Namokar mantra for world peace - paintings by Jainkamal by Jain Kamal

P A I N T I N G S B Y J A I

. . . N K A M A L

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PA I N T I N G S B Y J A I

. . . N K A M A L

~~ Cecees DeefjnbleeCeb ~~ Cecees efmeæeCeb ~~ Cecees DeeÙeefjÙeeCeb ~~ Cecees GJepPeeÙeeCeb ~~ Cecees ueseS mekkemeentCeb ~~

I D E D I C AT E T H E S E PA I N T I N G S TO M Y PA R E N T S

. . .

L A M A K N I A J

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ceeB yeeyee kesâ ÛejCeesW ceW meceefhe&le

~~ Cecees DeefjnbleeCeb ~~ Cecees efmeæeCeb ~~ Cecees DeeÙeefjÙeeCeb ~~ Cecees GJepPeeÙeeCeb ~~ Cecees ueseS mekkemeentCeb ~~

FONTS

LIFE

Impressions Expressions

& . . .

S A JOURNALIST one is very fortunate to see the works of painters across the breadth and length of India. The works of great painters can be distinctly identified by just looking at their brush strokes, choice of colors. One can instantly tell whether it’s a MF Hussain or FN Souza or Raja Ravi Varma or Baiju Parthan’s paintings. Their signatures are distinct. But the signature of this one artiste is completely different and

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bowled me over. It is that of the 50-year old graphic designer Kamal Jain. Kamal’s paintings are without the use of brush, colour or easel. And his subject line too is different and out of the world. Kamal has graphically depicted the universal prayer of the Jains “The Namokar Mantra” in canvass. Being a very religious person, Kamal was quite fascinated by the teachings of Jainism, particularly its universal prayer, The Namokar Mantra chanted by most Jains either at home or at derasar. There was an inner voice which kind

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of urged him to translate this mantra onto the big canvass. And thus began Kamal’s quest to learn more about Jainism, do research on the subject by meeting Jain munis, swamis and scholars. But, this was a rather easy part of the whole exercise. The bigger challenge was to graphically depict the prayer on the big canvass in a way that it chants like a mantra; resonating in everyone and sending positive vibes. After a lot of soul searching Kamal decided, that unlike a conventional painter he would not use brush, color and easel but instead use the medium he understands best to give form to what he calls his “madness”. Thus was born Kamal’s “24 Tirthankaras” by using Typography, Computer Mouse and Printing Press. Kamal by using this medium has forayed into the art world by unveiling a series of paintings that seemed quite high for a first timer. Perhaps, what may have pole-vaulted Kamal’s ambition and confidence is his age and experience. Kamal has to his credit the distinction of designing over 50 leading magazines and newspapers in this country. It is quite a boastful feat for any graphic designer.

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Being a part of the media world for over three decades, it has been ingrained in Kamal to think out-of-box, do the impossible and manage crises. All these qualities stood him in good stead during the last eight years when Kamal’s odyssey into the art world began. As the title suggests there are 24 Paintings but none of the paintings tell you the stories of Tirthankaras or Jainism. What Kamal does is to use the Namokar Mantra to geometrically scaffold the message of peace, tranquility, hope and faith. And what makes this religious work of art stand out is the OM which forms centre-piece of all his paintings. To my mind no one has attempted this kind of feat before; using Devanagiri fonts, archival paper, and printing press to compose the hymns of life. EACH of Kamal’s 24 paintings is bang for the buck. For instance, the one showing Lord Mahavira’s Thumb Impression is literally out of the world. No artist has ever imagined on these lines. Generally, any person going to a temple or derasar, sees the Lord’s Padukkas or Footwear as one enters the shrine. But till date nobody

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has visualized or imagined the Thumb Impression of the Lord. This is a path breaking painting. Kamal did a deep study and imagined how Lord Mahavira’s Thumb Impression would be. Obviously, it cannot match to any living person on Planet Earth. Based on that premise what Kamal did was create lines on Lord’s hand using Namokar Mantra. It is indeed a very unique work. Another outstanding piece of work is a painting showing 84 lakhs Yonis. What Jain has done is used the fonts to construct 84 triangles or yonis. Human race came into being after 84 other lifes were formed. The whole background is constructed using an old script of Indian calligraphy. And this script, according to Kamal, was made even before Guttenberg designed Fonts for the Holy Bible. To a layman this painting will seem like geometric triangles with rice grains strewn between them like the morning rangoli. In fact, it is the Namokar Mantra prayer around 84 triangles with Om in between. It is very painstaking and arresting piece of work. They say thought would have been impossible without words. Kamal feels that the God created man and man created words to

A.B. Ravi E d i t o r- S p e c i a l P ro j e c t s C N B C T V 1 8

Financial Express as Resident Editor. He was the founder Editor of USP Age. He has also worked with India Today, Business Standard and Stardust Group. ravi@abravi.com 9820190280

