Cambridge Syllabus Notes

IGCSE Art & Design (0400) – Syllabus‑Aligned Study Notes

These notes are organised to mirror the five areas of study in the Cambridge IGCSE Art & Design syllabus:

Graphic Communication
Painting & Related Media
3‑D Design
Textiles & Fashion
Photography

Each section follows a consistent structure: definition, core visual/technical elements, media & sustainable options, research & the design cycle, classroom activities, and assessment focus.

1. Graphic Communication

1.1 What Is Graphic Communication?

Purposeful use of visual elements – line, shape, colour, texture, typography, space, form, perspective and scale – to convey ideas, observations or messages to a specific audience.
Integrates artistic expression, design thinking, cultural awareness and research.

1.2 Core Visual Elements & Their Functions

Element	Communication Function	Typical Uses in Graphic Work
Line	Directs the eye, creates movement, defines edges.	Arrows, dividers, outlines, gestural marks.
Shape & Form	Organises content; geometric shapes suggest order, organic shapes suggest spontaneity.	Icons, logos, background panels, 3‑D mock‑ups.
Colour	Evokes emotion, establishes hierarchy, creates contrast.	Brand palettes, mood‑setting backgrounds, safety signage.
Texture	Adds depth, suggests material quality, influences tactile perception.	Paper grain, digital patterns, collage, screen‑print inks.
Typography	Conveys tone, readability and hierarchy through typeface, size and spacing.	Headlines, body copy, logotypes, UI labels.
Space (Positive & Negative)	Balances composition, creates focus, guides visual flow.	Margins, breathing room, grid systems, way‑finding maps.
Perspective & Scale	Creates depth, shows relationships between objects, signals importance.	Packaging mock‑ups, illustration scenes, advertising environments.
Form	Gives three‑dimensional volume to objects; essential for product visualisation.	3‑D product sketches, exploded‑view diagrams, CAD models.

1.3 Core Techniques Checklist (Syllabus Requirement)

Observational drawing (tonal, contour, gesture)
Pen & ink line work
Collage & mixed‑media construction
Screen‑printing / linocut
Digital vector illustration (Illustrator, Inkscape)
Raster editing (Photoshop, GIMP)
Basic CAD for 3‑D prototypes (Tinkercad, Fusion 360)
Laser‑cutting / CNC routing (optional extension)

1.4 Media & Materials (Including Sustainable Options)

Traditional: graphite, charcoal, ink, water‑colour, acrylic, collage, linocut, screen‑print.
Digital: vector software (Illustrator, Inkscape), raster software (Photoshop, GIMP), CAD for 3‑D mock‑ups.
Recycled / Alternative: newspaper, cardboard, fabric scraps, reclaimed wood, polymer clay, up‑cycled packaging.

1.5 Symbolism, Cultural Context & Historical Influences

Symbols act as visual shortcuts – always check relevance, recognisability and cultural sensitivity.
Research two designers from different movements and one contemporary practitioner. Example table:

Designer / Movement	Key Visual Language	Cultural / Contextual Influence	Communication Solution
Paul Rand (Swiss/International Style)	Simple geometric forms, strong contrast, grid‑based layout	Post‑war corporate identity, emphasis on clarity	Logo systems that convey brand values instantly.
Massimo Vignelli (Modernist)	Limited type families, use of Helvetica, disciplined hierarchy	1970s modernism, universalist design philosophy	Consistent visual identity across media.
Jessica Walsh (Contemporary / Post‑Modern)	Bold colour, hand‑drawn typography, playful collage	Digital culture, social media aesthetics	Emotion‑driven branding that engages younger audiences.

1.6 Colour Theory in Communication (Expanded)

Colour	Typical Associations	Common Uses in Design
Red	Energy, urgency, passion	Calls to action, food branding, warnings
Blue	Calm, trust, professionalism	Corporate identity, health‑care, tech
Green	Growth, nature, stability	Environmental campaigns, finance, wellness
Yellow	Optimism, attention, warmth	Promotions, children’s products, safety signage
Black & White	Elegance, simplicity, contrast	Luxury branding, minimalistic layouts, editorial design

1.7 Layout & Composition Principles

Balance: symmetrical or asymmetrical distribution of visual weight.
Alignment: consistent positioning for order and readability.
Repetition: reuse of motifs, colour or type to reinforce identity.
Proximity: grouping related items to clarify relationships.
Grid Systems: structural framework for spacing and hierarchy.
Hierarchy: combination of scale, colour contrast, placement, and typographic weight to guide the eye.

