Issue 20
Sept 2015
Treasure Trove
Festive jade
Celebrations. A joyous expression of our lives, emotions, and culture. The season where the mundane everyday is relegated to the background and we escape to a world of goodness and tradition. A period of happiness and discovery—a discovery of the treasures in the world around us and within us. A colour that is integral to festivities in India is the theme colour for this edition of Colour Quotient—Bright Jade 7510. It is intrinsically Indian, yet lends itself easily for adaptations for the contemporary world. Watch this colour manifest in various ways in the hands of different people in this issue of our magazine. Unlocking this treasure of memories needs a special hand. Which is why Nilaya is proud to present this festive season, a new collection of wall coverings designed by Sabyasachi Mukherjee. Watch him, in the article Sabyasachi for Nilaya, weave five Indian stories into a beautiful collection that will definitely inspire those who experience it. Also read how Lekha Washington uses Royale Play International Designer Collection to induce an element of surrealism into her installation. Stunning output! In our continuing coverage of classic Indian architecture, we travel to Thanjavur and Srirangam to explore temple architecture and details. Also read about how the age-old Warli art is getting redefined in the contemporary context. We would love to hear from you on what we have featured. Here’s wishing you all a very happy festive season… _Colour Quotient Team
CONTENTS
INSIGHT Treasure Trove Two leading designers provide insights into two projects that bring to light the festive ethos of a Treasure Trove.
Marie-Anne Oudejans
Sona Reddy
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CQ 20 IN FOCUS Sabyasachi for Nilaya Presenting a collection of wall coverings by Sabyasachi designed exclusively for Nilaya.
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Old Love by Lekha Washington Royale Play Artist Circle presents Old Love by Lekha Washington, in an initiative by Asian Paints to partner with artists and designers to bring art to public spaces.
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Inspiration 14 Kerala Sutra
An interview with designers of Kerala Sutra, a collection of light installations —Sahil Bagga and Sarthak Sengupta.
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Nishita Thakurdas is our colour pick for this festive edition of ColourLove.
36 Colourful Histories
Siddhartha Joshi journeys through the architecture, aesthetics, and colours of temples from South India.
INsight Learning Environments Understanding the evolving needs and role of colour and paint in educational infrastructure.
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INDIA CONNECT 26 Warli Art
Baaya Design delves into the traditions and contemporary re-interpretations of Warli art from the coastal region of Maharashtra and Gujarat.
Additive and Subtractive Colour 31 Kate Smith explains additive and subtractive colours and their role in making informed colour decisions.
ON THE COVER
ASK ASIAN PAINTS 40 Product Query
Festive times are the most joyous expression of how we live and celebrate tradition. They allow us to let go of the everyday and escape into the richness of past rituals and environments we create. An ornate key is used to unlock a Treasure Trove of tradition using the issue colour, Bright Jade 7510.
COLOU AP
Colour Map is a visual map of ideas to inspire and kick-start your creative process. In this edition of Colour Map, Khushboo Gupta curates a collection of decor ideas originating from the issue’s colour, Bright Jade 7510.
CURATOR: KHUSHBOO GUPTA Khushboo Gupta is the co-founder of Double Decker Design specialising in interiors, styling, space, & graphic design. Her core interest lies in livening up spaces with an interesting play of materials, textures, and colours. www.doubledeckerdesign.in
BRIGHT JADE 7510
Trusted traditions
Lotus showpiece in translucent glass. Chic table display with a hint of rose.
Chair inspired by geometry.
Living room with textured shades of jade.
A conversation piece.
Pink Silk 9413 | R 151 G 61 B 95
Kayak 8757 | R 94 G 78 B 63
Trusted Traditions Colour Palette
Vase with pink accents.
Ceramics with jade candle stand.
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.
Modern Sanctuary
Two-tier ceramic cake stand.
Graphical orange cushions. A burst of fresh orange flowers to bring life to your home.
Teal blue occasional seating.
Upholstered occasional chair.
Goldfish 7973 | R 253 G 131 B 35
First Frost 8316 | R 219 G 222 B 217
Modern Sanctuary Colour Palette
Contemporary living room with orange accents teamed with white and jade.
Eclectic crush Eames House Bird.
Metallic accents.
Copper cup and saucer against a neutral table.
Lantern against metallic wallpaper.
Gold vases with natural cork.
Nilaya wallpaper paired with glass and metal objects.
Royale Play Tuscania Antica wall texture and colour.
Yellow flowers with deep teal vase.
Royale Play Safari Top Coat: Helios M310 Base Coat: Orange Spark 7951
Autumn Shower 7381 | R 48 G 61 B 68
Planter with a burst of turquoise and gold.
Teal and white cutlery.
Eclectic Crush Colour Palette
In Focus
Nilaya, the luxury wall covering label from Asian Paints, dresses your walls with decor haute couture. Each wall covering transforms, enhances, and enriches with aesthetic expressions from the subtly simple to the elaborately opulent. His creations are as rich and layered as the muse that inspires them—the vast and varied theatre that is India. Add to that a sublime eclecticism, an original eye, and a design instinct that is in a class by itself. Gypsies, back alleys, folklore, antique textiles, indigenous techniques, exuberant embroideries, a decadent dash of European Baroque, the light of French Impressionism all come together harmoniously in his work. The tired soubriquet of exotic is left behind in a fresh and individual voice—renderings of modern silhouettes in dark jewel tones and muted shades accentuated with subtle texturing. Indian design has been energised with his use of indigenous methods: bandhani, gota work, pure khadi Benarasi saris, block printing, unbleached and kantha embroidered hand woven fabrics—all a part of a contemporary design grammar. From becoming the British Council’s Outstanding Young Designer so many years ago in 2001 to one of the ten most influential Indians in Asia today, the only Indian designer to have appeared in all three major Fashion Weeks—London, Milan, and New York, he is a fashion tour de force. He is Sabyasachi.
It is with great pleasure that Nilaya presents the new Sabyasachi collection of exquisite wall coverings. Presenting five transcendent lines, designed exclusively for Nilaya—India Baroque, Makhmal, Spice Route, Jodhpur, and Varanasi. As intricate as a raga, as sensuous as the rustle of a sari, as thrilling as the rush of a zamindar’s carriage wheels, as heady as a Mughal garden, these wall covers ooze luxury. Gorgeous and elaborate or delicate and subtle or playful and whimsical, they transport us to a world of beguiling beauty, luxury, and splendour—revived through a masterful, contemporary eye. Each wall cover series is a rich symphony of influences and noble and eloquent shades like madder, amber, pearl, and narangi, bejewelled with prints like the joyous hazarbuti, the delicate jamdani, gorgeous kalamkari, Benarasi brocade or regal tanchoi—all forged together with the unequalled detailing of handmade artistry. Embark on a passage to India with our new wall cover collection and enter into a new reality. Let a rich decor language awaken your senses with thrilling visual adventures and transform your home into a world of enchantment. Presenting Sabyasachi for Nilaya…
India Baroque Kaschmir
INDIA BAROQUE Pre independent India, of decadent Maharajas and their wilful fancies. Hedonism expressed through Lalique glasses, Cartier jewellery, Bentleys, and magnificent palaces. Less was never more and more never enough. India showed the world how to romance luxury and own it. These were men and women who really played the field. Art, culture, and excellence thrived as a way of life. Exhibitionism was the order of the day and Minimalism the trend. Nilaya presents India Baroque fine wallpapers for the connoisseur of extreme luxury. Flamboyant, extravagant, and unapologetically opulent. An ode to the Maharajas of yore.
