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THE
S KETCH U P
WORKFLOW
FOR ARCHITEC TURE
For my mom, Becky Yovich, in appreciation of
her infinite love, support, and encouragement.

For my loyal dog, Kodiak, whose daily

companionship and late night camaraderie
are sincerely missed.

And for my wonderful and loving wife,

Marisa, who keeps a smile on my face.
THE
S KETCH U P
WORKFLOW
FOR ARCHITEC TURE
Modeling Buildings, Visualizing
Design, and Creating Construction
Documents with SketchUp Pro
and LayOut

Second Edition

MICHAEL BRIGHTMAN
Cover image and design: Luke Vercia

Copyright © 2018 by John Wiley & Sons, Inc. All rights reserved.
Published by John Wiley & Sons, Inc., Hoboken, New Jersey.
Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, elec­
tronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976
United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment
of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400,
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to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748­
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Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best eforts in preparing this book,
they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book
and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be
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shall be liable for damages arising herefrom.

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United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002.

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Library of Congress Cataloging-in-Publication Data:

Names: Brightman, Michael, 1980- author.

Title: he SketchUp workflow for architecture : modeling buildings,
visualizing design, and creating construction documents with SketchUp Pro
and LayOut / by Michael Brightman.
Description: Second edition. | Hoboken, New Jersey : Wiley, 2018. | Includes
index. |
Identifiers: LCCN 2018011134 (print) | LCCN 2018011521 (ebook) | ISBN 9781119383635 (paperback) |
ISBN 9781119383659 (epdf) | ISBN 9781119383642 (epub) | ISBN 9781119410171 (oBook)
Subjects: LCSH: Architectural drawing—Computer-aided design. | Architectural
Design—Data processing. | SketchUp. | BISAC: ARCHITECTURE / Design,
Drafting, Drawing & Presentation.
Classification: LCC NA2728 (ebook) | LCC NA2728 .B75 2018 (print) | DDC
720.28/40285668—dc23
LC record available at https://lccn.loc.gov/2018011134

Printed in the United States of America

10 9 8 7 6 5 4 3 2 1
Contents
PART I : Chapter 4: File and Folder
Starting the Flow 1 Management 42
Folders and Files 42
Chapter 1: Introduction 3
Cloud Storage 56
he Updated Workflow 4 Archiving 56
Who Should Read his Book? 5 Chapter Points 59
What’s in his Book? 6
What Are the Prerequisites? 7 PART II: SketchUp 61
SketchUp Make or SketchUp Pro? 8
Online Content 9 Chapter 5: SketchUp Basics 63
Mental Preparation 10 Five Core Concepts 63
Portfolio 10 Leveraging SketchUp 65
Chapter Points 17 Modeling Strategy 67
Precise Modeling 68
Chapter 2: Building Information Creating Geometry 73
Modeling 18 Organizing Geometry with Containers 92
What Is BIM? 18 Section Planes 101
SketchUp and LayOut as BIM 19 Layers, Styles, and Scenes 102
Filling in the BIM Blanks 24 Chapter Points 110
BIM Burnout 26
he SketchUp Outlook 28 Chapter 6: The Professional’s
Chapter Points 29 SketchUp Template 112
Base Template 112
Chapter 3: Hardware 30 Model Info 113
Mac versus PC 30 Standard Layers 118
Specs 31 Styles 118
Comparison Shopping 35 Utility Scenes 122
Systems 37 Chapter Points 130
Chapter Points 41

V
Chapter 7: The Professional’s System Preferences 203
SketchUp Environment 131 Custom Toolbars 208
Toolbars 131 Trays 210
Trays and Dialogs 133 Basic LayOut Template 211
System Preferences 134 Chapter Points 214
Chapter Points 141
Chapter 13: LayOut Tools 215
Chapter 8: SketchUp Collections 142 Navigating LayOut 215
Material Collection 142 Drawing Tools 216
Component Collections 146 Annotation Tools 225
Styles Collection 149 Tables 229
Chapter Points 154 Modification Tools 231
Chapter Points 238
Chapter 9: Extensions 155
Chapter 14: Inserting Content 239
Find Extensions 155
Installing Extensions 156 Working with SketchUp Models 239
Using Extensions 158 Working with Images 243
Recommended Extensions 160 Working with Text 245
Chapter Points 164 Working with Tables 246
Managing References 248
PART III: LayOut 165 Working with CAD 249
Chapter Points 250
Chapter 10: Introduction to LayOut 167
What Is LayOut? 167 PART IV: Model Organization 251
Why LayOut? 172
Chapter 15: Model Organization
Chapter Points 175
Overview 253
Chapter 11: The LayOut Interface 176 Core Concepts of Model Organization 253
Getting Started 176 Nesting Groups and Layers 256
Main Toolbar 177 Simplify the System 283
Document Setup 178 Expand the System 285
Preferences Window 184 Chapter Points 286
Inspectors 192
Chapter 16: New Construction 287
Chapter Points 201
New Construction Process 287
Chapter 12: The Professional’s he BLVD Cofee Shop Project 288
LayOut Environment 202 Chapter Points 314
New Presentation 202

VI Contents
Chapter 17: Renovation 315 Representing Objects 384
Renovation Process 315 Section Planes 388
he Milwaukee Street Renovation Project 316 Rendering Settings heory 389
Chapter Points 345 Line Weight heory 393
Stacking Viewports 393
PART V: Visualization 347 Hatching 395
Chapter Points 399
Chapter 18: Introduction to
Visualization/Preparation 349 Chapter 22: Title Blocks 400
Presentations 352 Templates 400
Real Objects 355 Chapter Points 418
Populating a Scene 356
Preparing a Model 358 Chapter 23: Drawings 419
Chapter Points 359 Drawings 419
Chapter Points 464
Chapter 19: Rendering 360
SketchUp Stills 360 Chapter 24: Annotations 465
SketchUp Animations 363 Annotations 465
Photorealistic Rendering 366 Scrapbooks 466
Chapter Points 371 Using Collections 478
Chapter Points 478
Chapter 20: Altered Reality 372
Virtual Reality 372 Chapter 25: Exporting 479
Augmented Reality 376 Exporting to PDF 479
Chapter Points 377 Exporting to CAD 479
Conclusion 486
PART VI: Construction Chapter Points 486
Documents 379
Index 487
Chapter 21: Crucial Concepts for
Construction Documents 381
Always Of 382
Level of Detail 383

Visit brightmandesigns.com/TSWFA for access to companion tutorial videos and other resources
related to the book.

