demonstrate knowledge of appropriate materials, processes, technologies and resources

IGCSE Art & Design (0400) – Syllabus Overview

The Cambridge IGCSE Art & Design course is built around five areas of study. Candidates must be able to work in any of these areas and demonstrate the five Assessment Objectives (AOs) in their portfolio, even if the final examination focuses on a single chosen medium.

• Painting & Related Media
• Graphic Communication
• Three‑Dimensional Design
• Textiles & Fashion
• Photography (incl. animation & photomontage)

Assessment Objectives (AOs)

AO	What Examiners Look For
AO1 – Knowledge & Understanding	Accurate terminology, material properties, cultural/historical context and justified selection of media.
AO2 – Technical Skills	Control of tools, effective use of processes, surface preparation and finishing techniques.
AO3 – Process Development	Planning, visual research, systematic experimentation and clear documentation of stages.
AO4 – Reflection & Evaluation	Critical analysis of successes and problems, links to research, and proposals for improvement.
AO5 – Presentation	Professional mounting, appropriate varnish/fixative, clear labeling, and consideration of audience.

Cross‑Area Skills (Applicable to All Five Areas)

• Visual Research & Recording – field sketches, photographs, colour swatches, artist/movement studies.
• Organisation of Information – research journal, process log, portfolio index, digital folders.
• Use of Recycled / Sustainable Materials – newspaper collage, reclaimed wood, up‑cycled fabric, eco‑friendly inks.
• Health, Safety & Environmental Considerations – ventilation, PPE, safe disposal, non‑toxic alternatives, ergonomics.
• AO5 Presentation Checklist
  1. Neat mounting or framing appropriate to the medium.
  2. Protective finish (varnish, fixative, UV‑filter) applied correctly.
  3. Clear label with title, medium, dimensions, and artist name.
  4. Portfolio layout that groups related works and shows logical progression.
  5. Consideration of audience – exhibition space, lighting, accessibility.

Research Journal Template (All Areas)

Section	What to Record
Project Brief	Title, intent, target audience, intended visual impact.
Visual Research	Sketches, photos, colour chips, source citations.
Artist / Movement Study	Name, period, techniques, cultural relevance, ideas for adaptation.
Material & Technique Tests	Swatch numbers, mixing ratios, drying notes, sustainability notes.
Process Log	Date, stage, materials, observations, problems & solutions.
Reflection (AO4)	Answers to AO4 prompts, self‑assessment, next steps.

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1. Painting & Related Media

Key Materials & Properties

Material	Binder / Type	Common Uses	Key Properties
Acrylic Paint	Water‑based polymer emulsion	Canvas, wood, mixed media, murals	Fast drying, flexible, vibrant, water‑soluble wet, water‑resistant dry
Oil Paint	Oil‑based pigment (linseed, walnut, poppy)	Canvas, panel, primed board	Slow drying, rich texture, excellent blending, glossy dry
Watercolour	Gum‑arabic pigment suspension	Paper, illustration, washes	Transparent, re‑wettable, requires absorbent paper
Gouache	Opaque water‑based pigment + gum arabic	Illustration, design, flat‑colour work	Matte, re‑wettable, dries solid
Tempera	Egg‑yolk or synthetic polymer binder	Panel, icon painting, illustration	Fast drying, matte, durable, slight colour shift
Enamel Paint	Synthetic resin (acrylic or oil‑based)	Metal, ceramics, furniture, decorative objects	Hard, glossy, highly durable, often solvent‑thinned

Support Materials & Tools

• Supports: stretched cotton/linen canvas, primed wood panels, heavyweight mixed‑media paper, MDF boards.
• Grounds & Primers: acrylic gesso, oil‑based primer, rabbit‑skin glue (tempera).
• Brushes: natural (hog, sable) for oil & water‑colour; synthetic (nylon, taklon) for acrylic; shapes – flat, round, filbert, fan, rigger.
• Other Tools: palette knives, rollers, sponges, airbrush, stippling brushes, texture mats.
• Mediums & Additives
  • Oil: linseed oil, stand oil, damar varnish, odor‑free mineral spirits.
  • Acrylic: glazing liquid, retarder, flow improver, heavy‑body medium.
  • Watercolour: gum arabic, ox‑gall, masking fluid.
• Finishes: matte, satin, gloss varnish (spray or brush‑on), fixatives for dry media, UV‑resistant coatings.

