Poster colour

The governing concept is controlled application of poster colour. A brush held with steady pressure and paint mixed to a suitable consistency helps the colour stop at the intended boundary. Option B is correct because it combines brush control with proper thickness. Excess water causes spreading, whereas a dirty palette or folded paper makes clean edges more difficult rather than easier.

The governing concept is colour harmony and planned visual design. A colour scheme limits and coordinates the colours used, creating unity, emphasis, and a clearer appearance in the poster. Option C is correct because planned colours make the artwork more organised and attractive. Choosing a scheme cannot cut paper, increase the number of brushes, or prevent paint from drying.

The governing concept is visual balance and purposeful colour selection. When many colours are added without a plan, they may compete for attention, weaken emphasis, and make the message harder to read. Option D is correct because the poster can look confused or unorganised. Unplanned colour use does not automatically enlarge letters, simplify the design, or make the paper thicker.

The governing concept is orderly layering and control in painting. Large areas should be completed first and allowed to dry; then small lines, highlights, or lettering can be added without disturbing the underlying colour. Option A is correct. Adding details before the base is ready can cause smearing, while folding the paper or washing away the paint would damage the artwork.

The governing concept is disciplined studio practice. Planning helps organise the design, practice improves control, and clean tools keep colours from becoming muddy or contaminated. Option B is correct because these habits support consistent, careful results. Rushed mixing, dirty water, and open containers create dull colours, unwanted marks, drying, or waste rather than improving the painting.

The governing concept is basic artwork care and protection. After the painting has dried completely, keeping it on a dry, flat surface helps prevent moisture damage, smudging, curling, and bending. Option C is correct. A wet place and a water container can damage the paper, while strong direct sunlight may fade colours over time. Proper storage preserves both the surface and appearance.

The governing concept is the proper use of painting tools. A palette provides a clean, convenient surface where poster colours can be placed and mixed to create the required shades or consistency. Option C is correct. A ruler measures or guides straight lines, scissors cut paper, and an eraser removes pencil marks; none is designed for mixing paint. Cleaning the palette after use also helps preserve colour quality.

The governing concept is matching an art tool to its function. A brush holds and spreads poster colour across paper in a controlled way, allowing the artist to make broad areas, fine lines, and different stroke widths. Option D is correct. A pencil is mainly used for preliminary drawing, a compass for circles, and a cutter for cutting materials, so none of those is the normal tool for applying paint.

The governing concept is colour value, which describes how light or dark a colour appears. Adding a small amount of black lowers the colour’s value and produces a darker shade, making option C correct. White would generally create a lighter tint, while adding water mainly dilutes the paint and can reduce opacity. Excess black may also make the mixture look dull.

The governing concept is proper care and storage of painting materials. Poster colour contains moisture, and leaving its container open allows water to evaporate; the paint then becomes thick or dries out. Closing the lid after use therefore makes option D correct because it preserves the usable consistency of the colour. The other choices do not describe any useful purpose of replacing the lid.

The governing concept is surface preparation before painting. Clean, dry paper gives poster colour a stable surface, allowing the paint to spread evenly and adhere properly; therefore option A is correct. Very wet paper can make the colour run and may become wavy, a folded sheet prevents an even finish, and oil can repel water-based paint and interfere with adhesion. Preparing the paper improves control and neatness.

The governing concept is dilution and opacity. Poster colour normally covers the surface with a fairly solid layer, but adding excessive water decreases the proportion of pigment in the mixture. It therefore becomes runny and less opaque, so option D is correct. The paint does not become thicker, metallic, or instantly black. A small controlled amount of water may improve flow, but too much weakens coverage and can cause unwanted spreading.

The governing concept is the visual character of poster colour as an opaque painting medium. Because it contains comparatively strong pigment, it covers the surface and produces solid, bright areas rather than a transparent wash. Therefore, option D is correct. Watercolour is more associated with transparent layers, while a blurred or glass-like effect is not the defining quality of poster colour.

The governing painting principle is to build colour gradually and preserve the ability to correct the work. A light first layer can be adjusted or covered with a darker colour, whereas a dark mark is harder to remove cleanly. Thus option A is correct. Starting light does not change the paper thickness, brush size, or drying speed, so options B, C, and D are unrelated.

The governing concept is controlled brush loading. When a brush carries excessive poster colour, the paint may pool, form a thick ridge, or leave an uneven surface instead of an even opaque stroke. Therefore option C is correct. Excess paint does not make the colour automatically lighter, dry the paper, or turn the painting transparent; those effects do not follow from overloading the brush.

The governing concept is separating painted layers so that wet pigment does not migrate across an intended edge. Allowing the first colour to dry creates a stable boundary; the next colour can then be applied with less bleeding and greater control. Therefore option D is correct. Spreading both colours together or adding much water would usually make the edge less clear, and folding the paper is irrelevant.

The governing concept is the formation of a tint. Adding white to blue increases its lightness while retaining its blue hue, producing light blue; therefore option D is correct. Adding black generally creates a darker shade or tone, while red or yellow changes the hue rather than simply lightening it. The amount of white controls how pale the resulting blue appears.

The governing concept is colour consistency across a large painted area. Preparing enough of the same mixture before beginning helps the artist maintain a uniform hue, opacity, and value throughout the background. Therefore option A is correct. Mixing after every stroke can create visible variation, soaking the paper is unnecessary for poster colour, and filling with black is unrelated to the stated task.

The governing concept is controlling the consistency and opacity of a paint mixture. If too much water has made poster colour thin, adding a small amount of the original base colour increases pigment concentration and restores body and coverage. Therefore option C is correct. Adding more water would worsen the problem, while changing the brush or wetting the paper does not correct the mixture itself.

The governing concept is proper care of painting tools. If a brush is left standing in poster colour, the wet paint can dry around the bristles and ferrule, bend the hairs, or weaken their shape. Consequently, option D is correct. The brush should be rinsed promptly, shaped gently, and stored with its bristles protected. The other options do not describe the normal result of leaving it in paint.

The governing concept is that wet poster colour remains movable until its water-based paint layer dries. Touching the surface can transfer paint, create fingerprints, disturb the edges, or produce smudges; therefore option B is correct. Touching does not increase brightness, thicken the paper, or permanently lighten the colour. The safest method is to keep the artwork flat and allow it to dry undisturbed.

The governing concept is visual communication: a school poster must attract attention and make its message readable from a reasonable distance. Poster colour is generally opaque and can produce strong, bright areas with clear contrasts, so option D is correct. It is not always transparent, is available in many colours, and does not harden paper as its main purpose. Its visual clarity supports effective poster design.

The governing concept is layered paint application. The first coat must dry before a second coat is added, because a wet lower layer can be lifted, mixed, or dragged by the brush. Therefore option A is correct. Applying the next layer after drying improves opacity, smoothness, and colour uniformity. A wet layer causes patchiness, while torn paper and a dirty brush are clearly unsuitable conditions for clean painting.

The governing concept is consistency and moisture control in paint application. If the poster-colour mixture is too thick, unevenly prepared, or used with a brush that has insufficient moisture, the strokes do not join smoothly and visible streaks remain. Thus option D is correct. The colour name, the whiteness of the paper, and the round shape of the palette do not normally create streaks. Adjusting the mixture and using a suitably moist brush can improve coverage.

The governing concept is selecting a pigment that matches the intended mark. To make white dots, the artist must use white poster colour, so option A is correct. White dots are especially visible when placed on a darker background because the light pigment contrasts strongly with it. Black, blue, and brown would produce darker or coloured dots rather than white ones; the background may change visibility but cannot change the pigment selected for the dots.