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PAMANTASAN NG COLLEGE OF ARCHITECTURE

LUNGSOD NG MAYNILA AND URBAN PLANNING

ARCHITECTURAL DRAFTING
DRAFTING
CONSTRUCTIONS

ALNIE KHAYZER HAYUDINI, RLA, RMP

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Drawing a line with a

pen or pencil
incorporates a
kinesthetic sense of
direction and length,and
is a tactile act that feeds
back into the mind in a
way that reinforces the
structure of the
resulting graphic image.
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Drawing Lines

The quintessential element of architectural

drawing is the line. Controlling the pen or
pencil is the key in producing good line
quality and proper line weights

• Draw with relaxed hand; don’t squeeze

the pen or pencil too hard
• Hold the pen or pencil a couple of inches
back from the nib or point
• Control the movement of your pen or
pencil with your arm and hand, not just
with your fingers

• P u l l t h e p e n o r p e n c i l a s y o u d r a w, d o n ’ t
push the shaft
• Look ahead to where the line is headed
Line Types A l l l i n e s s e r v e a p u r p o s e i n d r a w i n g . I t i s Page 4
essential to understand what each line represents.

• Solid lines delineate the form of objects

• Dashed lines indicate elements hidden or

removed from view

• Centerlines (section lines) represent the axis of

an object
• Grid lines is used for locating or regulating the
elements of a plan

• Property lines indicate the legally defines and

recorded boundaries of a parcel of land

• Break lines are used to cut-off a portion of a

drawing
• Utility lines indicate the type of utility
Line Weights Page 5

Line weight is primarily a matter od

width or thickness.

• Heavy solid lines are used to

delineate the profiles of plan and
section cuts as well as spatial
e d g e s ( H , F, H B , B )
• Medium weight solid lines indicate
the edges and intersection of
p l a n e s ( H , F, H B )
• Light weight solid lines suggest a
c h a n g e i n m a t e r i a l , c o l o r, o r
texture without a change in the
form of an object (2H, H, F)
• Ve r y l i g h t s o l i d l i n e s a r e u s e d t o
layout drawings, establish grids,
and indicate surface textures

*The visible range and contrast of

line weights should be in proportion
to the size and scale of a drawing
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Line quality refers to the crispness,

c l a r i t y, a n d c o n s i s t e n c y o f a d r a w n l i n e

• The density and weight of a line should

be as uniform as possible along its
entire length
• Drafted lines should have a taut quality
• Av o i d d r a w i n g a l i n e a s a s e r i e s o f s h o r t
overlapping strokes

• All lines should meet crisply at corners

• W h e n l i n e s s t o p s h o r t o f a c o r n e r, t h e
resulting angle will appear to be soft or
rounded
• Av o i d e x c e s s i v e o v e r l a p p i n g t h a t
appears out of proportion to the size of
a drawing
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• Dashes should be relatively uniform in

length and be closely spaced

• W h e n d a s h e d l i n e s m e e t a t t h e c o r n e r,
as dash should continue across the angle
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Subdividing Line Segments

Constructing Angles Page 9
Constructing Shapes P a g e 10
Constructing Shapes P a g e 11
Drawing Circular Elements P a g e 12
 P a g e 13

Thank you &

*Images used in this presentation is not the property of the presenter.
Reference/s:
• Ching, F. (2003). ARCHITECTURAL GRAPHICS. John Wiley & Sons, Inc. ISBN 0-471-20906-6

keep safe.