1.8 The Design Cycle – Explicit Reflection Loop

Stage	Key Question(s)	Output / Evidence
Intention	What do I want to communicate and to whom?	Brief statement, target‑audience profile.
Research & Observation	What visual, cultural and material information supports the intention?	Field notes, visual diary entries, mood‑board.
Concept Development	How can the research be turned into visual ideas?	Sketches, mind‑maps, thumbnail studies.
Design Development	Which ideas best solve the communication problem?	Refined drawings, digital drafts, colour & texture studies.
Production	How will the final piece be realised technically?	Final artwork, print‑ready files, 3‑D prototypes.
Evaluation	Has the work achieved its original intention?	Peer feedback, self‑reflection checklist, comparison with brief.

1.9 Sample Mood‑Board Template (Copy‑Ready)

Students can sketch or create digitally. The template is a 3×3 grid; each cell is labelled for a specific input.

Colour Swatches (hex codes)	Key Images (photographs, sketches)	Typography Samples (typefaces, hierarchy)
Symbol / Icon Ideas (hand‑drawn)	Cultural References (patterns, motifs)	Material Samples (paper, fabric, digital texture)
Target‑Audience Insights (demographics, preferences)	Layout Sketches (grid, composition)	Sustainability Notes (recycled material ideas)

1.10 Sustainable Materials – Mini Case Study

Project: “Eco‑Snack Bar Branding”
Brief: Design a logo, colour palette, packaging mock‑up and a promotional poster using at least one recycled material.

Materials used: cardboard from used cereal boxes (packaging), soy‑based inks (printing), reclaimed wood veneer for a limited‑edition label.
Design decisions: Earth‑tone palette (green, brown) to reinforce sustainability; simple line‑icon of a leaf to convey natural ingredients; use of negative space to minimise ink coverage.
Outcome: The brand was judged by peers as “clear, environmentally responsible and commercially viable”.

1.11 Classroom Activities (Graphic Communication)

Analyse three contrasting posters (public‑health, product advert, transport map). Record line, colour, typography and how each element supports the brief.
Maintain a visual diary for one week, noting colour, texture and form in the school environment. Incorporate at least one recycled material into a sketch.
Design a public‑information graphic (e.g., timetable or way‑finding map). Produce a hand‑drawn version and a digital vector version; compare strengths of each medium.
Create a complete branding identity for a fictional product: logo, colour palette, packaging mock‑up, and a short advertising poster. Write a 150‑word justification linking each visual choice to the target audience.
Experiment with a print‑making technique (linocut or screen‑print). Produce a series of three prints that explore texture, colour contrast and hierarchy.

1.12 Assessment Focus – What Examiners Look For

Clear understanding of how each visual element (including form, perspective and scale) communicates ideas.
Evidence of thorough observation, research (visual diary, mood‑board) and cultural/contextual awareness.
Effective application of design principles: balance, hierarchy, contrast, perspective, scale, grid systems.
Skilful use of a range of media, with at least one sustainable/recycled material.
Reflective evaluation that explicitly links the final piece to the original intention, research findings and audience response.

2. Painting & Related Media

2.1 Definition

Use of pigment‑based media (wet or dry) to explore colour, texture, form and narrative. Includes drawing, water‑colour, acrylic, oil (where permitted), mixed media and experimental techniques.

2.2 Core Visual & Technical Elements

Colour Relationships: complementary, analogous, split‑complementary, colour temperature.
Value & Tonality: creating depth and mood through light‑dark contrast.
Texture & Surface: impasto, glazing, scumbling, collage.
Form & Perspective: linear perspective, atmospheric perspective, foreshortening.
Composition: rule of thirds, golden ratio, dynamic symmetry.

2.3 Core Techniques Checklist (Syllabus)

Dry media: graphite, charcoal, pastel, coloured pencil.
Wet media: water‑colour, acrylic, (optional) oil.
Mixed‑media: collage, encaustic, pigment on non‑traditional surfaces.
Experimental: pigment transfer, sgraffito, digital‑to‑hand hybrid.

2.4 Media & Sustainable Options

Traditional: paper (recycled), canvas (cotton, linen), wood panels, cardboard.
Eco‑friendly pigments: plant‑based water‑colour, low‑VOC acrylics.
Alternative supports: reclaimed wood, fabric scraps, old magazines.

2.5 Research & Observation

Students should keep a visual diary that records:

Colour studies taken from natural surroundings.
Texture samples (e.g., bark, fabric).
Observations of light and shadow at different times of day.

2.6 Classroom Activities (Painting)

Colour‑mixing exercise: create a 12‑step value scale using a single hue and its complementary colour.
Texture board: glue together three natural materials, then paint over them to explore how texture influences colour perception.
Perspective study: produce a one‑point and a two‑point perspective cityscape, then convert the drawing into a small acrylic painting.
Mixed‑media narrative: develop a short visual story (4‑6 panels) using at least two different painting media and one recycled support.
Self‑evaluation: write a 200‑word critique linking the intended mood, the colour choices and the technical processes used.

