with Section-Elevation and Computer Graphics Tony Bertauski THIRD EDITION Plan Graphics for the Landscape Designer
THIRD EDITION Plan Graphics for the Landscape Designer with Section-Elevation and Computer Graphics Tony Bertauski Trident Technical College
For information about this book, contact: Waveland Press, Inc. 4180 IL Route 83, Suite 101 Long Grove, IL 60047-9580 (847) 634-0081 [email protected] www.waveland.com Copyright © 2019, 2007, 2003 by Tony Bertauski 10-digit ISBN 1-4786-3726-9 13-digit ISBN 978-1-4786-3726-4 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without permission in writing from the publisher. Printed in the United States of America 7 6 5 4 3 2 1
iii Introduction vii Acknowledgments viii 1 The Landscape Design Process and Presentation Graphics 1 Landscape Designers’ Communication Tools 1 Hand Drawings Are Still Relevant 2 Presentation Graphics · · · · · · · · · · · · · 3 The Design Process 6 Summary 15 2 Tools 17 Drawing Surface 18 Paper · · · · · · · · · · · · · · · · · · ·19 Printing 20 Drafting Tape · · · · · · · · · · · · · · · ·22 T-Square 23 Triangles · · · · · · · · · · · · · · · · · ·25 Pencils 25 Lead for Mechanical Pencils 26 Pencil Sharpener · · · · · · · · · · · · · · ·27 Sandpaper Block 28 Erasers 28 Eraser Shield 29 Markers and Ink Pens · · · · · · · · · · · · ·30 Circle Template 32 Contents
iv Contents Compass 33 Beam Compass 34 Scale 35 Ames Lettering Guide 37 Dry Cleaning Pad 37 Brush · · · · · · · · · · · · · · · · · · ·38 Protractor 38 Curves 38 Parallel Glider · · · · · · · · · · · · · · · ·39 Summary 39 3 Line 43 Line Quality 43 Free Hand vs. Straight Edge 44 Line Weight 48 Summary 54 4 Lettering 55 The Art of Lettering 55 Guidelines to Good Lettering· · · · · · · · · · ·56 Lettering Styles 64 Summary 67 5 Symbols 69 The Basic Elements of Symbols 71 Drawing Symbols 77 Symbols Reflecting Plant Material 80 The Role of Symbols in the Design · · · · · · · ·95 Adding Shadows to Symbols 102 Summary 108 Symbol Appendix 110 6 Ground Plane 121 Textures Representing the Ground Plane 121 Textural Drawing Techniques 124 Ground Plane Components 131 Summary 144 Ground Plane Textures Appendix 145
Contents v 7 The Plan Drawing 149 Plan Drawing Elements 149 Plan Drawing Layout 154 Labeling · · · · · · · · · · · · · · · · · 163 Plant List 171 Sketches and Details 172 Summary 172 8 Color · · · · · · · · · · · · · · · ·175 Colored Pencils 175 Markers · · · · · · · · · · · · · · · · · 183 Summary 188 9 Section Drawing 191 Vertical Elements 192 Locating a Section Drawing on the Plan Drawing 192 Section-Elevation 195 Summary 207 10 Computer Graphics 209 A Brief History of Computer Graphics · · · · · · 209 When to Make the Switch to Computer Design · · 210 Advantages of Landscape Design Software 211 Imaging Software 212 The Imaging Process and Techniques 213 Creating the Ground Plane with Imaging 223 Plan Drawing Software 228 Three-Dimensional Modeling · · · · · · · · · 232 Plant Database 232 Cost-Estimator Software 238 Printing 238 Software Products 239 Summary 240 Appendix A Portfolio 243 Project Files 243 Photography 244 Copying the Plan Drawing · · · · · · · · · · 246 Appendix B Student Design 247 Preliminary and Master Plans · · · · · · · · · 248 Master Plans 260 Index 267
vii Introduction With the advancement of computers, drafting skills have dropped in demand. Design software has made it quick and easy to draw a design and make revisions. This is certainly the case with large, commercial landscape designs that often go through many changes. Software has made changing a design into a very simple, quick process that would require long hours of redrawing for a hand-drafted design. However, there are still many landscape designs drawn by hand and embraced by many landscape architects and designers as an art form. Drawing is closely related to art, which itself is a designing process. Thus, learning an artistic approach to creating a design helps support one’s understanding of the design process. In this book, students learn to develop a successful, functional landscape design with a loose, aesthetic appeal that will communicate to the client effectively as well as artistically. Many students come to an introductory landscape design class knowing very little about the design process, not to mention how to draw. To assume that they know what a T-square is and how to use it would be a mistake. Because many of the tools and techniques are simple, they are often overlooked for explanation. An introductory class has to start with the very basics so that students can build on the fundamentals in advanced classes. These skills are taught by instructors providing demonstrations and students completing exercises. However, a thoroughly illustrated guide would help students work without the assistance of the instructor, catch up on assignments they have missed, and also serve as a reference. Much of the feedback I have gotten from students has been for a good drawing text for class. Much of the drawing instructions are provided in the lab by the instructor with personal feedback. However, a text that students can refer to would greatly improve assignments done outside of class in addition to preparing students for the next class. In essence, what many students wanted was a clear guide showing how the tools work, how to create symbols and textures, and a stepwise approach from start to finish in the design process. This book starts at the beginning of the landscape design process and proceeds with a simplicity that will help beginning students. It also serves as a reference for symbols and textures, and provides students with the skills needed to create an aesthetically appealing plan drawing that communicates effectively.
viii Introduction New in This Edition Since the second edition, I have made note of techniques or concepts that students have difficulty grasping and areas I’ve felt need to be expanded, clarified, or included. I’ve added text and illustrations within each chapter, as well as: • Tips on working with digital copies • Additional drawing techniques for line, lettering, and texture • An expanded symbol library • Updated computer design techniques and products • Additional color development examples This edition includes additional student drawings at the end of the book illustrating many good (and some bad) techniques. This is to give you a concise overview of examples that implement the content of this text. Best of luck! Acknowledgments The author would like to thank those who made this book possible, including the following reviewers: Anne Spafford, North Carolina State University; Karen Midden, Southern Illinois University; and Patricia Lindsey, North Carolina State University. Also Doug Hihn, Monet’s Gardens in Charleston, for all the time, insight, and drawings he volunteered. Thom Hood, Good Earth Inc., who has been unselfish with his time for input. All the students who have given invaluable feedback and drawings. Mack Fleming and Sharon Coke of the Horticulture Program at Trident Technical College, who have been integral to its success. Tom Riccardi at Visual Impact software for allowing the use of software. And my wife, Heather, who has always supported this project; and my kids, Ben, the builder, and Maddy, the storyteller, who have kept things fun.
