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    24 views209 pages

    Landscape

    Uploaded by

    Terinte Roxana Stefania

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    © All Rights Reserved
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    LANDSCAPE GRAPHICS Plan, Section, and Perspective Drawing of Landscape Spaces Grant W. Reid FASLA Special thanks to: EDAW, Inc., Fort Collins, Colorado, for professional illustrations on pages 6, 25, 45, 59, 109, 156, 167, 168, 169, 180, 181, 182, 183, Winston Associates, Inc., Boulder, Colorado, for professional illustra- tions on page 11 Colorado State University students Jordan Mestas, Jeromy Montano, and Matt Wittman for thelr assistance with illustrations. Text set in 9 point Univers 45 Light Copyright © 2002 Grant Reid First ecition published in 1987 in Now York by \Watson-Gupiil Publications ed in 2002 by Watson-Guptit Publications, ney Library of Design, Library of Congress Control Number: 2002110266 ISBN-13: 978-0-8290-7333-7 ISBN: 0-8230-7333-5 rights reserved. Printed in the U.S.A. 910/10 Biography the book From Concept to Form. Chapter 1: Chapter 2: Chapter 3: Chapter 4: Chapter 5: Chapter 6: Chapter 7: Chapter 8: Contents How to Use this Book Graphic Language and the Design Process Basic Drafting Lettering Freehand Drawing and Conceptual Diagramming Presentation Plans Section-elevations Graphic Symbol File for Sections and Perspectives Perspective Drawing Appendices 17 33 45 61 97 14 155 204 207 208 Foreword Landscape Graphics is an ins timesaving techniques. The format is how to. Although directed pr the person just taking up landscape design, techniques and reference that shed professionals who wish to refine their graphic ski The language of landscape graphic communi in one book. For that reason, techniques. In addi complex ones. For example, there are more technicel and pethaps more ‘accurate methods of perspective drawing than those shown here. But the ted in this book have the advantage of simplicity and The very important area of computer grephics is touched very lightly here. ‘The computer is now able to perform many grep! were formerly done only by hand, including some manual techniques described here. Yet computer graphics is far too specialized a subject for inclusion in 8 basic book like who can draw well and at best, only twenty percent of the 10 develop creative design it's up to you. Accept the lenge; practice a fot and have fun doing it How to Use This Book If you are a beginning student or a graohi tuctor, You idy each chapter, then try the exercises at the end it choose which exercises are most relevant to your el rather than doing every exercise. The sequence 's has @ logical progression to give you the necessary skills to pro- 'e next chapter, Similarly the exercises at the end of each chapter progress from basic to more challenging. It will be more rewarding if you oughly follow these progressions. The professional or more advanced stu- dont may wish to skio some sections that are 100 easy or of litle interest, in order to speed up your learning and enjoyment, get the most All of the principles and technioues aiscussed in the book ere adaptable 10 both the Imperial (English) and systems of measurement ial numbers. and units are given lowed by the aporopriate Metric numbers and units in parenthesis, 2.9, 5 feot 1.5 meters) Keep in mind that most of the black-and-white techniques discussed and illus- ted can be adapted to color rendering techniques. The resder should prac tice quick color applications concurrently with each section studied. Some excellent color rendering books are listed in the bibliography. Also in the bibi- ‘ography you will find reference to publications on freehand sketching. These would make good companions to this book. AC) ignors generally follow a logical process to get from the germ of an ical for that stage. These graphic and written rated to record, externalize and communicate ideas n. They may range from simplo, rough sketches to com- lox construction details. Program development istics of a pi attitudes, needs, constraints “Fiogiams ace often comprised and raphic Language and the Design Process Inventory and analysis Content and purpose ‘At this stage the landscape design professional gathers and records inforra- tion on the physical characteristics of a site, such as its property fines and building dimensions, vegetation, topography, soils, climate, drainage, views, and other The objective recording of site data is called an inventory. Interpretation of this dete end the addition of subjective evalue- tions constitute a site analysis. This information, together with the written program, are the basic guidelines for the succeeding design steps. Graphic character and media ‘ate graphic. sheets; ‘comprehensive stfaints and poter For small sites, the inventory and analysis may be done with pencil on vellum ‘0r graph paper and are usually heavily annotated. Felt tip pen on marker paper sures, topographic surveying equioment and a ‘camera are essential tools for recording site characteristics. Larger sites may roquire a series of maps drawn wi methods. Video-, computer- and satel necessary. Very complex site analyses are best done with computer ‘manipulation of the various layers of data, For small-scale landscape projects, graphic materials are generally { designer's use only, so the graphics are unpolished and character and consist of site specific notes, arrows, and rough abstract symbols. On regional scale projects the data