CQ9

09 ISSUE

JUly 2012

CONTENTS Camp Fire–X114 | R 248 G 111 B 41

INDIA CONNECT

The Colours of Navarasa Introducing a new series on the Indian tradition of emotive colour.

02 INSPIRATION

Colour Map

Shades Of Burgundy

A graphic map of evocative ideas and emotions inspired by the issue colour.

A rich colour story rooted in the Burgundy region of France.

05

10 Colour For Commercial Spaces Impactful usage of colour for workspaces, offices, and industrial spaces.

26 INNOVATION

Experiential Colour Journeys

Colour Scheme Pro The Asian Paints proprietary app to create professional colour palettes at a touch.

Experiential colour & decor journeys at the Asian Paints signature store in New Delhi.

16

31

IN FOCUS

INSIGHT

Enhance Wood Surfaces

Mosaics In The Classical Style

Environment-friendly protection solutions for wood surfaces by Asian Paints.

06

Mosaic designer Sara Baldwin on creating inspirational spaces through her art.

22 ENQUIRY

Colour Query Product Query

‘Colour Quarterly’ is Asian Paints’ initiative that reflects significance of colours in varied cultures & traditions, and contemporary trends in paints.

The objective of Colour Quarterly is to share customers’ penchant for colours with architects, interior designers and other creative people and not to solicit business. Views expressed by the authors are personal and photographs used in Colour Quarterly are illustrative.

For more information, visit: www.asianpaints.com/cq

‘No part of this material may be reproduced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying, recording, taping or information storage retrieval system) or reproduced in any disc, tape, perforated media or other information storage device etc. without the written permission of Asian Paints Ltd. All rights reserved. Copyright Asian Paints Ltd. All disputes are subject to Mumbai Jurisdiction only.’ *All Asian Paints products do not contain any added Lead, Mercury, Arsenic and Chromium from April 2008.

29

INDIA CONNECT

2–3

Shringara Love

Hasya Laughter

Bhayanaka Horror

The Colours of Navarasa Bibhatsa Disgust

Shanta Peace

Adbhuta Wonder

Introducing a new series on the ancient Indian theory of emotional essence in the arts, examined through its relationship with colour.

T

he intuitive ability to respond to colours rises from colour associations that are both encoded in our cultural environment as well as built from individual experiences.

Positive or negative responses to given colours form the basis of colour semiotics, the study of which helps map emotions and reactions to colour.

This understanding of encoded semiotic meaning within colours can drive meaningful use of colour for design and architecture.

Karuna Compassion

Raudra Fury

Veera Heroic

The knowledge of colour and its connotation, is tempered in large measure by cultural context. Hence it is not simple and absolute, but finely-nuanced and sensitive to socio-cultural origins. For designers and architects working in varying contexts, sensitivity to cultural connotation of colour can greatly impact the reaction to their creations and create richer user experiences.

INSPIRATION

INDIA CONNECT COLOUR QUARTERLY 09

4–5

COLOUR MAP

SPIRITED

INDIA

VIBRANT SPICE

FESTIVE TANGERINE

APPETISING CELEBRATION RICH INTENSE

Over the years the development of indigenous art forms, unified by the Rasa theory, have shaped colour associations within India.

The Indian Tradition Of Emotive Colour

The Evolving Indian Context

Navarasa is a common core element across traditional forms of art and performance in India. Loosely translated as ‘essence’, the idea of the Rasa can be better understood in conjunction with the concept of the Bhava.

A Bhava is the expression of an emotion conveyed by an artist, while a Rasa is the emotional response elicited by the art. Each Rasa, which is the main emotion evoked, corresponds to a specific Bhava. To enhance the experience of the performance and its consumption, individual Rasas were matched to colours that could best represent the different emotional responses.

The idea of the nine Rasas or Navarasa, finds first mention in the Natyasastra—a treatise on dramatic theory written by Bharata Muni between 200 BC and 200 AD. Over the years the development of indigenous art forms, unified by the Rasa theory, have shaped colour associations within India.

In today’s context, as cultural boundaries merge to form new identities and subcultures, there is a natural evolution of the traditional notions of colour association.

This series—The Colours of Navarasa, will present a historical foundation to kickstart a contemporary discourse around colour and its understanding in India. In each article, across the next three issues, the qualities of the Rasas will be explored with a focus on colour and inspirational visual interpretations.

