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LANDSCAPING
Principles & Practices
EI GHTH EDITI O N
Lab Manual
LANDSCAPING
Principles & Practices
EI GHTH EDITI O N
Lab Manual
Alissa F. Smith
Australia ● Brazil ● Mexico ● Singapore ● United Kingdom ● United States

Landscaping: Principles and Practices, © 2019, 2009 Cengage Learning, Inc.
8th Edition, Lab Manual
ALL RIGHTS RESERVED. No part of this work covered by the copyright herein
Alissa F. Smith
may be reproduced or distributed in any form or by any means, except as
SVP, GM Skills & Global Product Management: permitted by U.S. copyright law, without the prior written permission of the
Jonathan Lau copyright owner.
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Notice to the Reader

Publisher does not warrant or guarantee any of the products described herein
or perform any independent analysis in connection with any of the product
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disclaims, any obligation to obtain and include information other than that
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and adopt all safety precautions that might be indicated by the activities de-
scribed herein and to avoid all potential hazards. By following the instructions
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pose or merchantability, nor are any such representations implied with respect
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sequential, or exemplary damages resulting, in whole or part, from the readers’
use of, or reliance upon, this material.
Printed in the United States of America

Print Number: 01 Print Year: 2018
Contents
Preface vii
About the Author viii
S e c t io n o n e L AndScAPe deSi gn
ex e r c iS e 1 Identifying Materials and Equipment 3
ex e r c iS e 2 Using Equipment and Working with Scale 13
ex e r c iS e 3 Developing Lettering Skills 19
ex e r c iS e 4 Using Symbols in Drawing the Residence 27
ex e r c iS e 5 Using Symbols in Drawing Trees 33
ex e r c iS e 6 Using Symbols in Drawing Shrubs 39
ex e r c iS e 7 Using Symbols in Drawing Ground Covers,

Vines, and Flower Beds 45
ex e r c iS e 8 Drawing Symbols for Nonplant Features 51
ex e r c iS e 9 Understanding Foundation Plantings 57
ex e r c iS e 10 Recognizing Faulty Foundation Design 63
ex e r c iS e 11 Designing a Foundation Planting 69
ex e r c iS e 12 Organizing Space in the Landscape 79
ex e r c iS e 13 Making Thumbnail Sketches 85
ex e r c iS e 14 Designing Walks and Drives 91
ex e r c iS e 15 Drafting Guest Parking and Turnarounds 95
ex e r c iS e 16 Designing Patios 103
ex e r c iS e 17 Designing Decks 109
v
vi ◆ Contents
ex er ci Se 18 Understanding Balance 115
ex er ci Se 19 Designing Curvilinear Gardens 119
ex er ci Se 20 Designing Berms 125
ex er ci Se 21 Understanding Focalization 133
ex er ci Se 22 Organizing/Beginning the Planting Plan 143
ex er ci Se 23 Placing Artificial Features on the Plan 151
ex er ci Se 24 Developing the Design 155
ex er ci Se 25 Selecting Plants 161
ex er ci Se 26 Labeling Plants on a Plan 167
ex er ci Se 27 Preparing a Finished Plant List 171
ex er ci Se 28 Preparing a Title Block 175
ex er ci Se 29 Drafting Details on Landscape Plans 179
S e c t i o n t wo L A n d S c A P e cALcuLAti onS
ex er ci Se 30 Creating a Cost Estimate of

the Landscape Design Plan 187
ex er ci Se 31 Pricing Landscape Maintenance 193
S e c t i o n t h r e e c u S t o me r Servi ce
ex er ci Se 32 Communication and Marketing

of Landscape Business 201
ex er ci Se 33 Measuring Customer Satisfaction 205
ex er ci Se 34 Handling Customer Complaints 209
Section Four L A n d S c A P e m Ai ntenAnce
ex er ci Se 35 Operating a Lawn Mower 215
ex er ci Se 36 Operating a Commercial Dethatcher 221
ex er ci Se 37 Operating a Lawn Aerator 227
ex er ci Se 38 Operating a Walk-Behind Blower 233
ex er ci Se 39 Lawn Renovation (Reseeding) 239
ex er ci Se 40 Lawn Renovation (Overseeding) 243

p r e fa C e
Landscaping: Principles and Practices, 8th Edition, Lab Manual includes exercises that encourage students
to apply what they have learned through their landscaping course readings or lessons. Various activi-
ties require students to further explore design principles, landscape plan development, and soft skills,
to ensure that they are well-versed in these different aspects of the landscaping industry.
Most residential landscapes are planned, installed, and maintained by skilled workers with high
school, technical school, or college training in landscape horticulture. As such, high school programs
should include skills development in landscape design as well as installation and maintenance. This type
of instruction will allow students to leave high school with highly sought-after employability skills.
The purpose of this lab manual is to provide a step-by-step guide to basic skills development in
landscape design, installation, maintenance, and customer service. The materials can be adapted to
large-group instruction or to the individualized format presented. In either case, the student should
master one exercise before moving to another.
Precision Exam Alignment

This eighth edition of Landscaping: Principles and Practices, including text and accompanying lab exer-
cises, is aligned to Precision Exams’ Landscape Management exam, part of the Agriculture, Food and
Natural Resources Career Cluster. The Agriculture, Food and Natural Resources pathway connects in-
dustry with skills taught in the classroom to help students successfully transition from high school to
college and/or career. Working together, Precision Exams and National Geographic Learning/Cengage
focus on preparing students for the workforce, with exams and content that is kept up to date and
relevant to today’s jobs. To access a corresponding correlation guide, visit the accompanying Instruc-
tor Companion Website for Landscaping: Principles and Practices, 8th Edition. For more information on
how to administer the Landscape Management exam or any of the 170+ exams available to your stu-
dents, contact your local NGL/Cengage Sales Consultant.
vii
aBoUt tHe aUtHor
Alissa F. Smith is the Associate Executive Director of the National Association of Agricultural Educa-
tors (NAAE), which is the national professional organization for school-based agricultural educators
across the nation. She is primarily responsible for national professional development for agricultural
educators. Prior to working at NAAE, Alissa was a classroom agriculture teacher in Central Kentucky
who specialized in teaching horticulture and agriscience. She developed curriculum and instructional
material for high school agriculture classes that included Landscaping/Landscape Design, Greenhouse
Technology, and Floriculture/Floral Design. Alissa also focused her time developing agriscience cur-
riculum and serving on state committees to develop a state agriscience pathway in Kentucky.
Alissa completed her undergraduate degree in Agriculture at the University of Kentucky and holds
a teaching certification in agriculture for grades 5 through 12. She also earned her master’s degree in
Agriculture from the University of Kentucky.
viii
S e c ti o n one
Landscape Design
ex er ci Se 1 Identifying Materials and Equipment 3
ex er ci Se 2 Using Equipment and Working with Scale 13
ex er ci Se 3 Developing Lettering Skills 19
ex er ci Se 4 Using Symbols in Drawing the Residence 27
ex er ci Se 5 Using Symbols in Drawing Trees 33
ex er ci Se 6 Using Symbols in Drawing Shrubs 39
ex er ci Se 7 Using Symbols in Drawing Ground Covers, Vines,

and Flower Beds 45
ex er ci Se 8 Drawing Symbols for Nonplant Features 51
ex er ci Se 9 Understanding Foundation Plantings 57
ex er ci Se 10 Recognizing Faulty Foundation Design 63
ex er ci Se 11 Designing a Foundation Planting 69
ex er ci Se 12 Organizing Space in the Landscape 79
ex er ci Se 13 Making Thumbnail Sketches 85
ex er ci Se 14 Designing Walks and Drives 91
ex er ci Se 15 Drafting Guest Parking and Turnarounds 95
ex er ci Se 16 Designing Patios 103
ex er ci Se 17 Designing Decks 109
ex er ci Se 18 Understanding Balance 115
ex er ci Se 19 Designing Curvilinear Gardens 119
ex er ci Se 20 Designing Berms 125
1
2 ◆ SECTION ONE Landscape Design
e xe rc iS e 21 Understanding Focalization 133
e xe rc iS e 22 Organizing/Beginning the Planting Plan 143
e xe rc iS e 23 Placing Artificial Features on the Plan 151
e xe rc iS e 24 Developing the Design 155
e xe rc iS e 25 Selecting Plants 161
e xe rc iS e 26 Labeling Plants on a Plan 167
e xe rc iS e 27 Preparing a Finished Plant List 171
e xe rc iS e 28 Preparing a Title Block 175
e xe rc iS e 29 Drafting Details on Landscape Plans 179

exerciSe 1
Identifying Materials
and equipment
o B Je c t i v e
To familiarize students with the tools of landscape drafting and the use(s) of each.
SKiLLS
After studying this unit, you should be able to:
● Identify landscape drafting tools, by name, from line drawings or the actual tools.
● Select the tool needed for a particular task or function.
m At e r i A L S n e ede d *
Drafting board (minimum size 17" 3 22") Engineer’s scale (triangular)
T-square Architect’s scale (triangular)
Triangles (45º–45º–90º and 30º–60º–90º) French curves
Adjustable triangle Compass
2H drawing pencil Protractor
Lead holder Circle template (1y16" to 1" circles, minimum)
Vinyl eraser Drafting paper (plain or gridded)
Eraser shield
*Pictures may be substituted for items not available.
IntroDUCtIon
The landscape designer, like the architect or engineer, must be familiar with the use of basic drafting
tools. Literally thousands of products are on the market today. However, the following is a description
of basic tools with which the beginning student of landscape design should be familiar.
Drafting Boards
The drafting boards give a smooth surface for drafting on paper. It can be used on a table, desk,
or other steady surface. Drafting boards come in various sizes and are made of smooth-sanded
3
laminated wood or plastics. Wooden boards or ta-

bles should be covered with a vinyl drafting board
cover. Such covers are more durable than wood and
less subject to damage (Figure 1–1).
T-square
A T-square is used for drawing straight lines that are
parallel to the edge of the drafting board. It may be
used for either vertical or horizontal lines. A T-square
is not required where boards or tables are equipped
with a parallel bar or drafting machine (Figures 1–1 FIGURE 1–1 Drafting board and
parallel bar.
and 1–2).
Drafting Machines
Drafting machines replace T-squares, parallel bars,
and triangles, and allow for more rapid drafting.
A drafting machine is not essential for beginning
students, but students in advanced classes, draftspeople,
or professionals will find it the single most time-saving
mechanical device available (Figure 1–3).
FIGURE 1–2 T-square.
Drafting Paper
Drafting paper is available as opaque or transparent
in a wide variety of sizes. Opaque papers are fine for
rough drafts or final copies where the drawings are
not to be blueprinted. When blueprints are desirable,
it is essential to draw on high-quality vellum made
of 100% cotton and labeled as 100% rag. For ease
in drafting, paper with nonreproductive blue grids is
available as opaque or transparent. When blueprinted
or photocopied, the blue lines do not reproduce.
Gridded paper is usually available in 4 3 4 (1y4" 5 1'),
8 3 8 (1y8" 2 1') or 10 3 10 (1y10" 5 1') (Figure 1–4).
FIGURE 1–3 Drafting machine.
FIGURE 1–4 Gridded papers—4 3 4, 8 × 8, 10 × 10.

