Cambridge IGCSE Art & Design (0400) – Course Overview
1. Whole‑course Structure
The syllabus is organised around the design cycle that all candidates must follow:
- Intention → Research → Realisation → Reflection
Each of the six Areas of Study develops the same core competencies (research, material selection, technical execution, personal response and presentation) while focusing on different media and contexts.
| Area of Study |
Typical Media & Techniques |
Key Learning Outcomes (selected) |
| Painting |
Drawing, colour mixing, brushwork, collage, printmaking, mixed media |
Understanding form, perspective, colour relationships; developing a personal visual language. |
| Graphic Communication |
Typography, layout, digital illustration, screen‑printing, poster design |
Communicating ideas through image‑text relationships; audience awareness; effective visual hierarchy. |
| 3‑D Design |
Model making, sculpture, surface finishing, CAD, laser‑cutting, kiln work |
Exploring volume, structure and material properties; using specialist equipment safely. |
| Textiles & Fashion |
Hand‑sewing, machine stitching, pattern drafting, surface‑pattern creation, optional screen‑printing, batik, up‑cycling |
Investigating fibre properties, cultural meaning of textiles and sustainable garment development. |
| Photography |
Camera handling, composition, exposure, digital editing, printing, photomontage, animation |
Mastering technical controls (depth of field, shutter speed) and visual storytelling. |
| Combined Portfolio (Paper 2) |
Any two of the above areas, integrated into a cohesive body of work |
Demonstrating a distinctive personal voice across media and a fully resolved design solution. |
2. Area‑by‑Area Detailed Notes
2.1 Painting
Overview & Learning Outcomes
- Develop an understanding of form, perspective, scale, colour relationships and a range of painting media.
- Produce a resolved personal response to a brief that demonstrates research, experimentation and reflection.
Key Concepts & Terminology
- Linear perspective, atmospheric perspective, chiaroscuro.
- Colour theory – primary/secondary, complementary, analogous, colour temperature.
- Texture (implied vs. actual), surface treatment, collage and assemblage.
- Historical and contemporary influences – e.g. Impressionism, Abstract Expressionism, street art.
Core Skills & Techniques (required)
- Drawing from observation (contour, gesture, proportion).
- Brushwork – washes, glazing, impasto.
- Colour mixing (pigment and digital).
- Mixed‑media collage and basic printmaking (monotype, relief).
Enrichment Techniques (optional)
- Experimental media – acrylic ink, oil pastel, spray paint.
- Digital painting using tablets/software (e.g., Procreate, Krita).
Knowledge & Understanding
- Materials – canvas, paper, board, gesso, acrylic, oil, water‑colour, mixed media supports.
- Processes – preparing ground, layering, drying times, varnishing.
- Context – how social, cultural and historical factors shape visual language (e.g., post‑war abstraction, feminist art).
Design Cycle Integration
Students document their intention (theme, mood), research (artist studies, colour palettes), realise (sketches → studies → final painting) and reflect (self‑assessment against the brief).
Sample Activities & Resources
- “Master Study” – recreate a small section of a famous painting, analysing technique.
- Colour‑mixing workshop using a limited palette.
- Visit (virtual or physical) a museum collection and produce a response piece.
2.2 Graphic Communication
Overview & Learning Outcomes
- Explore visual communication through the combination of image, text and layout.
- Develop a personal graphic style that meets a brief’s functional and aesthetic requirements.
Key Concepts & Terminology
- Typography – type families, hierarchy, kerning, leading.
- Layout – grid systems, balance, alignment, negative space.
- Audience & purpose – persuasive, informative, expressive.
- Historical influences – Bauhaus, Swiss style, contemporary street‑wear branding.
Core Skills & Techniques (required)
- Hand‑drawn lettering and illustration.
- Digital layout using vector software (Inkscape, Adobe Illustrator) or raster software (Photoshop, GIMP).
- Screen‑printing a poster or logo (optional for enrichment).
- Production of a finished printed piece (poster, brochure, album cover).
Enrichment Techniques (optional)
- Motion graphics or short animation.
- Experimental printing – linocut, monotype.
Knowledge & Understanding
- Media – paper, card, fabric, digital screens.
- Processes – file preparation, colour separations, bleed, proofing.
- Context – role of graphic design in advertising, social activism, identity formation.
Design Cycle Integration
Students set a clear communication intention, research visual rhetoric and target audience, create drafts and prototypes, then refine through peer critique and final production.
Sample Activities & Resources
- Analyse a series of iconic logos (e.g., Nike, Apple) and identify the visual strategies used.
- Design a poster for a school event, incorporating a mood board and typographic hierarchy.
- Screen‑print a limited‑edition poster using water‑based inks (enrichment).
