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Because of its transitional potentialities, line is a powerful agent in ordering cohesive sequences between forms and spaces from front to back and side to side in the prescribed picture field. Structural lines, either hidden or real, sew together forms and groups of forms on front, middle, and distance planes. They shape the separate parts and the whole into harmonious relationship within the limitations of the field in which they play. The eye of the observer can be led from unit to unit, from space to space, with linear point and counterpoint, to bring about visual beauties comparable to the aural beauties of a symphony.
Overlapping or lost and found lines establish direct recessional planes, especially when they are set at opposite directions (vertical against horizontal, and so on); that is, when some lines are lost or hidden behind others, they tend to set up recessive planes in relation to those in front. Many fine draftsmen use this line-overlapping idea to convey volume boundaries. It makes for looseness and play between the various planes on the volume contour and between the object and background, clarifying, yet at the same time unifying the several distance planes. It is a method to be used in works where line rather than space pattern is to dominate, because it tends to break the simple flatness of space contours and develop strong plastic recessions.
Combining light-dark contrast with overlapping line or pattern adds to the plastic effect, clearly drawing forms out from each other. The play between these overlapping planes may be dramatized by various light and dark accents along the contour edge if one is using line as the means. In this way light and shade and strong form can be suggested by a drawing strictly in line.
Transitional lines create diagonal movements in and out or from side to side. Upright and horizontal lines usually stay on the two-dimensional picture plane unless modified by other plastic means.
Delineation and coordination of planes are important. When two or more lines cross or touch each other (without defining planes by overlapping or other ways), a static point is created which in most cases is harmful to the form because it obstructs the harmonious flow and movement through various parts of the design. It also is harmful when lines or spaces tangle with edges of the frame or converge at corners or other obvious points. The same may be said in the case of colors that are different in some aspect, such as lightdark, but which because of other countermeans actually hold the same plane; and this is also true of tones and patterns. Focal points in the three-dimensional field can be established by lineal tensions and rhythms, developing an area or areas of dominance about which subjugated units and spaces revolve.
Lineal perspective, or convergence of lines at a distant point, is useful as a recessive means but must be considered as a plastic element in relation to the other three-dimensional quantities rather than merely as an illusory means of naturalism. Scientific perspective often needs to be completely reversed, or at least held in check, because of the necessity of holding the back plane in static relation to the picture plane, and of making a wall to stop and deflect the movement into a return transition toward the front of the field. The cold photographic likeness of forms is enhanced and given life and action by purposeful alteration of perspective line or space.
Lineal radiations from a point or tangential junctions on a line are principles of nature that may be used to advantage in creating a dominant feature.
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