前段时间楼主在卡通沙龙官网上淘到了《凯尔经》和《海洋之歌》的设定集，装订还是非常的精美，翻译过来贴在这里与大家分享一下。
（原链接现在不可用了，但官网上还有http://shop.
cartoonsaloon.ie/category/books）
楼主英语渣，翻译有不足之处，还望各位吧友指正。
（原链接现在不可用了，但官网上还有http://shop.
cartoonsaloon.ie/category/books）楼主英语渣，翻译有不足之处，还望各位吧友指正。
凯尔经的秘密吧 关注：1,777贴子：24,450
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从序言开始：
Tomm:
The Secret of Kells was a labour of lovefor me and our core crew since our college days.
We began designing and developing theproject in 1999 while both finishing our studies and beginning our company,Cartoon Saloon. Ten years later, in 2009, thanks to the hard work of over 200artists in 5 countries, It was finally released into cinemas.
制作《凯尔经的秘密》对我和我的团队来说，是我们大学时最喜欢做的工作。我们从1999年就开始设计这个项目，那时，我们还忙着成立卡通沙龙、对付学业。
在十年后的2009年，感谢来自5个国家的超过200名艺术家的不懈努力，这部影片终于被搬上了大银幕。
Tomm:
The Secret of Kells was a labour of lovefor me and our core crew since our college days.
We began designing and developing theproject in 1999 while both finishing our studies and beginning our company,Cartoon Saloon. Ten years later, in 2009, thanks to the hard work of over 200artists in 5 countries, It was finally released into cinemas.
制作《凯尔经的秘密》对我和我的团队来说，是我们大学时最喜欢做的工作。我们从1999年就开始设计这个项目，那时，我们还忙着成立卡通沙龙、对付学业。
在十年后的2009年，感谢来自5个国家的超过200名艺术家的不懈努力，这部影片终于被搬上了大银幕。
The film would not exist without thecommitment and dedication of these legions of talented animators, clean upartists, background artists, musicians, compositors, sound designers, voiceactors and the work of many other departments in France, Belgium, Hungary andBrazil. However, this book focuses only on one aspect of the production andmostly showcases work from our studio in the medieval city of Kilkenny,Ireland.
如果没有那些天赋异禀的动画师、后期艺术家、背景设计师、作曲家、音效师、配音演员以及来自法国、比利时、匈牙利和巴西的各个部门的努力，就没有今天的《凯》。不过，本书的重点只限于影片的制作过程，以及，来自我们设在爱尔兰吉尔肯尼的工作室的一些原设。
如果没有那些天赋异禀的动画师、后期艺术家、背景设计师、作曲家、音效师、配音演员以及来自法国、比利时、匈牙利和巴西的各个部门的努力，就没有今天的《凯》。不过，本书的重点只限于影片的制作过程，以及，来自我们设在爱尔兰吉尔肯尼的工作室的一些原设。
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接上面的部分：
Art Director Ross Stewart and I have addedsome comments here and there throughout the book but in general we are justgoing to let the work speak for itself.
美术导演Ross Stewart和我在书中多多少少加了一些评论，但总体上我们还是想让这些作品自说自话的好。
Just as we were inspired by the art of the animatedfilms we enjoyed growing up, we hope this book will inspire others and give an insightinto the work that goes into creating the look of an animated feature film.
就像我们被小时候看的那些动画片所激励一样，我们希望这本书也能够激发更多人创作动画电影的灵感。
Art Director Ross Stewart and I have addedsome comments here and there throughout the book but in general we are justgoing to let the work speak for itself.
美术导演Ross Stewart和我在书中多多少少加了一些评论，但总体上我们还是想让这些作品自说自话的好。
Just as we were inspired by the art of the animatedfilms we enjoyed growing up, we hope this book will inspire others and give an insightinto the work that goes into creating the look of an animated feature film.
就像我们被小时候看的那些动画片所激励一样，我们希望这本书也能够激发更多人创作动画电影的灵感。
Nora Twomey（诺拉 托梅）：
It was 1995. I remember drinking cold, badcoffee on the steps of Ballyfermot Animation College in Dublin where a very young,new father called Tomm Moore was enthusiastically working out how he could assemble a team of talent for Kells (then 'Rebel') in Kilkenny when he'd finishcollege.
我还记得那时是1995年，我坐在都柏林动画学院的台阶上，喝着冷咖啡。那时我遇见一位年轻的父亲——汤姆摩尔，他那时大学刚刚毕业，就开始激情四溢地思考着如何集结一支团队来创作《凯尔经》（那时候还叫《Rebel》）
It was 1995. I remember drinking cold, badcoffee on the steps of Ballyfermot Animation College in Dublin where a very young,new father called Tomm Moore was enthusiastically working out how he could assemble a team of talent for Kells (then 'Rebel') in Kilkenny when he'd finishcollege.
