Transcripts
1. 1: Hi, I'm Rob Littlepage. I'm a landscape
architect and educator and author of the fundamentals
of garden design. And this course is an overview in the art
and skill of doing landscape design drafting by hand using pencil, pen and ink. Mastering the art of hand drafting has at
least three advantages. The first is we all know
how to use a pencil. So the learning
curve in learning drafting technique and
design development is going to be much less steep. Second, when you're
designing on paper, you're going to be
much more creative at the beginning
when you're starting your conceptual design. You'll be much more open to
different design approaches and design alternatives as
you develop your ideas. And third, if you're just getting started in
landscape design, having the expense of a pencil and paper and
some pens is going to be a lot less expensive than trying to get geared
up with a CAD program. So this course is all
about learning to use the most common
hand drafting tools that are used in the trade. Be sure to check out the
resources where I have a sample site survey you can use to practice using the tools, or you can go out and map your own house and use
that as your project. So we've got a lot to cover, and I'm excited
to have you here. So thanks a lot, and I look forward to seeing
you in our first lesson.
2. The Class Project: Alright, so in
this short lesson, I just want to kind of go over
what the class project is. Now, I've supplied you with a blank site survey
of a property, or you can use your own
yard as your project. But I'd like you to put together a design it doesn't
have to be real fancy, just a nice clean design using the techniques of
graphics and line weight to create a three
dimensional effect on a two dimensional sheet of
paper for your project. Creative, combine line
weights together, experiment with them, do some coloring, experiment
with coloring. I'm using pencils and pastels. You may have better
techniques with using colored markers
and other application, other media. It doesn't matter. Put this together to
whatever you're doing, you're going to make this
project your own and then upload it to the project gallery
for comments and review. And if you have any
questions about the project or any other part of the course along the way, then by all means,
be in touch with me. I'll always get back in
touch as quickly as I can. Okay, so there's your project. Just learn how to use these
line weights to create a three dimensional
effect and take a look at the examples I've already posted in the project
gallery for you. Okay. Questions, be in touch, and I'll see you in
the next lesson.
3. The Drafting Board: Hi and welcome to this second lesson in the
Art of landscape drafting. And as I mentioned in the intro, I'm going to go through all
the different equipment, drafting equipment that
you should probably have on hand when you're going
to start doing a design. And I'm going to start with the drafting table
or drafting board, which I think is arguably
the most important piece of drafting equipment
that you can have on hand because that's where you're going to be
creating everything. And I have a standalone, a permanent setup in my studio that we're going
to be taking a look at. But you can also get portable
drafting boards 24 by 36, 18 by 24 and 30 by 42. And these, you can just move
them around as necessary. You can set them on
the kitchen table, the dining room table,
your office desk. And then when you
don't need them, they just fold up and
you can put them aside. So there's a lot of
convenience to that. But I'm happy with having a permanent setup
for my own purposes. So let's start by taking a look at this drafting board and
how these things operate. So they come with
a parallel edge. And so I want this
parallel edge, which runs on a cable. I've got a cable right here. And so it's just sliding
up and down on that. And I want this edge to be
square to my table itself. So I'm going to take my triangle and I'm just going
to slide it over. And in this case, I've already squared this up, it is square to the
edge of my table. Now, having it
squared at the table, then I can have my
paper squared to this. Everything stays nice and clean and even all
the way around. It makes it a lot
easier if everything is at a 90 degree
or 45 degree angle. In this case, of
course, I want it to be 90 degrees to the
edge of my table. If it wasn't at 90 degrees
to the edge of the table, then let me just move
my camera just a hair. I've got a knob here.
I can loosen this. What this does is it
anchors it on this cable, and by loosening this, I can pivot this parallel
edge up or down along this cable until this would
come into and be square. So that's what I would
want to do if I needed to, then I just tighten
this back down. I've got a sheet of
vellum here on the paper. I've already done a little
bit of design work on this, but all of your vellum
is going to come with a black border to it. And what I'm going to
do is I want my paper to be square to
this edge, as well. So again, using my triangle, I'm going to bring this
over and line this up. And now my black edge is square with the
edge of my triangle, and I've got a nice 90
degree angle to work with. And now, as I come
across and I take a look at my drawing that
I've already put here, it's nice and square to what
I'm working with as well, and it makes it so much
easier to do your drafting. And this is where I start
my conceptual designs. So I don't start
conceptual designs using CAD or any of the other
computer programs available. I like to work on paper on a drafting board and get
my ideas flowing that way. Then if I choose to segue
into a CAD program, I can take these ideas
and work them in there. Can't be as creative on a
computer screen as I can on paper where I can really let ideas and shapes
flow together. So that's the basics of
working with a drafting table, a portable drafting table
or a permanent setup. I was using this particular
triangle in this instance, and this is what's called an adjustable triangle because I can adjust the angles on it, and that's what we're
going to be look at. In the next lesson when we take a look at the different drafting
equipment that we have. Okay, thanks for watching
and I will see you in a bit.
4. The Drafting Triangle: Okay. In the last lesson, we looked at the drafting
board, the drafting table, and now in this lesson, I want to look at the drafting triangle because that's going to give you the angles off
of that parallel edge. So there's a couple of choices
that you're going to have. You can get a fixed triangle. So this is a fixed
45 degree triangle. So when I lay that
down here on my board, then that's what I
have to work with. Is this 45 degree triangle
angle right here. It kind of limits me because
that's what I've got. If I want to get an angle that's different from a
45 degree angle, then I'm going to have to try to tilt this or line it up
to whatever my marks are. I prefer and recommend that you get an adjustable triangle. All that means is I
can loosen this knob. And now instead of having
a fixed 45 degree angle, I can adjust this all the way up to 90
degrees on both sides. I can have a 60 degree, 45, a 40, 50 degree, and those different
numbers are going to be in relation to how these are set onto
the parallel edge. So let's just take a quick look. So here, I've got
it set at a 45, but if you have a site plan or a plan that's
provided to you, and yeah, the house is
probably going to be square. You're going to have that
square to your paper. Any kind of angles
on the house are probably going to be
either 90 or 45 degrees. But if you have an element out
in the yard, that is, say, a rock wall or a masonry wall, it may not be at that perfect
90 or 45 degree angle. And now you're going to
have to start jostling that fixed triangle around
to accommodate that. And yeah, you can do that. But by having an
adjustable triangle, then you can just loosen this knot open this
up and adjust it to whatever angle that
element in your design or in your site plan is set to. So let's just say this is a masonry wall out
in the property, and for whatever
reason, I want to come off 90 degrees from that. Well, I can take
another triangle and set it against
this angle and get a nice clean 90 degree
angle off of that regardless of what
this angle is here. So it's well worth having and working with in your
drafting tool setup. Another advantage of
this is sometimes your parallel edge isn't going to be able to reach all the way up to the
top of the paper. There's something that's
just inconvenient. You can take this, open
it up all the way. And now, because you've got a 90 degree angle
all the way around, I've got basically an
extension of my parallel edge. So if I set this here on
my board and I've got my parallel edge here and
I'm moving it up and down, well, I've got this as an extension of this
line right here. So I have three of these
adjustable triangles. This is a ten inch. This
is also a ten inch. And then I also have a six inch. So I've got a whole series
of them that I work with. And when I'm
drafting, I am using these all the time to
get the angles and the lines and the
professional clean look that I want out of my
designs and my drawings. So that's the
adjustable triangle. And, um, in the next lesson, I'm going to start talking
about the scale rule, and we're going to look at
it in imperial values with an architect scale where
it's feet and inches. We're going to look
at engineers scale, but we're also going to
look at the metric values. So those of you who are
working in metric will have a clearer understanding
of how to use the metric scale when
you're doing your drawings. Okay, that's it for now. Thanks for watching, and
I'll see you in a bit.
