• Cartoon and Animation Studies
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• s.36
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• pp.217-236
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• 2014

This study is a literature analytical process for studying the drawing teaching methods considering the professional characteristics of animation and a principle analytical process for studying the perspective that when teaching methods that consider the function, learning and creative mechanisms of the brain are applied, the animation drawing ability will be effectively increased. In recent years, as an alternative discussion on the educational method of each field, study results applied with brain-based learning principles are being presented. This is not only being applied and implemented for art and drawing education but as overall educational alternatives. On the other hand, animation drawing requires artistic literacy and at the same time requires comprehensive teaching methods that can train the structural knowledge, cognitive sensation and communication method but such professional teaching methods are insufficient. Therefore, the principle of effective education is seen through the brain mechanism and the principle of demonstrating the creativity and learning by the brain is analyzed. In addition, through the fundamental relationship on the picture drawing and the function of the brain, the relationship of the drawing and the brain is identified. As a result, not only for the left brain that observes the cognitive information which can draw the structure and shapes but the right brain which is directly related to the drawing should be developed, but in order to express the creativity, teaching methods that can understand the mechanism of comprehensive brain where physical and psychological factors are expressed should be also developed. It is because the animation drawing education is teaching the methods for demonstrating the characteristics of artistic creativity required for the drawing ability. This process will not only be a foundation for identifying the difference against the previous animation drawing teaching methods, and the brain-based principles will be selected as the core strategic definition for designing the strategy and methodological model of future education.

• Cartoon and Animation Studies
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• s.38
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• pp.71-91
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• 2015

This study is a process to study the life drawing teaching method considering professional characteristics in animation and has a study objective to design the model and teaching method which applies the strategies considering the creative mechanism of the brain. Recently, study results about integrated teaching method are being announced which apply brain based learning principles as the alternative arguments about teaching methods in each area based on creativeness. In other words, integrated education based on creative mechanism in the brain is applied not only to fine arts and drawing education, but also to the entire areas of the arts. Life drawing is an area which demands comprehensive teaching method that vivid expressions could be skillfully obtained by understanding the communication methods with the objects through cognitive senses, creativeness and movements beyond the structural knowledge about human body. Therefore in this study, the strategies and methods for the skillfulness of life drawing and consequently arranged education model structure drawing are to be designed based on the creativeness, study materials and content factors which were analyzed in previous stages of this study. In order to combine the content factors based on creativeness and study materials of the brain which are the results of previous studies, the conclusion has been reached that 5 step cognitive strategy stages to wake brain senses, flexibilize the brain, purify the brain, integrate the brain and become the master of the brain. Strategic methods to execute this were designed with brain gym, right brain energization drawing and HSP(high-level cognizance) training. Teaching and learning model structure diagram which is designed based on this is to be continued to teaching and learning guidelines during the relevant semesters after the research.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.150-151
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• 2005

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.110-111
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• 2002

• 제어로봇시스템학회:학술대회논문집
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• 2005.06a
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• pp.1745-1748
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• 2005

Near-infrared spectroscopy (NIRS) can be used to monitor brain activation by measuring changes in the concentration of oxy- and deoxy-hemoglobin (Hb) by their different spectra in the near-infrared range. Because NIRS is a noninvasive, highly flexible and portable device, it is very suitable to study brain activation when a human repeatedly performs a manipulative task, and possibly provides useful information to construct human adaptive mechatronics (HAM). There is some evidence that the dorsolateral prefrontal cortex (DLPFC) plays a major role in working memory and it is proposed that the use of working memory decreases as a human develops manipulative skills. In the present study, we investigated the activation of the dorsolateral prefrontal cortex (DLPFC) of the brain in Brodmann's areas 9 and 46 in drawing tasks to examine whether NIRS can measure the changes of DLPFC activation as a human develops manipulative skills. Subjects performed a mirror image drawing task and a square drawing task by ones' left hands. In the mirror image task the subject drew following a star shape based on a mirror image of it, but square drawing did not involve mirror image and was estimated to be simpler. The changes of the concentration of oxy-Hb was higher in the mirror image drawing than the square drawing in most subjects. The changes of oxy-Hb decreased as the subject repeated the drawing task in most subjects. In conclusion, The activation of DLPFC measured by NIRS can reflect the brain activity in the development of manipulative skills.

• Journal of Fashion Business
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• v.1 no.1
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• pp.84-98
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• 1997

This study is to develop a fashion drawing education program which is based on the theory of 'Split-brain' by Roger W. Sperry and 'Drawing on the Right Side of the Brain' by Betty Edwards. Students in Fashion Design start their training by developing a foundation in drawing and studing the tools, materials and methods of the Industry. Ideas are then developed on paper, later translated into three-dimensional shapes and finally into finished garments. Fashion drawing and design techniques train the hand and eye to all the nuances of fashion design and illustration. Fashion drawing course deals with the sketching of fashion models for the purpose of understanding the model figure, basic anatomy, movement and figure attitudes. Having mastered the basic skills, students take advanced drawing course which is developing awareness of design, needs, of fashion market' using various media for the purpose of developing a designer's sketch, with emphasis on the drawing and designs. Featured aspects of this study include the following; 1. Drawing the negative space; basic visual concepts 2. Contour drawing; constructs, visual measurement, movement 3. Model drawing; the classical method, proportion, symmetry. The primary aim of this study is to develop a sensitive, animated line based on observed form. It is important to let the students Imagine that they are actually touching the model, for in this way they can benefit from simulating the child's learning process. Instead of actually touching the model they are using their eyes as an extension of their sense of touch.

