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

Overview

This set of notes supports the Cambridge IGCSE Art and Design (0400) syllabus for the area “Painting and Related Media”. It links historic and contemporary practice, outlines the required knowledge, skills and processes, and provides practical classroom ideas that are directly mapped to the syllabus criteria.

Research & Visual Journalling

Effective research underpins every stage of the creative cycle. Students should develop a habit of recording both first‑hand observations and secondary sources in a visual journal or digital mood‑board.

• First‑hand research: site visits, sketch‑books, photographs, video clips.
• Secondary research: books, journal articles, museum catalogues, reputable websites.
• Recording format – each entry should contain:
  • Image reference (source, date, copyright status)
  • Brief annotation (what is observed, why it is relevant)
  • Colour swatch, texture sample, key words

Research checklist (for ethical use)

Item	Check
Source clearly identified (author, title, URL)	☐
Copyright status noted (public domain, Creative Commons, permission required)	☐
Relevant to the intention?	☐
Citation recorded in journal bibliography	☐

Core Skills for Painting & Related Media

Skill	IGCSE‑worded description	Low‑stakes classroom task	Assessment rubric (key criteria)
Tonal drawing	Creating value scales and modelling form using a single colour (graphite, charcoal or ink).	Draw a still‑life using only five values; label the lightest and darkest areas.	Control of value, clear modelling, accurate proportion.
Observational drawing (contour & gesture)	Recording the outline and movement of a subject quickly and accurately.	5‑minute gesture studies of a classmate in three different poses.	Line confidence, capture of movement, proportionate anatomy.
Pen & ink	Using line, hatch and stipple to suggest texture, volume and space.	Quick ink study of a hand, focusing on contour and cross‑hatching.	Line variation, texture rendering, tonal range.
Pastels (soft, oil or hard)	Applying colour in a dry or buttery medium; blending to achieve subtle transitions.	Create a colour‑gradient rectangle exploring complementary pairs.	Blend smoothness, colour purity, edge control.
Collage & assemblage	Combining paper, fabric, found objects or printed material on a support.	Assemble a 20 cm × 20 cm mixed‑media board using magazine cut‑outs, reclaimed cardboard and fabric scraps.	Composition, material integration, inventive use of recycled items.
Basic printmaking (monotype, relief)	Transferring ink from a matrix to paper or canvas, emphasizing line and texture.	Make a simple linocut of a leaf silhouette; print in two colours.	Clean carving, even pressure, successful colour registration.
Painting techniques (glazing, impasto, scumbling, wet‑on‑wet, spray, encaustic)	Manipulating paint to achieve depth, texture, surface effects and colour interaction.	Complete a 15 cm × 15 cm study that demonstrates at least two of the listed techniques.	Technique execution, visible effect, appropriate material handling.

Form, Structure & Volume

The syllabus expects students to understand how three‑dimensional form is constructed on a two‑dimensional surface.

• Geometric forms – cubes, spheres, cylinders and cones. Practice drawing them from multiple viewpoints.
• Foreshortening – compressing forms that recede sharply; essential for figure studies.
• Modelling with value – use tonal drawing to convey mass and depth.

Classroom exercise: Draw a cube in one‑point perspective, then a sphere using a value scale. Annotate light source, shadow plane and reflected light.

Key Genres in Painting

Genres describe the subject matter or purpose of a work. Each genre is linked to a social or cultural context, and a contemporary artist is provided to show relevance today.

Genre	Key Characteristics	Historical Representative(s)	Contemporary IGCSE‑relevant Artist	Typical Media	Social / Cultural Lens
Portraiture	Likeness of individuals or groups; conveys identity, status or emotion.	Leonardo da Vinci, Frida Kahlo	Kehinde Wiley (modern reinterpretation of classical portraiture)	Oil, acrylic, mixed media	Explores representation of race, gender and power.
Landscape	Depicts natural scenery; can be idealised, realistic or abstracted.	J. M. W. Turner, Claude Monet	David Hockney (photo‑collage landscapes)	Oil, watercolor, gouache	Reflects attitudes toward environment, urbanisation and nostalgia.
Still Life	Arrangement of inanimate objects; investigates composition, light, texture and symbolism.	Paul Cézanne, Giorgio Morandi	Janet Fish (hyper‑realistic contemporary still lifes)	Oil, acrylic, mixed media	Often comments on consumer culture or materiality.
Historical / Narrative	Illustrates events, myths or stories; designed to communicate a message.	Peter Paul Rubens, Diego Rivera	JR (large‑scale narrative murals with social commentary)	Oil, fresco, encaustic, mixed media	Shows how art can serve political, religious or educational agendas.
Abstract	Non‑representational; emphasis on colour, form, gesture and the physical properties of paint.	Wassily Kandinsky, Jackson Pollock	Julie Mehretu (abstract cartographic compositions)	Oil, acrylic, spray paint, mixed media	Expresses inner experience, cultural hybridity, or global concerns.

