| Summary: | 碩士 === 國立臺灣師範大學 === 美術系在職進修碩士學位班 === 91 === Abstract
British Educators, David Hingis and Carina Toya, once said ‘school could be torturing or inspiring’. (1)
While rewinding the ancient Chinese wisdom, the creativity surpassing the modern technology in the era when ‘creativity’ was still a strange term was suddenly discovered in the 21st century today. In contrast to imitated or integrated visual collage by young computer-worshipping generation and their stagnation in creativity, an inspiration method was expected to stimulate the so-called creativity in those self-contained and spoon-fed generations.
As most of us grew up with ‘standard answers’ and were limited in uniform thinking, and the characteristics of science and engineering may be beneficial while emphasizing on accuracy, we would only result in rigid learning by ways without diversification and creativity.
The supposed blossom creativity at young age was therefore taught into lacking of creativity over boundaries and standards answers learned in elementary, middle, and high school, as well as college. Although books concerning creativity inspiration could be found, a long time desolation of right brain resulted in ineffectiveness through those text descriptions or simple illustrations. The solidified creative cells could no longer be awakened by the so-called Creativity Specialist. The deep-rooted and stagnated systematic education system virtually urged a more illustrative method to revive the creative cells.
In this respect, this research, “Application of Illustrative Thinking in Creative Design”, intends to analyze and evaluate the ‘illustration’ teaching method of divergent thinking, and refines it through supporting with a new method to increase the illustration samples for inspiration applications and breakthrough the bottleneck in text description learning method.
This paper is comprised of five chapters. Chapter 1 deals with research background, motive, objectives, scope, and methodology. Chapter 2 reviews concerning literatures upon divergent thinking illustration samples in Oriental and Western culture, and examines the root problem on both subject and matter. Chapter 3 tries to propose two self-developed methods, Fountain Object Method and Branch Revival Methods to discuss the application samples of two incorporated methods to penetrate the blind spot of those traditional methods. Chapter 4 presents a creativity theme and uses divergent thinking source, Datura structure, to create a journey map of revival from rotation to revolution, in order to present the essence of Fountain Object Method and Branch Revival Method. Chapter 5 concludes the use of this suggested method to stimulate creativity and expresses a goal to expedite the growth of creativity in Taiwan as a crucial policy in the cultural creativity industry.
1：Colin Rose, Malcolm J.Nicholl, Learning Map, P496 (Taipei：Classic Information, 1999)
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