colors

10OCTOBER 2012

ISSUE

The Colours of NavarasaThe continuing series on the Navarasa focuses on colour associations of Hasya (Joy) and Karuna (Compassion).

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Paint Query •Colour Query •

Service Query •

India CelebratesFind inspiration for celebratory colour palettes through conversations on colour with three leading design professionals.

INSPIRATIONINSIGHT

IN FOCUS INDIA CONNECT

ASK ASIAN PAINTS

INSIGHT

Autumnal HuesExplore the colour nuances of an Indian and a temperate autumn.

Egypt—Snapshots along the NileQuintessential Egyptian colours derived from its history and landscape.

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Colour for Educational InstitutionsHighlighting the importance of colour

usage within a space to promote learning.

Fabric Inspired Finishes with Royale Play Textile

Textile based finishes for commercial and residential projects from Asian Paints.

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CONTENTS

15

22Mingling Modern with VintageInterior designer Michelle Workman

on choosing colour palettes for her clients’ personalities and spaces.

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02

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FLOURISH

RICH

BLOOM

LUSH

ORCHID

SENSUAL ABUNDANCE

WINE

JEWEL

GARNET

EMBELLISHMENT

SPARKLE

VIBRANT

JUBILANT

TRADITIONINTOXICATING

REGAL

LUSCIOUS

CELEBRATION

DEEP PINK

Fine Wine–8109 | R 129 G 53 B 69

Shocking Pink–8126 | R 224 G 103 B 147

Cherry Bon Bon–X135 | R 102 G 49 B 73

Red Alert–X124 | R 171 G 46 B 70Fox Glove Pink–5155 | R 190 G 94 B 107

Associations and connections to the colour

Deep Pink–X132 grow at different levels

supplemented by visuals to help kickstart

your creative process.

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Deep Pink–X132 | R 47 G 52 B 90

COLOURMAP

Ambrish Arora Mayank Mansingh Kaul Sarthak Sengupta

IN FOCUS

Extend the catwalk into your living room and add drama to decor with Royale Play Textile, a range of unique effects inspired by fabric that will engage your imagination and senses. Royale Play Textile is a response to the growing trend of using fabrics creatively for home decor and is the easiest way to express your individuality within a space. Just as thread is woven to make textile, the history of textile is interwoven with ours. Fluid, sensual, and evocative, they have always been a tangible part of our lives, fascinating us with their tactility and elegance.

Royale PlayTextile

Fabric inspired Finishes With

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Visually stimulating and available in contemporary palettes—Royale Play Textile will add a sophisticated allure to any space, enthralling and captivating all who experience it. The range consists of six designer finishes that incorporate the qualities of different fabrics. Bring the distinctive warp and weft effect, with its sense of richness and ephemeral movement into your home using Royale Play Textile.

Royale Play Textile–Kora GrassBase Coat: Alto-N–2353Top Coat 1: Pearly Green–9368Top Coat 2: Lime Accent–7727

Royale Play Textile–Kora GrassBase Coat: Fawn–ON05Top Coat 1: Roasted Beans–8765Top Coat 2: Dried Spices–8749

Royale Play Textile–DenimBase Coat: Sensibility–8267Top Coat: Grey Matter–8304

Royale Play Textile–DenimBase Coat: Fairytale–7251Top Coat: Caspian Sea–7294

2 Royale Play Textile–Kora Grass

The quintessence of relaxation, the Kora Grass finish soothes and calms your mind transporting you to a realm of laid back comfort. Use this finish to transform your living room or patio into a zone of tranquillity and peace.

Royale Play Special Effects Tool for Kora Grass » Yarn Tool + Kora Grass Tool

1 Royale Play Textile–Denim

Inspired by the iconic fabric denim, this finish with its myriad facets is unapologetically modern. It effortlessly exudes attitude and confidence that makes a strong style statement on interiors ranging from bachelor pads to retail stores.

Royale Play Special Effects Tool for Denim » Yarn Tool + Denim Brush

Royale Play Textile–DenimBase Coat: Frost Blue–9180Top Coat: Monsoon Sky–9157

Royale Play Textile–Kora GrassBase Coat: Subtle Tint–7899Top Coat 1: Ski Valley–7911Top Coat 2: Peanut Butter–8559

All textures are printed representations and may vary slightly from actual textures. Please refer to the Asian Paints Royale Play Textile book for exact texture reference.

IN FOCUS COLOUR QUARTERLY 10 4–5

Royale Play Textile–JuteBase Coat: Raisin Delight–X127Top Coat: Orange Vision–X110

Royale Play Textile–JuteBase Coat: Bed of Roses–8113Top Coat: Essence–8099

Royale Play Textile–YarnBase Coat: Sun Dial–7928Top Coat: Plum Cake–8200

Royale Play Textile–YarnBase Coat: Riverdale–9264Top Coat: Meadow Path–7541

3 Royale Play Textile–Yarn

Imagine a thousand balls of wool whose yarn has unravelled and become inter-twined with one another. That was the in-spiration behind Yarn, a wonderfully playful finish for those who want to bring a touch of fun and whimsy into a space. Its application is apt in spaces for social gatherings such as restaurants and living rooms.

Royale Play Special Effects Tool for Yarn » Yarn Tool

Royale Play Textile–YarnBase Coat: Orange Essence–8009Top Coat: Deep Spice–7997

4 Royale Play Textile–Jute

Indulge in an earthy finish inspired by jute—a natural golden fibre intrinsic to the Indian cultural heritage. Being incredibly versatile this finish can be used to highlight a contemporary setting in a modern space as well as rusticity in a country-styled setting.

Royale Play Special Effects Tool for Jute » Yarn Tool + Special Effects Comb

Royale Play Textile–JuteBase Coat: Subtle Green–7508Top Coat: Valley Green–7511


Royale Play Textile–LeatherBase Coat: Sonnet–L146Top Coat 1: Nickel Grey–6126Top Coat 2: River Silt–8440

Royale Play Textile–Crushed SilkBase Coat: Day Dream–8091Top Coat 1: Passion Fruit–8141Top Coat 2: Pure Red–8093

Royale Play Textile–LeatherBase Coat: Pantry Plum–7229Top Coat 1: Midnight Oil–8333Top Coat 2: Pale Sisal–L155

Royale Play Textile–Crushed SilkBase Coat: Indian Spice–8568Top Coat 1: Lazy Brown–8591Top Coat 2: Memories–8580

6 Royale Play Textile–Leather

Suave, understated, and always sophisticated, this finish draws its inspiration from leather. The classic timelessness of the finish when used for a study or an office impresses class, luxury, and elegance.

