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Extremadura PAU Graphic-Plastic Expression Techniques study materials
Extremadura PAU Graphic-Plastic Expression Techniques study resources

Extremadura PAU Graphic-Plastic Expression Techniques practice questions

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Question 1Graphic-plastic expression: materials, image-making and project evidence

On the European graphite pencil grading scale (H to B), what does a high 'B' value (such as 6B or 8B) indicate?

  1. A higher graphite-to-clay ratio, resulting in a softer lead that deposits darker, richer black marks Correct answer.
  2. A higher clay-to-graphite ratio, resulting in a harder lead that produces fine, light grey lines
  3. The inclusion of synthetic acrylic polymers, making the drawing lead waterproof and unerasable
  4. A wax-based formulation designed exclusively for technical isometric and architectural drafting

Explanation

The 'B' grade stands for Blackness. A higher number preceding 'B' (such as 6B or 8B) indicates a greater proportion of graphite relative to clay binder. This yields a soft lead that sheds graphite particles readily, producing rich, dark, smudgeable lines ideal for expressive tonal drawing.

Question 2Graphic-plastic expression: materials, image-making and project evidence

What is the defining physical property of natural vine charcoal (carboncillo natural) compared to compressed charcoal?

  1. It contains gum arabic binder, making its marks permanent and water-resistant on paper
  2. It is produced by carbonizing willow or vine twigs without binders, making it soft and easy to smudge or erase Correct answer.
  3. It is manufactured with heavy oil binders to create intense black lines that cannot be lifted with a kneaded eraser
  4. It is formed from compressed bone black pigment and clay to produce extremely rigid, scratch-resistant drawing points

Explanation

Vine charcoal (carboncillo natural) is made by baking un-cut willow, lime, or grapevine twigs in oxygen-deprived kilns. Because it contains no added binders, its particles adhere loosely to paper tooth, allowing effortless smudging, blending, and complete erasure with a kneaded eraser.

Question 3Graphic-plastic expression: materials, image-making and project evidence

Sanguine (sanguina) drawing chalk derives its characteristic reddish-brown color from which natural pigment component?

  1. Cadmium sulfide
  2. Burnt bone carbon
  3. Red iron oxide (hematite) Correct answer.
  4. Cobalt aluminate

Explanation

Sanguine is a traditional natural earth chalk rich in hematite (red iron oxide, Fe2O3). Used extensively since the Renaissance for anatomical and figure studies, sanguine provides warm, terracotta-red line work and smooth shading capabilities.

Question 4Graphic-plastic expression: materials, image-making and project evidence

How do soft pastels (pasteles suaves) differ chemically from oil pastels (pasteles al óleo) in terms of their binder?

  1. Soft pastels use linseed oil binders, whereas oil pastels use water-soluble gum arabic
  2. Soft pastels use shellac resin binders, whereas oil pastels use egg yolk emulsion
  3. Soft pastels use synthetic acrylic emulsion, whereas oil pastels use natural beeswax and dammar resin
  4. Soft pastels use minimal water-soluble gum (tragacanth/cellulose), whereas oil pastels use non-drying mineral oil and wax binders Correct answer.

Explanation

Soft pastels consist of raw pigment held together by tiny amounts of dry aqueous binder like gum tragacanth or methylcellulose, leaving a friable chalky deposit. Oil pastels blend pigment with non-drying mineral oils and wax, creating a buttery, waxy film that never completely hardens.

Question 5Graphic-plastic expression: materials, image-making and project evidence

In colored pencil drawing, what is the term for applying heavy pressure with a colorless blender or light pencil to fuse pigment layers into a continuous, glossy surface?

  1. Burnishing Correct answer.
  2. Scumbling
  3. Sinking in
  4. Grattage

Explanation

Burnishing in colored pencil drawing involves applying heavy pressure with a colorless wax blender or light pencil (such as white or cream). This flattens the paper tooth, forces wax/oil pigment particles into a unified layer, and creates a polished, saturated, painterly finish.

Question 6Graphic-plastic expression: materials, image-making and project evidence

Conté crayons (lápices o barritas Conté), invented during the Napoleonic Wars by Nicolas-Jacques Conté, are formulated using which mixture?

  1. Pure graphite powder and natural rubber latex
  2. Powdered graphite or charcoal, refined clay, and a small quantity of wax binder Correct answer.
  3. Bone black, linseed oil, and calcium carbonate filler
  4. Pulverized chalk, gum arabic, and turpentine solvent

Explanation

Nicolas-Jacques Conté developed Conté crayons in 1795 by combining powdered graphite or charcoal with fine clay and a wax binder, then compressing and baking the sticks. They offer firmer control than soft charcoal while producing richer, darker marks than hard graphite.

