Festive Floral
Celebrate the festive season with an explosion of colour and texture. Contrast the bleak winter with the warm and inviting hues of flowers which signify merriment and joy. Colour Quotient presents a contemporary interpretation of floral elements for this festive issue.
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STORIES OF CHANNAPATNA In Stories of Channapatna, Colour Quotient interviews the founder of Varnam, Karthik Vaidyanathan on issues of social enterprise and craft revival. Log on to the online platform of Colour Quotient to read the full article, along with access to additional exclusive features bringing you colour inspiration and insight.
To access the online platform of Colour Quotient, please visit www.asianpaints.com/cq
COLOUR MAP
Colours are rich in inspiration—each colour carries with it a multitude of meanings, associations, and connotations. Colour Map is a visual map of ideas originating from our issue colour, Red Alert‒X124, to inspire and kickstart your creative process.
RED ALERT–X124 OPULENT Felbrigg Hall, Gardens and Estate in East Anglia, U.K. Ornate door knob at Ralong Monastery in Sikkim.
A sophisticated, yet fresh colour arrangement.
Antique Persian Mashad rug.
Antique table by Alfred Emmanuel Louis Beurdeley. Pure Impact–9117 | R 78 G 61 B 84
Royale Play Dune Gold–M003 Opulent Colour Palette
All shades and textures are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra or texture book for exact shade reference.
SNUG Intricate, warm fabric installation by Mandy Greer. Camp Fire–X114 | R 248 G 111 B 41
Empire Yellow–7918 | R 248 G 186 B 56
Snug Colour Palette
Potpurri adds a dash of colour to interiors.
Chain-stitch embroidery on a Kazakh rug.
A wicker chair in red.
MODERN Modern rustic interior with contrasting colour combinations.
Textured walls with elephant decals.
Oxford Grey–8328 | R 132 G 136 B 130
Steel–6142 | R 186 G 189 B 188
Chair by Todd Oldham for La-Z-Boy.
Modern Colour Palette Red and white tesselations on a cushion cover.
Source Chairs by Haldane Martin.
IN FOCUS
Asian Paints
SMARTCARE Waterproofing solutions for the exterior and interior of your home
Water tanks & slumps
Exterior walls Sun–shades
At Asian Paints, we recognize your need to protect the beauty of your home and have devised a range of solutions that give lasting protection from issues such as dampness and related problems. We now offer SmartCare, a revolutionary range of high-tech products, tailor-made to solve various dampness-related problems in your home. Each product, formulated using specialized chemicals and advanced technology, is designed to tackle specific problems. With products for waterproofing and crack-bridging, SmartCare is Asian Paints’ ultimate
answer to most wall decor problems. SmartCare products are designed to play a supporting role to help maintain the longevity of your painted walls. When used in conjunction with the Asian Paints painting system, SmartCare promises lasting beauty to your home decor.
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Kitchen sink areas
Terraces
Bathroom walls Ceilings Skirting areas
Exterior facing walls
Crack Seal
Damp Block
Damp Proof
Crack-Filling Compound SmartCare Crack Seal is a single-pack fibreglass reinforced crack-filling compound for both interior and exterior surfaces. It is available as a ready-to-apply white paste.
Interior Waterproofing Solution SmartCare Damp Block is a flexible polymer modified cement-based anti-damp coating for interiors. It is a single-pack, white powder that is easy-to-apply and offers lasting protection from dampness.
Exterior Waterproofing Coating SmartCare Damp Proof is a fibre-reinforced elastomeric liquid-applied waterproof coating. Upon curing, it forms a seamless, durable membrane offering excellent waterproofing protection.
IN FOCUS COLOUR QUOTIENT 14
BENEFITS OF ASIAN PAINTS CRACK SEAL
Ease of Use Single, ready-to-use pack and an easy-toapply product.
Flexibility High-elongation film that accommodates minor movements.
Mechanical Strength Strong fibreglass reinforced film does not let cracks reappear.
BENEFITS OF ASIAN PAINTS DAMP PROOF
O2
Ease of Use Single-pack, easy-to-apply, and simple re-coating for maintenance.
COLD
Waterproofing Waterproofing protection up to 7 bars hydrostatic pressure from the positive side.
CO2
Anti–carbonation Protection against carbon dioxide and chloride ion diffusion to maintain the strength of the structure.
HOT
Asian Paints Damp Proof
2mm
Heat-proof Brilliant white coat and high Dry Film Thickness (DFT) of 650 microns results in high heat reflection that results in cool interiors during harsh summers.
Mechanical Strength Strong fibreglass reinforced film does not let cracks reappear.
Crack-bridging High-elongation film allows excellent crackbridging ability for cracks up to 0.8mm on horizontal surfaces (terraces) and 2mm on vertical surfaces (walls).
Exterior Dampness Seepage and accumulation of water in various areas such as terraces and sun-shades can lead to dampness and related problems such as algae, weakening of walls, and formation of ugly patches, which consequently spoil interiors and home decor. Fight exterior dampness problems with a combination of Crack Seal and Damp Proof.
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Asian Paints Crack Seal
Regular Product
3mm
Crack-bridging Strong filling capacity for plaster cracks up to 3mm width.
Waterproofing Water-resistant film stops water entry through cracks.
Asian Paints Crack Seal
Low–shrinkage Does not leave a mark after painting.
BENEFITS OF ASIAN PAINTS DAMP BLOCK
Ease of Use Single-pack which is easy-to-apply.
Nanotechnology Nano-sized particles enter the smallest pores and crevices to prevent water from leaking out.
Breathability Breathable nature allows water vapour to pass while completely blocking water, thus prevents blistering.
Crystalline Technology Reacts with water and forms crystals to effectively block water.
Waterproofing Resists 4 bars of hydrostatic pressure from the negative side.
Adhesion High-tensile and excellent bond strength with cementitious substrates.
Interior Dampness Often due to structural problems, age of the structure, or incorrect planning, leakage and seepage of water can ruin your walls. Treat interior dampness problems in areas such as ceilings, kitchen sinks, and bathroom walls with an effective combination of Crack Seal and Damp Block.