2.7 Assessment Checklist (Painting)

Demonstrates control of colour relationships and value.
Shows purposeful use of texture and material.
Applies perspective and form to create convincing space.
Integrates research and observation into the final work.
Reflects on the process and evaluates success against the brief.

3. 3‑D Design

3.1 Definition

Creation of three‑dimensional objects or installations using modelling, carving, construction, or digital fabrication. Emphasises form, scale, materiality and functional considerations.

3.2 Core Elements & Skills

Form & Volume: solid geometry, organic modelling, negative space.
Scale & Proportion: relationship to human body, ergonomic factors.
Structure & Construction: joinery, support systems, stability.
Surface & Finish: texture, paint, varnish, sustainable finishes.
Technical Drawing: orthographic projection, exploded views, CAD modelling.

3.3 Core Techniques Checklist

Hand‑building with cardboard, foam board, balsa wood.
Model‑making with polymer clay, plaster, papier‑mâché.
Basic CAD (Tinkercad, Fusion 360) for 3‑D visualisation.
Laser‑cutting or CNC routing for precise components (optional).
Finishing techniques: sanding, painting, sealing with eco‑friendly varnish.

3.4 Media & Sustainable Options

Recycled cardboard, corrugated fibreboard, reclaimed wood, up‑cycled plastic bottles.
Biodegradable adhesives (e.g., wheat‑based glue).
Natural finishes: beeswax, plant‑based oils.

3.5 Research & Observation

Students should produce a 3‑D research board containing:

Photographs of everyday objects (chairs, containers) focusing on form and construction.
Sketches of possible structural solutions.
Material swatches and sustainability notes.

3.6 Classroom Activities (3‑D)

Construct a scale model (1:10) of a simple household object (e.g., a lamp) using only recycled cardboard and a single joint technique.
Use CAD to create a 3‑D rendering of the model, then export a printable file for a laser‑cut prototype of one component.
Explore texture by applying different surface treatments (paper‑mâché, sand, fabric) to the same form and photograph the results.
Design a small installation (max. 1 m³) that communicates a social message; produce technical drawings, a physical maquette, and a brief evaluation.
Write a reflective log linking the chosen material, construction method and the intended audience response.

3.7 Assessment Checklist (3‑D)

Clear understanding of form, scale and structural integrity.
Effective use of a range of sustainable materials.
Accurate technical drawings that support the physical model.
Demonstrated research and observation informing design decisions.
Critical evaluation that connects the finished object to the brief and audience.

4. Textiles & Fashion

4.1 Definition

Design and creation of wearable or decorative textile pieces, exploring surface pattern, colour, texture, construction techniques and cultural symbolism.

4.2 Core Visual & Technical Elements

Pattern & Motif: repetition, scaling, cultural references.
Colour Theory: colour‑blocking, gradient dyeing, sustainable palettes.
Texture & Fabric Structure: weave, knit, non‑woven, surface embellishment.
Construction: stitching, draping, tailoring, fabric manipulation.
Form & Fit: silhouette, proportion, ergonomics.

4.3 Core Techniques Checklist

Hand‑sewing (running stitch, backstitch, French seam).
Machine sewing basics (straight stitch, zig‑zag).
Fabric dyeing (natural dyes, tie‑dye, batik).
Surface manipulation (embroidery, appliqué, fabric painting).
Pattern drafting and basic garment construction.

4.4 Media & Sustainable Options

Recycled fabrics: up‑cycled denim, polyester from plastic bottles, organic cotton.
Natural dyes: beetroot, turmeric, indigo.
Alternative supports: canvas from reclaimed sails, felt from wool scraps.

4.5 Research & Observation

Students create a fashion mood‑board that includes:

Historical garment images (e.g., Bauhaus textile, 1970s punk).
Contemporary sustainable fashion examples.
Swatches of at least three different recycled fabrics.
Notes on cultural symbolism of pattern or colour.

4.6 Classroom Activities (Textiles)

Produce a 15 cm × 15 cm fabric swatch using a hand‑woven technique with recycled yarn; document the process with photos.
Design a simple garment (e.g., a tote bag) that incorporates a repeat motif derived from a cultural pattern studied in research.
Experiment with natural dyeing: create three colour blocks on the same fabric using beetroot, tea, and walnut husk.
Construct the final garment, then write a 150‑word evaluation linking material choice, pattern, and intended audience (e.g., eco‑conscious shoppers).
Peer‑review session: each student presents the garment and receives feedback on sustainability, craftsmanship and communication.