5. The Scale Rule Architect and Engineer: Okay, here we are, and we've looked at the
drafting board. We've looked at the
drafting triangles. Okay, that's how
we're going to make our lines accurate 90
degrees to each other, 45 degrees, 60
degrees, whatever. But we also have to be able to measure these lines accurately. And anything that you're
measuring on the ground, say, a wall of a house that
may be 20 feet long, 16 feet long is not going to fit onto your
paper at that size. So we have to be able
to scale it down proportionally to where we can still accurately determine
what our lengths are, what our dimensions are,
and such like that. So in this lesson, I'm going to look at
the architects scale and the engineer's scale, which are the two
most common scales used here in the United States. In the next lesson,
we'll look at the metric scale and how that is going to be used if
you're working in the UK or Europe or Australia. So anyway, let's take a look at the architects
scale to begin with. And the architects scale is calibrated in
feet and inches, meaning in this instance, one eighth of an
inch equals 1 ft, or there's eight
feet to the inch. It also has a
quarter inch scale, which means one
quarter inch equals 1 ft or there's four
feet to the inch. So it's larger than
the eighth inch. And I prefer the
architect's scale to the engineer's scale. The engineer's scale is
going to be set up in tens. So in this instance, it's going to be ten
feet to the inch. It'll be 20 feet to the inch, 30 feet to the inch. But there's some pluses and
minuses to both of these. So I'm going to start
with the architects scale and we'll walk
through how to use it. So here's the architects scale. And again, one eighth
inch equals a foot. And so I've got a
series of values, numbers across the top here. So zero, one, two, three, four feet or half an
inch, five, six, seven, eight feet or 1 ", and so on, on up and it'll go
as high as 96 feet on the eighth inch scale for
the length of this ruler. And you'll see there are
some little tick marks from the zero coming back towards
the eighth inch value. Well, there's 12 " in a foot, and if we count these
little tick marks, there's six of them, which means each of these little
marks equals 2 ". So two, four, six at the
longer line right here. Eight, ten, and then 12. So the purpose of
this is if I have a building wall that
measures 20 feet 6 ", I can accurately measure that on the eighth inch scale
because I can find my 20 foot value and then slide over to accommodate
that additional 6 ". With the quarter inch
scale, I do the same thing, but the quarter inch scale
is going to be even a little more accurate than the
eighth inch scale. And the reason is this. So
here's my quarter inch scale. And because it is twice as large as the
eighth inch scale, I have 12 little tick marks between the zero and the
end of my scale right here. Each of those tick
marks represents 1 ". So I've got zero, and then
3 " is slightly longer, 6 ", 9 ". And now my values run
along the bottom. So when you're using the scale, you want to make sure if you're using the quarter inch scale, you're reading the
values down low on the same plane as
where your zero is. So one, two feet, four feet, six feet, eight feet, ten feet, and so on. If I'm using the
eighth inch scale, I'm going to use
these upper values. So zero, and there's
four, eight, 12, 16. This is where you
can get confused. If you're using the
eighth inch scale and inadvertently read the
quarter inch scale values, you're going to throw your
value or your dimensions off. So you want to be careful about that and make sure
you're always on the same level of what
you're working with. And this will have
larger scale values 1 " to the foot, half
inch to the foot. Those would be used more
for if you're doing detail drawing and
you want to have a detail of a gate or an arbor, and you just want
to blow this up larger to where it's
cleaner and easier to read. So that's the architects scale. So let's look at the
engineer's scale and see what it has to say. So here's an engineer's scale. And in this instance, I've got ten feet to the
inch. It's the ten scale. So there's zero,
ten feet, 20 feet, 30 feet, and so on, all the way up to 110 feet
on this particular volume. So each of these marks
is now equal to 1 ft. So if I want to
measure ten feet 6 ", I've just got to kind
of guess halfway between to put a
mark on my paper. If I need ten feet 7 ", then it just becomes
a shot in the dark. You know, I'm not going
to be as accurate as I am with the architect scale. And what I need to do is on
some of these actually put the dimensions on in
case somebody needed it for dimensioning or
laying out a set of plans. It'll also have the 20 scale. So 20 feet to the inch. So there's ten
feet, 20 feet, 30, 40 feet or 2 ", and so on down the line. 20 foot scale would
be used for laying out an overall
location of property, something where you don't
need to have a whole lot of detail for
construction purposes, but more or less just an
overview of the site, the property, and
such like that. So why do I prefer the architects scale to
the engineer's scale? And the reason is
this right here. The tate measure.
