view the guide

Festive
Floral
Celebrate the festive season with an
explosion of colour and texture.
Contrast the bleak winter with the
warm and inviting hues of flowers
which signify merriment and joy.
Colour Quotient presents a contemporary interpretation of floral
elements for this festive issue.
ACCESS COLOUR
QUOTIENT ONLINE
STORIES OF
CHANNAPATNA
In Stories of Channapatna, Colour Quotient interviews
the founder of Varnam, Karthik Vaidyanathan on
issues of social enterprise and craft revival. Log on to
the online platform of Colour Quotient to read the full
article, along with access to additional exclusive
features bringing you colour inspiration and insight.
To access the online platform
of Colour Quotient, please visit
www.asianpaints.com/cq
COLOUR
MAP
Colours are rich in inspiration—each colour carries with it a
multitude of meanings, associations, and connotations. Colour
Map is a visual map of ideas originating from our issue colour,
Red Alert‒X124, to inspire and kickstart your creative process.
RED ALERT–X124
OPULENT
Felbrigg Hall, Gardens and Estate in East Anglia, U.K.
Ornate door knob at Ralong Monastery in Sikkim.
A sophisticated, yet fresh colour arrangement.
Antique Persian Mashad rug.
Antique table by
Alfred Emmanuel
Louis Beurdeley.
Pure Impact–9117 | R 78 G 61 B 84
Royale Play Dune
Gold–M003
Opulent
Colour Palette
All shades and textures are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra or texture book for exact shade reference.
SNUG
Intricate, warm fabric installation by Mandy Greer.
Camp Fire–X114 | R 248 G 111 B 41
Empire Yellow–7918 | R 248 G 186 B 56
Snug
Colour Palette
Potpurri adds a
dash of colour
to interiors.
Chain-stitch embroidery on a Kazakh rug.
A wicker chair in red.
MODERN
Modern rustic interior with contrasting colour combinations.
Textured walls with elephant decals.
Oxford Grey–8328 | R 132 G 136 B 130
Steel–6142 | R 186 G 189 B 188
Chair by Todd
Oldham for La-Z-Boy.
Modern
Colour Palette
Red and white tesselations
on a cushion cover.
Source Chairs by
Haldane Martin.
IN FOCUS
Asian Paints
SMARTCARE
Waterproofing solutions for the
exterior and interior of your home
Water tanks & slumps
Exterior walls
Sun–shades
At Asian Paints, we recognize your need to protect the beauty of your home
and have devised a range of solutions that give lasting protection from
issues such as dampness and related problems.
We now offer SmartCare, a revolutionary range of high-tech products,
tailor-made to solve various dampness-related problems in your home.
Each product, formulated using specialized chemicals and advanced
technology, is designed to tackle specific problems. With products for
waterproofing and crack-bridging, SmartCare is Asian Paints’ ultimate
answer to most wall decor problems. SmartCare products are designed
to play a supporting role to help maintain the longevity of your painted
walls. When used in conjunction with the Asian Paints painting system,
SmartCare promises lasting beauty to your home decor.
4–5
Kitchen sink areas
Terraces
Bathroom walls
Ceilings
Skirting areas
Exterior facing walls
Crack Seal
Damp Block
Damp Proof
Crack-Filling Compound
SmartCare Crack Seal is a single-pack
fibreglass reinforced crack-filling compound
for both interior and exterior surfaces. It is
available as a ready-to-apply white paste.
Interior Waterproofing Solution
SmartCare Damp Block is a flexible polymer
modified cement-based anti-damp coating
for interiors. It is a single-pack, white
powder that is easy-to-apply and offers
lasting protection from dampness.
Exterior Waterproofing Coating
SmartCare Damp Proof is a fibre-reinforced
elastomeric liquid-applied waterproof
coating. Upon curing, it forms a seamless,
durable membrane offering excellent
waterproofing protection.
IN FOCUS COLOUR QUOTIENT 14
BENEFITS OF ASIAN PAINTS CRACK SEAL
Ease of Use
Single, ready-to-use pack and an easy-toapply product.
Flexibility
High-elongation film that accommodates
minor movements.
Mechanical Strength
Strong fibreglass reinforced film does not let
cracks reappear.
BENEFITS OF ASIAN PAINTS DAMP PROOF
O2
Ease of Use
Single-pack, easy-to-apply, and simple
re-coating for maintenance.
COLD
Waterproofing
Waterproofing protection up to 7 bars hydrostatic pressure from the positive side.
CO2
Anti–carbonation
Protection against carbon dioxide and
chloride ion diffusion to maintain the
strength of the structure.
HOT
Asian Paints
Damp Proof
2mm
Heat-proof
Brilliant white coat and high Dry Film
Thickness (DFT) of 650 microns results
in high heat reflection that results in cool
interiors during harsh summers.
Mechanical Strength
Strong fibreglass reinforced film does not let
cracks reappear.
Crack-bridging
High-elongation film allows excellent crackbridging ability for cracks up to 0.8mm on
horizontal surfaces (terraces) and 2mm on
vertical surfaces (walls).
Exterior Dampness
Seepage and accumulation of water in various areas such as terraces and sun-shades can lead to dampness and related problems such as algae, weakening of walls, and formation of ugly patches, which consequently spoil interiors and home decor.
Fight exterior dampness problems with a combination of Crack Seal and Damp Proof.
6–7
Asian Paints Crack Seal
Regular
Product
3mm
Crack-bridging
Strong filling capacity for plaster cracks up to
3mm width.
Waterproofing
Water-resistant film stops water entry
through cracks.
Asian Paints
Crack Seal
Low–shrinkage
Does not leave a mark after painting.
BENEFITS OF ASIAN PAINTS DAMP BLOCK
Ease of Use
Single-pack which is easy-to-apply.
Nanotechnology
Nano-sized particles enter the smallest
pores and crevices to prevent water from
leaking out.
Breathability
Breathable nature allows water vapour to
pass while completely blocking water, thus
prevents blistering.
Crystalline Technology
Reacts with water and forms crystals
to effectively block water.
Waterproofing
Resists 4 bars of hydrostatic pressure from
the negative side.
Adhesion
High-tensile and excellent bond strength
with cementitious substrates.
Interior Dampness
Often due to structural problems, age of the structure, or incorrect planning, leakage and seepage of water can ruin your walls. Treat interior dampness problems in areas such as ceilings, kitchen sinks, and bathroom walls with an effective
combination of Crack Seal and Damp Block.
IN FOCUS COLOUR QUOTIENT 14
APPLICATION OF ASIAN PAINTS WATERPROOFING PRODUCTS
Application of Asian Paints Crack Seal
1. Open the cracks and widen them to form a ‘V’-shaped
groove. Clean the area thoroughly so that it is free from
loose dust particles.