1 Objectives • Understand the role of presentation graphics in the landscape design process • Identify the different phases of the landscape design process • Understand the ultimate goal of landscape design Landscape Designers’ Communication Tools Before discussing graphics in a landscape design, let’s examine the purpose of the designer’s drawings. A landscape designer sketches ideas, draws plans, and in some cases creates elevated drawings in order to get his or her ideas across clearly to the audience. Most of the time, designing typically occurs in the form of a plan drawing. A plan drawing is a two-dimensional drawing of the design viewed from a bird’s-eye view, directly overhead. Above all else, the plan drawing serves as a tool to communicate the designer’s ideas. A copy of the plan drawing will be given to the client and the installation contractor. The client is the person(s) paying for the design services; the landscape contractor is the company implementing the ideas. The landscape contractor may or may not be affiliated with the designer. Therefore, the plan drawing has to be clear and concise as well as accurate. Sketches, section drawings, or computer images may accompany the plan drawing to present a more detailed portrayal of vertical design elements. Sketches and elevations often convey the visual aspects of a design to clients better than plan drawings. 1 The Landscape Design Process and Presentation Graphics
2 Chapter 1 Hand Drawings Are Still Relevant In the age of computer graphics, are hand-drawn landscape design still relevant? That’s a legitimate question. Computer-automated design programs can illustrate plans efficiently. Chapter 10 discusses those potential tools. Choosing whether or not to use a computer depends on numerous factors, including volume and scope of work, clientele expectations, and the designer’s computer skills. There are certainly situations in which computer designing is the superior method. However, computers have not rendered hand-drawn designs obsolete. Initial Investment Numerous computer programs can develop landscape designs (a summary of programs can be found at the end of chapter 10). The upside is primarily the savings in time. The learning curve and cost, however, varies widely. A professional landscape designer could easily spend thousands of dollars in hardware, software, and training. And that’s before they ever sell their first design. The initial investment for hand drawing is the cost of a pencil and a piece of paper. Designs, particularly residential designs, can easily be sold with a reasonable investment of time plus a few dollars in lead and paper. Design Process There’s an organic flow when designing by hand, an intimate relationship between the pencil in your hand and lines on the paper. Some designers even start their design process by sketching ideas before sitting down at the computer. Beginning students often develop design skills more quickly by hand drawing their ideas. Ideas are simpler to express. The curving flow of a bedline is easy to develop with a pencil. Translating that with a line tool on the computer can be restrictive and difficult. This free-flowing nature that accompanies hand drawing, in my experience, is a much more effective means to learn how to design. Artistic Presentation Some designers prefer the artistic expression of a hand drawing. It reads like a work of art that is sometimes framed and hung on the wall. It is more time-consuming than computer-automated design, but the end result often carries a more personal touch. The ability to draw well also implies a certain degree of skill. A designer may be very talented and proficient using the computer, but a complete lack of drawing skills may hamper their perceived ability. Even an introductory art class or landscape design class can avert an unjust assessment of one’s designing skills. Simplicity There may come a time when a designer needs to invest in computer design. This may be solely due to volume of work. He or she just can’t keep up with the time demands of hand drawing. However, the designer may not have the computer aptitude to make the transition or the time to invest in training. He or she may also find the ideas are just too hard to express on a computer when a pencil can do it in seconds. In these cases, hand drawings can still be rendered and subcontracted to graphic designers to translate.
The Landscape Design Process and Presentation Graphics 3 Volume of Work As previously mentioned, volume of work often dictates the need for computers. Designers committed to ten jobs a month or more would not be able to keep up with the demand by hand drawing plan designs. Computer-automated designs are quick to draw and easy to edit. They can be e-mailed for review and estimates produced with a touch of a button. However, small businesses can easily employ hand-drawn techniques for a few jobs a month without investing in expensive hardware, software, and training. Designs can be worked out with pencil together with the client or other designers at the office. The ability to draw implies a certain degree of design aptitude, and ideas can always be easily expressed as long as there’s lead in the pencil. On the other hand, infrequent use of computer software does not allow the designer to become sufficiently familiar with the commands needed to express an idea as simple as creating a curved line, and the flow from idea to design is broken. Presentation Graphics Clear, accurate plan drawings, whether hand-drawn or computer-generated, are used to sell the project to the client. The landscape contractor, on the other hand, just wants a clearly labeled plan to follow. A well-organized plan drawing is easy to read and looks professional. A plan drawing created with fully developed presentation graphics can present a concept with few words. A professional plan relays the overall design to the observer quickly and effectively with symbols and textures. Anyone, regardless of background, can look at a fully developed plan drawing and get a feel for the type of plants and the texture of construction materials in the design (Figure 1-1a-d). Plan drawings that rely heavily on verbal descriptions take more time and effort to understand, and the potential to convey the overall design concept is compromised. Compare this statement to advertisements. The visual impact of billboards and magazine inserts communicates a message instantaneously. Graphics present a message visually, rather than through a lengthy description, and convey the message to us quickly and effectively. The graphically developed plan drawing is efficient in the same way. Does Every Plan Have to Be Presentation Graphics? The degree of graphical development is based on the designer’s need. Certainly, presentation graphics take more time to complete and will not be feasible for every project. For instance, a small-scale freelance designer may simply sketch plan ideas with circles and lines on tracing paper for a steady client or a small job where he or she doesn’t need to sell the project. On the other hand, if a drawing is intended for a proposal or bid that will be presented to an owner or a board of directors, the designer will want to make a professional impression on the audience and spend the extra time on graphics and color. It certainly is up to the discretion of the designer, but the advantage of learning how to render presentation graphics is having a skill that makes the designer more marketable. Also, efficiency will develop over time and the quality of even quick sketches will improve dramatically. This text will be addressing the development of plan drawings intended for presentation and therefore will provide instruction to create a presentable format and artistic graphics. Graphics Only Aid Presentation Keep in mind that although presentation graphics are visually interesting, the ultimate goal of a landscape designer is to create a functional design Tip Box: Presentation Graphics Are Not a Substitute for Good Design The ultimate goal is NOT to draw a pretty picture. A successful design is one that is functional as well as aesthetically appealing.