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communicate with the God. So in this painting titled Circle Of Life, Kamal has weaved Namokar Mantra in a circle of colors green, black with Om in white to connote the ultimate peace. The one titled the Universe Protector shows the “Swastika” in a global shape with Om at the centre A.B. Ravi in a blue color in the form of an eye. What keeps the A.B. Ravi is Editor, Universe together is the invisible hand of God. Special Projects at CNBC TV 18. He is responsible Kamal has graphically created hands in the form for weekend programmes at the channel and for bringing out a of Namokara Mantras. daily e-paper India Business Update. In essence, Kamal’s eight-long year’s effort in Ravi brings with him more than three decades of terms of research, treatment and effect shows. These journalistic experience in magazines, newspapers broadcast media. paintings will appeal to everyone with a hymn in Hisand assignments include stints at Business India as their heart. Executive Editor, The

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pewve Oece& Deewj oMe&ve ceW Keeme efoueÛemheer. anandbharti@ rediffmail.com 099201 27771

~~ Cecees DeefjnbleeCeb ~~ Cecees efmeæeCeb ~~ Cecees DeeÙeefjÙeeCeb ~~ Cecees GJepPeeÙeeCeb ~~ Cecees ueseS mekkemeentCeb ~~

kesâ efveMeeve keâer yeele Deepe lekeâ veneR megveer ieF& nw. cegPes ueiee efkeâ nceejs Debiet"s kesâ efØebš (Lebye efØebš) keâer lejn ceneJeerj kesâ Lebye efØebš keäÙeeW veneR nes mekeâles. hetjer lejn keâeuheefvekeâ nesieer ceiej Gvekesâ neLeeW keâes osKekeâj lewÙeej efkeâÙee pee jne nw. Fme heWefšbie keâes ueesie nwjeveer keâer DeebKeeW mes osKeWies. Yeues pewve keâceue ves Deeiece keâe DeOÙeÙeve ve efkeâÙee nes uesefkeâve Fvekesâ heWefšbime kesâ heerÚs ietÌ{ oMe&ve keâer Peuekeâ efceueleer nw. ßeer pewve kesâ Devegmeej OJeefve kesâ Jew%eeefvekeâ efveÙece kesâ Deveg¤he keâesF& Yeer OJeefve yeÇcneb[ ceW ner efJeueerve nesleer nw. peye nce veceeskeâej ceb$e keâe GÛÛeejCe keâjles nQ Deevebo Yeejleer lees Fmekeâer lejbieW omeeW efoMeeDeeW ceW Hewâueves ueieleer nQ. Fme efJeÛeej keâes efyenej kesâ ieebJe Ûeesjnueer Deveskeâ efÛe$eeW ceW oMee&Ùee ieÙee nw. Gvekeâe keânvee nw efkeâ Øeyegæ efJeosMeer (KeieefÌ[Ùee) ceW pevce. mewueeveer Yeer Yeejle Deekeâj pewve mLeueeW kesâ Øeefle Deekeâef<e&le veneR nes heeles Sce.S.(efnboer) keâer heÌ{eF& kesâ , keâuekeâòee, nQ keäÙeeWefkeâ Gve mLeueeW hej leece Peece kesâ GvnW oMe&ve nesles nQ. pewve hešvee,yeeoÛebefo[uueer erieÌ{ leLee cegbyeF& mLeehelÙe ceW Yeer GvnW keâesF& mecceesnve veneR efoKeeF& heÌ[lee nw,peye efkeâ pewve ceW he$ekeâeefjlee .veJeYeejle Decej Depeeuee, mLeehelÙe efJeÕe-mebmke=âefle ceW Skeâ ØeeÛeerve efJeOee nw. Fmekeâer lejHeâ mes šeFcme, meecevee, owefvekeâ peeiejCe Fefleneme ves ueielee nw Deheveer DeebKeeW cetbo jKeer peeleer nw. FmeefueS cesjs meefnle keâF& he$e-heef$ekeâeDeeW ceW keâeÙe&jle. Fve efoveeW efueS Ùen Skeâ Ûegveewleer nw Deewj Ùener keâejCe nw efkeâ ceQves cetue Ùeeveer mLeeF& leewj hej cegbyeF& ceW Glme keâes DeheveeÙee. Deiej cesjer heWefEšie ceW osMeer-efJeosMeer ueesieeW keâes jnkeâj mJeleb$e he$ekeâeefjlee, uesKeve veceeskeâej ceneceb$e keâe cenlJe mecePe ceW Dee ieÙee lees Ùen Fme efoMee ceW leLee [ekeäÙefegmc›eâhš eWšjer efHeâuce meHeâuelee keâer Skeâ cepeyetle meerÌ{er nesieer. efvecee&Ce ceW meef›eâÙe.

