KOLAM AS INFOGRAPHICS

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KOLAM AS INFOGRAPHICS
LISA SUSAN ABRAHAM
MA in Media and Communication Studies, Christ University
BIJU K CHACKO
Department of Media Studies, Christ University
Abstract: This paper talks about how kolam is represented as an Infographic.
Infographics can be defined as a type of picture that blends data with design,
helping individuals and organizations concisely communicate message to their
audiences. Kolam, a traditional floor art practise mostly seen in the southern part
of India, especially Tamil nadu is made up of an array of lines and dots. These
lines and dots hold significant meanings in the form of design, symbols and
signs. They have various cultural, social, artistic, mathematical, family, religious
connotations. The paper chooses a qualitative methodology of content analysis of
hundred different kolam patterns which include: Pulli kolam, Sikku kolam,
Pongal kolam, Aishwarya Kolam, Lotus kolam, Marzkahi kolam, Karthikai
kolam, Deepawali kolam,m Butterfly Kolam, Elephant kolam, Temple kolam,
Kalyana Kolam and Hridaya kolam.
Keywords: Kolam, Infographics
Introduction
The word “kolam” in Tamil implies beauty,
form and play; it is a quiet ritual full of
grace to make the home a sacred space. The
kolam is a symbol of an open heart and an
auspicious welcoming. It creates a colourful,
devotional presence in all the places that it
graces. Through its magnificent designs
kolam tries to communicate to the society at
various levels. Being an important part of
the society people are identified based on
kolam, it vents out a lot about a person and
family. Thus it serves an identity. In
Tamil-Nadu, it is the women of all
communities and all faiths together who
draw on the ground. Just before sunrise, on
a carefully swept village dirt pathway or on
the pavements of a city, feminine hands in
search of eternity create with their fingertips
ephemeral drawings or kôlam to invite the
gods to come down to earth. Kôlam is
passed on orally by mothers to their
daughters and grandmothers to their
granddaughters. But in every house we find
a notebook where the most intricate
drawings are recorded. The girls learn by
watching, and then fill up empty areas of the
kôlam with coloured powders. Later on, the
smartest ones will create new designs that
they will draw with dexterity and speed.
These floor art designs communicate to the
society just as an Infographic. Kolam serves
as a kind of visual communication, that has
become one of the most effective forms of
content for communicating information.
Through the various themes, principles and
elements of designs various patterns with
in-depth meanings ought to be derived. Thus
kolam through visual communication acts as
a tool.

2 Review of Literature
In Shojiro NAGATA’s research paper on
Digitilization and analysis of traditional
cycle patterns in the worlds, and their
contemporary applications”(2008) talks
about how the traditional designs/patterns
around the world (like Tamil Kolam, Celtic
knots, African Sona, Vanuatu Nitus,
Arabesque/ Arabian knote etc) share a
common geometrical property of symmetry,
Periodicity/repetition, recursion/cycle with
an endless stroke. And how the same is
being applied for productions of daily
necessities (textiles, ornaments) and other
contemporary applications. The researcher
could have explained in detail about the
different theories applied in pattern
formation, in detail and then move on to its
applications. The researcher establishes her
concepts based on different mathematical
theories such as the Knot theory (the study
of mathematical knots), Eulerian cycle of
Graph theory (is a trail in a graph which
visits every edge exactly once). The paper
refers to N-line (Navigating line: a line
between two dots of the tiles, a shared edge
of which has a crossing point on it) several
times to talk about the kolam patterns and
their minute detailing. The researcher
establishes her concepts based on different
mathematical theories such as the Knot
theory (the study of mathematical knots),
Eulerian cycle of Graph theory (is a trail in a
graph which visits every edge exactly once).
The paper refers to N-line (Navigating line:
a line between two dots of the tiles, a shared
edge of which has a crossing point on it)
several times to talk about the kolam
patterns and their minute detailing.
The basic components are the kolam
designs, cycle patterns, Block pattersn etc. It
also refers to different mathematical theory
for explanation.The researcher has chosen a
relevant topic, as digitalization of cycle
patterns is evolving over time. The paper
initially talks about N-line with crossing
points, twisting and untwisting lies, stroke
chain code and analysis of cycle patterns.
Later, the paper talks about its application
on ornaments on wall, Education and
training the brain. The paper analysis the
various patterns and their digitalized version
as well. It looks at various applications in
modern period. This portrays the
significance of Kolam , the floor art in the
current context. The limitations are that it
does not use proper images/patterns to
explain the theory.
The book The power of Infographics
(Smickles, 2012) talks about what is
infographics and how it has played a key
role in Business communication models
through Visual learning. It restricts itself to
corporate communication alone. The author
refers to different communication and
business models to support the information.
