Graphic Communication – Cambridge IGCSE Art & Design (0400)
This guide follows the Cambridge IGCSE Art & Design (0400) syllabus and is organised to match the five required syllabus areas, the assessment objectives (AO1‑AO4) and the core technical concepts of perspective, scale and colour.
1. Painting & Related Media
1.1 Research & Idea Development (AO1)
- Visual research – collect photographs, colour swatches, museum images, and digital references that relate to the brief.
- First‑hand observation – sketch on location, note lighting, texture, and proportions.
- Secondary sources – study historic genres (e.g., Baroque, Impressionism) and contemporary painters.
- Research notebook / mood‑board – organise with:
- Thumbnail sketches
- Colour palettes (RYB, CMYK values)
- Key words & annotations
- References (author, date, URL)
1.2 Media & Techniques (AO2)
| Media | Typical Tools | Key Characteristics |
|---|
| Graphite & charcoal | HB, 2B, charcoal sticks, blending stump | Excellent for tonal studies, value gradients. |
| Ink (pen, brush) | Fineliner, dip pen, brush pens, india ink | Strong line weight, high contrast, quick drying. |
| Water‑based paints | Watercolour, gouache, acrylic | Transparent/opaque, colour mixing practice, fast drying (acrylic). |
| Oil paint (optional) | Oil colours, linseed oil, palette knife | Rich texture, long working time, requires solvent safety. |
| Printmaking | Linocut, woodcut, screen‑printing (mesh, squeegee) | Bold colour blocks, repeatability, emphasis on negative space. |
| Mixed media / collage | Found objects, newspaper, fabric, adhesives | Emphasises texture, sustainability, layered narrative. |
1.3 Core Concepts – Form, Perspective, Scale & Colour (AO2)
- Perspective – apply one‑, two‑ and three‑point systems to create depth in drawing and painting (see Section 3).
- Scale – use a 1:n ratio to translate real‑world dimensions onto paper or canvas.
- Colour – work within RYB for painting, CMYK for print, and consider cultural colour meanings.
1.4 Knowledge of Practitioners (AO3)
Study a past and a present painter, e.g.:
- Claude Monet (Impressionism) – loose brushwork, atmospheric perspective.
- Yayoi Kusama (Contemporary) – repetitive pattern, bold colour, installation scale.
2. Graphic Communication
2.1 Research & Idea Development (AO1)
Follow the same notebook structure as in Section 1, adding a focus on visual language, branding and audience analysis.
2.2 Media & Techniques (AO2)
| Media | Typical Tools | Key Characteristics |
|---|
| Pencil & ink | HB, 2B, fineliner, brush pens | Rapid sketching, high‑contrast line work. |
| Digital vector | Wacom tablet, Adobe Illustrator, Inkscape | Scalable graphics, precise colour control. |
| Digital raster | Photoshop, Procreate | Layer‑based editing, texture brushes. |
| Screen‑printing (serigraphy) | Mesh screen, squeegee, plastisol inks | Bold colour blocks, repeatable runs. |
| Typography | Font libraries, type‑setting software | Hierarchy, readability, brand voice. |
2.3 Perspective, Scale & Colour in Graphic Design (AO2)
Apply the same geometric rules as for painting, but consider the impact of:
- Digital resolution (pixel‑per‑inch) when scaling.
- CMYK colour separation for print vs. RGB for screens.
- Visual hierarchy created by size, colour contrast and placement on a grid.
2.4 Case Study (AO3)
Paula Scher – Identity for the Public Theater (1994)
- Use of bold, contrasting type (sans‑serif) to create hierarchy.
- Limited palette (black, white, red) for immediate impact.
- Simple geometric layout based on a 12‑column grid.
3. Three‑Dimensional Design
3.1 Research & Idea Development (AO1)
- Site analysis – measurements, material constraints, safety regulations.
- Study of historic movements (Bauhaus, Constructivism) and contemporary makers (e.g., Neri Oxman).
- Sketches and 3‑D models (hand‑made or CAD) to explore form and function.
3.2 Media & Techniques (AO2)
| Media | Typical Tools / Equipment | Key Characteristics |
|---|
| Clay & ceramic | Potter’s wheel, hand‑building tools, kiln | Plastic before firing, durable after glaze. |
| Wood & joinery | Saws, chisels, drill, sandpaper | Natural grain, strong structural possibilities. |
| Metal & welding | Arc welder, metal cutters, grinder | High strength, requires safety gear. |
| Plastic & resin | 3D printer, vacuum former, epoxy resin | Lightweight, complex forms. |
| Mixed‑media sculpture | Found objects, adhesives, surface treatments | Emphasises concept and texture. |
3.3 Form‑Function‑Surface Worksheet (AO2)
- Form – sketch orthogonal and isometric views; apply perspective to show depth.
