IGCSE Design & Technology (0445) – Textiles: Decoration & Enhancement
This set of notes aligns fully with the Cambridge IGCSE Design & Technology (0445) syllabus. It covers the common‑content requirements, health & safety, sustainability, the specialist option Graphic Products, and the core decorative techniques – printing, dyeing, embroidery and appliqué. Use the tables and checklists to plan, produce and evaluate a complete design project.
1. Assessment Objectives (AO) – Weighting
| AO | What It Tests | Weighting in the Exam |
|---|
| AO1 | Knowledge and understanding of design concepts, materials, processes and the wider context (society, sustainability, health & safety). | 30 % |
| AO2 | Application of knowledge and skills to design, develop and produce a solution – includes planning, use of CAD/CAM, control of processes and technical communication. | 50 % |
| AO3 | Evaluation – testing, analysing results, reflecting on the design process and suggesting improvements. | 20 % |
Keep the AO weighting in mind when allocating time to each stage of your project.
2. Common‑Content Overview (Applicable to All Specialist Options)
| Syllabus Element |
What It Means for a Textile Project |
Key Activities / Evidence |
Control Loop (Input‑Process‑Output‑Feedback) |
| Need Analysis & Design Brief |
Identify a market or personal need for a decorative textile (e.g., a printed T‑shirt for a school fundraiser). |
Brief paragraph stating purpose, target user, constraints and success criteria. |
Input: research & client interview → Process: analysis → Output: design brief → Feedback: client review. |
| Specification |
List measurable requirements – size, colour‑fastness, weight, cost, durability, sustainability. |
Specification sheet with numeric targets (e.g., “Colour fastness ≥ 4 on the Grey Scale”). |
Input: brief & standards → Process: translate into measurable criteria → Output: specification → Feedback: peer/teacher check. |
| Idea Generation & Selection |
Produce a range of concepts (sketches, mood boards, digital mock‑ups) and evaluate them against the brief. |
Sketchbook pages, decision matrix, justification for the chosen concept. |
Input: ideas → Process: selection matrix → Output: chosen concept → Feedback: evaluation against criteria. |
| Planning & Communication |
Create a realistic work‑plan (task list, timescale, resources) and communicate ideas using appropriate drawings. |
Gantt chart, bill of materials, annotated orthographic/isometric/planometric drawings. |
Input: concept & resources → Process: schedule & drawing production → Output: plan & drawings → Feedback: progress review. |
| Use of Technology (CAD/CAM) |
Apply computer‑aided design to produce patterns and computer‑aided manufacturing for cutting, printing or stitching. |
Illustrator file, laser‑cut template, CNC‑cut fabric pieces, .DST embroidery file. |
Input: design data → Process: CAD/CAM software → Output: digital file & manufactured part → Feedback: test fit/colour‑fastness. |
| Control (Input‑Device → Processing → Output‑Device → Feedback) |
Understanding how information flows through a digital design system and how feedback informs adjustments. |
Diagram of the control loop; recorded adjustments after each test (e.g., temperature change after a failed dye bath). |
Input: sensors, sketches, measurements → Processing: software calculations, colour‑management → Output: printer, cutter, press → Feedback: visual inspection, wash tests, dimensional checks. |
| Society & Sustainability |
Consider ethical sourcing of fibres, waste reduction, and end‑of‑life options. |
Material justification, life‑cycle notes, recycling plan. |
Input: sustainability criteria → Process: material selection → Output: eco‑friendly product → Feedback: carbon‑footprint audit. |
| Evaluation |
Test the finished product against the specification and reflect on the design process. |
Evaluation table, improvement suggestions, personal reflection. |
Input: test results → Process: analysis → Output: evaluation report → Feedback: marks & teacher comments. |
3. Health & Safety (All Workshop Activities)
- General Workshop Rules
- Keep work areas tidy; clear debris before moving.
- No food or drink near chemicals or hot equipment.
- Report damaged tools or equipment immediately.