IN FOCUS COLOUR QUOTIENT 14
APPLICATION OF ASIAN PAINTS WATERPROOFING PRODUCTS Application of Asian Paints Crack Seal 1. Open the cracks and widen them to form a ‘V’-shaped groove. Clean the area thoroughly so that it is free from loose dust particles. 2. Post cleaning, treat the opened crack using a primer. 3. Apply the first coat of SmartCare Crack Seal on the crack using a spatula or putty knife. Press the paste firmly into the crack and level with the surface. 4. Apply in consecutive perpendicular layers to avoid leaving air pockets. 5. Allow it to set for 6–8 hours. 6. Apply the second coat of SmartCare Crack Seal in the same manner. 7. The surface can then be levelled using putty or Plaster of Paris (POP) once SmartCare Crack Seal is completely dry.
Crack Seal
Application of Asian Paints Damp Proof 1. Clean the surface and ensure that it is free of oil, grease, and loose dust particles. It is recommended to use intense wirebrushing or a high-speed water jet. 2. The substrate must be checked for its soundness using a small hammer. Cracks up to 3mm should be treated with SmartCare Crack Seal. Damaged portions need to be repaired. 3. Apply a self-priming coat of SmartCare Damp Proof (diluted with water in 3:1 ratio). 4. For horizontal surfaces such as terraces, apply 2 undiluted coats of SmartCare Damp Proof in a perpendicular direction to each other. 5. For vertical surfaces such as walls, apply 1 undiluted coat of SmartCare Damp Proof and 2 topcoats of a quality exterior emulsion such as Apex Ultima from Asian Paints. 6. Allow a drying time of 4–6 hours between coats.
Damp Proof
Application of Asian Paints Damp Block 1. Remove old paint by sanding; putty or existing POP using a chisel and wire-brush to ensure you reach the cement plaster for the product application. 2. Apply a self-priming coat of SmartCare Damp Block (diluted with water in 1:1 ratio). 3. Apply 2 coats of SmartCare Damp Block (diluted with water in 3:1 ratio) using a putty knife or a trowel. 4. The system should cover 2 feet beyond the affected area on all four sides. This will prevent water from affecting the adjacent areas. 5. A gap of 4 hours should be given between coats. 6. Apply putty-primer and a suitable topcoat. 7. For severely affected areas, apply an additional coat as mentioned above. 8. For best results use a high-end interior emulsion such as Royale Shyne from Asian Paints as a topcoat.
Damp Block
1
2
3
1
2
1
2
1x
1x
X1
For more information T 1800 209 5678 E cq@asianpaints.com
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5
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6
1x
Second coat
1x
5
4
3
6
1x
3x
Putty coat
X2
1x X1
1x
4
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Apex Ultima
5
Affected area 3x
1x X2
Coat 1
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4 hrs
Coat 2
INSIGHT
Festive Floral
The winter season finds a new lease of life in festive celebratory hues that contrast the changing colours of nature. Flowers and floral elements, quintessential to celebration, festoon the landscape in a vibrant, spirited avatar.
In this issue of Colour Quotient we explore the colour stories of Festive Floral through conversations with two professionals representing two unique creative practices based in India—Vishesh Verma (an independent photographer), and Pavitra Rajaram (Pavitra Rajaram Design). Inspired by the issue theme colour (Red Alert–X124), they share their colour interpretations
of Festive Floral. In ‘Spirit of Festive Floral’ and ‘Colour Inspiration’, each practitioner shares their interpretation of the theme and presents a custom colour palette for the same. In the section ‘Showcase’, each practitioner delves into their folio of work, and shares an instance of contemporary work that represents the qualities of Festive Floral.
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VISHESH VERMA Photographer Independent Practitioner Vishesh Verma graduated as a graphic designer from National Institute of Design, India, and soon after, worked towards becoming a fashion photographer. Fast becoming an acclaimed international photographer, he has worked for clients abroad, shooting in locations such as the Middle East, South-east Asia, United States, Europe, Hong Kong, Africa, Egypt, and Maldives. Listed on national television as the youngest of India’s Top Ten fashion photographers, his work in advertising and editorial grow along with his fashion work.
SPIRIT OF FESTIVE FLORAL
COLOUR INSPIRATION
For me (like many other visual artists) the colours of nature are a constant inspiration and the floral world is a source of visual delight. I have a strong preference for light pastel shades and am constantly controlling the palette of my pictures so they head the way the job suits it. Flowers, with the way they grow and spread-out are perfect for when I want to ‘paint-in’ a particular section of my composition with a swathe of colour.
I am a lover of both the natural and the man- “ I use colour as a painter would in the traditional sense. I ‘mix’ colours with made. These two worlds collide in my head light on location itself. I enjoy colour and lead to unpredictable colours. I like to immensely—as I am shooting and I see the combine a shade that occurs in nature with image develop on the laptop screen, I tweak an absolute acidic, plastic, almost fluorescent colours with my lights and levels almost as colour. And I love the way that contradiction serves me visually. My favourite play of colour a painter would keep playing around on the palette with pigments. I’m not a rigorously has always been one of strong contradiction and at the base of that lies my equal enjoyment pre-planned shooter and I like to see things take on a life of their own.” of a naturally occurring gentle, fresh pink as well as a bitter yellow-green that looks like it came from a really toxic effluent.
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Brazen Gold–7831 | R 236 G 223 B 122
Cool Lagoon–7477 | R 32 G 71 B 73
Red Alert–X124 | R 171 G 46 B 70
Vishesh Verma Colour Palette
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Colour Inspiration for Vishesh Verma’s Colour Palette
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INSIGHT COLOUR QUOTIENT 14
VISHESH VERMA’S SHOWCASE Not So Serious (SS – 2011-12) by Pallavi Mohan Technicolor movies were my inspiration for this series, colour-wise. I like the way the Technicolor colour palette has come back in a more acidic, modernised form. The challenge here was to use pastel hues of the traditionally heavy colours so the image becomes light and airy. Tempting Eve for Adorn I used colour in an almost fantasy-way here to recreate the innocent sensuality of the Garden of Eden. Lit in a high key-light the colours in this feature grab you by how they seem both natural and artificial at the same time. 2
PAVITRA RAJARAM Designer Creative Head and Founder Pavitra Rajaram Design Pavitra Rajaram is the Creative Head of Pavitra Rajaram Design. The firm focuses on providing strategic design consulting, product design in textiles and tableware, global product sourcing, visual merchandising, and styling services to premium brands in the lifestyle design space. Pavitra also designs home and lifestyle products under her own label and creates bespoke interiors for a private clientele. In 2012, Pavitra held her first solo exhibition of mixed media artworks.
