Engineering graphics

769 Pages·108.026 MB·English

by  Giesecke, Frederick Ernest

Engineering Graphics
Giesecke Mitchell Spencer
Hill Dygdon Novak Loving
Eighth Edition
ISBN 10: 1-292-02617-0
ISBN 13: 978-1-292-02617-6
Pearson Education Limited
Edinburgh Gate
Harlow
Essex CM20 2JE
England and Associated Companies throughout the world
Visit us on the World Wide Web at: www.pearsoned.co.uk
© Pearson Education Limited 2014
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without either the
prior written permission of the publisher or a licence permitting restricted copying in the United Kingdom
issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London EC1N 8TS.
All trademarks used herein are the property of their respective owners. The use of any trademark
in this text does not vest in the author or publisher any trademark ownership rights in such
trademarks, nor does the use of such trademarks imply any affi liation with or endorsement of this
book by such owners.
ISBN 10: 1-292-02617-0
ISBN 13: 978-1-292-02617-6
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Printed in the United States of America
1122214825036155551317
P E A R S O N C U S T O M L I B R AR Y
Table of Contents
1. The Graphic Language and Design
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 1
2. Introduction to CAD
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 13
3. Instrumental Drawing, Freehand Sketching, and Lettering Techniques
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 41
4. Geometric Constructions
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 87
5. Sketching and Shape Description
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 125
6. Multiview Projection
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 155
7. Sectional Views
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 205
8. Auxiliary Views
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 235
9. Revolutions
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 261
I
233344555566670370904682467191937339317
10. Manufacturing Design and Processes
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 277
11. Dimensioning
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 301
12. Tolerancing
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 339
13. Threads, Fasteners, and Springs
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 371
14. Design and Working Drawings
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 409
15. Drawing Reproduction, Control, and the Internet
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 493
16. Axonometric Projection
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 507
17. Oblique Projection
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 543
18. Perspective
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 563
19. Points, Lines, and Planes
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 589
20. Parallelism and Perpendicularity
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 623
21. Intersections
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 641
22. Developments
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 667
II
667777789134453757131
23. Line and Plane Tangencies
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 683
24. Cartography, Geology, and Spherical Geometry
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 697
25. Graphical Vector Analysis
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 715
Sheet Layouts
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 737
Decimal and Millimeter Equivalents; Symbols for Instructors Corrections
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 741
Color Plates
Frederick E. Giesecke/Alva Mitchell/Henry C. Spencer/Ivan L. Hill/John Thomas Dygdon/James E.
Novak/Robert Olin Loving 743
Index 751
III
This page intentionally left blank
The Graphic Language and Design
OBJECTIVES OVERVIEW
After studying the material in this chapter,you A new machine, structure, or system must exist in the mind of the
should be able to: engineer or designer before it can become a reality.This original
1. Describe the role of the engineer on a concept or idea is usually placed on paper or as an image on a com-
design team. puter screen and communicated to others by way of the graphic lan-
2. List two types of drawings. guage in the form of freehand sketches. These first sketches are
followed by other, more exact, sketches as the idea is developed
3. Explain why standards are important.
more fully.
4. Draw examples of parallel and perspec-
The engineer and drafter for the twenty-first century must
tive projection.
understand how to read and write in the graphic language.Every-
5. Define plane of projectionand
one on the engineering and design team must be able to communi-
projectors.
cate quickly and accurately in order to compete in the world
6. Identify uses of the graphic language.
market.Like carpenters learning to use the tools of their trade,engi-
7. Describe the differences between neers,designers,and drafters must learn the tools of technical draw-
mechanical drawing and sketching.
ing. While CAD has replaced traditional drafting tools for many
design teams,the basic concepts of the graphic language remain the
same.Those students who can become proficient in graphic com-
munication will succeed and add value to the employer who hires
them.
From Chapter 1 of Engineering Graphics,Eighth Edition,Frederick E.Giesecke,
Alva Mitchell,Henry Cecil Spencer,Ivan Leroy Hill,Robert Olin Loving,John
