Issue 21
Jan 2016
Equipoise
CONTENTS
Lustrous Ivory
The start of a new year… the time when we send out wishes for health, prosperity, and happiness to one and all. We wish you all that and more, bringing you suggestions for creating expressions of prosperity and cheer. Ambience that exudes elegance, class, prosperity, and luxurious comfort can be achieved by a careful choice of the various aspects of decor. This issue of Colour Quotient takes you through numerous explorations of that central idea. Almost Ivory, our theme colour for this issue, lends itself well to any decor theme. It is especially suitable for a classic elegant look but it can also function beautifully as a canvas for other colours, and decor elements to shine. Pieces from the Claymen Collection from Aman Khanna hold the promise of a quirky touch wherever they are used and demonstrate how the most neutral white can take on a personality of its own. For a more vibrant colour inspiration, Quests for Colour is our attempt to capture the intricate patterns and vast spectrum of colours that are to be found in handicrafts from across the country, and in traditions that are, in some cases, centuries old. The issue also features the Prosperity Collection from Asian Paints, an initiative to create exteriors that reflect the stories of a home with a range of designs that reflect prosperity, life, and joy. For variety, we take you through a Mumbai home with delightful Turkish influences. Then go on to feel the energy from the vibrant colours used in the makeover of Asian Paints’ own offices in Turbhe. Feast your eyes on the traditional treasures in the art-inspired collection at the Asian Paints Colour Store. And then there is the Canvas App that helps you visualise, create, and share moodboards. May good health and abundance be constant companions with you all through 2016.
INSIGHT Equipoise Designers Mahesh Radhakrishnan, Nupur Shah, and Saahil Parikh explain how their projects exemplify a balance of forces and interests, and characterise the theme of this issue.
Mahesh Radhakrishnan
Saahil Parikh
Nupur Shah
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CQ 21 IN FOCUS Prosperity Collection Introducing the Prosperity Collection from Asian Paints—a range of unique patterns and designs for the exterior walls of your home.
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Midas Touch of Gold The new spectrum of faux gold, silver, and copper elegantly and opulently transform everyday objects into art that transcends time.
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INSPIRATION 18 ColourLove
Aman Khanna is our monochromatic yet playful colour pick for this edition of ColourLove.
28 Home Tours
Sharon D’Souza gives us a tour of a cosy, Turkish-inspired, Mumbai family abode.
Folk in Vogue 34 Asian Paints introduces a collection of beautiful wall and decor designs inspired by India and Indian arts and craft.
30 A Technicolour Makeover
Pavitra Rajaram walks us through her vivid colour makeover of the Asian Paints Technology Centre.
Canvas App 37 Presenting the recently launched Canvas App, a free tool to help you create and share moodboards.
38 Sharad Shamman
An overview of this year’s Sharad Shamman Awards.
INSIGHT Colour Journeys Four professional photographers travel across the country to discover uniquely Indian colours, textures, and patterns through the colour palettes of regional crafts and their contexts.
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ASK ASIAN PAINTS 40 Product Query
_The Colour Quotient Team
ON THE COVER
The cover’s white geometric tessellation is balanced through the changes in colour brought about by light hitting the angled surfaces. The accenting smaller forms within the larger space resonate with this issue’s concept of Equipoise.
MONOCHROME MAGIC
COLOU AP
Colour Map is a visual map of ideas to inspire and kickstart your creative process. Featured below is a collection of decor ideas originating from the issue colour, Almost Ivory L156. A simple jet black chair is a striking accent piece.
Modern vase in geometric shapes.
A floral wallpaper by Nilaya is offset with simple, bold furniture.
Graphic and edgy black and white accents for a living room.
Black Currant 9461 | R 56 G 57 B 58
ALMOST IVORY L156
Nilaya Exquisite Surfaces by Royale Play Script Floral W002D044775
Clean lines in the decor and wallpaper are used to enhance the monochromatic colours.
ROUGH LUXE
Monochrome Magic Colour Palette
Black and white chevron cushion.
CLASSIC ELEGANCE
Handmade textured ceramic pots.
Use carved wooden charms to personalise a home.
Organic cotton cushions in white and beige.
Soft furnishings with delicate fabric textures.
Mix-n-match wooden cutlery with ceramic plates.
Natural stone finish with Duracast exterior texture.
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Outdoor table setting with foldable wooden chairs.
Living room with upholstery and decor in neutral shades and textured off-white walls.
Earthen Wave 9541 | R 85 G 66 B 62
Easter Lily 8532 | R 240 G 229 B 208
Balsam Brown 8520 | R 204 G 169 B 120
Peach Nectar 8608 | R 216 G 160 B 139
Rough Luxe Colour Palette
All shades and textures are printed representations and may vary slightly from actual colours and textures. Please refer to the Asian Paints Colour Spectra or product manual for exact shade reference.
Fresh white roses add to the romance and simplicity of the room.
Classic Elegance Colour Palette
The casual elegance of natural materials & neutral colours is accentuated by natural light.
A partially upholstered couch with exposed wooden legs.
Half and half play of white tones on wall.
Textured white cushion creates added interest.
INSIGHT
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equipoise A balance of forces and interests.
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White makes a comeback as spaces look for not just neutrality, but a strong balanced presence to offset activity and accents. 1
North façade.
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Helical stair in discussion area.
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Bhajju Shyam tree mural outdoor gallery at night.
