He has indeed made many different kinds of lines. An art historian could put together a chronology of his career just in terms of the multiplicity of diverse lines that he has produced. In the late 1960s and early 1970s, for example, there were the ultra-thin marks made by a kind of pen called a Rapidograph, with which he created drawings modelled with line alone — no shadows. Then, quite different, the works in coloured crayon and pencil of the early 1970s; the chunkier reed-pen strokes of portraits from the end of the decade, such as the poignant one of his mother done just after his father died in February 1979 ( not 1978, the date inscribed on the drawing); the later ones drawn with a brush, including watercolours from 2003; the extraordinary charcoal landscapes of the Arrival of Spring 2013; and on and on.
– Martin Gayford
A career life in lines sounds like a good one to aspire to.
Gayford, Martin, and Hockney, David. Spring Cannot Be Cancelled: David Hockney in Normandy. United Kingdom, Thames & Hudson, 2021. pp83
Floodlights and Goalposts 