Poster colour

The governing concept is uniform paint consistency. If one part contains more water or pigment than another, the wet mixture will dry to a different lightness or darkness, even when the same colour name is used. Therefore, option C is correct. The paper’s name, the round container, and brush length do not directly change the mixture ratio; careful measuring and thorough mixing help keep a large flat area even.

The governing concept is controlled layering in a water-based poster medium. Repeated brushing while the lower layer is wet can re-dissolve or lift that layer, disturb the paper surface, and leave visible brush marks or an uneven patch. Option D is therefore correct. Reworking does not purify the colour, increase gloss in a reliable way, or make the paper thicker. Allowing the layer to dry before correction reduces the defect.

The governing concept is opaque layering with a water-sensitive paint film. When the first layer is dry, it forms a more stable base, so the second layer can cover it without dissolving or dragging the colour below. Option C is correct. Applying paint while the base is wet can cause unwanted mixing, streaks, and lifting. Drying does not thicken the paper, make opaque paint transparent, or enlarge the brush.

The governing concept is controlled film thickness. A heavy or uneven deposit can dry with different rates of shrinkage and tension, making cracks or rough defects more visible. Option D is the best correction: remove loose material carefully, prepare the surface, and apply a moderate, even layer. Adding more paint increases the problem, excess water weakens control, and folding the paper can damage the support.

The governing concept is batch consistency across a continuous painted area. A second mixture may contain slightly different pigment, water, or blending ratios, so the dried hue, value, or opacity can differ at the join and reveal a visible patch. Option D is correct. Making a new batch does not strengthen the paper, sharpen the brush, or automatically speed drying. Preparing enough paint in advance and storing it covered helps maintain a uniform result.

The governing concept is suspension and consistency in poster colour. Pigment particles can settle at the bottom while water becomes less evenly distributed. Gentle, repeated stirring redistributes the pigment through the liquid, so the brush receives a consistent mixture and the painted area has a more even shade. Therefore, option A is correct. Stirring does not dry paint, roughen paper, or stiffen the brush; those effects are unrelated to mixing.

The governing concept is dilution by excess water. A very wet brush carries additional water into the poster-colour mixture, lowering the pigment concentration and making the paint runnier than intended. This can produce a weak, uncontrolled layer, so option C is correct. The paint does not become thicker or dry instantly, and a brush cannot become metallic through ordinary painting. Blotting the brush lightly before loading helps control the result.

The governing concept is the dry-brush effect. A dry brush has little moisture to help spread thick poster colour continuously, so the paint may catch on the surface and leave broken, rough marks. Therefore option D is correct. A transparent wash requires more water and a thinner mixture, while a very smooth layer generally needs suitable moisture and controlled consistency. Thick paint will not mix automatically simply because it is placed on a dry brush.

The governing technique is controlled layering with poster colour. Because the underlying layer is dry, the new paint should have a suitable consistency and enough opacity to cover the error evenly without running, cracking or creating unnecessary thickness. Option C gives the best control and a clean correction. Excess water causes uneven coverage, a very thick grainy layer damages the surface, and powder-like application will not form a stable painted layer.

The governing concept is drying between paint layers. When the lower poster-colour layer is still wet, brush pressure and moisture can lift it from the surface and mix it into the corrective layer. The result may be muddy, patchy or unintentionally altered colour, making a clean correction difficult. Uneven gloss, softer brush bristles and white paper are not the main risks. Therefore, option D is correct.

The governing concept is contamination control in painting. A small amount of dark pigment left in a brush, palette, or rinse water can enter a light colour and make it look dull or muddy. Therefore, option C should be checked first. Mixing proportion can alter a shade, but it is less likely to explain sudden dirtiness than contaminated tools or water. The other choices do not affect colour purity directly.

The governing concept is controlled dilution and material hygiene. If water is poured into the container, the whole supply may become unnecessarily thin, unstable, or contaminated, and its original consistency is lost. Mixing a small amount on the palette allows the artist to adjust only the quantity required. Thus option D is correct; the other choices do not describe a useful purpose of adding water.

