TECHNICAL DRAWING 1

UNIT OF COMPETENCY: PREPARE FREEHAND DRAWING

INTRODUCTION
Drawing is the international language of arts and designs. This is the best way an engineer,
architect, or designer can express his ideas to other people.

DEFINITION OF TECHNICAL TERMS

Technical Drawing – an academic field of making standardized drawings that provide a complete or partial plan
and details of the objects to be built or to be constructed

Freehand Drawing – a way or process of drawing done without the use of any drawing instruments aside from a
pencil or pen

Sketching – is the process of making a rough, preliminary drawing to show the main details of a design

Style – is the manner of designing or shaping a drawing

Lettering – is the process of forming letters and numerals; considered as the written language of industry

Stroke – is the movement of the pencil or pen in creating lines that make up letters or drawing

Stem – the line that makes up a letter

Uppercase letters – are the capital letters of the alphabet

Lowercase letters – are the small letters of the alphabet

Guide lines – these are thin or fine lines used to keep the letters uniform in height

Rule of Stability – states that the upper portion of letters B, E, H, K, S, X, Z and numbers 2, 3, 5, and 8 should be
made smaller than their lower portions so that they will appear stable

Proportion – refers to the relative size or position of an object in comparison with another object

Slant line – is an inclined line

UNIT OF COMPETENCY: PREPARE FREEHAND DRAWING
LEARNING OUTCOME 1.1: Perform Different Lettering Styles and Techniques

INFORMATION SHEET # 1.1.

Skill in lettering is a basic requirement for a student in drawing. He must be exposed to the lettering
activities to orient him on the quality standard in printing letters.
Lettering is used as a form of communication. As applied in drawing, it adds beauty if it is well-printed.
Likewise, it can destroy the appearance of the drawing once it is not done well.

 THE FOUR LETTERING STYLES

1. Gothic Lettering
➢ the simplest and the most readable
➢ has uniform stem width

Two Forms of Gothic Lettering

a. Commercial Gothic – used for advertisement purposes only; it is printed with thick stem
b. Single-stroke Gothic – used for engineering drawings; it is printed with thin stem

2. Roman Lettering
➢ composed of thick and thin stem width
➢ contains pointed stem called serif

Three General Forms of Roman Lettering

a. Old Roman – used for inscribing on bronze metal plates and stones
– the thin stem is 2/5 to 2/3 of the width of the thick stem
– the serifs are curved and not straight

b. Modern Roman – used for books, magazines, newspapers, maps, and text matters
– has very fine thin stem comparative to the width of the thick stem
– the serifs are long and straight

c. Modified Roman – the serifs are often made of thick strokes

3. Script Lettering
➢ an artistic lettering commonly used in greeting cards and invitation cards

4. Text or Old English

➢ the most artistic among the four lettering styles
➢ commonly used in diplomas and certificates

 TWO CASES OF LETTERS

1. Uppercase letters – these are the capital letters
2. Lowercase/Carolinian letters or minuscule – these are the small letters

 GUIDE LINES IN LETTERING

➢ For the uppercase letters
CAP LINE
WAIST LINE
BASE LINE
➢ For the lowercase letters
CAP LINE
WAIST LINE
BASE LINE
DROP LINE

 THREE GENERAL PROPORTION OF LETTERS

1. Normal – used when the space for lettering is enough
2. Compressed or Condensed – used when the space for lettering is limited; letters are closer in distance
and its width is narrower than the normal size
3. Extended – used when the space for lettering is wide; the width of the letter is wider than its height

 TWO PROPORTION OF THICKNESS

1. Boldface – letters made with thick or heavy stem
2. Lightface – letters made with thin or light stem
 OPERATION SHEET # 1.2.
SINGLE-STROKE GOTHIC LETTERING

STANDARD SIZES OF GOTHIC LETTERS

A. HEIGHT
All letters and numerals – are 6 units high
B. WIDTH
I – the thinnest letter and is the foundation stroke of all letters
W – the widest letter being 8 units wide
T O M Q V A X Y – the next widest letters being 6 units wide
all other letters and numerals (except 1) – all are 5 units wide

RULE OF STABILITY – it states that the upper portion of letters B, E, H, K, S, X, Z and numbers 2, 3, 5, and 8 should be made
smaller than their lower portion so that they will appear stable

ORDER AND DIRECTION OF STROKES

A. SINGLE-STROKE VERTICAL UPPERCASE LETTERS AND NUMERALS

B. SINGLE-STROKE VERTICAL LOWERCASE LETTERS

C. SINGLE-STROKE INCLINED UPPERCASE LETTERS AND NUMERALS

D. SINGLE-STROKE INCLINED LOWERCASE LETTERS

 CONSTRUCTION OF
MODERN ROMAN LETTERING
QW ERT YUIOP
A S DFGHJK L
Z X CV BNM
qwertyuiop
asdfghjkl
zxcvbnm
0123456789
SCRIPT LETTERING
IN UPPERCASE AND LOWERCASE

QWERTYUIOP
ASDFGHJKL
ZXCVBNM
qwertyuiop
asdfghjkl
zxcvbnm
0123456789
TEXT OR OLD ENGLISH LETTERING
IN UPPERCASE AND LOWERCASE
UNIT OF COMPETENCY: PREPARE FREEHAND DRAWING
LEARNING OUTCOME 1.2: Sketch Simple Objects

INFORMATION SHEET # 1.2.

