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 BUILDING PLANS 
 
 AND HOW TO DRAW THEM 
 
 mcKs 
 
(Totnell lllntverstt^ 
 
 OF THE 
 
 IRew l^orft State College of Hgriculture 
 
 Py=^:..r%.:Ti.7iL-!u a..A.u.\Av 
 
Bj^ Cornell University 
 WM Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924014088227 
 
BUILDING PLANS 
 
 AND HOW TO DRAW THEM 
 
 A SIMPLE SERIES OF PRACTICAL LESSONS ON ARCHITECTURAL DRAWING, SHOWING 
 EVERY STEP NECESSARY TO DRAW THE FULL WORKING PLANS OF BUILDINGS 
 
 INTENDED FOR THE SELF-INSTRUCTION OF BUILDING MECHANICS 
 
 By I^^P/qICKS 
 
 Author of " Architectural Perspective for Beginners," " Builders' Guide," " Estimators' Price Book," etc., etc. 
 
 FULLY ILLUSTRATED 
 
 THIRD EDITION 
 
 NEW YORK 
 
 INDUSTRIAL PUBLICATION COMPANY 
 
 1909 
 
BUILDING PLANS AND HOW TO DRAW THEM 
 
 Copyright secured 1894 by I. P. HICKS 
 
 Copyright secured 1909 by 
 INDUSTRIAL PUBLICATION COMPANY 
 
 NA2700.H6'"*"''""'^''">"-*^^'-y 
 °HilS.f,te.^,:!?.,!'°.iy «° draw them- 
 
CONTENTS 
 
 PAGE 
 
 Architectural Drawing i 
 
 Drawing Instruments 2 
 
 A Five-Room Cottage Plan 8 
 
 Pencil Drawings ^ . 9 
 
 Doors and Windows n 
 
 Drawing the Floor Plans 12 
 
 Drawing the Elevations "... 12 
 
 Drawing the Details of Construction 24 
 
 Tracing Drawings 32 
 
 A Stone and Frame Dwelling 36 
 
 A Lesson in Outlining 47 
 
 Design for a Store Front 51 
 
 Hints on Planning 55 
 
 Stair Work 55 
 
 Framing Plans and Elevations 57 
 
 Drawing Barn Plans 58 
 
 Architecture 64 
 
 Details for Drawing Copies . . . . ■ 65 
 
PREFACK 
 
 The pages which comprise this work have 
 been prepared with a great deal of care, in 
 the belief that there is need of a thorough 
 treatise on architectural drawing for mechan- 
 ics, showing the learner how to proceed step 
 by step in every detail of the work. 
 
 The examples given as lessons in drawing 
 embrace a wide range of work, and it has been 
 the aim of the author to select only such fig- 
 ures for practice as are most likely to meet the 
 wants of working mechanics. 
 
 The popularity with which Hicks' Builders' 
 Guide has been received has brought many 
 letters of inquiry which have been convincing 
 proof of the wants and needs of mechanics, 
 for, a work of this kind. No pains have 
 been spared to make it practical for those 
 who desire to profit by self instruction. 
 
 Every subject treated has been made plain 
 and easy to comprehend, and it is believed 
 the work will prove the keynote to success for 
 those desiring instruction in this branch of 
 the building trade. 
 
 To one seeking information of a practical 
 nature, the selection and arrangement of the 
 matter within these pages cannot fail to sup- 
 ply the student with a fund of knowledge not 
 easily obtained in any other work. Thanking 
 the readers for their many kind and favor- 
 able expressions of the work as published 
 serially in the columns of Carpentry and 
 Building, it is now condensed into convenient 
 space for guidance and instruction, and is 
 committed to their use, trusting that it will be 
 favorably received. 
 
 The Author. 
 
 Omaha, Neb., 1897. 
 
DRAWING INSTRUMENTS 
 
 The subject of architectural drawing is one 
 of no small interest to the practical mechanic 
 in whatever branch of the building trade he 
 may be engaged. Carpenters, contractors and 
 builders are often called upon to furnish plans, 
 especially of medium and low cost buildings 
 which are not considered of sufficient impor- 
 tance to warrant employing the services of 
 a professional architect. It is in connection 
 with this class of work that a practical knowl- 
 edge of drawing is particularly valuable to 
 the building mechanic, for he who under- 
 stands drawing sufficiently to take a rough 
 sketch of a floor plan and draw it up 
 in practical shape, presenting the correspond- 
 ing elevation with the details necessary to 
 carry out the design in a comprehensive man- 
 ner, is the man who, as a rule, readily secures 
 and retains the public confidence. The one 
 who understands and can make the working 
 drawings for buildings has a decided advan- 
 tage over a competitor possessing little or no 
 skill as a draftsman. The ability to draw up 
 
 a plan after the manner of an architect has 
 the effect to gain for the draftsman the favor 
 and confidence of his patrons in a way that 
 seems to assure them he understands his 
 business, and therefore is the more competent 
 to do the work. Thus in cases where com- 
 petency is required the lowest bidder does not 
 always stand the best chance in the race for 
 a job. This, and the fact that a knowledge 
 of drawing is necessary to enable workmen 
 to take a set of architects' j^lans and work 
 from them understandingly, has brought 
 about a desire on the part of many to learn 
 the art of drawing. 
 
 A brief and comprehensive treatise on the 
 subject, giving the practical instructions 
 necessary to carry the work to a successful 
 issue, has long been felt to be desirable. 
 Many books and articles have been written on 
 the subject, but for the most part they have 
 been far from meeting the wants of carpenters 
 and contractors engaged in the general 
 building trade. Many have been disappointed 
 
ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 in books, partly because they have not been as 
 practical as could be wished, but more espe- 
 cially because the readers failed to put into 
 practice the principles and ideas which the 
 books illustrated and described. 
 
 In order to obtain the full benefit from a 
 work of instruction on any subject, it is neces- 
 sary to verify what is taught by practice, and 
 this is assuredly the fact in regard to draw- 
 ing. Practice is the most essential point 
 toward the advancement and success of the 
 draftsman in the art of drawing, and without 
 it the best books and articles are likely to 
 prove a failure. It will not answer to merely 
 read the instructions and to look at the exam- 
 ples given ; a few ideas may be gained by this 
 course, but to acquire the art and become 
 proficient in it will require practice. It is the 
 only successful' method to pursue, and, there- 
 fore, I say to those who are seeking instruc- 
 tions in drawing, take up the rule, pen and 
 pencil and begin practice at once by making 
 the drawings given in connection herewith as 
 lessons in drawing. 
 
 It is not necessary to illustrate and describe 
 all the tools and appliances used in drafting, 
 as this has been done time and again, until 
 every carpenter arrd contractor is familiar with 
 them; therefore, I. will only describe a few 
 of the most essential tools and appliances used 
 
 in practice. A drawing board, i6 x 24 inches, 
 will be large enough for convenience in making 
 the drawings given as lessons, and also large 
 enough for many other purposes. For be it 
 known that a large drawing board for small 
 work is more or less inconvenient and unde- 
 sirable. In my opinion it is better to have two 
 or three sizes to meet the varying requirements 
 of large and small work. 
 
 Drawihg boards should be made of soft 
 wood, with all angles right angles, so that 
 the T square will work properly from any 
 one of its four sides. The T square is an in- 
 dispensable tool in the draftsman's outfit, and 
 it is very desirable to have several sizes. A 
 20-inch blade will meet the requirements of 
 these lessons, but in practice much longer 
 blades will often be required. The cost of a 
 good T square, 20-inch blade, is not great — 
 say about $1 — and in selecting one I would 
 suggest Deane's patent adjustable head. 
 Triangles are very handy and convenient to 
 use in connection with the T square and can 
 be employed to advantage in many ways. 
 Triangles may be had for 25 to 75 cents each, 
 according to size. 
 
 In the way of other tools I would recom- 
 mend a small case of German silver instru- 
 ments of a good quality, containing 43/^-inch 
 dividers, with pen and pencil points and 
 
DRAWING INSTRUMENTS. 
 
 lengthening bar, drawing pen and protractor, 
 the cost of which does not need to exceed $4, 
 although the draftsman can, if he desires, pro- 
 cure a $15 set of instruments. 
 
 Drawing rules are among the necessities 
 that go to make up the draftsman's outfit, and 
 of these he should have several at his disposal. 
 The architect's triangular scale is the king 
 of all rules for setting off the scale measure- 
 ments of drawings, after which they may be . 
 finished by drawing the lines with the aid of 
 the T square, triangles, common rules or 
 straight edges. I do not advocate a general 
 use of the triangular scale with which to draw 
 lines, for the reason that it is a costly rule, 
 very finely and accurately marked, and to 
 make a general use of it in drawing lines would 
 have a tendency to obscure the fine divisions 
 of the rule and thus irnpair its usefulness in 
 setting off accurate measurements. The 
 rule should never be used in drawing ink lines, 
 but can be used for drawing the pencil lines 
 necessarily required in outlining a plan, if it 
 is desirable to do so. These remarks 
 are more especially to warn the drafts- 
 man against the indiscreet use of a costly 
 rule, which might soon impair its usefulness 
 or spoil it entirely. The cost of triangular 
 scales is from $1.50 to $5. They are made 
 in 12-inch and 24-inch lengths, the 12-inch 
 
 length being the one in general use. Thus 
 it will be seen that the draftsman's outfit for 
 drawing need not cost more than $7 to $10. 
 The drawing boards, T squares, triangles 
 and straight edges he can make for himself, 
 thus confining the expense to the case of in- 
 struments, the triangular scale and common 
 rules. The author began practicing with a 
 15-cent outfit, consisting of a common rule 
 and lead pencil. By the aid of triangles which 
 I made myself, I was enabled to square draw- 
 ings from the rule, draw the horizontal and 
 plumb lines and finish up the drawing com- 
 paratively easy. I merely mention this so 
 beginners will not get the idea that a 
 costly outfit of tools is required; but to all 
 who can afford it I would say do not retard 
 your progress in drawing by trying to get 
 along without the necessary tools, as it is a 
 waste of time and poor economy. 
 
 In reference to the triangular scale, it is 
 necessary that the draftsman should become 
 familiar with the different scales represented. 
 This necessity will not be felt so much in copy- 
 ing the drawings here given as lessons as in 
 the making of original drawings. In this the 
 draftsman will soon discover, that mental cal- 
 culations are constantly coming up, and to 
 compute the distances and set them off readily 
 and accurately on the drawing requires a 
 
ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 thorough knowledge of the drafting scales. 
 Before proceeding with the instructions in 
 drawing we will give a brief description of 
 the triangular scale and its uses. By refer- 
 ring to Fig. I the shape of the triangular scale 
 will be plainly seen. In shape an end section 
 presents the form of an equilateral triangle, 
 traversed lengthwise with a semicircular 
 groove. This particular shape gives the rule 
 six planes or surfaces, on which the different 
 scales are marked. The shape of the 
 rule permits of the marking being plainly 
 visible to the draftsman, and is specially adapt- 
 ed for making the scale measurements 
 of drawings with the greatest accu- 
 racy. On the six planes of the rule 
 are marked ii scales, which we will 
 take in their regular order. First one 
 plane is graduated to sixteenths, 
 which, of course, can be used in 
 drafting to represent the scale of 1-16 inch to 
 the foot. The other ten scales are marked on 
 the remaining five planes in pairs and in the 
 following order, 3-32, 3-16, Vs, M- H' H, V^, 
 I inch, lyi inches and 3 inches to the foot. 
 
