Cambridge Syllabus Notes

Painting and Related Media – IGCSE Art & Design (0400)

Course Overview

The Cambridge IGCSE Art & Design (0400) syllabus is organised into five strands:

1. Painting and Related Media
2. Graphic Communication
3. Three‑Dimensional Design
4. Textiles & Fashion
5. Photography

The notes below focus on Strand 1, but the skills, research habits and reflective processes are transferable across all strands. A typical 30‑week timetable might look like this:

Weeks	Strand	Key Focus
1‑4	Painting & Related Media	Research, brief development, colour theory, media trials
5‑8	Graphic Communication	Visual language, layout, digital illustration
9‑12	Three‑Dimensional Design	Form, scale, material exploration
13‑16	Textiles & Fashion	Surface treatment, pattern, cultural dress
17‑20	Photography	Composition, lighting, digital editing
21‑24	Integrated Project	Combine two strands, develop a brief, produce a portfolio
25‑30	Assessment Preparation	Portfolio refinement, mock critiques, final evaluation

Objective

Develop a systematic understanding of how painting and related media communicate ideas, emotions and observations. Learners will research, record, plan, execute and evaluate artwork in line with the Cambridge IGCSE Art & Design (0400) 2026 syllabus.

1. Visual Research & Recording

Research underpins every successful piece of artwork. It must be systematic, documented and referenced.

First‑hand research: field sketches, photographic logs, video clips, audio notes.
Secondary research: books, journal articles, museum catalogues, reputable websites, artist monographs.
Recording methods
- Sketchbook – dated entries, labelled sketches, colour swatches.
- Digital mood board – e.g., Pinterest, Google Slides, with source citations.
- Research journal – brief written reflections, key quotations, cultural/historical context.
Citation: always note author, title, date and URL (if online) to demonstrate academic honesty.

2. The Artistic Process: Intention → Research → Realisation → Reflection

The syllabus describes four inter‑linked stages. Align each stage with the Assessment Objectives (AO1‑AO5):

Intention (AO1) – Define a clear brief (theme, audience, constraints, desired impact).
Research (AO1‑AO3) – Gather visual and written sources; analyse social, cultural and historical influences.
Realisation (AO2‑AO3) – Choose media, develop technical skills, manipulate visual elements to communicate the idea.
Reflection (AO4‑AO5) – Evaluate the work against the brief, incorporate feedback, present professionally.

Both the *making* and the *viewing* of artwork are shaped by social and cultural factors (e.g., identity, current events, audience expectations). Explicitly consider these factors in the brief and in the final evaluation.

3. Theme, Starting Point or Brief

Every work should begin with a concise brief that guides decisions throughout the process.

Brief Element	Prompt for Students
Theme / Idea	What central idea or observation do you want to explore?
Intended Audience	Who is the work for and why might it matter to them?
Constraints	Size, medium, time‑limit, use of recycled material, colour palette, etc.
Desired Impact	What feeling or response should the viewer have?
Research Sources	List at least three primary and three secondary sources.

4. Social, Cultural & Historical Influences

Consider identity (gender, ethnicity, community), environment (urban vs. rural) and current events.
Explore how artists from different periods responded to similar themes (e.g., social protest in Goya, Picasso, Banksy).
Reflect on how your own background shapes the visual language you choose.
Discuss how these influences affect both the *making* of the work and the *interpretation* by viewers.

5. Core Technical Skills (Syllabus “Skills and techniques” list)

These skills must be demonstrated explicitly in the portfolio. Use the checklist to verify coverage.

Skill	What to Look For
Form & Modelling	Accurate representation of three‑dimensional volume using value and colour.
Linear & Atmospheric Perspective	Correct use of vanishing points, size diminution, colour shift to create depth.
Scale & Proportion	Consistent relationships between objects; measured against a reference.
Colour Theory	Understanding of hue, value, temperature; purposeful colour harmonies (complementary, analogous, split‑complementary).
Texture (Implied & Actual)	Use of brushwork, collage, impasto, or mixed media to convey surface quality.
Use of Recycled/Alternative Supports	Preparation of cardboard, fabric, reclaimed wood; documentation of the process.

6. Key Visual Elements of Painting

Line – defines shape, suggests movement and direction.
Shape – geometric or organic forms that build composition.
Colour – hue, value, saturation; creates mood and symbolic meaning.
Value – lightness/darkness; models form and establishes depth.
Texture – implied (through brushwork) or actual (collage, impasto).
Space – illusion of depth via perspective, overlap, size variation.

7. Media, Supports & Alternative Materials

Medium	Typical Supports	Key Characteristics	Typical Uses
Acrylic paint	Canvas, wood panel, heavy paper, reclaimed cardboard	Fast drying, water‑soluble, can be thinned or built up thickly	Bold colour, mixed‑media experiments, street‑art style
Oil paint	Canvas, linen, primed board, reclaimed wood	Slow drying, luminous colour depth, excellent for glazing	Portraiture, detailed landscape, traditional studio practice
Watercolour	Cold‑pressed, hot‑pressed paper, watercolor board	Transparent, fluid, relies on paper texture	Atmospheric effects, botanical illustration, quick studies
Tempera	Wood panel, heavyweight paper, cardboard	Matte finish, quick drying, pigment mixed with egg or gum	Illustration, historic technique recreation, fine detail
Mixed media	Canvas, board, paper, fabric scraps, recycled cardboard	Combination of paints, inks, collage, found objects, texture‑rich	Narrative pieces, experimental texture, sustainability projects
Printmaking (linocut, screen‑print)	Paper, fabric, wood block, mesh screen	Reproducible, strong graphic quality, emphasis on line and value	Series work, poster design, social commentary
Pastel (soft, oil, hard)	Pastel paper, sanded board, heavyweight paper	Rich colour, immediate blendability, can be fixed or left loose	Portraiture, atmospheric studies, colour‑field explorations

8. Observational Skills for Effective Painting

Break subjects into basic shapes and value masses before adding detail.
Analyse light source(s): direction, temperature, reflected light.
Record surface texture with close‑up sketches or macro photographs.
Work from a limited palette to strengthen value relationships.
Complete rapid gesture studies (30 sec–2 min) to capture movement.

