work in painting, drawing, assemblage/collage, printmaking or mixed media

IGCSE Art & Design (0400) – Painting, Drawing, Assemblage, Printmaking, Mixed Media, Graphic Communication, 3‑D Design & Textiles

Objective

Develop the knowledge, technical skills and reflective practice needed to create high‑quality artworks across the five Cambridge IGCSE Art & Design strands – painting & related media, graphic communication, three‑dimensional design, textiles & fashion, and mixed‑media – in line with the 0400 syllabus.

Learning Outcomes

• Research and record visual ideas, influences and technical possibilities.
• Plan and develop personal visual concepts through sketches, thumbnails and material experiments.
• Apply a range of appropriate techniques across the chosen media.
• Evaluate the effectiveness of materials, processes and the finished piece and articulate personal responses.
• Present a reflective portfolio that meets the five Cambridge assessment criteria.

Key Concepts (Applicable to All Strands)

1. Elements & Principles of Design

• Line, shape, colour, texture, value, form
• Balance, contrast, rhythm, unity, emphasis, proportion, scale, perspective, space

2. Technical Concepts (Common to All Media)

Concept	Definition	Typical Application in Art
Form & Volume	Representation of three‑dimensional shape on a flat surface.	Modelling with light/dark, impasto, layering.
Perspective	One‑point, two‑point, atmospheric.	Creating depth in cityscapes, interiors, landscape.
Scale & Proportion	Relationship of size between elements.	Adjusting figure size to convey narrative.
Spatial Hierarchy	Foreground‑middle‑background ordering.	Glazing backgrounds, foreground detailing.
Balance	Visual weight distribution.	Symmetrical vs. asymmetrical compositions.

3. Material Properties

• Opacity / transparency
• Drying time (fast‑drying acrylic vs. slow‑drying oil)
• Texture (smooth paper, gritty canvas, rough found objects)
• Permanence & archival quality
• Recycled material – a mandatory resource for at least one piece in the portfolio.

4. Process Stages (All Strands)

1. Research & visual investigation
2. Concept development & thumbnailing
3. Material experimentation & documentation
4. Detailed planning (drawing, digital mock‑up or 3‑D model)
5. Execution (layer‑by‑layer, build‑up, or fabrication)
6. Drying, fixing & presentation
7. Evaluation & reflective writing

5. Safety, Ethical & Cultural Considerations

• Ventilation, PPE, safe disposal of solvents and chemicals.
• Respect for cultural symbols, copyright, and provenance of found objects.
• Awareness of the social or political context that informs the artwork.

Syllabus Mapping Checklist

Syllabus Area	Key Sub‑skills (Cambridge wording)	Checklist for Portfolio
Painting & Related Media	Form, perspective, colour relationships, texture, mixed‑media integration	Research log includes colour theory. Material tests for opacity, drying time, and adhesion. Final work shows controlled use of at least two techniques (e.g., glazing + impasto).
Graphic Communication	Audience analysis, brief development, typography, layout, visual hierarchy	Written brief stating target audience and purpose. Typography table (type families, size, weight). Mock‑up showing grid and hierarchy.
Three‑Dimensional Design	Model making, material selection, structural stability, surface finish	Scale maquette or CAD sketch. Material list with weight, durability and safety notes. Photographs of build stages.
Textiles & Fashion	Fabric properties, pattern‑making, draping, surface decoration (screen‑print, batik)	Swatch board showing fabric tests. Pattern draft with measurements. Finished textile piece with documented decoration process.
Mixed Media	Integration of two or more media, experimental processes, documentation	Process photographs showing each media added. Reflection on why the combination supports the concept.

Media Overview (Painting & Related Media)

Medium	Typical Supports	Key Characteristics
Acrylic paint	Canvas, wood panel, heavy paper, MDF	Fast drying, water‑soluble, can be thinned or built up.
Oil paint	Primed canvas, board, linen	Slow drying, rich colour depth, requires solvents or alkyd mediums.
Watercolour	Watercolour paper (140 gsm+), hot‑press or cold‑press	Transparent, fluid, colour depends on paper texture.
Drawing (dry media)	Paper, sketchbook, Bristol board	Graphite, charcoal, coloured pencil, pen‑and‑ink, pastel – emphasis on line, value and texture.
Printmaking	Paper, fabric, wood, polymer plates	Relief (linocut, woodcut), intaglio (etching, drypoint), screen‑print, monotype – repetition, layering, reversal.
Assemblage / Collage	Stretched canvas, board, cardboard, mixed‑media panels	Three‑dimensional, uses found objects, fabric, paper, metal, plastic; adhesive & fastening methods vary.
Mixed media	Any combination of the above supports	Encourages experimentation; can incorporate digital prints, photography, textiles.

