Translation Tests: To Do or Not to Do?

When to avoid or accept doing a translation test.

Most translators will probably face this dilemma at some point in their career. In the fifteen plus years I've been working as a freelancer, I’ve been asked to do tests on several occasions. But should you do them?

Well, let me start with a story.

When I first started out, I hadn't really entertained the idea that there might be bogus agencies out there. Bad payers yes, but not translation thieves! Parasitic companies that ask translators to do tests to get their clients’ projects done for free.

I was only a few months into my freelance career when an agency contacted me, asking me if I could do a translation test, with the promise that there would be more work if I passed. New to the game and eager to get established, I stupidly agreed to do a free translation of approximately 4000 characters. [I saw you shake your head and roll your eyes then].

To be honest, I did have my suspicions, but I'd checked their website - they seemed a legit agency - and we'd exchanged several e-mails. N.B.: they were always very responsive during the negotiations and when I had any questions about the job...

Anyway, I finished the job on time, sent it off and awaited their almighty verdict. Nothing came. I sent them an e-mail, asking them if they’d received the work, but they never replied. I chased them again: not a bleep came from my inbox.

So, I went on the company's website to look up their telephone number and, to my horror – and shame –, I discovered they didn't have one. Again, mia colpa, I should have known better. I'd checked just about everything else except that one extremely important detail. 

I'd been taken for a proverbial ride.

Determined not to let it happen again, I started trawling the online forums and found quite a lot of sensible advice – as well as disagreement – on whether it was good practice to do translation tests or not.

Armed with this contrasting but valuable knowledge, I decided that I would only do a translation test under very special circumstances, i.e. if a reputable client was offering a long-term contact, and, in any case, I would never do a test of more than one file (I usually work on a 1500 characters, spaces included basis, which is roughly half a page).

This decision has, in fact, served me well for the rest of my career, and I’m usually able to spot one of these rats a mile off now. 

Which brings me to the reason for this post.

Last month I responded to an advert for an Italian-English book translator. They said they were selecting for long-term translators – the guy claims he is an experienced publisher, who is launching a new publishing house – and that they would be in touch with the short-listed candidates in September. I also checked him up online: he didn't have a company website yet, but he did appear to have a history in publishing…

Well, what do you know? Yesterday I got an e-mail from this, ahem, ‘publisher’, who said that they were now contacting all of the translators to ‘wheedle out’ the ‘false mother tongue speakers’ (i.e. those with a British surname, who might not be pure native speakers, because they’ve grown up in Italy, for example) and that if I wanted to be considered for the job I would basically have to do a two-page [!] translation test of the book. After which, if I passed his  'exacting standards', he would send me the details about the payment terms and conditions, etcetera.

Come again? So you’re basically saying you want me to do a two-page translation of a book, without even telling me when the deadline is or what the payment terms and conditions are going to be? Sei matto? (Are you mad?)

Evidently so...

For a conscientious professional, a book translated by multiple translators is enough to keep the author, translators, proofreader and publishers awake at night - for life. 

But this sly customer doesn’t care, because he’s hedged his bets on getting his job done super quick – and practically for FREE! Capisici?

So, I wrote back, politely telling him that as a busy professional, I am not prepared to do a two-page translation test; a shorter test would be enough to understand the quality of my work. And, that I would like to know the payment terms and conditions before I even consider his offer.

Guess what? I haven’t heard a peep from him since…

So, after all my rambling, what you probably want to know is when should you agree to do a test translation? Well, it really depends on the case, but here’s a few tips that should help guide you in making a decision.

Forewarned is forearmed

If you’ve vetted a company as much as you can (by Googling, checking the translator forums, etc.,) and you agree to do a test, make sure the text is short. It’s also important to check – you can usually tell just by reading it – whether it’s actually a snippet from a full text or a finished piece. If it looks like a finished piece and your instincts are telling you to run for the hills, run for the hills!

Size matters

Today, the only people I do tests for are usually reputable companies or translation agencies who ask me for a ‘reasonable’ test, i.e. not a ridiculously long one. This shows they understand the job and also appreciate the time and effort that goes into a translation.

It ain’t necessarily so

In any case, bear in mind that even serious translation agencies won’t necessarily ask you for a test. They will usually try you out on a [paid] short job to see how you work first, then, if they like what you do, they’ll use you again.

Terms and conditions

Always get them to provide you with the date of the deadline and the payment terms and conditions before agreeing to do any test. If they won’t give you this information they’re probably up to something and should be avoided.