Thomas Dygdon,James E.Novak.Copyright © 2004 by Pearson Education,Inc.
Published by Pearson Prentice Hall.All rights reserved.
The Graphic Language and Design
■ INTRODUCTION oped more fully, these original sketches are followed
by other sketches,such as computation sketches.
The old saying that “necessity is the mother of inven- Engineers and designers must be able to create idea
tion”is still true,and a new machine,structure,system, sketches, calculate stresses, analyze motions, size parts,
or device is the result of that need.If the new object is specify materials and production methods,make design
really needed or desired,people will buy it or use it as layouts,and supervise the preparation of drawings and
long as they can afford it. specifications that will control the numerous details of
Before a new object of any kind goes into produc- product manufacture,assembly,and maintenance.To per-
tion,certain questions must be answered:What is the form or supervise these many tasks,engineers make liber-
potential market for this object? Can the object al use of freehand sketches.They must be able to record
(device or system) be sold at a price that people are and communicate ideas quickly to associate and support
willing to pay? If the potential market is large enough personnel. Both facility in freehand sketching and the
and the estimated selling price seems reasonable,then ability to work with computer-controlled drawing tech-
the inventor, designer, or company officials may niques require a thorough knowledge of the graphic lan-
choose to proceed with development,production,and guage.Engineers and designers who use a computer for
marketing plans for the new project. drawing and design work must be proficient in drafting,
A new machine, structure, or system, or even an designing,and conceptualizing.
improvement of an existing system, must exist in the Typical engineering and design departments are
mind of the inventor, engineer, or designer before it shown in Figs. 2 and 3. Such staffs include people
can become a reality.This original concept is usually whohaveconsiderabletrainingandexperienceaswell
placed on paper or as an image of a computer screen.It asrecentgraduateswhoaregainingexperience.There
is then communicated to others by way of the graphic is much to be learned on the job, and inexperienced
language in the form of freehand idea sketches, or people must start at a low level and then advance to
design sketches (Fig. 1). As the idea is devel- moreresponsiblepositionsastheygainexperience.
■ FIGURE 1 ■ An Initial Idea Sketch.Courtesy of Ratio Design Lab,Inc.
2
The Graphic Language and Design
■ FIGURE 4 ■ Egyptian Hieroglyphics.
From the beginning of time,artists have used draw-
ings to express aesthetic,philosophic,or other abstract
ideas. People learned by conversing with their elders
and by looking at sculptures, pictures, or drawings in
public places. Everybody could understand pictures,
and they were a principal source of information.
The other line along which drawing has developed
has been the technical.From the beginning of recorded
history,people have used drawings to represent the design
of objects to be built or constructed.No trace remains of
■ FIGURE 2 ■ Engineers Work to Have an In-Depth Understanding
these earliest drawings,but we know that drawings were
of a Product’s Design.Courtesy of AC Engineering,Inc.
used,for people could not have designed and built as they
did without using fairly accurate drawings.
1 ■ THE GRAPHIC LANGUAGE
Although people around the world speak different lan-
3 ■ EARLY TECHNICAL DRAWING
guages,a universal graphic language has existed since
the earliest of times.The earliest forms of writing were Perhaps the earliest known technical drawing in exis-
through picture forms,such as the Egyptian hieroglyph- tence is the plan view for a design of a fortress drawn by
ics (Fig. 4). Later these forms were simplified and the Chaldean engineer Gudea and engraved on a stone
became the abstract symbols used in our writing today. tablet (Fig.5).It is remarkable how similar this plan is
A drawing is a graphic representationof a real thing, to those made by modern architects, although it was
an idea,or a proposed design for later manufacture or “drawn”thousands of years before paper was invented.
construction. Drawings may take many forms, but the In museums we can see actual specimens of early
graphic method of representation is a basic natural form drawinginstruments.Compassesweremadeofbronze
of communication of ideas that is universal and timeless. and were about the same size as those in current use.
As shown in Fig. 6, the old compass resembled the
2 ■ ARTISTIC AND TECHNICAL DRAWINGS
dividersoftoday.Penswerecutfromreeds.
Graphic representation has been developed along two Thescriber-typecompassgavewaytothecompass
distinct lines,according to purpose:(1) artistic and (2) withagraphiteleadshortlyaftergraphicpencilswere
technical. developed.At MountVernon we can see the drawing
instruments used by the great civil engineer George
■ FIGURE 3 ■ Part of a Typical Engineering Design Department.
Washington, bearing the date 1749. This set is very
Courtesy of Hewlett-Packard Company.
similar to the conventional drawing instruments used
■ FIGURE 5 ■ Plan of a Fortress.This stone tablet is part of a
statue now in the Louvre,in Paris,and is classified in the earliest
period of Chaldean art,about 4000 B.C.From Transactions ASCE,May 1891.
3