Join us in this colourful journey as we explore the traditions of colour association in India through the Navarasa, to unearth new emerging approaches to colour usage in contemporary Indian architecture & design.

ORANGE

SPARK

WARM

ENERGY

FIRE

SULTRY HEAT

SUMMER

Please share your feedback by writing to us at cq@asianpaints.com

SUNSHINE BRIGHT

Camp Fire–X114 | R 248 G 111 B 41

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

IN FOCUS

6–7

A

cross the world, a paradigm shift has been observed in terms of product requirements for architects and interior designers. A conscious effort is being made to move from solvent-based paints to water-based paints as they are relatively safer and offer a host of other benefits.

In India, the wait for a water-based paint is finally over with the introduction of Aquadur PU. Designed to add a touch

of elegance, Aquadur PU protects furniture from the elements of nature.

Whether it is an office or a home, an interior or an exterior wood surface, Aquadur PU acts as a shield against scratches, spots, and even ultraviolet rays. Additionally, it provides a fine finish to wood, so that a well designed armchair will remain mesmerising and artistic, year after year.

The water-based Aquadur PU range is designed to meet the strictest VOC (Volatile Organic Compounds) norms across the globe, which means it does not cause health problems, and is environment-friendly.

IN FOCUS COLOUR QUARTERLY 09

8–9

Water-based Aquadur PU has low VOC content that makes it environment-friendly.

Aquadur PU accentuates the aesthetics of a living room.

A dining table is coated with Aquadur PU to protect it from heat and scratches.

Aquadur PU is ideal for use on an outdoor deck, as it shields furniture from ultraviolet rays.

1 Low VOC Content

2 Exterior Durability

3 Low Odour

4 Faster Turnaround Time

5 Exterior Durable Wood Stains

The GS–11 VOC norms prescribe VOC to be less than 100 gm/litre.

Aquadur PU stands at 80 gm/litre.

Additionally, Aquadur PU does not contain harmful heavy metals such as cadmium, mercury, and lead. This means that it is not harmful to health, and is environment-friendly as well.

Due to extreme weather conditions, wood surfaces undergo contraction and expansion. Aquadur PU offers a long lasting finish and safeguards wood surfaces from cracking at joints. It acts as the ultimate shield against harmful UV rays, and gives wood surfaces a unique non-yellowing property.

Aquadur PU emits less odour and fumes. So now, there is no reason to vacate the space while Aquadur PU is being applied on wood surfaces.

The recoating time for Aquadur PU is just 4 hours. This means faster completion of jobs and quicker occupation of the site.

Aquadur PU shields furniture from extreme weather while also adding a dash of colour. Aquadur PU offers water-based wood stains in 7 shades.

For more information T 1800 209 5678 E cq@asianpaints.com

A range of shades which can also be applied under solvent-based coatings: Bianco

Redbrown

Oak Yellow

Mahogany

Walnut

Wenge

Rosewood

All shades are printed representations and may vary slightly from actual shades. Please refer to the Asian Paints Aquadur PU shadecade for exact shade reference.

INSPIRATION

10–11

INSPIRATION COLOUR QUARTERLY 09

12–13

T

he world knows Burgundy as France’s celebrated wine-producing region.

However Bourgogne—its French name—is more than its iconic wines like Chardonnay, Pinot Noir, Chablis, and Sauvignon. Burgundy has a unique history and a regional culture quite distinctive from the rest of France.

The province derives its name from the Burgundians, a people of Scandinavian origin who migrated here around the 1st century.

Predating the Burgundians were a long line of conquerors and settlers going back twenty thousand years—the Romans, Celtic tribes, and in prehistoric times, Cro-Magnon hunters and Neanderthals. Over the years, Burgundy fractured into four distinct regions.

The Duchy of Burgundy, lying west of the River Saône, is the region largely identified today as Bourgogne. Under successive dukes, Bourgogne prospered tremendously, its economic and cultural wealth surpassing that of the French court. Even today, Burgundy remains associated with plenitude—a lifestyle characterised by good food, fine wine, and the enjoyment of pleasure.

