Issue 13
Sept 2013
Playful Abandon
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CONTENTS
INSIGHT Playful Abandon Four leading design and art professionals provide insights into creating playful colour palettes around the issue colour Aqua Young–9207. Ayaz Basrai
Sumir Tagra & Jiten Thukral
Himanshu Dogra
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CQ 13 IN FOCUS Asian Paints Woodtech Polyester The Woodtech Polyester range of ultra-luxury finishes brings finesse and class to wooden furniture.
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In the Making The second part of this series offers a glimpse into the creation of two ColourNext 2013 exhibitions.
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Envision Colour in Spaces Visualise custom colour combinations for interior and exterior spaces with Asian Paints Ezycolour 4 Pics.
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INSPIRATION 10 Jodhpur—Ubiquitous Craftsmanship Explore the brilliant colours of Jodhpur’s landscape and crafts.
INDIA CONNECT 20 Colours of Navarasa
The continuing series on the Navarasa focuses on the colour associations of Bhibhatsam (Aversion) and Veeram (Bravery).
INSIGHT 24 Art Stack
A look at the latest instalment of Design Stack’s annual art show.
ASK ASIAN PAINTS Paint Query
40 36 Brush Strokes
A profile on Srivi Kalyan, highlighting her process of creating one-of-a-kind murals.
ON THE COVER
Playful Abandon is expressed through an unexpected combination of familiar elements. The pencil, a basic instrument for ideation, when used in conjunction with elements of the monsoon, surprises and inspires playfulness, while the torrent of rain represents a carefree attitude.
COLOUR MAP Colours are rich in inspiration—each colour carries with it a multitude of meanings, associations, and connotations. The Colour Map is a visual map of ideas originating from our issue colour, Aqua Young‒9207, to inspire and kickstart your creative process.
AQUA YOUNG–9207 Single colour dominates the room with accents of a secondary colour.
DRAMATIC
Light curtains combined with ornate wooden frames.
Face Pack–9534 | R 121 G 83 B 77
Pink Flower–9414 | R 184 G 105 B 151
Dramatic Colour Palette
Sunrise–0526 | R 232 G 116 B 52
Caribbean Green–7512 | R 91 G 205 B 199
Fresh Colour Palette A bold assortment of glass vases.
FRESH
Shag carpet used in an outdoor garden.
A Geodesic Dome house painted in blue emphasises its eccentricity.
ECLECTIC
Non-standard tiles and a copper-finish bathtub. Orange Appeal–7949 | R 255 G 170 B 0
Emphasis–7357 | R 6 G 79 B 119
Eclectic 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.
IN FOCUS
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Asian Paints
The ultra-luxury finish for wooden furniture. Woodtech Polyester is a cutting-edge wood finish from Asian Paints. This best-in-class finish for wood is manufactured in Italy and imported in its original Italian packaging. The shiny mirror-like finish with a glass-like thickness transforms wooden furniture into masterpieces.
furniture into masterpieces. mirror-like finish with a glass-like thickness transforms wooden Italy and imported in its original Italian packaging. The shiny Paints. This best-in-class finish for wood is manufactured in Woodtech Polyester is a cutting-edge wood finish from Asian The ultra-luxury finish for wooden furniture
IN FOCUS COLOUR QUOTIENT 13
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ver the years, wood has remained a timeless choice of material for world renowned architects. If one closely observes their exemplary architecture, it is clear the quality of wood used is always superlative. When incorporating wooden elements into their work, the discerning taste of these connoisseurs of design guides them to use the finest in wood finishing. Whether used to elevate the exquisite charm of an elegant rosewood table or add depth to the rustic warmth of a mahogany showcase, these ideas can come alive only with the most striking sheen. With this insight in mind, Asian Paints has introduced Woodtech Polyester, an ultraluxury wood finish that gives wooden furniture all the finesse and protection it deserves.
Its solvent-based 3-pack system of Polyester Base Coat Paraffined, Polyester Accelerator, and Polyester Catalyst is specifically formulated to meet diverse design and decor needs for wood. Asian Paints is proud to collaborate with Renner Italia, one of the finest wood coating companies in the world to bring Woodtech Polyester into the Indian market. A young, dynamic name that is now synonymous with wood coatings the world over, Renner Italia manufactures and packages Woodtech Polyester using cutting-edge technology in their production facility in Italy. This product is manufactured to fulfill the wood coating needs of the design industry, as it indulges wooden furniture with the promise of pure quality and ultimate luxury.
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Woodtech Polyester used on a kitchen surface.
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The clear finish adds richness to a classic study.
Woodtech Polyester is sure to deliver the master stroke that will turn premium, flat, wooden furniture into a work of art.
REVOLUTIONARY FEATURES OF ASIAN PAINTS WOODTECH POLYESTER High Gloss Retention Woodtech Polyester gives wood a brilliant high-gloss finish of 95+, which lasts longer and is far superior to PU wood finishes. The product is the epitome of high-gloss in the wood polish industry as it provides the highest quality sheen for wooden furniture. High Clarity of Image Woodtech Polyester provides the ultimate mirror-like finish and transforms wooden furniture into the truest reflection of class. It not only gives all wooden surfaces the highest clarity of image amongst all wood finishes, but also highlights the true nature of the wood grain.
High Film Thickness As the depth of the film is greater than 1.5 mm, Woodtech Polyester gives wood a coating that is as thick as glass. This enhances the richness of the wood and gives it the luster of a jewel. High Resistance to Damage Engineered to provide a high degree of heat-, stain-, and abrasion-resistance, Woodtech Polyester protects your furniture, ensuring enhanced aesthetics. These key properties are certified by leading third party laboratories and have been put through rigorous tests such as the boiling water and fire test for heatresistance, the ball-point ink test for stainresistance, and the 320-grit sandpaper test for abrasion-resistance.
IN FOCUS COLOUR QUOTIENT 13
Woodtech Polyester re-establishes wood as the classic, evergreen material of interior designers and architects. It not only enhances the allure of wooden decor, but also shields its aesthetics from wear and tear.
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EXTENSIVE POSSIBILITIES
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Woodtech Polyester increases the aesthetics of furniture.
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High-gloss furniture in an office.
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The finish brings out the inherent character of wood.