- Function – write a short brief describing how the object will be used.
- Surface – choose finishes (paint, varnish, texture) and note colour values (CMYK for production).
3.4 Knowledge of Practitioners (AO3)
Examples: Alberto Giacometti (figurative sculpture, elongated perspective) and Olafur Eliasson (large‑scale installations, use of colour and light).
4. Textiles & Fashion
4.1 Research & Idea Development (AO1)
- Analyse current fashion trends, sustainability reports, and cultural dress codes.
- Create a fabric‑selection matrix (see table below).
- Develop mood‑boards that combine colour, pattern and silhouette.
4.2 Media & Techniques (AO2)
| Media | Typical Tools | Key Characteristics |
|---|
| Screen‑printing on fabric | Mesh screen, plastisol ink, heat press | Bold colour blocks, repeatable patterns. |
| Batik | Wax brush, dye vats | Organic edges, layered colour. |
| Surface pattern design | Digital illustration software, repeat‑tile tools | Scalable, suitable for print‑on‑demand. |
| Garment construction | Sewing machine, serger, pattern paper | Structural integrity, drape considerations. |
| Textile collage | Fabric scraps, adhesives, embroidery | Texture, mixed cultural references. |
4.3 Fabric‑Selection Matrix
| Fabric | Texture | Drape | Colour Fastness | Cultural Relevance |
|---|
| Cotton (plain weave) | Soft, matte | Good | High | Universal, casual |
| Silk (satin) | Smooth, lustrous | Excellent | Medium | Luxury, historic Asian dress |
| Denim (twill) | Coarse | Stiff | Very high | Workwear, street culture |
| Wool (worsted) | Warm, slightly textured | Moderate | High | Traditional European garments |
4.4 Knowledge of Practitioners (AO3)
Study Yohji Yamamoto (Japanese avant‑garde, monochrome palette) and Stella McCartney (sustainable fashion, recycled polyester).
5. Photography & Animation
5.1 Research & Idea Development (AO1)
- Storyboard the narrative – thumbnail frames, camera angles, movement.
- Collect reference images for lighting, composition and colour mood.
- Write a short “visual brief” that includes intended audience, message and technical constraints.
5.2 Media & Techniques (AO2)
| Media | Typical Tools | Key Characteristics |
|---|
| Traditional film (35 mm) | Camera, darkroom chemicals | Grain, tactile process, limited exposures. |
| Digital DSLR / mirrorless | Camera, RAW workflow, Lightroom/Photoshop | High resolution, instant review. |
| Camera‑less processes | Photograms, scanner‑art | Experimental, direct manipulation of light. |
| Stop‑motion animation | DSLR, tripod, animation software (Dragonframe) | Frame‑by‑frame control, tactile objects. |
| 2‑D digital animation | After Effects, Toon Boom, Photoshop timeline | Layered motion, easy colour control. |
5.3 Technical Language Box (AO2)
- Aperture (f‑stop) – controls depth of field.
- Shutter speed – freezes or blurs motion.
- ISO – sensor sensitivity, influences grain/noise.
- Frame‑rate – 24 fps (cinema), 30 fps (TV), 12 fps (stop‑motion).
5.4 Ethical Considerations (AO4)
Reflect on image manipulation, model consent, cultural representation and copyright.
5.5 Knowledge of Practitioners (AO3)
Study Sandra Bullock (documentary photographer, use of natural light) and Hayao Miyazaki (hand‑drawn animation, colour storytelling).
6. Core Technical Concepts – Perspective, Scale & Colour (Applicable to All Areas)
6.1 Perspective – Creating Depth on a Flat Surface
- One‑point perspective – single vanishing point on the horizon; ideal for interiors and roads.
- Two‑point perspective – two vanishing points; best for objects turned at an angle (e.g., a building corner).
- Three‑point perspective – adds a third vanishing point above or below the horizon for dramatic “look‑up” or “look‑down” views.
Geometric rule (similar‑triangle proportion):
$$\frac{L_{\text{projected}}}{L_{\text{actual}}} = \frac{d}{d+z}$$
where d = distance from viewer to picture plane, z = depth of the object.
Practical Steps (AO2)
- Draw the horizon line and locate the required vanishing point(s).
- Establish a ground plane with orthogonal lines converging to the vanishing point(s).
- Use vertical construction lines (parallel to the picture plane) to set heights.
- Check proportions with the similarity ratio or a ruler.
6.2 Scale – Relating Drawing Size to Real‑World Dimensions
A scale ratio 1:n means 1 unit on paper equals n units in reality.
| Scale Ratio | Interpretation | Typical Use |
|---|
| 1:10 | 1 cm = 10 cm | Detailed sections, small objects. |
| 1:50 | 1 cm = 0.5 m | Room layouts, interior plans. |
| 1:100 | 1 cm = 1 m | Site plans, urban sketches. |
| 1:250 | 1 cm = 2.5 m | Large site or landscape studies. |
Scaling formulas (AO2):
$$D = \frac{R}{n}\qquad\text{and}\qquad R = D \times n$$
where D = drawing measurement, R = real measurement.