The personal touch

If possible, have a telephone or Skype call with the potential client first. Even better, if they’re in your area and the deadline allows, arrange to meet in person. That way you’ll have a better idea of who and what you’re dealing with. Usually, most serious clients will be more than happy to Skype, talk on the phone or meet face to face.

Set firm boundaries

Where reasonable, impose your own limitations on the interested party politely, stating that you usually only do tests of approximately 750 characters, which will be more than sufficient to evaluate the style and accuracy of your work. You will soon get an idea of their true intentions.

Obviously, there’s always the risk of making a mistake and even when you’re really cautious you can still be conned. But, if you stay within the less than 1500 character rule, you’ll probably feel a lot better about it than if you slogged over a couple of pages work for nothing.

Magnino Fine Furniture Holds Debut Exhibition at TENT London

Hello again, folks. It's been a busy, yet exciting week at Bastian Contrarian. 

In fact, I've been working on some 'Top Secret' projects: 

The translation of two screenplays (one a black comedy and the other a dark, dystopian tale, based in an obscure but not too distant future, about the downfall of some powerful, wealthy people); writing a promotional e-mail for the launch of a new, Italian fine jewellery company; translating a press release and website for a Milanese law firm, and, finally, translating some recipes for a tomato salsa producer. How varied is that?

Then another project came up, which I can actually shout about! 

On Monday morning, Magnino Fine Furniture contacted me asking for some help with a press release for their debut exhibition at TENT London. Created by Armando Magnino, the designer furniture is flawlessly crafted and amazingly beautiful - and I'm not just saying that, it's true.

So, I wrote this short release for his The London Design Festival press pack:

Magnino Fine Furniture Launches a New 
Furniture Collection at Tent London

Waltham Cabinet, designed and created for the Everyday
Encounters exhibition at the William Morris Gallery.

From the 24^th until the 27^th of September 2015, Magnino Fine Furniture will be presenting an exclusive range of designer furniture at Tent London.

Born near Turin, in Italy, Armando Magnino is an award-winning designer, who currently lives and works in Warwick, Warwickshire.

After leaving his homeland and working as a youth worker, outdoor educator and personal development trainer in the United States and the UK, in 1997, Armando began his formal training in furniture making at Warwickshire College, where he acquired a City and Guilds with distinction (Medal of Excellence). Successively, in 2009, he took a BA Honours in Furniture Design at the Rycotewood Furniture Centre and he also joined the Society of Designer Craftsman, receiving the SDC Trustees TSB Award for the most promising new Licentiate.

During his career, he has worked for the likes of the Robin Furlong furniture company, where he worked on the Gullwing Cabinet, which was awarded the Guild Mark by the Worshipful Company of Furniture Makers (2001). Other award-winning pieces that he has designed and created include: Slider, which came second in the 2009 New Forest Show – Fine Crafted Wood Competition, and the Waltham Cabinet, which was commissioned for the Everyday Encounters exhibition at the William Morris Gallery, in Walthamstow, and later exhibited at the Ashmolean Museum Broadway from 2013 until 2014.

This Thing of Darkness, mirror and shelf in English Oak.

To mark his debut exhibition at London Design Week, Magnino Furniture will be showcasing a unique range of designer furniture, including cabinets, shelving systems, coffee tables and home accessories, which are being exhibited as a collection for the first time.

Fascinated by unusual geometries, the designer’s work is inspired by his interest in literature, architecture, geometry and the forms he sees in his everyday life and nature. Fusing century-old furniture making techniques and modern technology, the designer skilfully combines premium quality wood, mirrors and glass to create pieces that are both beautiful and practical.

 “I’m really excited about this exhibition. Showing my work at Tent feels like a major step towards bringing my work out of the craft shows, where I have been lurking for some time, and getting my work in front of a wider, more design-savvy audience”, states Armando Magnino about taking part in the show.

Magnino Fine Furniture will be exhibiting on Stand M11 (Hall T3) at Tent London, Old Truman Brewery Hanbury Street, London, E1 6QR, UK.

Opening times: Thursday, 24^th September, from 10am - 7pm; Friday 25 September, from 10am - 8pm; Saturday 26 September, from 10am - 8pm, and Sunday 27 September, from 11am - 6pm.

-ENDS-

Wishing you all the best, Armando.  I'm sure your furniture will be a huge success!

So, if you would like further information on our press release writing services, just drop us a line. We're always happy to help!

That's me signing out for now. Take care and enjoy the rest of your week.

