call for submissions
Share your knowledge and expertise!
One Night Only! Get tickets to the Computer Animation Festival Electronic Theater at Microsoft Theater
Share your knowledge and expertise!
SIGGRAPH courses are learning sessions in which experts from all areas of computer graphics technology and interactive techniques share their knowledge. Course presenters distill key industry concepts and ideas into self-contained lessons.
Courses may target any level of expertise from beginner to expert and cut across all corners of computer graphics and interactive techniques. In typical short courses (1.5 hours), a single lecturer covers a topic for a select audience. Long courses (3.25 hours) feature one or more presenters and explore topics in greater depth. For some subjects, a unified full-day course can be proposed or assembled from two long courses. Interactive approaches to teaching also encouraged.
We welcome all course proposals, but of particular interest are courses:
In particular, please be aware of these fields:
When preparing your course notes, you may wish to consult SIGGRAPH’s Publication Instructions.
Optional: You may also provide examples of other materials, demonstrations, or exercises that support the course topics.
For additional submission information or information about uploading files, see Submissions FAQ.
Courses can fulfill many educational roles, such as:
Well-attended, strong courses may be re-submitted in subsequent years. Recently taught courses must provide justification for why the course should be repeated. If you are proposing revisiting an older course, you should explain why the material should be revisited, and what new advances will be covered. Introductory courses have the potential to be repeated more frequently than advanced ones, as the potential audience is larger.
The success of a course proposal is not tied directly to its declared level of difficulty. The conference benefits from a broad spectrum of courses at all levels, including well designed introductory courses. Please choose the most appropriate difficulty level for a course, based on the complexity of the ideas presented and the depth of its prerequisites.
Some reasons courses are rejected:
How exceptional are the ideas, problems, solutions, aesthetics, etc. presented in this submission? How coherently does the submission convey its overall concept? Is the concept similar to existing ones, or does it stand out? This criterion is particularly applicable to submissions that put together existing technologies into a single course proposal (for example, demos, animations, or art pieces). Submissions of this type, where the individual technologies are not necessarily new but their combination is, are evaluated on both the final product and how well proposed technologies integrate to meet the desired goals. Many submissions in this area are rejected because they do what existing systems do, and they do not demonstrate that the proposed approach will produce a superior course.
How new and fresh is this work? Is it a new, groundbreaking approach to an old problem, or is it an existing approach with a slightly new twist? A course that offers a novel, different approach to a topic will be well regarded by the jury.
Will conference attendees want to attend this course? Will it inspire them? Does it appeal to a broad audience? This is partly a measure of how broad the potential audience is and partly a measure of the overall clarity and novelty of the proposal. If the proposal is a repeat of a past course, evidence of past interest can be useful in evaluation.
Quality, Craft, and Completeness
This is a measure of the course proposal’s quality of expression, clarity of thinking, and the completeness and lucidity of the explanation of the nature of the course and its intentions. The submission information and sample course notes must provide a clear sense that the final course materials will be well written, well designed, and well presented.
SIGGRAPH reviewers cannot sign non-disclosure agreements for submissions. For information on Patents and Confidentiality see the Submission FAQ.
You will be notified of acceptance or rejection around the mid-April.
After acceptance, the submission portal will allow you to update basic information about your work and upload any final materials for inclusion in the conference program and website. This information needs to be finalized two weeks after acceptance. Final materials can include source code, notes and slides, hardware instructions and requirements, and other material that will help attendees apply their new knowledge.
If your course is accepted, you will need to:
The time and location of your course will be posted on the SIGGRAPH 2019 website well in advance of the conference.
Each accepted course receives recognition as specified in the SIGGRAPH 2019 Recognition Policy.
22:00 UTC/GMT, 12 February
Acceptance or rejection notices are sent to all submitters
Deadline to make any changes to materials (i.e. approved title changes, presenter names, descriptions) for publication on the web site.
Course Notes are due.
PLEASE NOTE: Course Notes are a REQUIREMENT in order for you to present at SIGGRAPH 2019.
Do not submit a proposal if you cannot commit to providing complete, high-quality course notes by this date.
28 July – 1 August 2019
Los Angeles Convention Center
Los Angeles, California
If Your Work is Accepted for Presentation at SIGGRAPH 2019: You must complete the ACM Rights Management Form. The form will be sent to all submitters whose work is accepted.
Your representative image and text may be used for promotional purposes. Several SIGGRAPH 2019 programs – Art Gallery, Art Papers, Real-Time Live!, Technical Papers, and all installation programs – will prepare preview videos for pre-conference promotion of accepted content, which may include a portion of the video you submitted for review. You have the ability to grant or deny us the ability to use the representative image and submitted video for these purposes.
Birdly was an installation that explored the experience of a bird in flight. Unlike a common flight simulator, users do not control a machine. Instead, they embody a bird, the Red Kite. To evoke this embodiment, the system relied on sensory-motor coupling. Participants controlled the simulator with hands and arms, and a head-mounted display provided a first-person perspective of a bird.
From Previs to Final in Five minutes. Epic Games teamed up with Ninja Theory, Cubic Motion, and 3Lateral to create the world's first believable human driven live by an actress within an Unreal Engine game world.
A tactile feedback device that delivered effective and expressive tactile sensations in free air, without requiring the user to wear a physical device. Combined with interactive graphics and applications, AIREAL enabled users to feel virtual objects, experience free-air textures and receive haptic feedback with free-space gestures.