{"product_id":"140140","title":"Why can't we draw? ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYGWrp3kft9px7tMvhhY0p6tKgvEl.png?v=1765127298\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Why can't we draw? \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/142637024\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003e“Art begins with self-expression before it becomes an activity that is learned.\u003cbr\u003e\u003cbr\u003e But at its foundation lies the teacher’s constant effort and role.”\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e How was it possible to have art classes that children eagerly await?\u003cbr\u003e Captures sparkling educational moments created with children who were afraid of art, conscious of other people's gaze and comparing themselves to each other.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e About the Book | Why I Wrote This Book\u003cbr\u003e\u003cbr\u003e \u003cb\u003eⅠ.\u003cbr\u003e Drawing\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e depart\u003cbr\u003e 2.\u003cbr\u003e The emergence of figurative images\u003cbr\u003e 3.\u003cbr\u003e Naming\u003cbr\u003e 4.\u003cbr\u003e A child who cannot or does not name\u003cbr\u003e 5.\u003cbr\u003e A child who tried to imitate his friend\u003cbr\u003e 6.\u003cbr\u003e Children growing up together\u003cbr\u003e 7.\u003cbr\u003e The beginning of reporting and drawing\u003cbr\u003e 8.\u003cbr\u003e Look and draw in earnest\u003cbr\u003e 9. \u003cbr\u003eWhat is 'See and Draw'?\u003cbr\u003e 10.\u003cbr\u003e Epilogue ─ The Child Who Draws Well\u003cbr\u003e\u003cbr\u003e \u003cb\u003eⅡ.\u003cbr\u003e Don't draw\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e From Kamji activities\u003cbr\u003e 2.\u003cbr\u003e Expansion of Kamji activities\u003cbr\u003e 3.\u003cbr\u003e Kamji as a media exploration\u003cbr\u003e 4.\u003cbr\u003e Epilogue ─ The Child Who Stubbornly Sticks to Kkamji\u003cbr\u003e\u003cbr\u003e \u003cb\u003eⅢ.\u003cbr\u003e From the media\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e From materiality\u003cbr\u003e 2.\u003cbr\u003e From paint\u003cbr\u003e 3.\u003cbr\u003e From three-dimensional materials\u003cbr\u003e 4.\u003cbr\u003e Epilogue - Another Look at Clay Activities\u003cbr\u003e\u003cbr\u003e \u003cb\u003eⅣ.\u003cbr\u003e Art as self-expression and its intellectual dimension\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e What is self-expression?\u003cbr\u003e 2.\u003cbr\u003e Self-expression and intellectual involvement in the Kkamji activity\u003cbr\u003e 3.\u003cbr\u003e In the watercolor activity - two aspects of the intellectual dimension\u003cbr\u003e 4.\u003cbr\u003e In calligraphy - intellectual dimension and self-expression\u003cbr\u003e 5.\u003cbr\u003e Development in three-dimensional expression\u003cbr\u003e 6.\u003cbr\u003e Epilogue - Self-Expression in Reporting and Drawing\u003cbr\u003e\u003cbr\u003e \u003cb\u003eV.\u003cbr\u003e Across the image\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e From free expression\u003cbr\u003e 2.\u003cbr\u003e From drawing figures\u003cbr\u003e 3.\u003cbr\u003e Into Kim Hong-do's \"Wrestling\"\u003cbr\u003e 4.\u003cbr\u003e Epilogue - The Discovery of Space\u003cbr\u003e\u003cbr\u003e \u003cb\u003eⅥ.\u003cbr\u003e The role of a constant teacher\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Children who are not free\u003cbr\u003e 2.\u003cbr\u003e Art as an expression of one's own existence\u003cbr\u003e 3. \u003cbr\u003eDevelopment and growth\u003cbr\u003e 4.\u003cbr\u003e As a social process\u003cbr\u003e 5.\u003cbr\u003e Virtual spaces called classrooms and classes\u003cbr\u003e 6.\u003cbr\u003e The unique nature of art classes\u003cbr\u003e\u003cbr\u003e supplement\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Kindergarten curriculum\u003cbr\u003e 2.\u003cbr\u003e Flower pot drawing process\u003cbr\u003e 3.\u003cbr\u003e Kamji activity process\u003cbr\u003e 4.\u003cbr\u003e Watercolor activity process\u003cbr\u003e 5.\u003cbr\u003e Figure drawing process\u003cbr\u003e 6.\u003cbr\u003e Calligraphy and ink course\u003cbr\u003e 7.\u003cbr\u003e 3D activity process\u003cbr\u003e\u003cbr\u003e Acknowledgements\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Ultimately, education is about helping children grow.\u003cbr\u003e The goal of art education should not be to make children good at art, but rather to help them discover and grow themselves through art.\u003cbr\u003e And I had the good fortune to watch that process.\u003cbr\u003e The children also responded with joy.\u003cbr\u003e (……) Looking at the art education curriculum so far, it seems that the emphasis is on ‘art’ and only how to teach or learn.