Sketching is a basic skill to be learned by the student before he will be exposed to higher level of drawing
activities.
Sketching is a preliminary layout or draft before making it into final drawing. This can be done in a light
line forms with the use of sketching tools and materials.
Proportion defines a location of an element relative to others. It means that if you want to draw all of the
details of the object two times bigger, all of the distances should be doubled too. It is a very important
consideration in sketching properly.

Principles of Sketching Objects

Before doing sketching activities, it is important to know the basic principles in sketching:
a. Analyze the proportion of the object.
b. Mentally picture out the basic shape of the object.
c. Determine the small details of the object.
d. Establish the height and width of the object to be sketched.
e. Use the appropriate sketching tools and materials.

General Steps in Sketching

1. Plan the sketch by visualizing it in the mind including the size of the sketch on the paper, the orientation of
the object, and the amount of detail to be included in the sketch.
2. Outline the sketch using very light lines (construction lines) to establish the orientation, proportion, and
major features of the sketch.
3. Sharpen and darken object lines then add details to develop the sketch.

Basic Proportions/Dimensions of Objects

a. HEIGHT – the distance elevation from bottom to top. Height must be proportioned to the width of the
subject.
b. WIDTH – the distance from front to rear. Likewise, it should be proportioned to the height of the subject.

Basic Shapes of Objects

1. TRIANGLE – a plane figure with 3 sides
➢ Kinds of Triangle
a. Right Triangle – has 90o angle (right angle) d. Isosceles Triangle – has two equal sides
and angles

b. Acute Triangle – all angles are acute (less than 90o) e. Equilateral Triangle – has three equal
sides and angles

c. Obtuse Triangle – has one obtuse angle (more than 90o) f. Scalene Triangle – has no equal sides
2. QUADRILATERAL – a plane figure with 4 sides
➢ Kinds of Quadrilateral
a. Parallelogram – two opposite sides are parallel to each other
a. 1. Square – all sides are equal and all angles are right angle

a. 2. Oblong or Rectangle – its opposite sides are equal and all angles are right angle

a. 3. Rhombus – all sides are equal and opposite angles are equal but may not be right angles

a. 4. Rhomboid – its opposite sides are equal and opposite angles are equal but may not be right
angles

b. Trapezoid – only one opposite side is parallel to each other

c. Trapezium – no sides are parallel and equal

d. Deltoid – two pairs of adjacent (next to each other) sides and one opposite angles equal

3. REGULAR POLYGON – has five or more equal sides and angles

4. CIRCLE – a plane figure bounded by a uniformly curved line with every point on this line equidistant from
a common center

5. ELLIPSE –a plane figure bounded by a curved line but without a common center

6. STADIUM – two semicircles joined by two parallel lines

UNIT OF COMPETENCY: PREPARE FREEHAND DRAWING
LEARNING OUTCOME 1.3: Perform Freehand Sketches

INFORMATION SHEET # 1.3.

Freehand sketching is one of the highly useful skills in industrial arts. All design ideas start in freehand
sketches. An individual’s skill and ability of doing freehand sketches give him the opportunity to show
dramatically what is in his mind.
Freehand sketching is an important method for quickly and economically communicating your design ideas.
It is usually used to present the outside appearance of an object, with a little emphasis on hidden surfaces and
features, which are included in the sketch in order to make the presentation as clear as possible.

Shading
- is the process of forming gradual darkening of the surface of an object in a drawing. It is applied in a variety of
tones or values.

Tones or Values of Shading

1. Light values – represents the surface which receives the greatest amount of light
2. Medium values – represents the surface which receives less amount of light
3. Dark values – represents the surface which receives very little amount of light

 In shading application, the source of light is assumed to be coming from the upper left-hand corner of
the drawing paper and rays of light are imagined to be inclining at an angle of 45 degrees.

Techniques in Shading Application

1. Apply the lightest shading on the part of a surface which receives more light.
2. Shade the portion of a surface which receives less light with medium values.
3. Shade the portion of a surface which receives very little amount of light with a heavy shade.

