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Up and Running with
Ò
AutoCAD 2023
2D and 3D Drawing, Design and Modeling

Elliot J. Gindis
Robert C. Kaebisch
Academic Press is an imprint of Elsevier
125 London Wall, London EC2Y 5AS, United Kingdom
525 B Street, Suite 1650, San Diego, CA 92101, United States
50 Hampshire Street, 5th Floor, Cambridge, MA 02139, United States
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Copyright © 2023 Elsevier Inc. All rights reserved.

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This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may
be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding,
changes in research methods, professional practices, or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any
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injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or
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ISBN: 978-0-323-99665-5

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About the authors

ELLIOT GINDIS

Elliot J. Gindis started out using AutoCAD professionally at a New York City area civil engineering company in
September 1996, moving on to consulting work shortly afterward. He has since drafted in a wide variety of fields ranging from
all aspects of architecture and building design to electrical, mechanical, civil, structural, aerospace, and rail design. These
assignments, including lengthy stays with IBM and Siemens Transportation Systems, totaled over 50 companies to date.
In 1999, Elliot began teaching part-time at the Pratt Institute of Design, followed by positions at Netcom Information
Systems, RoboTECH CAD Solutions, and more recently at the New York Institute of Technology. In 2003, Elliot formed
Vertical Technologies Education and Training an AutoCAD training firm that trained corporate clients nationwide in using
and optimizing AutoCAD through 2021.
Elliot holds a bachelor’s degree in aerospace engineering from Embry-Riddle Aeronautical University and a master’s
degree in engineering management from Mercer University. As of 2016, he resides in the Los Angeles area and is a flight
test engineer for the United States Air Force. He also continues to be involved with AutoCAD education and CAD
consulting. Up and Running with AutoCAD carefully incorporates lessons learned from over twenty years of teaching and
industry work. His 2012 textbook has also been translated and is available in Spanish from Anaya Multimedia. He can be
reached at [email protected].

Previous Textbooks by Elliot Gindis:

English
l Operational AutoCAD 2008. New York: Netcom Inc. (out of print)
l Up and Running with AutoCAD 2009 [e-book only]. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2010. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2011: 2D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2011: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2012: 2D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2012: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.

xiii
xiv About the authors

l Up and Running with AutoCAD 2013: 2D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2013: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2014: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2015: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2016: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2017: 2D and 3D Drawing and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2018: 2D Drafting and Design. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2019: 2D Drafting and Design. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2020: 2D Drafting and Design. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2021: 2D and 3D Drawing, Design and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2022: 2D and 3D Drawing, Design and Modeling. Waltham, MA: Elsevier, Inc.

Spanish
l AutoCAD 2012 - Dibujar y Modelar en 2D y 3D. Madrid, Spain: Anaya Multimedia.

ROBERT KAEBISCH

Robert C. Kaebisch started using AutoCAD in 1989 with R10 and continued using each subsequent release through
college and throughout his career. Most of his drafting work has involved architecture, interior design, mechanical,
electrical, plumbing and other construction-related industries, from schematic designs through full construction documents.
After starting his architectural career in the mid-1990s, and spending several years in the field, Robert also worked as a
part-time adjunct instructor in the School of Design and Drafting at ITT in 2001. In 2004, he stepped away from teaching
to focus on architecture and obtained his architect’s license in 2005. In 2008 he returned to teaching and became a full-time
instructor in Gateway Technical College’s Architectural-Structural Engineering Technician program. He continues to teach
and be involved in architectural design and consulting, as well as AutoCAD, Revit, and other software training.
Robert holds a bachelor’s degree in architecture from the University of Wisconsin-Milwaukee’s School of Architecture
and Urban Planning, and a certificate in Project Management from the University of Wisconsin-Stout. He maintains his
architect’s license, technical college teaching license in WI, and national certifications in both Autodesk AutoCAD and
Autodesk Revit. He currently lives in the Milwaukee area and can be reached at [email protected].

Previous textbooks by Robert Kaebisch:

l Up and Running with AutoCAD 2018: 2D Drafting and Design. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2019: 2D Drafting and Design. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2020: 2D Drafting and Design. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2021: 2D and 3D Drawing, Design and Modeling. Waltham, MA: Elsevier, Inc.
l Up and Running with AutoCAD 2022: 2D and 3D Drawing, Design and Modeling. Waltham, MA: Elsevier, Inc.
Acknowledgments

A textbook of this magnitude is rarely a product of only one person’s effort. I thank all the early and ongoing reviewers of
this text and Chris Ramirez of Vertical Technologies Consulting for research and ideas when most needed as well as using
the text in his classroom. A big thank you also to Karen Miletsky (retired) formerly of Pratt Institute of Design, Russell and
Titu Sarder at Netcom Information Technology, and everyone at the New York Institute of Technology, RoboTECH CAD
Solutions, Future Media Concepts, and other premier training centers, colleges, and universities for their past and present
support.
Extensive gratitude also goes to Joseph P. Hayton, Todd Green, Stephen R. Merken, Peter Jardim, Jeff Freeland,
Kathleen Chaney, Gnomi Schrift Gouldin, Kiruthika Govindaraju, Chris Hockaday, Rukmani Krishnan , and the rest of the
team at Elsevier for believing in the project and for their invaluable support in getting the book out to market. Thank you
also to Denis Cadu of Autodesk for all the support at the Autodesk Developers Network.
A big thank you to my co-author, Robert Kaebisch of Gateway Technical College, for joining the team and assisting in
bringing the 2018 edition to the next level and continuing his excellent work for the 2019, 2020, 2021, 2022 and now the
2023 book.
Finally, I thank my friends and family, especially my parents, Boris and Tatyana Gindis, for their patience and
encouragement as I undertake the annual effort of bringing this textbook to life. This book is dedicated to the hundreds of
students who have passed through my classrooms and made teaching the enjoyable adventure it has become.
Elliot J. Gindis
May 2022