2.3 3‑D Design
Overview & Learning Outcomes
- Investigate volume, structure and materiality through model making and sculpture.
- Apply technical skills safely with specialist equipment and produce a resolved three‑dimensional solution.
Key Concepts & Terminology
- Form – mass, void, balance, stability.
- Scale & proportion – human scale, architectural scale.
- Surface & texture – smooth, rough, patterned.
- Materials – clay, plaster, wood, metal, 3‑D printed polymers.
- Tools – hand tools, rotary tools, kiln, laser cutter, CAD/CAM software.
Core Skills & Techniques (required)
- Hand‑building with clay (pinch, coil, slab).
- Model making using cardboard, foam board, balsa wood.
- Basic finishing – sanding, painting, sealing.
- Simple CAD modelling (e.g., Tinkercad, SketchUp) for planning.
Enrichment Techniques (optional)
- Kiln firing (ceramics) or metal casting.
- Laser‑cutting or CNC milling.
- Advanced 3‑D printing with multiple materials.
Knowledge & Understanding
- Material properties – strength, workability, shrinkage, sustainability.
- Construction principles – joints, supports, balance, load‑bearing.
- Contextual influences – how culture, technology and function shape three‑dimensional design (e.g., Japanese wabi‑sabi ceramics, contemporary public sculpture).
Design Cycle Integration
Students articulate a functional or conceptual intention, research structural solutions, develop maquettes or digital prototypes, test and refine, then produce a finished piece with a reflective statement.
Sample Activities & Resources
- Build a scale model of a public seating element that addresses accessibility.
- Explore texture by creating a series of small clay forms inspired by natural surfaces.
- Use CAD to generate a simple 3‑D printable object, then evaluate the printed result.
2.4 Textiles & Fashion
Overview & Learning Outcomes
- Develop knowledge of fibres, weaves, knits and finishes, and how they convey cultural meaning.
- Produce a personal, resolved garment or textile piece that demonstrates sustainable practice and iterative refinement.
Key Concepts & Terminology
- Fibre types – natural (cotton, linen, wool, silk), synthetic (polyester, nylon, acrylic), recycled/blended.
- Weave & knit structures – plain, twill, satin, jacquard, jersey, rib, interlock.
- Finishing – dyeing (fiber, piece, garment), printing (screen, digital, batik), embossing, felting, heat‑setting.
- Surface‑pattern design – repeat creation, scale, colour palette.
- Sustainability – up‑cycling, zero‑waste pattern drafting, eco‑friendly dyes.
Core Skills & Techniques (required)
- Hand‑sewing – running stitch, backstitch, slip stitch, seam finishes.
- Machine stitching – straight‑stitch, overlock/serger, button‑hole, coverstitch.
- Pattern drafting – flat pattern development, draping on a dress form, basic grading.
- Basic surface‑pattern creation – hand‑drawn repeat, colour testing.
Enrichment Techniques (optional – “specialist”)
| Technique |
Key Steps |
Safety / Sustainability Note |
| Screen‑printing |
Design transfer → mesh preparation → ink application → curing |
Use water‑based inks; wear gloves and mask. |
| Batik (wax‑resist) |
Draw with hot wax → dye bath → wax removal |
Work in a well‑ventilated area; recycle wax. |
| Digital surface‑pattern design |
Sketch → vectorise → create repeat → test colours |
Export in print‑ready formats; consider low‑impact inks. |
| CAD for textile design |
Set up document → import sketches → apply palettes → generate repeats |
Free options (Inkscape, Valentina) are acceptable. |
| Up‑cycling & recycled fabrics |
Source waste → sort by fibre → treat (wash, dye) → integrate into garment |
Document provenance for the portfolio. |
Knowledge & Understanding
- Materials & Processes
- Properties of fibres – absorbency, drape, durability.
- Finishing techniques and their visual/functional impact.
- Environmental impact of fibre production and dyeing.
- Communication Through Textiles
- Colour symbolism, pattern meaning, texture as narrative.
- Using textile surfaces to convey social messages (e.g., sustainability, gender‑fluidity).
- Social & Cultural Context
- Geography, ethnicity, sub‑cultures and global trends shaping fashion.
- Case studies – Japanese wabi‑sabi aesthetics, African wax prints, streetwear’s skate‑culture origins.
- Historic & Contemporary Designers
- Historic: Coco Chanel (simplified silhouette), William Morris (Arts & Crafts patterns), Issey Miyake (fabric innovation).
- Contemporary: Stella McCartney (zero‑waste, ethical sourcing), Virgil Abloh (street‑luxury hybrid), Bethany Williams (up‑cycled couture).
