Deadline: August 29, 2025

Those seeking to master the craft of character animation will likely find Walt Stanchfield’s notes on drawing, posthumously compiled in Drawn to Life (2009), to be an invaluable resource. This description also applies to The Animator’s Survival Kit (2001), where Richard Williams shares his extensive knowledge on the principles of character animation. When it comes to understanding animation production more broadly, Frank Thomas and Ollie Johnston’ The Illusion of Life (1981) is without a doubt a prerequisite. While these books represent a small selection of the available resources on the making of animation, they share a common thread: their authors brought to the study of animation the skill sets, artists ideas, observations, and tacit knowledge to the creators who went on to shape the field as we know it today.

While not every aspiring creator of animation today might want, or is able, to attend the numerous courses, classes and programmes where the teachings of these masters are shared, an avid student of animation can certainly relate to the impulse to turn to animation for inquiry, exploration and discovery. In a field of image making practices where the existence of the portfolio and showreel testifies to the execution of learned skills, the driving force of animation still resides in the curious minds and bodies of the art and craft learners, as well as in the curiosities of those who eagerly and critically engage with the animated works. 

For this theme, we focus on learning and animation, and we welcome submissions that bring to attention discussions on the processes and contexts of learning in animation for any variety of reasons. We are interested in artistic, educational, technical, socio-political and theoretical aspects related to the theme, which may include, but are not limited to:

• The creative rationale behind practice-based learning experiences in animation, focusing on any aspect of the process, context and result.
• Debates on the role of techniques and technology that underpin, support or challenge acquisition of animation learning.
• Critical reflections on self-taught approaches to animation and any forms of learning by doing in animation practice and theory.
• Discussions on institutional programme developments and approaches to animation to strengthen the learning of animation.
• Historical and socio-political perspectives on significant figures, institutions and/or movements in the dissemination of animation training and education.
• Theoretical conversations about the ramification of animation learning and education, focusing on the relationship between theory and practice.

We welcome posts that are:

1. Between 600 and 900 words discussing any aspect of the above topics.
2. Forwarded as a Microsoft WORD file.
3. Include at least one image to visually support their argument/post.
   1. The images must be less than 2 MB in size per image and sent as individual files.
   2. Please indicate where the images should be placed in the text, including image caption(s) and credits. All permissions are the responsibility of the contributor.
4. Include a short bio of 100 words max.
5. Include 3 keywords.

Please note that we are introducing a new submission form! Please fill it in with all the required information for your submission: Submit your work.

Please contact co-editors Carmen Hannibal and Anastasiia Gushchina via blog@animationstudies.org with any questions.