Brush techniques

The press-and-lift stroke depends on a deliberate sequence. First, the tip or belly of the loaded brush touches the surface with light pressure, creating the wider base of the leaf; the brush is then lifted to taper the mark into a point. Hence option C is correct. Rotation, wetting, or drying is not the first required action in this stroke.

A flat or angled brush has a broad edge that can contact the surface across the width of a petal. By varying pressure and lifting or turning the brush, the artist can suggest both side edges and taper the form within one controlled stroke. Option D is correct. A damaged brush is unpredictable, while a roller or sponge cannot provide the same narrow edge control.

The governing concept is brush control: changing the angle alters the bristle contact area, while changing pressure alters how widely the bristles spread and how much paint is released. Together these actions produce thick and thin parts of a calligraphic stroke. Therefore option A is correct. Paper colour, extra water alone, and an unwashed brush do not provide deliberate control of line width.

The governing idea is continuous paint loading in fine brushwork. A liner brush carries only a limited amount of colour; if it is not loaded sufficiently, the paint is exhausted before the hand completes the stroke, causing a gap. Option B is therefore correct. Paper size, correct colour, and a relaxed hand do not by themselves interrupt paint delivery.

Fine detailing depends on a clean, pointed brush tip because the tip determines the width and direction of a small mark. The first suitable action is to wash away dried or excess colour and gently reshape the bristles, so option C is correct. Pressing harder widens the mark, shortening the handle changes balance, and wetting the paper does not repair the brush.

The governing concept is the relationship between brush angle and contact area. A nearly vertical brush usually uses a smaller part of its tip, whereas a slightly tilted brush lets more bristles touch the surface. This can spread paint over a wider path and alter the stroke texture, so option D is correct. The other choices describe effects unrelated to brush angle.

The governing concept is edge control, which describes how sharply one painted area meets another. A hard edge has a definite, easily seen boundary; a soft edge loses clarity gradually through blending or a gentle transition. Option C is correct. Neither edge is limited to a particular colour or medium, and the two are not always identical.

The governing concept is atmospheric perspective: distance is commonly suggested by reduced sharpness, contrast, and detail. A soft, less distinct edge makes a far object recede instead of competing with the foreground, so option D is correct. A very dark hard edge or a black outline usually attracts attention and makes the object appear nearer; an irregular cut edge is not a controlled distance cue.

The governing concept is brush-made texture through repeated, varied marks. Light dabbing places many small, irregular touches close together, quickly suggesting overlapping leaves without drawing every leaf separately. Therefore option A is correct. Long straight lines look linear, a smooth flat fill removes natural variation, and scratching the paper is not a suitable brush technique for foliage.

The governing concept is variation in visual texture. Bushes and other natural forms contain differences in mark length, direction, spacing, and pressure. If every stroke is identical, the repeated pattern becomes predictable and mechanical rather than organic. Option B is correct. Identical marks do not automatically increase transparency or create three-dimensional form, and they generally reduce natural appearance.

The governing concept is that brush marks should imitate the visual character of a surface. A stone is irregular, so broken dry-brush strokes catch the paper texture, while varied pressure creates changes in thickness and darkness. Therefore option C gives a convincing uneven effect. A smooth wash hides texture, thin lines are too uniform, and isolated dots do not suggest the complete rough surface.

The governing concept is directional texture: marks should follow the natural flow of the material being represented. Wood grain usually runs along the length of a board, so long, slightly irregular parallel strokes are most suitable. Option D is correct because it combines direction with natural variation. Circular patches, dots, or directionless marks would break the characteristic linear appearance of wood.

The governing concept is the highlight: a shiny surface reflects light in a small, relatively sharp area. Leaving a controlled light stroke or patch produces that bright reflection, so option A is correct. Painting everything black removes the value contrast, blurring every edge weakens the reflected glint, and simply leaving the brush dry does not by itself create a highlight.

The governing concept is form-following stroke direction. On a sphere or other rounded object, marks that curve with the surface help the viewer read its turning planes and volume. Thus option B is correct. Straight horizontal lines may flatten the object, directionless marks provide no structural clue, and an outline alone shows shape but not three-dimensional fullness.

The governing concept of cross-brushing is the intersection of separate stroke directions. The artist first lays marks one way and then applies another layer across them, producing a crossed texture and often a more blended or varied colour effect. Therefore option C is correct. One-direction marks are not cross-brushing, circular marks use a different movement, and a brush held away cannot create the intended surface marks.

Scumbling is based on applying a thin, broken layer with a light, loose movement so that some of the underlying colour or surface remains visible. Option D is correct because circular or irregular rubbing creates that broken veil of paint. Long straight lines suggest a different mark, dots describe stippling, and one complete fill would cover rather than reveal the lower layer.

The governing concept is tonal value through mark density. In stippling, closely placed dots make an area appear darker because more of the surface is covered, while wider spacing leaves more paper visible and produces a lighter tone. Therefore option A is correct. Dot spacing cannot change paper thickness, brush length, or the name of the pigment.

The governing concept of stippling is a repeated press-and-lift action that leaves separate dots. If the loaded brush is dragged before it is lifted, the mark stretches across the surface and becomes a short line or stroke rather than a dot. Thus option B is correct. Dragging does not make dots more circular, remove the colour, or clean the brush automatically.

The governing concept is pressure control: a fan brush creates separate, fine marks when used lightly. Excess pressure bends and spreads its bristles, causing several marks to merge into a broad, heavy or flat patch. Therefore option C is correct. Light pressure would preserve grass-like lines; pressure cannot make the colour automatically transparent or guarantee that every line stays separate.

The governing concept is brush capacity and softness. A mop brush has a large, soft bundle of fibres that can hold substantial water and diluted pigment, making it suitable for broad, smooth washes and gentle colour spreading. Therefore option D is correct. Technical lines require a fine liner, paper cutting is not a painting task, and dry scratches need a different tool or nearly dry technique.

The governing concept is that a brush’s shape controls the mark it produces. The slanted edge of an angled brush can reach narrow corners, define angular boundaries, and guide controlled curves. Therefore, option A is correct. It is not limited to large patches or dots, and a brush cannot create a painted stroke without paint.

The governing concept is that brush profiles determine the softness and shape of a mark. A filbert combines a broad body with a rounded end, so it produces soft oval strokes and smooth natural forms such as petals, cheeks, leaves, or clouds. Option B is correct; it does not make only hard squares, punch holes, or dry paint.

The governing concept is that bristle length affects paint-holding capacity and line continuity. A rigger has unusually long, narrow bristles that carry enough paint to draw extended, fine lines, such as branches, wires, lettering, or hair. Option C is correct. A round brush has bristles, is not restricted to broad bands, and neither brush is made only of sponge.

The governing concept is brush maintenance. When paint dries inside the ferrule, it binds the bases of the bristles together, making them stiff and preventing them from returning to their intended shape. The bristles may spread and lose flexibility, so option A is correct. It does not make the handle transparent, brighten the paint, or strengthen the paper.

The governing concept is orderly brush care. Water first loosens and removes water-based colour; mild soap then lifts remaining pigment and medium from the bristles. Finally, the clean bristles should be gently reshaped before drying. Thus option B gives the correct sequence. Leaving paint overnight or cutting the bristles damages the brush, while drying comes after cleaning.