Spice Route Hazarbuti
India Baroque Mogholsarai
India Baroque Gulbadan
India Baroque Kaschmir
MAKHMAL Fabric for royalty and nobility for centuries. Sumptuous, sensuous, and decadent, favoured for its glossy sheen and arresting opulence; makhmal or velvet has always stood as a symbol of wealth and aristocracy. This collection of beautifully rendered flocks represent an era gone by. An era that stood testimony to regality and baroque splendour.
Makhmal Surahi
Spice Route Mithu Miyan
Spice Route Brocade
SPICE ROUTE Of exotic spices and mysterious tales of trade. Cinnamon, cloves and cardamom, bay leaves and star anise; fragrant, exotic, and potent. A tale of romance, travel, and discovery, of arid landscapes, hostile deserts, mighty mountains, and travelling caravans. Gypsies and romance, folklore and forgotten tales. This collection draws its inspiration from the fabled spices of India, enticing traders and travellers across the globe for centuries.
Jodhpur Vrindavan Jodhpur Mogholsarai
JODHPUR Whenever you think of blue, Indigo, Prussian, brooding siyahi or fading asmani think of Jodhpur. Bandhanis, Mothras, painted walls, hand painted pottery, block prints, enamel, rugs, and dhurries, all in myriad shades of ‘Jodhpur’ blues, inspire this collection of wallpapers. Travel through the by-lanes of the blue city and soak in the ambience of quiet dignity, understated elegance, and almost feral sophistication; all expressed in shades of blue. Jodhpur Ranthambor
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Varanasai Jamdani
VARANASI One of the oldest living cities in the world, home to scholars, poets, artists, and master craftsmen over centuries. Varanasi stands for art, culture, and craftsmanship at its best. This collection draws inspiration from peeli kothi where the most exotic, opulent, and ethereal saris are traded, every day.
With Nilaya, Asian Paints brings home the finest in lifestyle, design, and craftsmanship. It reveals a world of inspiration, where design, material, and technique come together to create stunning surfaces.
For more information, visit nilaya.asianpaints.com
InSIGHT
Festive times are the most joyous expression of how we live and celebrate tradition. They allow us to let go of the everyday and escape into the richness of past rituals and environments we create.
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MARIE-ANNE OUDEJANS Founder, Trust and Treasure Heritage Marie-Anne Oudejans has worked in fashion as a stylist for magazines in Paris and New York and is the designer and founder of the New York-based fashion label Tocca. She has been awarded the Perry Ellis Award for New Talent from the Council of Fashion Designers of America, and also works as a consultant to many international brands. In 2013 MarieAnne created the design company Trust and Treasure Heritage, based in Jaipur.
Client: Barbara Miolini Year of Completion: 2014 Project: Bar Palladio Description: Heritage property bar and restaurant Area: 1400 ft2 Location: Jaipur, Rajasthan 2
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About the Project We want to create a bar with a mix of two cultures—Italian chic meets the dream palace of a Maharaja—as a view of how we dream about India and to bring alive the beauty of the past. I made mood boards to tell this story and from there we came up with the colour scheme for the bar, the design of its furniture and fabrics, right down to the design of the crockery. I think by creating a story and using elements from the past mixed with different
cultures you create a treasure—something special and unique. We did this by using traditional artisans from Jaipur and their techniques mixed with a very European vision. Vikas Soni and his team were the artists I worked with for all the paintings and art on the walls. His work can be seen at many other heritage and restoration projects in Rajasthan. I love colour, it is of utmost importance and creates the mood and feeling of my work.
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Dream Scapes 7430 | R 0 G 137 B 166
Bright Jade 7510 | R 0 G 167 B 157
Snow Princess 7332 | R 228 G 238 B 239
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Blues, teals, and white with accents of orange dominate interiors.
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Detail from the light fittings and archways.
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Hand painted latticed railings within the multi-room bar.
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The scalloped tented ceiling and ornate archways complement the motifs.
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Inspiration is drawn from classical Indian motifs.
“I think the colour speaks for itself. I loved making the fabrics & furniture, and using the colour palette to bring to life the walls, fabrics, block prints, furniture, and the porcelain plates.”
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
InsIGHT Colour quotient 20 6
Sona Reddy Founder, Sona Reddy Studio From a budding architect in Bangalore to a field engineer in Los Angeles, Sona Reddy interprets different facets of her versatile persona. An interior designer, a curator, a flea-market addict, a business woman, and a dog lover, are few roles she manifests.
Year of Completion: 2014 Project: Room Therapy Description: Home decor retail store Area: 3000 ft2 Location: Hyderabad, Andhra Pradesh
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The display at the entrance is a riot of colour & texture.
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A mesh chandelier with 300 bulbs.
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Blue pendant lights, mirrors, and iron Corinthian pillars.
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Colourful home accessories displayed in neutral shelves.
10 Carpet display with typical Hyderabadi Jhumar.
When I first designed the store, the first few things that came to my mind was to make it connect with the senses—a space that smells good, feels good, and creates a visual feast. East meets west with interesting feature walls, high ceilings, iron Corinthian pillars and industrial chandeliers, lights, and accessories. A quick glance and you will notice numerous feature walls—each done with distinctive elements that create a statement in itself. One of the walls —almost 12 feet high, adorns old drawers as shelves with varied decor products on display. The main chandelier at the entrance is made of mesh and 300 bulbs, and not only is it striking, it emulates what Room Therapy is all about. We documented the entire construction and the interiors as a time lapse, and more from the store can be seen online at www.roomtherapyhome.com
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Material and colour
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“We use colour extensively. It defines the mood, ambiance, and the energ y of a space. Once the functions are in place, we try to play around with colours depending on the requirement.”
The colour palette was carefully chosen. The interiors had to be impressive but not be more overwhelming than the products. The idea was to still keep the products in focus. Hence the floor and ceilings and walls were mostly muted and made a statement with colours at the entrance. So we followed a distinct pattern: 1. To make a grand first impression. 2. Then relax the colours to stop overwhelming the senses. 3. Lastly, to make you comfortable within the space.