Models like VARK etc are discussed with
enormous amount of examples that are
relatable. The author has not talked about
how inforgraphics interpret signs and
symbols. Though the book caters to data
infographics, numbers and concepts, it pays
very little attention to other domains. The
basic component includes lots of study’s,
data’s and examples that can explain
infographics and its application in the
economy. It is both quantitative and
qualitative content. Therefore is very
balanced. The content is accurate, relevant
and valid as it talks about business, a fixed
pillar of the economy. It talks about how
inforgraphics play an active role to
communicate ideas and information. It
bridges the gap between the organization
and the audience. It is relatable to almost all
of us as it talks about the science of
visualization, how we decode images faster
than text. The book talks about what are
infographics and the different definitions it
has acquired over time. Like how British
graphic designer, author, and information
design theorist Nigel Holmes simply refers
to infographics as “explanation graphics”. It
also talks about how infographics is a strong
tool for business development through
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different models, examples etc. It even talks
about numbers and data inforgraphics. It
talks about how infographics is a form of
visual communication. The anatomy of
infographics is information and graphic
design that delivers visual learning. Also, it
talks about the science of visualization and
how our body quickly grasps visual
information. The book also talks about data
infographics and this can be related to
kambi kolam(lines) and number of dots
used, which covey certain meanings. The
strengths are Data infographics, science of
visualization, but largely from Business
perspective.
The book The power of Visual storytelling
(Jason Lankow, Josh Ritchie, Ross Crooks ,
2012) looks at how to find stories in your
data, and how to visually communicate and
share them with your audience for
maximum impact. The author has included
more of references from previous published
books as the bases of her research. The
author has also tried using updated
examples and therefore the information is
more accurate. It is mostly of qualitative
information. It uses several images for
references thus making it more relevant. The
information is accurate as the growing trend
of inforgraphics comes with visual story
telling. Infographics will shows the vast
potential to using the communication
medium as a marketing tool by creating
informative and shareable infographic
content. The paper talks about visual story
telling which is highly relevant. It is a major
factor in kolam patterns as well as most of
the patterns tend to communicate a story
that ought to decoded by the viewers.
The paper Infographics: A visual link to
learning by Nathan Bellato 2013 talks
about Infographics as an effective learning
tool, and how it can be used in a number of
ways to enhance the learner experience. The
researcher could have also looked at the
design element of Infographics. The
researcher uses lots of examples and
references as the basis for conclusions and
interpretations. It also analyses different
aspects of info graphics like why online
learning is vital to improving Education
infographics. It could have also included the
various ways in infographics caters as
learning tool when it comes to design
communication. The qualitative information
is based on the overall anaylsis of the
growing media patterns and trends. It is
moderately accurate but more relevant as it
caters to various uses and trends. It starts by
talking about how Infographics are learning
tools that provide a great way to supply
learners with quick, concise, and key
information in a memorable and engaging
way. There are many resources to create
infographics that provide information
aligned to the modern day learner. It also
questions: With many key advantages over
traditional eLearning, why not consider
Infographics for your next learning product.
The paper talks about Infographics as a
learning tool and how it caters to the visual
learning process. This can be noticed in
Kolam patterns that are learnt by the girls at
very young age and how they churn out
meanings from various patterns etc.
Data Visualization: A Successful Design
Process (Kirk,2012) talks about Data
Visualization and its importance. It tries to
balance the art and science of visualization.
The author refers to different interpretations
of Data visualization. It says data
visualization could be described as an
intersection of art and science. This
combination of creative and scientific
perspective represents a delicate mixture.
Achieving an appropriate balance between
these contrasting ingredients is one of the
fundamental factors that will determine the
success or failure of a designers work. The
book could have also included more details
about design communication as well. This
would have laid a more stronger bases for
interpretation. The author has based his
interpretation on various examples and
studies. The information is both qualitative
and quantitative. And therefore the data is
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accurate and relevant. It maintains an equal
balance of visualization, as a product of
both science and art. As the importance of
Big data is increasing and the quest to know
more about the huge amounts of data, its
storage is growing, data visualization is a
highly relevant topic. The book includes the
context of data visualization, the taxonomy
of data visualization. It also talks about
constructing and evaluating design solution.
The book gives a detailed understanding of
data visualization and its concepts.
The Functional Art: An introduction to
information graphics and visualization
(Berkeley,2013) talks about info graphic
and visualization. It has a presentation and
an exploration component, they present, but
they also facilitate the analysis of what they
show to different degrees. They could have
included more of advertisements or other
forms of media to support the author’s
explanations. The author mainly explains
his identifications and interpretations. He
refers to other corporate heads, their opinion
and provides statements that he proves
wrong. Even Kolams have a hidden message
that ought to be explored and understood.
The author could have used various day to
day (updated) examples to support his
interpretations. The author mainly explains
his identifications and interpretations. He
refers to other corporate heads, their opinion
and provides statements that he proves
wrong. The book talks about various
elements of info graphics and visualization.
From why visualize: from information to
wisdom, formats and functions, Art and
communication, the balance between eye
and the visual brain and the importance of
interactive graphics. It talks about how
graphics present data and allow certain
degree of exploration of the same data.
Some graphics are almost all presentation,
so they allow just a limited amount of
exploration; hence we can say they are
mostly about letting readers play with what
is being shown by the viewer.