EXERCISE 1 Identifying Materials and Equipment ◆ 5
Triangles
Triangles are used to draw angled lines off any
straight line. The most commonly used angles are
45 degrees and 90 degrees. Angles other than 30, 45,
60, or 90 degrees can be drawn with the aid of a
protractor or an adjustable triangle (Figure 1–5).
Adjustable Triangles
These triangles cost considerably more than standard
fixed triangles but can be used to measure or plot any
angle between 0 and 90 degrees in 1-degree increments FIGURE 1–5 Triangles.
(Figure 1–6).
Protractor
A protractor is used to measure the angle of any two joining lines,
from 0 to 180 degrees, in 1-degree increments for the standard
protractor or 0 to 360 degrees for the round version. It is used to
determine existing angles or to mark nonstandard angles not available
on triangles (Figure 1–7).
Drawing Pencils
Drawing pencils come in varying degrees of hardness, usually 2B, B, HB,
F, H, and 2H through 9H. Drafting is done with lead having an HB rating
or higher. An H-rated pencil contains harder lead and produces lighter
lines that are less likely to smear. Avoid leads with a B rating because
B leads are much softer and are most often used for artwork or
sketching. A good choice for the beginning landscape designers is in FIGURE 1–6 Adjustable
the range of HB to 2H (Figure 1–8). triangle.
Lead Holders
Lead holders, or mechanical pencils, are
more expensive initially but are much less
expensive over the long run. The standard
lead holder uses lead 2 millimeters (mm)
thick and requires a lead pointer. Some
prefer lead holders with smaller lead,
which are available in 0.3-, 0.5-, 0.7-, or
0.9-millimeter thicknesses. These hold-
ers do not usually require sharpening of
the lead, but because of the smaller lead,
breakage of the point is more frequent FIGURE 1–7 Protractor.
(Figure 1–8).
2H F&B Turquoise
Easy Line
FIGURE 1–8 2H pencil and lead holder.

Pencil Sharpeners and Lead Pointers

Drafting pencils may be sharpened with any quality standard sharpener, either mechanical or
electric. Lead pointers are essential for lead holders using 2-millimeter leads. Most pointers come
with replaceable carbide blades, and some allow for adjustment of point taper (Figure 1–9).
FIGURE 1–9 Two popular styles of lead pointers.
Erasers Easy−Rub Eraser

Erasers should completely erase errors or changes without rubbing holes
in the drafting paper. The best drafting erasers are made of vinyl and are Vinyl
nonabrasive (Figure 1–10). Electric erasers are faster but are not essential
for the beginning student of design.
FIGURE 1–10 Vinyl eraser.
Eraser Shields
Eraser shields are used to erase unwanted lines or parts of lines
without smudging or erasing desired lines. Shields have various
sizes and shapes of openings to allow you to match the line to
be erased. Eraser shields are inexpensive, and every draftsperson
should have at least one (Figure 1–11).
Circle Templates
Circle templates allow rapid drawing of circles to represent trees,
shrubs, and other landscape features. Templates chosen should FIGURE 1–11 Eraser shield.
have a variety of circle sizes (Figure 1–12). Templates appropri-
KM
Circle
Template
FIGURE 1–12 Circle template.

ate for landscape should have circles from 1y16 to 1 inch minimum. A template
with 1y16- to 21y4-inch circles is more useful. Extra-large circles can be drawn with
a compass.
Compass
A compass or bow compass is an adjustable instrument used to draw circles or arcs.
It has two legs—one containing a metal point and the other containing a pencil
or lead. The distance between the two legs is one-half the diameter of the circle.
For example, a 1-inch setting will yield a 2-inch circle. Select a compass with
a threaded adjustment bar to prevent slippage and maintain adjustment while
drawing (Figure 1–13).
Scales
Scales are used for measuring or drawing lines that represent smaller dimensions on
paper than they are actually in “real life.” For example, a 1:10 scale means that 1 inch
on paper represents 10 feet of real space. Triangular scales are popular because each has
six or more scales on one instrument. Engineer’s scales contain scales of 1y10, 1y20, 1y30,
1
y40, 1y50, and 1y60.
Architect’s scales usually contain scales of 1y2 , 1y4 , 1y8 , 1y16 , 3y8 , 3y4 , and 3y16 . FIGURE 1–13
Landscape designers commonly use scales of 1y10 or 1y8 (Figure 1–14). Bow compass.
FIGURE 1–14 Engineer’s scale (top) and architect’s scale (bottom).
Lettering Guides 5
3
10
)
m
Lettering guides are used to draw guidelines essential 2 1

9.
M
75
9 8
c(
2
to attractive lettering. The Ames® Lettering Guide is 8 5
ri
3
et
7
M
6.1 32
an inexpensive, adjustable guide with many different 5 1
4
spacings, both standard and metric (Figure 1–15). 3.08
2
16
1
10 2
4 3
9 8 76 5
Ames® Lettering Guide

68°
FIGURE 1–15 Ames® Lettering Guide.

Nonadjustable guides usually have only four line widths, but they allow for rapid drafting of
guidelines (Figure 1–16).
1
4
3
16
5
32
1
8
JM−C
Lettering Guide
FIGURE 1–16 Nonadjustable lettering guide.
French Curves
French curves serve as a guide in making professional-
looking curved lines for bed areas, walks, drives, and
so on. The degree of curve can be changed by moving
the french curve to an edge or section of the sketch
having the same degree curve. There are many curves
available in many price ranges. A package of three
or four is usually adequate for landscape design
(Figure 1–17).
FIGURE 1–17 French curves.
pUt It Into praCtICe

1. Review the pictures included in this exercise, or examine the actual instruments (if provided
by your instructor).
2. Complete the questions without the assistance of the reading in this exercise.
Exercise 1 Activity
Student Name Date Score
Fill in the Blanks

Fill in the blanks with the best answers.
1. A 45-degree line can be drawn quickly with the aid of a .
2. , , and
are useful in drawing lines parallel to the edge of the drafting board.
3. A(n) or a(n) is useful in
drawing nonstandard angles such as 37 degrees.
4. A allows rapid drawing of circles to indicate trees
and shrubs.
5. An H rating indicates that a pencil has lead.
6. Do not use leads with a rating when drafting.
7. give a smooth, professional look to curving lines.
8. The best drafting erasers are made of .
9. Very large circles may be drawn with a .
10. allow you to erase a line without erasing adjacent
or adjoining lines.
11. An scale contains scales that are multiples of 10.
12. A 1:20 scale means that 1 inch equals .
9
Identification
Please identify the following items in their corresponding blank spaces:
1. Item A 5. Item E
2. Item B 6. Item F
3. Item C 7. Item G
4. Item D 8. Item H
D
E
F
3
5
10
)
m
2 1
9.
(m
M
75
9 2 8
ric
8 5 3
et
7
M
6.1 32
5
4
1
3.08 16
2
1
10 2
H
4 3
9 8 76 5
G Ames® Lettering Guide

68°
notes
e xe r c i S e 2
Using equipment
and Working
with scale
o B Je c t i v e S
To provide hands-on practice in the use of equipment and materials for landscape drafting.
SKiLLS
● Demonstrate a knowledge of scale by completing a basic scale drawing.
● Convert a drawing on a 1:20 scale to 1:10, or convert a drawing on a 1:16 scale to 1:8.
● Use various drafting instruments to complete the activity.
m At e r i A L S n e ede d
Drawing board French curves
T-square Compass
Triangles Protractor
Drawing pencil (HB, F, H, or 2H) Drafting paper (with or without grids) 81y2 3 11–inch
Vinyl eraser standard vellum
Eraser shield Drafting tape (not masking tape!)
Engineer’s scale or architect’s scale
Note: This exercise can be completed without a T-square and drawing board if paper with a fade-out grid
is used.
IntroDUCtIon
A landscape plan must be accurate—just like the design of a building or any other design that uses
space. In order to be accurate, it must be drawn to a chosen scale. Simply stated, scale is a miniature
representation of the real thing. A landscape plan should indicate the exact number of plants needed
while giving a visual reference of the space needed in comparison to lawn areas or artificial features.
13
Before you can draw a landscape plan that will be accurate and usable, it is essential to have expe-
rience with the correct use of appropriate tools. As you complete this exercise, it is essential that you
be perfectly honest. If you feel you do not understand the proper use of a tool, ask your instructor for
additional help or practice.
As you work with drafting tools, you will come to realize that scale is the basis of all such tools.
You must understand scale first and foremost. All other tools exist to help you draft plans to scale
with ease and accuracy.
The word scale is also used to describe the measuring instrument used in drawing. On the design
level, you should refrain from using the word ruler in favor of the more descriptive word scale. Two
such scales are used in landscape design: the engineer’s scale (Figure 2–1) and the architect’s scale
(Figure 2–2). Such scales are usually triangular, allowing for 6 different scales on the engineer’s instru-
ment and 11 on the architect’s.
23'
10'
10
0 1 2 3 4 5 6
Engineer
60 58 56 54 52 50 48 46 44 42 40 38 36 34 32 30
23'
10'
20
0 1 2 3 4 5 6 7 8 9 10 11 12
Engineer
48 46 44 42 40 38 36 34 32 30 28 26 24
FIGURE 2–1 Engineer’s scale.
23'
8'
1 0 4 8 12 16 20 24 28 32 36 40 44 48
8 46 44 42 40 38 36 34 32 30 28 26 24 22
Architect
2 10 9 8 7 6 5
1 0 2 4 6 8 10
23'
8'
16
0 1 2 3 4 5 Architect 6
60 58 56 54 52 50 48 46 44 42 40 38 36 34 32 30
FIGURE 2–2 Architect’s scale.