~~ DeeMeerJee&o ~~ efÛe$ekeâej ßeer pewve keâceue kesâ meeLe cesje heefjÛeÙe veJeerve nw, uesefkeâve pewve DeeOÙeeeflcekeâ efJe<eÙe hej Gvekesâ mepe&ve keâes osKekeâj ceW keâeHeâer cegiOe ngDee ntb~ pewve Oece& ogefveÙee keâe ßes‰ Oece& nw~ veJekeâej ceneceb$e pewveesb keâe ceneceb$e nw Deewj Fme ceb$e ceW efJeÕe kesâ meYeer iegCeer peveeW keâes veceve efkeâÙee ieÙee nw~ pewve keâceue ves veJekeâej ceb$e keâer Fmeer Meefòeâ keâes OÙeeve ceW jKeles ngS efJeMes<e Øekeâej kesâ efÛe$eeW keâe mepe&ve efkeâÙee nw~ 8 meeue keâer Gvekeâer cesnvele keâe GösMÙe veJekeâej ceb$e kesâ ceeOÙece mes efJeÕe ceW Meebefle ØemLeeefhele keâjvee nw~ yeeF&yeue keâer efueefhe keâes efJeÕe keâe ØeLece De#ej ceevee ieÙee nw~ uesefkeâve JeemleefJekeâlee kesâ Deveg¤he nce keânles nQ efkeâ pewve Deeieceebs ves meyemes henues efJeÕe keâes De#ej %eeve efoÙee nw~ pewve keâceue ves Fmeer De#ejesb kesâ ceeOÙece mes Gvekeâer ceve keâer yeele nceejs meeceves jKeer nw~ pewve keâceue kesâ De#ej Jeeues ceeOÙece veS mepe&ve DemeeOeejCe nQ ~ Fmes Skeâ GheueefyOe keâne pee mekeâlee nw~ Fvekeâe Ùen keâece Gvekeâes Yeejle kesâ GÛÛe keâesšer kesâ efÛe$ekeâejeW keâer ßesCeer ceW uee osiee Ssmee cesje ceevevee nw~ Gvekesâ Fve mepe&veeW keâe DeeOÙeeeflcekeâ cetuÙe nw, pees Iej kesâ JeeleeJejCe keâes cebefoj pewmee yevee mekeâlee nw~ YeieJeeve ceneJeerj kesâ Debiet"s kesâ efveMeeve keâes ueskeâj GvneWves pees efÛe$e keâe mepe&ve efkeâÙee nw Ssmee efÛe$e keâe mepe&ve ceQves Deepe lekeâ veneR osKee~ JeemleJe ceW cesjer Âef° mes Ùen Skeâ efJeefMe° mepe&ve keâer ßesCeer ceW nw~ Fme efÛe$eeW kesâ ceeOÙece mes efJeÕe keâes hejce Meebefle efceues Ssmeer pewve keâceue keâer FÛÚe HeâueerYetle nes Ssmee cesje DeeMeerJee&o nw~

— veÙehe©emeeiej pewve cegefve-peerlees Øesjkeâ ieefCeßeer veÙehe©emeeiejpeer cenejepe meensye M E N TO R O F J I TO [ J A I N I N T E R N AT I O N A L T R A D E O R G A N I S AT I O N ] G A N I S H R I N AY PA D A M S A G A R J I M A H A R A J S A H E B

pewve cegefve-peerlees Øesjkeâ ieefCeßeer veÙehe©emeeiejpeer cenejepe meensye

MENTOR OF JITO [ JAIN INTERNATIONAL TRADE ORGANISATION ] GANI SHRI NAYPADAM SAGARJI MAHARAJ SAHEB

pewve oMe&ve JÙeefòeâ hejkeâ oMe&ve veneR nw. hetje ceb$e iegCeelcekeâ nw.Dejnbled, efmeö, DeeÛeeÙe&, GheeOÙeeÙe Deewj meeOeg-vecemkeâej ceneceb$e kesâ Ùes heebÛe heo nQ, efpeme efkeâmeer Yeer JÙeefòeâ ceW heebÛe heoeW kesâ iegCe neW, Jen JeboveerÙe nes peelee nw. — DeeÛeeÙe& ßeer ceneØe%e

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E CHO O F L IFE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

ceb$e keâe DeodYetle ØeYeeJe neslee nw meYeer DeMegYe lelJeeW keâes ceb$e otj keâjlee nw. efJeÕe keâe meJeexòece ceb$e keâewve mee Ùen ØeMve mece«e efJeÕe ceW ÛeefÛe&le nw. ceb$e Jener ßes<" neslee nw efpemeceW JÙeefòeâ veneR iegCeeW keâer cenòee nes. iegCeeW keâes efkeâÙee ngDee veceve iegCeJeeve yeveelee nw. Deewj iegCeJeeve YeieJeeve yevelee nw. YeieJeeve yeveves keâe ßes‰ heLe ØeoMe&keâ nw veJekeâej ceneceb$e efyeÌve mebeØeoeefÙekeâ — mebhetCe& SJeb efJeMegæ yeveeves Jeeuee ceneceb$e Ùeeveer veJekeâej ceneceb$e — ieefCe ßeer veÙehe©emeeiejpeer cenejepe meensye

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V IBRATION OF M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

‘‘ ceQ lees De#ejeW keâes mecePeves ceW ueiee ntb keäÙeeWefkeâ GveceW hetje meeQoÙe&MeeŒe meceeÙee ngDee nw. De#ejeW ceW yeÌ[er Meefòeâ nw, Ùes Ùetb ner veneR ieÌ{s ieS nQ. FmeceW ceeveJe meYÙelee keâe efJekeâeme Peuekeâlee nw.’’ — pewve keâceue

