In the first image of the horses on a threshing floor there are two implied directions creating a dynamic meeting point.
The stronger lines are from left to right with a strong curve and thereby speed implied by the shape of the horses bodies. there is a sense of power created by the combination of this curve and the lead horse’s sight line. It is straining to increase speed.
The man is looking into the horses and both his implied eye line and his hand point in the opposite direction of the horses. The horses are bigger but also their curving shape says that the majority of power is coming from the left but the implied eye line of the farmer and his firmly pointing arm indicate that he is in control of this union.
In the second image there is an implied circle. The tangible curve on the sand behind the bull fighter tends to imply that the bull has moved clockwise around the man.
There is a clear implied eye line from the man down to the bull’s head or shoulders and the flying cape to the right amplifies the momentum of the bull.
The vertical shape of the man might also signify a dominant and strong position.
In the first of my own images there is a clear implied sight line from the artist to his hand. We cannot see his face let alone his eyes but there is not doubt about where he is looking and this implied line takes our eyes straight to his hand.
With the fishing boat there is a strong implied curve starting with the man in the left and ending with the direction of travel of the boat. The net floats in the foreground start the curve and the boat line finishes it off. The crew are looking at the helmsman who is watching the net.
In the beach scene there is a dynamic of opposite implied lines. The three children are looking at each other and at the swirl of movement created by the spray as the left hand child tries to splash the two on the right. The greater number of lines moving to the left draws the viewer towards the face of the older girl.
The first of my two new images for this exercise is using the eye line and the implied forward movement of the photographer to led the viewer into the centre of the wedding ceremony.
An alternative eye line is included at fig. 7. The pilot eyes, not surprisingly, lead us to the kite.
The little ruin in fig. 8 was all that remained of , what appeared to be, a large house that must have once stood on this peninsular. The twisted, wooden path leads to the gazebo and although part of the path is not in view the viewer continues to follow the line.