One of the primary reasons why wood remains a popular choice within the architecture and design world is its versatile character. The rustic, warm appeal of wood can be combined with traditional as well as with modern design, allowing architects and interior designers to explore a wide range of design ideas. Woodtech Polyester lends itself beautifully for this purpose, especially with its popular clear variant that highlights the intricate grain patterns of the wood. 5
Pairing brilliantly with hard woods such as teak, walnut, and beech as well as with veneers, it enhances the inherent character that makes the material so appealing. Woodtech Polyester is also available in luxuriant opaque finishes that bring wooden surfaces to life. This variant offers the perfect way to enliven plain, exposed wood such as plywood by adding a touch of elegant white or bold and powerful black, for understated yet sophisticated furniture.
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SUGGESTED APPLICATION PROCESS
Spraying • Mix Asian Paints Polyester Insulator/ Epoxy with Hardener in the ratio of 1:1 and apply by spraying. This acts as a base coat preventing the oils of the wood from interacting with the topcoat. • After 2–4 hours sand the surface of the coated wood. • Mix Polyester Base, catalyst, and accelerator in the ratio of 100:2:2, and apply 6–8 coats by spraying following a wet-on-wet application with an interval of 5–15 minutes.
Buffing • Let the surface dry for 24–48 hours. • Buff the wooden surface by sanding and wet sanding with suggested sandpaper. • This should be followed by buffing with buffing compounds using a buffing machine to get the required gloss and uniformity.
Availability
Pack Size
Shades
Asian Paints Woodtech Polyester is available in Mumbai, Delhi, Punjab, Haryana, Gujarat, and Andhra Pradesh, and will soon be launched across other key markets in the country.
Woodtech Polyester is available in quantities of 1kg, 5 kg, and 25 kg .
The three shades Woodtech Polyester is available in are Clear Hi-Gloss, White Hi-Gloss, and Black Hi-Gloss.
Surface Preparation • Select the seasoned wood for coating. Prepare the wood by sanding the surface along the grain using sandpaper. The sanding is done in stages using different grit sizes. • Wipe the surface to remove all loose dust particles after sanding. • Fill up dents, if any, with Aquadur Dent Filler from Asian Paints. • Apply a stain to the wooden surface, if the colour of the wood requires modification.
FACT SHEET
Choice of Surface To know more about Woodtech Polyester contact your Relationship Officer. For more information T 1800 209 5678 E cq@asianpaints.com
Woodtech Polyester can be applied on all flat interior wooden surfaces— clear finish for solid wood and veneers, whites and blacks for MDF, HDF, particle boards, plywood/boards, and block boards amongst others.
INSPIRATION
The towering Mehrangarh Fort overlooks the city.
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Ubiquitous Craftsmanship Founded in the fifteenth century, and set within the heart of Rajasthan at the edge of the formidable Thar Desert, is the city of Jodhpur. As a result of multiple architectural, craft, and textile practices that have thrived, Jodhpur’s colours have become a distinctive part of its landscape.
INSPIRATION COLOUR QUOTIENT 13
Famous for its indigo painted walls and sun-soaked landscape, Jodhpur is known by the monikers, the Blue City and the Sun City. Royale Play Dune Desert Diary–M316
Rare Blue–9166 | R 64 G 116 B 170
Blue Chase–9149 | R 47 G 71 B 118
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Jodhpur’s Architecture Colour Palette
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An aerial view of the cityscape.
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Inside Moti Mahal, Mehrangarh Fort.
THE BLUE CITY
THE MEHRANGARH FORT
Traditionally expensive copper sulfate lime washes were applied to exteriors of homes by the Brahminical caste to symbolise their class status. Besides being a bright blue hue, the ‘bordeaux mixture’ was an effective fungicide. Following suit, residents of Jodhpur, irrespective of caste, began to paint their homes blue and over time the practice was recognised as typical of Jodhpur. The infamous Blue City is a visual respite within the desert landscape.
The Mehrangarh Fort, also called the Citadel of the Sun, is built at the edge of a cliff at an elevation of 400 feet, overlooking the city. The imposing Fort created out of red sandstone and built to a height of 120 feet over 500 years is an integral landmark within Jodhpur. The Fort encloses palaces, parks, and museums, including the Moti Mahal (The Pearl Palace), the Phool Mahal (The Flower Palace), and the Sheesha Mahal (The Hall of Mirrors). The palaces, ostentatious and resplendent in ornamentation, are paragons of local craft techniques.
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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 the product manuals for exact shade reference.
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Parrot Green–7661 | R 90 G 179 B 44
Empire Yellow–7918 | R 248 G 186 B 56
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A craftsman weaving a Panja Dhurrie.
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Mojaris on display in a local shop in Jodhpur.
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Blue and green Bandhej in Jodhpur.
CRAFTS OF JODHPUR The craft industry is the biggest industry in Jodhpur, and the electric colours of these crafts stand out from the blue and gold landscape, giving Jodhpur its distinct colour identity. Bandhej Bandhej is a method of tie and dye using natural colours. A piece of textile is tied multiple times with thread and dyed to produce a variety of patterns. Each colour has specific connotations regulating its use. For example, black is worn during festive seasons, red and yellow are auspicious colours and are worn during weddings. The finished textile is often embellished with intricate embroidery,
couching, and mirror work. Dabu Printing Dabu—a mixture of river bed clay, slaked lime, tree gum, and wheat powder is used as a mud-resist on textile, which is then printed using vegetable dyes. The patterns printed on the textile are organic forms, which are particular to individual communities. Mojari Mojari is a traditional lightweight footwear made out of different kinds of leather, stitched and embroidered with cotton thread. The shoes are heavily embroidered
Charged with colour, the city of Jodhpur with its architecture and crafts is rich in history and tradition. The colours of the city and its people stand out like an oasis of hue within the monochrome sands of the Thar.
Please share your feedback by writing to us at cq@asianpaints.com
in brilliant colours, both on the outside and the inside. Panja Dhurrie Initially used to create sturdy fabrics with coarse goat or camel hair, the panja technique of weaving is now used to weave the eponymous dhurries made of cotton fibre. With the transition to cotton, craftsmen started to incorporate elements such as stripes, geometrical patterns, and natural forms into the weave. The colours of the dhurries intensify with brightly coloured yarn that is individually inserted into the weave using a panja—a comb-like beating tool.