Major Styles & Movements (Painting)

For each movement a quick visual‑characteristic checklist and an analysis prompt are provided.

Renaissance (14th–17th c.)

• Realistic anatomy, linear perspective, chiaroscuro.
• Techniques: sfumato, layered glazing.

Visual checklist: precise proportion, subtle gradation of tone, balanced composition.

Analysis prompt: How does the use of light create a sense of three‑dimensionality?

Baroque (17th c.)

• Dynamic compositions, tenebrism (strong light‑dark contrast), emotional intensity.

Visual checklist: dramatic diagonals, strong chiaroscuro, theatrical movement.

Analysis prompt: In what way does the contrast of light and shadow guide the viewer’s eye?

Impressionism (late 19th c.)

• Visible brushstrokes, fleeting light, plein‑air painting.

Visual checklist: broken colour, loose handling, emphasis on atmosphere.

Analysis prompt: How does the brushwork convey the momentary impression of light?

Expressionism (early 20th c.)

• Distorted forms, vivid non‑naturalistic colour to convey feeling.

Visual checklist: exaggerated anatomy, emotive palette, gestural lines.

Analysis prompt: Which visual elements express the artist’s emotional response?

Abstract Expressionism (mid‑20th c.)

• Gestural application, emphasis on the act of painting, often large‑scale.

Visual checklist: energetic brushwork, emphasis on surface, absence of recognizable subject.

Analysis prompt: What does the physicality of the paint tell you about the artist’s process?

Contemporary Street‑Art & Urban Painting (late 20th c.–present)

• Spray paint, stencils, mixed media; engages with social, political and environmental themes.

Visual checklist: bold graphic language, site‑specific references, use of public space.

Analysis prompt: How does the location influence the meaning of the work?

Techniques & Materials (Painting & Related Media)

Technique	Description	Materials Used	Example Work	Safety / Sustainability Note
Glazing	Thin, transparent layers over a dry underpainting to build depth and luminosity.	Oil paints, linseed oil, glazing medium	Leonardo’s Mona Lisa (subtle skin tones)	Work in a well‑ventilated area; dispose of oil‑laden rags in a metal container.
Impasto	Thick application of paint that stands out from the surface, creating texture.	Oil or acrylic paint, palette knife	Vincent van Gogh’s Starry Night	Use non‑flammable acrylics for safer classroom use; clean tools promptly.
Wet‑on‑wet (Alla prima)	Painting directly onto a wet surface without waiting for layers to dry.	Oil or acrylic, soft brushes	Bob Ross landscape studies	Keep palettes covered when not in use to prevent drying and fumes.
Scumbling	Brushing a thin, opaque layer of lighter colour over a darker dried layer to create broken‑light effects.	Oil or acrylic, dry brush	J. M. W. Turner’s atmospheric skies	Use synthetic brushes to minimise wear; clean with mild soap.
Spray painting	Aerosol or airbrush application; allows smooth gradients and rapid coverage of large areas.	Spray cans, airbrush, stencils	Banksy’s street murals	Wear a mask, work outdoors or under a fume hood; use low‑VOC cans where possible.
Encaustic	Pigments mixed with hot beeswax; the wax hardens on cooling, giving a luminous surface.	Beeswax, damar resin, pigments, heat source (heat gun)	Jasper Johns “Flag” (mixed media with encaustic)	Handle hot wax with heat‑resistant gloves; ensure proper ventilation.
Recycled‑material collage	Integrating reclaimed paper, cardboard, fabric or plastic into a painted surface.	Newspaper, magazine cut‑outs, reclaimed canvas, eco‑friendly adhesives	Eva Hesse’s mixed‑media assemblages (adapted with recycled paper)	Source materials responsibly; avoid glossy magazines that release toxic inks.

Colour Relationships & Spatial Balance

Colour choices affect mood, depth and compositional harmony.

• Colour wheel basics – primary, secondary, tertiary colours.
• Harmony schemes
  • Complementary (high contrast, dynamic)
  • Analogous (harmonious, soothing)
  • Triadic (balanced yet vibrant)
• Value contrast – light vs. dark to create focal points.
• Spatial balance – distributing warm/cool temperature and intensity to avoid visual weight imbalance.

Practical tip: before starting a painting, create a small colour‑study swatch using the intended scheme and test it on a mock‑up of the composition.

Perspective, Scale & Proportion

• Linear perspective – one‑point, two‑point, three‑point systems; vanishing points guide depth.
• Foreshortening – compressing forms that recede sharply; essential for figure studies.
• Proportion & measurement – grid, comparative measurement or “thumb‑rule” for accurate relationships.
• Scale – deciding final size in relation to viewing distance and audience.

Quick sketch exercise: draw a simple cube in one‑point perspective, then repeat using two‑point perspective; annotate the horizon line and vanishing points.

Social & Cultural Context (Linked to Genres)

Painting never exists in a vacuum. Understanding context deepens analysis and informs personal response.