EXERCISE 2 Using Equipment and Working with Scale ◆ 15
The engineer’s scale is popular with landscape designers. For most residential properties, a scale of
1:10 will allow the property and building(s) to be placed on a standard sheet of vellum drafting paper
(17" 3 22", 24" 3 36", 30" 3 42", or 36" 3 48"). On larger residential properties, a scale of 1:20 may
be used; however, some symbols become very small at this scale. A better choice would be to divide
the property into two or more areas and use a 1:10 scale to draft the plan on two or more sheets of
vellum.
A 1:10 scale means that 1 inch is equal to 10 feet. Another way of looking at this is to say that
1
y10 inch is equal to 1 feet. In either case, every mark on the scale represents 1 foot. On the 1:20 scale
1 inch is equal to 20 feet. A drawing on this scale is exactly one-half the size of the same drawing on a
1:10 scale (Figure 2–1).
You will note that for every 10 feet, a longer mark exists on the scale, and a number is present.
Just add 0 (zero) to the number on the scale. For example, on the 1:20 scale, the number 1 is actually
1
y2 inch and represents 10 feet. The number 2 is actually 1 inch and represents 20 feet.
Some designers prefer the architect’s scale. The most popular architect’s scale for landscape de-
signers is the 1:8, where 1 inch 5 8 feet, or 1y8 inch 5 1 foot. For larger properties, the 1:16 scale can
be used, and on tiny properties a 1:4 scale is often appropriate.
As you study the architect’s scale, you will note that the 1y8-inch scale and the 1y4-inch scale are
located on the same edge. The 1y8-inch scale reads left to right, whereas the 1y4-inch scale reads right to
left. This makes the 1y8-inch scale somewhat more confusing at first, but with practice you will learn
to use one while ignoring the other (Figure 2–2).
Everything you draw, except for “thumbnail sketches” in Exercise 13, should be drawn to scale.
This is indicated on the drawing as “Scale: 1" 5 10', Scale: 1" 5 4',” and so on. This is usually noted
just outside the property line on a completed drawing, as shown in Figure 12–1 (Exercise 12) or near
the bottom of the drawing.
In addition to writing the scale being used, a useful symbol is the scale indicator bar (Figure 2–3).
A scale indicator bar is simple to draft and should be included on any final drawings, as shown in
Figure 12–1. With a minimum of practice, you will be able to draw the bar very quickly. The pur-
pose of the scale indicator bar is to show the scale as a length of space. In copying a drawing, scale
is sometimes slightly altered. In addition, you may desire to enlarge or reduce the drawing, and the
scale bar can be used to determine the size of a feature, because everything will be reduced or enlarged
proportionately.
Study Figures 2–1, 2–2, and 2–3. Be sure that you understand the scale you will use before you
begin the activity.
0 4 8 16 0 8 16 32
1:8 (1" = 8') 1:16 (1" = 16')
0 5 10 20 0 10 20 40
1:10 (1" = 10') 1:20 (1" = 20')

FIGURE 2–3 Sample scale indicator bars.

This activity will enable you to practice scale and use some of the tools you studied in Exercise 1.
Please have those tools readily available. You will also need two 81y2 3 11–inch sheets of drafting pa-
per (standard vellum is fine if you have a drawing board and T-square). Tape all four corners to your
drawing surface with the 11-inch side horizontal. If you are using a 10 3 10 or an 8 3 8 grid and a
T-square, you must align the grid lines with the T-square.
1. Use the drawings that follow to complete this exercise. Once completed and evaluated,
these drawings will continue to be used as we develop a complete landscape plan.
a. The drawing in Activity I is drawn on a scale of 1:20. Draw the same residence on a 1:10
scale on your own drafting paper. Write the scale you are using, and draw a scale indi-
cator bar on the same line. Your drawing will be much larger—actually twice as large.
Please also review the Evaluation rubric that is included to know how your drawing will
be assessed.
b. The drawing in Activity II is drawn on a scale of 1:16. Draw the same residence on a 1:8
scale on your own drafting paper. Write the scale you are using, and draw a scale indi-
cator bar on the same line. Please also review the Evaluation rubric that is included to
know how your drawing will be assessed.
NOTE: Measure each line with the scale indicated, either 1:20 or 1:16, and then draw each
line using the requested scale, 1:10 or 1:8, as indicated in each activity above.
notes
Exercise 2 Activity I
Scale: 1" = 20'

Residence
Patio
Evaluation
Consideration Points Student Score Instructor Score
Exact scale achieved 70
Lines are smooth and consistent 10
Scale indicator bar is accurate 10
Drawing is neat 10
Total 100
17
Exercise 2 Activity II
Scale: 1" = 16'

Residence
Patio
Evaluation
Exact scale achieved 70
Lines are smooth and consistent 10
Scale indicator bar is accurate 10
Drawing is neat 10
Total 100
18
e xe r c i S e 3
Developing
Lettering skills
o B Je c t i v e
To develop good lettering skills through supervised practice.
SKiLLS
● Properly use guidelines when lettering.
● Draw letters of consistent height and spacing.
● Draw letters using a single stroke.
● Demonstrate your lettering style.
Drawing board and T-square One 81y2 3 11–inch sheet drawing paper
Engineer’s scale or architect’s scale Drafting tape
Eraser and shield House plan drawn in Exercise 2
Drawing pencil (HB, F, H, or 2H)
IntroDUCtIon
Good lettering is essential to give a professional or distinctive look to a drawing. It can “sell” both you
and your plan to a prospective client. On the other hand, poor lettering is noticeable on a drawing,
and it can cause others to doubt your ability as a designer. Time spent developing your lettering skills
is time well spent.
Lettering is a developed skill. Although some people master lettering more quickly than others,
everyone can develop acceptable lettering skills through practice. The following explanations should
prove helpful:
1. Always use guidelines. Even the most experienced professionals use them. Horizontal guidelines
are drawn with the aid of a T-square or, preferably, a lettering guide. To letter, you must have two
guidelines, with the spacing between them determining the size of the letters. First, draw the top
guideline. Using a scale, measure down the desired distance and place a dot. Then, using the dot
as a reference, draw the second guide. A lettering guide eliminates this procedure. Always draw
19
guidelines lighter than your lettering, and never erase them after lettering. A blueprint or photo-
copy may pick up your guidelines, but that is acceptable so long as the lettering is darker.
Vertical guidelines are used for margins, columns, or as a guide for centering. Refer to Exer-
cise 28 for usage of vertical guidelines.
2. All lettering should be parallel with the bottom of the sheet. This enables you to read everything
on the sheet without having to turn it.
3. Letters should touch both the top and bottom guidelines. This gives even height to the letters.
4. Letters are usually drafted in capitals; however, lowercase—even cursive—letters have been used
effectively by architects and designers. Caution should be exercised in attempting to get too
fancy.
5. Don’t go over a line twice. This makes that part of the letter darker, and it will stand out on the
blueprint or photocopy. If you need to correct the letter, erase it fully and do it over.
6. Avoid wavy lines. Wavy lines are the result of marking too slowly. Relax and make deliberate
strokes.
7. Avoid making letters too narrow or too wide. This will take practice but will soon become sec-
ond nature (Figure 3–1).
NOTE: Use guidelines in your practice even if you are using fade-out vellum. Guidelines should
become a habit with you, because there will be many times when you will have to letter
on nongrid paper (Figure 3–2).
FIGURE 3–1 Do’s and don’ts of lettering.

EXERCISE 3 Developing Lettering Skills ◆ 21
FIGURE 3–2 Sample lettering.


Tape an 81y2 3 11–inch sheet of vellum to your drawing surface and align the bottom or top edge
using your T-square. Complete the following activity.
1. Draw two pairs of horizontal guidelines for several different size letters. Draw a vertical
guideline for your left margin.
2. Draw two alphabets (including numbers) using 2y10-inch letters for engineer’s scales or
3
y16-inch for architect’s scales. Draw the standard alphabet first, and then draw one of the
slanting alphabets (Figure 3–3).
3. Draw two alphabets for 1y10-inch letters or 1y8-inch letters, using the style you prefer.
4. Write your own first and last name, using both lettering sizes.
5. Write the sentence, “Good lettering skills are acquired through regular practice” (Figure 3–3).
6. Using the house plan you drew for Exercise 2: Activity I, label the rooms and areas as shown
in Figure 3–4. Save your house plan. It will be used for Exercise 4.
notes
EXERCISE 3 Developing Lettering Skills ◆ 23
FIGURE 3–3 Various lettering sizes.