 Placing the rule in position for drawing or 
 setting ofif measurements, we very naturally 
 use the opposite edge from the one facing us. 
 This will be plainly seen by taking a rule and 
 placing it in the position of Fig. i, which will 
 
 bring the scales of 3-32 and 3-16 in proper 
 position by which to draw lines and set off 
 measurements on the drawing. When in this 
 position the scale of 3-32 inch to the foot will 
 be found figured on the plane from left to right 
 and the scale of 3-16 inch to the foot, which 
 is a multiple of 3-32, will be found figured 
 from right to left, in the semicircular groove 
 just above the plane. The scales each have 
 at their starting point 3-32 and 3-16 inch re- 
 spectively, graduated to sixths and twelfths, 
 for setting ofif fractional parts of a foot, as in 
 representing inches. 
 
 / mmimip iypiyHKI ^pu 
 
 ^WmmftM^mMMM^tMtM^n 
 
 L—LJ-JJ^LL 
 
 Fig. 1.— Broken View o£ a Triangular Scale. 
 
 Referring to Fig. i, we find the following 
 scales shown : At the left end, top plane, i y^ 
 inches to the foot ; right end, same plane, 3 
 inches to the foot ; left end, bottom plane, 3/2 
 inch to the foot and right end, same plane, i 
 inch to the foot. Thus it will be plainly seen 
 that the larger scales are just twice the smaller, 
 and being represented on the same planes the 
 graduations of the smaller scale represent 
 halves of the larger scale and thus work in 
 
DRAWING INSTRUMENTS. 
 
 harmony when properly understood and ap- 
 plied. It will be noticed that the figures of 
 the )/2-inch and i-inch scales appear wrong 
 side up, but when the rule is turned end for 
 end, as it should be used in drawing by these 
 scales, the figures will appear right and as 
 follows : The 3^ -inch scale will be found 
 figured from right to left on the plane 
 and the i-inch scale figured from left to right 
 just above the plane in the semicircular 
 groove. Thus in setting off distances by the 
 inch scale, if J4 foot was wanted the drafts- 
 man could readily locate it by the divisions of 
 the J/2-inch scale figured on the plane. All 
 the other scales on the rule are figured in like 
 manner. The scales being figured differently 
 and in opposite directions the liability 
 of making mistakes or getting the scales mixed 
 is avoided. 
 
 In setting off measurements from any of 
 the scales always start from the figure o of 
 the desired scale for even feet, and if a frac- 
 tional part of a foot is wanted, count ofif such 
 part on the fine divisions of the scale and^ start 
 from this point, then the figures on the scale 
 will represent the feet and inches. For exam- 
 ple, the J/2-inch scale has J4 inch graduated 
 as follows : i . The long lines divide the scale 
 into fourths, which represent 3 inches. 2. The 
 next longest lines divide the scale into twelfths. 
 
 which represent inches. 3. The short lines 
 divide the scale into twenty-fourths, which 
 represent J4 inches. Thus by this scale 
 the draftsman can carry his scale meas- 
 urements to a point indicating J4 inches. 
 Now if it were required to set off 6 feet 9 
 inches by the scale, count off 9 inches from 
 the o mark on the scale, which will be the 
 third long line to the right, then start from 
 this point with the measurement and follow 
 the scale marked on the plane to the left 
 to 6, which will give the measurement of 6 
 feet 9 inches. Proceed in like manner in set- 
 ting oflf measurements by any of the scales 
 found on the rule. It is-not necessary to de- 
 scribe the graduations of all the scales, as to 
 understand the working of one is sufficient to 
 enable the draftsman to readily become famil- 
 iar with the divisions of them all, as they all 
 embody the same principle, and it is just as 
 easy to draw by one scale as the other, with 
 the exception of cases where the fine scales 
 bring lines so close together that they cannot 
 be drawn distinctly. 
 
 We will only describe the graduations of the 
 3-inch and 34-inch scales to show the contrast 
 and what it is possible to accomplish with the 
 scales. The 3-inch scale will be found grad- 
 uated as follows : i . The long lines divide 
 the scale into twelfths, which represent inches. 
 
6 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 2. The next longest lines divide the scale into 
 twenty-fourths, which represent half inches. 
 
 3. The next longest lines divide the scale into 
 forty-eighths, which represent quarter inches. 
 
 4. The short lines divide the scale into 
 ninety-sixths, which represent eighth inches. 
 Thus by the scale of 3 inches to the 
 
 Fig. 2. — Crown Molding and Fascia Drawn to a Scale 
 of 3 Inches to the Foot. 
 
 foot the draftsman can carry his scale 
 measurements to a point indicating the 
 eighth part of an inch, which is as fine as re- 
 quired in ordinary practice. 
 
 Referring now to the j4-inch scale, which is 
 the one generally used in making elevation 
 drawings, we find it graduated as follows : The 
 long lines divide the scale into halves, which 
 represent 6 inches ; the next longest lines divide 
 the scale into quarters, which represent 3 
 
 inches ; the short lines and finest divisions of 
 the scale divide it into twelfths and represent 
 inches. Thus by this scale the draftsman can 
 carry his scale measurements to a point indicat- 
 ing the inches in elevation drawings, which is 
 about as fine as it is possible to draw the lines. 
 The architects' triangular scale is calculated for 
 fine work, and with it the finest calculations in 
 drawing can be made. As previously shown, 
 the fine divisions of the 3/|-i"ch scale graduated 
 to twelfths make it possible in drawing by the 
 
 Fig. 3.— Crown Molding and Fascia Drawn to a, Scale 
 of 14 Inch to the Foot. 
 
 scale to represent an inch on the plan. By 
 the division of ^ inch into 12 parts an inch 
 would represent 48 parts ; hence one of these 
 parts is really the forty-eighth part of an inch, 
 and comes very nearly, if not quite, being finer 
 than the ordinary draftsman can distinctly 
 draw the lines. Thus it will be seen that in 
 drawing elevations great care will be neces- 
 sary to keep all parts in accordance with the 
 scale. For example, to represent the fascia 
 and crown molding of a cornice in its usually 
 limited space requires some fine work. The 
 space usually required for the fascia and crown 
 
DRAWING INSTRUMENTS. 
 
 molding of a cornice oa the average dwelling is 
 from 5 to 7 inches. In this case we will call it 
 6 inches to make it easy for beginners. Ac- 
 cording to the scale, 6 inches would be repre- 
 sented by J^ inch in the drawing. Now we 
 have only y^ inch space in which to draw the 
 lines necessary to represent the fascia and' 
 crown molding, and as each member of the 
 fascia and molding requires a line to prop- 
 erly show its profile, it would require at least 
 five parallel lines to represent a very plain 
 fascia and crown molding. To draw all these 
 lines in the allotted space is about as fine work 
 as the average draftsman is capable of doing. 
 For example, we will draw the fascia and 
 molding on a scale of 3 inches to the 
 foot in order to distinctly show the differ- 
 ent members. Referring to Fig. 2, it will be 
 seen that it requires i}^ inches space to show 
 
 the profile of fascia and molding. To show 
 all these lines in an elevation in the small 
 space of % inch is no small task, and this is 
 only one example out of many that arise in 
 architectural drawing. 
 
 Fig. 3 represents the fascia and molding 
 drawn to 54-iiich scale. In drawing elevations 
 occasionally a line is left out and slight devia- 
 tions are sometimes made. This is the reason 
 details drawn to larger scales are necessary, in 
 order that the workmen may be enabled to 
 carry out the design to the true meaning and 
 intent of the architect. In making the eleva- 
 tions to the J4"inch scale the draftsman should 
 work to the scale and keep the proper propor- 
 tions as much as possible, and such parts as 
 cannot be properly shown in the elevations 
 should be represented in the details drawn to 
 larger scales. 
 
A FIVE-ROOM COITAGE. 
 
 In the selection of examples to serve as les- 
 sons in drawing we have chosen for the subject 
 the plan of a five-room cottage of medium 
 cost. This selection has been made in view 
 of the fact that the architectural drawing of 
 medium and low cost dwellings is much 
 sought after by the average mechanic. To 
 acquire the art of making these drawings in a 
 practical manner the learner must be shown 
 how to proceed step by step. To look at a fin- 
 ished drawing the learner may get but a faint 
 idea of the actual work and method of pro- 
 cedure. The full benefit of lessons in drawing 
 can only be fully demonstrated by showing 
 some of the work in different stages of com- 
 pletion, with a proper description of the 
 m.ethod of proceeding from start to finish, 
 and requiring the learner to exercise his 
 skill and talent by duplicating the work. 
 The art can never be successfully acquired 
 without practice, and these lessons have been 
 especially designed to supply the much needed 
 practice. 
 
 It has been the practice of Carpentry and 
 Building to present floor plans to a scale of 
 
 i-i6 inch to the foot and elevations J^ inch 
 to the foot. These scales are almost too fine for 
 practical architectural drawing, yet for pub- 
 lication purposes they are more convenient 
 than the larger scales. Should the floor 
 plans and elevations accompanying these 
 lessons appear to the 1-16 and y% inch scales, 
 it is specially requested that in the course of 
 practice the draftsman draw the floor plans 
 to }i, or }^ scale and the elevations to ^ 
 scale, as by so doing he will acquire the art 
 of drawing in a more thorough manner, be- 
 cause he will be compelled to make calcula- 
 tions for himself, and the art of calculating 
 goes hand in hand with drawing. No one 
 can successfully make drawings without cal- 
 culations. The division and proportioning of 
 the scale to different parts of the drawing are 
 continually going on ; therefore to enlarge the 
 drawings to ;54"inch scale will in reality give 
 the draftsman better practice than would be 
 derived by copying them line for line by 
 the smaller scales. After the drawings 
 have been successfully made to the J^^inch 
 scale it would be well for the draftsman to 
 
A FIVE-ROOM COTTAGE. 
 
 a a 
 
 Kg. 4.— Method of Drawing Foun- 
 dation Plan.— Scale, 1-16 Inch to 
 the Foot. 
 
 Fig. B.— The Foundation Plan 
 Completed. 
 
 Fig. 7.— Front of Main Floor Plan 
 Drawn to a Scale of 1-16 Inch to the 
 Foot. 
 
 Fig. 6.— Portion of Front of Main Floor Plan, Showing Windows, 
 Doors, etc.— Scale, ^ Inch to the Foot. 
 
10 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 draw them to the ^-iiich scale, as it will have 
 a tendency to increase his accuracy in measur- 
 ing and proportioning drawings, while at the 
 same time it will extend his capabilities' as 
 a draftsman. 
 
 The first practice in drawing should be exe- 
 cuted with a pencil, and it is quite as well not to 
 attempt the use of ink until the learner has 
 acquired a fair knowledge of pencil drawing. 
 In the selection of pencils never choose soft 
 ones, as they will not hold a point fit for draft- 
 ing, and the crumbling of the lead is sure to 
 work into the paper, giving the drawing a 
 dirty, grimy appearance. A hard pencil is 
 best, as with it fine clean lines can be made. 
 
 In making a drawing the outlines are the 
 first consideration and should be made very 
 light, so that in case an error occurs it can be 
 easily erased. It is very likely, and more than 
 probable, that beginners will make some mis- 
 calculations, and in drawing lines they are like- 
 ly to draw past the stopping points or cross 
 lines running at other angles and representing 
 some other part of plan or design. It is neces- 
 sary that the draftsman watch the work closely 
 and acquire the art of starting and stopping at 
 exactly the right point. This is one important 
 feature in regard to drawing and a very essen- 
 tial one in regard to pen drawing. After the 
 outlines have been correctlv drawn the work 
 
 can then be traced or redrawn, making the 
 lines plain and distinct and completing the 
 drawing throughout in a permanent manner. 
 In regard to paper, it is unnecessary to have 
 any particular kind, as any good quality with 
 a hard, smooth surface will answer for ordi- 
 nary practice, although drawing paper is pref- 
 erable. 
 