First and foremost, I must thank Elliot Gindis for asking me to join him on this journey in 2017 and trusting me to help
with the evolution of his creation over the years. Thank you to the teachers and professors who gave me the freedom to
explore technical drafting, AutoCAD, architecture, and all their associated technologies; Mr. Peter Wilson, Mr. Paul Barry,
and Mr. Rick Jules.
Thank you to the team at Elsevier, especially Stephen R. Merken and Grace Lander for promoting the project and
helping us getting it published this year. Thank you also to Denis Cadu and the team at Autodesk for all the help from the
Autodesk Developers Network.
I could not do the work I do without the support of the Construction Science faculty: Ray Koukari, Jr.and Steve
Whitmoyer. Another big thank you to the Gateway Technical College administration: Dr. Bryan D. Albrecht, Zina
Haywood, Matt Janisin and Dr. John Thibodeau for helping me grow as an instructor.
Finally, I must thank my children, Alex and Emma, my mom, Sharon Kaebisch, and my amazing wife, Dr. Sandra Van
Den Heuvel for their continued support. This journey is proving to be a great learning experience, making me a better
architect, instructor, and learner.
Robert C. Kaebisch
May 2022

xix
Preface

What is Autocad?
AutoCAD is a drafting and design software package developed and marketed by Autodesk, Inc. AutoCAD has been
around for over 40 years- several lifetimes in the software industry. It has grown from modest beginnings to an industry
standard, often imitated, sometimes exceeded, but never equaled. The basic premise of its design is simple and is the main
reason for AutoCAD’s success. Anything you can think of, you can draw quickly and easily. For many years, AutoCAD
remained a superb 2D electronic drafting board, replacing the pencil and paper for an entire generation of technical
professionals. In recent releases, its 3D capabilities finally matured as well.
The software has a rather steep learning curve to become an expert but a surprisingly easy one to just get started. Most
important, it is well worth learning. This is truly global software that has been adopted by millions of architects, designers,
and engineers worldwide. Over the years, Autodesk expanded this reach by introducing add-on packages that customize
AutoCAD for industry-specific tasks, such as electrical, civil, and mechanical engineering. However, underneath all these
add-ons is still plain AutoCAD. This software remains hugely popular. Learn it well, as it is still one of the best skills you
can add to your resume.

About this book

This book is not like most on the market. While many authors certainly view their text as unique and novel in its approach,
we rarely reviewed one that was clear to a beginner student and distilled AutoCAD concepts down to basic, easy to
understand explanations. The problem may be that many of the available books are written by either industry technical
experts or teachers but rarely by someone who is actively both. One really needs to interact with the industry and the
students, in equal measure, to bridge the gap between reality and the classroom.
After years of AutoCAD design work in the daytime and teaching nights and weekends, we set out to create a set of
classroom notes that outlined, in an easy to understand manner, exactly how AutoCAD is used and applied, not theoretical
musings or clinical descriptions of the commands. These notes eventually were expanded into this book that you now hold.
The rationale was simple: An employer needs this person to be up and running as soon as possible to do a job. How do we
make this happen?

Teaching methods
Elliot Gindis: My teaching approach has its roots in a certain philosophy I developed while attending engineering school
many years ago. While there, I had sometimes been frustrated with the complex presentation of what in retrospect
amounted to rather simple topics. My favorite quote was, “Most ideas in engineering are not that hard to understand but
often become so upon explanation.” The moral of that quote was that concepts can usually be distilled to their essence and
explained in an easy and straightforward manner. That is the job of a teacher: Not to blow away students with technical
expertise but to use experience and top-level knowledge to sort out what is important and what is secondary and to explain
the essentials in plain language.
Such is our approach to this AutoCAD book. Robert and I want everything here to be highly practical and easy to
understand. There are few descriptions of procedures or commands that are rarely used in practice. If we talk about it, you
will likely need it. The first thing you must learn is how to draw a line. You see this command on the first few pages of
Chapter 1, not buried somewhere in later sections. It is essential to present the “core” of AutoCAD, essential knowledge
common to just about any drafting situation, all of it meant to get you up and running quickly. This stripped-down
approach proved effective in the classroom and was carefully incorporated into this text.

xv
xvi Preface

Text organization
This book comes in three parts: Level 1, Level 2, and Level 3:
Level 1 (Chapters 1e10) is meant to give you a wide breadth of knowledge on many topics, a sort of “mile wide”
approach. These ten chapters comprise, in my experience, the complete essential knowledge set of an intermediate user.
You then can work on, if not necessarily set up and manage, moderate to complex drawings. If your CAD requirements are
modest or if you are not required to draft full time, then this is where you stop.
Level 2 (Chapters 11e20) is meant for advanced users who are CAD managers, full-time AutoCAD draftspersons,
architects, or self-employed and must do everything themselves. The goal here is depth, as many features not deemed
critically important in Level 1 are revisited to explore additional advanced options. Also introduced are advanced topics
necessary to set up and manage complex drawings.
Level 3 (Chapters 21e30) is all about 3D. Solid knowledge of the previous two levels is highly recommended before
starting these chapters. The 3D material covers all aspects of AutoCAD solid modeling including lights and rendering.
Throughout this book, the following methods are used to present material:
l Explain the new concept or command and why it is important.
l Cover the command step by step (if needed), with your input and AutoCAD responses shown so you can follow and
learn them.
l Give you a chance to apply just-learned knowledge to a real-life exercise, drawing, or model.
l Test yourself with end-of-chapter quizzes and drawing exercises that ask questions about the essential knowledge.
You will not see an extensive array of distracting “learning aids” in this text. You will, however, see some common
features throughout, such as

Commands: These are presented in almost all cases in the form

of a command matrix, such as the one shown here for a line.
You can choose any of the methods for entering the command.