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E CHO O F L IFE 1 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

yeÇcneb[ ceW De#ejeW keâer ueÌ[eF& Ûeue jner nw. ‘Meyo ner leesÌ[les nQ Deewj peesÌ[les nQ. DeYeer lekeâ nceves Meyoelcee keâes ner hekeâÌ[e, efveŠMeyo keâer ueÌ[eF& mes JebefÛele nes ieS. —Deblece&vee cegefve ßeer ØemeVe meeiej

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C OLORFUL M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

YeejleerÙe MeeŒeeW ceW ‘Ôb’ kesâ yeeo Deiej keâesF& cetuÙeJeeve efÛevn nw lees Jen mJeefmlekeâ nw. ÛeÛe& kesâ ›eâe@me ceW lees cee$e Ûeej efoMeeSb ner nQ peyeefkeâ mJeefmlekeâ ceW ome efoMeeDeeW kesâ mebkesâle nQ. mJeefmlekeâ keâes ieewj mes osKeW lees Jen ieesueekeâej pewmee ueielee nw. — pewve keâceue

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V IBRATIONS OF M ANTRA I N U NIVERSE 1 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

They say thought would have been impossible without words. Kamal feels that “ The God created man and man created words to communicate with the God ”. — A. B. RAVI

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B IRTH OF F ONTS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

After crossing 84 lakhs yoni we got the human life so 84 triangles and akshat [rice dots] are visualised from Gujrati fonts created a feel of the aesthetic world of jainisim... â&#x20AC;&#x201D; A. B. RAVI

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B IRTH O F L IFE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

‘...FmeefueS ceQ ceneceb$e kesâ «eeefHeâkeâue heWefšbime keâes Iej-Iej hengbÛeevee Ûeenlee ntb. peye keâesF& Fve «eeefHeâkeäme keâes osKesiee lees GvnW ienjeF& keâe Denmeeme nesiee Deewj ueesie ‘pewve’ mes pÙeeoe ‘peve Oece&’ kesâ ®he ceW Ùeeo keâj heeSbies.’ — pewve keâceue

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B IRTH OF F ONTS 1/ J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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E CHO O F L IFE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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V IBRATION OF M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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E CHO O F L IFE 1 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

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C OLORFUL M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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V IBRATIONS OF M ANTRA I N U NIVERSE 1 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

They say thought would have been impossible without words. Kamal feels that “ The God created man and man created words to communicate with the God ”. — A. B. RAVI

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B IRTH OF F ONTS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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B IRTH O F L IFE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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B IRTH OF F ONTS 1/ J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

YeeJe-Megefæ vecemkeâej ceneceb$e Skeâ efJeefMe° ceb$e nw. Gmekeâer efJeefMe°lee kesâ oes keâejCe nQ. henuee Ùen Jeerlejeielee hej DeeOeeefjle nw. otmeje Ùen JÙeefòeâhejkeâ veneR, iegCehejkeâ nw. FmeceW efkeâmeer JÙeefòeâ efJeMes<e keâe veece veneR nw. iegCe mebheVe DeelceeDeeW keâes vecemkeâej efkeâÙee ieÙee nw. %eevehetJe& Fme ceneceb$e keâe pehe efkeâÙee peeS lees Deveskeâ ueeYe nes mekeâles nQ. Fmemes Deelcee keâer ceefuevelee Oegueleer nw, heeheeW mes yeÛeelee nw, efJeIve-yeeOeeDeeW keâe efvejekeâjCe neslee nw. Ùen YeeJe-Megefæ keâe Skeâ mebgoj meeOeve nw. — ÙegJeeÛeeÙe& ceneßeceCe

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C IRCLE O F P EACE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 110.5 CMS X 110.5 CMS 43.5’’ X 43.5’’

cebefoj ceW oerhekeâ peueeves mes pÙeeoe pe®jer nw DebOesjs IejeW ceW oerhekeâ peueevee, leeefkeâ peerJeve jesMeve nes, Deueewefkeâkeâ nes, pe®jer nw efkeâ Oece&, cebefoj Deewj cemeefpeoeW mes efvekeâuekeâj Iej-Iej lekeâ hengbÛes. — DeeÛeeÙe& ßeer Ûebovee ßeer peer

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E CHO O F L IFE 2 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 110.5 CMS X 110.5 CMS 43.5’’ X 43.5’’

L OST IN M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 122 CMS X 76.6 CMS 54’’ X 30’’

Deevebo keâe heLe

ceveg<Ùe keâes Deevebo keâe heLe yevevee nw. Deevebo yeÇÿeeC[ kesâ keWâõ mes Deelee nw, Deevebo Dehevee ØekeâeMe Hewâueelee nw uesefkeâve nce Gmekeâer Deesj mes DeebKeW yebo keâj uesles nQ. nce [js Deewj efÚhes ngS nQ. efÚhes ngS nce jesles-efÛeuueeles jnles nQ. nce meesÛeles jnles nQ efkeâ megKe kewâmes neefmeue efkeâÙee peeS Deewj DeeveboceÙe kewâmes yevee peeS - peyeefkeâ megKe nceejs ojJeepes hej omlekeâ oslee jnlee nw — DeesMees

