One of the many wonderful recommendations made in the COLOURlovers forum topic, Animation, lead by liddle_r, is the work of sound animator and film director Norman McLarren.

Some of his earliest experimental work included washing then painting and scratching on used film stock, as he did not have access to proper filming equipment. That was just the beginning of McLaren's career. His innovation and experimentation won him many awards over the years, including an Academy Award in the Best Documentary, Short Subjects category for his film Neighbours (1952), as well as other awards at the Canadian Film Awards, Cannes and the Berlin International Film Festival. His experiments in animation and sound created many new techniques that have shaped what we know as film and animation today.

Synchromy (1971)

National Film Board of Canada: Here are pyrotechnics of the keyboard, but with only a camera to "play the tune." To make this film, Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track. These he then moved, in multicolor, onto the picture area of the screen so that, in effect, you see what you hear. It is synchronization of image and sound in the truest sense of the word.

Sparse contrasting colors add depth to these stunning yet stark and bleak winter scenes.  Stark and bleak are not words many associate with things of beauty but when they describe a certain emptiness and stillness, such as the photos in 'Snow Blind' do, one's mind can wander to the potential such emptiness holds.

Matthias Heiderich is a Berlin based photographer whose work often explores the complexities of color. He is represented be Spot Galerie Berlin, and also works with WeirdAndWired a "netlabel for weird electronic music." His work (recommended: White Noise' & 'Color Berlin') can also be seen on Behance & Flickr.

Coming to us via The Post Family, 'A Memory'  is a series capturing specific moments and feelings using color.

A Memory is a piece that expresses the moment of joy while I am creating. I want to capture my feeling in the moment I have it and express it in different color and shape while I am creating the piece... - Yee Wong

The Last Range of Colours by Miles Aldridge was shot for Vogue Italia back in 2007. These playful, ultra saturated photos are quite fun despite the confused, uninterested, insensate, comatose, insensible looks of the models--all great adjectives, and pretty much the complete opposite of any that would be used to describe these colors.

Click on any of the images to create your own palette.

Color est e pluribus unus

RGB is a work about the exploration of the “surface’s deepness”. The designs create surfaces that mutate and interact with different chromatic stimulus. The technique consists in the overlapping of three different images, each one in a primary color. The resulting images from this three level’s superimposition are unexpected and disorienting. The colors mix up, the lines and shapes entwine becoming oneiric and not completely clear. Through a colored filter (a light or a transparent material) it is possible to see clearly the layers in which the image is composed. The filter’s colors are red, green and blue, each one of them serves to reveal one of the three layers. - Carnovsky = Francesco Rugi + Silvia Quintanilla

From Johanssen-Gallery:

“Color est e pluribus unus” is a famous Virgil phrase taken from his poem “Moretum” and describes the blending of colors into one. Having that in mind, Francesco Rugi and Silvia Quintanilla, the names behind Milan based collective "Carnovsky", got inspired and created for Jannelli & Volpi, the famous Italian wallpaper brand, a very special series of wallpapers named RGB.

White Fungus is an experimental arts magazine based in Taichung City, Taiwan. Featuring writing on art, music, history and politics, plus original artworks, poetry, fiction and comics, White Fungus is an ongoing experiment in community media art. As the spores have been released its creators look forward to seeing which way the wind blows. The only thing more uncertain than its future is its past.

白木耳雜誌 是一本發源於台中的當代前衛藝術雜誌， 內容詳細介紹了關於來自世界各地的前衛音樂 、歷史、 政治、 原創作品、 詩、 短篇小說 與漫畫。白木耳雜誌本身既是一個社群媒體藝術的實驗過程。當這些實驗性的孢子逐漸成熟而散落，雜誌創刊者十分期待風會將這些孢子傳遞至何方，但關於未來，一切則充滿了新的生機與各種可能性。

If there's any good excuse for a new party dress, it's New Year's Eve. Once the holidays wind down--after the family get-togethers are over and the kitchen is finally clean--the last day of the year arrives with no obligation other than to celebrate the year that's passed. It's a true celebration, and maybe that's why ladies trend toward the brightest, shiniest, most fun components of their wardrobes. Of course, there are different kinds of New Year's Eve parties, and several go-to fashion sites have recommendations at the ready. The Fashion Spot has a few ideas for formal and casual events, WhoWhatWear helps you transform pants and skirts into party-worthy ensembles--New York Times style reporter Eric Wilson even offers dressing advice from a few drag queens: "I think feeling your very best is knowing that you’re comfortable in everything you’re wearing," said DJ Lina Bradford. "Having something too tight or that you’re not feeling is a no-no." Because around here, we feel color, I've culled 10 bright cocktail dresses to get your wardrobe creativity flowing. My advice? Find something you'd want to wear again, doll it up with a pile of bangles or a big crystal necklace, and have a great time.