Kolam patterns as materialisation and
embodiment of rhythms (Laine, 2013) talks
about how the materialization of the
temporal rhythms is generated in the
movements of the woman when she draws
the image, and becomes manifest in the
image when she has completed the pattern.
The performance and the symmetrical image
it produces (the duration of which varies
according to the chosen material) are
rhythmical interactions in space. Lefebvre’s
theory of rhythm is situated within
experiential knowledge. He criticizes the
neglect of the body in philosophy and
argues that we need to begin in our own
experiences to understand how rhythm can
be useful as a form of analysis. Basic
components include various relatable
examples, cultural references etc. The
content is moderately accurate as it includes
more of qualitative research information.
The author has chosen qualitative research
and has observed the patterns in detail. The
topic is highly relevant as it also caters to
the current trends emerging in Tamil
Brahmin communities. It discusses Kolam
patterns embodies a rhythm. The importance
of auspiciousness or in auspiciousness -
time, space, pattern. It talks in detail about
how kolam communicates the state of being
within the home, and secondly on the
community level. It talks about how through
kolam making, women channel the divine
energy into social life, and many of them
hold that shakti is the source of their skills
in kolam making. Thus the research paper
completely caters to the current topic of
discussion.
The book, Women's Lives, Women's
Rituals in the Hindu Tradition (Pintchman,
2007) focuses particularly on the
relationship of women's ritual practices to
domesticity, exposing and exploring the
nuances, complexities, and limits of this
relationship. The author could have also
looked at kolam as a comparison to other
similar forms across the world. The author
has included more of references from
previous published books as the bases of her
4

research. The author has also tried to bring a
narrative literature format. She uses lots of
images as well. Book includes more of
qualitative information. It is more of a focus
group discussion where the author has
approached various Hindu communities to
know about their rituals and collect
information. It is relevant as the
information includes direct quotes and
instances the author has encountered during
her research. And the topic is more
relatable, especially when she finds a
relation between Kolam and pottu. It takes
a fresh look at issues of the relationship
between Hindu women's ritual practices and
normative domesticity. In so doing, it
emphasizes female innovation and agency in
constituting and transforming both ritual and
the domestic realm and calls attention to the
limitations of normative domesticity as a
category relevant to many forms of Hindu
women's religious practice. Talks about
many cultural and historical contexts,
including contemporary India, women's
everyday lives tend to revolve heavily
around rituals and practices. It talks in detail
about the Hindu mythology. All these serves
as strength for the topic under discussion.
The paper Visual Communication tool,
learning tool, infographics by Vanichvasin,
Patchara 2014 research objective was to
examine the use of infographic in two
dimensions, infographic as visual
communication tool and infographic as
learning tool. The researcher could also
have included samples of infographics used
in classrooms to strengthen the paper. The
author uses effective visual communication
methods according to Lankow, Ritchie and
Crooks like Appeal, Comprehension and
Retention. She supports her statements by
the different definitions and arguments by
Smiciklas, Kharbach etc.The researcher
hasn’t mentioned any samples of the
previous learning materials and a stark
comparison to the updated version. The
research design was combined quantitative
and qualitative research using
questionnaires. Numerical data were
analyzed using frequency and percentage
and the qualitative data were analyzed using
content analysis. As it’s a matter of
education and its future impact the subject is
highly relevant. As the researcher has gone
for both qualitative and quantitative study
the research can mostly be valued as
accurate. The research proceeds in a
systematic order from abstract, Introduction,
methodology, result and discussion and
conclusion. And therefore has got a flow of
the content. It talks about what Infographics
is in relation to its Appeal, Comprehension
and retention. Every Kolam has its own
significance and is evident to any person
who walks by it. Thus there is an act of
Appeal, comprehension and retention. The
strengths are the visual communication
methods discussed and other visual learning
aid.The limitation is that it caters to only
students from one particular country and
who share the same background. Thus the
information can be biased.
Formal Models, Languages and
Applications (K. G. Subramanian, K.
Rangarajan, Madhavan Mukund ) talks
about the digitalization of kolam patterns. It
gives a detailed understating of the picture
language used to communicate the message
through the different types of Kolam used. It
could have also talked about the how it’s
perceived by the audience. The book caters
to various publications as basic references.
It also refers to various definitions and
design elements of Kolam. The content is
based on various observations and cultural
practices. It also takes into notice the
growing trends of digitalization in the
market. It is accurate and relevant as it uses
qualitative information. The book talks
about the Kolam and its significance in
South India. It also talks about other floor
art forms of different parts of the world. It
also talks about the picture language, how’s
its interpreted and decoded. It also gives a
detailed explanation of the tactile patterns
and its digitalization. It mainly talks about
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the various patterns used in kolam designs.
This is a major strength of the paper and can
be referred under design communication.
Purifying the Earthly Body of God: Religion
and Ecology in Hindu India By Lance E.