Visual Strategies for Conveying Scale (AO2)
- Include a scale bar or legend on the drawing.
- Insert a familiar reference object (human figure, chair, vehicle).
- Vary line weight – thicker in foreground, thinner in background.
6.3 Colour – Mood, Hierarchy, Readability & Cultural Meaning
Colour Models (AO2)
| Model | Primary Colours | Typical Use |
|---|
| RYB (Traditional) | Red, Yellow, Blue | Painting, hand‑drawn illustration. |
| RGB (Additive) | Red, Green, Blue | Digital screens, video. |
| CMYK (Subtractive) | Cyan, Magenta, Yellow, Black | Printing, offset production. |
Colour Relationships (AO2)
- Complementary – opposite on the wheel (e.g., blue ↔ orange). High contrast, draws attention.
- Analogous – adjacent colours (e.g., green, yellow‑green, yellow). Harmonious, soothing.
- Triadic – three equally spaced colours (e.g., red, yellow, blue). Balanced contrast.
- Monochrome – variations of a single hue; useful for sophisticated, unified designs.
Value & Saturation (AO2)
- Create a value scale from 0 (black) to 10 (white).
- Assign lighter values to backgrounds and darker values to focal points.
- Desaturate secondary information to avoid visual competition with the main message.
Practical Colour Planning (AO2)
- Start with a limited palette of 3‑5 colours for cohesion.
- Test combinations on a small swatch before full application.
- Consider the medium – pigments behave differently on paper vs. pixels vs. fabric.
- Check accessibility: minimum contrast ratio 4.5:1 for body text (WCAG AA).
7. Cross‑Area Skills – Research, Reflection & Evaluation (AO4)
7.1 Evaluation & Reflection Template
| Stage | Prompt (What to Record) |
|---|
| Analyse brief | Purpose, audience, constraints, success criteria. |
| Research | Key sources, influences, cultural considerations. |
| Ideate | Number of thumbnails, ideas kept/discarded, rationale. |
| Develop | Techniques used, perspective & scale calculations, colour decisions. |
| Refine | Changes made after feedback, how they improve the design. |
| Final review | Does the piece meet the success criteria? What would you do differently? |
7.2 Recording Evidence for the Portfolio (AO1‑AO4)
- Sketchbooks, mood‑boards, colour studies – show research (AO1).
- Technical drawings with perspective, scale and colour notes – demonstrate process (AO2).
- Annotated images of finished work with references to artists or cultural influences – evidence of knowledge (AO3).
- Reflection log using the template above – showcases critical evaluation (AO4).
8. Summary Checklist – Whole Design Process (All AOs)
- Research – gather visual and contextual material; complete a mood‑board and a brief‑analysis checklist.
- Idea Development – produce 5–7 rapid thumbnails; select the strongest concept.
- Media Selection – choose at least two media (one traditional, one digital) appropriate to the chosen syllabus area.
- Apply Core Concepts – use perspective, scale and colour theory to develop a detailed composition.
- Integrate Image & Text – employ a grid, typographic hierarchy and colour contrast for readability.
- Consider Social & Cultural Context – research historical styles, cultural symbols and ethical issues.
- Produce Final Work – execute with technical accuracy; document any calculations or colour mixes.
- Evaluate – complete the reflection template; note successes, challenges and next steps.
- Portfolio Documentation – assemble research, process work, final pieces and evaluation in a logical order for assessment.
9. Quick Reference Tables
Assessment Objectives (AO)
| AO | What is assessed |
|---|
| AO1 | Recording, organising and presenting visual information and ideas. |
| AO2 | Developing ideas, applying techniques and using media appropriately. |
| AO3 | Knowledge and understanding of the context, influences and purposes of art and design. |
| AO4 | Evaluation, reflection and critical analysis of the design process. |
Perspective Vanishing‑Point Summary
| Type | Number of Vanishing Points | Typical Use |
|---|
| One‑point | 1 | Roads, interior spaces, objects facing directly. |
| Two‑point | 2 | Buildings on a corner, objects turned at an angle. |
| Three‑point | 3 | High‑rise looking up or down, dramatic compositions. |
Colour Contrast (Accessibility)
| Text Size | Minimum Contrast Ratio |
|---|
| Normal body text | 4.5 : 1 (AA) |
| Large text (≥ 18 pt or bold ≥ 14 pt) | 3 : 1 (AA) |
Use this guide as a living document – add your own sketches, calculations and reflections as you progress through each brief. Good luck, and enjoy the creative process!