Classic Blue 9190 | R 20 G 113 B 173
Frost Blue 9180 | R 221 G 226 B 226
Electricity 8256 | R 149 G 157 B 165
Victorian Gold X103 | R 238 G 196 B 0
Rich Rouge X122 | R 193 G 61 B 68
COLOUR SPECTRA PRO A Professional Fan Deck Colour Spectra PRO contains a range of 1800 colours from Asian Paints in large size swatches. These 3 x 5 inch colour swatches not only help you see colour in a larger format but also make the process of trying various combinations easier. Colour Spectra PRO comes as a set of 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.
Inspiration
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Kerala Sutra
A collection of light installations, designed by Sahil Bagga and Sarthak Sengupta for Mango Tree Crafts and Design.
Colour Quotient interviews designers Sahil Bagga and Sarthak Sengupta about Kerala Sutra—a pioneer project where indigenous craft has been partnered with industry innovations in an effort to bring India’s craft tradition to the forefront, through design. The craft skills from Kerala form an integral part of this exhibition of light installations. The key theme of this project has been to re-discover, re-interpret, re-present traditional objects and craft pieces to create unique light installations, both in function and art.
Kerala Sutra, an exhibition of light installations, designed by Sahil and Sarthak for Mango Tree Crafts and Design, a Somany Ceramics initiative, at the Stainless Art Gallery, Delhi.
Copper Market Lamps
Inspiration Colour quotient 20
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How were the crafts selected? The crafts were selected from the length and breadth of Kerala. We looked at crafts that involved both hard and soft material. We also explored performance art and the craft associated with such traditional art forms. We wanted to explore crafts that might have had royal patronage as well as local crafts used for making everyday objects. Please talk a little bit in detail about the process you followed for the design.
How did the project emerge and what led you to start working on Kerala Sutra? The history of Kerala, dates back more than several millennia. From as early as 3000 BC, Kerala had established itself as a major spice trade centre. This level of connectivity and exposure transformed this region into a highly evolved society and a cradle for a wide range of craft practices. The key theme of this design project has been to re-discover, re-interpret, and re-present these traditional objects and crafts practices of Kerala, as a collection of twenty light installations. The word Kerala is first recorded as ‘Keralaputra’ in a 3rd-century BCE rock inscription left by the Maurya emperor Asoka.
Therefore, the story of this land is ancient and deeply rooted in legends and mythology. Our effort has been to narrate the story of Kerala in the most comprehensive manner, by stringing together five key elements that give a framework to this design project. They are Land, Legend, Legacy, Love, and Lifestyle. These five elements are like five chapters in a book that have been linked together by the thread of time, therefore the use of the metaphor ‘Sutra’. The result is a fascinating overview not only of the treasures of the glorious past of Kerala but of its significance in the future.
We have a passion to explore traditional crafts, re-interpret them through the prism of technology and create contemporary products that are global in appeal but local in nature. We design products for our own product line as well as for our client projects. When we develop products for our own range, we try to narrate human stories that form the context of the craft that we want to explore. When we design a project for a client, we explore the local culture, inspirations, and materials to give a unique identity to the project. This thought process gave rise to the Zero Kilometre™ approach. Sustainable thinking does involve a certain amount of planning at the initial stages of any project. But in the long run it adds value to our designs. We feel more and more people want to buy products with a conscience, in fact we refer to it as green luxury.
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The interaction of light and colour and material is interesting across the collection, but is there a favourite product each of you have in particular? Sahil: My favourite piece is the Rava Ravana Leather Puppet Glowing Sculpture. This piece captures the dynamism and movement of a traditional Kerala leather puppet show, along with its earthy vegetable dye colour palette. It also exhibits the symbolisms of the hand punched motifs that are specific to the characters from Ramayana and Mahabharata. The sculpture is designed like a cubist painting and brings out the duality of life, narrated through mythological characters.
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Sarthak: I really enjoyed making the Prabha wall lamp. The conception of this design took place while we were scouting through the craft cluster in Kerala. We were documenting the bell metal craft in a small town called Nadavaramba, where we discovered this floral shaped object called the prabha. This metal and glass object is used as a halo, behind the head piece of deities in temples and churches of Kerala. A small oil lamp is placed at the centre of this object and the light is reflected by this multifaceted prabha to create an effect of a halo. We have recreated the same object in brass with silver finish, combined it with hand painted Kerala mural paintings that have been transferred on to glass, using state-of-the-art technology from Somany. The Prabha light celebrates the Shringaar Rasa and depicts a woman who is adorning herself for her lover. Was there a defined colour palette from the start, or did it evolve organically from the crafts chosen?
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Organic Green 7766 | R 174 B 188 G 88
Yes, the colour palette has been developed from the crafts we have chosen. The colours are bright yet earthy. This is because, many of the crafts we have explored use vegetable dyes and organic colours which have a distinct character. We have also drawn references from the lush green Kerala landscape, the terracotta rooftops, the use of white alongside gold and red, and the vibrant mural paintings that once adorned the palaces and temples of Kerala.
Orange Tango X113 | R 227 B 98 G 47
Pure Red 8093 | R 207 G 37 B 43
Light Ochre 7926 | R 225 G 177 B 80
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Vasantham light displayed at Kerala Sutra exhibition.
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Kerala hand painted mural at Pundareekapuram Temple.
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Kathakali, one of the oldest theatre forms in the world.
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Leather puppetry, a form of shadow puppet theatre.
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Aranmula kannadi is special type of mirror produced in Kerala.
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Rava Ravana Leather Puppet Glowing Sculpture.
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The Prabha wall light with the Kerala style of mural painting.
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Shringaar Wall with Diya Panel.
For more information on Sahil & Sarthak, visit www.sahilsarthak.com 8
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
In an endeavour to promote art and bring it closer to people, Asian Paints has launched Royale Play Artist Circle, an initiative to help and facilitate artists and designers to create art at public spaces.
All textures are printed representations and may vary slightly from actual textures. Please refer to the Royale Play International Designer Catalogue for exact texture reference.
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For Lekha Washington’s largescale installation at Palladium, she used Royale Play International Designer Collection to achieve the desired finish—to make one believe that a gigantic iron ball floats in mid-air with no suspension, with iron chains around it. Royale Play IDC with its classic designer finish, makes the material, which actually is an inflatable plastic object, seem like an authentic iron ball.
Lekha Washington is the first member of Royale Play Artist Circle. Her creation, ‘Old Love’ has used the designer finishes of Royale Play International Designer Collection. Lekha’s unique installation is part of her collection of unusual ‘That which is, is not’—objects that are not what they appear to be, iron will float, cable will defy gravity, flat objects will become seating! Thematically, everything has been tied into the notion of what one expects it to be versus what it is. Lekha’s installations displayed at the Palladium mall are part of the mall’s initiative of bringing art to the public through its property ‘Art at Palladium’. Asian Paints’ association with Lekha Washington is the first of many under Royale Play Artist Circle. The company hopes to work with many more artists like Lekha and provide them with the right material to help them create more such artwork at public spaces and give the people of that city, a break from their monotony and experience their city in a new way.