So the tate measure is in inches and eighths of
inches, quarter of an inch. So if I'm out in the field
and doing construction, I can use this as a scale rule if I'm not
carrying one of these with me. So I've got this on my
hip or in my toolbox, and I can get a
pretty close idea of where I need to be using this as a scale rule
if I don't have a dimension written on my plan. So let's take a look
at the board again and see how to actually
measure and use this. So I'm going to just draw
a random line on my paper. Ah, bring that down. So I've got this
random line here, and I'm just going to
put a mark right there, kind of a starting point. Inter fact. I'll just
bring my triangle over do a nice straight line. Now, now, using the
architects scale, I can go ahead and measure what this line's length is
or put a value to it. Say, it's a house wall, and I want to measure the
length of this before I make a 90 degree turn to
continue drawing out the house for my property. I'm going to use the
eighth inch scale, and I'm just going
to set it down. I'm going to turn it
over because I think we can see it a little easier. And if I set my zero where I put that starting mark, then zero. The end of my line
is right here. Now, see I see 28, that's on the
quarter inch scale. That's what you want
to be careful of. Tilt this up a little bit. But there's 36 on the
eighth inch scale. So this line actually
measures from here to here, 37 feet on the
eighth inch scale. If I want to measure
something in between that, say 18 feet 6 ", then I'll set the zero
and 18 feet that's 16, 17, 18 feet on the eighth
inch scale is right here. If I slide my scale over just enough to where
the six inch value is on my starting point, and I come back up 16, 17, 18. Now I can put a mark right here. And I know that
from this point to this point is 18 feet 6 ". If I was using the
quarter inch scale, I could be even more
accurate in that if it was 18 or 18 feet 8 ", 18 feet 7 " because
the quarter inch scale has 12 little tick marks within
that end graduated area, then I can be very accurate
with that as well. So using scale to get
your proportions down, get the size of
your property onto your paper is how
you're going to do accurate
professional drawings. Now, in the next lesson, we'll take a look at the metric scale and how
that's calibrated and probably the two most
common scale values that you're going to be
using for metric work. Okay, that's the scale rule, and I'll see you with metric scales in a bit.
Thanks for watching.
6. Using the Metric Scale: Okay, in the last lesson, we looked at the architects
and engineers scale, and in this one,
we're going to take a look at the metric scale. And how do we get our
metric values onto a sheet of A one paper or whichever size that
we're working with. So to do that, we're going
to be looking at two values, two different scale
values that are probably going to be the most common
that you would work with. One would be the one to 100, which is 1 centimeter on
your paper is going to equal 100 centimeters or 1
meter on the real world out in the ground or one to
50 where 1 centimeter on your paper equals 50 centimeters or half
a meter on the ground. So when I take a look
at a drawing that I did a design I did when I
was studying in England, is how to measure this out. So this drawing right here is drawn at a scale
of one to 100. And if I want to know, for example, the length of this brick edging
right along here, since it's at one to 100, then I'm going to go
ahead and one to 100. So that's going to be 1 meter, 2 meters, 3 meters. And on this, I can
go all the way up to 30 meters on
a straight run. So if I want to measure
the length of this edging, I'm going to take my scale, and I'm going to set right here. And I've got one, two, three, four, five. It doesn't quite make it to six. So I've got five,
and then there's five, six, seven, eight. It's about 5.8 meters in length. So if I've measured something on the ground
or in this case, this was a designed element, I can go ahead and
get it down to an accuracy using my scale rule. And that's all you're
doing is you're taking a physical
measurement in the world. And you are going to transfer that to a proportional size on your paper using either one to 100 or one to 50 depending
on the size of your paper. This particular
property right here measured about I'm going to zoom this out
just a little bit. Ooh, I'm going to zoom it
out just a little bit. So this particular
property measured about 39 meters
this side to side, and about 39 meters
top to bottom. And so I was able to
design all of this. We measured the
house, mapped it. Map the existing
outbuildings over here, and then go ahead, and all of the students in the course did their own
design based on this. So this is what I had
come up with at the time, but that's how I
measured it out. Once I designed this,
a conceptual plan, then I actually came back in
and did the design for it. And that's where we're going
to keep going as far as drafting in this
particular course is how to do not the design, but how to get your
actual site survey on paper and drafted
professionally, and then in subsequent courses, we'll start going into how to
create the conceptual plan. So anyway, that's how to
use your metric scale, and it's, again, a way of being as accurate as possible
when you're doing design. Okay, thanks for watching and I will see you
at the next lesson.
7. Using the Drafting Compass: Hi, welcome back.
And in this section, we're going to take a look
at the drafting compass. And after the parallel edge,
the drafting triangles, your scales that you're
going to be using to get field measurements
proportional down to size for your paper, you're going to need to
have a drafting compass because it's going
to work for doing triangulations and
a whole bunch of other stuff that I'll be
explaining in another course. But anyway, let's take a look at the drafting compass and
how to use it properly. So this is the compass.
This is an Alvin. I have this listed
in the resources for this particular course. And this guy, it's called
a six inch compass because it will expand out to 6 ", and it's got a point
for setting it at anchor point on your paper, and then it's got a pencil
lead that fits in over here. So if I'm using the compass, I'm going to find
a starting point. I'll just put it right there. And when I'm using the compass, it's got this little handle
right up here at the top. And at this top, I'm going to hold onto it with
just my thumb and my forefinger because
I don't want to try to hold on to the whole
thing and make it, be able to pivot and
turn the way I want. I want it to be able
to rotate smoothly. So if I put it into my paper and take this and I kind of lean in the direction
that I'm going to go, and I just literally run
this and roll it around. And let it roll between
my thumb and forefinger. And then it works really, really smooth and you get a nice clean circle out of this. Sometimes your circles
are going to be longer than what this will
spread out to. And when that happens, you're going to be
using the extension that comes with the
compass itself. And to use that,
I'm just going to loosen this second knob
right here. That pops out. The extension pops back in, and now I'm going
to loosen this. Don't take it out all the
way because if you do, you're going to lose these
little anchor wheels. They're going to go flying
somewhere in the office. It's not going to
be a lot of fun. Now I've got an
extra 6 " of room, and I can put this on. And again, using
the same technique, And I can draw a line
even further out. Now, in an upcoming lesson, we're going to start talking
about using technical pins. The drawing I showed earlier of using the metric scale and
the drawing I did in England, that drawing is
almost 30-years-old. Actually, it is going
to be 30-years-old next year or maybe
it's this year, 2024. And those pins, that
drawing is still as crisp and clean today
as it was 30 years ago. So if I used pencil, pencil would have
faded out by now, it could have gotten smudged. Who knows what's going
to happen to it? Ink is going to be a permanent
feature for your drawings, and not all of you are going
to be wanting to go to CAD and using CAD
in your drawings. So understanding that
ink is going to be a good way to go is
going to be important. And I can use ink with
my drafting compass. I can certainly use it with my parallel edge and
my drafting triangles. So I'm just going
to show you how the universal pen holder
works real quick, and that should wrap up this because then I'm
going to go into doing an actual demonstration. We're going to draft
up a site survey. So right now, I've
got the pencil in, and I'm going to loosen and remove the pencil
aspect of this, set it off to the side, and then I've got this
little guy right here, and it's got an anchor to it. And I'm going to unscrew
that a little bit. And I'm going to grab one
of my technical pins. Unscrew that, and I'm
going to fit this in. And now my pen slides in. I anchor it down, and
whether I'm using the extension or having it over here into the compass itself. And now I can use and get the arcs that I
want with my technical pen. We'll take a closer look at
that in the next section or lesson when we start
looking at doing our technical pins and
taking care of them. Okay, that's the
drafting compass, and I will see you in the next lesson.
