String Drawing shares a kinship with minimalism and conceptual art of the 1960’s. Fred Sandback’s yarn sculptures and Sol Lewitt’s wall drawings were both inspirations for the work. In addition, the work leverages architecture’s long history of orthographic drawing and the need for representing three-dimensional space on two-dimensional surfaces using projection. In this sense the work simultaneously is about the domain specific function drawing performs in architecture while also engaging in a dialog with art practices outside of architecture. This study occupies a place somewhere between wall murals and sculpture, simultaneously both a drawing of an object and the object itself caught in a network of lines. Descriptive geometry plays a part in defining the volumes rendered in two-and-half dimension. Grey yarn is substituted for pencil lines in the making of each piece. Pins hold the yarn to the wall and anchor the pivot points for the yarn to traverse space. Over seventy unique String Drawings were produced using a set of variables that were sequentially explored using a matrix of possible combinations. Strict adherence to a rigorous methodology yielded surprising results that simultaneously reinforced and defied expectations.