In order to create good art, artists need good material to transform their artistic vision to reality. Royale Play Artist Circle endeavours to partner with artists to bring to life their creative vision. It aims to support artists with Royale Play International Designer Collection, a range of classic designer finishes inspired by natural elements like rust and concrete that provides the perfect material for artists and designers.
Royale Play International Designer Collection Ironic
For more information on Royal Play International Designer Collection, visit www.asianpaints.com/pro/RoyalePlay.aspx
The Colour Spectra at Your Fingertips Asian Paints has launched a complete compendium of the Colour Spectra that is now accessible online. The online Colour Spectra allows users to browse through over 1800 colours in the Asian Paints colour library. The colours are classified into various types of colour wheels—the Pure Hue Wheel, White Wheel, Brown Wheel, and Grey Wheel. The wheel is separated into 12 colour families: Red, Yellow, Blue, Orange, Green, Violet, Red-Orange, Yellow-Orange, Green-Yellow, Green-Blue, Blue-Violet, Red-Violet.
The Online colour spectra is separated into Four colour wheels:
Pure Hue Wheel
White Wheel
Brown Wheel
Grey Wheel
Additional Features: 1. Has the ability to match Asian Paints colours with RAL and Pantone colours where possible. 2. Provides monochromatic, complementary, and analogous colours combinations based on selected colour. 3. Offers a larger preview of the colours. 4. The background against which the selected colour is viewed can be changed from white to black, helping make more informed colour choices. 5. Colours and combinations can be saved in a PNG format and printed or as kept as a reference for future use. Blue colour family shown in the Pure Hue Wheel
To access the online Colour Spectra, visit www.asianpaints.com/pro/ColourSpectra.aspx
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Insight
Learning Environments Asian Paints in association with Therefore Design embarked on a journey to discover and identify the evolving needs of colour and paint in the education category of contemporary India.
Pastel colours and an unimposing facade create the feel of a welcoming and secure environment. CONTRIBUTOR: DHUN PATEL, THEREFORE DESIGN Dhun Patel is the founder and director of Punebased Therefore Design, a multifaceted design agency that offers services in communication design, industrial design, and design research. www.thereforedesign.co.in
Current usage of colour in learning environments Say the word school or college and you conjure up images of friends, teachers, experiences…a veritable flood of memories rush into your mind’s eye. The physical spaces or classrooms of the institution often do not figure in such memories, probably because they have been, and still are in most institutions, inconspicuous and plain, single colour spaces. A scan of educational institutions in different parts of the country showed that while education pedagogy and infrastructure
have evolved manifold, colour has not kept pace. With a few exceptions, most institutions still follow the thumb rule of single colour for all classrooms and corridors. White, cream, pale yellow, beige, and blue are the most popular colours used in schools and institutions for higher education. Some schools opt for bright colours but only in the case of pre-primary classes. The question we then asked; is there merit in having predominately white, monotone classrooms for students? And the answer, an overwhelming no.
Insight Colour quotient 20 STUDIES LINK WHITE MONOTONE WALLS WITH DETRIMENTAL CONSEQUENCES TO LEARNING
CHALLENGES In USING COLOUR IN EDUCATIONAL SPACES
The need for colour is strong and yet it hardly ever features in any classroom across India. So why this apathy towards colour? The reasons are manifold. Importance of colour is a subject that very few educators have ever considered and most are not aware that it can impact a child’s learning and behaviour. Many even believe that colour in fact, distracts students rather than assisting in their learning and development. Parents are equally ignorant on the matter and while they might conduct an in-depth recce of the infrastructure available at an institution, colour and quality of paint is never a concern. There is little consciousness in this sector about new paint products and their qualities such as being flame retardant, low in VOC (Volatile Organic Compounds), anti-fungal, and environmentally-friendly, that would be beneficial to the well-being and safety of children. Lack of awareness means that the need to allocate resources towards colour and paints is not important. There is no motivation to use a more expensive product, as there is no direct tangible benefit. Added to this there are also numerous practical difficulties that act as deterrents. Schools need to be repainted frequently, the only time available being a brief span Mural at the Aditi Mallya International School, Bangalore. during summer holidays—thus, there is Saturated, warm colours that pair well with earthy tones. Simple & bold colours at the Aditi Mallya International School. immense pressure to complete the project within a tight deadline. Painting is perceived Asian Paints Edutones colour guide. Music facility at the American International School, Chennai. to be a hassle and all the stakeholders A nature-themed classroom. involved are averse to adding any effort Nabil Montessori School in Jorethang, Sikkim. to the task.
Experts who were interviewed, substantiated that white walls while often used in classrooms are not conducive to learning. In fact, while no positive outcomes can be found to support the practice of white, monotone classrooms, some negative impact was observed in studies. As an experiment, individuals were exposed to blank white walls for an extended duration. These subjects were found to display symptoms of anxiety, which psychologists attest is due to lack of stimulation in such environments. Creating a sense of restlessness and irritation, such an environment makes it difficult to sustain concentration as well.
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Architects Can Play A Vital Role In Deciding Colour For Educational Spaces 1
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Variations in colours are not preferred as they are alleged to be difficult to maintain and re-paint. Contractors involved also push for a single colour to make their job easier; to the extent that important aspects and proper procedures like water proofing where necessary, may also be set aside in the rush to just get the job done. We, the design fraternity hold the power to bring about the changes needed in this aspect. Of the numerous institutions, trustees and administrators that we spoke to, all, with rare exceptions, said that they trust the choice of architects and designers on the subject of colour. They may have suggestions but the architect will play a key role in the decision making process.
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EDUTONES COLOUR GUIDE FOR ARCHITECTS AND DESIGNERS The next question that comes to the fore is what can we at Asian Paints do to help the design fraternity to introduce colour into learning environments? The answer is a tool that we call Edutones, a guide specifically put together to realise visions for learning environments. With a focus on primary and secondary school spaces, Edutones features not only classrooms but also different spaces within schools. Extensively researched and based on numerous colour studies conducted internationally and in India, Edutones is based on a few key principles and learnings.
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The KEY PRINCIPLES Behind THE EDUTONES GUIDE
1. Children’s rejection or acceptance of colours is a mirror of their development into adulthood. Younger children find high contrast and bright colours stimulating and they are partial towards colours that create patterns. However once students transition into adolescence, cooler colours and more subdued hues provide enough stimulation without distracting. Being sensitive to each age group’s response to colour is the key in creating an environment that positively impacts their learning experience. 2. Colours in a room help to stimulate the mind, enabling students and teachers to stay focused on the task at hand. Accent wall treatments in classrooms can help reduce the incidence of eyestrain amongst students. As students look up from their books toward the teacher or the blackboard, the difference in colour helps the eye to relax.
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3. Colour can assist in creating simple systems to aid way-finding. Particularly beneficial for primary school children, who starting at the age of four begin to recognise and match colours. 4. There is a direct connection between the brain and the body and reactions to colour take place independent of thought or deliberation. Decoding this information further opens up a potential to transform the way we think of colour for educational spaces. Depending on the wavelength of light in the visible spectrum, specific colours impact specific physical systems in the human body.
