Students will explore how three‑dimensional (3‑D) design communicates ideas, emotions and messages, and will develop the ability to plan, create and evaluate their own 3‑D artworks.
| Element / Principle | Explanation | Communicative Potential |
|---|---|---|
| Form | The three‑dimensional shape of an object. | Suggests solidity, fragility, movement or stillness. |
| Scale | Size of the work relative to the viewer or surroundings. | Large scale can convey power; small scale can evoke intimacy. |
| Texture | Surface quality – smooth, rough, patterned, etc. | Evokes tactile response; can symbolise concepts such as hardship (rough) or purity (smooth). |
| Balance | Distribution of visual weight. | Symmetrical balance suggests order; asymmetrical balance creates tension. |
| Rhythm | Repetition or alternation of forms. | Guides the viewer’s eye and creates a sense of movement. |
| Contrast | Differences in material, colour, texture or scale. | Highlights focal points and emphasises ideas. |
| Stage | Key Actions | Typical Outcome |
|---|---|---|
| Research | Gather visual, textual and material information; complete a Cultural Influence Log. | Annotated bibliography, mood board, influence log. |
| Ideation | Generate multiple concepts; use mind maps or rapid sketches. | Concept sketches and a brief statement of intent. |
| Development | Refine the chosen concept; produce detailed scale models or digital prototypes. | Technical drawings, exploded‑view diagrams, CAD files. |
| Production | Construct the final piece using selected techniques and specialist equipment. | Completed three‑dimensional artwork. |
| Reflection | Critically assess the work against the brief and cultural context. | Reflective journal entry (300‑500 words) and a revision plan. |
Accurate planning of 3‑D forms relies on geometry and scale.
For a rectangular prism:
$$V = l \times w \times h$$
Similar formulas apply for cylinders, cones and spheres. Scaling a model (e.g., 1 : 10) requires proportional conversion of all dimensions.
| Criterion | What Examiners Look For | Level Descriptors (1‑8) |
|---|---|---|
| Exploration of ideas | Originality, relevance to brief, depth of research (including cultural/environmental context). | 1–2: Limited 3–4: Developing 5–6: Competent 7–8: Excellent |
| Use of materials & techniques | Appropriate selection, skillful handling, innovation, use of specialist processes. | 1–2: Inconsistent 3–4: Adequate 5–6: Proficient 7–8: Mastery |
| Communication of meaning | Clarity of concept, effectiveness of visual language, integration of cultural/environmental references. | 1–2: Unclear 3–4: Emerging 5–6: Clear 7–8: Persuasive |
| Presentation & evaluation | Neatness, documentation (sketches, CAD files, influence log), reflective analysis. | 1–2: Poor 3–4: Satisfactory 5–6: Good 7–8: Outstanding |
Students will investigate how colour, line, texture and composition in painting and related media convey ideas, moods and cultural messages, and will produce a series of works that respond to a brief.
| Element / Principle | Explanation | Communicative Potential |
|---|---|---|
| Line | Marks that define edges, contours or implied direction. | Dynamic lines suggest movement; vertical lines imply stability. |
| Colour | Hue, saturation and value used to create harmony or tension. | Warm colours can evoke excitement; cool colours can calm. |
| Shape & Form | Two‑dimensional outlines (shape) and illusion of three‑dimensionality (form). | Geometric shapes may convey order; organic shapes may suggest nature. |
| Texture | Surface quality created by brushwork, palette knife, collage, or printmaking. | Rough texture can imply harshness; smooth texture can suggest serenity. |
| Balance | Distribution of visual weight across the picture plane. | Symmetrical balance can feel formal; asymmetrical balance can feel dynamic. |
| Contrast | Differences in colour, value, size or texture. | Creates focal points and emphasizes narrative elements. |
| Stage | Key Actions | Typical Outcome |
|---|---|---|
| Research | Study colour symbolism, historic painting styles, and relevant cultural references. | Mood board, colour palette chart, influence log. |
| Ideation | Generate thumbnail sketches, experiment with colour swatches. | Series of 5‑10 thumbnail studies. |
| Development | Produce a detailed preparatory drawing, plan layers and techniques. | Full‑size drawing, value study, medium‑specific plan. |
| Production | Execute the final work using chosen media; apply underpainting, glazing, or printmaking processes. | Completed painting or mixed‑media piece. |
| Reflection | Evaluate colour choices, composition and cultural relevance. | Reflective journal (300‑500 words) and a self‑assessment grid. |
Composition often uses the rule of thirds or the golden ratio (Φ ≈ 1.618) to achieve balance.