may be presented as detailed ‘computer printouts since it usually analyzed by a design team and reviewed by the a Inventories ome REET Blue River-Gore Pass FT eee, Transmission Line El mt one ae ere Be Tenis osleconice | Concept Plan 1 4 - Schematic Plan Graphic language and te Design Process (3) Preliminary design Content and purpose ‘As the ideas from the previous design stace are refined to integrate all the color and user potential, Thera comes a presented to the client. At this siaga the des clearly communicate and s critique from the client fo at this stage are: presentation plan, illustrative section, perspective, Preliminary plan, master plan proposed development plan. Chapters 5, 6, 7, and 8 provide more deta on these types of graphics. the responsibilty to the ideas @s well as to obtain feedback or f design refinement. Typical titles for drawings Graphic character and media Refined drawings for presentation to a client or user audience need to be fairy realistic and convincing, Most effective is @ colorful package of ct that combines plans, sections and perspectives. They need self-explanatory drawings with ied photographs, ‘models and computer-generated persp. ive at this stage. Presentation drawings require @ fa ium, such as marker paper, heavy print or bond paper, or bo: artwork. To produce powerful presentation drawings it is often necessary to combine freehand techniques, mechanical jotography and computer-aided ‘graphics. Landscape Graphics Master Plan MASTER PLAN NORTH BOULDER COMMUNITY PARK ‘ouen cooRAvo ] Construction documentation Content and purpose in the design of a buildable ments somet ‘occur between the presentation drawings and the construction documents, but once this stage is reached there is much less eoceptance of chenge. The Purpose of these documents is to communicate to the people who are responsible for y, Detailed written instructions called spe 2 sot of drawings thet show exact sizes, shapes, quantities, types and locations of se these documents initially for estimating and bidding, then later as a guide to construction. A typical set of landscape const swings may contain 2 site plan, grading plan, layout plan, irigation plan, planting plan and detall sheets Graphic character and media ‘These are technical drawings that must be precise, complete and easy to interpret. Computer-sided drefting or mechanical drafting techniques are nec- essary for this kind of accuracy and clarity of communication. Since multiple ‘copies are usually needad, computer-generated drawings are plotted out onto translucent bond paper, and manvally-drefted dravvings are done on vellum or fin, t |e we — a \ dl | ) ; y : Sah § 4 ¥ i aes % a «xh, oe a = yo swwaWoye a (Gt) sso0044 ubisog au) pue oBensuer aides Larioscare Pian [Oi Coen e ore Pc iN ‘ © Free Sanne Pencn PETA ean EE] Fees cone HAPTER (2 asic Drafting preparation of lettering, sections, perspectives and other graphic fommunications discussed later in the book. ion drawing is now done on computers with various computer ig and design (CADD) programs. Although manual drafting skills have some value in many phases of F companies where there is @ predominance of ve, intensive design, manual drafting will continue to be rawings with manual drawings to tke advantage of the speed and racy of the computer yet also retain the loose expressive style of hand graphics. Pencil Drafting medium for many designers and craters because itis also eesy to erase and mod: | sadventage—compered to ink on Milas that pencil rawr inge are lose permanent and less durebe. Thoy have a tendency to smudge, and they produico a weaker bluoprint. Equipment and Materials Mechanical pent 1 the main tool available Leads Avaliable in a variety of herdnesses, the most commonly used leads are: HB soft. 165 oF tex: bat alEe ae eS ee H medium. jeing on vellum. Prints Ro Sa 2H medium to hard. ‘and precision 4H herd, Softer leads, ranging from the extremely soft 78 to soft B, are avellable but are more suited to sketching than to drafting. Harder leads, up to the extreme. ly hard 9H, are also available but are seldom used. Nonphoto blue is used for drawing guidelines because it does not reproduce when photocopied. Pencil Pointer A pointer is used for sharpening lead. Empty the bowl before putting i away. s and guiding other drafting tools, such as gles. The recommended langth for @ T square is 24 inches. gles are used to ai les save time and do not use as a cutting edge. Also, do not use les with markers, and avoid damage to the edges. Compass Flor draving lerge ‘heaper ones si bearn compass is used les a compass is necessary. Buy a good one, The inaccurate and difficult to use, Far very lerge arcs, Templa The template most commonly used by landscape arct late. Get one with very large circles and "8. Meny other template shapes are avail medium to luce smudging. Use sparingly. Eraser Everyone makes changes. The kneadad eraser is good for thout smudging. Follow-up erasing can be done softer poncil erasers, ly removing any of the base rats (@) Erasing Shield For use with erasers to mask areas that should remain, a shield is crucial when using an electric eraser. Drafting Brush lable in various sizes, itis used to sweep drafting surfaces clean, Flexible Curve Many brands are availabla. An exct and better than French curves with both pencil and ink setocm, flowing lines that can be used Scales Architects’ scales and engineers’ scales are used in the United States more often than elsewhere, Landscape architects in most other