• Cartoon and Animation Studies
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• s.36
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• pp.237-257
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• 2014

This study is the process of performing the interdisciplinary fusion study between multiple fields by identifying the status on the previous artistic education considering the brain scientific mechanism of image creativity and brain-based learning principles. In recent years, producing the educational methods of each field as the fusion study activities are emerging as the trend and thanks to such, the results of brain-based educational fusion studies are being presented for each field. It includes artistic fields such as music, art and dance. In other words, the perspective is that by understanding the operating principles of the brain while creativity and learning is taking place, when applying various principles that can develop the corresponding functions as a teaching method, it can effectively increase the artistic performance ability and creativity. Since the animation drawing should be able to intuitively recognize the elements of movement and produce the communication with the target beyond the delineative perspective of simply drawing the objects to look the same, it requires the development of systematic educational method including the methods of communication, elements of higher cognitive senses as well as the cognitive perspective of form implementation. Therefore, this study proposes a literature study results on the artistic education applied with brain-based principles in order to design the educational model considering the professional characteristics of animation drawing. Therefore, the overseas and domestic trends of the cases of brain-based artistic education were extracted and analyzed. In addition, the cases of artistic education studies applied with brain-based principles and study results from cases of drawing related education were analyzed. According to the analyzed results, the brain-based learning related to the drawing has shown a common effect of promoting the creativity and changes of positive emotion related to the observation, concentration and image expression through the training of the right brain. In addition, there was a case of overseas educational application through the brain wave training where the timing ability and artistic expression have shown an enhancement effect through the HRV training, SMR, Beta 1 and neuro feedback training that strengthens the alpha/seta wave and it was proposing that slow brain wave neuro feedback training contributes significantly in overcoming the stress and enhancing the creative artistic performance ability. The meaning of this study result is significant in the fact that it was the case that have shown the successful application of neuro feedback training in the environment of artistic live education beyond the range of laboratory but the use of the machine was shown to have limitations for being applied to the teaching methods so its significance can be found in providing the analytical foundation for applying and designing the brain-based learning principles for future animation drawing teaching methods.

• Cartoon and Animation Studies
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• s.35
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• pp.1-27
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• 2014

This study is a process of studying an alternative educational model and a preceding analysis process of the study where a teaching method considering the brain function, learning and creative mechanism is applied with a perspective of effectively increasing the animation drawing ability. Recently, studies in each field of study is not simply limited to one major but are attempting to produce subdivided integrated educational contents through integrated study activities with other fields. It is because for any field, it has a complex structure of humanistic experience and this is the same for artistic fields. Especially, in the field of animation, a specialized area is subdivided so when looking only at the education related to the drawing, the items required for expertise should be clarified and the development of a systematic educational method is required. Therefore in this study, a literature study result to design the educational model suitable for professional characteristics of animation education method is proposed. The study aims to conceptualize and categorize the meaning of drawing that can refine the basic ability for education of animation field to suit the characteristics of majoring field. Afterwards, the components are derived through re-established concept of drawing and categories, and this becomes the basis for the process of materializing the study goal which is the follow-up work. As a result, the components are examined by defining the meaning of drawing as the motion drawing due to the characteristics of the picture contents field, and used as a basis for planning the educational model applied with brain scientific creative-learning principles.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.497-509
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• 2022

Lines are the oldest visual elements in human history and are closely related to human life and drawings and symbols drawn with lines on cave paintings and rocks have existed as alternative images for human survival. In arts the line reveals the core of the object within a short period of time and in art therapy it becomes a medium that can diagnose the client's psychological state and intervene therapeutically. However although line drawing has therapeutic importance in the process as well as diagnosis studies on its effectiveness and therapeutic characteristic have not been actively conducted. Therefore in this study the characteristics related to line art in art therapy are first derived through 'Triangular Verification of Theory', 'Qualitative Content Analysis', and 'Finding Common Parts' in domestic and foreign literature. As a result I will examine the Movement which is a key therapeutic element of line drawing in connection with the brain structure. Through this I will examine the therapeutic mechanisms that affect the body, brain and mind of the movement of line drawing and examine and suggest how it can be used in art therapy.

• Dementia and Neurocognitive Disorders
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• v.16 no.2
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• pp.48-53
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• 2017

Background and Purpose Torrance Tests of Creative Thinking (TTCT) is a well-known and commonly used measure of creativity. However, the TTCT-induced creative hemodynamic brain activity is rarely revealed. The purpose of this study is to elucidate the neural correlates of creative thinking in the setting of a modified version of the figural TTCT adapted for an functional magnetic resonance imaging (fMRI) experiment. Methods We designed a blocked fMRI experiment. Twenty-five participants (11 males, 14 females, mean age $19.9{\pm}1.8$) were asked to complete the partially presented line drawing of the figural TTCT (creative drawing imagery; creative). As a control condition, subjects were asked to keep tracking the line on the screen (line tracking; control). Results Compared to the control condition, creative condition revealed greater activation in the distributed and bilateral brain regions including the left anterior cingulate, bilateral frontal, parietal, temporal and occipital regions as shown in the previous creativity studies. Conclusions The present revealed the neural basis underlying the figural TTCT using fMRI, providing an evidence of brain areas encompassing the figural TTCT. Considering the significance of a creativity test for dementia patients, the neural correlates of TTCT elucidated by this study may be valuable to evaluate the brain function of patients in the clinical field.