INSIGHT
Playful Abandon The theme distils the energy and inventiveness of play into aesthetic inspiration. It is a boundless playground for exploring and experimenting with young, fresh colour palettes that reflect bold, innovative ideas and processes.
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n this issue of Colour Quotient we explore the joyful colour stories of Playful Abandon through conversations with four design professionals representing three unique design practices based in India— Ayaz Basrai (The Busride Design Studio), Sumir Tagra and Jiten Thukral (Thukral & Tagra), and Himanshu Dogra (Play Clan). Inspired by the issue theme colour (Aqua Young–9207), the four design professionals
share their colour interpretations of Playful Abandon. In ‘Spirit of Playful Abandon’ and ‘Colour Inspiration’, each designer shares their interpretation of the theme and presents a custom colour palette for the same. In the section ‘Showcase’, each designer delves into their folio of work, and shares an instance of contemporary design work that represents the qualities of Playful Abandon.
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AYAZ BASRAI Industrial Designer Founder and Proprietor The Busride Design Studio I studied Industrial Design at the National Institute of Design, and graduated in 2003. After a short stint in Dubai, working with a start-up design studio there, handling all kinds of projects, I moved back to Mumbai to set-up The Busride Design Studio with my brother Zameer. We dabble in all kinds of work, from designing carnival parades and installation art, to institutional architecture and boutique hotels. Most of our work comes through our massive interest in hospitality, and we’ve worked on venues across the spectrum, from molecular gastronomy tasting rooms, to Udipi restaurants.
SPIRIT OF PLAYFUL ABANDON
COLOUR INSPIRATION
Playful Abandon is young, fun, and quirky. It’s the absence of a guiding narrative and a deep respect for chaos. It becomes more about deciding in the moment, and not ascribing decisions to deeply thought-out logic. The notion of play is in itself all that is best about the universe around us. It’s the only way to see things, the only sensible way to experience life. While this sounds a bit hippy and tree-hugger-like, I do believe Playful Abandon allows us to take a fun look at our own lives and take great joy in acting alive in the moment.
This colour palette to me spells out a bold and “Truth be told, colour plays a very oscillating role in our design process. Where some spaces have vibrant scheme, yet slightly muted and not been all about a signature use of colour, some over-saturated. It has a certain freshness and have had a strong formal bias, making colour happy nostalgia associated with it, the colour almost incidental. We also realize that the use of of sunsets and popsicles. Together they form colour and its interpretation is widely subjective, a fun set, something I could personally apply hence it becomes more about what we find is cool confidently over walls and environments to stimulate fun and creativity, and a non-serious at a particular moment in the design process rather than a pre-described notion or rule.” approach to most things around. Hopefully they would aim to inspire and break rules, and encourage an atmosphere of non-conformity.
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Purple Expresso–9109 | R 78 G 66 B 79
Aqua Young–9207 | R 16 G 145 B 201
Thar Desert–7917 | R 240 G 169 B 10
Ayaz Basrai Colour Palette
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Colour Inspiration for Ayaz Basrai’s Colour Palette.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INSIGHT COLOUR QUOTIENT 13
AYAZ BASRAI’S SHOWCASE The Jam Jar Diner at Versova comes to mind instantly, we aimed to create a sweet grandmother-larder inspired cottage by the sea, with a fun, quirky attitude. The idea was to provide a buzzing all day venue with a strong signature style, and a slightly twisted approach. We used a strong teal and distressed grey scheme to sculpt the cottage, and a much brighter, funkier scheme for the china mosaic on the outdoor terrace. The Smoke House Room combined the usage of austere white spaces, with an ever-changing psychedelic colour story. We mixed colours in light to create a distinct mood-scape—mango-red evenings and saturated deep-purple-magenta night-scapes. The space transits seamlessly according to the mood and energy levels in the club, while maintaining its illusory experience. 2
SUMIR TAGRA AND JITEN THUKRAL Artists Founders Thukral & Tagra Sumir Tagra and Jiten Thukral work collaboratively in a wide variety of media including painting, sculpture, installation, video, graphic and product design, websites, music, and fashion. Thukral & Tagra blur the lines between fine art and popular culture, product placement and exhibition design, artistic inspiration, and media hype. Their works comment on the globalisation of consumer culture and the repercussions of this as it is being experienced in India currently. While both playful and humorous, their works express thoughtful questions about the nature of Indian identity as it is articulated by Indians themselves and projected on to India by the rest of the world.
“‘Colour is a place where our brain and the universe meet.’—Paul Klee Is there anything beyond colour? We are interested in awkward moments, in-betweens, sudden fallouts, which normally go unnoticed. We love to paint a picture, compose it like kids— playfully, carefully, trying to blow bubbles, picking colours through them. We love the act of making a perfect picture.”
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The exterior of the Jam Jar Diner (above) and the interior of Smoke House Room (below).
“Colour to me becomes a tool, like any other to achieve expression. It always fits into a wider palette and mood, where it contributes to creating a strongly symbolic design language. In my personal work I find a strange schizophrenia, I almost never use colour in my illustration, yet my home currently is painted in crimson red, a dark olive green, and a teal-like blue.”
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SPIRIT OF PLAYFUL ABANDON
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We constantly shuttle between the real and unreal—daily, every hour, every minute, there is an exchange of thoughts, contradictions, and parallel sequences. We constantly try to seek similarities and draw situations—choosing the colour, medium, scale, space, timeline, and audience, to interpret the work to its best. COLOUR INSPIRATION Our practice brings with it a lot of optimism. Sometimes we are in constant search of an image with utopian qualities—both romantic and paradisiacal. Childhood memories are so embedded in our work, our candy colour palette is undoubtedly from there. It is still fascinating to paint a perfect picture with the perfect colour. We see colour in tactile form, in volumes, and feel its power. It is like a daydream.
SHOWCASE 4
Aqua Young–9207 | R 16 G 145 B 201
As you know now, we try to see smells, feel mediums, and make sense from the mundane. Our practice and methodologies are governed by emotions. Living in times when most of our peers are deconstructing things, we still believe in craft—constructing still has a lot of scope and passion. The series, as pictured below is close to our heart since it depicts our own dreams and memories.
Translucent Green–7513 | R 125 G 219 B 212
Sugared Peach–8032 | R 248 G 181 B 164
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Thukral & Tagra Colour Palette
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Colour Inspiration for Thukral & Tagra’s Colour Palette.
