Poster colour

The governing concept is that poster colour should remain sufficiently thick to cover the surface, while a small amount of water keeps it workable. Therefore, water should be added gradually and in a controlled quantity, making option C correct. Too much water makes the mixture thin and more transparent; using no water can make it difficult to spread smoothly, and adding water after drying cannot adjust the original mixture.

The governing concept is layering: a dry first layer forms a stable boundary, so the next colour does not dissolve or flow into it. Option D is correct because allowing the first colour to dry preserves a sharp edge. Mixing wet colours or adding excess water encourages bleeding, while tilting the paper does not reliably control the boundary and may cause unwanted flow.

The governing concept is colour consistency across a large painted area. If the prepared background mixture runs out, a second batch may have a slightly different ratio of pigment and water, so it can look different from the first batch. Thus option A is correct. The paper does not automatically tear, the brush cannot become shorter, and the colour will not necessarily become completely transparent.

The governing concept is controlled overpainting. A second coat should be applied only after the first coat has dried completely, because the dry surface supports an even new layer without lifting or disturbing the paint below. Therefore option B is correct. Painting over a wet layer may create streaks, muddy patches, or uneven mixing; the other choices do not describe a valid stage of applying a second coat.

The governing concept is the balance between pigment concentration, consistency, and opacity. If a poster-colour mixture is too thin, adding a little more of the original paint increases pigment concentration and restores its covering power, so option B is correct. Adding more water would make it even more transparent; changing the brush cannot change the mixture, and soaking the paper reduces control rather than improving opacity.

The governing concept is opacity and contrast. Poster colour contains enough pigment to form a covering layer, so a light application can mask or visually separate itself from a dark paper surface. Therefore option C is correct. The effect does not depend on oil, the paper does not automatically change colour, and a brush cannot produce light; the clear appearance comes from the paint’s covering property combined with colour contrast.

The governing concept is applying a balanced film of paint. An excessively thick poster-colour layer contains more wet material than the surface can hold evenly, so it may collect into ridges or patches and require longer to dry. Option D is correct. A thick coat generally increases opacity rather than transparency; it does not disappear instantly, and the paper will not automatically become shiny simply because too much paint was applied.

The governing concept is controlled touch-up. Once the painted area has dried, applying the same colour mixture only to the unpainted spots can cover the paper without disturbing the surrounding surface. Therefore, option D is the best correction. Spreading wet paint with a finger may leave marks, excess water can cause uneven runs or weak coverage, and painting the whole area black changes the intended colour. Keeping a little mixture aside makes such repairs easier.

The governing concept is material hygiene and colour contamination. A dirty brush may carry traces of another colour, dust, or excess water into the container. Repeated contamination can gradually change the original hue and reduce its intended clarity. Hence, option A is correct. The paint will not necessarily become lighter, the container cannot expand because of the brush, and contamination does not stop drying automatically. Use a clean, suitably rinsed brush when taking colour from the original container.

The governing colour-theory concept is a tint: adding white increases a colour’s value, or perceived lightness, and commonly lowers its saturation or visual intensity. The colour may therefore look softer, paler, or less vivid, making option B correct. Mixing white does not alter the thickness of the paper, the length of the brush, or the physical size of the palette. The exact appearance depends on the original pigment and the amount of white used.

The governing concept is dilution. Poster colour normally covers well because its pigment is sufficiently concentrated. Repeatedly adding water lowers the pigment concentration, making the mixture runnier and potentially reducing its opacity and covering power. Therefore, option D is correct. Water does not make paint thicker, create a metallic sheen, or make it permanently waterproof. Add water gradually, mix thoroughly, and test the coverage before applying a large area.

The governing concept is tint correction: adding white to red produces a lighter tint, but too much white weakens the original hue and makes it look pale. The correct remedy is to add a small amount of the original red gradually, mixing and checking after each addition until the desired strength returns. More white would make the tint paler, green could dull or neutralise the red, and a lot of black would create a dark, muddy shade rather than restore the red.