Methods of Shading Application

1. Line Shading – shows the various shades of an object by using lines and is commonly applied for holes
to indicate direction

2. Stippling – is applied by dabbing the pencil point or pen to produce dots on the surface of the object

3. Mixed Shading – applies both the line and dotted shading. However, it should be noted that these two
shadings must not be applied on the same surface of the object

4. Smudge or Continuous Tone Shading – is applied by using the powdered graphite or lead of a pencil
UNIT OF COMPETENCY: CONSTRUCT GEOMETRICAL FIGURE
DEFINITION OF TECHNICAL TERMS
 GEOMETRICAL FIGURE – AN IMAGINARY OR INVISIBLE SHAPE OR FIGURE SUCH AS POINT, LINE, ANGLE,
PLANE FIGURE, AND SOLID FIGURE
 PLANE FIGURE – A GEOMETRICAL FIGURE HAVING TWO DIMENSIONS: WIDTH AND HEIGHT
 SOLID FIGURE – A GEOMETRICAL FIGURE HAVING THREE DIMENSIONS: WIDTH, HEIGHT, AND DEPTH
 ANGLE – A FIGURE COMPOSED OF TWO STRAIGHT LINES JOINED AT ONE OF THEIR ENDPOINTS
 DEGREE – A UNIT OF ANGLE MEASURE
 BISECT – TO DIVIDE IN HALF OR INTO TWO EQUAL PARTS
 POLYGON – A PLANE FIGURE BOUNDED BY STRAIGHT LINES
 POLYHEDRON – A SOLID FIGURE BOUNDED BY FLAT SURFACES
 VERTEX – A POINT IN THE INTERSECTION OF TWO OR MORE SIDES
 RADIUS – THE LENGTH FROM THE CENTER TO A POINT IN THE CIRCUMFERENCE OF A CIRCLE
 INSCRIBE – TO DRAW A PLANE FIGURE INSIDE ANOTHER PLANE FIGURE
 CIRCUMSCRIBE – TO DRAW A PLANE FIGURE AROUND ANOTHER PLANE FIGURE

DRAWING MATERIALS AND INSTRUMENTS

1. DRAWING PAPER 6. DRAWING TAPE 11. PROTRACTOR
2. DRAWING PENCIL 7. RULER 12. FRENCH CURVE
3. ERASER 8. T-SQUARE 13. COMPASS
4. ERASING SHIELD 9. TRIANGLE 14. DIVIDER
5. PENCIL SHARPENER 10. SCALE 15. TEMPLATE

LEARNING OUTCOME 2.1: BISECT LINES, ARCS, CIRCLES, AND ANGLES

A. BISECTING LINE
GIVEN: LINE AB
1. PLACE THE NEEDLEPOINT OF THE COMPASS AT POINT A.
2. ADJUST THE COMPASS WIDTH TO ABOUT ¾ OF THE LINE LENGTH.
3. DRAW AN ARC ON EACH SIDE OF THE LINE.
4. WITHOUT CHANGING THE COMPASS WIDTH, REPEAT STEP 3 AT POINT B TO INTERSECT THE FIRST TWO ARCS AT
POINT C AND POINT D.
5. CONNECT POINT C AND POINT D WITH A LIGHT, STRAIGHT LINE.

B. BISECTING ARC
GIVEN: ARC AB
1. CONNECT THE TWO ENDPOINTS OF THE ARC WITH A LIGHT, STRAIGHT LINE.
2. DO THE SAME PROCEDURE IN BISECTING LINE.

C. BISECTING CIRCLE
GIVEN: CIRCLE O
1. PLACE THE NEEDLEPOINT OF THE COMPASS AT ANY POINT IN THE CIRCUMFERENCE.
2. ADJUST THE COMPASS WIDTH TO APPROXIMATELY OPPOSITE POINT OF THE CIRCUMFERENCE.
3. DRAW AN ARC ON EACH SIDE OF THE CIRCLE.
4. WITHOUT CHANGING THE COMPASS WIDTH, REPEAT STEP 3 AT THE OPPOSITE POINT OF THE CIRCUMFERENCE
TO INTERSECT THE FIRST TWO ARCS AT POINT C AND POINT D.
5. CONNECT POINT C AND POINT D WITH A LIGHT, STRAIGHT LINE.