Example: If a canvas is 60 cm wide, the golden division point is at 60 ÷ 1.618 ≈ 37 cm from the left edge.
| Criterion | What Examiners Look For | Level Descriptors (1‑8) |
|---|---|---|
| Exploration of ideas | Original concept, relevance to brief, depth of research (cultural, historical). | 1–2 Limited 3–4 Developing 5–6 Competent 7–8 Excellent |
| Technical skill | Control of medium, handling of colour, value, texture and perspective. | 1–2 Inconsistent 3–4 Adequate 5–6 Proficient 7–8 Mastery |
| Communication of meaning | Clarity of narrative or abstract intent, effective visual language. | 1–2 Unclear 3–4 Emerging 5–6 Clear 7–8 Persuasive |
| Presentation & evaluation | Neatness, documentation (studies, colour charts), reflective analysis. | 1–2 Poor 3–4 Satisfactory 5–6 Good 7–8 Outstanding |
Students will develop visual communication skills using illustration, typography, layout and digital tools to convey messages to specific audiences.
| Element / Principle | Explanation | Communicative Potential |
|---|---|---|
| Typography | Choice of typeface, size, weight and spacing. | Serif fonts can suggest tradition; sans‑serif can feel modern. |
| Imagery | Illustrations, photographs or icons used to support text. | Realistic images may convey authority; stylised icons can simplify complex ideas. |
| Composition | Arrangement of visual elements within a defined space. | Strong hierarchy guides the viewer’s reading order. |
| Colour | Palette selection and colour relationships. | High contrast for urgency; analogous colours for harmony. |
| Grid | Underlying structure that organizes content. | Creates consistency and aids readability. |
| Stage | Key Actions | Typical Outcome |
|---|---|---|
| Brief & Research | Analyse the client brief, identify audience, research visual language. | Brief summary, audience profile, competitor analysis. |
| Concept Development | Produce mood boards, colour studies, typographic explorations. | Three distinct visual concepts with rationale. |
| Layout Design | Create grid‑based mock‑ups, experiment with hierarchy and spacing. | Finalised digital layout (Illustrator or InDesign file). |
| Production | Prepare files for print or digital delivery; check resolution, colour mode (CMYK/RGB). | Print‑ready PDF or web‑optimized PNG/JPEG. |
| Evaluation | Gather peer feedback, assess against brief and audience needs. | Reflective report (200‑300 words) and a revised version if required. |
Effective grids use simple ratios. A common 12‑column grid divides a page width (e.g., 210 mm A4) into 12 equal columns of 17.5 mm with 5 mm gutters.
| Criterion | What Examiners Look For | Level Descriptors (1‑8) |
|---|---|---|
| Idea & Audience | Clear brief response, appropriate audience targeting, originality. | 1–2 Limited 3–4 Developing 5–6 Competent 7–8 Excellent |
| Technical Skill | Effective use of typography, colour, layout, and digital tools. | 1–2 Inconsistent 3–4 Adequate 5–6 Proficient 7–8 Mastery |
| Communication of meaning | Message clarity, visual hierarchy, cultural appropriateness. | 1–2 Unclear 3–4 Emerging 5–6 Clear 7–8 Persuasive |
| Presentation & Evaluation | Neatness of final output, documentation of process, reflective analysis. | 1–2 Poor 3–4 Satisfactory 5–6 Good 7–8 Outstanding |
Students will explore how fabric, surface pattern, construction techniques and cultural influences are used to communicate identity, status and narrative in textile and fashion design.