Question 7Graphic-plastic expression: materials, image-making and project evidence

Why does a traditional silverpoint (punta de plata) drawing require a specially prepared ground (such as bone ash gesso or primer) on the paper substrate?

  1. Silver metal reacts chemically with plain paper cellulose, causing immediate tearing of the page
  2. Pure silver lead is too soft and melts unless applied to a cooled plaster substrate
  3. Plain paper lacks sufficient abrasive tooth to strip minute metal particles off the silver stylus tip Correct answer.
  4. Silverpoint marks are invisible until exposed to ultraviolet light under an acid-etched ground

Explanation

Silver is a relatively hard metal stylus. Plain paper is too soft and smooth to abrade the metal point. Applying a ground containing abrasive minerals (such as calcified bone ash, zinc white, or chalk in glue/gesso) provides the micro-abrasiveness necessary to shave tiny silver particles off the tip onto the surface.

Question 8Graphic-plastic expression: materials, image-making and project evidence

What tool consisting of tightly rolled felted paper, tapered at both ends, is used by artists to blend graphite and charcoal tonal gradients without introducing finger oils?

  1. Squeegee
  2. Palette knife
  3. Brayer
  4. Tortillon (or paper stump / difumino) Correct answer.

Explanation

A tortillon (or blending stump / difumino) is crafted from rolled paper. It allows artists to smudge, soften edges, and blend dry medium particles (charcoal, graphite, pastel) with precision, keeping natural skin oils off the artwork surface.

Question 9Graphic-plastic expression: materials, image-making and project evidence

What optical change typically occurs when a heavy coat of liquid fixative (fijador) is sprayed onto an un-fixed soft pastel drawing?

  1. The pastel particles darken in tone and lose some of their velvety, light-scattering brilliance Correct answer.
  2. The pastel pigment shifts completely from warm hues to cool blue-green tones
  3. The paper substrate turns transparent due to permanent chemical etching by resin
  4. The soft pastel layers immediately dissolve into a water-soluble acrylic gloss medium

Explanation

Soft pastel paintings owe their luminous brilliance to un-bound pigment particles scattering light at micro-angles. Spraying fixative fills the air gaps around particles with resin, lowering refraction contrast, which darkens value tones and reduces delicate chalky texture.

Question 10Graphic-plastic expression: materials, image-making and project evidence

Which type of eraser is specifically designed to be kneaded into custom shapes to lift charcoal and graphite dust without tearing delicate paper fibers or leaving eraser crumbs?

  1. Hard pink rubber eraser
  2. Kneaded eraser (goma moldeable o miga de pan) Correct answer.
  3. Electric vinyl rotary eraser
  4. Abrasive glass-fiber eraser stick

Explanation

A kneaded eraser (goma moldeable) is made of pliable putty-like rubber. Instead of wearing down by friction and generating crumbs, it absorbs pigment particles directly when pressed against the drawing, making it ideal for delicate highlights and clean lifting.

Question 11Graphic-plastic expression: materials, image-making and project evidence

How does the 'tooth' (grano del papel) of a drawing substrate affect the application of dry media like charcoal and soft pastels?

  1. A completely smooth hot-pressed (satinado) surface holds maximum pastel dust without needing fixative
  2. Paper tooth refers to chemical acidity, where high tooth paper neutralizes graphite particles
  3. A textured rough grain (grano grueso) provides mechanical micro-valleys that trap and hold friable dry pigment particles Correct answer.
  4. Paper tooth acts as a waterproof barrier that prevents pastels from adhering to cotton fibers

Explanation

Paper 'tooth' describes surface roughness. Friable dry media (charcoal, chalk, soft pastels) rely on physical friction and microscopic surface crevices to strip and hold pigment particles. Rough or medium-grain papers can hold multiple layered applications of pastel dust.

Question 12Graphic-plastic expression: materials, image-making and project evidence

When framing a finished, unfixed charcoal or soft pastel artwork, what protective framing precaution MUST be implemented?

  1. Glaze directly against the artwork surface using glass without any spacer or matboard
  2. Apply hot wax polish directly across the pastel face to seal all loose pigment grains
  3. Coat the artwork in heavy varnish and vacuum-seal it inside a plastic laminate pouch
  4. Use a window matboard (paspartú) or inner spacer so the glass does not touch the pastel surface Correct answer.

Explanation

Soft pastels and charcoal remain delicate unfixed surface deposits. If glass touches the artwork directly, moisture condensation or static electricity can attract loose pigment onto the glass pane. A thick matboard (paspartú) creates a protective air space between glazing and artwork.