countries use met Fic scales of various types. Do not use scales as straightedges. sandpaper Block ‘Ablock is used for putting a wedge or chisel point on the lead when lettering and for sharpening the compass lead, Store the block in a sealed envelope with one end slit open oF as sirips of “dois,” surface. The best brands hold well yet peel Drawing Board Cover is recommended because it is durable and resists small objects 20) Landscape Graphics Techniques depends on the lead and the paper used land the pressure applied to the pencil edge with the upper side of ‘of dry cleening powder, Select the appropriate lead and sharpen to a point in the pencil pointer. —_[ Now break the very end off by tapping gently on a piece of scrap paper one Next, round the com: ‘The end should still be 4 ‘of the lead by quickly doodling on the scrap sheet. sharp but not needle-like, ae Hold the pencil firmly (but not too tightly, so that you roll it slowly as you pull it along the straightedge, Tip the penal Too. much elope. afew degrees will cause the: inthe direction lead to break Push thumb oe you drow fo roll the pencil across your fingers. $2, roherhon maximum, 22 against the edge of the board and hold the triangle fimmly against the top edge. Keep the pencil ot 90° + the (ies, of the T square er triangle | For the next line, move it 10 Landscape Graphics Connections Make sure that all corners have positive connections, wveak. ineorrect | men Too much incorrect exerloe wlines touch or have a slight overlap correct Pencil Drafting Sequence 1. Lightly dust your drafting surface. 2. Lay out shapos with vo or 4H leads. (Iftracing a 3, Draw ares. ss with F, H, oF 2H leads. Work from top to bottom and from loft to righ 5, Add thinner dimension lines. 6. Add lettering. 1 dd textural or tonal shading with HB or H leads to work around 19 and avoid smudging. 8. When finished, chock the back side of the shaet and rem that may have been picked up from the work surface or sac rating (@) Drafting with Pens the ink pen should be held vertical or 90 degrees to the film 1 tools are mast often used on ok 2 3 Use a very light touch and move slowly and evenly across the the film es much as possible since the oils 1s will prevent the ink from attaching to the surface. Before fea to prepare the surface by cleaning it with rubbing smoves stains and fingerprint oil ters thick, The mast common film in has a roughened or matte surface on one or both sides. Draft on the matte sida, not the smooth side. Pens approach is to buy a sat of disposable ‘advances in the qualty of these nens. Be su ‘and have a very dense black ink. For exam series. Both area Stent ine width, They aso have dense black Beware of smuriging since the nk takos to dat everything : : a“Penstx” the points are tapered fithough not as consiston ng, hese pens are great for lettering. Sy light. to wing, not Other tools Fresh ink lines oan be erased with a regular eraser or an been impregnated with special erasing t faster. Rubbing alcohol will remove older lines. Inking triangles and templates have recessed or beveled edges to prevent the ink from running beneath the guide, Sone templates have bumps on one side to keep the main pert of the template off the drafting surface, Other than these examples, the drafting tools are similar to those discussed under per- cil drafting, ype Graphics Jk) Development ne, ‘OAK RIDGE BUSINESS PARK BHASE ONE. for the project spe ] (EDAWine | a aasteoraing @) North indicators and graphic scales North Indicators North Indicators Every landscape plan must have @ north indicator. This is usually an arrow and is an essential part of graphic communication in plan view. When discussing there are any, usually contain the north indicator. \dicator is combined with a graphic scale. Graphic scales velevation drawing must have a scale indication, Bhows the size difference between the drawing and the actual pe. The scale may be written, graphic or both. It is expressed either i, In both cases the left side represents a urit on the It side represents an equivalent unit or number of units in Used to measure plans is therefore a tool ulckly converting distances without having to perform mathematical tions. On the following page there is a chart comp: " engineers’, and mot ff the = sign and the unit of 1 foot on the right side, So “0” means that 1/4" on the drawing is equivalent to 1" Indscape site. The architect's scale used to measure elements on a Cclibrated in feet such that a distance from 0 to, for example, 12 on Df the scales is 12 feet on the landscape. pers’ scales are always written with th ut sign and multiples of 10 feet on the ‘The engineer's scale used to measure elements on fat such that a distance from O to, for example, 8 on any of the Is 80 feet on the landscape. up these scales use such scales as 1" = 40! 4/2" = 10', 1/2" = 20". They do not exist inthis form and will only lead to contusion, scales are written as ratios, lant to 60 meters on on the Je distance between zero and say 3 on any of the scales represents 3 fon the landscape, Scales Imperial System Architects’ Scales ot Ea 120 as 140 150 180 1:00 Engineers’ Scales © be tp 1 4 50! 