DRAWING LINES + Starting point: 3, -2,0 + Ending point 177.0 ‘The quintessential element of architectural drawing is the line, the marka pen or pencleavesas It moves across a receptive surface. Controlng the pen or prcilis the key ‘to producing goo line quality and proper line weights + Draw witha relaxed hand; donot squeeze the pencil or pen too hard + Hold the penor pencil a coupe of inches back from the nib orpoint; donot hold the instrument to close tothe nib or poi, + Control the movement of your pen or pencil with your arm and hand, not just with your fingers. + Pllthe pen or pencils you draw; donot push the shaft of the instrument as you would acue stick. * Look ahead to where the line is headed. + Drawing with pen or pencils not only a visual experienc, tis also tactile one in which you should feel the surface ofthe paper, il, o ilustration board as youdraw. Further, ib is.akiesthetic act wherein the ‘movements ofthe hand and eye correspon othe line produced. ‘Thereis asimlar, butless direct, correspondence when drawing with a mouse or a stylus on a digitizing tablet, but no such parallel spatial action occurs when entering the coordinates of alin ona keyboard.LINE TYPES ‘lines servea purpose dravin, Is essential that, as you draw, you underetand what each line represents, whether it be an edge ofa plane, a change in material or simply a construction guideline. The following types of lines, typically used to make architectural graphics easier to ead and interpret, are categorized according to their geometric patterns. + Sold lines delineate the form of objects, euch 5 the edge oa plane or the intersection of two planes. The relative weight of a sold line varies according to ts role in conveying depth. See pages 42. 58, 70, and Bl + Dashed lines, consisting of short, closely spaced strokes indicate elements hidden or removed rom our view. + Centerline, consisting of tin relatively long segntents separated by single dashes or dots, represent the axis ofa symmetrical object or composition. + Gridlines area rectangular or radial system of ght slid lines o cnterines for locating and regulating ‘the elements ofa plan. + Fropertylines, consisting of relatively long segments separated by two dashes or dots, indicate the legally defied and recorded boundaries ofa parcel of land + Break ines, consisting of relatively long segments |olned by short igzag strokes are used to cut off a portion of a drawing. + Utley tines consist of relatively long segments separated by aletter indicating the type of utility. + CAD programs usually permit ine types to be selected from a menu of options.LINE WEIGHTS | In theory, al lines should be uniformly dense for ease of readability and reproduction Line weight therefore primarily a matter of width thickness. While inked ines are uritonmiy black an vay onlin with, pencllines can var in both width and tonal value depending on the ardness ofthe lead used, the tooth and density of the race, the speed and preseue with whichyoudraw. Strive to mate al perl lines uniformly dence art vary thir width to achieve cferig line weight. Heavy + Heavy sll lines are used to delineate the profes of plan and section cuts {ce pages 42 and 58) as wel as spatial edges (seepage Bl), + HEHBB * Use lead holder or draw a series of closely spaced lines witha 023 mm or (05 mer mechanical pencil avold using a 0.7 mm or 0.9m pencil for drawing heawy lineweight + Pressing too hard to mate aline means that you are using too hard ofa lead. Medium + Mediumweight solid lines indicate the ges and intersections of planes. + HEHB Light + Ligatweight soli lines suggest-a changin material color,o texture, without a change inthe form of an object + 2H LF Very Light + Very light sol lines are used tolay out drawings, establish orgariaing aide an indicate surface textures, + 4H OHH + The visible ange and contrast oflne weights shouldbe in proportion tothe size and scale ofa drawing. + A distinct advantage to drawing or drafting by hand is thatthe rsuls are inmediately discernible tothe eye. When using drawing or CAD software one selects line weight froma menu or by specifying the width ofa line in absolute terms {fraction ofan inch or umber of point, where point = Vz") nether case, what one gees on a monitor may nat match the utp foma printer or plotter In some programs line weigts are represented oh the montor by colons rather than differences inline width, One stoulé therefore always una test print or plot to ascertain whether or not the resulting range an contrastisn the line weights ofa drawing are appropriate Note, however, that if changes inline weigh are necessary, tis often much easier to male them ina digital drawing than ina and drawingLINE QUALITY Line quality refers tothe crispness, clarity, and consistancy ofa drawn ine + The density and weight ofa line should be as uniform as posible along its entire length. 4 + Drafted ines should havea taut quality, as if stretched tightly between two points. + Avoid drawing line asa series of short overlapping strokes. | | Allies should mees crisply at corner _/, Whenlines stop short ofa come, the resulting sale apes be sfonde —__|f LZ \~— ‘Avoid excessive overlapping that appears out of proportion to the size ofa drawing, + Dashes shoud be relatively uriform nlengta and be closely spaced for better continuity. When dashed lines meet ata comer, adash should continue across the angle + Aspace inthe comer position wil soften the angleDRAFTING TECHNIQUES + Thepoint ofthe lead na lead holder shouldhavea taper about 2 long ithe tapor is to skort or C00 routed, the point will dul quickly “hore area variety of mechanical sharpeners avaiable. you use a sandpaper pad vo sharpen leads, slant the lead at alow angle to achieve the correct taper 03 minor 05 min leads for mechanical pencils donot require sharpening, + Position your body to draw over the upper straightedge ofa T-square, parallel rule or crangle, never the lower cage. Hold the pencil at.a45* to G0" angle; hold technical pensat-a slightly steeper ange Full the pen or pencil along the straightedge na plane perpendicular to the drawing surface, leaving avery sight gap between the straightedge and the nib of the pen othe point of ‘the pencil. Do not push the pen or pencil as fit were a cue stick. + Donat draw into the comer where the straightedge meets the drawing surtace: Doing so drtes the equipment and causes Hotting of ink nas, Draw with a steady pace—rot too fast, not too slowly—and with oven pressure, This wil help prevent ne from feathering or fading outalong its length + Tohelp a penci pint wear evenly an Keep it ary sharp, rotate ‘the shaftof the lead holder or mechanical pencil between your thumb and forefinger slowly as you draw the entire length of alin. Aline should start and end ina positive manner Applying slight additional pressure a the beginning and ending ofa stroke wil paccompish tis ‘Strive for single-stroke lines. Achieving the desired in weight, however, may require drawing a series of closely spaced lines. + Try tokeep drawings clear by washing hands and equipment often, and by lifting ard moving tools rather than dragging or sliding them across the drawing surface. + Protect the drawing surface by keeping areas oft covered with Lightweight tcacing paper and exposing ony the area in which you are working, The transparency of the tracing paper helps maintain a visual connection to the context ofthe drawing,