Cambridge Syllabus Notes

Three‑dimensional Design (IGCSE Art & Design 0400)

1. What is Three‑dimensional Design?

Three‑dimensional (3D) design creates objects that occupy physical space, allowing the viewer to experience form, volume, texture, scale, colour, balance and movement from any angle. It includes sculpture, installation, product and furniture design, architectural models, as well as craft‑based disciplines such as metal‑work, wood‑work, papercraft, jewellery and fashion accessories.

2. Syllabus‑listed Genres and Their Mapping

The Cambridge IGCSE 0400 syllabus requires candidates to work in one or more of the following genres. The table maps each syllabus term to the genre description used in these notes and provides typical materials, techniques and exemplar practitioners.

Syllabus Term	Genre in the Notes	Typical Materials & Techniques	Key Artists / Designers (past & present)
Sculpture	Sculpture	Marble, bronze, wood, clay; carving, modelling, lost‑wax casting, assemblage	Michelangelo, Auguste Rodin, Barbara Hepworth, Anish Kapoor
Installation	Installation	Mixed media, found objects, light, sound; site‑specific planning, structural support, digital projection	Olafur Eliasson, Ai Weiwei, Chiharu Shiota, Neri Oxman
Product Design	Product Design	Plastic, metal, glass, plywood; CAD, CNC milling, 3‑D printing, injection moulding	Dieter Rams, Naoto Fukasawa, Jasper Morrison, Karim Rashid
Furniture Design	Furniture Design	Solid wood, plywood, metal, upholstery; joinery, bent‑metal fabrication, CNC routing	Ludwig Mies van der Rohe, Charles & Ray Eames, Marcel Breuer, Ronan & Erwan Kershaw
Architectural Models	Architectural Models	Cardboard, foam board, acrylic, 3‑D printed components; scale drawing, laser‑cutting, hand‑modeling	Zaha Hadid, Norman Foster, Bjarke Ingels, Kengo Kuma
Metal‑work (Craft)	Metal‑work (Craft)	Steel, copper, brass; forging, welding, lost‑wax casting, jewellery soldering	Joseph Beuys, Antony Gormley, Liza Louise Bennett
Wood‑work (Craft)	Wood‑work (Craft)	Hardwoods, plywood; turning, carving, mortise‑and‑tenon, laminated construction	George Nakashima, David Shore, Sam Wright
Papercraft & Paper‑cutting	Papercraft & Paper‑cutting	Paper, cardboard, recycled paper; scoring, folding, laser‑cutting, collage	Yayoi Kusama (paper installations), Peter Callesen, Lothar Krebs
Jewellery & Fashion Accessories	Jewellery & Fashion Accessories	Metal, beads, polymer clay, textile; casting, soldering, enamelling, textile manipulation	Wendy Carlin, Solange Séries, Alexander McQueen (accessories)

3. Major Styles and Their Characteristics

Style	Key Characteristics	Notable Artists / Designers	Typical Materials & Techniques
Classical	Idealised human forms, balanced proportions, mythological or historical narratives.	Michelangelo, Auguste Rodin, Barbara Hepworth	Marble carving, bronze lost‑wax casting, stone polishing
Modernist	Abstracted forms, functional emphasis, clean lines, rejection of ornament.	Ludwig Mies van der Rohe, Isamu Noguchi, Dieter Rams	Steel, glass, plywood; welding, bent‑metal fabrication, CNC routing
Minimalist	Reduction to essential shapes, monochrome palettes, material honesty.	Donald Judd, Anish Kapoor, Donald Judith	Polished aluminium, concrete, resin; CNC milling, 3‑D printing
Organic	Biomorphic shapes, fluid lines, inspiration from nature.	Henry Moore, Niki de Saint Phalle, Ron Mueck	Ceramic, wood, mixed media; hand‑modelling, carving, hand‑building
Conceptual	Idea precedes material; often uses everyday or found objects.	Joseph Beuys, Damien Hirst, Ai Weiwei	Found objects, resin casting, installation components, documentation
Digital / Computational	Design generated or fabricated using digital tools; complex geometries, parametric forms.	Jeff Koons (Balloon Dog), Neri Oxman, Refik Anadol	3‑D‑printed polymers, metal powders, acrylic; CAD, parametric modelling, laser‑cutting

4. Materials, Techniques & Tools

IGCSE expects candidates to demonstrate a range of skills, record an iterative process, and reflect on how material choice influences aesthetic and functional outcomes.

