CHAPTER V Pictorial

Drawings
Isometric
Oblique
Perspective
Line Shading and Pictorial
Drawings

Submitted by: Editha Soria

Submitted to: Mr. Julie

Isometric
drawings
(perspectives)

nt
e
m
u
c
o -09-07
d
g w 29
n
i
k
r ic revie
o
W guist
Lin

Isometric projections
A cube shown with this type
of projection pivots 45 to
show two faces on the
projection plane instead of
a single face.
It is then tilted frontward or
backward, allowing three
faces to be observed.

Isometric projections
A cube shown with this type
of projection pivots 45 to
show two faces on the
projection plane instead of a
single face.
It is then tilted frontward or
backward, allowing three
faces to be observed.

Isometric projections

Top view

Front view

Three views of a cube in

multi-view orthogonal
projection.

Right side
view

Isometric projections

45
Top view

Front view

We pivot the
cube 45 to
show two
of its faces.

Right side view

Isometric projections

A
The cube is
lifted and
pivots
around point
O.
O

The cube
turns around
point O until
the AB
diagonal
becomes
horizontal.

Isometric projections

This front view

shows the isometric
projection of the
cube in its new
position.

Because the cube is tilted,

most of the dimensions of
its isometric projection are
about 80% of their true
dimensions.

True
dimensions

Isometric projections

This front view

shows the isometric
projection of the
cube in its new
position.

Because the cube is tilted,

most of the dimensions of
its isometric projection are
about 80% of their true
dimensions.

True
dimensions

Isometric projections
Characteristics of isometric projections
All lines parallel to
axes 1, 2 and 3 are
isometric lines.

Axes 1, 2 and 3
form 120 angles
between one
another.

2
The lines not parallel
to axes 1, 2 and 3
are non-isometric
lines.

120

The projection is isometric

(equal measures) because
the height of axis 1, the
length of axis 2 and the
width of axis 3 are all
proportionally reduced.

The isometric lines are

angled at 30.

The sides of the cube

and all planes parallel
to them are isometric
planes.

Isometric projections
Characteristics of isometric projections
All lines parallel to
axes 1, 2 and 3 are
isometric lines.

Axes 1, 2 and 3
form 120 angles
between one
another.

2
The lines not parallel
to axes 1, 2 and 3
are non-isometric
lines.

120

The projection is isometric

(equal measures) because
the height of axis 1, the
length of axis 2 and the
width of axis 3 are all
proportionally reduced.

The isometric lines are

angled at 30.

The sides of the cube

and all planes parallel
to them are isometric
planes.

Isometric drawing
5
0

2
0

2
1 8
4

2
0
8
1
0

We will illustrate the main stages of

isometric drawing of the object
shown above in multi-view.
We will use a method called box
construction.

3
5

Isometric drawing
5
0

2
0

2
1 8
4

2
0
8
1
0

We will illustrate the main stages of

isometric drawing of the object
shown above in multi-view.
We will use a method called box
construction.

3
5

To create the box, use construction

lines to outline an isometric box as
large as the overall object to be
drawn.
The vertical axis is equal to the real
height.
The two other axes, drawn at 30 to
horizontal, correspond to the actual
width and length of the object.

Isometric drawing
5
0

2
0

2
1 8
4

2
0
8
1
0

We will illustrate the main stages of

isometric drawing of the object
shown above in multi-view.
We will use a method called box
construction.

3
5

To create the box, use construction

lines to outline an isometric box as
large as the overall object to be
drawn.
The vertical axis is equal to the real
height.
The two other axes, drawn at 30 to
horizontal, correspond to the actual
width and length of the object.

Isometric drawing
The box is an isometric
drawing as large as the
overall object to be shown.
Its lines are drawn very
faintly.

Measurements are reported

on the isometric axes, or on
lines parallel to these axes.

The object is drawn by

removing volumes from the
box.

A 30- 60 set square is

used to trace the isometric
lines.