Question 13Graphic-plastic expression: materials, image-making and project evidence

The Renaissance drawing technique known as 'trois crayons' (tres lápices) traditionally utilizes which combination of dry media on mid-toned paper?

  1. Red sanguine, black charcoal/chalk, and white chalk Correct answer.
  2. Yellow ochre pastel, green earth crayon, and raw umber graphite
  3. Cobalt blue chalk, rose madder pastel, and silverpoint
  4. Burnt sienna ink, Indian ink, and gouache

Explanation

'Trois crayons' is a classical drawing method popularized by Renaissance and Baroque masters (like Watteau and Rubens). On toned paper (tan or grey), red sanguine establishes mid-tones and warm shadows, black chalk defines dark accents and structure, and white chalk highlights form and light direction.

Question 14Graphic-plastic expression: materials, image-making and project evidence

Fine drafting mechanical pencils (portaminas) commonly use leads with standard calibrated diameters such as 0.3 mm or 0.5 mm primarily to achieve which advantage?

  1. Rapid blending of broad atmospheric shadow backgrounds across large canvases
  2. Constant, uniform line width without requiring frequent sharpening of the lead tip Correct answer.
  3. Deep chemical absorption into oil-primed canvas grounds
  4. Instant waterproofing when exposed to water-based gouache washes

Explanation

Mechanical pencils maintain a consistent, micro-calibrated lead thickness. Unlike wooden pencils that flatten as they wear, mechanical pencil leads produce constant precision linework without the need for manual sharpening.

Question 15Graphic-plastic expression: materials, image-making and project evidence

What structural difference distinguishes hard pastels (pasteles duros / tizas) from soft pastels?

  1. Hard pastels contain no pigment, consisting only of chalk and linseed oil
  2. Hard pastels contain water-insoluble varnish that dries to a shiny plastic film
  3. Hard pastels contain a higher proportion of binder to pigment, producing firmer sticks suitable for crisp detail and sharp edges Correct answer.
  4. Hard pastels are formulated with molten beeswax that must be heated with a torch during application

Explanation

Hard pastels are manufactured with a higher concentration of binding gum relative to pigment and filler. This gives the stick structural firmness, allowing artists to sharpen edges for crisp line work and preliminary under-drawings without crumbling.

Question 16Graphic-plastic expression: materials, image-making and project evidence

Why is blowing air from the mouth across a pastel drawing to remove excess pigment dust considered an unsafe studio practice?

  1. Exhaled breath creates humidity that permanently turns soft pastels into acrylic gel
  2. Air current immediately ignites dry graphite particles through friction
  3. Blowing creates airborne particulate clouds containing heavy metal pigments (e.g., cadmium, cobalt) that can be inhaled
  4. Moisture from breath neutralizes paper pH, causing instant acid decay of the cotton sheet Correct answer.

Explanation

Blowing pastel dust launches microscopic pigment particles directly into the air. Many traditional pigments contain toxic heavy metals (cadmium, cobalt, lead) or silica dust, which pose severe respiratory hazards when inhaled into lung tissue. Tapping the board gently onto a trash collector or using vacuum extraction is recommended.

Question 17Graphic-plastic expression: materials, image-making and project evidence

Historically, Renaissance masters prepared wooden panels for metalpoint drawing by applying a ground composed of which traditional abrasive mixture?

  1. Bone dust or calcified bone ash mixed with animal hide glue (gesso) Correct answer.
  2. Powdered synthetic acrylic polymer and mineral spirits
  3. Crushed linseed oil cakes and beeswax
  4. Natural asphaltum dissolved in turpentine

Explanation

Traditional Renaissance silverpoint ground (carta tinta) was created by mixing ground bone ash (calcinated chicken or sheep bones) or crushed eggshells with white pigment (lead white/chalk) and rabbit-skin glue. Once dried, this produced a toothy, abrasive surface capable of stripping fine silver particles.

Question 18Graphic-plastic expression: materials, image-making and project evidence

When applying powdered graphite (polvo de grafito) to cover large drawing areas smoothly, which applicator is preferred for achieving soft, seamless tonal gradients?

  1. Coarse steel wool pad
  2. Chamois leather (gamuza) or soft cosmetic sponge Correct answer.
  3. Heavy bristle wallpaper paste brush
  4. Metal etching needle

Explanation

Chamois leather (gamuza) or soft sponges pick up micro-particles of dry graphite powder and distribute them evenly across paper without leaving harsh line scratches or streaky brush strokes, creating smooth atmospheric values.

