Poster colour

The governing concept is opacity and contrast. Light poster colour contains enough pigment to cover or visually stand out from a darker paper surface instead of allowing the base to dominate. Therefore option B is correct. Its opaque layer reflects light and remains visible, especially where the colour contrast is strong. It does not cut the paper, consist only of water, or become visible because it is colourless; those statements do not describe the medium’s behaviour.

The governing concept is controlled thickness in paint application. A very thick poster-colour layer can collect in raised areas, dry unevenly, crack or remain visibly lumpy, so option C is correct. Poster colour does not become transparent simply because it is applied thickly, and it will not straighten the paper or disappear completely. Thin, even coats are easier to dry and generally produce a smoother, cleaner surface.

The governing concept is cleanliness of painting materials. A dirty brush can carry leftover pigment, dust, or water into the poster-colour container, changing the original colour and making it muddy or impure. Therefore, option D is correct. Options A and B describe effects that do not follow from a dirty brush, while option C is unrelated to painting. The brush should be washed and excess water removed before collecting fresh colour.

The governing technique for a flat background is even application of a consistent colour. Preparing enough well-mixed poster colour prevents interruptions, and a broad brush covers a large area with fewer visible strokes. Thus, option A is correct. Making different blues creates uneven sections, tearing the paper damages the surface, and adding sand is unsuitable for a smooth sky background. The brush should be loaded evenly and moved in controlled strokes.

The governing concept is controlled correction of wet poster colour. If two colours mix accidentally, disturbing the wet layer or adding water can spread the pigment and produce a muddy patch. Letting the area dry creates a stable surface, after which the intended colour can be applied carefully over it. Therefore, option B is correct. Folding the paper or painting the whole picture black does not solve the local problem and wastes the artwork.

The governing concept is control of paint quantity. A clean dot requires enough poster colour to transfer a definite mark, but not so much that it drips, spreads, or loses its shape. Therefore, option C is correct. A large dripping load can make an irregular blot, while no paint or only water cannot create a coloured dot. The artist should remove excess paint from the brush tip and test the consistency before making the mark.

The governing concept is proper care and storage of a finished painting. Poster colour should be allowed to dry completely before the artwork is handled or stored. Keeping the dry sheet flat reduces the risk of smearing, sticking, creasing, or damaging the painted surface. Hence, option D is correct. Folding it while wet, adding water, or rubbing the paint can spoil the image and disturb its colour layer.

The governing concept is preventing colour contamination during painting. One container can receive the dirty water used to rinse the brush, while the second remains relatively clean for controlled dilution or clean mixing. This helps preserve the intended colour and prevents muddy mixtures, so option A is correct. The other options do not explain the practical purpose of two water containers and do not support clean brushwork.

The governing concept is even filling of a painted area. If brush strokes are uneven, some parts of the paper may receive little or no pigment, leaving visible white spots. Therefore, option B is correct. Brightness of the colour does not create unpainted gaps, and the size of the paper is not the direct cause. A clean palette is helpful, not a reason for white patches. The area should be inspected and covered with controlled overlapping strokes.

The governing concept in lettering is visual consistency and readability. Letters appear neat when their strokes have reasonably uniform thickness and their boundaries are clean and controlled. Thus, option C is correct. Excess water can cause bleeding, a different brush for every letter is unnecessary, and a wet background can blur the edges. Careful brush control, suitable paint consistency, and a dry surface help produce clear poster-colour lettering.

The governing concept is control of paint consistency and opacity. Poster colour is usually relatively thick and opaque, so repeatedly adding water dilutes the pigment and binder. The mixture becomes runnier and may cover the paper less effectively, making the underlying surface more visible. Therefore, option D is correct. Water does not always turn colour black, cannot lengthen brush bristles, and does not make the mixture thicker. Add water sparingly and test the consistency first.

The governing concept is preparation before execution. Planning the composition and arranging the required colours, brushes, water, palette, and paper make the painting process orderly and reduce avoidable mistakes. Therefore, option A is correct. Mixing all colours together destroys colour separation, fully wetting the paper is not generally required for poster colour, and using an unwashed brush can contaminate fresh paint. Good preparation supports cleaner, more controlled work.