Thanks for watching.
8. Using Technical Pens: Hi, and welcome
to this lesson on using the technical
drafting pin, and I use these. They give me a nice crisp,
clean, permanent drawing. And I've got on the board here a cabin that I mapped a few years ago for a
small design that I did, and we're going to take a
look at the procedure and the best practices for
using our technical pins. One thing to be aware of. I'm going to be using the
triangle to give myself my 90 degree or
45 degree angles. But when you're using
a technical pen and you're laying ink
down on the paper, you want to make sure that you're not inadvertently taking this drafting triangle or the parallel edge and moving it back over that ink before
it has a chance to dry. If you do, you're
going to get smears, and it's not going to
be easy to clean up. So I'm right handed. So I tend to draw from
the left to the right, so I can lay my ink down, nice straight lined
with my triangle, and then I move my
triangle to the right, and then I can do another
vertical line until I get done with that segment of the
design or the site survey. Then I'll go to
the parallel edge, and I'll tend to start at the
top and work my way down, again, making sure that
that way I'm not taking my parallel edge over ink
that may not have dried yet. So when I first start doing a design and playing
out a site survey, I always draw it up in pencil, and I do that very
lightly because I want to make sure all of my
measurements are accurate. And if I have measurements
for the walls of a house, I want to be able to
go all the way around and come back to
where I started from, and it closes on itself. Once I'm sure that
that is accurate, then I can come back
in with my ink, and that's what we're
going to do now. So here's my site survey. And again, it's penciled in. I've got windows. I've got
the walls of the house. The house is along here. This on this side is
an existing deck. And so I just want to be
able to plot this up. Initially, I'm going to use
just a fine tip felt marker, and that will be for the
walls of the house because I want the house to really
jump out from the paper. And by using different
thicknesses, then I am able to create a three dimensional effect
on a two dimensional plane. Where I have windows
on the walls, I'm going to leave that blank, and I'm going to
come over to here. And run this nice thin 0.30 line keeping my triangle
snug to the parallel edge. And now I've got some nice depictions of where
the windows are using that. I've got one little bit of
felt tip that I missed. I'll come back to that. Now I'm going to come
up and do the top. Hold this guy up
my parallel edge. And Now I can come across. I've got a window down here. Bring that across.
Bring that across. Now I've got my deck. I'm going to use a 0.5 because it's a finer texture
than the house walls. So I want it to be recede
down just a little bit. So I can pull this in. I can pull this in. And since it's just
a single line, I'm just going to line it up. Get to the end, I pop my pen off the paper right away because I don't want to take
a chance on ink bleeding out of the nib and causing a little
puddle right there. So when I get to the
end of the line, I pull that pin off of
the paper right away. And so you see how it's starting to jump up off the paper. And one other thing I want to do since the house walls
but this is a deck, I want to give the deck just
a little bit of texture. So I'm going to come
in with my 0.3 again, and I'm just going to some fast little lines that will give the
drawing and that decking just a little
bit of texture to it. And once that's
all said and done and because I did this
in pencil to begin with, now once this is dried, I can come back, take my eraser and the
ink remains Okay. And using a drafting
brush to clean it up. And now I've got a nice crisp, clean drawing that when I go to start making a
landscape design off of this, I've got a plan that
I can work with. So that's the technique of
working with technical pins. Never slide across to where you're going
to smear your ink, B as careful as you can, and then vary your line weights to help create depth
onto your drawing. Okay, that's it for
technical pins, and thanks for watching. I'll see you in the
next lesson. Okay
9. The Circle Template: Hi, welcome back.
And in this lesson, we're going to take a look
at the circle template, which is another
really useful tool when you're doing hand drafting, particularly when you're doing plant graphics and you're
starting to lay out a planting scheme or even a conceptual garden plan
for yourself or a client. So I've got two
different sizes here. One goes from a
16th of an inch in diameter circle up to
about two and a quarter. And then this one picks up. It goes from about one
and a quarter inches up to three and a
quarter inches. So there are times that using the drafting compass
just isn't as efficient. It's a little too tedious, especially, again, if you're
doing planting plans. So having a couple of different size circle
templates is really a useful tool to have on hand when you're
doing your hand drafting. So just real quick, we'll take a look at it on the drafting board and just
show you how it works out. So here I've got my smaller
of the circle templates. This is one that
goes from a 16th of an inch up to about two
and a quarter inches. And when you're doing
planting graphics, what you want to do is estimate the approximate mature size of whatever the shrub
you're working with is, or even the tree. So if I'm doing planting
graphics and I want to use a shrub that gets to be
about four foot in diameter, and that's what you're
looking at is diameter, not so much the idea of heights. But I can come in. Now, if I'm working at
the eighth inch scale, then an eighth of
an inch per foot, that means a half inch diameter is going to be a four
foot diameter shrub. And I can just bring
this in and very quickly run this around. And if I want to show
my plants in mass, then I can very quickly get
them into play right there. I can see the overlap. I can get a plant count to it. The other nice thing about
a circle template is, let's say I have a house wall, and I have a doorway. Let's see. Let's have the
door going this direction. I have a door coming over here, and I'll just grab my scale. I'm going to make this a three foot wide opening
for my doorway. Well, if I want to show the ark, which is a professional
way to do this, then I can use my circle
template to do that. Now, this entry is
three feet wide, but the center of the door, where it's hinge right in here is essentially the
center of a circle. If this store was
like one of those in a high end department store
in London or New York City, this store would be
spinning around on itself. So what I'm getting at is that if that's
three feet across, then that would be three
eighths of an inch. But since we're talking and
wanting to get an arc to it, then I'm going to use the
three quarter inch diameter because that's going to give me the arc I want for my door. And if I put this back down
again, and position it. If I was to very
lightly just bring that all the way around
like a circular door, that's how I establish the arc. So whatever the radius is, the opening between the
hinge and the door jamb, I want to go for the
diameter circle template, not the radius of
circle template. So the circle template
has a lot of uses, and I'm going to be showing
it to you more detail when I do the planting graphics on up in one of
the next sessions. So that's where it
really comes into play and becomes so much easier
and faster to work with. And again, from a
conceptual standpoint, circle template can get you where you need to be
very quickly with some specific textures and
ideas for planting ideas. And if you're doing your full blown
planting plan by hand, then the circle template again, is going to play a
really important role. Okay, it's a simple
tool to work with, and that's it for this lesson, and I'll see you
in the next one.