1370 Ree ie t 1500 tee eon REP 10,000 124.000 Landscape Application Enlarged construction details Plans for spaces smaller than 10,000 sq, ft. or 1000 squere Plans for sites 0.25 to 8 acras or 0.1 to 2 hectares Sites planning for projects 5 to 1,000 acres or 2 to 400 hectares Regional scale studies for areas 2.69, miles or 3 sq, kilome- Measuring with Scales read the inches on the Aichitocts’ Scale 88 92 qe - the foot numners for the 1/8 gt 4! il ~~ (5 ["S | raf TAT Te Architects’ Scale & 46 44 42 40 28 TP the toot numbers for the 14 on ofa fot Fal; fa atin ee Be la eyebal Engineers’ Scale ° 1 2 3 4G imsenter mutes of 10 tot 3: MeTer> dm + 5 (— trediontes nsters Metric Scale Exercises ice in using the mechanical pencil and ‘rafting tools. Sat up each page parallel to your drafting rule then dust the page y cleaning powder to avoid smudging. When done with each ‘exercise check it against the following quality guidelines. Exercises 2.1 -2.4 ara meant as pr 125 should be dense and black enough to produce a high-quality print. ‘Avoid light, grayish lines. ine weight. ‘even thickness, or weight. throughout its length with and no fuzzy edges. 12s should meet or very slightly cross, line up with precision, and have 1 Overall the shest should be clean and free of smudges, stains and teers. e. Additional ous descriptive ‘widths or patterns, Tonal quality. n-l toning and textur clarify the message. Avoid unnecessary tonel clutter. 1a apoly to exercise 24 only. Hierarchy of lines. The v: ccan be used to G) tanaseape enpnics lines very dark and even. Make th inch (0.5 cm) apart. Leave lines. should iy 60 that you can hardly see them, On the remainder of largest circlel and the circle template lother crcl Media: 8 172 degree triangle, On the em) equal divisions. Draw three draw 46-degrea lines through the ather divisions. ‘On the right square draw two 45-degree diagonals from the corners. Cop diagram to create five squares inside each other. tric shapes 2.4 Using various tool ‘and format as 2.2, Media: Pencil on 8 1/2 x 11" (44) Im. ing techniques expand the landscape e sheet. Cooy approximate shapes and Telative sizes. Do nat moasure cimensions. Draft straight lines with the T squere and triangles, Draft the trees and walk curvas with a ciele template. Draft the freeform curve with the flexible curve, Draw the dashed line ‘contours, shrubs and conifers freehand GD (Nee fe of the sheet draw 2 3 (6 om) square with vertical and hori= 3s through the center. Draw 45-degree diagonal guidelines to snd place them 1/2” (1 em) apart. Now draft two concentric 2" (3 cm) radius and a 1" (2 dius. Intertwine the diagonals and semicircles as you draft the final with the H 2.5 Testing the pens ‘Media: Ink pens on 8 1/2 x 11” (A4) mylar. This is one where you can trace. Make @ copy, then overlay on {6 with the Mylar. Try to reprociuce ty 1 pen sizes, Some lines need to be the few exercises 2.6 Reading scales Ising the scales indicate 18s to represent the following or150 [only six measurements Line 2: use scale of or 100 Line 3: use scale of 01.200 Line 4: use scale of or 1400 ee | | | | 2.7 North and graphic indicators Media: Ink pens on 8 1/2 x 11” ( Ad) Mylar. 8 sheet with north indications and graphic scales copied (not traced) {to chapter W) detract from an otherwise good drawing by making it unsight Concept Prepared Lettering Systems fo | Nn Ta j nN The most efficient lettering system by far is to use the computer. In CAD it ‘and easy to select font types, sizes and placement to intograte lator ly onto a landscape graphic st jue to the density of the adhesive mate 1e newer brands of adhesives reduce the problem, Another quick and effective method for large lettering Is to trac Prepare the size and message and composition, print out the exact L we onto your drawing. fountain Marker Lettering Color markers ere versatile tals for cuick, fe lettering, end color rendering e's app how to use them propery. Before beginning, put a backing tracing paper under the drewing surface. Markers will bleed through many, fapers and can permanently stain the drtting table surface. Keep markers | Top view tightly capped when notin use inctional diagrams, free- Marker Grip Alight touch is all that is needed. Even moderate pressure will destroy the tio. Wide-tip markers with a rectangular end need to be held so that this end touches the paper along the entire edge. Side view yeehand Lettering colorado : CAMP WITTMAN _ Pencil Lettering Shape and Spacing Most letters should fit Size poeaatinel ieanieehesk iy. The Ames which allows the pencil down to the next there are enough lines for the the disc to a lower number. SETTING |O CENTER ROW —— G@NES LINES WITH EQUAL —— SPACING AT THIS SIZE 9 = tering sizes and thelr applications are shown on the next TOMRROW TOO WIDE ABOUT ‘ons Center row of evenly spaced oe ae holes Index mark > Geet eet oe teow, STE 3s ros ae GIVE: MOST LANDSCAPE ARCHITECTS USE A SIMPLE UPPER. CASE (CAPITALS) STYLE WITH NO SERIFS AS SHOWN HERE. KEEP LETTERS VERTICAL AND CONSISTENT IN SHAPE. THIS UNIFORM STYLE |S BASY TO READ ABCDEFGHIJKLMHNNOP@RSSTUVW mex \ OZ. ese ote aS lover case letters are less formal and are qited for use on concept plane, preliminary eketches and plant liste. agapedefa ghijkimneparet UV WXYZ Letter Sizes and Applications HEIGHT LETTER GuIpE EXAMPLE SETTING Mer perma OO. SMALL FER HANS LETTenar ya2 CENTER ROW GoD FOR. SHALL LABELS ¢ BLOCKS OF LETTERING. SETTING & CON \YRITE A LOT IN A SMALL sPpAcE ALWAYS LEAVE A GAP BETWEEN LINES OF LETTERING Ye CENTER ROW AVERY COMMDRTABLE SIZE pork. MosT sae Sef TiNna & LABELLIN Gr ye % Row GOOD FOR SUBTITLES. USE A = SETTING G@ CENTER GUIDE LINE. % ROW UPPER LIMIT FOR PENCIL ee ene ee ee ioe @ teneronoe raonie sharpened. Fo Wrong: Pencil too vertical Aight: Pencil Flatten the end of the lead on a scrap sheet or with a sandpaper block. | ly, so that the flattened edge in against the