SPIRIT OF FESTIVE FLORAL Today’s Festive Floral would be a distillation of exuberance and earthiness, a modern palette centered with a vibrant, deep crimson but balanced with tones of aquamarine and soft gold. It would be textural and layered, with an interplay of traditional patterns in a more modern scale. Classical floral motifs from textiles and paintings would be juxtaposed with metallic accents, geometric patterns in charcoal and soft white, and warm lighting.
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From the series Not So Serious (SS – 2011-12) by Pallavi Mohan. Copyright Vishesh Verma.
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From the series ‘Tempting Eve’ for Adorn. Copyright Vishesh Verma.
“Colour is central to my work. It is the context within which I express the various elements of design, be it a home, a textile pattern, or an artwork. It is very often present at a subconscious level when I am ideating. I could be planning a space and focusing on the layout of furniture but in the back of my mind, the colour palette has already taken root. With interior design clients, I often find that colour is a great way for them to express their sense of comfort with a space or an idea. Words like ‘minimal’, ‘contemporary’, ‘eclectic’, are open to ambiguous interpretation but colour is not. So colour becomes very useful in setting the context for planning someone’s space.”
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COLOUR INSPIRATION
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Festive Floral takes me back to the traditional celebrations of my childhood in Bangalore; the beautiful garlands in the flower markets, the elaborate rangolis or kolams, the strings of marigold, neem leaves, jasmine, and rose against the gleaming red earth athangudi floors and deep dark wood of traditional homes. The flash of diamond nose-pins, gleaming ruby bangles, brass lamps, and the deep rich tones of kanjeevaram saris are my visual cues for this theme.
Red Alert–X124 | R 171 G 46 B 70
Rustic Turquoise–7438 | R 0 G 148 B 170
Gold Rush –X101 | R 217 G 187 B 36
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Pavitra Rajaram Colour Palette
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Colour Inspiration for Pavitra Rajaram’s Colour Palette.
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Central courtyard with a fountain, styled by Pavira Rajaram.
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Bedroom overlooking a garden, styled by Pavitra Rajaram.
COLOUR SPECTRA PRO A Professional Fandeck Colour Spectra PRO contains a range of 1800 colours from Asian Paints in large size swatches. These 3 x 5 inch colour swatches not only help you see colour in a larger format but also make the process of trying various combinations easier. Colour Spectra PRO comes as a set of 6 decks, each deck encased in a vibrant casing, which is designed to indicate the range of colours present in that deck. The kit includes two index books which help you search for colours by name or code.
To order Asian Paints Colour Spectra PRO W www.asianpaints.com/pro/colouritup/colour_spectra_pro.aspx T 1800 209 5678 E cq@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.
INDIA CONNECT
COLOURS OF
NAVARASA
Translated as ‘essence,’ the Navarasas or the nine emotions evoked are a core element across traditional forms of art and performance, and are intrinsic to our self and being. The idea of the Rasas is intertwined with our ecosystem and environment and defines moods for both
body and mind. Over the past five issues, Colour Quotient has presented an in depth articulation of the colours associated with the nine Rasas, which were each explored through their archetypal and experiential associations.
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The contemporary colour association with ‘emotions’ becomes a valuable resource for a holistic understanding of colour-application in an Indian context.
HASYA (JOY)
Joy is associated with the intangible feelings of nostalgia, motion, anticipation, belief, and continuity.
LEAD COLOURS
KARUNA (COMPASSION)
Compassion is associated with feelings of protection, transparency, fluidity, and freedom.
LEAD COLOURS
BHAYANAKA (FEAR)
Fear is associated with colours that represent forcefulness, strength, purity, and intensity.
LEAD COLOURS
Tons of Sun–7895 | R 251 G 220 B 117
Evening Pansy–8207 | R 148 G 131 B 141
Blooming Blue–9189 | R 38 G 72 B 114
Courtyard–9519 | R 126 G 116 B 95
Biscuit–9520 | R 144 G 133 B 113
Misty Rose–8745 | R 189 G 169 B 165
Passion Fruit–8141 | R 134 G 58 B 94
Moccasin–8763 | R 219 G 209 B 197
Grey Matter–8304 | R 131 G 133 B 132
ACCENT COLOURS
ACCENT COLOURS
ACCENT COLOURS
Pearl Star–L103 | R 246 G 243 B 233
Scarlet–8085 | R 190 G 37 B 53
Waterstone–9477 | R 64 G 66 B 65
Gauguin Blue–7344 | R 135 G 180 B 212
Eclipse–8325 | R 74 G 75 B 68
Pure Red–8093 | R 207 G 37 B 43
Sunset Orange–9398 | R 211 G 110 B 106
Rich Chocolate–8645 | R 101 G 71 B 55
Crystal Peak–L105 | R 245 G 243 B 234
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INDIA CONNECT COLOUR QUOTIENT 14
SHAANTA (CALM)
RAUDRA (ANGER)
The characteristics of the colours that define Calm are cool, sweet, and light.
SHRINGAARA (LOVE)
The colours associated with Anger are pure, intense, and dramatic.
LEAD COLOURS
LEAD COLOURS
The characteristics of the colours that define Love are feminine, fresh, light, and spirited.