The governing concept is controlled layering in opaque poster colour. An edge is easiest to refine after the painted area has dried, because a small brush can place a clean correction without disturbing or lifting the underlying layer. Working on a very wet area may cause spreading, streaking, or accidental mixing. Before painting there is no edge to correct, and a dirty brush introduces unwanted colour and weakens precision. Therefore, option D is the most suitable time.

The governing concept is wet-on-wet behaviour. A wet poster-colour background can partially mix with the lettering paint, allowing the new colour to travel into the damp layer; as a result, letter edges may spread, soften, or blur. This reduces legibility rather than making the letters clearer. Wet paint does not become instantly permanent, and moisture does not make the paper thicker. Letting the background dry before lettering gives sharper, more controlled outlines, so option D is correct.

The governing studio-practice concept is preventing colour contamination. One container is used to rinse pigment from the brush, while the second remains comparatively clean for diluting paint or preparing a fresh mixture. If the same dirty water is used for mixing, leftover pigments can make bright colours dull, muddy, or unexpectedly changed. The two containers are not paint holders, paper holders, or brush-drying devices. Therefore, option A is the best reason.

The governing concept is colour consistency through a stable mixing ratio. If a background is prepared in separate batches and the proportions of pigment, white, or water change, each batch can dry to a visibly different value, strength, or hue. Preparing enough paint at one time and mixing it thoroughly helps maintain an even field. The paper’s name, brush price, and painting title do not determine the mixture ratio. Therefore, option C is the likely cause.

The governing concept is controlled layering in opaque painting. When the first poster-colour layer is dry, the next layer is less likely to disturb or mix with it, so edges, shapes and colour boundaries can remain cleaner. Therefore C is correct. A states the opposite effect, while B and D do not follow from drying or layering. Careful drying also helps avoid accidental smearing.

The governing concept is the effect of paint thickness during drying. A very thick poster-colour layer can dry unevenly: the outer surface may contract or harden while the lower material remains moist, creating stress and visible cracks. Thus D is the best answer. A clean brush and white paper do not cause cracking, and a very thin layer is less likely to develop this specific problem.

The governing concept is the relationship between colour, subject and visual mood. A colour scheme should support what the poster communicates: energetic or warning subjects may need strong contrast, while calm or environmental themes may use more harmonious colours. A is correct because suitable colours reinforce meaning and emotion. The other options concern neither communication nor colour planning.

The governing concept is colour purity and contamination control. White poster colour can look grey, dull or dirty when a brush, palette or paint container carries even a small amount of another colour into it. B is therefore the most likely answer. An incompletely dry dark layer or excess water may also affect appearance, but contamination most directly explains a dirty white colour. Use a clean brush and palette.

The governing concept is colour value, meaning the relative lightness or darkness of a hue. Adding controlled amounts of white creates lighter tints, while adding black creates darker shades, so the base hue can remain recognisable across the samples. A is correct. Adding different primary colours changes the hue, identical samples show no range, and water mainly changes dilution or transparency.

The governing concept is controlled edge correction in poster-colour work. A jagged edge should first be allowed to dry, because disturbing wet paint can spread it further. Then a small, suitably loaded brush can refine the boundary accurately. Therefore option C is correct. Spreading wet paint or adding excessive water may worsen the edge, while erasing the whole area is unnecessary.

The governing concept is testing a medium before applying it to the final artwork. Poster colour can look slightly different in value, coverage, or finish after moisture evaporates. A dry sample lets the artist judge the actual final appearance and adjust the mixture before painting the main area. Option B is correct; the sample does not reveal brush size, change paper length, or darken colour automatically.

The governing concept is organised preparation before execution. A light outline, planned colour scheme, clean tools, and sufficient premixed colours reduce interruptions and help the finished poster remain consistent in tone and coverage. Therefore option B is correct. Unplanned mixing causes variation, soaking the paper is unsuitable for poster colour, and simply setting aside dirty brushes does not prepare the artwork.

The governing concept is adequate coverage and correction of an underdrawing. If pencil marks show through, a small amount of white can improve the poster colour’s opacity, and a controlled thicker coat can cover the lines without soaking the paper. Option B is correct. Darkening the pencil worsens the problem, thinning the paint reduces coverage, and soaking may damage the paper or cause bleeding.