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Life Cycle 2 by Thukral & Tagra.
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Dominus Aeries—Flying House by Thukral & Tagra.
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 13
HIMANSHU DOGRA
SPIRIT OF PLAYFUL ABANDON
COLOUR INSPIRATION
Play Clan has a core philosophy of ‘a parallel world, an alternate reality.’ We use this idea all the time and this is what Playful Abandon means to us. We feel that there are no rules and no boundaries. A fearless approach to colours, rooted in nature and culture is Playful Abandon for us.
The image of balloons in random colours, pulled by many strings, instantly triggers emotions of playful memories and exciting times, full of laughter and happiness. It is also associated with the idea of simple pleasures of life and are symbolic of optimism and hope. At many levels, the colours of the palette take forward the same feelings and represent Playful Abandon—and so do our products, we hope!
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Designer Founder Play Clan Graduating from the National Institute of Fashion Technology, Himanshu Dogra founded Play Clan in 2008. Combining fashion, art, and design to create collections in home, apparel, gifts, and accessories, Play Clan celebrates Asian subculture inspired by everyday observations and vibrant colours. Selected as the Best New Talent by EDIDA and a finalist for the Young Creative Entrepreneur Award 2011 by British Council in India, Play Clan has collaborated with Paul Smith, Absolut, Levi’s, Tokyo Fashion Week, and the Maharaja of Jodhpur. Play Clan retails from self-run stores in Delhi, Mumbai, Pune, Goa, Fort Kochi, Pondicherry, Gwalior, and Gurgaon.
“Play Clan is colour and colour is our inspiration, an ever-changing, dynamic, and spontaneous source that has powerful aesthetic and emotional responses. Colour is deeply rooted in tradition and has various connotations in different cultures. Since Play Clan has an anthropological style, we love to explore this aspect by studying the use of colour in cultures and its associated emotions. We often start a theme by studying the colours that represent our story and mostly they come out of a collection of images or photographs after a careful edit.”
Aqua Young–9207 | R 16 G 145 B 201
Pure Red–8093| R 207 G 37 B 43
Shocking Pink–8126 | R 224 G 103 B 147
Himanshu Dogra Colour Palette
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Colour Inspiration for Himanshu Dogra’s Colour Palette.
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The Banarasi T-shirt, a part of Play Clan’s Kashi Collection.
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SHOWCASE
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The Banarasi Tee is part of the Kashi Collection that celebrates the city of Kashi and its ghats. The story behind the T-shirt is explained below. ‘Exit Samsara. Enter Nirvana, the permanent residence of Lord Shiva. Debit your sins and credit your virtues with a single dip in the River of Heaven, The Ganges. Redeem your spiritual rewards by chanting Sanskrit mantras, ringing the bells and blowing the conch shell. Stop time under the shade of an old banyan tree and listen to the back-
ground score of ancient tales from priests and pilgrims. Take a boat ride to the sandy beach of the river for a panoramic view of the entire city. See the city of ghats, of narrow lanes, of temples and old houses, of saints and sinners, of pan and bhang, of life and death at a leisurely pace and end your spiritual quest here.’
EXPERT COLOUR PALETTES Colour palettes derived from the swatches chosen by Ayaz Basrai, Sumir Tagra & Jiten Thukral, and Himanshu Dogra reflect the colours of Playful Abandon around the issue colour Aqua Young–9207. The colours have been selected using the professional Asian Paints fandeck, Colour Spectra PRO.
Ayaz Basrai Colour Palette
Thukral & Tagra Colour Palette
Himanshu Dogra Colour Palette
COLOUR SPECTRA PRO A Professional Fandeck Colour Spectra PRO contains a range of 1800 colours from Asian Paints in large size swatches. These 3 x 5 inch colour swatches not only help you see the colour in a bigger spread but also make the process of trying various combinations easier. Colour Spectra PRO comes as a set of six decks, each deck enclosed 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.
The packaging for the Colour Spectra PRO won the Bronze at International Design Awards in 2010. The packaging was also featured in Choi's Package, Volume 06, February 2013.
To order Asian Paints Colour Spectra PRO W www.asianpaints.com/pro/colouritup/colour_spectra_pro.aspx T 1800 209 5678 E cq@asianpaints.com
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INDIA CONNECT
Colours of
Navarasa
Bhibhatsam
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The previous article in the series Colours of Navarasa investigated the colours associated with the Rasas, Raudra (Anger) and Shringaara (Love). The fifth article will explore the archetypal and experiential colour associations of the Rasas, Bhibhatsam (Aversion) and Veeram (Bravery).
Veeram
INDIA CONNECT COLOUR QUOTIENT 13
BHIBHATSAM (AVERSION) Bhibhatsam or Aversion is considered a base emotion and is quite instinctive. Withdrawal from potential harm is universally present in us physiologically and mentally. The emotion is explored through the two categories of archetypal and experiential associations.
Archetypal Associations Understandably, the predominant colours in this category are dark greys, deep reds, and dirty greens. The greys are associated with gloom and the ‘official.’ It also refers to greying hair, old age, and lack of clarity that references moral grey areas. The deep reds speak of disappointment and rigidity. It is a colour often associated with corruption. The dirty greens, on the other hand, are fairly bright, but refer to inefficiency, money, and lack of motivation.
Experiential Associations Muddy yellows and burnt browns find themselves part of this category along with the darkest of blacks. The yellows are interestingly associated with the sin of gluttony, an indulgent, hedonistic activity. The burnt browns create an environment of disturbance with imagery of soot, cigarettes, dirt, and noise. The inky blacks are quite stifling and draining. They refer to introspection and regret, along with unrest and rebellion.
LEAD COLOURS Raining Grey–9481 | R 134 G 140 B 139
Red Red–X118 | R 160 G 57 B 47
Safari Green–7785 | R 186 G 189 B 154
ACCENT COLOURS Thar Desert–7917 | R 240 G 169 B 10
Java Beans–8646 | R 127 G 95 B 81
Antimony–8309 | R 63 G 67 B 65
Colour Play Mix the lead colours with the accents given to create tinges of Aversion.
Bhibhatsam Colour Palette
All the colours associated with the emotion of Aversion are strong, unnatural, evocative, and heavy. They are quite enveloping and powerful, but hollow and stifling at the same time. The quality of the colours is either muddy or with grey-tones. This reinforces the lack of clarity prevalent in this emotion.