LEAD COLOURS
Soft Glow–0952 | R 235 G 227 B 214
Hot Shot–8021 | R 237 G 97 B 54
Rich Rouge–X122 | R 193 G 61 B 68
Winter Morn–7228 | R 232 G 233 B 236
Pure Red–8093 | R 207 G 37 B 43
Early Bloom–9408 | R 208 G 141 B 148
Pink Serenade–9419 | R 231 G 208 B 221
Pale Dawn–8003 | R 251 G 234 B 216
Japanese Lilac–7111 | R 197 G 147 B 200
ACCENT COLOURS
ACCENT COLOURS
ACCENT COLOURS
Cheerful Cherry–8693 | R 120 G 60 B 63
Steel–6142 | R 186 G 189 B 188
Warmstone–0N02 | R 200 G 189 B 169
Surf–9194 | R 167 G 201 B 223
Indian Earth–8688 | R 181 G 149 B 149
Dropping Leaves–9366 | R 172 G 180 B 113
Vintage Velvet–7190 | R 107 G 102 B 129
Dark Shadow–8294 | R 95 G 93 B 90
Desert Dreams–8779 | R 226 G 214 B 200
At a glance, the featured colour palettes for the nine Rasas: Hasya Colour Palette
Karuna Colour Palette
Bhayanaka Colour Palette
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
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BHIBHATSAM (AVERSION)
The characteristics of colours associated with Aversion are indulgent, stifling, and rigid.
LEAD COLOURS
VEERAM (BRAVERY)
ADBHUTA (WONDER)
The colours associated with Bravery are upbeat, vibrant, strong, and warm.
LEAD COLOURS
The colours associated with Wonder are fresh, wistful, candied, and spirited.
LEAD COLOURS
Raining Grey–9481 | R 134 G 140 B 139
Gold Fish–7973 | R 253 G 131 B 35
Purple Verve–9101 | R 87 G 63 B 77
Red Red–X118 | R 160 G 57 B 47
Grey Flannel–8331 | R 198 G 199 B 190
Deep Pink–X132 | R 174 G 49 B 98
Safari Green–7785 | R 186 G 189 B 154
Intense Purple–7166 | R 129 G 115 B 171
Chrome Green–X160 | R 108 G 139 B 68
ACCENT COLOURS
ACCENT COLOURS
ACCENT COLOURS
Thar Desert–7917 | R 240 G 169 B 10
Sunny Yellow–7861 | R 255 G 215 B 4
Corn Cob–7947 | R 252 G 240 B 202
Java Beans–8646 | R 127 G 95 B 81
Signal Red–0520 | R 189 G 46 B 50
Summer Yellow–7863 | R 255 G 235 B 122
Antimony–8309 | R 63 G 67 B 65
Rose Lace–8120 | R 228 G 160 B 174
Seasoning–7654 | R 105 G 195 B 101
Shaanta Colour Palette
Raudra Colour Palette
Shringaara Colour Palette
Bhibhatsam Colour Palette
Veeram Colour Palette
Adbhuta Colour Palette
To transform your wall with Spring Diaries, contact Asian Paints Ezycolour Home Solutions at 1800-209-5678.
IN FOCUS
18–19
The celebration of Durga Puja festival brings the city of Kolkata alive, with larger than life pandals in myriad hues representing a range of themes. Asian Paints Sharad Shamman is an award given to celebrate the creative excellence of pandals in Kolkata during October. Facilitated by Asian Paints, the awards are a continuing series for the last 29 years, and are a mark of distinction given annually to pandals across four different categories. This year as well, Asian Paints Sharad Shamman awards were won by the most colourful and innovative pandals.
The artwork is inspired by Sholapith, a traditional craft from Bengal, used in times of festivity and celebration.
IN FOCUS COLOUR QUOTIENT 14
NAKTALA UDAYAN SANGHA Asian Paints Sharad Shamman Winner Idol Artist: BHABOTOSH SUTAR This Puja’s theme can best be described as ‘Animating the Inanimate.’ Even an inanimate object such as stone has the intrinsic potential of sustaining life. Stone breaks down to form soil which sustains life in the form of vegetation and, extending the metaphor, the sculptors carved out the Goddess from a single slab of stone weighing 16 tons, procured from Rajasthan. The entire process is viewed as an act of giving life to stone, through which the inanimate object is transformed into the divine form of Goddess Durga—the sustainer of all life on earth. SURUCHI SANGHA Asian Paints Sharad Shamman Winner & Best Pratima Shilpi – Artisan of the Year Idol Artist: NABA PAUL Through the theme, Bangla Amar Ma (Bengal, My Mother), Suruchi Sangha has successfully portrayed different facets of West Bengal. The essence of Bengal is distilled by showcasing an array of its regions and cultures. Birbhum, a district in West Bengal is depicted by its distinctive Baul culture and musical instruments. Sunderban is represented by mangroves, sundari trees, tiger paw-prints amongst other elements. A large range of materials from Bengal such as Shantiniketani leather, terracotta, wooden sculptures, and betel nuts were used for the facade of the main pandal.
Durga Puja is the most regarded festival in West Bengal and Asian Paints Sharad Shamman celebrates the festival through the abundant creativity and talent which manifests itself in the pandals. They showcase the colourful and diverse yet congruent and unified depictions of Goddess Durga.
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TALA BAROWARI Discovery of the Year Artist (Theme): AMAR SARKAR Idol Artist: SANATHAN PAUL Rejoice occurs after prevailing against the winds of struggle. Tala Barowari depicts life in the form of a boat and life-stream in the form of a river, thereby showcasing human life as a series of boats. The pandal depicts the triumph of human will over suffering and anguish. The idol of the Goddess is placed at the centre of gravity which is the ultimate destiny for both evil and good. The metaphors of boat and river along with the storm have rendered a new dimension to the aura of the Puja. HINDUSTHAN PARK SARBOJANIN DURGOTSAV Best Pratima Discovery Emerging New Artist Artist (Theme): RONO BANERJEE Idol Artist: ARUN PAUL The theme for this Puja is the ‘Three Avatars of the Prime Goddess.’ According to the legend, during times of immense strife Goddess Durga was reincarnated as Mahakali, Maha Lakhsmi, and Maha Saraswati, each of whom vanquishes demons wreaking havoc on heaven and earth, preserving peace and harmony. The main avatar of the prime Goddess Maha Lakshmi is depicted with eighteen hands and is portrayed majestically slaying the demon Mahishasur. The theme glorifies the position of women in a patriarchal society.