4.7 Assessment Checklist (Textiles)

Demonstrates skillful handling of chosen textile techniques.
Uses sustainable/recycled materials thoughtfully.
Shows clear research into cultural or historical references.
Communicates a specific idea or message through pattern, colour and form.
Provides reflective evaluation that connects process, material and audience.

5. Photography

5.1 Definition

Creation of still images using digital or analogue cameras to explore composition, light, colour, narrative and the communication of ideas.

5.2 Core Visual & Technical Elements

Composition: rule of thirds, leading lines, framing, negative space.
Lighting: natural vs. artificial, direction, quality, colour temperature.
Colour & Tone: white‑balance, colour grading, black‑and‑white conversion.
Perspective & Depth of Field: focal length, aperture, foreground/background relationships.
Narrative & Symbolism: visual storytelling, use of props, cultural signifiers.

5.3 Core Techniques Checklist

Manual exposure (shutter speed, aperture, ISO).
Focus control (single‑point, zone, manual).
Basic post‑processing (crop, exposure correction, colour balance) using free software (GIMP, Darktable).
Use of simple lighting kits or reflectors.
Creation of a photo‑essay (minimum 5 images) with a unifying theme.

5.4 Media & Sustainable Options

Digital cameras with rechargeable batteries.
Re‑using printed photographs as collage material.
Eco‑friendly printing on recycled paper for exhibition.

5.5 Research & Observation

Students maintain a photographic observation journal where they record:

Daily light conditions (time, weather, colour temperature).
Interesting patterns, textures and forms encountered.
Brief notes on intended message for each shot.

5.6 Classroom Activities (Photography)

“Light Hunt” – capture the same subject at three different times of day; analyse how colour temperature and shadows alter meaning.
Create a series of five images that tell a simple story about school life; include at least one portrait, one detail shot and one wide‑angle view.
Experiment with black‑and‑white conversion: produce two versions of the same image (colour vs. monochrome) and discuss which better communicates the intended mood.
Design a small exhibition board (A2) using recycled cardboard; arrange printed photographs with captions that explain the visual language used.
Write a reflective paragraph linking camera settings, composition choices and the effectiveness of the visual narrative.

5.7 Assessment Checklist (Photography)

Shows control of camera settings to achieve intended visual effect.
Applies compositional principles to guide the viewer.
Demonstrates research and observation influencing subject choice.
Integrates sustainable practices in printing or presentation.
Provides a clear evaluation of how the image series meets the brief.

6. Overall Assessment Overview – What Examiners Expect Across All Areas

Intention → Research → Realisation → Evaluation: a clearly documented design cycle for every piece of work.
Demonstrated understanding of core visual elements (including form, perspective and scale) and how they communicate ideas.
Effective use of a range of media, with at least one sustainable/recycled material in each area of study.
Evidence of cultural, historical and social context influencing design decisions.
Reflective evaluation that directly references the original brief, target audience and the success of the communication.

7. Quick Reference Checklist (For Revision)

Area	Key Visual Elements	Core Techniques	Sustainable Requirement	Reflection Loop
Graphic Communication	Line, shape, colour, texture, typography, space, form, perspective, scale	Vector illustration, screen‑print, CAD, collage	Use recycled paper/cardboard or up‑cycled material in at least one piece	Intention → Research → Concept → Development → Production → Evaluation
Painting & Related Media	Colour relationships, value, texture, form, perspective	Water‑colour, acrylic, mixed media, impasto, glazing	Plant‑based pigments, reclaimed canvas or board	Same as above
3‑D Design	Form, scale, structure, surface, perspective	Cardboard modelling, polymer clay, basic CAD, laser‑cut	Recycled cardboard, reclaimed wood, biodegradable adhesives	Same as above
Textiles & Fashion	Pattern, colour, texture, construction, form	Hand‑sewing, natural dyeing, fabric painting, pattern drafting	Organic cotton, recycled polyester, natural dyes	Same as above
Photography	Composition, lighting, colour, perspective, narrative	Manual exposure, focus control, basic post‑processing	Digital workflow, recycled paper prints, eco‑friendly inks	Same as above

7. Final Summary

The Cambridge IGCSE Art & Design (0400) syllabus demands a balanced blend of observation, research, technical skill and reflective practice across five distinct areas. Mastery of visual language—line, shape, colour, texture, typography, space, form, perspective and scale—combined with a willingness to experiment with both traditional and sustainable media, enables students to create clear, purposeful visual messages. By following the documented design cycle (intention → research → realisation → evaluation) and consistently linking each decision to audience and context, learners meet the assessment criteria and build a solid foundation for further study or a creative career.

understand how graphic design communicates ideas and observations