The characteristics of colours associated with Aversion are indulgent, stifling, and rigid.
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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VEERAM (BRAVERY) The second Rasa being explored in this article is Veeram or Bravery. Bravery is also an energetic emotion. It is a state of eagerness and anticipation, one which is largely positive. Some amounts of nervous energy give way to a stimulated sense of being. The colour associations are explored through their archetypal and experiential categories.
LEAD COLOURS Gold Fish–7973 | R 253 G 131 B 35
Grey Flannel–8331 | R 198 G 199 B 190
Intense Purple–7166 | R 129 G 115 B 171
Archetypal Associations Bright greens, sunny oranges, and mediumtoned greys find their presence in this category. The purples are quite playful, strong, and intense. Their brightness is evocative of a sense of activity and are not very relaxing. The oranges are bright, warm, and reminiscent of the sunset sky. It refers to the outdoors and play. The more saturated oranges are described as powerful, with tones of fanaticism and fervour. The medium-toned greys speak of a carefree attitude, one that is redolent of cartoons, childhood, and presents a sense of nostalgia.
Experiential Associations Sunny yellows, vintage pinks, and maroons are associated with Bravery in this category. The yellows again refer to the upbeat nature of Bravery. There is activity and anticipation but in very a positive manner. There is also an association of food with the yellows. The vintage pinks are linked with expectation, importance, and coming alive. The maroons on the other hand speak of motivation, movement, and energy.
The common thread in both associations is the vibrancy and intensity of the colours. The focus is on the ability of the colours to be evocative and conjure these emotions.
The colours associated with Bravery are upbeat, vibrant, strong, and warm.
ACCENT COLOURS Sunny Yellow–7861 | R 255 G 215 B 4
Signal Red–0520 | R 189 G 46 B 50
Rose Lace–8120 | R 228 G 160 B 174
Colour Play Mix the lead colours with the accents given to create moods of Bravery.
Veeram Colour Palette
Please share your feedback by writing to us at cq@asianpaints.com
INSIGHT
ART STACK An Artistic Experience in Colour On 11 March, Design Stack, a Mumbai-based design and branding studio opened its annual art show, Art Stack, at Blue Frog in Mumbai.
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he famed Irish poet and writer Oscar Wilde, in his essay ‘The Decay of Lying’ penned in 1889, opines “…the selfconscious aim of Life is to find expression, and that Art offers it certain beautiful forms through which it may realise that energy.” Art, especially in its contemporary and experimental form presents a vivid picture of the visual rhetoric and symbology of our times. At Asian Paints, the work of contemporary artists fascinates us as reflections of individuals on the world through colour and form. While not a definitive guide to colour trends of the times, the works are rich in their depiction of culture—both personal and social—and free of constraints of style and tradition. A deeper scrutiny of the work, reveals cues to the changing lifestyles and behaviour of society, which in turn finds inroads into consumer preference and choices. An annual event of note, that provides a platform for viewing and discussing contemporary Indian art, is Art Stack in Mumbai. Unerringly, over the last five years Priyanka Bhasin and Anoop Patnaik, (co-founders of Design Stack and alumni of the National Institute of Design) have proven their ability to curate a show that brings together artists from a wide variety of contemporary media (video art, installation, digital art, photography, and ceramic sculptural art, to name a few) and put up a collection that is more experimental, vibrant, and interactive than your regular gallery experience. This year too, Art Stack was an evening of the casual and stimulating coming together of some well-known people from the media, art and design world, musicians, Bollywood actors, and filmmakers.
use colour. From the colour photo realism of the Renaissance, to the interpretive, emotive use of colour by the Impressionists, to the primary colour expressions of Mondrian, to Rothko’s attempts to free colour from any objective context and make it the very subject of his artworks, down to Andy Warhol’s startling neon hues reflecting the sensibilities of a consumerist, glow-sign cluttered urban-scape, in every generation, it is artists who encapsulate and even predict the aesthetic of their times. We at Asian Paints, recognise the multi-faceted role that independent artists play as voices of consent, dissent, and advocacy in culture, and this too contributes to the myriad sources for a wellrounded and multi-layered understanding of colour, culture, and consumers. 1
Through the ages, it is artists who have changed established norms of aesthetics, mostly through the way they have chosen to 1
Blue Frog in Mumbai, the venue for Art Stack 2013.
This year’s Art Stack delivered important cogitations on the colour preferences of contemporary artists. Contrary to expectations, the realistic, rustic, ethnic, earthy, or natural hues are passé.
INSIGHT COLOUR QUOTIENT 13
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ANOOP PATNAIK
At Art Stack 2013, we witnessed the use of unrealistically heightened or digitally manipulated colours. Even when the subjects were consciously real or realistic (an Indian woman at a cocktail party, a young woman revisiting places of her childhood, the ghats of Banaras) the colour skew was far from realistic. To understand this phenomenon better, let’s take a look at the works of some of the individual artists at Art Stack this year.
Artist-and-designer Anoop Patnaik presented two works, Banaras and Blue Nude. Banaras belongs to a series of limited edition posters that were inspired by the visually-rich clichés of the holy city. The series represents various aspects of everyday life around the ghats. The selected work had the famous ghat aarti as its subject, and going by just the title of the work, the viewer would, quite naturally, expect an overabundance of warm, saffron tints. However, “As a graphic designer, my natural tendency is to deconstruct images and experiences into blocks of colour and patterns,” says Patnaik, and the result is a rendition of a familiar sight in atypical colours and perspectives. In Blue Nude, Patnaik literally slashes the canvas into a bold grid formed by two intersecting, curvaceous nude forms, the dominant one in primary blue, and the other one in red, thereby keeping the viewer’s eye looking at the nudes from the perspective of the devoid-of-colour, straight-lined Robotic Dog—Patnaik’s personal symbol for voyeurism and perversion.
PRIYANKA BHASIN Similarly, when you examine the thinking behind Priyanka Bhasin’s presented works, Simple Days of Intimate Comfort 1 and 2, you realise how with the superimposition of fine, mathematical blue and red lines on photographic images, the artist is able to draw the viewer into her work. Because of the blue and red lines, the image turns 3D, when viewed through eyeglasses that the artist had provided. Says Bhasin, “In these works, I have explored the capricious nature of memory. Often, memory embellishes things of the past with emotions and hues that become more real and enduring than the original experience. Here you can see my torso, re-confronting spaces and objects of my childhood. The 3D glasses are a tool for re-imagining a memory and creating a sense for the viewer that he is walking into an intimate space from my past.”
