Cafa Module Graphics 2 2ND Sem Leo Hirang

Republic of the Philippines
TARLAC STATE UNIVERSITY
VISION
Tarlac State University is envisioned to be a premier University in the Asia-Pacific.
MISSION
Tarlac State University commits to promote and sustain the offering of quality and
programs in higher and advanced education ensuring equitable access to education for
people empowerment, professional development, and global competitiveness.
Towards this end, TSU shall:
1. Provide high quality instruction through qualified, competent and adequately trained faculty
members and support staff.
2. Be a premier research institution by enhancing research undertakings in the fields of
technology and sciences and strengthening collaboration with local and international institutions.
3. Be a champion in community development by strengthening partnership with public and
private organizations and individuals.
CORE VALUES
E – xcellence
Q- uality
U – nity
I – integrity
T – rust in God, Transparency, & True Commitment
Y – earning for Global Competitiveness
TSU CAFA GRAPHICS 1: Architectural Perspective
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Tarlac State University
College/Architecture and Fine Arts
Department of Fina Arts
Self-Learning Module in Techniques 1
Course Graphics 2 Course Graphics 2

Title Code
Credit 1-units lecture Course None
Units 6-unit studio Pre-/Co-
requisites
Course
Descriptio The course covers different topics in Architectural Perspective drawing and
n presentation.
Course After completing this course, STUDENTS SHOULD BE ABLE TO:

Intended 1. Learn the usage and functions of drafting instruments and how to handle
Learning properly with care.
Outcomes 2. Learn different line weight and its usage.
(CILO) 3. Use metric scale properly in accordance with its ratio.
4. Transfer the drawing from the white board to the drawing paper.
5. Interpret the idea of the professor/instructor and present it in the drawing
paper.
6. Analyze and solve problems in oblique drawing.
7. Analyze and solve problems in orthographic views: box type, slope surface
and cylinder type.
8. Analyze and solve problems in isometric drawing: box type, slope surface
and cylinder type.
9. Apply mechanical drafting to graphics or computerized drafting.
10. Produce output/print/blueprint base on computerized drafting.
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THE DEVELOPER/S AND THEIR BACKGROUND:
Name LEONARDO S. HIRANG
Position/ Permanent/Assistant Professor 1

Designation
CONTACT DETAILS
hirangls@yahoo.com.ph;
Email:
Facebook:
Social Media
Mobile/ 09156174160, 09223033284,

Telephone 09463712953, 09159301940
MS Teams lshirang@tsu.edu.ph
Account:
EDUCATIONAL BACKGROUND
YEAR GRADUATED
LEVEL NAME OF SCHOOL DEGREE COURSE HIGHEST LEVEL/ UNITS
EARNED
TECHNOLOGICAL
1981-1986
Bachelor’s Degree INSTITUTE OF THE BS ARCHITECTURE
PHILIPPINES
TSU COLLEGE OF MS IN PUBLIC ADMIN. 15 UNITS
Graduate Studies EDUCATION - MS BUSINESS ADMIN. 6 UNITS
GRADUATE SCHOOL MS GRAPHICS TECHNO. 12 UNITS
Vocational/Trade
MICROCADD AUTOCADD 5/26/2007-7/21/2007
Course
RELATED WORK EXPERIENCE

YEAR POSITION/INSTITUTION
Instructor- Assistant Professor, Architecture Dept., Tarlac State University,
1987-2022
College of Architecture and Fine Arts
2010
2006- 2009
AWARDS ANDRECOGNITION
YEAR AWARD/ SPONSORING AGENCY/ VENUE
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RATIONALE
Drawing is the foundation of painting and is also a prerequisite of a lot of visual

