create designs considering space, balance and colour relationships

Graphic Communication – IGCSE Art & Design (0400)

This set of notes supports the Cambridge IGCSE Art & Design (0400) objective: create designs considering space, balance and colour relationships. It follows the 2026 syllabus requirements and includes practical guidance, checklists, activity prompts and reference tables.

1. Visual Research & Recording

Effective research underpins every design. Record both first‑hand observations and secondary sources, using a consistent citation style.

• Research board (mood‑board) – collage of images, colour swatches, textures, typography and artefacts that relate to the brief.
• Annotated image collection – for each reference note the source, date and relevance (e.g., “Bauhaus poster – strong geometric balance”).
• Field sketches – quick pencil studies taken on site (street signage, product packaging, environmental textures).
• Oral / video documentation – short interview recordings or video clips of environments, annotated with time‑stamp and key observation.
• Citation style – author, title, URL, accessed date; keep a simple bibliography at the back of the research journal.

Template – Research Journal Page

2. Media, Techniques & Materials

The syllabus expects exploration of a wide range of media, including recycled resources and printmaking techniques.

• Traditional media: graphite, ink, watercolor, coloured pencil, collage, printmaking (linocut, screen‑printing, etching), hand‑lettering.
• Digital media: vector illustration (Inkscape, Adobe Illustrator), raster editing (Photoshop, GIMP), layout software (Canva, InDesign), simple CAD (Tinkercad) for 3‑D visualisation.
• Typography: hand‑lettering, stencil lettering, digital type‑setting, variable fonts.
• Photography: camera or smartphone; apply basic composition rules (rule of thirds, leading lines).
• Product/packaging mock‑ups: cardboard boxes, recycled paper, simple 3‑D prototypes.
• Recycled & low‑cost materials: newspaper, old magazines, scrap cardboard, fabric scraps, bottle‑caps.

3. Historical & Contemporary Influences

Understanding past and present design movements enriches your visual language.

• Bauhaus (1919‑1933) – grid‑based layouts, primary colour palettes, functional typography.
• Swiss Style (International Typographic Style) – asymmetric balance, generous white space, sans‑serif type.
• Art Deco (1920s‑30s) – decorative geometry, luxurious colour schemes, stylised lettering.
• Pop Art (1950s‑70s) – bold colour, commercial imagery, repetition.
• Contemporary branding case studies – Apple, Nike, London 2012 Olympics; analyse balance, colour and audience targeting.

Artist / Designer Spotlight

4. Core Design Concepts

4.1 Space

• Positive space – area occupied by the main visual elements.
• Negative space – empty area that separates and frames positive elements.
• Depth cues – overlapping, size variation, linear perspective, colour value, texture, atmospheric perspective.
• Perspective / Scale Activity – Choose a simple logo and redraw it at three scales (e.g., 2 cm, 10 cm, 30 cm). Record how line weight, colour value and spacing change.
• Practical tip – Use a light‑pencil grid (3 × 3 or 4 × 4) to plan the distribution of positive and negative space before committing to full scale.

4.2 Balance

4.3 Colour Relationships

• Primary colours: red, blue, yellow.
• Secondary colours: orange, green, violet.
• Complementary: opposite on the wheel (e.g., red & green); high contrast.
• Analogous: adjacent on the wheel; harmonious.
• Triadic: three colours equally spaced; balanced contrast.
• Tetradic (double‑complementary): two complementary pairs; rich variety when balanced.
• Warm vs. cool: warm colours advance, cool colours recede – useful for creating depth.
• Colour‑value contrast – test legibility by viewing the design in greyscale or printing on a black‑and‑white printer.

4.4 Image + Text Relationship

• Typographic hierarchy – size, weight, colour and spacing guide the reader from headline → sub‑headline → body.
• Legibility – maintain a minimum contrast ratio of 4.5:1 (WCAG AA) for body text.
• Integrating text into space – let negative space become the “letter‑form” (cut‑out lettering) or wrap text around focal imagery.
• Balancing image and text – treat each as a visual element with its own weight; adjust placement to achieve overall balance.