Nelson (1998) talks about the presence of
Bhu Devi in the kolam discourses as a rich
example of an embodied ecology in folk
Hinduism. The book refers to various
theories examining the relation between
religion and ecological concern in Hinduism
from textual, theological, anthropological,
feminist, and eco-activist approaches, this
volume brings together an international,
interdisciplinary group of scholars. The
book contains qualitative information
mainly. It also caters to many cultural
references and quotes that determine the
significance of Kolam. The book covers the
most relevant aspects of the Hindu tradition,
searching out the ecological implications of
pilgrimage and sacred geography, earth and
river goddesses, the beliefs and ritual
practice of villagers, caste consciousness,
and Vedaμnta, Tantra, and Goddess
theologies. The paper caters to various
spiritual religious references that portray the
significance of the particular kolam design.
The paper Fundamental Study on Design
System of Kolam Pattern by Kiwamu
YANAGISAWA1 and Shojiro NAGATA,
2007 talks about the fundamental
characteristic of Kolam patterns designing
system is considered by converting these
patterns into numbers and linear diagrams.
The paper includes various qualitative
information based on the cultural context. It
also caters to various theoretical
frameworks. The paper contains various
patterns and diagrams as constant references
for the theoretical explanations step by step.
Various discussions on the drawing methods
to create new Kolams are discussed along
with the various steps used in kollam
patterns and the process of drawing. The
paper gives a detailed vision on the process
of doing a floor art and the various design
system.
INFOGRAPHICS AS A BLEND OF
VERBAL AND VISUAL MATRICES IN
SCIENTIFIC TEXTS by Suelen Martins
talks about Infographics seen as a form of
communication that mixes the verbal and
the Visual matrices in the same context. The
paper uses various theoretical frameworks.
Various qualitative analysis was undertaken
along with the quantification of articles
displaying infographics. They have also
included Folha.com’s infographics that were
seen as mechanisms capable of displaying
sufficient information that is needed for the
comprehension of science communication
texts. They also include various examples,
samples etc. Thereore the paper is accurate
and relevant. This article reflects on how
infographics behave in scientific texts: a
way to think about the world through the
surface where verbal and visual matrices
coexist, unlike products that are typical of
line culture. The purpose of the
investigation is to discuss how infographics
have an autonomous existence in scientific
texts, apparently having a complete and
independent meaning. The infograp[hics is
shown as a combination of both versbal and
visual process. Kolam ought to be visually
interpreted and verbally spoken through
mind words.
LIFE LONG LEARNING THROUGH
EXPRESSION IN LINES IN DIFFERENT
STATES OF INDIA by Dr. Dina Krishna
Joshi, 2013 talks about the ethos and spirit
of creativity can be understood by studying
floor designs of various parts of India. A
variety of techniques are prevalent for
making the designs. The paper refers to
various theoretical frameworks and also,
various references to other cultures and
practices. Thus, a detailed explanation is
provided for each type of floor art around
the country. The paper contains various
patterns and diagrams as constant references
for the theoretical explanations step by step.
Initially it discusses the significance of floor
art. Later it discusses the educational
6

importance of floor art. It also discusses the
various floor art designs of various states
with designs. Floor designs have universal
appeal. This rich yet diverse art form cuts
across regional boundaries. Geometrical
shapes of circles, squares, triangles, straight
lines and curves can be taught in educational
institutions but Indian girls and women
learn this from traditions and rich Indian
culture. Thus the major strengths of the
topic under discussions are already
mentioned.
The study in An organizational view of
design communication in design
collaboration by Mao-Lin Chiu, 2002
suggests that a structured organization can
facilitate design communication and
consequently contribute to the success of the
design project. It holds various theoretical
frameworks like the process model,
structures etc. It also involves qualitative
and quantitative information. The results of
case studies in architectural practice and
design studios and a process model of
design collaboration are presented. This
paper provides a basic understanding of the
role of organization in design collaboration
and how it affects design communication
and collaboration by empirical case studies
and design experiments. Design
collaboration requires participation of
individuals and coordination of design
information and tasks. Team organization is
one of the major tasks in design
collaboration, because it can affect design
communication and performance.
Infographics applied in design education,
Gao Ru ;  Zhang Ya Ming, 2014 mainly
talks about Infographics, the word
information graphics, use graphic visual
representations to show information, data or
knowledge. Infographics applied in
education, especially the design education,
become more challenging to design
teaching. The book caters to various
publications as basic references. It also
refers to various case studies and research
articles for further understanding. The paper
includes some researches on how to apply
infographics in design education and how to
forecast the combination of both. The paper
analyzes the relationship between
infographics and design education. It also
looks at how Design education prepares
designers for business and society. It talks
about the various design elements and how
it is used currently in inforgrpahics as such.
This can be used to understand the
interpretation of various kolam patterns in
the topic under discussion.
The paper Geographies of home by Alison
Blunt Ann Varley, 2004 addresses the
spatial practices and imaginations that shape
cultural geographies of home on a domestic
scale. The paper incorporates various
theoretical references and qualitative
information from different disciplines like
geography, cultural studies, visual culture,
religious studies, architecture, and design
history, anthropology and performance
studies. Each paper adopts different
methodological approaches to study the
home. They also refer to various analyses
of a range of historical texts and images and
explores the ambiguities of a domestic
modernity located within the kitchen and
embodied by women. Writing is in the style
and language of cultural studies is what is
followed. The four papers published in this
issue of Cultural Geographies show not only
how and why the home is an important site
for geographical research, but also how a
geographical focus can – in conceptual,
methodological and substantive terms –
inform much wider attempts to study the
home and domesticity. An attention is laid
to domestic design and domestic practices
deepens existing discussions of homes and
belongings in the broader sense of relations
to place, landscape and material culture. In
turn, our understandings of the home are
enriched by a cultural geographic focus that
foregrounds both the relations between
material architectures and spatial practices
and the mutual constitution of the home and
the world.
