Poster colour

Evenly securing the four edges gives the paper firm support while paint or water is applied. Moisture can make paper fibres expand and contract, causing movement, buckling, or curled edges. Taping all sides reduces this movement and helps the artist work cleanly. Option C is correct; the other choices do not describe the effect of mounting paper.

A heavy poster-colour layer contains both pigment and moisture. Thin paper absorbs this moisture quickly and may become soft, wavy, curled, or damaged when the wet surface is rubbed. The paint can still dry, but the support may lose its flat shape. Therefore D is correct; transparency, metallic paper, and permanent wetness are not normal results.

A sponge has an irregular, porous surface. When it is lightly loaded with poster colour and pressed or dabbed on paper, it transfers many small uneven marks. Repeated dabbing produces a granular, mottled, or cloud-like texture. Therefore B is correct. Fine lines and precise lettering require a suitable pointed brush or lettering tool, while a compass is used for accurate circles.

Poster colour may remain slightly vulnerable while its water-based layer is drying. If wet paintings are stacked, their surfaces can stick together, transfer pigment, smear details, or develop marks from pressure. Complete drying creates a safer separation between sheets. Therefore D is correct; spraying water, folding the work, or adding more paint would increase the risk of damage.

The governing concept is painting order and layer control. Applying the background first and allowing it to dry creates a stable field over which the main figure can be placed with deliberate, clean edges. Poster colour is often opaque enough to cover the background when applied with suitable consistency. This sequence does not prevent drying, form the figure automatically, or make all colours identical. Therefore option A states the real advantage.

The governing concept is matching brush shape to the mark required. A broad flat brush carries a relatively wide band of colour and has a straight end, so it is useful for filling large even areas, making broad washes, and producing clean straight boundaries. Option C is correct. Fine eyes need a pointed detail brush, dots depend on a different technique, and masking fluid should be removed carefully rather than with a broad paintbrush.

The governing concept is selecting a tool according to the size and shape of the area. A wide flat brush holds enough colour and covers a broad surface with fewer strokes, so option A is correct. A thin liner brush and a small nib are designed for lines or details, while a broken pencil is not an appropriate brush for applying paint. Even pressure helps the large area look uniform.

The governing concept is matching brush size and shape to the painting area. A small pointed brush reaches narrow spaces accurately and gives the artist better control near edges, so option B is correct. A very large brush, roller, or large sponge covers broad surfaces and may spread paint beyond a small boundary. For details, a light grip and a small amount of paint improve precision.

Watercolour uses water to dilute pigment, allowing the paper to remain visible through a light, transparent wash. By adjusting the water-to-pigment ratio, an artist can create pale layers as well as stronger tones. Therefore option A is correct. Charcoal, wax crayon and an ink pen generally make marks with different, less suitable characteristics for a transparent colour wash.

Poster colour contains enough pigment to cover the paper surface and produce an opaque, relatively even area of colour. With suitable consistency and an even brush movement, it is useful for flat fills in school artwork. Therefore option A is correct. Water alone has no pigment, while graphite and charcoal are drawing materials that do not normally provide a poster-like coloured fill.