10. Section Wrap Up: Okay, so that brings us to
the end of Section one. And we've covered
some of the basics on the most common drafting
tools you're going to be using when you're
doing hand drafting. So now in Section
two, it's coming up, I'm going to go ahead and
do a demonstration on plotting a site survey where
you may have gone out, gathered your own measurements, your own dimensions, and now it's time to put it
on a sheet of paper, determine what scale you're
going to be using and get it on paper as quickly
and as efficiently as we can. So that's where we're going
to go in the next section, and on down the line, we'll take a look at
plant graphics and also using the drafting compass
for triangulation. Okay, thanks for watching. I'll see you in Section two.
11. Plotting A Site Survey: Hi, welcome to Section two, and now we're going to do a little demonstration on
plotting up a site survey. So you haven't been provided with a scale
drawing at this point. You've done your
own measurements, your own survey in the field, and now you need to get
it on a sheet of paper. How do you determine what scale you're going to be working
with when you're doing this? Now, I'm working in imperial
scale, feet and inches, but the same process will apply if you're working
in metric as well. You just have to
shift those values. So let's take a look
at the drafting board, and we'll kind of walk
our way through this. So I have a sheet of
vellum here on the board. Now, this is an 11 by
17 sheet of vellum, and you can see
that it's different from what was in
the last section. It does not have the drafting or the drawing border on it. So it's a full 17 " by 11 ". Well, you never want
to draw right to the very edge of your paper. That's why they have the
border on it on larger sheets. And in this instance, we're going to want to stay in at least about half
an inch on each side. If I come in a half an inch on each side and a half an
inch top and bottom, that reduces my drawing area, my drawing window down
to about ten by 16 ". So what size do we need to determine when
we're working with this? Well, I have my site survey. And I have my dimensions
from the field. This is the same property that I used in the last section. So to determine what
scale I can use on this piece of paper,
eight feet to the inch, four feet to the inch,
one of those two, then I'm going to have to get my overall dimensions side
to side and top to bottom. I've got a 16 foot
run on the deck. I've got 13 feet
10 " in this area. I'm just going to round
that up to 14 feet. Then I've got four feet 6 " across the stairs, so 4.5 feet. And then I've got 1.2 feet
and three feet across here. So I'm going to call it 1.5 feet to make it easy on
myself plus three. And I've got 60 1 ft
from side to side. Now we'll take the measurements from the top to the bottom. That's going to give me blank
rectangle that my property, this house footprint
will fit into. And that's how I'm
going to be able to determine what scale
I'm going to be able to use when I'm drafting and depending on what size
paper that I'm using. Again, I'm working on 11 by 17, so I'm not going to have a whole lot of wiggle room with this. So now, if I take my
measurements from top to bottom, well, I've got eight feet on this stairway landing
leading up into the house. So I've got eight feet there. And then I've got 34 feet 4 ", so I'm just going to
go 34.5, 34.5 feet. Then I've got three feet on
this little kickout here, and then I've got
another two feet on the stairs that
are coming out here. So I've got about 47.5 feet. I do have 47.5 feet
from here down to here. Well, if I've got 10 " by 16 because I'm keeping that half inch border
all the way around, then I've got to determine
what size property I can fit within that ten by 16 foot or ten by 16 inch area. So if I want to use
four feet to the inch, I'm going to go four times 16 ". I could go 64 feet side to side. Oh, my property's 61. It'll fit that way. But I
only have 10 " top to bottom. And if I go four feet
to the inch times ten, I've only got 40 feet. I need 47.5. So that tells me right there. In this example, I have
to use eighth inch scale. Now, in the real world, you'd go down and pick
up a sheet of 18 by 24 inch vellum or even larger, and you could easily use
a quarter inch scale. You can even go up to half inch scale if you wanted to use the larger piece of paper because this is a
very small property. But that's the gist of what
we're doing is determining what scale we can work with within this particular example. So now to get started and
actually plot this up. I know the scale,
now I want to get started with actually
drawing on my paper. So I've got my paper. I know my eighth inch scale is going to fit on this sheet. So I'm going to start, and I'm going to
start drawing this. And I'm going to work my way. I'm going to determine
this line of the deck, and I'm going to determine
this front house line. And once I start working
my way in a direction, I'm going to keep going
in that same direction all the way around until
I come back and close. I could bring my scale
rule in and simply say, Well, that's 30 feet, 34 feet 4 ". And I could try
drawing 34 feet 4 " directly using my scale
as a straight edge. But that's a slow and cumbersome
way to try to get your site survey onto paper in a
fast and efficient manner. It's better to just draw
using your mechanical pencil. This is a mechanical
0.5 millimeter pencil, and I can draw my
lines on my paper, and I just draw them wild. I draw them long but I'm
using my triangle and my parallel edge
so I know all of my angles are 90
degrees or 45 degrees, which is what I have to deal
with with this property. Once I have the
line on the paper, then I can measure on that line and I know I've got a
good straight edge to it, and I'm going to be much more
accurate as a result of it. I'm going to bring my
edge down a little bit. I'm going to butt my
triangle right up to it, and I'm just going to
draw my first line. Now, I draw it in
pencil and I draw it fairly light because eventually, I'm going to ink
this, and I want my pencil to be able
to erase cleanly. I know my property
is 34 feet 4 ". So now I can just
take this and set it. And I actually didn't
draw that line quite long enough. So I'm
going to come back. Draw that line longer. Now I can just arbitrarily
come in and go, there's 34 feet from the zero. There's 4 ". Now I can bring my
parallel edge down. And I'm going to draw a house
line. All the way across. So now I've got this
line established at 344. Now I can start working
my way across and wrap my way all the way around the house and back to
my starting point. So that's what I'm going to do. So I'm going to measure over 16 feet on the
eighth inch scale, and that's something you
want to be aware of. You have eighth inch at one end, quarter inch from the other. You want to make
sure you're always working at the right scale. So there's 16 feet there. Then I've got 13 feet 10 ". So 13 feet 10 ". Then I've got four foot
six across the stairways. I'm going to go
to four foot six. It's another 12 feet to
where the bay window starts. So I'm going to do that.