Today, this former ducal residence houses Dijon’s town hall and the Musée des BeauxArts. A brief stroll from the Palais is Les Halles, the 19th century food market built by Gustave Eiffel, Dijon’s famous son who lent his name to Paris’s iconic Tour Eiffel. Les Halles has an elegant superstructure of cast iron. High above, natural light streams down through translucent glass roofs upon the crowds of shoppers and stalls, selling a vast assemblage of groceries. Elsewhere, halftimbered buildings—pan de bois—with their clean simplicity are a legacy from the Middle Ages. The 12th century Abbaye de Fontenay is arguably the most impressive of Burgundy’s historic buildings, built in the Romanesque style with endless, vaulted corridors. The enormous, stained glass windows of the

Gothic, Cathédrale Saint-Etienne d’Auxerre are breathtaking, while the Château de Chasselas is a historic jewel, built between the 14th and 18th centuries, and set in 12 hectares of vineyards.

Among homeowners, locally available stone has traditionally been the construction material of choice in Burgundy. Wood is used to make arches and exposed beams. Prosperous winegrowers’ homes are massive in size, their walls painted in warm colours.

Lucarnes or dormer windows set in the sloping roofs provide additional light and ventilation. Another historical feature of residential buildings is the pigeonnier or pigeon tower.

Les Palais des Ducs et des États de Bourgogne is famous for its columned splendour and gargoyles. The oldest parts, built in the Gothic style, date back to the 14th and 15th centuries.

Where Food is Religion

Solemn Yellow–7882 | R 244 G 231 B 184

Mahogany–0R05 | R 104 G 47 B 52

A Glorious Architectural Heritage Dijon, Burgundy’s capital, ranks among France’s loveliest towns, having been spared the ravages of both world wars. Most of the buildings in the city centre have crossed 200 years. Great cathedrals and abbeys, carefully preserved, display a wealth of architectural styles—Gothic, Renaissance, and Capetian.

Dijon also boasts of a superb Moorish Revival style synagogue.

Les Palais des Ducs et des États de Bourgogne is famous for its columned splendour and gargoyles. The oldest parts, built in the Gothic style, date back to the 14th and 15th centuries. Most of the sprawling complex however, was built up during the 17th and 18th century in the classic style.

Sunrise–0526 | R 232 G 116 B 52

A statue of Saint Michael on the church Saint-Michel de Dijon.

The nave of the Cathédrale Saint-Étienne d'Auxerre.

Les Palais des Ducs et des États de Bourgogne houses both Dijon's town hall and the Musée des Beaux-Arts.

Outside Les Halles vendors artfully display fresh produce.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

There is no better proof of Burgundians’ devotion to food than the markets in Dijon and Beaune stacked with arrays of cheeses, organic honey, meats, liqueur de cassis, stuffed snails, and Dijon’s famous spiced bread. Outside Les Halles vendors stack up artful displays of fresh farm vegetables and fruits in an orgy of colour. Burgundy’s rich cuisine derives its flavours from the region’s full-bodied red wines. Additionally, Burgundy is home to the Charollais, among the world’s best varieties of beef cattle. À la bourguignonne is the term used for dishes prepared with classic Burgundy sauce—cooked in red wine with strips of bacon, mushrooms, and baby onions.

Boeuf bourguignon and coq au vin, famous worldwide, are traditional Burgundian fare.

Burgundy's Heritage Colour Palette

INSPIRATION COLOUR QUARTERLY 09

14–15

Speciality of the Region

The classic Burgundy wines are derived from single varieties of grape. Pinot Noir produces the best red wines while white wines come from Chardonnay grapes.

Golden Ray–7870 | R 255 G 218 B 64

Chilly winters, warm summers, and plentiful rain—characteristics of a continental climate —have favoured Burgundy’s emergence as one of the world’s foremost wine producers.

Interestingly, the wines produced here originate from thousands of small vineyards rather than a few large estates. A winegrower with a tiny patch of land may produce up to a dozen varieties of red and white wines.

Each evening, dusk drops grey veils over this fertile land and its vineyards—as the sun dips, the serried green valleys with stone houses nestling in their folds are enveloped in a dreamy, honey-gold glow. It’s just another perfect summer day in Burgundy.

Royale Play–Dune Basecoat: Orange Spark–7951 Topcoat: Helios–M310

Garden Fresh–9357 | R 130 G 150 B 90

Burgundy’s Colours There’s more to satiate the eyes and heart in the Morvan Forest at the heart of Burgundy, a 25 million hectare granite outcrop in a predominantly limestone region.

Through this green sanctuary, the rivers Cousin, Yonne, and Cure carve valleys that are a wildflower paradise in spring; violets, butter-yellow cowslips, bluebells, and lily-ofthe-valley carpet the slopes. Silver streams and waterfalls glitter beneath the greens and browns of beech, oak, fir, and pine. There’s a timeless, distilled grace about Burgundy that is to be savoured like one of its iconic wines.