\u003cbr\u003e But I think the emphasis should be shifted to 'child'. \u003cbr\u003eThis is only natural when we say that art is based on self-expression.\u003cbr\u003e In that case, art can also become a window that shows children's appearance.\u003cbr\u003e When we say that self-expression that cannot be hidden is revealed through art, it will provide a good reference point for adults who have to accompany children in their lives.\u003cbr\u003e My journey over the years has been a process of exploring the meaning and role of art education through observing children growing up with art.\u003cbr\u003e --- From \"Publishing a Book\"\u003cbr\u003e\u003cbr\u003e The case of Figure 1-12 is very interesting, as anyone who sees it will think it is a drawing of a snake.\u003cbr\u003e But you can see that he didn't intend to draw a snake from the beginning.\u003cbr\u003e This is because the shape of its body is free-spirited and different from that of a typical snake.\u003cbr\u003e After drawing the shape, the child first thought of a snake and drew eyes and a tongue in places like the head to create a snake. \u003cbr\u003eThe picture below is more interesting.\u003cbr\u003e The shape of the part where the head shape is found is open to the outside.\u003cbr\u003e Nevertheless, the child saw the shape of a head in it and drew eyes and a tongue to create a snake.\u003cbr\u003e This is a passage that shows that children's drawing is a very dynamic activity.\u003cbr\u003e Drawing may seem closer to discovering.\u003cbr\u003e I can't help but be amazed by that discovery.\u003cbr\u003e --- 「Part Ⅰ, 〈3.\u003cbr\u003e From \"Naming\"\u003cbr\u003e\u003cbr\u003e In general, in 'see and draw', people tend to put emphasis on 'draw'.\u003cbr\u003e I'm more interested in how to draw well.\u003cbr\u003e However, the key in ‘report and draw’ is ‘reporting’.\u003cbr\u003e It is a matter of seeing the reality.\u003cbr\u003e A direct encounter is established between the person drawing and the object.\u003cbr\u003e Children must discover the difference between the images they know and reality and face the unfamiliarity of it.\u003cbr\u003e At this point, the children are confused. \u003cbr\u003e“Huh, that’s strange?” Then he looks at a loss as to what to do about it.\u003cbr\u003e I tell those kids to draw weird things if they look weird.\u003cbr\u003e To allow ourselves to perceive things that appear different from what we know.\u003cbr\u003e But children ultimately have to compromise between what they know and what they see.\u003cbr\u003e By repeating this type of conflict, children can be said to be taking steps toward a world beyond what they know.\u003cbr\u003e So, ‘seeing and drawing’ is the process of facing the objects of the world with one’s own eyes and containing them within oneself.\u003cbr\u003e This is why growing children should immerse themselves in ‘seeing and drawing.’\u003cbr\u003e --- 「Part Ⅰ, 〈9.\u003cbr\u003e From \"What is 'See and Draw'?\"\u003cbr\u003e\u003cbr\u003e For children, whether they are good at drawing or not is a very sensitive issue. \u003cbr\u003eComparisons between children, such as 'who draws well' and 'who draws poorly', are constantly occurring.\u003cbr\u003e A sense of superiority or inferiority may arise, and some people may become frustrated and ashamed and avoid drawing.\u003cbr\u003e In reality, what is easy for one child can be very difficult for another.\u003cbr\u003e There is an innate difference in observation and expressive power, and this is revealed in the drawings.\u003cbr\u003e In my case, after class, we would gather the drawings and have time to critique them together.\u003cbr\u003e It was like that from the third grade onwards. Some children would not show their drawings, and even if they were shown them, they would hide and not show up.\u003cbr\u003e Then, as the position continued, I could see that it gradually became more natural and comfortable.\u003cbr\u003e (……) At this time, the teacher’s role is crucial.\u003cbr\u003e Teachers must carefully observe each child to determine where they are having difficulty. \u003cbr\u003eAnd when giving appropriate advice, you should find out what the child has accomplished, even if it is just a little bit, and encourage him\/her.\u003cbr\u003e --- 「Part Ⅰ, 〈10.\u003cbr\u003e From \"Epilogue - A Child Who Draws Well\"\u003cbr\u003e\u003cbr\u003e The important thing here was that 'you shouldn't draw anything'.\u003cbr\u003e At first, the children were puzzled when I told them that I wasn't drawing anything.\u003cbr\u003e Some children couldn't accept that they weren't drawing anything.\u003cbr\u003e However, this activity had two goals.