 Having now given a general idea of the es- 
 sential points in drafting we will proceed with 
 some examples for practice, beginning with the 
 foundation plan of a dwelling. The founda- 
 tion plan is the plan of the cellar walls, founda- 
 tion walls, piers, etc., and is usually very easil}' 
 made. The starting point in outlining a draw- 
 ing m nearly all cases should be at the front 
 left hand corner, as at A, Fig. 4. The drafts- 
 man should work around the plan from left 
 to right, although it is not necessary to adhere 
 strictly to this rule. For example, the drafts- 
 man has several calculations to make in out- 
 lining the plan, particularly the front, which 
 forms many angles. Starting at A, draw 
 lines to B, representing the front, then 
 from A draw the lines representing the left 
 side, rear and right side as A C D B, which 
 completes the outline of the foundation wall. 
 The next step is to set off the thickness of 
 the walls, draw the inside lines and partition 
 walls of the cellar, if any are required. 
 
A FIVE-ROOM COTTAGE. 
 
 11 
 
 The inside lines of Fig. 4 are so plain and 
 easily understood that an explanation is un- 
 necessary. In drawing the inside lines the 
 main point to observe is to first draw all the 
 lines representing the cross walls, making 
 due allowance for thickness of walls, so that 
 when the side wall lines are drawn the founda- 
 tion walls will be complete. As a finished 
 drawing does not show the metho'd of pro- 
 ceeding as well as one partially finished, we 
 will leave Fig. 4 in its present form showing 
 the draftsman how to start, how to proceed 
 and how to calculate the thickness of walls in 
 order to locate the starting and stopping 
 points in drawing the lines. Referring to 
 Fig. 4, it will be seen that to complete the 
 walls all that is necessary is to draw the lines 
 representing the side walls. We will now 
 proceed to finish by locating and setting off 
 the chimney, piers, and girder under floor 
 joists, cellar window frames, cellar stairs 
 and piers for porches. This being done 
 the drawing has the appearance of Fig. 5 and 
 completes the foundation plan. Girders un- 
 der floor jpists are generally represented by 
 dotted lines, as shown. Our floor plan and 
 front elevation show two chimneys, but as 
 one is intended to start from brackets on the 
 partition wall only one will appear on founda- 
 tion plan as drawn. Great care should be 
 
 given to locating chimneys, so that they can 
 be built plumb from their foundation to the 
 finish. In many large cities there is an ordi- 
 nance prohibiting the building of crooked 
 chimneys in any form. 
 
 In order to explain a few points in regard 
 to doors, windows, etc., we will present a por- 
 tion of the front wall of the floor plan drawn 
 to a scale of ^4 inch to the foot. Referring 
 to Fig. 6, windows are usually designated by 
 two lines drawn through the opening, as 
 shown at W; outside doors are represented 
 by one line, usually drawn on the outside wall, 
 as shown at D. The way a door is intended 
 to swing is designated by a line drawn to an 
 angle, as shown. Inside doorways are repre- 
 sented by open spaces in the partitions with 
 no lines across. The angle lines are frequently 
 used when the draftsman wishes to specifically 
 indicate which way the doors shall swing. 
 Arches are indicated by "dotted lines across 
 the opening, as shown at the bay window, Fig. 
 6. They are also usually marked " arch," 
 as shown. 
 
 To contrast the difference between an archi- 
 tect's working scale drawing and one as usually 
 prepared for publication, the reader is referred 
 to I'ig. 7, which shows the front wall of the 
 floor plan drawn to a scale of 1-16 inch to the 
 foot. 
 
13 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 DRAWING THE FLOOR PLANS. 
 
 As the draftsman has now been given an 
 explanation of the primary principles and 
 method of drawing plans, we will presume he 
 is ready to advance another step in the art, and 
 we will proceed to the floor plan in full. 
 Referring to Fig. 8, first draw the outside 
 wall line, set off the thickness of walls, locate 
 the joining partition walls, and draw the lines, 
 as shown. Having the wall lines drawn, 
 the next step is to locate the doors, windows, 
 chimneys, etc., which are represented by the 
 short marks across the partitions. It will 
 be noticed that in drawing the partition lines 
 they have been drawn across the door open- 
 ings, and also some of the lines cross at the 
 junction of partitions where they ought not to. 
 The advantage of drawing them this way in 
 outlining will be plainly seen, for by having 
 the outlines of all the partitions in sight the 
 draftsman is better able to make calculations 
 and locate doors, windows and chimneys in 
 the most desirable manner. It should be re- 
 membered, however, that the outlines are to 
 be drawn lightly with a pencil, then when we 
 are ready to finish we can easily erase all super- 
 fluous lines, thus showing just where to start 
 and stop when drawing permanently with the 
 pencil or pen. This can be done a great 
 deal easier and quicker than to make all 
 
 the calculations before drawing the outlines; 
 besides, there are often several doors and parti- 
 tions in succession to cause confusion in locat- 
 ing exactly the points of starting and 
 stopping. 
 
 We will now take Fig. 8, and erasing the 
 lines across the door openings and joining par- 
 tition walls will finish permanently, when it will 
 have the appearance of Fig. 9. By compar- 
 ing Fig. 8 with Fig. 9 the draftsman will be 
 able to note the change that has taken place in 
 the lines better than words can express it. In 
 addition to the change made by the openings 
 we have drawn a few more lines, finishing 
 the stairs, sink, etc., and indicating the 
 shelves in pantry and closets, making the plan 
 complete. 
 
 In Fig. 10 is shown the method of drawing 
 the roof plan. The inside lines represent the 
 outside line of wall plate and should be drawn 
 first. Next set off the width of the cornice and 
 draw the outside lines. Locate the hips, val- 
 leys, ridges and chimneys and finish complete, 
 as shown. 
 
 DRAWING THE ELEV.\TI0NS. 
 
 In the usual course of architectural drawing 
 the elevations come next, and very naturally 
 they are the most complicated of all to make 
 and appear as an insurmountable difficulty to 
 
A FIVE-ROOM COTTAGE. 
 
 13 
 
 I I, 
 
 □ 
 
 I I I 
 
 I I 
 
 I I 
 
 I I 
 
 n 
 
 I I 
 
 ~] r 
 
 Fig. 8.— Method of Outlining the Floor Plan.— Scale, % Inch to the Foot. 
 
14 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 9.— Appearance of Floor Plan When Completed. —Scale, J^ Inch to the Foot. 
 
A FIVE-ROOM COTTAGE. 
 
 15 
 
 Fig. 10.— Showing Method of Drawing the Eoof Flan. -Scale, J^ Inch to the Foot. 
 
16 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 beginners in the practice of drawing. As 
 a rule, all things come easy or comparatively 
 so when we know how to proceed, and 
 with proper instructions we hope those who 
 desire will be able to readily master the 
 difficulties usually met with. We will now 
 start on the outlines of the front elevation. 
 Fig. II. Some may prefer to start from 
 bottom of the foundation and build up, but 
 we have found it more practical in drawing 
 elevations to take the bottom line of the sill 
 as a starting point from which to make the 
 required calculations. It is always easier to 
 calculate hights in an elevation from bottom 
 of sill up, especially frame buildings, and for 
 the hight of foundation it is no trouble to 
 calculate from the bottom of the sill to any 
 hight it is desired the foundation should 
 show above the ground line. Hence we will 
 take the bottom line of sill as a starting point 
 and draw the line A B. Set of? on line A B 
 the width of front gable, as A C. Calculate 
 the entire hight from bottom of sill to top of 
 roof line, as shown by the scratch marks 
 D, E and F, and draw the perpendicular lines 
 A D, C E and B F, representing the main 
 corners, but do not draw them quite to the 
 points D, E and F, as these were calculated to 
 the top of roof line, and the lines of the cor- 
 nice must come below these points. It is 
 
 easier and more practical to finish drawings 
 from the top down, and when the lines rep- 
 resenting the cornice are drawn they will in- 
 tersect the perpendicular lines of the main 
 corjiers in the elevation. This will be read- 
 ily seen by comparing the unfinished work of 
 Fig. II with the finished part of Fig. 12. It 
 will be noticed that if the perpendicular lines 
 were drawn full to the scratch marks we 
 would have to cross these lines to finish the 
 cornice, which, of course, would not be a 
 proper thing to do. For convenience in out- 
 lining, the lines can be drawn lightly with a 
 pencil and in full to the points D, E, F, and 
 the part where the lines cross can be erased 
 before finishing. This is a good way to do, 
 as it shows the draftsman just where to start 
 and stop when inking or tracing the drawing 
 permanently. The points D, E, F are also 
 the points from which to calculate the roof 
 elevation, the amount for projection being 
 added on at the bottom, as shown. After 
 drawing the outline of roof locate and draw 
 the outline of the chimneys. The latter can 
 always be readily located from the floor plan. 
 For example, the front chimney passes out the 
 roof by the side of the left wall plate, while 
 the kitchen chimney passes out the roof 
 about 7 feet from the outside line of the right 
 wall plate, which locates it where shown. 
 
A FIVE-ROOM COTTAGE. 
 
 17 
 
 Chimneys that do not come out the highest 
 portion of a roof should always be con- 
 structed somewhat taller than the ordinary 
 chimney to insure them a good draft, and 
 also for the protection of the roof against 
 fire. It sometimes happens that roofs affect 
 the draft of chimneys, hence the top of a 
 chimney should be nearly as high as the roof 
 through which it passes. Observe that the 
 front chimney top is about on a level with 
 the front gable roof and the kitchen chimney 
 a little above the comb of the main roof. , 
 Chimneys which extend above the roof much 
 more than the ordinary hight should have an 
 anchor rod put in, as shown. The next step 
 is to set off the width and hight of bay win- 
 dow from bottom of sill* to lower edge of 
 fascia. Set off width of crown molding and 
 fascia, pitch of roof, and draw the lines as 
 shown. 
 
 Next set off the outlines of the small win- 
 dow in the gable. In setting off the outlines 
 of a window or door compute the extreme 
 width and length, including casings, sill and 
 cap, and draw the outside lines, as shown. It 
 is more practical to finish a frame from the 
 outside, working toward the center, than any 
 other way. The drawing of doors and win- 
 dows will be more fully illustrated and ex- 
 plained in the details. 
 
 The next step will be to outline the porch, 
 which in all cases should be done before 
 drawing the outlines of any doors or windows 
 that appear under cover of the porch, because 
 it very often happens that a portion of a door 
 or window frame is partially concealed from 
 view by some portion of the porch; hence 
 the only proper method is to draw the porch 
 first. Then, when the frames are drawn it 
 will be plainly seen just what portion, if any, 
 of them will be hid from view, and there will 
 be no occasion for crossing lines. In most 
 cases the" bottom of the porch frieze hides the 
 view of the head casings of frames that ap- 
 pear under cover of the porch. This feature 
 is noticeable in almost every elevation of 
 house design, and there seems to be no avail- 
 able remedy for it. The only plan would be 
 to make the porches higher, and this cannot 
 always be done for lack of space, and, again, 
 extremely high porches look out of propor- 
 tion and are equally as bad, if not worse, 
 than hiding the head casings with the porch 
 frieze. In the elevation the porch frieze 
 covers the head casing, as will be plainly 
 seen by referring to Fig. 12, which shows 
 the work in a more finished state. The next 
 step will be to set off the hight of foundation. 
 Draw the ground line, space off the number 
 of risers required and draw porch steps. 
 
18 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 11.— Method of Outlining Front Elevation.— Scale, H Inch to Fig. 12.— The Front Elevation Partially Finished. -Scale, J^ Inch to 
 
 the Foot. the Foot. 
 
A FIVE-ROOM COTTAGE. 
 
 19 
 
 SCSSE 
 
 Fig. 13.— Appearance ot Front Elevation When Completed.— Scale, 
 % Inch to the Foot. 
 
 Fig. 14.— Sectiontil View of Framing 
 and Foundation.— Scale, % Inch to 
 the Foot. 
 
20 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 The three parallel lines full length indicate 
 the base and water table, which extend around 
 the elevation on a line with the porch, as 
 shown. 
 