9. Planning & Development Process (Aligned with AO1‑AO5)

Research & Inspiration – gather visual & written sources; fill the research journal.
Brief Development (AO1) – write a concise brief using the template above.
Thumbnail Sketches – 5‑10 quick compositions; experiment with focal points, balance and perspective.
Colour & Material Studies (AO2) – test palettes, media combinations, and any recycled supports.
Material Selection – decide on primary medium, support, and any alternative/recycled elements.
Execution (AO2‑AO3) – build in layers (underpainting → modelling → glazing → texture). Record decisions in a process log.
Reflection & Editing (AO4‑AO5) – pause regularly and ask:
- Does the work still answer the brief?
- Are the visual elements reinforcing the intended idea?
- What could be refined (value, colour balance, composition)?
Final Evaluation – write a 150‑word evaluation linking research, visual choices and the intended impact; include peer/teacher feedback and citation of sources.

10. Relevant Skills & Techniques (AO2 – “a few appropriate skills”)

Tonal drawing (graphite, charcoal) for value studies.
Pen & ink line work – hatching, cross‑hatching, stippling.
Pastel blending and fixative techniques.
Printmaking basics – carving, inking, registration.
Collage – using paper, fabric, recycled packaging, natural materials.

11. Artists, Movements & Genre Conventions (AO3)

Artist / Movement	Key Visual Strategies	Relevance to Briefs
Caravaggio (Baroque)	Chiaroscuro, dramatic narrative	Effective for strong emotional impact.
Claude Monet (Impressionism)	Loose brushwork, colour‑based light	Useful when exploring atmosphere.
Frida Kahlo (Surrealist‑Realist)	Symbolic self‑portraiture, cultural motifs	Informs personal identity projects.
Banksy (Street Art)	Stencil, social commentary, limited palette	Model for contemporary protest themes.
Yayoi Kusama (Contemporary)	Repetition, immersive installations, use of everyday objects	Inspires experimental mixed‑media.

12. Assessment Criteria (AO1‑AO5)

Criterion (AO)	What Examiners Look For
AO1 – Exploration of ideas	Clear brief, relevance of research, originality of concept, and evidence of intention → research → realisation → reflection.
AO2 – Use of techniques & media	Appropriate, skillful use of chosen media; evidence of experimentation (including recycled/alternative materials); mastery of core technical skills.
AO3 – Development of visual language	Effective manipulation of line, shape, colour, value, texture and space to communicate the idea.
AO4 – Evaluation & reflection	Thoughtful analysis of strengths, weaknesses, and how the work meets the brief; incorporation of feedback; links to social/cultural context.
AO5 – Presentation	Neat mounting, accurate labeling, citation of sources, and overall professionalism of the portfolio.

13. Suggested Classroom Activities

Colour Mixing & Swatch Book – students create a personal colour chart (primary, secondary, complementary) and note drying times for acrylic vs. oil.
Observation Walk & Value Study – 15‑minute sketch in a local setting; produce a monochrome value study on the same subject.
Recycled‑Support Challenge – each pupil constructs a painting surface from cardboard, fabric scraps or reclaimed wood; must document the preparation process.
Media Swap – start a piece in watercolour, finish in mixed media; discuss how the change influences meaning.
Critique Carousel – small groups rotate, giving structured feedback (what works, what could be improved, how it meets the brief).
Artist Research Presentation – 5‑minute talk on a historical or contemporary painter, linking technique to theme.
Core Skills Checklist Audit – students use the table in Section 5 to self‑assess completion of each technical skill before final submission.

14. Summary of Key Points

Aspect	Key Takeaway
Course Structure	Painting sits within five strands; a clear timetable helps learners see the whole IGCSE journey.
Research & Recording	Systematic visual and written research, properly cited, forms the foundation of every artwork.
Brief & Intent	A concise brief defines theme, audience, constraints and desired impact.
Social & Cultural Context	Embedding identity, history or current issues enriches both making and viewing.
Core Technical Skills	Form, perspective, scale, colour relationships and texture must be demonstrated explicitly.
Media Choice	Select media (including recycled supports) that best serve the concept and desired texture.
Visual Elements	Line, shape, colour, value, texture and space must be deliberately manipulated to communicate.
Process	Structured planning, experimentation, regular reflection and editing lead to purposeful work.
Assessment (AO1‑AO5)	Focus on idea development, technical skill, visual language, reflective evaluation and professional presentation.

Suggested diagram: A colour wheel showing primary, secondary and tertiary colours, with examples of complementary, analogous and split‑complementary pairings; include a small palette swatch demonstrating how the same hue can shift in value and temperature.

understand how painting and related media communicate ideas and observations