3. Purpose
The main purpose of sketching is to convey ideas.
Engineers have to use sketches to brainstorm ideas,
as well as, to show others what they are working on
or what should be designed.
Sketches are also used to document measurements
from the field before they are produced as solid
models on the computer.
4. Freehand Sketching
Most original designs are first expressed on medium
as a freehand sketch.
Used for:
Amplifying and clarifying
Recording verbal explanations
5. Technical Sketching
Engineers’ view: ability to render serviceable
sketches greater value than skill to create instrument
drawings.
Freehand sketch should not mean crude and
sloppy.
Freehand sketch should be made with care and
attention to proportion, clarity, and line widths.
7. Scale
Typically not made to any scale.
Correct proportions are needed.
Size of sketch:
Optional
Determined by:
Complexity of object
Size of paper
Small objects may be enlarged to show details
clearly.
8. Purpose
Proper documentation in a notebook is essential.
When proper documentation is made, ideas are not
lost and projects can be duplicated.
The sketch on the next slide is a sample from a
notebook where a sketch was made and notes as
well as dimensions have been documented.
10. Freehand Sketching
Freehand sketching is a method of making a drawing
without the use of instruments.
Most designers use sketches to “think through” an idea
before making the final drawing.
Freehand sketching requires only a pencil and plain or
grid paper.
12. Sketching Technique
When sketching, hold the pencil with a grip firm
enough to control the strokes.
Your arm and hand should have a free and easy
movement.
As you sketch, rotate the pencil slightly between
the strokes to retain the point longer.
Initial lines should be sharp and light.
13. Sketching Technique
Apply light pressure to avoid making grooves in
the paper.
Keep your eye on the point where the line will
end; use a series of short strokes to reach that
point.
When all the lines are sketched, go back and
darken the lines.
Strive for neatness and good technique.
17. Sketching Inclined Lines
Locate the end points of the
line.
Position arm for trial
movement.
Sketch several short, light
lines.
Focus on end point.
Darken the line.
18. Sketching an Angle
First, sketch a right
angle (90°).
Subdivide the right
angle to get the
angle you desire.
20. Sketching Techniques
Finding the slope angle of an inclined line:
Run = 4
Rise = 2
27
s
Note: Rise and Run units
do not matter (As long as the
units are the same). You are
finding an angle. In the above
case, we are counting grid boxes.
Equation:
tans = RISE/RUN
tans = 2/4
tans = .5
s = arctan .5
24. Sketching Circles and Arcs
There are several methods of sketching circles and
arcs:
Centerline method.
Enclosing square method.
Hand-pivot method.
Free-circle method.
All are sufficiently accurate, so use the best method
for a particular situation.
25. Centerline Method
Locate centerlines.
Mark off radius.
Position arm.
Sketch the circle in short sweeps.
Darken the circle.
26. Enclosing Square Method
Locate centerlines.
Sketch a box equal to the diameter.
Sketch arcs where the centerlines cross
the box line.
Sketch the circle.
29. Hand-Pivot Method
First, position the pencil and small finger. Then,
rotate the paper to sketch the circle.
30. Sketching Ellipses
The rectangular method for sketching ellipses is
similar to the enclosing square method for circles.
31. Sketching Irregular Curves
Sketch an irregular curve by connecting a series
of points at intervals of 1/4" to 1/2" along its path.
32. Proportion in Sketching
Proportion is the size relationship of one part to
another or to the whole object.
Keep the same width, height, and depth in
proportion.
Unit method.
Pencil-sight method.
34. Size and Proportion
Although you have learned to draw lines and arcs, you can not
communicate properly until you understand how to sketch with
the correct size and proportion. Without proper size and
proportion your sketch will not look right.
Size: Length, width, height, distance. How big is the object you
are sketching?
Proportion: If two objects are five feet apart in real life, then
those two objects must appear to be five feet apart in your
sketch.
35. Size and Proportion
How to create proper size and proportion.
Technique I
Using a pencil to measure.
Figure 2
Hold your pencil at arms
length as you see in Figure 2.
Use the top of the pencil and
your thumb as a distance for
the height of the window. This
distance will be used as a
reference for sketching the rest
of the house as we did in the
house on the next slide.
36. Size and Proportion
How to create proper size and proportion.
Technique I
Using a pencil to measure.
Figure 3
As you see in the completed
house in Figure 3, the units
of the numbered dimensions
are in windows.
You should also notice that
the use of graph paper also
helps in creating proper size
and proportion.
37. Size and Proportion
How to create proper size and proportion.
Technique II
Boxing in the sketch.