D. BISECTING ANGLES
GIVEN: ANGLE AOB
1. PLACE THE NEEDLEPOINT OF THE COMPASS AT POINT O.
2. DRAW AN ARC THAT WILL CUT THE TWO SIDES OF THE ANGLE.
3. NAME THE INTERSECTIONS POINT C AND POINT D.
4. PLACE THE NEEDLEPOINT OF THE COMPASS AT POINT C THEN DRAW AN ARC BETWEEN THE SIDES OF THE
ANGLE.
5. WITHOUT CHANGING THE COMPASS WIDTH, REPEAT STEP 4 AT POINT D TO INTERSECT THE ARC MADE IN STEP
4.
6. NAME THE INTERSECTION OF THE TWO ARCS AS POINT E.
7. CONNECT POINT E AND POINT O WITH A LIGHT, STRAIGHT LINE.
UNIT OF COMPETENCY: CONSTRUCT GEOMETRICAL FIGURE
LEARNING OUTCOME 2.2: DRAW REGULAR POLYGONS

REGULAR POLYGON – HAS EQUAL MEASURE OF SIDES (EQUILATERAL) AND EQUAL MEASURE OF ANGLES (EQUIANGULAR)

Identifying Polygons
No. of Edges Polygon Name
3 triangle (or trigon)
4 quadrilateral (or tetragon)
5 pentagon
6 hexagon
7 heptagon (or septagon)
8 octagon
9 nonagon (or enneagon)
10 decagon
11 hendecagon (or undecagon)
12 dodecagon
13 tridecagon
14 tetradecagon
15 pentadecagon
16 hexadecagon
17 heptadecagon
18 octadecagon
19 enneadecagon
20 icosagon
20 icosi- 1 -hena-
30 triaconta- 2 -di-
40 tetraconta- 3 -tri-
50 pentaconta- 4 -tetra-
60 hexaconta- -kai- 5 -penta- -gon
70 heptaconta- 6 -hexa-
80 octaconta- 7 -hepta-
90 enneaconta- 8 -octa-
9 -ennea-
100 hectogon
1000 chiliagon
10,000 myriagon
1,000,000 megagon
∞ apeirogon
UNIT OF COMPETENCY: CONSTRUCT GEOMETRICAL FIGURE
LEARNING OUTCOME 2.3: DRAW REGULAR SOLIDS
SOLID FIGURES / SOLIDS
3-dimensional geometric figure of objects

REGULAR SOLID IRREGULAR SOLID

has definite pattern of construction has no definite pattern or shape

POLYHEDRON NON-POLYHEDRON/SOLID OF REVOLUTION

bounded by flat or plane, polygonal surfaces only bounded by flat and/or curve surfaces

REGULAR POLYHEDRONS/ PRISM PYRAMID CYLINDER CONE

PLATONIC SOLIDS has two bases has a polygonal has two bases which has a circular base
have equal lateral faces with which are parallel base and are parallel equal and all line
equal length of sides/edges equal polygon triangular lateral circles segments from the
faces intersecting circle meet at a
at a common point called vertex
point above the
cube square triangular base
prism prism

triangular square pentagonal hexagonal

rectangular
prism
hexagonal pentagonal
prism prism
SPHERE ELLIPSOID TORUS
all points on represents a represents
the surface deformed or the shape
TETRAHEDRON OCTAHEDRON ICOSAHEDRON are slightly of a ring or
has 4 equilateral triangles has 8 equilateral triangles has 20 equilateral triangles equidistant flattened a doughnut
from a point sphere
called the
center
HEXAHEDRON DODECAHEDRON
has 6 square lateral faces has 12 regular pentagons
UNIT OF COMPETENCY: CONSTRUCT ORTHOGRAPHIC PROJECTION
DEFINITION OF TECHNICAL TERMS
 ORTHOGRAPHIC PROJECTION – METHOD OF PROJECTION THAT CREATES A 2D IMAGE OF 3D OBJECTS
ON AN IMAGE PLANE PERPENDICULAR TO THE LINES OF SIGHT
 PROJECTION – THE IMAGE OF AN OBJECT AS IT APPEARS ON AN IMAGINARY PLANE
 PERPENDICULAR – FORMS A RIGHT ANGLE (90 DEGREES) FROM ANOTHER LINE OR SURFACE
 MULTI-VIEW DRAWING – AN ORTHOGRAPHIC DRAWING THAT SHOWS TWO OR MORE, TWO-
DIMENSIONAL VIEWS OF AN OBJECT ARRANGED IN A SINGLE DRAWING
 ORTHOGRAPHIC VIEW – ONE OF THE SEVERAL VIEWS IN A MULTI-VIEW DRAWING
 DIMENSION – IS A RADIAL OR LINEAR LENGTH (WIDTH, DEPTH, HEIGHT) WHICH DESCRIBES THE SIZE
AND LOCATION OF FEATURES OF AN OBJECT
 MEASUREMENT – IS THE PROCESS OR RESULT OF MEASURING ANYTHING
 METRIC SYSTEM OF MEASUREMENT – AN INTERNATIONAL SYSTEM OF MEASUREMENT BASED ON THE
METER
 ENGLISH SYSTEM OF MEASUREMENT – A BRITISH STANDARD SYSTEM OF MEASUREMENT USING FOOT
AS BASIS OF LENGTH

