Interdisciplinary “Hangul Design Thinking” Workshop: Cultivating Innovative Expressive Abilities through the Integration of Primary Korean Language and Art Education

Park Jun-ho  [Korean]

Abstract

In an era increasingly dominated by digital and visual culture, Korean language education faces a dual challenge: on the one hand, it must uphold Hangul's role as the core vehicle for cultural transmission and national identity; on the other, it must cultivate students' innovative thinking and visual expression skills essential for future society. Traditional Hangul instruction emphasises writing conventions, grammatical structures, and literary appreciation, often operating in isolation from creative disciplines such as art. This results in students perceiving the script solely as a utilitarian tool, failing to fully explore its inherent formal aesthetics and potential for emotional expression. This paper proposes and implements an interdisciplinary innovative teaching plan titled ‘Hangul Design Thinking’. This curriculum employs ‘design thinking’ as its methodological framework, centring on the driving task of ‘designing conceptual Hangul for campus spaces.’ It deeply integrates upper primary Korean language and art curricula. Through the complete process of ‘empathy-definition-ideation-prototyping-testing,’ students delve into the structural principles and aesthetic characteristics of Hangul letters, deconstructing, transforming, and recreating them into visual identifiers that convey specific emotions and spatial meanings. Through a 12-week action research study, this paper demonstrates that the model not only significantly enhances pupils' sensitivity to the formal beauty of Hangul and their capacity for innovative expression, but also effectively cultivates observational skills, empathy, problem-solving abilities, and a deepened appreciation for local culture through interdisciplinary project collaboration. It provides a concrete practical pathway for Korea's ‘Creative Convergence Education’ and ‘Emotional Korean Language Education’.

Keywords: Design thinking; Korean language education; Interdisciplinary integration; STEAM; Innovative expression; Visual literacy; Morphological aesthetics

Introduction

Research Context: Contemporary Challenges and Opportunities in National Language Education

King Sejong created the Korean alphabet with the aim of ‘enabling the common people to learn easily.’ For centuries, Korean script has served as the cornerstone of Korean national culture and identity through its scientific phonetic system and elegant geometric forms. However, in contemporary primary education, Hangul instruction often falls into a ‘functionality-first’ paradigm: lower grades focus on accurate reading, writing, and spelling, while upper grades shift to grammatical analysis and literary comprehension. While this approach is necessary, it inadvertently reinforces the ‘instrumental rationality’ of the script, obscuring its rich dimensions as a ‘visual image’ and ‘emotional symbol.’ Students' relationship with Hangeul thus becomes one of “use” rather than “dialogue”, of “mastery” rather than “creation”. Concurrently, global educational trends increasingly emphasise cultivating the “4Cs” (Critical Thinking, Creativity, Communication, Collaboration), while South Korea vigorously promotes STEAM (Science, Technology, Engineering, Arts, Mathematics) integrated education, stressing real-world problem-solving through interdisciplinary projects. The methodologies of art and design are increasingly recognised as pivotal for cultivating innovative literacy. Against this backdrop, this lesson plan poses a central question: Can we treat the Korean script itself as a design object and creative starting point brimming with infinite possibilities? Can students rediscover the beauty of Korean script through creative practices that integrate art and design, thereby nurturing core competencies for the future?

Theoretical Foundation: Integrating Design Thinking and Visual Literacy

This lesson plan adopts “design thinking” as its core methodology.   Design thinking is not exclusive to designers but represents a human-centred, systematic approach to solving complex problems through creative solutions. Its classic five-stage model (empathy, define, ideate, prototype, test) provides students with a clearly structured, iterative process for creative problem-solving. Applying this process to Korean language learning involves situating ‘text’ within a specific ‘communicative context’ (e.g., designing signage for a particular space). Students must first understand the context and audience (empathise), clarify the core problem the design aims to solve (define), then engage in open-ended creative ideation (ideate), produce tangible design drafts (prototype), and finally receive feedback and refine (test). This process transforms isolated textual knowledge into a holistic learning experience integrating observation, analysis, imagination, production, and reflection. Concurrently, the lesson plan deeply integrates the educational concept of ‘visual literacy’. Visual literacy denotes the ability to understand, utilise, create, and communicate visual imagery. The Korean alphabet (Hangul) itself is a masterpiece of visual design: its basic letters mimic the shapes of speech organs, while its combination rules adhere to aesthetic balance and rhythm. By guiding students to conduct aesthetic analyses of the letters' forms, proportions, negative space, and rhythm, and integrating these with visual elements such as colour, texture, and composition, this lesson plan aims to systematically enhance students' visual expression and communication skills.

