Brush techniques

Overbrushing a wet layer repeatedly disturbs the pigment and may lift paint that has already been placed. The result is often an uneven, streaky, or patchy surface with visible brush marks, so option A is correct. Repeated brushing does not reliably increase gloss or opacity, and poster colour does not become waterproof immediately merely because it has been brushed more.

Red and green are complementary colours in the traditional colour wheel. When their pigments are mixed, they absorb different parts of light and commonly produce a subdued brown, greyish, or neutral colour; therefore option A is the best answer. The exact result depends on the pigments and ratio. Mixing them does not normally produce pure blue, light pink, or a reliably bright yellow, which makes the other options unsuitable.

Cream is a very light, warm tint, so the usual method is to use white as the main base and add a small amount of yellow; option A is correct. The white keeps the value high, while yellow supplies a gentle warm cast. The other mixtures involve darkening or complementary-colour mixing and are more likely to create deep, neutral, grey, or muddy results rather than a light cream. Add yellow gradually to avoid over-colouring the white.

The governing concept is choosing a tool according to the scale and precision of the work. A thin pointed brush holds a manageable amount of colour and produces narrow, controlled strokes, so option C is correct for small lettering. A very broad flat brush is better for large areas, a sponge cannot form precise letter lines, and a wire brush is unsuitable because it can damage the paper and cannot carry paint smoothly.

The governing concept is brush loading and control. When too much poster colour is held by the brush, gravity and excess moisture can make the paint collect, drip, or spread beyond the intended area. Thus option D is correct. A heavy load usually makes coverage thicker rather than more transparent; it cannot strengthen the paper, and it does not make lines consistently thin because control is reduced.

The governing concept is controlled brush movement. When the brush travels consistently in one direction, the paint is distributed more evenly, so the strokes align and the background appears flatter and more organised. Therefore, option A is correct. Moving the brush cannot automatically darken the colour, thicken the paper, or clean the brush; those effects are unrelated to the direction of application. A steady pressure and a suitably loaded brush further improve the finish.

The governing concept is brush control: line width depends mainly on the brush size, its angle, and the pressure applied. A thin brush with light, even pressure allows the artist to guide a smooth curve without spreading too much paint. Therefore, option C is correct. Pressing the whole brush produces a wider mark, thick paint reduces control, and dipping the paper in water does not create a controlled painted line. Practising the curve slowly improves accuracy.

The governing concept is repetition and visual uniformity in brush-based pattern making. If each repeated unit has nearly the same size, spacing and amount of paint on the brush, the border develops a steady rhythm and consistent weight. C is correct. Changing every colour, using irregular pressure or repeatedly wetting the paper introduces variation and weakens the orderly pattern.

The governing concept is consistency of brush loading during flat colour application. When different amounts of paint are repeatedly taken onto the brush, some strokes may deposit a thick, strong layer while others leave a thin, weak layer. As a result, the surface can show uneven thickness and patchy coverage, so B is correct. The other options are not necessary results of varying paint load.

The governing concept is uniform lettering through controlled brush technique. Keeping pressure steady and moving the brush at a consistent speed helps deposit a similar amount of poster colour along each stroke, so the letters retain even thickness. Option D is correct. Changing brushes, adding excessive water, or using a wet background does not reliably control letter width and may create uneven marks.

The governing concept is proper care of painting tools. When a brush remains upright in water, its bristles can bend or lose their shape, and prolonged soaking may weaken the ferrule or the connection to the handle. Therefore option D is correct. Water does not improve the brush, brighten the paint, or become thick; the brush should be washed and dried appropriately.

The governing skill is controlled brush lettering. A flat brush produces a more predictable stroke when its broad face is held at a constant angle, so the letters receive a similar width and weight. Option B is therefore correct. Changing brushes unnecessarily does not guarantee uniformity, rotating the brush changes the stroke width, and excess water can cause bleeding and uneven edges.

The governing concept is control of paint consistency and brush moisture. If the brush is excessively dry, it may not pick up enough colour; if it is dripping wet, extra water can dilute the paint and make the load uneven. The mixture should have a workable, uniform thickness and the brush should be damp rather than soaked. Thus option B is correct. The title, table height, and paper name do not directly control how paint loads onto the brush.