Crimson Depth–X123 | R 149 G 45 B 58

Royale Play–Dapple Basecoat: Fabric Pink–9421 Topcoat: Moody Maroon–4181

The climate & soil is conducive for cultivating high quality grapes.

Pinot Noir grapes are harvested to produce the famous wines.

A vineyard in Côte de Nuits, at the heart of Burgundy.

In spring, yellow cowslips dot the Burgundian landscape.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Please share your feedback by writing to us at cq@asianpaints.com

Burgundian Landscape Colour Palette

INNOVATION

16–17

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The Asian Paints Signature Store, New Delhi

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With the ambition of changing paint retailing in India and after the huge sucess of its first ever signature store in Mumbai, Asian Paints launched its second signature store in New Delhi, ‘Colour With AsianPaints’ in August, 2011. Located in the heart of the city, at Connaught Place, the store aims to educate and inspire consumers about colour and home decor.

INNOVATION COLOUR QUARTERLY 09

18–19

I

n the store, consumers are welcomed by a beautiful interplay of colours which ‘dance’ to their footsteps. The interactive entrance of the store, with the interplay of colour not only sets the right mood for rest of the journey but also opens the consumers' minds to the possibilities that colour has to offer. The store has been brought to life to interact with consumers using custom technology solutions. Whilst technology has been used extensively around the store, it remains concealed. Consumers directly experience colour which is only aided by use of technology.

RFID Colour Card To Record Individual Journeys Consumers are given an RFID Colour Card, which can be used to control, select, and record their colour preferences while moving through the store. The design ensures that the interaction is simple, fun, and enriching. The ambience of the store is designed keeping in mind the taste and sensibilities of consumers in Delhi.

“Consumers seek customised solutions when they are decorating their homes.

They like their homes to reflect their personality, and they want their homes to stand out,” says Satish Kulkarni, General Manager, Marketing, Asian Paints Ltd. Immersive Colour Environments On the ground floor, consumers are inspired by a series of room sets which demonstrate the role of colour in a space.

Again, technology enables the consumer to experience how different light types affect colour by the simple press of a button. Model houses are used to focus on exterior colours and finishes, which are supplemented by life-size panels to provide touch and feel.

Colour and Mood section.

Interactive interplay of colours at the entrance of the store.

A journey through the Inspiration area of the store.

Room sets within the store demonstrate the role of colour in a space.

Customised Colour Consultancy

Interactive Play

For consumers who are in the process of decorating their homes or office spaces and need colour advice, colour consultancy services are provided by expert colour consultants, free of cost. The consultancy is aided by the three-dimensional visualisation application, Colour 3D.

A breather is provided in between the journey by means of an interactive digital game. Saif Ali Khan as a quiz master tries to determine the consumer's tastes and preferences through a series of simple questions, and then recommends a wall fashion theme to go with it.

Extensive Showcase Of Colours, Textures, And Finishes The journey on the first floor of the store aims to provide solutions tailored to individual consumer’s tastes, preferences, and needs. Large painted panels are used to showcase the various offerings available.

Specific zones for wood finishes, textures, metallics, exteriors, and plain finishes are created to eliminate the role of visualisation, which might be required otherwise.

“Consumers like their homes to reflect their personality, and they want their homes to stand out” —Satish Kulkarni, General Manager, Marketing, Asian Paints Ltd.

INNOVATION COLOUR QUARTERLY 09

20–21

Technology Driven Colour Lab

“We have created an inspirational and educational experience, which offers highly personalised and interactive solutions to each consumer who comes into the store” —Amit Syngle, Vice President, Sales & Marketing, Asian Paints Ltd.

A Colour Lab has also been designed as an integral part of the store, keeping in mind the need for a meeting space for architects and interior designers who want to accompany their clients. Powered with Colour 3D, the Lab presents a perfect opportunity to deliberate and finalise the colours for a space. Consumers can choose from a large array of cubes painted in 1800 shades offered by Asian Paints and see their colour combinations on 3D representative spaces on a high definition screen.

Personalised Record Of Colour Journey “The store is designed as an interactive home decor magazine which attempts to demystify the painting category for the end consumer. It not only showcases the options available for home painting, it also allows consumers to record their choices and preferences in the form of a personalised ‘My Colour’ magazine, which features their photograph on the front cover,” says Rajat Avasthi, Marketing Manager, Asian Paints Ltd.