Graphic Communication – Core Concepts & Techniques

Key Concepts

• Brief development – Identify client, audience, purpose and constraints.
• Visual research – Mood boards, competitor analysis, cultural references.
• Typography – Type families (serif, sans‑serif, display), hierarchy, legibility, spacing.
• Layout & Grid systems – Rule of thirds, modular grids, margin & gutter control.
• Colour systems – PMS, CMYK, RGB, colour psychology.

Techniques

• Hand‑drawn illustration with pen‑and‑ink or markers.
• Digital vector work (e.g., Adobe Illustrator) for clean line work and scalable output.
• Screen‑printing a poster or product label – combines printmaking with graphic design.
• Photomontage – layering photographs in Photoshop or physically in collage.
• Typographic poster – hand‑lettered or digitally rendered, emphasizing hierarchy.

Suggested Classroom Activity

Design a Sustainable Product Label – Students receive a brief to create a label for a recycled‑material product. They research the market, develop a typographic hierarchy, produce thumbnail sketches, create a final digital layout, and then transfer the design to a screen‑print on recycled paper.

Three‑Dimensional Design – Core Concepts & Techniques

Key Concepts

• Research & modelling – Sketches, maquettes, CAD or 3‑D software.
• Material selection – Clay, plaster, cardboard, MDF, acrylic, metal, 3‑D printed polymer.
• Structural stability – Balance, centre of gravity, internal armature.
• Surface treatment – Gesso, paint, varnish, fabric covering, metal patina.
• Scale & proportion – Human scale, miniature, enlarged forms.

Techniques Overview

• Hand‑building clay – coil, slab and pinch methods; bisque firing.
• Cardboard construction – Scaled cut‑outs, lamination, reinforcement with hot‑glue.
• Basic CNC / laser cutting – Vector design, material nesting, safety protocols.
• Assemblage in 3‑D – Combining found objects with fabricated elements; use of epoxy for metal/plastic.
• Finishing – Sanding, priming, painting, clear coating.

Safety for 3‑D Work

• Wear safety goggles and hearing protection when using power tools.
• Use a dust extraction system or work outdoors when cutting wood or MDF.
• Handle kiln or oven only with heat‑resistant gloves; follow school kiln‑use policy.

Suggested Classroom Activity

Miniature Sustainable Furniture – Students design a small piece of furniture using only recycled cardboard and biodegradable glue. They produce a scale sketch, a cardboard maquette, and a finished, painted prototype, documenting each stage.

Textiles & Fashion – Core Concepts & Techniques

Key Concepts

• Fabric properties – Fibre type, weave, weight, drape, stretch.
• Pattern‑making & draping – Basic block, seam allowance, fitting.
• Surface decoration – Screen‑printing, batik, block printing, embroidery.
• Colour & cultural context – Traditional palettes, symbolism, sustainability.

Techniques Overview

• Screen‑printing on cotton or linen swatches – use of stencils, acrylic ink, and heat set.
• Batik – wax resist on fabric, dye bath, wax removal.
• Block printing – carved linoleum blocks, fabric ink, hand‑press.
• Basic hand‑sewing – straight stitch, hems, attaching decorative elements.
• Digital textile design – creating repeat patterns in Photoshop/Illustrator and printing on fabric.

Safety for Textile Work

• Work in a well‑ventilated area when using screen‑printing inks or batik wax.
• Wear disposable gloves when handling dyes or chemicals.
• Keep hot plates or irons away from flammable fabrics.

Suggested Classroom Activity

Culture‑Inspired Textile Print – Students research a traditional textile from a chosen culture, create a repeat pattern, screen‑print it onto a swatch of recycled fabric, and write a short reflection on how the cultural research informed their design.

Drawing – Core Techniques (Applicable Across All Strands)

• Graphite & Charcoal – shading, hatching, cross‑hatching, blending for tonal range.
• Pen‑and‑Ink – line weight variation, stippling, ink wash for contrast.
• Pastel (soft, oil, hard) – colour blending, scumbling, fixing with spray fixative.
• Conté & Chalk – expressive mark‑making, quick gesture studies.
• Digital Sketching – tablets or software for rapid iteration and colour testing.