Tips and tricks: These are seen mostly in the first few chapters TIP 1: The Esc (escape) key in the upper left-hand corner of your
and one is shown here. They are very specific, deliberate sugges- keyboard is your new best friend. It gets you out of just about any
tions to smooth out the learning experience. Do take note. trouble you get yourself into. If something does not look right,
just press the Esc key and repeat the command. Mine was worn
out learning AutoCAD, so expect to use it often.
Step-by-step instructions: These are featured whenever practical Step 1. Begin the line command via any of the previous methods.
and show you exactly how to execute the command, such as the l AutoCAD says: Specify first point:

example with line here. What you type in and what AutoCAD Step 2. Using the mouse, left-click anywhere on the screen.
says are in the software’s default font: Courier New. The rest of l AutoCAD says: Specify next point or [Undo]:

the steps are in the standard print font. Step 3. Move the mouse elsewhere on the screen and left-click
again. You can repeat Step 2 as many times as you wish. When
you are done, click Enter or Esc.
Learning objectives and time for completion: Each chapter be- In this chapter, we introduce AutoCAD and discuss the following:
gins with this, which builds a “road map” for you to follow while l Introduction and the basic commands

progressing through the chapter, as well as sets expectations of l The Create Objects commands

what you will learn if you put in the time to go through the l The Edit and Modify Objects commands

chapter. The time for completion is based on classroom teaching l The View Objects commands, etc.

experience but is only an estimate. If you are learning AutoCAD By the end of the chapter, you will.
in school, your instructor may choose to cover part of a chapter Estimated time for completion of chapter: 3 hours.
or more than one at a time.
Summary, review questions, exercises: Each chapter concludes Summary
with these. Be sure to not skip these pages and to review every- Review questions
thing you learned. Exercises
 Preface xvii

What your goal should be

Just learning commands is not enough; you need to see the big picture and truly understand AutoCAD and how it functions
for it to become effortless and transparent. The focus after all is on your design. AutoCAD is just one of the tools to
realize it.
A good analogy is ice hockey. Professional hockey players do not think about skating; to them, it is second nature.
They are focused on strategy, scoring a goal, and getting by the defenders. This mentality should be yours as well. You
must become proficient through study and practice, to the point where you are working with AutoCAD, not struggling
against it. Using the software becomes “transparent” and you focus only on the design, not the tools and techniques, to
truly perform the best architecture or engineering work of which you are capable.
If you are in an instructor-led class, take good notes. If you are self-studying from this text, pay very close attention to
every topic; nothing here is unimportant. Do not skip or cut corners. Do complete every drawing assignment. Most
important, you must practice, daily if possible, as there is no substitute for sitting down and using the software. Not
everyone can learn on the job while getting paid; companies want ready-made experts and do not want to wait. If that is the
case, you must practice on your own in the evening or on weekends. Just taking a class or reading this book alone is not
enough.
It may seem like a big mountain to climb right now, but it is completely doable. Once on top, you will find that
AutoCAD is not the frustrating program it may have seemed in the early days but an intuitive software package that, with
proficiency of use, becomes a natural extension of your mind when working on a new design. That, in the end, is the mark
of successful software; it helps you do your job easier and faster. Feel free to contact myself or my co-author with questions
or comments at [email protected] and [email protected]. Also, be sure to visit www.
verticaltechtraining.com where you will find other resource such as exercises, videos, articles, and a discussion board
to get your AutoCAD questions answered.
Teaching ancillaries for this book, including chapter review questions and image bank, are available online to qualified
instructors. Visit https://educate.elsevier.com/book/details/9780323996655 for more information and to register for access.

Elliot J. Gindis
Robert C. Kaebisch
Level 1

Chapters 1e10

Level 1 is the very beginning of your studies. No prior knowledge of AutoCAD is assumed, only basic familiarity
with computers and some technical aptitude. You are at a slight advantage if you have hand drafted before, as
many AutoCAD techniques flow from the old paper and pencil days, a fact alluded to later in the chapters.
We begin Chapter 1 by outlining the basic commands under Create Objects and Modify Objects followed by an
introduction to the AutoCAD environment. We then introduce basic accuracy tools of Ortho and OSNAP.
Chapter 2 continues the basics by adding units and various data entry tools. These first two chapters are critically
important, as success here ensures you will understand the rest and be able to function in the AutoCAD
environment.
2 LEVEL | 1 Chapters 1e10

Chapter 3 continues to layers, then each succeeding chapter continues to deal with one or more major topics per
chapter: text and mtext in Chapter 4, hatching in Chapter 5, and dimensioning in Chapter 6. In these six chapters,
you are asked to not only practice what you learned but apply the knowledge to a basic architectural floor plan.
Chapter 7 introduces blocks and Chapter 8 arrays. At this point, you are asked to draw another project, this time a
mechanical device. Level 1 concludes with basic printing and output in Chapter 9 and finally advanced printing
and output (Layouts/Paper Space) in Chapter 10.
Be sure to dedicate as much time as possible to practicing what you learn; there really is no substitute.
Chapter 1

AutoCAD fundamentalsdPart I

Learning objectives
In this chapter, we introduce AutoCAD and discuss the following:
l Introduction and the basic commands
l The Create Objects commands
l The Edit/Modify Objects commands
l The View Objects commands
l The AutoCAD environment
l Interacting with AutoCAD
l Practicing the Create Objects commands
l Practicing the Edit/Modify Objects commands
l Selection methods - Window, Crossing, and Lasso
l Accuracy in drafting - Ortho (F8)
l Accuracy in drafting - OSNAPs (F3)

Up and Running with AutoCAD 2023. https://doi.org/10.1016/B978-0-323-99665-5.00005-7

Copyright © 2023 Elsevier Inc. All rights reserved. 3
4 LEVEL | 1 Chapters 1e10

By the end of this chapter, you will learn the essential basics of creating, modifying, and viewing objects; the AutoCAD
environment; and accuracy in the form of straight lines and precise alignment of geometric objects via OSNAP points.
Estimated time for completion of this chapter: 3 hours.