4 Chapter 1 Figure 1-1 Presentation Graphics. Presentation graphics improve the readability of the design. (a) Preliminary plans graphically undeveloped; (b) presentation plans developed. (b) (a)
The Landscape Design Process and Presentation Graphics 5 Figure 1-1 Presentation Graphics (continued). (c) Preliminary plans graphically undeveloped; (d) presentation plans developed. (d) (c)
6 Chapter 1 with properly selected plants, in addition to a visually appealing one. A good landscape design addresses the need for changes established during the analysis. Any artist can draw a stunning portrait of a landscape design. But with little background in horticulture, this drawing may be functionally deficient, with shade plants growing in full sun. A good drawing does not necessarily make a good design. However, presentation graphics can help sell the design and enhance the designer’s professional reputation. People are often excited by a great drawing and often associate a good design with drawing ability. Impressive presentation graphics look good in a portfolio and appear professional. They are also more effective at communicating the overall design. The Design Process Although this text will focus on the development of presentation graphics, a brief overview of the design process is important to become acquainted with the steps a designer takes in order to arrive at the final drawings. Whereas other texts go into great detail on the theory of design, this text will dwell mostly on drawing. The purpose of this section is simply to familiarize you with the process of drafting and sketching and when presentation graphics are utilized. Client Interview The design process begins with meeting the client, which may be a couple looking to landscape their residence or a group of people wishing to landscape a commercial property. The interview allows the designer to understand the wishes of the client. It’s also an opportunity to present a portfolio of design work to the client to gain their trust and confidence. The portfolio will contain a collection of drawings and pictures of past work. Obviously, drawings that are well developed are more likely to communicate to the client a sense of professionalism and pride in the designer’s work. At this point in the design process, presentation graphics can help sell the designer to the client, especially if it is being bid against other designs. Several types of plan drawings are developed during the design process and not all of them are intended for presentation. Sketches are rough drawings that help the designer work through the design process and are not typically intended for presentation. Figure 1-2 Analysis. A graphic analysis of the strong and weak points of a site used to develop an effective plan of action.
The Landscape Design Process and Presentation Graphics 7 Site Inventory and Analysis Following the interview is the site inventory and analysis (Figure 1-2). Inventory is observing and recording what is already on site. From this information, the strong and weak points of the landscape are analyzed. The analysis establishes what changes must be made for the design to be functionally sound, such as screening out unsightly areas or facilitating circulation. All of these ideas are worked out through rough sketches and outlines. Concept Plan The concept plan is sometimes referred to as a functional diagram or bubble diagram (Figure 1-3). The concept plan starts with the site inventory and analysis and explores various approaches to organize the beds, screens, turf, sidewalks, entertainment areas, and so on in a number of ground plane designs. These alternative ideas are typically explored through a series of rough sketches. This step establishes the functionality of the design and provides the backbone for building the rest of the design. Preliminary Design The ideas from the analysis and concept plan are brought together to form a preliminary design (Figure 1-4). The preliminary design has a more detailed approach than the analytical/ concept phases. Plants and hardscapes (nonliving material) are drawn to scale and begin to form the design. It focuses on objects, not specific plant material, to form the elements that shape the design. The preliminary design is presented for review to get feedback and approval to continue on with the master plan. In some cases, it is developed for presentation to sell the design. In this case, the visual appeal of presentation graphics helps communicate the design concept. Smaller companies that design/build may not include this step in the presentation. In this case, a preliminary design may be a sketch to help work through different ideas and arrive at a master plan. Master Plan The master plan is the final detailed plan drawing (Figure 1-5). The term master plan can have various meanings, depending on the designer. In some cases, it is a detailed design without any specific labels and only communicates the overall design concept. In this case, the designer would use a planting plan (see next section) to label symbols for installation. Figure 1-3 Concept Plan. A preliminary drawing that organizes the ground plane.
8 Chapter 1 Figure 1-4 Preliminary Design. Following the analysis and concept plan, the preliminary plan arranges plants’ symbols in an organized ground plane without necessarily labeling anything.
The Landscape Design Process and Presentation Graphics 9 Figure 1-5 Master Plan. A completely detailed illustration of the layout of all plant and hardscape material.
10 Chapter 1 Figure 1-6 Construction Detail. Specification of installation techniques for the master plan. (a) Groundcover planting detail. (b) Specimen planting detail. (c) Tree slope planting detail.
The Landscape Design Process and Presentation Graphics 11 In other cases, the master plan is also used by the landscape contractor as the planting plan to install the design. If the designer uses the preliminary design as the presentation graphic, then the master plan may sometimes be less graphically developed. However, the master plan will be presented to the clients if the preliminary design has not. Other Plans and Drawings Included in a Design Construction details are drawings that specify construction techniques (Figures 1-6a-c). These serve as legal documents for installation and construction. They may include, but are not limited to, planting techniques of trees and shrubs, spacing of groundcover plants, paver construction, fence detail, or post installation. These serve more as a legal document for contractors to follow during installation. Planting plans are plan drawings that consist of simple symbols and labels that specify exact plant placement (Figure 1-7). Keep in mind that some designers, especially freelancers and smaller companies, combine the master plan with the planting plan. Layout plans show the measurements for ground plane areas, such as beds and sidewalks. Grading plans, also called contour plans or topography maps, show the slope of the land. Contour lines are drawn to show existing and proposed changes to the project. Contour changes are mostly used to promote surface drainage but may also be used to create a visual effect, such as the installation of retaining walls or planting berms. Figure 1-7 Planting Plan. Used by the landscape contractor to install the plants used in the final design. (Drawn in AutoCAD by Sandy Plance)
12 Chapter 1 Irrigation plans are a schematic of the layout and parts needed for the irrigation system (Figure 1-8). Other drawings include sketches, sections, or perspectives of the proposed design to help the client better visualize the design ideas (Figure 1-9a and Figure 1-9b). Chapter 10, on computer graphics, includes figures that illustrate how imaging software can be used to develop photographs of the project site with three-dimensional visual effects (e.g., Figure 1-10a and Figure 1-10b). This is a great advantage; unlike sketches, sections, and perspectives, the realism of the drawing does not depend on the designer’s ability to draw. Instead, an actual photo of the design is presented. Figure 1-8 Irrigation Plan. A separate plan that presents the specifications for the installation of an irrigation system. (Drawn in AutoCAD by Sandy Plance)
The Landscape Design Process and Presentation Graphics 13 Figure 1-9a Plan Drawing and Cut Line. The section view is indicated by the cut line. The arrows indicate the viewing direction shown in the illustration below. Figure 1-9b Section-Elevation. The designer’s interpretation of the plan drawing. This elevated view gives the client an idea of the plan. (Drawn by Sarah Thornby) (a) (b)
14 Chapter 1 Figure 1-10a Before Imaging. This is the original photo. Figure 1-10b After Imaging. This is the graphic designer’s interpretation of the plan, created using imaging software. (Created by Nate Dubosh) (b) (a)
The Landscape Design Process and Presentation Graphics 15 Summary The design process determines how plan graphics are developed. In some instances, drawings help the designer work through ideas to achieve a final design. These sketches serve the designer as a way to explore and organize ideas. Other drawings serve as blueprints and legal documents for installation. Drawings that are presented to clients can help the designer communicate the design concept and ultimately sell the design. Well drawn, fully developed plans promote a sense of professionalism and build a positive reputation. However, the drawing is not the ultimate goal of the design process but, rather, the design itself. Key Words analysis a preliminary stage in a landscaping project in which the strong and weak points of the landscape are assessed. bubble diagram see concept plan. client the person, couple, or committee rendering the services of a landscape designer. concept plan a drawing of the ground plane organization that establishes the functionality of the design. construction details drawings that specify construction techniques. functional diagram see concept plan. imaging software a computer program utilized to render a picture of a design. irrigation plans drawings used to lay out and specify elements of an irrigation system. landscape contractor a company that installs a landscape design. layout plans drawings that show the measurements for the layout of the ground plane. master plan a detailed final plan drawing in which all plantings are labeled and hardscape materials are specified. perspective a sophisticated drawing rendered from a ground-level viewpoint to illustrate vertical elements in a realistic approach utilizing the horizon line and a vanishing point. plan drawing a two-dimensional bird’s-eye view of a design drawn from directly overhead. planting plans a plan drawing that shows exact plant placement. preliminary design a refinement of the concept plan drawing that focuses on objects, not specific plant material; plants and hardscapes are drawn to scale and form the elements of the design.. section an illustration technique used to portray a side view of the vertical elements of a design by establishing a cut line (see example in figure 1-9 and Chapter 9). site inventory observing and recording what is already on site. sketches rough drawings to illustrate the elements of a design.
