Poster colour

The governing concept is the creation of a tint in an opaque paint medium. Mixing white into poster paint raises the lightness of the original colour and produces a lighter tint. Therefore, option B is correct. Black lowers lightness, while brown or a complementary colour changes the hue and may make it dull or muddy rather than simply lighter. White should be added gradually to maintain control.

The governing concept is adjusting paint consistency for application. If poster colour is too thick, add a small amount of water and mix thoroughly; repeat gradually until the paint spreads smoothly and evenly. Black changes darkness, white changes the colour’s value, and a complementary colour changes the hue, but none properly corrects thickness. Excess water should also be avoided because it can reduce coverage. Thus, option B is correct.

The governing concept is tint and shade formation in opaque paint. Mixing white into poster paint creates a tint: the colour’s value becomes lighter while its basic hue remains recognisable. Add white gradually and mix thoroughly, because a large amount can make the result very pale. Black produces a darker shade, while brown or violet changes the hue and does not normally lighten it. Thus option A is the correct and most suitable answer for poster colour.

Poster colour is generally opaque, so its lightness is adjusted by mixing in white paint. White reduces the visual strength of the original pigment and produces a lighter tint; therefore option B is correct. Black would make the colour darker, while a complementary colour may neutralise or dull it rather than lighten it. Brown would change the hue and reduce brightness, so neither is the standard choice for making a light poster-colour tint.

The governing concept is opacity, which describes how strongly a paint covers the surface beneath it. Poster colour is generally formulated to be opaque, so a reasonably thick application can hide the paper or an earlier layer and produce bold, flat areas of colour. Option A is correct. Transparent describes a different visual behaviour, while metal and cutting paper are unrelated to the nature of this painting medium.

The governing concept is dilution: adding a suitable liquid lowers the paint’s concentration and makes it easier to spread. Poster colour is water-based, so clean water is generally added in small amounts to adjust its consistency. Option B is correct. Excess water should be avoided because it can weaken opacity, reduce covering power, and cause uneven application. Oil, sand, and wax are not the normal diluents for poster colour.

The governing concept is proper storage of a water-based painting material. Closing the container after use limits exposure to air, so moisture evaporates more slowly and the poster colour remains usable for longer. Thus, option D is correct. A closed container does not change the container’s colour, shorten a brush, or dry paper. The lid should be replaced firmly after taking out paint, and the rim should be kept clean so it seals properly and prevents premature drying.

The governing material principle is adjusting the consistency of a water-based paint. If poster colour is too thick, add a small amount of clean water gradually and mix it thoroughly until it spreads smoothly. Therefore, option D is correct. Sand contaminates the paint, throwing it away is unnecessary, and oil is not the normal thinner for this water-based medium and may spoil its consistency. Too much water should be avoided because it can reduce coverage and colour strength.

The governing concept is planning the composition before applying colour. Making a light sketch first establishes the main shapes, proportions, placement, and boundaries, so poster colour can be applied neatly and corrections remain possible. Therefore, option A is correct. Tearing the paper damages the working surface, mixing every colour at once usually creates a dull muddy mixture, and covering the sheet with black removes the planned structure. The sketch should be faint so it does not dominate the finished painting.

The governing concept is layered painting: a wet poster-colour layer can be disturbed when another colour is applied over it. Allowing the first layer to dry gives it stability, so the next colour remains clearer and the edges stay cleaner. Erasing is unnecessary, wetting the paper encourages unwanted mixing, and folding can damage the artwork. Thus, option C is the correct preparation step.

The governing concept is avoiding overworking a wet painted surface. Repeated brushing can lift or redistribute the still-wet pigment, producing streaks, thin spots, muddy areas, or an uneven layer. The correct response is therefore option D. Brushing cannot turn colour into metal, change the physical size of the painting, or normally make the paper hard. Using fewer, deliberate strokes protects the finish.

The governing concept is making a tint by lightening a hue. Mixing blue with white produces light blue, so option B is correct. White increases lightness without changing blue into a completely different hue. Black would make a darker blue, red would move the mixture toward violet, and yellow would generally move it toward green. Add white gradually to control the desired shade.

