Poster colour

Poster design uses colour emphasis to guide the viewer’s eye toward important words or images. Orange is a warm, lively and visually noticeable colour, so it can attract attention when used deliberately; therefore option A is correct. It is not always neutral, does not necessarily recede into the background, and has noticeable visual energy. Good poster design still requires contrast, balance and controlled use rather than filling everything with orange.

The governing concept is saturation loss caused by overmixing pigments. When many poster colours are combined, several pigments absorb and scatter light in competing ways, often producing a dull, muddy mixture with reduced brightness. Thus option C is correct. A clean brush helps prevent contamination, white paper generally supports brightness, and mixing paint less does not by itself explain a muddy dried result. A limited palette usually gives cleaner colour.

The governing concept is workable paint consistency: the colour should flow from the brush while retaining enough body and opacity. A medium, smooth mixture spreads evenly and can be controlled, so option B is correct. Very dry paint drags and leaves gaps or brush marks; very watery paint runs, becomes thin and may streak; a grainy mixture produces an irregular texture instead of a uniform coating. Mix and test before applying.

The governing concept is adjusting paint consistency gradually. If poster colour drags, it is usually too thick or partly dried, so adding a small amount of clean water and mixing thoroughly makes it spreadable; option A is correct. Adding more pigment makes the mixture thicker, black changes only its value and colour, and cutting bristles damages the brush without correcting the paint. Too much water should be avoided because it reduces opacity and control.

Poster colour is designed to form a comparatively thick, opaque layer. When excessive water is added, the pigment becomes diluted and spreads into a thinner film, so the colour covers the paper less effectively. Therefore, option B is correct. Opacity and covering power decrease rather than increase; water cannot create a metallic shine, and the paint will not remain permanently wet.

A clean edge is made by establishing the boundary with a controlled brush movement before filling the larger interior space. After the edge is secure, the remaining area can be filled toward it without allowing paint to cross the outline. Therefore, option A is correct. Guessing the edge afterward, letting paint flow, or rubbing wet paint with an eraser reduces control and may spoil the surface.

Poster colour layers need sufficient drying time so that the earlier pigment remains stable. If a new layer is brushed over a wet one, moisture and brush pressure can dissolve, lift, or spread the underlying colour. This can blur boundaries and produce unwanted mixing, making option A correct. Wet layering does not automatically smooth the paper, guarantee greater brightness, or protect the first layer unchanged.

A dry first layer provides a stable surface for the next application. Because the pigments are no longer freely moving, the upper colour is less likely to dissolve or disturb the lower one, so outlines and boundaries remain sharper. Thus, option A is correct. The new colour does not always become transparent, the paper does not stop absorbing paint, and proper layering does allow adhesion.

The governing principle is controlled colour mixing: a dark pigment usually has a strong tinting effect, so even a small quantity can change a light colour greatly. Therefore, add the dark colour gradually, mix thoroughly, and check the result after each addition; option A is correct. Adding a large amount at once may make the mixture too dark and difficult to correct, while a palette and a dry brush do not determine the correct quantity.

The governing concept is consistency of paint application. Keeping the paint-to-water ratio steady gives each brushload a similar thickness and colour strength, helping the background appear even. Different water amounts create light and dark patches; using unmixed paint can cause uneven pigment, and repeated rubbing over wet colour disturbs the layer. Controlled, parallel strokes also support a uniform finish.

The governing concept is uniform coverage. If different brushloads contain different amounts of pigment or water, some strokes become darker and thicker while others become pale and thin, producing visible patches. A clean brush and a suitable palette generally help control the work, not cause this problem. Paper texture can influence appearance, but it is not the stated general cause; mixing the paint regularly and maintaining a steady ratio reduces patchiness.

The governing concept is air entrainment. Vigorous or rapid beating of poster colour can trap air in the mixture, and that trapped air may appear as small bubbles when the paint is applied. Slow, even mixing is the safer method and is therefore not a cause. A small amount of clean water may adjust consistency when appropriate, while keeping the paper flat does not create bubbles. Letting foamy paint rest briefly can help.

