Graphic Communication (IGCSE 0400)
Learning Objective
Students will select and apply appropriate materials, processes and techniques – including recycled and up‑cycled resources – to create graphic communication pieces that convey a clear visual message, demonstrate thoughtful research, and reflect on sustainability.
Key Concepts
- Purpose of graphic communication – inform, persuade or entertain.
- Audience awareness – who will view the work and what they need.
- Message clarity – visual hierarchy, visual weight and negative space guide the viewer.
- Perspective, scale and colour relationships – affect readability, realism and emotional impact.
- Sustainability – using recycled / up‑cycled materials adds texture, narrative and environmental value.
- Social & cultural context – cultural meanings of colour, symbols and typography.
Key Terminology
- Visual hierarchy
- Ordering of elements (size, colour, placement) to guide the eye.
- Visual weight
- The perceived “heaviness” of an element based on contrast, colour, texture.
- Negative space
- Empty areas that shape and balance a composition.
- Grid system
- Underlying structure of rows and columns that creates consistency.
- Typography
- Selection and arrangement of typefaces to support tone and legibility.
- Up‑cycling
- Transforming waste into a product of higher value or quality.
- Intention – Realisation – Reflection (IRR)
- A three‑stage reflective model used in the assessment.
Range of Media & Processes (Syllabus Requirement)
Each of the five media areas is accompanied by a brief activity, a research prompt, and a checklist to ensure coverage of form, perspective and scale.
- Illustration – hand‑drawn poster using ink, watercolor and collage.
Research Prompt: Investigate the illustration style of Mary Blair or a contemporary street‑artist and note how they use perspective and scale.
Form/Scale Checklist: plan line quality, proportion of figures, 1‑point perspective thumbnail.
- Printmaking – screen‑print a typographic logo on recycled cardboard.
Research Prompt: Study the work of Saul Bass for typographic logos and analyse his use of colour contrast.
Form/Scale Checklist: decide logo size relative to substrate, registration accuracy, ink thickness.
- Packaging – design a product label (vector mock‑up) and produce a physical prototype from repurposed cardboard.
Research Prompt: Examine the packaging of a sustainable brand (e.g., Patagonia) and identify how material choice communicates brand values.
Form/Scale Checklist: create dielines at true‑to‑size scale, consider 3‑D form and folding lines.
- Advertising – create a bus‑shelf advertisement using mixed media and digital enhancement.
Research Prompt: Analyse a campaign by Shepard Fairey and note the use of bold colour blocks and perspective to attract attention.
Form/Scale Checklist: map viewing distance, size of headline vs. image, perspective of vehicle mock‑up.
- Typography – develop a custom hand‑lettered typeface and digitise it for use in a brochure.
Research Prompt: Explore Bauhaus typography (e.g., Herbert Bayer) and record how geometric forms affect readability.
Form/Scale Checklist: sketch letterforms at multiple scales, test legibility at small sizes, maintain consistent stroke weight.
Materials and Their Properties
| Material |
Typical Uses |
Properties |
Communicative Impact |
Recycled / Up‑cycled Alternatives |
| Paper (A4, cardstock) |
Prints, posters, collages |
Lightweight, easy to cut, printable |
Clean, neutral surface – good for high‑contrast graphics. |
Recycled printer paper, newspaper, old magazines, shredded office waste |
| Cardboard |
Structural elements, signage, packaging mock‑ups |
Sturdy, thick, can be folded or scored |
Rough texture conveys durability and eco‑consciousness. |
Recycled shipping boxes, cereal boxes, corrugated packaging |
| Fabric (cotton, linen, denim) |
Textile prints, banners, fabric‑based typographic panels |
Flexible, absorbent, dye‑able |
Softness adds warmth; patterned fabric can reinforce cultural references. |
Old T‑shirts, scrap fabric, denim remnants, discarded curtains |
| Plastic sheets (acetate, PET) |
Overlays, transparent graphics, stencils |
Durable, transparent, smooth surface |
Glossy finish can suggest modernity or high‑tech. |
Recycled clear packaging, cut‑up water bottles, transparent food‑wrap |
| Ink & Paint |
Colour application, printing, screen‑printing |
Varied opacity, drying time, colour range |
Ink density influences visual weight; natural pigments add an organic feel. |
Water‑based inks, natural pigments (spices, tea, coffee), reclaimed acrylic paint |
| Metal & Wire |
Structural supports, three‑dimensional typographic elements |
Rigid, can be bent, conductive |
Metallic sheen can suggest strength or industrial aesthetics. |
Scrap wire, bottle caps, aluminium foil, old jewellery pieces |
Safety & Tool‑Use (AO2)
- Hand tools – use a craft knife on a cutting mat; keep fingers behind the blade.