- Iterative Design Cycle
- Formulating a clear intention linked to a brief.
- Documenting research – mood boards, material swatches, cultural references.
- Realising ideas – sketches, prototypes, digital mock‑ups.
- Reflecting on outcomes, recording refinements and linking back to the original intention.
Design Process Overview (Iterative Cycle)
- Intention & Brief Development – define audience, purpose, constraints, sustainability goals.
- Research & Inspiration – mood boards, colour studies, cultural research, designer case studies, material swatches (including reclaimed fabrics).
- Material Selection – evaluate fibre properties, environmental impact, cost and suitability.
- Idea Generation – rapid sketches, thumbnails, digital mock‑ups, surface‑pattern experiments.
- Prototype Development – draping, pattern making, sample stitching, test specialist techniques.
- Review & Critique – peer and teacher feedback, self‑assessment using checklists, reference to research and intention.
- Refinement – modify pattern, adjust construction, fine‑tune colour/pattern repeats, incorporate sustainability feedback.
- Final Production – construct the finished garment/textile piece, add functional and decorative details, ensure durability.
- Presentation & Reflection – display on a mannequin or board, include mood board, material swatches, process photographs, and a 300‑word artist’s statement linking back to the original intention.
Technique Checklist (students can tick)
| Technique |
Attempted? |
Outcome / Reflection |
| Hand‑sewing | | |
| Machine stitching | | |
| Pattern drafting | | |
| Embroidery / Appliqué | | |
| Screen‑printing (optional) | | |
| Batik (optional) | | |
| Digital surface‑pattern design (optional) | | |
| CAD workflow (optional) | | |
| Use of recycled fabric | | |
2.5 Photography
Overview & Learning Outcomes
- Master technical controls of the camera and develop a visual narrative that responds to a brief.
- Combine traditional photographic processes with digital editing to produce a resolved body of work.
Key Concepts & Terminology
- Exposure triangle – aperture, shutter speed, ISO.
- Depth of field, focal length, perspective, composition rules (rule of thirds, leading lines, framing).
- Genre conventions – portrait, documentary, fashion, conceptual, photomontage, animation.
- Post‑production – RAW processing, colour correction, retouching, layering.
- Ethical considerations – model releases, cultural sensitivity, image manipulation disclosure.
Core Skills & Techniques (required)
- Manual camera operation (DSLR or mirrorless).
- Composition and lighting (natural, artificial, mixed).
- Digital editing using software (Photoshop, GIMP, Lightroom).
- Printing – matte, glossy, fine‑art paper, size selection.
Enrichment Techniques (optional)
- Photomontage – combining multiple exposures.
- Stop‑motion or short video animation.
- Alternative processes – cyanotype, silver gelatin printing.
Knowledge & Understanding
- Equipment & Workflow – camera settings, lenses, tripods, lighting kits, file management.
- Visual Storytelling – sequencing, narrative arc, emotional impact.
- Contextual Influences – how social, cultural and historical factors shape photographic practice (e.g., documentary photography of social movements, contemporary fashion photography).
Design Cycle Integration
Students set a photographic intention (theme, message), research visual references and technical requirements, produce a series of images, review with peers, refine lighting/composition or post‑processing, and present a cohesive portfolio with a reflective statement.
Sample Activities & Resources
- “Light Box” exercise – explore direction, quality and colour of light on simple objects.
- Study the work of Annie Leibovitz (portrait) and Henri Cartier‑Bresson (street) and produce a response series.
- Create a 5‑image narrative that addresses a social issue, then edit and print the final set.
2.6 Combined Portfolio (Paper 2)
Overview & Learning Outcomes
- Integrate work from any two of the five media areas to demonstrate a distinctive personal voice.
- Show evidence of the full design cycle across media, with clear links between intention, research, realisation and reflection.
Key Concepts & Terminology
- Cross‑media dialogue – how ideas translate between two different media.
- Coherence – visual and conceptual consistency across the body of work.
- Presentation – effective layout of the portfolio (board, digital PDF, or mixed display).
Core Requirements (must be met)
- At least six pieces in total, with a minimum of three pieces per chosen area.
- Each piece must be accompanied by a brief written annotation (≈ 100 words) linking it to the overall intention.
- A 300‑word artist’s statement that reflects on the iterative process, personal response and resolution.
Enrichment Possibilities
- Incorporate digital documentation (process videos, time‑lapse) as supplementary material.
- Experiment with mixed‑media installations that combine, for example, a sculptural object with a photographic backdrop.
Assessment Focus
Examiners will look for:
- Depth of research across both media.
- Thoughtful material and technique selection.
- Technical proficiency in each area.
- A clear, resolved personal response that is evident in both media.