The 1800+ shades offered by Asian Paints, painted on cubes are on display at the store.

The Colour Lab allows clients to deliberate and finalise on colours for a space.

Personalised 'My Colour' magazine records consumers colour choices and preferences.

Workshops conducted in the store provide an opportunity to educate discerning consumers and partners on specific topics of colour in home decor. The innovative use of technology in the store is unique to Colour With AsianPaints and not available elsewhere in the world. Visit the store to witness the vibrant world of colours or contact us for more information.

Awards & Recognitions Chain Store Age—‘Retail Store of the Year’, 1st place in the service category Chain Store Age—Special judges’ award for technology Association for Retail Environments (A.R.E.) Design Awards 2012 ‘Individual Element’ award for Colour Cloud

Address Colour With AsianPaints, A-3/8, Inner Circle, Connaught Place, New Delhi-110001 T 011-4150 1676, 011-4150 1677 E delhi.signaturestore@asianpaints.com

insight

Mosaics In The Classical Style

22–23

By J. Michael Welton

SARA BALDWIN DESIGN works with architects and designers to develop functional mosaics for walls, floors, baths, and kitchen counters.

insight COLOUR QUARTERLY 09

24–25

S

ara Baldwin discovered mosaics during graduate school on a visit to the Metropolitan Museum of Art in New York.

She had grown disenchanted, intellectually and emotionally, with her paintings at the University of Pennsylvania. She wanted it to be more physical, more gestural, and more about the paint. “When I went to the Met,” Sara Baldwin said, “I looked down and saw a Roman mosaic. And I wondered why nobody made them anymore.” That was in the early nineties. She went home to the Eastern Shore of Virginia, and hasn’t looked back since.

“I happen to love what I do, exploring new areas and products,” she said. “Now I’m more of a product developer than a painter. It causes you to see things differently and in a

new light. I’m happiest when I’m collaborating with our design team.” She imports her raw materials—limestone, quartzite, marble, and granite—from around the world, including India, China, Pakistan, Portugal, Spain, Italy, and Greece. The stone arrives in 12 inch square tiles, and goes out, cut into tiny shapes, in 500 different patterns for borders, medallions, murals, and custom projects. The firm’s designs have been applied worldwide.

“Maybe that’s more important than being an artist,” she said. “I can have a much bigger impact on the world than through painting.”

She chooses the colours of her mosaics based on what her consumers want and specify, although in recent years, she’s begun to take colour out of the equation when showing a proposed project.

“People have such an emotional response to colour, and sometimes will throw a design out because of it,” she said. “So we’ve started showing designs mainly in white, grey, and black. We want them to see the design without the colour—it’s a blank slate, with no editorialising.” Next to the design she’ll display a photograph of the design fabricated and installed in colour. She has changed her colour palette this year to beiges and whites.

“We’re still ahead of the curve on that,” she said. “We saw it at the Paris Maison & Objet

Ikat Collection

Metamorphosis Collection

Silk Road Collection

For the Ikat collection, Sara Baldwin has interpreted the ancient textile in her signature style, combining brilliant colour and refined texture in jewel glass mosaics. She has integrated the classic patterns of Central Asian Ikat textiles with the glitter of reflective glass and mirror.

In Metamorphosis, organic patterns and textures are transformed into the timeless craft of mosaic. For Baldwin, it's a way to capture the soul of nature's imagination, and to invite its tranquillity into the home.

The newest collection is inspired by different historical motifs from cultures in the Middle East. “People are really into that kind of exotic pattern right now,” she said.

design show. Everybody was showing palettes with vanilla, chalk, natural linen, silver, dove grey, and grey. In America we’re just getting started, but they’ve been doing it in Europe for a while now.”

Trends in glass for the future are all about texture and that colour palette. “In glass there are lots of neutrals, but bright splashes of colour and reflective glass act as a counterpoint,” she said. “We’re doing a project now for a client who wants sparkle— metallic reflections underneath and on top of the glass.”

Baldwin has integrated the classic patterns of Central Asian Ikat textiles with the glitter of reflective glass and mirror.

AUTHOR J. Michael Welton writes about architecture, art, and design for a number of national & international publications, including The New York Times, Dwell, Metropolis, and Interior Design.

