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By sdridje
January 19, 2024
Collision Award Partner Q&A

Stephen Price, Executive Editor, Stash Magazine

Stash Magazine is one of the most vital platforms to stay inspired and showcase the best talent in motion design dubbed “netflix for motion designers”.

Q&A with Stephen Price, Executive Editor, Stash Magazine
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A small bouncy random shape

Meet Stephen Price, Executive Editor, Stash Magazine

Stephen Price has been Executive Editor of Stash Magazine since its inception in 2004. One of the most vital platforms to stay inspired and showcase the best talent in motion design dubbed “netflix for motion designers”. The Collision Awards are proud to call him and his platform founding partners. We caught up with the man himself.

Q: Stash has been advocating for and showcasing exceptional motion design, animation and VFX work since its inception in 2004. What are some of the biggest developments you have seen in the field since its inception?

In terms of logistics, Stash launched as a monthly DVD magazine because in 2004 online video streaming was simply not an option. Vimeo and YouTube did begin ramping up in 2005 but it was almost five years before the resolution and audio quality we needed was reliable. Then in 2010 we built out the online platform and started streaming the full catalogue of Stash issues – which of course was far better for subscribers as they could now access the entire collection in one place.

In terms of the work we cover, the single most important development has been the democratization of digital production tools in terms of cost, power, and ease of use. In other words, a larger number of artists and designers can now create more and better work in less time. The result has been an explosion of studios and independent artists creating world-class work. 

The knock-on effect of that growth has been the steady decentralization of creative and post production studios. When we started, 90% of motion design, animation, and VFX came out of London, New York, Los Angeles, and Paris. Now, in most cases, geography is literally irrelevant with high volumes of outstanding work coming from every continent except Antarctica (so far).

Q: As a curator at the forefront of surfacing and spotlighting new talent and new work, where do you look for inspiration and discovery?

Over the years we’ve developed a proprietary system that allows us to track over 1,500 studios and independent artists on a daily basis via their online and social presence. It is a serious time investment but essential to maintaining a daily publication schedule that is both timely and inspiring.

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I’m most excited for the people behind the animation and motion design industry to finally have a world-class awards show designed specifically for them.

Stephen Price, Executive Editor, Stash Magazine

Q: What 3 pieces were among some of your favorite work from 2023?

A torturously difficult assignment so I’ll include four projects we published this year in Stash Permanent Collection that I personally love and also demonstrate an incredible breadth of work in terms of style, content, and country of origin.

NZMOBILE “REVERSE WAR”
Client TENCENT GAMES
Director SOMEI SUN
China

ESPN “NBA CHANNEL REBRAND”
Client ESPN
Director WILL MERCER
Animation FUTUREDELUXE
UK

ROVER “TO MY HOOMAN”
Director: GIANT ANT
Animation: GIANT ANT
Canada

EGGSCAPE “EGGSTORIES”
Director: FEDERICO HELLER
Animation: 3DAR
Buenos Aires

Q: The Collision Awards share a similar mission to discover, spotlight and recognize the very best working across animation and motion design from across the globe. As a founding partner, what are you most excited to see in our inaugural year?

I’m most excited for the people behind the animation and motion design industry to finally have a world-class awards show designed specifically for them – and most importantly, to have those awards created and managed by the team who built the Telly Awards into a house-hold name. Scale and gravitas  matter and the Collision Awards already feel like they have both.

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