- Hot‑glue gun – work on a heat‑resistant surface; allow glue to cool before handling.
- Screen‑printing – wear gloves when handling ink; ventilate the workspace.
- CAD & Laser‑cutting (optional) – always wear safety goggles, never leave the machine unattended, and follow the school’s material‑safety data sheets.
Techniques for Effective Graphic Communication
- Sketching & Layout Planning – thumbnail studies, grid creation, rule‑of‑thirds.
- Typography – typeface selection, hierarchy, kerning, legibility testing.
- Colour Theory – complementary contrast, analogous harmony, colour psychology.
- Collage & Mixed Media – layering paper, fabric, plastic and digital prints.
- Screen‑Printing & Stenciling – preparing screens, registration, ink push‑through.
- Digital Illustration & Vector Work – Adobe Illustrator, Inkscape, or free‑hand tablet drawing.
- CAD & Laser‑Cutting (optional) – creating precise packaging die‑lines or intricate cut‑outs.
- Up‑cycling Techniques – transforming waste (e.g., bottle caps as texture, newspaper rolls as 3‑D elements).
- Grid Systems & Alignment – using invisible or visible grids to maintain consistency.
- Perspective & Scale
- Quick exercise: draw a 1‑point perspective street scene in 5 minutes, then add a figure at three different scales to explore visual hierarchy.
- Scale check: measure a printed mock‑up against the final size; record any proportion adjustments.
- Apply perspective when designing packaging dielines to ensure realistic visualisation of folds.
Visual Research & Investigation
Students must record observations, experiences and ideas in a systematic way, mirroring the syllabus wording “record observations, experiences and ideas in appropriate ways”.
- Gather primary data – photographs, sketches, interviews with the target audience.
- Collect secondary sources – magazines, online galleries, cultural reference books, and artist biographies.
- Create a mood‑board (physical or digital) that records colour palettes, typographic styles, visual motifs and any artist research.
- Document sources using a simple citation format (author, title, date, URL).
- Reflect on how the research influences the intended message and material choices.
Social & Cultural Context
- Identify cultural symbols that may be interpreted differently across audiences.
- Research historic design movements (e.g., Bauhaus, Art Deco) and contemporary practitioners relevant to the chosen media.
- Analyse how gender, age, socioeconomic status or regional trends affect colour and typographic choices.
- Discuss ethical considerations (e.g., cultural appropriation, representation).
Audience Analysis Worksheet
| Aspect |
Questions to Ask |
Notes / Findings |
| Demographics |
Age, gender, education, location? |
|
| Psychographics |
Interests, values, lifestyle? |
|
| Needs & Expectations |
What information do they need? What tone is appropriate? |
|
| Visual Preferences |
Preferred colours, imagery, level of formality? |
|
| Access & Context |
Where will the piece be seen? Digital, print, outdoor? |
|
Incorporating Recycled Materials
- Collect a variety of waste items (paper scraps, cardboard, fabric bits, plastic packaging, metal caps).
- Sort by colour, texture, size and potential function.
- Plan the visual hierarchy – decide which recycled element will carry the strongest visual weight.