2. Post cleaning, treat the opened crack using a primer. 3. Apply the first coat of SmartCare Crack Seal on the crack
using a spatula or putty knife. Press the paste firmly into the
crack and level with the surface.
4. Apply in consecutive perpendicular layers to avoid leaving
air pockets.
5. Allow it to set for 6–8 hours.
6. Apply the second coat of SmartCare Crack Seal in the
same manner.
7. The surface can then be levelled using putty or Plaster of
Paris (POP) once SmartCare Crack Seal is completely dry.
Crack Seal
Application of Asian Paints Damp Proof
1. Clean the surface and ensure that it is free of oil, grease, and
loose dust particles. It is recommended to use intense wirebrushing or a high-speed water jet.
2. The substrate must be checked for its soundness using a small
hammer. Cracks up to 3mm should be treated with SmartCare
Crack Seal. Damaged portions need to be repaired.
3. Apply a self-priming coat of SmartCare Damp Proof (diluted
with water in 3:1 ratio).
4. For horizontal surfaces such as terraces, apply 2 undiluted
coats of SmartCare Damp Proof in a perpendicular direction to
each other.
5. For vertical surfaces such as walls, apply 1 undiluted coat of
SmartCare Damp Proof and 2 topcoats of a quality exterior
emulsion such as Apex Ultima from Asian Paints.
6. Allow a drying time of 4–6 hours between coats.
Damp Proof
Application of Asian Paints Damp Block
1. Remove old paint by sanding; putty or existing POP using
a chisel and wire-brush to ensure you reach the cement
plaster for the product application.
2. Apply a self-priming coat of SmartCare Damp Block (diluted with water in 1:1 ratio).
3. Apply 2 coats of SmartCare Damp Block (diluted with water
in 3:1 ratio) using a putty knife or a trowel.
4. The system should cover 2 feet beyond the affected area
on all four sides. This will prevent water from affecting the
adjacent areas.
5. A gap of 4 hours should be given between coats.
6. Apply putty-primer and a suitable topcoat.
7. For severely affected areas, apply an additional coat as
mentioned above.
8. For best results use a high-end interior emulsion such as
Royale Shyne from Asian Paints as a topcoat.
Damp Block
1
2
3
1
2
1
2
1x
1x
X1
For more information
T 1800 209 5678 E [email protected]
8–9
5
4
7
6
1x
Second coat
1x
5
4
3
6
1x
3x
Putty coat
X2
1x
X1
1x
4
3
Apex Ultima
5
Affected area
3x
1x
X2
Coat 1
6
4 hrs
Coat 2
INSIGHT
Festive
Floral
The winter season finds a new lease of life in
festive celebratory hues that contrast the changing
colours of nature. Flowers and floral elements,
quintessential to celebration, festoon the landscape
in a vibrant, spirited avatar.
In this issue of Colour Quotient we
explore the colour stories of Festive
Floral through conversations with
two professionals representing two
unique creative practices based in
India—Vishesh Verma (an independent
photographer), and Pavitra Rajaram
(Pavitra Rajaram Design). Inspired by
the issue theme colour (Red Alert–X124),
they share their colour interpretations
of Festive Floral. In ‘Spirit of Festive
Floral’ and ‘Colour Inspiration’, each
practitioner shares their interpretation
of the theme and presents a custom
colour palette for the same. In the
section ‘Showcase’, each practitioner
delves into their folio of work, and
shares an instance of contemporary
work that represents the qualities of
Festive Floral.
10–11
VISHESH VERMA
Photographer
Independent Practitioner
Vishesh Verma graduated as a graphic designer from National
Institute of Design, India, and soon after, worked towards
becoming a fashion photographer. Fast becoming an acclaimed
international photographer, he has worked for clients abroad,
shooting in locations such as the Middle East, South-east Asia,
United States, Europe, Hong Kong, Africa, Egypt, and Maldives.
Listed on national television as the youngest of India’s Top Ten
fashion photographers, his work in advertising and editorial
grow along with his fashion work.
SPIRIT OF FESTIVE FLORAL
COLOUR INSPIRATION
For me (like many other visual artists) the
colours of nature are a constant inspiration
and the floral world is a source of visual
delight. I have a strong preference for light
pastel shades and am constantly controlling
the palette of my pictures so they head the
way the job suits it. Flowers, with the way
they grow and spread-out are perfect for
when I want to ‘paint-in’ a particular section
of my composition with a swathe of colour.
I am a lover of both the natural and the man- “ I use colour as a painter would in the
traditional sense. I ‘mix’ colours with
made. These two worlds collide in my head
light on location itself. I enjoy colour
and lead to unpredictable colours. I like to
immensely—as I am shooting and I see the
combine a shade that occurs in nature with
image develop on the laptop screen, I tweak
an absolute acidic, plastic, almost fluorescent
colours with my lights and levels almost as
colour. And I love the way that contradiction
serves me visually. My favourite play of colour a painter would keep playing around on the
palette with pigments. I’m not a rigorously
has always been one of strong contradiction
and at the base of that lies my equal enjoyment pre-planned shooter and I like to see things
take on a life of their own.”
of a naturally occurring gentle, fresh pink as
well as a bitter yellow-green that looks like it
came from a really toxic effluent.
1
Brazen Gold–7831 | R 236 G 223 B 122
Cool Lagoon–7477 | R 32 G 71 B 73
Red Alert–X124 | R 171 G 46 B 70
Vishesh Verma
Colour Palette
1
Colour Inspiration for Vishesh Verma’s Colour Palette
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INSIGHT COLOUR QUOTIENT 14
VISHESH VERMA’S SHOWCASE
Not So Serious (SS – 2011-12) by Pallavi Mohan
Technicolor movies were my inspiration for this series, colour-wise.
I like the way the Technicolor colour palette has come back in a more
acidic, modernised form. The challenge here was to use pastel hues
of the traditionally heavy colours so the image becomes light and airy.
Tempting Eve for Adorn
I used colour in an almost fantasy-way here to recreate the innocent
sensuality of the Garden of Eden. Lit in a high key-light the colours in
this feature grab you by how they seem both natural and artificial at
the same time.
2
PAVITRA RAJARAM
Designer
Creative Head and Founder
Pavitra Rajaram Design
Pavitra Rajaram is the Creative Head of Pavitra Rajaram
Design. The firm focuses on providing strategic design
consulting, product design in textiles and tableware, global
product sourcing, visual merchandising, and styling services
to premium brands in the lifestyle design space. Pavitra also
designs home and lifestyle products under her own label and
creates bespoke interiors for a private clientele. In 2012, Pavitra
held her first solo exhibition of mixed media artworks.