Typical Process (Mapped to AOs)

1. Research & Recording (AO1 & AO3) – visual research, artist investigation, sketchbook entries.
2. Concept Brief & Palette Development (AO1 & AO3) – digital colour tools (Adobe Colour, Coolors), physical swatch tests.
3. Surface Preparation (AO2) – stretch canvas, sand & seal panels, apply appropriate ground.
4. Underpainting / Value Study (AO2 & AO3) – grisaille, monochrome wash, establish tonal structure.
5. Layering & Glazing (AO2) – opaque layers → dry → transparent glazes; respect drying times.
6. Texture Techniques (AO2) – impasto, dry‑brush, scumbling, alla prima.
7. Mixed‑Media Integration (AO2 & AO3) – collage, charcoal, fabric, digital prints; note interactions.
8. Finishing (AO5) – dust removal, protective varnish, framing/mounting, labeling.
9. Reflection & Evaluation (AO4) – answer AO4 prompts in the journal, link back to research and material choices.

Health, Safety & Environmental Notes (AO1)

1. Work with solvents, oil paints and varnishes in a well‑ventilated area or under a fume hood.
2. Wear nitrile gloves, aprons, safety glasses; use a respirator for strong solvents.
3. Dispose of solvent‑soaked rags in a metal container with water; follow local hazardous‑waste rules.
4. Prefer water‑based mediums, low‑odor mineral spirits and acrylic varnish where possible.
5. Ergonomic setup – adjustable easel, anti‑fatigue mat, regular breaks.

Suggested Classroom Activities (All AOs)

1. Material Investigation – paint identical 15 cm squares with acrylic, oil and watercolour; record drying time, colour shift, texture.
2. Palette Development Workshop – create a limited 5‑colour palette digitally, then test physically on a value study.
3. Technique Replication – students produce three small studies (glazing, impasto, wet‑on‑wet) each with a process note.
4. Mixed‑Media Project – combine acrylic with collage and charcoal; write a reflective paragraph linking material interaction to intent.
5. Safety Audit – groups design a studio‑safety checklist, test it during a practical session and present improvements.

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2. Graphic Communication

Key Media & Materials

Media	Typical Supports	Key Properties / Uses
Traditional Drawing (pencil, charcoal, ink)	Heavy‑weight drawing paper, bristol board	Line work, shading, rapid ideation.
Printmaking – Relief (linocut, woodcut)	Linoleum, soft‑wood blocks, printmaking paper	Bold contrasts, repeatable images.
Printmaking – Intaglio (etch, drypoint)	Copper/ zinc plates, intaglio paper	Fine lines, rich blacks, tactile quality.
Screen‑printing (silkscreen)	Mesh screen, emulsion, textile or paper	Flat colour areas, large‑scale production.
Digital Illustration	Tablet & screen, vector software (Adobe Illustrator, Inkscape)	Scalable graphics, typography, packaging mock‑ups.
Typography & Layout	Design software (Adobe InDesign, Affinity Publisher)	Communication design, poster, branding.

Tools & Additives

• Drawing: graphite grades, charcoal sticks, ink pens, brushes, drawing boards.
• Printmaking: carving tools, brayers, ink rollers, acid baths (etch), safety gloves.
• Screen‑print: squeegee, photo‑emulsion, water‑based or plastisol inks.
• Digital: pressure‑sensitive tablet, stylus, vector/bitmap software, colour‑management tools.
• Finishing: fixatives for dry media, UV‑curing spray for screen‑print, archival varnish for prints.

