ODUDUWA UNIVERSITY IPETUMODU

COURSE CODE: ARC 102

COURSE TITLE: INTRODUCTION TO GRAPHICS

DEPARTMENT

ARCHITECTURE

TOPIC

PRESENTATION OF TECHNICAL DRAWING

GROUP ONE

OLAGUNJU TOBILOBA U/20/EM/0021

ADESOPE YUSUFF A. U/20/AR/0617
OGUNDEJI ADEYEMI U/20/AR/0542
IMANYENGBE AUGUSTINE U/20/MC/0209
GIWA OLAMILEKAN U/20/EM/0345
ABIMBOLA PRECIOUS U/20/EM/0536
MMAKWE GOD’STIME U/20/QS/0418
ABUTU JOY UYO-OJO U/20/QS/0269
MUSAH ABDUL SAMAD U/20/AR/0090
IBIRONKE AYOMIDE U/20/EM/0209
AJUMOBI MARIAM U/20/AR/0594
MICHAEL AYOMIDE U/20/AR/0068
KINU DANIEL U/20/AR/___
OYINDAMOLA U/20/EM/___

LECTURER
ARC. FABUNMI

1
 TABLE OF CONTENTS

CHAPTER ONE

1.1 Introduction To Presentation Drawings 2

1.2 History 3

1.3 Definition 4

CHAPTER TWO: TYPES AND EXPLANATIONS

2.1 TYPES OF PRESENTATION DRAWINGS 5

2.2 Renderings 5

2.3 Elevations 5

2.4 Floor Plans 7

2.5 Site Plans 8

2.6 Sections 8

2.7 2D Elevations and Sections 9

2.8 Isometric and Perspectives Drawings 9

2.9 3D Wire Frame Models 9

2.10 3D Rendered Models 10

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2.11 Different Kinds of Drawing 10

2.12 Illustration Drawing 10

2.13 Life Drawing 11

2.14 Emotive Drawing 11

CHAPTHER THREE

3.1 Importance 14

CHAPTER FOUR

4.1 Perspective Drawing 17

4.2 Aerial perspective 19

4.3 One-point perspective 19

4.4 Two-point perspective 20

REFERENCES 24

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 CHAPTER ONE

1.1 INTRODUCTION TO PRESENTATION DRAWINGS

Presentation drawings are the drawings that are used to convey basic design

concepts from the design team to the owner or other interested persons.

Presentation drawings are a very important part of public hearings and design

reviews as a structure is studied by government and private agencies to determine

its impact on the community. In residential architecture, presentation drawings are

frequently used to show compliance with review board standards and to help

advertise existing stock plans. Any of a set of design drawings made to articulate

and communicate a design concept or proposal; such as for an exhibition, review,

or publication.

Your artistic ability, the type of drawing to be done, and the needs of the client will

affect how the presentation drawings will be done and who will produce them. In

some offices, an architectural illustrator creates all pre- sentation drawings. An

illustrator combines the skills of an artist with the techniques of drafting. Other

offices allow design drafters to make the presentation draw- ings. A drafter may be

able to match the quality of an illustrator but not the speed. Many of the

presentation drawings throughout this book would take an illustra- tor only a few

hours to draw.

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Drawings intended to explain a scheme and to promote its merits. Working

drawings may include tones or hatches to emphasise different materials, but they

are diagrams, not intended to appear realistic. Basic presentation drawings

typically include people, vehicles and trees, taken from a library of such images,

and are otherwise very similar in style to working drawings. Rendering is the art of

adding surface textures and shadows to show the visual qualities of a building

more realistically. An architectural illustrator or graphic designer may be employed

to prepare specialist presentation images, usually perspectives or highly finished

site plans, floor plans and elevations etc.

One of the best ways to communicate one's ideas is through pictures,

graphic illustration or drawings. Details of engineering innovations and technical

inventions are hid in drawing for the purpose of safeguarding them.

Technical/engineering drawing is a means of communicating shapes, sizes,

positions and proportion, features and precision of physical objects.

