As I begin to imagine my future career path, I feel increasingly drawn to working in Europe, particularly in creative environments where experimental animation, interdisciplinary practice, and artistic research are valued. Many European countries—such as the UK, the Netherlands, Belgium, Denmark, and France—have strong support systems for independent animation and artist-led projects. Their cultural institutions often encourage unconventional visual languages, cross-media experimentation, and hybrid forms of storytelling. This aligns closely with my own artistic interests, which blend hand-drawn animation, mixed media, photography, ceramics, and character-driven concepts.

One goal I have is to participate in artist residency programmes, which I see as an ideal environment for developing personal projects. Residencies offer time, space, and mentorship for artists to explore ideas without commercial pressure. They also provide valuable opportunities to connect with curators, museums, and interdisciplinary communities. For an artist like me who works across mediums, residencies could become a crucial platform for expanding my personal IP, experimenting with installation-based animation, or developing work that combines physical textures with emotional narratives.

I am also interested in the possibility of applying for artist visas or cultural visas, which several European countries offer to support international creative practitioners. These pathways often prioritise applicants with strong portfolios, unique artistic voices, and a commitment to cultural contribution. Because my work already leans toward personal expression and cross-media research, I believe this direction fits my long-term goals. Being able to stay in Europe would give me the stability to build relationships with art institutions, participate in festivals, and collaborate with other independent animators or mixed-media artists.

Reflecting on these possibilities, I feel that working in Europe offers a balance between artistic independence and professional growth. The region’s support for experimental animation, gallery-based moving-image work, and interdisciplinary practice matches the kind of work I want to create. I hope to contribute to this ecosystem by developing emotionally resonant, visually experimental animation projects that can exist not only on screens but also in exhibitions, publications, and collaborative installations.

In the future, I envision myself as an artist-animator who moves fluidly between animation studios, art residencies, and cultural institutions. Europe provides the environment where this hybrid identity is not only possible but encouraged.

Recently I have become increasingly interested in the field of 2D character concept design, especially as I begin to understand more clearly what this role involves within the animation industry. A character designer is responsible for shaping the entire visual identity of a character before production begins—exploring silhouettes, proportions, emotional range, and overall style. These early explorations help define how the audience will understand the character’s personality, narrative purpose, and emotional weight. This role requires visual sensitivity, strong imagination, and the ability to translate abstract ideas into a readable design language.

What attracts me to this field is that I naturally gravitate toward creating characters, especially non-human or abstract forms. I enjoy experimenting with stylized shapes and pushing the boundaries of what a character can be. My work often leans toward surreal or symbolic imagery rather than realistic human figures. This gives me more freedom to use visual metaphor, exaggeration, and unconventional forms to express emotion. Because I am already building my own personal IP series, character design feels like a natural extension of my artistic direction.

I recently attended a Q&A session with the directors of Zootopia 2, which gave me a deeper understanding of how professional productions develop characters. Although their characters are more mainstream and narrative-driven, I felt a surprising sense of resonance with their approach to design. Hearing industry professionals talk about how a single design choice can influence storytelling reaffirmed for me that concept design is not just aesthetic work—it is narrative work. This perspective aligns strongly with how I approach my own characters.

The more I study the role of the character designer, the more I feel it suits my strengths. I enjoy the conceptual, imaginative stage of creation far more than the technical or production-heavy stages of animation. I am comfortable developing characters from abstract shapes or emotional cues, and I value the freedom to explore experimental styles. This career path also supports my long-term goal of building a personal artistic universe and developing characters that can extend into prints, merchandise, or animation projects.

Reflecting on my experiences, I believe 2D character concept design offers a balance of structure and creative freedom that fits my personality. It allows me to pursue experimental design while still contributing meaningfully to the storytelling process. This combination makes it a direction I genuinely want to explore further.

As I continue developing new characters and stories, I am increasingly drawn to the path of becoming an independent animation director and creator. I have noticed that my work carries a strong sense of subjective expression: I want to communicate deeply personal emotions, and I naturally gravitate towards a character design style that is highly individual, even if it is not mainstream. This desire to express an authentic personal voice makes the independent animation field particularly suitable for me.

Another factor shaping my interest in independent practice is my curiosity about multiple art forms. Beyond animation, I also engage with photography, printmaking, ceramics, illustration, and mixed-media art. These disciplines continuously influence and inspire each other in my creative process. The flexibility of independent filmmaking allows me to integrate these practices more freely, experimenting with cross-media storytelling and expanding the visual language of my work.

During a recent studio visit, I had the chance to speak with an animator working in a professional animation studio. I asked her whether independent creators—those who want to develop personal works and even turn them into exhibitions or installations—can find opportunities and support within the industry. She shared that some animators have collaborated with institutions like the Tate Modern to develop exhibition projects. Her advice was simple yet encouraging: if you keep creating the work you truly believe in, and consistently build your portfolio, opportunities will naturally emerge. This conversation reassured me that a personal artistic voice does have a space in the professional world.

I am also interested in building my own personal IP. Alongside my coursework, I am already creating small pieces of merchandise and visual materials that extend from my character designs. This process helps me think about how my animation concepts can develop into broader creative ecosystems—such as prints, small sculptures, or artist books. Independent animators often sustain their practice by constructing such multi-layered creative identities, which further motivates me to pursue this direction.

Reflecting on my research and experience, I believe the role of the independent animation director suits me well. It aligns with my desire for strong personal expression, my interest in cross-disciplinary artmaking, and my long-term goal of building my own artistic universe. While the independent path may be less predictable, it offers the creative freedom I value the most.