LO 3.1. CONSTRUCT ORTHOGRAPHIC VIEWS

ALPHABET OF LINES
TECHNICAL DRAWINGS ARE USED IN CONSTRUCTION AND MANUFACTURING INDUSTRY FOR THE
COMMUNICATION OF INFORMATION. THEY SERVE AS A GRAPHIC LANGUAGE DRAWN AND READ DURING THE
PROCESS. JUST LIKE THE ENGLISH LANGUAGE USES AN ALPHABET MADE UP OF TWENTY-SIX LETTERS,
TECHNICAL DRAWINGS USE AN ALPHABET OF LINES. THIS IS A STANDARDIZED SET/GROUP OF LINES USED TO
DESCRIBE THE OBJECT OR PARTS REPRESENTED IN A DRAWING. EACH KIND OF LINE IS DRAWN WITH
DIFFERENT LINE WIDTH:
THICK LINES = 0.6 MM. (VISIBLE, CUTTING-PLANE, AND SHORT-BREAK LINES)
MEDIUM LINES = 0.4 MM. (HIDDEN LINE)
THIN LINES = 0.3 MM. (ALL OTHER LINES)
1. VISIBLE LINE OR OBJECT LINE – THICK LINE THAT REPRESENTS THE VISIBLE EDGES OR OUTLINE OF THE
OBJECT

2. HIDDEN LINES – SERIES OF MEDIUM THICK DASHES USED TO SHOW THE HIDDEN OR INVISIBLE EDGES
OF AN OBJECT

3. CENTER LINE – THIN LINE USED TO REPRESENT THE AXIS OR CENTER OF HOLES OR CIRCULAR SHAPES

4. DIMENSION LINE – THIN LINE WITH ARROWHEAD AT BOTH ENDS AND BROKEN IN THE MIDDLE FOR
INSERTING NUMBER, USED TO SHOW THE SIZE OF AN OBJECT

5. EXTENSION LINE – THIN LINE THAT EXTENDS FROM THE OBJECT TO INDICATE THE LIMIT OF A
DIMENSION LINE

6. LEADER LINE – A SHORT INCLINED THIN LINE WITH AN ARROWHEAD AT THE END AND SHORT
HORIZONTAL LINE ON THE OTHER END , USED TO DIRECT DESCRIPTIVE MAJOR
INFORMATION, NOTES, OR SPECIAL DIMENSIONS TO FEATURES ON THE DRAWING

7. CUTTING-PLANE LINE OR VIEWING-PLANE LINE – THICK LINE USED TO INDICATE AN IMAGINARY CUT
THROUGH AN OBJECT ALONG THE LINE; ARROWS ON THE END SHOW THE DIRECTION IN
WHICH THE SECTION WAS TAKEN LEADER LINE
THIN

Both are
THICK cutting plane lines

8. SECTION LINE OR CROSS-HATCHING LINE– THIN LINES USED TO SHOW THE SURFACE THAT HAS BEEN
CUT BY AN IMAGINARY CUTTING PLANE; THEY ARE SPACED EVENLY AT 1.5 MM AND 45 O
WITH THE HORIZONTAL TO MAKE SHADED EFFECT
 9. SHORT-BREAK LINE – THICK LINE DRAWN IN FREEHAND TO SHOW DETAILS THAT A PART HAS BEEN
CUT OFF OR BROKEN OUT

MEDIUM

10. LONG-BREAK LINE OR LIMITING LINE – THIN LINE WITH A Z SYMBOL INSERTED IN SEVERAL
PLACES, USED TO LIMIT THE LENGTH OF AN ELONGATED OBJECT WITHOUT CHANGING
THE SIZE OF ITS VIEW

MEDIUM

11. PHANTOM LINE OR ALTERNATE-POSITION LINE– THIN LINE THAT SHOWS ALTERNATE POSITION OF
MOVING PARTS OF THE OBJECT OR TO SHOW THE LOCATION OF AN ABSENT PART

TWO METHODS OF SHAPE REPRESENTATION

A. ORTHOGRAPHIC VIEW – REPRESENTATION OF TWO OR MORE SEPARATE VIEWS
1. THREE REGULAR VIEWS

2. SIX PRINCIPAL VIEWS

a. TOP VIEW – DRAWN ABOVE THE FRONT

b. FRONT VIEW – DRAWN VERTICALLY ALIGNED AND BELOW THE TOP VIEW
c. RIGHT SIDE VIEW – LOCATED AT THE RIGHT SIDE AND ALIGNED WITH THE FRONT VIEW
d. LEFT SIDE VIEW – THE OPPOSITE OF THE RIGHT SIDE VIEW LOCATED AT THE LEFT SIDE AND
ALIGNED WITH THE FRONT VIEW
 e. REAR VIEW – THE OPPOSITE VIEW OF THE FRONT VIEW, LOCATED ALIGNED AFTER EITHER AT
THE RIGHT SIDE VIEW OR LEFT SIDE VIEW
f. BOTTOM VIEW – THE OPPOSITE VIEW OF THE TOP VIEW AND MUST BE DRAWN VERTICALLY
ALIGNED AND BELOW THE FRONT VIEW