vertical i Rotate the pencil auide. Draw vert ines with strong, dark ends. emphasis, thin line hit: nell | | emphaus PELEUEEE EEE EEE E ¢coreeer gincorrecr Eee #@ Ee ge] henge ese Fol ‘erehased sop ait cg 1 palm or forearm muscle a eck on palm or forearm shea with fees ui muscles @ tanacogn copie AKMAVWXKYZ BCDOFPQRRSS fe Hints For Better Lettering lor a drawing last to avoid smudges and overlapping with o . Then gradually increase you Imost as fast es you can w lettering in logical blocks. Wherever poss ine, Place notes where they will not obscure ot le—as you take notes, address a3 Exercises 3.1 Computer-generated letters (On the computer, type your name, the exercise ttle and the number ata font size of 18, Follow this with a short paragraph (6 or 7 lines) of notes at @ font 70 of about 14, Print this onto a sheet ‘excess and apply ‘the top portion of a sheet of 8 1/2 x portrait format. While you are et the computer prepare another page of 5. Make three rows of one word each choosing three different race the ou Using the ink pens. Fun a blued ‘word onto the bottom of the sl 3.2 Marker lettering technique or butcher paper 12x18" /0 guidelines across the sheet (43 ie. 2" (3.5 ‘em apart, Place letters between these guidelines. You should always leave white space between successive rows of words, so leave a 3/4” (2 em) space then add another two guidelines. Repest for the whole sheet. Leave about 2” (6 cm) margins on each side of the shaot. On the first row follow the tech- riques in this chapter to make a sories of ha ‘and very co make As, On the 3.3 Mark Media: Color markers on marker paper 6 x 18 (150 x 450 mm) ‘Set up tha sheet with two rows of guidelines in the same manner as in the previous exercise, With a light marker letter your first name on the top line ‘and your last name on the sacond line. Try to center the words. Finish the letters with the double outing technique shown in this chapter using two ifarant thicknesses of ink pens. Pley with more color depth added to the /0u are in a group, this is @ good timo for @ group fed name in front of you “convict style.” square to your drafting rule and dust the sheet before starting ith the letering guide at setting 6 and the 2/5 row set up about 16 rows of ‘guidelines 3/16" (0.5 cm apart with a gap in between. Use @ very sharp 4H lead and a light touch, h dry cleaning powder @ tanascape caries the shapes shown it On the next lines letter the alohabet in uppercase letters. in lowet FS and then copy the numeral. 3.5 Penctl notes at different sizes Media: Pencil H lead) on vellum 8 1/2 x 11" (Ad) portrait format, Set up three 2” (6-om) by 6 1/2" (14 em) blocks of guidelines. Leave 1 between each block The top block is to have guidelines speced at 3/16" (5 mm| or setting 6; 3k with sentences copied from a book. The top block wil th @ sharpened mechsnicel pencil, the bottom block will be easi with a 0.5 mm penci, and the center block could be done either way. Pencil Lett (Check your pen« 1g Evaluation fering against these quality criteria, 2. All letters are dark with no fuzzy gr b. The shapes are simi out. c. There is a d. The vert dark, and €. The sheet has a neat clean enpearance with no smudges or teers. Rd) eehand Drawing and Conceptual Diagramming ble sketching media th not smear or smudge include the! Tools and Materials Soft color rendering pencil —————— smudges easily, Bu ad lows a variaty of very Sharpened to a poi Color art stick | | drawing fast, wide | 35am width andthe | Harder and waxier than graphite, this product works well far sketching on Myler. ‘The flat sketch pencil, or carpenters pencil, has a rectangular cross section in the lead that allows very broad strokes. @ tanaseape cranes Ip pens are available in an almost unlimited variety of shapes and sizes, ondy to have a range of point sizes, as shown in the small number of impies below. ‘Modium-point pen —— point marker Chisol-point markor Ink fountain sketch pens give strong black lines. Pressure variation yields resting changes in line weight. A smooth surface is needed for good such as lightwei us widths. The common colors Sketch paper in many cifferont brands is available in varying weights, 18S, and transparencies. Select a surfaco that suits the type of and the desired effect. Smooth, dense surfaces are good , ngs. Coarse’ papers provide textured interast toning. Special dense, smooth papers are available for ink sketchi For reproducible work, use the more stable transparent sketch papers. ‘Somme marker papers have high-contrast, dense white surfaces and are not ‘meant for reproduction. Others have a degree of transparency that alows for printing, Select the brand to suit the purpose. Butcher paper or freezer paper can be bought in large rolls and is excellent for outsized conceptual or preliminary drawings done with markers, though not {for reproduction, traditionally used with ink for technical draw surface for pencil sketching, A wide range of tone 188 can be easily and quickly drawn on ly toothed surface. The best sketch tools for Mylar are the sharp 28 pencil, the flat sketch pencil, the ‘graphite block, or the more waxy art sticks. Freshandbrawing and GnceptualDlgramming (@) Techniques How you hold the drawing instrument and very different from ‘Lon ernellor cea and hold with a relaxed grip 4 Free-flowing lines Only as the shapes, lines and patterns get quite smal should you bring a front and back finger movam @ tanascave capnies yeorm shapes with one line should hava a clean connection, or match, ight gap, Multiple lines