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HUEs AND Their wavelength effect different physical systems of the human body 400–455nm: Violet
455–492nm: Blue
492–577nm: Green
577–597nm: Yellow
597–620nm: Orange
620–700nm: Red
Non-verbal Activity
Eyes, Ears, and Nose
Speech Skill Activity
Cardiopulmonary Activity
Circulatory System
Motor Skill Activity
Cooler colours have shorter wavelengths and have an effect of sedation.
Warmer colours have longer wavelengths and promote external environmental contact and provide stimulation to the autonomic nervous system.
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USING THE ASIAN PAINTS EDUTONES GUIDE The Asian Paints Edutones colour guide can help you arrive at the right blend of aesthetics and functionality, to create a positive atmosphere that aids learning.
1 Get Inspired by Themes Asian Paints has evolved five themes that act as a starting point for building a palette: • Vivid and Responsive • Playful and Energetic • Fresh and Fun • Earthy and Orderly • Calm and Reflective
Each of the themes is accompanied by a moodboard that provides a description of the theme, images that define the mood and the age group, and an example colour palette.
2 Build a Colour Palette This section provides inspiration for the five themes and helps build colour palettes. It shows how themes can be translated into different spaces in an educational setting, from interiors —classrooms, administrative areas, common areas, and learning hubs— to exteriors.
3 Paint the Space In this section, Asian Paints provides technical knowledge and information on executing projects, specifically related to painting educational institutes.
Using the selected theme, find inspiration across different spaces, and select colour palettes that best suits your project.
The last step is to translate the selected palettes to the space. From information on products to Asian Paints services, the last section guides you on the actual painting of the space.
With the boom in the development of education infrastructure we are all perfectly poised to create a new paradigm that transforms the way we think of educational spaces. Armed with Edutones, we hope that we can assist you in creating
education spaces where colour will have an integral role to play. With our collective effort maybe the next time someone is asked to relive their school days, their engaging classrooms would be the first thing they remember.
To place your order for Edutones, contact your ColourPRO relationship officer, fill in the feedback form, or visit www.asianpaints.com/pro
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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.
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Warli Art
India Connect
The mural paintings of the Warli tribe, an ancient tribe from the coastal region of Maharashtra and Gujarat, use the basic graphic elements of circles, triangles, and squares to form evocative and intricate graphics with limited colours depicting human association with nature. This form of painting is now popular as artwork on walls and furnishings in urban homes as well.
CONTRIBUTOR: BAAYA DESIGN Baaya Design is a retail store and studio that offers a range of folk and cultural artwork, home accessories, and skill-based consultancy services. Their range speaks of India’s age-old exquisite skills while mapping the current day markets with products that are contemporary expressions of traditional skills. Baaya Design aims to showcase the beauty and workmanship of Indian traditions through aesthetic products that combine traditional skills with a contemporary lifestyle.
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India Connect Colour quotient 20 1
TRADITIONS OF WARLI
THEMES DEPICTED IN Warli
To see this art form in its natural setting, take a two-and-a-half hour’s drive from Mumbai, and you will find yourself in the sylvan surroundings of the villages in Dahanu where paddy fields, and coconut, palm, and mahua trees, rustle in the breeze. Hidden away amidst these surroundings are villages that carry forward the ancient tradition of Warli art. Simple, linear forms used in this art communicate the tribe’s way of life, their social customs, the flora and fauna of their region, their occupations, harvest cycles, and daily activities. Traditionally, only white was used in creating Warli paintings and the base was a mix of earth colours and natural stains, such as henna, cow dung, red soil, and other mineral colours. Earlier, women were the main repositories of this heritage and suvasins (married women) created the paintings on walls. The appeal of the composition lies in their simplicity of form, while conveying the profound. Today Warli painting is widely recognised and sought after in India and internationally.
Warli art uses the following major themes: 1. Harvest cycles: Depictions of the sowing of crop, ploughing, cutting, husking, and threshing. 2. Forests and rivers: Paintings of birds, animals, trees of the forest, and the soil. Trees are depicted in their natural form and with their leaf patterns. 3. Lagna: Portrayal of ceremonies related to marriage. The lagna chowk or marriage square is painted by the women of the village for a newlywed couple setting up their home. This is given as a good luck symbol to the couple. Sometimes a marriage procession is also depicted with the bride and the groom on horses. 4. Tarpa: Depictions of the community’s dance—the Tarpa dance—done in rhythmic circles, where women and men entwine their arms together to create a sinuous chain. The Tarpa is a traditional trumpet-like instrument used in festivals.
5. Nagpanchami: Paintings showing the festival dedicated to the snake god. Here the life cycle of creatures that live under the soil are shown. These living creatures help keep the soil fertile and the ecosystem robust. 6. Everyday village life: Portrayals of everyday activities in a village, such as going to the market, women cooking, men harvesting palm fruit and brewing toddy. 7. Monsoon: Illustrations of the rain, clouds, harvesting in the fields, and the sun. 8. Wagheya: Depictions of Wagheya, the community’s animistic god of the forest, in a temple. The god is often shown surrounded by birds paying obeisance. 9. Folklore: Illustrations of the community’s popular folklore. The most common is the story of the bel tree.
Simple, linear forms used in this art communicate the tribe’s way of life, their social customs, the flora and fauna of their region, their occupations, harvest cycles, and daily activities.
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Process
contemporary application
Originally these murals were painted on the inner or outer walls of the village houses. A rich, earthy base using mud, cow dung, and other materials was used. Powdered rice husk, made into a white paste, was the paint brushed on to the prepared base. The drawings use strong, flowing lines and are all created free hand, without the aid of prior tracing or sketching.
Nowadays, Warli paintings are usually made on a cloth canvas, with earthy bases like rust brown, green, or dark brown. The figures and line work are made with white, powdered rice paint. The artwork is nowadays created by both the men and women of the village. There is a revival of this art form in urban homes, accessories, and even clothing. Today, in a modern take on Warli, artists paint on canvas and use vibrant acrylic colours to create contemporary renditions. Murals are now recreated in homes, and are protected with additional coatings.
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Details of themes from Warli art.
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Jivya Soma Mashe, a Warli artist who popularised the Warli tribal art form.
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Jivya Soma Mashe's work exhibited at Quai Branley, Paris.
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Warli art in a contemporary home.
If you would like to know more about craft forms, write to us at cq@asianpaints.com
Inspiration
Through her collections, Nishita Thakurdas, founder and designer of Nishita Fine Dinnerware, brings alive her own sophisticated, elegant, and contemporary sense of design while paying respectful homage to India’s exceptional heritage.