1.1 Introduction and basic commands

AutoCAD is a very complex program. If you are taking a class or reading this textbook, this is something you probably
already know. The commands available to you, along with their submenus and various options, number in the thousands.
So, how do you get a handle on them and begin using the software? Well, you must realize two important facts.
First, you must understand that, on a typical workday, 95% of your AutoCAD drafting time is spent using only 5% of
the available commands, over and over again. So, getting started is easy; you need to learn only a handful of key
commands; and as you progress and build confidence, you can add depth to your knowledge by learning new ones.
Second, you must understand that even the most complex drawing is essentially made up of only a few fundamental
objects that appear over and over again in various combinations on the screen. Once you learn how to create and edit
them, you can draw surprisingly quickly. Understanding these facts is the key to learning the software. We are going to
strip away the perceived complexities of AutoCAD and reduce it to its essential core. Let us go ahead now and develop the
list of the basic commands.
For a moment, view AutoCAD as a fancy electronic hand-drafting board. In the old days of pencil, eraser, and T-
square, what was the simplest thing that you could draft on a blank sheet of paper? That, of course, is a line. Let us
make a list with the following header, “Create Objects,” and below it add “line.”
So, what other geometric objects can we draw? Think of basic building blocks, those that cannot be broken down any
further. A circle qualifies and so does an arc. Because it is so common and useful, throw in a rectangle as well (even
though you should note that it is a compound, polyline object or four lines acting as one). Here is the final list of
fundamental objects that we have just come up with:

Create Objects
l Line
l Circle
l Arc
l Rectangle
As surprising as it may sound, these four objects, in large quantities, make up most of a typical design, so already you
have the basic tools. We will create these on the AutoCAD screen in a bit. For now, let us keep going and get the rest of the
list down.
Now that you have the objects, what can you do with them? You can erase them, which is probably the most obvious.
You can also move them around your screen and, in a similar manner, copy them. The objects can rotate, and you can also
scale them up or down in size. With lines, if they are too long, you can trim them, and if they are too short, you can extend
them. Offset is a sort of precise copy and one of the most useful commands in AutoCAD. Mirror is used, as the name
implies, to make a mirror-image copy of an object. Finally, fillet is used to put a curve on two intersecting lines, among
other things. We will learn a few more useful commands a bit later, but for now, under the header “Edit/Modify Objects,”
list the commands just mentioned:

Edit/Modify Objects
l Erase
l Move
l Copy
l Rotate
l Scale
l Trim
l Extend
l Offset
l Mirror
l Fillet
 AutoCAD fundamentalsdPart I Chapter | 1 5

Once again, as surprising as it may sound, this short list represents almost the entire set of basic Edit/Modify Objects
commands you need once you begin to draft. Start memorizing them.
To finish up, let us add several View Objects commands. With AutoCAD, unlike paper hand drafting, you do not
always see your whole design in front of you. You may need to zoom in for a closeup or out to see the big picture. You may
also need to pan around to view other parts of the drawing. With a wheeled mouse, virtually universal on computers these
days, it is very easy to do both, as we soon see. To this list we add the regen command. It stands for regenerate, and it
simply refreshes your screen, something you may find useful later. So here is the list for View Objects:

View Objects
l Zoom
l Pan
l Regen
So, this is it for now, just 17 commands making up the basic set. Here is what you need to do:
1. As mentioned before, memorize them so you always know what you have available.
2. Understand the basic idea, if not the details, behind each command. This should be easy to do, because (except for
maybe offset and fillet) the commands are intuitive and not cryptic in any way; erase means erase, whether it is Auto-
CAD, a marker on a whiteboard, or a pencil line.
We are ready now to start AutoCAD, discuss how to interact with the program, and try out all the commands.

1.2 The AutoCAD environment

It is assumed that your computer, whether at home, school, work, or training class, is loaded with AutoCAD. It is also
assumed that AutoCAD starts up just fine (via the AutoCAD desktop icon or Start menu) and everything is configured “as-
is” with the default setup. If not, ask your instructor for help, as there are just too many variables on any PC or laptop, and
it is beyond the scope of this book to cover these unique situations.
Startup AutoCAD and if all is well, you should see the Start tab welcome screen depicted in Fig. 1.1. This is a change
from older versions of AutoCAD, which defaulted to a blank drawing area when first opened. We do not spend too much

FIGURE 1.1 AutoCAD - Start tab.

6 LEVEL | 1 Chapters 1e10

FIGURE 1.2 Select template - acad.dwt.

time here but note the following. This tab contains the Get Started column (with the huge Start Drawing button) the Recent
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FIGURE 1.3 AutoCAD (running on Windows 10).

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“Those brothers in the northwest took my deer from me,—a large, fat
one,” said Kéis, and he kept on making the medicine.

“You must have gone to their snares,” said the boy. “They couldn’t
cut the deer up there in the woods.”