7

The proposed argument in Happy Homes
and the Indian Nation: Women's Design in
Post-Colonial Tamil Nadu, by Renate
Dohmen, 2001 is that we need to turn to the
loaded binaries of masculinity and
femininity as operative in the gendered
discourse of Indianness and culture, in order
to understand the practice's low cultural
visibility. This investigation is part of a
wider study of post-colonialism,
Eurocentricity and the aesthetics of
decoration. And thus it caters to major
domains and disciplines theoretical frame
works. The article is mainly constituted of
qualitative information and other sample
studies. The article is relevant as it caters to
the cultural connotation of post-colonial
tamilnadu and its practices. This article
hence seeks to locate the practice of
threshold drawing, as encountered in Tamil
Nadu, between tradition and cultural
(post)modernity in the Indian discourses of
art and culture. The major strength of the
article: Threshold design is not only
surprising, but indicative, of the ambiguities
and unresolved complexities of ‘woman’,
art and culture in post-colonial India, which
translate into a marked difficulty of placing
the tradition within dominant constrution of
Indian arts.
3 Methodology
The researcher shall proceed further with
her research by performing a Qualitative
Research methodology on Kolam as
infographics. The researcher has chosen
Content Analysis as the first method for her
research. This would allow her to
concentrate at once between concept
development and data collection, and also
help guide all subsequent data collection
with respect to answering her research
questions.
The research questions here include finding
out patterns, understanding the images and
find out how they are representatives of
Infographics. This further requires a series
of steps that help us analyze the kolam
patterns.
3.1 Step 1: Data Preparation.
Qualitative Content Analysis can be used to
analyze various types of data, but it is
important to note that before we get into
any analysis the data has to be transformed
into written textual format. For this hundred
different kolam patterns are collected from
various sources like Books, Online blogs
etc. These kolams include:
●Pulli kolam
●Sikku kolam
●Pongal kolam
●Aishwarya Kolam
●Lotus kolam
●Marzkahi kolam
●Karthikai kolam
●Deepawali kolam
●Butterfly Kolam
●Eleohant kolam
●Temple kolam
●Kalyana Kolam
●Hridaya kolam
This is followed by conversion of content in
the Infographics into textual form before
any analysis can take place.
3.2 Step 2: Defining an Unit for Analysis
The unit of analysis here refers to the basic
unit of design that is to be classified during
the content analysis. This is further based by
Analyzing:
●Element: Dot, Line, Shape, Form,
Space, Color, Texture
●Principles: Rhythms, Pattern,
Movement, Balance, Proportion,
Variety, Harmony, Emphazis, Unity
●Narrative
3.3 Step 3: Analyzing these Units
Based on the procured data, Inductive
reasoning has to be performed. The
following questions helps us synthesize our
ideas.
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●Who is the audience for the
infographic?
●What is the purpose of the
infographic?
●What key message are we trying to
convey?
●What other information do we need
to complete our infographic?
●What symbols come to mind when
we think about our information?
●When is/was the information
relevant?
●Step 4: Drawing conclusions from
these texts
3.4 Step 4: In this step the researcher would
try to draw conclusions from current data
and go about identifying and analyzing
relationships between the patterns and
infographics, repeatedly check for
consistency. Finding out vital information
from kolam that represents itself as an
infographic:
●Social information
●Family Information
●Religious information
●Cultural information
●Skill information
●Entertainment information
●Art information
●Mathematical information
3.5 Step 5: Results
After drawing conclusions, final step is
creation of a report and arrive at results.
4 Analysis
The world around us has easily obtained a
minimalistic nature of its own to
communicate to one another. One of the
most efficient way for this is through
infographics. An Info graphic is a type of
picture that blends data with design, helping
individuals and organizations concisely
communicate message to their audiences. It
is a visualization of data or ideas that tries to
convey complex information to an audience
in a manner that can be quickly consumed
and easily understood. (Smiciklas 2012).
Based on the VARK model, people use four
primary learning styles to process
information: Visual, Auditory, Read/ Write,
Kinesthetic. And it is estimated that 65% of
the population are visual learners. The
primary reason for this is that, our brain
processes data from pictures all at once but
processes text in a linear manner. Three
basic provisions of all effective visual
communication methods according to
Lankow, Ritchie and Crooks (2012) were
shown as follows:
1. Appeal. Communication should engage
an audience.
2. Comprehension. Communication should
effectively provide knowledge that enables a
clear understanding of the information. It
implies that the viewer should be able to
easily understand the information that is
presented to them.