1.2 HISTORY

Historically, drawings were made in ink on paper or a similar material, and any

copies required had to be laboriously made by hand. The twentieth century saw a

shift to drawing on tracing paper, so that mechanical copies could be run off

efficiently. The development of the computer had a major impact on the methods

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used to design and create technical drawings, making manual drawing almost

obsolete, and opening up new possibilities of form using organic shapes and

complex geometry. Today the vast majority of drawings are created using CAD

software.

1.3 DEFINITION

Presentation drawings are the drawings that are used to convey basic design

concepts from the design team to the owner or other interested persons.

Presentation drawings are a very important part of public hearings and design

reviews as a structure is studied by government and private agencies to determine

its impact on the community. In residential architecture, presentation drawings are

frequently used to show compliance with review board standards and to help

advertise existing stock plans. Any of a set of design drawings made to articulate

and communicate a design concept or proposal; such as for an exhibition, review,

or publication.

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 CHAPTER TWO

TYPES AND EXPLANATIONS

2.1 TYPES OF PRESENTATION DRAWINGS

The same types of drawings that are required for work- ing drawings can also be used to help

present design ideas. Because the owner, user, or general public may not be able to understand

the working drawings fully, each can be drawn as a presentation drawing to show basic

information. The most common types of presenta- tion drawings are renderings, elevations, floor

plans, site plans, and sections.

2.2 Renderings

Renderings are the best type of presentation drawing for showing the shape or style of a

structure. The term rendering can be used to describe an artistic process applied to a drawing.

Each of the presentation drawings can be rendered using one of the artistic styles soon to be

discussed. Rendering can also refer to a drawing created using the perspective layout method,

which will be presented in the supplemental reading material on the Student CD. Although

rendering is the artistic process used in a perspective drawing, the term is also often applied to

the drawings themselves.

A rendering is used to present the structure as it will appear in its natural setting. Exterior

renderings are typically drawn using two-point perspective. A rendering can also be very useful

for showing the interior shape and layout of a room, as seen in Figure 41-2. Interior ren- derings

are usually drawn using one-point perspective. Information about methods of creating renderings

can be found on the Student CD in the Supplemental Reading folder.

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2.3 Elevations

A rendered elevation is often used as a presentation drawing to help show the shape of the

structure. An example of a presentation elevation can be seen in Figure 41-3. This type of

presentation drawing gives the viewer an accurate idea of the finished product, whereas the

working drawing is aimed at giving the construction crew information about the materials that

they will be installing. The rendered elevation shows the various changes in surface much better

than the working eleva- tion. Although the rendered elevation does not show the depth as well as

a rendering does, it gives the viewer a clearer understanding of the project without requiring the

time or money needed for a rendering. A rendered elevation usually includes all of the material

shown on a working elevation with the addition of shades and plants. Depending on the artistic

level of the drafter, people and automobiles are often shown as well

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FIGURE 2: The most common type of presentation drawing is a rendering, or perspective

drawing. A rendering presents an image of how the structure will appear when the structure is

complete. Courtesy Jonathan Cutler, Architectural Art.

FIGURE 3 Renderings are often helpful for showing the rela- tionships of interior spaces.

Courtesy Jonathan Cutler, Architectural Art.

2.4 Floor Plans

Floor plans are often used as presentation drawings to convey the layout of interior space.

Similar to the preliminary floor plan in the design process, a presen- tation floor plan is used to

show room relationships, openings such as windows and doors, and basic room sizes. Furniture

and traffic patterns are also usually shown. Figure 3 provides an example of a presenta- tion floor

plan.

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 FIGURE 4 A

presentation elevation helps show the shape of the structure without taking as much time as a

rendering. Courtesy Design Basics, Inc.

2.5 Site Plans

A rendered site plan is used to show how the struc- ture will relate to the job site and to the

surrounding area. The placement of the building on the site and the north arrow are the major

items shown. As seen in Figure 41-5, streets, driveways, setbacks, walkways, decks, patios,

pools, and plantings are usually shown. Although most of these items are also shown on the site

plan in the working drawings, the presentation site plan shows this material more artistically.

2.6 Sections

Sections are often part of the presentation drawings, to show vertical relationships within the

structure. As seen in Figure 41-6, a section can be used to show the changes of floor or ceiling

levels, vertical relationships, and sun angles. Working sections show these same items with

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emphasis on structural materials. The pre- sentation sections may show some structural material,

but the emphasis is on spatial relationships.