Contents VII
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 PA R T I

Starting the Flow

Get ready to elevate your SketchUp skills and design worklow to

the highest radical extremes of eiciency. The SketchUp Worklow for

Architecture contains tips, tricks, and strategies for modeling in SketchUp

as well as methods to leverage SketchUp and LayOut during every step of

the design process. Let’s start with a few tips on how to get the most out

of this book, how building information modeling (BIM) plays a part in the

SketchUp worklow, how to select a computer for three-dimensional (3D)

modeling and design, and how to efectively manage a PROJECT folder.

 The big idea is that this book shows the big picture, ills in some details,

and directs you to ill in other details on your own. Tech changes fast, so it’s

better to understand the big picture. Be armed with the tools to igure it out

on your own. Always know you can ind the latest on the Brightman Designs

blog and “The SketchUp Worklow for Architecture” page at

brightmandesigns.com/TSWFA.
Chapter 1
Introduction
T his book is the missing set of standards for SketchUp and LayOut. The SketchUp
Worklow for Architecture provides a lexible, clear set of rules for organizing any type
of building project in SketchUp: renovation, new construction, residential, commercial,
high-rise, low-rise, industrial. It is up to the user to process these techniques and
strategies and then apply them to projects. In this chapter, you will pick up a few tips on
how to best absorb the information and get the most out of this book.
his book covers advanced concepts performed with advanced operations. hese are not work­
arounds; rather, they are clever ways to use SketchUp to expedite the design process. With he SketchUp
Workflow for Architecture and some practice, you will be able to:
☑ Speak knowledgeably about BIM
☑ Select the right computer for 3D modeling and design
☑ Speak confidently about computer components, hardware, and specs
☑ Organize and manage PROJECT folders in an eicient manner
☑ Efectively use the modeling tools and organization containers in SketchUp
☑ Create and customize a time-saving SketchUp template
☑ Tailor the SketchUp modeling environment to fit your professional needs
☑ Create and organize collections for materials, components, styles, and templates
☑ Find, install, and utilize valuable extensions
☑ Fully understand the value of LayOut and its dynamic links to SketchUp and other insertable content
☑ Tailor the LayOut drafting environment to fit your professional needs
☑ Find or create building context models around a specific site
☑ Eiciently document existing buildings and create accurate as-built drawings using SketchUp Pro and
LayOut
☑ Transition a design model into an accurate 3D model
☑ Create inspiring LayOut presentations that accurately represent your designs
☑ Accurately model and organize various types of buildings in SketchUp Pro
☑ Prepare a model for photorealistic renderings and virtual reality presentations
☑ Extract information from SketchUp and LayOut in useful formats for use in other computer-aided
design (CAD) programs, for yourself and consultants
☑ Create and organize collections for scrapbooks and title blocks
☑ Compile and draft construction documents using SketchUp Pro and LayOut

THE UPDATED WORKFLOW

he term “workflow” loosely describes the collection of tools designers use and the order in which they
use those tools to produce a final design. Designers use many diferent tools and software to produce
their final products, which are typically new, built environments; some of many initial products are con­
struction documents.
Many diferent workflows can be used to design and create construction documents; however, the
best workflows minimize the use of several diferent programs because something always gets lost during
translation between programs.
he workflow explained in this book uses SketchUp and LayOut as the primary tool for every phase of
the design process. You can use other programs to supplement SketchUp, but SketchUp Pro and LayOut
are at the core of this process. For example, you could use an image editor to postprocess exports and
modify textures, but you will simply be using the image editor to complement SketchUp. As another exam­
ple, you could use a spreadsheet program for schedules, but keep all your drafting in SketchUp and LayOut.
here are also peripheral programs such as Lumion for photorealistic rendering and extensions such as
ConDoc that will drastically increase eiciency when using this system.

TI P ConDoc was created after the irst edition was published. This extension simpliies and automates
the entire SketchUp Worklow for Architecture and is highly recommended for professionals.

his workflow is not a regimented design process; you can adapt all or part of it and use the organiza­
tional and design tips. he process of moving from sketches to construction documents is expedited by
the SketchUp Workflow for Architecture (Figure 1.1).
he evolution of a client’s vision to an actual building involves many small steps and phases. here is no
right or wrong way to produce a design, but there are critics out there who will judge your designs. he

4 The SketchUp Worklow for Architecture

Figure 1.1 The SketchUp Worklow for Architecture.

most important audiences, however, are your clients. he more time you spend on the design, the better.
he SketchUp Workflow for Architecture is focused on design and will ultimately provide more time for
you to explore real designs in three dimensions.

WHO SHOULD READ THIS BOOK?

Anyone interested in mastering SketchUp will benefit greatly from this book—architects, landscape
architects, designers, interior designers, contractors. Large firms, one-man shows, and every oice size in
between can benefit. If you are using SketchUp to design a built space, you should practice the SketchUp
Workflow for Architecture. Most sizable firms already have a design workflow with 3D BIM software and
standards in place. BIM is excellent for huge projects with extensive scheduling and square footage, but
does it really help on the smaller projects? For large firms, the SketchUp Workflow for Architecture will
fit in where a bloated, overfeatured software suite is not necessary. Also, large firms will benefit from the
standards, which will get the entire team on the same page. he techniques in this book give you the free­
dom to simplify your model by including only the building information you need to get the project done
on time.
On the other end of the spectrum is the one-man show looking to cut overhead costs. When com­
pared to other popular design and documentation programs available on the market, this workflow is very

Chapter 1: Introduction 5
inexpensive. By adding a few plugins to SketchUp Pro, you’ll have full capability to eiciently design, draft,
render, analyze, and document any project.
his book speaks directly to professionals, someone who works for fees and has the ability to invest
time and money to increase workflow eiciency. A professional sees a benefit in charging fixed fees and
finding tools that reduce hours, realizing higher hourly rates. his book will make you faster, more orga­
nized and eicient, resulting in faster turnarounds and increased profits.
Anyone who reads this book will take away excellent organization and problem-solving strategies for
SketchUp. he techniques presented will help any designer create more engaging and accurate 3D models
that are easily shared across several platforms.