Royale Play Special Effects Tool for Leather » Special Effects Brush

5 Royale Play Textile–Crushed Silk

Created to enhance the splendour of a home this finish is inspired by silk—a fabric that has been associated with wealth and grandeur for centuries. Understated yet potent, silk is the perfect embodiment of elegance. The regal, modern, and ultra-chic qualities of the finish will help create spaces of inimitable grandeur. It can be used to highlight the luxurious set-tings of hotels and showrooms.

Royale Play Special Effects Tool for Crushed Silk » Trowel + 3" Scraper

Royale Play Textile–LeatherBase Coat: Ceramic–3122Top Coat 1: Peanut Butter–8559Top Coat 2: Carmel Custard–8534

Royale Play Textile–Crushed SilkBase Coat: Purple Blush–9124Top Coat 1: Shady Purple–9119Top Coat 2: Escapade–7141

For more information T 1800 209 5678 E [email protected]

Use Royale Play Textile for commercial and residential interior design projects to add character to a space. Refer to the swatch card in CQ 10 for actual texture samples. To place an order for the Royale Play Textile book, please fill in the enclosed feedback form.

IN FOCUS COLOUR QUARTERLY 10 6–7

With the onset of October the subcontinent plunges into multiple occasions of joyous celebration. Across India, rituals & festivities find expression in a riot of colours, textures, & motifs.

In this issue of Colour Quarterly we explore the colour stories of festive India through conversations with three design

professionals representing three unique design practices based in India—Ambrish Arora (Lotus), Mayank Mansingh Kaul (The Design Project India), and Sarthak Sengupta (Sarthak Sahil Design Co). Inspired by the issue theme colour (Deep Pink–X132), the three design professionals talk about their colour ideas based on the festive theme. In “Essence of Indian Celebration” and “Colour Inspiration”, each designer shares their interpretation of and inspirations for India Celebrates, and presents a custom colour palette for the same. In the section “Showcase”, each designer delves into their folio of work, selecting an instance of the festive theme from a diverse selection of projects—ranging from a craft fair, to textile and apparel, and furniture and lifestyle products.

Lotus is a multidisciplinary design practice whose work includes design for interior and exterior spaces, ranging from large architectural ideas to the smallest furniture details. Ambrish Arora, Design Principal & CEO at Lotus, has over 20 years of domain experience, and has worked in India and abroad as part of design teams on diverse projects including hotels, F&B spaces, retail design, offices, residences, furniture, films, museums, and exhibitions. Ambrish trained and worked as a boat designer before turning his interest to architecture and interior design. He was a partner at Design Habit, a leading exhibit design firm in New Delhi for three years, before setting up Lotus in June 2002. He has also served as a visiting faculty to NIFT Delhi, a consultant to NID Ahmedabad and a visiting juror to the School of Interior Design, CEPT Ahmedabad, apart from being a keynote speaker at several design events in India and abroad.

AMbRISH ARoRA

Architect and Interior Designer

Design Principal and CEO

Lotus

“Colour plays a significant role in our design process. It is a key supporting element that accentuates the chosen design direction. As a practice, the use of colour for us, finds expression in the celebration of materials in their natural state. The subtle play of varying tones of the colour of a material combined with its texture helps define the character of a space. On occasion, colour can also feature as the primary element in a space that guides the design approach itself.”

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Basra Pearl-N–0974 | R 226 G 217 B 198

Conifer–7559 | R 108 G 167 B 147

Deep Pink–X132 | R 174 G 49 B 98

ESSENCE oF INDIAN CELEbRATIoN

“India Celebrates” for us finds meaning in the freedom to celebrate our diversity and in not being shy about expressing ourselves. India is a country of rich traditions, vibrant colours, and age-old craft techniques. For us, a celebration of India is not in the reminiscence of what once was but rather is in the ability to revive traditional materials and techniques through contemporary interpretations that seamlessly weave our past with our future.

Ambrish AroraColour Palette

CoLouR INSPIRATIoN

Our inspiration for this colour palette comes from the anteroom of the Shiv Niwas in the City Palace at Udaipur, Rajasthan. The ceiling and wall decorations are crafted in finely cut painted glass to create intricate motifs which follow the Rajput tradition of using colour to make a decorative statement. This crisp, fresh palette is an ode to the vibrancy and fine craftsmanship found abundantly in our heritage, which when reinterpreted is still relevant today.

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1 Colour Inspiration for Ambrish Arora's Colour Palette.

INSIGHT 8–9


Mayank Mansingh Kaul is a Delhi-based textile and fashion designer working with contemporary Indian hand-crafted textiles. A graduate of the National Institute of Design, Ahmedabad, Mayank has worked in the field of Cultural and Creative Industries at the Planning Commission of India. He is the Founder Director of The Design Project India, a not-for-profit organisation that supports writing and curatorial projects, and is an archive of modern and contemporary Indian design. He has written on Indian culture, design, and the need to revive India's vast craft heritage for publications like Vogue India, Mint Lounge, Domus International, and The Craft Revival Trust. His design work has been featured in international publications including The Financial Times (London) and The National (Abu Dhabi) along with several Indian publications.

MAYANK MANSINGH KAuL

Textile and Fashion Designer

Creative Director & Founder Director

The Design Project India

“As a textile designer mainly producing western styles and silhouettes, unique ways of using colour helps me differentiate my products. Since my clientele is mainly international, this allows me to add a touch of “India” whether through accents or detailing over neutral colours like blacks, greys, whites, and beiges. For the limited edition fashion ranges produced for the Indian market, we reverse the order, using bright colours like fuchsias, reds, blues, and yellows with neutral accents, thereby subduing their garish overtures. As the main fabrics I use for the fashion lines are natural and often organic, I also like to match bright colours with natural and vegetable dye tones like taupe, lavender, & pale indigo to bring a vintage touch to the garments.”

AMbRISH ARoRA'S SHoWCASE

The Patiala Crafts Mela is an annual fair held in February around Qila Mubarak in Punjab, which brings together artistry and fine craftsmanship from various parts of the country. Our brief for this project was to create a vibrant low-cost outdoor environment that embodied the spirit of the Mela. Inspired by the colours of phulkari, an embroidery technique native to Punjab, we worked with brightly coloured cotton fabrics to create a playful and festive atmosphere. The choice of materials was crucial as we were looking for a cost-effective solution and could only work with local tenting contractors to execute the project. We chose to work with reusable materials such as cotton fabric and bamboo, and created a variety of sheltering structures by playing with how the materials responded to the elements such as sunlight and wind.

“We worked with brightly coloured cotton fabrics to create a playful and festive atmosphere.”

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2 The colour palette for the Patiala Crafts Mela, 2005 was

inspired by embroidery techniques from Punjab.


