The Nazca lines in the arid coastal plains of Peru date to nearly 500 BCE were scratched into the rocky soil, depicting animals on an incredible scale, so large that they are best viewed from the air. Lines are even implied by falling water droplets in the foreground. There are more subtle lines too, like the gently arced line at the top of the image and the shadows cast by the poles and the standing figure in the middle. Certainly the jagged, meandering lines of the lightning itself dominate the image, followed by the straight lines of the light standards, the pillars holding up the overpass on the right and the guard rails attached to its side. In this image of a lightning storm we can see many different lines.
Its creation was a painstaking process but one that generated new ways of thinking about color and form. His large canvas Sunday Afternoon on the Grande Jatte is a testament to the pointillist style and aesthetic. Look at a detail from Seurat’s La Parade de Cirque to see how this works. He and others in the Pointillist group created paintings by juxtaposing points-or dots-of color that optically mixed to form lines, shapes and forms within a composition. For example, Pointillism is a style of painting made famous by the French artist Georges Seurat in the late nineteenth century. The point itself can be used as a way to create forms. Our eyes differentiate between the two, and their arrangement has everything to do with how we see a final composition.
That is, they divide the work between its surface and anything added to it. When an artist marks a simple point on a surface, (also referred to as the ground), they immediately create a figure-ground relationship. It can be defined as a singularity in space or, in geometric terms, the area where two coordinates meet. A point is the visual element upon which all others are based.
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