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Client: Tara Books Year of Completion: 2012 Project: Book Building Area: 3400 sq. ft. Location: Chennai, Tamil Nadu
MAHESH RADHAKRISHNAN
ABOUT THE PROJECT
Principal Architect, Co-Founder, The Madras Office for Architects & Designers
Tara Books asked us to create a space that would be suited for a range of activities, from creating the books themselves, to interactions with traveling artists, visitors’ galleries, and book stores. They required a design that was contemporary, yet warm and inclusive. Tara Books are known for their exquisite handmade books. But we identified them for the process that makes these books possible—the strong underlying narrative that was an outcome of rigorous interaction between artists, writers, and designers without any hierarchy. They collaborate, extend the dialogue beyond art and allow for senses (rather than reason) to revel. We wanted to create an architectural equivalent of this narrative in their spaces. Book Building was conceived as a platform for collaboration and dialogue. We hoped that the flow of spaces within the
The Madras Office for Architects and Designers (MOAD), co-founded by Mahesh Radhakrishnan in 2004, is a multidisciplnary team of young architects and designers with combined expertise in providing a range of spatial services from urban design, architecture, interior, and products. Formally established in Chennai, MOAD has completed projects across India. If light is our organiser of space then colour and texture of materials are its articulator. Depending on the nature of our client and the intended functions of the space, our colour exploration varies.
building would lend itself to opportunities for this to occur. Since they are publishers of visual material we wanted to create a canvas for their visiting artists that will evolve over time. The building is a space that balances many programs that range from public to private, commercial to cultural, and activities that go on all day and night. It is also a place for collaboration and dialogue, hence it was natural to provide a space that was flexible and vital at all times. Two contrasting ideas were thrown in together to understand the times we live in, and the building is a result of this. The most apparent is the contextual specificity of patterned grills or jaalis used for security. The second, is to create a space that is open and that reflects the nature of the space as a temporary home for the artists who often travel to the city. This was accomplished with painted and illustrated walls, cosy rooms and a red earth courtyard perched on top, close to nature, and away from the urban chaos at ground level. The jaalis invoke the idea of a city, while the courtyard with its red earth reminds you of a village in its openness and proximity to nature. MATERIAL AND COLOUR Hand crafted steel grills are security embellishments common in every home of our cities. The patterns you see everywhere are representative of the creative instincts carried over for generations by the local labourers who make them, and differ from place to place and decade to decade. In this project for Tara Books, these grills are used as a reinforcement to connect to the place. We documented grills and jaalis that were popular in the last few decades in the city,
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composed and juxtaposed them, made pivoted frames and screens for openings that act both as protection and boundaries, that defined spaces and broke them through their shadows. For us this collage almost represents an imagery of the city through the building. As an overall scheme, white walls are used as an evolving canvas. Many artists working with Tara Books have adorned these walls with their art forms. Textures, such as the cement finished ferro-cement stairs, or the naturally polished steel stairs, are used to transition across spaces Apart from this, grills painted white, red earth walls, yellow epoxy for pantry space and signal red for a toilet corridor serve as accents to the functions of the place.
Pearl Star L103 | R 246 G 243 B 233
Burnished Grey 8327 | R 111 G 114 B 106
Copper 0587 | R 175 G 96 B 73
Book Building 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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INSIGHT COLOUR QUOTIENT 21 5
NUPUR SHAH & SAAHIL PARIKH
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Principal Architects, We Design Studio Saahil Parikh graduated from the AA School of Architecture, London with an M. Arch in Architecture & Urbanism and has worked with Zaha Hadid Architects in London. Nupur Shah graduated from the Academy of Architecture, Mumbai in 2002. Since then, she has worked with Studio Mumbai and Serie Architects in Mumbai, and Zaha Hadid Architects in London.
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Client: Payal & Nirav Shah Year of Completion: 2013 Project: Private residence Area: 3000 sq. ft. Location: Mumbai, Maharashtra
ABOUT THE PROJECT The clients wanted a space that felt contemporary and state-of-the-art, reflecting their youth and progressive lifestyle. We visualised the apartment as a cocoon of sorts; where planes merge with one another, creating a space that would encourage free-thinking dialogue and interaction, as well as moments of solitude and calm contemplation. Apart from the brief from the clients, the space itself served as an inspiration. The apartment is located in a high-rise near the sea, and we opted to use the vast expanse of blue from both the sky and the sea as a backdrop. Keeping the floor, walls, and ceiling white, allows the space to complement and reflect the blue around it.
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The result is a space that complements its environs perfectly, with everything from the colour palette, to the built furniture (also entirely in white) helping to strike a perfect balance with the colours of the sea and the sky, creating a sense of serenity and equilibrium for anyone in the space.
MATERIAL AND COLOUR The floor is finished in a milky white Vietnamese marble, white lustre paint for the walls and ceiling, and white PU has been used as the finish on the wardrobes and built storage.
Swan Wing L101 | R 245 G 242 B 230 4
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Balcony view of the sea and sky.
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The dining area; custom furniture adds contrast to the stark white walls and floor.
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Expansive views of the sky abound.
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The made-to-order, minimal furniture is unobtrusive, allowing the white walls, ceiling, and floor to flow into each other.
Tracing Blue 9220 | R 210 G 228 B 230
Raven Song 8253 | R 40 G 39 B 40 Apartment by the bay Colour Palette
COLOUR SPECTRA PRO A Professional Fandeck Colour Spectra PRO contains a range of 1,800 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.
We visualised the apartment as a cocoon of sorts; where planes merge with one another, creating a space that would encourage free-thinking dialogue and interaction, as well as moments of solitude‌
Colour Spectra PRO comes as a set of six 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/ColourSpectraPro.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.
IN FOCUS
8–9
ELEVATING EXTERIOR DECOR Introducing the Prosperity Collection from Asian Paints, a range of unique patterns and designs for the exterior walls of your home.
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IN FOCUS COLOUR QUOTIENT 21
The threshold: a space that defines boundaries between the inside and the outside, while simultaneously acting as a space to linger between the two.
Regardless of size, the threshold is a place of dynamic equilibrium. A place that houses the secrets of the ‘going and returning’ cycle of various adventures.