Question 19Graphic-plastic expression: materials, image-making and project evidence

How does the visual sheen of a drawing created with carbon pencils (lápiz de carbón) differ from one made with high-grade graphite pencils?

  1. Carbon pencils leave a high-gloss metallic shine, whereas graphite leaves a matte chalky surface
  2. Carbon pencils appear completely transparent under tungsten studio lighting
  3. Carbon pencils produce a deep, velvety matte black finish without the metallic silvery sheen characteristic of graphite Correct answer.
  4. Carbon pencils shift to bright indigo blue when exposed to natural daylight

Explanation

High-grade graphite pencils deposit crystalline carbon plates that reflect directional light, creating a silvery glare or metallic sheen. Carbon pencils (combining charcoal and graphite powders with binder) yield a non-reflective, matte, intense black finish.

Question 20Graphic-plastic expression: materials, image-making and project evidence

In linear drawing, what distinguishes cross-hatching (sombreado cruzado) from simple parallel hatching?

  1. Parallel hatching uses wet ink, while cross-hatching is performed exclusively with soft pastels
  2. Parallel hatching follows curved form contours, while cross-hatching must always follow horizontal ruler lines
  3. Parallel hatching uses electric erasers to carve lines, while cross-hatching uses masking fluid
  4. Cross-hatching superimposes sets of intersecting line series at varying angles to build dense tonal values and shadow mass Correct answer.

Explanation

Simple parallel hatching consists of single-direction parallel lines. Cross-hatching superimposes a second (or third) layer of parallel lines inclined at an angle across the first set. Layering line series increases optical value density and simulates form curvature.

Question 21Graphic-plastic expression: materials, image-making and project evidence

What natural water-soluble plant exudate serves as the primary binding agent in traditional watercolor (acuarela) paint?

  1. Gum arabic (goma arábiga) Correct answer.
  2. Linseed oil (aceite de linaza)
  3. Casein milk protein
  4. Synthetic vinyl acetate

Explanation

Gum arabic (sap harvested from Acacia trees) is the classic binder for watercolor paint. It dissolves rapidly in water, holds fine pigment particles in suspension, and binds them transparently to paper fibers upon drying.

Question 22Graphic-plastic expression: materials, image-making and project evidence

How does gouache (témpera opaca) achieve its characteristic physical opacity compared to transparent watercolor?

  1. By mixing synthetic polyester micro-beads into transparent oil varnish
  2. By incorporating higher pigment loads and adding an inert white pigment filler like chalk or calcium carbonate Correct answer.
  3. By adding nitric acid to dissolve paper fibers underneath the paint layer
  4. By heating heavy beeswax to encapsulate liquid ink droplets

Explanation

Gouache is an opaque water-based paint sharing a gum arabic binder with watercolor. Its opacity results from a larger ratio of pigment to binder and the addition of inert white fillers (precipitated chalk, calcium carbonate, or titanium dioxide) that scatter light rather than allowing it to pass through to the paper.

Question 23Graphic-plastic expression: materials, image-making and project evidence

What chemical polymer binder defines modern acrylic paint (pintura acrílica) and accounts for its water solubility when wet but water resistance when dry?

  1. Natural gum tragacanth resin
  2. Egg white albumin
  3. Synthetic acrylic resin polymer emulsion Correct answer.
  4. Dammar tree sap varnish

Explanation

Acrylic paint features pigment suspended in an acrylic polymer emulsion (a synthetic plastic dispersion in water). As the water evaporates during drying, the acrylic polymer chains coalesce into a flexible, clear, water-insoluble plastic film.

Question 24Graphic-plastic expression: materials, image-making and project evidence

By what chemical mechanism does oil paint (pintura al óleo) dry and solidify on canvas over time?

  1. Rapid water evaporation into atmospheric air
  2. Cooling solidification of molten paraffin wax
  3. Sublimation of volatile alcohol solvents directly into gas
  4. Oxidative polymerization of drying oils absorbing oxygen from the air Correct answer.

Explanation

Oil paint does not dry by solvent evaporation. Vegetable drying oils (such as linseed, walnut, or poppyseed oil) dry through a chemical reaction called oxidative polymerization. Fatty acid chains absorb atmospheric oxygen, forming a cross-linked linoxin film.

Question 25Graphic-plastic expression: materials, image-making and project evidence

In classical oil painting technique, what is the mandatory structural rule known as 'fat over lean' (graso sobre magro)?