The governing concept is gentle, controlled mixing. Beating wet poster colour very rapidly can trap air, producing small bubbles that later leave an uneven or pitted surface. Therefore option A is correct. Rapid mixing does not permanently increase opacity, cannot smooth the paper, and does not instantly harden brush bristles. A steady mixing motion with moderate pressure helps keep the paint uniform and reduces trapped air.

The governing concept is gentle surface correction while the paint remains workable. A visible bubble can be carefully released, after which a light, even stroke levels the wet layer. Hence option B is correct. Adding a large amount of paint may make the patch thick, scraping the whole surface is unnecessarily destructive, and folding wet paper can create creases or damage the design. Controlled strokes are safer.

The governing concept is controlled brush pressure for consistent mark-making. Greater pressure spreads the bristles and deposits a wider band of paint, while very light pressure may produce a thin or broken edge. Consequently, uneven pressure changes line thickness, making option C correct. Pressure does not rename the colour, make paper transparent, or create a metallic finish. A steady angle and controlled pressure produce a clean edge.

The governing concept is masking for a sharp boundary. The painted area should be allowed to dry sufficiently before the tape is removed slowly and carefully, preferably by pulling it back at a low angle. Option A is correct because premature removal can let wet paint spread or smear. Soaking or folding the paper can damage the surface, and pulling tape while painting does not create a clean edge.

The governing concept is sealing the mask and controlling paint flow. If the tape edge is loose, or if the paint contains too much water, liquid can travel beneath the boundary by capillary action. Thus option B is correct. The tape being straight, the paper being white, or the brush being clean does not cause seepage. Pressing the tape firmly and using a suitable paint consistency helps prevent it.

Long-term preservation depends on limiting moisture, excessive heat, and strong light. A dry, shaded location helps prevent paper distortion, mould growth, and fading or weakening of pigments. The painting should also be kept clean, flat, or suitably framed. Thus A is correct. Damp areas encourage damage, while water and continuous direct sunlight create additional preservation risks.

A sound painting workflow begins with planning the composition, colour scheme, and materials. Testing a small sample reveals how the mixture behaves before it is used extensively. The artist can then cover large areas evenly and, after suitable drying, add smaller details and corrections. Therefore B is correct; the other sequences increase confusion, smearing, or avoidable errors.

The governing concept is colour contamination: a small amount of dark pigment left in the brush or mixed into the white paint reduces the white paint’s value and makes it appear grey. Therefore, option C is correct. Opacity, paper thickness, or the straightness of the line does not normally create this specific colour change. A clean, well-rinsed brush and separate white mixture help preserve a bright fine line.

The governing concept is drying and layer adhesion. A thick poster-colour layer remains soft or partly wet for some time; brushing another coat over it can re-dissolve, drag, or lift the first layer. This makes the surface patchy and uneven, so option D is correct. The other choices describe effects that do not logically follow from applying a coat too soon. Allowing the first layer to dry reduces this risk.

The governing concept is control of paint consistency and brush moisture. A brush that holds a suitable amount of moisture, together with evenly mixed paint of medium consistency, allows the colour to spread smoothly without excessive pooling or dragging. Thus, option A is correct. A dry brush with thick paint causes rough marks, wet paper reduces edge control, and changing colour on every stroke prevents a uniform flat layer.

The governing concept is brush control during lettering. Pressing harder, changing the brush angle, or slowing the movement at one part of a stroke deposits more paint and widens that section. Therefore, option B is correct: uneven pressure and angle explain why the lower part becomes thick while the upper part remains thin. Hue and paper colour do not determine stroke width, and a dirty palette may affect colour but not this consistent shape change.

The governing concept is the difference between wet and dry colour value. If a test patch becomes lighter after drying, the next wet mixture should be adjusted slightly darker so its dried value reaches the intended result. Hence, option C is correct. Adding water or white generally makes the mixture lighter, while changing the brush does not correct a predictable value shift. A dry sample provides the most useful reference.

The governing concept is consistency of hue, value, and paint ratio. If the entire background mixture is prepared together in a sufficient quantity, the proportions of pigment, white, and water remain nearly constant across the surface. Therefore, option D is correct. Different brushes do not guarantee the same mixture, several ratios deliberately create variation, and repeatedly adding white changes the colour while painting. Planning the required quantity prevents interruptions and mismatched batches.