Kéis didn’t answer, and Snoútiss thought: “I will go and find out what
has made Kéis so mad.” When he got to the house of the three
brothers, they said: “Come in, little boy. What is the trouble with your
brother?”

“All his teeth are out, but two, and with those he is making bad
medicine. He is mad; he says that you took a deer away from him.”

“We took our own deer. We told him to come and get [62]some of the
meat, but he wouldn’t; he went away without saying a word.”

The brothers gave Snoútiss meat; he took it and started for home.
When he got to the house he looked in at the smoke hole and he
was frightened. His brother was hard at work; the whole house was
dripping with sores; there were aches and pains of all kinds, and
terrible sickness.

“I can’t come in,” cried the little boy. “You have made those things
and now they will be here always, and will make trouble. You got
mad for nothing. I can’t stay with you; I will go to my uncle.”

When Snoútiss came in sight of Wéwenkee’s house, a little boy saw

him, and called to his father: “A boy is coming!”

“That is Snoútiss,” said Wéwenkee. “He has never been here before;
he wouldn’t come now if he wasn’t in trouble.”

When Snoútiss got to the house, he stood outside, crying.

“Tell him to come in,” said Wéwenkee to his son. Snoútiss went in.
“What is the matter? Why do you cry?” asked his uncle.

“My brother is mad. He has made all kinds of terrible sores and
sickness. I feel badly, for those things can never be got rid of; they
will live always to trouble the people who are to come. It looks badly
and smells badly in our house. My brother got mad for nothing.”

“Those Gletcówas brothers are mean men,” said Wéwenkee, “but if

Kéis wanted meat he should have gone to their house. I am stronger
than your brother; I have a wildcat skin blanket, all painted. I will go
home with you. How far away is your house?”

“On the other side of a flat there are big rocks, our home is under
those rocks. I don’t want to go there. I can’t go in the house, it smells
so badly.”

“I will go alone,” said his uncle.

When Wéwenkee got to the house, he crawled in through a crack in

the wall. His nephew didn’t see him, didn’t know that he was there.
There was such a terrible smell in the house that Wéwenkee couldn’t
stay; so he got out quickly. The only way he could look in was by
painting red stripes across [63]his forehead and around his wrists.
When he got home, he said to Snoútiss: “You told me the truth.
Hereafter there will be all kinds of sickness. Sickness will spread
everywhere. Does Kéis think he is more powerful than I am? I can do
all that he can do. I know that what he has made will live always. Will
you go home now?” asked Wéwenkee.

“I don’t want to go,” said Snoútiss.

Wéwenkee started off again. After he had gone, his wife said to
Snoútiss: “You should have gone with your uncle. Do you think that
he has only one blanket? His blankets are doubled around his body,
one over another, and one is worse than another. They are blankets
of sickness and sores. Wéwenkee is chief of those things; he can
make more bad medicine than your brother can. When he is mad, he
can raise a terrible whirlwind. That is the kind of man he is. You
should have gone with him.”

Snoútiss went out then and followed his uncle, but Wéwenkee didn’t
see him. As the old man traveled, sores came out all over him. He
cried, and his tears were drops of matter. When he went into his
nephew’s house, he said: “You have done wrong; now all this bad
stuff will soak into the earth and make great trouble.”

Wéwenkee made a big ball of soft bark, rolled it around and

gathered on it all the sores and sickness that were on the top and
sides of the house, and on the ground. “Don’t you wink again and let
that stuff fall,” said he to his nephew.

He rolled the bark ball over Kéis’ body, cleaned him of sores, and
then he squeezed the ball over his own head and said: “This is mine.
How did you dare to let this out? Sickness belongs to Nébăks. It is
only loaned to us; we had no right to let it out till he told us to. Now it
has gone from us; I have saved some, but a great deal has scattered
and gone through the world. You have frightened your brother so he
won’t come back to you”—Wéwenkee didn’t know that Snoútiss was
on top of the house listening to what he said.

“Will you change skins with me?” asked Wéwenkee.

“No,” said Kéis, “I want my own skin.”

“It is too bad I can’t get up all this sickness,” said Wéwenkee,[64]—he
was still rolling the bark ball,— “it has soaked into the ground, and in
hot weather and in winter it will come out.”
Kéis didn’t say much, for he didn’t want Wéwenkee to see that his
teeth were gone.

“The Gletcówas brothers are bad men, but you should have asked
them for meat, not tried to steal it,” said Wéwenkee.

“They wanted to kill me.”

“How many teeth have you?” asked Wéwenkee.

“Two.”

“Let me have them for a little while.”

“No, I want them myself; people will always hate me, these teeth will
defend me. If I want to kill any one I can do it with my teeth. I can
throw medicine at them and kill them. I shall keep poison medicine in
the ends of my teeth; I will be as bad as others are.”

“I will always be good, unless somebody makes me mad,” said

Wéwenkee. “In later times people will like my skin and want to take
it. Maybe they will throw dirt at me so they can hide my face and
eyes from them, but they can do me no harm. I will not be a servant
to any one; but those who go to the swimming ponds on the
mountains, and those who are willing to travel at night, I will like. I
will give them my skin, and the earth will give me another. 1 I shall
never appear to any one, who is not a doctor.”

“I will do just as I have done,” said Kéis. “If I get mad, I will kill people
by throwing out sickness.”

“If you do, you will be hated, and you will always be in trouble,” said
Wéwenkee. And he begged hard for Kéis to put away sickness. “You
are my nephew,” said he; “you should do as I say. I am a chief, too. I
am sorry for the people who are to come, and you ought to think of
them. Let us put sickness back in our bodies, and never use it unless
this earth tells us to. It won’t be long that we shall be persons; soon
we shall live under rocks and in holes in the ground. When the
people to come take our places, they will hate you. I am sorry for
your little brother. I would go away now, but [65]I don’t want to be
changed till some one comes to tell me what I shall be.”