Process Flow (AO1‑AO5)

1. Brief & Research (AO1 & AO3) – define communication goal (e.g., poster for a charity), research target audience, visual style, and relevant cultural references.
2. Concept Sketching (AO2) – thumbnail studies, explore composition, hierarchy, and typographic treatment.
3. Medium Selection (AO1) – decide between hand‑drawn, print, or digital based on effect, reproducibility, and resources.
4. Technical Development (AO2 & AO3)
   • Hand‑drawn/print: prepare ground, carve block or etch plate, test ink density.
   • Digital: set up document size, colour mode (CMYK for print), create vector shapes, experiment with brushes.
5. Production (AO2) – execute final piece, maintain consistent line weight, colour balance, and registration (for multi‑colour prints).
6. Finishing & Presentation (AO5) – mount prints on acid‑free board, export digital files at 300 dpi with bleed, label with title, medium, dimensions.
7. Reflection (AO4) – evaluate how well the visual solution meets the brief, discuss technical challenges, propose refinements.

Health & Safety (Specific to Graphic Communication)

• Ventilate when using solvents, acids, or plastisol inks.
• Wear nitrile gloves and eye protection during carving, etching, and screen‑printing.
• Dispose of chemical waste (etching solutions, solvents) according to school policy.
• Use recycled paper, reclaimed wood blocks, or up‑cycled fabric for sustainable practice.

Sample Activities (All AOs)

1. Relief Print Cycle – design a simple logo, carve a linocut, print a limited edition of 10, record each stage.
2. Digital Poster Challenge – create a poster for a local event using vector software; export PDF with bleed and submit a printed proof.
3. Typographic Exploration – hand‑draw a word, then recreate it digitally; compare legibility and aesthetic impact.
4. Sustainable Design – produce a packaging mock‑up using recycled cardboard and water‑based inks; reflect on material choices.

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3. Three‑Dimensional Design

Key Materials & Supports

Material	Typical Uses	Properties & Safety
Clay (earthenware, stoneware, polymer)	Sculpture, pottery, small objects	Plastic when wet, hardens on firing (kiln safety) or baking (polymer).
Wood (MDF, plywood, hardwood)	Furniture, product prototypes, jewellery bases	Cutting hazards, dust – wear mask and use dust extraction.
Metal (sheet, wire, aluminium, steel)	Jewellery, structural components, sculpture	Sharp edges, heat when soldering – gloves and eye protection.
Plastics (acrylic sheet, PVC, recycled PET)	Product design, model making, 3‑D printing	Ventilation when cutting or gluing; use low‑VOC adhesives.
Foam & Cardboard	Concept models, packaging prototypes	Lightweight, easy to cut; dispose responsibly.
3‑D Printing Filaments (PLA, PETG, ABS)	Rapid prototyping, small sculptures	PLA is biodegradable; ABS emits fumes – print in ventilated area.

Tools & Equipment

• Hand tools – carving knives, gouges, chisels, saws, files, sandpaper.
• Power tools – rotary tools, drill, jigsaw, 3‑D printer, laser cutter.
• Joining methods – wood glue, epoxy, soldering iron, rivets, stitching (for textile‑based 3‑D work).
• Finishing – sanders, primer, spray varnish, metal patina, fabric covering.

Process Sequence (AO1‑AO5)

1. Problem Definition & Research (AO1 & AO3) – identify a need (e.g., ergonomic desk lamp), study existing products, note cultural or environmental considerations.
2. Concept Generation (AO2) – sketch 3‑5 ideas, create quick 3‑D maquettes from foam or cardboard.
3. Material & Technology Selection (AO1) – justify choice of wood, metal, or 3‑D printed polymer based on strength, weight, sustainability.
4. Detailed Development (AO2 & AO3)
   • Technical drawings with dimensions.
   • CAD model (Fusion 360, Tinkercad) if digital fabrication is used.
   • Prototype construction – record each construction stage.
5. Testing & Refinement (AO4) – evaluate stability, ergonomics, aesthetics; note problems and iterate.
6. Finishing (AO5) – sand, prime, apply protective coating, add hardware, label with material list.
7. Reflection (AO4) – link back to brief, discuss sustainability of material choice, propose future improvements.