 Trusting that a fair idea has now been 
 given of the method of outlining and starting 
 the elevation, we will next proceed to carry 
 the work on to a more advanced stage of 
 completion. Having made the outlines as in 
 Fig. II, proceed by drawing the gutter on 
 the roof and finish off the hips. Next draw 
 the lines representing the crown molding and 
 fascia of the main cornice. Draw the gable 
 ornaments, then tlT€ line representing bottom 
 of frieze, and finish corner casings down to 
 water table line, as shown. Next finish the 
 attic window. The bay window will be next 
 in order. Finish the lines of the crown mold- 
 ing, fascia and frieze. Draw the corner and 
 middle casings down to water table line. Set 
 off and draw window sills and finish by draw- 
 ing window casings, sash and panels under 
 windows. 
 
 Next we will take the pOrch and front 
 door. Draw the lines representing the crown 
 molding; frieze and columns, and finish the 
 door frame, as shown. We will omit some 
 of the details of the porch and bay window 
 finish in this drawing, leaving the balance of 
 the work for the drawing as it will appear 
 
 when finished. It is better for beginners to 
 see the work at different stages of completion, 
 as it gives far better ideas of the method of 
 proceeding. 
 
 The next step will be to show the work in 
 a finished state by taking Fig. 12 as we have 
 just left it and proceeding step by step to the 
 finish, when it will have the appearance of Fig. 
 13. In finishing begin at the top and work 
 down. Chimneys are usually the uppermost 
 portions of drawings, although there are many 
 exceptions in this particular. In this case 
 finish the chimne)^s down to the roof 
 line to represent the brick. It is not 
 necessary to accurately scale every course of 
 brick unless the chimney is of some special 
 artistic design, in which case it would be 
 necessary to have a detail drawing of it show- 
 ing its entire construction. On common 
 chimneys the size and total hight are ob- 
 served in the drawing, the architect puts in 
 a few lines to indicate the brick, and that 
 usually finishes a chimney. We will now 
 finish the roof. Begin at the top and make 
 parallel lines to represent the roof. It is not 
 necessary to scale the lines to represent the 
 exact number of courses of shingles. It is 
 usually understood and specified that the 
 shingles shall be laid a stated amount to the 
 weather. If there are any belt courses of 
 
A FIVE-ROOM COTTAGE. 
 
 21 
 
 ornamental shingles, then there should be a 
 detail of the roof drawn to a suitable scale. 
 Next finish bay window and porch roofs and 
 finish down to the foundation, putting in the 
 brackets and all ornamental finish, as shown. 
 The siding comes next, and should be spaced 
 according to the scale as nearly as practicable 
 what it is to be laid to the weather. If pos- 
 sible always space to come out even at bottom 
 and top of frames. In drawing the lines con- 
 siderable care will have to be given the work 
 in order not to draw across casing lines, 
 porch columns and other parts of the finish. 
 Drawing the siding lines is good practice ; it 
 aids very much to insure accuracy in starting 
 and stoppjng at just the right points. 
 
 The next and last step is to finish the foun- 
 dation down to the ground line. In this case 
 we have drawn the foundation of stone, which 
 is u.sually represented by somewhat irregular 
 lines, as shown. We have now finished the 
 front elevation, giving it the general appear- 
 ance of Fig. 13. 
 
 We present in the next illustration, which 
 is Fig. 14, a sectional view of the house, 
 showing the size of timber, manner of fram- 
 ing, hight of cellar, hight of foundation above 
 grade, hight of main story and attic. This 
 drawing is so plain and easily understood 
 that only a brief description is necessary. 
 
 Taking A as a starting point, draw the bot- 
 tom line of sill, then computing the hight of 
 cellar and hight of frame to top of. plate, 
 draw the outside wall line from bottom of 
 cellar to top of plate. Set off and draw out- 
 line of rafter from the plate. Next set off 
 thickness of 'timbers and draw in the follow- 
 ing order: Sill, outside wall studding, rafter, 
 ceiling joist and collar beam. Set ofif the 
 thickness of the cellar wall with proper foot- 
 ing,, hight above ground line, and draw the 
 lines as shown. Mark the hights of cellar, 
 ceiling, attic and of headers to window open- 
 ings, as shown in the outside wall. The front 
 elevation was given at considerable length, 
 showing every detail from start to finish, but 
 we do not intend to go into the matter so 
 thoroughly in regard to the side elevation. 
 We have given the method of proceeding, 
 and now present Fig. 15, showing the side 
 elevation as it would appear in a finished 
 state, hoping that those of the readers^ who 
 may be considered as students in drafting 
 will accept it as an example for practice and 
 draw it to the best of their ability after the 
 manner described in connection with the front 
 elevation. 
 
 To aid the draftsman in making the side 
 elevation we have just a little in the way of 
 information to offer. After having the paper 
 
22 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 15.— Appearance of Side (Eight) Elevation Completed.— Scale, J^ Inch to the Foot. 
 
A FIVE-ROOM COTTAGE. 
 
 83 
 
 fastened on the drawing board place the front 
 elevation on it and to the right, so that the 
 T-square will reach across both drawings. 
 The result of this is that it establishes the 
 bights for many parts of the side elevation 
 and they can be transferred without making 
 so many measurements. For example: The 
 
 bights of porch, bay window, foundation, 
 roof, chimneys and many other, parts will all 
 appear the same whether we look at the 
 front elevation or the side elevation and 
 consequently certain parts may be more 
 accurately transferred in the manner above 
 described. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 
 
 The next lessons for practice will be with 
 the details, which are portions of the eleva- 
 tions drawn to larger scales to aid the me- 
 chanic in carrying out the design, and are 
 usually such parts as cannot be properly 
 shown in the elevation. Some of these de- 
 tails will serve as the very best of lessons for 
 practice, therefore it is to be hoped that the 
 learner will give his best attention to the in- 
 structions that follow. We will now consider 
 the details of a window frame for a two-light 
 window, 24 X 36, casings to be 5 inches wide, 
 with molded head casing and cap, scale ^ 
 inch to the foot. Referring to Fig. 16, we 
 first draw the outlines, then set off the thick- 
 ness of the sill, width of molded cap and the 
 casing lines. 
 
 The parallel line which extends around the 
 inside of the frame next to the casing line 
 represents the blind stop, and at the bottom 
 of the frame it is the subsill. Next set off 
 the thickness of sash, as shown. The two 
 narrow inside lines represent the glass and 
 putty lines. The division line of the sash 
 extends across the frame from the blind stop 
 lines. We have left Fig. 16 partially finished 
 
 24 
 
 in order to show more clearly the manner of 
 proceeding. It will be noticed that the per- 
 pendicular lines of the sash have been omit- 
 ted. This has been done in order to show 
 that after the outlines of the frame are made 
 the next thing in order is to draw all the hori- 
 zontal lines, or at least all that can be con- 
 veniently drawn, finishing the perpendicular 
 lines last. Fig. 17 shows the frame as it 
 appears in a finished state. It would be im- 
 possible to correctly represent all the lines of 
 this drawing in an elevation drawn to 34-inch 
 scale, and in elevation drawings the fine lines 
 are usually left out. The blind stop lines are 
 frequently drawn, but not necessarily re- 
 quired in the elevations. In Fig. 17 we have 
 drawn all the lines to show how a frame and 
 window should appear when correctly com- 
 pleted. 
 
 Fig. 18 represents the front door and frame 
 partially drawn. Fig. 19 shows the work 
 fijiished. The drawings indicate so plainly 
 the method of proceeding and being similar 
 to what has already been described, with ref- 
 erence to'Figs. 16 and 17, that further descrip- 
 tion is unnecessary. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 
 
 25 
 
 Fig. 16.— Qutline Indicating Method of Draw- 
 ing Window and Frame.— Scale, ^ Inch to 
 the Foot. 
 
 Fig. 17.— The Window and Frame Completed. 
 —Scale, J^ Inch to the Foot. 
 
28 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 ■v 
 
 Kg. 18.— Method of Drawing Front Door and 
 Frame. 
 
 Fig. 19.— The Door end Frame Completed. - 
 Scale, H Inch to the Foot. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 
 
 27 
 
 A detail of the bay window drawn to a 
 scale of j4 inch to the foot is shown in Fig. 20 
 of the engravings. The description and meth- 
 od of drawing the bay window was so thor- 
 oughly explained in connection with the front 
 elevation that by comparing Fig. 20 with Figs. 
 II and 12 the draftsman will readily under- 
 stand the course to be pursued. A vertical 
 sectional view drawn to 54"irich scale, which 
 will serve as an example for practice, is shown 
 in Fig. 21. 
 
 We will not give any prescribed method in 
 drawing this figure, believing that it is just 
 as well sometimes for the student to study 
 . the drawing and work out the method of pro- 
 cedure for himself. In explanation of the 
 meaning of some of the lines we will say that 
 the outside space represents the middle or 
 corner casings, the second space the outside 
 window casings, third space thie sheeting, 
 fourth space the studding, the fifth space the 
 plastering, and the sixth space the inside cas- 
 ing. The sections representing the headers, 
 head casings, sills, > etc., are plain and easily 
 imderstood. Fig. 22 represents a horizontal 
 section, drawn to a scale of i inch to the foot, 
 and shows very plainly the sections of the 
 work through the bay window. In the en- 
 graving M C indicates the middle casing, 
 O C the outside casing, B the blind stop, J 
 
 the jamb and I C the inside casing. The 
 other parts are fully explained by the word- 
 ing. Fig. 23 is a detail of porch finish, 
 <^rav^'n to a scale of i inch to the foot, and is 
 so plain that little description will suffice. 
 The ornaments in the frieze and corner 
 bracket are simply open spaces. The par- 
 ticular point in this drawing to which it is 
 desired to call the attention of the draftsman 
 is the side and face views of the cornice 
 bracket and the manner of showing the dif- 
 ference in appearance. Figs. 24 and 25 are 
 details of the main cornice and of the work 
 in the front gable, drawn to a scale of i inch 
 to the foot, and need no further explanation. 
 They will serve as examples for practice in 
 drawing details. 
 
 A detail of the inside finish, drawn to a 
 scale of iJ/2 inches to the foot and showing 
 the face and sections of base, plinth block, 
 casing and corner block, is presented in Fig. 
 26. We have now completed the details of 
 our house plan, but before concluding our 
 lessons in drawing we wish to give a few 
 examples for practice, to represent a class of 
 work that has not been shown. Fig. 27 rep- 
 resents the shingling of a gable with round 
 and octagon butt shingles, drawn to a scale 
 of 54 inch to the foot. To execute such de- 
 signs on a small scale is a very difficult task. 
 
28 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 30.— Detail of Bay Window. -Scale, M Inch 
 to the Foot. 
 
 Fig. 21.— Vertical Section of 
 Bay Window, Showing Gen- 
 eral Construction.— Scale, J4 
 Inch to the Foot. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 
 
 29 
 
 The method of drawing may be described as 
 follows : After making the outlines of the 
 finish down to the space required for shingles, 
 space and draw lig-htly the lines representing 
 the courses. Then, for the round butts, f 
 draw lines to use as centers in describ- ' 
 ing the circular lines, as shown by dotted 
 lines in the engraving. For the octagon 
 butts draw lines representing the depth of 
 the octagon cut, as shown by dotted lines. 
 
 M.C. 
 
 Fig. S2.— Horizontal Section of Bay Window, Showing Casings 
 and General Construction. — Scale, 1 Inch to the Foot. 
 
 and finish as indicated, drawing the perpen- 
 dicular lines last. After this has been done 
 erase the superfluous pencil marks and trace 
 the drawing permanently. A more expedi- 
 tious and, perhaps, a better method to pursue 
 with such work is to make patterns showing 
 the profile of the bottom line of courses, as 
 shown l)y Figs. 28 and 29. These patterns 
 can be made of thin sheet brass, or even of 
 cardboard, and will be found a great help in 
 
 regard to speed as well as in keeping the 
 work uniform. There are many small pat- 
 terns of this kind that* can be made to do 
 good service in the way of helps and aids in 
 drafting. 
 