4.1 Traditional Techniques (hand‑based)

Carving – Subtractive removal of stone, wood or plaster using chisels, gouges and rasps.
Modelling – Additive building with clay, wax, polymer clay or plaster; includes armature construction.
Casting – Creating a mould (silicone, plaster, sand) and pouring bronze, resin, plaster or low‑temperature metal.
Welding & Fabrication – Joining metal by heat (MIG/TIG), bolts or adhesives; includes forging, sheet‑metal bending and hand‑forming.
Assemblage – Combining disparate objects (found or manufactured) into a unified whole; often glued, wired or riveted.
Wood‑turning & Joinery – Lathe work, carving, dovetail, mortise‑and‑tenon and laminated construction.
Jewellery Techniques – Lost‑wax casting, centrifugal casting, soldering, stone setting, enamelling.
Paper‑cutting & Papercraft – Scoring, folding, laser‑cutting, collage, and papier‑mâché.
Kiln Firing – Ceramic, glass or metal‑clay firing; safety basics (ventilation, temperature control, kiln wear).

4.2 Digital & Contemporary Techniques

Computer‑Aided Design (CAD) – 2‑D drafting (AutoCAD, SketchUp) and 3‑D modelling (Fusion 360, Rhino, Blender). Typical workflow: sketch → digital model → export (STL/OBJ) → fabricate.
3‑D Printing (Additive Manufacturing) – Layer‑by‑layer building from polymers (PLA, ABS, resin) or metal powders (DMLS, SLM).
CNC Milling & Router Cutting – Subtractive machining guided by computer‑controlled tools; suitable for wood, acrylic, MDF, aluminium.
Laser Cutting & Engraving – Precise cutting of wood, acrylic, cardboard, fabric; requires vector graphics (DXF, SVG).
Digital Fabrication with Recycled / Found Materials – Incorporates sustainability; examples include up‑cycled plastic filament, reclaimed wood panels, scrap metal fed into CNC.

4.3 Colour, Balance & Scale in 3D Work

Colour Relationships – Use of complementary, analogous or monochrome palettes on surfaces (paint, powder coating, enamel, patina) to affect perception of form.
Balance – Visual equilibrium achieved through symmetrical or asymmetrical distribution of mass, colour and texture; crucial for freestanding sculpture and functional objects.
Scale – Consideration of human proportion, site context and intended audience; scaling up may require structural reinforcement, scaling down may demand fine detailing.

4.4 Minimum Technique Checklist (What candidates must demonstrate)

At least three distinct techniques, one of which must be a digital method (CAD, 3‑D printing, laser‑cutting or CNC).
At least one technique that uses recycled or found material (e.g., reclaimed wood, scrap metal, up‑cycled plastic).
Evidence of colour treatment, balance and scale decisions in the final piece and in the process journal.

5. Process Journal – Iterative Record

The journal should run alongside the design process and be submitted as part of the assessment.

Stage	What to Record	Examples of Evidence
Research & Inspiration	Contextual notes (social, cultural, personal); source type (photo, museum visit, online archive); organise into mood‑board or annotated image grid.	Photographs, web‑screenshots, museum catalogue extracts, hand‑drawn mood‑board.
Concept Development	Idea statement, intended audience, intended message; preliminary sketches and thumbnail studies.	Written brief, annotated thumbnails, concept mind‑map.
Design & Modelling	Technical drawings, CAD files, material & finish list, colour palette.	Scaled orthographic drawings, Fusion 360 screenshots, material specification sheet.
Prototype & Test	Model‑making notes, problems encountered, revisions, test of structural stability or ergonomics.	Photos of clay maquette, 3‑D printed test piece, load‑bearing test results.
Final Production	Step‑by‑step fabrication notes, safety checks, finishing techniques (polish, patina, paint).	Video of welding, kiln temperature log, laser‑cut file export record.
Reflection & Evaluation	How intention was achieved, audience response, colour/balance/scale appraisal, possible improvements.	Self‑assessment rubric, peer feedback forms, post‑exhibition photograph.