And now I can come in. I can set this in place. I've got a 45 coming down. You see, I'm just drawing
all of my lines long so that I've got plenty of room to make the
measurements that I want on it. I can come down, and now I'm going my house wall
is now at this point, and we're going back up. So I'm going to get my triangle squared
on my parallel edge, run a line all the way up. Again, it's still 34 feet 4 ". And really, I don't
even have to measure that again because remember, I measured it to 34 feet, 4 " right here. So now I can take this and draw a line
all the way across. Now I know I've got
those dimensions. Now it's just a matter of
filling in some of these other. So now I've got my house wall. I still have my stairs that come out eight
feet at the bottom. So I can draw that in, and then I have this stair and ramp that come out
at this end up here. So I can come back up, put a three foot wide stair. I know I've got it coming
down on this side. I know I've got it going
down on that side. There and there. So there you have it. That's how you can start getting your site survey on your sheet of vellum very
quickly and very easily. And that's why I've always said, try to make sure that you
make your dimensions, your site survey measurements as clean and easy
to understand and read as possible because sometimes if you walk away for the weekend and
you come back to it, it may be like,
what did I measure? I don't understand. I
don't remember what I did because you didn't
write it down clearly. This is one that I'll come
back and I will ink up, and then we're going to
take a look at how to do the triangulation for some of the trees that are
on the property, and then we're going to look at some plant graphic
ideas just to help kind of jazz up a planting design or even a conceptual
plan. Okay, that's it. I will see you in
the next lesson.
12. Using the Compass for Triangulation: Hi, welcome back. And we've plotted up
our site survey now, and I have gone
ahead and inked it, and then we're going to use the drafting compass to
perform triangulation, meaning I'm going to use two
known points on the house, two corners of the house to locate an unknown point
out in the landscape. In this example, it's going
to be existing trees. They're not necessarily
square off of the house where I could just
do a direct measurement and be confident in their location and plotting
them on my site survey. So I'm going to use the
triangulation method, and now I'm going to
show you how to do that with the
drafting compass to. You can locate an element
in the landscape, whatever it might be
very, very accurately. Okay, let's take a look
at the drafting board. So here I have my site survey, and I have some existing
trees on this land, and they're just represented by these little squirly drawings that I've put on my site survey. So what I've done is I've taken
the corners of the house, and I've labeled them A, and that's the corner where the deck and the
house come together. B is over here at the
corner of this bay window. Because I want to be
able to get out into the yard with as few
obstructions as possible. I've taken the back
corner of the house and called it point C
right here at this corner, and then point D is the
far corner over here. The further apart
that I can have my base portions of
the triangulation, the more I'm going
to be able to get a good cross angle when I'm
using my drafting compass. A, B, C, and D, and then I've
labeled my trees E, F, G, H, I, and then J over here
off of the deck. So to locate these, I've taken in the field my
tape measure and measured. I measured from A to E, and I had a distance of 23 feet. I measured from B to E, and I had a difference
of 54 feet. So if I want to triangulate
to this location, all I have to do is take
my drafting compass, and I've got this and
I'm going to shift over. This is my scale drawing now, and I'm going to shift
over to this scale drawing and setting my scale, I'm going to open my
drafting compass up to where 23 feet from A to E. So from A to somewhere
out here in the yard, I'm going to put the point
of my compass at the zero, and I'm going to put the lead of my compass to its
resting right on the 23 mark for an
eighth inch scale. And I'm going to put the point at the
corner of my property, and I'm just going to
throw a fairly broad arc. Now, from B, to E was 54 feet. I can't open this
up wide enough to get 54 feet on the
eighth inch scale. It won't expand far enough. So this is where I'm
going to have to use my extension and we talked about this in
the first section, how sometimes you
need to use this. So I just put the extension in. I loosen the neural
knob a little bit, slide that in, snug that down. Now I can go back to my zero, and I'm going to
bring this down to where the lead is on the 54. Now I put my point
at where point B was and it just crosses
at this point here. So where these two
arcs cross is where my tree is located. And it's the face of the tree. It's not the center of the tree. It's the face that I
was able to access. Now, do it one more time, and we're going to locate
this tree out here that's kind of in the middle of this deck but
off to the side. So I'm going to use points A and C because I can access that. And from A to J was 29 feet, and from C to J was 30 1 ft. Now I'm going to go ahead
and remove the extension. Set it aside, pop this back in. So A to J, 29 feet. Again, I just simply rest
that at the zero mark, and I pull this out to 29 feet
on the eighth inch scale. And then it was 30 1 ft from
the back corner point C. I'm going to put that there. And now, I've got my tree located to scale on my property. And I would continue to do that with each of
the other trees, the three in the back and the other one here out
here in the front. And that would give
me that location of those particular trees. So that's just a
kind of quick down and dirty example of
doing triangulation, but it works really,
really well. And you can use this trees. You can use it for any
element out in the landscape. You can use it for
property corners. If you have kind of an odd
shaped property or fence line, and you're not quite
sure how to find that, you can use triangulation. Just try to keep your
base points points on the house as far away from
each other as possible. So triangulation
to known points, the points on the house to locate an unknown
point out in the yard. Okay, we'll be back
in the next lesson, and I'm just going
to demonstrate a few plant graphics that help to make your
conceptual plans or even a working planting
plan a lot more interesting and easy to read for someone who
may have to install it. All right, thanks for watching
and I'll see you in a bit.