The threshold: a space that defines boundaries between the inside and the outside, while simultaneously acting as a space to linger between the two. It may be just a strip of wood, metal, or stone that you pass as you step inside a home, or it may be more elaborate, large enough to house short meetings, or provide sanctuary for a short while. Regardless of size, it is a place of dynamic equilibrium, a place that houses the secrets of the ‘going and returning’ cycle of various adventures. Thresholds could be boundary walls, doors, gardens, walkways, stone steps, or just gates and they witness so many activities. If all of life were a piece of music getting played out, then its rhythm would probably be created at the threshold. The importance of a threshold for a house is evident in the fact that there are gods and goddesses that have presided over it across cultures, be it the Greco-Roman Janus, the Roman Cardea, the Korean Jangseung, or the Hindu Kirtimukha. In some parts of Kerala it is believed that predictions made by the eldest member of a family in a Padippura, the threshold, would come true.
The Wall Art Collection from Asian Paints imparts an ambience of abundance, prosperity, and joy. The possibilities of what can be created are boundless. Geometric patterns that have a traditional significance, lovely blooms that bring joy, and dancing waves symbolic of ready-to-harvest fields, open up the myriad possibilities that this collection holds for creating thresholds with symbolic displays of prosperity in one form or the other. To ensure the highest quality, the designs are painted by specially trained artists, who ensure a gorgeous outcome, by customising the designs to suit the size and scale of the space available.
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IN FOCUS COLOUR QUOTIENT 21
Laughing Fields
Singing Flowers My gardens bloom, bloom with flowers. Flowers that sing, sing to the winds…
My fields are full, full of yield and laughter. Laughter in summer, winter and all…
Here we share some decorative uses of a rhombus, a shape that is symbolic of creation and fertility—the first steps towards prosperity. This is a shape that has been used to adorn sacred structures from cultures the world over, to indicate a space supportive of life. Used in a kite, this shape is symbolic of uplifting moments that can make your spirits soar sky high. An abundance of wealth, both in material and spirit, is the ambience created by soaring kites and kite-like shapes.
AVAILABLE MOTIFS
All shades and textures are printed representations and may vary slightly from actual colours and textures. Please refer to the Asian Paints Colour Spectra or product manual for exact shade reference.
The sight of blooming flowers brings joy and lifts the human spirit, and they are the inspiration behind a collection that reflects the traditional Phulkari embroidery art practiced in the northern part of India. The region’s rural areas have a charming tradition. The women in the family, on the birth of a girl child, start weaving a Phulkari, a shawl embroidered with flowers, and this is given to the girl when she gets married. It is symbolic of the warmth of a mother’s love and the joy and prosperity that flowers bring to an agrarian society. Motifs of blooming flowers can brighten up a threshold and be reminiscent of gardens in full bloom.
AVAILABLE MOTIFS
IN FOCUS COLOUR QUOTIENT 21
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Dancing Waves My stalks are ripe, ripe with grains. Grains that dance, dance like waves…
TEXTURE
Ripe stalks of grain swaying merrily in the field are one of the most positive and reassuring sights that anyone can behold. It is one of the first images associated with prosperity. And this association is reinforced in our cultural history with festivals such as Baisakhi, Pongal, and several others all over India, thanking nature for a bountiful harvest. The beauty of the dancing stalks of ripe grain with their bent tops is the inspiration for the theme of dancing waves and they symbolize prosperity and abundance with a gay abandon indicative of a confidence that Mother Nature will give us all that we need.
AVAILABLE MOTIFS
TEXTURE Available in select cities For amore information T 1800 209 5678 E cq@asianpaints.com
All shades and textures are printed representations and may vary slightly from actual colours and textures. Please refer to the Asian Paints Colour Spectra or product manual for exact shade reference.
Subscribe to
India’s only quarterly colour magazine for architects and interior designers. With its strong India focus, the award winning Colour Quotient brings you professional, in-depth articles about colour theory, recent colour focused projects and practitioners, and architectural and interior design colour ideas, as well as news on the latest product releases from Asian Paints’ professional ranges. For a free subscription, or for answers to product queries, please return the form below.
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IN FOCUS
16–17
MIDAS TOUCH OF Gold
1. Prepare the painting surface Before you begin, clean, and dry the surface, to ensure that it is free of dust and moisture. Asian Paints clear synthetic varnish works well as an adhesive for the gold leaf to stick, so apply one coat of the varnish, and let it dry for one hour before applying the leaves.
MIDAS
3. Remove the excess sheets After one hour, the sheets and the varnish will be dry, so that the excess can be scraped off. Make sure you use a dry brush, and gently remove the excess leaves.
The finished chair is a perfect complement to any space, bringing a touch of distinction and royalty.
Bring the distinction of royalty and history into your home, with the storied and delicate art of leafing. A spectrum of faux gold, silver, MIDAS MIDAS and copper elegantly and opulently transforms everyday objects into art that transcends time.
Gold leafing transforms older antique furniture into the perfect accent, adding a touch of opulence to a room. This project, turning an antique chair into a regal masterpiece, demonstrates how this process works.
2. Apply the gold leaf Carefully remove the leaves from the box. The leaves are interleaved in butter-paper, which protects the leaves and prevents accidental tearing. Using this butter-paper sheet, invert the Midas leaflet and apply the gold leaf directly to the surface, ensuring that you do not accidentally touch the gold leaf. Make sure you overlap the leaves to ensure complete coverage.
4. Protect the gold finish Once the gold leafing is complete, a coat of glossy polyurethane helps to protect the finish, and add lustre. Gently apply a coat of Asian Paints glossy PU on the surface using the second brush. This polyurethane coat is available as a two-pack system. Make sure you follow the instructions provided to ensure best results.
For more information on Royale Play Midas email us at colourpro@asianpaints.com
INSPIRATION
INSIGHT
Claymen by Aman Khanna
Aman Khanna is a graphic artist, illustrator, sculptor, and visual storyteller. After graduating in graphic and information design from London College of Communication in 2004, he worked in London for a year, cofounding a design studio ‘Infomen’ in 2005. In 2009, he founded ‘Infonauts’, a design studio which he continues to run from New Delhi. His illustrations have been featured in various newspapers and magazines and magazines including the Wall Street Journal and The Guardian.
