Cambridge Syllabus Notes

Common Skills and Understanding – Cambridge IGCSE Art & Design 0400 (2026)

These notes guide learners in locating, evaluating and applying a wide range of resources to develop a research‑informed artistic practice. They are organised to match the five Areas of Study in the syllabus, the required technical skills, contextual knowledge and the three Assessment Objectives (AO1‑AO3).

1. Five Areas of Study – Media, Techniques & Resources

Area of Study	Typical Media & Techniques (including emerging / recycled options)	Useful Resources (Visual, Written, Material, Digital)	Exemplar Artists / Designers
Painting & Related Media	Oil, acrylic, watercolor, gouache, tempera Mixed media, collage, assemblage, decoupage Printmaking – linocut, screen‑print, monotype Digital painting & image manipulation Include recycled or up‑cycled materials where appropriate (e.g., reclaimed canvas, paper scraps, industrial pigments)	Art books & museum collections (e.g., National Gallery, MoMA) Technical manuals on pigment mixing, glazing, print‑making Material samples: canvas, paper, inks, printing blocks, reclaimed wood Video tutorials on brushwork, layering, drying times, digital painting	Frida Kahlo, David Hockney, Yayoi Kusama, Anni Albers, Banksy (street‑art collage)
Graphic Communication	Pen‑ink drawing, pastel, charcoal Typography, layout, poster & packaging design Advertising & branding graphics Digital illustration, vector graphics, CAD for graphics Screen‑printing, surface pattern design, photomontage Include sustainable inks, recycled paper, biodegradable substrates	Design theory texts (e.g., Meggs’ History of Graphic Design) Typography specimen books, foundry catalogues Software tutorials (Adobe Illustrator, CorelDRAW, InDesign, AutoCAD) Samples of paper stock, inks, screen‑printing screens, recycled packaging	Paula Scher, Massimo Vignelli, Milton Glaser, Neville Brody, Jessica Walsh
3‑D Design	Model making, hand‑building (clay, plaster, wood, metal) Laser‑cutting, CNC milling, 3‑D printing (FDM, SLA) Digital modelling (SketchUp, Rhino, Fusion 360) Assemblage, jewellery & fashion accessories, product design Include reclaimed timber, recycled plastics, up‑cycled metal	Construction manuals, basic structural engineering guides Digital libraries of 3‑D models (Sketchfab, Thingiverse) Material swatches: MDF, acrylic sheets, polymer clay, recycled cardboard, repurposed metal Software guides (SketchUp, Rhino, Fusion 360, Blender)	Isamu Noguchi, Zaha Hadid, Marcel Breuer, Neri Oxman, Tom Dixon
Textiles & Fashion	Fabric manipulation, dyeing, screen‑printing, batik, surface pattern Embroidery, appliqué, quilting, garment construction Digital textile printing, 3‑D printed accessories Up‑cycling, sustainable fibres, bio‑fabrication Include recycled fabrics, organic dyes, biodegradable threads	Fabric swatches, yarn samples, dye charts (natural & synthetic) Fashion history books, sustainability reports, fair‑trade guidelines Video demonstrations of stitching, draping, up‑cycling, digital printing Tools: sewing machine, serger, digital textile printer, laser cutter	Alexander McQueen, Rei Kawakubo, William Morris, Faith Ringgold, Stella McCartney
Photography	Film & digital photography, dark‑room processes Digital editing, photo‑essay, mixed‑media photomontage Camera‑less photography (photograms, pinhole), animation & GIFs Printmaking – cyanotype, gum‑ bichromate, alternative processes Include recycled printing papers, eco‑friendly chemicals, solar‑powered lighting kits	Camera manuals, lens guides, lighting kits Photographic archives (e.g., Magnum Photos, Getty Images) Software tutorials (Adobe Photoshop, Lightroom, GIMP) Print papers, developing chemicals, recycled printing substrates	Henri Cartier‑Bresson, Diane Arbus, Steve McCurry, Cindy Sherman, Wolfgang Tillmans

2. Core Technical Skills Required by the Syllabus

Syllabus Skill	Specific Activity / Study	Assessment Objective Linked
Form & Perspective	Construct one‑point and two‑point perspective drawings of an interior space, showing accurate vanishing points and horizon line.	AO2 – Application and Development
Scale & Proportion	Produce a 1:10 scaled maquette of a furniture design using cardboard and laser‑cut joints.	AO2
Colour Relationships	Create a colour‑mixing chart exploring complementary, analogous and triadic schemes in watercolor.	AO2
Tonal Drawing	Complete a charcoal tonal study of a still life, focusing on value contrast and texture.	AO2
Pen‑Ink & Line	Develop a series of ink illustrations using hatching, cross‑hatching and stippling to suggest form.	AO2
Pastels (Soft & Oil)	Produce a pastel portrait that demonstrates blending, layering and edge control.	AO2
Printmaking (Linocut, Screen‑Print, Monotype)	Design and print a limited‑edition poster (minimum six copies) using a single‑colour screen‑print.	AO2
Collage & Mixed Media	Assemble a collage that combines photographic images, fabric scraps, reclaimed paper and painted elements to explore texture.	AO2
Typography & Layout	Design a typographic poster that balances hierarchy, spacing and alignment using both hand‑drawn and digital type.	AO2
CAD & 3‑D Modelling	Create a digital 3‑D model of a product concept, export orthographic drawings and render a realistic image.	AO2
Digital Fabrication (Laser‑cutting, 3‑D Printing)	Produce a small‑scale object (e.g., a jewellery pendant) using laser‑cut acrylic and a 3‑D printed component.	AO2
Evaluation & Editing of Work	Peer‑review a draft piece, record constructive feedback and revise the work, documenting changes.	AO3 – Evaluation and Reflection
Audience Analysis	Create a brief persona for the intended audience and write a justification of design decisions based on that persona.	AO2 (application) & AO3 (reflection)
Kiln & Ceramics (if chosen)	Form a hand‑built ceramic vessel, bisque fire, glaze, and glaze‑fire to a final finish.	AO2