  1. Each upper paint layer must contain a higher proportion of oil ('fat') than the underlying layer ('lean') Correct answer.
  2. Each upper layer must contain more solvent ('lean') than the underpainting ('fat')
  3. Underpaintings must be executed in thick wax ('fat') covered by water-soluble gouache ('lean')
  4. Final varnish ('lean') must be applied onto wet un-polymerized oil paint ('fat')

Explanation

The 'fat over lean' rule dictates that successive oil paint layers must contain progressively more oil ('fat') and less thinner/solvent ('lean'). Lean lower layers dry faster and remain less flexible, while oilier upper layers dry slower and remain flexible, preventing surface cracking.

Question 26Graphic-plastic expression: materials, image-making and project evidence

Traditional waterproof Indian ink (tinta china) achieves permanent water resistance upon drying due to the inclusion of which binder ingredient?

  1. Water-soluble sucrose syrup
  2. Shellac resin (laca) dissolved in an alkaline solution Correct answer.
  3. Liquid paraffin mineral oil
  4. Unrefined wheat starch paste

Explanation

Waterproof Indian ink consists of fine carbon black (lampblack) suspended in water containing shellac (a natural insect resin) dissolved with ammonia or borax. As the water and ammonia evaporate, shellac dries into an insoluble resinous film.

Question 27Graphic-plastic expression: materials, image-making and project evidence

What health and safety reason prompts modern artists to replace traditional spirits of turpentine (esencia de trementina) with Odorless Mineral Spirits (OMS / esencia mineral inodora)?

  1. OMS causes oil paint to dry instantly within 30 seconds
  2. Turpentine is completely non-flammable, making OMS necessary for heating studio radiators
  3. OMS has refined out harmful toxic aromatic hydrocarbons, reducing inhalation toxicity and skin sensitization Correct answer.
  4. Turpentine turns all white oil pigments into dark brown asphaltum within hours

Explanation

Spirits of turpentine distilled from pine resin emit strong volatile organic compounds (terpenes and aromatic hydrocarbons) that cause dizziness, respiratory irritation, and contact allergies. Odorless Mineral Spirits (OMS) are heavily refined petroleum distillates stripped of toxic aromatic compounds.

Question 28Graphic-plastic expression: materials, image-making and project evidence

In painting, how does a glaze (veladura) differ in application and visual effect from scumbling (frotado / pincel seco)?

  1. A glaze applies opaque pastel chalk over wet ink, while scumbling sprays liquid varnish
  2. A glaze uses thick palette-knife impasto, while scumbling coats canvas in water-soluble dye
  3. A glaze uses acid to etch the canvas surface, while scumbling burns paint with a torch
  4. A glaze applies a transparent layer of thinned paint over a dry lighter base, whereas scumbling spreads an opaque dryish paint layer across textured underpaint Correct answer.

Explanation

A glaze (veladura) is a thin, fluid, transparent layer of color applied over a dried underlayer, allowing light to pass through, bounce off the underlayer, and create deep luminosity. Scumbling uses relatively stiff, semi-opaque, dryish paint dragged lightly over dry textured paint, catching on raised ridges.

Question 29Graphic-plastic expression: materials, image-making and project evidence

What natural emulsion binder characterizes genuine egg tempera (temple de huevo) painting?

  1. Fresh egg yolk separated from the albumen and diluted with distilled water Correct answer.
  2. Cooked egg whites mixed with boiled linseed oil
  3. Powdered eggshells dissolved in nitric acid
  4. Whole roasted eggs whipped with petroleum jelly

Explanation

Genuine egg tempera uses fresh egg yolk as a natural binder. Egg yolk is a stable natural emulsion of lipids, water, and lecithin (an emulsifier). When mixed with dry ground pigment and water, it dries rapidly into a durable, luminous, non-yellowing paint film.

Question 30Graphic-plastic expression: materials, image-making and project evidence

Encaustic painting (encáustica), an ancient technique used in the Fayum mummy portraits, relies on which material kept in a molten state during application?

  1. Liquid latex rubber
  2. Beeswax mixed with dammar resin Correct answer.
  3. Cold-pressed walnut oil
  4. Gelatin glue solution

Explanation

Encaustic painting utilizes molten beeswax fused with dammar resin as its binder. The artist paints with heated fluid wax and fuses the layers using heat sources (cauterio/heat guns), creating durable, moisture-resistant artworks.

Question 31Graphic-plastic expression: materials, image-making and project evidence

Why do watercolor artists traditionally stretch heavy cotton paper (remaking and taping it to a board while wet) before applying heavy washes?

