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From the perspective of a form and gaze, there are two (2) primary factors that affect one's perceived execution: where one looks and how one looks.

 

Where one looks is relatively simple to explain: always focus the gaze in the general area of where one's attention is focused. In other words, gaze should give the impression that one is looking in the same relative area as to where one's attention is placed. From a physical perspective, this means that one's attention should not be redirected without at least moving one's eyes in the same general direction. And most usually, also turning the head to a similar path of attention. Alternatively, one can rely upon peripheral vision, but the general outward indication should be that one's attention is within one's line of sight.

 

A secondary facet to gaze is the height of the gaze. This characteristic is a little more subtle. One does not always have to maneuver the head up and down with the eyes; but it does help. In fact, in some circles, too much maneuvering of the head vertically can be frowned upon. Rather, this camp believes the head should usually stay on a relatively horizontal 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. The reason for limiting vertical head bending has to do with the fact that too much bending of the neck can lead to the impression that one is leaning. So, even if the practitioner does prefer a greater bend at the neck vertically, one should take care to exclude bending of the back also.

 

This limited vertical head bending practice does effect Form Five; since it works heavily on lower manipulations of both self and potential opponent throughout the entire form. Too little head bending and just relying upon eye movement, in this case, can confuse an observer not familiar with this trait of the form. It may mislead them into interpreting the maneuvers as being incorrectly, improperly, or lazily executed. Therefore, it is recommended that the form be executed with definitive bending of the head, both vertically and horizontally. This way misinterpretation of the form's lower attention area is minimized or completely eliminated. But, as stated previously, the bending should be confined to neck and head, not the back.

 

How one looks is a more subjective, yet still controllable, 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.

 

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.