SPIRIT OF FESTIVE FLORAL
Today’s Festive Floral would be a distillation
of exuberance and earthiness, a modern
palette centered with a vibrant, deep crimson
but balanced with tones of aquamarine and soft
gold. It would be textural and layered, with an
interplay of traditional patterns in a more modern scale. Classical floral motifs from textiles
and paintings would be juxtaposed with metallic accents, geometric patterns in charcoal and
soft white, and warm lighting.
3
2
From the series Not So Serious (SS – 2011-12) by Pallavi Mohan. Copyright Vishesh Verma.
3
From the series ‘Tempting Eve’ for Adorn. Copyright Vishesh Verma.
“Colour is central to my work. It is the context
within which I express the various elements
of design, be it a home, a textile pattern,
or an artwork. It is very often present at a
subconscious level when I am ideating. I could
be planning a space and focusing on the layout
of furniture but in the back of my mind, the
colour palette has already taken root. With
interior design clients, I often find that colour
is a great way for them to express their sense
of comfort with a space or an idea. Words like
‘minimal’, ‘contemporary’, ‘eclectic’, are open to
ambiguous interpretation but colour is not. So
colour becomes very useful in setting the context
for planning someone’s space.”
12–13
COLOUR INSPIRATION
4
Festive Floral takes me back to the traditional
celebrations of my childhood in Bangalore;
the beautiful garlands in the flower markets,
the elaborate rangolis or kolams, the strings
of marigold, neem leaves, jasmine, and rose
against the gleaming red earth athangudi
floors and deep dark wood of traditional
homes. The flash of diamond nose-pins,
gleaming ruby bangles, brass lamps, and the
deep rich tones of kanjeevaram saris are my
visual cues for this theme.
Red Alert–X124 | R 171 G 46 B 70
Rustic Turquoise–7438 | R 0 G 148 B 170
Gold Rush –X101 | R 217 G 187 B 36
5
Pavitra Rajaram
Colour Palette
6
4
Colour Inspiration for Pavitra Rajaram’s Colour Palette.
5
Central courtyard with a fountain, styled by Pavira Rajaram.
6
Bedroom overlooking a garden, styled by Pavitra Rajaram.
COLOUR SPECTRA PRO
A Professional Fandeck
Colour Spectra PRO contains a range of
1800 colours from Asian Paints in large
size swatches. These 3 x 5 inch colour
swatches not only help you see colour in a
larger format but also make the process
of trying various combinations easier.
Colour Spectra PRO comes as a set of
6 decks, each deck encased in a vibrant
casing, which is designed to indicate the
range of colours present in that deck.
The kit includes two index books which
help you search for colours by name
or code.
To order Asian Paints Colour Spectra PRO
W www.asianpaints.com/pro/colouritup/colour_spectra_pro.aspx
T 1800 209 5678
E [email protected]
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INDIA CONNECT
COLOURS OF
NAVARASA
Translated as ‘essence,’ the Navarasas
or the nine emotions evoked are a core
element across traditional forms of art
and performance, and are intrinsic to
our self and being. The idea of the Rasas
is intertwined with our ecosystem and
environment and defines moods for both
body and mind. Over the past five issues,
Colour Quotient has presented an in depth
articulation of the colours associated with
the nine Rasas, which were each explored
through their archetypal and experiential
associations.
14–15
The contemporary colour association with ‘emotions’
becomes a valuable resource for a holistic understanding
of colour-application in an Indian context.
HASYA (JOY)
Joy is associated with
the intangible feelings
of nostalgia, motion,
anticipation, belief,
and continuity.
LEAD COLOURS
KARUNA (COMPASSION)
Compassion is associated
with feelings of protection,
transparency, fluidity,
and freedom.
LEAD COLOURS
BHAYANAKA (FEAR)
Fear is associated with
colours that represent
forcefulness, strength,
purity, and intensity.
LEAD COLOURS
Tons of Sun–7895 | R 251 G 220 B 117
Evening Pansy–8207 | R 148 G 131 B 141
Blooming Blue–9189 | R 38 G 72 B 114
Courtyard–9519 | R 126 G 116 B 95
Biscuit–9520 | R 144 G 133 B 113
Misty Rose–8745 | R 189 G 169 B 165
Passion Fruit–8141 | R 134 G 58 B 94
Moccasin–8763 | R 219 G 209 B 197
Grey Matter–8304 | R 131 G 133 B 132
ACCENT COLOURS
ACCENT COLOURS
ACCENT COLOURS
Pearl Star–L103 | R 246 G 243 B 233
Scarlet–8085 | R 190 G 37 B 53
Waterstone–9477 | R 64 G 66 B 65
Gauguin Blue–7344 | R 135 G 180 B 212
Eclipse–8325 | R 74 G 75 B 68
Pure Red–8093 | R 207 G 37 B 43
Sunset Orange–9398 | R 211 G 110 B 106
Rich Chocolate–8645 | R 101 G 71 B 55
Crystal Peak–L105 | R 245 G 243 B 234
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INDIA CONNECT COLOUR QUOTIENT 14
SHAANTA (CALM)
RAUDRA (ANGER)
The characteristics of the
colours that define Calm
are cool, sweet, and light.
SHRINGAARA (LOVE)
The colours associated
with Anger are pure,
intense, and dramatic.
LEAD COLOURS
LEAD COLOURS
The characteristics of the
colours that define Love
are feminine, fresh, light,
and spirited.
LEAD COLOURS
Soft Glow–0952 | R 235 G 227 B 214
Hot Shot–8021 | R 237 G 97 B 54
Rich Rouge–X122 | R 193 G 61 B 68
Winter Morn–7228 | R 232 G 233 B 236
Pure Red–8093 | R 207 G 37 B 43
Early Bloom–9408 | R 208 G 141 B 148
Pink Serenade–9419 | R 231 G 208 B 221
Pale Dawn–8003 | R 251 G 234 B 216
Japanese Lilac–7111 | R 197 G 147 B 200
ACCENT COLOURS
ACCENT COLOURS
ACCENT COLOURS
Cheerful Cherry–8693 | R 120 G 60 B 63
Steel–6142 | R 186 G 189 B 188
Warmstone–0N02 | R 200 G 189 B 169
Surf–9194 | R 167 G 201 B 223
Indian Earth–8688 | R 181 G 149 B 149
Dropping Leaves–9366 | R 172 G 180 B 113
Vintage Velvet–7190 | R 107 G 102 B 129
Dark Shadow–8294 | R 95 G 93 B 90
Desert Dreams–8779 | R 226 G 214 B 200
At a glance, the
featured colour
palettes for the
nine Rasas:
Hasya
Colour Palette
Karuna
Colour Palette
Bhayanaka
Colour Palette
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
16–17
BHIBHATSAM (AVERSION)
The characteristics of
colours associated with
Aversion are indulgent,
stifling, and rigid.