The governing concept is consistency of brush angle in lettering. A flat brush produces a predictable stroke width only when its face and direction remain controlled. Repeatedly changing the angle changes the contact area and therefore makes some strokes wider or narrower. Option D is correct. The angle cannot automatically straighten letters, increase paint opacity, or change the thickness of the paper.

Dry-brush and sponge methods both interrupt the regular spread of paint. A dry brush leaves broken strokes, while a sponge deposits clustered, uneven marks. These differences create visual or tactile-looking texture rather than a uniform flat coating. Option C is correct. Neither method is primarily intended to cut paper, erase lettering, or make opaque poster colour transparent.

The governing concept of dry-brush technique is incomplete paint transfer. When the brush contains too little moisture and too little colour, its hairs skip over the surface and leave broken, scratchy marks instead of an even film. Therefore, option A is correct. Suitable water and a fully loaded brush generally support smoother coverage, while paper smoothness alone is not the defining cause. A suitably moist, evenly loaded brush is better for flat areas.

The governing technique is the press-and-lift brush stroke. A round dot is formed when the loaded brush touches the surface and is lifted vertically without sideways movement. If it is dragged, wet paint stretches in the direction of motion and the circular mark becomes oval. Therefore option C is the most direct cause. Excess water may cause spreading, and uneven bristles may roughen an edge, but neither specifically explains directional elongation as well.

The governing concept is brush control: paint consistency alone cannot guarantee a smooth surface. If pressure, stroke direction, or speed changes, some strokes deposit more pigment and remain visible after drying. Therefore option C is correct. Colour purity, a written title, or a white palette does not directly create repeated brush marks. Use steady pressure, parallel strokes, and an appropriate brush.

The governing concept is controlled brush handling. Line width changes when pressure, speed, brush angle, or paint loading changes during the stroke. Keeping pressure and movement reasonably steady produces a more even curved edge, so option A is best. Repeated dipping adds uncontrolled water, very thin paint reduces body and coverage, and rapidly rotating the paper can make hand control worse rather than solving the brush-pressure problem. Practising the movement beforehand improves consistency.

The governing principle is colour hierarchy and visual balance. One dominant colour unifies the poster, while smaller accent colours create emphasis and guide the viewer toward the main message. Adding more bright colours increases competition, equal areas remove visual priority, and adding black to every colour can make the design dull or muddy. Therefore, choosing one dominant colour and using the others sparingly is the balanced solution.

The governing concept is the dry-brush texture. A dry brush carries little moisture, so thick poster colour touches only parts of the paper surface instead of spreading into a continuous film. The result is a broken, grainy, rough mark that can be used deliberately for texture. Transparency is associated with a thin watery layer, while a glossy or smoothly wet surface requires more fluid paint and a well-loaded brush. Hence option A is correct.

A flat brush has a narrow edge that can act like a precise line-making tool. By holding that edge steadily and changing direction carefully at the meeting point, the painter can form a clean, sharp corner. Therefore, option A is correct. Circular movement, excessive pressure, or dripping paint reduces control and usually produces blurred or uneven edges.

Fine detailing requires control, contrast, and separation between layers. A dry base prevents the new paint from bleeding, opaque light colour contrasts clearly with the dark area, and a fine brush controls small lines and shapes. Hence option A is best. A wet base or watery paint may spread, a broad brush lacks precision, and clean water cannot create a visible detail.

The governing concept is brush control in dot application. Dot size is mainly determined by how much paint is loaded onto the brush and how firmly or long it touches the paper. Using a similar load and steady, light pressure produces repeated dots of comparable size. An excessively wet brush spreads the paint and creates larger, irregular marks. Different colours or changing paper do not control dot dimensions. Thus option A is correct.

Uniform repetition depends on controlling both the design and the brush action. A guide shape keeps the leaves similar, while a consistent brush load, pressure, and stroke direction keeps their edges and colour coverage even. Therefore option A gives the most complete control. A different brush, changing water amounts, or working without a plan introduces variation rather than reliable repetition.