In a sense, this is an interrupted line. You can move a viewer visually by placing rocks, bushes, flowers or other things that would form a “Hop Scotch” pattern. These don’t have to touch each other, but the gaps should be close enough to visually connect. The grass strands were placed strategically to invite the viewer in from the foreground and by connecting them, the eye goes to the cabins. There are narrow gaps that separate the grass but the eye still bridges them and moves forward.
So far I have only addressed visual paths that originate in foregrounds. You can also provoke eye movement coming from the top, much like the way we read newspapers. You can set it up where clouds, hills or the round tree foliage will give the viewer a sliding-board effect, so the eye slides into the painting. This can be done in conjunction with a visual path that would also originate from the foreground at the bottom.
The tree top guides the viewer in.
There is no question the steps are inviting. Note also that there are no distracting details in the immediate foreground.
Visually connect the dark elements. Either have them touch each other, or be close enough for the eye to make the leap without large gaps. Avoid the scattered billiard-ball effect. This way, the eye flows instead of jumping. If you cannot bridge dark spots, then slightly lighten the value. This would apply to accents in bushes, trees and rocks. Notice the pattern of darks in the negative painting and how close they are to one another.
These are handy tools to direct the viewer to a certain area. These are normally tree branches, logs, leaves, long grass stands, etc. Think of visual pointers like a traffic policeman pointing towards the street so you can continue. In this painting, the tree has a couple of branches that direct the viewer past the gate. The semi-exposed concrete walkway is functioning as a visual path.