17 Objectives • Learn about the drafting tools and materials used to draw plan drawings • Understand techniques of using the basic tools required for the beginning design student • Learn tips and techniques for using drafting tools Although much of the landscape plan is freehand drawing, drafting tools are necessary to be efficient and accurate. Drafting tools make it easy to draw horizontal and vertical lines, circles, and duplicate angles; locate points on the plan; and efficiently erase mistakes. Also, since the master plan, planting plan, or layout plan will be used to locate material during installation, it is equally important that the plan be drawn to scale so that it reads correctly like a blueprint. While there are many great tools for drafting, beginning students don’t need to purchase all of them to get started. This chapter will present the basic tools used to draw landscape designs. Please note that essential tools will be noted as required for beginning students to get started, while other tools will be noted as additional tools that can be helpful but are not necessarily required for the beginning student. Essential Tools Drawing surface—smooth, with straight edge Paper— tracing paper, vellum, Mylar®, grid paper, bond paper Drafting tape T-square Triangles—45/90 and 30/60 Pencils—wooden graphite drawing pencils (4H, 2H, H, HB, 2B) lead-holders mechanical pencils (0.5 and 0.7 mm) Leads for mechanical pencils—4H, 2H, H, HB, 2B Pencil sharpener Erasers—plastic or Pink Pearl® Circle template Compass Scale—architect and/or engineer Carrying tube 2 Tools
18 Chapter 2 Drawing Surface (Essential) Any table can serve as a drawing surface as long as it has two important characteristics. The first is a smooth surface with no cuts or bumps. Any irregularities in the drawing surface will show through to the paper and ruin lines (Figure 2-1). The second is a straight edge to slide a T-square along and draw horizontal lines (Figure 2-2). If the drawing surface has a square corner (90 degrees) with straight edges across the top and down the side, then the T-square can be used to draw vertical lines that are perpendicular to the horizontal lines. Figure 2-1 Drawing Surface. Rubbing an art stick over a piece of paper on the drawing surface reveals its smoothness, which can affect the quality of drawing. (a) Drafting table; (b) kitchen table. Figure 2-2 Table Edge. Square corners and straight edges are important to draw horizontal and vertical lines with a T-square and triangle.
Tools 19 Drafting tables are the preferred drawing surface for many designers because tools can be stored in the tray at the bottom edge of the table and the desktop can be raised, lowered, or tilted for comfort (Figure 2-3). Some drafting tables have a drafting mat covering the drawing surface to protect it. Drafting desktops that are portable are also an option (Figure 2-4). Paper (Essential) There are several kinds of drafting paper (Figure 2-5). Tracing paper, sometimes called trash paper, onionskin, or bumwad, is a thin, translucent paper used to sketch ideas. It is a low-quality paper sold in rolls 12″ to 36″ wide that comes in white, yellow, or buff and is often placed over the site plan to work out different designs during the initial analysis or concept plan phases. It is the least expensive paper and lots of it should be kept on hand. Figure 2-3 Drafting Table. A drawing table with a smooth surface and adjustable height and angle. Figure 2-4 Portable Drafting Table. A drawing surface can be easily transported.
20 Chapter 2 High-quality paper is preferred for the final draft because it has better reproduction quality and longevity. Vellum paper, or rag vellum, is translucent and can be placed over previous drawings to trace. It is more expensive than tracing paper and can be purchased in individual sheets or in rolls. Vellum is primarily used for lead drawings because ink does not erase easily. Mylar® is a registered trademark owned by DuPont Teijin Films for specific types of stretched polyester plastic sheeting. Used generically, the word “mylar” refers to a high-quality drawing medium that is actually a thin sheet of plastic drafting film. It is heavier than vellum and has better longevity and reproduction quality. It often comes with a glossy side and a rough (matte) side. Drawing is done on the rough finish. Mylar is expensive and is primarily used for ink drawings because it can be erased easily with an ink eraser. Plastic lead can be used on mylar with minimal smudging. Grid paper has non-photo blue lines laid out in squares over the paper. The grid can be used to draw to scale because the size of the boxes is consistent. For instance, the boxes may be 1/8″ wide and tall, which would be convenient if the scale of the plan were 1/8″ = 1′. The grid lines will not show up on a print. Some designers like to use grid paper in preliminary drawings because it is easier to assess the scale. Bond paper is standard-weight paper, like that used in home printers. It is primarily used for copies rather than the actual drawing. Printing A blueprint, by definition, is “any carefully designed plan.”Blueprinting, however, as it was originally done, produced a negative copy of the original with white lines on a blue background, thus the name blueprint. The original blueprinting process is no longer used to produce copies. Although losing favor, diazo production is still done, but much less frequently. Diazo copies utilize ultraviolet light and ammonia vapor to produce blueline or blackline prints that are true reproductions with the prospective line color on a white background. The color of the line was mostly a preference of the designer. However, the title of blueprinter is now being replaced by reprographer because reprographics—the digital reproduction of plans—is the most common form of printing. Reprographics, also Figure 2-5 Paper. Trash, or tracing, paper used to work out ideas and take notes; vellum paper, high-quality paper used for lead drawings; Mylar®, high-quality film used for ink drawings. Tip Box: High-Quality Paper Vellum is primarily used for lead drawings. Mylar® is expensive and is primarily used for ink drawings.
