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

　　本月，“IllustraBrazil巴西插画展览”来到中国，巴西一批杰出的设计师和插画家的作品与中国观众见面。

　　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展览最初由巴西插画家协会（Brazilian Society of Illustrators） 于2004年在里约热内卢和圣保罗开始举行。本次IllustraBrazil展将在上海筑造空间美术馆（Foundry Gallery）展出到9月25日。展出的作品主要有罗梅罗•卡瓦尔坎蒂（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•库尼亚•利马（Ricardo Cunha Lima）等人创作的插画和多媒体作品。

　　“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.

　　“展会展示的与其说是巴西插画，不如说是巴西──巴西插画家眼里的巴西，”布鲁诺•波尔托（Bruno Porto）说。波尔托是巴西的一位插画家，从2006年开始到上海发展，他是这些展品的保管人。

　　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.”

　　他详细介绍了一些作品的作者。何塞•本尼西奥（José Benício）今年75岁，在里约热内卢有一座工作室，曾为数千部间谍小说和低俗小说创作了封面；双胞胎兄弟法比奥•穆恩（Fábio Moon）和加布里埃尔•巴（Gabriel Bá）来自圣保罗，今年31岁，他们自己创作了连环画小说Daytripper的文本和插图。

　　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.

　　这不是中国观众第一次领略巴西的设计作品。这次展览的组织者布劳略•弗洛雷斯（Braulio Flores）曾经在上海和北京举办过巴西平面设计双年展（Brazilian Graphic Design Biennale）等活动。但是，由于历史的差异，中国和巴西的设计师处理设计、动画和插图的手法都有所不同。

　　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.”

　　相对而言，中国设计师对这些领域还比较陌生，波特说：“中国设计师在政府停止（对广告和其他传播领域的）管制之后才进入这些领域。虽然中国设计师也通过明确而生动的方式进行产品的身份宣传、包装和推广，但是对于普通人不完全熟悉的产品和概念（比如咖啡和奢侈品），中国设计师在处理图形时还存在一些难度。虽然如此，中国现有10万家规模不一、形形色色的广告机构，他们的能力不容小觑。”

　　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，虽然直到二十世纪八十年代的技术进步为设计师带来更高的制作标准之前大多数巴西动画还没有实现商业利润，但巴西是一个具有丰富动画历史的国家，“在广告、包装、识别系统以及编辑作品等方面具有悠久的传统，”他说。

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

　　不管是中国动画，还是巴西动画，都能够从适量的互动与合作中受益，波特说。

　　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.”

　　在展览现场，“人们的反应各不相同，” 弗洛尔斯说，“中国观众惊讶地发现，除了足球和亚马逊热带动物之外，巴西还有很多其他东西。”