Introduction to working drawings course for architects and interior designers.
it contains 3 main parts:
1-general introduction to the course and its objectives and importance,
2-guide lines for plan drawings for beginners,
3-introduction to NCS.
Introduction to working drawings course for architects and interior designers.
it contains 3 main parts:
1-general introduction to the course and its objectives and importance,
2-guide lines for plan drawings for beginners,
3-introduction to NCS.
This book, just like the first edition, compiles
the work of many hands (and keyboards) and
conversations. It has been made possible by the
generous contributions of numerous people, to
whom I would like to express my gratitude.
First, I must acknowledge my current and
former students, who have taught me volumes
and who continue give me the energy to keep
going. I must thank all of the former students
who contributed work to the first edition especially,
including Theresa Isaacson, Leanne Larson,
Ardella Pieper, Cory Sherman, and Justin
Thomson. Denise Haertl, Dan Effenheim, Anne
(Cleary) Olsen, and Angela Ska, now professional
designers, all willingly handed over
portfolios for inclusion in this edition. Current
students who contributed work and help include
Kristy Bokelman, Anne Harmer, and
Randi Steinbrecher. And I thank former exchange
students Elke Kalvelage, Jessica
Tebbe, and Dirk Olbrich for allowing me to include
some of their fine work.
I have been amazed and touched by the
generosity of members of the design community
who shared time and contributed projects:
my friend Lynn Barnhouse at Meyer, Scherer
& Rockcastle Architects, who contributed a
great deal of work and gave hours of her time;
Jane Rademacher, Lisa Miller, and Bob Albachten;
and Thom Lasley, of RSP Architects.
Others who took time out of very busy schedules
to contribute include Thomas Oliphant;
Jim Smart, of Smart Associates; Jim Moeller, at
Arthur Shuster Inc.; Craig Beddow, of Beddow
Design; Deborah Kucera, of TKDA; Janet Lawson,
of Janet Lawson Architectural Illustration;
and Robert Lownes, of Design Visualizations;
Harris Birkeland; and Aj Dumas.
I must acknowledge and thank my colleagues
at the University of Wisconsin–Stout.
Courtney Nystuen, a wonderful teacher and architect,
contributed in many ways. Bill Wikrent,
who is talented, knowledgeable, and very generous,
deserves special thanks. And this edition
would not have been finished in this decade
without the gift of a sabbatical: thank you to the
Sabbatical Committee. Jack Zellner and Kristine
Recker Simpson deserve thanks for willingly
contributing their fine work.
This project would not have been possible
without the help of my husband, Roger Parenteau,
support from our daughter, Anna, and
a fair amount of terror generated by young
Luc to keep things interesting.
Introduction,
Role of Engineering Drawing,
Drawing Instrument and Aids,
Drawing Board,
Mini-Draughter,
Instrument Box,
Set of Scales,
French Curves,
Templates,
Pencils,
This book, just like the first edition, compiles
the work of many hands (and keyboards) and
conversations. It has been made possible by the
generous contributions of numerous people, to
whom I would like to express my gratitude.
First, I must acknowledge my current and
former students, who have taught me volumes
and who continue give me the energy to keep
going. I must thank all of the former students
who contributed work to the first edition especially,
including Theresa Isaacson, Leanne Larson,
Ardella Pieper, Cory Sherman, and Justin
Thomson. Denise Haertl, Dan Effenheim, Anne
(Cleary) Olsen, and Angela Ska, now professional
designers, all willingly handed over
portfolios for inclusion in this edition. Current
students who contributed work and help include
Kristy Bokelman, Anne Harmer, and
Randi Steinbrecher. And I thank former exchange
students Elke Kalvelage, Jessica
Tebbe, and Dirk Olbrich for allowing me to include
some of their fine work.
I have been amazed and touched by the
generosity of members of the design community
who shared time and contributed projects:
my friend Lynn Barnhouse at Meyer, Scherer
& Rockcastle Architects, who contributed a
great deal of work and gave hours of her time;
Jane Rademacher, Lisa Miller, and Bob Albachten;
and Thom Lasley, of RSP Architects.
Others who took time out of very busy schedules
to contribute include Thomas Oliphant;
Jim Smart, of Smart Associates; Jim Moeller, at
Arthur Shuster Inc.; Craig Beddow, of Beddow
Design; Deborah Kucera, of TKDA; Janet Lawson,
of Janet Lawson Architectural Illustration;
and Robert Lownes, of Design Visualizations;
Harris Birkeland; and Aj Dumas.
I must acknowledge and thank my colleagues
at the University of Wisconsin–Stout.
Courtney Nystuen, a wonderful teacher and architect,
contributed in many ways. Bill Wikrent,
who is talented, knowledgeable, and very generous,
deserves special thanks. And this edition
would not have been finished in this decade
without the gift of a sabbatical: thank you to the
Sabbatical Committee. Jack Zellner and Kristine
Recker Simpson deserve thanks for willingly
contributing their fine work.
This project would not have been possible
without the help of my husband, Roger Parenteau,
support from our daughter, Anna, and
a fair amount of terror generated by young
Luc to keep things interesting.