24
FIGURE 3–4
◆ SECTION ONE
Patio
House plan lettering.

Landscape Design
Kitchen/
Bedroom Bedroom
Dining
Garage
Living Den
Bedroom
Room
Scale: 1" = 10'

Walk
Exercise 3 Activity
Evaluation
Letters touch guidelines 50
Letters are equal width 10
Spacing is acceptable 10
Pencil strokes are even 10
Overall neatness 20
Total 100
25
notes
e xe r c i S e 4
Using symbols
in Drawing the
residence
o B Je c t i v e
To gain experience in drawing and recognizing symbols for walls, windows, doors, and surfacing materials
for a residence.
SKiLLS
● Draft walls, windows, and doors of a residence.
● Draft surfacing materials for patios, walks, and drives of a residence.
● Darken walls of a residence plan with uniform shading.
House plan from Exercise 3 Eraser and shield
Drawing board and T-square Drawing pencil (HB, F, H, or 2H)
IntroDUCtIon
In drafting a residence, it is essential that the outside walls, windows, and doors be located accurately.
This will determine the kind, number, size, and placement of the foundation plants (plants near the
wall or foundation of a structure). To be usable, a landscape plan must be an accurate representation
of the actual house and property.
It is not necessary to draw inside walls when drafting the residence; however, it is useful to
indicate the location of rooms on the drawing, as you did in Exercise 3. This is helpful to the
designer in determining the views from a particular room or in locating other features in the
landscape. For example, a satisfying or interesting view from the den or family room might be a
primary consideration in developing the total garden design.
Once the general dimensions of a residence are drawn, the windows and doors should be the next
consideration. If you are working from an existing architect’s drawing, you can simply determine the
size and location of features and draw them on your plan.
27
Start by measuring from a corner to the first window or door of the wall. Always check your
measurement from both corners of a wall, and recheck often as you draw. Use the same procedure
if you are taking measurements of the actual residence, using a tape measure or other device.
The exact sizes of windows or doors vary greatly. For instance, a window might be 28 inches,
32 inches, or some other size. Because your engineer’s scale does not show inches, you will
have to estimate small measurements (Figure 4–1). A good rule of thumb for the landscape
designer is to round off such measurements to the nearest one-half foot, or 6 inches. It is best
to round off to the next largest one-half foot. This will help ensure that plants that are proposed
near windows will not cover or obstruct windows. The same procedure of rounding off to the nearest
one-half foot can be used in drafting doors.
FIGURE 4–1 Estimating measurements.
Standard windows can usually be drawn at 21y2 to 3 feet. Bathroom windows are often smaller
and measure 2 to 21y2 feet. Picture windows and bay windows can be almost any size, but they usually
vary from 6 to 8 feet in length. Doors usually vary between 21y2 and 31y2 feet.
Once windows and doors are located, the next step is to darken the remaining wall space. This
serves to make the residence stand out on the plan, and it makes windows and doors stand out. Strive
to use the same degree or density (darkness) in shading the walls (Figure 4–2).
Windows
Door Sliding Glass Door
“Picture” Window
Bay Window
FIGURE 4–2 Locating windows and doors and darkening

wall space.
Patios, drives, walks, and paths are made of concrete, stone, or brick. (Wooden decks will be
covered in another exercise.) It is not necessary to draw symbols for the entire area. Drawing symbols
to show the material for a section of the area is sufficient. Other surfacing materials, such as asphalt,
can simply be labeled as such on the plan (Figure 4–3).
EXERCISE 4 Using Symbols in Drawing the Residence ◆ 29
Concrete
Brick
Flagstone or State
A sphal t
Scored Concrete Concrete with Wood

Dividers
Exposed Aggregate Concrete Gravel or Sand

(Sectioned or Scored) (Label Your Choice)
FIGURE 4–3 Various materials used for patios, drives, walks, and paths.
(continued on next page)
Brick—Basketweave Pattern Brick—Herringbone Pattern
Brick—Running Bond Pattern Cut Stone or Concrete

(With Crosstie Dividers) (With Mortar Joints)
FIGURE 4–3 Various materials used for patios, drives, walks, and paths.
(continued from previous page)

1. Using the house plan drawn in Exercise 2 and lettered in Exercise 3, draw the windows in
the same location as shown in Figure 3–4 of Exercise 3.
a. Erase part of the wall connected to the patio to allow for the sliding glass door; then
draft it as shown.
b. Darken the wall spaces between windows, as shown.
2. Using appropriate symbols, indicate the material you desire for the front walk and rear pa-
tio. You may select the concrete and flagstone drawn on the plan in Figure 3–4, or you may
select and draw another material. Use a 1:10 scale.
Exercise 4 Activity
Evaluation
Walls are darkened and 10
accurate
Windows are located 30
accurately
Doors are located accurately 30
Surfacing symbols are accu- 10
rate and acceptable
Overall neatness 20
Total 100
31
notes
e xe r c i S e 5
Using symbols in
Drawing trees
o B Je c t i v e
To provide experience in drawing and recognizing symbols of trees on a landscape plan.
SKiLLS
● Draw symbols to represent small, medium, and large trees.
● Draw symbols for both evergreen and deciduous trees.
● Create symbols of your own.
Drawing board and T-square Circle template (1y16" to 21y4")
Drawing pencil (HB, F, H, or 2H) One 81y2 3 11–inch sheet of drafting paper
Eraser and shield Drafting tape
IntroDUCtIon
In designing landscapes, most permanent plants are represented by circular symbols. On smaller
or partial plans containing a relatively small number of plants, it is appropriate to represent plants
by circles drawn with a circle template. However, on larger plans with a greater number of plants,
individual plants become lost in an endless “jungle” of simple circles.
The purpose of symbols is to represent variety in plants and, if desirable, to indicate whether the
plant is deciduous (loses its leaves in fall) or evergreen (has foliage all year). Whereas perfect circles
are not necessary in symbolizing plants, it is important to keep them mostly round.
Large trees are those trees that mature at 40 feet or taller. Medium trees mature at 20 to 40 feet,
and small trees mature at 10 to 20 feet.
The following guidelines will work for the majority of trees in your plan:
1. Large trees 20 feet in diameter or greater
2. Medium trees 15 to 20 feet in diameter
3. Small trees 10 to 15 feet in diameter
33
The diameter measurements indicate trunk diameter.

To draw a tree symbol, decide the diameter circle you need. Choose a circle that is the desired size
from the circle template. It might be helpful to place your scale over the circle template and measure
various circles. If you do not have a circle large enough on your template, a compass can be used to
draw the circle.
Once a circle is selected, draw it lightly, as you did in drawing guidelines for lettering. Next,
decide upon a symbol and begin to draw the plant. You will note from the sample provided with this
exercise that evergreen symbols tend to have points or straight lines as part of the symbol. Deciduous
symbols are less rigid or less pointed. Always mark the center of the plant, as this indicates the exact
location of the initial planting (Figures 5–1 and 5–2).
FIGURE 5–1 Large tree symbols.

EXERCISE 5 Using Symbols in Drawing Trees ◆ 35
FIGURE 5–2 Medium and small tree symbols.


Obtain an 81y2 3 11–inch sheet of drafting paper and tape it to your drawing surface. Draw the
following in 1:10 or 1:8 scale. Be neat and strive for smooth, even lines. Please review the Evaluation
rubric before beginning.
1. Draw two deciduous and one evergreen for each size group (small, medium, and large), for
a total of nine trees.
2. Design your own symbols and draw one each of large, medium, and small trees, for a total
of three additional trees.
notes
Exercise 5 Activity
Evaluation
Measurements are accurate 50
Symbols are uniform and 20
circular
Dots are centered 15
Overall neatness 15
Total 100
37
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NOTES ON THE HABITS AND CHANGES OF
PLUMAGE OF THE ACADIAN OWL
(NYCTALE ACADICA), WITH SOME
ADDITIONAL RECORDS OF ITS BREEDING
IN MASSACHUSETTS.
BY WILLIAM BREWSTER.
In the Bulletin for July, 1881, I gave an account of the breeding of

the Acadian Owl at Tyngsboro’, Massachusetts, with a description of
a set of eggs taken there by Mr. Perham on April 5. Early in June of
the same season Mr. Perham sent me a brood of four young Saw-
whets which he had taken from the nest about the 15th of the
preceding month. They were all in the plumage of N. “albifrons,” and
showed little individual variation, save in respect to size, the two
females being slightly larger than their brothers. In their fresh, silky
feathering they were beautiful little creatures, the warm sepia-brown
of the upper parts harmonizing well with the rich fulvous beneath,
and their white foreheads showing in strong contrast with both. Nor
were their manners less engaging than their plumage, for, unlike
most Owls, they were perfectly gentle from the first, never
attempting to bite or scratch those who handled them. With each
other they were really affectionate, often going through a caressing
performance with their bills, and showing a mutual forbearance at
meal-times which was very pleasing. They eat all kinds of meat with
avidity, but seemed especially fond of mice. The latter were
invariably skinned and the flesh torn in shreds and devoured, the
skins being swallowed afterwards as dessert. I often saw them eject
those peculiar pellets of bones, fur, and other indigestable fragments
which all Owls and many Hawks are in the habit of depositing about
their haunts. The operation was a peculiar one. The Owl would gape
several times, then the head would be violently shaken sideways, and
finally the pellet, coated with mucous, would shoot forth, frequently
falling several inches in front of the spot where the bird was sitting.
After it was all over the little fellow assumed an expression of relief
and contentment which was very comical.
Although not less grave and solemn than other Owls, their
movements were much more animated and restless. They were
continually flying or hopping from place to place, even in the day-
time, and they had a frequent habit of oscillating the head, at the
same time lengthening and shortening the neck. This was apparently
done for the purpose of fixing the exact position of some distant
object, as afterwards the bird usually flew to the top of some door or
book-case towards which its eyes had evidently been directed. Their
only cry at this time was a shrill bat-like squeaking, which was
frequently given by all four at once. Altogether they were unusually
interesting pets and when the time came for preparing three of them
as specimens, I found it very hard to break up the affectionate and
attractive little family.
I believe it is now generally admitted by ornithologists, that the so
called “N. albifrons” is simply the young of N. acadica. Indeed, Mr.
Ridgway satisfactorily settled this point when he cited[9] the
testimony of Dr. J. W. Velie of Chicago who kept a live “albifrons”
“until it moulted and became a fine specimen of Nyctale acadica.”
But as no one seems to have published a detailed account of the
transition it may be worth while to briefly record some observations
made on the survivor of the brood just mentioned.
This bird was placed in a large cage where it had abundant room to
fly about, and was kept well supplied with food. Through June and
July there was absolutely no change in its plumage, but on August 1 I
noticed a few medially spotted feathers pushing their way through
the uniformly brown ones of the fore part of the crown. Through the
next two weeks they gradually increased and developed until the full-
face aspect of the head was that of an adult Saw-whet. At this stage
there was no indication of any second plumage on the other parts,
but about August 15 a few streaked feathers appeared along the
central line of the breast and abdomen, while a little later the moult
began over the back and wings and quickly became general. Through
the last two weeks of the month the new plumage gained daily, and
by Sept. 1 the final stage was perfected and the bird had become a
remarkably beautiful Saw-whet Owl. From this it appears that the
“albifrons” condition is simply the first plumage, which in the Saw-
whet is apparently better defined (as contrasted with the earlier
downy stage and later autumnal plumage), as well as longer worn,
than in most other Owls.
The specimen just mentioned is still (at the date of this writing,
Dec. 1) alive and well. It has become rather wilder and less gentle
than formerly, and lately has acquired a habit of swelling its plumage
and snapping the bill when closely approached. Shortly after the
moult it began a new cry, which is now frequently heard at night and
occasionally also in the day-time. This utterance consists of a series
of five or six low, chuckling but nevertheless whistled calls, which
remind one of that peculiar, drawling soliloquy sometimes indulged
in by a dejected hen on a rainy day. I cannot reconcile these notes
with descriptions of the saw-filing ones which are supposed to have
given the species its name, but they perhaps represent the unfinished
performance of a young bird. The bat-like squeaking was
discontinued before the bird began to whistle, and has never since
been heard.
At the time of writing the article already referred to I received the
impression that the nest then mentioned was the only one that Mr.
Perham had found. But I have since learned that, including the two
taken the present season, he has actually examined no less than
seven during the past ten years, all of which occurred in or near the
township of Tyngsboro’. Most of these nests were, however, broken
up by red squirrels before the full complement of eggs was laid. The
nesting places were usually of the artificial sort which I have already
described, but occasionally use was made of a deserted Flicker’s hole.
Mr. Perham frequently hears the notes of Saw-whets during the
month of March, and believes that many pairs breed about
Tyngsboro’ every season. The region is a heavily wooded one and
apparently offers exceptional attractions to all kinds of Raptorial
birds.
DESCRIPTION OF A NEW RACE OF PEUCÆA
RUFICEPS FROM TEXAS.
BY NATHAN CLIFFORD BROWN.
Peucæa ruficeps eremœca.[10] General aspect dull gray. Dorsal region