Health & Safety (3‑D Design)

• Wear safety glasses and ear protection when using power tools.
• Use dust masks or respirators for sanding wood or cutting plastics.
• Ensure proper ventilation for soldering and 3‑D printing (especially ABS).
• Store knives, blades, and hot tools out of reach of other students.

Sample Activities

1. Wooden Product Prototype – design a simple desk organizer, cut parts with a jigsaw, assemble with wood glue, finish with water‑based varnish.
2. Clay Sculpture – create a small figurine, document drying and firing stages, evaluate surface texture.
3. 3‑D Printed Object – model a reusable water bottle in CAD, print in PLA, post‑process (sanding, coating), reflect on material sustainability.
4. Recycled‑Material Challenge – build a functional object (e.g., lamp shade) using only reclaimed cardboard, paper tubes and biodegradable adhesives.

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4. Textiles & Fashion

Key Materials & Their Properties

Material	Typical Uses	Key Properties
Cotton (woven, knit)	Garments, upholstery	Breathable, easy to dye, stable.
Wool (worsted, felt)	Coats, scarves, felting projects	Insulating, can felt when agitated with heat/moisture.
Synthetic fibres (polyester, nylon)	Activewear, linings, printed textiles	Durable, low moisture absorb, good for digital printing.
Silk	Luxury garments, drapery	Strong yet delicate, glossy, dyes well.
Leather / faux‑leather	Accessories, outerwear	Rigid, can be stamped or dyed; requires ventilation when using solvents.
Recycled fabrics (up‑cycled denim, reclaimed silk)	Sustainable fashion, mixed‑media textiles	Variable texture, eco‑friendly, often pre‑treated.

Tools & Equipment

• Cutting – fabric scissors, rotary cutter, self‑healing mat.
• Sewing – hand needles, sewing machine, serger, pins, tailor’s chalk.
• Surface Decoration – embroidery hoops, appliqué, fabric paints, screen‑printing frames, heat press.
• Finishing – interfacing, bias tape, buttonhole maker, garment press.
• Digital – textile design software (Adobe Photoshop, Procreate), digital fabric printing services.

Process Overview (AO1‑AO5)

1. Design Brief & Research (AO1 & AO3) – identify target market, cultural influences, sustainability goals.
2. Fabric & Trim Selection (AO1) – justify choice of fibre, weight, drape, and environmental impact.
3. Pattern Development (AO2) – draft flat patterns, add seam allowances, create muslin prototype.
4. Construction (AO2) – cut fabric, mark, stitch, press seams; document each stage with photos.
5. Surface Decoration (AO2 & AO3) – apply embroidery, screen‑print, fabric dyeing, or appliqué; note interaction of paints with fibre.
6. Finishing & Presentation (AO5) – final pressing, attach labels/tags, photograph on a mannequin or display stand, include care instructions.
7. Reflection (AO4) – evaluate fit, durability, aesthetic success, and sustainability of material choices.

Health, Safety & Environmental Considerations

• Use scissors with safety tips; keep blades away from fingers.
• Ventilate when using fabric paints, solvents, or heat‑press adhesives.
• Wear gloves when handling leather dyes or strong fabric paints.
• Recycle fabric scraps; use organic or recycled fibres where possible.

Sample Activities

1. Fabric Dye Experiment – test natural dyes (e.g., tea, beetroot) on cotton, silk, and polyester; record colour fastness.
2. Garment Construction – design a simple tote bag, create pattern, sew, and add a screen‑printed logo.
3. Up‑cycled Fashion – transform a discarded T‑shirt into a new garment using cutting, stitching, and fabric paint.
4. Digital Textile Design – create a repeat pattern in Photoshop, print on a small swatch of fabric, evaluate colour accuracy.

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5. Photography (incl. Animation & Photomontage)

Key Equipment & Materials

Equipment	Typical Use	Key Considerations
DSLR / Mirrorless Camera	Still photography, video capture	Sensor size, interchangeable lenses, RAW capability.
Tripod & Remote Shutter	Stability for long exposures, HDR, time‑lapse	Weight, height adjustment.
Lighting – natural, flash, continuous LED	Control of illumination, mood	Colour temperature, power, diffusion.
Dark‑room Supplies (for film)	Developing B&W or colour film, printing	Safe‑light, chemicals (developer, stop bath, fixer), ventilation.
Digital Editing Software (Adobe Lightroom, Photoshop, GIMP)	Raw processing, compositing, retouching	Colour management, non‑destructive workflow.
Animation / Photomontage Tools	Stop‑motion, GIFs, digital collage	Storyboard, frame‑by‑frame capture, timeline editing.

