The implementation of this topic is to carry out and implement the scaffolding education model and use the scaffolding teaching concept to improve students' illustrations' learning effect and the motivation of learning illustrations.

The increase in knowledge level gradually faded out. Through this kind of help, learners (such as illustration students) can finally complete the learning tasks assigned by the teacher independently. The scaffolding teaching model is defined as: "The scaffolding teaching should provide a conceptual framework for the learner to construct an understanding of knowledge. The concepts in this framework are needed for the developer's further understanding of the problem. Decompose complex learning tasks to graduate lead the learners' understanding of deeper Vygotsky believes that there may be differences between the problems to be solved and the original abilities in children's intellectual activities. With the help of teachers, children can eliminate this difference.

However, illustration is an interdisciplinary profession. Its original meaning is: "Pictures inserted in the middle of the text help explain the content." This is also the primary function of illustrations. The relationship between pictures and texts is studied as a subject, from directness, indirectness, concrete to abstract, etc., as a visual communication analysis of ideas, making illustration teaching a highly academic subject. The so-called picture-text relationship studies "pictures" and studies "text" in depth.

Stylization has a shared aesthetic sense and also has aesthetic value. The picture and the text result from the differentiation of the same body and the origin of the history of Chinese and foreign illustrations is the same. Illustration and illustration art cannot only draw an equal sign [1]. Illustration generally refers to pictures in information transmission. News photos in newspapers and illustrations in scientific and technological books are all included in illustrations, while illustration art is my visual language. The ability, creative achievements, could artistic expression. This article will start with illustration art, which is referred to as an illustration in the article. With the rapid development of the publishing industry today, the demand for illustrations has soared. 

Nowadays, this kind of learning environment has become a hot spot. How to design a scaffolding learning method has become an urgent problem for many teachers. The author combines the practical teaching of the illustrated language and the educational learning environment model supported by "scaffolding". Practice in-depth reflection and excavation, combine the two's education model to arrive at this topic and use scaffolding strategies to improve students' illustrations' learning effect and the motivation of learning illustrations.

Research Hypothesis

Three null hypothesis were formulated as follow:

• Hypothesis 1: There is no significant difference between the Experimental Group (using scaffolding method) and the Control Group (using the conventional method) in their mean score for Straight Lines and Short Lines in illustrations of The Great Wall of China

• Hypothesis 2: There is no significant difference between the Experimental Group (using scaffolding method) and the Control Group (using the conventional method) in their mean score for Curve, Regular Lines and Irregular Lines in illustrations of plants

• Hypothesis 3: There is no significant difference between the Experimental Group (using scaffolding method) and the Control Group (using the conventional method) in their mean score for Force and Movement of Lines and Dynamics in illustrations of animals

Literature Review

According to Brooks et al. [2], the "scaffolding" teaching theory has a very important guiding significance for art classes, especially art teaching. By using some expressive techniques in art as a "scaffold" to assist college art teaching, students can easily accept course content and improve their ability to learn art subjects. As a teacher, he can appropriately infiltrate art theory-related knowledge in college art classroom teaching, which can allow students to have emotional resonance and cultural identity, stimulate students' aesthetic taste and promote the formation and development of their self-esthetic world, so that they can actively participate in the exploration in the field of art is being inherited and developed. Because students have different perceptions of art, it is very important for teachers to choose a method that suits the students' level [3]. 

Here are some scaffolding strategies adapted from Damoward:

• The teacher gives students a simplified version of an art outcome and then gradually increases the complexity, difficulty, or sophistication over time

• The teacher describes or illustrates a concept, problem, or process in multiple ways to ensure understanding

• Students are shown an exemplar or model of an art outcome they will be asked to complete

• Students are given a demonstration of skills before they attempt a difficult task

• The teacher clearly describes the purpose of a learning activity, the directions students need to follow and the learning goals they are expected to achieve

• The teacher explicitly describes how the new lesson builds on the knowledge and skills students were taught in a previous lesson

Hogan et al. [4] teachers use multimedia and other teaching methods to demonstrate the master’s work, to form a certain correct aesthetic taste for students to shape, through the current high-tech, such as immersive painting works or scene-based works, create situations for students. According to Balbi [5] teachers must first help students establish learning goals and establish the direction of independent inquiry learning for students. Then let students familiarize themselves with the expression techniques, composition, light and shadow effects, dynamic details and texture shaping of artistic works. "Close contact" with the works of art masters can enable students to form a preliminary understanding of the correct aesthetic state and pave the way for the next step of independent exploration.