The governing concept is even colour application. For a flat area, poster colour should have a smooth, moderately thick and consistent mixture so the brush can spread it evenly without streaks or bare patches. Completely dry colour cannot be applied properly, and extremely watery paint may run, become transparent, or collect unevenly. Mixing the colour before use helps maintain a uniform finish.

The governing concept is preparation of materials for water-based painting. A water container holds clean water for rinsing the brush and, when appropriate, adjusting the thickness of poster colour. A book, scissors and an eraser cannot safely serve this purpose or support brush cleaning. Keeping the container stable and changing dirty water helps prevent unwanted colour mixing and keeps the painting cleaner.

The governing concept is clean-tool practice and prevention of colour contamination. Dirty rinse water contains pigment left from earlier colours; when the brush is dipped into it, that pigment can remain in the bristles and mix with the next colour. Therefore, colours may become muddy or contaminated. Dirty water cannot purify colour, renew a brush, or change the thickness of paper. Rinse or replace the water regularly.

The governing concept is controlling moisture before applying water-based paint. A cloth or tissue absorbs the water remaining between the brush bristles, so the next poster-colour mixture is not diluted unnecessarily. Wood, soil and glass do not provide the same clean, controlled absorbency; glass especially will not absorb water. After rinsing, press the brush gently on the cloth or tissue rather than twisting or crushing its bristles.

The governing concept is stable support during painting. A flat, clean and dry surface keeps the paper steady and allows the brush to distribute poster colour evenly. A wet ground can damage or stain the paper, a curved surface makes control difficult, and sand can create an uneven texture or stick to the paint. Securing the sheet lightly, if needed, helps maintain neat edges and consistent strokes.

The governing concept is the effect of moisture on paper fibres. Thin paper absorbs water and expands; if different areas absorb different amounts, they expand unevenly and the sheet may bend, buckle or become wavy. Excess water does not waterproof the paper, permanently brighten it, or make it genuinely thicker. Using a controlled amount of poster colour and allowing layers to dry helps reduce this problem.

The governing concept is choosing a stable support for water-based paint. Medium or thick drawing paper is stronger, absorbs moderate moisture more reliably and is less likely to wrinkle or tear while poster colour is applied. Very thin newspaper can buckle and break, while transparent plastic and wet cloth are not dependable absorbent drawing surfaces. A suitable paper also gives the paint a more even surface and supports clean layers.

The governing concept is restoring the workable consistency of water-based poster colour. If the paint has become dry or unusually thick, add a very small amount of clean water and mix gently until it becomes smooth. Adding too much water at once can make the mixture runny, while sand, cutting and heating are unsuitable and may damage or contaminate the paint. Test the consistency gradually before applying it to the artwork.

The governing painting principle is to establish broad, even areas before adding small details. Beginning with a large open area allows the artist to spread the background colour smoothly, observe its consistency, and maintain more uniform coverage. Therefore, option C is correct. Tiny letters, edges, and signatures require careful control and are normally painted later so they remain sharp and are not covered accidentally.

The governing concept is visual contrast between text and background. On a dark background, light-coloured letters reflect more light and stand out from the surrounding area, so option B is correct. Dark black letters may blend into the background, and letters matching the background have very little contrast. Invisible letters cannot be read at all, regardless of the colour arrangement.

The governing concept is preparing and protecting the workspace before painting. Placing old paper, newspaper, or a washable sheet over the table creates a protective barrier, so splashes land on the covering rather than directly on the surface. Therefore, option B is correct. Pouring water can spread paint, scratching damages the table, and mixing paint in the air is neither practical nor protective.

The governing concept is safe handling of art materials. Poster colour is made for painting, not for eating or tasting, and its pigments or other ingredients may be unsafe if swallowed. Therefore, option D is correct because tasting can harm health or cause contamination. Brush damage and paper stains may happen for other reasons, but they do not explain the safety rule.

The governing concept is hygiene after handling painting materials. Paint residue and dirt can remain on the skin, so washing removes them and reduces the chance of transferring colour to the eyes, mouth, clothing, or other objects. Option A is correct. A brush must be cleaned separately, while handwashing cannot change hand size, dry a brush, or make paper shiny.