Tools 21 Tip Box: Grid Paper Is Very Convenient Grid paper is worth the slight increase in cost. The nonreprographic lines make scaling quick and easy. The lines also provide limitless guidelines for drawing and lettering. Tip Box: Carrying Tubes Drawings are easily, safely transported if they are rolled up and inserted into carrying tubes. Use either a professional carrying tube made of plastic with a carrying strap or a simple, inexpensive, heavy cardboard postal tube. Begin rolling the drawing facing out at the edge opposite the title bar. This way, the title bar will be visible on the outermost layer and the curl of the unrolled plan will remain flat against the table. To avoid smudging, wrap a blank sheet of paper around the rolled drawing before inserting it into the carrying tube.
22 Chapter 2 referred to as xerographics (xero- means “dry” and graphy- means “write”) is preferred because, even though the equipment is expensive, it is more efficient and there is no need for dangerous chemicals. The original drawing is scanned and saved into the computer system as a digital file that can be printed at any dimension. Copies, often referred to as prints, are given to the client and the contractor. The original should be kept by the designer in storage and not handled on site. Copies are often obtained at a blueprinting company that specializes in reproducing architectural plans, although printing technology has improved so much that quality prints can be obtained at commercial copy stores such as FedEx Office and Copy Max. In most cases, a copy will be printed on bond paper, but if high-quality paper is needed, blueprinting companies can print on vellum or mylar. Cost of Black and White vs. Color Generally, a black and white copy is all that most projects will require. For a full sheet (24″ × 36″), a bond paper copy will cost only a few dollars. Color prints are occasionally required for presentations. In this case, a designer would make a black-and-white copy of the original design to further develop with colored pencils or markers. A full-color scan of the finished product could then be printed in full color. With today’s reprographics, the quality of the copy is very good and reasonably priced. Uploading for Copies Large-format printers are big and expensive. Most designers will take their projects to a reprographer, or blueprinter, to provide affordable copies as needed, avoiding the overhead of equipment and supplies. Most companies provide pick-up and delivery services, although some reprographic vendors require the designer to drop off and pick up the project. One advantage to computer designing is the ease of submitting drawings for printing. Designs-inprogress can be printed on a standard office printer for review, typically reduced to fit on 8.5″ × 11″ paper. The finalized project file can be submitted online to a reprographer to print at scale (full page, 24″ × 36″). Many companies provide same-day printing and delivery. At the very least, the designer will have to pick up the prints when the job is completed. Drafting Tape (Essential) Low tack drafting tape and drafting dots are used to anchor the corners of the paper onto the design table (Figure 2-6). Dots are packaged on a strip of paper that is rolled inside a box that dispenses them from one end as the paper strip is pulled from the other. A small roll of masking tape can be used as well, although it tends to be very sticky and can rip the corners. Another disadvantage to using regular masking tape is it tends to roll over as the T-square is pulled over it. If the tape is too sticky and is ripping the corner of the paper, dull the adhesive side with lint from your clothing or rub each piece in the palm of your hand or on your forehead to pick up the oil from your skin. Tip Box: Dulling Sticky Tape To dull excessively sticky tape and avoid tearing the corners of the paper, pick up some lint on the sticky side by applying the tape to your clothing and peeling it off, or rub the adhesive side in the palm of your hand or on your forehead. Tip Box: Test Print Take your plan drawing to make a test print to see how well your lines show up on the print in comparison to the original.
Tools 23 T-Square (Essential) The T-square provides a guide for a horizontal line anywhere on the page by placing the head of the T-square on the edge of the drafting table and sliding it up and down (Figure 2-7). Consistent horizontal and vertical lines can be quickly drawn with this tool. Placing the head of the T-square across the top of the table provides a guide to draw vertical lines. Wooden T-squares have 1/2″ clear plastic Plexiglas® strips on the drawing edge. Steel T-squares have ruler measurements engraved on the straight edge and are commonly used by engineers. The T-square is especially helpful if the plan is removed from the table. When the plan is again placed on the table, it can be aligned to the original working position. Figure 2-6 Drafting Dots. Dots (top) or tape (bottom) is used to anchor the corners of the drawing. Figure 2-7 T-Square. Wooden (above) and steel T-squares.
24 Chapter 2 Holding the T-Square When drawing a line on the T-square, hold the head firmly against the table with the nondrawing hand (Figure 2-8). Squaring the Paper In order to draw horizontal lines parallel with the bottom and top of the paper, the paper must be squared to the T-square (Figure 2-9). First set the T-square on the drafting table with the head firmly against the side edge. Now place the paper on the straight edge so that it conforms along the entire length. Now tape the corners of the paper in place. Be sure to smooth out all bubbles and wrinkles when taping down the paper. Drafting tables can have a mobile straightedge parallel rule attached to the table edge, which looks and functions like a T-square but slides up and down on cables (Figure 2-10). Figure 2-8 Holding the T-Square. Hold the head firmly with the nondrawing hand. Figure 2-9 Squaring the Paper. Square the paper to the T-square so that drawn lines will be parallel to the edge of the paper. Figure 2-10 Parallel Rule. A horizontal bar may be attached to the drafting table that slides up and down like an attached T-square.
Tools 25 Triangles (Essential) There are two standard triangles: 45/90-degree and 30/60-degree (Figure 2-11). Triangles are made of transparent material to see the paper underneath and they come in different sizes. They are very handy as a straightedge because of their smaller size, and they provide a 90-degree corner to draw square corners. Triangles can be used in conjunction with the T-square to draw vertical lines (see Figure 2-2). With the T-square in place, put the square corner of the triangle on the T-square to draw a vertical line along its edge. The triangle can also be used to draw lines at a 30-, 45-, or 60-degree angle from a base line. There are also adjustable triangles that can be set to various angles. Pencils (Essential) Any of the following tools can be used to draw with lead. • Drawing pencils are wooden pencils without an eraser at the end (Figure 2-12). They are a convenient way to draw and are inexpensive and easy to handle. • Lead-holders operate like a mechanical pencil but hold larger sticks of lead (typically 2 mm and up) that can be sharpened to a fine point and used to draw very sharp lines (Figure 2-13). Leadholders are versatile because it is easy to switch leads of different hardness. • Mechanical pencils are sized to hold various thicknesses of lead (from 0.3 – 0.9 mm) and do not need to be sharpened (Figure 2-14). Because the lead is thin, it tends to break when too much pressure is applied, especially when it is smaller than 0.5 mm. Figure 2-11 Triangles. A 45/90-degree triangle (left) and a 30/60-degree triangle (right) for drawing angles and straight lines. Figure 2-12 Pencils. Various leads are used to draw lighter or darker lines.