Isometric drawing
The box is an isometric
drawing as large as the
overall object to be shown.
Its lines are drawn very
faintly.

Measurements are reported

on the isometric axes, or on
lines parallel to these axes.

The object is drawn by

removing volumes from the
box.

A 30- 60 set square is

used to trace the isometric
lines.

Isometric drawing
STAGES OF DRAWING IN ISOMETRIC PERSPECTIVE
STAGE 1

STAGE 2

Sketch the box.

Measure on the
axes and trace
the details in
construction
lines.

STAGE 3
Carry out the
final layout.

Isometric drawing
STAGES OF DRAWING IN ISOMETRIC PERSPECTIVE
STAGE 1

STAGE 2

Sketch the box.

Measure on the
axes and trace
the details in
construction
lines.

STAGE 3
Carry out the
final layout.

Isometric drawing
How to draw non-isometric lines and surfaces
Non-isometric (oblique)
lines and surfaces are not
true to size in isometric
perspective.

A
B
B

C
D

D
Dimensions of inclined lines and
surfaces are determined by using
their coordinates which must be
located on isometric lines.

Isometric drawing
How to draw non-isometric lines and surfaces
Non-isometric (oblique)
lines and surfaces are not
true to size in isometric
perspective.

A
B
B

C
D

D
Dimensions of inclined lines and
surfaces are determined by using
their coordinates which must be
located on isometric lines.

Isometric drawing
Grids and isometric drawing
A grid which includes all
three isometric axes may
be used to draw
isometric perspectives.

Isometric drawing
Grids and isometric drawing
A grid which includes all
three isometric axes may
be used to draw
isometric perspectives.

Isometric drawing
Showing circles and arcs of circles in isometrics
Circles and arcs of circles on
isometric planes are shown in
isometric projection using ellipses
within an isometric square.
The sides of the square are equal to
the diameter of the circle and each
side of the circle touches the square.
To draw a circle in isometric
perspective on the computer, use a
modified circle inserted into an
isometric square.
To draw it as a sketch or with a
compass, draw four arcs of the circle
in an isometric square.

Isometric drawing
How to draw an ellipse composed of four arcs using a
compass
1- Trace an isometric square.
2- Find the center of the
square using diagonals, then
trace the axis lines.

Isometric drawing
How to draw an ellipse composed of four arcs using a
compass
1- Trace an isometric square.
2- Find the center of the
square using diagonals, then
trace the axis lines.
3- Finally, trace the median lines.

Isometric drawing
How to draw an ellipse composed of four arcs using a
compass
1- Trace an isometric square.
2- Find the center of the
square using diagonals, then
trace the axis lines.
3- Finally, trace the median
lines. The meeting point of the
medians shows the center of
the four arcs of the circle.

Isometric drawing
How to draw an object containing rounded parts

Construction
box

ORTHOGRAPHIC MULTI-VIEW PROJECTION

ISOMETRIC PROJECTION

Bibliograph
y
GIESECKE, Frederick E., MITCHELL, Alva, SPENCER, Henry Cecil,
HILL, Ivan Leroy, GYGDON, John Thomas et NGUYEN, Dinh N.
Dessin technique, Montral, ditions du Renouveau
Pdagogique inc., 1982, 769 p
JENSEN, C.H. Dessin industriel , Montral, McGraw-Hill,
1972, 752 p.
STIRLING, Norman. lments de dessin industriel ,
Montral, HRW, 1979, 372 p.

Department
of
Technological
Education

Graphic

Oblique Views

Department of Technological Education

Oblique Projection
The given views
show the
orthographic views
of a mantle clock.

Draw an oblique
view with corner X
in the given
position.

Do not add the

hands of the clock
to your drawing.

