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Communication is the most important activity in everyday life, language and writing are effective communication tools both verbally and visually, communication in a visual context will be conveyed through typography. As time and technology develop, typography plays an important role and presents many types and styles of letters almost every day which have their own characteristics and uniqueness, one of which is the modern typeface which has minimalist and geometric shapes as benchmarks. The design of this modern typeface typography aims to create letters, numbers and punctuation characters that have their own uniqueness and characteristics by exploring the potential shapes that exist in the Ulos Sadum Mandailing motif ornaments.

Wood Craft is the art or skill in making an item that has a decorative function, Wood carving is an art that requires technical skills, also involves creativity in design and execution in its creation using wood as the main medium, in its creation the author made this work for wall decorations based on Traditional Karo Ornaments. The choice of Karo Ornaments in this work is because the author sees many types and uniqueness in their forms and in an effort to preserve Karo culture, especially in traditional ornaments. In the process the author uses carving techniques including recapan, buledan, krawinga, and krawengan. These techniques help the author in creating varied works. The stages of creation in this work the author uses the method proposed by S.P Gustami. The stages of the process of creating a work of art from this method are: 1. Exploration Stage 2. Design Stage 3. Realization Stage. The process of creating this work begins with making a design, transferring the design to wood media, carving wood according to the design pattern, sanding/smoothing the wood, and finishing with a layer of varnish. The result of this creation is 12 different sized craft works made of wood media for wall decorations based on Karo ornaments with carving techniques

The public's need to provide henna painting services is currently important, considering the high enthusiasm of brides for using henna painting, so that henna artist services have become a promising profession. Apart from the emergence of this henna painting service, every henna artist has innovated various motifs. The aim of this research is to determine the variety of henna motifs in Fuji Henna painting services in Cintaraja Village, Singaparna District, Tasikmalaya Regency. This research uses qualitative research methods with a descriptive approach. The focus of this research is to analyze the various henna motifs on Fuji Henna painting services using Susanne K. Langer's aesthetic theory. The data collection techniques used were observation, interviews and documentation. The results of the research show that the variety of henna motifs at Fuji Henna painting services totals 11 motifs, including: 1) 2 dome motifs, 2) mandala, 3) flower, 4) Indian, 5) Arabian, 6) Botanical, 7) Russian, 8 ) African, 9) geometric, 10) modern, and 11) floral. The hanging flower motif is a characteristic motif of Fuji Henna ownership, with the symbol of the jasmine flower. There are 8 henna elements in Fuji Henna including dots, lines, outlines, flowers, leaves, paisley, filler and additional ornaments.

Street lighting is infrastructure that the community needs at night, as a support for improving the safety, comfort and security of motorists. Street lighting sometimes still does not comply with the standards determined by the National Standards Body 7391:2008, so sometimes it requires recalculation according to the standard requirements determined by the National Standards Body. Jalan Margomulyo Surabaya is an arterial road with a width of 11 meters and a length of 4000 meters. This road is an industrial and warehouse area which is passed by large trucks of cars, motorbikes and the surrounding community every day. The lighting on Jalan Margomulyo is still found to be less than optimal and there are still black spots at several points, so re-planning needs to be done to produce maximum lighting. On Jalan Margomulyo there are around 90 ornamental poles with 120 Watt LED lights. Which produces an average illumination of 13.9 lux and consumes energy of 129.6 Kwh/day. However, the results of the lights installed in the field produced an average illumination that was less than optimal, so re-planning was carried out using 150 Watt LED lights with an ornamental handlebar angle of 19.19 for 90 light points along the road, which would produce an average illumination of 19.09 lux, light intensity 1863.05 cd which is in accordance with the National Standards  7391:2008.

This study refers to the philosophical values of calligraphy octagonal ornaments at the Muhammad Cheng Hoo Mosque in Pandaan District, Pasuruan Regency. The objectives of this study are: 1. To find out the meaning of calligraphy octagonal ornaments in the Muhammad Cheng Hoo Mosque 2. To find out the philosophical value contained in the calligraphy octagonal ornaments at the Muhammad Cheng Hoo Mosque. The method used in this study is a qualitative method. The data collection techniques used are observation, interview, and documentation methods. The results of this study show that the meaning of calligraphy octagonal ornaments has a meaning that can be associated with one pillar of Islam. Because it shows unity and balance in carrying out religious commands and as the meaning of the five levels, in Islamic teachings are shahada, prayer, fasting, zakat and hajj as well as the meaning of blessings and abundance of sustenance. The philosophical value of octagonal ornaments has the meaning of balance, harmony and protection as well as the philosophical value of red and yellow colors in calligraphy octagonal ornaments, red is interpreted as joy, strength, and courage while yellow is interpreted as blessings and abundance of sustenance.