LIST ESTETIKA

Distrubpsi dan Pola

Integrated
Kaki Badan Kepala
Proporsi
Irama
Hirarki

Conctrast

In a pictorial composition the different elements must balance in

such a manner that the average of interest will fall in the middle of
the frame. In the other visual arts, balance in relation to the center
Simetri of gravity must be observed.
Ruang Negative
Harmony

The interest must he focalized, and have its most potent expression
in one point. ' (This point we shall call the climax.)
Komposisi

The number of secondary focal points must he reduced to

minimum; where such points exist they must he conceived
primarily in regard to the climax and in their comparative
importance must work up to U,

Of the different minor elements of the composition each, perhaps,

feeding to its own especial focal point, must still feel the influence
e/ the climax.

In a pictorial composition the different eiiemewts must balance in

such a manner that the average of interest will fall in the middle of
the frame. In the other visual arts, balance in relation to the center
of gravity must be observed.
That the different elements of a Composition, climaoc, secondary
climaxes, and sub-motives, may attain to the highest interest, they
must contrast one with the other.
That unity exist im, the composition, the laws of harmony must be
observed; and no foreign element introduced. The general result of
the first of these laws is, evidently, that:

(a) The climax must be the most interesting motive of the

composition. For example, one would avoid placing an unimportant
diamond-pointed block in a surrounding circle of cupids; if there is
a difference of material, the principal motive should be of the more
precious; if there are differences of projection, the principal motive
should have the most pronounced one; if there are differences of
color, the most striking should be for the climax, and so on.

(b) The climax must have the most important position. 44 THE
PBINCIPLES OP COMPOSITION. In a composition wMcli is to be
appreciated in sequence, this position is at the end; as, for
instance, in a drama, an opera, or a succession of pictures. How our
perceptions are sated by the repetition, in like degree, of a
sensation, is too well known—we are too familiar with the trick of
taking a pinch of salt after pudding, in order that we may find
sweetness in an orange—to make a long discussion of this
statement necessary. In a composition to be apprehended by a
single
glance, the principal motive should be placed where
the eye will most readily find it, not too near the edge
of the composition. If the climax is near the edge
of the composition, the preponderance of interest
there will become so great that it will be difficult to carry out the
fourth law. A picture or a building
would enter the category of works of art to be seen
in a single glance. The statue is an admissible ex- ception (as most
designs where silhouette is of great
importance, the crowning climax being approached
in sequence), because we are so used to looking to the head for the
chief expression as to experience no
difficulty in finding it there.
 (a) Unity op Chaeactee. In the general discussion of character it
was determined a building must express both the personality of
the artist and the use for which created. It seems almost
superfluous to add what is so evident, that each part of the
building should express the same thing; yet herein is an error often
committed. An artist may begin the composition of his building
with the firm intention of carrying out a certain impressive feeling,
but later on, becoming interested in a detail, he evolves a motive
entirely out of keeping with the rest of his design. It often happens,
too, that different parts of a composition are for unlike uses, and
must, despite the fact that they belong to the same ensemble,
show distinct individuality. The Art Building and Machinery Hall of a
World's Fair would exemplify this. Here unity would be attained by
making all the buildings of the fair in keeping with the idea of the
progress of the world and illustrative of the temporariness of th^t
Unity to be used for only a limited space of time. (&) Unity op Sty

Unity op Style. Style is the imprint a particular epoch makes on art.

UNITY OF STYLE. 49 If then, tlie elements of one style are
introduced in tlie expression of a different one, discord will
evidently result. We migM call this a fault of character, for such an
element bears the mark of the characteristics of its age, entirely
foreign to that of another age. Thus an Egyptian column in a
Renaissance hall room, or a Renaissance motive in a Grothic
church, will always be as oil and water to each other. I do not mean
by this that an architect may not unite in the same composition
motives inspired from different styles, provided he does it logically.
The artist will then stamp each element with his own modern
personality, so that, although the ideas of form have been
suggested by unlike archaeological ex- amples, the final results, all
showing the feeling of the present time, will actually be of the
same style, a modem
Unity of Colob. This is a need, thougli commonly felt, most difficult
of analysis. There must be no discord in the combination of colors
used. And yet, what rule is there by which the discord may be
avoided, the unity retained? A musician will hand you a work on
"harmony" where you may find catalogued all the possible faults,
and see the agreeable sequences set forth; you may carry this book
to a physicist, who will analyze each rule and tell you "why." But no
physicist has yet informed us why most forms of red and blue will
not harmonize, except by the vague, negative announcement that
"complementary colors go together." (Pure red and blue are not
complementary.) The whole must really be a subtle expression of
the artist himself. We may make a few deductions from nature;
and after suggesting these, with a word of warning about
complementary colors, leave the subject. It is a recognized fact that
all colors harmonize out of doors, provided they are at a distance,
or have the sun on them. In each case the reason is a like one; at a
distance, the atmosphere creates a tone which mingles with the
different colors, bringing them together; in the sunlight, the
brilliant warm rays (they are warm or pinkish, probably, from the
refraction of the atmosphere, an accentuation of this being
observable at sunset or sunrise) make a similar tone, which enters
into the composition of all local color. In the case of the sunlight, it
may be possible UNITY OP COLOB. 51 that the eye is made less
perceptive of differences in color, by the brilliancy of the light and
the after images created.
Interest harus difokuskan, dan memiliki ekspresi
yang paling kuat dalam satu titik. ' (Titik ini akan
kita sebut sebagai klimaks.)

Jumlah titik fokus sekunder harus dikurangi

seminimal mungkin; jika ada, titik-titik tersebut
harus dipahami terutama dalam hal klimaks dan
secara komparatif kepentingannya harus bekerja
hingga U,

Dari berbagai elemen kecil komposisi yang

berbeda, masing-masing, mungkin, memberi
masukan pada titik fokus utamanya sendiri,
harus tetap merasakan pengaruhnya e/ klimaks.