[Gryphon, Rag & Bone; http://www.shoplesnouvelles.com]

Once a month, we'll be taking a look at fashion in film--characters, colors and costume design. Working together to create a believable persona, in the movies, the clothes often quite literally make the man. Or, in the case of today's character, they make the 18th-century queen-to-be.

Director Sofia Coppola's 2006 Marie Antoinette is loosely based on the real life of its title character, the Archduchess of Austria who married Louis-Auguste, the Dauphin of France, in 1770 at the age of 14. In history and in the film, the marriage isn't consummated--a sticking point in the story. Instead, Marie (portrayed by Kirsten Dunst), who has little political sway and finds herself frustrated with life at court, throws herself into more frivolous pleasures--clothing, gambling and makeup. When the king of France passes in 1774, the Dauphin (portrayed by Jason Schwartzman) becomes king--making Marie Antoinette the new queen.

ITSOKCOLORWAY from Multi Polar on Vimeo.

For Matthew Hoffman it's all about identity. On the casual outward glance he's a 9-5er, a career oriented young chap, probably unknown to some as...shhhh....an artist. But over wayside he runs Multi-Polar Projects, a rep house for artists Sighn, H. Mathis, Ervin Orion and Mateo. An art collective of four dudes pursing their own separate works. Which is bad-ass alone, yet is ostensibly all very straight-forward, until you learn the entire Multi-Polar Projects crew is just a single person. Hoffman. Which then begs the question, where is the artist and where is the person? And also how? And...When does the sleeping happen?

It's not really a question that needs answering, it's a delightful enough proposition on its own. It's seems to be merely the only way Hoffman knows how to be an artist. It's ingrained in his process and can't be teased out.

Better still? He's dropping a new project after a year-long art-making hiatus.

What ensued was an extensive back-and-forth between myself, Sighn, H. Mathis, and Multi-Polar Projects. Hilarious because Hoffman's playing all the parts from separate addresses.

Sighn's the moniker responsible, working in his typical text-only emotive style. ITSOKCOLORWAY is the rainbow-hued edition of his ongoing ITSOKAY Project. As the Tweeps and Facespaces erupt with millions of electronic blurbs per day and viral campaign after campaign goes zipping into internet obscurity, he's busy carving pithy witticisms out of wood with a life-long goal of 1 million wooden ITSOKs. It's a permanent snap-shot of communication, forged from materials that once grew in the earth. Part sculpture, part talisman, all parts delicious typography and wordplay, you'd have to be a cyborg not to have feeeeeeelings when taking in the work.

I shot Sighn a request to answer some light-hearted interview questions, and what ensued was an extensive back-and-forth between myself, Sighn, H. Mathis, and Multi-Polar Projects. Hilarious because Hoffman's playing all the parts from separate addresses, poking fun at himself the entire time. In the end it ended up as a snarky not-so-subtle, and entirely unintentional, jab at long annoying email chains. Oh my stars and garters kids, this email at its most artistic (and meta) indeed... For this designer, blogger and typography geek, that's the black hole of perfect.

So here you go: H. Mathis' illustrated responses to Sighn's interview questions. By Matthew Hoffman. I think.

1. Doodle a story that your son told you:

2. Make us a Venn Diagram:

3. Draw a fuck-up that you ended up liking and used in your work:

4. What is it exactly that's on the inside?

5. Draw your process:

6. A love letter to your favorite snack:

I guess this is what I call reinventing being an artist. Old schooling the new school. And there's no tells just how far this kid can go. It's mayhem! Mania! It's going to rule, bro. Someone please save me from myself, before there's ecstatic-induced vomiting like that kid in Adam Sandler's Big Daddy.

Learn more and order your own piece here. ITSOKs come in 10 colors, plus natural unfinished bamboo or basswood. $20 each.

Staged photography can place undue importance on subject but simple, ordinary subjects make it easier to step back and consider the color palette.

Eliad Lassry is Tel Aviv based photographer whose work can currently be seen at Luhring Augustine Gallery.

At first his clean, direct shots look like generic commercial photography from the '70s and '80s. But the artist's use of blurs, double exposure, harsh colors often emphasized by loud matching frames-even strange arrangements or the unnerving matter-of-factness of the subject-instantly makes the hackneyed formula appear new and formalistically riveting. - Christopher Bollen