Serving Bowl 9"
Bowl 6"
According to Nishita, “The Banaras collection is a dedication to the master weavers of Banaras. Inspired by my mother’s favourite sari, the beautiful jade-toned buttis delicately placed against porcelain white and golden arches makes this collection a perfect blend of the classic and contemporary. The design of each piece is created and screen-printed onto water slide decals designed to withstand kiln-firing. The printed transfer is soaked until the design can be slid off onto the porcelain and positioned. The piece is then fired in a kiln. The 24-carat gold is applied by hand.”
The light-bright turquoise and the hand-crafted 24k gilded sophistication allow you to use this tableware for brunches, lunches, and high tea.
Platter 14"
Napkin Ring 1.85"
Side Plate 8.5"
“Turquoise is my most favourite colour and the decisive use of turquoise enhances the elegance of the buttis.” For more information visit nishitadesign.com Dinner Plate 11.5"
Insight
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Colour is infinitely complex and understanding why we have different sets of primary colours, as well as understanding the functions of each set, can strengthen our mastery of colour in design.
What it Means and Why You Need to Know CONTRIBUTOR: KATE SMITH President and Chief Color Maven of Sensational Color, Kate Smith is an internationally renowned colour expert, sought out for her ability to guide businesses on how to use colour to gain recognition and generate revenue. www.sensationalcolor.com
Most of us were children when we first learned about colours. We had boxes of crayons and sheets of construction paper, full of possibilities. Grade school art teachers taught us about primary colours and secondary colours, often showing us a colour wheel that demonstrated the relationships among colours. Those simple lessons shaped our interactions with colour through our childhoods. Fast forward and we now have a far more complex understanding of colour. Not only do we as designers realize the power of colour as a design principle, but we’ve also learned primary colours aren’t quite as simple as we thought they were. In fact, there is more than one set of primary colours, and more than one way of creating colour. We’re going back to school, with a topic you may have avoided. As it turns out, understanding the different sets of primary colours requires a small physics lesson. For design purposes, the most important differentiation between primary colour sets is defined based on whether you’re talking about subtractive colour or additive colour.
Insight Colour quotient 20
In This example, we see how a colours are mixed in a Painting, as well as in print…
PAINT The traditional set of ‘painter’s primaries’, are Red, Yellow, and Blue paint (RYB colour model). A combination of these paints, when physically mixed in certain proportions, produces a wider set colours.
Print In print, Cyan, Magenta, and Yellow pigments, (CMY colour model) are known as ‘printer’s primaries’ and are generally printed using a method called half-toning. Half-toning is method of printing ‘dots’ of CMY in varying sizes with variations in spacing. The human eye then perceives these dots as the resulting new colour.
SUBTRACTIVE colour We’ll start with subtractive colour, since it is closer to what we learned as children. Subtractive colour refers to combining paint, ink, or dyes to create a wider range of colours. Why do we call it subtractive, when what we’re really doing is adding pigment? That’s where the physics comes in. The way subtractive colour works is by absorbing colour, so the hues not absorbed are perceived as the visible colour by the eye. There are two different sets of subtractive primary colours. The painter’s primaries of red, yellow, and blue (RYB) are the ones we learned in school.
The RYB primaries overlap to create secondary colours of violet, orange, and green. This colour wheel was widely used prior to our modern colour theories, and there are interesting historical variations of this colour wheel based on regional availability of pigments. The most commonly used subtractive colour model is the printer’s primary array of cyan, magenta, and yellow (CMY, or CMYK, when you add black or the key colour). Again, this colour model is subtractive because the amount of one colour used determines how much of a complementary colour is reflected,
and therefore perceived by the eye. The amount of magenta present determines how much of its complement—green—you see. Likewise, cyan complements red and yellow complements blue. Both subtractive colour models begin with white. When all three primaries overlap—and therefore absorb all colours—the convergence is black. As it turns out, starting with white and moving toward black is precisely the opposite of the way additive colour works.
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…And how Colours are combined on a digital screen
Digital In an additive colour model, Red, Green, and Blue light (RGB colour model) is superimposed onto each other used to produce different colours. For example, on an LCD computer screen, individual RGB sub-pixels light up in different intensities, which the human eye combines to perceive a new colour.
additive colour Additive colour is used in digital and television screens, and is based on the physics of coloured light and, more importantly, how we perceive it. When the additive—or light —primary colours of red, green, and blue (RGB) are projected in overlapping circles, they create the additive secondary colours of cyan, magenta, and yellow. Interestingly enough, the way additive colour actually works on a computer screen, for example, doesn’t actually depend on overlapping colour, but rather proximity. When you look closely, really closely, at a screen, you see that each pixel is actually comprised of sub-pixels of red, green, and
blue. Creating the colours your eye perceives is a result of illuminating pixels in close proximity that your eye, in turn, blends. Light a red and blue sub-pixel, and your eye, not powerful enough to individually perceive such tiny spots of light, sees magenta differently than subtractive colour. When all three additive primary colours overlap, they create white, as opposed to the black obtained by combining the subtractive primaries. The relationship between additive and subtractive colours isn’t precisely opposite, though. When you look at both colour models side by side, you’ll note the same colours are present, but in different relationships.
Additive colour uses light sources of various wavelengths added together to produce a range of colours, whereas in subtractive colour, parts of the spectrum of light are ‘subtracted’ or absorbed to reveal other colours.
Insight Colour quotient 20
COLOUR SYSTEMS So why does it matter whether a designer understands the differences between subtractive and additive colour? It can be as simple as realizing the colours you see on your computer screen, for example,
are physically created differently than the colours you see on paint chips. Those differences matter when you’re working with multiple media and concerned with challenges like accurately depicting
and duplicating colours, not to mention tackling problems associated with moving colours into different textures, patterns, and materials.
RAl Let’s look at the RAL colour matching system, for example. RAL, originally developed in Germany in 1927, made it possible for collaborators on a project to use numbers—provided both parties had the colour standards, of course—to discuss colours with precision. Prior to RAL, the parties would have had to exchange samples. How does RAL relate to subtractive colour? Items officially made using RAL standards are absolutely precise, whereas items made using different standards will often reveal colour variations in different lighting. That means the precise shade and amounts of colours absorbed are different. Colour consistency matters, so much that approved RAL products produced after early 2013 bear a hologram as a mark of their authenticity.
The RAL Classic fan deck is a widely used colour matching system.
Munsell colour Theory Likewise, Albert Munsell developed his colour theory in an attempt to create an even more precise language for talking about colour. His use of three distinct colour continua—hue, value, and chroma —equipped him with a system by which
he could describe a much fuller range of precise, reproducible colours. Like RAL, Munsell applications are largely subtractive in nature, and having a common language for describing colour yields consistency in design projects.
Value describes the lightness or darkness — meaning how close to white or black a given hue is. Chroma refers to the brightness or purity of a colour, sometimes described as its saturation or intensity. Hue refers to the pure colour associated with a particular wavelength of visible light.