“India Celebrates” to me means an abundance of bold and bright colours subdued with nuanced lighting allowing subtle movements in them, enabling a myriad play of shades and tints. India is a land where riots of colours are commonplace—from everyday events to the most sacred of occasions. I find that it is exciting to subvert these bold, bright colours with dark tonal values and hints of gold and silver which allow the colours to acquire an intrinsic dynamism.

CoLouR INSPIRATIoN

My festive colour palette consists of quintessentially jewel tones—the red and green is a combination often found in Buddhist monasteries. The reds here are used predominantly for their various symbolic and spiritual values, as also for their availability in natural materials like stone and lacquer. Often the different shades of red acquire a rich and layered quality, and when used together they appear as one, yet ever-changing in their reflective qualities. I find that colours like sea-green or turquoise blue lift these qualities of red. With this palette I am immediately transported to the world of Buddhist monasteries in Ladakh and Himachal Pradesh, where large expanses of red walls are accentuated with the green and gold detailing of idols and a hint of glistening fuchsia rubies visible through candlelight.

SHoWCASE

The Devi Ratn Hotel in Jaipur, Rajasthan is a five star boutique hotel, and as the name suggests uses the leitmotif of Indian jewels—ratn. The guest rooms here use a combination of new materials and traditional hand-crafted architectural techniques and are inspired by different jewels. The interior design technique plays with monochrome effects and employs novel expressions of style whether through use of digital pichwais (Rajasthani paintings), reflective stones, or ceramic tiles, which allows for an opulent play of colour. Naturally, colour was the starting point of the textiles for the property. However, I was keen that we add, keeping in mind the design approach of the interiors, a three-dimensionality to the two-dimensionality of textiles. I therefore used multiple versions of the same colour in the same fabric within each room, to create patchwork textiles which would look three-dimensioned and bounce off different shades.

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Colour Inspiration for Mayank Mansingh Kaul's Colour Palette.

The rich colours at Devi Ratn Hotel emphasise the opulence.

Signal Red–0520 | R 189 G 46 B 50

Translucent Green–7513 | R 125 G 219 B 212

Deep Pink–X132 | R 174 G 49 B 98

Mayank Mansingh KaulColour Palette

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INSIGHT COLOUR QUARTERLY 10 10–11

Sarthak Sahil Design Co was founded in 2009 by designers Sarthak Sengupta and Sahil Bagga, with the belief that ‘ethics, ethnic, and ecology’ can be interwoven with contemporary lifestyles. Prior to founding the studio, Sarthak Sengupta, a graduate from NIFT, New Delhi and Sahil Bagga, a graduate from College of Art, New Delhi studied furniture design and product service system design in Milan. The studio designs products and interiors that are beautiful, functional, and “ASAP” (As Sustainable As Possible). Their expertise lies in customising products, furniture, lighting, and installations that make innovative use of Indian craftsmanship and materials to furnish contemporary spaces such as boutique hotels, residential properties, and restaurants. Besides product design, the studio also provides holistic design solutions which includes creative management, knowledge of production chains, communication design, and the ability to synchronize these different processes.

SARTHAK SENGuPTA

Product Designer

Director

Sarthak Sahil Design Co

EXPERT COLOUR PALETTESColour palettes derived from the swatches chosen by Ambrish Arora, Mayank Mansingh Kaul, & Sarthak Sengupta reflect the season's celebratory theme with the colour Deep Pink–X132.


Orange Peel–7957 | R 255 G 154 B 5

Emerald Lights–X155 | R 9 G 104 B 69

Deep Pink–X132 | R 174 G 49 B 98


“India Celebrates” to us means Joy, Tradition, Unions, & Gifts. Most Indian festivals are celebrated as a community. It is about leaving one’s individual identity and becoming part of a bigger entity, and thus the significance of Unions. Indian festivals are a living culture that are deeply rooted in history, symbolism, and mythology. Thus Joy symbolizes the living and Tradition symbolizes the legend. As for Gifts—well, everyone likes presents.

Sarthak SenguptaColour Palette

“Colour decisions are dependent on the project but usually arrived at during the initial stages of design after a core concept has been determined. Creating colour boards and material boards help provide solid insights to the direction of a colour palette for a particular design project.”

CoLouR INSPIRATIoN

The pink and the green together are reminiscent of the colour combination of a traditional Indian saree. They contrast each other and may seem loud for a western audience but remain a classic combination within the Indian context. The orange symbolises culture and wellness, which again is rooted in tradition. Inspiration and context for this colour comes from the iconic marigold flower, spices, diyas (terracotta lamps), henna, and kesar (saffron).

5 Colour Inspiration for Sarthak Sengupta's Colour Palette.

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SHoWCASE

Our Katran collection is a unique expression of the Indian celebratory theme. Developed as part of the Zero Kilometer® Design concept, the Katran collection has been an effort to design ethically responsible, ethnic products which are ecologically sustainable. Katran in Hindi means small pieces of left over cloth which are the by-product of textile mills. These pieces of cloth are collected by farmers during the off-season, spun into rope and sold for additional income. The rope is used to weave traditional Indian day beds called khatiyas. Our effort has been to use this vibrant, colourful material in an innovative way to create a collection of contemporary furniture and products that are sustainable, beautiful, and have a “glocal” appeal. The furniture is completely handmade and is produced through ethical interactions bet-

Through conversations with designers and architects, Asian Paints presents a story developed for Colour Quarterly which focuses on the significance of colour and its inspired usage. The colour swatches and palettes shown here have been selected using the Asian Paints Colour Spectra PRO—a professional shade tool which consists of 1800 colours from Asian Paints in large size swatches.

Sarthak SenguptaColour Palette

Mayank Mansingh KaulColour Palette

Ambrish AroraColour Palette

ween various people within the production line, from the village to the city. Owing to the handmade nature of the furniture, as well as the diversity of colour and texture of the rope, each piece is exclusive and unique.

6 A handmade tray table from the Katran collection.



HUEAs summer takes leave, Mother Earth ushers in the most benevolent season of all—autumn, a time of multi-hued splendour.

SGet a comprehensive presentation on newly launched products, tools or services at your convenience.

On demand delivery of a range of shade cards, product catalogues, colour guides and in-house magazines.

Order large swatches painted with the shades you like. Choose from over 1800 colours and a range of textures and the painted swatch shall be delivered at your doorstep.

* Can be downloaded from our website. Available for

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Get on-site technical assistance and obtain an expert view on surfaces and products used.

Send us a picture of your project and let our experts suggest colours through our colour visualization service. Download digital colour palettes for design softwares* to get an exact Asian Paints shade match.