13. Planting Graphics Part One: Hi, welcome back. And
when you start thinking about hand drafting for garden design, for
landscape design, probably one of the first
things that comes to mind is doing plants, you know, putting together
a planting plan, a landscape plan for yourself, your family, your client, whoever it is
you're working for. So there are two
different stages of doing planting
design for a client, at least as far
as I'm concerned. First one is what I consider
to be a conceptual design, where I am just coming up
with some rough ideas. I want to have some
trees over here. I want to have some tall shrubs
for screening over there. I want to have some turf grass or native grass
over in this area. You know, that idea,
something that is fairly generic
and not specific. I want to get my ideas across to my client in a quick
and efficient manner, and I don't want to spend
a lot of time picking out individual plant
species until I have a better feel for the colors or the direction
that they may want to go, particularly if I'm doing a
full layout of hardscaping, you know, perhaps some kind of water features or
swimming pools. I want to make sure
they are on board with my full layout before I go
into the details of you know, whatever kind of
plants that I feel are going to be appropriate for
this particular project. So this first planting graphics
lecture is going to be on just throwing together ideas
for a conceptual plan. And I'm still using
the same plan I inked up in the first section, and I've got trace paper
over the top of that. So we're going to
be looking at it in a layered fashion because I don't want to have to
redraw the whole thing. So we're going to take a look at it this way, a conceptual idea, and admittedly it's going to
be kind of down and dirty, but it's going to give
you the gist of what I am shooting for when I'm putting
together a conceptual plan. Then we're going to talk
about coloring the plan because clients love it when
they see something in color. Whether you're doing it by
hand or any other method, then that is something
that can really help bring a plan off
the paper for them. So this lecture,
conceptual plan, and then the next planting graphics lecture
is going to be on planting graphics for an
actual working drawing where you would select
the individual species, depict them on paper so
that whoever is doing the installation can look at a symbol and
immediately recognize, Oh, that symbol is this plant. And this symbol over
here, which is different, is this plant, and it really
helps to speed things up. Okay, enough of that.
Let's jump on the board, and I'm going to just go through a quick conceptual
plan development. Okay, here's my plan, and this is just some white trace
paper laying over the top. My ink plan is down
underneath it. And like I said,
this is going to be fairly down and dirty, but I'm going to be using my circle template and just kind of coming
up with some ideas. So for argument's sake, I need to have
some screening and some shade over
here on this side, the east side of the house. I know I've got some
large pine trees here on the west side, and I want to have some low
plantings around the front, maybe a couple of
ornamental trees, and then some native
grasses or some kind of bunch grass down
within the property. So that's where I'm going to concentrate this idea
of a conceptual plan. And typically, I'm going to place the trees on
the property first, even at the conceptual phase. So I'm going to use
my circle template, and I'm going to
just think about what size trees might I
be interested in using. And again, I'm
going to go to, oh, probably 75% of their
mature size simply because it takes longer for them to get to their mature size. So I'm going to start in, and I'm just going
to use remember, this is eight inch scale. So a 1 " diameter
would be eight feet, which seems a little small. So I'm going to look
at something maybe in the 12 foot diameter range. And I'm just going to
say, Well, let's see. I'm going to go ahead
and I'm going to have a tree over in here and maybe another
smaller tree over this way. So I'm just starting
to establish stuff. I don't have any ground playing. I'm not going into
that in this course. I'm just kind of kind of look
at these ideas of graphics. And if I want to have some screening shrubs
over on this side, then I could just
take my sharpie and just literally kind of roll around and give the idea of
some taller shrubs over here. And then with my trees, I've got them penciled in. Well, east south,
north is up this way. So I'm going to come in, and I want to, from a
conceptual standpoint, just give some texture
to my graphic, and I'm just going
to take my sharpie. This will ruin the tip of
your sharpie, by the way. But you can get an idea of some texture for your
trees and some shadowing. Then if I want to
have some kind of specialty plants in this area, then I can come in with
my circle template, and I'm just going to
say I want to have a three foot diameter
plant clustered in here, and I want it to have
some texture, say, like a bunch grass. I can take my pin and literally just bounce back
and forth within the circle. And it'll keep my diameter
where I want it to be, but it will provide
a little bit of texture to the graphic, and that makes it stand
out a little bit more. Then when I'm talking to
the client, I can say, I'd like to do some
ornamental grasses in this area or maybe
some poker plant, the Npofia that idea. And kind of walk them
through what my ideas are. Also, as I'm doing this, I can look at this from an
installation standpoint, and once I see this symbol
and I see a name to it, then I know this symbol
is going to be the same regardless of where
I see it on the property. Now, this is like
showing taller shrubs. If I want to have
something smaller, I can come back in with
my lighter weight pin. This is 0.35. And the
line weight alone, helps it to recede away from
you visually so it gives you a better idea of what you
might want to achieve. Then I can come back in
with my circle template, and I can just literally throw some actual pieces like that just to give
a little texture. Again, always looking to try
to keep things moving along. So that's really it. For a conceptual plan, that's all you need to do as far as putting graphics
onto a piece of paper. Now I can come to them and say, I've got screening over
here. What kind of plant? I'm not sure yet.
I was thinking, if you want to go with natives, we could go with Tyon or some
other taller native plants, some kind of the taller
manzanitas, something like that. If we're looking at just your run of the mill
horticultural plants, then maybe Potnia or what, English laurel, something
along those lines. It gives me an idea and a starting point to
talk to my people, to talk to them, get a feel
for what they're looking for. What kind of plants do I
want at the front door? Well, maybe some bunch grasses. Oh, I'm not sure if I want that. There's snakes in the area. Okay, well, we can do something that comes up a little bit more, but just because I
have that texture for a plant doesn't lock it in to
being a particular species. It's just a way to graphically
get an idea across. So that's the concept of coming in and doing a conceptual
plan for a client. And again, I don't have a
ground layout for this one, but if I did, I would be fleshing this out all the way around to a much greater degree. So anyway, that's it for this, and we'll be back
in a little bit, and we'll take this little
bit that I've done, and we're gonna throw a little bit of
color to it and just show you how I approach
that situation, as well. Okay, thanks for watching.
I'll see you in a bit.