Please share your feedback by writing to us at cq@asianpaints.com

Metamorphosis Colour Palette

Silk Road Colour Palette

Oriental Blue–1306 | R 37 G 66 B 128 Coastal View–7473 | R 147 G 198 B 201

Caffeine–8653 | R 82 G 60 B 50

Soft Linen–7884 | R 248 G 243 B 218

Henna–2430 | R 155 G 158 B 113

Grassland–9325 | R 84 G 106 B 79

Code Red–X120 | R 196 G 52 B 45

Jaqueline pattern fabricated for a mosaic wall.

Loom Glass mosaic used on a bathroom wall.

Colourless swatch of the Suzani pattern, to present to clients.

Weft Bloom mosaic used as a focal point above a table top.

Solid Oval mosaic used for a living room floor.

Sample swatch of the Lazuli Bunting Cosmos mosaic.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Inspiration

26–27

W

hen specifying colours for any commercial project, designers must take into consideration practical issues such as space limitations, the amount and source of lighting, and the intended use of the space. To determine the right colours for a commercial space think about your client’s primary goals for the space. Are they looking to invigorate and excite those who work there? Is the focus on enhancing their brand by providing an experience for visitors? As a designer it is important to learn as much as possible about the client’s purpose, goal, and product or service offered before making any colour decisions. This will make it possible for you to specify appropriate colour combinations that will assist your client in motivating their work force, meeting their business goals, and meeting the needs of their customers.

COLOUR FOR COMMERCIAL SPACES Colours For The Office Or Workspace The most common goals for choosing the appropriate colour for an office or workspace are to increase worker productivity, encourage creativity, or to improve employee morale. This can be a difficult task since individuals respond differently to colour, based on their own personal history, culture, and background.

Each individual responds differently to colour and this makes the job of finding the ‘perfect’ colour for a specific office setting very complex.

By Kate Smith, Cmg, Cfyh

Individual Responses to Colour

Projecting an Image

Source of Light

Size of the Workspace

While not an exact science, studies have shown that the colour scheme of an office may positively impact productivity and employees’ attitude. However, when an individual’s personal reaction to that colour is taken into consideration, it is easier to determine whether the productivity of that specific employee will be affected positively or negatively.

A surprising result of those same studies show that white, the most common colour for office walls and furniture, results in less productivity from most workers. There are many thoughts as to why this is the case. It may be due to the starkness of the white walls, or the lack of contrast in a monochromatic colour scheme.

The obvious conclusion you can draw from these studies is that each individual responds differently to colour and this makes the job of finding the ‘perfect’ colour for a specific office setting very complex.

Colour Red in Offices For example, it is a common belief that the colour red is energising and stimulating, but in an office environment, red walls may overwhelm some workers while stimulating others. In this example, employees who find red walls overwhelming may not work to their full potential, while the employees energised by the colour red may or may not improve their productivity.

The image your client wishes to project to their clientele is important when choosing a colour scheme. For example, a professional group of attorneys may wish to choose colours that project trust, stability, and reliability, while at the same time, putting their clients at ease. A high energy marketing firm that is looking to attract young clients may wish to use unusual colour combinations that reflect their creativity.

Keep in mind that if your client’s corporate identity or brand is tied to a well known, recognizable colour scheme, the rules of colour psychology should be overlooked and those colours should be incorporated into their office design.

It is imperative that, as the designer, you are also aware of the primary source of light in the office and choose colours accordingly. Colours react differently under fluorescent, halogen, and natural light.

Halogen Lighting Halogen lighting produces an intense white light that makes it an excellent choice for task-lighting. However, while energy efficient, they are more expensive than other forms of lighting and emit a great deal of heat that can be uncomfortable and possibly dangerous in a commercial setting.

Fluorescent Lighting Fluorescent lighting produces a very white light in a bulb that is inexpensive and energy efficient. This source of lighting is commonly used in commercial environments, but can be difficult to dispose of once the bulbs have burned out due to the high mercury count .

Natural Lighting Ideally, some natural light is present in most areas of a commercial setting including private work areas as well as public spaces.

In order to determine the best colour scheme for your client, you as a designer will need to take into consideration the size of the space.

Office space can consist of one large room that is filled with desks and cubicles or the space may have several small interior offices that open into a common area.

In most work situations the least disruptive colour scheme consists of a main colour that is low chroma (toned down) and light in value, covering the majority of the visual area. The second largest expanses of colour would be mid-value and medium saturation. Trim and accents could be either high or low in both value and chroma.

