(a furrow) by drawing a ploughshare through the soil, and to determine or define the limit between two things or groups – suggests 'draw' as the movement across a surface where the connotation of the object (as the line) is implied. Subsequently, the drawing of a ploughshare through the soil might suggest that the scar on the land is a drawing. This large-scale drawing allows a fresh consideration of what a drawing is, its techniques and media. This is reminiscent of Alberti's use of the word _Lineamenta_ , which translated by Joseph Rykwert means 'lines', or 'linear characteristics' (Alberti, 1988: 7, 422–423). This 'trough line' has linear characteristics and questions how a line can be a demarcation. It is possible to wonder whether a three-dimensional ditch can beand it is a procedure for which science can give no warrant; the scientific use of language must abhor metaphor. But metaphor is the nerve or heart of all poetic creation. But still, metaphor is only the way in which the imagination works; it never adds up to a statement and doctrine. (James, 1960: 100)_

In allusion, there is even less _likeness_ between a substitute and the original than with metaphor. Sketches act as substitutes in _likeness_ for a mental impression in the imagination. Standing for something else, the sketch is not a symbol but resides metaphorically in place of something else. Umberto Eco's concepts of strong and weak codes are relevant here.

_The universe of visual communications reminds us that we communicate both on the basis of_ strong _codes