Research Objectives and Innovation

This study aims to develop and implement a ‘Hangul Design Thinking’ workshop lesson plan, investigating its pedagogical effectiveness.   Specific objectives include:

1. Curriculum Development: Constructing an interdisciplinary curriculum model linking Korean language studies (Hangeul morphology, ideographic functions) with fine arts (design principles, form expression).

2. Competency Cultivation: Evaluating the lesson plan's efficacy in enhancing students' innovative application of Hangeul, visual expression capabilities, and design thinking.

3. Affective Engagement and Cultural Identity: Investigating whether such creative practice deepens students' emotional attachment to Hangeul and cultural pride.

The innovation of this teaching plan lies in: Firstly, localised methodological innovation, creatively applying design thinking—originally from business and engineering—to native language instruction. Secondly, a profound breakthrough in subject integration, moving beyond mere ‘text-image pairing’ to organically reconstruct knowledge and skills from both disciplines through a design process framework. Thirdly, outcome-driven authenticity, where final works serve real campus spaces, lending learning social relevance.

Innovative Lesson Plan Design: ‘Hangul Design Thinking’

1. Overall Framework and Driving Question

This lesson plan targets Year 5 primary pupils, integrating Korean Language (Language and Expression unit) and Art (Design and Craft unit) over 12 weeks, with two lessons per week.

· Core Driving Question: ‘How might we design a “conceptual Hangul” sign for our favourite school corner that perfectly conveys its unique atmosphere and spirit?’

• Final Output:

A set of ‘conceptual Hangul’ signage comprising physical models, design drawings, and conceptual explanations, displayed in a small exhibition at the corresponding school location.

Learning Objectives

• Knowledge and Understanding:

Comprehend the fundamental structural principles and combination methods of Hangul letters.

Recognise fundamental signage design elements (distinctiveness, symbolism, aesthetic appeal).

Master core design thinking processes and concepts.

· Process and Methodology:

Employ multi-sensory observation to perceive and articulate spatial emotional qualities.

Utilise brainstorming and mind-mapping techniques for creative ideation.

Visualise abstract concepts through sketching and prototyping.

Iteratively refine designs based on feedback.

·Emotional, Attitudinal and Values Development:

Cultivate sensitivity to and appreciation for the aesthetic qualities of Korean script.

Build confidence to challenge conventions and engage in creative expression.

Strengthen a sense of belonging to the campus environment and awareness of design improvements.

Deepen recognition of Korean script as a living vehicle for cultural creation.

Teaching Phases and Activity Plan (Five Phases, 12 Weeks)

Phase One: Empathy – Dialogue with Space (Weeks 1-2)

·Activity 1: Campus Corner Exploration.

Students form groups to select a campus corner evoking emotional resonance (e.g., library quiet zone, playground swing area, science lab ecology corner, corridor noticeboard). Equipped with ‘Five Senses Observation Cards,’ they conduct 20 minutes of immersive observation and recording: What colours and shapes do they see? What sounds do they hear? What scents do they smell? What textures do they touch? What are their inner feelings? (Calm, excited, curious, relaxed?)

• Activity 2: Emotional Mapping. ​ Return to the classroom. In small groups, collaboratively translate observed elements and feelings into a ‘feelings map’ using non-verbal means (colour, lines, shapes, textures). During the sharing session, each group presents their map and attempts to summarise the space's ‘atmospheric personality’ using 3-5 keywords (e.g., ‘Oasis of Exploration,’ ‘Warm Harbour,’ ‘Pulse of Vitality’).