ere also quick and effective. ‘nd start if necessary, readjust £ Small gap accoptable For diagonal or vortical ines, acjust body position or the paper ta maintain the elbow as a pivot. When joining two points with a straight line, start at one point, look at the other, and then draw the pencil quickly toward it Shorter, Straight Lines These are done the seme wey a5 long straight lines, again with no wrist ‘movement. Draw each line with confidence and speed. Make definite endings by using a pressure siart and a pressure stop. Let the line in between develop a tonel character, Go fast in mide to give character tothe tine. ——————————————— s a Hit at start of stroke, Hit at end of stroke Detail Very short hatch lines or smaller curved lines are drawn with the wrist a fingers working in harmory. The hand should rest on the side, ane cnet es, ith ong nds and aie conesons & ; Wy msg Keep isa ‘connect eat outline. A slight overlap Pencil Right Wrong poctives. / vv Why 52) Landscape Graphics eee essed ? [A Ze ane TFB 900CQo000 Oo L> Pent paced ED a gv v Passive lineal symbols sdapt the following symbols to show: \dscape edges such as cliffs, embankments, forest edges aa sso Wy tll “egg n9* ale NNN et Nontineal symbols Activity areas, use zones, functional spaces witatlewers Buildings and structures A Focal areas, points of interest, conflict zones, circulation nodes. Conceptual diagram > arterial street OOOO OOCOOoOOOOoD! oat | S SS = ) a a fs hs Ver cae fibosonooooooooooDodKd 1 collector street Gs) Landscape crapnies Exercises ‘and with confidence. Its less impor- iment nd accept everything you do as okay. Keep 29x 12" (Ad x 297mm) skeichbook and try to do three of four sketches every week. If you are in a group and have an ins ‘can get hints from others on how to improve but your wor competitively evaluated. rot rate yourself or be rated by an instructor against others. This section of the book is deliberately superficial ragarding freehand sketching because ‘there are many excellent books which focus on pencil or pen and ink land- scape sketching (eee bibliography). You should find one that suits you and use it as a companian to this book. The following exercises will loosen you up and {get you started. Some background music might help. ‘Your goal should be to draw frequer ‘ant what you draw. The ip pen on 18x24” |AZ i.e, 420 of freehand ovals and blobs of some forms single line and others multiple 84 mm) tracing paper. fent sizes and shapes. Make 4.2 Long lines Media: Felt tip pen on 18 x 24” [A2 ) tracing paper. Place three of four dots near the left and right side of the paper. Connect sheet with “close to streiaht" lines. It is okay to stop a few the ‘the sheet with smooth, flawing, ‘gaps if you wish, 4.3 Boxes and angular forms tip pen on 18 x 24” [A2) tracing paper. Invent a composition of straight sided shapes that could represent architec el or built landscepe elements. Keep it entirely troshand, making positive Connections at all corners, Allow some shapes to penetrate others and add tone of lines to some of the smaller shapes. 4.4 Simple line drawing Moda: Felt tip pon on any 9x 1 Loose line sketches can be ‘one organic object and one mechat to capture the outer edges and abrupt changes of the inner planes. Do not use toning (8d) paper. ive design development Landscape Graphics 4.5 Continuous Tine Media: Fett tip pen on any 9 x 12" (4) paper. Repeat exercise 4.4 with two different objects, only this time keep the pen in ‘constant contact with the paper. Use the continuous line to abstract the don inant edges, indentations, protrusions and contour. Suggested objects: pencil keys, shoe, hat. and angie to the peper to make at leas rent line doodles. Now select three or four and use each one to cre ate an oiganic landscape object or portion of an object. Suggested ‘communicate form and of texture by building up zones of similar doodles. 4.7 Fast trees Media: Felt tip pen on any 9x 12” Ad) paper. ied tees copied from the page of “Fast 4.8 Copied concept plan ‘Media: Felt tip pens on 12 x 18” (Aa) marker paper Copy one of the conceptual drawings from this chapter. 4.9 Invented concept plan Media: Felt tip pens and colored markers on 12 x 18" (AS ie., 287 x 420 mm) marker paper. isted and orgenize them in a cohe- (epresent the edge: objects, such as either side of a walk, the exact edge of a water body, the: ‘edge of a plaza etc. Choose either a park or an urban plaza, Urban plaza parking an access center Information kiosk Play equipment area Focal fountain Picnie aroas. Performance ares Concession building ‘Shops Nature center Clock tower Forest edges CHAPTER(5) Presentation Plans ‘At this stage in the design process you ience for the purpose of persuading them to accept your some feedback about your design. The a! ient but may also be a group of fellow professionals or the public. In any case the graphics need to create @ clear understanding of your 'y need to combine several ion view or perspective vi in view graphics. The following chapters deal with sections and perspectives. The main reason why the plan vie ed projection for te and show to 1w grephic 1@ most commonly is easy to manip ships of 3 design. icks, such as layering symbols and shadowing, we plan view has seri t dept ionships of land- plan view as a diagram of the site as seen looking st @ hot air balloon. The grephic symbols represent the + materials that are to be part of the proposed site improvements, Of course, this is an abstraction of realty, and the symbols chosen can oreate @ ic