Teaching Mode in Illustration Teaching

Independence painting usually uses sketching and sketching colors as the basis of creation, but illustration uses black and white painting as an introductory course, emphasizing generalization and profound meaning. "Black and white painting" is a highly generalized form of painting, not only suitable for illustration creation, but also the basis of black and white woodcuts. Black-and-white modeling has a series of advantages such as concise language, general technique and bright effect.

In the traditional sense, illustrations are mainly hand-painted. Various painting tools can be used to try out. After the emergence of digital painting technology, it has gradually entered the mainstream of illustration creation, enriching the illustrated pictures to a certain extent and all kinds of handmade Three-dimensional works or embossed works can also be used to make illustrations. Although the above techniques are quite different, they can also be combined.

Teaching Mode in Illustration Teaching

Independence painting usually uses sketching and sketching colors as the basis of creation, but illustration uses black and white painting as an introductory course, emphasizing generalization and profound meaning. "Black and white painting" is a highly generalized form of painting, not only suitable for illustration creation, but also the basis of black and white woodcuts. Black-and-white modeling has a series of advantages such as concise language, general technique and bright effect.

In the traditional sense, illustrations are mainly hand-painted. Various painting tools can be used to try out. After the emergence of digital painting technology, it has gradually entered the mainstream of illustration creation, enriching the illustrated pictures to a certain extent and all kinds of handmade Three-dimensional works or embossed works can also be used to make illustrations. Although the above techniques are quite different, they can also be combined.

The Role of Scaffolding Strategies in Learning

The traditional teaching idea takes the examination-oriented education as the core guiding ideology, which is not conducive to the growth and development of students (Denver School of the Art). In the traditional teaching, teachers are the absolute soul of teaching activities and they have absolute teaching leadership, "absolute right leads to absolute abuse" [6]. Scaffolding teaching concept is the derivative and development of quality education concept, which can well reflect the core value of quality education [7].

Teaching is not only the knowledge learned by students, but also the organic combination of teaching materials, teaching ideas and teaching methods. Therefore, teachers and students must be good at using basic theoretical knowledge. Teachers should also keep in mind the theoretical course and through the research of theoretical knowledge, guide students to use the framework of theoretical knowledge from the art to actively construct the framework of self-learning.

This is a quantitative study with applies a quasi-experimental design. There are two groups, the Experimental Group and the Control Group which adopted Scaffolding method and conventional method respectively. The sample of the study are 80 second-year illustration majors from Qingdao Huanghai University, Shandong province, China. This college has a population of 325 Illustration in total. These 80 participants come from two classes as an intact group. Further, both classes are taught by two different illustration teachers with eight years of teaching experience. This experiment lasted for 8 weeks, 4 hours for each week, this is a total of 32 hours. According to the previous test data, the average level of illustration test in these two classes is about the same. Before the intervention a pre-test was administered and then a post-test was carried out afterwards. The content of both the tests are the same which consist of Building (30 marks), Plant (35 marks) and Animal (35 marks), that is 100 marks in total. The quantitative data was collected through a pre-test and post- test.

Data Analysis and Results

Hypothesis 1: There is no significant difference between the Experimental Group (using scaffolding method) and the Control Group (using the conventional method) in their mean score for Straight Lines and Short Lines in illustrations of Buildings.

Table 1a displays the students’ mean scores for illustration of Great Wall of China before the intervention. The mean score of the Experimental Group was 71.32 while the Control Group was 69.25. The results from the independent-samples t-test show that there was no significant difference between the mean scores of students of the experimental and control groups for their performance in illustration of Great Wall of China prior to intervention (Mean difference = 2.07, t = 1.25, df = 78, p = 0.780).

Table 1a: Comparison of the Experimental Group in their mean Score for Straight Lines and Short Lines in the Illustration of Building in the Pre-Test?