Introduction,
Role of Engineering Drawing,
Drawing Instrument and Aids,
Drawing Board,
Mini-Draughter,
Instrument Box,
Set of Scales,
French Curves,
Templates,
Pencils,
Download link: https://www.researchgate.net/publication/318852873_Engineering_Drawing_-_I
DOI: 10.13140/RG.2.2.22512.56328
An engineering drawing is a type of technical drawing, used to fully and clearly define requirements for engineered items, and is usually created in accordance with standardized conventions for layout, nomenclature, interpretation, appearance size, etc.
Its purpose is to accurately and unambiguously capture all the geometric features of a product or a component. The end goal of an engineering drawing is to convey all the required information that will allow a manufacturer to produce that component.
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INTRODUCTION OF ENGINEERING DRAWING
Application of Drawing in Industries - Importance of graphics in engineering applications - Use of drafting instruments - Specifications - Size, layout and folding of drawing sheets - Lettering and dimensioning.
PLANE CURVES AND FREE HAND SKETCHING
Curves used in engineering practices, Visualization concepts and Free Hand sketching - Layout of views.
QUADRANTS AND PROJECTION OF SOLIDS
Various types of Quadrants with their Projections and applications, Projection of simple solids like prisms, pyramids, cylinder, cone
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2. ARCHITECTURAL
DRAUGHTING
Pictorial images of buildings, interiors, details or
other items that need to be built.
Drawn to scale, accurate measurements and
detailed information
3. Drawings include site plan,
floor plans, elevations, sections,
details, ceiling plans,finish schedules
and mechanical information such
as electrical, plumbing, air-conditioning
and heating plans.
4. TYPES OF DRAUGHTING
I. TECHNICAL SKETCH
II. MECHANICAL DRAUGHTING
I. COMPUTER AIDED DRAUGHTING-
CAD
5. I. TECHNICAL SKETCH
Used during the development of ideas for initial
or primary plans.
Quick and accurate sketches to convey design
ideas to others.
6. TECHNICAL SKETCH
Sketch is a free drawing(IT IS NOT ALWAYS)
Sketch on graph paper to take advantage of
the lined squares
Sketch on plain paper with/without the aid
of drawing instruments.
7. TECHNICAL SKETCH
Drawn without mechanical aid like t-
scales, set -squares, compass
But drawn to scale and contain a variety of
line weights and line styles.
Grid paper becomes the guide helping to
keep the lines straight.
8. MECHANICAL DRAUGHTING
Refined style of drawing guided by t-
scales, set –squares, compass and French
curves.
Developed only after the conceptual stage is
completed and design is finalized.
9. MECHANICAL DRAUGHTING
• Consists of exterior/interior plans,
elevations, sections, architectural features,
detailed structural elements, electrical and
mechanical systems, furnishings.
11. COMPUTER DRAUGHTING
Speed of revisions
Reprinting, easily stored electronically
Shipped to other designers for revisions
12. A technical sketch gives an idea that the
design is still being developed while a
mechanically drafted or CAD
implies an advanced state of planning and
gives the impression the design has been
finalized.
13. TYPES OF PAPER
GRAPH SHEET-used as the base,
for planning, drawing, rough design
sketching, technical sketches.
BUTTER SHEET-sketching and
developing ideas, initial and
preliminary layouts, space planning.
GATEWAY SHEET- Reproductions,
pukka draughting /drawing
14. CHART DIMENSIONS
Standard paper sizes used by printers:
• A0- 841 x 1189mm
• A1- 594 x 841mm
• A2- 420 x 594mm
• A3- 297 x 420mm
• A4- 210 x 297mm
15. LINE WEIGHT
Line weight is the light or darkness and
width of a line.
Typically three kinds of LW-light, medium,
bold.
Guidelines-page layout
Borderlines-framing the page
Best way to create consistent line weight
and line quality is to keep the pencil/pen
perpendicular to the drawing surface.
16. LINES AND LINE QUALITY
GUIDELINES
4H to 6H pencil
Very light, almost invisible
Used to layout the page,
create the initial shapes
and provide guide for
lettering heights.
17. BOLD LINES
Soft B to 2B pencil(0.7mm)
Very dark and thick width
Used for walls in floor plans, outline
around the perimeter of elevation and 3d
objects.
18. MEDIUM LINES
HB pencil(0.5mm)
Used for furniture drawings in floor
plans, text inside the objects in elevation
and 3D views
19. LIGHT LINES
H to 2H pencil(0.3mm)
Used for action lines(door swings in plan
view, hinge direction in elevation)
information lines(dimension line, center
line, section lines etc.)
fill patterns(specific symbols for materials)
20. BORDER LINES
2B to 4B pencil(0.7-0.9mm)
Dark and twice as thick as bold lines
Used for margin on sheet, title border
information lines(dimension line, center line,
section lines etc.)
fill patterns(specific symbols for materials)
BORDER LINES SHOULD BE THE LAST
LINE DRAWN ON SHEET
23. LINE TYPES
SOLID LINE to indicate visible objects,
leader lines and dimension lines
DASHED LINE used for hidden objects
(hidden parts objects below or behind
an object)
These lines should be in contact at
corners and when perpendicular to
another line.
24. LEADER LINE
used to connect notes, references to
objects or lines in a drawing
start in a solid line and ends with an arrow
can be drawn at an angle or curved
BREAK LINES
Used when extents of a drawing cannot fit
on the paper
25. CENTER LINE
used to indicate center of a
plan, object, circle, etc.
If two center lines intersect use short
dashes at the intersection.
26. SECTION LINE
Used to show a cutaway view of
a floor plan
The direction of the arrows shows
the direction of the section view