Department of Technological Education

Drawing Oblique Crate

Start the oblique
view by drawing a
crate to fit the
clock into.
In this case the
size of the crate
will enclose the
body of the clock
but does not
include the clock
face. This will be
added to the main
drawing later.
For Standard Grade
drawings the depth
of the crate should
be drawn at 45o
with the size
measured at either
full size or half full
size. In this case
half sizes have
been used.

Department of Technological Education

Drawing Clock Top

Draw the top curve
of the clock body
on the front
surface of the
crate.
Project the centre
of the curve back
at 45o to locate the
centre of the back
curve.

Draw a 45o line

through each
centre to find the
tangent points
where the curves
are joined by
straight edges.

Department of Technological Education

Drawing Clock Face

Draw the circle for
the face on the front
surface of the clock
body.
Locate the centre of
the clock face at the
very front of the
drawing.

Remember that the

distance in this
drawing is half of the
full size.
Draw the outside
circle and the inside
circle of the clock
face.
Locate the tangent
points on the face
circles and add the
straight edges
required.

Department of Technological Education

Drawing Clock Base

Add the feet details
to the drawing.
Remember to use
half sizes for any
dimensions which
are measured
along 45o lines.

Department of Technological Education

Finishing Drawing
To finish the
drawing, darken in
the outlines of the
oblique view.

Department of Technological Education

Alternative Oblique View

At Standard Grade
an Oblique View
may be drawn with
the dimensions on
the 45o angles at
full size or half full
size.
The two drawings
shown here show
the different views
generated by both
methods.

X
Oblique view using full sizes
(Cavalier Projection)

X
Oblique view using half full sizes
(Cabinet Projection)

Perspective
Drawing
One-Point
Perspective

Perspective
During the Renaissance artists
became interested in making
two-dimensional artwork look
three-dimensional.
Renaissance- (1450-1600): The
Renaissance began in Italy and
spread through Northern Europe.
Art, Science, and Literature grew
during this time.

Perspective
Many of the
earlier works
artists created
showed little
depth.
Does this picture
reflect depth?
Why or why not?
How could this
picture be
changed to
increase its
depth?

Kaufmann Haggadah. Spain, late 14th C.

Perspective
Artistsused
mathematicsandclose
observationtoinvent
linearperspective.
Linearperspective
allowsartiststotrick
theeyeintoseeing
depthonaflatsurface.

Perspective
Influential People during the Renaissance
Art:
Michelangelo
Leonardo da
Vinci

Science
Raphael, School of Athens,
One-point linear perspective

Galileo
Literature
Shakespeare

Perspective
Many artists have used a variety
of different techniques to show
depth. However it was not until
the Renaissance that artists
developed a system to show
depth logically and consistently.

Perspective
Linear Perspective:
Based on the way the human eye
sees the world.
Objects that are closer appear
larger, more distant objects appear
smaller.
To create the illusion of space the
artists creates a vanishing point on
the horizon line.
Objects are drawn using orthogonal
lines, which lead to the vanishing

Perspective
Vanishing Point
The single point on the horizon where all the
lines on the ground level seem to come
together

Horizon Line
The place where the land and the sky meet.

Orthogonal Line

Perspective
Can you locate
the Horizon Line?
How did you
determine this?
Can you find the
vanishing point
in this picture?

Perspective
The red line is the Horizon Line.

Perspective
Can you locate the vanishing point?

Perspective
Artists use onepoint perspective
to show objects
face-on.
Most lines are
vertical,
horizontal, or
orthogonal
drawn to a single
vanishing point.

Perspective
TheHorizonLineishorizontal,
itgoesfromlefttorightandis
paralleltothebottomedgeof
thepicture.
Represents the
viewers eye level.
It is the place where
the ground and the
sky seem to meet
You can see the top
of an object if it is
below eye level,
below the Horizon
Line.
If an object is above
eye level, above the
Horizon Line, you can
not see its top.

Perspective
Place a dot in the middle of the Horizon Line. This
is your vanishing point. In one-point perspective
the Vanishing Point, represented is always on the
Horizon Line. As things get closer to the Vanishing
Point they get smaller and smaller until they
appear to vanish.

