Poster colour

A colour can appear somewhat different while wet because moisture changes its surface appearance and apparent intensity. Testing a small sample on similar paper and allowing it to dry shows the likely final shade before it is used in the main artwork. Therefore, option A is correct. A sample does not lengthen the brush, cut the paper, or change the name of the colour; it is a practical colour-checking step.

The governing concept is tinting: a tint is made by mixing a colour with white. Sky blue is a light tint of blue, so adding white gradually to blue produces the required lighter shade. Black would make the blue darker, while the other mixtures would create dull or neutral results rather than sky blue. The exact shade depends on the proportion, so white should be added little by little.

The governing concept is shading: a base colour can be darkened by adding a very small quantity of a dark or modifying colour. Red mixed carefully with a little blue or black becomes a deep red that can resemble maroon. White would make red pinker and lighter, while the blue-yellow and green-white mixtures do not produce a maroon-like red. The dark colour must be added gradually to avoid overpowering the red.

The governing concept is careful surface correction. While poster colour is still wet, a loose brush hair can usually be lifted gently with clean tweezers or the tip of a clean brush, after which the area can be smoothed with a light stroke. Scratching the whole layer, flooding it with water, or tearing the paper would damage the background rather than solve the small defect. Minimal correction preserves the painted surface.

The governing concept is planning and proportion in poster lettering. A light outline first fixes the height, width, shape, alignment, and spacing of the letters, allowing the colour to be filled neatly afterward. Applying a very dark colour immediately can make errors difficult to correct. Wetting the paper is unnecessary for poster colour, and unplanned colour mixing can reduce clarity and contrast. The outline should remain light enough to be covered cleanly.

The governing design concept is contrast. Dark letters differ strongly in value from a light background, so their outlines remain visible and the message can be read quickly, even from a distance. This contrast does not hide colour, thicken paper, or dry a brush. Although colour harmony also matters, the specific reason asked here is improved legibility through a clear light-dark relationship.

The governing design concept is colour contrast. When the letters and background have nearly the same hue and value, their edges do not stand out, so the words visually blend into the background and become difficult to read. Therefore, option A is correct. Option B is unrelated to contrast, while C and D describe impossible effects of colour similarity. A poster should use clearly contrasting colours for readable lettering.

The governing concept is emphasis through colour contrast. A message attracts attention when its letters differ clearly in hue or lightness from the background, allowing the viewer to identify it quickly. Thus option A is correct. Using the same colour, muddying every colour or giving each letter a different pale colour reduces hierarchy and can make the message confusing rather than prominent.

The governing concept is value change for depicting light. Adding white to the base colour raises its value and produces a lighter tint that can represent a highlighted surface. Therefore option A is correct. Adding black lowers the value and is more suitable for a shadow, while making the whole area brown or scratching the paint does not specifically indicate reflected or direct light. The highlight should follow the chosen light direction.

The governing concept is colour cleanliness. Water used to rinse a brush gradually collects pigment, so it becomes cloudy or strongly coloured. If that dirty water is reused, it can contaminate fresh paint and make light areas look dull or muddy. Option A is correct because the water should be replaced when it is visibly dirty. The other choices ignore proper brush hygiene or give an unrelated condition.

The governing concept is controlled moisture. After washing, a brush may hold more water than is needed for the next stroke. Gently pressing it on tissue absorbs the excess without bending or damaging the bristles, helping the paint retain the intended consistency. Therefore option A is correct. Cutting bristles, darkening paint and wetting the paper are not purposes of this careful brush-care step.

The governing concept is tool maintenance. Washing removes paint, but the bristles can remain spread or bent. Reshaping the brush while it is clean helps preserve its pointed or flat working edge, so future strokes remain controlled and predictable. Option A is correct. Reshaping does not add weight, change the colour of paint, or intentionally colour the rinsing water; those effects are unrelated to brush care.