- PPE Checklist
- Safety glasses or goggles
- Protective gloves (cotton for fabric, nitrile for chemicals)
- Apron or lab coat
- Closed‑toed shoes
- Tool‑Specific Safety
- Cutting tools (rotary cutter, scissors, craft knives): cut away from the body, use a cutting mat, keep blades covered.
- Heat equipment (heat press, iron): set to recommended temperature, use heat‑resistant gloves, never leave unattended.
- Printing presses & screens: ensure the frame is stable, keep fingers clear of the moving squeegee.
- Machines (sewing, embroidery, laser cutter): read the manual, check guards, disconnect power before changing needles or blades.
- Chemical Safety (Dyes, Inks, Fixatives)
- Read the Safety Data Sheet (SDS) for each product.
- Work in a well‑ventilated area or under a fume hood.
- Never mix chemicals unless instructed.
- Dispose of waste in labelled containers; follow school/college waste‑management procedures.
Risk‑Assessment Template (example)
| Activity | Hazard | Risk | Control Measures |
|---|
| Screen printing | Ink splatter | Skin irritation, staining | Wear gloves, use splash guard, clean spills immediately. |
| Heat press | Burns | Severe skin injury | Use heat‑resistant gloves, set timer, keep area clear. |
| Laser cutting fabric | Fire hazard, fumes | Fire, inhalation of fumes | Keep fire extinguisher nearby, use low‑power setting, ventilate. |
4. Technology in Textile Design (CAD/CAM)
4.1 CAD for Pattern Making
- Software: Adobe Illustrator, CorelDRAW, Inkscape.
- Key tools: Pen tool (free‑hand), grid & snap (repeat patterns), colour libraries (Pantone, RAL).
- Export formats: .AI, .SVG, .DXF (laser cutting), .PDF (printing), .DST (embroidery).
4.2 CAM Processes
- Laser cutting – precise cutting of fabric, felt or interfacing for appliqué pieces.
- CNC routing – cuts stiff backing materials (foam, cardboard) that support embroidered or printed textiles.
- Digital (ink‑jet) printing – direct‑to‑fabric prints from CAD files; colour management ensures consistency.
- Computer‑controlled embroidery – .DST stitch file generated from CAD artwork, stitched by an embroidery machine.
4.3 Embedding the Control Loop
- Input: design sketch, measurement data, colour‑fastness standards.
- Processing: CAD software creates vector artwork; colour‑management profiles adjust for fabric type.
- Output: digital print, laser‑cut pieces, embroidered motifs.
- Feedback: visual inspection, wash test, dimensional check → adjust CAD file or process parameters.
5. Sustainability & Ethical Considerations
- Material Selection
- Prefer natural fibres (organic cotton, linen) or recycled synthetics (PET‑recycled polyester).
- Check certifications – GOTS, Oeko‑Tex, Bluesign.
- Choose low‑impact dyes (water‑based, fibre‑reactive with low‑salt discharge).
- Waste Management
- Plan pattern layout to minimise off‑cuts.
- Collect scrap fabric for patchwork, donation or recycling.
- Use water‑based inks and dyes; capture waste water in labelled containers.
- Energy Use
- Batch‑process printing or dyeing to reduce heating cycles.
- Turn off equipment when not in use; use standby mode where available.
- End‑of‑Life
- Design for disassembly – detachable appliqué pieces can be recycled separately.
- Provide a care label with reuse/recycling instructions.
6. Specialist Option: Graphic Products – Technical Drawing & Presentation
All the following conventions are required for the Graphic Products component of the 0445 syllabus. Use them when producing drawings for your decorative‑textile project.
6.1 Orthographic Projection (First‑Angle & Third‑Angle)
| View | First‑Angle Position | Third‑Angle Position |
|---|
| Front | Placed below the plan view. | Placed above the plan view. |
| Top (Plan) | Placed behind the front view. | Placed below the front view. |
| Side (Right) | Placed to the left of the front view. | Placed to the right of the front view. |
- Use the correct projection symbol on the title block.
- All projection lines must be perpendicular; hidden lines are dashed (5 mm spacing).
- Scale: 1 : 20 for full‑size garments, 1 : 10 for small accessories.