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Banaras by Anoop Patnaik.
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Blue Nude by Anoop Patnaik.
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Simple Days of Intimate Comfort 1 and 2 by Priyanka Bhasin.
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MADHURITA A look at UK-based artist Madhurita’s canvases demonstrates this new colour sensibility at work. Though she is the only artist in the show who uses a fairly traditional medium, acrylic on canvas, her use of colour is anything but traditional. In her applications of background and foreground colour, her emphasis is not on traditional brush strokes and techniques. Rather, she heightens the irony and humor of her work by painting familiar subjects in flat, bold, and totally unexpected colours. The patterns and colours that are used, consciously mimic computer generated uniformity.
RUCHI BAKSHI We see a similar defiance of expectation in Ruchi Bakshi’s digital art. Her hand-drawn and then digitally composed works are filled with random, illogically mangled colours, creating the effect that she desires—of a modern-day, personal mythology made up of haphazardly associative images. It is the amplified, unrealistic colour that keeps bringing the viewer’s eye back to the dominant motifs of the work— an abstract gaping yellow mouth being fed a diet of rats or the frighteningly red sword of the vanquished demon.
As the borders between art, product, and experience become increasingly blurred, Indian artists are evolving their own, personal colour lexicons, heavily reflective of the globally connected digital age that we live in.
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Don't Tell! by Madhuritha.
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Samudra Manthan by Ruchi Bakshi.
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Ratcatcher & 2-in-1 Man by Ruchi Bakshi.
Please share your feedback by writing to us at cq@asianpaints.com
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IN FOCUS
Pockets of Silence
Gender Blender
Asian Paints ColourNext is India’s pioneering colour forecast, curated by design experts across India and synthesized by a select panel into definitive aesthetic and colour directions. In the second part of this series, we share translation of the themes, Pockets of Silence and Gender Blender into multi-sensorial thematic installations for the Asian Paints ColourNext 2013 exhibition at India Design ID 2013 in New Delhi.
IN FOCUS COLOUR QUOTIENT 13
In an ultra-busy contemporary urban society, people need pockets of silence to rewind and rejuvenate. It does not necessarily have to be a long break—a pause which can even be found within the home in a small corner.
There was a shift from the initial idea of a longer, very intended break towards it being somehow integrated with one’s daily routine—a break that perhaps could be experienced within one’s own home.
From the initial idea of creating an abstracted zen garden surrounded with woods, mountains, seas, we relocated the concept to a home environment. Hence the idea became more abstract and conceptually stronger.
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Scaled down models were made to understand the division of spaces and placement of panels in the appropriate position.
To articulate the concept of a line we had to find the right gauge of metal rod to retain the visual quality of the line. The printed landscapes on translucent fabric brought mental images of tranquility. The wooden floor brought the warmth of a home.
While retaining traces of the physical space, a mental landscape is formed through distinct experiences of silence—forests, sea-sides, & mountains.
Concept and Design: Trapeze Fabrication and Structural Detail: Twistopen Innovations, Dovetail, Welpac, Aratrik Dev Varma Lighting: Shailan Parker and Modern Stage Service Photo Credits for Final Installation: Ram Sinam Illustrations: Shreyas R. Krishnan, Deepu S. Kumar, Yash Sapaliga, Priyanka Borana
IN FOCUS COLOUR QUOTIENT 13
Gender Blender reflects today’s take on gender identity. The theme suggests that society is more accepting of what was earlier considered taboo—distinct gender identities are blurred, gender expressions are now androgynous.
The idea for Gender Blender was to design a dramatic pride march setting combined with a carnival atmosphere to celebrate the acceptance of various gender identities in the new liberal environment. In the final representation we had to tone down the overt manifestation of gender identities to more gender neutral, fashionable images leaning towards androgen.
The concept changed to a ramp-walk that depicted abstracted and androgynous images to portray individuals who are experimenting and expressing themselves without being tied down by colour, form, & material attributed to gender identification.
Different compositions of tessellated blocks in scaled down models and 3D renders initiated the process, along with material exploration for their fabrication.
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There are complex geometric structures made from a polyhedron module to establish that identities can be experienced as just facets or as a whole.
The installation was built from multiple modules of pentagonal prism blocks that represent the multifaceted image of one’s identity. The audience could see illustrations of androgynous figures in their entirety on the complex structure from specific vantage points. The mirror at the end accentuated the length of the installation.
BE A PART OF COLOURNEXT 2014 Share your thoughts on the next big colour trend by writing to Asian Paints with your credentials. We will send you the theme template to put together your ideas. We will recognize your inputs as a contributor, which may feature as a story in a later issue of Colour Quotient. WATCH COLOURNEXT 2014 UNFOLD For insider access into stories behind ColourNext 2014, write to Asian Paints with your credentials. Write to us at: colournext@asianpaints.com
Concept and Design: Trapeze Fabrication and Structural Detail: Twistopen Innovations, Dovetail, Welpac, Aratrik Dev Varma Lighting: Shailan Parker and Modern Stage Service Photo Credits for Final Installation: Ram Sinam Illustrations: Shreyas R. Krishnan, Deepu S. Kumar, Yash Sapaliga, Priyanka Borana
IN FOCUS
Envision Colour in Spaces Asian Paints Ezycolour 4 Pics is a service that allows customers to visualise their dream house painted in their desired colour combinations.
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hysiologically, colour is the visual perceptual property which derives from the spectrum of light interacting with cones inside the retina of the eye. Philosophically, colour is a language. It is a powerful and fulfilling element of our lives. It can attract your attention or change your mood. Colours represent feelings and signify emotions. Painting as an art started around 30,000
years ago, and artists used ochres to draw narratives of their lives within shelters. Derived from naturally tinted clay, ochres were amongst the earliest pigments used by man. Painting one’s house from the earliest times has been an important activity and in today’s time, with innumerable colours, finalising shades is often the first decision a customer painting his or her house needs to undertake.