我还记得那时是1995年，我坐在都柏林动画学院的台阶上，喝着冷咖啡。那时我遇见一位年轻的父亲——汤姆摩尔，他那时大学刚刚毕业，就开始激情四溢地思考着如何集结一支团队来创作《凯尔经》（那时候还叫《Rebel》）
I. Concept painting 1999-Roos Stewart/Layoutdrawing 1o Moore/ Wave SFA design Jeremy Purcell
2. Concept painting 2000-Ross Stewart
3. Concept art digital Layout drawing-Tomm Moore/ColoursDiane Le Feyer
4. Concept painting 2000 Ross Stewart/Layout drawing
3, Concept art 2001 Kos Stewart
These pages show early development for theproject, from college days and our first year of Cartoon Saloon. The projectwas very different back then; it was called Rebel and I was co-developing Itwith Aidan Harte. We ended up completely rewriting the story but keeping some otherthemes, characters and design ideas. From the earliest incarnation however, theidea was to base the style on early Irish insular art and bring that look to 2Danimation. Aldan went on to create and direct Cartoon Saloon s first IV seriesSkunk Fu! and I continued to evolve the Project into what would become TheSecret of kells.
这几页展示的是这个项目早期的发展历程，从大学时代和我们在卡通沙龙的第一年开始。那时，这个动画项目和现在的电影还很不一样。这个项目名叫“Rebal(暂译为反叛者)”。我那时是和Aidan Harte一起进行早期的创作。我们最后决定把整个故事推倒重来，但保留了其中的一些主题、角色和设计方案。不过，对于电影最早的前身，我们本来打算做一部以爱尔兰海岛风格为主的2D动画。Aidan随后去指导创作卡通沙龙的第一部动画片《功夫小鼬》，而我则继续将这部影片发展成为了如今的《凯尔经的秘密》。
Tomm
接上面的早期《凯尔经》（反叛者）设定
1. Concept art-Layout 1999 drawing TomMoore Painting Micheal MeGrath
2. Concept art 2000 Aidan Harte .
3. Concept art 1999- Layout drawing Tomm Moore/painting Michael McGrath
4. Concept art 1999- Layout drawing TommMoore/Paintine Michael McGrath
5. Concept art 2000- Painting Michael McGrath
"As a French-American citizen ofPolish descent who had worked in Brazil, Africa and myriad other locations, I'dalways wanted to connect with Ireland somehow. Not just with its verdantshores, but with its innermost culture. "The Secret of Kells gave me theopportunity for full immersion. Tomm's project was so rich and textured, itcould not have stood a bvzantine structure, bur begged instead for a classicform. Brendan's story is a coming-of-age tale in which we constantly tried tokeep the balance between the specificity of Irish culture and tradition on onehand, and classical and universal themes on the other: the kind of story thatcan reach a bov in Dublin as well as a little girl in a backwater town in Mississippi
Fabrice Ziolkowski, screenplay
作为一名在巴西非洲等地工作的，拥有波兰血统的法裔美国人，我不知怎的，总想和爱尔兰有所接触。不只是它的海滩，还有它神秘的文化。而《凯尔经》恰巧给了我一次接受洗礼的机会。汤姆的项目是如此丰富而充满质感，它没有复杂的架构，反而追求一种古典的美。布兰登的故事是一部成熟的童话，我们在其中小心翼翼地控制着电影的平衡，一方面注重爱尔兰传统文化的特异性，另一方面则着重于经典而又尽量通俗的主题。这样的故事，无论是来自都柏林的男孩还是密西西比小镇里的女孩都会被其所触动。
Fabrice Ziolkowski 编剧
1. Concept art-Layout 1999 drawing TomMoore Painting Micheal MeGrath
2. Concept art 2000 Aidan Harte .
3. Concept art 1999- Layout drawing Tomm Moore/painting Michael McGrath
4. Concept art 1999- Layout drawing TommMoore/Paintine Michael McGrath
5. Concept art 2000- Painting Michael McGrath
"As a French-American citizen ofPolish descent who had worked in Brazil, Africa and myriad other locations, I'dalways wanted to connect with Ireland somehow. Not just with its verdantshores, but with its innermost culture. "The Secret of Kells gave me theopportunity for full immersion. Tomm's project was so rich and textured, itcould not have stood a bvzantine structure, bur begged instead for a classicform. Brendan's story is a coming-of-age tale in which we constantly tried tokeep the balance between the specificity of Irish culture and tradition on onehand, and classical and universal themes on the other: the kind of story thatcan reach a bov in Dublin as well as a little girl in a backwater town in Mississippi
Fabrice Ziolkowski, screenplay
作为一名在巴西非洲等地工作的，拥有波兰血统的法裔美国人，我不知怎的，总想和爱尔兰有所接触。不只是它的海滩，还有它神秘的文化。而《凯尔经》恰巧给了我一次接受洗礼的机会。汤姆的项目是如此丰富而充满质感，它没有复杂的架构，反而追求一种古典的美。布兰登的故事是一部成熟的童话，我们在其中小心翼翼地控制着电影的平衡，一方面注重爱尔兰传统文化的特异性，另一方面则着重于经典而又尽量通俗的主题。这样的故事，无论是来自都柏林的男孩还是密西西比小镇里的女孩都会被其所触动。
Fabrice Ziolkowski 编剧
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by Ross Stewart
by Ross Stewart/Tomm Moore
These concepts show some of the first explorationsof key scenes, such as the goose chase. In between working on the screenplaywith Fabrice Ziolkowski and the work that paid the bills, Ross Stewart and Iwould make concepts to start visualizing key scenes in the ever-evolvingscreenplay.
Tomm
这些概念图展示了我们在早期，对一些关节场景的探索，比如“追鹅”的那一段场景。我和Ross Stewart，在与Fabrice创作剧本支付经费期间，还画出了这些概念图，以便将这些重要场景视觉化。
Tomm