Please note that this service is available in the following cities North: New Delhi and Chandigarh West: Mumbai, Pune, Ahmedabad and Vadodara South: Hyderabad, Bengaluru, Chennai and Kochi

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14–15INSPIRATION

Rich Olive–9381 | R 125 G 119 B 83

Window Blue–9143 | R 109 G 134 B 172

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Colours of an Indian Autumn

In India, the departing monsoons signify the beginning of autumn. Nature

paints our landscape in fresh, cool, and clean shades. The morning sky is a fresh, soft shade of blue deepening as the day goes by into brilliant cerulean. Leaves glow green having been washed of summer’s dust by the rain. The Coromandel and Malabar coastlines are particularly advantageous as the setting sun treats everyone to a sky dramatic with slashes of smoky violet, gashes of orange, and accents of red. As the glowing disc dips below the horizon, soft blends of grey and mauve curtains fall upon this daily spectacle. The colour of autumn sunlight is distinctive in itself. The brassy yellow glare of summer gives way to mellow radiance—a pale ochre that’s best captured by the word godhuli—that time of the day in villages across India when the cows come home and the dust kicked up by their hooves glows golden in the slanting sun rays.

In one of his greatest works, “Meghaduta,” the Sanskrit poet Kalidasa, likened a passing cloud to a messenger of love. The colours are a significant part of the imagery in the poem.

Indian AutumnColour Palette

Autumnal sunsets at the Malabar coast are a visual spectacle.

The departing monsoons signify the start of autumn in India.

The autumn comes, a maiden fairIn slenderness and grace,With nodding rice-stems in her hairAnd lilies in her face.In flowers of grasses she is clad;And as she moves along,Birds greet her with their cooing gladLike bracelets’ tinkling song…

— “Meghaduta,” Kalidasa

Inca Ruins–7855 | R 224 G 210 B 125

Glorious Sunset–X111 | R 248 G 144 B 38


Please share your feedback by writing to us at [email protected]

Rich Tan–7965 | R 203 G 129 B 53

Mustard–7901 | R 234 G 180 B 30

Temperate AutumnColour Palette

Colours of autumn foliage in temperate zones.

Detail from Autumn, 1896 by Alphonse Mucha.

Colours of a Temperate Autumn

In temperate zones autumn is the time of falling leaves. As the season rolls by, greens give way to a spectacular range of russet, terracotta, tan, coral, burnished yellow, and roast brown. But there’s more to autumn than rich, mature colours. In the western hemisphere, autumn is an all-too-brief season of transition before the onset of a long, freezing winter. As the season nears its end, nature adds new colours to her palette, moving from warm gold, mustard, and brown to soft neutrals. The sky loses its exuberance, fading to infinite shades of grey. Rose bushes stand bereft of blooms, save for a few tired damask petals. Fallen leaves drenched in chilly rain turn to dull taupe.

While every season captures nature’s hues in its own distinctive way, none have stirred the imagination as autumn does with its splendid range of colours. In cultures worldwide autumn is synonymous with harvest and therefore, plenitude. Western classical art frequently personifies the season as a woman. For example, the Renaissance painter Botticelli’s, “Autumn or Allegory Against the Abuse of Wine” depicts autumn as a mother accompanied by two small children. On her head she carries a cornucopia of ripened fruit. A common theme in work

by Alphonse Mucha is also the allegory of seasons as women. Willowy young women, in long flowing robes surrounded by stylised, ornamental, natural forms in pastels are typical of Mucha’s style. In his work, autumn is defined with the use of dry leaves and fruit, and harvest in hues of orange and red. In addition to art, the Romantic poets such as John Keats found inspiration in autumn and wrote evocatively of its abundance as well as its melancholy.

Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss’d cottage-trees, And fill all fruit with ripeness to the core…

— “To Autumn,” John Keats

INSPIRATION COLOUR QUARTERLY 10 16–17

Colours of Navarasa

Hasya

The second part of the series The Colours of Navarasa, explores in detail two of the nine Rasas—Hasya (Joy) & Karuna (Compassion) along with their traditional and modern colour associations.

In the Natyasastra, each Rasa, which is the essence of an emotion elicited by a performer, is

ascribed specific colour families. The links formed between colour and emotion are constantly evolving to include associations that are influenced by our present day surroundings. The Navarasas, a unique feature in most classical dance forms, are best represented through Bharatnatyam. The name, Bharatnatyam, is formed by three words in Tamil—bha or bhavam (expression), ra or ragam (music), and ta or talam (rhythm). Facial expressions and hand gestures, known as mudras, are systems used to express the entire range of human emotion. While colours are also associated with the Navarasas, facial expressions take precedence in Bharatnatyam.

Karuna

INDIA CONNECT 18–19

KarunaColour Palette


HasyaColour Palette

Courtyard–9519 | R 126 G 116 B 95

Passion Fruit–8141 | R 134 G 58 B 94

Pearl Star–L103 | R 246 G 243 B 233

Gauguin Blue–7344 | R 135 G 180 B 212

Sunset Orange–9398 | R 211 G 110 B 106

Tons of Sun–7895 | R 251 G 220 B 117

Both of these categories speak of happier times, nostalgia, nature, and freedom. Activity, anticipation, and energy are also common across the categories. While the colour families might differ for different demographics, the characteristics of the colours remain constant. For example, a vibrant green might evoke a happy feeling, as would a vibrant yellow or an upbeat pink. The distilled characteristics of the emotion would primarily be strength, intensity, and vibrancy. Examples of known triggers of joy include food, nature, kites, and freedom.

Colour PlayExperiment with & mix the colours given to create a joyous mood for your home.

Joy is associated with the intangible feelings of nostalgia, motion, anticipation, belief, and continuity.

The first emotion explored in this series is Hasya. It is not a unidimensional emotional state, as it includes degrees of laughter, mirth, and happiness. According to the traditionally ascribed colours of the Navarasa, joy is associated with the colour white. Over the years, however, the traditional associations of joy to the colour white have evolved to accommodate changes introduced by modern Indian lifestyles. A study undertaken by Colour Quarterly earlier this year has shown that these associations have become more complex and intricate.

Emotions can evoke certain personal associations, as well as separate physiological responses. While the experiential and personal associations are learned through memory, experience, and media; generic and biological responses to emotions are innate and can be labelled typical or archetypal. The colours associated with joy are explored through these two categories.

1 Archetypal AssociationsGreen and yellow are the two colour families that are predominantly associated with joy in the present day Indian context. The colour quality is bright, saturated, and pure. They also directly refer to good health, nature, and the outdoors. The presence of pinks and purples reflect a more personal representation of happiness—symbolising lightheartedness and a carefree attitude.