ULTADANDGA SANGRAMI Asian Paints Sharad Shamman Winner Idol Artist: PRASANTA PAL In an effort to promote tribal art in an era where tribal cultures are diminishing, Ultadanga Sangrami has depicted the cultural heritage of the Gonds from Madhya Pradesh. The Puja represents, through Gond artistry, worship of the Goddess Durga. The structure is ornamented with hand-crafted Gond art. The idol of Durga in her conventional guise, is layered with simulations of the Gond’s spiritual verse of goodness. The Gondi identity of the pandal is clear and distinctive.
Please share your feedback by writing to us at cq@asianpaints.com
INSIGHT COLOUR QUOTIENT 14
THE
COLOUR RESOURCE INDEX
COLOURlovers www.colourlovers.com
Explore and create patterns, palettes, and colours with easy-to-use online browser tools on COLOURlovers.
The site is an interactive, creative platform that allows users to engage with colour.
COLOURlovers is an online communitydriven platform with a gamut of features and tools to simplify creative processes. The site has sections dedicated to individual colours, colour palettes, and patterns, as well as forums that facilitate discussions. The community is the site’s principal strength—with over four million users, the COLOURlovers forum is an excellent platform to share and discuss colours and palettes. The inherently subjective nature of colour choices, combined with the qualitative nature of colour theory often has an intimidating effect when choosing colours. The ability to share and discuss your work is a great way to address this challenge, allowing you to evaluate and make colour choices confidently.
Trends COLOURlovers’ Trends is devoted to indexing emerging colour trends around the world which are grouped into categories such as ‘Home’, ‘Fashion’, ‘Business’, and ‘Wedding.’ Patterns The Patterns section is possibly the site’s most valuable and unique feature. While other sites allow users to upload and share colour palettes, COLOURlovers has the added benefit of visually representing those colours in action, through the use of patterns. Blog While a majority of the COLOURlovers site caters to creating and sharing colours and palettes, the blog is where you can go to find colour inspiration. Posts range from short articles highlighting useful tools and resources for designers, to posts featuring colour trends and inspiring practitioners.
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Colour Quotient introduces The Colour Resource Index— a new series that presents a selection of colour resources from around the world, hand-picked for utility and inspiration, enabling architects and interior designers to use colour more effectively in their work.
PLENTY OF COLOUR www.plentyofcolour.com
Plenty of Colour is a resourceful guide for colour inspiration.
‘Look by Colour’ in the sidebar navigation is a unique feature that allows filtration of content by colour families.
Chloé Douglas is an artist and designer from Vancouver, Canada who is ‘madly in love with colour.’ Plenty of Colour is her daily blog, devoted to showcasing and celebrating colour inspiration. Started in 2011, the frequently updated blog is a great site to visit when you are looking for inspiring work with a focus on the use of colour in new and interesting ways. Plenty of Colour has a number of ‘Special Features’, with categories such as ‘Palette of the Week’ and ‘Colour Commentary’ featuring work that celebrates the use of
colour. The ‘Colour Heroes’ section, is a brilliant resource, shining a spotlight on artists, designers, and other creative practitioners whose work exemplifies inspiring colour usage. The site also has a well-curated Pinterest account, with a multitude of images for colour inspiration. One feature that sets the site apart from similar blogs is the ‘Look by Colour’ option in the sidebar navigation, which allows you to filter the voluminous archives by colour families.
Let us know your favourite colour resources by writing to us at cq@asianpaints.com
INSIGHT
Creating Unique Wall Finishes with
MEERA DABIR An in-depth look at creating wall finishes that are distinctive, allowing you to express your personality within a space.
Meera Dabir’s extensive experience sees her take on roles of an artist, designer, and colour consultant. Her area of expertise is in colour consultancy and decorative paintings of interior spaces and furniture. This includes creating textured paint effects, faux finishes, designing graphic murals, and other decorative embellishments for interior spaces and furniture. With a Masters in Design from The University for the Creative Arts in the United Kingdom, her experience has translated into work for varied commercial spaces, such as corporate offices, restaurants, and other places of business. She works for clients in Mumbai where she is based, as well as around India and abroad. Her interest in design revolves around process-based creation. Meera enjoys planning the process of laying in the details for a space— including colour, furniture, accents, and highlights.
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DESIGNING FOR A SPACE Since the very beginning my focus has been on creating work that feels organic and thematically authentic without overwhelming the chosen design directive. In my practice, I feel that colour and texture should add dimension and interest to the existing space. My process begins with an understanding of the kind of spaces the clients desire, as well as enough about their personalities to gauge how to best represent their tastes and requirements, while still working within the parameters of my aesthetic sensibility and current design trends, as far as possible.
“ I don’t subscribe to the idea of colour or texture in a space just for the sake of being trendy or alternative.”
INSIGHT COLOUR QUOTIENT 14 1
KILIM-INSPIRED INTERIOR The Space The space in question is a bedroom belonging to the client’s 25-year old son. The client was interested in creating a vibrant, urban space that still maintained a sense of warmth and character. They were interested in using inspiration from folk artefacts they had collected in their travels, specifically, a number of kilim-style rugs. Intent for the Space Instead of the more traditional format of concentrating the decorative feature on one key wall while the remaining walls are left plain, for this project I chose to treat the space as one contiguous canvas. Several kilim motifs were adapted into geometric graphics that would be used to embellish the wall. The scale of the motifs were exaggerated for dramatic effect and also, since we had decided not to create a traditional repeating pattern, an exaggerated scale was required so that the finished effect would be appropriately visually balanced.
Colour Application Process After roughly ascertaining the placement and scale of each motif on the wall, masking tape was used to block out the pattern. The colour was then applied by sponge in a series of base- and wash-combinations. This was done for each colour used. Often for larger graphics an overall base colour was applied to the blocked off section and subsequent colours were blocked off with the tape and applied one-by-one. Colour Palette We chose to stay within a vibrant, warm, earth palette. Shades chosen were chocolate brown, beige, vermillion red, and deep orange with cerulean blue and gold accents.
Mohican Trail–8670 | R 165 G 81 B 68
Rich Chocolate–8645 | R 101 G 71 B 55
Sahara Sunset–X115 | R 230 G 78 B 43
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Bedroom of the kilim-inspired interior.