communication skills. The the ability to: recognize edges, lines, and angles; to reckon
proportion and perspective; deciphering shadow, highlights, and gradations of tone; and the
ability to unconsciously drawstring them all together are essential skills required to
effectively communicate visually an idea or concept.
This module will provide a structured environment for students to learn about the
techniques for effectively using dry media to solve problems in defining volume in terms of
“Chiaroscuro” (the treatment of light and shade in drawing and painting). This will also help
them develop their fundamental skills and techniques in drawing. The module will also
enable students to develop competency in the use and selection of dry media to appropriate
rendering challenges.
Students’ learning will be significantly transformed and supplemented by the creative

use of technology in teaching. Interactive classroom technologies, dynamic assessments,
electronic feedback, and audio or video recordings are examples of learning technologies that
can be effectively introduced to supplement learning experiences which will be employed in
this module.
INSTRUCTION TO THE USERS
This module is anchored on a set of learning objectives which serves as students guide
in what to expect and achieve at the completion of this module. A timeline/schedule is also
included which will serve as a guide in students management of their time and submissions.
Key concepts, terminologies, processes /procedures, information sheets, templates

are included in this module and will be supplemented by online content such as e-books,
video tutorials and similar learning materials.
Esquisses or short test will be used to evaluate your knowledge of basic concepts and
rubrics will be used to evaluate student performance and output.
The use of Unified Communication and Collaboration Platform such as Microsoft

Teams will be utilized for online submissions since every student enrolled in the University
has a Microsoft 360 account.
(for new students please contact the University MISO for the registration of your account and
access to student portal , please visit https://www.tsu.edu.ph/ )
The submission of actual outputs, projects and other requirements will be coordinated
through your LGU ( Local Government Unit). Please coordinate with your assigned instructor.
A list of reference of readings, textbooks and links to online resources will also be
provided.
For consultations, inquiries and clarifications you may contact your instructor through
the contact details he/she has provided.
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LEARNING OBJECTIVES
After completing this course, STUDENTS SHOULD BE ABLE TO