WHAT’S IN THIS BOOK?

he advanced concepts and operations covered in this book are organized into five separate and distinct
parts.

Part I: Starting the Flow

Part I takes care of some administrative tasks and disclaimers common in an instructional software book.
In Part I, you will learn the benefits of using SketchUp Pro and LayOut, and you will be introduced to the
power of this system. Also, you will be exposed to a new way of thinking about BIM. he intimidating
task of selecting a computer is demystified. Part I wraps up by explaining folder and file organization tech­
niques that will help keep your projects running smoothly.

Part II: SketchUp

In Part II, you will learn the basic, intermediate, and advanced SketchUp
skills necessary to complete the exercises in this book. You will also tune
your SketchUp environment for professional use. You will learn to create
Figure 1.2 The SketchUp logo.
utility styles and scenes, custom layers, and ultimately your own custom
default template. Even if you are an experienced SketchUp user, you will
benefit from the refresher and most likely will develop a new understand­
ing of the old features.

Part III: LayOut

Part III is an “everything you need to know” guide for LayOut. At times,
this section may read more like a manual than a tutorial because it
explains every menu, dialog, and setting you will come across in Sketch­
Up’s two-dimensional (2D) counterpart. Study this part closely even if you
have used LayOut previously. he skills you learn in Part III will make you a
fast and efective draftsman. Figure 1.3 The LayOut logo.

6 The SketchUp Worklow for Architecture

Part IV: Model Organization
Part IV is everything you need to know about putting your model together, an overview map of nesting
groups and layering. his part includes a detailed description of each layer and the contents that belong in
the group it is assigned. In this part, you will also see a full illustration of a renovation and new construc­
tion timeline. When you start a new project, you will likely visit this chapter when you kick of. his is a
reference chapter that will keep you on track for many years to come.

Part V: Visualization
Part V is a crash course in visualization, which is used to communicate design in diferent media. Each
presentation type, stills, animations, virtual tours, and virtual reality all have respective strengths and
weaknesses and appropriate times to be used. You will learn about preparing a model for rendering in
SketchUp and LayOut and open your workflow to endless professional visual capabilities with external
rendering programs and internal extensions. Although you won’t get a lot of step-by-step instructions,
you will learn where to look for more information and how to prepare your models for any visualization
program.

Part VI: Construction Documents

Part VI brings everything together for the final dance. Meticulous model organization pays of big when
you are building construction documents. You will now dissect your model to stack viewports into
descriptive construction diagrams including multiple types of plans, sections, elevations, and details.
Included in this part are more than a dozen recipes for mixing styles, layers, and line weights into beautiful
construction documents. his part also covers creating title blocks, compiling scrapbook collections, and
adding annotations to clarify your drawings. Part VI closes with exporting for print, sharing work with con­
sultants, and migrating to other CAD programs.

WHAT ARE THE PREREQUISITES?

his is an extremely advanced book. It assumes that you are already familiar with many of the tools and
basic functions in SketchUp, including groups, components, edges, surfaces, dividing surfaces, styles, layers,
and scenes. You also need to know and understand basic computer terms and concepts such as right-
click, left-click, windows, files, folders, drop-down menus, zipped, unzip, extract, etc.
To make the most of this book, you should have some experience with SketchUp, but even if you
don’t, you can still benefit. You don’t have to have any experience with LayOut. Parts II and III cover the
essential skills you’ll need to complete the advanced exercises in Parts IV, V, and VI.
he following resources will help you make the most of this book:
☑ SketchUp for Professionals is an excellent class to help you get over the initial SketchUp learning curve;
it is ofered for free at brightmandesigns.com/learn. he topics covered in SketchUp for Professionals

Chapter 1: Introduction 7
Figure 1.4 The SketchUp for Professionals logo.

include creating geometry, modifying geometry, ConDoc tools, LayOut, inference locking, and ulti­
mately building and rendering a master suite. It includes several building exercises that pull everything
together and extended content that is commercially available.
☑ SketchUp for Professionals Advanced is a commercially available class that covers the next level of
intermediate concepts; it is available at brightmandesigns.com/learn. he topics covered include
groups, components, layers, scenes, styles, LayOut, geo-modeling, and efective model organization.
Complex modeling operations to create geometry show you how to build the models that you will
use in this book from the very beginning.
☑ LayOut for Professionals is a commercially available class that covers LayOut, step by step, from the
beginning. It is ofered at brightmandesigns.com/learn.
☑ File Management for Professionals is a commercially available class that covers the basics of managing
and organizing your projects, resources, and computer. Avoid losing work and save time with these
strategies. his course is ofered at brightmandesigns.com/learn.
hese classes are a tremendous help before absorbing everything in this book and provide a solid foun­
dation, but they are not required to utilize the SketchUp Workflow for Architecture. Everything you need
to organize your models is included in this book.

SKETCHUP MAKE OR SKETCHUP PRO?

SketchUp Make and my.SketchUp are for hobbyists—they are intended for the weekend warrior designing
a deck or a doghouse. hese free versions have been stripped of many capabilities that are needed to cre­
ate professional presentations; they lack exporters for 3D models and can’t create high-resolution images
or animations, features that professionals need.
SketchUp Pro contains everything professionals need to create engaging and precise presentations
that accurately represent their designs. Using the Pro version, you can present and explain 3D designs in
LayOut (2D page-creation software included with SketchUp Pro), use several export options to share work
(including .dwg format), and create high-definition (HD) animations and high-resolution renderings. Figure
1.5 compares the features of SketchUp and SketchUp Pro.

TI P Read the end-user licensed agreement—you have agreed to not use the free version for
commercial projects. If you are making money in any way using SketchUp for work, you should pay for a
pro license.