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Exaggerated motifs are carried to the exterior as well.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
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OMBRE FOCUS-WALL The Space The space is a dining room wall that the client wanted done in shades of yellow and orange. Intent for the Space As the colours chosen were very bright I chose to keep the texture striking but not cluttered. Therefore it was decided to create a shade graduation to create an ombre effect.
Ombre is a French term meaning ‘shaded.’ It is usually multicoloured, with colours graduating from light to dark. 3
Bright yellow to deep orange for a dining room focus wall.
Colour Application Process The wall was first painted in two coats of yellow plastic paint. When that was dry, the two shades of bright yellow colourwash was applied by sponge. A coat of mango colourwash was applied by brush starting about a third of the way from the top. Next at about the midpoint of the wall, a bright orange was applied using the same technique. A final wash of deep orange was applied about a third of the way from the bottom. Water was brushed on at the time of application to blend the coats of paint. Colour Palette The colours finally chosen were shades of chrome yellow, mango yellow, bright orange, and deep orange.
Polka–7869 | R 255 G 204 B 0
Camp Fire–X114 | R 248 G 111 B 41
Sahara Sunset–X115 | R 230 G 78 B 43
Access more of Meera Dabir’s work and processes at www.mformottle.blogspot.in Please share your feedback by writing to us at cq@asianpaints.com
IN FOCUS
INTERACTIVE MAGNETIC WALLS FOR CHILDREN
ASIAN PAINTS KIDS’ WORLD
The introduction of Magneeto to the Asian Paints Kids’ World range of wall and ceiling themes gives children a new and exciting canvas to play with.
Since our inception we have been in the business of making homes beautiful. Over the past decade, we have turned our attention to a younger audience—children. Research has shown us the increasing demands of a modern generation of parents who are finding better ways to decorate and style their children’s rooms. A room which is exciting and dynamic helps children feel ownership and pride towards their room. A visually compelling room also contributes towards developing their imaginations further.
We took the findings of the research and faced the challenge head-on by launching a novel line of vivid wall themes designed exclusively for children—from infants to teenagers— called Kids’ World. The niche wall themes developed by Asian Paints grew leaps and bounds and garnered an overwhelming response from parents and their children. The Kids’ World range added themes specifically for the ceiling and expanded even further to include 20 diverse themes, each available in Glow-in-the-Dark and fluorescent paint.
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ASIAN PAINTS MAGNEETO Our latest endeavour at Asian Paints Kids’ World, raising the bar once again, has resulted in a product that is nothing short of revolutionary. Asian Paints Magneeto imparts a magnetic property to walls that can be used along with a range of theme magnets and in doing so, allows children to not just look at the theme, but to touch, feel, and interact with it. It gives children a chance to make the theme their own by simply moving around the theme magnets on the magnetic walls. Themes such as Speed Machine, Dancing Stars, Jungle Tales, and Oceanscape are not just visually aesthetic but also act as a vehicle
for a child’s imagination. Adding to the fun are a set of highly informative and educative themes such as Young Scientists, Mind Benders, and Milky Way. While the Young Scientist theme enables children to use special magnets to study equations and formulas, the Milky Way theme adds another dimension to their understanding of the solar system, its planets and makes learning enjoyable. The Mind Benders theme turns into a puzzle that can be played on the walls. With 11 new and unique themes in the Magneeto range, there’s something for everyone to choose from—walls are now a playground!
ASIAN PAINTS MAGNEETO OFFERS A RANGE OF 11 THEMES FOR CHILDREN’S SPACES, EACH WITH MAGNETS INCLUDED AS PART OF THE KIT: Oceanscape
Speed Machine
Jungle Tales
Beach Time Fun Magneeto is available exclusively through Asian Paints Ezycolour Home Solutions and Asian Paints Colour Idea Stores.
For more information T 1800 209 5678 E cq@asianpaints.com
INSPIRATION
KALEIDOSCOPE Kaleidoscope, as part of the inspiration series, brings together the story of beautiful creation and colour from the world around us, as told by subject-matter experts.
ORIGINS AND EVOLUTION Gond is a decorative art form, practiced by the Gondi people of Madhya Pradesh. The Gonds are one of the largest adivasi communities in India, with a written history that can be traced to the 14th century. Their name is derived from the word kond which means ‘green mountains’ in the Dravidian dialect spoken by the Gondi people. Gond art’s origins lie within a unique relationship between oral and visual storytelling systems. The pardhans were priests in the Gondi culture, entrusted with the task of keeping the history and traditions of Gond culture alive through an oral storytelling tradition, which included songs and music. Gond art evolved from this ritual storytelling,
In its inaugural story, craft research and development initiative, Gaatha, tells the story of Gond art. Backed with extensive documentation and a deep understanding from their sojourns in the field, Gaatha explores the nuances of the art form. Combining craft research with technology to create a rich online experience which places craft artefacts in the context of their makers’ lives, culture, and historical traditions. Moving beyond the motivation of sales, Gaatha’s efforts lie in opening up a dialogue between the craftsmen and their patrons, encouraging sustainable, collective growth. www.gaatha.com
MADHYA PRADESH
Gondi people are native to Madhya Pradesh, India’s second largest state.
A Gond artist displaying a recently finished painting.
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where members of the community would decorate walls with their art to commemorate special occasions and bring good luck. The pardhans would then perform before these decorated walls. While the Gondi culture has existed for many centuries, Gond art itself was discovered only recently, in the mid-20th century. The relative newness of the art form, combined with vivid colours and distinctive forms, attracted the international art and design community to the Gond style. Leading practitioners have been invited to showcase their work at museums and galleries around the world, while the distinct style has inspired many interpretations, from motifs on fabric
and textile design to the decoration of interior spaces. The Gond art form saw a decline in the late 20th century as members of the community migrated to nearby towns and cities. However, the tradition has recently been revived with the growing popularity of Gond artworks and the success of its leading practitioners, which has attracted younger generations to the art form. The Gond style has received a lot of attention in both local and international circles since its discovery in the early 1980s. Leading Gond practitioners have been featured in galleries and museums around the world and the art form is a source of
inspiration for artists and designers alike. The first Gond artist to gain international acclaim was Jangarh Singh Shyam, who was spotted by renowned artist and writer Jagdish Swaminathan in 1981. Swaminathan encouraged Jangarh Shyam to display his work and helped create avenues for him to do so. Jangarh’s work received rave reviews and has since been displayed at museums and art galleries around the world. His work has become synonymous with Gond art and Jangarh Kala is now another name for the art form. Another artist to have gained acclaim is Ram Kumar, whose artworks in modern mediums such as acrylic have garnered praise in India as well as internationally.