2 Experiential AssociationsExperiential associations of joy focus on nostalgia and are rooted in childhood. It is dominated by tints of coral, bright orange, and blue. Coral and orange are fast becoming colours associated with nostalgia and personal reflection. Blue refers directly to the colours of the sea and sky, with undertones of fun, play, and high energy.

LEAD COLOURS

ACCENT COLOURS

HASYA (JoY)

Compassion is associated with feelings of protection, transparency, fluidity, and freedom.


Eclipse–8325 | R 74 G 75 B 68

Moccasin–8763 | R 219 G 209 B 197

Biscuit–9520 | R 144 G 133 B 113

Scarlet–8085 | R 190 G 37 B 53

Rich Chocolate–8645 | R 101 G 71 B 55

Evening Pansy–8207 | R 148 G 131 B 141

Colour PlayExperiment with & mix the colours given to stir feelings of compassion.

Compassion, a universal emotion, does not have many stark differences between the archetypal and experiential associations. Compassion towards animals and nature was an unexpected, yet recurring finding of this study. The jewel-toned purple and the grey together, although contrasting, aptly outline the complex nature of compassion. The characteristics of both experimental and archetypal colours associated with compassion are purity, intensity, power, and maturity. Object associations for compassion include pain, fire, peace, security, spirituality, and health.

The second emotion in this series is Karuna. It is a complex emotion with undertones of sadness, pity, mercy, gratitude, and helplessness. The mix of so many senti-ments creates interesting and complex colour associations along with their accompanied thought processes. As with joy, compassion is reviewed under the lens of archetypal and experiential associations.

1 Archetypal AssociationsThe predominant colour families that are associated with compassion are light blues, rich purples, and whites, revealing an equal blend of pastel and saturated colours. Expectably, but interestingly, there are several religious connotations to colour associations with compassion. Jewel-toned purple is reminiscent of robes worn by Christian priests during Lent, synonymous with sacrifice, discipline, and compassion. In addition to religious significance, purple was a sign of power and wealth—signifying those whose duties were to show compassion and to help less fortunate people. White also denotes purity in a spiritual sense, separate from innocent or peaceful connotations. Blue is associated with strength and stability.

2 Experiential AssociationsThis category consists of grassy greens, blood reds, and neutral greys. Green is associated with nature and life, while red is associated with pain and bleeding. The grey stands for sadness, depression, and uncontrollable consequences.

LEAD COLOURS

ACCENT COLOURS

KARuNA (CoMPASSIoN)

INDIA CONNECT COLOUR QUARTERLY 10 20–21

Royale Play–DuneGold–M003

Dune Walk–8571 | R 235 G 214 B 190

1There are few places where the drama of colour plays out with such startling vividness

as in Egypt, the birthplace of one of the world’s greatest civilisations. To experience Egypt is to glimpse the soul of colour. The Nile River has for centuries defined Egypt’s civilisation and culture. Its waters cut a vast, mud-brown and smoky blue swathe across the hostile desert transforming the adjacent lands into the fertile green Nile Valley. Ancient Egyptians named the river Aur, meaning black, for the dark alluvium deposited by the river’s receding flood waters every summer—a yearly miracle of regeneration that led Herodotus, the Greek historian to state, “Egypt was the gift of the Nile.”

Al Qahirah (Arabic, meaning victorious), Jewel of the Nile, or as the Egyptians say, Umad-Dunya (Mother of the World)—Cairo, Egypt’s capital city is a seductive melange of sandstone mosques and high-rises, crazy traffic, smog, and shrieking hawkers. Presiding over the grand anarchy of Cairo within the medieval citadel of Salah al-Din, are the plump white domes of the Ottoman-style limestone and alabaster Mosque of Mohammad Ali. On the streets, the embellished beauty of Islamic architecture overwhelms. Sadly, grey streaks of poverty darken this ancient splendour—vastly humbler homes exist cheek by jowl with grand mosques and gateways. The cavernous Khan el-Khalili bazaar is an Arabian Nights dream come true, shot with medieval hues, redolent with spices. Glittering brass ware, gold and silver jewellery, and multi-coloured carpets assault the senses. West of Cairo lie the Pyramids of Giza—pale pink, beige, russet, deep brown—the sun playfully alters their colours as it moves across the blue canvas. The Egyptian Antiquities Museum overflows with the treasures of the Phara- onic Age, from the famed Tutankhamen collection to mummies, coins, and masks. Gold, lapis, turquoise, amethyst, and jas- per gleam out of exquisitely crafted bracelets, collars, and headdresses of the royal jewellery.

Cairo—5000 years of civilisation The Mosque of Mohammad Ali built in the architectural style of the Ottomans is located within the Salah al-Din Citadel in Cairo.

The external facade of the Mosque of Mohammad Ali.

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INSPIRATION 22–23

Balsam Brown–8520 | R 204 G 169 B 120

Royale Play–CanvasBase Coat: Rocky Cliff–8632Top Coat 1: Red Earth–8029Top Coat 2: Cozy Cabin–8509

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Sunrise–0526 | R 232 G 116 B 52

Twilight Zone–7325 | R 34 G 75 B 143

EgyptColour Palette

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The Coloured Canyon rock formation in the Sinai Peninsula.

The Red Sea borders Egypt in the east.

500 kilometres south of Cario, Luxor sits on the banks of a lovely segment of the Nile, whose deep blue waters are dotted with white felucca sails. Once the site of the 4000 year-old Egyptian city of Thebes, Luxor’s past overwhelms its contemporary identity.

The open air temple ruins at Karnak are famed for being the largest ancient religious site in the world. At the centre of the ruins sit the main Temple of Amun. The Great Hypostyle Hall which sprawls over 5000 square metres is a silent testament to the architectural vision and engineering skills of its creators. Its roof no longer exists but the 134 earth-toned columns and outer walls remain, covered with inscriptions, carvings of battle scenes, and important events during the reign of Seti I, his son Ramses II and their descendants—a priceless historical record.

South of Karnak, the blue expanse of the Sacred Lake fed by the Nile is a symbol of the primeval ocean and the waters of creation. A massive statue of a scarab beetle, symbolic of ancient Egypt, overlooking the lake was commissioned by King Amenhotep III. A wavy hieroglyphic encircling the walls represents the flowing water of the Nile.

Luxor—Celebrating the glory of the godsThe sandstone temple ruins of Karnak, built over a period of 1300 years to consecrate the Theban triad of Gods, Amun, Mut, and Khonsu are jaw-dropping in scale and execution.

The Sacred Lake was a holy site for ancient Egyptians priests.

Hieroglyphic carvings on a pillar at the temple ruins of Karnak.