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Even understanding the mechanics of how important colour theories interact with the notions of subtractive and additive colour can help you stretch your skills to better understand and explain your colour challenges and choices. Pantone Matching System The PANTONE Matching System (PMS) has made the greatest strides toward colour matching across additive and subtractive sources. One of the big challenges in colour matching on computers is that additive colour varies depending on the hardware. Many software users now specify colours using the PMS in order to minimize the differences in the perceived colour from device to device. PANTONE Personal Colour Calibrator™ even permits designers to input information about their computer monitor make and model, and the display will be optimized for colour accuracy.
Pantone fan decks.
Natural colour system (NCS) Even NCS, the Natural Colour System that’s used in Sweden, Norway, and roughly ten other countries, plays into a discussion of additive and subtractive colour. NCS uses six elementary colours arranged in complementary pairs—black-white, redgreen, and blue-yellow—and the relationship among them to precisely describe more than
ten million colours. While both the additive RGB model and the subtractive models (CMY and RYB) rely on the eyes’ colour receptive cones, NCS relies on the retina’s ganglion cells.
Do you have to understand the difference between retinal ganglia and colour receptive cones in order to be a great designer? Of course not. Understanding the physics of how and why we came to have more than one model for primary colours, however, helps you frame, present, and collaborate on projects in a way that makes your colour decisions more precise. If you would like to know more about colour theory, write to us at cq@asianpaints.com
Hue of a colour is specified by its position relative to the two closest elementary colours of the NCS colour wheel. The elementary colour pairs are Red-Green and Blue-Yellow, which form the four points of the NCS colour wheel.
The Nuance of a colour is determined by its Blackness and Chromaticness as represented in the NCS Colour Triangle. • Blackness: Amount of white or black the colour contains. • Chromaticness: Chromatic strength of the colour.
Inspiration
Colourful
Histories Thanjavur, Srirangam and the Temples of South India
About a millennia back when most of the world had no inkling of skyscrapers, the Vishwakarma (temple architects) of South India were imagining, designing, and constructing structures as tall as the high-rises of present day India. Developed at the core of settlements, these temples were not just places of worship but also played an important role in the economy and politics of the town. I visited the temple towns of Thanjavur & Srirangam recently and had some phenomenal first-hand experiences. On the one hand the Shiva temple at Thanjavur is considered the epitome of the beauty and zenith of South Indian architecture, and on the other hand the Vishnu temple in the neighbouring town of Srirangam is what claims to be the world’s largest functioning Hindu temple. Here is the story of these two temple towns which evolved from numerous chats over filter coffee with the locals from the towns, priests from temples and historians. It’s a collective of legends, history, and derivations from my personal observations.
Contributor: Siddhartha Joshi Siddhartha is a designer, traveller, and a travel blogger who loves people more than everything else. He derives his passion from interacting with people and is extremely passionate about inspiring the world around him to travel more, as he believes that only travel can break barriers and make us more tolerant and accepting of our differences. www.sid-thewanderer.com
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Legend AND History Legend has it that the idol of Lord Ranganath (Vishnu) has been in the temple town of Srirangam from the times of the Ramayana. It was later rediscovered by a Chola king who then established the present day Shri Ranganathaswamy temple. The Brihadeeswarar temple at neighbouring town of Thanjavur is a Shaivite (Shiva) temple built by a Chola king; Rajaraja Chola I built it in 1010 AD. Both the temples evolved and grew in stature. Srirangam became a town which lived completely inside the temple walls, while Thanjavur found patronage from many dynasties even after the capital shifted, and retained its prominence. Aesthetics Temple aesthetics has evolved over the last two millennia. A number of key elements are present in most South Indian temples. From the outside, a Gopuram or a gatepyramid, is followed by a courtyard. These
are often the tallest structures and are filled with elaborate stucco work in relief. A pillared hall or chawadis preceeds a porch or mandapa, and finally the sanctumsanctorum or garbha-griha. Above the garbha-griha is the principal part of the temple, a richly carved and, in many places, gold plated, Vimana. The Āgama Shastra lays down rules for proportions and architecture of the temples. More open to interpretation when it comes to the exteriors, they become stricter as one moves to the sanctum sanctorum. Temples use materials ranging from extremely hard granite, to sandstone and soapstone. Made with granite, the Brihadeeswarar temple has simpler though more enduring design, while made with combination materials, the Ranganathaswamy temple is highly ornamental. To appreciate and understand the inspiration from nature, we must go back to the time when temples were made primarily inside man-made excavated caves, for instance the Hindu temples at Ajanta. With time, the temples moved from caves
1. Vimana 2. Garbha-griha 3. Columns 4. Central Plaza 5. Mandapa
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into open spaces and a new style of temple architecture evolved. However, even though man moved away from cave temples to free-standing structures, his connection with mountains continued. Mountains were not just inspiration from nature but were considered to be the abode of the Gods. Vimanas of the temples take direct inspiration from mountain peaks. A good example is the Brihadeeswarar temple where the Vimana is built to emulate the mythical ‘Meru Mountain’. Often the further inside the temple you go, the simpler the design becomes. Caves have always been an important part of Hinduism and temples have incorporated caves in the form of garbha-griha where the presiding deity resides, a modest space with minimal carvings or ornamentation. Man is another inspiration that defines the design and proportions of the heart of the temple. The mythical Vastu Purusha in a yogic posture is symmetrically placed in a square (the shape of the garbha-griha) and the idol is placed right at its navel. South Indian temples follow well-laid out guidelines on which direction they should face; the temples always face east. In most temples little light enters the garbha-griha, though many Shaivite temples are aligned to have the morning rays of sunshine fall directly on the main deity on specific days. A temple uses design elements derived from nature and these include both the flora and fauna from the region and the Himalayas. Temples also use nature-inspired mythical animals which are protectors of the spaces.
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Carvings at Brihadeeswarar temple, Thanjavur.
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The Gopuram at the Brihadeeswarar temple.
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The famous Vimana of Brihadeeswarar temple.
InspirationwvvwwColour quotient 20
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the 'Panchavarnam' palette New Day 7410 | R 159 G 215 B 233
Forest Canopy 7608 | R 141 G 208 B 169
Mango 7909 | R 255 G 195 B 0
Sunrise 0526 | R 232 G 116 B 52
Silent Night 8254 | R 87 G 93 B 101
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Panchavarnam means five colours and is used to refer to the colour palette and paints applied to Temples in Tamil Nadu as laid out in the Vastu Shastra texts on temple architecture.