INSPIRATION COLOUR QUOTIENT 14 1
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A peacock and other birds as depicted by a Gond artist.
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A Gond painting portraying a scene in the forest.
The Gond style is instantly recognisable with its organic, nature-inspired forms and patterns of dots and lines in vivid colours. Ordinary natural forms, such as trees, wild animals, and even human beings, are elevated into beautiful pieces of art through the use of bright colours and a unique style of drawing.
AESTHETICS AND TECHNIQUE Gond paintings are traditionally done on the mud walls of village houses, using colours derived from naturally available materials. The artworks are inspired by the surroundings of and objects from the daily lives of the artists, and depict plants and animals, special occasions such as weddings and festivals, or religious subjects, such as scenes from mythology and various deities.
Colours commonly seen in Gond art:
Truffle Surprise–8605 | R 159 G 77 B 56
The paintings are intricate, with detailed patterns of dots, stripes, and simple shapes used along with colour to create the various forms. The forms themselves are psychedelic in character, with plant, animal, and human forms intertwining and flowing together. Individual plant or animal forms are often depicted with distorted perspectives and exaggerated proportions.
Soothing Sapphire–7326 | R 41 G 123 B 193
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
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The artworks are traditionally created with simple and easily available materials, ranging from plant leaves and sap to cow dung and charcoal and painted on the mud walls of village houses. More recently, Gond artisans have begun to paint on paper, canvas, and wooden boards, using materials such as acrylic and poster paints. The brushes and tools used vary according to individual artists’ preferences and the materials being used. A special surface treatment, called pidor, which is readily available in the region is used to prepare the surface of the wall for painting. Pidor is a mixture of clay, cow dung, hay, and water
that is made locally and sold from village to village on bullock carts. The artworks are created using colours derived from natural materials, especially the mineralrich soils available in the region. The colour black is made from charcoal, white from chui soil, red and dark red from geru soil and the sap of the tinsak plant respectively, yellow from ramraj soil and light green and dark green from cow dung and sem leaves respectively. While Gond artists traditionally painted with locally-made grass brushes called kuchi, most contemporary artisans have adopted modern brushes made from synthetic materials.
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Parrot Green–7661 | R 90 G 179 B 44
Lemon Ole–X105 | R 255 G 207 B 0
The adoption of new colours and mediums, as well as the variety of different approaches is unique to the Gond tradition, since the art form has relatively few guidelines and rules, leaving it open to interpretation by individual practitioners.
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Gond canvas depicting a bird feeding her offspring.
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Artist, Ram Kumar painting on paper.
Sahara Sunset–X115 | R 230 G 78 B 43
INSPIRATION COLOUR QUOTIENT 14
RELEVANCE AND APPEAL
One of the unique aspects of Gond art is its emphasis on the individual artist. The art form allows each artist plenty of leeway to create works with a distinct style of pattern or colour usage, which can become their signature style. 5
A mural inspired by the Gond style on the interior wall of a home.
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The individualistic approach has also contributed to the revival of Gond art, with renewed success for and popularity of its practitioners. Designers in particular are attracted to the Gond style, because of the bold colours and striking patterns. The stippling, stripes, and shapes that go into the Gond patterns create stunning visual textures, which can have a range of applications. Interior designers in particular have found compelling inspiration in the Gond style. The nature-inspired forms and motifs help create a peaceful and calming atmosphere in the home, while the bright colour palettes create a lively and playful ambience. Designers of decorative objects and artefacts for the home have also sought inspiration in this art form, with Gondinspired designs adorning everything from door frames and lamps to upholstery, wallpapers, and floor tiles.
GLIMPSES OF GOND ART IN THE WORK OF CONTEMPORARY PRACTITIONERS, CURATED BY COLOUR QUOTIENT TARA BOOKS 6
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Tara Books is an independent publisher of picture books, based in Chennai. Their list of published titles offer rare and unique voices in art and literature. These titles from Tara Books showcase the beauty and versatility of the Gond art style. In ‘I Saw a Peacock with a Fiery Tail’, renowned Gond artist, Ram Singh Urveti illustrates a classic 17th century English poem of the same name, using dynamic forms and meticulous detail to mirror the shifting ways in which poetry can create meaning. ‘The London Jungle Book’, illustrated by Bhajju Shyam is another example of the use of Gond art in print. In this case, the psychedelic, intermingling forms of animals and plants are the lens through which the artist sees the historic city.
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Cover and inside pages from ‘I Saw a Peacock with a Fiery Tail.’
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A spread from ‘The London Jungle Book.’
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ADITI PRAKASH 9
Industrial designer Aditi Prakash has extensive experience working together with craftspeople in India. A lover of the handmade, she explores ways to integrate crafts in modern living through her work. Samode Lodge A signature trait of Gond art is its use of animal and plant forms. Aditi Prakash uses this nature-inspired aesthetic in her murals for Samode Safari Lodge in Bandhavgarh, creating an ambience that reflects the natural setting of the lodge.
Furniture Designing furniture gives Aditi a third dimension with which to explore the Gond art style. This exploration is evident in her teak furniture collection, decorated with animals and floral forms painted in the Gond style. Moving away from flat surfaces creates room for experimentation with the ‘inside’ and ‘outside’ of the forms. Her designs also incorporate the texture of the teak board, enhancing the natural feel of the collection.
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Gond art adorns the walls of Samode Safari Lodge.
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Mixing different styles of Gond art for a contemporary look.