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M ANTRAS W ITH M AHAVIRA / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 122 CMS X 122 CMS 48’’ X 48’’

Deefnbmee melÙe mes efYeVe keâesF& hejcesÕej nw, Ssmee ceQves keâYeer DevegYeJe veneR efkeâÙee. Ùeefo Fve ØekeâjCeeW kesâ heVes-heVes mes Ùen Øeleerle ve ngF& nes efkeâ melÙeceÙe yeveves keâe Skeâcee$e ceeie& Deefnbmee ner nw, lees ceQ Fme ØeÙelve keâes JÙeLe& mecePelee ntb. ØeÙelve Ûeens JÙeLe& nes, efkebâleg JeÛeve JÙeLe& veneR nw. cesjer Deefnbmee meÛÛeer nesves hej Yeer keâÛÛeer nw, DehetCe& nw. DeleSJe npeejeW metÙeeX keâes Fkeâªe keâjves mes Yeer efpeme melÙe ¤heer metÙe& kesâ lespe keâe hetje ceehe veneR efvekeâue mekeâlee, melÙe keâer cesjer Peebkeâer Ssmes metÙe& keâer kesâJeue Skeâ oMe&ve kesâ meceeve ner nw. Deepe lekeâ kesâ Deheves ØeÙeesieeW kesâ Deble ceW ceQ Flevee lees DeJeMÙe keân mekeâlee ntb efkeâ melÙe keâe mebhetCe& oMe&ve mebhetCe& Deefnbmee kesâ efyevee DemebYeJe nw — cenelcee ieebOeer

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M ANTRAS F OR W ORLD P EACE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

mebieerle keäÙee nw mebieerle megceOegj, leeueyeæ megjeW keâer Ssmeer ØeCeeueer nw pees ceveg<Ùe keâes Deebleefjkeâ Meebefle leLee DeefveJe&ÛeveerÙe Deevebo Øeoeve keâjves ceW me#ece nw. mebieerle Deheves Deehe ceW Skeâ efJe%eeve nw pees veeo Ùee Meyo mes mebyebefOele nw. veeo yeÇÿe keâe ØeLece mhebove nw. efpemes Deesce kesâ Éeje Fbefiele efkeâÙee ieÙee nw. mebieerle ueefuele keâueeDeeW ceW Skeâ nw. FmeceW ve kesâJeue ceeveefmekeâ heer[e keâes Meeble keâjves keâer Meefòeâ nw yeefukeâ Deewj keâF& yeerceeefjÙeeW keâe GheÛeej keâjves ceW meceLe& nw. pewmes efJe<eeo, Deefveõe, efnefmšefjÙee, efÛeÌ[efÛeÌ[eheve, Ûekeäkeâj Deevee Deeefo. mebieerle MeeŒe ceW heejbiele JÙeefòeâ F&Õej mes Deheves keâes Deemeeveer mes peesÌ[ mekeâlee nw. F&Õej ØekeâeMe mJe¤he,%eeve mJe¤he Deewj Deevebo mJe¤he lees nw ner Jen veeo mJe¤he Yeer nw. mebieerle kesâ ceeOÙece mes Yeer GvnW Øeehle efkeâÙee pee mekeâlee nw. — mJeeceer efMeJeevebo mejmJeefle

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T RANGLE OF G ROWTH / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 122 CMS X 122 CMS 48’’ X 48’’

pewve keâceue ceb$e ceW efkeâmeer Ûecelkeâej keâes mLeeefhele veneR keâj jns nQ yeefukeâ Gmekesâ jbieeW,Tpee& Deewj ÛewlevÙe keWâõeW keâes JeemleefJekeâ ¤heekeâej os jns nQ. veceeskeâej ceb$e ØeejbYe neslee nw Cecees mes. Cecees ojDemeue Denbkeâej keâe efJemepe&ve nw pees meeOevee kesâ #es$e ceW cenlJehetCe& opee& jKelee nw. —Deevebo Yeejleer

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C IRCLE O F M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 111.76 CMS X 137 CMS 44’’ X 54’’

For instance, the one showing Lord Mahavira's Thumb Impression is literally out of the world. No artist has ever imagined on these lines. â&#x20AC;&#x201D; A. B. Ravi

