Geometry defines a line as an infinite number of points.

The usual art definition of a line is a moving dot--it recognizes the inherent dynamic quality of line.

A line is created by movement--since our eyes must move to follow it, line's potential to suggest motion is basic.

Line is capable of infinite variety. The power of suggestion in this basic element is great--what an expressive tool it can be.

A line is a minimum statement, made quickly with a minimum of effort but seemingly able to convey all sorts of moods and feelings. Think of all the adjectives we can apply to lines. Nervous, angry, happy, free, quiet, excited, calm, graceful, dancing, and so many more qualities.

Line can describe shape, and by shape we recognize objects.

There is no such thing as a line--yet there are line-like elements in our natural and manufactured environment--tree twigs, telephone wires, spider webs, railroad tracks, tall grass.

And, lines evolve from edges--the meeting of different values, for example, showing the end of one object and the beginning of another object--or the meeting of positive and negative space...

Line is therefore an artistic shorthand--useful to describe and identify shapes and understand the image.

TYPES OF LINES
Actual lines. May vary greatly in weight, character, or other qualities.

Implied lines. An implied line is created by positioning a series of points so that the eye tends automatically to connect them. "Dotted line." The "line" waiting for a bus.

Psychic lines. No real line, not even intermittent points, and yet we feel a line--a mental connection between the two elements. Usually occurs when something looks or points in a certain direction. Our eyes invariably follow, and a psychic line results.

Artists should always anticipate the movement of the viewer's eye around their compositions. They can to a large extent control this movement, and the various types of lines can be a valuable tool.

LINE DIRECTION
There is one important characteristic of line that should be remembered--its direction.

A horizontal line implies quiet and repose, probably because we associate a horizontal body posture with rest or sleep.

A vertical line, as in a standing body, undoubtedly has more potential of activity.

A diagonal line most suggests motion. In so many of the active movements of life [skiing, running, swinging, skating] the body is leaning, so we automatically see diagonals as movement. We imply more action, more dynamic momentum... exciting and changing.

Stabilizers. Vast majority of works are rectangular in shape. Therefore, any horizontal or vertical line within the painting is parallel to, and repetitious of, an edge of the format. These horizontal and vertical lines within a design are called stabilizers--elements that reduce any feeling of movement.

[A Classical work--The Funeral of Phocion, by Nicolas Poussin--a term that implies a static, serene, unchanging image. An emphasis on horizontals and verticals is a major factor in this . . . . ]

TWO GENERAL TYPES OF LINE IN DRAWING: Contour and Gesture
Regardless of the chosen medium, when line is the main element of an image, the result is what we call a drawing. [Artists often use the relatively easy and quick medium of drawing to try out various compositional possibilities.] There are two general types of drawings: contour and gesture. These are not mutually exclusive--many drawings will combine elements of both.

Contour Drawing. When line is used to follow the edges of forms, to describe their outlines. Most common use of line in art.

Gesture drawing. Describing shapes is less important than showing the action taking place. Line does not stay at the edges, but moves freely within forms. Not so much drawings of objects as much as drawings of movement. Because of its very nature, Almost always drawn quickly and spontaneously. It captures the momentary changing aspect of the subject, rather than recording nuances of form.

LINE QUALITY
Line is capable of infinite variety. Merely to state that a particular artist used line is not very descriptive. What different effects are immediately obvious in various line techniques chosen?

The linear technique you choose can produce emotional or expressive qualities in the final pattern. Solid and bold, quiet and flowing, delicate and dainty, jagged and nervous . . . . Choose a theme or decide the effect you wish to impart, and fit the linear technique to it.

Cross-hatching. Series of parallel lines in a criss-cross pattern to create some areas of tone--to give a feeling of volume and roundness to a figure, for example.

Many lines of varying weight and character [pencil and charcoal] evoke the forms. Repeated strokes.

Heavy and bold brush lines with variations in thickness.

Rendering.

Blend of charcoal - soft lines blended to suggest volume.

Silhouette of figure against background of soft, vertical linear strokes.

LINE IN PAINTING Painting basically deals with areas of color, so its effect is different from that of drawing, which limits the elements involved. Still, line becomes important to painting--may sometimes give definition to the forms, etc. Artists adapt techinique to their themes, etc.

Line becomes important in a painting when the contours of the forms are sharply defined and the eye is drawn to the edges. Color may add interest but we are most aware of the essential drawing underneath 'The Death of Socrates' by David--a linear painting despite the absence of actual lines.

A linear painting is distinguished by its clarity--no confusion about where one form ends and another begins. Could be traced into a line drawing. The emphasis on edges, with the resulting separation of forms, makes a clear, definite statement. Even an abstract painting, which simplifies form and ignores details, presents this effect.

Some artists use a linear technique in applying color. The color areas are built up by repeated linear strokes of the brush, which are not smoothed over. The artist actually drew with the brush--almost every areas is constructed of variously colored linear strokes. Van Gogh. Toulouse-Lautrec. The multicolored lines give an interesting textural effect to the various areas and provide another element of visual unity.

LOST-AND-FOUND CONTOUR
Gives only relative clarity, for many forms are not fully described--resulting in a much more exciting, emotional image. Now you see it--now you don't. More emphasis on color and value than on line. The sharp contour of figure with edges that then disappear.