\u003cbr\u003e The goal was to help children break free from the stereotype that art involves drawing something.\u003cbr\u003e Another was to experience paper and pencil as more than just drawing tools.\u003cbr\u003e When children rub their pencils against the paper to blacken it, they encounter the pencil and paper as more than just drawing tools, but as objects or substances in their own right. \u003cbr\u003eYou will fully experience the feel and texture along with the rubbing sound.\u003cbr\u003e The color of the pencil also comes in a variety of feelings beyond just black.\u003cbr\u003e --- 「Part II, 〈1.\u003cbr\u003e From the activities of Kamji\u003cbr\u003e\u003cbr\u003e One of the core aspects of the field of art is that it has materiality.\u003cbr\u003e In other words, it can be said to be an activity that expresses itself by utilizing objects.\u003cbr\u003e Objects used in art tend to be traditionally perceived as merely materials or means for expressing something, but it should be noted that the materials themselves have expressive properties.\u003cbr\u003e (……) If you present a topic and start an activity by saying, ‘Let’s express something,’ children will begin to handle the materials intentionally according to the goal of expression. On the other hand, if you only provide the materials without presenting any topic, children can react to the material properties of the materials and engage in activities impulsively. \u003cbr\u003eAt this point, artistic activity becomes a sensory activity before it becomes conscious.\u003cbr\u003e At such times, children can immerse themselves in a process of self-expression based on their senses.\u003cbr\u003e --- 「Part III, 〈1.\u003cbr\u003e From \"From Materiality\"\u003cbr\u003e\u003cbr\u003e It is truly amazing to feel your own aesthetic and find a sense of accomplishment in it.\u003cbr\u003e The sense of accomplishment you get from completing a given task and the sense of accomplishment you feel from discovering and performing it on your own are bound to be on a different level.\u003cbr\u003e In the latter, self-power and self-purpose arise.\u003cbr\u003e It becomes beautiful regardless of its usefulness.\u003cbr\u003e The feeling of being there yourself is indescribable.\u003cbr\u003e This can be said to be the biggest reason for doing art.\u003cbr\u003e But it must be learned.\u003cbr\u003e Of course, there are children who can do this without learning, but they will be a very small minority.\u003cbr\u003e (……) A strong supporter called a teacher and a safe space called a classroom make it possible. \u003cbr\u003e--- 「Part IV, 〈1.\u003cbr\u003e From “What is Self-Expression?”\u003cbr\u003e\u003cbr\u003e No matter what the given task, the teacher must simultaneously see both sides of the child's activity.\u003cbr\u003e Understanding that your child is on a journey of growth, you must stand by their side and decide what to encourage and inspire.\u003cbr\u003e And we also have to decide when and how to intervene and help.\u003cbr\u003e Because the child is now drawing a new world.\u003cbr\u003e --- 「Part IV, 〈6.\u003cbr\u003e From \"Epilogue - Self-expression in Reporting and Drawing\"\u003cbr\u003e\u003cbr\u003e The power of images is strong.\u003cbr\u003e The moment it is produced, it forms a world.\u003cbr\u003e So, no matter how freely you express the picture you draw, it ends up settling into a world.\u003cbr\u003e This is why we repeat drawings in a familiar way.\u003cbr\u003e Commercially produced and distributed images also enter children's minds and become firmly established. \u003cbr\u003eWhen you draw by imagination or draw freely, you are usually not imagining yourself and you are not drawing freely.\u003cbr\u003e (……) So I thought that images could also be objects of play, and I wanted to have a play time of cutting up the images produced for that purpose, redistributing them, and combining them.\u003cbr\u003e Of course, even in such a process of redistribution and rearrangement, children are likely to follow familiar mechanisms, but I thought that changing the order once imposed would be a process that makes it more flexible.\u003cbr\u003e For this, I used the collage technique.\u003cbr\u003e --- 「Part V, 〈1.\u003cbr\u003e From “Free Expression”\u003cbr\u003e\u003cbr\u003e But the real reason we are afraid of drawing is that the standards for evaluating good drawing have already been formed socially and culturally. \u003cbr\u003eEven if there is a level of individual talent in drawing well, the standards and values ​​for evaluating it are not personal at all.\u003cbr\u003e There is no room for individuality or uniqueness.\u003cbr\u003e In this way, ‘self-expression’ grows while being excluded and suppressed.