 Learn the usage and functions of drafting instruments and how to handle properly with care.
 Learn different line weight and its usage.
 Use metric scale properly in accordance with its ratio.
 Transfer the drawing from the white board to the drawing paper.
 Interpret the idea of the professor/instructor and present it in the drawing paper.
 Analyze and solve problems in oblique drawing.
 Analyze and solve problems in orthographic views: box type, slope surface and cylinder type.
 Analyze and solve problems in isometric drawing: box type, slope surface and cylinder type.
 Apply mechanical drafting to graphics or computerized drafting.
 Produce output/print/blueprint base on computerized drafting.
COURSE OUTLINE
WEEK DURATION CHAPTER/LEARNING UNIT
1 1. Introduction for Architectural Perspective presentation
2 2. Characteristics of perspective drawing
3 3. Perspective Systems and Methods
4 4. Direct Projection Method: Two-Point Perspective
5 5. Direct Projection Method: One-Point Perspective
6 6. Direct Projection Method: Three-Point Perspective
7 7. Direct Projection Method: Perspective Theory and Practice
8 8. Angular Method: The Measuring Point Method
9 9. Angular Method:
13 13. Plan Method:
14 14. Plan Method
15 15. Plan Method
16 16. Plan Method: Shades and Shadows
17 17. Plan Method: Shades and Shadows
18 18. Sketch Up
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Chapter 1: TOOLS, MATERIALS AND TECHNIQUES IN DRY MEDIA
Introduction
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"Perspective projection" redirects here. For a more mathematical treatment, see Perspective
transform.
Staircase in two-point perspective
External video
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Linear Perspective: Brunelleschi's
Experiment, Smarthistory[1]
How One-Point Linear Perspective
Works, Smarthistory[2]
Empire of the Eye: The Magic of
Illusion: The Trinity-Masaccio, Part
2, National Gallery of Art[3]
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 Filippo Brunelleschi, 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 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 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.
Perspectives consisting of many parallel lines are observed most often when drawing architecture
(architecture frequently uses lines parallel to the x, y, and z axes). Because it is rare to have a scene
consisting solely of lines parallel to the three Cartesian axes (x, y, and z), it is rare to see
perspectives in practice with only one, two, or three vanishing points; even a simple house frequently
has a peaked roof which results in a minimum of six sets of parallel lines, in turn corresponding to up
to six vanishing points.
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Of the many types of perspective drawings, the most common categorizations of artificial
perspective are one-, two- and three-point. The names of these categories refer to the number of
vanishing points in the perspective drawing.
A cube in two-point perspective
Rays of light travel from the object, through the picture plane, and to the viewer's eye. This is the basis
for graphical perspective.
One-point perspective[edit]
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 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.
 Examples of one-point perspective
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Two-point perspective[edit]
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.
Two-point perspective exists when the painting plate 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.
A cube drawing using two-point perspective
Three-point perspective[edit]
Three-point perspective is often used for buildings seen from above (or below). In addition to the two
vanishing points from before, one for each wall, there is now one for how the vertical lines of the
walls recede. For an object seen from above, this third vanishing point is below the ground. For an
object seen from below, as when the viewer looks up at a tall building, the third vanishing point is
high in space.
Three-point perspective exists when the perspective is a view of a Cartesian scene where the
picture plane is not parallel to any of the scene's three axes. Each of the three vanishing points
corresponds with one of the three axes of the scene. One, two and three-point perspectives appear
to embody different forms of calculated perspective, and are generated by different methods.
Mathematically, however, all three are identical; the difference is merely in the relative orientation of
the rectilinear scene to the viewer.
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A cube in three-point perspective
Curvilinear perspective[edit]
Main article: Curvilinear perspective
By superimposing two perpendicular, curved sets of two-point perspective lines, a four-or-above-
point curvilinear perspective can be achieved. This perspective can be used with a central horizon
line of any orientation, and can depict both a worm's-eye and bird's-eye view at the same time.
Additionally, a central vanishing point can be used (just as with one-point perspective) to indicate
frontal (foreshortened) depth.
Curvilinear perspective
Supplemental video: The Virtual Instructor: 10 Essential Drawing Materials
https://www.youtube.com/watch?v=WQUi5Ue_fLY
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1. QUALITY DRAWING PENCILS
Pencil sets usually come packaged in nice tins and can be great because they often
include the full spectrum of graphite grades. Many sets include pencils with harder
graphite (9H) through softer graphite (6B). Harder graphite makes lighter marks and
keeps a sharp tip longer, while softer graphite
makes a darker mark, but needs constant
resharpening. These sets give the artist the
ability to work with many different values and
varieties of mark.
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Individual Pencils
Different pencil Grades and the variety of marks while applying uniform pressure.
Many artists will find that they don’t use all of the pencils in a drawing pencil set. Instead,
they may find that they only use a few of the pencils. For example, 2H, HB, 2B, and 4B pencils
would be plenty of range for most of us. If this is the case, then a pencil set would not make
sense. Instead, purchasing the individual pencils as they are needed may be the better
approach.
Although graphite pencils aren’t very expensive, purchasing individual pencils can be more
pricey than just buying a full set of pencils. You may also find yourself hunting for them at the
art store.
Pencils and Pens
Choose traditional no. 2 pencils with bonded lead to reduce breakage and enhance the fine details in your
project. For more colorful projects, fiber tipped, capped, porous-point pens use water-based ink for a
smooth flow and hours of scripting or drawing. The cap prevents the fiber tip from drying out when not in
use. For personal drafting projects or to add sparkle to your children's drawings, adhesive glitter glue
pens bring a magic touch to any piece.
2. DRAWING PAPER
Paper
Pick 100 percent vellum tracing paper with a smooth white surface for detailed sketches,
such as engineering or architectural design pieces, that require a lot of erasing and re-
sketching. The surface prevents ghosting or smudging from repeated erasing to ensure a
masterful finish. To protect your valuable sketches during storage from inadvertent
smudging or for detailed color markup, choose parchment tracing paper. Alternatively
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dotted newsprint paper let's you practice and perfect text or script. The wide selection of
drafting and specialty tables provide the perfect work area for any of these projects.
3. QUALITY DRAWING SURFACES
A drawing can be made on any surface, but the quality of that surface is sometimes just as
important as the medium that it is used upon it.
There are a few considerations for choosing a drawing surface that will affect the finished
result.
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a. The “Tooth” – The “tooth” of the surface is the texture of the paper. The texture of the
paper plays a role in how the drawing material is accepted on the surface. Heavier
textures will produce lines that may appear “broken”, while smoother textures will
produce smoother lines and gradations of value. Some artists will prefer heavier
textures while others will prefer a smoother surface
b. Paper Weight – The weight of the paper refers to how much a ream (500 sheets) of that
paper weighs. For most papers, the weight of the paper will be directly related to the
thickness of the paper. (It should be noted that some papers may have a heavier weight
but actually be thinner.) For example, 80 lb. paper will typically be thicker than 60 lb.
paper, while 100 lb. paper will be heavier than 80 lb. paper.
c. Acid Free – Paper that is “acid free”, without going into all of the technical details, will
stand “the test of time”. This paper is will not yellow over time and is more resistant to
fading that can occur when exposed to UV light.
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Here are few recommended papers that you might experiment with…
1. Drawing Paper – Medium tooth paper that is suited for drawing with a variety of
drawing media including graphite, charcoal, and colored pencils. There are ton of
options for drawing papers, but Strathmore papers are recommended.
2. Charcoal paper – Heavier tooth paper that is lightweight – almost semi-
transparent. Excellent for creating texture. (A variety of media can be used on
charcoal paper – not just charcoal. I love it for graphite drawings.)
3. Bristol Paper – Smooth tooth paper that is heavier (think cardstock). This paper
is quite rigid and is excellent for creating smooth gradations of value or detailed
line work with ink.
3. VARIETY OF ERASERS
Erasers are usually used for mistakes but can also be used as a great mark-making tool. Each
eraser creates a different mark and should be used as necessary according to the specific
drawing medium.
Here are a few recommended erasers…
Rubber Eraser – Your standard eraser for erasing graphite. This eraser uses friction to
remove any material from the surface.
Kneaded Eraser – This eraser lifts material from the surface, instead of using friction to
remove it. It can be pulled and fashioned into different forms to create specific marks. This
eraser gets dirty over time, but can be cleaned by pulling and “kneading” it.
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Gum Eraser – “The Crumbler”. This eraser is great for removing media from surfaces
that are sensitive to tearing. A gum eraser removes the medium through friction, but crumbles
as it does so – preserving the surface.
Vinyl or Plastic Erasers – This eraser is the toughest of the bunch. It can erase almost
anything. But be warned – this eraser can tear the paper if you’re not careful.
Precision Tools and Accessories