The governing idea in beginner poster-colour practice is to develop control, even application, and confidence before attempting complex details. Filling simple shapes with flat, opaque colour lets a learner practise loading the brush, staying within boundaries, and maintaining an even layer. Therefore option B is correct; a complex painting is too difficult initially, while folding paper or keeping the brush dry does not practise painting.

The governing property tested here is opacity, which means the pigment covers the surface instead of allowing the underlying paper or colour to show clearly through. Poster colours are generally opaque and are valued for strong, bright coverage. Thus option A is correct. Watercolour is commonly associated with transparency, while metallic and natural describe possible appearances or sources, not the defining type of poster colour.

The governing material principle is that poster colours are water-based, so a small amount of clean water reduces their thickness and makes them easier to spread. Therefore option B is correct. The amount should be controlled: too much water can make the colour runny, reduce its covering power, and produce an uneven layer. Oil, glue, and sand do not normally serve as the thinning agent for poster colour.

The governing technique is controlled application of liquid or paste-like pigment, for which a brush is designed. Its bristles carry the colour and spread it across the paper with control, allowing both broad areas and smaller details to be painted. Therefore option B is correct. A comb, needle, or hammer may be useful for other activities, but none is the normal tool for applying poster colour evenly.

A central property of poster colour is good covering power, also called opacity or coverage. This means the applied pigment forms a visible layer that hides much of the surface beneath it. Hence option B is correct. Poster colours can be bright, they are not restricted to cloth, and their water-based nature means they can generally be mixed with water; the other statements are therefore unsuitable.

The governing application principle is that poster colours provide bold, visible, and fairly opaque areas, making them especially suitable for poster design. They can create strong lettering, symbols, borders, and flat background areas that remain easy to see. Therefore option A is correct. Cutting stones, stitching clothes, and firing clay are different practical processes and do not normally use poster colour as their working material.

The governing studio practice is to mix pigments on a palette, a smooth, washable surface designed to hold separate colour portions and allow them to be combined in controlled amounts. Therefore option A is correct. A clean palette helps prevent unwanted contamination and keeps mixtures predictable. A blackboard, handkerchief, or shoe is not a suitable standard mixing surface because each is porous, dirty, absorbent, or difficult to clean.

In colour theory, a tint is produced when white is added to a hue, making the original colour lighter while generally retaining its colour family. Thus option B is correct. For example, adding white to blue produces a lighter blue tint. A darker shade is normally made by adding black or another darkening colour, while white alone does not create black or automatically produce a metallic effect.

The governing concept is proper storage of water-based poster colour. Closing the container prevents water from evaporating, so the paint retains suitable moisture and remains usable for later work. Therefore, option A is correct. Heating the colour, changing its shade, or making the bottle heavier is not achieved by closing the lid and does not explain the required practice.

The governing concept is choosing a surface that can withstand paint and moisture. Medium or thick drawing paper is more durable, absorbs the required amount of water, and is less likely to wrinkle, buckle, or tear. Thus option B is correct. Very thin paper and tissue paper are fragile, while wet newspaper is already weak and unsuitable for controlled painting.

The governing concept is control of paint consistency and opacity. Adding excessive water dilutes the pigment and binder, reducing the paint’s covering power; consequently, the colour becomes runny, thin, and often paler. Option B is correct. Extra water does not increase opacity, make the paint heavy, or create a metallic shine. Water should therefore be added gradually.

The governing concept is balanced paint consistency. Poster colour should contain enough moisture to spread smoothly, but enough pigment and body to cover the surface evenly. Therefore, option B is correct: it must be neither too thin nor too thick. Extremely dry or stone-hard paint cannot spread, while water-like paint loses covering power and may run.

The governing concept is the visual finish of a painting medium after drying. Poster colour generally dries to an even, opaque, low-shine or matte surface, which makes shapes and lettering easy to read in artwork. Therefore, option A is correct. It is not normally completely transparent or glass-like glossy, and dryness does not make the paint physically hard like metal.