So Wéwenkee talked to his nephew, and at last Kéis took off all his
sicknesses and tied them up in a bundle. He put the bundle in his
quiver, and said: “I will only take these out when people abuse me.”
Then he told his brother to come in.

“My little nephew,” said Wéwenkee, “those Gletcówas can turn to

anything; sometimes they are fish and sometimes they are bugs or
ticks. You might catch one of them and think that you were holding
him in your hand, but he would be gone. You can remember better
than Kéis; that is why I tell you about those brothers. Sometimes
they are large animals, sometimes they are a straw on a trail, or a
stump of burnt wood, or lice. Often, in the night, they are wind; or
they are mole hills for men to fall over. I can’t tell you all that they
turn to. I know they are going to kill your brother, for he has tried to
kill them.” Then he said to Kéis: “Stand up.” When his nephew stood
up, Wéwenkee turned him around, looked at him on every side, and
said: “I don’t like any part of your skin, and your mind is mean. What
part of my skin do you like?”

Kéis said: “I like the spots on your breast and the gloss on your
body.”

“Lie down,” said Wéwenkee, “and cover yourself up and sleep all
day; then maybe your mind will be better and you won’t get mad so
easily.” He told him over and over not to open the bundle of
sickness, then he told Snoútiss to watch Kéis, and if he started to
untie the bundle to come and tell him. He said: “Nobody will be able
to kill sickness; your brother has spoiled the world. In later times we
may have no mind, but we may want to go near houses. People will
hate Kéis, but they will say: ‘His uncle was chief before we came,’
and they will know that I won’t hurt them.”

Kéis slept till night, then he woke up and sent his brother for water. “I
wonder why he sent me for water when there was water in the
house,” thought Snoútiss, and he hurried back and looked in at the
smoke hole. Kéis was sitting by the fire, untying his bundle. When he
heard Snoútiss on the [66]top of the house, he tied up the bundle and
pulled his blanket around him.

“What were you doing?” asked Snoútiss.

“I was covering myself up.”

“I know what you were doing,” said the boy; “you were letting out
sickness. Our uncle told you never to untie that bundle.”

Snoútiss ran off to his uncle’s house and told him what Kéis had
done. Wéwenkee was so mad at his nephew that he stretched
himself out full length; then he made a circle around the world and
pressed everything together, but Kéis went in among rocks and
Wéwenkee couldn’t press hard enough to break them.

“What are you doing?” asked Wéwenkee.

“What I want to,” said Kéis.

“If you want to be great of your own strength, I will leave you,” said
Wéwenkee, and he started for home.

Now Kéis began to sing like a doctor; the three Gletcówas brothers
heard his song, and wondered who was around among the rocks
singing.
“I will find out,” said the eldest brother, and he went toward the rocks.

The second brother followed him. When near they smelt smoke,—
Kéis was smoking Indian tobacco,—and they knew who was singing.
“I wonder what that man is doing,” said one of the brothers; “we must
think how to kill him.”

Now Wéwenkee sent Snoútiss to see what Kéis was doing; he came
back, and said: “My brother is among the rocks, singing.”

Wéwenkee rubbed himself around in the dirt, and said: “This is what
I knew would happen when he went by his own strength. All that I
have talked to your brother I will take off and give to the dirt. I will rub
off all that I promised to help him, and give it back to the ground. We
will no longer be living persons. You will remember me in later times,
for I have been a great chief. You will be near me always, for you will
be my brother. Hereafter you will be only a little snake and blow with
your mouth.” Right away Snoútiss [67]became a common little snake.
Then Wéwenkee turned himself into a whipsnake.

The youngest of the Gletcówas brothers listened to Kéis’ song and

watched for him to come out from among the rocks. As he ran back
and forth he called: “Gletcówas! Gletcówas!”

“What is the matter?” asked his brothers.

“I have no father or mother; that is why I cry all the time.”

The brothers said to one another: “Kéis is the man who killed our
father and mother; we must kill him.”

As Gletcówas went toward the rocks, he hit against a mole hill and
fell; then he talked to the earth, and said: “You shouldn’t treat me in
this way. I have no father or mother; you should carry me safely.”
As Gletcówas fell, Kéis came out from among the rocks. He had
grown so tall that he almost touched the sky. His song was loud and
nice.

The brothers hid behind rocks and tied cross sticks to their arrows.
“Go up to the sky,” called they to their youngest brother, for Kéis was
just going to throw his medicine at him.

The brothers shot their arrows and hit Kéis. He fell, but he kept
singing. The eldest brother pulled up a tree stump and pounded him
on the head till he died. They cut Kéis into small pieces, threw the
pieces over the rocks, and said: “You will no longer be great; even
old women will kill you.” The pieces became rattlesnakes.

Then the three brothers went north. Kéis had made them lose their
minds. They crossed the Shasta River and became birds. [68]

1 Doctors often rub a whipsnake in dust and pull off his skin, then he gets a new
skin, so what Wéwenkee said was true. ↑
[Contents]
 HOW OLD AGE CAME INTO THE WORLD

CHARACTERS

Komúchass Old Age

Nébăks Sickness

Five brothers and their sister lived alone on a mountain; the brothers
had killed a great many people in the country around.

The sister gathered the wood and cooked the meat. When it was
time for her maturity dance, she asked: “How can I dance when
there is nobody to sing for me?”

“Walk around all the time,” said her eldest brother; “pile stones, and
don’t sleep for five nights.”

