Poster colour

The governing concept is edge control through brush size and paint loading. A small brush gives better precision, while a reduced amount of paint prevents flooding across the boundary. Thus, option A is correct; working from the inside toward the edge also helps maintain a clean outline. More water increases spreading, a broad brush pressed firmly deposits excess paint, and tilting the paper does not provide reliable control of the wet colour.

The governing concept is maintaining a wet edge in flat painting. When one area partly dries before the next stroke joins it, the second stroke does not blend evenly with the first, so an overlap or darker band becomes visible. Therefore, option C is correct. Bright colour, a paper outline, or a new brush does not by itself create these joins. Working systematically while the neighbouring area is still workable helps produce an even surface.

The governing concept is reactivation of a water-based paint layer. Repeated rubbing with a wet brush can soften the dried poster colour, disturb its adhesion, and lift pigment from the surface. This creates patches, streaks, or uneven areas, so option D is correct. Rubbing does not reliably make the layer glossy, thicken the paper, or produce a metallic effect. Corrections should therefore use limited, controlled strokes after the surface has dried.

The governing concept is controlled repetition: guide marks establish equal spacing, while an equal brush load helps keep each dot similar in size and opacity. Therefore option A combines the two controls needed for a regular decorative sequence. Random placement does not ensure order, changing brushes does not guarantee uniform dots, and wetting the paper may blur their edges rather than improve accuracy.

The governing concept is reproducibility in paint mixing. Recording the amount or ratio of each colour and the water used gives a practical recipe, while a dry sample shows the final appearance after drying. Thus option B is most useful. A colour name is too vague, and brush size or paper name alone cannot reconstruct the mixture’s hue, strength, and value.

The governing concept is tint correction: adding white raises lightness but too much white can weaken the original hue and make the mixture look chalky. Option C restores a small amount of the base colour, bringing back hue strength and visual liveliness without making the tint excessively dark. More white worsens the problem, much black over-darkens it, and extra water mainly reduces opacity.

The governing concept is controlled layering. A heavy poster-colour deposit can dry unevenly: the surface contracts and stress may produce cracks. Option D is the suitable corrective decision because thinner, balanced coats reduce excess material and allow more even drying. Adding another thick coat increases the risk, pouring water can disturb the surface, and folding the paper does not correct the paint film.

The governing concept is opaque overpainting on a dry surface. Letting the dark background dry prevents mixing and smearing, while a clean brush and sufficiently opaque light colour keep letter edges sharp and readable. Therefore option A is correct. A wet background can bleed, thin white may not cover the dark ground, excess water weakens opacity, and a dirty brush contaminates the lettering.

The governing concept is uniform value in a flat painted area. If some strokes receive more paint or form thicker layers, they can dry with different optical values, making blue appear lighter in one place and darker in another. Option B identifies both missing controls. The colour-scheme name, subject, and paper size do not regulate how much paint is deposited in each section.

The governing concept is value contrast. Hue describes the colour family, while value describes relative lightness or darkness; even with the same hue, a sufficient value difference helps the eye separate adjacent shapes and recognize the boundary. Thus option C is correct. Equal values reduce separation, water may cause bleeding, and wet blending softens or removes the intended edge.

The governing concept is precision through moisture and tool control. Fine details spread when the brush carries excess water or paint, especially on a damp ground. Option D corrects both causes by using a small brush, limited moisture, and a controlled load, preferably on a dry surface. More water, a broad brush, or a wet background would make spreading and loss of edge control more likely.

The governing concept is preliminary testing for predictable application. A small sample reveals the mixture’s consistency, its value after drying, its coverage, and whether the chosen brush leaves acceptable strokes on the actual surface. Therefore option A is correct. Measuring paper length, checking brush price, or renaming the colour provides no evidence about how the red background will actually look or behave.

The governing concept is gentle overpainting after adequate drying. If the lower layer is still soft, repeated brushing can re-wet and lift it. Option B allows more drying time and limits contact, reducing disturbance of the base coat. Pressing harder, adding water, or repeatedly rubbing increases friction or moisture and therefore makes lifting, streaking, and colour contamination more likely.

