Indian Art Posts

Eye Spy Indian Art: A peephole view

( This article was published in Mint on 11 February 2017. Ritu Khoda and Vanita Pai’s book, which recently won the Hindu-Goodword children’s book award, takes its young readers on a ride through the history of modern Indian art. The book is published by Takshila Publication and is available on Amazon. ) 

In 2015, at a workshop organized by art educators Ritu Khoda and Vanita Pai during DAG Modern’s exhibition, A Visual History Of Indian Modern Art, in Mumbai, children played an “eye spy” game. They were each given a cut-out of an eye that was part of a painting in the gallery; and they had to find the match. When they found the right painting, they had to write the name of the artist, the year of conception, the name of the painting and the school of art it belonged to.

The success of this experiment led Khoda and Pai to attempt the game in book form. Eye Spy Indian Art, a tactile book with a number of flaps, foldouts, stickers and die-cuts, has just won the Hindu Young World—Goodbooks Best Author award at The Hindu Lit for Life.

The excitement of the game, say the authors, really begins with the book cover. “A cover without a title? Why not? We added an element of intrigue by showing a pair of blue eyes peering through die-cut sockets. At first glance, the eyes look human, but on opening the cover, one is presented with a Kalighat painting of a cat,” says Pai.

Eye Spy contextualizes company painting, moving to Raja Ravi Varma’s academic realism and stopping at the Baroda school. It offers a comprehensive understanding of the emergence of art movements in India; along with the independence movement, artists were consciously trying to carve their own identity through a distinct art language.

It was their passion for art education that brought the authors, who are actually management and communication professionals, together. “It became crucial to generate awareness about what art learning can offer in terms of transformative thinking,” says Khoda. She had already set up the Art1st Foundation, which works in the field of art education, when she met Pai. “Ritu had written school books but she wanted to create literature on Indian art which could be taken to a much larger audience. And that’s where we connected,” says Pai. “We were concerned that children do not know the fundamentals of art, our rich art history, or about our Indian artists and their life journey. We decided to make books that would instil a sense of pride and heighten awareness about our rich visual art heritage.”

The Hindi version of ‘Raza’s Bindu’.

The Hindi version of ‘Raza’s Bindu’.

Their first book together was Raza’s Bindu, published by Scholastic India. They linked it with the basic concepts of art—dots and lines— to engage children, realizing that Raza’s vibrant art appealed greatly to children: When you bring pen to paper, what emerges first is a bindu, they say. This book has now been translated and published in Hindi by Eklavya.

The response to both books seems to have been tremendous; several schools across India have included them in the curriculum. Publishers such as Tulika and Tara Books have earlier published wonderful titles introducing art to children, but Eye Spy is probably the first innovative experiment in print introducing children to a timeline in modern Indian art.

11 February 2017 

Production Process for “Eye Spy: Indian Art” by Ritu Khoda and Vanita Pai

While researching for an article on Eye Spy Ritu Khoda and Vanita Pai shared a detailed note on the production process for the exquisitely produced book. Since it was too long to accommodate in the article I am reproducing it here with their permission. It is worth reading to understand how a book can be made. 

Children enjoy tactile activity. So we build in a great number of flaps, foldouts, stickers and die cuts, besides drawing and painting exercises. Usually, the artwork determines the production treatment and we work really hard over this. We never choose effect over relevance, and we are pleased that many readers have noticed the thought behind every page.

We chose Manipal Technologies to produce the book. Their technical expertise and availability of skilled manual workforce made it our only choice for the level of complication involved. Extensive manual tipping meant that the forms had to be perfectly organised for binding in the correct order.

• Cover die-cut had to be registered perfectly with the image on the inner second cover
• Tracing sheet (page 39) and Transparency sheet (page 43) had to be perfectly tipped in, covering only parts of the page
• All eight perforated, foldout section separators had to be tipped manually.
• Die-cuts (page 65 and page 93) had to be registered perfectly with the image on the inner second cover
• Flaps on page 83 and 139-140 were manually pasted
• Stickers (with the “eyes”) had to be perfectly kiss-cut to match the images below that children will stick them over

Production process and special paper: Aqueous coating on inside covers; UV spot treatment on eyes on inner cover; foldouts; flaps; die-cuts; stickers; perforation; tracing sheet; transparency sheet.

Vanita has designed and printed corporate calendars with MTL with a greater complexity level. These were relatively simpler operations. The complication arises while planning when they are trying to organize forms since there are different sheets and papers involved, and during prepress because it requires detailed DTP work such as precise keylines, diecuts, etc. Moreover, it was the first time that MTL packaged as many and diverse special operations in one product. This was appreciated by PrintWeek India Awards 2016 jury who gave the book Special Mention in the “Innovative Print Product” category.

We never force a treatment. It must add to the idea. For instance, a transparency sheet revealing the various arms of Durga in Manjit Bawa’s artwork on page 112 would not make sense because there we are talking colours. But Nandalal Bose’s mastery of lines and strokes lends itself to the transparency solution. So that children can see the emotion strokes can add to a painting. Likewise, the die cuts on Sultan Ali’s work on page 93 -95. We want children to notice the expression on the creatures, and the idea is in sync with “Eye” spying game.

6 February 2017

Web Analytics Made Easy -
StatCounter