grayish-ash, the feathers brownish centrally and with their shafts almost black.
Top of head rufous, much admixed with grayish. A black frontlet, divided at the
culmen by a white line, as in ruficeps and var. boucardi. Breast and sides clear
gray. Abdomen whitish. Crissum and flanks tinged with fulvous. A black maxillary
stripe. Length of fresh specimen, 6.25; extent, 8.62; wing and tail about 2.75. Sexes
alike.
The above description characterizes a bird very unlike Peucæa

ruficeps both in size and in coloration. It is much larger and entirely
lacks the peculiar rufous tint of the upper parts seen in P. ruficeps.
Var. boucardi, which is simply a larger race of ruficeps, the present
form therefore resembles only in size and in the distribution of its
markings. Indeed it is so unlike both described races that, but for
thorough investigations by Mr. Robert Ridgway which fail to justify
such a procedure, I should urge the claims of the new form to specific
rank. Mr. Ridgway has with great kindness made a careful
comparison of several of my specimens with all accessible material
bearing upon the matter, and writes me that he finds the former
insufficiently differentiated from ruficeps, through boucardi, to
stand as a species. An interesting fact, incidentally brought to light
by Mr. Ridgway, is that of the few Mexican examples upon which Dr.
Sclater based his Zonotrichia boucardi, those from Orizaba are
apparently referable to the race I have named eremœca. The
National Museum possesses one of the three original Orizaba skins.
The specimens above described were taken, during the months of
Dec., 1879 and Jan., Feb., and March, 1880, at Boerne, Kendall Co.,
Texas. Some account of their habits may be found on another page of
the present number of the Bulletin.
ON KENNICOTT’S OWL AND SOME OF ITS
ALLIES, WITH A DESCRIPTION OF A
PROPOSED NEW RACE.
BY WILLIAM BREWSTER.
Since the date of its first description in 1867, Kennicott’s Owl

(Scops asio kennicotti) has remained a very rare bird, and
ornithologists have gained but little additional knowledge regarding
either its distribution or variations of color. The prominent
characters of Elliot’s type were its large size and tawny or umber-
brown plumage, and as the few specimens subsequently recognized
have closely resembled it, this peculiar coloring has come to be
regarded as constant and diagnostic. But not long since Capt.
Bendire sent me a Screech Owl from Fort Walla Walla, Washington
Territory, which, although equaling kennicotti in size and resembling
it in some other respects, was colored more nearly like S. asio in its
gray dress. Being unable to reconcile the peculiarities of this bird
with any of the standard descriptions, I set to work, at Capt.
Bendire’s request, to bring together a sufficiently large number of
specimens to determine its identity or relationship. In this I have at
length succeeded, thanks to the kind assistance of Professor Baird
and Mr. Ridgway of the National Museum, Mr. Allen of the
Cambridge Museum of Comparative Zoölogy, Capt. Charles Bendire,
U. S. A., Mr. H. W. Henshaw, Mr. Purdie and several other friends,
all of whom have been most generous in placing their material at my
disposal.
The series now before me comprises about fifty specimens, and
includes representatives of all the known North American forms of
Scops except S. flammeolus. Among the number are two typical
kennicotti, a fine suite of asio, illustrating its numerous variations of
plumage, and no less than nine examples referable to the large gray
form already mentioned as coming from Fort Walla Walla. A
comparison of the latter with asio and kennicotti shows that while a
few of the grayer specimens bear a strong superficial resemblance to
asio in its corresponding condition, the evidence of the series as a
whole points to a stronger affinity with kennicotti. In regard to size,
they are fully up to the standard of the latter, the difference from asio
in this respect being so decided that the smallest male of the series is
considerably larger than any female which I have from the East.
Moreover, the purely gray style is represented by only a small
proportion of the number, the majority being more or less tinged
with tawny-rufous, in this as well as some other respects indicating
evident approaches to the supposed typical characteristics of
kennicotti. In short, the intermediate character of several of these
specimens is so unmistakable that, although the transition is not
completely shown, they furnish ample evidence that the gray form
actually does intergrade with brown kennicotti.
The bearing of this testimony is not doubtful. Geographical
considerations preclude our regarding the two birds as allied races,
for one of the most typical examples of kennicotti comes from Idaho
(No. 59,068 Coll. Nat. Mus., Dr. Whitehead), while I have a
specimen referable to the gray condition from the coast of Oregon
(Portland, Capt. Bendire), thus showing that they cannot be assigned
different habitats. Clearly, then, the only alternative remaining is the
assumption that kennicotti, like asio, is dichromatic, the purely gray
birds from Fort Walla Walla representing the extreme of one phase,
as the tawny brown type probably does that of the other. And
considered in connection with its bearing on similarly variable allied
forms, the hypothesis of dichromatism certainly offers a very easy
and natural way out of the difficulty. Nor is there anything
inconsistent in the fact that one or the other style apparently
predominates in many sections of their mutual range, and in some is
perhaps the exclusive representative, for a similar state of affairs is
well known to obtain with other dichromatic members of this genus.
[11]
Assuming the preceding conclusions to be granted, the gray

condition of kennicotti may be characterized as follows:—
Scops asio kennicotti. Gray phase; adult ( ♀ , no. 6456 author’s collection,
Fort Walla Walla, W. T., October 22, 1881, Capt. Bendire). Ground-color above
brownish-ash, darkest on the head, palest on the wings, with confused, often
nearly obsolete transverse mottling and shaft-stripes of dull black, broadest and
most numerous on the crown. Outer webs of scapulars and alula-coverts cream-
color, the former tipped and narrowly margined with black. Secondaries and inner
webs of primaries crossed by from six to seven bars of pale reddish-brown. Outer
webs of primaries with broad, quadrate spots of brownish-white. Tail regularly but
faintly barred with light reddish-brown. Feathers of the sides of head and neck
thickly but minutely mottled with dusky upon a lighter ground. Lores nearly pure
white. A somewhat broken facial-circle of black or chestnut spots and blotches.
Beneath ashy-white, lightest on the abdomen, with numerous fine, regular,
transverse bars of black and coarse shaft-stripes of the same color; the only
immaculate space being that along the middle of the abdomen. Lining of wings and
concealed silky plumage of sides under the wings, pale ochraceous. Tarsi, dull
chestnut. Wing, 7.10; culmen, .61; tarsus, 1.77; tail, 4.10; middle toe, .75; ear-tufts,
1.45.
The above description is of a specimen representing the extreme

grayish phase so far as shown by the series before me. Six others
from the same locality vary a good deal in color and markings, some
of them being very dark with coarse shaft-stripes, both above and
below, while one or two have the dorsal surface nearly like that of
asio in its corresponding condition. In all, however, the plumage of
the under parts is somewhat different from that of asio, the
transverse bars being usually much finer and more regular and the
ground-color ashy instead of clear white. These differences seem to
be most strongly marked in the purely gray specimens which
otherwise afford the nearest approaches to asio.
Among the darker birds are three which may be considered as
about intermediate between the extreme brown and gray phases. The
first, from Mr. Henshaw’s collection (Fort Walla Walla, Nov. 7, 1880,
Capt. Bendire) has the dorsal plumage dark brown with an umber
cast, while the tibiæ, lining of wings, outer webs of scapulars, and
numerous pairs of rounded spots forming a band or collar across the
nape, are tawny-ochraceous of nearly as deep a shade as in typical
brown birds. The dark shaft-stripes in this specimen are broader and
blacker than in any of the others and the usual ashy cast beneath is
replaced by an ochraceous one. The remaining two birds are
similarly characterized but to a less marked degree. All three
combine the gray and brown coloring of the respective extreme
phases, precisely as do many of the eastern specimens before me, the
gray and red conditions of S. asio.
The Portland specimen already mentioned, although in some
respects an intermediate, is on the whole nearer the gray than the
brown condition. Its general coloring is essentially similar to that of
Mr. Henshaw’s bird, but the ground shade above is darker and the
scapular spots are confined to the edges of two or three of the outer
feathers, while the ochraceous wash beneath occurs only on the
sides, lining of the wings, and tibiæ, the ground-color of the under
parts being otherwise clear ashy-white.
An unusually large female from Hellgate, Montana (No. 18,299,
Nat. Mus.), which Mr. Ridgway very naturally treated as asio in the
“Birds of North America” (Vol. III, p. 50), agrees closely with Capt.
Bendire’s specimens and with them must now be referred to
kennicotti.
In the light of the present evidence it becomes necessary to
rearrange the typical characters of this Owl. I accordingly offer the
following diagnosis:—
Scops asio kennicotti. Wing, 6.40 to 7.60. Dichromatic, assuming either a