Office Colour Palette For example, walls might be painted light green in a flat finish; small, individual cubicles could be painted in a medium blue; and a contrasting colour in a glossy finish could be applied to doors, mouldings and other trims.

Office Colour Palette

Hushed Hue–7771 | R 239 G 241 B 205

Gentle Eyes–9192 | R 120 G 169 B 208

Autumn Pumpkin–7991 | R 255 G 170 B 118

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Temperature Control

Minimize Wear and Tear

Another consideration is temperature regulation. In industrial spaces your client may be trying to reduce heating or cooling budgets while still maintaining employee comfort.

This can sometimes be difficult to achieve but the colour scheme can help employees perceive a space as warmer or cooler than the actual temperature. To make the work area more comfortable for employees, choose a colour scheme that can alter a person’s perception of the temperature.

Warm & Cool Colours in Industrial Settings For example, studies have shown that a space painted light, clear blue feels several degrees cooler than the actual temperature, while yellow-orange on the walls makes a space feel warmer. When used wisely, colour may help employees feel more comfortable when working in a very warm or cool environment.

The interior office space, as well as furniture, machinery, and other equipment that is part of the warehouse or industrial workroom, is often subjected to extreme temperatures, abrasive materials, extreme wear and tear, and other harmful agents that can corrode or otherwise alter the appearance and functionality of these items.

It may be necessary for you to choose products in the market that can help reduce deterioration of the structure, furniture, and equipment, and protect the space from permanent damage. This would include protective sealants, anti-corrosive paint, and specialised items such as enamel or porcelain coatings, just to name a few.

It is up to the designer to work with the industrial client to determine what products will best meet their needs and to figure out how to work within the limited colour range of specialised products.

Ocean Breeze–7504 | R 107 G 206 B 207

EN QU I

Colours for Industrial Spaces Industrial spaces have unique requirements when it comes to specifying colour. When choosing interior paint and colour for walls, as well as for equipment and building materials that are located in the space, issues like environmental hazards, special storing requirements, flammability, and proper disposal must be taken into consideration.

28–29

RY

Inspiration COLOUR QUARTERLY 09

Colour Query Q What colours will best suit pillars in a house painted light green?

A Green is a good natural tone to balance both a warm and a cool palette. The purpose of the space can dictate the greens you use. As per Vaastu, the colour green stimulates ideas, and is ideal for a study room. If used in a dining area, an aqua soft green is appropriate.

Exterior Colour Scheme If the house is in a high-traffic area, use mint greens balanced with soft peaches or pale orange tones. A muted blue-green can be used to offset a white colour. In most cases the style of your home will dictate the right colour choices. Use the given exterior colour scheme for a soft look for your house.

Interior Colour Scheme If used in a soft range, green tones can create a soothing effect for a space. Homes painted light green can be balanced by a good use of pure white for the pillars. Powerful greens can be used as a focal point if you want to create an impact. For a slightly experimental, bold approach try painting the pillar in jade greens or browns.

Mango–7909 | R 255 G 195 B 0

Exterior Colour Scheme

Interior Colour Scheme

Bright Jade–7510 | R 0 G 167 B 157

Earthy Green–9319 | R 117 G 139 B 114

Sunny Sands–7874 | R 249 G 240 B 195

Radium Green–9354 | R 216 G 226 B 184

Soft Hills–9266 | R 181 G 212 B 206 Write to us with your queries at cq@asianpaints.com

Product Query Q What are the best waterproof coatings for medium density fibre board (MDF) and plywood ?

G Ashok Kumar, Secunderabad

Please share your feedback by writing to us at cq@asianpaints.com For more info on Asian Paints industrial coatings please contact: Suresh Nair Senior Segment Manager–Power & Infrastructure suresh.nair@asianpaints.com Nasim Khan Sales Manager–Road Markings & Floor Coatings nasim.khan@asianpaints.com Nitin Bhagwat Segment Manager–OEM nitin.bhagwat@asianpaints.com Eufem Vaz Segment Manager–Oil & Gas vaz.eufem@asianpaints.com

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

A For water-resistant coatings of MDF and plywood, PU Palette Wood Finish by Asian Paints is recommended. Wood Finishes are not waterproof, however they are waterresistant i.e. they are resistant to staining by water. They are specially formulated 2-component finishes with acrylic resin technology.