B. PICTORIAL VIEW – REPRESENTATION OF A COMPLETE SHAPE OF THE OBJECT SHOWING ALL THREE
DIMENSIONS IN A SINGLE VIEW

SPACE DIMENSION – REFERS TO THE THREE DIMENSION STANDARDS OF THE PICTORIAL VIEW SUCH AS:
A. HEIGHT – DISTANCE ELEVATION FROM TOP TO BOTTOM
B. WIDTH – DISTANCE FROM LEFT SIDE TO THE RIGHT SIDE
C. DEPTH – DISTANCE FROM FRONT TO REAR

TEN PRINCIPLES IN CONSTRUCTING ORTHOGRAPHIC DRAWING/PROJECTION

1. TOP VIEW IS DIRECTLY ABOVE THE FRONT VIEW.
2. SIDE VIEWS ARE HORIZONTALLY ALIGNED WITH THE FRONT VIEW AND REAR VIEW.
3. THE WIDTH OF THE TOP VIEW IS EQUAL TO THE WIDTH OF THE SIDE VIEW.
4. WHEN A LINE OR EDGE IS VIEWED PERPENDICULARLY TO A PLANE OR SURFACE, PROJECTION WILL
APPEAR AS A POINT.
5. A LINE OR EDGE PARALLEL TO A PLANE OF PROJECTION WILL ALSO APPEAR AS A LINE OR EDGE IN ITS
EXACT SHAPE OR TRUE LENGTH.
6. A LINE OR EDGE INCLINED TO THE PLANE OF PROJECTION WILL APPEAR SHORTER OR
FORESHORTENED.
7. A SURFACE PERPENDICULAR TO THE PLANE WILL APPEAR AS A LINE OR EDGE EQUAL IN LENGTH TO
THE NEAREST EDGE OF THE SURFACE WHICH IN THIS CASE IS EITHER ITS LENGTH OR ITS WIDTH
DEPENDING ON ITS POSITION.
8. A SURFACE PARALLEL TO THE PLANE OF PROJECTION WILL BE SHOWN IN ITS EXACT OR TRUE SHAPE
AND SIZE.
9. A SURFACE INCLINED TO THE PLANE OF PROJECTION WILL ALSO APPEAR AS A SURFACE BUT SMALLER
IN SIZE AND SHAPE.
10. NO LINE OR EDGE OF THE OBJECT CAN BE PROJECTED LONGER THAN ITS TRUE LENGTH.
 TOP VIEW AS SEEN

CORRECT VIEWING OF THE

TOP FACE

ORTHOGRAPHIC VISUALIZATION OF AN OBJECT

STEPS IN CONSTRUCTING THE REGULAR ORTHOGRAPHIC VIEWS

W
LO 3.2. SUPPLY GENERAL AND SPECIFIC DIMENSIONS

DIMENSIONING
- IS THE PROCESS OF PROVIDING THE NECESSARY DIMENSIONS OR MEASUREMENTS IN A
TECHNICAL DRAWING. DIMENSIONS ARE GIVEN IN THE FORM OF LINEAR DISTANCES, ANGLES, OR
NOTES REGARDLESS OF THE DIMENSIONING UNITS BEING USED.

ESSENTIAL ELEMENTS TO BE CONSIDERED IN DIMENSIONING TECHNIQUE:

1. CHARACTER OF THE LINES
2. SPACING OF THE DIMENSIONS
3. THE MAKING OF ARROWHEADS
4. THE USE OF EXTENSION LINES.

THE ARROWHEADS INDICATE THE DIRECTION AND EXTENT OF A DIMENSION. IT SHOULD BE

UNIFORM IN SIZE – 3 MM. LENGTH x 1 MM. WIDTH.

SPACING OF THE DIMENSION LINES

THE DIMENSION LINE NEAREST TO THE OBJECT OUTLINE SHOULD BE SPACED AT LEAST 10
MM. AWAY. ALL OTHER PARALLEL DIMENSION LINES SHOULD BE AT LEAST 6 MM. APART AND
MORE IF SPACE IS AVAILABLE. THE SPACING OF DIMENSION LINES SHOULD BE UNIFORM
THROUGHOUT THE DRAWING.

