The application of Chinese folk art elements in animation creation -Take Yangjiabu New Year pictures of Weifang as an example-

In today s social context, the material environment and cultural background on which Chinese folk art depends are gradually disintegrating, and folk art is facing a crisis of human death, extinction, and difficulty in inheritance. In recent years, with the country ’s increasing emphasis on folk art, it has strengthened education on non-heritage traditional culture, and re-examined and planned the status of folk art and industrial development.This article takes the "Chinese school" animated film creation method as the object, and explores the folk art thinking and artistic methods that the older generation of animated artists used in the animation creation. Under the new animation environment and communication perspective, the focus is to explore the commonality between the art of New Year painting and animation in Weifang Yangjiabu from the perspective of visual language, and strive to combine traditional culture with animation creation and explore the creation of folk art and animation. A new meeting point.At the same time, in the animation creation, the feasibility analysis of the application of Yangjiabu s woodcut New Year s painting art was carried out, and the feasible animation creation path based on Yangjiabu s woodcut New Year s painting art was combed and applied to the actual creation of animation.With the help of modern audiovisual media, the use of local folk art to create animation works with local characteristics is a feasible way to explore the protection of Weifang cultural resources.The art of Yangjiabu New Year s painting is to use the media form of animation to get rid of the current predicament, and to rejuvenate and continue to develop. While paying attention to the protection and inheritance of intangible cultural heritage, we should also meet the needs of the local farmers economy to promote the development of the Yangjiabu New Year s painting industry chain. At the same time, the discussion in this article will also provide other similar creations with useful experience and inspiration, and it is also one of the motivations for the realization of the "nationalization" of contemporary animation.