Core Techniques

• Exposure Triangle – ISO, shutter speed, aperture; how each influences depth of field, motion blur, grain.
• Composition – rule of thirds, leading lines, framing, negative space.
• Dark‑room Processes – enlarging, dodging & burning, contact printing.
• Digital Workflow – RAW import, colour correction, cropping, exporting for print or web.
• Photomontage – layer blending, masking, perspective matching.
• Stop‑Motion Animation – storyboard, consistent lighting, frame‑rate calculation (e.g., 12 fps), post‑production editing.

Process Map (AO1‑AO5)

1. Brief & Visual Research (AO1 & AO3) – define narrative or concept, collect reference images, mood boards.
2. Technical Planning (AO1) – choose camera, lens, lighting, decide on film vs digital, consider sustainability (re‑usable batteries, recycled print paper).
3. Test Shots / Exposure Sheets (AO2 & AO3) – record settings, evaluate histogram, adjust lighting.
4. Image Capture (AO2) – execute shoot, maintain consistent exposure, note any on‑set challenges.
5. Post‑Production (AO2) – develop film or process RAW files, apply editing techniques, create photomontage or animation sequence.
6. Printing / Output (AO5) – select archival paper, calibrate printer, add protective spray, label with technical data.
7. Reflection (AO4) – assess how well the final images communicate the intended story, discuss technical successes/failures, propose future improvements.

Health, Safety & Environmental Notes

• When using chemicals (developer, fixer) work in a well‑ventilated darkroom; wear gloves and goggles.
• Dispose of photographic waste according to local hazardous‑waste guidelines.
• Use rechargeable batteries and energy‑efficient LED lighting to reduce environmental impact.
• Take regular breaks to avoid eye strain from screen work.

Sample Classroom Activities

1. Exposure Experiment – shoot the same subject at three ISO values; compare grain and colour fidelity.
2. Dark‑room Printing – develop a B&W negative, make a contact print, practice dodging & burning.
3. Digital Photomontage – combine three images to create a surreal composition; document layer order and masking techniques.
4. Stop‑Motion Mini‑Film – storyboard a 10‑second animation, capture 120 frames with a tripod, edit in free software (e.g., Blender).
5. Sustainable Photo Project – use recycled paper for prints, biodegradable inks, and solar‑charged camera accessories; reflect on environmental impact.

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Putting It All Together – Portfolio Organisation

1. Section Divider – create a clear tab or digital folder for each of the five areas.
2. Process Evidence – include research journal excerpts, thumbnail sketches, technical drawings, and stage‑by‑stage photographs.
3. Final Works – present the finished piece with a label (title, medium, dimensions, date) and a brief artist’s statement linking back to the brief.
4. Reflection Sheet – one page per work answering the AO4 prompts; highlight cross‑area learning.
5. Safety & Sustainability Log – record any hazards encountered and how they were mitigated; note recycled materials used.

Further Reading & Resources

• The Materials of the Artist – comprehensive guide to pigments, binders and supports (ISBN 978‑0198612261).
• Colour Index International – online pigment safety data sheets (MSDS).
• Cambridge IGCSE Art & Design Teacher’s Guide (2025 edition).
• Online tutorials: Aaron Blaise, Proko, Tate Learning.
• Software: Adobe Creative Cloud (Illustrator, Photoshop, Lightroom), Fusion 360 (free for students), Inkscape (open source).
• Safety resources: UK Health & Safety Executive – guidelines for art studios.

Suggested Flowchart (Visual Aid)

Insert a simple flowchart illustrating the cycle: Research → Concept → Planning → Execution → Finishing → Presentation → Reflection → (loop back to new research).