- Professional presentation and insightful reflection.
3. Assessment Criteria (Summative)
| Criterion |
Level 1‑2 (Limited) |
Level 3‑4 (Developing) |
Level 5‑6 (Secure) |
Level 7‑8 (Excellent) |
| Research & Development |
Minimal research; ideas are generic. |
Basic research; some personal relevance. |
Well‑structured research; clear links to personal response. |
Extensive, insightful research; strong personal and contextual links. |
| Selection of Materials |
Inappropriate or limited material choice. |
Materials chosen with basic justification. |
Materials selected thoughtfully; properties considered. |
Innovative material use; excellent understanding of properties and sustainability. |
| Technical Execution |
Construction errors hinder functionality. |
Basic construction; occasional errors. |
Consistent, accurate construction; minor issues. |
Highly skilled execution; flawless finish and appropriate use of specialist techniques. |
| Personal Response & Resolution |
Limited personal voice; unresolved ideas. |
Emerging personal style; partially resolved. |
Clear personal voice; resolved design solution. |
Distinctive, confident personal response; fully resolved with strong conceptual coherence. |
| Presentation & Communication |
Poorly organised display; minimal explanation. |
Basic presentation; some explanation. |
Well‑organised display; clear written statement. |
Professional presentation; insightful reflection linking intention, research, realisation and refinement. |
4. General Self‑Assessment Checklist (All Areas)
- Have I documented all research sources (books, websites, designer case studies, cultural references)?
- Is my brief specific about audience, purpose, constraints and any sustainability targets?
- Do the selected materials suit the functional and aesthetic aims of the piece?
- Have I produced at least three distinct design iterations, each with a clear rationale?
- Did I seek constructive feedback from peers and teacher, and record it?
- What specific changes did I make after each review, and why?
- Have I trialled at least two specialist techniques (e.g., screen‑printing, batik, 3‑D printing) and recorded outcomes?
- Is the final piece functional, durable and aesthetically resolved?
- Does my artist’s statement explain the personal, cultural and (where relevant) sustainability relevance of the work?
5. Suggested Classroom Activities (Area‑Specific & General)
5.1 General Activities (apply to all areas)
- Design Cycle Carousel – stations for intention, research, realisation, reflection; students rotate, adding brief notes at each stage.
- Peer Review Carousel – use the technique checklist and self‑assessment sheet to give written feedback.
- Portfolio Walk‑Through – students present their work‑in‑progress, receive oral critique focused on the five assessment criteria.
- Sustainability Audit – each student creates a table of material provenance, carbon footprint and waste‑reduction strategies.
5.2 Painting Activities
- Master Study: Re‑create a 10 cm × 10 cm section of a master painting, then produce an original work using the same colour scheme.
- Colour‑Mixing Challenge: Limited palette (three primaries + white) – create a full value scale and apply it to a landscape.
- Mixed‑Media Collage: Combine newspaper clippings, acrylic wash and charcoal drawing to explore narrative layers.
5.3 Graphic Communication Activities
- Logo Redesign: Analyse a commercial logo, identify its visual language, then redesign for a different target audience.
- Poster for a Social Issue: Research a current cause, develop typographic hierarchy and imagery, produce a printed poster.
- Screen‑Printing Station (enrichment): Produce a limited‑edition poster using water‑based inks.
5.4 3‑D Design Activities
- Structure Test: Build a small bridge model from balsa wood; test load‑bearing capacity and record results.
- Digital Modelling & 3‑D Print: Model a simple object in Tinkercad, export STL, and print a prototype.
- Surface Finish Exploration: Apply different finishes (spray paint, wax, patina) to a clay sculpture and evaluate visual impact.
5.5 Textiles & Fashion Activities
- Fabric Hunt: Students bring a variety of fabrics (including reclaimed) and discuss fibre properties and environmental impact.
- Pattern Drafting Workshop: Create a basic bodice block, then modify it for an up‑cycled garment (e.g., turning a shirt into a skirt).
- Specialist Technique Stations: Small groups rotate through screen‑printing, batik, digital pattern creation, completing a mini‑sample.
5.6 Photography Activities
- Light‑Box Study: Experiment with direction, quality and colour of light on simple objects; record settings.
- Genre Exploration: Assign each student a genre (portrait, documentary, fashion) and produce a 5‑image series.
- Photomontage Lab: Combine 3–4 images to create a conceptual narrative; print as a single large format.
5.7 Combined Portfolio Activities
- Cross‑Media Brainstorm: In pairs, choose two media, develop a shared concept, and map how each medium will express different aspects of the idea.
- Portfolio Layout Workshop: Practice arranging images, sketches and written annotations on a board or digital PDF for a professional finish.