LEAD COLOURS
VEERAM (BRAVERY)
ADBHUTA (WONDER)
The colours associated
with Bravery are upbeat,
vibrant, strong, and warm.
LEAD COLOURS
The colours associated with
Wonder are fresh, wistful,
candied, and spirited.
LEAD COLOURS
Raining Grey–9481 | R 134 G 140 B 139
Gold Fish–7973 | R 253 G 131 B 35
Purple Verve–9101 | R 87 G 63 B 77
Red Red–X118 | R 160 G 57 B 47
Grey Flannel–8331 | R 198 G 199 B 190
Deep Pink–X132 | R 174 G 49 B 98
Safari Green–7785 | R 186 G 189 B 154
Intense Purple–7166 | R 129 G 115 B 171
Chrome Green–X160 | R 108 G 139 B 68
ACCENT COLOURS
ACCENT COLOURS
ACCENT COLOURS
Thar Desert–7917 | R 240 G 169 B 10
Sunny Yellow–7861 | R 255 G 215 B 4
Corn Cob–7947 | R 252 G 240 B 202
Java Beans–8646 | R 127 G 95 B 81
Signal Red–0520 | R 189 G 46 B 50
Summer Yellow–7863 | R 255 G 235 B 122
Antimony–8309 | R 63 G 67 B 65
Rose Lace–8120 | R 228 G 160 B 174
Seasoning–7654 | R 105 G 195 B 101
Shaanta
Colour Palette
Raudra
Colour Palette
Shringaara
Colour Palette
Bhibhatsam
Colour Palette
Veeram
Colour Palette
Adbhuta
Colour Palette
To transform your wall with Spring Diaries, contact Asian
Paints Ezycolour Home Solutions at 1800-209-5678.
IN FOCUS
18–19
The celebration of Durga Puja festival brings the city of
Kolkata alive, with larger than life pandals in myriad
hues representing a range of themes. Asian Paints Sharad
Shamman is an award given to celebrate the creative
excellence of pandals in Kolkata during October. Facilitated
by Asian Paints, the awards are a continuing series for the
last 29 years, and are a mark of distinction given annually
to pandals across four different categories. This year as well,
Asian Paints Sharad Shamman awards were won by the
most colourful and innovative pandals.
The artwork is inspired by Sholapith, a traditional craft from
Bengal, used in times of festivity and celebration.
IN FOCUS COLOUR QUOTIENT 14
NAKTALA UDAYAN SANGHA
Asian Paints Sharad Shamman Winner
Idol Artist: BHABOTOSH SUTAR
This Puja’s theme can best be described as
‘Animating the Inanimate.’ Even an inanimate object such as stone has the intrinsic
potential of sustaining life. Stone breaks
down to form soil which sustains life in
the form of vegetation and, extending the
metaphor, the sculptors carved out the
Goddess from a single slab of stone weighing
16 tons, procured from Rajasthan. The entire
process is viewed as an act of giving life to
stone, through which the inanimate object is
transformed into the divine form of Goddess
Durga—the sustainer of all life on earth.
SURUCHI SANGHA
Asian Paints Sharad Shamman Winner
& Best Pratima Shilpi – Artisan of the Year
Idol Artist: NABA PAUL
Through the theme, Bangla Amar Ma
(Bengal, My Mother), Suruchi Sangha has
successfully portrayed different facets of
West Bengal. The essence of Bengal is
distilled by showcasing an array of its regions
and cultures. Birbhum, a district in West
Bengal is depicted by its distinctive Baul
culture and musical instruments. Sunderban
is represented by mangroves, sundari trees,
tiger paw-prints amongst other elements. A
large range of materials from Bengal such as
Shantiniketani leather, terracotta, wooden
sculptures, and betel nuts were used for the
facade of the main pandal.
Durga Puja is the most regarded festival in West Bengal
and Asian Paints Sharad Shamman celebrates the festival
through the abundant creativity and talent which manifests
itself in the pandals. They showcase the colourful and diverse
yet congruent and unified depictions of Goddess Durga.
20–21
TALA BAROWARI
Discovery of the Year
Artist (Theme): AMAR SARKAR
Idol Artist: SANATHAN PAUL
Rejoice occurs after prevailing against the
winds of struggle. Tala Barowari depicts life
in the form of a boat and life-stream in the
form of a river, thereby showcasing human
life as a series of boats. The pandal depicts
the triumph of human will over suffering and
anguish. The idol of the Goddess is placed
at the centre of gravity which is the ultimate
destiny for both evil and good. The metaphors of boat and river along with the storm
have rendered a new dimension to
the aura of the Puja.
HINDUSTHAN PARK SARBOJANIN
DURGOTSAV
Best Pratima Discovery Emerging
New Artist
Artist (Theme): RONO BANERJEE
Idol Artist: ARUN PAUL
The theme for this Puja is the ‘Three Avatars
of the Prime Goddess.’ According to the legend, during times of immense strife Goddess
Durga was reincarnated as Mahakali, Maha
Lakhsmi, and Maha Saraswati, each of whom
vanquishes demons wreaking havoc on heaven and earth, preserving peace and harmony.
The main avatar of the prime Goddess Maha
Lakshmi is depicted with eighteen hands and
is portrayed majestically slaying the demon
Mahishasur. The theme glorifies the position
of women in a patriar­chal society.
ULTADANDGA SANGRAMI
Asian Paints Sharad Shamman Winner
Idol Artist: PRASANTA PAL
In an effort to promote tribal art in an era
where tribal cultures are diminishing, Ultadanga Sangrami has depicted the cultural
heritage of the Gonds from Madhya Pradesh.
The Puja represents, through Gond artistry,
worship of the Goddess Durga. The structure
is ornamented with hand-crafted Gond art.
The idol of Durga in her conventional guise,
is layered with simulations of the Gond’s
spiritual verse of goodness. The Gondi identity of the pandal is clear and distinctive.
Please share your feedback by
writing to us at [email protected]
INSIGHT COLOUR QUOTIENT 14
THE
COLOUR
RESOURCE
INDEX
COLOURlovers
www.colourlovers.com
Explore and create patterns, palettes, and colours with
easy-to-use online browser tools on COLOURlovers.