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Far from these desert wonders, the Red Sea coast on the eastern border of Egypt is an 800 kilometer stretch of white beaches, crystalline water, and the jewelled beauty of coral gardens. Wadi el Gemal (Valley of Camels), a national park, comprises of 7000 kilometers of diverse natural habitats. The blues and greens of the ocean, palm groves, and sea grass beds transition into the browns, yellows, and beiges of the desert.

Egypt’s unique geography and the legacy of her ancient cultures blend into a tapestry of colour and beauty that never ceases to inspire and amaze. History continues to weave in new skeins of colour into this fabled land.

Red Sea coast—An aqua paradise

The Sinai Peninsula in the east is hallowed land. Mount Sinai is famed for being the legendary site where Moses received the Ten Commandments. Here, the desert never ceases to surprise and the Coloured Canyon is a labyrinth of barren cliffs, a crazed canvas of yellows, purples, golds, and reds twisting and blending into spectacular formations. Beneath the cobalt waters around Tiran Island in the Gulf of Aqaba, coral reefs sway gently in profusions of fuchsia, jade, lemon, and lavender. Every imaginable shade of blue is visible in the saltwater Magic Lake at Ras Mohammad National Park.

The Sinai Peninsula—Desert splendours

The coastal areas are famed for the abundant marine life that inhabits a long stretch of coral reefs.


INSPIRATION COLOUR QUARTERLY 10 24–25

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Colour has a profound effect on our daily lives and its impact begins at the earliest of ages. From childhood through adulthood, specific colours have meanings and connotations

that grow along with us in our lifetime. Even the earliest education efforts rely on colour, such as teaching preschoolers that the colour green means “go” and red means “stop.” More than just a reference tool, colour creates an environment that

is able to promote and enhance learning.

COLOUR FOR EDUCATIONAL INSTITUTIONS

by Kate Smith, CMG, CfYH

The value a culture places on education can be seen in the design, construction,

and maintenance of their educational institutions. It is here that students encounter information and concepts that provide the building blocks of their lifelong learning. The way these buildings appear—their architecture and interior design—must reflect the activities they are designed for and that take place within them. Colour can also reinforce the goals of an educational institution—whether it is designed for the pure assimilation of information and subordination of students or whether it’s designed to promote creativity, free thinking, and independence. The use of colour in the design of these spaces shapes the educational experience and must be undertaken with care. Successful design utilizes colour to create a nourishing environment that stimulates learning while supporting the individual and social processes of development.

Well designed educational spaces provide students with an aesthetically pleasing visual experience while supporting the goals of the facility. In addition to addressing the mandatory architecture-related criteria, colour can be used to:• Create a sense of trust and security • Encourage communication• Stimulate creativity • Energise the senses• Motivate and stimulate behaviour

Preschool

The preschool is a center for play and play-based learning for students between the ages of three to six years. In preschools, the goal is to help children develop their cognitive and emotional skills, as well as to develop their personality and expand their social skills. An important design goal at this level is to facilitate the development of sensory perception as it relates to emotions, cognition, and thought processes. It is important to recognize that the design of the learning environment for this age is critical. For example, a stimulating environment can motivate a child and allow him to gather complex emotional and intellectual experiences. Up to the third year of life, these interactions typically occur with the mother or primary caregiver. Children in this age range require an environment that transmits trust, security, and confidence.

Centre Stage–8045 | R 230 G 78 B 58

Polka–7869 | R 255 G 204 B 0

Wet Grass–9349 | R 119 G 157 B 88

The journey into the preschool environment brings with it more independence and greater opportunities for comprehension and experience of the environment.

Strategic Colour ChoicesWhile choosing colour in the context of educational design, you must address the specific type of learning that the environment is being designed for, as well as the target age of its students. For the purpose of defining the users and the goals of each facility, we will broadly classify these categories as preschool, school, and higher education.

PreschoolColour Palette

The ideal educational institution is designed to stimulate the mind and senses of this age group while making them feel safe. It should foster responsibility as well as creativity and nurture individual development. All colour and material selections are important at this stage because each one can influence a child’s well-being and behaviour, as well as leave a lasting impression.


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The Ray and Maria Stata Centre at MIT, USA.

The Schoolhouse South Africa project by Cornell University

Sustainable Design, focussing on “Learning from Play.”

INSIGHT 26–27

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Moon Year–7924 | R 251 G 242 B 214 Sunderbans–8519 | R 187 G 149 B 92 Glowing Rust–X112 | R 232 G 121 B 49 Mahogany–0R05 | R 104 G 47 B 52Casablanca–7927 | R 239 G 198 B 116 Pure Red–8093 | R 207 G 37 B 43

Elementary SchoolColour Palette

Higher EducationColour Palette


Elementary, Middle, and High School

In addition to being places of learning and the platform for a lifetime of education, schools provide a social environment and represent a microcosm of society. These learning institutions operate within the world and mimic its social aspects and boundaries. The importance of design that addresses the societal aspects, the school’s constitution, and its pedagogical objectives cannot be overstated. Understanding the unique mission of a school is crucial to its successful design. The age of students, (typically between six to seventeen years), the focus of academics, and any additional vocational or special education offerings must be considered.

Today’s learning institutions are chall- enged to balance the needs of individual children while satisfying standardised

scholastic requirements. This as well as the increasingly demanding role of education in preparing students for society makes the design of the educational environment pivotal. The impact of the classroom space on learning has been studied and proven to be significant. While younger children are influenced the most with learning taking place primarily through observing and exploring, the theory applies to students of any age. An environment that is intriguing and that appeals to all the senses plays a major role in the development of learning processes. Studies also show that students are more likely to participate and be engaged in classrooms with a “softer” design, for example, using carpeting, comfortable seats, suitable colours, and pleasant lighting.

Higher Education

A discussion on the aesthetics of the learning environment is not complete without addressing higher education. It has been proven that colour in the context is best served when it is neither over-stimulating nor under-stimulating creating a balanced atmosphere.

Overall in addition to providing the ultimate environment for learning, and intellectual and social development, a well-designed educational institution also appears friendly, warm, and safe. It can be characterised by its openness and frequently uses warm tones to create a lasting and memorable appeal. Successful design of educational institutions requires designers to address the emotional needs of the students by creating environments that foster their well-being. Ideally, the use colour in these spaces should encourage lifelong learning.

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The Het 4e Gymnasium in Amsterdam, Netherlands.

An auditorium at Trakya University, Turkey.


APEX ULTIMA» 7 Year Performance Warranty*» Colour Stay property makes walls look fresh for longer» Dust Pick-Up Resistance

*Conditions apply. Please refer to the Asian Paints Ultima Product and Warranty Guide for more details.