14. Coloring Your Plan: Alright. In the last lecture, we went over some
ideas on how to do some conceptual
graphics for plantings, just to get ideas
across, you know, not only for your sake, but for your client's sake. In this one, we're going to
put a little bit of color to that because at the
conceptual plan stage, having some color with
your plant graphics can really make a big difference to whoever it is you're
presenting this to. Not so much when you're doing your actual working
drawing because to get color copies can
be very expensive. So at this stage, this
works really well. Let's take a look at doing
our color rendering. Now, I only use a handful of pencils and then
a few pastels. And one of the pencils
is canary yellow, and this one has a very
sharp point to it right now. All of my pencils, when I
start to work with them, I don't want a sharp point because that gives
a really hard line. I want a softer line, a softer appearance
to my rendering. So I'm going to take it, and I'm just going to get a
piece of scratch paper, and I'm just going to work it down and chisel
the edge of this. So if I've got my pencil, I'm just going to go
back and forth and get myself a nice little
flat chiseled edge. That's going to produce a
really nice soft line for me. As you can see, I added a
few more graphics to this. So I added a little
bit of lawn or turf or ground cover,
whatever up here. I've still got my two trees. I've got a few more
plants in this area, some plants up and around. So when I'm coloring, if
I've got large areas, then I'm going to use pastels, like what I've got
here to the side. If I'm just doing smaller areas, then I'm going to use
my colored pencils. And I typically will start with my yellow with
my canary yellow. And I just really come in and throw a
little bit of color, I'm going to come in and rather than going back and forth
and back and forth, I do a downward swipe and
lift my pencil off the paper. It gives me a little
more control, and I can just come
in, and like I said, I normally start with yellow, and that just gives kind of
a nice background color. And I'll work my way through
some of these individually. Then I can come
back in and again, getting chisel to my green, and I'll layer
some green on top. And then depending on the
plant idea I might have, or if I want to have
some shadowing to it, I can come in and put a
darker green over it, and that starts to
give some depth to it. And then I'll use poppy red, and again, chiseling
that down a little bit. Then I can come in
maybe on the side where sun might be hitting
the plant a little bit. And, you know, a lot of
this is really subtle, but it's surprising what it can do to bring a drawing to life. And there's no one
particular pencil that's going to be a
straight jacket on this. You can just come in and
play around with this. And in some instances, I am going to just kind
of throw a line out. I like to use purple because
that helps to really give some shadow and
texture to my drawing. And you don't have to always
color everything in 100%. And now, for larger
areas such as the lawn, the trees, maybe this
area up in here, I can just come in the tip and my pastels and throw some color down
really fast and easy. I can take some of
the deeper greens and say over in here, I'll just take the
Cico pencil and actually scrape some
of that into place. And now I can come back and start putting a little
color up that way, and I would do the same
thing with my turf area. And I can even do the
same idea of having a little bit color glow in it
with a little bit of reds. Really? That's it.
Color rendering, it's a relaxing way to
spend some of your time. Once you've worked
up your plans, you can start experimenting
with using pastels, with using colored pencils. If you're adventurous
and want to go with some colored
markers, that's great. It all lends itself to the
same solution, the same idea. You want to get your ideas
across to the client in a fairly fast but
professional looking manner. Okay, in the next one, I want to talk about
actual graphics for a working plan,
a planting plan, and we're going to
look at an example of one planting plan technique that I don't think works
very well personally, but we'll take a look at that. Okay, I will see you
in the next lecture. Thanks for watching.
15. Planting Graphics Part Two: Okay, welcome back. And this is our second lecture
on planting graphics. And the first one
conceptual plans. Then we went into
color rendering, and now we're going
to be doing a talk about actual planting graphics
for a working drawing. So let's just jump
straight into the board. So here's the
conceptual plan idea, what you might show
to a client early on. So I'm just going to pull
this out of the way for now. Now, here is a copy, but it is a hand drawn plan. And as you can see, all of the proposed plants that this designer put together
are just simply circles, and then there is s2s1, such like that, designating
what its species is. Well, the only way I'm
going to know what S two or S 16 or S ten or any of these are is I'm going to
have to continually come back over and look at my plant
legend and come down and say, Okay, well, S one
is pineapple guava, S five is Yucca gloriosa. But I'm not going to
be able to remember S five back and forth. So if I'm out in the field, and I'm using this as
a working drawing, and I have to lay
the plants out, and I'm looking at, Okay, here's a bunch of S fives, and I have to go to the legend. Here's S five. Now I can go over to wherever
the plants are staged, grab those particular
plants, put them out. Well, S five occurs in other
parts of the yard, as well. And it can really
become difficult to identify what
these plants are and continually going back and forth from the
plan to the legend to where the plants
are staged and making this circuit round
and round and round. So this was not my drawing. It was just a none
by another designer, and I just wanted to show this to you because I
think that having all of the symbols the same with simply an S one or S
eight or if it's trees, it's T one, T two, T three, can be a very cumbersome way to put together a planting plan, particularly when it
needs to be installed and your installer, your
landscape contractor, they just want to get
in there and get going on this project and
not have to fight back and forth between
this kind of um um, labeling of the system. So now I'm going to
go ahead and grab one that I did and show
you the difference. So this is a hand
drawn plan as well, and I've got different
diameter circles, but this is a plain circle. Looks like about half
inch diameter or so. I've got an X on
the middle of it, and I can follow my
line down, and it says, Azalea orange pride
in parentheses three. Okay, so I could come back up. It looks like this,
one, two, three. Okay, great. Get
the orange pride. Let's put them right here. I can come over here and I've got another little circle with
a different symbol in it. This says oropsis speciosis, so I've got eight of them, so eight different oropss. I still have my plant
legend up here. So choreopsis SP. I've got 16 total, one gallon oropsis
early sunrise. Well, I've got
eight of them here. But the symbol, if I
look across my paper, I can see, here's the
same symbol again, and there's my choreopsis. So I can very easily
locate these, know what it is
without having to refer back to my plant
legend every single time, and come back and say, This
is what we need to do. Let's go and grab it.
So here's two LIG JP. I'm using the first
three letters of the genus and the species, and I can come over
it's alphabetized, and if I come down LIGGAP
is two gustrum japonicum, so two little prives that I had in this particular corner. You know, Bud Lia, Blue Chip
junior, Nipafa Bs sunset. All of these different symbols
are combined together. One last example, I
have avendulaGroso. I've got eight of
them, and I'm showing them intertwined like this. So all of these have a
different symbol to them. When you're doing
planting graphics, think about what
your audience is. If it's the client,
a conceptual plan, mass plant ideas, throwing some color
into it works great. For working drawings,
somebody who has to actually install the plan in the field, whether it's you, your homeowner or a
landscape contractor, then this method works so much better and is so
much cleaner to deal with. So that's it on plant graphics, and I think we're coming
close to the end. So anyway, thanks for watching and I will see you
in the next lesson.
16. Drafting Course Wrap Up: So that wraps up our class on the fundamentals of doing hand drafting for
landscape design. And we've covered a fair
amount of ground in this in that we've talked about
the different drafting tools, the most common tools
used in the trade, how to use the scale rule in both imperial feet and inches
or metric measurements. And what I feel are
the importance of good planting graphics in both the conceptual
design phase, where you're getting
ideas across to a client and just trying
to show some layering and texture without going into specific
details and throwing a little bit of
color onto that plan to give it a little
more interest when presenting to a client. But also doing actual
plant graphics for a landscape plan, a working drawing so that your client and the installing
contractor can more easily understand which
plant is going where by having a common symbol
for that individual species. Makes it so much simpler
to do it in that fashion. So anyway, thanks for watching. I appreciate it, and I look forward to seeing you in another
course on down the road.
Robert Littlepage, Landscape Architect - Teacher, Author
