• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.177-178
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• 2004

The study will focus on an exploration of a variety of perspectives drawing technique, which is the three-dimensional presentation measure. Through this course, student develop effective expression and introduction of their Interior Design. The contents of the course are as follows : 1. Comprehension of the perspective 2. Comprehension and practice of the 1point perspective 3. Comprehension and practice of the 2point perspective 4. Comprehension and practice of the axonomatrics 5. Practice of the drawing technique through visual note

• Communications of Mathematical Education
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• v.18 no.1 s.18
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• pp.249-255
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• 2004

본 논문에서는 컴퓨터 기하 프로그램으로 가장 널리 활용되고 있는 GSP(The Geometer's Sketchpad)를 사용하여 사영기하학의 성질을 반영하는 투시화법(perspective drawing)으로 펜션을 작도하였다. 2000년에 버전 3.1로 작도하였을 때 한 점 투시화법(one-point perspective drawing)으로만 완성된 집을 보였고, 두 점 투시화법(two-point perspective drawing)으로는 미완성된 집이었다. 새로운 버전 4.0은 그 기능이 탁월하게 향상되었으므로 어렵지 않게 두 점 투시화법으로 집을 완성하였고 또한 photo -shop 7.0을 사용하여 아름다운 펜션으로 장식하여 보았다.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.2
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• pp.140-151
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• 1999

The purpose of this study is to trace historical changes and to show broad spectrums in landscape architectural drawing. Drawing has been both a locus of interpreting a site and a vehicle of imagining the new landscape. The designed landscape might be influenced by the way to draw in landscape design. Despite of its importance, landscape architectural drawing has rarely been discussed. Here, the drawing will be understood as theoretical issues and texts for criticism. Recently, the drawing has primarily been recognized in functional and instrumental ways. The stereotypes office drawings such as plan, section, perspective, axonometric are typical examples. Its symbolic and metaphoric dimensions have been seriously diminished. As a result, the poetic power in the designed landscape might be devastated. Composite drawing, notation are the alternative drawings to overcome the above mentioned dilemma along with the adaption of collage and photomontage. Finally, I would argue that landscape architectural drawing can be a creative tool to elicit the idea and to reveal the trace of memory. It could be also a poetic locus to postulating the vision. Designers should utilize both traditional drawing and experimental drawing in order to reconcile the instrumental representation with the symbolic representation.

• School Mathematics
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• v.15 no.4
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• pp.921-940
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• 2013

This study is to analyze mathematically gifted middle school students' characteristics of mathematical thinking and the teacher's role in teaching and learning about the central projection and perspective drawing. And it will help to develop teaching and learning materials for the mathematically gifted. The result of this study is as followings : mathematically gifted middle school students show the various characteristics of mathematical thinking like as intuitive insight, generalization, logical thinking & mathematical abstraction and so on, and the teacher plays roles as instructional designer, facilitator, technical assistant and counselor.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.14 no.2
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• pp.241-247
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• 1996

The most important factor in highway design is to match highway alignment with topography so that the driver can drive the vehicle safely and comfortably. Highway alignment design is completed with combination of horizontal alignment and vertical alignment that is harmony with topography at the last step. In highway alignment design, the use of continuous perspective can meet vehicle's physical requirements, which is useful to keep driver's psychological and physiological balance. The main purpose of this study is to develop a computer pro-gram which is applicable to highway alignment design through study of how to make and analyze perspective by means of computer.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Journal of The Korean Digital Architecture Interior Association
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• v.1 no.1
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• pp.39-45
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• 2001

The purpose of this study is to suggest the possibility which can use as instrument of design by CAD system. And it proposes how makes 3D object model through 2D Drawings in Design process. This study has review the 'Study Drawing' in design process, and application method of CAD as the Architectural Design Integration System. The Architecture can work in ani of the traditional 2D representations as well as in 3D and immediate visual feedback of his work in isometric and perspective projrctions.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.525-530
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• 2023

Digital drawing subjects require the subdivision of evaluation elements and the graduality of evaluation according to the recent movement of the innovative curriculum. The purpose of this paper is to present the criteria for evaluating the drawing and to propose it as a rubric evaluation. In the text, criteria for beginner evaluation were technical skills such as the accuracy and consistency of the line, the ratio and balance of the picture, and the ability to effectively utilize various brushes and tools at the intermediate levels. In the advanced evaluation section, it is a part of a new perspective or originality centered on creativity and originality, and a unique perspective or interpretation of a given subject. In addition, as an understanding of design principles, the evaluation of completeness was derived focusing on the ability to actively utilize various functions of digital drawing software through design principles such as placement, color, and shape. The importance of introducing rubric evaluation is to allow instructors to make objective and consistent evaluations, and the key to research in rubric evaluation in these art subjects is to help learners clearly grasp their strengths and weaknesses, and learners can identify what needs to be improved and develop better drawing skills accordingly through feedback on each item.

• 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.