The girl kept awake four nights, then she was so tired that she fell
asleep. She dreamed that her brothers were covered with sores and
were starving. When she woke up, she cried and said: “I wish I had
died long ago, then I shouldn’t have brought trouble on my brothers.
I have done this by not dancing and by going to sleep.”

When she got home, she found that Sickness had been in the
house. Sickness came every day for five days. Then each one of the
five brothers had great sores on his body. There was nobody to hunt
for deer, or rabbits, and soon the brothers were starving. The sister
brought wood and kept the fire, but she couldn’t find anything to eat.
Everybody was glad that the brothers were sick and hoped they
would die.
One of the brothers saw two swans on a pond near the house, and
when the sister came with a load of wood on her back, he said: “I
wish we could kill one of those swans.”

“Maybe I can kill one,” said the sister. She got her brothers’ bows
and tried the strings to see which string was the strongest. She put
down one bow after another, saying: [69]“That isn’t strong.” The
strings had been strong enough for her brothers, but for her they
were weak. She took the bow that belonged to her youngest brother,
pulled the string, and said: “This will do.”

When she started for the pond, one of the brothers watched her, he
said: “Now she is near the pond; now she is sitting down on the
bank!” She drew the bow, and when he thought she had missed the
swan, he nearly fell, he was so sorry. He didn’t look out again. The
arrow went through both swans.

The sister brought the swans home and left them outside; she took
the bow and arrow in and put them away. Her brothers felt badly;
they were disappointed. When she asked: “Shall I cook them in the
house?” they were glad. They tried to get up, but they couldn’t stand
on their feet, they were so weak.

The girl cooked the swans and gave her brothers some of the meat.
She said: “Eat a little at a time, so it will last longer.” She saved the
fat and rubbed her brothers with it, to heal their sores.

“Now I am stronger,” said the eldest brother. “Give me my bow; I feel

as if I could shoot something.” Each brother said the same.

When the people at the foot of the mountain heard that the five
brothers were sick, they were glad and sent a young man to find if it
were true. He came back, and said: “They are sick and are going to
die.”
When the sister had gone for wood, the eldest brother said: “I know
that somebody is coming; I want to be strong.” They all had the
same feeling, and each one tried his bowstring. When the sister
came back, the eldest brother said: “You must roll us up in our
blankets, and tie them around us as though we were dead. Put our
bows and arrows and beads near us.”

When she had done that, she went off to the mountains, for she felt
badly and didn’t want to stay with her brothers; she didn’t want to live
any longer.

The brothers waited for her, and when it was dark and she [70]didn’t
come, one said: “Our sister is always talking about dying; maybe she
is dead.”

Now the people at the foot of the mountain sent a little boy to see if
the five brothers were alive. He crossed the pond in a canoe; he
rowed the canoe by saying: “Peldack! Peldack!” (Go fast). When the
boy saw the men tied up in their blankets, he went back, and said:
“They are dead. In their house there are bows and arrows and nice
beads. You must go and get them.”

The chief said: “Get ready; we will go and scalp those men, and take
their things.”

When the brothers saw the men coming, they said: “We will lie here
as if we were dead, and when they pack up our things and start
away, we will spring up and fight them with knives.”

The men came into the house. They unrolled the brothers and kicked
them around; they took their blankets, bows, arrows and beads, took
everything they could find, and started off.
Then the five brothers jumped up and ran at them with knives. They
killed every man, threw the bodies into the pond, and started off to
hunt for their sister. They hunted a long time. At last they found her
body and burned it; then the eldest brother said: “Let us leave this
country and kill every man we can find.”

They started and traveled toward the west. They killed every man or
woman they met. When people saw them coming they ran and hid,
they were so afraid of them. The brothers traveled a long time, and
killed a great many people. At last they came to a big lake. They
made a canoe and started to cross it, but before they got to land, the
canoe sank. It went under the water and under a mountain and out
into another lake. There they met Storm.

He was a man then and could kill anybody he could catch and draw
into the water. He tried to kill the five brothers, but the youngest
brother fought with him, cut him to pieces with his knife, and said:
“You will be a person no longer; you will only be something to scare
[71]people,” and he drove him away. All the people under the water
hid, for they were afraid of the brothers.

When the brothers couldn’t find any one to kill, they turned toward
the east and traveled till they came to a country where they found a
very old man and a very old woman. They said: “We have come to
fight you.”

“I don’t want to fight,” said the old man. “We have always lived here,
this is our place; nobody ever came here before to trouble us. We
don’t bother any one. Go away and leave us.”

“You must fight,” said the brothers. “If you don’t, we will kill you; we
kill every one we meet.”
“You can’t kill us or harm us, no matter what you do,” said the old
man. “We are Komúchass (Old Age). We shall live always.”

The five brothers were mad; they didn’t listen to the old man, but
shot at him with arrows, and pounded him with clubs; then they built
a fire and tried to burn him. When they couldn’t kill him in any way,
they got scared and ran off.

The old man called to them to stop, but they didn’t listen; then he
said: “We shall follow you; you cannot get away; wherever you go we
shall go. You will never get home.”

The old man and old woman followed the brothers for a long time,
and at last they caught up with the eldest brother. Right away he was
old and weak. He stumbled along for a little way, then fell to the
ground and died.

They overtook the second brother; he also grew old and weak, fell to
the ground and died. The third brother reached the lake; he was
running on the ice when Komúchass overtook him; he grew weak
and fell; the ice broke and he was drowned. The fourth brother died
in the same manner. The youngest brother thought he was going to
get away from the old man; he was only a few steps from home
when Komúchass overtook him. Right off he was an old man; he
stumbled along a step or two, then fell to the ground and died.