Parliamo!: A New Season of Italian Conversation Lessons in Solihull

The summer is over - "Summer? What summer?", some of you may ask - and the new season of Italian conversation lessons has begun at the Ramada Hotel bar, in Solihull.

Ciao a tutti!

Tonight's lesson was really good fun and we also welcomed two new students to the beginner's course, which was great!

The Italian lesson's are held every Wednesday, at the Ramada Hotel bar (known locally as The George). It's a very friendly and relaxed learning environment, where you can have a drink and meet up with like-minded people, who share the same passion for Italy and the Italian language as you.

In the first session (advanced), student's engage in guided conversation and reading, while in the second we work from the Contatti 1 Course Book, which provides a more structured learning programme for people just starting out. At times, we even throw in a few games like Monopoly and Uno as well.

Parking can be found at Morrisons or the Malvern Park Avenue car park.

If you would like to come along or require further information, simply send me an e-mail or give me a call on the number in the image above.

All levels are welcome, so don't be shy.

A presto!

Sarah

New Website, Blood-curdling Tales and Violin Makers...

Yes, I know, it's been ages...

It's been a long time since I posted something on this blog and it's really been bugging me. But, alas, there's only one of me and they don't provide personal cloning services - well not just yet, anyway...

So, I just thought I'd give you all a brief update on what's been going down in Bastianlandia.

Over the last year, I've been very busy working with some interesting, new clients and we've also been updating our website, which is almost finished and ready to be translated into beautiful Italian. 

For those of you who are wondering what happened to Art in Rure: it was difficult to get things going as planned, but I still managed to organise a couple of art exhibitions in some great venues, including John Lewis Solihull and Specsavers. 

Although I'm still heavily interested in the arts, I've decided to put the project on the back burner for now. This doesn't mean it's gone forever, it just means that I've decided to focus on other areas of the business instead, like our PR, marketing, copywriting and translation services. 

That said, if any local shops or businesses are interested in holding an exhibition or event on their premises, please do get in touch. You will not only be supporting a varied and vibrant Solihull art community, but you'll also have an opportunity to get a lot of free publicity and potentially attract some new clients as well.

Earlier this year, we worked on a wonderful website and video translation project (see above) for Nicola Monzino, an Italian violin maker. The content has a really personal and humble tone and was a real pleasure to work on.

Spooky story coming soon!

I also had the fantastic news that the English version of Alberto Buchi's fantasy-horror book that I translated last year, is already at the final editing stage, so his macabre tale will soon be lying on bedside tables worldwide. I don't have a definite date yet - there's rumours that it will be on the 1st of November 2015 - but I'll be posting more updates when it comes out.

Well, the sand timer's run out for now, but I'll be back shortly with more news on what I've been up to during this lengthy blog silence...

Art in the Park debut in Jephson Gardens

For the first time ever, Jephson Gardens will become the stage of an exciting
contemporary art fest with cultural activities and events for all the family.

A Gentle Stroll by Kim and Paul Ingvar

On 2^nd-3^rd of August, Leamington StudioArtists (LSA) will be holding Leamington’s first ever Art in the Park event in Jephson Gardens.

Sponsored by LSA and the Warwickshire District Council Arts Development Grant scheme, the two-day event will be showcasing an eclectic selection of painting, photography, sculpture, crafts, jewellery, live music, dance, theatre and demonstrations by local and regional artists.

Tree carving by Graham Jones

Among the many artists involved will be Birmingham sculptor, Graham Jones, who will be creating a chainsaw sculpture live, and Leamington artist, Sonia Bubliatis, whose works are currently on show at Ryton Gardens, will be presenting an installation of her ‘log canvases’ created using recovered or dying wood.

A 'log canvas' by Sonia Bubliatis

Kim and Paul Ingvar of KPI Images, will be presenting a fascinating series of digital works, featuring surreal and ‘otherworldy’ images of some of Leamington’s key landmarks, whilst Caroline Gatehouse and pointillist artist Bryan Kelly will be exhibiting a selection of paintings inspired by landscapes and nature.

The Yellow House by Bryan Kelly

Ceramicist and glassworker, Gabrielle Rucinski, whose works have been included in the famous Wedgewood ‘Artisans Collection’, will be running a free pot making activity, where people of all ages can create their own pot to take home and keep. At the end of the weekend, the pots will be taken to be fired and participants will be able to collect them from Gallery150, in 9 Livery Street, Leamington.

Local organisation Swirls, who promote collaboration between schools, providing a wide range of engaging learning activities, will be presenting Birdsong, an exhibition of art works created by South Leamington Schools, in the Glasshouse.