8 The SketchUp Worklow for Architecture

Figure 1.5 Features of SketchUp and SketchUp Pro

ONLINE CONTENT
Many of the exercises in this book require digital files to illustrate certain points in the tutorials. You can
download all of the class files for the entire book at brightmandesigns.com/TSWFA . Once you have down­
loaded the files, extract the folder and all contents to your desktop or an appropriate project folder (or to
the TEMP folder, see Chapter 4, File and Folder Management).
Additional video tutorial explanations, models, case studies, title blocks, scrapbooks, and project
models are available at brightmandesigns.com/TSWFA . his site complements this book and expands on
advanced topics. Any updates to the workflow, news, and extra content will always be easily accessible
from this page.

Chapter 1: Introduction 9
MENTAL PREPARATION
SketchUp is fast, fun, and intuitive—but only after a lot of practice! SketchUp is not easy. SketchUp marketing
has focused on the simple use of the program, despite its professional capabilities. It is extremely approach­
able in that you can open the program, click on the Line tool, and start drawing. Shortly after you create your
first surface, the Push/Pull tool will enable you to quickly generate massive amounts of 3D geometry. However,
once you start modeling with these simple tools, you’ll quickly have more questions than answers. his lack of
knowledge coupled with the desire to perform advanced operations can cause frustration.
Mentally prepare yourself to learn this software and the workflow presented in this book. Push aside any
preconceived notions of “3D for everyone.” Ignore your colleague’s comments about SketchUp being easy to
learn, simple to use, and not nearly as powerful as other 3D programs. SketchUp is similar to other CAD, BIM,
and modeling programs in that you need to spend a significant amount of time learning to use it in order to
fully leverage it. Accept the fact that any program is easy to open and play with, but to fully understand any
3D application, including SketchUp, you’ll need to fully invest your time, patience, and efort.

PORTFOLIO
he examples in Figures 1.6 through 1.12 are just some of the types of models and documents you can
create using the SketchUp Workflow for Architecture. See the latest and greatest of Brightman Design’s
portfolio at brightmandesigns.com/portfolio. We rarely show our SketchUp models as final output. With
the progression of Lumion, why would you? he following is our portfolio of SketchUp models rendered in
Lumion and ConDoc construction documents drafted in LayOut.

Figure 1.6 One of the projects used later in this book to describe a new construction project is a hip new cofee
shop in the River North district in Denver. Design, Lumion renderings, and SketchUp model by Brightman Designs.

10 The SketchUp Worklow for Architecture

Visit https://textbookfull.com
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Figure 1.6 (continued)

Figure 1.7 The 3655 Milwaukee Renovation is used later in this book to describe a renovation project. Design,
SketchUp model, and Lumion renderings by Brightman Designs.

Chapter 1: Introduction 11
Figure 1.8 SketchUp models rendered in Lumion make a much more reined and polished presentation. Here, Bay
Club Soi. Design by others; model and renderings by Brightman Designs.

12 The SketchUp Worklow for Architecture

Figure 1.9 SketchUp Pro and LayOut have the full capability to produce large sets of construction documents.
Here, Washington Park Home remodel in Denver. Design, SketchUp model, and drawings by Brightman Designs.

Chapter 1: Introduction 13
Figure 1.10 Create a winter scene by lightening and desaturating texture images. Here, Timber Creek at Okemo
house. Design by Bensonwood Homes; model by Brightman Designs.

14 The SketchUp Worklow for Architecture

Figure 1.11 Use LayOut to turn 3D SketchUp models into 2D descriptive annotated plans. Unit plan design by
Stephen Levin, Helix Architecture; SketchUp model and drawings by Brightman Designs.

Chapter 1: Introduction 15
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large and graceful yacht and a bulldog of a destroyer, and the blue-
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Lisbon and were gallantly attentive, as was quite proper.
The American Minister to Portugal, Colonel Thomas Birch, fairly
adopted the whole ship’s company. They might have been so many
long-lost sons and nephews. The Legation belonged to them as long
as they stayed in port, and he appeared to enjoy it all as much as
they did. Captain Ross, who was representing Gaston, Williams, and
Wigmore of New York, was ready with help, advice, and hospitality,
and as a host and friend the Corsair found him true blue. The
American Consul-General, Mr. W. L. Lowrie, was also most
courteous and friendly and took particular pains to make these
American exiles feel at home.
In letters written home by one of the petty officers, you may read
between the lines and conclude that there might have been worse
fates than to be marooned in Lisbon for seven weeks:
December 24th. You cannot imagine what a sensation it
is to find yourself all of a sudden walking down fine, broad
streets with rows of palm trees, and geraniums and other
flowers in bloom. The leaves are falling now and the rainy
season is beginning, but as they have had no rain in five
months we ought not to complain. There are many
picturesque street scenes, flocks of turkeys driven by
small boys with long sticks, and if you want a turkey you
halt the procession and pick out your bird and carry it
home under your arm; little donkeys almost smothered in
vegetables are led gingerly along;—everywhere women
are selling fish which are carried in baskets upon their
heads. Lottery tickets are shoved at you from every
corner. A crowd gathers wherever we American sailors
stop or loiter, and we are great curiosities. At the best
hotel, the Avenida Palace, several of us ran into a bazaar
for the benefit of the French and Portuguese war widows
and orphans. The American Minister, Colonel Birch, a fine
old boy, introduced us to all the girls, English, French, and
Portuguese. There were some beauties among them, and
although it is a long time since I talked to a girl I sailed
right in and had no trouble.
LISBON HARBOR AND THE TUG THAT TOWED THE
CORSAIR TO THE DOCKYARD