This is how old age came into our world. If the five brothers had let
the old man and his wife alone, they would have [72]stayed in their
own country, and there would have been no such thing as old age.

Komúchass turned the bodies of the five brothers into five rocks, and
those rocks are still to be seen in the Klamath country. [73]
[Contents]
 LEMÉIS AND NUL-WE

CHARACTERS

Kókolaileyas The Necklace (Kŏko means bone)

Leméis or Limālimáas Thunder
Nul-we

Old Limālimáas was a man-eater. He lived among big rocks at one

end of a long, swampy flat. At the other end of the swamp lived an
old woman and her little grandson. Limālimáas had killed all the old
woman’s kin, except the boy. He had strung their elbow and ankle
bones on a grass rope and he wore them for a necklace. People
called him Kókolaileyas, (Bone Necklace).

The grandmother was too old to dig roots, so the little boy dug them
for her. One day Limālimáas saw the boy digging; he crept up and
lay down near him, and when the boy’s basket was full of nice, white
roots, he ate them all at a mouthful. After that, he came every day.
No matter where the boy went to dig, Limālimáas followed him. If the
boy ate a root while he was digging, Limālimáas struck him on the
forehead with his hammer. He listened and knew when he took a
root. The little boy felt badly; he wanted to carry roots to his
grandmother, for he knew she was hungry. He cried all the time he
was digging, cried “Nul-we! Nul-we!” (that was his name). He always
went home at sundown.

One day he cried on the way home. His grandmother heard him, and
said: “My grandson, you mustn’t cry so loud. A bad man lives among
the big rocks. He will hear you and come where you are digging.
Maybe he will kill you; he has killed your father and your mother and
all your kin.”

The next morning, when Nul-we went to dig roots, Limālimáas came,
and said: “Little Nul-we, I am waiting for you; I am hungry. I want you
to grow fast and get big, then I will [74]kill you and eat you. I will put
your bones in my necklace, between the bones of your father and
the bones of your mother, and they will make my necklace nice and
long.”

That evening, when Nul-we went home without any roots, his
grandmother said: “When you were a little fellow, you brought your
basket full of roots. Now it is always empty. I am hungry. I have only
dry, old roots to eat.”

“I eat all the roots I dig,” said Nul-we; then he cried, he was so sorry
for his grandmother. He didn’t want to tell her about Limālimáas.

The next morning, as soon as Nul-we began digging, Limālimáas

came, rattling his bone necklace as he traveled. He lay down right by
Nul-we, and said: “Little boy, I am tired; peel me some nice, white
roots.” When he had eaten the roots, he took hold of his necklace,
rattled it, and said, as he divided the bones: “These are your father’s
bones; these are your mother’s bones; these are your sister’s bones;
these are your brother’s bones; these are your grandfather’s bones.
Now dig away, little boy; when you are big enough, your bones will
be in my necklace.”

That day Nul-we dug four basketfuls, and Limālimáas ate them all.
Then he said: “Little boy, you should kill me, for I have eaten your
father and your mother and all your kin.” Then Nul-we thought:
“Maybe I could kill this bad old man; I will get a bow and arrow and
try.”
The next day, when Limālimáas had eaten all the roots, he said:
“Little boy, you should kill me; I have killed all your kin. You must
shoot me in the body; that is where I keep my heart.”

That night the grandmother asked: “Why don’t you bring me roots? I
am hungry; you shouldn’t eat them all.”

“I dig roots early in the morning,” said Nul-we, “then I eat them and
lie down and sleep all day.”

“That isn’t true,” said his grandmother, “you don’t deceive me;
somebody takes your roots away from you.”

“I want you to make me a bow and arrow,” said Nul-we, “and put
poison in the end of the arrow. I miss all the birds I shoot at with
sticks.” [75]

In the morning Limālimáas said to him: “I think you are about big
enough to eat.”

That night Nul-we said to his grandmother: “I dig a great many roots,
but a bad man comes and eats them all. He wears a necklace made
of bones. He says they are the bones of my father and of my mother
and of all my kin; and that my bones will make the necklace nice and
long.”

The grandmother was frightened, for she knew it was old

Limālimáas, the man who lived among the rocks. She gave Nul-we
his father’s strong bow and put fresh points on the arrows; then she
made the bow and arrows look like a little boy’s first bow and arrows,
and said: “That man’s heart isn’t in his body; it’s in the end of his first
finger; you must shoot him there.”

When Limālimáas came, the boy fed him lots of roots. He dug fast
and gave the old man all he could eat. Then Limālimáas lay down to
sleep. Usually he lay with his head on his hands, but that time he lay
with his face up and his hands spread out. Nul-we got his arrow
ready, and made up his mind which way to run; then, when he saw
something moving in Limālimáas’ finger, he shot. The heart came out
on the end of the arrow.

Limālimáas sprang up and ran after the boy. Ever so many times he
almost caught him, but each time Nul-we dodged and got away. At
last they came to a dried up river-bed where there were big rocks
and deep holes. Limālimáas was getting weak; he stumbled and fell
into a hole. Nul-we ran across the river-bed; then he turned and
called to Limālimáas: “You shall not live in this world and kill people.
Hereafter you will make a great noise, but you will not have the
power to harm anybody. When another strikes, you will shout for
him; that is all you will be able to do.”

Nul-we took the heart off the end of his arrow, blew it up into the sky,
and said: “You can go up there and live; you can’t live down here any
longer.”

Now Nul-we could dig roots and carry them to his grandmother; he
was glad, and he didn’t cry any more.

The old man-eater became Thunder. [76]

[Contents]
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