I'm going to get to continuity. Continuity, or leading lines, as you may know it. And continuity basically says that when a viewer's eye is compelled to move beyond an image and continue through it, you get leading lines. The line should be straight or curved and are not always obvious and Guide the viewer's eye somewhere else in the image. Recall all of that stuff we talked about when we were talking about lines and implied lines and psychological lines and physical lines. All of these things apply here. And it creates a more fluid relationship between different compositional elements. Lines can lead to something or they can reinforce where the viewer should be looking. Those S curves, those Z curves, this, okay? Here we're looking at, in both of these images, we go right where we should. So on the left image, we go to the dog. On the right image, we go to the three girls, right? But all of the lines reinforce visually what we should be looking at. So we have the converging lines of t...
he shadow, the gate, the path, are all drawing us inward. And we look at the dog and he's looking out and you just see a hint of the car on the top tight hand corner. So it kinda draws you around the image in a few different ways, kinda illustrating where you should go. And then with the girls, of course you go to them first. They're saturated, they're red, they're right in the middle, they're the only human figures, they're red on green, which is a compliment. But the shape of the rocks and the curve inward reinforce all of that space around to where you should be looking. Now on the other hand, you can use lines to direct the eye where to go. So in the left image, you follow the diagonal line and down and you get to the little dog tail. Or in the right image, you follow the lines around and you get to the guy's breakfast in a bag. But it takes you a second to get there. And so you get to decide how you want the viewer to get there. Either obviously or after a little bit of a split second.