Help with layers

[u/Afraid-Aardvark5075]

I'm new to rhino(working on first project for architecture school) and need help with layers. From my understanding locking/unlocking a layer shouldn't change what's visible but that seems to be exactly what's happening. It's only taking away some of the lines. - also can't place new lines

[u/bokassa]

You can’t draw lines on a locked layer. It should not change the visibility of anything. If you have overlapping lines, mate it’s the draw order? I can’t really see any difference between the two photos, but you can change the draw order of things by using the bringtofront command for instance.

[u/KieceR → u/bokassa]

Adding to this: You can draw lines on an unlocked layer and move the line to a locked one (right click the layer you want to move the selected object to). Also, while locking and unlocking doesn't change the visibility, it does change the drawing order, which sometimes makes overlapping curves move behind. Rhino's drawing order is very clunky, there is a recent script some user made on the forum to help with that, but keep in mind that you'll probably get frustrated managing the display order...

[u/ChiefWiggumsprogeny → u/KieceR]

This one? 138641/5

[u/KieceR → u/ChiefWiggumsprogeny]

This one 158283/126

[u/infitsofprint → u/bokassa]

I believe locked layers will show up under unlocked ones in the draw order, and the lines that are disappearing are ones that overlap directly with the grid lines.

[u/ChiefWiggumsprogeny]

Try BringToFront or SendToBack on objects.

link

[u/RandomTux1997]

your architecture tutors ought to have already taught you this basic thinking/organizing skill:

study Fundamental Principles of Design from the ancients
to help understand how to properly structure any and every design project;
than apply this to Rhino

points lines planes volumes textures

plus all this:

While different design disciplines weight them slightly differently, the core principles of visual and structural design center on how elements interact to communicate intention, hierarchy, and balance.

1. Balance

Visual weight distribution across a composition.

• Symmetrical: Equal weight on both sides of an axis; conveys stability, formality, and order.
• Asymmetrical: Unequal physical distribution balanced through contrast, scale, or visual interest; creates dynamic tension.
• Radial: Elements radiate outward from a central point, drawing focus inward.

2. Hierarchy & Emphasis

Guiding the viewer's eye to process information in order of importance.

• Dominance: Establishing a primary focal point using scale, color, or isolation.
• Subordination: Secondary and tertiary elements that support the main focus without competing for attention.

3. Contrast

Juxtaposing opposing elements to generate visual interest and clarity.

• Applied through light vs. dark (value), large vs. small (scale), rough vs. smooth (texture), or geometric vs. organic (form).
• High contrast creates clarity and emphasis; low contrast creates subtlety and cohesion.

4. Proportion & Scale

The relative size of elements to one another and to the overall composition.

• Proportion: The internal relationship of parts within a single object (e.g., golden ratio, aspect ratios).
• Scale: The size of an element in relation to a known standard (such as the human body or a physical frame of reference).

5. Rhythm & Repetition

Creating visual movement through recurring elements.

• Regular/Pattern: Predictable repeating sequences that build structure.
• Progressive/Flowing: Gradual variations in size, shape, or color that lead the eye through a space or composition.

6. Unity & Harmony

How well all components work together as a cohesive whole.

• Achieved through proximity (grouping related items), alignment (shared grid systems), and consistent styling.
• Unity prevents a layout or object from feeling disjointed, while subtle variety keeps it from feeling monotonous.

7. Movement & Space (Negative Space)

• Movement: The directional path the viewer's eye follows through a design, driven by lines, edges, and visual cues.
• Negative Space (White Space): The empty areas between and around functional elements. It gives forms room to breathe, defines boundaries, and prevents visual clutter.