It is a simple, everyday material… omnipresent but still individual in the way one uses it. And in time, it will dissolve back into the earth.
Aman reflects on Claymen: “After working in a flat two-dimensional world for eight years, I started exploring the third dimension by creating clay sculptures from the bliss of admiration for my surroundings and the common man who inhabit that space. The Claymen Collection is born from my observation of the common man and his dilemmas. These simple characters come in peace, and maintain silence. They are spectators to the notion that man is losing his humanity and becoming a thing amongst the things he produces. I like to work in clay to reinforce this idea. It is a simple, everyday material that everyone can use, omnipresent but still individual in the way one uses it. And in time, it will dissolve back into the earth.”
“I love all the natural earthen colours that the clay produces when fired and hence I like the the base material to be partly exposed and the rest of it I glaze in colours like white both matt and glossy, glossy-transparent black and shades of grey.”
ASIAN PAINTS RESEARCH
Quests for Colour
Colour Journey travels across India, exploring the uniquely Indian colours, textures, and patterns across the country. Based on exclusive Asian Paints research, the series presents a snapshot of each region, through the eyes of a professional photographer, who captures the the medley of colours and crafts which contribute to a unique colour palette.
For more information, visit: claymen-art.tumblr.com
In this season, we explore the varied colours that characterise some of India’s most remarkable handicraft traditions. To discover more content, and follow along with past editions of Colour Journey, visit www.asianpaints.com/colourjourney
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INSIGHT COLOUR QUOTIENT 21
MATERIALS, PROCESS AND TECHNIQUE
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Usta artwork is a multi-stage process, that begins with priming and measurement, followed by delicately etching designs on canvas, into which the colours are deposited. Further embossing involves use of a paste prepared by mixing pot clay powder, gum, jaggery, and naushadar (ammonium chloride) to prepare a base on which gold foils are laid. Canvases include walls, ceilings, glass, wood, marble, as well as artefacts made of camel leather.
Bikaner Usta
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PHOTOGRAPHER: MADHUMITA NANDI Kolkata-based advertising professional, who has worked with various NGOs and newspapers as a documentary photographer since 2011. www.asianpaints.com/ colourjourney/season2/ bikaner
ORIGINS AND HISTORY OF USTA Bikaner is the fifth largest city of Rajasthan, founded by Rao Bika in 1486. During the Mughal period, architecture flourished in Bikaner and sparked the arrival of Usta artisans to perform design work on the Anup Mahal, Karan Mahal, and Phool Mahal of Junagarh Fort.
CONTEMPORARY USE
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Usta art, derived from the Persian word Ustad, which means expert of a particular art, is a general term used to signify Naqqashi and Manoti-forms of miniature painting influenced by Persian art, that flourished in the late-16th to mid-19th century in Bikaner, Rajasthan.
Modern instances make use of Arabic, Persian, and Urdu calligraphy on wooden photo frames, bottles, marble items, camel leather lampshades, and pouches for personal items. Usta Art is also featured at many havelis and heritage hotels.
PALETTE Milky Way L102 | R 245 G 242 B 232
Rodeo X117 | R 196 G 69 B 56
Jade Green 2435 | R 31 G 125 B 67 6
Polka 7869 | R 255 G 204 B 0 1
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Earthen Mix 7933 | R 202 G 147 B 62
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The artform is kept alive by generations of artists, such as Jamil Usta, grandson of renowned artist Hisam-ud-din Usta.
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The unique gold embossing and magnificent paintings from the heydays of the art form can still be seen in palaces and havelis inside Junagadh fort.
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Usta designs are first perfected on paper, and then traced onto the surface using indigo or black coal powder.
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Traditionally, vegetable dyes were used, though artists today often use more easily available pigments.
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Much of the contemporary resurgence of Usta can be seen in decor items such as clocks and mirrors.
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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INSIGHT COLOUR QUOTIENT 21
Raghurajpur Patachitra
PHOTOGRAPHER: SUPRIYA KANTAK Once a full-time journalist, she now works as a freelance photographer, with her photographs being featured in various publications. www.asianpaints.com/ colourjourney/season2/ raghurajpur
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ORIGINS AND HISTORY OF PATACHITRA Raghurajpur is a heritage crafts village in Puri, Odisha. It is best known for the dance form Odissi and the Jagannath Temple, adorned with scroll paintings that depict Indian mythology through the art of Patachitra. In the Sanskrit language, patta means cloth and chitra means picture. The subject matter of Patachitra is mostly
mythological, religious stories and folk lore dating back to the 5th century BC. The attire of characters hasMughal influences. Artisans are called Chitrakaras. The oldest instances of Patta paintings can be found in the Lord Jagannath shrine. However, the art form may date back to earlier times.
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The canvas is coated with a mixture of chalk and gum made from tamarind seeds, that gives it a leathery finish.
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MATERIALS, PROCESS AND TECHNIQUE Patachitra primarily uses red, yellow, indigo, black, and white colours. Paint brushes are made from the hair of domestic animals. Paintings are done on small strips of cotton cloth. The canvas is coated with a mixture of chalk and gum made from tamarind seeds, that gives it a leathery finish once dried and polished. Painting is then done using vegetable, earth and stone dyes, followed by varnishing. Finally, the back of the canvas is baked against a fireplace.
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CONTEMPORARY USE Today, paintings of Lord Jagannath, Lord Balabhadra and Maa Subhadra in colours black, white and yellow respectively are sold as Yatri Patti (traveler-painting) in large numbers to the pilgrims coming to Puri, as a souvenir for their visit to Puri Dham.
PALETTE
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Gulf Stream 7669 | R 94 G 144 B 62
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Ashberry 7366 | R 64 G 103 B 126
Rustic Turquoise 7438 | R 0 G 148 B 170
Rose Lace 8120 | R 228 G 160 B 174 1
Everyone in Raghurajpur is an artist and practitioner of Patachitra. Villagers typically sit in the doorways of their homes where there is plenty of natural light.
