use multiples or fractions of this e' heighs of objects, tne Sse ut267 requ an heights, use ine vertical measuring line. See Appendix, pages 183-185 for instructions Do exercise 45, Efaaice fom manipulation by adcing for vemangs, ledges, and Trent clements and by removing for notches, ndonteners eo ihe tke, Constanty obey the two-point perspoctie sas -Gonvergence 10 one or the ather ofthe vanishing poi,position is a key factor in communicating the spatial message. ving five pages demonstrate some important principles of ange elements, highlight focal areas, and achieve a sed and interesting compositionForeground, Middleground, 97912!» wiicese.a.rstercene and Background 2 a, Sas \ pees oe aoe rocks, and bark texture. caeOverhead Plane, Ground Plane, and Vertical Plane Overhead planes are usually in the foreground or middleground and create a sense of enclosure. Vertical planes can be detined loosely by vegetation oF more solidly with structures. -> Ground planes can be defined by directional patterns which show textures, around shapes and edges, Make those patterns Contiguous. Avoid isolated oodles. ’ oe Fel ip pen on marker paperOnly tops of shrubs car - ‘seen behind rocks. Background emerges tom : Dbohind midieground NG f b aS Foreground flowers cover some Why We LLSES 2 . = Ground plane cobbles show onl the tops, and they appear compressed as they gel further awoy. Medium: Fel ip pen on marker paper Mcan28 pen ‘ouick PensorcrivEs aContrast and Tonal Balance sive Na Dark shading next to white roof highlights shape. ‘one shading varios across each ‘surface, Focal zone needs high "contrast ne iste + 28 pencil on smooth paperLight Quality, Shade, and Shadow Building eurtacoe facing away ‘rom sun need darker tones. ‘Shadows should express the en ‘allPerspective and Ci iti cect jomposition ‘overviewBird's-eye View i Alfiough the brave view is lass realistic than an eye-tevel view eet itis possible o show more of the site, he ‘The focal zone has more deta and higher contrast.Refined Pencil Sketch watt uate” setiieree = sotige an : oie 4 reat “Cliffs and trees balance the eft a Side ofthe composition Foreground toes block some rmiddiogeound and frame the Sketch, Simplified background Foreground shadows arose te White space shows the reflective | rad keep the eye within the ualitios of the water, ‘sketch, ———Morker Sketch “the thick marker rokes abstract fhe foliage and ‘emphasize fight quality Darker background trees give form to the very light middieground vegetation, Focal zone Note the cluster of ‘ground plane lines, Teaving some whiteAppendixesof the Vertical Measuring Line Perspective Charts -point Perspective Vingrica MBASURINGS | Draw base of object on ground plane. a ‘Select an edge that vanishes to the VP and orect © object vertical ines at each of the two corners Follow tne base edge back to the horizontal ground which intersects the zero | tect a vertical quidelin at that intersection. "Select the desited height on the VML and drew a ‘potizontal line across to intersect the vertical “guideline, | doin this intersection with the vanishing point and “extend (if necessary) to intersect the object verticals >f2w a horizontal line from the front intersection to form the top of the object, the remaining verticals thet are going to be