 Fig. 30 shows an octagon plan of a bay 
 window, and Fig. 31 the elevation, drawn to 
 a scale of J4 inch to the foot. Figs. 30 and 
 31 have been presented with a view of showing 
 how to give a drawing the octagon appear- 
 ance. ■ This bay window is of the same 
 general style as the square one previously 
 shown, with but few exceptions. In this it 
 will be seen that the window sill miters 
 around the corners and the corner casings 
 extend from frieze to sill and from sill to 
 water table, instead of extending from frieze 
 to water table, as shown in Fig. 20. It will 
 be noticed that the side rail of the sash on 
 the side windows does not show on the side 
 next to the middle window. The reason for 
 this is obvious when the plan is properly 
 considered. Looking at an octagon bay 
 window squarely from the front the casings 
 of the frame hide this portion of the sash. 
 In representing the brackets the draftsman 
 has a regular picnic, and it is no small task 
 to do the work properly. As will be seen by 
 referring to the elevation, we have three 
 views of the brackets. Directly in front we 
 
30 
 
 ABCHITECTURAL DRAWING FOB MECHANICS. 
 
 o o o 
 
 s / 
 
 Fig. 24.— Detail of Main Cornice.— Scale, 1 Inch 
 to the Foot. 
 
 Fig. 23.— Detail of Porch Finish. —Scale, 1 Inch to the Foot. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 
 
 31 
 
 Fig. 25.— Detail of Gable Finish.— Scale, 1 Inch to the Foot. 
 
 Fig. 36.- DetaU of Inside Finish, Showing 
 Faces and Sections of Base Board, Plinth 
 Blocic, Casing and Comer Block.- Scale, 
 l|i Inches to the Foot. 
 
32 
 
 ABCHITECTUBAL DRAWING FOR MEGHANIC8. 
 
 get a face view, while next to either side we 
 get kind of a half-face and half-side view. 
 To the extreme right or left corner we 
 would get a full side view of the bracket 
 were it not for the fact that it is partially 
 concealed by one of the side brackets. This 
 drawing shows that there is a great study in 
 architectural drawing and that much depends 
 upon the judgment and skill of the drafts- 
 man. In fact, there are many things that 
 come up in drafting that are very difficlilt to 
 represent on paper. The draftsman has to 
 form an idea of how the drawing should look 
 to represent certain things ; then study how to 
 draw them, and lastly and most essentially, 
 practice the art. 
 
 TRACING DRAWINGS. 
 
 We will now give a few instructions in 
 regard to tracing drawings with ink. First, 
 the draftsman wants a rule specially pre- 
 pared for the work. Any common rule can 
 be prepared for the purpose in a few min- 
 utes. Fig. 32 shows the shape of rule as 
 used with the drawing pen, the same to be 
 used with the beveled edge down. The idea 
 of this is to prevent the rule touching the 
 paper at the very edge of the ink line. 
 When the rule and ink line touch the paper 
 at exactly the same point, it is very difficult 
 
 to move the rule without making blots. The 
 rule slightly beveled and used in the manner 
 above described is a sure preventive to blot- 
 ting the work if anything like ordinary care 
 is exercised. 
 
 In regard to the position of the pen, it 
 should be held with the flat side of one of 
 the nibs to the rule, and very nearly in a 
 perpendicular position. The ink commonly 
 employed is Higgins' American drawing 
 ink, prepared ready for use. This ink dries 
 quickly, the lines can be made very close 
 together, and the rule moved around over 
 the paper almost as fast as desired. The 
 draftsman seldom has to wait more than a 
 few seconds for the ink to dry. 
 
 In regard to filling the pen, there is a quill 
 with each bottle of ink designed for the pur- 
 pose. Our advice is to pay no attention to 
 the quill method of filling the pen. It is too 
 slow and bothersome. Dip the pen right in 
 the ink, and then with a piece of cloth lightly 
 wipe off any ink that remains on the outside 
 of the nibs of the pen, as it would come in 
 contact with the rule and otherwise might 
 cause trouble. Always try the pen on a piece 
 of paper before starting a line to see if it is 
 working properly. On account of the quick 
 drying qualities of the ink it frequently dries 
 on the pen, thus stopping the flow of ink. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 33 
 
 Fig. 87.— Method of Drawing Omainental Shingles in Gables.— Scale, H Inch to the Foot. 
 
34 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 38.— Pattern tor Shingle 
 Work. 
 
 Fig. 29.— Another Shingle 
 Pattern. 
 
 V77A 
 
 ^ 
 
 Fig. 33.— Shape of Eule for 
 Use in Inking Drawings. 
 
 . 30 and 31.— Plan and Elevation of Octagon Bay Window.— 
 Scale, )4 Inch to the Foot. 
 
DRAWING DETAILS OF A MODERATE COST COTTAGE. 
 
 35 
 
 This is particularly bothersome, especially 
 in making very fine lines, and the nibs of the 
 pen have to be frequently wiped oiif and 
 adjusted. TJierefore we repeat, be sure the 
 pen is working right every time before you 
 start a line, and then know just where you 
 want to stop the line when you start it. This 
 is about all there is of inking and drawing. 
 Remember to make all drawings lightly with . 
 the pencil first, then ink the same lines over. 
 TE any superfluous pencil marks remain they 
 can be easily erased with a rubber, which 
 will have no effect on the ink lines. To ink 
 a drawing on architects' tracing paper, place 
 the paper, which is transparent, over the pencil 
 drawing, and the lines will show plain enough 
 to be easily traced. 
 
 We have now passed through a full de- 
 scription of the manner and method of making 
 architectural drawings. The subject is one 
 of such wide range and the work that comes 
 up from time to time so varied that perhaps 
 no definite rules can be laid down that will 
 
 meet the requirements in all cases. No two 
 architects would be likely to pursue exactly 
 the same course, yet they would arrive at 
 ihe same results. To illustrate and describe 
 all phases of the art would make a book seem- 
 ingly without end. In these instructions in 
 drawing we have given the draftsman ■ the 
 principles, method of starting and his course 
 of procedure to the finish. By faithful prac- 
 tice and study of the art he will steadily im- 
 prove, acquire the proper use of the tools and 
 better judgment as to the methods of pro- 
 ceeding in difficult cases. These points 
 must necessarily be left to the judgment 
 of the draftsman as they corrie up from 
 time to time. Experience and practice 
 will prove of valuable service in the art, and 
 gain for him a knowledge of drafting that can 
 be acquired in no other way. Therefore 
 let him bear in mind that success in the 
 art depends largely upon a faithful ad- 
 herence to the simple words of study and prac- 
 tice. 
 
DRAWING A STONE AND FRAME DWELLING. 
 
 With a view to bringing out new phases of 
 the subject, we next choose for consideration 
 a large two-story stone and frame residence, 
 with tower,, octagon and round corners, as 
 well as many other features calculated to 
 produce a wide range of work and give the 
 student the largest amount of study and prac- 
 tice possible to obtain from a single example. 
 The basement and outside stone walls of the 
 building are to be 18 inches thick up to the 
 second floor, except the partitions of the 
 basement, which may be 8-inch brick walls. 
 All outside and partition walls of the frame 
 part are to be of the common 4-inch stud- 
 ding, which, with the lath and plastering, 
 makes about a 6-inch wall. The difference 
 in the thickness of the stone walls and the 
 frame partition walls causes a little study in 
 the laying out of the rooms, in order to pre- 
 vent the off'sets in the walls making undesira- 
 ble corners in the rooms. In preparing the 
 floor plans shown in Figs. 33 and 34, the 
 draftsman will see how easy it would be for 
 
 36 
 
 this feature to show itself, And yet by a little 
 study in the way of planning it will be noted 
 how easily it has been avoided. The study 
 of planning and designing goes hand in hand 
 with the drawing, and if one is to draw prac- 
 tical plans every detail of the work must be 
 thoroughly studied. 
 
 The first consideration in starting the work 
 is the number of rooms to be provided, and 
 the size or an approximation thereto, as it is 
 not always possible to determine just how a 
 plan will work out on the start. Draw the 
 outlines in pencil so as to take in the desired 
 number of rooms ; then study how to divide 
 them in the best possible manner for light, 
 heat, size and general convenience. It will 
 frec[uently happen that the general outline 
 will need to be extended at some points and 
 contracted or drawn in at other places ; 
 hence the outlines and general arrangement 
 are the first points to consider. After these 
 have been pencil-sketched and the plan has 
 assumed a tangible form, it can then be per- 
 
DRAWING A STONE AND FRAME DWELLING. 
 
 37 
 
 Fig. 33.— First Floor. 
 
 Fig. 34.— Second Floor. 
 
 Scale, 1-16 Inch to the Foot. 
 
38 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 IT 
 
 Fig. 36.— Foundation. 
 
 Fig. 36.— Roof Plan. 
 
 Scale, 1-16 Inch to the Foot. 
 
DRAWING A STONE AND FRAME DWELLING. 
 
 manently drawn. The first-floor plan is 
 usually the first consideration, and from it the 
 other plans are correspondingly arranged, and 
 drawn. 
 
 The first-floor plan represented in Fig. 33 
 shows a few points not covered in previous 
 work. " For example, the burners for lighting 
 are represented by a small circle and cross, 
 indicating that the building is to be lighted 
 by gas or electricity. The circles and crosses 
 in the middle of the ro'oms are center lights 
 from the ceilings, and those in the bedrooms 
 are side lights from the partition, these being 
 usually arranged about 5 feet apart to accom- 
 modate a dressing case, thus giving a light 
 on either side. The boiler in the kitchen for 
 supplying the house with hot water is shown 
 near the chimney. In this connection atten- 
 tion is directed to the location of the bath- 
 room on the second floor. It will be found 
 directly over the kitchen, making the connec- 
 tions short and direct — a special feature of 
 the plumbing that should always be consid- 
 ered. It lessens the labor and expense, while 
 giving better service generally, to locate bath- 
 rooms as near as practicable to the water 
 supply. 
 
 The house is arranged for steam or hot 
 water heating, and the little rectangular 
 spaces in the different rooms represent the lo- 
 
 cation of the radiators. 
 By comparing the 
 first and second floor 
 plans with the base- 
 ment plan the general 
 arrangement of the 
 pipes will be seen. 
 A, special feature of 
 this plan is in locat- 
 ing the radiators so 
 that as many lines of 
 pipe as possible may 
 be carried parallel 
 with each other to 
 the diff'erent rooms. 
 This results in a con- 
 siderable saving of 
 time and money, as 
 well as obviates the 
 necessity of a great 
 deal of joist cutting, 
 which is often the 
 case where the pipes 
 are widely scattered. 
 
 In the parlor, on 
 the first-floor plan, is 
 shown the method of 
 representing a fire 
 place and mantel. 
 The_ small circles at 
 
 Hg. 37.— Section Showing Hights 
 of Stories, Windows, etc.— 
 Scale, % Inch to the Foot. 
 
40 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 the outside of plan represent the down spouts 
 or conductors for carrying the water from the 
 gutters on the roof. The basement plan, 
 Fig. 35, shows the general arrangement of 
 the laundry, boiler room, coal bins, etc. 
 The dotted lines outside of the plan show 
 the outside dimensions of the foundation 
 wall. The outside lines to the left and front 
 .show the size of the wall over all, which is 
 36 X 45 feet. The next set of lines shows 
 the different divisions or the lengths of the 
 wall from angle to angle. The total of the 
 different divisions must equal the extreme 
 length of wall on each side respectively. 
 The drawing sets this forth so plainly that 
 further description is. unnecessary. It is 
 obvious that by this method of drawing a 
 plan a mistake in measurement is almost im- 
 possible. 
 