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The famous Jagannath temple at Puri, where Patachitra originated.
Sunrise 0526 | R 232 G 116 B 52
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Patachitra is easily recognised by the unique forms, and division of the canvas into panels.
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The bright colours used, typically made from natural dyes, are also characteristic of the art form.
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The limited palette of traditional Patachitra has gradually expanded to use more colours, just as the surfaces it adorns have changed to include decorative items sculpted out of wood, coconut shells, and betel nuts.
Ocean Cliffs 8347 | R 220 G 229 B 224
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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INSIGHT COLOUR QUOTIENT 21
MATERIALS, PROCESS AND TECHNIQUE Godna art is practiced in the forest, away from settlements, during the winters. Three needles are tied together tightly and patterns are etched on the skin without the use of rulers or guides. The tattoos are inked using kajal or dyes from specific flowers mixed in mitti ka tel (kerosene). It takes eight days for the skin to heal, with routine application of a herb called Raijal.
Surguja Godna
PHOTOGRAPHER: SUKRIT NAGARAJ A former graphic designer and an ad professional, Sukrit soon developed a liking for photography, indulging in everything from food photography to music events, travel and fashion. https://www.asianpaints. com/colourjourney/season2 /surguja
ORIGINS AND HISTORY OF GODNA Surguja is a district of Chhattisgarh inhabited by various tribes, most notably, the Pando and the Korwa (who believe they are members of the Pandav and the Kaurav clans of the Mahabharata). The Baigas are another tribe of the region, and the women of this tribe practice the art of Godna (tattooing). Godna art is practiced mainly by Baiga women, who feel a sense of pride and completeness upon being tattooed. The tattoos
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CONTEMPORARY USE are considered eternal markings that they will take to the grave and beyond. The first tattoo is generally applied on the forehead. The final tattoo, called Chhati Godai, is done on the chest of a woman after she delivers a child.
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PALETTE
As the art fades away due to unwilling subjects and the costs associated with getting Godna tattoos from artists, several leading women of the area have modified the art form to revive it. Ram Keli, one of the most popular Godna artists of Surguja paints motifs of the art form on quilts, blankets, and rugs. These are popular souvenir items among tourists.
Grains of Sand 7934 | R 219 G 167 B 85
Dream Scapes 7430 | R 0 G 137 B 166
Copper 0587 | R 175 G 96 B 73
Midnight Oil 8333 | R 58 G 64 B 64 1
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Java Beans 8646 | R 127 G 95 B 81
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The word Godna is derived from gehna or jewellery, and these tattoos are usually made on parts of the body where jewellery is worn, such as the ankles, toes, fingers, wrists, palms, thighs, and breasts. It is believed that this jewellery will endure till the end of life, and even beyond it. Tattoos have a special significance for women, and are made once a girl hits puberty, normally by female artists. However, Godna tattoos are not restricted to women alone, men also wear them, typically tattooing their forearms, back, and shoulders.
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To keep the art alive, women of the village have begun to draw these motifs onto sarees, amongst other things, creating yet another art form that they can adorn.
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The artist is drawing an imaginary line from her right to left, creating the correct distance and alignment between two motifs just as she would while making a tattoo. The art is heavily dependent on the artist’s skill and steadiness of hand, no rulers or geometric devices are used, and the inks are derived from the flowers of a tree that grows plentifully in the region.
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Ram Keli, is widely recognised as one of the leading Godna artists in the region, and is one of a small group of women responsible for reviving the art form by transferring the tattoo designs on to sarees, bedsheets, and other merchandise.
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A single saree can take from 7 days to a month to complete, and when sold, can fetch as much as Rs 10,000.
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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INSIGHT COLOUR QUOTIENT 21
MATERIALS, PROCESS AND TECHNIQUE
Channapatna Channapatna
CONTEMPORARY USE
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This renowned lifestyle photographer has a keen eye for beautiful spectacles in fashion, portraiture, weddings, and people. He has covered 150+ assignments in over 20 countries. https://www.asianpaints. com/colourjourney/season2/ channapatna
Only vegetable dyes are used to ensure that the toys are safe for children. PALETTE Tar Road 8245 | R 54 G 55 B 60
ORIGINS AND HISTORY OF CHANNAPATNA Channapatna is a city in Karnataka, known as Gombegala Ooru, meaning town of toys, because of its famous Channapatna Toys. Traditionally, the toys were made of locally available ivory-wood (Wrightia tinctoria tree). The toy making industry is now supported by the Karnataka Handloom Development Corporation Ltd.
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The toy-making process has multiple stages —procuring wood, seasoning it, cutting out desired shapes, pruning, carving the toys, applying colours and finally polishing the finished product. Only vegetable dyes are used to ensure that the toys are safe for children.
Over time, the materials used in Channapatna Toys have evolved from the earlier use of only ivory-wood, to other woods, like rubber, sycamore, cedar, pine, and teak. Today, various animals and objects are depicted through toys, like rocking horses, that appeal to modern customers.
PHOTOGRAPHER: KALYAN YASASWI
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The origins of Channapatna Toys can be traced back to the reign of Tipu Sultan, who invited artisans from Persia to train local artisans in the making of wooden toys. Over time, the art form has seen an increase in the use of machinery in the production process.
Royal Robes 7158 | R 135 G 113 B 178
Fabric Pink 9421 | R 128 G 58 B 85
Thar Desert 7917 | R 240 G 169 B 10 1
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Code Red X120 | R 196 G 52 B 45
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Fennel Seed 8538 | R 227 G 203 B 172
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The craft of wooden toy making originated under the reign of Tipu Sultan. Toys such as these figurines of royal musicians are a nod to this past. Toys also draw inspiration from local wildlife.
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A craftsman carefully sands a toy for smoothness. Hours are spent perfecting every single toy that goes out of the workshop, to ensure that they are safe for children to play with.