Perspective
Draw a square or rectangle In your picture plane.

Perspective
Now connect three corners of your rectangle or
square to the vanishing point. These are orthogonals.

Perspective
Draw a horizontal line between the two orthogonals
where you want your forms to end.

Perspective
Vertical lines go from the top of the page to bottom of the
page and are perpendicular to the bottom edge of the
picture. Along with orthogonal and horizontal lines they
make up a one-point perspective drawing.

Perspective
Erase the orthogonals to complete your form. You
now have a 3-D form in one-point perspective.

Perspective

Drawing 101 Shading

Techniques
When you understandhow shading works
you can begin to draw the illusion of
depth (also known as three-dimensional
reality). Simply stated, values (sometimes
called tones) are various shades of gray. A
broad range of different values is the
primary ingredient of shading. Heres how
you shade.

Hatching is a series of straight or curved lines (called a set), drawn beside one
another to give the illusion of a value. Depending on the shading effects you
want, you can make the individual lines in hatching sets far apart or close
together.

In the hatching set in the upper left (in the next illustration), you can
clearly see each individual hatching line. However, the hatching lines
in the second set are drawn closely together to create a solid tone.

Hatching

In hatching sets, the lines can

be either far apart or close

Crosshatching is a shading technique in which one set of lines crosses over (overlaps) another set. In the
upper set (see the next drawing), the crosshatching lines are far apart and lots of white spaces are
visible. Lines that are close together (as in the second set) look like a solid tone.

Crosshatching

Crosshatching lines can have noticeable spaces between them or appear to be a

solid tone.

Squirkling
What do you get when you cross squiggles and scribbles with circles? You get
squirkles! I coined this fun word to describe this enjoyable shading technique. Many
of my students from the past two decades are very familiar with squirkling squirkles!

The next illustration provides a peek into the versatility of squirkling. When squirkle sets have
noticeable spaces between the lines, they work beautifully for shading various textures, such as
fuzzy fabrics and curly hair. Squirkles can look like a solid tone when the lines are drawn closely
together, and are great for shading lots of different aspects of people, including skin tones.

Squirkles

Squirkles can create shading that is

highly textured or very smooth.

Shading Tips
Whether you decide to use hatching, crosshatching, or squirkling is completely
up to you. Keep the following points in mind when making your decision:

Hatching tends to be easier because youre working with only one set of lines.
Its also the best choice for rendering realistic straight or wavy hair.
Crosshatching can create a very smooth transition of values and is fabulous for
drawing human skin.

The two sets of overlapping lines allow values to flow smoothly in various directions
by continuously extending or adding a few extra lines.
Squirkling is the best choice for drawing the texture of very curly hair or fuzzy fabrics.

Being able to draw lots of different values is very important to shading. A range of different values from light
to dark (or from dark to light) is called a value scale.
To warm up your engines for shading, find your art supplies and play with your various pencils. Draw several
straight and curved lines with each and note all the different values an assortment of pencils can make.

Practice combining the following three techniques to draw some hatching,

crosshatching, and squirkling sets of lines:
Vary the density (placing lines either far apart or close together) of the shading lines.
Vary the pressure applied to the paper with your pencils.

Use different grades of pencils from hard (for light values) to soft (for darker values). Using various
grades of pencils makes drawing value scales much easier. By letting your pencils do some of the
work, you dont need to press as hard with your pencil to achieve dark values and you have more
control doing light values.

Graduations (also known as graduated shading or values) are a continuous

progression of values from dark to light or from light to dark. The goal of
graduated shading is to keep the transitions between the different values flowing
smoothly by combining the following three techniques:

Progressively draw the shading lines closer together as the values need to become darker.
Press gently with your pencil for light values and gradually apply more pressure to create darker
values.
Switch to darker pencils as the values become darker.

Mastering these shading techniques will

give your work even more depth.