IGCSE Art & Design (0400) – Three‑Dimensional Design

Course Context (Cambridge Syllabus Terminology)

The IGCSE Art & Design syllabus is organised into five distinct areas of study. Each area requires a separate component for the final assessment, but the syllabus encourages cross‑area inspiration.

• Painting & Related Media – painting, drawing, printmaking, mixed media.
• Graphic Communication – typography, illustration, poster design, digital graphics.
• Three‑Dimensional Design – sculpture, assemblage, product design, installation.
• Textiles & Fashion – fabric manipulation, surface decoration, garment construction.
• Photography – analogue and digital photography, image editing.

When planning a three‑dimensional piece, students should consider how ideas, colour palettes, or visual research from the other four areas can enrich their work (e.g., using a colour study from the Painting unit for a ceramic surface, or a typographic pattern from Graphic Communication for a metal‑cut relief).

Learning Objective

Students will design and produce a three‑dimensional work that demonstrates a considered use of texture, shape, colour, movement, form, structure and scale**, while also showing awareness of audience, sustainability, and specialist processes.

Key Concepts

• Texture – visual or tactile surface quality (smooth, rough, patterned, reflective).
• Shape & Form – three‑dimensional mass; includes geometric, organic and abstract shapes.
• Structure – internal framework that supports the form (armature, joints, load‑bearing elements).
• Scale – size relationship between the work, the viewer and the surrounding environment.
• Colour – hue, value and intensity used to enhance form, create mood and suggest depth.
• Movement – impression of dynamism created through line, repetition, direction, or kinetic mechanisms.
• Audience Awareness – consideration of who will view or use the piece, cultural context and functional purpose.
• Sustainability Lens – continual questioning of material choice, waste, and environmental impact at every stage of the design process.

Skills & Techniques (Syllabus Checklist)

Students should be able to demonstrate competence in the following areas. Tick the box when the skill is practised.

Design Process (Integrated with Key Concepts & Sustainability Lens)

1. Research & Inspiration
   • Gather visual references (photos, sketches, digital images) from all five syllabus areas.
   • Record observations in a research log – date, source, relevance to texture, shape, colour, movement, scale and audience.
   • Sustainability Lens: Note any recycled or low‑impact materials that could be incorporated.
2. Idea Generation
   • Create thumbnail sketches, mood boards and quick digital models (CAD or 3‑D software).
   • Label each idea with the key concepts it addresses (e.g., “rough texture + warm colour + kinetic pivot”).
   • Sustainability Lens: Highlight which ideas use alternative or up‑cycled materials.
3. Material Exploration & Testing
   • Produce small‑scale trials (e.g., a 5 cm clay tile, a laser‑cut wood swatch, a 3‑D printed connector).
   • Document texture, colour response, structural strength and environmental impact.
   • Use a simple evaluation table (see “Process Journal & Evaluation Checklist” below).
   • Sustainability Lens: Compare carbon footprint, waste generated and recyclability of each material.
4. Maquette / Prototype
   • Construct a working model that incorporates the chosen texture, colour, movement and scale.
   • Photograph from multiple angles; note how colour shifts perceived volume.
   • Check stability and safety for the intended audience.
   • Sustainability Lens: Verify that the prototype uses the intended recycled components.
5. Refinement
   • Evaluate the maquette against the brief and the assessment criteria.
   • Adjust scale, structure, surface treatment or colour palette as needed.
   • Update the research log with reflections and decisions.
6. Final Production
   • Execute the finished piece using the selected specialist processes.
   • Apply final colour finishes (acrylic, enamel, spray, patina) and texture treatments.
   • Ensure all joints, kinetic parts and surfaces meet safety standards.
   • Sustainability Lens: Record waste minimisation strategies and any post‑use recycling plans.
7. Presentation & Reflection
   • Compile a portfolio that includes: research log, sketches, material‑test sheets, technical drawings, process photos, and a reflective commentary.
   • Link each design decision back to the key concepts and to the sustainability considerations.
   • Use the self‑assessment rubric to evaluate how well the work meets each assessment criterion.

Process Journal & Evaluation Checklist

Materials & Techniques

Applying Colour and Movement

Colour Strategies

• Warm hues (red, orange, yellow) advance toward the viewer, reinforcing a sense of motion.
• Cool hues (blue, green, violet) recede, adding depth and stabilising composition.
• High‑contrast pairs (black/white, complementary colours) accentuate edges and can simulate kinetic energy.
• Transparent or metallic paints suggest light‑reflected movement on curved surfaces.
• Consider cultural symbolism of colour when the intended audience is specific (e.g., red for celebration in many Asian cultures).

Movement Techniques

• Repetition of shapes or lines that lead the eye around the sculpture (e.g., spiralling ribs).
• Curved, twisting or spiralling forms that guide visual flow.
• Variable scale – larger elements appear closer, smaller elements farther away, creating rhythmic progression.
• Actual kinetic mechanisms (motorised parts, wind‑driven elements) for real movement.
• Strategic placement of contrasting textures to draw attention along a path.
• Implied motion through dynamic poses or slanted planes.

Audience & Functional Considerations

• Identify the audience – peers, community members, specialist collectors, or a public space. Adapt scale, material durability and safety accordingly.
• Display environment – indoor gallery, outdoor public area, or functional setting. Choose weather‑proof finishes, anti‑theft fixings, or ergonomic features as required.
• Cultural symbolism – research colour meanings, shape connotations and movement metaphors relevant to the intended viewers.
• Functionality – if the piece is also a product (e.g., a lamp or chair), ensure ergonomics, stability and usability are addressed.

Assessment Criteria (Excerpt)

Suggested Classroom Activities

1. Texture Board – Students collect and label samples of natural, manufactured and recycled textures; discuss how each could convey mood or support movement.
2. Shape Transformation Challenge – Begin with a simple cube; modify by carving, adding elements, or digital modelling to create an organic form. Record the change in perceived movement.
3. Colour & Volume Study – Apply acrylic washes, spray paints or digital renders to a plaster maquette; observe how hue shifts perceived depth.
4. Movement Experiment – Design a series of small sculptures that progressively change direction, scale or incorporate a simple kinetic element (e.g., a balanced pivot or wind‑driven blade).
5. Material Sustainability Test – Each student selects a recycled or up‑cycled material, creates a texture sample, and records its structural properties and waste output.
6. Process Journal & Digital Portfolio – Maintain a dated record (hand‑drawn sketches, CAD screenshots, photos of material tests) and write a reflective commentary linking decisions to the key concepts and sustainability lens.
7. Cross‑Area Inspiration Workshop – Students exchange colour studies from the Painting unit and typographic patterns from Graphic Communication, then integrate these into a three‑dimensional prototype.