6.2 Isometric & Planometric Drawing Rules
- Isometric: 30° angles to the horizontal on both X and Y axes; vertical lines remain vertical.
- Planometric (dimetric): 42° and 7° angles (or 30°/45° as specified) – check exam board tables.
- Use isometric grid paper or CAD “axonometric” view to maintain accuracy.
- Show hidden edges with dashed lines, visible edges with solid lines, and centre‑lines with long‑dash‑short‑dash.
6.3 Sectional & Exploded‑View Conventions
- Section lines: thick continuous line with arrow indicating view direction.
- Hatching: 45° lines, 0.5 mm spacing for metal‑like parts, 0.7 mm for fabric‑type sections.
- Exploded view: separate each component along a common axis, use thin projection lines to indicate original position.
- Label each part with a reference number that matches a Bill of Materials (BOM).
6.4 Development (Nets) of 3‑D Forms
- Flattened pattern (net) must include grain‑line, seam allowances (usually 10 mm for woven fabrics), and notches.
- Show fold lines (dotted) and darts (triangular symbols).
- When using CAD, export the net as .DXF for laser cutting or as a PDF for manual cutting.
6.5 Ellipse Construction
- Draw two perpendicular diameters (major = a, minor = b).
- Mark four points at the ends of each diameter.
- Using a compass set to radius = √(a² + b²), draw arcs from each end of the major diameter to the opposite end of the minor diameter; repeat for the other side.
- Connect the intersecting arcs – the resulting curve is the ellipse.
In CAD, use the “ellipse” tool and input the exact major/minor radii for precision.
6.6 Scale‑Up / Scale‑Down Techniques
| Task | Method | Example |
|---|
| Scale‑up a 10 cm motif to a 30 cm T‑shirt print | Multiply all dimensions by 3; maintain line‑weight proportion (e.g., 0.2 mm → 0.6 mm). | Use Illustrator → Object → Transform → Scale 300%. |
| Scale‑down a full‑size garment pattern to a 1:20 drawing | Divide all measurements by 20; use a calibrated scale ruler or CAD “scale” command. | Export PDF at 1:20 and add a scale bar. |
6.7 Drafting Aids & Presentation Tools
- Radius & Ellipse Aids: French curve, flexible curve, drafting template.
- Lettering Stencils: 5 mm, 7 mm, 10 mm for titles, dimensions, and annotations.
- Scale Rulers: 1:10, 1:20, 1:50.
- CAD Aids: Snap‑to‑grid, construction lines, layer naming (e.g., “Outline”, “Hidden”, “Hatch”).
- Presentation: Title block (project name, student, date, scale, projection symbol), clean borders, legible line‑weights.
7. Decorative & Enhancement Techniques (Core Textile Content)
7.1 Printing
Applying colour or pattern to the surface of a fabric using a transfer medium. Ideal for precise, repeatable designs.
7.1.1 Common Methods
- Block printing – hand‑carved wooden or linoleum blocks; inked with a roller and pressed onto fabric.
- Screen (silk‑screen) printing – mesh screen with a stencil; ink forced through open areas.
- Digital (ink‑jet) printing – computer‑controlled deposition of pigment directly onto fabric.
7.1.2 Process Overview
- Pre‑wash, dry and iron the fabric to remove finishes.
- Prepare the printing medium (ink, pigment, or digital file).
- Transfer the design using the chosen method.
- Fix the colour (heat set, steam, or chemical fixation) to improve wash‑fastness.
- Final finishing – wash, dry, press and, if required, apply a protective coating.
7.1.3 Advantages & Disadvantages
| Advantage | Disadvantage |
|---|
| High repeatability – same pattern can be reproduced many times. | Initial set‑up (blocks, screens) can be time‑consuming and costly. |
| Wide colour range; special effects (metallic, puff, discharge). | Limited to flat surfaces; texture creation is difficult. |
| Scalable from hand‑made to industrial production. | Colour fastness depends on proper fixing; some inks may bleed. |
7.1.4 Design Considerations (Graphic Products)
- Use orthographic views to show front, back and side of the printed garment.
