On the spirit of the times embodied in the development of today's animation art.

Since the birth of mankind, they have been constantly trying to express and reflect the world around them. On the rock wall beside the bonfire in the Stone Age, on the horizon of the desert in ancient Egypt, on the hard stone carvings in ancient Greece, on the linen in the middle ages, on the keys and stage of modern society, and on the computer screen in the 2 1 century, they all tried to leave the mark of human existence. One of the main contents of keeping the purpose of human existence is to try to express how to "exercise". Norman mclaren, a famous animator, once said: "Animation is not the art of painting movement", but the art of painting movement. This sentence not only tells the essence of animation, but also emphasizes the connotation of animation: animation is actually an art embodied in "the manufacture of motion illusion" Motion in animation comes from the difference between each frame and the previous frame. Animators make animations frame by frame. Therefore, when displaying these different pictures, there are continuous hallucinations because of the psychological phenomenon of "moving". As the content and purpose of animation, "movement" is the foundation of animation. The principle of animation is the principle of motion in animation. In my opinion, animation is one of the media designed and produced one by one, which combines audio and video to create the illusion of motion. The nature of this medium itself makes it possible to become an independent form of expression and art. It is a comprehensive art category that uses various special techniques to create moving images in addition to real actions or basic methods, that is, artificially creating moving images (ASIFA), which is the product of human seeking spiritual liberation in industrial society, and is a collection of painting, film, sound, comics, music, photography, literature, digital media and many other art categories.

The 20th century is a network era with rapid development of information. Internet technology has created an art form different from traditional art-network art. At present, there are three types of network art: the first is that the existing traditional works of art enter the Internet through manual scanning or manual input. Second, various works of art created on the Internet, mainly including works edited and published in various electronic newspapers and periodicals. The third category refers to artistic works produced by computer creation or application of relevant computer software. For example, some interactive movie, flash animation, relay novels and so on. This kind of network art is an art form that can exist only by relying on the network. Academics generally believe that only this art form is the real network art, as defined by Blecker: "In a strict sense, network art is an art that cannot be experienced in other media or other ways outside the network." The "network art" discussed in this paper refers to the narrow network art that can only rely on the network and take the network as the means of communication. Compared with traditional art, network art lowers the threshold of creation and increases the possibility of various artistic elements.

Animation is a series of multimedia peripheral products and cultures derived from plane comics and three-dimensional animation. In today's world, animation can be divided into European and American schools and Asian schools. Different schools have similarities and different characteristics. For example, American animation and Japanese animation are common. They all regard animation as a form of spreading their own culture, and spread their own culture to teenagers and even adults all over the world through interesting animation. For another example, Japanese animation seldom uses computer digital technology, which is different from computer stunts in American animation. Japanese animation still tends to the traditional hand-drawn technology, and characters and other characters use the traditional two-dimensional composition-whether the background uses 3D technology or not. The coexistence of major animation factions and a hundred flowers blossom constitute the national diversity of animation.

Formal tradition mainly refers to the animation that retains its own national style, such as China animation. From painting to sculpture, from paper-cutting to shadow play, many excellent folk arts are good materials worth learning from in animation. Draw lessons from excellent traditional culture, purify local real life, and make China's cartoons present authentic Chinese style. Three Monks draws lessons from China's traditional opera style. "Proud General" shows the elegance of Peking Opera; Paper-cutting, such as the injustice of fisherman's boy and cow, has absorbed the emergence of Chinese shadow play and folk paper-cutting. "Make a scene in Heaven" successfully used the murals of ancient temples in China; Lu Zhongshan was born out of the freehand brushwork of flowers and birds and landscapes in Chinese painting. However, Mr. Nan Guo and Mr. Huo Tong combined the vigorous style of stone relief and brick relief in Han Dynasty. Different from the demons, magic and witchcraft in ancient Greece, Rome, Europe and America, the immortals, ghosts and spells described in chinese comic are also completely localized, just like the dazzling the Monkey King; Taibai Venus walks in the clouds; Nostalgic land gods, clairvoyance, clairvoyance, ginseng dolls ... these are all native "Chinese styles", and even cartoons depicting modern life are purely China spirit with strong traditional style.

The transitivity of technology means that all technologies applied in the animation field will soon be extended to other technical fields. For example, classic works such as Snow White and the Seven Dwarfs, Cinderella and Fantasia have gradually been overshadowed by animations produced by computer graphics technologies such as Shrek and Finding Nemo. This technology was immediately extended to the field of network art, and many online games and web pages were designed with this new technology. The transmission of technology makes it possible and space for network art and animation to share new technologies, so as to create more quickly.

Network art is a kind of communication art, which is the communication between creators and appreciators, producers and viewers, and the communication between countries, nations and nations in various art fields, including animation. The ethnic diversity in animation has played a creative role on the network platform, developed the productivity of art, displayed the types of art, and made the diversity of network art possible. The mutual reference, absorption, infiltration and integration between arts have made a qualitative leap in contemporary art and solved many problems in artistic creation.

Network art is the product of computer and network era, and it is a new art form. It is also an inevitable trend of artistic development in essence. Traditional art is the fruit of a thousand years of civilization. On the surface, network art seems to be far from traditional art, and there is an insurmountable gap between them. However, since network art is called art and brought into the art system, there must be some artistic factors. The creation of online culture and art is characterized by the combination of art and technology, and the combination of traditional cultural resources and modern media. It is more and more used for reference in traditional animation, which makes the network art become an art with local characteristics, and in its rich cultural soil, it profoundly conveys the traditional and unique aesthetic scale behind the modeling language. The better combination of network art and the formal tradition of local culture depends on the creative thinking of practitioners, so improving the affinity for national local culture should also be highly valued.

The emergence of art forms depends on the development of social science and technology applications. Animation design is an art form with the development and popularization of computers and the arrival of the digital age. The role of animation in the development of network art is also reflected in the technical level. With the rapid development of computer technology and its wide application in the field of animation, animation technology has greatly expanded the expression forms and production methods of network art, and the new expression forms and production methods have expanded the realization ability of network art with the development of science and technology. The continuous progress of animation technology not only gives animators more inspiration and creativity, but most importantly, with the help of technology, animation production avoids a lot of manual labor of coloring thousands of sheets by hand, and avoids the labor of repeated photography and film waste, which is incomparable in terms of the spirit and capital of the producers. Take flash animation as an example. At the beginning of its popularity, we saw the works of flash customers such as Mix and Pi San, and were attracted by this novel animation form. The software itself is constantly upgraded, and it is gradually easy to learn and use, so that more people can master the production of flash animation in a shorter time. All these provide a broader development space and convenient conditions for the development of network art today. Until today, with the development of science and technology, driven by the animation industry, network art will surely go more dynamic and far-reaching.