Colours AND Temples To me South Indian temples and their vibrant colours have always gone hand in hand. As I walked across Srirangam, I became intrigued with the evolution of the use of colours in these temples. Further enquiry helped me understand that colours were not just decorative, but had great history behind them. The walls of cave temples walls were painted in natural dyes and told the stories of Gods as well as the kings who made them. As temples moved outside of caves, so did the stories; from the walls of the caves to painted three-dimensional intricate relief work on the walls, and especially the Gopurams of the temples. Srirangam has one of the world’s tallest Gopurams and the colours there both shocked and subdued me. Painted in a riot of colours, the hues can both hide, as well as pop out the stucco work. Paints always have a story, for example the Vellai Gopuram at Ranganathaswamy temple at Srirangam is always painted white to honour of the devdasi (temple dancer) named Vellayi who saved the Lord’s idol from the Sultanate forces while sacrificing her life. The Brihadeeswarar temple is slightly different; maintained by Architectural Society of India, the temple does not have coloured Gopurams and they are seen in their natural granite finish. It is believed in the past it was painted bright red using paint made with crushed red stone and mixed with water. Colours are also seen inside the temple, and good examples are the colourful murals at the Brihadeeswarar temple which has some well-preserved frescos on the walls and ceiling of the circumambulatory path on the first floor.
However, over the last thousand years, the art and the tradition of colouring the temples has undergone many changes and now the colours used are often poster or acrylic colours. Some believe that these colours bind the base material together, while others argue that the practice does more harm by damaging the stone or the plaster below. This year the age old Chariot festival was revived at the Brihadeeswarar temple in Thanjavur and is a great time to witness a living temple teeming with life. Srirangam, on the other hand, is a festive town all year round, though the best time to visit is during the cooler winter months. While in the area, walk around town through the lanes, as almost every lane has an ancient temple of its own, complete with majestic Gopurams and Vimanas. Share your feedback by writing to us at cq@asianpaints.com
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Roof detail of Balakrishna from the Srirangam.
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Paintings on the wall of Shri Ranganathaswamy temple.
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Young girls before their arangetram at Srirangam.
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White vellai Gopuram at Srirangam.
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.
Ask Asian Paints Product Query Q. Does Asian Paints provide a coating system for both walls and floors?
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A. For application across walls and floors, Asian Paints offers a system called Wall2Floor (W2F). The unique finish can be leveraged to create seamless, integrated interiors. It is a mineral-based system for the decoration of walls and floors without inserts. Different looks, such as stone finishes, can be created to achieve cohesive and immersive environments. Application Its application is multi-layered and the coating can be applied directly on mosaic and ceramic tiles or plastered surfaces. This is possible because the W2F system has a very strong adhesion to concrete support. A mesh provides additional support and strength and protects the surface from cracking. properties • The W2F system has a high resistance to abrasion. • As a Class IR6 product, it can withstand strong impacts of loads. • Its breathable surface helps prevent the formation of blisters. • The coating is resistant to chemical attacks and its surface can be mopped. • It is available in more than 20 colours.
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Wall2Floor helps create seamless interiors.
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Single colours create airy interiors.
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The W2F system opens up a space in a modern home. 2
For more information visit www.asianpaints.com/pro/ RoyalePlay.aspx
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INCOMING Asian Paints ColourNext 2016 ColourNext is India’s foremost colour trend forecast, derived from extensive research conducted 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.
View current issue and archive at www.asianpaints.com/cq
Colour Quotient 18 March 2015
Colour Quotient 19 June 2015
IMAGE CREDITS COLOUR MAP TRUSTED TRADITIONS • ProFlowers » proflowers.com | flickr.com/photos/proflowers/16766643672/in/photostream • ProFlowers » proflowers.com | flickr.com/photos/proflowers/15099589586/in/album-72157646759182788 • Didriks » flickr.com/photos/dinnerseries/12912883695/in/ photostream • Rainforest Italy MODERN SANCTUARY • Fashion For Home » flickr.com/photos/124311487@ N02/14225983199 • nycmominthecity » flickr.com/photos/nycmominthecity/5670725837 • Maureen Didde » flickr.com/photos/maureendidde/4644336779 • James Dunlop » flickr.com/photos/jamesdunloptextiles/7252821190 ECLECTIC CRUSH • ProFlowers » proflowers.com | flickr.com/photos/proflowers/19122730232 • Ginny » flickr.com/photos/ginnerobot/2561741107 TREASURE TROVE MARIE-ANNE OUDEJANS • Profile image courtesy Marie-Anne Oudejans • Bar Palladio images by Manav Parhawk, courtesy of Bar Palladio, Jaipur SONA REDDY • All images courtesy Sona Reddy KERALA SUTRA • Profile image by Supriya Batra, courtesy of Sahil & Sarthak
‘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
• Exhibition images by Sahil Bagga, courtesy of Sahil & Sarthak • Product images by Bikas Das, courtesy of Sahil & Sarthak • Sivavkm » commons.wikimedia.org/wiki/File:Pundareekapuram_mural.jpg • Jogesh S » flickr.com/photos/blackfin2/495874906 • P Das Arayil » flickr.com/photos/arayil_p_das/4246694403 • Rajesh Nair » commons.wikimedia.org/wiki/File:Aranmula_kannadi.jpg OLD LOVE • Profile image by Joseph M.Daniel, courtesy of Lekha Washington LEARNING ENVIRONMENTS • Rudolph Buch » commons.wikimedia.org/wiki/File:Ismaning_Waldorfschule.JPG • Mr Thinktank » flickr.com/photos/tahini/6471329881 • Mr Thinktank » flickr.com/photos/tahini/6471344965 • Mr Thinktank » flickr.com/photos/tahini/6471331247 • Mr Thinktank » flickr.com/photos/tahini/6471355923 • aisch » commons.wikimedia.org/wiki/File:Aisch_music.jpg • Wiki-uk » commons.wikimedia.org/wiki/File:Nabil-Montessori-School-Jorethang-Sikkim-03.JPG • Thennadycmf » commons.wikimedia.org/wiki/File:One_of_ the_Class_Rooms_of_St._Claret_College,_Bangalore.jpg • Gayatri2388 » upload.wikimedia.org/wikipedia/commons/6/6e/Manipal_Library.jpg WARLI ART All images courtesy Baaya Design, except: • Opening image and details from the Sanskriti Kendra Museum • Profile image of Jivya Soma Mashe by Romain Mounier-Poulat » commons.wikimedia.org/wiki/File:Jivya_Soma_Mashe.jpg • Exhibition image by Jean-Pierre Dalbéra » flickr.com/photos/ dalbera/4489836226/in/set-72157602939746664
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COLOURLOVE All images courtesy Nishita Thakurdas Additive and Subtractive Colour • Nicholas Roerich » commons.wikimedia.org/wiki/File:Chud_ Departed_Beneath_the_Earth.jpg • Colourfeeling » commons.wikimedia.org/wiki/File:RAL_ K5_F%C3%A4cher_RGB.jpg Colourful HIstories All images courtesy Siddhartha Joshi, except; • Nagarjun Kandukuru » flickr.com/photos/nagarjun/6978274463 • Nagarjun Kandukuru » flickr.com/photos/nagarjun/6978272889/ • Jean-Pierre Dalbéra » flickr.com/photos/72746018@ N00/13910945083 • Illustration reference from » tranquilhabitat.com/css/images/Thanjavur%20Temple.jpg
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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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