• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2017.10a
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• pp.191-193
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• 2017

Stop-motion animation, which is based on the physical object and is shot frame by frame, is an traditional art of animation. As an independent art form, it has formed a unique art language through a century-long development. With the continuous exploration by animators, stop-motion animation has actively combined with digital technology, and has made a great progress in the use of materials and the technique of filming. the introduction of digital technology not only enriched it's artistic expression, but also laid the basis for it's sustainable development in the new era. This study investigates how 3D printer technology affects the production process and industry of stop motion animation.

• The Journal of the Korea Contents Association
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• v.7 no.11
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• pp.258-269
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• 2007

Stop-motion is a technique that should be in the basic stage of the animation education, as it gives a chance for students to learn a three-dimensional sense about the movement, just to name a few, as this technique can give movements to actual objects in real life. As the old animation education is consist of forms to make a short animation. most students got a situation that they should be reeducated about 'movement' at their work after graduation from the school. It is necessary to have a systematic education about basic movement for 16 weeks to solve the problem under these circumstances. Therefore this researcher came to seek a more effective way for students who aim to major in stop-motion as well as students who try to nurture their basic capability of animation. This study aimed to present the optimized education model for the basic stage of the stop-motion technique specifically around expressions such as 'walking/ free-movement/ facial expression'.

• Proceedings of the Korea Contents Association Conference
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• 2003.05a
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• pp.107-110
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• 2003

As the animation prevails through the public recently, animation fields editing and creating greatly have attention and get into the spotlight. Nevertheless, such solutions in LINUX environment tend to be worse than those in Windows. In this paper, we propose Motion Space Prime in LINUX, which is capable of creating stop motion animation easily such as clay animation. Users can interactively edit motions captured by a digital camcorder.

• The Journal of the Korea Contents Association
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• v.8 no.8
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• pp.244-252
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• 2008

This research differentiate the technique of Jungkwon-jirugi, one of the basic movements of Taekwondo, into two movements stop-jirugi and push-jirugi and gives analysis of the impulse, acceleration and velocity in the point of motor control. For this, we tried graphic analysis using an acceleration sensor and high speed camera which was made from USA in 2005 and took pictures at 250 frames per second. We reached the following conclusions. First, the acceleration wave of push-jirugi was a period longer than stop-jirugi, meaning that the push-jirugi motion asserts force for a longer time. Second, the acceleration and velocity graph shows that the highest velocity occurs on the point when the acceleration begins to decrease right after reaching its maximum. Third, according to the image analysis using the high speed camera, we could find out that the shoulder is pushed a little even in the stop-jirugi motion.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.655-663
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• 2012

Due to increased interest in character costumes, the field of animation character costume design is gradually developing into a specialized domain. The costume-making process for animation characters presents many differences from the costume-making process for regular apparel. However, there remains insufficient research on the actual process of making the character costumes used in stop motion videos both in Korea and abroad. The purpose of this study is to establish a costume design process for animation characters. Furthermore, this study presents a case study on the costume planning and making process for 3D stop motion animation characters. The character costume-making process was segmentalized into the following stages: character analysis stage, character modeling stage, and character costume making stage. In the character analysis stage, the investigator analyzed the character's movements, designed the character images, and analyzed the movements and motions of the animation characters. After completing character modeling, this study proposed a method for making the character costume. The style of the character costume was designed, and the structural design reflected the position and size of joints as well as the angle of movements. The patterns of the character costume were produced through dimensional tailoring after measuring the body size of the character. Afterward, the costume was completed after passing through the fitting and revision stages. The clothing material was selected to fit the colors and feelings shown in the illustration. To complete the costume after comparing it with the initial illustration, it was revised based on the assessment of its volume and overall atmosphere.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.43-53
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• 2013

This paper covers the manufacturing process to improve the quality of the puppet for stop-motion films, especially focuses on the mold making and casting process those are the key steps of the puppet making. Unlike the general mold for a duplication, the mold for puppets has special functions to fix an armature and inject casting materials stably inside, and it is repeatedly baked at high temperature. The practical information about puppet makings is provided including various predictable problems, expertise from many professionals, vender list, and so on.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.444-454
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• 2017

Stop-motion animation is highly valued for realistic imagery and its ability to captivate the five senses of the audience. Despite this, practical research in this area is limited to date. The long hours required to produce stop-motion animation and turn these into profits can be attributed for the lack of knowledge in this area. In production research, the matter is made worse as it is difficult to protect the intellectual property made through the collaborated efforts of students and teaching staff through each laborious stage of planning, broadcasting and making 2D models. Meanwhile as the animation industry finds the investigation of new production processes taxing, it has maintained its focus on pre-existing processes such as the use of pipeline. This paper aims to shed light on new production methods that can be used to improve the effectiveness of existing stop-motion production. In addition, by working with Taktoon Enterprises on its T.V series Galaxy Kids the paper will revise real world production methods including the traditional use of hand made models. Thus by investigating the use of graphic technology such as 3D printing the paper will be able to extend current business models. Research conducted in this paper is a necessary part of overcoming various contents production obstacles. Furthermore, it may help publicize issues faced in production leading to the discussion and sharing of new innovations.

• Korean Journal of Air-Conditioning and Refrigeration Engineering
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• v.16 no.5
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• pp.475-481
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• 2004

This paper presents a force model of the clean tube system, which was developed as a means of transferring air-floated wafers inside a closed tube filled with super clean air. The recovering force from the holes for floating wafers is modeled as a linear spring and thus the wafers motion is modeled as a mass-spring-damper system. The propelling forces are modeled as linear along with the wafer location. The paper also proposes a control method to emit and stop a wafer at the center of a control unit. It reveals the minimum value of the propelling force to leave from the control unit. In order to stop the wafer, it utilizes the exact time when the wafer arrives at the position to activate the propelling force. Experiments with the clean tube system built for the 12 inch wafer shows the validity of the proposed model and the algorithm.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.389-395
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• 2012

This research analyzed the peak impulsive force, maximum velocity and a spot of fist's maximum velocity comparing stop-jirugi and push-jirugi. 7 males volunteered for this experiment. peak impulsive force was measured by PS2142 force platform[10], and maximum velocity of fist was measured by PS2103A motion sensor[12]. All of data was collected in the data studio and t-test was applied using SAS 9.1 package. The following conclusions were drawn. First, stop-jirugi's peak impulsive force was greater (P<.01) than that of push-jirugi. Second, push-jirugi's maximum velocity of fist was greater (P<.01) than that of stop-jirugi. Third, stop-jirugi's maximum velocity of fist was occurred on 69.14% of arm's length and that of push-jirugi was occurred on 75.66%. This maximum velocity spot was statistically significant difference(p<.001).