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From the perspective of a form, there are two primary factors that effect one's perceived execution: where one looks and how one looks.

 

Where one looks is relatively simple; always focus one's gaze to the general area of where one's attention is focused. The first facet of this idea is horizontal direction. The gaze should give the appearance that one is looking in the same relative orientation as to where one is focused. In other words, one's attention should not be to the left without at least moving one's eyes in the same general bearing. And, at most, also turning the head to a similar path of attention. One can rely upon peripheral vision, but the general outward indication should be that one's attention is within one's line of sight.

 

The second facet is gaze height. This characteristic is a little more subtle. One does not always have to maneuver the head up and down. In fact, in some circles, this can be frowned upon. Rather, the head should usually maintain a level plane, with major up and down motions limited to times where emphasis needs to be added. Instead, the eyes should be relied upon to do most of the vertical maneuvering.

 

Regardless of the minutia, the general goal of where one looks should be that one's attention travels where needed during execution, and not just be always focused straight ahead with other physical focuses to another direction.

 

How one looks is a more subjective characteristic. Generally speaking, one should not look bored or uninterested during the execution of the form. In contrast, one should at least look focused, and at most highly motivated and filled with intent. Some refer to this exaggerated facial expression as a game face or fighting face. These hyperbolic facial appearances are often adopted for tournament, in an effort to influence judges' scores. But they can also be useful for psychological influence of an opponent in combat situations. Outside of these circumstances, these overstated expressions are not very relevant in a form's execution.

 

Also, expression and pace are directly interconnected with each other. A slow pace with a heightened expression is not in alignment. In contrast, a quickened pace with a bored or non-focused expression is also not in alignment. Just like many other aspects of alignment, one should take the time to ensure that how one looks is in alignment with how one is performing.

 

Lastly, one's gaze is just another element of proper form execution. It should be used to bolster the expression of one's execution, but not negatively influence its performance in any way. Also be aware that sometimes an observer's interpretation of a form can be both positively and negatively influenced by gaze and facial expression. Using this knowledge, one can influence, manipulate, fool, and/or elicit specific psychological responses from an observer. And, used in conjunction with other elements influence responses and outcomes in a variety of situations.