The governing concept is controlled brushwork. A light preliminary outline establishes the circular path, and a thin brush allows the artist to guide the edge without spreading paint beyond it. The inside can then be filled carefully. Pouring paint or using a broad brush without control makes the boundary irregular, while running a compass over wet paint can scratch or disturb the paper and colour.

The governing concept is consistent brush pressure and tool control. A suitably sized flat brush deposits a predictable width, and maintaining even pressure through each stroke keeps the lettering uniform. Changing brush sizes can produce inconsistent widths; too much water makes poster colour run or spread; repeated reworking disturbs the edges and creates patches. Practising the strokes on scrap paper before the final poster improves control and confidence.

The governing concept is colour harmony and visual unity. A limited palette restricts the number of colours, so the main colour, supporting colour and accents work together instead of competing for attention. This makes the poster organised, attractive and easier to understand; therefore option A is correct. Option B states the opposite, while C and D are not effects of limiting a palette.

The governing concept is value modelling: shaded surfaces are represented with darker versions of the local or base colour. Mixing a small amount of a darker colour creates a shadow tone while preserving the object’s colour identity, so option A is correct. White produces a highlight, excess water changes consistency rather than reliably creating shade, and erasing removes paint instead of modelling form. Shadows should also follow one consistent light direction.

The governing concept is value modelling. Light areas appear closer to the light source, while darker values suggest turning surfaces, recesses and cast shadows; together they make a flat shape appear to have volume and depth. Thus option A is correct. One uniform colour removes useful value information, erasing edges weakens form, and excess water affects paint consistency rather than creating reliable depth.

The governing material concept is controlled paint thickness and drying. A very thick, uneven poster-colour layer can lose moisture at different rates across its surface; shrinkage and tension may then produce cracks or an irregular texture. Therefore option A is a plausible cause. A clean brush and a light sketch do not normally create cracking, while a correct water ratio generally helps prevent application problems rather than causing them.

The governing material concept is uneven moisture absorption. If one area receives too much water, its paper fibres absorb more moisture and expand more than the surrounding areas. As drying occurs, the unequal expansion and contraction can bend or buckle the sheet, so option A is correct. A thin, even layer and fixing paper to a board usually reduce warping; covering the paint container does not bend the paper.

The governing idea is surface control: lightly taping the sheet to a board keeps it steady while colour is applied. A stable sheet allows the learner to guide the brush accurately, maintain cleaner edges and reduce accidental movement or wrinkles. Therefore option A is correct. Tape does not mix colours, alter transparency, or change the brush shape; it only supports the paper during painting.

The governing concept is protection from light exposure. Strong direct sunlight contains energetic light that can gradually weaken some pigments, so the colours may lose intensity and appear faded after repeated or prolonged exposure. Therefore option A is correct. The result is not that every colour becomes darker, and sunlight cannot turn paper into metal or make a dry artwork wet. Store the painting in a dry place away from direct light.

The governing concept is an organised painting sequence. Planning establishes the composition; a light sketch places the main forms; filling large areas first creates an even base; and details are added after the structure is stable. Therefore option A is correct. Starting with tiny details or spreading every colour at once risks confusion, while repeatedly working on wet layers can cause unwanted mixing and muddy edges.

The governing concept is the covering power, or opacity, of poster colour. Once the original layer is fully dry, a suitable opaque colour can be placed carefully over the mistake, allowing the area to be rebuilt without disturbing the rest of the painting. Option A is correct. Soaking the sheet or rubbing the whole artwork may damage paper and nearby layers, while cutting the paper is not a normal painting correction.

The governing concept is matching the tool and paint consistency to the area being covered. A broad flat brush reaches more of a large surface in each stroke, while evenly mixed paint spreads with a consistent colour load. Option A is therefore correct. A thin pointed brush is better for details, a dry brush with too little paint leaves gaps or streaks, and water alone cannot provide an opaque colour layer.

The governing concept is diagnosing application quality by checking the brush and mixture first. A brush that is too dry may drag instead of laying down a continuous stroke, while paint that is too thick or unevenly mixed may spread irregularly. Thus option B is correct. The title, paper length and palette colour do not normally cause repeated streaks; they are unrelated to the paint-transfer process.