ROYALE» Superior Anti Stain Performance» Anti bacterial and Anti fungal shield» Teflon compliant*

*Conditions apply. Please refer to the Asian Paints Royale Product Information Sheet for more details.

PREMIUM SATIN ENAMEL» Low Odour» Anti-Yellowing» EN 71 compliant*

*Conditions apply. Please refer to the Asian Paints Premium Satin Enamel Product Information Sheet for more details.

EXTERIOR

EMULSION

INTERIOR

EMULSION

WOOD AND METAL

ENAMEL

Asian Paints recommended paint products for educational spaces:

INSIGHT COLOUR QUARTERLY 1028–29

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Michelle Workman is one of the most sought-after interior designers in Hollywood, with celebrity clients like Jennifer Lopez, John Travolta & Kelly Preston, and Kirstie Allie. She counts decorating legends like Billy Baldwin, Dorothy Draper, and Sister Parish amongst her major influences.

Colour plays a vital role in interiors designed by Michelle Workman.

MinGLinG MOdern With VintaGeM

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INSIGHT 30–31

“A home should showcase the client’s personality, not the designer’s,”says Michelle Workman. “It is not about me, but about the essence of a client. It’s an art, not a job.”

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3Michelle Workman’s signature style mingles the modern with the vintage.

She’s inspired by the Federal Period, Early American decor, and shows a healthy respect for the French influence on the art of design. At the same time though, she’s very much influenced by the contemporary. Her biggest challenge is getting her clients to see things the way she does. However over the years she has become pretty good at changing tradi-tional perspectives because she knows how to match her clients to colours that resonate within themselves.

A client’s personality informs her, giving her an initial direction about whether to go soft or bright. “I always start with colour,” she says. “If I don’t have it, the process becomes craziness for me.” A single woman might want warm pinks, but if her personality isn’t exciting and exuberant, Michelle will take the tone down, keeping it pink but softening it substantially. Another client might want an exciting look and therefore the palette will use combinations of complementary colours to express that personality. She listens for what people like and don’t like in their clothes and lifestyle, their hobbies and interests. She’s sensitive to whether someone leans towards a traditional or modern point of view. “Once I have those basics down, I’ll go to colour to communicate a large part of their

personalities,” she says.“If they’re outgoing and gregarious with a sense of humour, I’m apt to use more colour. If they’re conservative and elegant, I’ll use more subdued colour.”

She recently pitched her work to an older gentleman engaged in the finance industry who had an exciting personality, but was also a traditionalist. She elected to go with a conservative navy blue theme, with “pops” of a complementary orange to express his artistic side. “It all goes back to their personalities,” she says. “If they’re fun-loving, the colours are brighter. If they’re sedate and traditional, the colours are more analogous.” To this easygoing perfectionist, the way the eye is guided through a room is highly important. “It’s a flow, versus a stop,” she says. “The eye travels over everything and it all makes sense because the right colours are next to each other.” She won’t hesitate to educate her clients, if necessary. If someone hates something she’s suggested, she’ll ask that they try it out for a few days. “Then I’ll come back and they’ll say, ‘I don’t know why, but I love it.’”According to her that means that she has read them right.



Fine Wine–8109 | R 129 G 53 B 69

Gemstone–9333 | R 72 G 103 B 71

Lemony–9358 | R 160 G 175 B 111

Summer Harvest–7921 | R 255 G 231 B 167

Cotton Wool–L104 | R 244 G 241 B 234

Pure Ivory–L124 | R 245 G 242 B 228

Dorothy Draper Goes Avant-Garde

For this project Michelle Workman makes use of traditional furniture within a modern space. The plum lacquer walls and white furniture emphasise the avant-garde interiors that achieves a space that is bold and striking.

West Hollywood Meets Palm Beach

Bright, cool, and crisp interiors were created by Michelle Workman for the WeHo Condo project. White walls combined with edgy hardware helps define a bold glamorous home.

WeHo CondoColour Palette

Sunset CondoColour Palette

WeHo Condo Project

Sunset Condo Project

Rich plum lacquer walls contrast the stark white furniture.

The WeHo Condo utilizes a bright and crisp colour palette.3

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Q. Why are colours on colour-chips and shadecards lighter than actual shades painted on the wall?

A. There are many reasons why a colour is perceived differently on a shadecard than on a wall. Listed below are a few factors that play an important role in the perception of colour.

Size of the colour-chip or shadecard

1. Colour-chips and shadechards are smaller in size when compared to a wall and are also viewed from varying distances. For example, a colour-chip may be a few inches in height and width and is viewed up close, while a wall is comparatively larger and is viewed from a greater distance.

2. Walls are also viewed in conjunction with other walls which may be differently coloured, while colour-chips and shadecards are viewed in isolation. This is the reason why, on application, colours, textures, and metallic finishes may sometimes clash.

PAINT QuERY

Light source

1. Often people choose colours in artificial white or yellow light which is drastically different from colours in natural light.

2. The direction and angle at which light falls on the surface also affects colour perception. It is always recommended to view colour-chips and shadecards either in the actual space or in natural and artificial light that mimics the lighting conditions of the space.

Application of paint

1. It is important to know the procedure for application of paint on walls. Each finish has its respective technique which differs from other finishes. The use of the right primer, base preparation, and tools such as brushes and sprays, as well as the correct number of coats would more likely give you the desired coat of colour on your walls.

2. It is recommended to check the paint cans before purchase and it is important to use clean tools to ensure painting the right colour. It is also important to maintain certain hygiene practices as a professional when dealing with colour matching processes. For example, ensure that the walls are clean and dust-free.

3. Always update colour-chips and shadecards as the colours may have become dull because of dirt or dust on them. Darker colours tend to fade away while pastels attract dust. It is a recommended practice to replace colour-chips and shadecards after every three years.

APPLICATION OF APEX DURACAST FINISHES

EFFECT OF LIGHT ON COLOUR

Ask Asian Paints

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Asian Paints Colour Spectra fandeck.

Asian Paints Colour Spectra PRO.

Apex Duracast Scratch Finishes » Requires use of a trowel.

Apex Duracast Rollable Finishes » Requires use of a roller.

Apex Duracast Sprayable Finishes » Requires use of a spray tool.

Sea Surf–7442 Artificial Light

For the most accurate colour, it is recommended to view the swatch in natural light.

Under artificial lighting, (yellow in this example) the swatch interacts with the colour of the light & colour perception is altered.

Sea Surf–7442 Natural Lighting


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Q. What are the effects of colour on the human psyche and on human health?