- Choose appropriate adhesives: glue stick for lightweight paper, fabric glue for textiles, hot‑glue gun for heavier or three‑dimensional items.
- Record the source of each recycled element for the artist’s statement (e.g., “cereal box – sourced from home kitchen waste”).
Process Flow (Research → Production → Reflection)
- Brief analysis – identify purpose, audience, constraints.
- Visual research & mood‑board – include artist / designer investigations.
- Audience analysis worksheet.
- Intention statement (IRR – I).
- Material & technique selection – note communicative impact and sustainability.
- Layout development – grid, perspective, scale.
- Production (Realisation – IRR – R) – execute hand, print or digital processes.
- Evaluation & reflection (IRR – R) – assess message effectiveness, material choices, cultural relevance.
Project Planning Checklist (with IRR Reflection)
| Stage |
Key Questions |
Outcome / Evidence |
| Brief Analysis |
Purpose? Target audience? Constraints? |
Brief summary & annotated brief. |
| Research & Visual Investigation |
What visual styles, cultural references and material sources support the brief? |
Mood‑board, citation list, sketchbook notes. |
| Audience Analysis |
Who are they? What do they expect? |
Completed Audience Analysis Worksheet. |
| Intention (IRR – I) |
What specific message and emotional response am I aiming for? |
Written intention statement. |
| Material & Technique Selection |
Which recycled items and processes will best realise the intention? |
Materials list with sources; technique plan; communicative impact notes. |
| Layout Development |
How will elements be arranged on a grid? What hierarchy? How is perspective handled? |
Thumbnail sketches → final layout grid with scale notes. |
| Production (Realisation – IRR – R) |
How are the chosen techniques applied? Are they executed safely and accurately? |
Finished graphic piece; process photographs; safety checklist completed. |
| Evaluation & Reflection (IRR – R) |
Did the piece communicate the intended message? How did recycled materials affect aesthetics and sustainability? What would be improved? |
Reflective artist’s statement linking intention, realisation and outcomes (AO4). |
Assessment Objectives Mapping (IGCSE 0400)
| AO |
What is assessed |
How the notes support it |
| AO1 |
Knowledge and understanding of concepts, terminology and processes. |
Key concepts, terminology, material impact notes, safety tips. |
| AO2 |
Application of techniques, use of appropriate materials and tools. |
Techniques list, material table with communicative impact, CAD/laser safety, recycled‑material workflow. |
| AO3 |
Planning, investigation and development of ideas. |
Research prompts, mood‑board guidance, audience worksheet, process flow, planning checklist (IRR – I). |
| AO4 |
Evaluation and reflection on the finished piece and the process. |
IRR reflection stage, sustainability commentary, evaluation checklist (IRR – R), mapping to AO4 in the checklist. |
Assessment Criteria (IGCSE 0400)
- Effective use of graphic elements (hierarchy, colour, typography, perspective, scale) to convey a clear message.
- Appropriate selection, handling and documentation of materials, including recycled components.
- Demonstrated technical skill in the chosen processes (hand‑drawn, printmaking, digital, etc.).
- Thoughtful planning and development recorded through research, sketches, and the IRR model.
- Critical reflection on the impact of material choices, sustainability and cultural relevance.
Contemporary Technologies (Optional but Syllabus‑Approved)
- Vector illustration software – Adobe Illustrator, Inkscape, Affinity Designer.
- Raster editing – Photoshop, GIMP.
- Computer‑Aided Design (CAD) for packaging die‑lines – Fusion 360, SketchUp.
- Laser‑cutting or CNC routing for precise cut‑outs from recycled cardboard or acrylic (supports AO2).
- 3‑D printing with recycled filament for mixed‑media installations.
Diagram Suggestion
Include a simple flowchart illustrating the stages: Brief → Research → Intention → Material/Technique Selection → Production → Evaluation. Use icons to indicate where recycled materials and digital technologies can be introduced.