THE AMERICAN LEGATION AT LISBON, WHERE THE

CORSAIR’S CREW FOUND A HOME
 I also met the French and Chinese Ministers and talked
to them. I get along in French now and carry a
conversation with ease. One of the most attractive girls
was the daughter of the chief of the British Military
Mission, Lieutenant-General Barnardiston, a soldier and
gentleman of the finest type. He commanded the British
forces which operated with the Japanese at Kaio Chao.
Yesterday I saw them after church and met the mother
who is an American. She asked us to tea. Four of us went
and stayed two hours. The General was tremendously
interesting, of course, but he would have been more so if
one of our men had not tried to talk him to death.
To-morrow being Christmas, we are trimming the ship
with greens and flags and have hoisted a Christmas tree
clear to the top of the foremast. Mr. J. P. Morgan, the
owner, is very kindly blowing us off to a dinner by cable,
and we are looking forward to the occasion. It is the first
Christmas away from home and I know how you’ll miss us
all, but it should be very joyous because we passed
through that hurricane in safety. We have a fine large cat
as a mascot and as one of the men said, “Tommy used up
eight of his nine lives in the big blow.”
January 2nd. Our gaieties continue and we are having
the best time since leaving New York. Colonel Birch gave
us a reception at the Legation to meet the diplomatic
corps. The officers and fifteen men went from this ship. All
nationalities were there, from Brazil, Uruguay, Belgium,
Spain, and of course Portuguese, French, and English. It
was great fun to meet them, and most of the diplomatic
people could talk to us in English. We had some dancing,
the first I had done since February, and everybody was in
the finest possible spirits. The girls were stunning. The
Spanish Minister is a delightful man and has spent a lot of
time in Mexico and the United States. Our host, the genial
American Minister, resembles former President Taft in size
and quality and seemed to be having the time of his life.
 New Year’s Eve we were all on board ship and
celebrated it in combination with a French destroyer which
lay alongside us. At the stroke of midnight we banged out
eight bells for the old year and eight more for the new, and
then both ships opened up their whistles and we startled
the Portuguese with the pandemonium. The Frenchies
had a terrific siren. After this outburst we sang the
“Marseillaise” together and the effect was stirring. Then we
sang the “Star-Spangled Banner,” and the Portuguese
sailors who had come aboard from the Navy Yard sang
their national anthem and everybody cheered everybody
else, and it was a grand old time.
On New Year’s Day I went sight-seeing with a buddy
from the ship and visited several cathedrals. In one of
them all their dead kings are tucked away, and they lift the
lid off so you can look right down at the relics of royalty. As
they have been dead for hundreds of years they are none
too attractive. We had a fine dinner on board ship in the
middle of the day, turkey, mince pie, etc., and another in
the evening at the hotel. It is mighty pleasant to have all
these distinguished people so polite to us and we also
appreciate the attitude and the courtesy of the officers of
the Corsair.
January 9th. Last evening six of us called on those
delightful English people, the Barnardistons. The Spanish
Minister and his two daughters were there. The General
played the piano for us and is very musical. Miss
Barnardiston played beautifully and the Spanish young
ladies also performed. We were represented at the piano
by Tibbott who upheld the honor of the Corsair. You ought
to see the row of decorations on General Barnardiston’s
coat—Victorian Order, Rising Sun of Japan, African
Campaign, and so on. Yesterday afternoon we went to tea
at the Girards, the French people. The night before we
were invited to amateur theatricals at the British Club,
given to entertain the Corsair and the Preston and the
French destroyer. It was very cleverly done. The actors
were Portuguese and the girls were very pretty. They
sang, in English, lots of American songs. Between acts
they served cake and tea and afterwards we sang the
national airs. I was fussed to death to have to get up on
the stage and lead the whole outfit in the “Star-Spangled
Banner,” giving the key, etc., but our captain made me do
it. Our jolly American Minister, Colonel Birch, gave me a
wink which made me feel more comfortable.
I went to the English church last Sunday and they had a
special service, appointed by the King, to pray for Allied
victory, and it was fine. The English always pray for the
sailors and soldiers—sailors first. They certainly are
devoted to their Navy. After church another man and I
went over to the Legation with Colonel Birch and sat
around in his biggest armchairs for an hour. He treats us
like princes and we can’t say too much in appreciation of
all he is doing for us. He is to give us another party next
Saturday and we are looking forward to it, for he has
promised to have all the charming Portuguese girls there.
We are lucky young sea-dogs to have tumbled into all this,
and we are having the time of our lives. I was made
quartermaster, first class, the other day, and am naturally
very much pleased. I shall be glad to get back and finish
my examinations for a commission, but since the
hurricane little things like that don’t bother me very much.
We have not forgotten the storm and still talk about it—all
the acts of courage and the many close shaves.
January 14th. Last night there was another dramatic
performance by the Portuguese young people, so that the
whole ship’s company could see the show. This time I sat
with the pretty French girls and it seemed almost like New
York. I dropped in to call in the afternoon. We sat in front
of a log fire and it was cozy and homelike. Their father, M.
Girard, was French Minister to Haiti for two years, during a
revolution down there, and had some very unpleasant
 experiences. The Haitian President was dragged from the
Legation and butchered before their eyes, and other acts
of savagery committed, but our marines and bluejackets
landed soon after and promptly had the situation well in
hand.
Ensign Schanze enjoyed himself as much as the rest of them and
described the hospitality of Lisbon as follows:
Here we are, still in Portugal, where we have been
undergoing extensive repairs and entertainments. Never
in all my experience away from home have I come across
people who were as strenuously cordial as our hosts of
the city of Lisbon. There are two leading social elements,
the native Portuguese and the foreign colony. Both have
gone the limit to make us welcome and the result has
been that we have never had less than two engagements
a day, most of the time three.
The usual routine runs about like this—in the forenoon
some Portuguese, French, or British officer blows on
board to take us in charge to see the points of interest; in
the afternoon there is a tea to attend at some one of the
various homes or legations; and in the evening there is a
dinner party followed by a theatre party or its equivalent.
These things do not simply occur frequently. They are
daily in their rotation.
We, on our behalf, make our best effort to counter with
teas on board the ship; also lunch parties and dinners
whenever we can wedge them in crosswise. Functions
have become so numerous that the captain has found it
necessary to detail certain officers to attend certain
festivals daily. There have not been enough of us to go
around, even at that. This is the first war that ever made
me keep such late hours.
It should not be inferred that life was an incessant round of parties,
teas, and receptions for all hands of the Corsair while at Lisbon.
Many of the young men had other inclinations and fought shy of “the
society stuff.” The city itself was fascinating to those who liked to
wander and explore with their eyes open. In groups they loitered
through the dark and narrow streets of the ancient quarter of the
Alhama or enjoyed the noble prospect of fine buildings and open
spaces along the Tagus, or strolled with the colorful crowds in the
Praca do Commercio and investigated the luxurious shops and cafés
of the Rua Augusta and the Rua da Prata. Automobiles could be
hired, and parties of bluejackets might have been seen in the royal
palaces, the storied old churches, and the monastery whose walls
were built in 1499, on the spot where another sailor, Vasco da
Gama, had embarked on a famous voyage two years earlier.
The water-front of every large seaport is notorious for low-browed
rascals who look at Jack ashore as easy prey, and it was not in the
least to the discredit of the hospitality of Lisbon that a pair of Corsair
men should have run afoul of one of these land-sharks when they
first hit the beach. The business-like manner in which the youthful
seafarers handled the matter discouraged further attempts to molest
them. One of the pair mentioned it in his diary:
Got shore liberty and landed in jail one hour later. The
way it happened was that the driver of the car we had
chartered tried to rob us and we refused to stand for it, so
he had us pinched. We explained the case in French to a
generalissimo and he turned us loose at once and said we
were dead right. He would see that it didn’t happen again.
The tough driver was laying for us when we walked back
to the ship and he tried to get me with a knife and a
machinist’s hammer. Dave stopped him, and I got a big
club and we organized to clean up, but a crowd gathered,
so we decided to quit and go on our way as a bunch of
sailors from the Corsair and Preston hove in sight and
were all set to make a battle royal of it. I knew this would
get us into serious trouble, although I did hate to let that
auto bandit get away with it, so we withdrew in good order.
THE CORSAIR IN DRYDOCK AT HER MOORING BUOY,
AT LISBON BREST