- Create a repeat pattern in CAD; include a scale bar and colour key.
- Show a section view to illustrate ink penetration depth for thick fabrics.
7.1.5 Example Project Idea
Design a repeat pattern for a school‑spirit T‑shirt using screen printing. Produce a CAD layout (1 : 20), create a stencil, print on pre‑treated cotton, and evaluate colour fastness after five washes (Grey Scale ≥ 4).
7.2 Dyeing
Colour is introduced throughout the fibre or yarn, giving a uniform colour or gradient.
7.2.1 Types of Dye
- Fiber‑reactive dyes – covalent bond with cellulose (cotton, linen).
- Acid dyes – for protein fibres (wool, silk) and nylon.
- Disperse dyes – for synthetic fibres (polyester, acetate).
- Vat dyes – water‑insoluble dyes reduced to a soluble form before application.
7.2.2 Process Steps
- Pre‑treat: scouring and bleaching to remove impurities.
- Prepare dye bath – set temperature, pH and concentration as per dye manufacturer.
- Introduce fabric; maintain constant agitation for even uptake.
- Rinse thoroughly to remove unfixed dye.
- Dry; apply finishing agents (softener, anti‑wrinkle) if required.
7.2.3 Safety & Environmental Notes
- Wear gloves, goggles and an apron; many dyes are irritants.
- Work in a well‑ventilated area or under a fume hood.
- Collect waste water in labelled containers; follow local disposal regulations.
- Prefer low‑salt, water‑based reactive dyes to reduce environmental impact.
7.2.4 Design Considerations (Graphic Products)
- Show a plan view of the fabric layout in the dye‑bath (spacing, folding technique).
- Include a colour‑fastness test chart in the evaluation section.
- Use a scale‑up drawing to illustrate the size of the fabric piece relative to the dye‑bath volume.
7.2.5 Example Project Idea
Produce a gradient‑dyed scarf using fiber‑reactive dye. Record temperature, time and pH for each dip; create a CAD diagram of the dip‑order; evaluate colour uniformity and wash‑fastness (Grey Scale ≥ 3 after 10 washes).
7.3 Embroidery
Stitches are added to the surface of a fabric to create texture, pattern and sometimes three‑dimensional effects.
7.3.1 Main Types
- Hand embroidery – needle and thread; a wide range of stitches.
- Machine embroidery – computer‑controlled stitching; fast and repeatable.
7.3.2 Common Hand Stitches
- Running stitch
- Backstitch
- Chain stitch
- Satin stitch
- French knot
- Cross‑stitch
7.3.3 Process Overview (Hand)
- Transfer design onto fabric (tracing paper, carbon paper, or water‑soluble pen).
- Select thread (cotton, silk, metallic) and appropriate needle size.
- Secure fabric in an embroidery hoop to maintain tension.
- Execute stitches following the design path.
- Finish – knot off threads, remove hoop, trim excess.
7.3.4 Process Overview (Machine)
- Create artwork in CAD (e.g., Illustrator → Export .DST).
- Load the .DST file into the embroidery machine.
- Hoop the fabric, attach stabiliser, and set thread colours.
- Run a test stitch on scrap fabric; adjust tension if needed.
- Stitch the final piece; trim and finish.
7.3.5 Advantages & Disadvantages
| Advantage | Disadvantage |
|---|
| Creates tactile, raised surface effects. | Time‑consuming, especially for intricate hand work. |
| Wide variety of stitches and thread types. | Errors are difficult to correct; skill development needed. |
| Machine embroidery offers speed and repeatability. | Initial equipment cost can be high. |
7.3.6 Design Considerations (Graphic Products)
- Include an isometric view to show the three‑dimensional texture of the embroidered area.
- Provide a stitch‑count table (e.g., “Satin stitch – 45 stitches per cm²”).
- Show a section view if the embroidery is applied over a layered fabric (e.g., over a quilted base).