2.7 2D Elevations and Sections

Simple projects such as warehouses and small office complexes may only require

2D elevations of the building facade and cross-sections that illustrate interior area

functions. Overall dimensions and floor heights of the building are detailed along

with the proper tones and hatching applied to the exterior surfaces to emphasize

different materials can supply ample information and clearly illustrate simpler

structures. These drawings are best printed in high resolution color on heavy board

surfaces to enhance the presentation.

2.8 Isometric and Perspectives Drawings

A better visual solution for non-technical clients is given with an isometric or

perspective view of the structure which emulates a three-dimensional view and

shows the relationship between multiple sides of the building. Color and texture

rendering of these drawings along with landscaping features will offer clients a

greater representation of the proposed structure. The ability to alter view

orientation in real-time can help create an exciting presentation as the building is

tilted and rotated to different angles.

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2.9 3D Wire Frame Models

As the pre-cursor to rendered models, wire frame 3D models are often employed to

allow simultaneous viewing of underlying facets of the structure, such as beams,

floors and walls. When the structural solution to a project outweighs the building

appearance, wire frame models are the perfect solution. With the application of

automatic hidden line removal, the model easily converts to a vector line exterior

view of the structure.

2.10 3D Rendered Models

Fully rendered 3D models of the proposed structure is an optimum solution and

well worth the investment for projects that are high-end or have great public

interest. Surface textures can nearly replicate real world materials and give your

clients a glimpse of what the new building will look like in the real world. The

ability to simulate an actual building walk-through is an added benefit to solids

models.

2.11 Different Kinds of Drawing

Drawing is at the heart or soul of an artist’s way to express themselves. As a

communication tool, drawing is a creative way to express the feelings and thoughts

of an artist or designer. A drawing can be a sketch, a plan, a design, or graphic

representation made with the help of pens, pencils, or crayons. The final result

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depends upon its nature and purpose. Below you may find different kinds of

drawings with original illustrations by Yaren Eren.

2.12 Illustration Drawing

These are drawings that are created to represent the lay-out of a particular

document. They include all the basic details of the project concerned clearly stating

its purpose, style, size, color, character, and effect.

2.13 Life Drawing

Drawings that result from direct or real observations are life drawings. Life

drawing, also known as still-life drawing or figure drawing, portrays all the

expressions that are viewed by the artist and captured in the picture. The human

figure forms one of the most enduring themes in life drawing that is applied to

portraiture, sculpture, medical illustration, cartooning and comic book illustration,

and other fields.

2.14 Emotive Drawing

Similar to painting, emotive drawing emphasizes the exploration and expression of

different emotions, feelings, and moods. These are generally depicted in the form

of a personality.

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Analytic Drawing

Sketches that are created for clear understanding and representation of

observations made by an artist are called analytic drawings. In simple words,

analytic drawing is undertaken to divide observations into small parts for a better

perspective.

The following descriptions can be used to describe the field of

technical/engineering drawing and presentation:

 Engineering drawing is graphical representation of physical objects and

their relationship.

 It is a universal language of engineering used in design processes for

solving problems quickly and accurately by visualizing objects and

conducting analysis.

 It can also be said to be a graphic representation of objects and structures

used to solve problems which involve special relationships.

 It is a mode of thinking in which two-dimensional projections are used to

visualize three-dimensional situations.

 It is also a means of describing and defining processes which verbal

expressions cannot adequately conveyed.

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  It is therefore an extension of language, and as such, an essential part of

education in a technological society.

 Engineering drawing communicate product design and

manufacturing information in a reliable and unambiguous manner regardless

of language

Drawings are used in all fields of engineering (agriculture, mechanical, civil,

architectural, electrical, aerospace, etc.). The types of drawings we will be creating

in this book are mechanical drawings, but the concepts are all transferable to the

other engineering fields. Engineering drawing is concerned with imparting

precise information hence it is understandable that neatness and accuracy should

play an important part in its practice. Beautifully copied engineering drawings are

of little value if the principles behind the work are not fully understood and

applied.

These principles can be learned and practiced by using freehand, mechanical, or

computer aided design (CAD) methods. The ability to read drawing is the most

important requirement of all technical people in engineering profession. Below are

the basics concepts of engineering drawings.