3. Retention. Communication should impart
memorable knowledge. It means that the
viewer should remember the data presented
by the infographic. Kolam, an ancient
Dravidian geometrical motif that combines
form, movement and color are beautiful
patterns with various signs and symbols
drawn at the thresholds every morning. With
the ground as the means of expression, the
hand for sole instrument and coloured
powders, the Hindu women of Tamil Nadu
practice faith and develop the sole rhythm to
their life through Kolam. Kolam is a
narrative, as it ought to be deconstructed to
analyse the symbolic illustrations. It is an
amalgamation of pattern and information.
Thus, it involves deconstructing the
elements and principles of design along with
analysing the central role of Visual
metaphor. Through Visualization we are
seeking to portray data in ways that allow us
to see it in a new light, to visually observe
patterns, exceptions and the possible stories
that sit behind its raw state.
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4.1 Analyzing Design Elements
Kolam patterns involve grammar based on
which the different patterns are made. The
two basic parts of design (like parts of
speech) in kolam pattern involves: Line and
Dot. They form the basic language through
which Kolam communicates. It is through
these elements of design the pattern forms a
visual sign/symbol. The nomenclature
“Pullikolam”refers to the kolams based on
dots. They can be of two types: Idukku
kolam/ Neer kolam .i.e Interlaced
dots/parallel dots. Sometimes the kolam can
also involve imaginary ( in-visible) and
visible dots. Usually, a grid of dots
numbering from 4 to 108 is used for
drawing the kolam. The points are joined
with straight and curved lines or else, the
lines go round the points resulting in a
design consisting exclusively of curved
lines. A line acts as an element of design
that moves from one point through space
(Ragans, 2005). They can be in various
numbers: single, double, multiple etc.
Different kolam patterns involve various
shapes that are geometrical, freehand etc.
These shapes vary according to the
occasions, space and time. Some are also
seen in Three dimension and thus attaining a
form. The kolam contain lots of space
between the lines and dots, which mostly
are filled with colors that form the texture.
4.1.1 Art Information:
A dot is the beginning point of everything in
life. Dot in kolam symbolizes a good start
and the various journeys life ought to take
that day as the pattern proceeds. Based on
the number of dots, we can also infer size
and complexity of Kolam. The dots that
form a kolam at the threshold can also
symbolize ‘bindi’ on a woman’s forehead,
that defines womanhood and her identity.
The lines in a Kolam pattern move through
the dots to identify a particular form within
the kolam pattern giving rise to
symbols/signs. People tend to avoid odd
number of lines as its considered
inauspicious. The lines and dost give rise to
various shapes that resemble the occasion or
time of the month. Like the Kolams during
Ponagl or Makara Sankaranthi, symbolizes
the end of Marghazi. Pongal is a harvest
festival at the onset of spring and is
celebrated for four days- Bogi (God of
thunder and rain), Surya Pongal (Sun God),
Mattu Pongal (Cattle worship) and Kaanum
Pongal. Thus all these days women
decorate their homes with large kolams that
include symbols of Pongal overflowing
from pots symbolizing successful harvest,
numerous sugarcanes, Star in the middle
symbolizing Gods, peacocks symbol of
integrity, Nobility, Holiness, Guidance,
Protection and Watchfulness. The space
symbolizes the inner and outside world-
Akam & Puram, where one is safe, secure,
spiritually upright and the other is distorted,
evil and biased. The red color that embodies
the kolam signifies the Kaavi, believed to
prevent evil and undesirable elements from
entering the houses. The kolam is drawn
with a variety of materials such as rice
powder, rice paste, marble powder, coloured
powders that forms a texture which stands in
contrast to the dark background. Thus
forms an emotional appeal that helps a
person transcend the visual nature and feel
the kolam.
4.1.2 Skill information:
Kolam-drawing is a vigorous early morning
physical exercise, especially for the eyes
and the hands. The kolam also instils mental
discipline and concentration in those who
draw it as even the slightest wavering of the
mind or the tremble of fingers can
unalterably mar a beautiful design. Also, the
women draw kolam with utmost respect,
they stand barefoot and imbibe a yogic
position. They are not allowed to touch or
stamp the kolam by mistake. Depending on
the space and size of kolam they need to
stretch their legs and hands accordingly.
Because of which older woman find it more
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easy than younger generation as they are
more experienced. The palm movement
involves, a bowl of rice powder in the left
hand and a pinch of powder in the right
hand. The thumb and index finger together
are moved in controlled manner to obtain
the correct thickness. Altogether, it looks
like a natural graceful performance early in
the morning.
4.1.3 Mathematical Information:
When we analyse Kambi kolam. Its like a
thread that’s never ending, the kolam once
begun comes back to the same point again.
The mathematical numbering is 1 3 5 2 4.
So from 1 we move to 3 and goes on, till we
go back. This is about life experience but
still being rooted excuse of the centre.
4.2 Analyzing Design Principles
Kolam is way more than just an aesthetic
piece, it involves a set of governing
principles that imparts “meaning”. The art
of drawing kolam associates itself with a
Rhythm, a constant repetition of elements.