Draft like the pros with precision tools that include compass and divider sets, ellipse guide
templates, and 180 degree protractors. These tools ensure exactness down to the most minute
detail. For more artful craft projects, glue guns, precision knives for trimming and stripping, and
spray adhesives ensure you have all the material you need to expertly complete your pieces. For
students, we also carry a large selection of calculators to aid in geometry and other mathematical
drawing.
Customer Service
Supplemental video: Mr. Otter Art Studio : Top 3 Erasers for Drawing
https://www.youtube.com/watch?v=ZsI1uSgkDQ4
4. A GOOD PENCIL SHARPENER
Pencils need to be sharpened with a quality pencil sharpener. Use a poor quality sharpener and
you could be out of a pencil in a matter of moments.
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Pencil sharpeners generally fall into two categories – Manual and electric.
1. Electric Pencil Sharpeners
Electric pencil sharpeners can vary in price and the old saying, “you get what you pay
for” is true for what you get here.
A quality electric pencil sharpener will sharpen your pencil without eating it all up.
Electric pencil sharpeners are nice to have for a quick sharpen of the pencil, but
should not be used with colored pencils. The waxy binder found in colored pencils can
build up within the blades of the sharpener, ruining the device.
2. Manual Pencil Sharpeners
While an electric pencil sharpener has its appeal, a manual pencil sharpener will
do for most of us.
Like electric pencil sharpeners, the manual varieties come in different forms. My
favorite is a simple, handheld metal sharpener. It’s a cheap and easy solution that is
portable and easily replaced. Remember, if you’re sharpening colored pencils, then a
manual pencil sharpener is what you should be using.
5. DIVIDER
A compass, also known as a pair of compasses, is a technical drawing instrument that