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T HUMB I MPRESSION OF L ORD M AHAVIRA / J AIN K AMAL M IX M EDIA O N C ANVAS 72.2 CMS X 96.52 CMS 30’’ X 38’’

heebÛe jbie, heebÛe heo Deewj heebÛe ÛewlevÙe keWâõ vecemkeâej ceneceb$e GÛÛeejCe kesâ heebÛe ÛewlevÙe keWâõ nesles nQ. ‘Cecees DeefjnbleeCeb' - Fmekeâe OÙeeve efkeâÙee peelee nw. ceefmle<keâ hej, Ùen %eeve keWâõ nw nceeje. ‘Cecees efmeæeCeb' keâe OÙeeve efkeâÙee peelee nw oMe&ve keWâõ hej. oesveeW Ye=kegâefš Deewj oesveeW DeebKeeW kesâ yeerÛe. ‘Cecees DeeÙeefjÙeeCeb' - keâe OÙeeve efJeMegæ keWâõ hej efkeâÙee peelee nw, Ùeeveer LeeFjeF[ hej, kebâ" keâe ceOÙeYeeie, kebâ"ceefCe hej. ‘Cecees GJepPeeÙeeCeb' keâe OÙeeve efkeâÙee peelee nw,Deevebo keWâõ hej. ùoÙe kesâ heeme pees ieºe nw Gmes Deveenle Ûe›eâ keânles nQ. ‘Cecees ueesS meJJe meentCeb' keâe OÙeeve Meefòeâ keWâõ hej efkeâÙee peelee nw, pees jerÌ{ keâer nñer kesâ efveÛeues efmejs ceW nw Deewj Ssmee ueielee nw efkeâ DemebKÙe Ûeeboer kesâ Ûecekeâles ngS leej efJeYeòeâ nes jns nQ. Ùes heebÛe ÛewlevÙe keWâõ nQ, heebÛe heo Deewj heebÛe jbie nQ. Cecees DeefjnbleeCeb keâe meHesâo jbie kesâ meeLe, Cecees efmeæeCeb keâe ueeue jbie kesâ meeLe, Cecees DeeÙeefjÙeeCeb keâe heerues jbie kesâ meeLe, Cecees GJepPeeÙeeCeb keâe njs jbie kesâ meeLe Deewj Cecees ueesSmeJJemeentCeb keâe veerues jbie kesâ meeLe meyeæ nwQ. pewve OJepe ceW Ùener heebÛeeW jbie nQ. — pewve DeeÛeeÙe& ßeer ceneØe%e

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C IRCLE O F L IFE / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

Kamal's eight-long year's effort in terms of research, treatment and effect shows. These paintings will appeal to everyone with a hymn in their heart. â&#x20AC;&#x201D; A. B. RAVI

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T HUMB I MPRESSION OF C HANDRA P RABHU / J AIN K AMAL M IX M EDIA O N C ANVAS 72.2 CMS X 96.52 CMS 30’’ X 38’’

oggefveÙee keâer Ûeueleer ngF& Øeef›eâÙee ceW DeLe& yeoueles jnles nw Gvekeâer Keespeer keâuee ceW DeškeâuesW [eueleer nw efpevemes Ùen keâece Ghej G"keâj Deheves Deehe keâes cegòeâ keâjvee Ûeenlee nw. — megveerle ÛeewheÌ[e

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M ATRAS F OR W ORLD P EACE 2 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

ceb$e-efÛeefkeâlmee Cecees keâe pehe keâjves mes #eÙe, De®efÛe, Deefie>cebolee, kegâ‰, hesš keâer yeerceeefjÙeeb, Keebmeer, Õeeme Deeefo jesieeW hej efJepeÙe heeF& pee mekeâleer nw. ØeeÛeerve meceÙe ceW DeeÙegJexo efÛeefkeâlmee-heæefle kesâ meeLe ceb$e-efÛeefkeâlmee keâe Yeer ØeÙeesie neslee Lee. Ùen Skeâ Øekeâej keâer ceeveefmekeâ efÛeefkeâlmee nesleer Leer. ceb$eefJeoeW keâer ØeÙeesieMeeuee ceW efJeefYeVe ceb$eeW hej ØeÙeesie efkeâÙee peelee Lee. OJeefve efÛeefkeâlmee Yeer ceb$e-efÛeefkeâlmee keâe ner Skeâ Debie nw. OJeefve keâer ueÙeyeæ lejbiesb yee¢e Deewj Deebleefjkeâ oesveeW JeeleeJejCe ceW nueÛeue keâj mekeâleer nQ. Fmekeâe ØeYeeJe mece«e ØeeCeer-peiele hej neslee nw. — ieCeeefOeheefle DeeÛeeÙe& ßeer leguemeer

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C IRCLE O F S WASTIK / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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M ANTRAS F OR W ORLD P EACE 3 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

De#ej yeÇÿe keâe ¤he neslee nw~ Jen hejceyeÇÿe keâer Yeebefle ner DeefJeveeMeer neslee nw~ pewve keâceue Fmeer De#ej mes Kesueles nQ, Gmes veÙee mJe¤he, veÙee peerJeve, veÙes mebmkeâej Deewj veF& Deelcee osles nQ, Jes De#ejeW keâes keâuee keâe opee& efoueelee nw~ — ceveceesnve mejue

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M ANTRAS F OR W ORLD P EACE 5 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

Ùen ceb$e efJeÕeMeebefle ceW ceooieej yeveves keâer hetjer #ecelee jKelee nw. ieebOeerpeer ves Deefnbmee keâe hee" pewve Oece& mes ner «enCe eqkeâÙee Lee FmeefueS pewve keâceue Gme Oece& kesâ ßeesle keâes meeceves ueevee Ûeenles nQ. — Jeemleg meueenkeâej ceveespe pewve

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M ATRAS F OR W ORLD P EACE 6 / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38’’ X 38’’

The bigger challenge was to graphically depict the prayer on the big canvass in a way that it chants like a mantra, resonating in everyone and sending positive vibes.