PU offers Clear and Opaque Wood Finishes, both of which are water-resistant. As MDF and plywood both lack grain pattern, it is beneficial to use PU Palette Opaque Wood Finishes. It is important to note that the MDF or plywood

element must be coated from all sides to ensure proper water-resistance.

The use of PU Palette Wood Finishes prevents constant expansion and contraction of the wood and protects furniture from getting warped or cracked. It helps retain the aesthetics of your furniture for years, and provides anti-yellowing properties. The advanced film hardness provides superior heat, scratch, and stain resistance. PU Palette consists of interior, exterior, and metallic shades.

For more information on wood finishes, please visit: www.asianpaints.com/products/wood_finishes

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

INCOMING Royale Play–Textile

Royale Play–Textile Basecoat: Frost Blue–9180 Topcoat: Monsoon Sky–9157

Just as threads are woven together to make a textile, the history of textiles is intertwined with ours. Fluid, sensual, strong, and always evocative, fabrics have always been a tangible part of our lives, fascinating us with their tactile beauty and elegance. Now, bring that magical warp and weft effect, with its sense of richness and ephemeral movement, into your home with Royale Play–Textile, a range of unique effects inspired by fine fabrics that will capture your imagination and satisfy your senses.

Textile, with its visually stimulating effects and contemporary palette of colours, will add a sophisticated ‘wow’ factor to any space, enthralling and captivating everyone who experiences it. For more information, email us at cq@asianpaints.com

Register online at asianpaints.com/yourvoice

Conversations, Community,& Connections Your Voice is an online forum for consumers to send their queries and share feedback on Asian Paints products and services. The Asian Paints team ensures that all complaints and questions are resolved in a professional and timely manner on the forum. They are attended to within 48 hours of interacting with the consumer. With its categorised record of usergenerated queries, complaints, and feedback, Your Voice is a candid and comprehensive repository of information on Asian Paints products and services.

Browse through what consumers have to say by way of Queries, Complaints, Feedback, and Appreciation, across more than 15 categories, including

To add your voice to the conversation, register online at www.asianpaints.com/yourvoice

• Advertising, Promotion and Communication • Colour and Inspiration • Information for Architects and Interior Designers • Exterior and Interior Paint Solutions for Homes • Metal and Wood Surface Products for Homes • Paint Solutions for Large Projects • Service, Shade, and Product Complaints

Royale Play–Textile swatch represented in actual proportion.

CREDITS THE COLOURS OF NAVARASA All images © 2006–2012 Fotomurthy IMAGE Fotomurthy » fotomurthy.deviantart.com/art/ Navarasas-43135211 SHADES OF BURGUNDY All images under Creative Commons license IMAGE OliBac » flickr.com/photos/olibac/3788427885/ IMAGE Baswallet » flickr.com/photos/baswallet/5161643132/ IMAGE Catsper » flickr.com/photos/35034364511@N01/7094044 IMAGE Stefan Bauer Ferras » en.wikipedia.org/wiki/File:Weinberg_ Cote_de_Nuits.jpg IMAGE Waitscm » flickr.com/photos/chriswaits/5672850164/ IMAGE Guillaume Piolle » fr.wikipedia.org/wiki/Fichier:Dijon_-_ église_Saint-Michel_-_statue_de_Saint-Michel.jpg IMAGE Cquintin » flickr.com/photos/34878947@N04/5940180953/ IMAGE Chelmsfordblue » flickr.com/photos/ chelmsfordblue/6218900275/ IMAGE Geishaboy500 » flickr.com/photos/ geishaboy500/4532220990/ MOSAICs IN THE CLASSICAL STYLE All images © 2012 New Ravenna Mosaics. All rights reserved.

IMAGE New Ravenna Mosaics » newravenna.com

View current issue and archive at www.asianpaints.com/cq COLOUR FOR COMMERCIAL SPACEs All images under Creative Commons license IMAGE Victortsu » flickr.com/photos/victortsu/6834213681/ IMAGE Seier + Seier » flickr.com/photos/seier/4758254767/ enhance wood surfaces IMAGE Jespahjoy » flickr.com/photos/francapicc/4786649221/ REACH US Let us know what you felt about this issue of Colour Quarterly.

What would you like to see featured? Have something interesting to share?

Write to us at » cq@asianpaints.com Asian Paints Helpline » Contact us at 1800 209 5678 for queries on products/colour tools/services Asian Paints painting service » Contact us at 1800 209 5678 (Service available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, Pune)

Colour Quarterly 07 November 2011

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