  1. To melt synthetic vinyl fibers inside the paper
  2. To permanently coat the paper with waterproof polyurethane varnish
  3. To expand paper fibers fully so that when taped down and dried, the sheet remains completely flat without buckling (cockling) during subsequent wash applications Correct answer.
  4. To turn paper fibers into transparent glass

Explanation

Paper fibers expand when wet. If wet washes are applied to un-stretched paper, uneven expansion causes the paper to buckle and warp (cockle), creating unwanted puddles. Soaking the sheet, taping its edges down firmly, and letting it dry under tension preshrinks the paper, ensuring it stays flat during painting.

Question 32Graphic-plastic expression: materials, image-making and project evidence

What additive should an additive should an acrylic artist add to paint to extend its open working time and delay rapid film drying?

  1. Cobalt siccative drier
  2. Spirits of turpentine
  3. Alcohol solvent
  4. Acrylic retarder (retardador de secado) Correct answer.

Explanation

Acrylic paints dry rapidly as water evaporates. Acrylic retarders (glycol-based additives) slow down water evaporation and film formation, extending working time for wet-in-wet blending and soft edge transitions.

Question 33Graphic-plastic expression: materials, image-making and project evidence

Why is over-using metal siccatives (secativos de cobalto o manganeso) to accelerate oil paint drying discouraged in archival painting?

  1. Excess siccatives make the oil film brittle, cause surface wrinkling, and lead to severe darkening or cracking over time Correct answer.
  2. Siccatives neutralize oil paint and convert dried paint into liquid water
  3. Siccatives react with cotton canvas to cause spontaneous electrical discharge
  4. Siccatives turn all light pigments into bright metallic silver

Explanation

Metal siccatives (cobalt, manganese, zirconium liquid driers) act as catalysts for oil oxidation. Excessive amounts accelerate top-layer drying too rapidly relative to lower layers, causing surface wrinkling (puckering), extreme brittleness, yellowing, and eventual paint film degradation.

Question 34Graphic-plastic expression: materials, image-making and project evidence

Fine watercolor brushes made from Kolinsky red sable hair (pelo de marta Kolinsky) are prized by graphic artists primarily for which physical characteristic?

  1. Extremely stiff, abrasive bristles that scratch wood panels
  2. Superior liquid holding capacity, exceptional spring (elasticity), and the ability to hold a razor-sharp point Correct answer.
  3. Total water repellency that prevents ink from wetting the bristles
  4. Melting under warm water to form custom rubber stamps

Explanation

Kolinsky red sable hair possesses a belly structure that absorbs generous liquid washes while maintaining elasticity (spring) and forming a needle-sharp point when wet, permitting smooth transitions from broad washes to hair-thin line work.

Question 35Graphic-plastic expression: materials, image-making and project evidence

What is the function of liquid masking fluid (frisquet / líquido de enmascarar) in watercolor painting?

  1. To permanently etch dark lines into glass plates
  2. To speed up oil paint oxidation on wooden panels
  3. To temporarily protect select areas of white paper from wet paint washes, peeling off cleanly once paint dries Correct answer.
  4. To dissolve dry watercolor pigment into powder

Explanation

Masking fluid is a liquid rubber latex emulsion. Painted onto dry paper, it forms a waterproof latex barrier protecting pristine white paper or underlying washes. After painting over it and allowing the paint to dry, the latex is rubbed away cleanly.

Question 36Graphic-plastic expression: materials, image-making and project evidence

In oil painting, what conservation defect is termed 'sinking in' (pasado / rechupe), and how is it temporarily remedied during painting?

  1. Paint flaking off canvas due to freezing temperatures; remedied by ironing canvas back
  2. Color turning transparent due to excessive white lead; remedied by scraping with razor blades
  3. Canvas rotting from fungal growth; remedied by spraying chlorine bleach
  4. Oil binder absorbing into an absorbent lower layer leaving a dull matte spot; remedied by applying retouching varnish (barniz de retocar) Correct answer.

Explanation

'Sinking in' (rechupe) occurs when oil binder from a top layer is sucked down into an porous underlayer or gesso ground. This leaves the surface area dull, matte, and desaturated. Applying a thin coat of retouching varnish restores oil sheen and color depth so the artist can evaluate values accurately.

Question 37Graphic-plastic expression: materials, image-making and project evidence

What is the painting technique known as 'impasto' (empaste)?

  1. Applying thick, viscous, three-dimensional paint strokes with brushes or palette knives so tool marks retain physical relief texture Correct answer.
  2. Diluting paint with heavy solvent until it resembles thin tinted water
  3. Soaking canvas sheets in liquid dye before stretching
  4. Spraying fine mist acrylic paint through stencils using an airbrush

Explanation

Impasto involves applying paint heavily (undiluted oil or heavy-body acrylic) using stiff brushes or palette knives. The thick paint stands out from the canvas plane, retaining physical tool marks and casting actual micro-shadows under gallery lighting.