The site is an
interactive, creative
platform that
allows users to
engage with colour.
COLOURlovers is an online communitydriven platform with a gamut of features and
tools to simplify creative processes. The site
has sections dedicated to individual colours,
colour palettes, and patterns, as well as
forums that facilitate discussions.
The community is the site’s principal
strength—with over four million users,
the COLOURlovers forum is an excellent
platform to share and discuss colours and
palettes. The inherently subjective nature
of colour choices, combined with the
qualitative nature of colour theory often
has an intimidating effect when choosing
colours. The ability to share and discuss your
work is a great way to address this challenge,
allowing you to evaluate and make colour
choices confidently.
Trends
COLOURlovers’ Trends is devoted to indexing
emerging colour trends around the world
which are grouped into categories such as
‘Home’, ‘Fashion’, ‘Business’, and ‘Wedding.’
Patterns
The Patterns section is possibly the site’s
most valuable and unique feature. While
other sites allow users to upload and share
colour palettes, COLOURlovers has the
added benefit of visually representing those
colours in action, through the use of patterns.
Blog
While a majority of the COLOURlovers
site caters to creating and sharing colours
and palettes, the blog is where you can go
to find colour inspiration. Posts range from
short articles highlighting useful tools and
resources for designers, to posts featuring
colour trends and inspiring practitioners.
22–23
Colour Quotient introduces The Colour Resource Index—
a new series that presents a selection of colour resources from around the
world, hand-picked for utility and inspiration, enabling architects and
interior designers to use colour more effectively in their work.
PLENTY OF COLOUR
www.plentyofcolour.com
Plenty of Colour is a resourceful guide for colour inspiration.
‘Look by Colour’
in the sidebar
navigation is a unique
feature that allows
filtration of content
by colour families.
Chloé Douglas is an artist and designer
from Vancouver, Canada who is ‘madly
in love with colour.’ Plenty of Colour is
her daily blog, devoted to showcasing and
celebrating colour inspiration. Started
in 2011, the frequently updated blog is a
great site to visit when you are looking for
inspiring work with a focus on the use of
colour in new and interesting ways.
Plenty of Colour has a number of ‘Special
Features’, with categories such as ‘Palette
of the Week’ and ‘Colour Commentary’
featuring work that celebrates the use of
colour. The ‘Colour Heroes’ section, is
a brilliant resource, shining a spotlight
on artists, designers, and other creative
practitioners whose work exemplifies
inspiring colour usage. The site also has
a well-curated Pinterest account, with a
multitude of images for colour inspiration.
One feature that sets the site apart from
similar blogs is the ‘Look by Colour’
option in the sidebar navigation, which
allows you to filter the voluminous archives
by colour families.
Let us know your favourite colour
resources by writing to us at
[email protected]
INSIGHT
Creating Unique
Wall Finishes with
MEERA DABIR
An in-depth look at creating wall finishes
that are distinctive, allowing you to
express your personality within a space.
Meera Dabir’s extensive experience sees her take on roles
of an artist, designer, and colour consultant. Her area
of expertise is in colour consultancy and decorative
paintings of interior spaces and furniture. This includes
creating textured paint effects, faux finishes, designing
graphic murals, and other decorative embellishments
for interior spaces and furniture. With a Masters in
Design from The University for the Creative Arts in the
United Kingdom, her experience has translated into
work for varied commercial spaces, such as corporate
offices, restaurants, and other places of business. She
works for clients in Mumbai where she is based, as well as
around India and abroad. Her interest in design revolves
around process-based creation. Meera enjoys planning
the process of laying in the details for a space— including
colour, furniture, accents, and highlights.
24–25
DESIGNING FOR A SPACE
Since the very beginning my focus has
been on creating work that feels organic
and thematically authentic without
overwhelming the chosen design directive.
In my practice, I feel that colour and texture
should add dimension and interest to the
existing space. My process begins with an
understanding of the kind of spaces the
clients desire, as well as enough about
their personalities to gauge how to best
represent their tastes and requirements,
while still working within the parameters of
my aesthetic sensibility and current design
trends, as far as possible.
“ I don’t subscribe to the idea
of colour or texture in a
space just for the sake of
being trendy or alternative.”
INSIGHT COLOUR QUOTIENT 14
1
KILIM-INSPIRED INTERIOR
The Space
The space in question is a bedroom
belonging to the client’s 25-year old son.
The client was interested in creating a
vibrant, urban space that still maintained a
sense of warmth and character. They were
interested in using inspiration from folk
artefacts they had collected in their travels,
specifically, a number of kilim-style rugs. Intent for the Space
Instead of the more traditional format of
concentrating the decorative feature on
one key wall while the remaining walls
are left plain, for this project I chose to
treat the space as one contiguous canvas.
Several kilim motifs were adapted into
geometric graphics that would be used to
embellish the wall. The scale of the motifs
were exaggerated for dramatic effect and
also, since we had decided not to create a
traditional repeating pattern, an exaggerated
scale was required so that the finished effect
would be appropriately visually balanced. Colour Application Process
After roughly ascertaining the placement
and scale of each motif on the wall, masking
tape was used to block out the pattern. The
colour was then applied by sponge in a series
of base- and wash-combinations. This was
done for each colour used. Often for larger
graphics an overall base colour was applied
to the blocked off section and subsequent
colours were blocked off with the tape and
applied one-by-one.
Colour Palette
We chose to stay within a vibrant, warm,
earth palette. Shades chosen were chocolate
brown, beige, vermillion red, and deep
orange with cerulean blue and gold accents. Mohican Trail–8670 | R 165 G 81 B 68
Rich Chocolate–8645 | R 101 G 71 B 55
Sahara Sunset–X115 | R 230 G 78 B 43
2
1
Bedroom of the kilim-inspired interior.
2
Exaggerated motifs are carried to the exterior as well.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
26–27
3
OMBRE FOCUS-WALL
The Space
The space is a dining room wall that the
client wanted done in shades of yellow
and orange.
Intent for the Space
As the colours chosen were very bright
I chose to keep the texture striking but not
cluttered. Therefore it was decided to create
a shade graduation to create an ombre effect.
Ombre is a French
term meaning
‘shaded.’ It is usually
multicoloured, with
colours graduating
from light to dark.
3
Bright yellow to deep orange for a dining room focus wall.
Colour Application Process
The wall was first painted in two coats of
yellow plastic paint. When that was dry,
the two shades of bright yellow colourwash
was applied by sponge. A coat of mango
colourwash was applied by brush starting
about a third of the way from the top.