 The roof plan is shown in Fig. 36, the dot- 
 ted lines indicating the wall plate and the 
 outside lines the projection of the cornice. 
 The other lines represent the hips, valleys 
 and ridges, and are easily understood from 
 tlie drawings. It will be observed that the 
 octagon end of the left gable is finished 
 square from the roof plates, having large 
 brackets to support the projecting corners, 
 thus giving a wider range and diversity of 
 work, so that the draftsman may have a bet- 
 
 ter chance to exercise his skill and talent in the 
 art of drawing. 
 
 A sectional view showing the hights of 
 stories, hights of windows above the floor, 
 lengths of windows, etc., is presented in Fig. 
 37 of the engravings. The heavy shading or 
 diagonal lines indicate the principal sections 
 of the wall up to the top of the second story. 
 Different sections should be drawn at varied 
 angles, so as to show them more distinctly. 
 This will be found especially valuable in rep- 
 resenting members which join in close con- 
 nection, as shown at A of the engraving. 
 W T represents the water table, W the main 
 wall, S sill, and J the jamb of frame and sub- 
 sill. ~The hight and length of a window is 
 represented by the distance between sill or sub- 
 sill and head jamb, as shown. For exam- 
 ple, take the first floor. We find the hight of 
 story 10 feet between floor and ceiling; to 
 the top of lower jamb or subsill, i foot 
 8 inches ; hight of window, 6 feet 6 inches. 
 In making the ordinary calculations for win- 
 dows, 6 inches in length is usually allowed for 
 the sash and 4 inches for width ; 3 inches are 
 allowed for bottom rail, i inch for meeting 
 rail and 2 inches for top rail, making a total 
 of 6 inches to be added to the length of glass. 
 The side rails are 2 inches, making 4 inches 
 in width to- be added to the glass measure. 
 
DRAWING A STONE AND FRAME DWELLING. 
 
 41 
 
 Jig. 38.— Front Elevation, Showing Method of Shading, etc.— Scale, J^ Inch to the Foot. 
 
42 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Thus a two-light 24 x 36 window will require 
 an opening, exclusive of the jambs or frame, 
 2 feet 4 inches by 6 feet 6 inches. These fig- 
 ures are presented in order to give a little infor- 
 mation as to the manner of calculation. 
 
 The frame part of the building starts from 
 the second floor, and the general arrange- 
 ment and construction will be readily under- 
 stood from the drawing. In making the 
 drawing, first draw the outside perpendicular 
 wall line from bottom to top ; then set off the 
 thickness of walls, and proceed to draw 
 the joist lines, floor and plaster lines, divi- 
 sion lines of the different members and sec- 
 tions, and hights of windows and ceilings, 
 leaving the section shading for the last. In 
 figuring a drawing, as in setting off the 
 hights, make the figures before inking the 
 line, which will leave them plain and dis- 
 tinct. 
 
 The sectional drawing must correspond 
 with the elevation as regards the hights of 
 windows, sections, etc. It does not make 
 any material difference which is prepared 
 first if proper calculations are made. By mak- 
 ing the sectional drawing first the proportion- 
 ing of the windows to the hights of stories is 
 much easier, because it shows the e.xact posi- 
 tion of the windows as regards the hights on 
 the outside, while the elevation shows the gen- 
 
 eral arrangement and appearance on the out- 
 side. 
 
 Generally the elevation is drawn first and 
 the section drawn to correspond, as it is not 
 always easy to tell from the section just the 
 hight at which a window will look best in the 
 elevation, and a few inches difference on the 
 inside is immaterial; but it must be borne in 
 mind that the section and elevation must corre- 
 spond, no matter which is made first. The best 
 way for the draftsman is to make both the sec- 
 tion and the elevation at the same time, on the 
 same sheet and in the same line. Leave room 
 to the left of the elevation for the sectional 
 drawing and sketch the elevation ; then 
 sketch the sectional drawing and they 
 will be in proper shape for comparison. Any 
 changes in the planning and proportioning 
 for improvement in general arrangement 
 and appearance can be readily seen and made 
 before the inking and finishing of the draw- 
 ings. 
 
 The front elevation of the design is pre- 
 sented in Fig. 38, and as in a former portion 
 of this work the manner of sketching and fin- 
 ishing an elevation step by step has been 
 shown, we will not repeat the details at this 
 time, but submit the elevation as an example 
 for practice, calling attention only to the fea- 
 tures worthy of note. Working drawings do 
 
DRAWING A STONE AND FRAME DWELLING. 
 
 43 
 
 not necessarily require anything more than 
 plain lines; but as drawings for publication 
 are frequently embellished with more or less 
 shading to giv% the design an artistic appear- 
 ance, attention will be directed to a few points 
 on shading. Shading is not one of the neces- 
 sary requirements, but by proper shading a 
 more pleasing effect to the eye can be produced, 
 and the draftsman who can display the most 
 artistic skill, combined with other qualifica- 
 tions, is most likely to meet with success. 
 Therefore it is hoped that the few ideas which 
 may be presented will prove but the starting 
 of work which the readers will carry out much 
 better than here indicated. We will give' the 
 ideas, but the manner of best presenting them 
 in drawing can only be acquired by study and 
 practice. 
 
 The starting point of the elevation is taken 
 on the line A B," which is the bottom line of the 
 stone base or water table. The stone below 
 this line may be considered the foundation 
 walls, and the shading is represented by some- 
 what irregular diagonal lines — a common way 
 of representing stone foundations. The block 
 stone above the water table is shaded with di- 
 agonal parallel lines, every stone not being 
 shaded, but taking them in an order that prom- 
 inently distinguishes the corners and openings 
 of the building and obviating the plainness in 
 
 appearance which would otherwise result. 
 The slightly irregular curved lines on the 
 corners shown from course to course of 
 the stone indicate that the stone are rock 
 faced. If the stone were square faced the 
 corners would be represented by a straight 
 line. 
 
 In the windows the deep black shading 
 represents the glass, while the scallops ex- 
 tending through the windows in a somewhat 
 diagonal manner indicate lace curtains. The 
 two windows to the left in the drawing do 
 not show the right side sash rail, for the rea- 
 son that this portion of the wall is an octagon 
 corner, and in a direct front view this por- 
 tion of the sash is hidden. The roof, however, 
 on this octagon end has been framed similar 
 to a square or plain gable roof, and the pro- 
 jecting corners are supported by large curved 
 brackets, as shown in the elevation. It will 
 be noticed that the roof of the tower is cross 
 lined and appears finer toward the outlines, so 
 as to indicate circular construction. Having 
 now briefly referred to a few points on shad- 
 ing, it is suggested that the draftsman increase 
 his knowledge in this particular direction 
 by closely studying architectural designs 
 as presented in first-class architectural jour- 
 nals. 
 
 Referring now to Fig. 39, the right side 
 
44 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Hg. 39.— Side (Eight) Eleyation, Sliowing Parts of tlie Work in Different Stages of Completion.— Scale, H Inch to the Foot. 
 
DRAWING A STONE AND FRAME DWELLING. 
 
 45 
 
 elev.ation, we will show the several parts of the 
 work in different stages of completion, believ- 
 ing this to be the best method of clearly indi- 
 cating the plan of procedure. As before stated, 
 the design should be first sketched in pencil, 
 in doing which it is often necessary or con- 
 venient, at least, to make some superfluous 
 .lines or marks to aid in setting off different 
 parts of the work, but which are not required 
 in the finished drawing. These lines are often 
 necessary in making calculations, and in order 
 to show their usefulness and distinction all 
 such will be represented as dotted lines in 
 
 I^ig- 39- 
 
 It should be borne in mind that all the work 
 is first sketched in pencil, while in the com- 
 pleted drawing only the lines required are 
 inked, after which the superfluous lines, rep- 
 resented as dotted lines, may be erased. By 
 closely following the sketch step by step the 
 draftsman will soon become familiar with this 
 work, as a portion of every part, both in a 
 finished and unfinished state, will be shown. 
 The starting point is from the line A B, the 
 bottom line of the stone water table. After 
 this has been drawn set off the hight of the 
 foundation above grade and draw the ground 
 line, as shown. Next set off the angles 
 shown in the plan on the line A B ; compute 
 the hight at the top of rafter or roof at the 
 
 wall plates and draw the plumb lines of the 
 corners. As the cornice extends below the top 
 of these lines, the portion which extends 
 through the cornice lines is indicated by dotted 
 lines. The tops of these lines, as shown by C, 
 D, E, F, G, are the points from which to make 
 the calculations for the elevation of the roof, 
 and after establishing these points compute the 
 hights of roof at the essential points and draw 
 the general profile of the roof in outline, taking 
 the gables, ridges, hips, valleys and cornice 
 lines. Next outline the finials, cresting, chim- 
 neys and gutters. The dotted plumb line show- 
 ing center of tower and the portion of dotted 
 hip line joining at D plainly indicate that it is 
 necessary to locate this point in order to cor- 
 rectly represent the roof. By comparing Fig. 
 39 with the first-floor plan it will be seen that 
 the dotted plumb line virtually represents one 
 of the main corners of the plan, but the tower 
 being built out on this corner from the second 
 floor would of course hide the line from view, 
 consequently it should not appear in the fin- 
 ished work. Attention has been called to this 
 simply as one case perhaps out of hundreds 
 where the drawing of temporary lines will aid 
 in making calculations and completing the per- 
 manent drawing. After these temporary lines 
 have served their purpose they should be erased 
 before inking or finishing the work. The dot- 
 
46 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 ted lines shown in the drawing of the front 
 chimney and finial on the tower indicate their 
 usefulness again in shaping and setting off the 
 different parts of the work. 
 
 The next step is to locate and outline the 
 upper windows. First find the proper hight 
 for bottom of sill and draw the line which will 
 represent the bottom line of frames. Locate 
 the windows on this line and set off the thick- 
 ness of the sill. Next set off and draw the size 
 of the opening, allowing for thickness of sub- 
 sill in the hight. Set off the width of casings, 
 cap, etc., and draw the lines finishing the 
 frame, as shown in the upper right corner of 
 the elevation. The manner of drawing the 
 sash in the frame is plainly shown by compar- 
 ing the finished window with the unfinished 
 one in the double frame at the left. This meth- 
 od of setting oif and drawing frames will be 
 found easier and better than the one set forth 
 in an earlier part of this work, as the drafts- 
 
 man is not obliged to make calculations so far 
 in advance of the work. The method referred 
 to is the outlining and drawing of frames, and 
 shown in Fig. ii of a previous article. 
 
 The next step in the progress of. the work 
 is the outlining of the porches, second-story 
 base, first-story frames and so on down to the 
 ground line. 
 
 Having the building now thoroughly out- 
 lined, we will proceed to finish portions of the 
 different parts, so that the learner can see more 
 readily just how to proceed. We will not go 
 through with the finishing step by step, as we 
 believe that the work, as shown in Fig. 39, is 
 presented so plainly that further description is 
 unnecessary. It will be sufficient to say that 
 in finishing begin at the top and work down, 
 which avoids to a great extent rubbing the 
 tools and hands over the finished work, and 
 will aid very much to keep the drawings look- 
 ing neat and clean. 
 
A LESSON IN OUTLINING. 
 