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Cylindrical wooden blocks, freshly carved on the lathe.
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The rocking horse is perhaps the most famous toy made in Channaptna. This classic has survived the test of time and is still very popular among children.
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Like the toy soldiers, these figures dressed in traditional attire are a representation of historical and contemporary heritage, as well as toys for play.
To learn more about Colour Journey, visit www.colourjourney.com or email us at 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.
INSPIRATION
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Home Tours:
A Mumbai Home that Delights in its Turkish Influences
CURATOR: SHARON D’SOUZA Sharon D’Souza owns and writes the blog The Keybunch. A mother of two, she is based in Pune, and works as a content strategist. She is a coffee lover, writer, and a regular at her writers’ club. She is also a home baker, and loves to travel. www.thekeybunch.com
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A trip to Turkey inspired a family in Parel, Mumbai to decide that Turkey would be the influence for their 2,000 sq ft apartment. Architect Kunal Barve of the design firm Interface, worked on this project, and aptly christened it ‘Turkish Delight’. The four bedroom apartment was to be redesigned into an open space for the family and guests. Says Kunal, ‘The challenge was to create an open space and at the same time
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incorporate a lot of storage into it.’ Have a look at this project, and you will agree he has done a brilliant job! Kunal says the client was very clear that he didn’t want a modern, monochrome home. He wanted lots of vibrant colour, and textured or distressed walls. And of course the Turkish theme accommodated these requirements brilliantly!
One of the bedrooms was converted into a den with a gorgeous Rani pink wall. The wall sets off the Turkish elements quite well. The family uses this room as a TV room and lounge. This space was designed in a way that would allow guests to linger on comfortably in privacy, in true Turkish fashion.
COLOUR PALETTE Pink Silk 9413 | R 151 G 61 B 95
Hidden Springs 7358 | R 26 G 132 B 178
Navy Blue 9197 | R 51 G 62 B 76
Golden Prairie 8518 | R 179 G 140 B 82
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Spacious open areas with furniture customised for the home.
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TV room with ceiling and walls in textured Rani pink.
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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
INSPIRATION COLOUR QUOTIENT 21
The living room has an incredible white textured plaster reminiscent of the lime washed houses of the Mediterranean. Traditional Turkish lights on the ceiling add an authentic touch. Lattice work and Moroccan stools add to the Medi-Eastern decor. Most of the furniture was created on site by Interface’s carpenter. The gorgeous paint finishes were also achieved by the in-house team.
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The washrooms also pay tribute to the Turkish style, with their lovely references to the Mediterranean—the arches, lights and patterned tiles, not to mention a gorgeous ceramic sink.
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The combination of Prussian blue and white instantly allures. The ceramics were madeto-order by a well-known tile manufacturer.
Silver Glaze 9482 | R 177 G 182 B 178
The lattice-work dividers add quite a bit of character even to the neutral areas of the home, as if to remind one about the gorgeous spaces that surround it. Interface is an architecture firm based in Mumbai. You can see more images of this home, as well as connect with Kunal Barve’s design firm Interface on Homz.in
COLOUR PALETTE Armada 0U29 | R 36 G 58 B 82
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Earthen Wave 9541 | R 85 G 66 B 62
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Textured white walls inspired by raw lime finishes.
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The palette uses a deep Prussian blue with a warm white.
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Ceramic tiles & fittings reference Mediterranean motifs.
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Lattice-work on a storage unit is the focal point of a wall.
Pine Cone 7887 | R 197 G 168 B 99 For more information & home tours visit www.thekeybunch.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 Technicolour Makeover CONTRIBUTOR: PAVITRA RAJARAM 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 Rajaram uses vivid colour and visual metaphors to revitalise The Asian Paints Technology Centre. The Asian Paints Technology Centre is at the centre of developments at this trail blazing company, so when we received a brief to give the space a facelift we were very excited, we knew instinctively that this was a story that we wanted to share.
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INSPIRATION COLOUR QUOTIENT 21
THE IDEA
THE OUTCOME
The design idea took off from Asian Paints essential DNA—the notion that technology is at the heart of innovation at Asian Paints. This standpoint is at the root of the 1
Asian Paints brand and is what makes it fundamentally strong. The idea of this core DNA is powerful, as is the manner in which it sweeps through the landscape.
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A kaleidoscope of colour upon high-rise buildings gives rise to a leaping figure that transforms the front facade with a band of vibrancy and energy. This colour seeps into the building where new textures and finishes are exhibited on a large-scale installation of a DNA molecule. The splashes of vibrancy on the walls of the main foyer lead us to the conference room where the history of Asian Paints is unfolded in a wall collateral.
‘The design idea took off from the standpoint of technology being the heart of innovation at Asian Paints.’
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Splashes of vibrancy on the walls.
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Multi-coloured high-rise buildings on the front facade.
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A screen of connected DNA molecules on the main porch.
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Coffee tables continue the theme of DNA structures.
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Colourful security cabins stand out in the overall landscape.
Pure Red 8093 | R 207 G 37 B 43
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Egg Plant Delite 7157 | R 88 G 62 B 123
The main porch also has an interesting installation: a web of DNA molecules linked together to make a giant screen, constructed out of the lids of Asian Paints paint cans in the signature brand colours.
Empire Yellow 7918 | R 248 G 186 B 56
GOD IS IN THE DETAILS
Wet Grass 9349 | R 119 G 157 B 88
Swan Song 7440 | R 106 G 197 B 213
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CONTINUING THE METAPHOR
Small details, such as the security cabin and the curbstone pathway are all integrated into the design of this space and make it stand out like a beacon in the overall landscape. The coffee tables in the reception hall too, fit in with this theme of DNA structure. The various hexagons exhibit the newest in the company’s fast growing wood finishes range. 5
The overall feeling is one of energy, exuberance and innovation; key attributes of this dynamic space that is the core of Asian Paints. Share your feedback by writing to us at 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.