message or a rather abstract message. Abstract symbols are simple and fast 10 create but are not as convincing as the mare realistic symbols. The ‘oraphic renderer must choose the correct balance between abstraction and realism to suit the message, the budget, and the time availabe. ‘The symbols shown in this chepter have been devaloped to produce the most ‘convincing message with an economy of time. In most cases presentation plan drawings would be completed in color. Only black-end-white techniques fare shown here but you can adapt many of the ideas ta color rendering Most presentation plans require the combination of both straightedge and freehand techniques. They are more precise and realistic than concept plans bt looser and moro exprassive than construction drawings. If you are doing most of your work on the computer and want to loosen up 8 drewing you might wish to print out @ basic plan showing the simplified structure of ‘your design then add symbols by hand, Another possibilty is to scan the symbols you lke into your computer files and manipulate them directly on the computer. the symbols seperately by copying from ind them together in cohesive compositions. vent your own symbols and develop your own unique Presentation Plans | Sead} ainyxe} e6e}/04 eels a Os J 3 “Jay ad) c Sat Hl S eh Character pine the branches taper Angular bends to branches with branches with thick line emphasis foliage doodle outline Presentation Plans Coniferous trees Other quick symbols for conifers Combine thick and thin lines to create interest. © tandscap capes Desert Plants rreseraton ane () replicas of tree symbols. Usually these (@) suid worreyuosors MH, ¢ se 3 Sere 3 S = E by ;; Ps es 3 4 z oliuy = TE ee %, My, ete = a a = Saw i ry on | siue|d ox 88015) ;ppear to be underneath others ishing one group of plants from lines or tones of li transparent or simple ot symbols ‘canopy over other landscape = symbols. Presentation Plans w) ; Composite planting plan example ‘ ib IK og % es Tp yy My ZL NM ype More cliffs and escarpments mT N09 JOAN 40 weesis BuUiepUESLL y SOAM}LOY ADVEA I1YSLLeANVEN, Architectural Water Features ‘As with all water it is best left white or lightly textured to show jets, splash- ing and rioples. Its for of containm« is created by adding color {20) Landscape Graphics Id uoyejue! @) ss euois60, wopues uors yn9 sejnBueyoo1 PUTTY EE aa a tiple a 4 : ae He hub Brekneok cx tok RASS Sew CT PL Woodie WF Pergola OK Sy fae a Buildings For sites less than 2.5 acres uncolored to emphasize the lanc- scape, ©) tanasenpe crates in roof pitch, | sbuypiing pueyoory sueig uonejuasoig ® Cars and Trucks Abel le and function, cars and trucks are best done freehand, Oval with a black dot for the People head oe a) Abstract shadow #é 4 Hint of feet possible on larger people (86) Landscape Graphics see Shadowing Iti not necessary to edd shadows toa 3f depth to your plan and can give hints to the some of the vert- forest in the design. Shadow direction Because we are used to the light coming from above, it is important to cast, the shadows dawn to th dimensional idscape plans, then this downward southern-hernisphere cour to favor graphic impact over realism, The one exception ‘would be if you are doing a solar study where shadow pattorns are a critical of the design message. In this case cast the shadows exactly as the sun and angle dictate. In any case, all the shadows on the one drawing must follow the same light direction, Shadow density The most powerful shadows are solid black, a very derk gray or a very dark blue. Shadows can also be done wi marker. They lose some of th some ground elements to show through. Do not mix said black shadows and toned shadows on the same drawing, Shadows from plants Establish a light direction. Lev's assume that most plants have a somewhat rounded form, Place a circle template that match cs the plant size over moon between the gui ‘and the tree sym| mresntation Pans (@) Shadows trom bi {ings and landscape structures ng. Draw lines parallel to the Swimming pool Shallow end Stops STF i itl smopeys e}1soduw09 Plan without shadows Plan with shadows Exercises The purpose of these exercises is to practice plan arephic symbols drawn various media. With all exer- iate peves. Do not trace, Each sheet ‘and your name lettered neatly at the 5.1 Deciduous trees ‘Media: Pencil on vellum, 8 1/2 x 11" (Ad) rees and four different Folage wees. Vary sizes from 1 1/2" to 2 1/2" (46cm) diameter. Make Ines. dark enough to print well or butcher paper, 8 1/2 x anched ranched 2-1/2" (4-6 cm} 5.3 Conifers and tropical plants Media: Pen on mylar, 8 1/2 x11" (A), Filla sheet with about four coniferous trees and eight tropical plants. Include at least one palm trae. Vary sizes trom 1" to 2” (3-5 om) diameter 5.4 Shrubs and ground covers Media: Pen on marker or butcher paper, 8 1/2 x 11" (Ad). sheet with groups of shrubs and ground covers. Vary plant sizes from 1/2" to 3/4" (1 to 2 cm. 5.5 Rocks, and desert plants Media: Pen on trece paper. 