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E COS OF M ANTRAS / J AIN K AMAL M IX M EDIA O N A RCHIVAL PAPER 121.90 CMS X 121.90 CMS 48’’ X 48’’

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~~ Cecees DeefjnbleeCeb ~~ Cecees efmeæeCeb ~~ Cecees DeeÙeefjÙeeCeb ~~ Cecees GJepPeeÙeeCeb ~~ Cecees ueseS mekkemeentCeb ~~

J A I N K A M A L Born in 1959, Mihijam-Chitranjan, West Bengal. 1981 Bachelor in Applied Arts, B.F.A. Banaras Hindu University, Varanasi, U P 1983 Master In Applied Arts, M.F.A, Maharaja Shivajirao University, Baroda, Gujarat 1980 Started his Professional Career as Graphics Designer. Conceptualized and Designed Magazines (India Today, Bombay, Debonair,USP Age), Newspapers (Sunday Observer, Indian Express, Sunday Afternoon, Express Newsline, Loksatta, Lokmat, Dainik Bhaskar, Prabhat), In-Flight Magazines (Namaskar, 24 K, British Airway Free & Easy) 2004-2008 Jury Member Of The Censor Board Of Film Certification 1979 Art exhibition of painting, graphics, sculpture, Banaras Hindu University. Annual art exhibition Faculty of Visual art, B.H.U. 1979 1979 Mysore University of Photography Club 1979,80,81 Photo Art Group, New Delhi 1981.Annual exhibition of UP Lalit Kala Academy 1980 Modex 80, All India Institute Of Technology, Banaras Hindu University, Varanasi 1980 All India Exhibition Of Arts Chandigarh 1980 1978,1979,1981,1983 Birla Academy of Art and Culture, Kolkata 1981 Painting Exhibitions, Sansakar Bharti UP Kalakar Sangam, Lucknow 1982 Rashtriya Gaurav Puraskar by Shanti Vallbah Times 2005 Bachchan On Fonts. A Tribute To The Legend On Amitabh Bachchan 1981 Painting Exhibition, Sansakar Bharti, Lucknow 1981 Atul All India Exhibition Of Art Drawing & Graphics, Ahmedabad 1981 Indian Academy Of Fine Arts, Amritsar 1979,1980,1981,1983 National Exhibition, Ravindra Graphics Exhibition at Shantiniketan 1983 1982, 2008 Bombay Art Society, Bhavan, New Delhi Jehangir Art Gallery. 2010 Group exhibition at Ravindra natya Mandir,Prabha Devi. AWARDS 1981 Won The All India Lalit Kala Academy Award, Lucknow, UP 1981 Save The World from Air Pollution, IIT on Science & Technology on Environment, Organizing Committee 68th session of Indian Science Congress , B.H.U. 1983 Won The Lalit Kala Academy Award, Ahmedabad. VISITING FACULTY Invited for presentation and dimension to All India Council for Technical Education quality improvement programme, Sir J J School of Applied Arts, Mumbai IIT â&#x20AC;&#x201D; Powai, Mumbai Abhinav Collage of Arts, Commerce & Science Bal vidya Mandir K.C. College, Mumbai Sophia Shree B.K. Somani Memorial Polytechnic, Mumbai Harkishan Mehta Foundation Institute of Journalism & Mass Communication Guide to National Institute Of Design, Ahmedabad Manipal Institute of Technology, Manipal, Karnataka Jain Kamal is an accomplished graphic designer. Over the last three decades Jain has designed over 50 magazines, in-flight journals and daily newspapers in the country. What sets Jain apart is his passion to understand the latest development in the world of designing as well as printing. To keep pace with the West, Jain has invested heavily in software, hardware and latest books on design, art and technology. His quest for newer and newer medium to express his feelings, passion and message saw Jain Kamal delving into Jain philosophy in a big way. He felt that Jainism is the most simple and easy religion in the world; so he has contributed to Jainism via the medium of art. After eight years of long research Kamal has managed to capture the essence of Jainism with his theme Namokar Mantra. It is graphical paintings, using different types of Fonts instead of the conventional brush and paint. He is one of the first artists to primarily use graphics and fonts through mix media on canvas. Besides, Jain has done some path breaking work. His portrait of Amitabh Bachchan using Fonts is very unique and unusual. This piece of work has quite impressed Mr Bachchan. He is currently consultaing to various news papers and working on subjects like fonts, erotica, and unreadable newspapers. www.jainkamal.com You tube:jainkamal amitabh/ jainkamal Lemon TV Cell: 0 9 8 2 1 1 3 9 3 1 0 E M a i l : j a i n k a m a l 1 0 1 @ r e d i f f m a i l . c o m

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— cegefve Øemevve meeiejpeer