 For a lesson in outlining which will present 
 a few new features in drawing the attention 
 of the student is directed to Fig. 40, represent- 
 ing in outline the left side elevation. It will be 
 noticed that this view of the plan presents an 
 octagon end from the ground line to the eaves, 
 finishing with a square gable, the projecting 
 corners being supported by large brackets. 
 This is a form frequently met with in practice, 
 and will therefore serve as a valuable lesson 
 to those who wish to make a special study of 
 the art of drawing. Beginners are liable to 
 grasp the idea that an elevation showing an 
 octagon design should be represented by draw- 
 ing the side lines of the octagon on a slight 
 angle, as shown by the dotted lines next to 
 the ground line. If this were the case, 
 then all the parallel lines on these sides 
 would necessarily have to be drawn on the 
 same angle from the ground line to the start- 
 ing of the roof. Such a course as this 
 would give the dra\ving a rather crooked 
 appearance. It should be remembered that 
 all horizontal lines shown in a direct face view 
 of an octagon elevation are to be drawn 
 
 straight across all sides, as shown. The miter 
 lines shown so distinctly in the perpendicular 
 lines representing the corners plainly indicate 
 the portion of the elevation having the octa- 
 gon form. 
 
 We do not consider it necessary to give 
 more than a brief description of outlining this 
 elevation, believing it best to leave the greater 
 portion for the study and practice of the 
 learner. First draw the base line, set off the 
 corner^, and then draw the perpendicular lines 
 of the corners. Calculate the hight to the 
 eaves and draw the bottom line of roof — ^not 
 the cornice line, but the shingle line, for exam- 
 ple. Next compute the hights of roof, gables, 
 etc., and draw the outline of the roof. Locate 
 and sketch the chimneys, then the crestings, 
 finials, etc. It will be noticed that a compara- 
 tively small portion of the front chimney is 
 visible in this elevation, for the reason that as 
 viewed from the left side the roof hides a por- 
 tion of the chimney. The same is also true of 
 the, tower, only a small portion of the top and 
 the finial being visible from the left side eleva- 
 tion. 
 
 47 
 
48 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 • 
 
 Fig. 40.-Side (Left) Elevation In GeneraJ Outline.— Scale, % Inch to the Foot. 
 
A LESSON IN OUTLINING. 
 
 49 
 
 o 
 
 o 
 
 Fig. 41.— Detail of Porch, Showing 
 Method of Drawing the Different 
 Members.— Scale, % Inch to the 
 Foot. 
 
 These points 
 serve to show 
 that the plan and 
 corresponding 
 elevations have 
 to be carefully 
 studied and 
 watched during 
 the entire prog- 
 ress of the 
 work. In the 
 sketch is shown 
 a portion of the 
 cresting, fin- 
 ished, in order 
 that the diiifer- 
 eiice in the 
 views from the 
 right and left 
 sides of the same 
 may be d i s- 
 tinctly seen, as 
 in one view the 
 tower appears in 
 front of the 
 cresting and the 
 other shows 
 what would be 
 the exposed por- 
 tion back of the 
 
 cresting. These points will be plainly seen by 
 comparing Figs, 39 and 40. In outlining the 
 gutter the lower portion is represented by dot- 
 ted lines, because in the finishing the short per- 
 pendicular lines representing the small brack- 
 ets should be drawn before drawing the hori- 
 zontal lines between the brackets. This is 
 plainly shown in Fig. 39. 
 
 After outlining the roof, the next in order 
 will be the cornice, such as the molding, 
 frieze, etc. Some advantage can be taken 
 by drawing the parallel cornice lines at the 
 same time the eave line is drawn, as they are 
 in close connection, and all that is necessary 
 is to make proper calculations in doing the 
 work. The next step is to draw the base and 
 water table lines which mark the division of 
 the two stories so distinctly in this drawing. 
 Next calculate the hight of windows to the 
 bottom of sills and draw the lines which are 
 to represent the bottom line of windows. From 
 these lines set off and draw outlines of win- 
 dows, as shown. 
 
 We think now that the details of outlining 
 have been made sufficiently plain to enable any 
 one to go to work understandingly and com- 
 plete the drawing. We would recommend 
 that as a lesson for practice nothing could be 
 better than for the learner to complete the un- 
 finished work shown in Figs, .^o and 40 in a 
 
50 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 manner similar to the work shown by Fig. 38, 
 using a scale of not less than J4 inch to the 
 foot. Fig. 41 shows a portion of the porch fin- 
 ished in detail to the scale of % inch to the 
 foot. First draw the base and floor lines, then 
 two perpendicular lines representing the col- 
 umn. Set off the hight from floor to bottom of 
 frieze and draw the bottom line of porch frieze 
 finish, which will give good starting points for 
 all future calculations. From the bottom line 
 of frieze finish the different parts may be read- 
 ily set off to top of roof. From the floor set 
 off the hight of railing and draw horizontal 
 lines first, spacing and filling in as shown. The 
 
 turned portion of porch column may be easily 
 drawn by spacing and setting off the hights of 
 the different members, as shown. The section- 
 al parts show the general construction of the 
 work. The spindles are ball turned and set be- 
 tween square upright pieces, as shown. For 
 general practice we would suggest that such 
 details be made on a scale of 5/2 inch to i inch 
 to the foot. We have now passed through the 
 several parts of the work of making a set of 
 plans which bring to notice a very wide range 
 of work in the art of drawing, and if the learn- 
 er has thoroughly mastered the work thus far 
 he is qualified for further advancement. 
 
DESIGN FOR STORE FRONT. 
 
 It is hardly necessary to go into all the 
 details of outlining the elevation, section and 
 plan of the store front, as we believe sufficient 
 has been said upon the subject to enable the 
 learner to study the work which will now be 
 presented and to master it without other sug- 
 gestions than a few brief instructions. The 
 knowledge gained by the practice and experi- 
 ence of working out the several parts of the 
 drawing for oneself will be far more beneficial 
 to the learner than to have mentioned every 
 little detail, many of which have been thor- 
 oughly explained in connection with other 
 drawings. We will, for the most part, take up 
 such portions of the work as possess new fea- 
 tures. A special feature to which we wish to 
 call attention is the corresponding lines of 
 width and hights in the plan of the front and 
 sectional view as compared with the elevation. 
 The drawing. Fig. 42, is a combination of the 
 plan of front, sectional view of the walls, etc., 
 and the elevation, and it shows plainer than 
 words can describe the relation one part bears 
 to the other. It shows very plainly how to 
 
 draw the elevation in accordance with the pla.n 
 of front and to carry up with the greatest de- 
 gree of accuracy and convenience the section 
 corresponding with the hights shown in the 
 elevation. By this method mistakes and dis- 
 crepancies in the different parts closely con- 
 nected are avoided. In order that the learner 
 may start aright, it may be stated that the side- 
 walk line in the drawing is the most favorable 
 starting point, and it will be found easy to 
 make calculations from this line in any direc- 
 tion necessary to complete the work. The side- 
 walk line is the base line of the elevation, there- 
 fore set off on this line the width of the build- 
 ing and square down sufficiently to draw the 
 plan of the front. Draw the outline of the 
 front and the thickness of the wall ; then set off 
 the doors, windows, columns, etc., as shown in 
 the plan. The dotted plumb lines show how to 
 carry up the front in accordance with the plan. 
 The location of the second-story windows, as a 
 matter of fact, necessarily has to be in accord- 
 ance with the front of the second-floor plan. 
 The circular dotted line on the left corner of 
 
 51 
 
53 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
DESIGN FOR STORE FRONT. 
 
 53 
 
 the plan of the front has been drawn to show 
 how to get the required projection of the oriel 
 window, built out from the second floor. This 
 is plainly indicated by the long dotted plumb 
 line. The starting of the support to the pro- 
 
 BED BOOM * 
 9'x tl' 
 
 1=1 N=l 
 
 KITCHEN ^ 
 
 * 10 ex 13 3 
 
 PARLOR ^ITTING ROOM 
 
 * , "')" */ If 
 11 X 13 A* 10 6 X 13 
 
 l=il=H 
 
 Fig. 43. 
 
 -Plan of Second Floor, Showing Special Features 
 of Planning.— Scale, 1-16 Inch to the Foot. 
 
 iecting window is from a point plumb over the 
 center of the octagon corner in the plan. This, 
 of course, makes the outside scroll appear more 
 
 elongated than the inside scroll. The window 
 being round and starting on the side of an 
 octagon corner accounts for this appearance, 
 and a little study of the plan and elevation will 
 make this point clear to the mind. 
 
 By comparing the elevation with Fig. 43, 
 the second-floor plan, it will be observed that 
 either a direct front view or a direct side view 
 of the plan would show us three windows or 
 part of three windows in either a front or side 
 elevation. In the front elevation there is in 
 reality more of the outside window shown than 
 is in strict accord with the second-floor plan. 
 This point will serve to impress upon the mind 
 of the draftsman that it will often require his 
 closest attention in comparing drawings and 
 his best judgment in executing the work to 
 keep the proportions in accordance with the 
 point of view taken of the plan and elevation. 
 Of the section showing hights of ceilings, etc., 
 very little need be said. It should be sketched 
 with the elevation as a guide to correspond 
 with hights of windows, floors, etc. The first- 
 floor hight shows a section of the store front 
 sash. A section in line of the doors would be 
 slightly difl;erent, as double transoms have 
 been provided in order to lessen the hight of 
 the doors, as shown. 
 
 This store front is designed with heavy cut 
 stone columns from base to the I-beam. From 
 
54 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 the top of the I-beam the cohimns are contin- 
 ued with block stone to the cornice Hne and a 
 stone coping is run across at the bottom of the 
 second-story windows. The oriel window, 
 tower and cornice is of frame construction, 
 although the same design can be executed in 
 sheet metal on a wooden frame work. The 
 
 body of the work is to be of brick, as are also 
 the arches over the windows. The caps to 
 the windows are to be galvanized iron. There 
 are no brick lines drawn in the elevation, as 
 these will be left for the practice of those who 
 wish to still further carry out the design and 
 improve upon it. 
 
HINTS ON PLANNING. 
 
 We will now give a few hints in regard to 
 planning, a feature whiclj should also com- 
 mand the attention of good draftsmen. Small 
 and -irregular shaped rooms should be avoided. 
 All rooms should have square corners if pos- 
 sible; projecting corners and recesses should 
 not appear in a plan unless caused by a chim- 
 ney or a bay window. There is nothing nicer 
 than plain, square cornered rooms, especially 
 when it comes to the carpeting and furnish- 
 ing. Octagon corners should generally be 
 avoided; also three-cornered closets across 
 the corners of rooms. A much better way 
 for such closets is to allow a little more room 
 in a hall or some other part and build the 
 closet out from the room, as shown on the 
 floor plan, Fig. 43. This circular form gives 
 a much better shaped closet by avoiding the 
 .sharp corners, giving more room and leaving 
 the rooms with all square corners. There is 
 also plenty of room left in the hall. Long and 
 narrow halls should be avoided, also steep 
 and crooked stairs. The architect and de- 
 signer should plan to reach as nearly as pos- 
 sible all the rooms on each floor of the main 
 
 hall and to use all the room to the best possible 
 advantage. 
 
 In the floor plan is shown the method of 
 marking where transom frames are used in 
 the interior ; thus 2' 8" x 6' 8" T 12" means 
 that the transom to be used should be 12 
 inches in hight. The elevation shows the 
 method usually employed in marking size 
 of windows and the figures give the glass 
 measure. 
 
 .STAIR W^ORK. 
 
 We will next touch upon the subject of 
 planning, laying out and drawing stairs. 
 Everybody knows that many a time too little 
 room is left for the stairs, and the result is 
 steep and awkward stairways in what are 
 supposed to be the better class of houses. 
 Much of this is due to ignorance or careless- 
 ness on the part of the designer to make a few 
 figures. It is too often left in this way : 
 " I guess so much for stairs will be plenty." 
 The best way is to figure it and make sure 
 that there is plenty of room. For the benefit 
 
 of those who are young in the work of plan- 
 
 55 
 
56 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 ning we will show by sketches how to deter- 
 mine the amount of room required, and also 
 give an easy method by which to solve the 
 problem by figures. 
 