3. Contextual Research – Social, Cultural & Historical Influences

Checklist Item	What to Record
Identify at least one non‑Western artist relevant to the brief	Name, period, cultural background, key visual traits and how they relate to your theme.
Link a historical movement to your chosen media	e.g., Bauhaus typography, Impressionist colour theory, Japanese wabi‑sabi in ceramics, African textile traditions.
Consider social issues or cultural narratives	Gender, environment, migration, technology, identity, sustainability, community.
Document primary sources	Interviews, site‑visit photographs, surveys, field sketches, audio recordings.
Analyse contemporary trends	Digital fabrication, up‑cycling, virtual reality, AI‑generated imagery, ethical fashion.

4. Core Skills for Using Resources (Research Cycle)

Research Planning – Define a clear question or brief, list required resources, set weekly milestones (e.g., Week 1 = visual survey, Week 2 = technical trials).
Critical Evaluation – Apply the CRAAP test (Currency, Relevance, Authority, Accuracy, Purpose) to each source.
Note‑taking & Annotation – Keep a digital or paper research journal; colour‑code entries (visual, technical, contextual, audience).
Visual Analysis – Break down selected works into line, shape, texture, colour, light, composition and narrative.
Experimentation (Mini‑Studies) – Produce small‑scale tests (≤ A4) to explore colour mixes, brush strokes, CAD functions, material combinations, or sustainable alternatives.
Evaluation & Editing – After each mini‑study, answer: What worked? What didn’t? What revisions are needed?
Audience Reflection – Relate findings to the intended audience persona and note any required adaptations.
Reflective Documentation – Record insights, challenges and next steps in the research journal.
Presentation Skills – Compile a portfolio section with labelled images, concise captions and a brief commentary linking back to research.

5. Structured Approach to Developing Practice (Step‑by‑Step Cycle)

Choose a personal or brief‑driven theme and formulate a focused research question.
Gather a balanced range of visual, written, material and digital resources for the relevant Area of Study, ensuring at least one sustainable or emerging material.
Analyse the resources; record recurring motifs, technical approaches and cultural contexts.
Generate exploratory sketches, thumbnails or digital mock‑ups (minimum 6‑8 variations).
Select the most suitable media, tools and (where appropriate) recycled or up‑cycled materials.
Produce a small‑scale study (e.g., A4 tonal drawing, 1:20 maquette, test print) and document the process.
Evaluate the study against the brief, research insights, technical skill checklist and audience persona.
Refine the final artwork, iterating the research → experiment → reflect loop as many times as needed.
Write a reflective commentary (250‑350 words) that explicitly cites at least three resources and explains how they shaped decisions.
Prepare the exhibition or portfolio layout, ensuring logical sequencing, clear labeling and a brief evaluation for assessors.

6. Reflective Practice Checklist (AO3)

Question	Guiding Prompts
What resources informed this decision?	Specific images, artist statements, material samples, software tutorials, field notes.
How have I adapted the original idea?	Changes in composition, colour palette, scale, medium, or use of recycled material.
What technical challenges arose?	Texture control, layering, file resolution, kiln temperature, laser‑cut tolerance, digital‑fabrication limits.
How does the final piece meet the brief?	Alignment with theme, intended audience, purpose and the specific AO2 skill(s) demonstrated.
What could be explored further?	Alternative materials, different cultural references, advanced digital techniques, deeper sustainability options.

7. Linking Skills to Assessment Objectives

AO1 – Knowledge and Understanding: Demonstrate awareness of a wide range of visual and written resources, cultural contexts and technical terminology.
AO2 – Application and Development: Use research to generate ideas, apply core technical skills, consider audience, and develop a coherent body of work across the chosen Area of Study.
AO3 – Evaluation and Reflection: Critically evaluate the effectiveness of the finished work, referencing specific resources, technical decisions, audience analysis and future development pathways.

8. Suggested Diagram (Insert into Portfolio)

Flowchart – Cyclical Process: Research → Experimentation → Creation → Reflection → Further Research (with feedback arrows to each stage).

9. Quick Reference Summary

Effective use of resources is a continuous loop. Research supplies visual and technical ideas; experimentation tests those ideas and generates new insights; reflection consolidates learning and points to further research. Mastery of this loop, combined with the specific technical skills, audience analysis and contextual understanding outlined above, enables learners to produce work that meets the IGCSE Art & Design assessment criteria across all five Areas of Study.

effectively use a wide range of resources and use the information to develop their practice