Next at about the midpoint of the wall, a
bright orange was applied using the same
technique. A final wash of deep orange was
applied about a third of the way from the
bottom. Water was brushed on at the time of
application to blend the coats of paint. Colour Palette
The colours finally chosen were shades
of chrome yellow, mango yellow, bright
orange, and deep orange.
Polka–7869 | R 255 G 204 B 0
Camp Fire–X114 | R 248 G 111 B 41
Sahara Sunset–X115 | R 230 G 78 B 43
Access more of Meera Dabir’s work and
processes at www.mformottle.blogspot.in
Please share your feedback by
writing to us at [email protected]
IN FOCUS
INTERACTIVE
MAGNETIC
WALLS FOR
CHILDREN
ASIAN PAINTS KIDS’ WORLD
The introduction of
Magneeto to the Asian
Paints Kids’ World
range of wall and ceiling
themes gives children a
new and exciting canvas
to play with.
Since our inception we have been in the
business of making homes beautiful.
Over the past decade, we have turned our
attention to a younger audience—children.
Research has shown us the increasing
demands of a modern generation of parents
who are finding better ways to decorate and
style their children’s rooms. A room which
is exciting and dynamic helps children feel
ownership and pride towards their room. A
visually compelling room also contributes towards developing their imaginations further.
We took the findings of the research and
faced the challenge head-on by launching a
novel line of vivid wall themes designed exclusively for children—from infants to teenagers—
called Kids’ World.
The niche wall themes developed by Asian
Paints grew leaps and bounds and garnered an
overwhelming response from parents and their
children. The Kids’ World range added themes
specifically for the ceiling and expanded even
further to include 20 diverse themes, each available in Glow-in-the-Dark and fluorescent paint.
28–29
ASIAN PAINTS MAGNEETO
Our latest endeavour at Asian Paints Kids’
World, raising the bar once again, has resulted in a product that is nothing short of revolutionary. Asian Paints Magneeto imparts a
magnetic property to walls that can be used
along with a range of theme magnets and in
doing so, allows children to not just look at
the theme, but to touch, feel, and interact
with it. It gives children a chance to make the
theme their own by simply moving around
the theme magnets on the magnetic walls.
Themes such as Speed Machine, Dancing
Stars, Jungle Tales, and Oceanscape are not
just visually aesthetic but also act as a vehicle
for a child’s imagination. Adding to the fun
are a set of highly informative and educative themes such as Young Scientists, Mind
Benders, and Milky Way. While the Young
Scientist theme enables children to use special
magnets to study equations and formulas, the
Milky Way theme adds another dimension to
their understanding of the solar system, its
planets and makes learning enjoyable. The
Mind Benders theme turns into a puzzle that
can be played on the walls. With 11 new and
unique themes in the Magneeto range, there’s
something for everyone to choose from—walls
are now a playground!
ASIAN PAINTS MAGNEETO OFFERS A RANGE OF 11 THEMES FOR CHILDREN’S
SPACES, EACH WITH MAGNETS INCLUDED AS PART OF THE KIT:
Oceanscape
Speed Machine
Jungle Tales
Beach Time Fun
Magneeto is available exclusively
through Asian
Paints Ezycolour
Home Solutions and
Asian Paints Colour
Idea Stores.
For more information
T 1800 209 5678 E [email protected]
INSPIRATION
KALEIDOSCOPE
Kaleidoscope, as part of the inspiration
series, brings together the story of beautiful
creation and colour from the world around
us, as told by subject-matter experts.
ORIGINS AND EVOLUTION
Gond is a decorative art form, practiced
by the Gondi people of Madhya Pradesh. The Gonds are one of the largest adivasi
communities in India, with a written history
that can be traced to the 14th century. Their
name is derived from the word kond which
means ‘green mountains’ in the Dravidian
dialect spoken by the Gondi people. Gond
art’s origins lie within a unique relationship
between oral and visual storytelling systems.
The pardhans were priests in the Gondi
culture, entrusted with the task of keeping
the history and traditions of Gond culture
alive through an oral storytelling tradition,
which included songs and music. Gond
art evolved from this ritual storytelling,
In its inaugural story, craft research and
development initiative, Gaatha, tells the story of
Gond art. Backed with extensive documentation
and a deep understanding from their sojourns in
the field, Gaatha explores the nuances of the art
form. Combining craft research with technology
to create a rich online experience which places
craft artefacts in the context of their makers’
lives, culture, and historical traditions. Moving
beyond the motivation of sales, Gaatha’s
efforts lie in opening up a dialogue between
the craftsmen and their patrons, encouraging
sustainable, collective growth. www.gaatha.com
MADHYA PRADESH
Gondi people are native to Madhya Pradesh,
India’s second largest state.
A Gond artist displaying a recently finished painting.
30–31
where members of the community would
decorate walls with their art to commemorate
special occasions and bring good luck. The
pardhans would then perform before these
decorated walls.
While the Gondi culture has existed
for many centuries, Gond art itself was
discovered only recently, in the mid-20th
century. The relative newness of the art form,
combined with vivid colours and distinctive
forms, attracted the international art and
design community to the Gond style. Leading
practitioners have been invited to showcase
their work at museums and galleries around
the world, while the distinct style has inspired
many interpretations, from motifs on fabric
and textile design to the decoration of
interior spaces. The Gond art form saw a
decline in the late 20th century as members
of the community migrated to nearby
towns and cities. However, the tradition
has recently been revived with the growing
popularity of Gond artworks and the
success of its leading practitioners, which
has attracted younger generations to the
art form.
The Gond style has received a lot of
attention in both local and international
circles since its discovery in the early 1980s.
Leading Gond practitioners have been
featured in galleries and museums around
the world and the art form is a source of
inspiration for artists and designers alike. The first Gond artist to gain international
acclaim was Jangarh Singh Shyam, who
was spotted by renowned artist and writer
Jagdish Swaminathan in 1981. Swaminathan
encouraged Jangarh Shyam to display his
work and helped create avenues for him to
do so. Jangarh’s work received rave reviews
and has since been displayed at museums
and art galleries around the world. His work
has become synonymous with Gond art and
Jangarh Kala is now another name for the art
form. Another artist to have gained acclaim
is Ram Kumar, whose artworks in modern
mediums such as acrylic have garnered
praise in India as well as internationally.
INSPIRATION COLOUR QUOTIENT 14
1
2
1
A peacock and other birds as depicted by a Gond artist.
2
A Gond painting portraying a scene in the forest.
The Gond style is instantly recognisable
with its organic, nature-inspired forms
and patterns of dots and lines in vivid
colours. Ordinary natural forms, such
as trees, wild animals, and even human
beings, are elevated into beautiful pieces
of art through the use of bright colours
and a unique style of drawing.
