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design

Design is the creation of a plan or convention for the construction of an object or a system (as in architectural blueprints, engineering drawings, business processes, circuit diagrams and sewing patterns). Design has different connotations in different fields. In some cases the direct construction of an object (as in pottery, engineering, management, cowboy coding and graphic design) is also considered to be design.

Designing often necessitates considering the aesthetic, functional, economic and sociopolitical dimensions of both the design object and design process. It may involve considerable research, thought, modeling, interactive adjustment, and re-design. Meanwhile, diverse kinds of objects may be designed, including clothing, graphical user interfaces, skyscrapers, corporate identities, business processes and even methods of designing.

Thus "design" may be a substantive referring to a categorical abstraction of a created thing or things (the design of something), or a verb for the process of creation, as is made clear by grammatical context.


Joglo adalah rumah adat masyarakat Jawa. Bagian-bagian joglo yaitu : pendapa, pringgitan, dalem, sentong, gandok tengen, gandok kiwo.

Bagian pendapa adalah bagian paling depan Joglo yang mempunyai ruangan luas tanpa sekat-sekat, biasanya digunakan sebagai tempat pertemuan untuk acara besar bagi penghuninya. Seperti acara pagelaran wayang kulit, tari, gamelan dan yang lain. Pada waktu ada acara syukuran biasanya sebagai tempat tamu besar. Pendopo biasanya terdapat soko guru, soko pengerek, dan tumpang sari.

Bagian Pringgitan adalah bagian penghubung antara pendopo dan rumah dalem. Bagian ini dengan pendopo biasanya di batasi dengan seketsel dan dengan dalem dibatasi dengan gebyok. Fungsi bagian pringgitan biasanya sebagai ruang tamu.

Bagian Dalem adalah bagian tempat bersantai keluarga. Bagian ruangan yang bersifat lebih privasi.

JENIS-JENIS JOGLO : 1. Joglo Sinom ; 2. Joglo Jompongan ; 3. Joglo Pangrawit ; 4. Joglo Mangkurat ; 5. Joglo Hageng ; 6. Joglo Semar Tinandhu ; 7. Joglo Jepara ; 8. Joglo Kudus ; 9. Joglo Pati ; 10. Joglo Rembang [more...]

A work of art in the visual arts is a physical two- or three- dimensional object that is professionally determined or otherwise considered to fulfill a primarily independent aesthetic function. A singular art object is often seen in the context of a larger art movement or artistic era, such as: a genre, aesthetic convention, culture, or regional-national distinction. It can also be seen as an item within an artist's "body of work" or oeuvre. The term is commonly used by: museum and cultural heritage curators, the nterested public, the art patron-private art collector community, and art galleries.

Physical objects that document immaterial or conceptual art works, but do not conform to artistic conventions can be redefined and reclassified as art objects. Some Dada and Neo-Dada conceptual and readymade works have received later inclusion. Also, some architectural renderings and models of unbuilt projects, such as by Vitruvius, Leonardo da Vinci, Frank Lloyd Wright, and Frank Gehry, are other examples.

The products of environmental design, depending on intention and execution, can be "works of art" and include: land art, site-specific art, architecture, gardens, landscape architecture, installation art, rock art, and megalithic monuments.

Carving is the act of using tools to shape something from a material by scraping away portions of that material. The technique can be applied to any material that is solid enough to hold a form even when pieces have been removed from it, and yet soft enough for portions to be scraped away with available tools. Carving, as a means for making sculpture, is distinct from methods using soft and malleable materials like clay, fruit, and melted glass, which may be shaped into the desired forms while soft and then harden into that form. Carving tends to require much more work than methods using malleable materials.

Wood carving is a form of woodworking by means of a cutting tool (knife) in one hand or a chisel by two hands or with one hand on a chisel and one hand on a mallet, resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden object. The phrase may also refer to the finished product, from individual sculptures to hand-worked mouldings composing part of a tracery.

wood carving


WOOD CARVING

The making of sculpture in wood has been extremely widely practiced, but survives much less well than the other main materials such as stone and bronze, as it is vulnerable to decay, insect damage, and fire. It therefore forms an important hidden element in the art history of many cultures. Outdoor wood sculptures do not last long in most parts of the world, so it is still unknown how the totem pole tradition developed. Many of the most important sculptures of China and Japan in particular are in wood, and so are the great majority of African sculpture and that of Oceania and other regions. Wood is light and can take very fine detail so it is highly suitable for masks and other sculpture intended to be worn or carried. It is also much easier to work on than stone.

A metal (from Greek μέταλλον métallon, "mine, quarry, metal") is a material (an element, compound, or alloy) that is typically hard, opaque, shiny, and has good electrical and thermal conductivity. Metals are generally malleable — that is, they can be hammered or pressed permanently out of shape without breaking or cracking — as well as fusible (able to be fused or melted) and ductile (able to be drawn out into a thin wire). About 91 of the 118 elements in the periodic table are metals, the others are nonmetals or metalloids.

Some elements appear in both metallic and non-metallic forms. Astrophysicists use the term "metal" to collectively describe all elements other than hydrogen and helium. In that sense, the metallicity of an object is the proportion of its matter made up of chemical elements other than hydrogen and helium.

Many elements and compounds that are not normally classified as metals become metallic under high pressures; these are formed as metallic allotropes of non-metals.

THE METAL ART OF ANCIENT MEXICO.
By HENRY L. REYNOLDS, Jr.

OF the contemporary writers of the conquest of ancient Mexico there are but three who have told us that there were in that city not only objects of gold, silver, and copper, but also some of bronze and tin. They have, moreover, told us that some of these metals were most skillfully wrought, and that the designs fashioned therefrom were so marvelous and beautiful that even the European goldsmiths of those days could not excel them.

However true this may be, it should be remarked that there is neither in the museums of this country, Spain, nor Mexico a single representative relic of this advanced skill in metal-working. All the Mexican specimens of unquestionable pre-Columbian origin that we have are of pure copper, and are simply hammered into shape. There are a few of bronze, but these, as well as some of copper, can not be said to antedate the conquest.

M. Guillaume Dupaix, who was employed by the King of Spain in 1805 to explore Mexico in search of remains of Aztec art, is the first to tell us anything about Mexican metal relics. Though an endeavor is evident throughout his notes to strengthen the belief in the greatness of Aztec civilization, the only metal specimens that he describes are three of what he calls "red copper." His annotator, Lenoir, referring to these metal specimens, properly adds that "this red copper is native, whereas the yellow copper is the result of an alloy which the Mexicans, it appears, did not use."s [more... ]

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