The line is considered the essential element and the moving point in the art of drawing, and the combination of similar and different lines may form a special expressive language that the sender uses to target a specific group to express his ideas visually. The visual units in drawings are equivalent to words and sentences in the literary language, especially the poetic text, and this is due to the existence of similar points between the art of poetry and the art of drawing, such as imagination and the ability to scatter feelings and sensations resulting from the different psychological states that the sender seeks to instill in the recipient. From this perspective, we see that some poets have combined written imaginary images with the art of drawing in their collections in a tangible way. The best example of this is the collection “Engravings on the Surface of Water” by the Egyptian poet Walid Galal.
          This study seeks to reveal prominent models of drawing lines in the collection "Inscriptions on the Surface of Water" according to the descriptive-analytical approach. On this basis, this research aims to show the possibility of the influence of the art of drawing through some lines on the poetic text, and to clarify the intersection of the visual image with the written language. Therefore, one of the results obtained is that the patterns of lines related to the art of drawing may create a new path for poetic narration, from which a visual language emerges that narrates topics that exceed human imagination. We see it branching out into multiple events that are not limited to one situation or specific boundaries, but rather reach the boundaries of visual and visual language. These lines may also give the text many meanings and connotations that are consistent with the poetic language. The most prominent axes related to this study are the circular, curved and vertical lines.