\u003cbr\u003e It is a condition that is already given to children.\u003cbr\u003e Going back to Cizek, in order to 'freely activate the independent nature within children,' teachers must go beyond 'not interfering' and instead provide more assistance and support.\u003cbr\u003e We must not let ourselves be discouraged by comparison and must firmly support those who can do things on their own.\u003cbr\u003e It's a very continuous process.\u003cbr\u003e --- 「Part VI, 〈1.\u003cbr\u003e From “Children Who Are Not Free”\u003cbr\u003e\u003cbr\u003e Artistic expression plays a role in showing children's appearances in an unpredictable way. \u003cbr\u003eThere is another background to the child's emotional and psychological dimensions that goes beyond whether he or she is good or bad.\u003cbr\u003e Art, unlike other subjects, is not bound by set knowledge or norms, but has a special nature based on self-expression, which is why it contains such things.\u003cbr\u003e Maybe that is the power of artistic expression.\u003cbr\u003e It is about expressing the child's inner self.\u003cbr\u003e It can be said that art teachers play a role in accompanying children in that way.\u003cbr\u003e --- 「Part VI, 〈3.\u003cbr\u003e From “Development and Growth”\u003cbr\u003e\u003cbr\u003e Behaviors that would otherwise be controlled or prohibited can also be revealed within the scope of expression.\u003cbr\u003e Because it is an expression.\u003cbr\u003e Vandalizing school property and vandalizing art supplies are two entirely different things.\u003cbr\u003e In art class, you can mess things up or express things in a weird way. \u003cbr\u003eSince it is a material, handling it is an expressive activity in itself.\u003cbr\u003e This allows children to experiment and explore self-expression.\u003cbr\u003e During the course of the activity, it is inevitable that the classroom will be disrupted.\u003cbr\u003e As long as it doesn't harm others or disrupt class.\u003cbr\u003e --- 「Part VI, 〈5.\u003cbr\u003e From “Virtual Spaces of Classrooms and Lessons”\u003cbr\u003e\u003cbr\u003e The unique characteristic of art education is that the process and outcome of learning are children's 'expressive activities.'\u003cbr\u003e And the expression is purely based on the creative activities of children.\u003cbr\u003e Because it is never taught by teachers.\u003cbr\u003e The teacher can create the conditions and atmosphere, but he cannot dictate the content of the expression.\u003cbr\u003e Because it is purely the children's responsibility.\u003cbr\u003e I called it 'self-expression'. \u003cbr\u003e(……) Ultimately, expression becomes the children’s responsibility, and it becomes the teacher’s responsibility to provide materials that can stimulate and encourage children’s desire to express themselves, and to create such an atmosphere.\u003cbr\u003e If expression is the learning content of art classes, learning becomes entirely the responsibility of the children, and the teacher is in a position to support it.\u003cbr\u003e This is a unique aspect of art education.\u003cbr\u003e It is the core of art education that has been neglected so far.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- 「Part VI, 〈6.\u003cbr\u003e From “The Unique Character of Art Education”\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eChildren who are afraid of drawing\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Everyone instinctively enjoys drawing.\u003cbr\u003e If you think back to your childhood, you would happily draw on the walls, windows, and furniture of your house.\u003cbr\u003e But at some point, those children start to be afraid of drawing. \u003cbr\u003eMiddle and high school students often find art boring or difficult activities, especially drawing.\u003cbr\u003e Adults also consider drawing to be something they do not enjoy.\u003cbr\u003e Since when did we become unable to draw?\u003cbr\u003e The author wonders if things may have been off to a bad start, and visits kindergartens and elementary school classrooms to meet the children.\u003cbr\u003e This book contains the author's four years of experience working with children as a middle school art teacher.\u003cbr\u003e Those years were a time for children to freely express themselves through art and grow, and for the author, it was a time that allowed him to establish a new perspective on art education.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eStructure of this book\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e This book is divided into six parts.\u003cbr\u003e Part Ⅰ.