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 CHAPTHER THREE
3.1 IMPORTANCE
During this process, drawing assumes a prominent role, not only as an instrument

allowing the representation of the projectual idea itself, making it visible and

defining its materialization and construction, but also as an element that generates

thinking, as it is through drawing that we can work and think on the idea that

originates it.

Drawing, building models…, in short, working with your hands consciously, leads

us to develop a thinking process in which gaze and hands work together. It would

be necessary to claim that action for the teaching of architectural projects as a

method of doing and thinking. During the project development, it would be

necessary for students to learn how to work with instruments, tools… that resist the

achievement of mere projections or mechanical representations of those things

before their eyes, to get into the being of things, their presence or their being

present.

In this respect, and in the field of the architectural project teaching, it is essential to

highlight the importance of drawing due to its effectiveness to transmit and express

a form of thinking.

As Martin Heidegger suggests, our hands are organs for our thinking. When they

are not working in order to know or learn, they are thinking. Drawing, building

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models, sketching… is a matter of “doing” that turns into a way of “thinking”

where hands and ideas are joined together as long as the project is carried out.

Therefore, the value of drawing lies in its function as a tool for reflection.

Designing means to think in a graphic way, to aterialize our ideas through our

hands to work with them, think about them and, to materialize them once more.

Sketches, models, collages, schemes… suitable for every step during the project

development allow us to check the different design options, test and error trials.

These act as critical instruments that inform about the validity of every decision

taken. This is why the project cannot emerge from the mere application of a static,

definitely established knowledge, but from a dialectical process between thought

and action, gaze and hands.

Therefore, we could say that the drawing is an instrument of reflection that allows

us to focus our thoughts, to define a support to contain, shape and define them, and

to communicate the essence of our ideas, specifying and fixing them to turn them

into something buildable.

Hence the importance in the development of any project and in his teaching not

only of those drawings that shape that graphic documentation enabling the building

of architecture in every aspect, but also of the early drawings, sketches, schematic

drafts and series of images that try to study its context… and already contain the

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first projectual idea, clear and definitive, anticipating the aterialize n of the

project and sensing some material, building and structural conditions.

Designing means to think in a graphic way, to aterialize our ideas through our

hands to work with them, think about them and, to materialize them once

more. Sketches, models, collages, schemes… suitable for every step during the

project development allow us to check the different design options, test and error

trials. These act as critical instruments that inform about the validity of

every decision taken. This is why the project cannot emerge from the mere

application of a static, definitely established knowledge, but from a dialectical

process between thought and action, gaze and hands

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 CHAPTER FOUR

4.1 PERSPECTIVE DRAWING

Linear or point-projection perspective (from Latin: perspicere 'to see through') is

one of two types of graphical projection perspective in the graphic arts; the other is

parallel projection. Linear perspective is an approximate representation, generally

on a flat surface, of an image as it is seen by the eye. The most characteristic

features of linear perspective are that objects appear smaller as their distance from

the observer increases, and that they are subject to foreshortening, meaning that an

object's dimensions along the line of sight appear shorter than its dimensions

across the line of sight. All objects will recede to points in the distance, usually

along the horizon line, but also above and below the horizon line depending on the

view used.

Italian Renaissance painters and architects including Masaccio, Paolo Uccello,

Piero della Francesca and Luca Pacioli studied linear perspective, wrote treatises

on it, and incorporated it into their artworks, thus contributing to the mathematics

of art.

Perspective works by representing the light that passes from a scene through an

imaginary rectangle (realized as the plane of the painting), to the viewer's eye, as if

a viewer were looking through a window and painting what is seen directly onto

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the windowpane. If viewed from the same spot as the windowpane was painted, the

painted image would be identical to what was seen through the unpainted window.

Each painted object in the scene is thus a flat, scaled down version of the object on

the other side of the window.[4] Because each portion of the painted object lies on

the straight line from the viewer's eye to the equivalent portion of the real object it

represents, the viewer sees no difference (sans depth perception) between the

painted scene on the windowpane and the view of the real scene. All perspective

drawings assume the viewer is a certain distance away from the drawing. Objects

are scaled relative to that viewer. An object is often not scaled evenly: a circle

often appears as an ellipse and a square can appear as a trapezoid. This distortion is

referred to as foreshortening.