The governing concept is drying and surface protection. A covering placed on wet poster colour can touch the pigment, causing it to stick, smear, lift or lose part of its clean surface. Thus option A is correct: the painting should be allowed to dry fully before it is covered or stored. Covering does not brighten the paint, thicken the paper, or complete unfinished artwork; those options do not follow from the drying process.

The governing concept is suitability of a medium for visual communication. Poster colour is generally opaque, so it can cover the surface with clear, even and bright colour areas that remain visible from a distance. This strengthens headings, symbols and the main message. Option A is correct; B is opposite to the medium’s visible nature, C describes transparent watercolour more closely, and D is physically impossible.

The governing concept is safe handling and storage of a painted surface. Poster colour must be completely dry before the paper is folded; otherwise wet or partly dry paint may smear, stick to the opposite surface, lose sharp edges or crack after pressure is applied. D is correct. Wetting, adding paint and rubbing with a brush all increase the risk of damage rather than protecting the work.

The governing colour principle is that adding white creates a tint and increases a colour’s light value. A small amount of white mixed gradually into dark blue makes it lighter while preserving its blue identity, so option B is correct. Black lowers the value and usually makes the mixture darker; brown can dull it, while extra red shifts the hue toward violet or purple.

The governing concept is wet-on-wet colour interaction. When a second poster-colour layer is placed on a still-wet first layer, the pigments can spread into one another, producing blurred boundaries or unintended mixing. Therefore, option A is correct. Wet paint does not become instantly permanent, and the paper does not automatically harden; the brush also remains affected by moisture rather than drying immediately.

The governing concept is gradual value adjustment. White raises the lightness of a poster colour, but adding it in small portions allows the artist to observe the change and stop at the desired value. Hence, option B is correct. A large amount may make the mixture too pale; water mainly changes transparency and flow, while adding black and white together can produce an unwanted dull or grey result.

The governing concept is colour value and saturation. When white is mixed into a poster colour, the colour becomes a lighter tint, while its original intensity and depth decrease. Therefore, option B is correct. A small amount of white can create a controlled tint, but too much white makes the colour very pale. It does not make the colour darker, black, or transparent.

The governing concept is preventing colour contamination. Clean brushes and clean water keep unwanted pigment from mixing into fresh colours, so the original brightness remains stronger. Option B is correct. Dirty water can muddy colours, adding black reduces brightness, and leaving paint uncovered may allow dust or drying to affect its use. Water should be changed whenever it becomes visibly cloudy.

The governing concept is creating a highlight through a lighter colour value. Mixing a small amount of white with the base colour produces a lighter tint that can be placed on the side facing the light. Thus option A is correct. Black makes a darker shadow, water alone does not reliably create an opaque highlight, and erasing the area does not represent reflected or direct light.

The governing concept is preservation of a clean unpainted area. White paper or white paint can easily be stained by a wet brush, splashes, or neighbouring pigments, so protecting the white section and painting around it carefully is best. Option A is correct. Applying dark colour, using dirty water, or mixing all colours on it would contaminate the area and make it difficult to restore a clean white appearance.

The governing concept is controlled correction with an opaque layer. Letting the mistaken area dry prevents the wet colours from spreading further and gives the correcting paint a stable surface. Then a suitable, sufficiently opaque mixture can cover the mark neatly, so option A is correct. Rubbing wet paint can damage paper, extra water spreads the error, and tearing the sheet is unnecessary for a small mistake.

The governing concept is prevention of colour contamination. One container can remove most of the previous pigment from the brush, while the second provides a cleaner final rinse before a light or white colour is used. This keeps the next colour purer and reduces muddy mixtures. Therefore, option A is correct; the other choices do not describe a normal or safe brush-cleaning practice.

The governing concept is tool hygiene and pigment purity. White poster colour shows even small traces of darker pigments, so a separate clean brush or palette knife prevents unwanted contamination. Option B is correct because it protects the colour before and during use. Dipping coloured brushes, adding dirty water, or leaving the lid open can spoil the paint or allow it to dry.