Brush techniques

The governing lettering concept is controlled, even stroke width. A flat brush of suitable size has a straight edge and a consistent breadth, so it can deposit paint across a letter stroke with relatively uniform thickness. A round brush changes width more readily with pressure or angle, while a sponge and a worn brush cannot make clean, controlled edges. Therefore option B is correct.

The governing brush-technique principle is that fine work requires a tool with a narrow tip and controlled paint flow. A thin pointed brush can make small lines, edges, dots, and other precise details, so option D is correct. A broad brush covers large areas, while a sponge and cloth produce soft or irregular marks rather than sharp, controlled details. Brush size should always match the intended mark.

The governing principle is precision and control at the boundary of a painted shape. A small controlled brush has a fine working tip, allowing the artist to place a limited amount of acrylic close to an edge without crossing the outline. A very wet brush or excessive paint can spread and blur the boundary, while folding the paper does not improve paint control. Hence option D is correct.

The governing concept is selecting a brush according to the visual task. Lettering needs controlled strokes, clean edges, and a tip or edge suited to the size and style of the letters. A suitable flat brush can make broad, even strokes, while a pointed brush can form narrower details. Thus option D is correct. A wire brush or bristle-free brush cannot apply paint properly, and a very broad brush is not suitable for every letter size.

The governing concept is controlling repeated marks through a consistent paint load and pressure. If approximately the same amount of acrylic colour is placed on the tool and the same pressure is used each time, each dot spreads by a similar amount and appears uniform. Therefore, option B is correct. Changing brushes introduces variation, excess water can cause running, and folding paper does not control dot size.

The governing concept is visual texture: marks should imitate the visible qualities of the object. Tree bark is usually uneven, cracked, and rough, so broken strokes with varied pressure and direction suggest its irregular surface; therefore option B is correct. A smooth single line suggests a polished surface, a white wash does not by itself describe bark, and very wet spreading tends to flatten or blur the texture. Observe the surface before choosing a stroke.

Brush selection is governed by the relationship between brush shape and the mark required. A small round brush has a pointed tip and controlled belly, allowing the artist to place compact curved strokes for small petals and circular forms. Therefore option A is correct. A broad flat brush is better for large areas, a wire brush creates rough effects, and a brush without bristles cannot carry paint properly.

The governing technique is controlled mark-making. A thin brush places a narrow stroke, while light, even pressure keeps its width and direction stable as the hand moves. Hence option C is correct. A broad, very wet brush produces a thick or uncontrolled mark; oil on paper interferes with the surface and paint adhesion; and excess paint can create blobs rather than a clean line.

The governing practical concept is choosing a brush that can control acrylic paint without losing its shape. A synthetic-bristle brush is suitable because its resilient fibres handle acrylic colour well and are easy to clean, making option A correct. A metal brush is not a normal painting tool, a toothbrush is not the standard answer for controlled painting, and a brush without bristles cannot apply colour properly. The brush should be rinsed promptly before paint dries.

The governing concept is clean colour application and brush technique. Washing removes residue of the previous colour, so it does not unintentionally mix with the next colour and make it dull or muddy. Therefore option B is correct. Washing does not enlarge a brush, polish paper, or add physical weight to the painting. After rinsing, gently remove excess water before loading the new colour.

A liner brush has a narrow tip, often with relatively long fine bristles, allowing the artist to control a continuous thin stroke. Therefore, option A is correct for outlines, lettering and small details with acrylic colour. A broad mop brush is intended for washes, a sponge makes textured marks, and a palette knife spreads or scrapes paint rather than drawing delicate lines.

Stippling is a mark-making method in which small dots, spots or dabs are placed repeatedly to build texture, tone or colour. Option B is therefore correct. Glazing uses a transparent layer, scumbling uses broken or scrubbed strokes through which an underlying colour may show, and impasto creates raised texture with thick paint. These techniques are distinct from dot-based application.