Perspective drawings have a horizon line, which is often implied. This line,

directly opposite the viewer's eye, represents objects infinitely far away. They have

shrunk, in the distance, to the infinitesimal thickness of a line. It is analogous to

(and named after) the Earth's horizon.

Any perspective representation of a scene that includes parallel lines has one or

more vanishing points in a perspective drawing. A one-point perspective drawing

means that the drawing has a single vanishing point, usually (though not

necessarily) directly opposite the viewer's eye and usually (though not necessarily)

on the horizon line. All lines parallel with the viewer's line of sight recede to the
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horizon towards this vanishing point. This is the standard "receding railroad tracks"

phenomenon. A two-point drawing would have lines parallel to two different

angles. Any number of vanishing points are possible in a drawing, one for each set

of parallel lines that are at an angle relative to the plane of the drawing.

4.2 Aerial perspective

Aerial (or atmospheric) perspective depends on distant objects being more

obscured by atmospheric factors, so farther objects are less visible to the viewer.

As the distance between an object and a viewer increases, the contrast between the

object and its background decreases, and the contrast of any markings or details

within the object also decreases. The colours of the object also become less

saturated and shift towards the background colour.

Aerial perspective can be combined with, but does not depend on, one or more

vanishing points.

4.3 One-point perspective

A drawing has one-point perspective when it contains only one vanishing point on

the horizon line. This type of perspective is typically used for images of roads,

railway tracks, hallways, or buildings viewed so that the front is directly facing the

viewer. Any objects that are made up of lines either directly parallel with the

viewer's line of sight or directly perpendicular (the railroad ties/sleepers) can be

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represented with one-point perspective. These parallel lines converge at the

vanishing point.

One-point perspective exists when the picture plane is parallel to two axes of a

rectilinear (or Cartesian) scene—a scene which is composed entirely of linear

elements that intersect only at right angles. If one axis is parallel with the picture

plane, then all elements are either parallel to the picture plane (either horizontally

or vertically) or perpendicular to it. All elements that are parallel to the picture

plane are drawn as parallel lines. All elements that are perpendicular to the picture

plane converge at a single point (a vanishing point) on the horizon.

4.4 Two-point perspective

A drawing has two-point perspective when it contains two vanishing points on the

horizon line. In an illustration, these vanishing points can be placed arbitrarily

along the horizon. Two-point perspective can be used to draw the same objects as

one-point perspective, rotated: looking at the corner of a house, or at two forked

roads shrinking into the distance, for example. One point represents one set of

parallel lines, the other point represents the other. Seen from the corner, one wall

of a house would recede towards one vanishing point while the other wall recedes

towards the opposite vanishing point.

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Two-point perspective exists when the picture plane is parallel to a Cartesian scene

in one axis (usually the z-axis) but not to the other two axes. If the scene being

viewed consists solely of a cylinder sitting on a horizontal plane, no difference

exists in the image of the cylinder between a one-point and two-point perspective.

Two-point perspective has one set of lines parallel to the picture plane and two sets

oblique to it. Parallel lines oblique to the picture plane converge to a vanishing

point, which means that this set-up will require two vanishing points.

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"Empire of the Eye: The Magic of Illusion: The Trinity-Masaccio, Part 2".

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May 2013. Retrieved 12 May 2013.

D'Amelio, Joseph (2003). Perspective Drawing Handbook. Dover. p. 19.

"The Beginner's Guide to Perspective Drawing". The Curiously Creative.

Retrieved 17 August 2019.

Hurt, Carla (9 August 2013). "Romans paint better perspective than Renaissance

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Calvert, Amy. "Egyptian Art (article) | Ancient Egypt". Khan Academy. Retrieved

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(1968). Vatican Museums: Rome. Italy: Newsweek. p. 22.

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Heidi J. Hornik and Mikeal Carl Parsons, Illuminating Luke: The infancy narrative

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3-8290-0701-9.

Vasari's Lives of the Artists Chapter on Brunelleschi

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of Chicago. 2007. Retrieved 20 September 2020.

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