26 Chapter 2 Lead for Mechanical Pencils (Essential) For the beginner, the great advantage to using lead is that it is very forgiving. Mistakes can be easily corrected. The disadvantage is weak reproduction, especially if lines are too light. Beginning students should test-print their drawings to learn how to draw line weights with good reproduction quality. Lead comes in degrees of hardness and softness. H lead is hard lead that draws thin, lighter lines and is often used for general drawing. A number before the H indicates the degree of hardness; the higher the number, the harder the lead. The advantage to harder lead is that it maintains a sharp point and does not smudge. 4H is used for guidelines and 2H is often used to draw details and sometimes letters. B lead is softer lead that draws thicker, darker, heavy-weight lines. The higher the number before the B, the softer the lead. Because it is softer it smudges easily, and a wooden drawing pencil requires frequent sharpening. HB is used to draw shadows and create contrast, and is sometimes used for general drawing. Occasionally, 2B is used, but it should be used with caution because it smudges so easily. A piece of smooth tracing paper placed under the drawing hand will shield the drawing from hand movements that will smear the soft lead. Types of Lead Standard leads are made of graphite. Plastic leads are used to draw on mylar film to avoid smudging. Figure 2-13 Leads. Narrow sticks of drawing material (usually graphite) are loaded into leadholders (pictured) or mechanical pencils. Figure 2-14 Mechanical Pencils and Lead. Lead hardness and thickness can be varied. Tip Box: Commonly Used Leads 4H, 2H, H, HB, and sometimes 2B are the pencil leads must commonly used.
Tools 27 Non-photo Blue Pencil (Additional) The lines and writing made with a non-photo blue pencil do not show up on a reprographic print. It is useful for drawing lettering guidelines or writing comments on the original plan. Pencil Sharpener (Essential) Keeping pencil lead sharp is important, so have a quality pencil sharpener on hand for wooden drawing pencils. Lead-holders also require a lead pointer to sharpen the 2-mm pencil leads (Figure 2-15). Figure 2-15 Lead Pointer. A tool designed to sharpen the 2-mm leads used in a lead-holder. Tip Box: Mechanical Pencils Are Very Convenient Mechanical pencils (at left in photo) are easy to use and keep a quality tip. A designer will only need a few mechanical pencils (usually 0.5 mm and 0.7 mm) loaded with either H or 2H lead for most of their design needs. Drawing pencils (at right in photo) need frequent sharpening to keep consistent, quality lines.
28 Chapter 2 Sandpaper Block (Additional) A sandpaper block is a small, narrow pad of fine sandpaper sheets mounted on a narrow piece of wood with a handle. It is used to keep a sharp point on the thick leads used in lead-holders and also to sharpen drawing supplies such as charcoal, pastel, or crayons that do not fit into a conventional pencil sharpener (Figure 2-16). Erasers Essential Erasers With any eraser, be careful when erasing lines drawn with soft lead because they smear and cause a smudge spot that is hard to remove (see eraser shield). Plastic erasers, which are commonly white, are frequently used to erase lead (Figure 2-17a). As lead builds up on plastic erasers, it can be washed off to prevent it from smudging the paper. Also, cutting the eraser with a knife can sharpen the edges. Pink Pearl® erasers with a beveled edge are a perennial favorite among artists and offer smudge-free erasing. Figure 2-16 Sandpaper Block. Additional Tools Non-photo blue pencil Sandpaper block Erasing tools—stick eraser, electric eraser, ink eraser, kneaded rubber eraser Eraser shield Markers in assorted colors—round-tip, chisel-tip, pigment liners Ink pens in assorted colors—0.5-, 0.8-, and 1.0-mm thickness Beam compass Ames lettering guide Drafting dry cleaning pad Brush Protractor Curves—flexible, French Parallel glider
Tools 29 Additional Erasers A stick eraser is a cylinder of eraser material used in a hand-held, retractable holder for more control (Figure 2-17a). An electric eraser holds a stick eraser and spins it at high speed for effortless, efficient erasing (Figure 2-17b). Not only do electric erasers save wear on your hand but also will reduce the smudging that can happen with larger block erasers. Ink erasers are embedded with a solvent to erase ink. They are often a blue or yellow color and work as well as a handheld block eraser or an electric eraser. Kneaded rubber erasers can be molded into shape like putty (Figure 2-17a) and used to lift the soft lead dust from a line, which would otherwise smudge, before using a hard eraser. Kneaded erasers are great tools to cautiously dab onto a line that has been drawn too dark or to lift off excess lead and lighten a line without erasing it. However, be careful! This can cause inconsistent line weights. Eraser Shield (Additional) A thin, flexible metal template with various holes—called an eraser shield—can be used to mask other lines that are not being erased (Figures 2-18a and b). This is especially helpful when erasing a line that is very close to other lines. Without the shield, the other lines would be smudged. Although it is not an essential tool for beginners, it is so inexpensive that it is worth including it in a set of drawing tools. Figure 2-17 Erasers. (a) Various erasers (starting left, moving clockwise): stick, kneaded rubber, and plastic. (b) An electric eraser rotates a stick eraser at high speed. (a) (b)
30 Chapter 2 Markers and Ink Pens (Additional) Markers and ink pens may be used in addition to lead, although they are not required for the beginning student. They provide excellent line quality. The contrast of black lines on white paper creates a very clean and legible document. Be sure the ink is dry before moving tools across it. Wet ink will smudge and ruin a drawing. Markers Round tips are great for heavyweight lines. Chisel tip markers are good for drawing wide lines (Figure 2-19). Professional felt-tip marker sets have markers with a tip on both ends (Figure 2-20). One end has a fine tip that can be used for detail. The other end is a chisel tip that can be used to draw 1/4″ lines or lines only 1/8″ wide. Some professional markers come with interchangeable tips in a variety of line widths. Figure 2-18 Eraser Shield. A thin metal plate used to cover lines that are not intended to be erased. Figure 2-19 Marker Tips. Round tip (left) and chisel tip (right).