The governing concept is lettering control through measurement and alignment. A light baseline and cap-height guideline establish the same vertical limits for every letter, so the word appears orderly and readable. Therefore, option C is correct. Diluting paint changes consistency, washing the brush improves cleanliness, and darkening the background affects contrast, but none of these fixes unequal letter height. Guidelines should be drawn lightly before painting.

The governing mixing principle is to control a strong pigment by adding it gradually to a lighter base. A small quantity of dark colour can noticeably change white, so option D allows the tint to be adjusted step by step and avoids wasting white paint. Adding more white at once reduces control, black makes the mixture darker, and extra water changes opacity rather than producing a controlled light tint.

The governing concept is value, meaning the relative lightness or darkness of a colour. In a monochromatic study, arranging tints and shades of one hue creates foreground-background separation, modelling, and the appearance of volume. Therefore, option A is correct. Different primary colours are not monochromatic, one value removes depth cues, and painting everything black eliminates useful variation.

The governing concept is reproducible colour mixing. If the amounts of poster colour and water are recorded, the artist can prepare another mixture with nearly the same thickness, coverage, and colour effect. This is especially useful when a large area needs matching or a correction is required later. Therefore option A is correct; recording a ratio cannot dry paper, renew a brush, or guarantee brightness in every colour.

The governing concept is controlled layering and surface preservation. Every extra coat adds wet material, and repeated brushing can disturb earlier layers, create visible strokes, produce uneven thickness, or weaken and roughen the paper. On a large area, unnecessary repainting also increases drying problems. Hence option D is correct. The colour name, brush size, and paper dimensions do not change simply because an area is repainted.

The governing preparation principle is using a light underdrawing before applying paint. Thin or light poster-colour areas may not fully hide a heavy pencil outline, so dark preliminary lines remain visible and make the finished contour appear too dark. Option B is correct. Thin paint can affect coverage, but the stated main cause is an overly dark or thick initial drawing; clean paper and brush size do not create that outline.

The governing concept is controlled adjustment of hue and value. A pale tint should be strengthened by adding a small amount of its base hue, not by adding more white or water, both of which make it lighter. A complementary colour can dull or shift the hue unexpectedly. Thus option D is correct. Mix gradually, apply a test patch, let it dry, and judge the final colour before continuing.

The governing concept is consistency of paint application and value. If a repeated shape receives a heavier brush load or a thicker layer, more pigment covers the paper, so that shape can dry to a darker value. Hence option B is correct. Shape names and paper length have no effect on darkness, and a dry background alone is not the main explanation. Equal loading and repeated strokes improve uniformity.

The governing concept is modelling form through value changes. A light source creates a lighter area, a middle value, and a darker shaded area; arranging these transitions consistently makes a flat shape appear three-dimensional. Therefore option C is correct. One flat value gives no volume, unrelated colours confuse the form, and a dark outline alone does not model turning surfaces. Establish the light direction first.

The governing concept is controlled layer thickness and uniform paint consistency. A very thick application contains more binder and moisture to dry, while an unevenly mixed paint film dries at different rates and may remain tacky or irregular. Thus option D is correct. A light outline, white paper, or a clean brush does not normally produce a sticky final surface. Apply an even layer and allow adequate drying time.

The governing concept is preventing cross-contamination of pigments. A clean palette, fresh separate water, and a properly washed brush keep unwanted traces of other colours out of each mixture, preserving hue and brightness. Therefore option A is correct. Dirty water, a brush shared without washing, or premixing all colours introduces uncontrolled contamination and reduces colour purity. Clean tools are part of good technique.

The governing concept is uniform coverage. When the paint-to-water ratio changes across one area, some sections become more transparent or thinner while others receive heavier pigment, producing visible patches after drying. Therefore option A is correct. White paper, a new brush, and a rectangular format do not by themselves create uneven colour. Prepare enough uniform mixture and spread it with consistent pressure and overlapping strokes.