中国画往往十分讲究“点线面”三者的有机结合。纵观一些大师的杰作,除了其深远的意境之外,无不在技法上体现出“点线面”三者完美的融合。 笔者认为,在图书校对过程中有一个“面点线”一体的运作过程。一部书稿的校样,洋洋洒洒几十万、上百万字,看起来十分繁杂,校对起来也时常感到茫然不知所措。其实,只要我们从“面点线”入手,就可以化繁为简。假如把书稿校样的整体看作是一个“面”,把“面”中容易出错地方看成是“点”,再把诸如序、扉页、各级标题、后记、版权页、插图、表等贯穿下来当作“线”,这样以“面”带“点”、以“点”牵“线”地去校对,就 Chinese painting tends to emphasize the organic combination of “point and line”. Throughout some master’s masterpiece, in addition to its far-reaching artistic conception, all are in the technique to embody the “point line” the perfect combination of the three. The author believes that in the process of proofreading books have a “noodle line” one of the operational process. The proofreading of a manuscript, hundreds of thousands of eloquent, millions of words, looks very complicated, proofreading often feel overwhelmed. In fact, as long as we start from the “noodle line”, we can simplify everything. If we regard the whole proofs of the manuscript as a “face”, treat the error-prone places in the “face” as “points”, and then pass through various titles, postscripts, copyright pages, illustrations, tables, etc. Down as a “line”, so that “surface” with “point” to “point” to pull “line” to proofread