Brazilian design and illustration talent is being showcased in China this month, under the guise of the traveling “IllustraBrazil” exhibition.

　　本月，“IllustraBrazil巴西插畫展覽”來到中國(guó)，巴西一批杰出的設(shè)計(jì)師和插畫家的作品與中國(guó)觀眾見面。

　　The exhibition, which the Brazilian Society of Illustrators has held in Rio de Janeiro and Sao Paulo since 2004, is running in Shanghai's Foundry Gallery until September 25. It features illustrations and multimedia by Romero Cavalcanti, Carlos Meira, Guto Lins, Jinnie Anne Pak, Andrea Ebert, Ricardo Cunha Lima and others.

　　IllustraBrazil展覽最初由巴西插畫家協(xié)會(huì)（Brazilian Society of Illustrators） 于2004年在里約熱內(nèi)盧和圣保羅開始舉行。本次IllustraBrazil展將在上海筑造空間美術(shù)館（Foundry Gallery）展出到9月25日。展出的作品主要有羅梅羅•卡瓦爾坎蒂（Romero Cavalcanti）、卡洛斯•梅拉（Carlos Meira）、古托•林斯（Guto Lins）吉尼•安妮•帕克（Jinnie Anne Pak）、安德烈•埃伯特（Andrea Ebert）、里卡多•庫尼亞•利馬（Ricardo Cunha Lima）等人創(chuàng)作的插畫和多媒體作品。

　　“More than an exhibition of Brazilian illustration, this is an exhibition about Brazil ─ as seen by its illustrators,” said Bruno Porto, a Brazilian illustrator based in Shanghai since 2006 and a curator of the show.

　　“展會(huì)展示的與其說是巴西插畫，不如說是巴西──巴西插畫家眼里的巴西，”布魯諾•波爾托（Bruno Porto）說。波爾托是巴西的一位插畫家，從2006年開始到上海發(fā)展，他是這些展品的保管人。

　　Among the highlights he cited: José Benício, a 75-year old who works out of his studio in Rio de Janeiro and has drawn thousands of spy- and pulp-fiction-novel covers; and Fábio Moon and Gabriel Bá, 31-year-old twins from São Paulo who wrote and designed the graphic novel “Daytripper.”

　　他詳細(xì)介紹了一些作品的作者。何塞•本尼西奧（José Benício）今年75歲，在里約熱內(nèi)盧有一座工作室，曾為數(shù)千部間諜小說和低俗小說創(chuàng)作了封面；雙胞胎兄弟法比奧•穆恩（Fábio Moon）和加布里埃爾•巴（Gabriel Bá）來自圣保羅，今年31歲，他們自己創(chuàng)作了連環(huán)畫小說Daytripper的文本和插圖。

　　This is not China's first taste of Brazil's design sector. Braulio Flores, the event's organizer, has been bringing events such as the Brazilian Graphic Design Biennale to Shanghai and Beijing. But the two countries approach design, animation and illustration differently because of their histories.

　　這不是中國(guó)觀眾第一次領(lǐng)略巴西的設(shè)計(jì)作品。這次展覽的組織者布勞略•弗洛雷斯（Braulio Flores）曾經(jīng)在上海和北京舉辦過巴西平面設(shè)計(jì)雙年展（Brazilian Graphic Design Biennale）等活動(dòng)。但是，由于歷史的差異，中國(guó)和巴西的設(shè)計(jì)師處理設(shè)計(jì)、動(dòng)畫和插圖的手法都有所不同。

　　China is relatively new to the fields, entering “when [advertising and other communications] stopped being regulated and exclusively produced by the government,” Mr. Porto said. “It does have a pronounced way of identifying, packing and promoting products in a recognizable way to its consumers, but it still has difficulties graphically dealing with products and concepts not entirely familiar to the average Chinese, from coffee to luxury products. But it has 100,000 advertising agencies, of all shapes and sizes, and that's not to be ignored.”

　　相對(duì)而言，中國(guó)設(shè)計(jì)師對(duì)這些領(lǐng)域還比較陌生，波特說：“中國(guó)設(shè)計(jì)師在政府停止（對(duì)廣告和其他傳播領(lǐng)域的）管制之后才進(jìn)入這些領(lǐng)域。雖然中國(guó)設(shè)計(jì)師也通過明確而生動(dòng)的方式進(jìn)行產(chǎn)品的身份宣傳、包裝和推廣，但是對(duì)于普通人不完全熟悉的產(chǎn)品和概念（比如咖啡和奢侈品），中國(guó)設(shè)計(jì)師在處理圖形時(shí)還存在一些難度。雖然如此，中國(guó)現(xiàn)有10萬家規(guī)模不一、形形色色的廣告機(jī)構(gòu)，他們的能力不容小覷。”

　　Brazil, on the other hand, has a rich history in animation, “with a long tradition in advertising, packaging, identity systems, editorial projects,” he said, although most of it wasn't commercially viable until the 1980s, when technological advances brought higher-quality production standards to designers.

　　另一方面，雖然直到二十世紀(jì)八十年代的技術(shù)進(jìn)步為設(shè)計(jì)師帶來更高的制作標(biāo)準(zhǔn)之前大多數(shù)巴西動(dòng)畫還沒有實(shí)現(xiàn)商業(yè)利潤(rùn)，但巴西是一個(gè)具有豐富動(dòng)畫歷史的國(guó)家，“在廣告、包裝、識(shí)別系統(tǒng)以及編輯作品等方面具有悠久的傳統(tǒng)，”他說。

　　Both Chinese and Brazilian animation “can benefit from the right amount of interaction and collaboration,” Mr. Porto said.

　　不管是中國(guó)動(dòng)畫，還是巴西動(dòng)畫，都能夠從適量的互動(dòng)與合作中受益，波特說。

　　At the exhibition, “the response is very diverse,” Mr. Flores said. “The Chinese audience is surprised to see more things besides football and Amazon animals.”

　　在展覽現(xiàn)場(chǎng)，“人們的反應(yīng)各不相同，” 弗洛爾斯說，“中國(guó)觀眾驚訝地發(fā)現(xiàn)，除了足球和亞馬遜熱帶動(dòng)物之外，巴西還有很多其他東西。”