This can be understood in two levels, one is
the visual rythm and the other is the
physical rhythm. Like that of Sikku kolam
consisting of lines and dots, and the mystery
of the starting point. Each unit made in the
pattern is repeated to create the design. This
is called as a motif which repeats itself to
form the pattern. This provides a specific
path for the spectator’s eye movement and
the movement provides the completeness of
the kolam. A visual balance is executed
through kolam because of the various
principles of design. Both radical and
symmetrical balance is obtained through
them. The determinants of the proportion of
a perfect kolam depends upon various
elements like dots, patterns, texture, size,
shapes, curves, lines and its various
properties. Variety is an important principle
as it breaks the monotony in art. This is a
principle associated with creativity, visual
interest and therefore varies according to the
themes, motifs etc. The colour white of rice
flour, used to draw kolam is harmonious
throughout the artwork of Kolam, which is
very essential for visual aesthetics.
Emphasis is another principle that highlights
the purpose of a particular kolam, where one
variable will be dominating the other. All
the above mentioned principles contribute
equally and thus potrays kolam as one single
entity.
4.2.1 Entertainment Information:
During the month of Marghazhi, most of the
households practice Kolam at the threshold.
Thus, the streets in Tamil Nadu during these
months looks spic and span and fully
decorated, along with lamp lit at the
entrance(Laine 2013). Thus, providing a
visual treat for the eyes. It creates a rhythm:
visual rhythm through the patterns, repeated
lines, smooth movement of our eyes from a
dot to the other and physical rhythm- A
dynamic sensation of the visual appeal,
illusion of movements and how through
kolam making, women channel the divine
energy into social life, as they hold that
Shakti, source of their skills in kolam
making. The sense of visual balance can be
well understood by the radical peacock
kolam and the symmetrical
butterfly/elephant kolam. Peacock kolam,
mostly is drawn free hand and follows a
radical motion. While symmetrical butterfly
kolam follow dot pattern. This type of
Kolam designs mostly include Neer pulli/
Idukku pulli with a dimension of 10 * 10
dots or 18 * 6 dots etc. The patterns
resemble that of butterfly in the extreme
corners and include flowers at the centre.
The design is so specific that one can also
see the stigma of the flower. Butterflies
which are beautiful insects with large scaly
wings, attract our eyes and gives a visual
treat. The bright colorful pallets here serve
the same purpose and act as the jewels of
nature. There are two approaches in creating
Kolam using ‘’emphasis’’. It is in terms of
physical appearance such as kinds of lines,
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designs, which are used to decorate or it is
with reference to the theme used in making
Kolam. The principle of emphasis is created
in every Kolam depending upon the
occasion, celebration or festival that is of
importance. There are certain styles and
elements emphasized in order to create a
distinctive nature of visual appeal. One
example can be Deepawali or Kathikai
kolam, the festival of lamps, where huge
kolams are put at the thresholds and are
decorated with lamps in the night. The
kolams themselves include lamp designs in
vivid colors that highlights in the night.
4.3 Analyzing Narrative
Kolam uses a lot of visual metaphor to
narrate stories. Visual metaphors help
enhance your content, making your
information assets more notice-able while
quickly enabling comprehension,
particularly when it comes to more complex
or intangible ideas and concepts. In
addition, visual metaphors tend to add an
emotional layer to content that text alone
can’t deliver, prompting a greater likelihood
of deeper exploration and sharing.
4.3.1 Social information:
Kolam is much more than just an aesthetic
art. It symbolises happiness and
prosperity.Beggars would not seek alms
from houses that does not have a kolam at
the entrance. Not surprisingly, the kolam is
not drawn during times of sorrow and
mourning. . It is a connecting link between
the home and the society. A positive
message is conveyed to the society through
the patterns drawn on the space. The
presence of Kolam and the graceful patterns
indicates the happy life of the members of
the family at home. It acts as a welcoming
symbol to the near and dear and the needy
people.
4.3.2 Cultural Information:
Insects and birds feed on the rice flour used
for drawing the traditional kolams at the
entrance of houses. Thus, the kolam
represents man's concern for all living
creatures. It is also said that these insects
and birds, after eating the rice powder,
would not enter the houses and thus, ensure
that the houses are clean and tidy. Tamil
month, Marzaghi is when the earth is closest
to the sun. It is the month that brings
balance and stability to life. During these
months men mostly are engaged in feminine
duties like devotion and prayers, while
women practice making geometrical figures.
Geometry and Masculanity are directly
connected, as it is believed that a man
identifies the geometry first and then the
form, color etc unlike woman. It is also the
month traditionally various practices in
touch with water is carried out. Generally
people don’t want to miss the brahma
muhurtam, a conductive time for spritiual
sadhana. Thus, women in the family wake
up early in the morning to draw kolam in the
thresholds known as the marzaghi kolam.
(Pintchman 2007)
4.3.3 Religious Significance:
It is said that each morning, Lakshmi, the
Goddess of Wealth, enters and blesses the
houses adorned with kolams at the entrance.
