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Subtitling, Translation, Editing/proofreading
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Sample translations submitted: 1
English to Portuguese: Framed Ink - Drawing and Compositions for Visual Storytellers - page 015 General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English The general tone of the story / Consistency
Consistency in our vision from the first to the last frame is essential the moment we decide to grab pen and paper. It is important as we try to create fiction, a fantasy with shapes, ligh,t and rhythm. Our world and characters are made of paper and yet we have to make the audience experience them as real.
Making every element coherent with the rest (emotional ups and downs included) as part of the solid chain that is the world we are creating, will give credibility to our work. That's why our choice of first shots will stablish our sense of drama, comedy, or action for the whole narration, and the tone and visual style we will commit to. Doing something "out of character" after that would pull the audience out of the reality we are trying to build—and then the magic would be gone.
Once we visualize our minds a general tone for the for the narration (comedic, snappy, epic, dramatic, intimate, and so forth) and how to ramp up to its climax, we can start developing images that always serve the concepts we have previously established.
Translation - Portuguese O tom geral da historia / Consistência
Consistência na nossa visualização do primeiro quadro ao último é essencial no momento que decidimos começar a desenhar. É importante quando vamos criar uma obra de ficção, uma fantasia com formatos, iluminação e ritmo. Nosso mundo e personagens são feitos de papel e ainda sim temos que fazer o publico percebê-lo como reais.
Fazendo cada elemento ser coerente com todo o resto, como parte de uma linha consistente, do mundo que estamos criando dá credibilidade ao nosso trabalho. É por isso que a escolha das primeiras impressões darão o senso de drama, comédia, ou ação da narrativa inteira, e também o tom e estilo visual que vamos nos comprometer. Fazer algo "fora do personagem" depois disso, seria tirar o publico pra fora da realidade que estamos tentando criar—e assim a ilusão é desfeita.
Assim que visualizarmos, na nossa mente, um tom geral para a narrativa (comédia, mal-humorado, épico, dramático, íntimo, e assim em diante) e como alcançar seu clímax, poderemos começar a criar imagens que servem os conceitos previamente estabelecidos.
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