Question 38Graphic-plastic expression: materials, image-making and project evidence

Which brush bristle material is best suited for manipulating heavy oil paint and thick acrylic impasto due to its stiff texture and natural flag ends?

  1. Ultra-soft squirrel hair (pelo de ardilla)
  2. Hog bristle (cerda de cerdo) Correct answer.
  3. Soft goat hair (pelo de cabra)
  4. Synthetic nylon wash filament

Explanation

Hog bristle (cerda de cerdo) features coarse, stiff natural hairs with split ends (flags). This stiffness provides the structural resistance necessary to push, drag, and sculpt heavy-bodied oil or acrylic paints.

Question 39Graphic-plastic expression: materials, image-making and project evidence

Why have historical drawings executed in iron gall ink (tinta de agallas de roble) suffered severe paper degradation over centuries?

  1. Iron gall ink attracts wood-boring beetles that eat paper fibers
  2. The ink contains sugar that ferments into alcohol and dissolves cellulose
  3. The chemical reaction between iron sulfate and tannic acid generates sulfuric acid and free radicals that eat through paper cellulose Correct answer.
  4. Iron gall ink remains permanently wet, washing off sheets during humid weather

Explanation

Iron gall ink was made from oak galls (tannic acid) and iron(II) sulfate. Over time, residual ferrous ions catalyze oxidative breakdown of cellulose while releasing sulfuric acid. This 'ink corrosion' burns holes directly through historical manuscripts.

Question 40Graphic-plastic expression: materials, image-making and project evidence

In traditional academic painting, what is a 'grisaille' underpainting?

  1. A high-gloss final varnish coat applied with a palette knife
  2. A preliminary layer of gold leaf applied over red bole
  3. A coat of waterproof rubber latex sprayed over canvas
  4. A monochrome underpainting executed entirely in shades of grey to establish tonal values before glazing color Correct answer.

Explanation

A grisaille is a monochromatic underpainting executed in grey tones (or neutral earth tones like verdaccio or umber). By establishing accurate values, volume, and light direction first, the artist can subsequently focus on applying transparent color glazes.

Question 41Graphic-plastic expression: materials, image-making and project evidence

What fundamental characteristic defines relief printmaking processes (talla en relieve, e.g., linocut, woodcut)?

  1. Ink is rolled onto the raised surface of the matrix, while carved-out gouged areas remain un-inked and print white Correct answer.
  2. Ink is forced exclusively into deep etched grooves below the surface, while the top surface is wiped clean
  3. Grease and water repellency on flat limestone transfers the image
  4. Ink is pushed through open mesh threads using a rubber squeegee

Explanation

Relief printing (grabado en relieve) involves carving away unwanted non-image areas from a flat block (wood or linoleum). Ink is applied with a roller to the remaining raised surface, transferring to paper under pressure.

Question 42Graphic-plastic expression: materials, image-making and project evidence

What fundamental characteristic defines intaglio printmaking processes (grabado calcográfico, e.g., etching, drypoint, aquatint)?

  1. Ink is rolled onto raised wooden ridges while carved valleys remain clean
  2. Ink is packed into incised lines or recessed textures below the matrix plate surface, and the flat top surface is wiped clean before printing Correct answer.
  3. Wax resist prevents ink from touching woven silk fabric
  4. Digital laser beams project light onto photosensitive photographic paper

Explanation

Intaglio (calcografía) operates in reverse of relief printing. Image lines are incised, etched, or gouged into a metal plate (copper, zinc). Stiff ink is rubbed over the plate, forced into the recessed lines, and wiped off the top surface. High pressure forces damp paper into the grooves to pick up ink.

Question 43Graphic-plastic expression: materials, image-making and project evidence

In drypoint intaglio (punta seca), what feature created by scratching a steel needle directly into a metal or plastic plate gives the printed line its soft, velvety edge?

  1. Acid-resistant wax border
  2. Photographic halftone screen dot
  3. The metal burr (rebaba o barba) raised along the edge of the scratched furrow Correct answer.
  4. Rosin dust ring

Explanation

Scratching a metal or acrylic plate with a sharp drypoint needle plows a furrow and throws up a ridge of metal called a burr (barba/rebaba). During inking, ink catches both inside the furrow and underneath the raised burr, printing a rich, velvety line.

Question 44Graphic-plastic expression: materials, image-making and project evidence

How are lines incised into a copper or zinc plate during the etching (aguafuerte) process?