Yeoman Connolly improved the opportunity to see the sights of

Lisbon and some of his impressions ran like this:
The city is the finest I have seen in Europe, barring
Paris only. The public buildings are works of art and you
see splendid architecture everywhere. The street cars are
the most modern I have seen since leaving home, but why
shouldn’t they be? I was sitting in a car the other night and
happened to look around at the advertisements when I
alighted on the builder’s name, “John Stephenson,
Elizabeth, N.J.” It made me homesick to see the familiar
name. I didn’t hesitate to tell some of the Portuguese
sitting alongside me that Elizabeth was my home town,
and they seemed very much interested.
 I was taken through one fine building yesterday by a
very distinguished-looking gentleman, elderly and good-
natured, who showed a lot of interest in me and who
introduced me to the Lord Mayor of the place and to some
of the Cabinet members. He himself is a member of the
Cabinet and one of the best-known men in Portugal, I later
learned. I walked through some of the streets with him and
his gold-headed cane, and almost everybody bowed to
him or looked at him with awe. He understood English
very well and told me a whole lot of the history of the
country. As a plain American gob I got all I deserved, and
then some.
This is a great old town. I suppose you have heard of
the revolution that is going on here. We came just in time
to see the skirmishes that are featured daily. A funny thing
occurred last night. We were loafing along one of the main
avenues when we came to a big bulletin in front of a
newspaper office. About a thousand people were gathered
in front of it and reading a notice. To catch your eye there
was printed a huge hand holding a dagger dripping with
blood, and beneath it the announcement of another
episode of the revolution which was scheduled to take
place on the following Saturday afternoon. Some class to
this burg. They are not satisfied with trouble as it comes
along, but even advertise it in advance.
We are all going uptown to see a bull-fight on Sunday.
They have them two afternoons a week, but we have
picked Sunday as we want to take in part two of the
revolution as duly announced for to-morrow. In spite of the
political rough-house the city is really wonderful and we
are very lucky to be laid up here, even if we do miss out
on a few weeks of the war. The only thing that gets me is
how the deuce to talk this Portuguese lingo. We were all
learning French very rapidly and can get along O.K. in that
language, but the stuff these people patter is simply
terrible to make out. Here we have to turn to and learn a
 third language, and by the time we return to God’s country
we ought to be linguists of note.
The money here is very different from France. It is the
reis, not the franc, that demands your careful attention. It
takes sixteen hundred reis to make an American dollar,
and when you get change for ten dollars or so, you get a
basketful of junk that looks like so many United Cigar
Store coupons. It costs about a million reis to buy a good
meal, but the food is excellent and we get real honest-to-
goodness hot rolls, just like back home, but about as big
as a football. I brought a dozen back to the batteau last
night and when I came to pay for them I handed the gink
about seventeen hundred thousand reis, more or less. It
makes you swell up and feel richer than Rockefeller to be
handing out fortunes in this careless way, and it’s lucky for
us, as the ship has not been paid off in the Lord knows
when and most of us are flat broke. However, the moving-
picture theatres are good and fairly cheap, and Charlie
Chaplin is here, and we are allowed to stay ashore until
eleven-thirty at night, which is a long liberty for a foreign
port.
It was difficult for the officers of the Corsair to maintain the
customary round of duty and discipline while the ship was under
repair, with a crowd of Portuguese artisans aboard, many
distractions ashore, and things more or less upset, but they
succeeded in enforcing the high standards of the United States Navy
aboard. No more gratifying evidence of this could be desired than
the following letter from the Secretary of the Navy:
March 11th, 1918
To Commanding Officer, U.S.S. Corsair.
” ” ” ” Preston.
Subject: Good Behavior of Men in Lisbon.
The Department is much gratified to receive through the
State Department an excellent report of the behavior of
the men of the Corsair and Preston during their stay in
 Lisbon. The following is an extract from the letter of the
American Minister:
I am sure that the Department will be pleased
to know, as well, that all the men behaved
splendidly and made a very creditable impression
in Lisbon. It is needless for me to say that I was
very much gratified by it all and personally felt
that our men were worthy of the cordial attention
and generous hospitality bestowed upon them by
the Portuguese people and others.
This evidence of good discipline reflects credit alike on
the officers and men of the ships and on the Naval
Service.
(Signed) Josephus Daniels