Printmaking Toolbox

Print Type	Process Summary	Typical Uses in IGCSE
Relief (Linocut, Woodcut)	Carve design into a block, ink surface, press onto paper.	Bold shapes, graphic illustration, repeated patterns.
Intaglio (Etching, Drypoint)	Incise lines into metal or acrylic plate, ink into recesses, wipe surface, press.	Fine line work, atmospheric textures.
Screen‑Print (Serigraph)	Stencilled mesh, push ink through to create flat colour areas.	Colour blocks, pop‑culture references, textile decoration.
Monotype	Paint directly on a smooth surface, transfer to paper once.	Unique, painterly prints; good for experimental colour fields.

Assemblage / Collage – Practical Guidance

• Material sourcing: recycled packaging, fabric scraps, natural objects, printed ephemera.
• Adhesion methods: PVA glue, acrylic medium, hot‑glue gun (for heavier items), epoxy for metal/plastic.
• Surface preparation: Prime canvas or board with gesso to prevent warping.
• Three‑dimensional considerations: Build in layers, secure heavy pieces, think about viewing angle and shadow.
• Integration with paint: Paint over or under collage elements; use masking fluid to protect delicate parts.

Research & Documentation

All investigations should be recorded in a dedicated sketchbook or digital folder. Use the checklist below for each project.

Research Log Item	What to Record
Observation	Field sketches, photographs, sensory notes.
Secondary Sources	Books, articles, artist biographies, online videos – include bibliographic details.
Artist / Movement Study	Key visual characteristics, cultural context, techniques used.
Material Tests	Small swatches, drying time, colour shift, adhesion results – label with date.
Idea Development	Thumbnail series (5‑10), written rationale for each.
Planning Sketch	Full‑scale drawing or digital mock‑up with colour annotations, layer notes.

Cultural & Historical Context

Students must research at least one artist, movement or cultural issue that informs their brief. Suggested prompts:

• How did the social or political climate shape the artist’s subject matter?
• Which visual strategies did the artist use to communicate a message?
• In what ways can you adapt or respond to those strategies in your own work?

Example artists for inspiration: Frida Kahlo (identity & trauma), Banksy (street‑art activism), Yayoi Kusama (repetition & mental health), Jacob Lloyd (photorealistic painting), El Anatsui (found‑object assemblage), Zaha Hadid (architectural form), Mary Quant (mid‑century textile pattern).

Step‑by‑Step Integrated Process

1. Research & Inspiration
   • Create a mood board (physical or digital) that includes colour, texture, typographic, and 3‑D references.
   • Complete the Research Log checklist.
2. Concept Development
   • Produce 5‑10 thumbnail sketches exploring composition, perspective, scale and media mix.
   • Select a thumbnail and write a concise intention statement (150‑200 words).
3. Material Experimentation
   • Make small colour, texture and adhesion tests on the intended support.
   • Photograph and annotate results in the sketchbook or digital file.
4. Detailed Planning
   • Draw a full‑scale plan or create a digital mock‑up.
   • Label colour values (e.g., “PMS 186” or “Acrylic Mix #3”), texture notes, and any mixed‑media layers.
   • For graphic or 3‑D pieces, include a grid or technical drawing.
5. Execution
   • Work from background to foreground; apply glazing, impasto, scumbling, collage layering, or build‑up of 3‑D forms as appropriate.
   • Reference the Technical Concepts box to maintain correct perspective, scale and balance.
6. Drying & Fixing
   • Allow each layer to dry fully before adding the next.
   • Use a fixative for charcoal, pastel or collage elements; seal with a clear acrylic medium if required.
   • For 3‑D work, check stability and add any required reinforcement.
7. Evaluation & Reflection
   • Compare the finished piece with the original intention and the assessment criteria.
   • Complete the Reflection Prompt (see below) and attach the research log, process photographs and any technical drawings to the portfolio.

Techniques Overview (By Media)

Acrylic & Oil

• Glazing – thin transparent layers for depth.
• Impasto – thick application for texture.
• Dry brushing – broken colour effect.
• Scumbling – light, opaque over dark.
• Masking – fluid or tape for preserved whites.

Watercolour

• Wet‑on‑wet – soft edges, colour blending.
• Wet‑on‑dry – controlled detail.
• Dry brush lift – texture and highlights.
• Masking fluid – preserve paper whites.