Tools 31 Ink Pens Technical pens are fitted with hollow metal tips, or nibs, and an ink reservoir (Figure 2-21a). The nib tips come in various diameters, measured in millimeters, to produce different line weights (Figure 2-21b). In the past, technical pens were relatively expensive but have become much more affordable and easier to use. Today’s pens utilize ink cartridges rather than a reservoir, thus avoiding the mess of refilling the reservoir from an open bottle. Pens are held upright and used with light pressure when drawing (Figure 2-22). Sets include pens with nibs sized from very narrow (0.10 mm) to wide (2.0 mm), although only a few are essential (i.e., 0.5, 0.8 and 1.0 mm). Pigment liners are fiber-tip markers that come in sets offering a range of line widths (Figure 2-21c). Similar to technical pens, they are relatively inexpensive and disposable. Unlike technical pens, the tips of liners tend to flatten on one side and should be rotated when drawing to maintain a consistent line width. Five-pen sets are available that include tips ranging from .005 mm to .08 mm. Figure 2-20 Professional Marker. Fine writing tip (left end) and chisel tip (right end). Figure 2-21 Technical Pens and Felt-Tip Liners. (a) Technical pens can be refilled with ink. (b) The nib tips of technical pens are sized to a specific line width, measured in millimeters. (c) Professional double-ended felt-tip liners are disposable. (a) (b) (c)
32 Chapter 2 Circle Template (Essential) A circle template is used to draw circles of various sizes (Figure 2-23). The diameter of the circles on the template usually measure in a range from 1/16″ to 2-1/2″, although larger-sized templates are available. It is a very valuable tool for quickly drawing circles to scale. Figure 2-23 Circle Template and Compass. Tools used to draw circles. Figure 2-22 Drawing with Technical Pens. Technical pens should be held upright at a 90-degree angle to the paper.
Tools 33 Compass (Essential) A compass is used to draw large circles. This is a tool with a sharp-pointed leg to anchor in the center of the circle and another leg with a short piece of lead or a mechanical pencil at the end. When the compass is twirled around the point, the lead draws the circle (Figure 2-24). The width between the two legs is adjustable, often by means of a knob near the top. Circles can be drawn to scale by holding the compass legs to the scale and adjusting the distance between the point and the lead to equal the radius of the circle (see Tip Box: Drawing Circles to Scale). A compass extender bar can be attached to the compass leg to draw larger circles. The bar simply clips onto the leg of the compass to widen the arc. Figure 2-24 Compass. Anchor the sharp end of the compass in the center of the circle. Tip Box: Drawing Bedlines Large circle templates can be used to draw smooth bedlines with a very nice flow by using the circles to connect various arcs.
34 Chapter 2 Beam Compass (Additional) Many large-scale plans will require points that exceed the limits of a compass. This is especially true when drawing base maps. A beam compass is a tool that can draw points the length of a full sheet (Figure 2-25). It is designed as a flat bar mounted with two sliding components—one with an anchoring point and the other with lead. The components can be adjusted along the bar and locked in place. Figure 2-25 Beam Compass. Tip Box: Sharpening Compass Lead Sharpen the lead by flattening one side against scratch paper or a sandpaper pad. Mount the lead with the sharpened side facing the pointed leg of the compass, as shown. Tip Box: Drawing Circles to Scale Hold the compass up to the scale to adjust the radius (half the diameter of the circle). If the scale were 1/8″ = 1′, then this compass would draw a circle with a radius of 15′ (30′ diameter).
Tools 35 Scale (Essential) A scale is a ruler with units that represent feet in the plan drawing (Figure 2-26). It is critical to use it properly so that the plan drawing is accurate. There are two types of scales: architect and engineer. An architect scale is based on unit divisions of an inch (Figure 2-27). For instance, the plan may be drawn so that every 1/4″ is equal to 1 foot. Many designs drawn with an architect scale use 1/8″ scale = 1 foot, although it will depend on the scope of the project and the size of the paper. The nice thing about working with increments of an inch is that a ruler can be used if an architect scale is not available. An architect scale can be confusing to use at first because it utilizes unit measurements running in both directions. It is marked in increments of an inch starting on the left side of the scale and running to the right, as well as increments of an inch starting on the right and running to the left. For instance, Figure 2-26 Scales. Engineer (top) and architect (bottom). Figure 2-27 Architect Scale. Units of an inch; 1/8″=1′.
36 Chapter 2 you will find the 1/8″ measurement on the left side of the scale. Every increment is 1/8″ wide, but only every fourth increment is numbered. If you start at the “0” mark and count every line going to the right, you will find the “4” is on the fourth 1/8″ increment. On the right side opposite of 1/8″ is the 1/4″ scale. Notice it is double the increment of 1/8″. Since it is double 1/8″, every other line will be used as the 1/4″ increment. To use the 1/4″ scale, start at the “0” and go left along the scale. Notice that every other line is longer and numbered running left. When measuring lines that are less than 1 foot, the incremental block that comes before the “0” is used (Figure 2-28). If drawing a 3.25-foot line using a 3/4″ scale, the line would extend three 3/4″ increments to the right of the “0”; the remaining 0.25′ would be measured and drawn using the smaller increments to the left of the “0.” An engineer scale is based on decimal scale divisions of an inch (Figure 2-29). The 10-scale has 10 evenly spaced increments per inch, the 20-scale has 20 increments per inch, and so on. In most cases, each increment equals one foot. Therefore, if using a 10-scale, where every inch has 10 increments, the scale is 1″=10′. Figure 2-28 Architect Scale. Smaller marked increments left of the “0” mark measure lines that are a fraction of a foot. The line drawn above represents a 3.25′ line. Figure 2-29 Engineer Scale. Decimal scale divisions per inch.
Tools 37 Unlike the architect scale, the engineer scale starts on the left side of the scale and runs only to the right. There are 6 scales: 1:10, 1:20, 1:30, 1:40, 1:50, and 1:60. Ames Lettering Guide (Additional) The Ames lettering guide is a template used to create guidelines for hand lettering by sliding it along the edge of a T-square (Figure 2-30). Guidelines are drawn at the bottom and top, and sometimes at the midline, so that letters will appear consistent in size and direction. Dry Cleaning Pad (Additional) What looks like a rosin bag is actually a bag filled with bits of eraser. Use the dry cleaning pad to dust your paper before drawing to reduce smudging of lines (Figure 2-31). Some designers do not care to use a dry cleaning pad because those bits of eraser can affect line quality and even show up on the print. Figure 2-31 Dry Cleaning Pad. Eraser bits contained in the bag are sprinkled over the drawing to reduce smudging. Figure 2-30 Ames Lettering Guide. Used to draw guidelines for writing consistently sized letters. Tip Box: Common Scale When using an architect scale, 1/8″ scale (1/8″= 1′) is commonly used. For an engineer scale, the 10-scale (1″ = 10′) is common. The scale actually used will depend on the project scope and size of the paper.
38 Chapter 2 Brush (Additional) A brush is used to remove eraser bits and other debris from the paper without smudging lines (Figure 2-32). Using your hand to brush off paper has a tendency to smudge lines. Some prefer to use a clean rag, although the brush is less likely to smudge. Protractor (Additional) A protractor is used to measure and draw angles (Figure 2-33). This is vital when increasing the scale of property lines. By duplicating the angles, the information is transferred accurately. Curves (Additional) A flex curve is a flexible plastic stick formed by hand into a curved shape (Figure 2-34a). It is usually 12″ to 18″ long, sometimes with a ruler printed on the side that can be used to measure the length of a curving line. It can be used to draw flowing bedlines or connect points. A French curve is a rigid, clear plastic template formed of arcs of various sizes to use as guides to draw curved lines (Figure 2-34b). Figure 2-33 Protractor. A semicircular tool used to measure angles. Figure 2-32 Brush. A drafting tool used to remove debris from a drawing without smudging.