\u003cbr\u003e 'Drawing' deals with drawing, which can be said to be the most basic and core of art. \u003cbr\u003eStarting from the age of one when children begin to draw for the first time, we trace the children's journey through the stages of drawing figurative images, influencing each other and sometimes shrinking and sometimes growing.\u003cbr\u003e The author especially emphasizes the activity of 'report and draw', and although the emphasis is usually placed on 'drawing' in 'report and draw', the author says that the key is 'reporting'.\u003cbr\u003e Part II.\u003cbr\u003e 'Not Drawing' is a subversive process that breaks away from the idea of ​​'drawing' when thinking of art and advocates 'not drawing anything'.\u003cbr\u003e It is also known as ‘Kkamji activity’.\u003cbr\u003e The goal is to break away from the stereotype that you have to draw something and experience paper and pencil as more than just tools for drawing.\u003cbr\u003e Even in activities that involve simply painting in black, the moments when children's individuality and creativity are displayed are truly amazing.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Part III.\u003cbr\u003e In 'From the Media', we focus on the fact that art has materiality. \u003cbr\u003eWhen no subject is presented and only materials are provided, art activity becomes a sensory activity before it becomes conscious.\u003cbr\u003e The author confesses that seeing children stimulated by new materials and unleashing their creativity and imagination makes him want to provide them with unique materials and media.\u003cbr\u003e Art fundamentally functions as a means of self-expression, but it can also be learned.\u003cbr\u003e 'Part VI.\u003cbr\u003e In 'Art as Self-Expression and its Intellectual Dimension', the author states that in order to discover and immerse oneself in the joy of expression, one needs someone's support and assistance, and that a strong supporter like a teacher and a safe space like a classroom make this possible.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e 'Part V.\u003cbr\u003e In 'Across the Image', images are playfully twisted into objects of play.\u003cbr\u003e Images are powerful enough to form a world the moment they are created, but they are not absolute. \u003cbr\u003eBy utilizing techniques such as collage techniques or bringing traditional art scenes into the present, children are freed from the burden of having to draw well and continue with light and cheerful activities.\u003cbr\u003e 'Ⅵ.\u003cbr\u003e In 'The Role of the Teacher', the characteristics of art subjects and the role of teachers are discussed.\u003cbr\u003e The author questions the tendency to view the teacher's role in children's art as meaningless.\u003cbr\u003e Children are no longer free, so leaving them alone does not mean they will be creative.\u003cbr\u003e This is where the teacher's role lies.\u003cbr\u003e Unlike other subjects, we must also pay attention to the unique aspect of art, which is based on self-expression rather than being confined to fixed knowledge or norms.\u003cbr\u003e In the virtual space of the classroom, children create new dynamics through experimentation and failure through art activities without set answers.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChildren growing up with art\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eThe author, who says that “education is ultimately about helping children grow,” emphasizes that the goal of art education is not to make children good at art, but to help them discover and grow themselves through art.\u003cbr\u003e The author's perspective is revealed in the book when he \"pays warm attention to the movements of children's hands.\"\u003cbr\u003e Even though the drawing is a bit awkward, the author says, “It’s not that he can’t draw, he has definitely achieved something in his own way.”\u003cbr\u003e Because “the child is now drawing a new world.”\u003cbr\u003e If art can become a medium for expressing the uniqueness of one's existence, we may have one more important means of expression in our lives.\u003cbr\u003e Just like the main characters in this book, who freely expressed themselves through art, grew, and created shining educational scenes. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS\u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n \u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e- \u003cstrong\u003eDate of issue:\u003c\/strong\u003e February 22, 2025\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 360 pages | 476g | 140*210*25mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788968801914\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8968801916 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default 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