EXTENSION LINE
- A THIN AND DARK, SOLID LINE THAT EXTENDS FROM A POINT ON THE DRAWING TO WHICH
A DIMENSION REFERS. THE DIMENSION LINE MEETS THE EXTENSION LINES AT RIGHT ANGLES
EXCEPT IN SPECIAL CASES. LEAVE AT LEAST 1.5 MM. GAP DISTANCE BETWEEN THE EXTENSION
LINE AND THE OBJECT OUTLINE. IT EXTENDS ABOUT 3 MM. BEYOND THE OUTERMOST
ARROWHEAD.

SYSTEM OF MEASUREMENTS

THERE ARE TWO SYSTEMS OF MEASUREMENT APPLIED IN DRAWING:

1. ENGLISH SYSTEM

AS USED IN DRAWING, SPECIFICALLY REFERS TO INCHES AND FEET UNIT OF

MEASUREMENT

2. METRIC SYSTEM

IT IS AN INTERNATIONAL SYSTEM (SI) OF MEASUREMENT AS APPLIED IN DRAWING. THIS

IS BASED UPON THE METER OR MILLIMETER AS A LINEAR UNIT OF MEASUREMENT

METRIC EQUIVALENT (COMMONLY USED IN DRAWING)

1 INCH = 2.54 CENTIMETERS = 25.4 MILLIMETERS

1 FOOT = 30.5 CENTIMETERS = 305 MILLIMETERS = .305 METER

UNIT OF COMPETENCY: CONSTRUCT PICTORIAL DRAWING
INTRODUCTION
PICTORIAL DRAWING IS A METHOD OF SHAPE REPRESENTATION IN WHICH THE OBJECT IS DRAWN IN ITS
WHOLE AND COMPLETE SHAPE AND APPEARANCE, SHOWING MULTIPLE SIDES ALL TOGETHER. IT IS USED BY
ENGINEERS, ARCHITECTS AND ALL TYPES OF DESIGNERS AND DRAFTERS TO COMMUNICATE IDEAS WHICH CANNOT
BE DESCRIBED EASILY IN WORDS. IT IS EASIER TO UNDERSTAND AND INTERPRET BECAUSE IT SHOWS HEIGHT,
WIDTH, AND DEPTH IN ONE DRAWING THAN IN AN ORTHOGRAPHIC MULTI VIEW DRAWING WHICH SHOWS ONLY
ONE FACE OF AN OBJECT FOR EACH VIEW.
THE DIFFERENT TYPES OF PICTORIAL DRAWING TO BE DISCUSSED HERE ARE ISOMETRIC, OBLIQUE, AND
PERSPECTIVE.

LO 4.1. CONSTRUCT ISOMETRIC DRAWING

AXONOMETRIC DRAWING IS A PICTORIAL DRAWING WHICH SHOWS THE FRONT, SIDE, AND TOP FACES OF
AN OBJECT IN ONE VIEW. THE RECEDING LINES (MOVING AWAY LINES) IN ISOMETRIC ARE ALWAYS
PARALLEL.

THREE DIVISIONS OF AXONOMETRIC DRAWING:

➢ ISOMETRIC – BOTH LEFT CROSS-AXIS AND RIGHT CROSS-AXIS ARE 30o FROM THE HORIZONTAL
➢ DIMETRIC – BOTH LEFT CROSS-AXIS AND RIGHT CROSS-AXIS ARE 15o FROM THE HORIZONTAL
➢ TRIMETRIC – ONE CROSS-AXIS IS 15o FROM THE HORIZONTAL AND THE OTHER ONE IS 45o

LO 4.2. CONSTRUCT OBLIQUE DRAWING

OBLIQUE DRAWING IS A PICTORIAL DRAWING IN WHICH THE FRONT SIDE IS PARALLEL TO THE PLANE OF
PROJECTION.

PRINCIPLES OF OBLIQUE DRAWING

1. THE LONGEST MEASUREMENT SHOULD BE PLACED IN FRONT
2. IRREGULAR SHAPES OF THE OBJECT SHOULD BE PLACED IN FRONT TO MINIMIZE DISTORTION
3. ARCS AND CIRCLES IN OBJECTS SHOULD BE PLACED IN FRONT TO MINIMIZE DISTORTION.

TYPES OF OBLIQUE DRAWING:

➢ CAVALIER OBLIQUE – THE RECEDING LINE IS 30o FROM THE HORIZONTAL AND ITS DEPTH
IS DRAWN IN ITS ACTUAL DIMENSION
➢ CABINET OBLIQUE – THE RECEDING LINE IS 45o FROM THE HORIZONTAL AND ITS DEPTH IS
REDUCED BY HALF
➢ GENERAL OBLIQUE – THE RECEDING LINE IS DRAWN AT ANY CONVENIENT ANGLE FROM THE
HORIZONTAL AND ITS DEPTH IS DRAWN BETWEEN HALF AND FULL SIZE

DRAW
AT 30o DRAW AT
DRAW
ANY ANGLE
AT 45o
LO 4.3. CONSTRUCT PERSPECTIVE DRAWING
PERSPECTIVE DRAWING IS THE REPRESENTATION OF AN OBJECT AS IT APPEARS TO AN OBSERVER
STATIONED AT A PARTICULAR POSITION RELATED TO THE OBJECT. THIS IS THE MOST PLEASING
AND HAS MORE REALISTIC EFFECT AMONG THE TYPES OF PICTORIAL DRAWINGS.