The governing concept is proper brush storage and protection of the bristle shape. Keeping a brush tip-down applies continuous pressure to the wet bristles, which may bend, spread, and lose the pointed or shaped form needed for accurate strokes. It has no logical effect on paper strength, handle length, or paint brightness. After washing, remove the brush from water and dry it horizontally or with the bristles upward. Thus option B is correct.

Acrylic paint is water-based while wet but forms a hard film as it dries. The governing care rule is to rinse the brush regularly during painting and clean it thoroughly when the session ends. Thus, option A is correct because it removes paint before it can bind the bristles together. Letting paint dry, heating the brush in sunlight, or adding glue would increase clogging or damage rather than prevent it.

Brush selection follows the relationship between tool width and the area being covered. A wide flat brush holds enough paint and moves across a broad surface in relatively even strokes, so option B is correct. A thin liner and a very small round brush are designed for detail or narrow lines and would require many strokes. A dry, damaged brush cannot distribute paint smoothly and may leave unwanted marks.

Fine-line work requires a tool that can carry a small amount of paint while maintaining a narrow, controlled point. A thin pointed brush provides that control, so option C is correct for outlines, small details, and delicate marks. A wide brush covers larger areas, a sponge produces soft textured applications, and a roller lays broad bands; none is designed to make precise narrow lines as reliably as a pointed brush.

The governing concept is controlled brush loading: a brush should carry enough paint for the intended mark, but not an excessive amount. If it is dipped too deeply, paint collects near the ferrule and bristles, making the brush harder to control; excess paint can run or drip onto the paper. Therefore, option D is correct. The other choices describe effects that do not normally result from overloading a brush.

The governing concept is consistency of brush movement. To produce an even straight stroke, guide the brush in one steady direction while maintaining nearly equal pressure from beginning to end. This keeps the line uniform in width and density, so option A is correct. Repeatedly changing direction, spinning the brush, or using uneven pressure interrupts the paint flow and creates a broken or irregular mark.

The governing concept is recognition of brush shapes and their working ends. A round brush has bristles arranged in a circular bundle, which usually forms a rounded body and may taper to a pointed tip when wet or properly shaped. Thus option B is correct. A square tip belongs to a flat or angular brush, while serrated and metallic tips are not normal brush-tip forms for painting.

The governing concept of dry-brush technique is limited moisture and a small paint load. The artist removes or avoids excess water and uses only a little relatively thick paint, allowing the bristles to catch the raised parts of the surface and create broken marks. Therefore, option C is correct. A large wet load produces a flowing wash, while water alone or an entire container is not a usable brush load.

The governing concept is texture created by controlled paint application. Because a dry brush carries little moisture and little paint, its separated bristles deposit colour unevenly on raised areas and leave gaps. This produces a rough, broken, or scratch-like texture, so option D is correct. A completely smooth or very wet appearance is more associated with a well-loaded moist brush, and glass-like shine is not the defining result.

The governing concept is the relationship between brush moisture and paint flow. In a wet-brush technique, the bristles contain water, diluted colour, or both, so the paint moves smoothly across the surface and can blend with nearby colour. Hence option A is correct. Burning the brush, removing its bristles, or filling it with dust would destroy or contaminate the tool and has no role in this technique.

The governing concept is mark-making by repeated points. Dotting is performed by touching or pressing the brush tip repeatedly to place separate small dots, which can build texture, patterns, or tonal effects. Therefore, option C is correct. Washing spreads diluted colour over an area, scraping removes or drags material, and folding bends the paper; none uses small brush dots as its defining action.

The governing concept is the type of brush contact used to make a mark. Dabbing applies colour by lightly tapping the brush against the surface instead of dragging it continuously. This produces separate or softly mottled marks, so option D is correct. Drawing a line requires a continuous stroke, washing lays a flowing diluted layer, and folding changes the paper rather than applying paint.

The governing concept is the effect of pressure on flexible bristles. When more pressure is applied, the bristles spread over a larger area and deposit paint across a broader path, so the stroke generally becomes wider. Therefore, option A is correct. Pressure does not make a stroke invisible, automatically shorten it, or remove its colour; those choices do not follow from normal brush mechanics.