The multiple threads of cultural and software connectivity available to cyber drawing bring it into the realm of a visual rhetoric for much the same reason that cubism was able to morph art ontology per subject and object towards greater elasticity between effective means and visual affect. Accordingly, a spatial plasticity of language in terms of point, mark, line, plane volume and mass have been given an introduction into the discourse of a topology, a rhetoric, by Bal (2001 p.44) ”Topology destroys linearity by making embedding, not sequence, a principle of narrative time - a body within a house”. Thus we may interpret her neologism of topology as the facultative projection of point of view configured into rhetoric (traditionally defined as ethos, pathos and dialectic or more availably: context, expression, and discourse). In the following article I will be using analysis and synthesis of traditional verbal rhetorical terms in relation to a visual morphology, topology and topography in which the abstract landscape of verbal discourse and visual language are points of view and planes of reality which effect metamorphosis simultaneously in mind and matter through drawing.