Phase Two: Definition — Focusing on Design Challenges (Week 3)

·Activity 1: Korean Typographic Aesthetics Workshop. The instructor systematically explains the principles of Hangul character creation (pictographic origins of initial, medial, and final consonants) and aesthetic rules in their composition (balance, symmetry, contrast, negative space). Showcase exemplary modern Korean typeface designs and brand identity cases (e.g., Ministry of Culture, Sports and Tourism; National Museum of Korea logos), analysing how typographic variations convey conceptual messages.

·Activity 2: From Emotion to Character. Groups revisited their previous ‘mood keywords’ and attempted to establish associations between these abstract emotions and specific Korean character forms. For instance, ‘tranquillity’ might correspond to rounded, flowing curves (e.g., ㅇ, ㅁ, ㅎ); ‘vitality’ might correspond to sharp, directional strokes (e.g., ‘ㄴ, ㄱ, ㅅ’). Discussion: If you were to create a ‘new character’ representing your corner, what visual character should it possess?

·Activity 3: Drafting the Design Brief. ​ Collaboratively write a concise design brief: ‘We are designing a logo for [corner name] that must convey the essence of [core keywords 1, 2, 3], aiming to instantly evoke the unique atmosphere of this space for viewers.’

Phase Three: Conceptualisation — Creative Brainstorming (Weeks 4-5)

·Activity 1: Brainstorming and Sketch Frenzy. Conduct unrestricted brainstorming around the design brief. The rule is ‘quantity over quality; no judgement’. Encourage students to deconstruct the typography of selected keywords or words representing the space (e.g., ‘책 (book)’, ‘휴식 (rest)’, ‘탐험 (exploration)’). How can they be transformed? What shapes can they be combined with? What materials could be used to express them? Each participant rapidly sketches at least 20 conceptual ideas.

·Activity 2: Concept Clustering and Preliminary Selection.

Poster all group sketches on the wall and cluster similar concepts. Employ dot voting to select 3-5 most promising directions. Deepen discussion for each direction: Is this design aesthetically compelling? Does it clearly communicate our intent? Does it possess distinctiveness?

Phase Four: Prototyping – From Concept to Physical Form (Weeks 6–9)

·Activity 1: Medium Selection and Production.

Each group selects one final concept from the shortlist and determines its presentation medium. Options are diverse, encouraging cross-media thinking:

Physical Model Group:

Create three-dimensional or semi-dimensional signage using materials such as clay, wood, paper, fabric, or light and shadow.

Digital Design Group: Employ tablet drawing software (e.g., Procreate, Adobe Fresco) or basic 3D modelling tools for design.

Mixed Media Group: Integrate photography, collage, hand-drawn elements, and other techniques.

·Activity 2: Design Statement Drafting. Concurrently with production, draft a design statement addressing: 1) Conceptual origins (linking to spatial emotions); 2) The rationale for form deconstruction and creation (specifically analysing which character, how it was transformed, and why); 3) The reasons for colour and material choices; 4) The desired outcome.

Phase Five: Testing, Iteration and Exhibition (Weeks 10-12)

·Activity 1: Internal Testing and Peer Review. Conduct a ‘Design Review Session’ within the class. Each group presents their prototype and design rationale. Other groups and the teacher act as ‘users’ and ‘design critics’, providing structured feedback in the format: ‘I like...’, ‘I wonder...’, ‘Would it be better if...?’.

·Activity 2: Iterative refinement. Each group revises their design at least once based on feedback. This may involve subtle form adjustments, colour changes, or even partial conceptual reworking. Emphasise that ‘iteration is central to design’.

·Activity 3: Campus Exhibition and Launch. A ‘Our Campus, Our Hangul’ micro-exhibition is held in a designated campus corner. Final works, design process sketches, and design briefs are displayed together. The entire school community—staff, pupils, and parents—is invited to visit, with authors providing on-site guided tours. The exhibition itself becomes part of the campus culture.

Teaching Practice and Effectiveness Analysis

Research Implementation

This study was conducted in two Year 5 classes (60 pupils total) at a Seoul primary school using a mixed-methods approach. Comprehensive analysis was undertaken through collecting students' process work (sketches, design briefs, iterative prototype versions), final pieces, design notes, reflective journals, classroom observation records, and pre- and post-tests measuring ‘attitudes towards Hangul’.