gray or a tawny brown condition. Gray phase similar to that of asio, but with the
plumage beneath thickly barred and streaked along the median line. Brown phase
characterized by a general dusky-umber or tawny-ochraceous coloring unlike that
of any other North American form.[12]
The following table includes the most essential measurements of all the
specimens of kennicotti which I have examined, together with some taken at
second hand, of Elliot’s type of the race.
Gray and Intermediate.
Wing. Tail.
6457, W. B. ♂ ad. Ft. Walla Nov. 20, 7.50 4.07
Walla, W.T. 1881.
6458, W. B. ♂ ad. „„ Apr. 25, 7.07 4.05
1881.
82,330, Nat. ♂ ad. „„ Dec. 22, 7.06 4.25
Mus. 1880.
6459, W. B. ♂ juv. John Day Aug. 6, 6.92 3.65
River. Ore. 1881.
30,624, C. ♂ ad. Ft. Walla Feb. 12, 7.00 4.22
Mus. Walla. W.T. 1881.
H. W. ♀ ad. „„ Nov. 7, 7.05 wanting
H. 1880.
6456, W. B. ♀ ad. „„ Oct. 22, 7.10 4.10
1881.
18,299, Nat. ♂ ad. Hellgate, Mon. 7.60 4.10
Mus.
6466, W. B. ad. Portland, 6.40 3.82
Oregon.
Brown.
4.530, Nat. Washington 6.80 4.07

Mus. Ter.
59,068, Nat. Idaho. 6.67 3.65
Mus.
59,847, Nat. ♂ ad. Sitka, Alaska. March, 7.40 4.00
Mus. 1866.
During the course of the preceding investigation I had occasion to

compare a large number of Eastern specimens of Scops asio with
some California examples from Nicasio and Alameda County.
Somewhat to my surprise, I detected several apparently constant
differences which, taken in connection with the pretty definitely
settled fact that the California bird is not, like asio, subject to
dichromatism, seem to me to warrant the varietal separation of the
two. I accordingly propose a new race as follows:—
Scops asio bendirei,[13] var. nov.

California Screech Owl.
Ch. Sp. Similis S. asioni, sed auribus brevioribus; colore subtus magis cinerario,
transversis lineis tenuioribus, pallidioribus, ac in medio haud interruptis. Nulla
rubra conditione cognita.
Adult ♀ (No. 1,546, author’s collection, Nicasio, California, April 24, 1877, C. A.
Allen). Above essentially similar to asio in its gray dress. Beneath ashy-white, every
where thickly barred and streaked with black; the transverse bars being fine,
numerous and regular, the shaft-stripes coarse and generally distributed from the
throat to the crissum, both markings occurring as thickly on the median line of the
breast and abdomen as along their sides. Wing, 6.20; tail, 3.30; tarsus, 1.50;
culmen, .60; ear-tufts, 1.15.
Another adult from the same locality ( ♀ , May 18, 1878, Coll. H. A. Purdie),
measures: wing, 6.22; tail, 3.18; ear-tufts, 1.05: while seven unsexed specimens
from Alameda county furnish the following extremes: wing, 6.01–6.52; tail, 3.22–
3.72, ear-tufts, 1.05–1.25.
The above detailed characters, so far as my series goes, are

sufficient to distinguish the California specimens from any gray
examples of asio taken in the Eastern States. The chief difference is
in the ground-color and markings of the plumage beneath. In asio
the central line of the breast and abdomen is nearly always
immaculate, while there is frequently a broad, entirely unspotted
gular space: in bendirei these parts are as thickly barred and
streaked as are the sides, while the ashy tinge of the entire lower
surface and the much finer character of the transverse pencilling
gives the plumage a clouded appearance which, although difficult of
description, is very characteristic. The ear-tufts, also, are usually
shorter than those of S. asio.
Among the nine examples before me there is remarkably little
individual variation, much less in fact than with any equal number of
asio which I have ever examined. The Alameda County specimens as
a rule are rather more finely and faintly barred than the Nicasio ones
and the ground-color beneath is of a slightly different shade,
inclining more to clayey than ashy-white. In one bird the under
surface is decidedly dull clay-color, which is so generally and evenly
distributed that there is positively no approach to clear white even on
the throat, lores, forehead or abdomen. But the essential characters
already given are so well maintained on the whole that the
description of the one chosen as the type will apply nearly as well to
them all. This uniformity is doubtless largely owing to the absence in
this race of any tendency to dichromatism, for much of the variation
among the dichromatic ones can be traced to the combination in
varying degrees of the colors of both phases, purely colored birds of
either style being, at least in some sections, of comparatively rare
occurrence. It is of course to be expected that larger suites of
specimens will furnish occasional aberrant ones some of which may
approach asio; but, so far as the present material is concerned, the
tendency of variation is rather towards kennicotti and “tricopsis.”
Indeed, as will be seen by comparing my diagnoses, the general
coloring and markings of bendirei are so nearly like those of
kennicotti in its extreme gray phase, that were it not for their wide
difference in size it might be difficult to separate some of the
specimens. That bendirei grades into the larger bird at the point
where their respective habitats meet is shown by a specimen (No.
16,027, Nat. Mus.) from Fort Crook, Northern California, which is
almost exactly intermediate in size, although more nearly like
kennicotti in color and markings. As to our bird of the Southwest
border, I believe that Mr. Ridgway is still undecided whether it really
represents the tricopsis of Wagler or not, but he writes me that
however this may turn out, he is now convinced that it intergrades
with the form found over California at large and must hence be
reduced to a variety of Scops asio. After a careful comparison of
specimens I can unhesitatingly endorse this opinion, my Arizona
examples of “tricopsis” differing from some of the more faintly
barred bendirei only in the purer ash and sharper streaking of their
dorsal plumage.
Save in cases where this fresh material has thrown new light on old
data, I have deemed it unnecessary to go over any of the ground
trodden by Mr. Ridgway in his elaborate and invaluable monograph
of the genus Scops,[14] but the bearing of some of the present
testimony has proved so far reaching that I venture, in concluding, to
suggest the following rearrangement of the North American Screech
Owls belonging to the S. asio group.
Dichromatic: erythrismal phase bright rufous.
Scops asio. Habitat, United States north of the Gulf States and east of the Rocky
Mountains.
Scops asio floridanus. Habitat, Florida and Southern Georgia.
Scops asio maccalli. Habitat, Highlands of Guatemala, Eastern Mexico, and
Valley of the Lower Rio Grande in Texas.
Dichromatic: erythrismal phase tawny or reddish-brown.
Scops asio kennicotti. Habitat, Northwest Coast from Sitka to Oregon and
eastward across Washington Territory into Idaho and Montana.
Non-dichromatic: always gray in color.[15]
Scops asio bendirei. Habitat, Coast region of California.

Scops asio tricopsis? Habitat, Western Mexico and the extreme southwestern
border of the United States.
Scops asio maxwellæ. Habitat, Mountains of Colorado.
A RECONNOISSANCE IN SOUTHWESTERN
TEXAS.
BY NATHAN CLIFFORD BROWN.
The village of Boerne in Southwestern Texas, with its environing

country, was the field of my ornithological labors between December
21, 1879 and April 4, 1880. Boerne is situated about thirty miles
northwest of San Antonio, and less than that distance westerly from
New Braunfels, where Messrs. Werner and Ricksecker made their
collection, a few years ago.[16] It lies in a country of hills and “flats,”
scantily watered and largely unproductive, beyond which timber and
general vegetation rapidly disappear, as the westward-bound
traveller nears the desolation of the Great Plains. Live-oak grows in
scattering groves, the postoak in more compact clusters, and cedar
occurs in small “brakes” of some density. There are also, along the
creek to which the village owes its existence, two or three small oases
of deciduous trees admixed with vines, no one of them, perhaps, an
acre in extent. The mesquite, which is so common on the prairies to
the south and east, is not seen, but is replaced by a small variety of
live-oak growing in the form of chaparral. Throughout my stay in it,
the country had a very inhospitable and dreary aspect, on account of
the almost total lack of grass of any kind; and by its absence the
number of the local birds is of course materially diminished.
In presenting a list of the birds observed in this locality, I wish to
call especial attention to the curious admixture of geographical races
found here. Among the species which are subject to climatic
variation, several are represented by two distinct varieties and with
them confused and indeterminable intermediate forms. In others but
one constant form is found. And in a third class the bird occurs in a
varying, transitional phase of plumage which, however, occasionally
becomes typical of some described race.
1. Hylocichla unalascæ (Gm.) Ridg. Dwarf Thrush.—Uncommon resident.
Not heard to sing. Several of my specimens very closely approach the variety
auduboni. I saw nothing of the eastern pallasi, which I have received from Mr.
Geo. H. Ragsdale, of Gainesville.
2. Merula migratoria propinqua, Ridg. Western Robin.—Irregularly
abundant.
3. Mimus polyglottus (Linn.) Boie. Mockingbird.—Rare resident.
4. Sialia sialis (Linn.) Haldem. Bluebird.—Comparatively common during the
winter. All of my specimens were in most beautiful plumage. Not one male in a
dozen showed the slightest brownish edging to the feathers of the back. I was
particularly struck with this in view of the fact that almost every individual in a
large series collected in Alabama, in the winter of 1878, exhibited more or less of
this brownish edging.
5. Sialia arctica, Swains. Rocky Mountain Bluebird.—Abundant winter