In Figure 4 we are sketching
a chair. We sketch the boxes
to the largest outside
dimensions of our final
object. Notice that light
construction lines are also
used to help guide us to
the proper size and
proportion.
Figure 4
38. Size and Proportion
How to create proper size and proportion.
Technique II
Boxing in the sketch.
Finally we use our sketching
techniques for drawing arcs,
lines and circles to complete
our chair in Figure 5.
Notice the box we started
with is still existent as light
construction lines. These are
our guides for proportion and
size.
Figure 5
49. Section (Crosshatch) Lines
Section lines or crosshatch lines are used to show
that a feature is sectioned.
May represent different types of material.
50. Alphabet of Lines
Object Line: Thick lines
about .6mm(.032in) that
show the visible edges of
an object.
Hidden Line: Lines used to
show interior detail that is not visible
from the outside of the part.
Center Line: Lines that define
the center of arcs, circles, or symmetrical parts.
They are half as thick as an object line.
Construction Line: Very lightly
drawn lines used as guides to help draw
all other lines and shapes properly.
Usually erased after being used.
Short Break Line: A freehand
drawn line that shows where a part is
broken to reveal detail behind the part or
to shorten a long continuous part. (See
example of Long Break Line
on the next slide.)
Section Lines: Lines are used to
define where there is material
after a part of the object is cut away.
Editor's Notes
Principles of EngineeringTM
Unit 2 - Lesson 2.1 – Sketching
Most original design ideas find their first expression through the medium
of a freehand sketch, Freehand sketching is a valuable means of
amplifying and clarifying, as well as recording, verbal explanations.
Executives sketch freehand daily to explain their ideas to subordinates.
Engineers often prepare their designs and turn them over to their detailers
or designers in this convenient form as shown in the well-executed sketch
of details for a steam locomotive.
Freehand sketches are of great assistance to designers in organizing their
thoughts and recording their ideas. Sketching is an effective and e
conomical means of formulating various solutions to a given problem so
that a choice can be made between them at the outset. Often much time
can be lost if the designer starts his or her scaled layout before adequate
preliminary study with the aid of sketches. Information concerning changes
in design or covering replacement of broken parts or lost drawings is
usually conveyed through sketches.
Many engineers consider the ability to render serviceable sketches of greater value to them than skill in instrument drawing. The designer, technician, or engineer will find daily use for this valuable means of formulating, expressing, and recording ideas. The degree of perfection required in a given sketch depends on its use. Sketches hurriedly made to supplement oral description may be rough and incomplete. On the other hand, if a sketch is the medium of conveying important and precise information to engineers, technicians, or skilled workers, it should be executed as carefully as possible under the circumstances. The term "freehand sketch" is too often understood to mean a crude or sloppy freehand drawing in which no particular effort has been made. On the contrary, a freehand sketch should be made with care and with attention to proportion, clarity, and correct line widths.
Types of Sketches
Since technical sketches are made of three-dimensional objects, the form of the sketch conforms
approximately to one of the four standard types of projection, as shown above. In multiview
projection, (a), the object is described by its necessary views. Or the object may be shown
pictorially in a single view, by axonometric (isometric), oblique, or perspective sketches, (b), (c), and
(d), .
Sketches usually are not made to any scale. Objects should be sketched in their correct proportions
as accurately as possible, by eye. However, cross-section paper provides a ready scale (by
counting squares) that may be used to assist in sketching to correct proportions. The size of the
sketch is purely optional, depending on the complexity of the object and the size of paper available.
Small objects are often sketched oversize so as to show the necessary details clearly.
The most important rule in freehand sketching is keep the sketch in proportion. No matter how
brilliant the technique or how well the small details are drawn, if the proportions especially the
large overall proportions are bad, the sketch will be bad. First, the relative proportions of the height
to the width must be carefully established; then as you proceed to the medium sized areas and the
small details, constantly compare each new estimated distance with already established distances.
Technique of Lines
The chief difference between an instrument drawing and a freehand sketch lies in the character
or technique of the lines. A good freehand line is not expected to be as rigidly straight or
exactly uniform as an instrument line. While the effectiveness of an instrument line lies in exacting
uniformity, the quality of freehand line lies in its freedom and variety.
Conventional lines, drawn instrumentally, are shown in Fig. 6.5. The freehand construction line
is a very light rough line in which some strokes may overlap. All other lines should be dark and
clean-cut. Accent the ends of all dashes, and maintain a sharp contrast between the line thickness.
In particular, make visible lines heavy so the outline will stand out clearly, and make hidden lines,
centerlines, dimension lines, and extension lines thin.