can be used for inscribing circles or arcs. As dividers, they can also be used as tools to measure
distances, in particular on maps. Compasses can be used for mathematics, drafting, navigation
and other purposes.
Compasses are usually made of metal or plastic, and consist of two parts connected by a hinge
which can be adjusted to allow the changing of the radius of the circle drawn. Typically one part
has a spike at its end, and the other part a pencil, or sometimes a pen.
Prior to computerization, compasses and other tools for manual drafting were often packaged as
a "bow set"[1] with interchangeable parts. By the mid-twentieth century, circle templates
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supplemented the use of compasses. Today these facilities are more often provided by computer-
aided design programs, so the physical tools serve mainly a didactic purpose in teaching
geometry, technical drawing, etc.
6. DRAWING PENS / INK
When we draw with ink, we’re forced to master the use of line. Line is used to develop the
illusion of form, texture, and light. Technical drawing pens are affordable, easy to find, and
portable – making them great for every budding artist to have. Sakura Micron pens and
Steadtler technical ink liners are both fine choices.
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When you’re ready to take your ink drawings to another level, you may consider working with a
dip or nib pen. This traditional approach to pen and ink drawing requires bottled ink. This
approach does require a little more skill and is obviously less portable, but the resulting
drawings have more character and are more interesting.
Felt tip pens are another option. I absolutely love felt tip pens. Felt tip pens allow the artist to
create a variety of marks. The tip of the pen allows the artist to create a broad range of line
quality.
An added benefit to a felt tip pen is the

psychological effect that it can have on
the artist. Using a medium that cannot
be erased forces the artist to be more
deliberate with their marks. As a
result, a bit more thought is put into
the marks that are made. You can
actually improve your drawing skills
simply by using a felt tip pen while sketching.
Staedtler technical pens Rotring Rapidographs in ISO nib sizes
7. TRIANGLES
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We have a large selection of Professional Drafting Triangles. These triangles are professional-
grade and anyone that drafts or is into mechanical drafting knows quality drafting triangles feel
like. We have drafting triangles that are tinted, orange and clear or transparent. We have
45/45/90 Degree Drafting Triangles, 30/60/90 Degree Drafting Triangles, and Adjustable
Drafting Triangles. Even with CAD Systems.
A set square or triangle (American English) is an object used in engineering and technical
drawing, with the aim of providing a straightedge at a right angle or other particular planar angle
to a baseline.
The simplest form of set square is a triangular piece of transparent plastic (or formerly of
polished wood) with the centre removed. More commonly the set square bears the markings of a
ruler and a half circle protractor. The outer edges are typically bevelled. These set squares come
in two usual forms, both right triangles: one with 90-45-45 degree angles, the other with 30-60-
90 degree angles. Combining the two forms by placing the hypotenuses together will also yield
15° and 75° angles. They are often purchased in packs with protractors and compasses.
Less commonly found is the adjustable set square. Here, the body of the object is cut in half and
rejoined with a hinge marked with angles. Adjustment to the marked angle will produce any
desired angle up to a maximum of 180°.
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8. T-SQUARE
T-shaped ruler, used primarily in mechanical drawing, having a short crosspiece that slides along
the edge of the drawing board as a guide to the perpendicular longer section in making parallel
lines, right angles, etc., and as a support for triangles.
T-Square is an early drafting program written by Peter Samson assisted by Alan Kotok and
possibly Robert A. Saunders while they were students at the Massachusetts Institute of
Technology and members of the Tech Model Railroad Club.
T-Square was written for the PDP-1 computer and its Type 30 precision CRT that Digital
Equipment Corporation donated to MIT in 1961. It is unlikely that many people have had the
opportunity to use T-Square although Samson has said the group drew some schematics.
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Please credit image source here
Supplemental video: The Virtual Instructor : Comparing Colored Pencils
https://www.youtube.com/watch?v=nTRC8douk-I
9. ARTWORK STORAGE / PORTFOLIO
Your artwork is important. Even those works