12 x 18" (AS) Create 2 composition at a scale of 1/4"=1-0" (1:50) of rock groupings and ‘outerops using at least four different rock types. intermingle with clusters of desert plants. Ti ital together with @ meandering fiegstone walk, 5.6 Naturalistic landscape space 12x18" 1-200) o :400). The space must have large groupings of deciduous toes, 205 and shrubs. Include @ stream with boulders, an escarpment, 1nd a paved pedestrian walkway. legrate a indication, and a graphic scale. You may choose to adc shadlows on the criginal or when you apply color to the plan. 5.7 Urban landscape space Media: Pen on marker or butcher peper, 12 x 18" (A3) Invent a predominantly urban landscape at a scalo of 1"=10' (1:200) or 1”= 20' (1:40). Include at least one building, e parking area with cars, groups of rent kinds of paving, an architec- 8, a few shrub groups and some ground covers. Show overlapping and layeri ‘graphic scale, You may choose to apply col ‘ows on the original ‘ copy of the plan or add shad- 5.8 Courtyard space Media: Pen on Mylar or marker pay (AS). Enlarge the courtyard ‘space shown on the next page to 1'=10" or 1:100, Copy the basic gerden structure and add plan graphic symbols to clearly illustrate: plents, a stream, courtyard walla, ee soiydein adeaspucr (96) UCAS - UOIL DES u SUOL}EAS|9-UOL}I9S i Ur: fc N Fa I ~ WN {hil Ae 4) é Mf Ep p : Drawing A 3 ? WEST BLBVATION PLAN Drawing E Drawing F as | Nay Landscape Graphics Drawing a Section from a Plan 1.0n an overlay, draw a cut line (AA) through the area to be shown in sec- 2. Remove the overlay and construct a series of horizontal lines above (and below) to represent even increments of vertical change. You may use the 18 the horizontal scale by 1.5, 3. On another 0} correct heights ‘sketch the appropriate landscape features at their tho section line bold. Medium: 28 pencil Section-slevations Applications For sections showing people, act end the built environment, itis best rly TAN @ taraseane crepes @i suotyeas[a.uoy20: Evaporation: geese rapid runoff and erosion on reper elopes i Vegetation cover protects and slows surface runoff. Underground aquifer Sediment build-up in streams, groundwater aquifer. lakes, and ponds Plant communities Gambel Oak Big Sagebrush Douglass Fir Butfaloberry Bristlecone Pine Golden Currant Engelmann Spruce Shrubby Cinquefoil Limber White Fir Wild Rose Lodgepole Pine ‘Three-leat Sumac Krummholz Ponderosa Pine Wild Raspberry Kinnikinnick Limber Pine i Zen Buckbrush Mountain Mahogany | Common Juniper] 5. To reveal ele Caves, overhangs, ‘some of the elements that are impossible to show in plan view. Used in landscape construction documents to show Biological fiter Outlet 7 Block uiek disconnect Fish and plants) oe 20 mf EPDM ier it Underlayment Road base. Hester vi i Compacted earth Pump skimmer Rocks and gravel More examples ve Exercises For each of these exercises, include a neatly lettered title that proportion to the averall composition 6.1 Copied section (a) marker paper end redraw the entire section with more realistic texturing of the vat objects. ‘Add col jo the reverse side, eiiesasss=s===-55 i tee y gl el E5tDA ee : pal Hy Gn, fi I\ Cz : y} s See ea / I olen _ " } g a aly Lb oH / > ¢ : dy Fda | eee I; Alt | - y i cen | gay | i Re | 1s" Co+H) leq \ . 7 Herpes | Seemen euT Ne | I > RISERS ely | ©" (o2Hp | + B 4 - BRIPG Ee iy ree Lg — si f pasties - iP y eee ee ce YALL 4 A ee PLAZA, {| a A \ ee 2 mM 5.4 Fantasy section Media: Felt tip pe! Suggested scale nt a section of y ‘changes dramai landscape. Mako the vor ss, shrubs, rocks and people. A ish, but the overall theme should ie paper. Section-elevations CHAPTER (7) Graphic Symbol File for The file of drawings in this chapter shows examplos of graphic symbols how to draw people and cars. ‘Most of these examples emphasize economy of time using simple, fest to copy the ideas, symbols seem character, Very qui to start inventing ¥¢ th the symbols and you can find additional tips on composition in the next chapter, Be sure to explore the exciting realm of color. Not only can color be applied to prints of these symbols, but these biackand-white speed techniques can be adapted to direct color media, Sections and Perspective su0}}095 10} 9U14 loqUans o14deL9 (Bi) sennoodsisy pue as > A Saad} aUy|yNO }se4 ! > WGA = ' : ¢ Ms falc, te 1 ge [fae « . uoHH98s 40} atta toquats o1udeD sanljoadsied pue st @* soqydeap adeospuey (6) sdqy SupamxoL, SOA \ Ww ne ane me == HIM A Az Any 19VOV0000000000 bibs WAAEEOPPOPFE A wy “Ny... Flowers, grasses and ground covers >) ® # I % | F, a aeeiln \ IE Sm, ! Oe aR a OG, Ls P WAL dd % Lids, eR Tk ay ip enn toni ai Gs Shrubs (6) senjavdsiog pue suosi005 10) ou loaus oxyde squid o110x 40 y10seq 54011995 10) ally LoqUiAs ojyde19 syurid soopus pure pesidosy Tropical and indoor plants fanipesvianties @ sen\joadsied pue su: i eeey @ ‘Medium: 28 pencil on Mylar Naturalistic water, mostly light Naturalistic water, mostly dark “Cr pares Fountains and Reflecting Pools = = sdays pure siren, UOI}995 10} ally loquuss o1yde19 Gi) semosdsieg pur s People Always place people in sections and perspectives. Human figures drawing to life end convey the image of @ wel-designed space. T ‘many things about function, scale end mood. Mood Most of the people in your drawing should be in groups int ‘other. Ty to draw them looking happy and relaxed to create an Function People sitting on walls or climbing stairs or otherwise interacting with their ‘environment emphasize the interesting functionel opportunities in the space. Graphic Symbo How to draw people Trace people. sw because the human figure is complex and any dis- ous, Here are some basic rules of proportion the top. Add legs and feet. higher 2 2 AD tonne, ARF AA ora oF Bidens YL Nistor epg hips 4% ee Yn. x ey MEN WerEN Draw from life. Freehand drawing of people takes a ina crowded public space and do qui tions thes of people in different situa raphe Sebo Fe fe Seton and Prepectves (Bi) ETE NELLY dallt & he hcl 86 Dae AOD ERGY A a a

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