Shady Lines

Lines are granted much more importance than they are entitled. Of what relevance is a line to a three-dimensional form in space? As artists, we are trained to study the line, to follow it, to measure it, and to operate inside of it. But what if the core of our artistic education is just more hallow academic banter? The line, after all, is simply a means to an end. It is the beginning of the illusion. But a line cannot illustrate a form gradually turning away from the light. Nor can it effectively map out a halftone or be placed accurately to identify the shift between the shadow plane and the shear absence of light. These transitions are critical to the illusion of form and yet impossible to render with a single stroke of a pencil. So, if one cannot accurately place a line, how can an artist possibly measure against it? And if one line cannot be trusted enough to be measured against to validate the location of other potentially faulty lines, then how can an artist have faith in the precision of any line within his composition?

I rest my case. Lines are not to be trusted. So as for me and my studio, I will follow the light.