that you’d rather not let anyone else see are
important. They need to be treated with respect and
stored in manner that will keep them preserved and
protected.
Please credit image source here
There are more than a few options for storing artwork, but the most popular option is a
portfolio.
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There are many different portfolio options out there on the market – each with their
own benefits and drawbacks. If you are looking to add a portfolio to your collection, I would
suggest looking for a couple features.
1. Rigidness – Look for a portfolio that will keep your artwork from bending.
Most portfolios will do this, but there are a few cheaper versions that may not. Look for
a portfolio that has a rigid support system.
2. Size – When purchasing a portfolio to store your work, be sure that you
provide yourself some room for larger works. Don’t just purchase the 18″ by 24″
portfolio because all of your works up to this point are smaller than this size. Chances
are good that you’ll produce drawings that are larger in the future and you’ll wish you
would have opted for a larger sized option.
You don’t have to buy a portfolio when you can build your own. With a couple
of rigid pieces of cardboard and tape, a portfolio can be created fairly quickly.
11.FRENCH CURVE
A French curve is a template usually made from metal, wood or plastic composed of
many different segments of the Euler spiral (aka the clothoid curve). It is used in
manual drafting and in fashion design to draw smooth curves of varying radii. The curve
is placed on the drawing material, and a pencil, knife or other implement is traced around
its curves to produce the desired result. They were invented by the German
mathematician Ludwig Burmester and are also known as Burmester (curve) set.
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Activity 1:
Drafting in Different Techniques
TOOLS AND MATERIALS
# ITEM DESCRIPTION UNIT QUANTITY
1 GRAPHITE PENCIL F, HB and H PENCIL ANY 1 PC

BRAND
2 ERASER RUBBER ERASER ANY BRAND 1 PC
3 DRAWING 1/4 SIZE 1 SHEET

PAPER/YELLOW
CARTOLINA
4 TRIANGLES 45X45 AND 30X60 1 SET
5 T-SQUARE 24”-36” 1 PC
6 METRIC SCALE 1 PC
7 CUTTER 1 PC
8 SHARPENER 1 PC
9 SANDPAPER USE FOR WOOD 1/8 SIZE 1 PC
10 RAG/DRAFTING CLOTH OR BRASH 1 PC

BRASH
11 BACKING SHEET/ ½ CARTOLINA ANY COLOR 1 PC

STRETCHER
12 COMPASS/DIVIDER ANY BRAND 1 SET
13 PROTRACTOR ANT BRAND 1 SET
14 RULING PEN/ 0.1, 0.3, 0.5 OR 0.2, 0.4, 0.6 3 SETS

TECHNICAL PEN/
UNIPEN
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Instructions”
1. Use the top line and bottom line provided as a guidelines for writing letters
2. Each box sizes 10.00 cm x 10.00 cm
3. 2.0 centimeters shall be provided for margins for the entire perimeter of the
drawing paper.
4. Submit on scheduled deadline
5. You may add Additional detailed instructions
Evaluation: THE following Criteria will be used to evaluate your output:
Basic Architectural Graphics by DK Ching