| Element / Principle | Explanation | Communicative Potential |
|---|---|---|
| Fabric Choice | Selection of fibre and weave. | Silk can suggest luxury; recycled polyester can signal sustainability. |
| Pattern & Motif | Repeated visual elements applied to surface. | Traditional tribal motifs convey heritage; abstract patterns can express modernity. |
| Silhouette | Overall shape of the garment. | Structured tailoring may convey authority; flowing drape can evoke freedom. |
| Construction | Methods of assembling fabric (seam, knit, bond). | Visible seams can add honesty; seamless construction can suggest futurism. |
| Colour Palette | Chosen colours and their relationships. | Monochrome can be minimalist; bold contrasting colours can be expressive. |
| Detailing | Embellishments such as embroidery, beading, laser‑cut panels. | Hand‑stitched details may communicate craftsmanship; digital prints can reference technology. |
| Stage | Key Actions | Typical Outcome |
|---|---|---|
| Research & Mood Board | Investigate cultural dress, sustainability issues, fabric properties. | Fabric swatch book, mood board, influence log. |
| Concept Sketches | Draw quick silhouettes, annotate fabric and pattern ideas. | 5–7 thumbnail sketches with notes. |
| Technical Development | Create flat technical drawings, pattern blocks, and a prototype. | Full‑scale pattern pieces, muslin prototype. |
| Construction | Cut fabric, stitch, apply finishes and embellishments. | Finished garment or textile artwork. |
| Evaluation | Assess fit, comfort, visual impact and cultural relevance. | Reflective journal (300 words) and a suggested improvement plan. |
Pattern making uses geometry and measurement.
Example: To draft a basic bodice block, the waist measurement (W) is divided by 4 to obtain the front waist dart width (W ÷ 4). All pattern pieces are then proportionally scaled.
| Criterion | What Examiners Look For | Level Descriptors (1‑8) |
|---|---|---|
| Idea Development | Original concept, relevance to brief, depth of cultural and sustainability research. | 1–2 Limited 3–4 Developing 5–6 Competent 7–8 Excellent |
| Technical Skill | Accuracy of pattern making, stitching quality, finishing, use of appropriate techniques. | 1–2 Inconsistent 3–4 Adequate 5–6 Proficient 7–8 Mastery |
| Communication of meaning | Clarity of narrative or identity conveyed through fabric, colour, silhouette. | 1–2 Unclear 3–4 Emerging 5–6 Clear 7–8 Persuasive |
| Presentation & Evaluation | Neatness, documentation (technical flats, pattern pieces, fabric swatches), reflective analysis. | 1–2 Poor 3–4 Satisfactory 5–6 Good 7–8 Outstanding |
Students will develop visual storytelling skills through still photography, digital editing and basic animation or stop‑motion techniques, learning how composition, lighting and narrative structure communicate ideas.
| Element / Principle | Explanation | Communicative Potential |
|---|---|---|
| Framing | What is included or excluded from the image. | Close‑up can intensify emotion; wide‑angle can contextualise. |
| Lighting | Direction, quality and colour of light. | Harsh light can create drama; soft diffused light can suggest calm. |
| Depth of Field | Range of sharp focus. | Shallow depth isolates subject; deep depth shows environment. |
| Movement | Blur, freeze‑frame, or sequential frames in animation. | Motion blur can convey speed; stop‑motion can add whimsy. |
| Colour/Black‑and‑White | Use of colour palette or monochrome. | Colour can highlight cultural cues; B&W can emphasise form and texture. |
| Stage | Key Actions | Typical Outcome |
|---|---|---|
| Brief & Research | Define theme, audience, visual references; create a storyboard or shot list. | Storyboard, shot list, mood board. |