Hence, the kolam itself is called `Lakshmi
Kadaksham' Traditionally, the padi kolam of
Tamil Nadu, primarily consisting of a
quadrangular design, is meant to confine
Goddess Lakshmi within the quadrangle!
Such designs are not to be desecrated by
human feet. Especially Hridaya Kamalam
kolam, the lotus signifies the spiritual
unfoldment of the petals as one draws this
kolam in front of the diety. This particular
kolam, the centre is drawn first and
gradually moves to the radii. It shows how
life revolves around the centre with us
rooted. It contains a mantra and the letter
“Shri” in it. Margazhi is the most beautiful
month in Tamil Nadu. Visiting temples in
the early morning hours is considered
auspicious from long time ago, as it retains
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the physical balance essential for the body.
All temples during this month conduct
special rituals and poojas to the deities early
in the morning and give Prassadam. In front
of these temples very elaborate and intrinsic
artistic patterns are drawn at the entrance of
temples. During this month, the kolam is
much larger and a lump of cow-dung is
placed at the centre. The yellow flower of
the ash-gourd creeper is placed on the
cow-dung. Each morning, when the
previous day's kolam is washed off, the
lump of cow-dung is carefully removed,
flattened and left to dry in the sun. On the
day of the Pongal festival, celebrated at the
end of Margazhi, these dried cow-dung
cakes serve as fuel for cooking the sweet
pongal and other delicacies. Significantly,
the ash-gourd is indispensable for the kootu
or aviyal cooked for the Pongal feast. Even
today Mylapore Kapaliswarar temple, a well
known temple in Chennai. It has the most
famous panguni uthiram festival taking
place for ten days. It ends with the divine
marriage of Shiva and Parvathi. Every
evening and morning, women devotees
come out of their home and draw kôlam
under the pandals right before the
procession of the gods sitting on
palanquins.
4.3.4 Family Information:
Thiruvadhirai thaer (chariot) is said to be
famous and many people, including the
family members have the habit of
decorating their front porches with kolams
in the design of chariots. The kolam
tradition forces young girls to get up early
morning and help their mother to draw
different kolams at the threshold. Thus, it’s
a family practice and not an individual
belief. One important kolam that signifies
the family is the Nalavaravu kolam. Which
roughly translates into á good welcome’.
That is, on any good or auspicious occasion
kolam is drawn in the threshold where
people come out to welcome others. The
kolam is huge and in plenty. It is symbolic
of lotus, conge which has its genesis in
water signifying sustenance, lamp
significance removal of darkness etc. Thus,
its mostly drawn during auspicious
functions like marriages etc., which involves
the family. (Nelson 1998)
5 Conclusion
British graphic designer, author, and
information design theorist Nigel Holmes
simply refers to infographics as
“explanation graphics”It can be interpreted
as a medium that tries to communicate
information through graphics. It is a range
of information displayed at an explanatory
level.(Lankow, Ritchie, and Crooks 2012)
Thus, Kolam is an explanatory graphic that
tries to communicate information at various
levels. Kolam like infographic tries to tell a
story through visual metaphors, that
enhances the content, making information
assets more noticeable while quickly
enabling comprehension, particularly when
it comes to more complex or intangible
ideas and concepts. The various kolam
patterns taken into analysis talks in huge
extent about itself- cultural perspective,
social perspective, religious perspective etc.
The visual metaphors are strong components
that enhance the pattern and its significance.
According to Lankow, Ritchie and Crooks
(2012), three basic provisions of all
effective visual communication methods
include:
1. Appeal. Kolam is an expression that
visually communicates to the almighty, the
society and inner self. Kolam appeals to its
audience culturally and derives a lot of
meanings associated with it.
2. Comprehension. Through the various
designing principles and elements
mentioned above, we can understand how
kolam as a design communicates effectively
to provide knowledge, which leads to clear
understanding of information.
3. Retention. It is because of kolam being an
effective infographic, floor art is still
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practiced even after many years. Also the
kolams are remembered and followed by
woman according to various occasions.
Thus, Communication imparts memorable
knowledge and viewer remembers the data
presented by the infographic.
Thus kolam as an infographic was used to
disseminate important information. Kolam
serves as an universal communication tool
that makes easier to deliver information
with less likelihood of misunderstanding.
Thus, Kolam serves as an infographic.
6 Bibliography
Laine, Anna. 2013. “Kolam Patterns as
Materialisation and Embodiment of
Rhythms.” Anthrovision

, no. 1.2.
doi:10.4000/anthrovision.607.
Lankow, Jason, Josh Ritchie, and Ross
Crooks. 2012. Infographics: The
Power of Visual Storytelling

. John
Wiley & Sons.
Nelson, Lance E. 1998. Purifying the
Earthly Body of God: Religion and
Ecology in Hindu India

. SUNY Press.
Pintchman, Tracy. 2007. Women’s Lives,
Women's Rituals in the Hindu
Tradition

. Oxford University Press.
Smiciklas, Mark. 2012. The Power of
Infographics: Using Pictures to
Communicate and Connect with Your
Audiences

. Que Publishing.
(significance of pulli kolam 2001)
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