Colour mixing

The governing concept is proportional colour mixing. Orange is made from red and yellow. If the red component is increased while the other component remains present, the hue becomes more reddish and shifts toward red, often described as red-orange. Thus option B is correct. Increasing yellow would move it toward yellow, while green or blue are not the expected direction of this mixture.

The governing concept is the creation of an intermediate or tertiary hue by varying the proportions of neighbouring colours. Yellow-orange contains yellow and red, but it must lean toward yellow, so the mixture uses more yellow and less red. Option B is correct. More red would create red-orange; blue-based mixtures would move toward green or violet rather than yellow-orange.

The governing concept is hue bias created by unequal proportions in a mixture. Green is made from yellow and blue. To make blue-green, blue must be present in a greater quantity than yellow, causing the green to shift toward blue. Therefore, option C is correct. More yellow would produce yellow-green, red is not one of the two components, and white only changes lightness.

The governing concept is changing the proportion of the component colours. Green is made by mixing yellow and blue. Increasing the yellow portion makes the resulting green shift toward yellow, producing yellow-green. Thus option A is correct. Increasing blue would produce blue-green, while red or black would change the mixture rather than create the intended neighbouring hue.

The governing concept is producing a tertiary hue by controlling the proportions of neighbouring colours. Violet is associated with red and blue; to make red-violet, the mixture must contain more red than blue so that the violet shifts toward red. Option B is correct. More blue would create blue-violet, while yellow-red produces orange rather than red-violet.

The governing concept is that a tertiary hue leans toward the component colour used in greater proportion. Violet is formed from red and blue. For blue-violet, blue must exceed red, so option B is correct. If red were greater, the result would be red-violet. Yellow and blue produce green, and adding yellow does not create the required violet family.

The governing concept is proportional colour mixing. Orange is made by mixing red and yellow, so changing their ratio produces different warm variations: more yellow gives a yellow-orange, while more red gives a red-orange. These variations help represent changing light in a sunset. Therefore, option A is correct. Repeating one orange removes variety, blue shifts the hue away from orange, and equal black mainly dulls every mixture.

Recording ratios is a practical colour-mixing method. If an artist notes the amount of each paint used, the same proportion can be measured again and a matching secondary colour can be reproduced. Therefore option A is correct. A written ratio cannot lengthen a brush, dry paint automatically or change the thickness of paper; those distractors are unrelated to colour control.

Changing the ratio of two paints changes the character of the resulting colour. For example, adding more red to an orange mixture makes it redder, while adding more yellow makes it yellower. Repeated practice therefore develops awareness of colour bias and improves control over mixtures, making option A correct. The other choices describe unrelated physical or naming actions.

The governing concept is the difference between light mixing and pigment mixing. Pigments selectively absorb wavelengths, so when red and yellow materials are combined, their absorptions are combined and the reflected light is perceived as orange; this is subtractive mixing. Option B is correct. Additive mixing concerns coloured light, optical mixing concerns visual blending without physically combining pigments, and monochromatic mixing uses variations of one hue.

In traditional pigment mixing, blue is complementary to orange. Adding a small amount of blue introduces the opposite colour and reduces the mixture’s chromatic intensity, so the orange first looks duller or less vivid. It does not become pure yellow or white; a larger amount may make the mixture increasingly neutral or muddy. Therefore option B is correct.

Green is formed by mixing yellow and blue. To make a yellowish green, yellow must be present in the greater proportion, while blue is reduced enough to remain a supporting component. More blue would produce bluish green, and red is not one of the required components for this mixture. Therefore option B gives the correct proportion.

Violet is a mixture associated with red and blue. Increasing the blue proportion shifts the mixture toward blue-violet, so it appears more bluish and generally cooler. Increasing red would create red-violet instead, while yellow or green would move the mixture away from a clean violet family. Consequently, option B is the only adjustment that produces bluish violet.

The governing concept is colour modification by a neutral grey. When grey is mixed with orange, the orange becomes less intense and more muted; this modified colour is called a tone. Its basic hue can remain recognizably orange, although its saturation is reduced. Option A is correct. Grey does not make orange primary, transform it into blue, or change the complementary position of orange on the colour wheel.

The governing concept is the combined modification of value and hue direction. White raises violet’s value, making it lighter, while a small amount of blue shifts the mixture toward a cooler, bluer violet. Thus the most appropriate result is option A, light bluish violet. Black would be needed for a dark result, and the mixture cannot logically become yellow-green or dark orange from these additions.

The governing concept is the effect of black on value and chromatic intensity. Adding a large amount of black lowers orange’s value and suppresses its brightness, so the vivid orange becomes very dark and muted. Human observers may then perceive the mixture as brownish. Option A is correct. Black does not convert orange into blue, make it primary, or physically separate the red and yellow components that formed it.

The governing concept is corrective colour mixing: a mixed hue is adjusted by adding a small amount of the component that has become relatively weak. Red-violet contains a strong red component together with violet, which itself contains blue. If the sample looks too blue, adding red shifts its balance back toward red-violet. Green and yellow would introduce unwanted hue changes, while white would mainly reduce saturation and lighten the value rather than correct the blue bias. Therefore, option B is correct.

The governing concept is iterative colour mixing and value control. The wet appearance of paint can differ from its dry appearance, so the dry test sample is the evidence used for the next adjustment. If the dried secondary colour is too dark, reduce the amount of strong pigment or add a small amount of a lighter base, then prepare and inspect another test sample. Adding black makes it darker, mixing all three primaries can muddy the hue, and repeating without observation ignores the result. Therefore, option A is correct.

The governing concept is colour mixing: orange is produced by combining red and yellow. If the mixture looks too red, its balance has shifted toward the red component. Adding a small amount of yellow moves the mixture back toward a balanced orange. More red would worsen the error, while blue or black would change or dull the hue rather than correct its red bias.

Colour mixing explains that green is formed from yellow and blue. When the result appears too yellow, the mixture contains too much yellow relative to blue. Adding a small quantity of blue shifts the balance toward a clearer green. Red would introduce an unwanted opposing component, while white or black changes lightness or dullness rather than correcting the colour ratio.

The governing concept is pigment mixing. Red and blue should produce a violet family colour when the pigments and tools are clean. Accidental yellow contamination introduces the third primary colour and can neutralise the mixture, making it dull or muddy brown. A shortage of either red or blue would mainly shift the hue toward the other component, and white paper does not explain brown pigment contamination.

The governing concept is controlled colour neutralisation. Blue is opposite orange on the colour wheel, so adding a very small amount of blue reduces orange intensity without immediately destroying its hue family. The amount must be measured carefully because excess blue produces a muddy or strongly shifted colour. Much black darkens it, much white creates a tint, and more red increases its warmth rather than reducing intensity.

The governing concept is iterative colour mixing based on a dry sample. If the dried green is darker than the target, the next trial should be made slightly lighter, for example by reducing dark pigment or adjusting the lightening medium, and then tested again. Therefore option B is correct. Adding more black worsens the error, while mixing all primaries or repeating blindly does not make a controlled correction.

The governing concept is gradual control of value during colour mixing. Adding a dark colour in small amounts lets the painter observe each change and stop when the desired shadow value is reached; therefore option B is correct. A large amount of black can overpower violet, white lightens rather than darkens it, and much yellow shifts the hue instead of providing a controlled shadow.

The governing concept is controlled colour mixing: a secondary colour depends on which two primary colours are used and in what proportions. Writing a ratio such as 1:1 or 2:1 records the recipe, so the same orange, green, or violet can be reproduced and compared later. It does not dry paint, decorate paper, or describe brush hardness; therefore option A is correct.