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EZYCOLOUR 4 PICS SERVICE The customer sends the Ezycolour 4 Pics team a high quality digital photograph of his or her house (exterior or interior) and the team cleans, layers, and re-colours the image with the help of a photo-editing software (most commonly, Adobe Photoshop). Re-coloured digital and printed images are provided to help customers select the right colour combinations for the space photographed. In total, four colour combination options are provided, out of
which three combinations are chosen by the customer and one is recommended by the Colour Experts. The Colour Experts are qualified interior designers with experience in the field of colour. The Asian Paints Ezycolour team includes over 50 Adobe Photoshop professionals who expertly modify the image as per the surface information provided by the customer. Shades printed on the images are based on standard RGB values of Asian Paints
Colour Spectra shades. Through years of research and development, the team is able to closely match all mid-tones to the Colour Spectra range. Select Royale Play interior finishes are also available. The service can be availed by registering on www.asianpaints.com. Currently, the service is available free of cost. Digital images are provided within 2–3 working days and the printed images within 7–10 working days.
1. UPLOAD Upload one high quality digital photograph of your house (interior or exterior) for re-colouring.
2. PICK COLOURS Select combinations from over 1800 Asian Paints shades for your walls.
3. RECEIVE IMAGES Receive re-coloured digital images within 2–3 working days, and printed images within 7–10 working days.
Visualise different colour combinations for your interior or exterior space in three steps with Ezycolour 4 Pics.
EZYCOLOUR 4 PICS EXPRESS SERVICE To enable our architect and designer partners to guide their customers better, Asian Paints has started a new service called Ezycolour 4 Pics Express. This is an addon service to the existing Ezycolour 4 Pics, in which the uploaded exterior or interior image is pre-cut along with PNG layers. This layered pre-cut digital image is sent to the
architect or designer who can then upload it into the Asian Paints Colour Visualizer software and showcase countless colour combinations to their customers. Customers no longer have to worry about stock images which do not resemble their own houses. Ezycolour 4 Pics Express takes the colour combination visualisation
experience to a new level altogether. Currently, this service is available through a select network of Asian Paints dealers.
For more information T 1800 209 5678 E cq@asianpaints.com
INSIGHT
A profile on Srivi Kalyan By Bindhumalini Narayanaswamy
Organic and fluid, Srivi Kalyan’s diverse canvases are filled with vibrant colours and hues. Her work
reflects her constant state of creating and expressing which continually fascinates and inspires.
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he joy of looking through a kaleidoscope is not diminished by an understanding of its working. It holds the power to yield a childlike sense of magic and wonder. I felt a similar delight and admiration when first introduced to Srivi Kalyan and her work which is at the exciting intersection of art, media, education, design, and self-reflection. At every turn something new and meaningful emerges. She is the FounderDirector of Fooniferse Arts Pvt. Ltd., a platform for alternative arts and education, and a creative space that challenges, celebrates, and questions everyday life through art and media products, workshops, and creative programs. Along with her interaction with family and the world, the different elements of Srivi’s life come together to inspire countless kaleidoscopic creations that continuously morph and evolve. Right from her childhood, Srivi enjoyed the act of drawing on walls with no paper to restrict her—she enjoyed working on large spaces where her lines could flow. “My forms and ideas always spilled onto the floor or the desk. I like drawing in the wind, in the water, in the sand…the larger the canvas the better. I like the freedom of space.” Srivi started creating non-commissioned 1
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Detail from the Tree of Life mural.
work when she was still in school. She loved using discarded materials, clay, old watches, and clocks to construct installations. Srivi fondly remembers,“One evening when I went crazy at home, I painted all the walls. I started out with the intention of doing one veena on one wall, but as usual, the ideas exploded, the forms came in vibrant and dancing and I just let it flow. We had those painted walls for almost four years at home. My parents have been wonderful in putting up with my exuberant artistic spirit right from my childhood, both nurturing and protecting it.” One of her bigger projects was for the children’s ward of Sankara Nethralaya’s hospital, where she used 360 hand painted woodcut pieces to make the space lively, keep the children engaged, and bring down the anxiety they face while meeting specialists and doctors. “I worked with a small team building the basic idea of four children having fun in five different landscapes that are defined in Sangam literature. Since there was always the possibility of moving the ward to another location, instead of murals, we decided on using woodcuts that could be transported anytime.”
INSIGHT COLOUR QUOTIENT 13 2
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The Christmas mural at Amber Valley Residential School.
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School children planning and painting the Christmas mural.
“One of the most heartening murals I worked on was as a teacher at Amber Valley Residential School. We were a close team of 102 children, 25 teachers, and other staff. All the 102 children painted along with me to create a mural for Christmas in 2004. We planned the idea together, and it was like wonderland, with all those little hands, trying to find their own space on the wall, delighted and excited about what we were creating together.” Srivi Kalyan doesn’t conform to rigid processes and is open to different approaches to her work. While Sankara Nethralaya was strongly rooted in planning, conceptualising, and executing, the Amber Valley mural was completely improvised.
Ink Blue Sky–9165 | R 40 G 74 B 122
Pure Red–8093 | R 207 G 37 B 43
Virgin Lace–L107 | R 240 G 236 B 232
Christmas Mural Colour Palette
Her latest work at Jaya Madhavan and Madhavan Gopalarathnam’s residence was all about
trusting her instincts and conceptualising the artwork directly on the wall. “It is a completely free-flowing process, where I surrendered to that sense of prayer I wanted to create and then let it all come together. This is the method I prefer most. In this, I find that instead of restricted ownership of what I am creating, I become aware of the interaction of many energies that make a creative vision possible.” The mural is based on a kalamkari-inspired Tree of Life around which she has woven an entire web of life—from insects to tigers. The painting for Srivi grew from her conversations with the residents, the rhythms of their lives, the silences and flow of energies, their hopes and dreams, after which she decided to impart the living space with a sense of richness, warmth, diversity, and a touch of magic. Srivi and her works are strongly connected
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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.
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to nature and that is how she relates with the world. Being an educator, her passion and path in life is to work with children and nature. She was working on an environment project for children at the same time she was creating the kalamkari mural and she said, “It seems to me that the Tree of Life project has led me back to myself, to the core of who I have always been and it has given me greater courage, deeper vision, and drawn me closer to people who share this gratitude and love for nature.”