P R E S S

C O M M E N T

My friend Jain Kamal is one of the most genuine and dedicated Professionals who designs fonts, typefaces for newspapers and magazines. In Indian Express 2000, he has overlapped fonts, shown them huddled together, arm on one another's shoulder and shows a futuristic approach to typography. The cover is impressive. For the first time in a newspaper, the mast head has been cut in half and the picture represents all the senses — eyes, ear, lips, brain. Each magazine has its own character. There are different types of glamour, business, children magazines. The book is lovely to look at, to glance through, digest and keep for the next millennium. — Behram Contractor, Sunday Afternoon

The 'new look' LOKSATTA has been executed under the art direction of Jain Kamal. He has vast experience in designing many English and regional language newspapers and periodicals. Mr. Jain has always emphasised on using clear and readable typefaces and on making the news paper more attractive. He is a proud recipient of the NATIONAL LALIT KALA ACADEMY AWARD and the GUJARAT STATE LALIT KALA ACADEMY AWARD. — Group Editor, Dr. Aroon Tikekar, Loksatta His earnest desire for aesthetic oriented communication through visuals and words is extremely of high repute. — Prabahkar Kolte lecturer, Sir J.J.School of Art,Bombay 1984 Screen has returned to its old format. Designed by Jain Kamal, the new-old look magazine has all the familiar trademarks. Pages are divided into neat compartments, bold pictures, a lot of white space with discriminate use of colour. If you want to redesign a newspaper, Jain Kamal is the man to visit.— Behram Contractor, Editor , Afternoon & dispatch People had forgotten 'SCREEN' in the tabloid format, but the redesigned broadsheet has been appreciated by the film industry as well as common man. The eight column 'STAR' picture on the front page has given it a perfect 'FRIDAY ENTERTAINMENT PAPER' look. There is no such paper, through out the country. — Udaya Tara Nayar, Editor: Screen

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The book has come out very well, especially the duotone photographs which were well laid with wonderful captions. — Vijay Dardra, M.P. Regarding INDIAN EXPRESS 2000 Jain Kamal has remarkable talent and I enjoyed reading the whole book. He has worked very hard on this project and the result speaks for itself.— Subash Chandra, Chairman ZEE “Kamal in sixty-one years of age no one has visualised me as you did visualise me.” ‘A FACE OF A NEWSPAPER.’ — Amitabh Bachchan, on his 61st birthday at J.W. Marriot, Mumbai Lagta hai koi family member laut aagaya hai. — Gulzar, well-known poet and film director Regarding Screen

The logo for the Hindi edition of India Today was a big challenge to me and my senior, Mr. M.G. Moinuddin. The reason being, India Today (English) was an established brand in news magazines. So it was very tough to design a logo for its sister publication in Hindi, but it was successfully done. The first edition of Hindi India Today sold 93,000 copies. The sixth edition sold 2,23,000 copies. — ABC Surve, Regarding India Today Hindi Fonts and typography are a passion with kamal. In fact, fonts to him are something like a mysterious, unknowable entity which could be explored, experimented with but never quite mastered. To him, fonts are like women an enigma which cannot be unravelled. — Chitralekha Basu, The Statesman

“ Font is a resource of knowledge and gives a graphically understanding to beautify for childrens to devlope the inner knowledge.”— Rajesh Jha, Sahara Samay Jain has used the concept of overlaping fonts to perfection. He always uses fonts like human being, to hug each other. — Samik Sen, The Statesman Different style of art has been experimented by Jain Kamal. Because of different forms of fonts in publication, they are communicative. — Vinod Vardawaj, Danik Bhaskar

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Akshar dev no Jai ho! — Shishir Ramawat, Gujrati Mid-day Fonts are like god. Which is impowered with life, Jain Kamal plays with fonts, giving a new life, new sansakar, new soul, he always gives a new dress to fonts, which gives a new dimention in print media. — Manmohan Saral, Desh Dishwar Jain Kamal is no stranger to perils of print media. — Saleem Sheikh, The Brief John guttenburgh is the father of modern printing technology and William Caxton is editor. The art of printing technology has crossed through several steps from printing machine, using vapour energy to linotype, monotype, offset, lithogrpahy, electronic film setter, rotary to the current technology. Today the new look of computerised 'SANJ LOKSATTA' is because of the senior Art Director of The Indian Express Group, Mr. Jain Kamal . He has designed his own fonts and also designed many English and regional language newspapers as well as periodicals. In the era of the internet and the modem, making newspapers more attractive is not only necessary but also an art itself. According to Mr. Jain, "Newspapers are like 'Khadi', clean, natural and pure and reading a habit." In conclusion, reading is a cultured habit. "Sanj Loksatta" — LataRaje, Editor, Sanjh Loksatta

It would be injustice to call Mr. Jain Kamal a typographer. The way he designs ‘FONTS’ is astonishing. — Sumant Mishra, Navbharat Times The masthead of a newspaper or magazine gives it a distinct identity, leaving an everlasting impact on its readers. — Manoj Mahanta, The Financial Express Kalatmak Soundarya se Aksharo ki Vishisht Pehchan hai. — Hindustan Times If Indian scripts can be simlified & even made mutullay intelligible at some stage, the graphic designer (Kamal) will indeed have contributed something precious. — Renuka Chatterjee, Saturday Times.

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