Note: Level of significance is at p<0.05

Table 1b shows that the total score of the experimental group (Mean = 86.2, SD = 4.81) was higher than that of the control group (Mean = 70, SD = 6.96). The independent sample t-test results showed that the overall scores of Straight Lines and Short Lines in the illustration of the Great 

Wall of China of the experimental group were significantly higher than those of the control group (t-value = 12.1, df = 78, p = 0.005). Therefore, the results failed to accept Ho1. The findings in Table 1b show that the utilization of straight lines and short lines in teaching illustration of Great 

Wall of China realized a significant progress in the Experimental Group.

Table 1b: Comparison of the Experimental Group in their mean Score for Straight Lines and Short Lines in the Illustration of Building in the Post-Test? 

Note: Level of significance is at p<0.05

Hypothesis 2

There is no significant difference between the Experimental Group (using scaffolding strategies) and the Control Group (using the conventional method) in their mean score for Curve, Regular Lines and Irregular Lines in illustration of plants.

Table 2a illustrates the students’ mean scores for illustration of plants prior to intervention. The mean score of the Experimental Group was 72.10 while as for the Control Group the data was 69.60. The results from the independent-samples t-test show that there was no significant difference between the experimental as well as the control groups in their mean scores for illustration performance before the intervention (Mean difference = 2.50, t = 1.82, df = 78, p = 0.787).

Table 2a: Comparison of the Experimental Group (using Scaffolding Strategies) Compared with the Control Group (Using the Conventional Method) in Their Mean Score For Curve, Regular Lines and Irregular Lines in Illustration Of Plants in the Pre-Test?

Note: Level of significance is at p<0.05

Table 2b shows that the total score of the experimental group (Mean = 87.85, SD = 4.39) was higher than that of the control group (Mean = 70.25, SD = 6.51). The independent sample t-test results showed that the overall results of Curve, Regular Lines and Irregular Lines in illustration of plants in the experimental group were significantly higher than those in the control group (t-value = 14.17, df = 78 p = 0.006). Therefore, the research results answer research question2. These findings are consistent with the findings of Gao Rongsheng, which emphasizes that Curves, Regular Lines and Irregular Lines can more effectively display the structure of plants in the representation of objects.

Table 2b: Comparison of the Experimental Group (using Scaffolding Strategies) Compared with the Control Group (Using the Conventional Method) in Their Mean Score for Curve, Regular Lines and Irregular Lines in Illustration of Plants in the Post-Test?

Note: Level of significance is at p<0.05

Hypothesis 3

There is no significant difference between the Experimental Group (using scaffolding strategies) and the Control Group (using the conventional method) in their mean score for Force and Movement of the Lines and the Dynamic in illustration of animals.

Table 3a indicates the students’ mean scores for illustration of animals prior to intervention. The mean score of the Experimental Group was 71.50. On the other hand, the data for the Control Group was 68.95. The results from the Independent-samples t-test show that there was no significant difference between the mean scores of students of the experimental as well as control groups for their performance in illustration of animals before the intervention (Mean difference = 2.55, t = 1.88, df = 78, p = 0.613).

Table 3a: Comparison of the Experimental Group (using Scaffolding Strategies) Compared with the Control Group (Using the Conventional Method) in Their Mean Score for Force And Movement of the Lines and the Dynamic in Illustration of Animals of Pre-Test?

 Note: Level of significance is at p<0.05

The total score of the experimental group (Mean = 87.55, SD = 4.90) was higher than that of the control group (Mean = 68.7, SD = 6.38). The independent sample t-test results showed that the overall performance of the experimental group for the Force and Movement of the Lines and the Dynamic in illustration of animals was significantly higher than that of the control group (t-value = 14.81, df = 78, p = 0.085). Therefore, the research results answer research question 3. These findings are consistent with the findings of Fang and Gao Rongsheng, which emphasized that Force And Movement Of The Lines And The Dynamic can more effectively display the overall shape of animals in the process of representation of objects (Animals).

Table 3b: Comparison of the Experimental Group (using Scaffolding Strategies) Compared with the Control Group (Using the Conventional Method) in Their Mean Score For Force And Movement of the Lines and the Dynamic in Illustration of Animals of Post-Test?

