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ARCHIVE
Twelfe years of competition - the animago AWARD
This year, the animago AWARD already celebrates its eleventh aniversary. However, if you are not familiar with the contest, you can get an idea of what it is about by browsing the entries that have been submitted in the past four years (sorry, these pages are available in German only):
> animago AWARD 2007
> animago AWARD 2006
> animago AWARD 2005
> animago AWARD 2004
> animago AWARD 2003
Last year, we received 1,295 submissions from 56 countries. Given these numbers, one can truly say that the animago AWARD has reached considerable size and international significance, and it has long outgrown its humble beginnings. In fall 1996, the founders of DIGITAL PRODUCTION magazine – the married couple Heiko and Gabriele Knappe – meet with representatives of Kinetix, Intergraph and SGI. They discuss the still young German 3D scene and ponder how best to help it mature. Common goal: To foster the development of a “3D Culture”. The idea is to organize a contest, free of charge and open to everyone to participate in – the “animago 3D Award”.
About half a year later, the prize is awarded for the first time during computer trade show CeBIT in Hanover, Germany, at the Kinetix booth. The animago is here – and an initial aid for the first issue of DIGITAL PRODUCTION magazine.
The first winners have to do without a fancy trophy. Instead, they get a certificate. But in the following year, the main laureates can take along a very special trophy – it consists of two wooden, gold painted squares with some wire strings holding a key and a tiny bell. A more elegant trophy – designed by Peter Spans of Spans & Partner, Hamburg – is not introduced until 1999. Spans’ reproduction of two juggling hands is still in use.
Change has been a constant. After guest performances in Hanover, Munich, and Cologne, the animago moved to Stuttgart in 2003. In 2008, for the first time the DC-Days conference in Karlsruhe served as the venue for the animago AWARD ceremony.
As for the artists, their working conditions have also changed. “Often, great results depend more on the amount of money spent on the tools than on aptitude”, DIGITAL PRODUCTION magazine noted in its first issue. Today, it’s quite the contrary thanks to dramatically reduced hardware and software costs. Which sounds quite promising for the years to come.
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2006: "Football Toys"
Pericles Michielin
2004: "Muscleman"
Edu-Productions
2002: "Produktdesign AIWA MD-F70"
David Samuel Drayton
2006: "FINISHING LINE"
Alexander Preuss
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