A. Colours are known to have a deep psychological effect on people, triggering moods and behaviour. Experiences with colour is rooted in individual personal association as well as in common cultural backgrounds. This means that colour perception is not universal and may be unique to cultures and individuals. For example, white is related to mourning in India, while in western countries it is associated with peace. Red, for example, is a warm colour that may be associated with energy, comfort, or anger. Cool colours, on the other hand, may be associated with calmness, coldness, or sadness. Designers use this understanding of colour to create contextually suitable settings for various spaces. Colour also has direct application to the field of psychology in the form of light therapy, used to treat common physical and mental ailments. The scientific usage of colour in psychiatry attests to the power of colour, even for household application.

Q. How does Asian Paints train their team of painters to achieve the best results?

A. Asian Paints organises training for contractors and painters for all new finishes that are launched by Asian Paints, in addition to the existing ones. To get your contractor trained, please get in touch with an Asian Paints Representative in your city. However, if you live in New Delhi, Chandigarh, Mumbai, Pune, Ahmedabad, Vadodara, Hyderabad, Chennai, Bangalore, or Kochi, please get in touch with your Relationship Officer. Refer to the Reach Us section for contact details.

CoLouR QuERY

SERVICE QuERY

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‘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.’

*All Asian Paints products do not contain any added Lead, Mercury, Arsenic and Chromium from April 2008.

‘Colour Quarterly’ is Asian Paints’ initiative that reflects significance of colours in varied cultures & traditions, and contemporary trends in paints. The objective of Colour Quarterly 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 Quarterly are illustrative. For more information, visit: www.asianpaints.com/cq

INCoMING

Apex Duracast Venezio

Over the ages, Italy has become the fountain- head of inspiring works of art and architecture. The towering Colosseum, the impressive baroque domes, and the unique floating buildings of Venice all bear testament to its heritage. Italy is also home to a unique range of exterior texture finishes which have characterised and made distinctive many masterpieces. Asian Paints introduces one such fine-grained finish to the Indian market for the first time—Apex Duracast Venezio. In the next issue of Colour Quarterly, discover how Apex Duracast Venezio can bring a touch of Italian sophistication to your next creation.

REACH US

Let us know what you felt about this issue of Colour Quarterly. 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 » Contact us at 1800 209 5678 (Service available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, Pune)

IMAGE CREDITS

COVER• Charles Roffey » flickr.com/photos/charlesfred/5608587515/FABRIC INSPIRED FINISHES WITH ROYALE PLAY TEXTILE • Chiaralily » flickr.com/photos/chiaralily/5150454432/ INDIA CELEBRATES• McKay Savage » flickr.com/photos/mckaysavage/2508074680AMBRISH ARORA• All images courtesy Lotus , except;• Johnpaulsimpson » flickr.com/photos/monkeygrimace/6942942508/MAYANK MANSINGH KAULProfile Image • Courtesy Sanjit DasColour Inspiration • Honolulu Academy of Arts » en.wikipedia.org/wiki/File:'The_

Dhyani_Buddha_Akshobhya',_Tibetan_thangka,_late_13th_century,_Honolulu_Academy_of_Arts.jpg

• Shankar Gallery » flickr.com/photos/shankargallery/175865754/• Vera & Jean-Christophe » flickr.com/photos/magical-

world/1376838531/Recent Work• All images courtesy Devi Ratn JaipurSARTHAK SENGUPTAProfile Image & Recent Work• All images courtesy Sarthak Sahil Design CoColour Inspiration • Girish Gopi » flickr.com/photos/thegman/2799893512/

• Larsa » flickr.com/photos/larsa/366103795/• Amanda Richards » flickr.com/photos/arichards

-gallery/4055238785/• Maari » commons.wikimedia.org/wiki/File:A_saree.JPGAUTUMNAL HUES• Brian Snelson » flickr.com/photos/exfordy/365115350/• Jean Bal » flickr.com/photos/jeanbal/6368970327/• Slack12 » flickr.com/photos/slack12/298391148/• Alphonse Mucha » wikipaintings.org/en/alphonse-mucha/

the-autumn-1896THE COLOURS OF NAVARASA• Mukumbura » photoree.com/photos/perma-

link/6545880-11738433@N03• Brocken Inaglory » en.wikipedia.org/wiki/File:Back-scattering_

crepuscular_rays.jpgDancer Images • Courtesy Bhavna Vijai & Anupama JayasimhaAnupama Jayasimha is Bhavna's Guru and she facilitated the shoot.EGYPT—SNAPSHOTS ALONG THE NILE• Jerome Bon » flickr.com/photos/girolame/2428333990/• Kallerna » en.wikipedia.org/wiki/File:Muhammad_Ali_

Mosque_1.jpg• ~W~ » flickr.com/photos/hope4happiness/2593716462/• Le Batteur de Lune » flickr.com/photos/amre/5994124378/• Dennis Jarvis » flickr.com/photos/archer10/2216563949/COLOUR FOR EDUCATIONAL INSTITUTES• Thomas Hawk » flickr.com/photos/thomashawk/6862101434/• Cornell University Sustainable Design » flickr.com/photos/

Colour Quarterly 09 July 2012

Colour Quarterly 08 February 2012

View current issue and archive at www.asianpaints.com/cq

cusd/7953257974/• D'Oude Vos » en.wikipedia.org/wiki/File:Het_4e_Gymnasium1.jpg• Enver Duran & Raupp » en.wikipedia.org/wiki/File:Trakya_Uni-

versity_Congress_inside.JPGMICHELLE WORKMAN » MINGLING MODERN WITH VINTAGE• All images courtesy Michelle Workman Q & A• DG Jones » flickr.com/photos/dgjones/136543573/• Heart Industry » flickr.com/photos/heartindustry/2804903197/

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The multiple red textures help create lively, playful interiors.

Painted in flat red, the stairwell is a high-energy space.

Royale Play Wallfashion application training with Asian Paints.

Asian Paints training for usage of different wood finishes.


ASK ASIAN PAINTS COLOUR QUARTERLY 10

Rose Lace–8120

Little Creek–7606

Red

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X12

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Pink Flower–9414

Grape Riot–X138

Fox Glove Pink–5155

Scan the QR code to download Colour Scheme PRO for free to your Android or iOS smartphone or tablet.

Analogous Combination

Monochromatic Combination

Complementary Combination

The October palette is created using the Colour Scheme PRO app by Asian Paints—the easy way to create professional colour combinations. Pick a colour using our deck of 1800 Asian Paints shades and allow the app to guide you to the perfect Monochro-matic, Analogous, or Complementary combinations. Available as a free down–load for Android and iOS smartphones and tablets.

Deep Pink–X132

colors

Documents

departing

fox glove

exact shade

exact texture

mayank mansingh

patiala crafts

royale play

colour play