To be caught in the midst of a Portuguese revolution caused the

crew of the Corsair more amusement than alarm, and the only regret
was that they could find no lawful excuse for taking a hand in the
shindy. It was largely a local affair, between the military and naval
forces of the Provisional Government, and Lisbon seemed less
disturbed about it than if the street railways had gone on strike. The
shooting and commotion were mostly confined to the water-front,
and the experience of Quartermaster Bayne, for example, would
indicate that the American sailors really enjoyed it:
January 1st. It was my day’s duty on board, so could not
go to the party at the American Legation. Everybody said
it was a bully good game. We created a large disturbance
last night. When we blew our siren to welcome the New
Year, it brought the entire town out all standing, as they
thought it was the signal for another revolution. The
Portuguese troops were ordered out and started to march
at the double-quick to the Navy Yard, as they took it for
granted that the Navy had touched off an uprising. The
situation might have been serious, but some general or
other found out that it was us and what we were doing,
and the soldiers were ordered back to the barracks. The
Lisbon newspapers gave us a write-up, and we ran true to
form as the gallant but quite unexpected and
unaccountable Americans.
January 4th. This has been an exciting day. I went
ashore at two in the afternoon and was to meet the rest of
the crowd for dinner at seven. They did not show up, and I
learned later that the harbor was so rough that the ships
had to shove off and anchor in mid-stream for a while, and
no boats could come ashore. I spent the evening at
General Barnardiston’s and then started to foot it back to
the ship. The gates of the Navy Yard were locked, but the
Portuguese guard let me pass through. As I wandered
along to the wharf, I noticed that all lights were out in the
buildings, but I didn’t think much about it, although several
squads of soldiers looked me over pretty carefully.
When I got back aboard the Corsair, I saw that our guns
were manned, and I was greeted with, “Thank God, you
got through. How did you do it?” I asked what was up, and
got this story. The Army and Navy were pulling off another
revolution. Fighting had been going on between the War
Ministry and the Naval Ministry buildings. Our ship was
close to both. One of our coxswains, Lindeburg, was in a
motor-boat at the foot of the Army Building and as he left
the boat and started to beat it for the ship, he was fired at
while running along the wharf. He ducked back to his boat,
and the Corsair, getting uneasy about him, ordered a
rescue party away. They were shot at, too, and had to
seek cover.
This was a bit too much, so the battery was loaded and
trained on the buildings, while an armed guard, carrying
the Stars and Stripes, marched to both buildings.
Meanwhile the captain had sent a radio message to the
authorities, demanding an instant explanation and apology
for firing on our men. This second party of ours was not
attacked and soon returned with the other men. Half an
hour later we received an official apology. Knowing
nothing about all this ruction, I had walked through the
Navy Building, right between the lines, and aboard ship.
Copeland and Ashby were with me and for some reason
we were not shot at.
That about ended the trouble, as far as we were
concerned, but it looked like business for a little while,
because if they had fired on our flag we should have
knocked their buildings over for sure. I understood that our
skipper sent them the message, “If you fire on our flag we
shall attack at once.”... During the afternoon the wind and
sea had been so high that most of the ships in the harbor
dragged their anchors and the French destroyer next to us
had to move out after knocking a hole in our side which
probably means dry-dock again.
January 7th. The revolution is still on, and we are
advised to keep off the streets, more or less, as there is
plenty of rifle-firing, and when these Portuguese get
excited they mistake our uniforms for their own Navy and
so take pot shots at us.... January 8th. Big revolution to-
day. The Army opened up with about a hundred shells on
the flagship Vasco da Gama, and it was lots of fun. The
shells passed almost over us and we watched the scrap.
The Navy didn’t shoot back. The shrapnel was falling fast
and the ships hauled down their colors. The whole
Portuguese Navy tried to crowd aboard the Corsair for
protection, but we wouldn’t stand for that. There was a
good deal of machine-gun and rifle shooting uptown all
day. There was no liberty, but the captain sent for me and
five others and gave us special liberty to go to Mme.
Girard’s for tea. Had a fine time. We were warned to be
careful, as the soldiers fired at any naval uniform they
happened to see. They did not bother us, although we
passed a lot of infantry heavily armed.
“DOC” LAUB AGREES THAT “THIS IS THE LIFE IF YOU
DON’T WEAKEN”