Core Findings

1. Shift in Perception of Hangul: From “Tool” to “Material”. Post-test questionnaires revealed a rise in students recognising ‘Hangul letters possess rich aesthetic variation potential’ from 35% to 92%. Student reflections included: ‘Previously, letters were just letters. Now each appears like a characterful architectural component capable of constructing infinite worlds.’ " King Sejong was not merely a great monarch, but a supreme designer."

2. Significant Enhancement in Innovative Expression and Design Thinking.

The works demonstrated remarkable creativity: a light installation for a science classroom where the strokes of the word “실험” (experiment) evolved into test tubes and molecular structures; a soft, rounded tapestry of the character “책” (book) knitted from yarn for the library; and a dynamic wooden mosaic sign for the playground depicting the character “뛰다” (run). This process guided students through the complete creative cycle, from vague inspiration to concrete solutions.

3. Meaningful construction of interdisciplinary knowledge. To excel in their designs, pupils proactively explored typography, colour psychology, material properties, and even basic structural mechanics. Concepts like ‘character structure’ from Chinese language lessons and ‘principles of formal beauty’ from art classes resonated profoundly within real-world tasks, transforming knowledge from passive absorption to active application.

4. Deepening Emotional Connection. Following the project, pupils developed a sense of ownership and care for this corner of the school grounds. One student remarked: ‘I designed this emblem for our little swing, and it truly feels like our “secret base badge”. I enjoy visiting it more now, and I've grown fonder of writing the character that represents it.’ This dual emotional attachment to both space and lettering represents the profound objective this lesson plan sought to achieve.

Discussion and Reflection

Key to Success: Structured Freedom

The key to this lesson plan's success lies in its provision of a clear ‘scaffolding’ through the five stages of design thinking, enabling students to understand what is required at each step. Simultaneously, within each stage (particularly the ideation and prototyping phases), students are afforded maximum creative freedom. This ‘structured freedom’ avoids the confusion of unfettered imagination while preventing the rigidity of mechanical execution, effectively supporting high-quality creative output.

Challenges and Responses

· Time constraints: Interdisciplinary projects demand significant time investment. The solution involves deep collaboration with subject teachers to jointly plan timetables, integrating certain activities into regular lessons.

· Skill disparities: Students exhibit varying levels of artistic and practical abilities. Emphasis is placed on ‘concept over craftsmanship,’ encouraging division of labour within groups, utilising digital tools to lower certain skill thresholds, and generously praising creativity itself.

· Assessment Criteria: Creative outcomes are difficult to quantify. Employing a ‘process-based portfolio assessment’ combined with a ‘performance rubric,’ the rubric focuses on ‘accuracy of emotional expression,’ ‘novelty of creativity,’ ‘appropriate application of Hangul typography,’ and ‘the iterative refinement process.’

Implications for Korean Innovation Education

The “Hangul Design Thinking” lesson plan demonstrates that the national core curriculum's emphasis on cultivating “creative and convergent talents” can be fully realised through deep exploration of indigenous cultural elements and contemporary expression. It offers a new pathway for Korean language education and humanities education: elevating cultural inheritance from the level of “memory and understanding” to that of “creative transformation and innovative development”. When students personally reshape Hangul into works that express themselves and beautify their environment, cultural identity ceases to be an external imposition and instead becomes an internalised, pride-filled consciousness.

Conclusion

The ‘Hangul Design Thinking’ workshop stands as a successful interdisciplinary pedagogical innovation. It demonstrates that integrating design thinking into traditional language instruction not only effectively stimulates students' creative potential and visual expression skills but also guides them to re-examine and embrace their native script with a fresh perspective—one filled with reverence and affection. In this process, Hangul transforms from a set of standardised symbols in textbooks into a malleable, vibrant creative material in their hands. Students acquired not merely design and language knowledge, but a human-centred problem-solving mindset characterised by creative daring and iterative refinement. This lays a solid foundation for navigating future complex challenges and engaging in global discourse with distinctive cultural identity. The pedagogical model presented here holds broad applicability for teaching other ideographic writing systems, such as Chinese characters.

References

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