Tools 39 Parallel Glider (Additional) A parallel glider is a straightedge fitted with rubber wheels that grip tightly to the paper and let the edge be pulled evenly across the paper to draw parallel lines (Figure 2-35). Summary There are numerous drawing tools a landscape designer can purchase. Many of these tools are essential for drawing an accurate plan, which is critical to producing a drawing that will be used to lay out and install plants and other materials. This chapter has presented tools that are used in drafting the plan and has noted which ones should be considered essential for the beginning student, without which drafting would be very difficult. Other tools are described as additional, meaning that, although helpful, they are not essential to drafting. A number of tools help maintain crisp, quality lines and reduce smudging, such as a dry cleaning pad and brush. Pencil lead is the easiest drawing medium to use for beginning students because it is very forgiving. Exercises and sketching are done on tracing paper, while final plans are done on higher-quality paper such as bond paper or vellum. Drawings done in ink or plastic leads on Mylar® polyester sheets are a durable but expensive alternative. Figure 2-35 Parallel Glider A straightedge on wheels for drawing parallel lines. Figure 2-34 Curves (a) A flex curve is a drawing tool that can be molded into shape by hand to draw any curve. (b) A French curve is a rigid plastic template for drawing various curves. (a) (b)
40 Chapter 2 Drafting quality is improved with several tools used to produce consistent straight lines, such as drafting tables, T-squares, triangles, and parallel gliders. Circles are drawn with a circle template and compass, while curves are drawn with the aid of a flex curve and French curve. Plan accuracy is assured by using scale drawing units to represent plan feet in inch measurements. And, finally, it is important to test the reproduction quality of your drawing and to be familiar with the different types of prints, whether copies are presented to the client or handled in the field. Key Words 30/60 degree a drafting triangle with 30-degree, 60-degree, and 90-degree corners. 45/90 degree a drafting triangle with two 45-degree corners and one 90-degree corner. Ames lettering guide a template used to draw lettering guidelines by sliding evenly spaced holes across a T-square. architect scale a scale designed to determine dimensions based on unit divisions of an inch (1/4" = 1 ft, 1/8" = 1 ft, etc.). B lead designates a soft pencil lead suitable for making dark lines that are, however, more prone to smudging; the higher the number, the softer the lead (2B, 4B, 6B, etc.). blackline see diazo. blueline see diazo. blueprint any carefully designed plan or the original blueprinting process (see also blueprinting). blueprinting the original blueprinting process produced a negative copy of the original with white lines on a blue background. blueprinting company a printing company that specializes in reproducing architectural plans. bond paper standard-weight “computer” paper. brush a drafting tool used to whisk away eraser bits and other debris from paper without smudging the drawing. bumwad see tracing paper. carrying tube a protective cardboard or plastic tube used to transport rolled drawings. chisel-tip markers felt-tip (chisel-shaped) drawing tools sized to draw wide or narrow lines. circle template a plastic template used to accurately draw circles of various sizes. compass an adjustable two-legged drawing instrument with a pointed anchor leg and a drawing leg having a piece of lead mounted at the end that is dragged in rotation around the anchor leg to draw large circles. compass extender a rod or bar attached to the leg of a compass to lengthen it for drawing larger circles. diazo a printing process that utilizes ultraviolet light and ammonia vapor to produce blueline or blackline prints that are true reproductions, with the prospective line color on a white background. drafting desktops adjustable, portable drawing surfaces. drafting dots small, removable adhesive circles used to anchor the corners of drawing paper onto the design table. drafting mat a smooth, durable vinyl sheet that protects a drawing surface and provides a smooth, cushioned drawing surface. drafting table the preferred designer drawing table, with a drawing surface that can be raised, lowered, or tilted to adjust for comfort.
Tools 41 drafting tape low-tack adhesive tape used to anchor the corners of drawing paper onto the design table while allowing easy removal. drafting tools instruments and materials used to draft a landscape design plan. drawing pencils wooden pencils, available with leads of various hardness, without any eraser at the end. drawing surface a flat surface with the two important qualities of smoothness and straight edges. dry cleaning pad a cloth bag filled with bits of eraser that is dusted onto your paper before drawing to help reduce smudging. electric eraser a hand-held battery-operated tool that spins an eraser stick at high speed to erase accurately and efficiently. engineer scale a scale designed to determine dimensions based on unit divisions of an inch in multiples of 10 (10-scale = 10 ft per inch, 20-scale = 20 ft per inch, etc.). eraser shield a thin, flexible, metal template with holes of various sizes and shapes for erasing small areas while masking other areas of the drawing that are not being erased. felt-tip markers fiber-tipped markers of varied quality and line widths that come in color sets; they are relatively inexpensive and disposable. flex curve a soft plastic ruler with a flexible metal core that can be set to curved shapes. French curve a clear plastic template with various scroll-shaped edges to guide drawing lines of varying curvatures. grid paper paper with non-photo blue lines laid out in a grid pattern that can be used to assess scale; grid lines will not show on a print. H lead designates a harder pencil lead, used to draw thin, light lines that are less prone to smudging; the higher the number, the harder the lead (2H, 4H, 6H, etc.). ink erasers erasers embedded with a solvent that will erase ink. kneaded erasers erasers that can be shaped like putty; used to pick up excess graphite dust from a soft line to be erased by a hard eraser, to help avoid smudging. lead typically a graphite stick available in various degrees of hardness and softness for use in drawing pencils. lead pointer a rotary hand-held sharpening device used to sharpen the tips of 2-mm sticks of lead used in a lead-holder. lead-holder a drawing tool that holds larger-diameter sticks of lead that can be sharpened to a fine point to draw very sharp lines. masking tape high-tack adhesive tape that can be used to anchor corners of paper to a drawing surface if the sticky side is dulled to allow for removal without ripping the paper. mechanical pencils drawing instruments calibrated to hold various thicknesses of lead (from 0.5 mm to 0.9 mm) that do not need to be sharpened. Mylar® a trademark registered to DuPont Teijin films for their polyester drawing film products. Used generically to refer to high-quality polyester drafting film that is heavier than vellum and has greater longevity and higher reproduction quality. non-photo blue pencil used to draw lines will not show up on a camera film print or Xerox copy. onionskin see tracing paper. parallel glider a straightedge fitted with rubber wheels that grip tightly to the paper to guide the edge as it is pulled evenly across the paper to draw consistently parallel lines.