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For Srivi the act of engaging in any creative process is a very important transformative undertaking. She prefers to work for clients who are open minded and don’t come with fixed, concrete ideas of what they want, limiting her creative capacity. “The creative process is like a ritual. It involves meditation, reflection, surrender. It means letting go of oneself and connecting with a greater river of creative force that is intertwined with all life. This is one of the reasons I don’t take on mural projects easily. To me a home or any interior with its people, dreams, hopes are all sacred spaces. What I create for such spaces, I believe must come from vision and meditation, not intellect and technique.”
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Srivi Kalyan has a Masters in Arts in Education from Harvard Graduate School of Education, Cambridge and a Masters in Fine Arts from Stella Maris College, Chennai. She has authored and illustrated award-winning children’s books and stories for adults and writes on art and art education for numerous publications. To view more projects, visit www.sriviliveshere.com
“Even though all my murals are not directly connected to nature, they all have elements that are from the environment—often trees, and occasionally the sky and sea. To me any world I create for children or adults is unreal without the abundance of nature in it.”
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Srivi Kalyan painting the kalamkari-inspired Tree of Life mural.
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From sea to sky, the Tree of Life has a strong connection to nature.
Please share your feedback by writing to us at cq@asianpaints.com
Ask Asian Paints PAINT QUERY
Q. Could Asian Paints provide guidance on selecting a colour scheme for a living room ? A. Neutral colour schemes for living rooms are always preferred, unless there is an interesting piece of art or sculpture in the space that can be highlighted with colour. The alternate way to choose colour schemes is based on the type of furniture present, whether it is modern, traditional, contemporary, or an eclectic mix-and-match. It is important to know whether you want to highlight furniture or keep the focus on walls. It is also important to know the usage of the room. For example, whether is it a family entertainment space or whether it is used exclusively for parties. If you have preexisting furnishings, it is recommended your wall colours follow a similar colour scheme.
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Natural Tinge–7879 | R 219 G 188 B 97
Sea Surf–7442 | R 156 G 219 B 228
PU Palette Carrot Red–319
Take a colour sample to a Colour with Asian Paints store (in Mumbai and New Delhi) and our expert Colour Consultants will be happy to help you (by appointment only)
choose your colour schemes. You could also get inspired by ColourNext, the Asian Paints colour trend research recommended for Indian consumers.
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Living Room Colour Palette
For more information T 1800 209 5678 E cq@asianpaints.com W www.asianpaints.com
1 Inspiration from Upcycle, a ColourNext 2013 research finding. 2 Colour Consultants at Colour with Asian Paints in New Delhi.
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 the product manuals for exact shade reference.
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Colour Quotient Special Edition February 2013 IMAGE CREDITS
REACH US
COLOUR MAP • Soffie Hicks » flickr.com/photos/ohhbetty/3408058172/ • Lars Plougmann » flickr.com/photos/criminalintent/96938001/ • geishaboy500 » flickr.com/photos/geishaboy500/161148905/ • Gary Stevens » flickr.com/photos/garysoup/2292152862/ • Stephen Coles » flickr.com/photos/stewf/1134548132/ • Timothy Crawshaw » flickr.com/photos/crawshawt/4616643166/ • Jane Dickson » flickr.com/photos/cluttercup/5772018634/ • Dee Speed » flickr.com/photos/badgurl/3602032415/ • Charlotte Holmes » flickr.com/photos/rogueinteriordesigns/4843833866/ • Wicker Paradise » flickr.com/photos/wicker-furniture/8747193261/ • Hey Paul Studios » flickr.com/photos/hey__paul/9022933166/ • Angela Anderson-Cobb » flickr.com/photos/angelariel65/352553801/ COLOURS OF NAVARASA • Leonardo Aguiar » flickr.com/photos/sensechange/1622829558/ • Kris Krug» flickr.com/photos/kk/4730850651/ • Sherrie Thai » flickr.com/photos/shaireproductions/3093374012/ • Allie Caulfield » flickr.com/photos/wm_archiv/5851313588/ Dancer Images • All images courtesy Bhavna Vijai, disciple of Anupama Jayasimha JODHPUR–UBIQUITOUS CRAFTSMANSHIP • Fulvio » flickr.com/photos/lfphotos/8029702250/ • strudelt » flickr.com/photos/strudelt/4135710050/
‘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
Colour Quotient 12 April 2013
• Christopher Michel » flickr.com/photos/cmichel67/6343365517/ • Travelling Slacker » flickr.com/photos/travellingslacker/8246729363/ • Jon Connell » commons.wikimedia.org/wiki/File:Bandhani,_Tie_ dye_dresses_drying_in_Jaipur.jpg • Ana Raquel S. Hernandes » flickr.com/photos/ana_ raquel/8405458932/ PLAYFUL ABANDON AYAZ BASRAI Profile Image and Showcase • Courtesy Ayaz Basrai Colour Inspiration • jar () » flickr.com/photos/jariceiii/4938833996/ • Sharon Pruitt » flickr.com/photos/pinksherbet/4685807904/ SUMIR TAGRA AND JITEN THUKRAL Profile Image and Showcase • Courtesy Thukral & Tagra Colour Inspiration • Pete Birkinshaw » flickr.com/photos/binaryape/5299815949/ • Gunther Hagleitner » flickr.com/photos/hagleitn/2429708549/ HIMANSHU DOGRA • Courtesy Himanshu Dogra ART STACK • All images courtesy Design Stack BRUSH STROKES • All images courtesy Srivi Kalyan
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Let us know what you felt about this issue of Colour Quotient. What would you like to see featured? Have something interesting to share? Write to us at » cq@asianpaints.com Asian Paints Helpline » Contact us at 1800 209 5678 for queries on products, colour tools, services Asian Paints painting service » Available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, and Pune ERRATUM We regret to have missed acknowledging Mr. Kaustav SenGupta’s valuable inputs during the ColourNext 2013 research in the special edition of Colour Quotient. Kaustuv SenGupta Associate Professor, HOD, CIC, and Ph.D. Research Scholar National Institute of Fashion Technology, Chennai
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Monochromatic Combination
Complementary Combination
Analogous Combination
Aq ua Yo un Sun g– rise 92 07 –0 Em 5 ph 26 Car a sis ibb –7 ean 35 7 Gr Cit ee ade n – Blue l–7 7 5 4 Fra 12 06 gra nc e– 91 91
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