Drawing

• Hatching & cross‑hatching – tonal modelling.
• Stippling – fine texture.
• Ink wash – atmospheric values.
• Blending – tortillon, blending stump, or finger.

Printmaking

• Relief carving – gouge, V‑tool, safety gloves.
• Intaglio biting – acid bath (if facilities allow) or drypoint.
• Screen‑printing – stencil preparation, squeegee technique.
• Monotype – paint on glass/acrylic, transfer.

Assemblage / Collage

• Layering – build depth with paper, fabric, found objects.
• Adhesion – PVA for paper, acrylic medium for heavier items, hot‑glue for 3‑D elements.
• Surface treatment – paint over collage, varnish to unify.

Graphic Communication

• Hand‑drawn illustration – pen, brush, marker.
• Digital vector work – clean lines, scalable output.
• Screen‑print poster – flat colour areas, typographic hierarchy.
• Photomontage – layered imagery for narrative impact.

Three‑Dimensional Design

• Clay hand‑building – coil, slab, pinch.
• Cardboard construction – cut, fold, laminate.
• Basic CNC/laser cutting – vector design, material nesting.
• Assemblage in 3‑D – combining found objects, epoxy bonding.
• Finishing – sanding, priming, painting, clear coating.

Textiles & Fashion

• Screen‑printing on fabric – stencils, acrylic ink, heat set.
• Batik – wax resist, dye bath, wax removal.
• Block printing – carved linoleum, fabric ink.
• Basic hand‑sewing – seams, hems, decorative stitching.
• Digital repeat pattern creation – Photoshop/Illustrator, printed on fabric.

Safety Guidelines (All Strands)

• Work in a well‑ventilated space; use fume extractors when handling solvents, oil paints, acids or dyes.
• Wear disposable gloves, aprons and, where appropriate, safety goggles.
• Never pour solvents down the sink – collect in a labelled container for proper disposal.
• Keep flammable materials away from heat sources and store them in sealed containers.
• Use correct lifting techniques for heavy boards, stretched canvases or 3‑D sculptures; ask for assistance if needed.
• Follow school‑specific waste‑management policies for paper, plastics, metal shavings and chemical residues.

Assessment Criteria (Cambridge IGCSE 0400)

Criterion	What Examiners Look For
1. Exploration	Depth and range of research, experimentation with media, development of ideas, and evidence of a personal visual investigation.
2. Development	Clear progression from sketches to final artwork, documented planning, and logical decision‑making.
3. Technical Skill	Control of chosen media, appropriate use of techniques, quality of finish, and handling of material properties.
4. Personal Response	Originality, expression of personal ideas, relevance to brief, and awareness of cultural/social context.
5. Evaluation	Critical reflection on the process, identification of strengths, weaknesses and possible improvements, linked to the criteria.

Suggested Classroom Activities (All Strands)

1. Colour Mixing Workshop – Students create a 12‑colour harmonious palette using acrylics, label each mix and record the ratios.
2. Printmaking Relay – Small groups rotate through carving, inking and printing stations, producing a collaborative series of 6 prints (one per technique).
3. Found‑Object Collage Challenge – Each pupil collects three objects from home, documents their provenance, and integrates them into a mixed‑media painting that responds to a social issue.
4. Perspective Sketch Walk – Outdoor observation focusing on one‑point and two‑point perspective; sketches are later enlarged and refined in the studio.
5. Peer Review Using the Criteria – Structured feedback sessions where students assess each other’s work against the five Cambridge criteria and set improvement targets.
6. Artist Research Presentation – 5‑minute oral or digital presentation on a chosen artist/movement, highlighting how cultural factors influence technique and message.
7. Graphic Brief Sprint – In 90 minutes students produce a complete poster (brief, thumbnail, final design, and mock‑up) for a fictional sustainable brand.
8. Mini‑Sculpture Build – Using only recycled cardboard and hot‑glue, pupils design and construct a freestanding sculpture that explores balance and negative space.
9. Textile Pattern Exploration – Students research a cultural textile, develop a repeat pattern, and screen‑print it onto a swatch of recycled fabric.

Reflection Prompt for the Portfolio

Answer each question in 150‑200 words and attach supporting evidence (photos, research log excerpts, colour swatches).

• What was your original intention and how did it evolve during the process?
• Which techniques proved most effective for communicating your idea and why?
• What challenges did you encounter with the materials or processes, and how did you resolve them?
• How does the final piece reflect the cultural or social context you researched?
• In what ways does your work meet each of the five Cambridge assessment criteria?