Exercise: Redesign a simple advertisement (e.g., a school event flyer). Swap the image and text positions, then write a 50‑word justification of how the new layout solves a communication problem.

5. Audience Awareness

Understanding the target audience shapes every design decision.

• Audience profile worksheet
  • Age range
  • Cultural background
  • Purpose of the design (inform, persuade, celebrate)
  • Preferred media (print, digital, outdoor)
  • Key insights (e.g., colour symbolism, reading level)
• Link insights to design choices – after completing the worksheet, answer: *How does my chosen balance type, colour scheme and typographic tone suit this audience?*

6. Design Process Checklist – Expanded

1. Analyse the brief
   • Identify key message, target audience, required format and any constraints.
   • Complete the Audience Profile Worksheet.
2. Research & record
   • Create a mood‑board, annotated image collection and, where relevant, short video or interview clips.
   • Document sources using the bibliography template.
3. Explore media & techniques
   • Choose at least two media (e.g., collage + digital vector) and note any recycled or printmaking materials.
4. Sketch thumbnails (minimum three revision cycles)
   • Experiment with the three balance types, different colour schemes and image‑text arrangements.
   • Label each thumbnail with: Balance type, Colour scheme, Image‑text relationship, Audience insight.
5. Develop a grid
   • Transfer the most successful thumbnail onto a ruled or digital grid to control positive and negative space.
6. Select a colour palette
   • Use the Colour Relationships table to justify your choices (e.g., “Triadic scheme for energetic yet balanced feel”).
7. Create the final design
   • Apply chosen media, balance, space and colour consistently.
   • Integrate text with clear hierarchy and adequate contrast.
8. Evaluate & reflect
   • Complete the Reflection Sheet (Section 7) to record what works, what needs improvement and next steps.
   • Check against the brief: message clarity, audience suitability, technical execution.

7. Tools & Specialist Equipment

• Basic toolkit: graphite pencils, ink pens, coloured pencils, A4 sketchbook, ruler, eraser, compass.
• Digital toolkit: Inkscape or Illustrator (vector), Photoshop or GIMP (raster), Canva or InDesign (layout), smartphone camera.
• Printmaking equipment: linoleum block, carving tools, brayer, ink, screen‑printing frame, squeegee.
• Output devices: inkjet printer, laser printer, basic screen‑printer, cutter (e.g., Cricut) for precise cut‑outs.
• 3‑D & prototyping: cardboard, recycled paper, glue gun, Tinkercad or SketchUp for simple CAD visualisation.

8. Cultural & Social Factors – Checklist

Designs do not exist in a vacuum. Use the checklist to ensure systematic consideration of external influences.

• Colour symbolism (e.g., red = luck in Chinese culture, mourning in South Africa).
• Gender representation – avoid stereotypes, use inclusive imagery.
• Sustainability – recycled materials, low‑impact printing.
• Local trends & visual memes – relevance to the target demographic.
• Social issues (e.g., mental‑health awareness, climate change) – can be expressed through imagery or colour choice.
• Legal / ethical constraints – copyright, cultural appropriation.

Journal Prompt: *Identify one cultural or social factor relevant to my brief and explain how it shaped my colour or imagery decisions.*

9. Reflection Sheet (Template)

10. Quick Tips for Exam Success

• Label every sketch with balance type, colour scheme, image‑text relationship and the audience insight it addresses.
• Use a light‑pencil grid to keep negative space consistent across iterations.
• Test colour contrast by viewing the piece in greyscale or printing a black‑and‑white proof.
• Step back 2 m (or zoom out 50 %) and confirm hierarchy and readability.
• Include a brief reflection (2‑3 sentences) on how the design meets the brief and audience needs.
• Remember the syllabus wording: “select, review and refine” – aim for at least three thumbnail revisions before finalising.