Note: Level of Significance is at p<0.05

The findings in Table 1b are consistent with those of Zhang and Ma; John and Candy et al. emphasize that scaffolding methods can help improve students' illustration performance because students can better show your control over the screen. The findings in Table 2b are similar to those of Manning and Beverly [7], which suggest that when students are immersed in a scaffolding environment, they perform better than students taught using traditional strategies. In addition, the students in the experimental group showed a higher level of illustration performance because they were in specific illustration representation forms (curve, regular lines and irregular lines). The findings in Table 3b are supported by Kathleen [4]; Zhang [1] and Jiang, show that students studying under the scaffolding approach not only make great progress in illustration performance, but also in aesthetic cognition and creativity. Satisfied because students understand the cultural aspects and are therefore more motivated and engaged in the classroom.

In a word, the data showed that the scaffolding method significantly improved students' illustration expressiveness, aesthetics and creativity. This mode combines Building, Plants, Animals and Clouds with Straight lines, Short lines, Curve, regular lines, irregular lines, force and movement and the dynamic, more concrete and real. At the same time, the students' vision has been broadened and their cognition of the subject and the control of painting skills have been greatly improved. As a result, their cognitive level has been significantly improved and their illustration performance ability has been improved. Overall, students' motivation to learn and mastery of illustration presentation skills have been greatly improved.

The quantitative data results of this study show that through the use of the scaffolding method, the illustration students are using First, Straight Lines and Short Lines in the illustration of Building. Second, Curve, Regular Lines and Irregular Lines in illustration of plants. Third, Force and Movement of the Lines and the Dynamic in illustration of animals. The level of illustrations in other aspects is significantly higher than that of students who have passed the conventional method.

In terms of theoretical significance, the research results show that students understand the Straight Lines, Short Lines, Curve, Regular Lines, Irregular Lines, Force and Movement of the Lines, The Dynamic and The Role of Lines in Expressing 3D Space, Point and Line Combination. These findings are consistent with the method used in illustration teaching proposed by Gao. He also emphasized different forms of illustration representations of the same theme (black and white painting: The black and white shape is equal to object pictogram, black and white shape is not equal to object pictogram).

In addition, these research results also have intense teaching enlightenment and significance for art teachers (especially illustration) in Chinese universities. The research results show that art illustration teachers should adopt appropriate teaching methods to help students deepen and understand illustrations in practical operations to the maximum extent. Teachers should also take effective methods to improve students' illustration creativity and illustration thinking. It is also important to note that this study has limitations.

The total number of students selected in the experimental group is too small (only 80 students. As such, the sample size is a limitation in this study). Therefore, the sample size is the limitation of this study, which can easily lead to the deviation between the learning effect and the experimental results.

In the experimental process of this subject, only scaffolding teaching mode is used, which becomes the limitation of this subject. Only one research method was used and no more choices were made, which hindered other topics.

In the process of learning illustration, students only begin to study illustration systematically in the second year. When students first enter school, they will only do some simple elementary learning.

All the teachers who experiment on this topic have experience of illustration teaching, but what we do not know is that there are differences in the professional level of the teachers in lectures.

Although these limitations exist, researchers will overcome these problems through customer service in the subsequent research process and strive to provide particular support and contributions to future illustration education work.

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2. Brooks et al. In Search of Understanding: The Case for Constructivist Classrooms. Revised Edn., Association for Supervision and Curriculum Development, 1999.

3. Elliot, E. The Arts and the Creation of Mind. Yale University Press, 2002.

4. Hogan, K. and M. Pressley. Scaffolding Student Learning: Instructional Approaches and Issues. Brookline Books, 1997.

5. Balbi, J. “Epistemological and Theoretical Foundations of Constructivist Cognitive Therapies: Post-Rationalist Developments.” Dialogues in Philosophy, Mental and Neuro Sciences, vol. 1, no. 1, 2008, pp. 15–27.

6. Meichenbaum, D. and A. Biemiller. Nurturing Independent Learners. Brookline Books, 1998.

7. Manning, B.H. and B. Payne. Self-Talk for Teachers and Students: Metacognitive Strategies for Personal and Classroom Use. Allyn & Bacon, 1996.