6. Social, Cultural & Intentional Context

Artists and designers respond to historical events, political movements, environmental concerns or personal identity. Olafur Eliasson’s installations, for example, address climate change and perception; Dieter Rams’s product designs embody post‑war functionalism and Bauhaus ideals.
Historical Development of Genres – A brief timeline:
- Classical Sculpture (c. 500 BC–1800 AD): Mythological narratives, marble/bronze.
- Modernist Sculpture & Product Design (late 19th – mid‑20th c.): Emphasis on function, new industrial materials.
- Post‑modern Installation (1970s‑present): Site‑specific, interdisciplinary, conceptual focus.
- Digital Fabrication (1990s‑present): CAD‑driven, parametric, sustainability‑oriented.
Understanding the intended audience shapes scale, material durability and presentation. A public sculpture must consider weathering and safety; a jewellery piece focuses on intimacy, wearability and personal narrative.
Intention is articulated through a brief or artist’s statement and is reflected in the choice of genre, style, technique and material.

7. Comparative Analysis of Three Representative Genres

Aspect	Classical Sculpture	Modernist Product Design	Digital Installation (Computational)
Primary Goal	Ideal beauty & narrative storytelling	Functionality combined with visual clarity	Complex geometry, material efficiency, interactive experience
Typical Materials	Marble, bronze	Steel, glass, plywood, high‑density polymer	Photopolymer resin, metal powder, acrylic, LED lighting
Production Process	Hand‑carving → plaster model → lost‑wax bronze casting	Sketch → CAD → CNC / hand‑assembly → finishing	Parametric modelling → slicing → 3‑D printing / laser‑cutting → sensor integration
Viewer Interaction	Static visual appreciation (often from a distance)	Ergonomic use, tactile engagement	Kinetic or sensor‑driven; invites touch, movement or digital interaction
Social / Cultural Reference	Mythology, religious patronage, civic commemoration	Industrial age, Bauhaus ideals, post‑war reconstruction	Digital culture, sustainability, data visualisation, immersive environments
Colour, Balance & Scale Considerations	Polychrome marble or bronze patina; balanced proportions; human‑scale.	Neutral or brand‑specific colour finishes; balance of form and function; often desk‑scale.	LED or projected colour fields; dynamic balance through motion; variable scale from intimate to monumental.

8. Suggested Classroom Activities

Choose a 3D artwork from any genre. Identify its genre, style, materials, techniques and the social/cultural intention. Record findings in the process journal using the mood‑board template.
Work with a recycled material (e.g., reclaimed wood, plastic bottle caps) to create a small assemblage sculpture that communicates a personal or environmental message. Document colour, balance and scale decisions.
Design a functional object (e.g., desk organiser). Sketch, develop a CAD model, and produce a prototype using a 3‑D printer or laser cutter. Include a colour‑finish plan and a brief on ergonomics.
Visit a local craft studio, museum or use a virtual collection to compare a traditional metal‑work piece with a contemporary digital installation. Write a 200‑word comparison focusing on audience, intent and technique.
Produce a reflective essay (300‑400 words) linking your own design decisions to at least two studied artists/designers, citing genre, style, technique and cultural context.

9. Assessment Checklist (IGCSE 0400)

Identify and describe at least three different genres of three‑dimensional design, including one craft discipline (metal‑work, wood‑work, papercraft, jewellery/fashion).
Explain the distinguishing features of two contrasting styles, linking each to social or cultural influences.
Demonstrate knowledge of three techniques, ensuring at least one digital method (CAD, laser‑cutting, 3‑D printing) and one that uses recycled/found material.
Analyse how material choice (e.g., marble vs. polymer resin) influences aesthetic outcome, colour treatment, balance and functional performance.
Complete a process journal that records research (including source type and visual organisation), concept, development, testing, final production and reflective evaluation.
Produce a brief written reflection that connects personal design decisions to the intentions and contexts of studied artists/designers.

Suggested diagram: Flowchart of the iterative design process – Research → Concept → Sketch → Digital Modelling (CAD) → Prototype (hand‑model/3‑D‑print/laser‑cut) → Review → Refine → Final 3‑D work. Highlight where traditional (carving, casting) and digital (CNC, 3‑D printing) techniques intersect, and annotate points for colour, balance and scale decisions.

understand relevant genres, styles and techniques used by artists and designers past and present