심상(心象) 표현력 향상을 위한 지도연구 : 드로잉을 中心으로 = (A) Study for the Development Mental Image Expression : Focusing on drawing

다국어 초록 (Multilingual Abstract)

Our students are living in the flood of information and material, receiving numerous stimuli and reacting upon them. education of fine arts is deeply related to various theoretical researches and expression activities of human life. Some children under 10 years old express self-imagery dynamically. After they are 10 years old which is the factuality step in the development of students, they tend strongly to imitate objectively and realistically what they see. Especially, when they are 13 or 14 years old (5th or 6th grader), they do not only express the visible objectively and superficially, but also express their subjective and emotional experiences. As these two different tendencies come out, their drawings don't contain their real self-imagery. So we can easily find it out that they are just conceptualized forms which are not beyond the current social stereotype.
With this thesis, I want to help students, who are in the pseudo-factuality step, to express what they feel deep in their mind into the objective and visual forms. I also hope I can instruct students in direct and self-generative drawings in a systematic, reasonable, and interesting way. And I want them to express their imagery freely and creatively with self-esteem beyond the control of social stereotype.
Firstly, I've suggested to students some ways of realistic expression beyond the stereotype by making them sustain their pure imagery, to believe what they see, and to exactly draw it through the practice in how they observe.
Secondly, I've made them recognize the nature and originality of the formative arts by acquiring basic drawing skills. And then, I've made them have self-esteem in expression activities of all areas of fine arts.
Thirdly, I've made them have investigative attitude about what they want to express and made them express freely what they want to do, by suggesting some drawing techniques to recognize their thinking and feeling after awakening their subconsciousness.
Finally, I've helped enhance the creativity of students by offering some opportunities that they could use various stuff and experience several skills and techniques, and by making them experience effective imagery expression.
Therefore, students could have gotten out of the situation that has made them get repeated routine skills and forms of superficial imitation. They have also overcome the artistic crisis because their imagery expression that contains their own creativity and personality, that is, the goal of the expression activity of fine arts, have been increased by doing effective observation and interesting expression activities. In other words, I have taught the ways students can find out how things and actions are seen and observe the new objectives rather than how they exist. And I have taught the ways of creative drawing, so that they could observe things as they are. As a result, their imagery expression abilities have been enhanced increasingly.
The important reason that a rough sketch has to be educated sincerely with lots of attention in elementary school is that as one of the basic educations, drawing is related to all areas of fine arts and is the most necessary factor to students in the pseudo-talent. In the childhood, every child is interested in drawing pictures and expressing their imagery actively. If we don't offer students the solution to the problem of crisis of expression, they would not do their imagery expression activities for a very long time and they would be a disharmonious being.
However, we must teach them with strong tolerance because the stepwise instruction of drawing needs a lot of time and endeavor. And as we focus only on personality and imagery, we may not teach some formative factors well. We must also keep in mind that as we overemphasize the personal imagery, we may not understand the nature of fine arts, we may think it as a difficult subjective, or we may fall in the closed world of self-righteousness. In addition, we must consider that it can be possible not to make students experience drawing in the various areas of fine arts and it can be possible to teach only the area of paintings. Constant instruction and endeavor can enhance students' imagery expression abilities considerably and help them make their own works with creativity and personality by expressing their imagery freely and without any anxiety.
In conclusion, as we make students express their imagery freely, we can contribute to bringing our students into the emotionally stable state, to helping them see accurately the relationship between them and other people, and to making them the harmonious being.

목차 (Table of Contents)

• 목차
• Ⅰ 서론 = 1
• 1. 연구의 필요성 = 1
• 2. 연구의 목적 및 내용 = 2
• 3. 연구의 방법 및 제한점 = 3
• Ⅱ 미술을 통한 성장의 이해 = 4
• 1. 학습자의 발달 단계와 특징 = 4
• 2. 7차 교육과정연구(5, 6학년미술) = 8
• Ⅲ 드로잉(Drawing) 지도 연구 = 10
• 1. 드로잉의 개념 = 10
• 2. 드로잉의 특성 = 11
• 3. 드로잉의 학습 방법 연구 = 13
• 가. 기초 드로잉의 학습 = 15
• (1) 눈으로 그리기 = 15
• (2) 두려움 없애기 = 16
• (3) 선 그리기 = 17
• (4) 명암 표현하기 = 18
• (5) 질감 살려 그리기 = 20
• (6) 형태의 관념 뛰어 넘기 = 21
• (7) 여백 그리기 = 22
• (8) 거꾸로 된 그림 그리기 = 23
• (9) 제스처 드로잉 = 24
• (10) 인물화 그리기 = 26
• 나. 잠재에서 깨어나기 = 29
• (1) 낙서화 = 29
• (2) 상상을 구체화하기 = 30
• (3) 마음 그리기 = 31
• (4) 언어 그리기 = 33
• (5) 썸 네일 스케치 = 34
• (6) 생활그림 = 35
• 다. 창조를 향한 드로잉 학습 방법 연구 = 37
• (1) 우연의 효과를 이용한 드로잉 = 37
• (2) 음악 따라 드로잉 하기 = 37
• (3) 문지르기 = 38
• (4) 얼룩 효과 = 39
• (5) 붓으로 그리기 = 40
• (6) 덧칠하여 그리기 = 41
• (7) 겹친 선으로 드로잉하기 = 43
• (8) 손가락으로 그리기 = 43
• (9) 닦아내기 = 45
• (10) 혼합 재료로 그리기 = 46
• (11) 점을 찍어 그리기 = 48
• (12) 긁어내어 드로잉하기 = 50
• (13) 투영방법으로 드로잉하기 = 51
• (14) 왁스 드로잉 = 52
• 라. 교수 학습 모형 구안 = 53
• Ⅳ 결론 및 제언 = 57
• 1. 결론 = 57
• 2. 제언 = 59
• 참고문헌 = 60
• ABSTRACT = 61