10 Teak furniture with Gond art accents by Aditi Prakash.
If you would like us to feature or know more about an art form, write to us at cq@asianpaints.com
INDIA CONNECT COLOUR QUOTIENT 13
Ask Asian Paints
COLOUR QUERY
Q. What are the important considerations to keep in mind while choosing a colour scheme? Ar. Pravin Pagar A. It is difficult to suggest a colour scheme without insights into the area of application, however there are guidelines that help you select a colour scheme for a space. The furniture, size, and proportions of the space interact with colour and play an important role in achieving the ultimate look.
A good colour scheme is always contextual to the space and the decor.
INTERIORS • Decide on the look or style you want to create with your existing or new furniture. If you have dark or light furniture, use a neutral or a midtone colour scheme. • To begin the colour selection, choose a colour for the highlight or focus point of the interior—for example, an art piece or a main wall. • When the first colour has been selected, start looking at other colour options that work well with the main colour. • The art of visualising a space with all its elements is important. Mixing colours and
repeating colours on various surfaces such as fabrics, furniture, accessories to balance the look is important. • Keep the ceiling a lighter tone (almost white) of the colour selected for other walls. • Lighting has always played an important role in colour selection—warm light goes well with reds, oranges, yellows, and browns, and a cool white light works well with blues, violets, greens, and greys. Metallic colours reflect more light and should not be applied on unfinished surfaces or high-activity zones.
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Camp Fire–X114 | R 248 G 111 B 41
Ceramic–3122 | R 238 G 214 B 184
Crimson Depth–X123 | R 149 G 45 B 58 1
An orange focus wall dominates the room.
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Play of texture and colour on the exterior of the house.
EXTERIORS • It is very important to understand the architecture of your house and climate of your region. • Direct contact with natural light allows you to play with colours that are deeper than colours for interiors. • Choose a colour (midtone or neutral) for the entire surface of the house and move on to selecting a trim and accent colour, which Apex Duracast Venezio Top Coat: Camphor–8260
may be dark tones or used as highlights. • If your architecture allows you to highlight certain areas such as patios, terraces, main entrance doors, use textures and create a dedicated zone within the same space. • Pots and planters used to define the space should be of the same body colour. • Outdoor furniture can be painted in more versatile colour combinations. 2
Aquadur PU Walnut
Carbon Copy–8293 | R 60 G 55 B 49
For more information T 1800 209 5678 E cq@asianpaints.com
All shades and textures are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra or texture book for exact shade reference.
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INCOMING Asian Paints ColourNext 2014 India’s only colour trend forecast, ColourNext is the lead feature in our next issue. The 2014 edition is the culmination of six months of extensive research into the latest social, lifestyle, design, and decor trends in India for the year, translated into inspiring colour stories.
View current issue and archive at www.asianpaints.com/cq
Colour Quotient 12 April 2013
Colour Quotient 13 September 2013
IMAGE CREDITS ACCESS COLOUR QUOTIENT ONLINE • All images courtesy Karthik Vaidyanathan COLOUR MAP Opulent • Sukanto Debnath » flickr.com/photos/sukanto_ debnath/2130934981/ • Karen Roe » flickr.com/photos/karen_roe/7169996899/ Snug • Mandy Greer » flickr.com/photos/mandygreer/3012481634/ • Jonathan Williams » flickr.com/photos/ pinmimages/3623392054/ • Wicker Paradise » flickr.com/photos/wickerfurniture/8777470599/ • Mark Heard » flickr.com/photos/24657811@N00/3148813728/ Modern • Cassandra Lavalle » flickr.com/photos/cocokelley/3183375748/ • Plage Vinilos y Adhesivos »flickr.com/photos/ plagevinilosyadhesivosdecorativos/5549367623/ • Source Chairs, designed by Haldane Martin, Photo by Micky Hoyle » flickr.com/photos/haldanemartin/10820271613/ • eyewashdesign: A. Golden » flickr.com/photos/ eyewash/2603717864/ • Wicker Paradise » flickr.com/photos/wickerfurniture/9854690225/ FESTIVE FLORAL VISHESH VERMA
‘Colour Quotient’ is Asian Paints’ initiative that reflects significance of colours in varied cultures & traditions, and contemporary trends in paints. The objective of Colour Quotient 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 Quotient are illustrative. For more information, visit: www.asianpaints.com/cq
Profile Image and Showcase • Copyright Vishesh Verma Colour Inspiration • StockPhotosforFree.com » flickr.com/photos/ stockphotosforfree/7375453162/ • Theophilos Papadopoulos »flickr.com/photos/theo_ reth/6324344746/ • likeaduck » flickr.com/photos/thartz00/4876137302/ PAVITRA RAJARAM Profile Image and Showcase • Courtesy Pavitra Rajaram Colour Inspiration • Saimz Eyez » flickr.com/photos/51970870@N02/5085589616/ • McKay Savage » flickr.com/photos/mckaysavage/2576736293/ COLOURS OF NAVARASA • Tristan Martin » photoree.com/photos/ permalink/6545880-11738433@N03 • Brocken Inaglory » commons.wikimedia.org/wiki/ File:Back-scattering_crepuscular_rays_panorama_1.jpg • Daniel R. Blume » flickr.com/photos/drb62/3104224796/ • Tanaka Juuyoh » flickr.com/photos/tanaka_ juuyoh/4680217868/ • Sarah Reid » flickr.com/photos/sarahreido/4977913557/ • Chris Gladis » flickr.com/photos/mshades/2366727259/ • Kris Krüg » flickr.com/photos/kk/4730850651/ • Allie_Caulfield » flickr.com/photos/wm_archiv/5851313588/
‘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.’
• Fred » flickr.com/photos/44639455@N00/870182934/ Dancer Images • All images courtesy Bhavna Vijai, disciple of Anupama Jayasimha CREATING UNIQUE WALL FINISHES WITH MEERA DABIR • All images courtesy Meera Dabir PAINTED SONGS OF GOND • All images courtesy Gaatha, unless specified. Tara Books • All images courtesy Tara Books. Aditi Prakash • All images courtesy Aditi Prakash.
REACH US Let us know what you felt about this issue of Colour Quotient. 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 » Available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, and Pune
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