Summer of ’16

As most of you already know,  both of us launched IDAM in September 2015. From the first order, we knew we’re in this for the long run. This is it! IDAM is going to go places, be a part of every household and we’re going to make sure of that. We have one goal – bringing ethical, sustainable and contemporary home design to the masses!

We all realise, starting your own enterprise is a commitment of a lifetime. There are no Sundays, there is no in-time or out-time. You work 24/7. You basically give up your 9-5 job for a 24/7 job.Plans to study further abroad together was a frequent topic of discussion during those innumerable carpool days. However, When IDAM came into existence, we knew there wasn’t a possibility of us leaving for a year to pursue further studies. Instead, we decided to enhance our skills and techniques through a summer school at the University of Arts, London.

Designing For Surface Decoration

Tutor :  Dominique L’olive

As she walked into the room, there was a whole new wave of energy. She noticed two Indian girls and immediately put on Nucleya’s Laung Gawacha (it’s her current favourite),but her all time favourite is Eena Meena Deeka. A phenomenal lady who made sure every student identified their own style and technique and created their final projects. She was a constant motivation throughout. In fact, she even kickstarted a classmate’s business where she used her surface decoration techniques and designed cloth bags.

Here is an overview of all that we learnt :

Stamping, Stenciling and dry brush painting were a few of the major techniques that we covered. We took different waste materials and used bleach around it to create grid patterns and the illusion of dark and light.

Coming into our second week, we entered a territory we had never ventured into but thoroughly enjoyed it. 

Japanese Woodblock Printing

Tutor : Peter

Woodblock printing had been used in Japan for centuries to print books, long before the advent of movable type, but was widely adopted in Japan during the Edo period (1603-1868). Although similar to woodcut in Western printmaking in some regards, the moku-hanga technique differs in the way that it uses water-based inks—as opposed to western woodcut, which often uses oil-based inks. The Japanese water-based inks provide a wide range of vivid colors, glazes, and transparency.

The beauty of every class was the new set of people we met and interacted with – there were students who were young graduates as well as a middle aged man, learning to hone his skills. 

Peter was a passionate tutor. The intensity with which he explained each and every detailmade sure we aced it in our first time. . The time was less and there was too much to learn. It started with the basics explaining which tool was used for what. Then we went on to the paper. Each paper had to be dampened and then secured between old newspaper sheets and locked in an air tight container to retain the moisture. This procedure ensures that the print on the paper is done perfectly. We were then taught how to create the colour with oil paints and starch paste.

Here’s a look at the carvings and the prints we created thereafter.


Textile Print Design

Tutor : Lara Mantell

Screen printing is a process that was much closer to home. For those of you who aren’t aware, it’s the pintmaking technique that we usually use for all our prints. But a hands on experience with detailed procedure from creating the design to exposing a screen and mixing the colours and finally getting to printing it was a whole new addition of knowledge.

(Psst.. now we know for sure what’s possible even when our craftsmen don’t agree to experiment)


We’ve tried to summarize our learning experience, but feel free to shoot out any questions you have regarding the courses and our experiences. You can get in touch with us at

Until then,


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