visitor. Generally in dull plumage.
6. Polioptila cærulea (Linn.) Scl. Blue-gray Gnatcatcher.—Apparently a
common summer resident. Arrived March 8.
7. Regulus calendula (Linn.) Licht. Ruby-crowned Kinglet.—Abundant up
to the last week in March.
8. Regulus satrapa, Licht. Golden-crested Kinglet.—Not common. Last
seen about March 22.
9. Lophophanes atrocristatus, Cassin. Black-crested Tit.—Very abundant
resident.
10. Parus carolinensis, Aud. Carolina Chickadee.—Uncommon during my
stay. Usually seen in pairs.
11. Certhia familiaris rufa (Bartr.) Ridg. Brown Creeper.—Rare. Only two
individuals observed: one Jan. 16, the other Jan. 29.
12. Salpinctes obsoletus (Say) Cab. Rock Wren.—I obtained a single female
on March 4, in a cañon of the Cibalo Creek. It was very shy and was secured with
difficulty.
13. Catherpes mexicanus conspersus, Ridg. White-throated Wren.—
About three pairs were resident in the cañon above referred to. They lurked almost
constantly in the interstices of the rocks, and had it not been for their delightful
song would many times have entirely escaped observation.
14. Thryothorus ludovicianus (Gm.) Bp. Carolina Wren.—Uncommon
resident.
15. Thryomanes bewicki leucogaster, Baird. Texan Bewick’s Wren.—Very
common resident. Sang throughout the winter.
16. Anthus ludovicianus (Gm.) Licht. Titlark.—Abundant winter visitor.
Became uncommon towards the last of March.
17. Neocorys spraguei (Aud.) Scl. Missouri Skylark.—Mr. Sennett having
detected this species at Galveston,[17] it was, of course, to have been expected in the
present locality. Since, however, I observed no examples until the 16th of March, it
is to be inferred that the bird’s winter habitat lies much farther to the south than
has been supposed. I met with specimens up to within a few days of my departure,
but never in abundance and, I believe, all upon one “flat” containing about twenty
acres.
While according to Dr. Coues[18] the manners and habits of this bird and the
Titlark agree so closely during the breeding season, they were quite unlike at the
time of my own observations. At Boerne the flight of the Skylark was peculiarly
characteristic, being made slowly, at a height of but a few inches from the ground
and with the regular, undulating movement of the Goldfinch. When several birds
were associated together—as was usually the case—they were invariably much
scattered about upon the ground, and in flight never closed ranks sufficiently to
form anything like a flock. The Titlarks, on the contrary, as I have also found them
at the North, were birds of erratic and more rapid flight, frequently ascending to a
considerable height and always preserving the semblance of a flock, however
straggling their order.
18. Mniotilta varia (Linn.) Vieill. Black-and-white Creeper.—Rather
common after March 13.
19. Helminthophaga ruficapilla (Wils.) Bd. Nashville Warbler.—Two
specimens,—March 30 and April 1.
20. Helminthophaga celata (Say) Bd. Orange-crowned Warbler.—Arrived
the first week in March and thereafter was the most abundant of the Warblers. One
of my specimens is a partial albino, the first, I believe, that has been detected in
this peculiar phase of plumage.
21. Parula americana (Linn.) Bp. Blue Yellow-back.—Rare migrant. Arrived
March 20 in full song.
22. Dendrœca coronata (Linn.) Gray. Yellow-rump.—An abundant winter
visitor, seen throughout my stay.
23. Dendrœca blackburnæ (Gm.) Bd. Blackburnian Warbler.—A single
male taken March 31.
24. Dendrœca dominica albilora, Bd. White-browed Yellow-throat.—
Uncommon migrant, first seen on March 19. The song of this variety is very
different from that of its eastern analogue, and is a close reproduction of the Field
Sparrow’s familiar chant, without his decrescendo termination.
25. Dendrœca chrysoparia, Scl. and Salv. Golden-cheeked Warbler.—
Previous to the capture of my Boerne specimens, there were only about seven[19]
skins of this elegant Warbler in existence. It was a rare bird at Boerne, and my own
series was not brought up to a total of seven without special exertion. The first
individual made his appearance on March 12. Within forty-eight hours from that
time, under the influence of a biting norther, the mercury sank to 29° and hovered
about that figure for several days. So that in his semi-tropical habitat this little bird
is sometimes called upon to endure pretty severe weather. The remaining examples
were taken at intervals up to March 24, after which I saw none. I found them
usually in cedar brakes; never more than a few rods distant from them. They were
sometimes very shy, at other times easily approached, but almost always pursued
their various avocations rather silently. I did not hear the song at all, until by this I
was attracted to the last specimen that I procured. The notes were an exact
counterpart of the song of Dendrœca discolor, as I heard it in Alabama, and,
indeed, for the utterances of that bird I mistook them.
By the few examples of this species hitherto existing in cabinets, the plumage of
the adult male has been represented with much green on the back. Four of my five
males conform to this pattern of coloration, but the fifth is in a much more
beautiful dress, undoubtedly showing the male bird in full perfection. In this
specimen the back is deep black, glossy and continuous. Upon close examination,
faint and irregular traces of greenish are perceptible, but in much too slight a
degree to materially affect the groundwork. This high state of plumage greatly
enhances the bird’s beauty and renders its wearer one of the handsomest of the
Sylvicolidæ.
26. Dendrœca virens (Gm.) Bd. Black-throated Green Warbler.—An
uncommon migrant, first seen on March 13. Found in hardwood growth and never
in company with the preceding species. On March 25 I heard a male singing the
plaintive song so familiar in northern woods.
27. Siurus motacilla (Vieill.) Coues. Large-billed Water Thrush.—A single
male taken, March 25, in one of the “oases” of the creek.
28. Lanivireo flavifrons (Vieill.) Bd. Yellow-throated Vireo.—A pair taken
on March 25.
29. Vireo atricapillus, Woodh. Black-capped Vireo.—One specimen, March
27. Could I have remained a few days later, other specimens would have
undoubtedly been detected.
30. Vireo noveboracensis (Gm.) Bp. White-eyed Vireo.—Common summer
resident, first seen on March 13.
31. Lanius ludovicianus excubitorides (Sw.) Coues. White-rumped
Shrike.—Of irregular and uncommon occurrence. I obtained one specimen of
ludovicianus proper.
32. Ampelis cedrorum (Vieill.) Bd. Cedar Bird.—Very irregular in its
occurrence, and never common.
33. Progne subis (Linn.) Bd. Purple Martin.—Common summer resident.
Arrived from the south, Feb. 17.
34. Petrochelidon lunifrons (Say) Lawr. Eave Swallow.—Common summer
resident. Arrived about March 20. The cañon, to which I have several times
alluded, contained many nests of this bird.
35. Hirundo erythrogastra, Bodd. Barn Swallow.—Common summer
resident. A single individual seen on March 4, but no others noticed until the 10th
of the month when there was a general arrival.
36. Stelgidopteryx serripennis (Aud.) Bd. Rough-winged Swallow.—But
two observed,—March 3 and 4.
37. Pyranga æstiva (Linn.) Vieill. Summer Redbird.—One specimen taken in
April.
38. Astragalinus tristis (Linn.) Cab. Goldfinch.—Rather common winter
visitant.
39. Centrophanes ornatus (Towns.) Cab. Chestnut-collared Longspur.—
This and the following species apparently do not winter here. I first met with them
in the second week of February. They were often associated together, sometimes
with the addition of a few Horned Larks. The present species, though not common,
was the more numerous and lingered later, being taken up to March 2.
40. Rhynchophanes maccowni (Lawr.) Bd. McCown’s Longspur.—
Uncommon migrant, taken between Feb. 11 and 21.
41. Passerculus sandwichensis alaudinus (Bp.) Ridg. Western Savanna
Sparrow.—Common, throughout my stay, in cultivated fields.
42. Poœcetes gramineus confinis, Bd. Western Grass Finch.—Abundant
in cultivated fields and less common elsewhere, throughout my stay. Several
specimens were taken in plumage intermediate between this and the eastern form;
and one which can hardly be referred to anything but gramineus proper.
43. Coturniculus passerinus (Wils.) Bp. Yellow-winged Sparrow.—A
single specimen, Feb. 14.
44. Chondestes grammica (Say) Bp. Lark Finch.—Rare during the winter. A
general arrival on March 11, after which it was common.
45. Zonotrichia querula (Nutt.) Gamb. Harris’s Sparrow.—Excepting two
specimens taken by Mr. Dresser near San Antonio, this species has no Texas
record. I found it very abundant during the winter, and in smaller numbers up to
within a few days of my departure.
46. Zonotrichia leucophrys (Forst.) Sw. White-crowned Sparrow.—
Uncommon winter visitor.
47. Zonotrichia gambeli intermedia, Ridg. Ridgway’s Sparrow.—More
common than the preceding, tarrying into March, if not later.
48. Spizella domestica arizonæ (Coues) Ridg. Western Chipping Sparrow.
—Rare during the winter. More numerous after Feb. 13. This form is new to the
State.
49. Spizella breweri, Cass. Brewer’s Sparrow.—One specimen, March 5,
amongst sterile hills. Doubtless is not rare in suitable localities, of which there are
none in the immediate vicinity of the village.
50. Spizella pusilla (Wils.) Bp. Field Sparrow.—Common during my stay.
51. Junco hyemalis (Linn.) Scl. Black Snowbird.—Common during my stay.
52. Junco oregonus (Towns.) Scl. Oregon Snowbird.—Uncommon. In
addition to the specimens typical of the two Juncos here given, I acquired a series
of very puzzling examples intermediate between the two. Such connecting links
between the accepted species are perhaps best accounted for under Mr. Ridgway’s
theory[20] of hybridization, until it can be decisively shown that they are an effect
of climatic causes.
53. Peucæa ruficeps eremœca,[21] Brown. Rock Sparrow.—This beautiful
Sparrow was uncommon though apparently resident at Boerne. I found it
altogether in rocky localities, usually in close proximity to the creek, but
occasionally upon barren hills, a mile or more from water. It has the same shy,
skulking habits which are familiar in other species of the genus, rarely taking wing,
on the approach of an intruder, so long as rock, bush or weed affords a hiding
place. The male’s song, which I first heard on Feb. 25, is a pretty warble, not
strongly accentuated, and quite unsparrowlike,—equalling neither in sweetness nor
in quality of music, the beautiful chant of P. æstivalis. Before becoming thoroughly
familiar with it, I more than once attributed it to some unknown Warbler. The call-
note is extremely fine and sharp, suggesting the eep of Ampelis cedrorum.
54. Melospiza fasciata (Gm.) Scott. Song Sparrow.—Rare throughout my
stay. Specimens are not typical of this form, but are not referable to any of the
western varieties.[22]
55. Melospiza lincolni (Aud.) Bd. Lincoln’s Finch.—Arrived March 4;
common thereafter.
56. Passerella iliaca (Merrem) Sw. Fox Sparrow.—Two or three individuals
met with. This species was detected in the valley of the Brazos by Mr. L. Kumlien,
[23] but is not included in the papers of other Texas collectors.
57. Pipilo maculatus megalonyx (Bd.) Coues. Spurred Towhee.—To this