  1. By carving heavy wood chisels directly across bare metal
  2. By burning lines into metal using electric soldering irons
  3. By melting metal with concentrated laser beams
  4. By coating the plate in acid-resistant varnish, drawing through the varnish with a needle to expose bare metal, and immersing the plate in an acid bath (mordiente) Correct answer.

Explanation

Etching (aguafuerte) is a chemical intaglio process. The metal plate is protected by an acid-resistant ground (hard varnish). An etching needle draws through the ground, exposing bare metal. Immersing the plate in acid (nitric acid or ferric chloride) bites (etches) into the exposed metal lines.

Question 45Graphic-plastic expression: materials, image-making and project evidence

What material is dusted onto a metal plate and melted with heat during the aquatint (aguatinta) technique to create tonal area washes?

  1. Powdered rosin (resina de colofonia) or asphaltum dust Correct answer.
  2. Liquid rubber latex
  3. Granulated sugar crystals
  4. Powdered graphite

Explanation

Aquatint is an intaglio process used to create tonal areas. Powdered rosin (colofonia) is dusted evenly onto a metal plate and heated until resin grains fuse to the surface. Acid bites around the rosin grains, creating a porous micro-matrix that holds ink for printing tonal washes.

Question 46Graphic-plastic expression: materials, image-making and project evidence

Planographic lithography (litografía) operates on which chemical principle?

  1. Difference in magnetic charge between iron filings and copper plates
  2. Mutual chemical repulsion between grease (greasy drawing media) and water on a flat matrix surface Correct answer.
  3. Thermal expansion of rubber rollers under high speed friction
  4. Photochemical exposure of silver halide crystals in gel

Explanation

Lithography is a planographic process (printing from a flat surface without relief or intaglio grooves). Invented by Alois Senefelder, it relies on the principle that grease and water do not mix. Greasy drawing media (tusche or crayon) fix onto limestone or zinc. Dampening the stone causes water to stick only to non-greasy areas, so oil-based ink adheres exclusively to the greasy drawn marks.

Question 47Graphic-plastic expression: materials, image-making and project evidence

In screen printing / serigraphy (serigrafía), what tool is used to force ink through open areas of the mesh screen onto the substrate below?

  1. Etching needle
  2. Hard steel burnisher
  3. Rubber squeegee (rasqueta o rasero) Correct answer.
  4. Leather ink dabber

Explanation

Serigraphy uses a squeegee (rasqueta) equipped with a rubber or polyurethane blade. Drawn firmly across the screen under pressure, the squeegee forces ink through open unblocked mesh openings onto paper or fabric.

Question 48Graphic-plastic expression: materials, image-making and project evidence

According to international fine art editioning conventions, how should an original print be signed and numbered in pencil along its bottom margin?

  1. Stamped with indelible ink across the center image area
  2. Signed with ballpoint pen on the back of the frame glass
  3. Marked with a barcode in the upper left corner
  4. Pencil fraction edition number (e.g., 12/50) on lower left, Title in middle, and Artist signature with year on lower right Correct answer.

Explanation

Standard printmaking cataloging requires pencil numbering and signing on the lower margin below the image area. The lower left displays the fraction (e.g., 12/50 indicating print number 12 of a total edition of 50), the middle displays the title, and the lower right bears the artist's signature and date.

Question 49Graphic-plastic expression: materials, image-making and project evidence

What does the abbreviation 'A.P.' (or 'E.A.' in Spanish/French: Prueba de Artista / Épreuve d'Artiste) signify on a fine art print?

  1. Artist's Proof: prints reserved for the artist outside the numbered commercial edition, usually limited to 10% of total edition size Correct answer.
  2. Anonymous Print: mass reproduction created without artist consent
  3. Archival Photo: digital scan printed on plastic synthetic paper
  4. Acid Damage: defective print rejected due to acid burn

Explanation

Artist's Proofs (A.P. / E.A.) are prints pulled alongside the main numbered edition specifically for the artist's personal collection or archival record. By convention, A.P. prints should not exceed 10% of the numbered edition.

Question 50Graphic-plastic expression: materials, image-making and project evidence

In mezzotint intaglio (manera negra / grabado al humo), what specialized tool is rocked across the entire copper plate to raise a dense, uniform burr before scraping highlights?

  1. Roulette wheel
  2. Rocker (berceau) Correct answer.
  3. Steel scraper
  4. Agate burnisher

Explanation

Mezzotint is a subtractive intaglio process starting from complete black. A heavy curved tool with fine sharp teeth called a rocker (berceau) is rocked repeatedly in multiple directions across a metal plate, creating a uniform burr that would print solid black. Highlights and mid-tones are then created by scraping and burnishing the burr flat.