7.3.7 Example Project Idea
Embroider a corporate logo onto a cotton tote bag using a satin stitch for the main shape and French knots for decorative accents. Document stitch count, generate a .DST file, and evaluate durability after 20 washes (no thread loss, colour fastness ≥ 4).
7.4 Appliqué
Pieces of fabric are attached to a base fabric to form patterns or images. Often combined with embroidery or printing for added depth.
7.4.1 Methods
- Hand appliqué – stitch‑around or blanket stitch to secure pieces.
- Machine appliqué – zig‑zag or overlock stitches; faster for larger areas.
- Quilting appliqué – pieces are stitched and then quilted together for a layered effect.
7.4.2 Process Steps
- Design the pattern and cut appliqué pieces from chosen fabrics.
- Arrange pieces on the base fabric; secure with pins or temporary adhesive.
- Stitch around the edges (hand or machine) – common stitches: blanket, overlock, satin.
- Optional: add decorative embroidery or quilting stitches over the appliqué.
- Finish edges of the base fabric (hemming, binding) to prevent fraying.
7.4.3 Design Considerations (Graphic Products)
- Contrast – use differing colours, textures or finishes for visual impact.
- Stability – heavier fabrics may need reinforcement (fusible interfacing) – show this on a sectional view.
- Edge treatment – overlock, zig‑zag or binding to avoid fraying – illustrate with a detail drawing.
- Develop a net (pattern) for each appliqué piece; label with reference numbers that match the BOM.
7.4.4 Advantages & Disadvantages
| Advantage | Disadvantage |
|---|
| Creates strong visual contrast and three‑dimensional depth. | Additional sewing steps increase production time. |
| Allows use of varied fabrics (different textures, prints). | Heavier appliqué pieces may affect drape. |
| Can be combined with other techniques (embroidery, printing). | Requires precise cutting – waste may increase if not planned. |
7.4.5 Example Project Idea
Design a decorative cushion cover that combines digital printed background, laser‑cut appliqué flowers, and hand‑stitched satin‑stitch outlines. Produce CAD nets for each flower, laser‑cut the pieces, attach using a blanket stitch, and evaluate the overall aesthetic and durability after 10 wash cycles.
8. Evaluation Checklist (AO3)
- Did the finished product meet every measurable specification (size, colour‑fastness, weight, cost)?
- Record test results (e.g., wash‑fastness Grey Scale, dimensional stability).
- Compare actual outcomes with the original design brief and success criteria.
- Identify at least three areas for improvement (process, material, design).
- Reflect on the control loop – what feedback was received and how was it used to adjust the design or process?
- Link evaluation to sustainability – could waste be reduced further? Could a greener dye be used?
Use the table below to organise your evaluation evidence.
| Specification Item | Target | Result | Comments / Improvement |
|---|
| Colour fastness (Grey Scale) | ≥ 4 | 4 after 5 washes | Maintain temperature; consider longer fixation. |
| Dimension (width × height) | 30 cm × 40 cm ± 2 mm | 30.5 cm × 39.8 mm | Cutting accuracy within tolerance. |
| Cost per unit | ≤ £8.00 | £7.45 | Materials on budget; explore bulk buying for future runs. |
9. Quick‑Scan Summary for Exam Revision
- Know the AO weighting (30 % AO1, 50 % AO2, 20 % AO3).
- Remember the full common‑content loop, especially the missing “Control” element.
- Be able to produce orthographic, isometric, planometric, section and exploded‑view drawings – use first‑angle or third‑angle symbols correctly.
- Understand how to develop nets, construct ellipses, and scale drawings up or down.
- Familiarise yourself with drafting aids (radius templates, flexicurves, lettering stencils).
- For each decorative technique, know:
- Key methods, step‑by‑step process, safety precautions.
- Advantages, disadvantages and suitable applications.
- How to link the technique to CAD/CAM and the control loop.
- One concrete project idea that demonstrates the technique and includes evaluation.
- Integrate sustainability: material choice, waste reduction, energy use, end‑of‑life.
Use this guide to plan, produce and evaluate a high‑quality textile project that meets all Cambridge IGCSE requirements.