IN FOCUS
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Asian Paints’ Colour Store offers its first ever art-inspired collection
Folk in Vogue
BENGAL PATACHITRA West Bengal
WARLI Maharashtra and Gujarat
Kalamkari Art is distinct in its form and use of colours. Kalamkari paintings from Andhra Pradesh illustrate stories from Puranic legends and famous epics like the Ramayan and Mahabharata. All colours are fast and derived from plants, barks, flower seeds, leaves, and roots of various plants. Richly embellished, this intricate art form has found popularity within India and abroad.
Scroll painting or Patachitra is a notable art form, coming from West Bengal, depicting the Ramayana, tribal folklore, and many other mythological stories. These paintings are traditionally made with natural mineral and vegetable colours. Delightful and earthy, these paintings reflect the ancient tradition of storytelling in India.
This evocative folk art comes from the states of Maharashtra and Gujarat, that are home to settlements of an ancient tribe known as the ‘Warli’. Simple, linear forms communicate the Tribes’ way of life, their social customs, the flora and fauna of their region, their occupations, harvest cycles, and daily activities.
ODISHA PATACHITRA Odisha Patachitra is a distinct art form that originated in Odisha based on the religious themes that revolve around Lord Jagannath at Puri’s famous Jagannath Temple. Patachitra makes use of bold and vibrant colours painted by a community of artists in Orissa called Chitrakars. The technique for painting a Patachitra requires a lot of skill and dedication.
With an endeavour to revive traditional Indian folk art, the store's debut theme brings to consumers a collection of beautiful wall and decor designs inspired by rustic India and Indian arts and crafts. Through ‘Folk in Vogue’, Colour with Asian Paints brings the skill and creations of talented artists and craftsmen from remote villages to modern lifestyle spaces and urban homes exclusively for customers of the stores. Inspired by the ancient crafts of India, folk in vogue adds a touch of colour and artisanship to your home With designs executed by skilled artisans, from the birthplaces of these art-forms, with years of training and experience, consumers inspired by ‘Folk in Vogue’ can bring home colours and designs of traditional India and enliven every nook and corner of their house. Designs can be painted on walls as well as furniture offering a great opportunity to do something different and unique in any space. Asian Paints makes this offer even more special with customisation, offering consumers a choice of colour or design. For ‘Folk in Vogue’, Asian Paints collaborated with Baaya Design,
KALAMKARI Andhra Pradesh
who specialize in six traditional Indian arts and crafts to create the designs, which are unique and contemporary yet traditional.
GOND Madhya Pradesh
MADHUBANI Bihar
Gond is a tribal art form from Madhya Pradesh. This art is an expression of rituals or practices that are deeply linked with day-to-day tribal life, religious sentiments, and devotions. Themes of Gond paintings are often based on local festivals such as Deepawali, Nag Panchmi, etc. Animals, birds, gods, people, and objects of daily life are painted in bright and multicoloured hues. Gond paintings are done by the women of the village using simple homemade colours. Colourful and highly expressive, this art has its own unique identity and rare beauty.
Madhubani painting also referred to as Mithila Art from Bihar, is characterised by double line drawings filled in with bright contrasting colours and intricate patterns. These paintings were traditionally done by the women of the region. The main themes include images of Indian mythological characters and stories like the Ramayana, Mahabharata, depictions of the Sun, Moon, plants, birds, and animals of the region which were traditionally done with natural and mineral pigments prepared by the artists with local materials.
Share your feedback by writing to us at cq@asianpaints.com
IN FOCUS
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PRESENTING CANVAS APP
UPLOAD INSPIRATIONAL IMAGES
Upload images from your collection to use as inspiration or for reference only. The upload tool also allows you to crop images, so you can retain only specific elements for your reference home, as if to remind one about the gorgeous spaces that surround it.
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BUILD A COLOUR PALETTE AND ADD SWATCHES
Add swatches to build a palette for your project, using the over 1800+ Asian Paints colours embedded in the app. The entire collection is quickly searchable by shade name, as well as colour code.
The recently launched Canvas App from Asian Paints is a free, browser-based tool that makes it extremely easy to visualise, create, and share moodboards around specific projects.
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SELECT A THEME THAT COMPLEMENTS YOUR PROJECT
The nineteen themes within the app are the perfect way to begin a project. Choose a theme to the set the tone for your space, whether it’s a wooden backdrop for a contemporary living room, or a chalkboard theme for a child’s study.
Alternatively, you can use one of the five provided Moodboard Templates, with simple white backgrounds and dedicated areas for images, swatches, and shapes. If you have a previously saved project (available to registered users), you can access it at this step.
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ADD TEXTURES AND DECALS
The embedded swatches also include a vast collection of texture swatches from Royale Play, including metallics, glowing decals, and tactile effects.
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FINISH, SAVE, AND SHARE!
Finally, you can add shapes and text to highlight the various aspects of your project moodboard, before downloading it for your reference, or sharing it with collaborators and clients via email. Or, if you are a registered user of the app, you can save your project at any time to return to it at a later date.
To learn more, and to experience these and other features, visit www.asianpaints.com/pro/canvasapp/index.html
INSPIRATION
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DISCOVERY
Asian Paints
Sharad Shamman The Sharad Shamman awards, facilitated by Asian Paints, have created a renowned and reputable platform of expression for all strata of society. Most recently the pujas have become more culture-conscious as Rabindra Sangeet and Vedic mantras replaced Bollywood music, and traditional idols have made a comeback. More importantly, this trent has ensured that musical forms, traditional arts and crafts, and community celebrations imbibed with religious fervour, all remained intact in the face of commercialism over the years.
ARTISAN
Behala Friends
Behala Nutan Dal
Tala Barowari
Idol Artist: Sushanta Paul Theme: Women as a Caged Entity
Theme and Idol Artist: Bhabotosh Sutar Theme: Fluidity of Life and Death
The main theme is around the dichotomy of the girl as a commander before marriage and as a caged, enslaved entity after marriage. Scrap metals and video projections have helped an impactful portrayal of the irony of treatment of women in routine life and as a goddess. With the use of lighting and dark wood furniture, the concept comes through very effectively.