 Referring to Fig. 44, which represents a 
 straight flight of stairs, we find the rise as 
 given from floor to floor to be 10 feet. By 
 computing the risers at 8 inches we find that 
 it takes 15 to reach the top floor. It will be 
 seen that we calculate space for only 14 steps, 
 as the fifteenth lands on the floor. Next we 
 calculate the run required for 14 steps. 
 These we have estimated at 10 inches each, 
 making the run 11 feet 8 inches, as shown. 
 The rise and nm of stairs are always taken 
 as laid out on the string board, the projec- 
 tion of the step for nosing and molding, as 
 shown at the bottom step, not being counted. 
 From the top of the third riser to the ceiling 
 is 7 feet. Plumb over the third riser, and 
 facing it, we have located the header, grving 
 7 feet head room for the stairs. From this 
 header we count the number of steps back, 
 allow for thickness of riser, an inch or so for 
 work room, and we have the distance between 
 headers, or the length of the well hole, as it is 
 sometimes called. In this case it is 10 feet 
 3 inches. The sketch shows very plainly how 
 to figure the stairs with a certainty as to the 
 room required, and the same general plan 
 
 will hold good in any case. The sketch shows 
 an easy pitch. Stairs are frequently run much 
 steeper, but for good work we advise plenty 
 of room for easy stairs. If it is desired to 
 figure it without a draft, commence at the 
 foot of the stairs, proceeding as follows : First 
 
 ti -1-] S-; 
 
 Fig. 44.— Diagram Showing Method of Drawing and Calculating 
 for Stairs.— Scale, 3-16 Inch to the Foot. 
 
 find the number of risers required, then de- 
 cide upon the amount of head room wanted 
 and see how many risers can be deducted 
 from the bight of the ceiling and leave this 
 room. The space required for steps up to this 
 point will be one step less than the number of 
 risers, and all that is necessary is to count the 
 
HINTS ON PLANNING. 
 
 57 
 
 steps, lay them off on the floor and start the 
 header plumb over the back edge of the 
 last step, or as nearly so as practical. 
 Fig. 45 shows the method of laying out 
 and drawing the plan of winding and 
 platform stairs, with a portion of the fram- 
 ing for the floor joists, headers, etc. To 
 find the exact floor space required for the 
 stairs, lay off the run of each step according 
 to actual scale measurement, as shown. It 
 
 
 
 
 
 
 
 
 
 
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 T — n 
 
 «- 
 
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 WIN 
 
 
 1 
 
 ^- 
 
 -* 
 
 UP 
 
 
 
 PLATFORM 
 
 J 
 
 Fig. 45. — Methdd of Drawing, Calculating and Framing 
 for Winding Stairs.— Scale, -l-ie Incli to the Foot. 
 
 is customary to place three steps as winders 
 in stairs of the average width ; sometimes four 
 steps are placed in the winders, but we 
 would not recommend more than three and 
 never more than four steps in the winders. 
 The space required for the winders is usually 
 taken as a square, the sides of which equal 
 the width of the stairs. For example, if the 
 stairs are 3j^ feet wide, the space required 
 
 for the winders will be 3J^ feet square. The 
 same rule holds good in regard to platforms. 
 As regards the framing for the headers, it is 
 safe to say that a header could be placed flush 
 with the side of the square and third winder, 
 and leave plenty of head room in ordinary 
 dwellings having 9 to 10 foot ceilings, as 
 shown by dotted lines extending across flush 
 with the first post. This would leave room 
 enough on the floor above for a small closet. If 
 rhis was not desired, or if for any reason this 
 arrangement should not give head room 
 enough, the short header and joists indic^ated 
 by the dotted lines may be omitted and the 
 frame work put in as shown. From 6 to 10 
 inches is usually allowed between the string 
 board and the headers for stairs with a rail, or 
 " open stairs," as they are frequently called. 
 At the landing it is only necessary to allow 2 
 or 3 inches between the header and the last 
 riser. This sketch is given to impress upon 
 the mind of the draftsman the importance of 
 good calculation in connection with drawing 
 plans, and that a scale drawing is the best and 
 most effective way to show the calculations. 
 
 FRAMING PLANS AND ELEVATIONS. 
 
 We will now turn to a few drawings show- 
 ing the method of indicating framing plans. 
 Fig. 46 represents the plan of a farm barn 
 
58 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 senting the work properly. This figure 
 shows the general framing plan of the sills 
 
 with large floor space, driveway -running 
 through the building, stable room for five 
 horses, granary and passageways. This plan 
 is well arranged for an addition or an annex 
 to the right, such as a cow stable, for exam- 
 ple, which would be handy to both hay and 
 grain, and would be considerably removed 
 from the horse stable, which is a feature 
 generally desired. It is hardly necessary to 
 show in detail the manner of drawing the 
 sketches presented on this subject. The 
 drawings are plain and easily understood and 
 will serve as good examples for practice, 
 particularly Fig. 47, which shows just where 
 to start and stop the pen without crossing 
 
 lines which should not be crossed in repre- Kg. 47.— Method of Drawing Floor Framing Plan.-Soale, 1-16 
 
 Inch to the Foot. 
 
 
 - 
 
 - 
 
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 - 
 
 = 
 
 
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 1 II 1 
 
 
 
 1 II 1 
 
 
 1 
 
 1 1 
 
 
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 1 1 
 
 
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 1 
 
 
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 FLOOR SPACE 
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 BIN 
 
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 PASSAGE 
 
 HAY 
 
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 Fig. 46.— Floor Plan of Bam.— Scale, 1-16 Inch to the Foot. 
 
 and floor joists. It is desirable in stables to 
 have the floor run lengthwise behind the 
 horses, with a double floor in the stalls, the 
 top floor running lengthwise of them. In the 
 driveway it is desirable for the floor to run 
 crosswise, as it is not as slippery to the 
 horses" feet when pulling in loads. It also 
 makes a stronger floor. This we trust will 
 be sufficient reason for the plan of the joists 
 presented in Fig. 47. The plan shows the 
 joists resting on top of the sills and girders, 
 which is a better and stronger method than 
 framing them in, besides being easier and 
 
HINTS ON PLANNING. 
 
 69 
 
 Fig. 48.— Method of Drawing the Eight Side Elevation of Frame.— Scale, % It^oh to the Foot. 
 
rtO 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 49.- Method of Framing Left End Bent.— Scale, ^4 Inch to the Foot. 
 
HINTS ON PLANNING. . 
 
 61 
 
 quicker. A little study of the framing plan, 
 Fig. 47, will be sufiScient to show the draftsman 
 just how to proceed to draw a similar plan. 
 
 The framing of the right side elevation of 
 the building is shown in Fig. 48 of the illus- 
 trations. The particular part to which atten- 
 tion is invited is the starting and stopping of 
 the lines at just the right points in drawing, 
 the plates a::d rafters. As previously stated, 
 the first thing is to pencil sketch all work; 
 then with well guarded movements one can 
 tell just where to start and stop the pen. 
 Suppose, for instance. Fig. 48 is pencil 
 sketched, and we are to ink it. First take 
 the sill lines, then the top ridge line, and 
 after that the outside rafter and post lines. 
 This will give the outline of the entire figure. 
 As the rafters are joined by means of a ridge 
 board and rest on top of the purlin and main 
 plates, while at the same time extending 
 below the main plate, it is necessary to next 
 dra^v^r the rafters. First draw the ends, then 
 the length lines, after which the roof can be 
 finished by drawing the lower lines of the 
 ridge board and the plate lines as they would 
 appear between the rafters, thus showing 
 just where to start and stop the short lines. 
 The short lines running perpendicularly from 
 the main plate to the purlin plate show the 
 portion of the purlin posts exposed to view at 
 
 the sides of the rafters on account of the posts 
 being thicker. Next draw the main post lines, 
 girt lines, door posts, headers and -braces in 
 the order named. A little practice in this 
 kind of work is the best experience, and as 
 the work progresses step by step the best 
 ways and means of accomplishing certain re- 
 sults will come to light and appear plainer and 
 plainer as the draftsman gains in the knowl- 
 edge of his profession. 
 
 The elevation of the left end bent is shown 
 in Fig. 49, which is self explanatory. A few 
 figures are included to give an idea of mark- 
 ing sizes of timber used. The elevation of 
 the next bent, which shows some changes in 
 the framing, is represented in Fig. 50. This 
 being an inside bent, it is not necessary that 
 the tie girts, to which it is usual to nail the 
 siding, should be in the frame; in fact, they 
 would only be in the way, so for this reason 
 they are omitted. The purlin girt is left out 
 because it would be in the way of operating 
 a hay fork if one was desired. As this bent 
 is the one directly in front of the horses and 
 next to the barn floor it is necessary that it 
 should be boarded up about 3 feet high. For 
 this purpose tie girts are put in and studded 
 underneath,' as shown. 
 
 It would now appear that the subject of 
 architectural drawing had been considered 
 
63 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Fig. 50.— Method of Framing and Drawing Middle Bent.— Scale, % Inch to the Foot, 
 
HINTS ON PLANNING. 
 
 63 
 
 with sufficient clearness to enable the student 
 to proceed understandingly in ordinary prac- 
 tice and make the working plans so often re- 
 quired in the building trade. 
 
 In conclusion, it may be well to say to those 
 who wish to improve themselves in this sub- 
 ject: study the plans, elevations and details 
 of the buildings that appear from time to time 
 in architectural journals. Many of them 
 show specimens of the finest architectural 
 work, which will serve as the very best of 
 
 lessons for study and practice. Study the 
 work; studyhow to improve upon it; study 
 the best manner to proceed, and then try a 
 hand at executing the work by making a few 
 drawings for practice. 
 
 Very small curves, scrolls and ornaments 
 can be best made with a very fine writing pen, 
 as the drawing pen is not adapted to the short 
 and crooked lines forming the curves of mold- 
 ed surfaces, brackets and small ornaments 
 appearing in elevations. 
 
 
 
 
 
 
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64 
 
 ARCHITECTURAL DRAWING FOR MECHANICS. 
 
 Architecture is a study of itself, and the 
 successful architect should have nothing to 
 divert his attention from his work, as it re- 
 quires undivided attention, and to accom- 
 plish the best results he should not work too 
 many hours a day, but be able to work some- 
 what at his pleasure, say from six to eight 
 hours a day. It is wearisome to the mind to 
 work continuously at it without proper rest. 
 Architectural drawing is a profession which 
 seems to grow in demand and one that still 
 commands a good remuneration for the time 
 consumed in the work. The present rates 
 for architectural services are based as fol- 
 lows : For drawing plans, from ij/^ to 2j^ 
 per cent, of the cost of construction, and 5 
 per cent, for personal superintendence. It 
 will be readily seen from this that an archi- 
 tect would receive for drawing plans for a 
 $2,000 residence from $35 to $50, and for 
 plans and personal superintendence $100. 
 Considering that such plans could be pre- 
 pared in three or four days, and that the 
 personal superintendence is only occasional 
 visits of a few hours each in looking over 
 
 and inspecting the work as it progresses, it 
 is a pretty fair consideration for services 
 rendered. Yet it is not a higher price than 
 a skillful architect and superintendent should 
 have for such services. There is plenty of 
 encouragement for young architects. The 
 work is pleasant, light and profitable. Re- 
 member that there is always room at the top, 
 that the demand for skilled workmen is con- 
 stantly increasing and that it is the class of un- 
 skilled workmen who are the most unemployed. 
 This should be an incentive to every student, 
 professional man and tradesman to aspire to 
 higher qualifications and attainments in his 
 particular line of business. Skill and talent 
 combined with practice and experience is the 
 one essential qualification which leads to 
 success. 
 
 We trust that the instructions we have 
 given in this work will serve the purpose for 
 which they were intended and give a start to 
 those seeking information that will event- 
 ually bring them to a thorough understand- 
 ing and successful issue on the subject set 
 forth. 
 
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