1)Value The lightness or darkness of tones or colors. White is the lightest value; black is the darkest.
2)Value<span> is defined as the relative lightness or darkness of a color. It is an important tool for the designer/</span>artist<span>, in the way that it defines form and creates spatial illusions.
3)</span> Contrast<span> is a principle of </span>art. When defining it,art<span> experts refer to the arrangement of opposite elements (light vs. dark colors, rough vs. smooth textures, large vs. small shapes, etc.) in a piece so as to create visual interest, excitement, and drama.
4)</span><span>A complementary color are a set of two colors that are straight across the color wheel from each other. Examples of complements are </span>red<span> and </span>green<span>, </span>blue<span> and </span>orange<span>, and </span>yellow<span> and </span>violet<span>. Neutral colors are created by combining even amounts of complements to create </span><span>muddy earthy tones
5)</span>Chiaroscuro<span>. This is an Italian term which literally means 'light-dark'.</span>
B. Minor notes <span>are produced by lowering the third, fifth, or seventh steps of major scales</span>
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movement in visual art and literature, flourishing in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism’s emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the “rationalism” that had guided European culture and politics in the past and that had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published The Surrealist Manifesto in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely that the world of dream and fantasy would be joined to the everyday rational world in “an absolute reality, a surreality.” Drawing heavily on theories adapted from Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike.