AESTHETICS AND TECHNIQUE
Gond paintings are traditionally done on
the mud walls of village houses, using
colours derived from naturally available
materials. The artworks are inspired by the
surroundings of and objects from the daily
lives of the artists, and depict plants and
animals, special occasions such as weddings
and festivals, or religious subjects, such as
scenes from mythology and various deities.
Colours commonly
seen in Gond art:
Truffle Surprise–8605 | R 159 G 77 B 56
The paintings are intricate, with detailed
patterns of dots, stripes, and simple shapes
used along with colour to create the various
forms. The forms themselves are psychedelic
in character, with plant, animal, and human
forms intertwining and flowing together.
Individual plant or animal forms are often
depicted with distorted perspectives and
exaggerated proportions.
Soothing Sapphire–7326 | R 41 G 123 B 193
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
32–33
3
The artworks are traditionally created
with simple and easily available materials,
ranging from plant leaves and sap to cow
dung and charcoal and painted on the mud
walls of village houses. More recently,
Gond artisans have begun to paint on
paper, canvas, and wooden boards, using
materials such as acrylic and poster paints.
The brushes and tools used vary according
to individual artists’ preferences and the
materials being used. A special surface
treatment, called pidor, which is readily
available in the region is used to prepare the
surface of the wall for painting. Pidor is a
mixture of clay, cow dung, hay, and water
that is made locally and sold from village
to village on bullock carts. The artworks
are created using colours derived from
natural materials, especially the mineralrich soils available in the region. The colour
black is made from charcoal, white from
chui soil, red and dark red from geru soil
and the sap of the tinsak plant respectively,
yellow from ramraj soil and light green and
dark green from cow dung and sem leaves
respectively. While Gond artists traditionally
painted with locally-made grass brushes
called kuchi, most contemporary artisans
have adopted modern brushes made from
synthetic materials.
4
Parrot Green–7661 | R 90 G 179 B 44
Lemon Ole–X105 | R 255 G 207 B 0
The adoption of new
colours and mediums,
as well as the variety of
different approaches
is unique to the Gond
tradition, since the
art form has relatively
few guidelines and
rules, leaving it open
to interpretation by
individual practitioners.
3
Gond canvas depicting a bird feeding her offspring.
4
Artist, Ram Kumar painting on paper.
Sahara Sunset–X115 | R 230 G 78 B 43
INSPIRATION COLOUR QUOTIENT 14
RELEVANCE AND APPEAL
One of the unique aspects of Gond art is its
emphasis on the individual artist. The art
form allows each artist plenty of leeway to
create works with a distinct style of pattern
or colour usage, which can become their
signature style.
5
A mural inspired by the Gond style on the interior
wall of a home.
5
The individualistic approach has also
contributed to the revival of Gond art,
with renewed success for and popularity
of its practitioners. Designers in particular
are attracted to the Gond style, because
of the bold colours and striking patterns.
The stippling, stripes, and shapes that go
into the Gond patterns create stunning
visual textures, which can have a range of
applications. Interior designers in particular
have found compelling inspiration in the
Gond style. The nature-inspired forms and
motifs help create a peaceful and calming
atmosphere in the home, while the bright
colour palettes create a lively and playful
ambience. Designers of decorative objects
and artefacts for the home have also sought
inspiration in this art form, with Gondinspired designs adorning everything
from door frames and lamps to upholstery,
wallpapers, and floor tiles.
GLIMPSES OF GOND ART IN THE WORK OF CONTEMPORARY
PRACTITIONERS, CURATED BY COLOUR QUOTIENT
TARA BOOKS
6
7
Tara Books is an independent publisher of
picture books, based in Chennai. Their list of
published titles offer rare and unique voices
in art and literature.
These titles from Tara Books showcase
the beauty and versatility of the Gond art
style. In ‘I Saw a Peacock with a Fiery Tail’,
renowned Gond artist, Ram Singh Urveti
illustrates a classic 17th century English
poem of the same name, using dynamic
forms and meticulous detail to mirror the
shifting ways in which poetry can create
meaning. ‘The London Jungle Book’,
illustrated by Bhajju Shyam is another
example of the use of Gond art in print.
In this case, the psychedelic, intermingling
forms of animals and plants are the lens
through which the artist sees the historic city.
6
Cover and inside pages from ‘I Saw a Peacock with a Fiery Tail.’
7
A spread from ‘The London Jungle Book.’
34–35
8
ADITI PRAKASH
9
Industrial designer Aditi Prakash has
extensive experience working together with
craftspeople in India. A lover of the handmade, she explores ways to integrate crafts in
modern living through her work.
Samode Lodge
A signature trait of Gond art is its use of
animal and plant forms. Aditi Prakash uses
this nature-inspired aesthetic in her murals
for Samode Safari Lodge in Bandhavgarh,
creating an ambience that reflects the
natural setting of the lodge.
Furniture
Designing furniture gives Aditi a third
dimension with which to explore the Gond
art style. This exploration is evident in her
teak furniture collection, decorated with
animals and floral forms painted in the Gond
style. Moving away from flat surfaces creates
room for experimentation with the ‘inside’
and ‘outside’ of the forms. Her designs also
incorporate the texture of the teak board,
enhancing the natural feel of the collection.
10
8
Gond art adorns the walls of Samode Safari Lodge.
9
Mixing different styles of Gond art for a contemporary look.
10 Teak furniture with Gond art accents by Aditi Prakash.
If you would like us to feature or know more about
an art form, write to us at [email protected]
INDIA CONNECT COLOUR QUOTIENT 13
Ask Asian Paints
COLOUR QUERY
Q. What are the important considerations to
keep in mind while choosing a colour scheme?
Ar. Pravin Pagar
A. It is difficult to suggest a colour scheme
without insights into the area of application,
however there are guidelines that help you
select a colour scheme for a space. The
furniture, size, and proportions of the space
interact with colour and play an important
role in achieving the ultimate look.
A good colour scheme
is always contextual to
the space and the decor.
INTERIORS
• Decide on the look or style you want to
create with your existing or new furniture.
If you have dark or light furniture, use a
neutral or a midtone colour scheme.
• To begin the colour selection, choose a
colour for the highlight or focus point of
the interior—for example, an art piece or
a main wall.
• When the first colour has been selected,
start looking at other colour options that
work well with the main colour.
• The art of visualising a space with all its
elements is important. Mixing colours and
repeating colours on various surfaces such
as fabrics, furniture, accessories to balance
the look is important.
• Keep the ceiling a lighter tone (almost
white) of the colour selected for other walls.