TECHNICAL TERMS:
➢ PICTURE PLANE (PP) - THIS IS AN IMAGINARY VERTICAL PLANE WHERE THE PICTURE IS FORMED,
LOCATED BETWEEN THE OBSERVER AND THE OBJECT BEING VIEWED.
➢ GROUND PLANE (GP) - THE PLANE ON WHICH THE OBJECT IS ASSUMED TO BE PLACED.
➢ GROUND LINE (GL) - THE LINE INTERSECTION OF THE PICTURE PLANE WITH THE GROUND
PLANE.
➢ STATION POINT (SP) - THIS IS THE POSITION OF THE OBSERVER’S EYE FROM WHERE THE
OBJECT IS VIEWED.
➢ HORIZON PLANE (HP) - A HORIZONTAL PLANE THAT LIES AT THE EYE LEVEL OF THE OBSERVER AND
IS PERPENDICULAR TO THE PICTURE PLANE.
➢ HORIZON LINE (HL) - THE LINE INTERSECTION OF THE HORIZON PLANE WITH THE PICTURE
PLANE AND IS PARALLEL TO THE GROUND LINE.
➢ AXIS OF VISION (AV) - THE LINE THROUGH THE STATION POINT THAT IS PERPENDICULAR TO THE
PICTURE PLANE.
➢ CENTER OF VISION (CV) - THE PIERCING POINT OF THE AXIS OF VISION WITH THE PICTURE
PLANE.
➢ VISUAL RAYS (VR) - THESE ARE IMAGINARY LINES PROJECTING FROM THE OBSERVER’S
EYE/STATION POINT TO THE FIGURE PASSING THROUGH THE PICTURE PLANE. THEY ARE
SOMETIMES CALLED RECEDING LINES.
➢ VANISHING POINT (VP) - THIS IS THE POINT WHERE ALL RECEDING LINES MEET IN A PERSPECTIVE
FIGURE.
 PRINCIPLES OF PERSPECTIVE DRAWING
1. ALL RECEDING LINES CONVERGE ON A VANISHING POINT.
2. THE FARTHER THE COLOR, THE LIGHTER IT APPEARS.
3. THE FARTHER THE OBJECT LINES AND EDGES, THE SMALLER IT APPEARS.
4. THE VANISHING POINT CAN BE LOCATED ANYWHERE AS LONG AS THE OBJECT WILL NOT BE
DISTORTED. FOR THE TWO-POINT PERSPECTIVE, THE TWO VANISHING POINTS MUST BE ALIGNED TO
EACH OTHER.
5. THE OBJECT CAN BE VIEWED IN TERMS OF BIRD’S EYE VIEW, MAN’S EYE VIEW OR EYE LEVEL VIEW,
AND ANT’S EYE VIEW OR WORM’S EYE VIEW.

WORM’S EYE VIEW

WAYS OF VIEWING THE OBJECT IN
PERSPECTIVE PROJECTION

HORIZON LINE VANISHING POINT

MAN’S EYE VIEW

BIRD’S EYE VIEW

TYPES OF PERSPECTIVE DRAWING:

➢ ONE-POINT OR PARALLEL PERSPECTIVE – ONE PRINCIPAL SURFACE OF THE OBJECT IS PARALLEL TO THE
PICTURE PLANE. ALL RECEDING LINES CONVERGE (MEET) ON A SINGLE VANISHING POINT AT THE
HORIZON.
➢ TWO-POINT OR ANGULAR PERSPECTIVE – NO SURFACE OF THE OBJECT IS PARALLEL TO THE
PICTURE PLANE. ITS RECEDING LINES CONVERGE ON TWO VANISHING POINTS AT THE HORIZON.
➢ THREE-POINT OR OBLIQUE PERSPECTIVE – ITS RECEDING LINES CONVERGE ON THREE VANISHING
POINTS.
LEFT VANISHING RIGHT VANISHING
CENTER OF VISION POINT POINT

PRINCIPAL FACE

A. PARALLEL PERSPECTIVE B. ANGULAR PERSPECTIVE

LEFT VANISHING
POINT
RIGHT
VANISHING
POINT

BOTTOM VANISHING
POINT C. OBLIQUE PERSPECTIVE