form I refer a large series of Pipilos, which is by far the most remarkable of the
many curious series from this locality. The relation of some specimens to restricted
maculatus and the variety arcticus is indicated in the extract from Mr. Ridgway’s
letter, under M. fasciata. Other examples are links in the chain of evidence that is
gradually accumulating against the specific distinctness of Pipilo
erythrophthalmus. Indeed, I am not sure that they may not be considered as
establishing the intergradation between that form and the maculatus group. The
extreme approach to the eastern bird is seen in a single specimen, in which the
white spotting, partially concealed, appears upon the outer scapulars alone, and
there only in very slight measure.
58. Cardinalis virginianus (Briss.) Bp. Cardinal.—Abundant resident. In a
series of fifty specimens, two or three are typical, the remainder exhibiting to a
greater or less degree the characters of both virginianus as restricted and var.
igneus. In one specimen the black band across the culmen is hardly perceptible,
but in none does the red of the forehead reach completely to the bill.
59. Calamospiza bicolor (Towns.) Bp. Lark Bunting.—One specimen, in a
scattering grove of post oaks, March 24.
60. Molothrus ater (Bodd.) Gray. Cowbird.—A few females shot out of flocks
of the following variety, in March.
60 b. Molothrus ater obscurus (Gm.) Coues. Dwarf Cowbird.—On Jan. 20 I
shot the first females that I had observed, after which they soon became common.
No males were detected until Feb. 25, but from that time both sexes were found in
abundance.
61. Agelæus phœniceus (Linn.) Vieill. Red-winged Blackbird.—Abundantly
represented, during the winter, but by females only, so far as my observations
went. The males are said by the villagers to occur rarely.
62. Sturnella neglecta, Aud. Western Field Lark.—Abundant during my
stay.
63. Icterus spurius (Linn.) Bp. Orchard Oriole.—One individual seen in
April.
64. Scolecophagus cyanocephalus (Wagl.) Cab. Brewer’s Blackbird.—
Found throughout my stay; in great abundance up to the middle of March.
65. Corvus corax carnivorus (Bartr.) Ridg. Raven.—Uncommon. Usually
solitary, but on Jan. 28, I noticed a flock of a dozen.
66. Corvus frugivorus, Bartr. Crow.—Rare.
67. Eremophila alpestris chrysolæma (Wagl.) Coues. Mexican Horned
Lark.—Abundant up to the first week of March, after which none were seen until
March 27. From this time occasional individuals only were observed.
68. Milvulus forficatus (Gm.) Sw. Scissor-tail.—Arrived March 24, and
became at once common.
69. Myiarchus crinitus (Linn.) Cab. Great-crested Flycatcher.—One
specimen taken March 30.
70. Sayornis fuscus (Gm.) Bd. Pewee.—Found rather uncommonly
throughout my stay.
71. Caprimulgus vociferus, Wils. Whip-poor-will.—One specimen taken
April 2.
72. Picus scalaris, Wagl. Texas Woodpecker.—An abundant resident.
73. Sphyrapicus varius (Linn.) Bd. Yellow-bellied Woodpecker.—Rare and
irregular.
74. Centurus carolinus (Linn.) Bp. Red-bellied Woodpecker.—The rarest
species of this family: but three seen.
75. Centurus aurifrons, Wagl. Golden-fronted Woodpecker.—Uncommon
resident. Unlike Mr. Sennett,[24] I found it always very shy.
76. Colaptes auratus hybridus (Bd.) Ridg. Hybrid Flicker.—Uncommon
and of irregular occurrence. This form does not appear to have been met with in
Texas limits before. The present locality is at all events exceptionally southern.
76 b. Colaptes auratus mexicanus (Sw.) Ridg. Red-shafted Flicker.—One
specimen, taken Jan. 2. Others doubtless occurred amongst the shy Flickers which
escaped my gun.
77. Ceryle alcyon (Linn.) Boie. Belted Kingfisher.—A pair seen on Feb. 18,
one of which was shot by a friend on Feb. 21.
78. Geococcyx calfornianus (Less.) Bd. Chaparral Cock.—Though said by
the inhabitants to be usually numerous, I found it rare during my stay.
79. Tinnunculus sparverius (Linn.) Vieill. Sparrow Hawk.—Common winter
visitant.
80. Accipiter fuscus (Gm.) Bp. Sharp-shinned Hawk.—Common winter
visitant.
81. Cathartes aura (Linn.) Illig. Turkey Buzzard.—Common resident.
82. Catharista atrata (Wils.) Less. Black Vulture.—Common resident.
83. Zenaidura carolinensis (Linn.) Bp. Carolina Dove.—In great numbers
throughout my stay.
84. Meleagris gallopavo, Linn. Mexican Turkey.—The Boerne Hotel
occasionally favored its guests with Wild Turkey obtained of ranchmen from the
surrounding country, but I did not meet with the bird myself.
85. Ortyx virginiana texana (Lawr.) Coues. Texas Quail.—Uncommon
resident. Nearly all of my specimens lack the outer one or two joints of all the toes,
—a result, perhaps, of excessive cold.
86. Ardea herodias, Linn. Great Blue Heron.—Occasionally observed.
87. Charadrius dominicus, Müll. Golden Plover.—Uncommon after March
9, which was the date of its arrival.
88. Oxyechus vociferus (Linn.) Reich. Killdeer.—Abundant resident.
89. Podasocys montanus (Towns.) Coues. Mountain Plover.—Occurs
uncommonly in the migrations. A flock of about twenty individuals encountered on
Jan. 2; two specimens taken on March 15; and a flock of a dozen or more seen on
March 17. They were very tame, but, from some peculiar constitutional trait,
difficult to kill. This Plover was not procured in southern Texas by Mr. Sennett nor
by Dr. Merrill. It was, however, met with by Mr. Dresser,[25] and two specimens
obtained in the State by other collectors are catalogued in the ninth volume of
Pacific Railroad Reports.
90. Gallinago media wilsoni (Temm.) Ridg. Wilson’s Snipe.—In the course
of the winter I met with perhaps a dozen individuals, at one particular spot in the
bed of the creek, where a little grass afforded partial cover. Specimens which I shot
are exactly similar to eastern examples in plumage, but when freshly killed all
agreed in having pale, flesh-colored legs and feet—those of the female being tinged
with greenish-yellow. So far as my own experience goes, this is a peculiarity never
seen in eastern Snipe, in which the legs and feet are olivaceous.
91. Actodromas maculata (Vieill.) Coues. Grass-bird.—One specimen,
March 21.

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ex e r c iS e 1 Identifying Materials and Equipment 3

ex e r c iS e 2 Using Equipment and Working with Scale 13

ex e r c iS e 3 Developing Lettering Skills 19

ex e r c iS e 4 Using Symbols in Drawing the Residence 27

ex e r c iS e 5 Using Symbols in Drawing Trees 33

ex e r c iS e 6 Using Symbols in Drawing Shrubs 39

ex e r c iS e 7 Using Symbols in Drawing Ground Covers,

ex e r c iS e 8 Drawing Symbols for Nonplant Features 51

ex e r c iS e 9 Understanding Foundation Plantings 57

ex e r c iS e 10 Recognizing Faulty Foundation Design 63

ex e r c iS e 11 Designing a Foundation Planting 69

ex e r c iS e 12 Organizing Space in the Landscape 79

ex e r c iS e 13 Making Thumbnail Sketches 85

ex e r c iS e 14 Designing Walks and Drives 91

ex e r c iS e 15 Drafting Guest Parking and Turnarounds 95

ex e r c iS e 16 Designing Patios 103

ex e r c iS e 17 Designing Decks 109

ex er ci Se 18 Understanding Balance 115

ex er ci Se 19 Designing Curvilinear Gardens 119

ex er ci Se 20 Designing Berms 125

ex er ci Se 21 Understanding Focalization 133

ex er ci Se 22 Organizing/Beginning the Planting Plan 143

ex er ci Se 23 Placing Artificial Features on the Plan 151

ex er ci Se 24 Developing the Design 155

ex er ci Se 25 Selecting Plants 161

ex er ci Se 26 Labeling Plants on a Plan 167

ex er ci Se 27 Preparing a Finished Plant List 171

ex er ci Se 28 Preparing a Title Block 175

ex er ci Se 29 Drafting Details on Landscape Plans 179

ex er ci Se 30 Creating a Cost Estimate of

ex er ci Se 31 Pricing Landscape Maintenance 193

ex er ci Se 32 Communication and Marketing

ex er ci Se 33 Measuring Customer Satisfaction 205

ex er ci Se 34 Handling Customer Complaints 209

Section Four L A n d S c A P e m Ai ntenAnce

ex er ci Se 35 Operating a Lawn Mower 215

ex er ci Se 36 Operating a Commercial Dethatcher 221

ex er ci Se 37 Operating a Lawn Aerator 227

ex er ci Se 38 Operating a Walk-Behind Blower 233

ex er ci Se 39 Lawn Renovation (Reseeding) 239

ex er ci Se 40 Lawn Renovation (Overseeding) 243

Precision Exam Alignment

ex er ci Se 2 Using Equipment and Working with Scale 13

ex er ci Se 3 Developing Lettering Skills 19

ex er ci Se 4 Using Symbols in Drawing the Residence 27

ex er ci Se 5 Using Symbols in Drawing Trees 33

ex er ci Se 6 Using Symbols in Drawing Shrubs 39

ex er ci Se 7 Using Symbols in Drawing Ground Covers, Vines,

ex er ci Se 8 Drawing Symbols for Nonplant Features 51