• Lighting has always played an important
role in colour selection—­warm light goes
well with reds, oranges, yellows, and
browns, and a cool white light works well
with blues, violets, greens, and greys.
Metallic colours reflect more light and
should not be applied on unfinished
surfaces or high-activity zones.
1
Camp Fire–X114 | R 248 G 111 B 41
Ceramic–3122 | R 238 G 214 B 184
Crimson Depth–X123 | R 149 G 45 B 58
1
An orange focus wall dominates the room.
2
Play of texture and colour on the exterior of the house.
EXTERIORS
• It is very important to understand the
architecture of your house and climate
of your region.
• Direct contact with natural light allows you
to play with colours that are deeper than
colours for interiors.
• Choose a colour (midtone or neutral) for
the entire surface of the house and move on
to selecting a trim and accent colour, which
Apex Duracast Venezio
Top Coat: Camphor–8260
may be dark tones or used as highlights.
• If your architecture allows you to highlight
certain areas such as patios, terraces, main
entrance doors, use textures and create a
dedicated zone within the same space.
• Pots and planters used to define the space
should be of the same body colour.
• Outdoor furniture can be painted in more
versatile colour combinations.
2
Aquadur PU
Walnut
Carbon Copy–8293 | R 60 G 55 B 49
For more information
T 1800 209 5678 E [email protected]
All shades and textures are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra or texture book for exact shade reference.
36–37
INCOMING
Asian Paints ColourNext 2014
India’s only colour trend forecast,
ColourNext is the lead feature in our next
issue. The 2014 edition is the culmination
of six months of extensive research into the
latest social, lifestyle, design, and decor
trends in India for the year, translated into
inspiring colour stories.
View current issue and archive at www.asianpaints.com/cq
Colour Quotient 12
April 2013
Colour Quotient 13
September 2013
IMAGE CREDITS
ACCESS COLOUR QUOTIENT ONLINE
• All images courtesy Karthik Vaidyanathan
COLOUR MAP
Opulent
• Sukanto Debnath » flickr.com/photos/sukanto_
debnath/2130934981/
• Karen Roe » flickr.com/photos/karen_roe/7169996899/
Snug
• Mandy Greer » flickr.com/photos/mandygreer/3012481634/
• Jonathan Williams » flickr.com/photos/
pinmimages/3623392054/
• Wicker Paradise » flickr.com/photos/wickerfurniture/8777470599/
• Mark Heard » flickr.com/photos/24657811@N00/3148813728/
Modern
• Cassandra Lavalle » flickr.com/photos/cocokelley/3183375748/
• Plage Vinilos y Adhesivos »flickr.com/photos/
plagevinilosyadhesivosdecorativos/5549367623/
• Source Chairs, designed by Haldane Martin, Photo by Micky
Hoyle » flickr.com/photos/haldanemartin/10820271613/
• eyewashdesign: A. Golden » flickr.com/photos/
eyewash/2603717864/
• Wicker Paradise » flickr.com/photos/wickerfurniture/9854690225/
FESTIVE FLORAL
VISHESH VERMA
‘Colour Quotient’ is Asian Paints’ initiative
that reflects significance of colours in varied
cultures & traditions, and contemporary trends
in paints. The objective of Colour Quotient is
to share customers’ penchant for colours with
architects, interior designers and other creative
people and not to solicit business. Views
expressed by the authors are personal
and photographs used in Colour Quotient
are illustrative. For more information, visit:
www.asianpaints.com/cq
Profile Image and Showcase
• Copyright Vishesh Verma
Colour Inspiration
• StockPhotosforFree.com » flickr.com/photos/
stockphotosforfree/7375453162/
• Theophilos Papadopoulos »flickr.com/photos/theo_
reth/6324344746/
• likeaduck » flickr.com/photos/thartz00/4876137302/
PAVITRA RAJARAM
Profile Image and Showcase
• Courtesy Pavitra Rajaram
Colour Inspiration
• Saimz Eyez » flickr.com/photos/51970870@N02/5085589616/
• McKay Savage » flickr.com/photos/mckaysavage/2576736293/
COLOURS OF NAVARASA
• Tristan Martin » photoree.com/photos/
permalink/6545880-11738433@N03
• Brocken Inaglory » commons.wikimedia.org/wiki/
File:Back-scattering_crepuscular_rays_panorama_1.jpg
• Daniel R. Blume » flickr.com/photos/drb62/3104224796/
• Tanaka Juuyoh » flickr.com/photos/tanaka_ juuyoh/4680217868/
• Sarah Reid » flickr.com/photos/sarahreido/4977913557/
• Chris Gladis » flickr.com/photos/mshades/2366727259/
• Kris Krüg » flickr.com/photos/kk/4730850651/
• Allie_Caulfield » flickr.com/photos/wm_archiv/5851313588/
‘No part of this material may be reproduced or copied in any form or by any
means (graphic, electronic or mechanical,
including photocopying, recording, taping
or information storage retrieval system) or
reproduced in any disc, tape, perforated
media or other information storage device
etc. without the written permission of Asian
Paints Ltd. All rights reserved. Copyright
Asian Paints Ltd. All disputes are subject to
Mumbai Jurisdiction only.’
• Fred » flickr.com/photos/44639455@N00/870182934/
Dancer Images
• All images courtesy Bhavna Vijai, disciple of Anupama Jayasimha
CREATING UNIQUE WALL FINISHES WITH MEERA DABIR
• All images courtesy Meera Dabir
PAINTED SONGS OF GOND
• All images courtesy Gaatha, unless specified.
Tara Books
• All images courtesy Tara Books.
Aditi Prakash
• All images courtesy Aditi Prakash.
REACH US
Let us know what you felt about this issue of Colour Quotient.
What would you like to see featured? Have something
interesting to share?
Write to us at » [email protected]
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
Asian Paints offers best-in-class products* which are
truly green and conform to the guidelines laid out
as per the international GS–11 Standard.
*For more information, log on to www.asianpaints.com
M
ah
og
on
y0
R0
5
The January palette is created using
the Colour Scheme PRO app by
Asian Paints—the easy way to create
professional colour combinations.
Pick a colour from over 1800 Asian
Paints shades and allow the app
to guide you to the perfect Monochromatic, Analogous, or Complementary combinations. Available as a
free download for Android and iOS
smartphones and tablets.
A
Red
lert
12
5
Monochromatic Combination
Yo
un
gW
in
e
80
86
ou
ge
X
ou
lin
R
118
dX
M
Re
Red
X124
Complementary Combination
Analogous Combination
an
ibbe
Gre
512
en 7
Car
Scan the QR
code to download
Colour Scheme
PRO for free to
your Android or
iOS smartphone
or tablet.