Readings
Extended
Readings
Online 
Resources
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Theoretical
Reports/assignments
Written Examinations -----------------------------20%
Course
Laboratory Works
Assessmen
Minor Plates----------------------------------------- 30%
t
Major Plates -----------------------------------------50%
-------------
TOTAL--------------------100%
Committee Cluster Leader: Mr. Leonardo S. Hirang
Members Members: Ar. Engelbert Escoto
Rubrics on  Accuracy----------------40%
drawing  Legibility----------------30%
plates  Speed--------------------15%
 Neatness-----------------15%
TOTAL--------------------100%
Faculty Member : Leonardo S. Hirang

Email-address : lshirang@tsu.edu.ph
Consultatio Consultation Hours : 2 hours
n Schedule Time and Venue : Faculty Room or via Microsoft Teams for distance
learning
48 | P a g e
Course Title AY/ Term of Prepared by: Recommending Approval Pages:
Effectivity
LEONARDO S. HIRANG
Asst. Prof 1
2nd
Semester, AY LEONARDO S.
GRAPHICS 2 9
2020-2021 HIRANG
AR. GARRY M. ADVENTO
Dean
Approved:
DR. Erwin Lacanlale

Vice President for Academic
Affairs
49 | P a g e

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Republic of the Philippines

TARLAC STATE UNIVERSITY

Tarlac State University is envisioned to be a premier University in the Asia-Pacific.

Towards this end, TSU shall:

TSU CAFA GRAPHICS 1: Architectural Perspective

Self-Learning Module in Techniques 1

Course Graphics 2 Course Graphics 2

Course After completing this course, STUDENTS SHOULD BE ABLE TO:

TSU CAFA GRAPHICS 1: Architectural Perspective

Name LEONARDO S. HIRANG

Position/ Permanent/Assistant Professor 1

Mobile/ 09156174160, 09223033284,

RELATED WORK EXPERIENCE

TSU CAFA GRAPHICS 1: Architectural Perspective

Drawing is the foundation of painting and is also a prerequisite of a lot of visual

Students’ learning will be significantly transformed and supplemented by the creative

INSTRUCTION TO THE USERS

Key concepts, terminologies, processes /procedures, information sheets, templates

The use of Unified Communication and Collaboration Platform such as Microsoft

After completing this course, STUDENTS SHOULD BE ABLE TO

TSU CAFA GRAPHICS 1: Architectural Perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

Staircase in two-point perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

How One-Point Linear Perspective

Empire of the Eye: The Magic of

Illusion: The Trinity-Masaccio, Part

2, National Gallery of Art[3]

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

A cube in two-point perspective

 Examples of one-point perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

A cube drawing using two-point perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

Supplemental video: The Virtual Instructor: 10 Essential Drawing Materials

TSU CAFA GRAPHICS 1: Architectural Perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

Pencils and Pens

pens bring a magic touch to any piece.

TSU CAFA GRAPHICS 1: Architectural Perspective

3. QUALITY DRAWING SURFACES

TSU CAFA GRAPHICS 1: Architectural Perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

Here are a few recommended erasers…

TSU CAFA GRAPHICS 1: Architectural Perspective

Precision Tools and Accessories

4. A GOOD PENCIL SHARPENER

TSU CAFA GRAPHICS 1: Architectural Perspective

1. Electric Pencil Sharpeners

2. Manual Pencil Sharpeners

A compass, also known as a pair of compasses, is a technical drawing instrument that

TSU CAFA GRAPHICS 1: Architectural Perspective

6. DRAWING PENS / INK

An added benefit to a felt tip pen is the

Staedtler technical pens Rotring Rapidographs in ISO nib sizes

TSU CAFA GRAPHICS 1: Architectural Perspective

TSU CAFA GRAPHICS 1: Architectural Perspective

Supplemental video: The Virtual Instructor : Comparing Colored Pencils