Celebrating 50 years, they have depicted the mother goddess as the epicentre of samudra manthan out of which the eternal fluidity of life (amrita) and death (vish) has emerged. Biodegradable materials like coir and embroidery cloth are used to present the theme inspired by mythology. Connected pots and metal wires have been symbolise the womb and the ever continuity of life.
Theme and Idol Artist: Subrata Banerjee Theme: Raising a voice against use of Genetically Modified Organisms (GMO) The theme this year is to raise a voice against use of Genetically Modified Organisms (GMO). Goddess Durga has been depicted in the form of Hybridashuromardini and she is leading the fight against the use of GMO. A Devil’s Workshop has also been created in the interiors, signifying the catastrophic efforts of hybridization and cross-breeding to mankind and the overall ecosystem. In line with their theme, they have not used any plastic for the construction of their pandal this year.
BEST PUJAS
Selimpur Pally Sports & Recreation Club
Chetla Agrani Club
Suruchi Sangha
Theme and Idol Artist: Sushanta Paul Theme: Nostalgia
Theme and Idol Artist: Sanatan Dinda Theme: Metamorphosis & Woman Power
Making the past come alive has been the central theme of Selimpur Pally Durga Puja this year. The entrance to the main pandal has been decorated with thin coir ropes, hacksaws and traditional Bengali hand fans (talpatar pakha). The idea is to recreate everything that a Bengali mind can associate with Durga Puja. The Goddess here is in her traditional form. Expert craftsmen from Krishnanagar were specially employed to create the royal background, the canopy and the crown of the Goddess. The pandal has been built around a big tree, thus keeping the spirit of an ecofriendly environment alive.
This pandal has tried to uphold the message of women power and the power of creation is also being celebrated. The use of stark red and blue colours inside the pandal reflects an eternal clash between two primal forces, i.e., Shiva and Durga, which is essential for every creation. The Goddess doesn’t have a traditional Asura here, instead she is standing over Lord Shiva which again reveals the underlying tone of creation. Both the interior and the exterior of the pandal have been carved out of discarded materials, such as tin drums, metal shutters, steel spoons, mosquito nets etc.
Idol Artist: Naba Pal Theme Artist: Subroto Bannerjee Theme: Incarnations of Mother Inspired by the Tamil Nadu Chittirai festival, the central concept here is universal motherhood. The pandal has touches of the temple, architecture, dance forms (Kabadiattam) of Tamil Nadu. They have put forward the social message of the ironical treatment of mother as a goddess and mother as a captivated house-hold member. A noteworthy idea here is of Akalbodhon bringing Ram and Ravana together.
Share your feedback by writing to us at cq@asianpaints.com
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Ask Asian Paints
INCOMING Asian Paints ColourNext 2016 ColourNext is India’s foremost colour trend forecast, derived from extensive research into the latest social, lifestyle, design, and decor trends in India. In the next issue of Colour Quotient, we look forward to sharing the ColourNext trends for 2016, translated into inspiring colour stories.
PRODUCT QUERY Q. How can I prepare an interior wall for repainting, to get efficient paint coverage, while also ensuring a great finish? A. The two main things that influence paint coverage are the preparation of the wall to be painted, and its colour.
View current issue and archive at www.asianpaints.com/cq
Opacity: All colours have different opacity or transparency. Dark paint colours hide the surface easily while lighter shades allow the surface to be seen. Some bright colours that you see often in nature, such as yellow, oranges, and lime greens tend to be more transparent than muted tones and greys, which makes them less efficient at covering up a previous paint-job. SURFACE PREPARATION:
Colour Quotient 19 June 2015
Using the right base preparation system has a huge impact on the final outcome of any paint job. We recommend the following steps:
Colour Quotient 20 September 2015
IMAGE CREDITS
1. Decoprime Primer (WT or ST)
2. Acrylic Wall Putty
Primer protects the surface to be painted and helps improve the adhesion of the putty to the wall surface. Ensure that the surface is cleared of dust, and has been scrubbed with sandpaper before applying the primer base.
Walls may have slight surface irregularities and imperfections such as holes, dents and cracks. Using putty evens out the wall, and creates a smooth surface suitable for painting.
COLOUR MAP MONOCHROME MAGIC • Simple Chair » pixabay.com/en/chair-wooden-hard-seatseating-316889 • Room with Black and White accents » pixabay.com/en/vasehand-painting-black-and-white-448667 • Black and White vase » pixabay.com/en/doorway-entranceliving-room-room-690338 EQUIPOISE MAHESH RADHAKRISHNAN • North Facade » Mahesh Radhakrishnan • Helical Stair in Discussion Area » Santappa Kaliyan • Bah Shyam Tree mural » Santappa Kaliyan NUPUR SHAH & SAAHIL PARIKH • All Images courtesy Ira Gosalia COLOURLOVE • All images courtesy Aman Khanna REACH US HOME TOURS • All images courtesy Kunal Barve, Interface
Let us know what you felt about this issue of Colour Quotient. What would you like to see featured? Have something interesting to share?
A TECHNICOLOUR MAKEOVER • All images courtesy Pavitra Rajaram Design
3. Decoprime Primer
4. Top Coat
The second-coat of primer improves the adhesion of the paint to the wall, and improves the durability of the paint itself.
The last step is to paint the wall using your selected colour. Make sure you use at least two coats, to ensure the right colour, and a consistent, durable finish.
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For more information T 1800 209 5678 E cq@asianpaints.com
‘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
‘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.’
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Decal: W015D0RKY45
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With an exquisite range of wall coverings, Nilaya enables designers, architects, and individuals to reimagine the walls of homes, offices, and public spaces. For more information on the Nilaya range, please get in touch with your Relationship Officer.
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