• Portraiture – reflects identity, status, gender, ethnicity; e.g., Wiley’s re‑imagined Black subjects challenge historic Euro‑centric portraiture.
• Landscape – conveys attitudes toward nature, industrialisation, climate change; Hockney’s photo‑collages comment on the digital age.
• Still Life – can critique consumerism or explore cultural symbolism; Fish’s hyper‑realistic works reference mass‑media imagery.
• Historical / Narrative – used for political propaganda, religious instruction, or social critique; Rivera’s murals celebrate labour, Banksy’s street pieces satirise authority.
• Abstract – often expresses inner experience, cultural hybridity or global concerns; Mehretu’s layered maps visualise migration and conflict.

Process Cycle (Intention → Research → Realisation → Reflection)

Students should record a brief entry for each stage in their visual journal:

1. Intention – What is the concept or question? (e.g., “Explore the impact of urban noise on colour perception”).
2. Research – Gather visual and textual sources; annotate relevance; cite sources using the checklist above.
3. Realisation – Plan composition, choose media, execute techniques, document problems and solutions.
4. Reflection – Evaluate the final work against the original intention; note successes, limitations and ideas for future development.

Contemporary Practices

• Mixed‑media canvases that incorporate collage, fabric, found objects and digital prints.
• Digital painting on tablets (Procreate, Photoshop) with subsequent printing onto canvas or fine‑art paper.
• Large‑scale community murals that combine professional execution with public participation.
• Eco‑art using recycled plastics, natural pigments or biodegradable supports.
• Robotic or CNC‑assisted spray‑painting for precise large‑format works.

Comparative Table: Past vs. Present Techniques

Aspect	Historical Approach	Contemporary Approach
Preparation of support	Canvas stretched over wooden frames; primed with gesso.	Canvas, wood panels, acrylic sheets, reclaimed cardboard, digital‑print substrates, reclaimed fabrics.
Colour mixing	Manual mixing of pigments with oil, tempera or water‑based binders.	Pre‑mixed acrylics, digital colour libraries, custom pigment blends, environmentally‑friendly pigments.
Application method	Brush, palette knife, fresco plaster.	Brush, spray, airbrush, digital stylus, CNC‑cut stencils, robotic arms.
Surface treatment	Varnish, wax, oil glazing for protection and depth.	UV‑resistant coatings, acrylic varnish, laminates, archival sprays.
Conceptual focus	Mythology, religion, patronage, formal composition.	Identity, politics, environment, interactive experience, community involvement.

Suggested Classroom Activities

1. Analyse a masterpiece from each genre; identify style, technique, colour scheme and the social/cultural context using the visual‑characteristic checklists.
2. Complete a two‑technique study (e.g., glazing vs. impasto) on a 20 cm × 20 cm canvas; record observations, safety notes and material choices in the visual journal.
3. Research a contemporary painter who merges traditional media with digital processes; present a 5‑minute talk with visual examples and a short critique.
4. Design a mixed‑media composition that references a historic style (e.g., Baroque chiaroscuro) while addressing a modern theme such as climate change; incorporate at least one recycled material.
5. Undertake a full “process‑cycle” project: formulate an intention, conduct research, create the work, and write a 150‑word reflection using the rubric provided.
6. Safety audit: students audit their studio for proper ventilation, waste disposal and PPE before beginning a spray‑painting or encaustic session.

Assessment Guidance (IGCSE 0400)

When marking, align feedback with the syllabus criteria for “Painting and Related Media”. The table below links each criterion to observable evidence.

Criterion	What to look for	Suggested feedback prompts
Knowledge	Accurate identification of genre, style, technique and relevant cultural context.	“You have correctly identified the Baroque chiaroscuro in your study; consider also the patronage context of the period.”
Technical skill	Control of brushwork, colour harmony, composition, and appropriate use of chosen media.	“Your glazing layers create a convincing depth; next time, vary the glaze thickness for greater luminosity.”
Conceptual development	Clear link between intention, research findings and the realised artwork.	“The research on urban noise is evident in the colour palette; you might strengthen the link by annotating the journal entry.”
Originality	Personal response that demonstrates creative risk‑taking and an individual voice.	“Your use of reclaimed newspaper adds a fresh narrative layer – well done on taking that risk.”
Reflection	Thoughtful evaluation of the process, including successes, limitations and ideas for extension.	“Your reflection notes the difficulty with impasto on small scale; consider a larger support for future experiments.”

Visual Aids (Suggested Diagrams for Teachers)

• Colour wheel showing primary, secondary and tertiary relationships, with examples of complementary, analogous and triadic schemes.
• One‑point, two‑point and three‑point perspective grids with labelled vanishing points.
• Process‑cycle diagram (Intention → Research → Realisation → Reflection).
• Safety flow‑chart for spray‑painting and encaustic work.
• Comparative timeline of major movements with key visual characteristics.