COXSWAIN DAVE TIBBOTT WAITS WITH THE LAUNCH

 At dinner ashore, the programme was interrupted by a
battle in front of the hotel, and almost everybody,
excepting ourselves, left the dining-room because the
bullets were popping about. We refused to budge, for
there was a corking good dinner on the table and the
Portuguese soldiers are pretty rotten shots. They played a
dirty German trick to-day. Some of their Navy men shoved
off unarmed in small boats and tried to row ashore, but the
troops opened fire on them, not far from our ship, and
killed a couple of the poor Portuguese gobs. It made us so
sore that we felt like cutting loose on them.
January 9th. No revolution to-day. The French officers
on the destroyer Intrepide have behaved splendidly to us
chaps. Of course, association with enlisted men is
unknown in the French service, that is, in a social way. At
first they couldn’t quite understand how we happened to
meet them at these various teas and receptions, but after
a time or two they grasped the situation and have since
put themselves out to be agreeable to us.
The report of Commander Kittinger is an accurate and interesting
summary of the episodes of this sputtering little revolutionary
outbreak in which the Corsair played a part during her pleasant
interlude at Lisbon. He wrote as follows:
About 9 p.m., January 4, 1918, the U.S.S. Corsair, being
moored to the dock at the Naval Arsenal, desultory small-
arms firing broke out in the Naval Compound. The firing
was observed to come from the windows of the second
floor of the east wing of the building forming the Arsenal
Compound. It was reported that the coxswain of the motor
dory was in the immediate vicinity, securing his boat for
the night. At intervals the firing was resumed, but the
object which drew the fire could not be made out from the
ship. Lieutenant Commander Porter and Ensign Schanze,
with four bluejackets, left the ship for the Arsenal offices to
arrange for the safety of the coxswain. On approaching
within about fifteen feet of the door in the centre of the
north wing, firing was opened, apparently at the Corsair
party, from the same place, the bullets hitting the walls and
pavement near them. The party entered the building
without casualty.
Intermittent firing continued after this. After waiting a
reasonable time for the return or for news of the first party,
a second party led by Lieutenant McGuire left the ship,
carrying a flag. The searchlight from the ship was used to
illuminate the flag. This party was not molested and
returned with the first party and the coxswain. It developed
that the firing came from the windows of the Colonial
Office and was directed at Portuguese bluejackets passing
across the open space from the shore end of the wharf to
the main entrance.
About 11 p.m. a military aide of the President called on
board and presented the compliments of that official with
the usual courtesies, and inquired as to casualties, if any,
in our force. He was informed of what had taken place and
that no damage was done. A report of the riot was made
to the American Consul-General, Mr. W. L. Lowrie, whose
reply is herewith attached:
From American Consul-General, Lisbon,
To Commanding Officer, U.S.S. Corsair.
I have to acknowledge the receipt of your
memo. of January 5th concerning the firing in the
Arsenal Compound during the evening of January
4th. Personal representations have been made
and I trust there will be no recurrence of the
rioting, although as you are fully aware conditions
here just now are most unsettled. I am extremely
thankful that no one was hurt during the rioting
and that no damage was done.
Beginning January 3rd it was noticed that conditions in
Lisbon were unsettled politically. On that night some rifle-
firing took place in the streets between Portuguese sailors
and soldiers on patrol duty. Shots were exchanged nightly
up to January 8th when the counter-revolution took place.
The situation briefly is this:
The Portuguese Navy has been the controlling factor in
the politics of the country. The Army has been the
opponent, but has been negligible because of its
ineffectiveness. The Navy deposed the King in 1910 and
set up a Republic which has been perpetuated until the
present time, the last incumbent being President
Machado. When Portugal entered the war, the Army was
largely increased and equipped, and forces were sent to
the Western Front and to the Portuguese African colonies.
Army preparations continued in Portugal and there is a
large mobilization at present.
On December 5, 1917, the Army started a revolution
and succeeded in overthrowing the Government two days
later, the President being exiled on that date. As a
precautionary measure, the naval forces present at Lisbon
were disarmed. In spite of this, the Navy prepared plans
for a counter-revolution. The present Provisional
Government took steps to send the majority of the sailors
to the Portuguese African colonies because of the serious
reverses suffered by their troops in Africa while fighting the
Germans.
The Navy took steps to defeat this manœuvre and on
January 8, 1918, the Vasco da Gama (flagship) anchored
off Lisbon. At 10.45 a.m. a battery of three field pieces at
Saint George’s Castle in the middle of the city, opened fire
on the Vasco da Gama. The flagship fired five shots in
return and hoisted a red flag under the ensign. The shots
of the shore battery were dispersed, but some seemed to
strike the ship. Shrapnel and projectile were fired. At 11.10
a.m. the Vasco da Gama hauled down her flag and hoisted
a white flag at the foremast and abandoned ship. A
number of shots were then fired at the destroyers Douro
and Guardiana, which also struck their colors and hoisted
 white flags. The cruiser Almirante Reis, a transport, and
several gunboats did likewise. At 11.20 a.m. firing ceased
at the shore battery. Rifle fire continued in the city streets.
The Arsenal plant closed down at the beginning of the
firing and the workmen employed on board the Corsair
stopped about 11 a.m. No further work was done by the
Arsenal force that day.
On January 9th (the next day) the Arsenal resumed
operations as usual, and I was informed that the trouble
was over and work would continue as before. The Vasco
da Gama, with the Guardiana and Douro, stood down the
river on January 11th, apparently undamaged.
The crew of the Corsair felt a personal interest in the Provisional
President, Sidonio Paes, as some of them had sat at the table next
to him in the dining-room of the hotel and one or two of the officers
had met him at the theatre. One of the street spectacles was a huge
parade in honor of Sidonio Paes, and a bluejacket described it as
“tremendous enthusiasm, everybody yelling to beat the band and
waving their hats, and the Portuguese thought it was great, but it
wasn’t as good a show as when the Seventy-First Regiment came
back from the Mexican Border and marched up Fifth Avenue.”
What the Corsair considered the big moment of the long stay in
Lisbon was when the landing party marched off the yacht to rescue
the two officers and the four men who had gone ashore to look for
the coxswain and find out what the row was all about. The ship’s
searchlight was turned and held to illuminate the bright folds of the
Stars and Stripes while the gun crews stood ready for action, every
sight-setter, plugman, and shell-handler taut upon his toes and
blithely confident that the Corsair could knock the adjacent buildings
into a cocked hat.
It was discovered that the first party had been mistaken for
Portuguese sailors and fired at from a window only fifty feet distant.
The bullets spattered the doorway into which they turned, and they
proceeded upstairs to hold emphatic discourse with an excited
Portuguese naval officer and the chief of the radio service who were
earnestly telephoning to ascertain what the ruction was and who had
started it. Coxswain Lindeburg had the largest grievance, however,
for he had been almost potted while securing his motor-boat at the
wharf, and it was solemnly affirmed that he was combing the bullets
out of his hair after being escorted aboard by the comrades who had
sallied forth to find him.
It seems extraordinary that in this affair at Lisbon the Corsair
should have seen more actual fighting, with rifle and shell fire, than
during her many months of active service with the American naval
forces in the Great War. And even when the fleets in European
waters, under the general direction of Admiral Sims, had increased
to four hundred ships and seventy thousand men, none of them saw
as much action as this almost bloodless little outbreak in Portugal, as
action had been regarded in the days before the German doctrines
of submarine warfare. It goes to show how new and vastly different
were the problems which had to be solved by the Allied navies.
This does not mean that American ships and sailors went clear of
danger and disaster, but almost never was the chance offered to
fight the hidden foe. The fine destroyer, Jacob Jones, of the
Queenstown flotilla, was blown to pieces by a torpedo and sixty-four
officers and men died with her. The Coast Guard vessel Tampa was
blown up and vanished with all hands, a crew of more than a
hundred. Many a time the naval guard of a merchant steamer stood
by their guns and were drowned when the ship went down. These,
and the yacht Alcedo, and all the other brave ships which are listed
upon the American Navy’s roll of honor, were worthy of the spirit and
the traditions of John Paul Jones, although to them was denied the
privilege of signalling the enemy, “We have not begun to fight.”