At 3-5:45 pm on Saturday afternoon, Heartbreak Productions will be holding a free performance of their innovative adaption of Macbeth, directed by Oliver Hume.

A scene from Macbeth, performed by Heartbreak Productions

Sponsored by Wright Hassall, BRINK Productions, will be bringing a dynamic, urban edge to the event with a live painting demo in the Pump Room Gardens. During the event, Leamington’s iconic bandstand will be ‘wrapped’ in canvas and the creativity of five of the UK’s top street artists will be unleased to create a colourful contemporary mural that will be visible from every angle. The entire event will be documented in a stop motion video.

A contemporary mural by Brink Productions

Children will also be able to take part in a balloon art card competition, where they will be able to decorate their cards and launch their balloons throughout the weekend or in the group balloon launch on the last day of the event. The winners will be the art cards that are sent back or phoned in as having travelled the furthest distance. People can also report and/or photograph their balloon art finds by posting them on the Art in the Park LSA Twitter or Facebook page. The prizes have been kindly donated by WH Smiths Leamington.

As well as these events, there will also be live Salsa, Hair Art by Jane Ward and garden-inspired body painting.

Long-standing LSA member, Mo Finnessey, who is the mind behind the event said:  “The idea for Art in the Park came to me after seeing Art in Action, at Waterperry Gardens, in Oxford. It was so exciting to see so many artists doing live demonstrations of their work and I thought how wonderful it would be if LSA could hold an event like that in Jephson Gardens. There is such an active and vibrant, local arts community and it has always been my dream to organise an event where artists can promote their art or craft and engage directly with the public.”

Refreshments will be provided throughout the weekend by St Mary’s Church, with the proceeds donated to Myton Hospice. Food and drink will also be available at the newly-opened ‘Larder’, in the Aviary.

If you would like to take part or would like to help at the event, please contact Carole Sleight on 07768 617081 or e-mail Carole@artinpark.co.uk.

Art in the Park will open its doors on Saturday, 2^nd of August, from 11am-6pm and Sunday, 3^rd from 11am-4pm.

Leamington Studio Artists Seeking Artists & Crafters for Art in the Park

On the 2^nd and 3^rd of August 2014, Leamington Studio Artists (LSA), will be holding their first ‘Art in the Park’ event in Jephson Gardens.

As well as live painting, performance, music, activities, dance and theatre, the 2-day event will also be showcasing works of art by artists and crafters from across the region.

LSA currently have a variety of exhibition opportunities available and are calling on artists, working in any medium, to take part in the event.

To find our more or to book your Art Spot at a reduced price or for free, contact Carole Sleight on 07768 617081, e-mail: Carole@artinpark.co.uk, or pop into Gallery 150, 9 Livery Street, Leamington Spa. 

Download the flyer below to find out more.

How to Approach Art Galleries

What they don’t teach you at art school: the dos and don’ts for approaching art galleries 

I’ve helped a lot of artists approach galleries over the years. I’ve also received a lot of artist CVs for my own shows and an exhibition organiser can be seriously put-off if they are not approached in the right way.

This is particularly so with large organisations and institutions, whose staff are extremely busy and inundated with submissions from hopeful artists every day.

Here’s a guide on some of the issues that could make the difference between your submission being considered or banished to the recycle bin in one swift click of a mouse.

Submitting Your Work to Galleries

• Each reality has different needs and expectations. One of the first things you should do before approaching galleries is check their website thoroughly for instructions on how to submit your work.

• Always follow these instructions to the letter, otherwise your CV might find itself in the aforementioned bin.

• Check that the style and medium of your work is suitable for the gallery you want to approach. To get a feel for their tastes/themes, look through the gallery’s history of shows. If they deal in art works that are light years away from your own portfolio, don’t submit your work. If uncertain, you can always call the gallery to find out more.

• Some galleries prefer to hunt the artists down themselves and will not evaluate direct submissions at all. They will usually state this clearly on their website. However tempting, do not contact these gallery owners. They’re busy people and will not appreciate you clogging up their mailbox.

• With galleries that don’t provide specific instructions, it’s a pretty safe bet that they are open to being contacted directly. Before you do, make a phone call, so you can get the name and the correct e-mail address of the person you need to contact. People like being addressed by their name and it also shows you’re willing to do a bit of groundwork.

Sending Images

• When sending images always make sure they are high quality. Never send blurred, grainy or dark images.

• Always follow the galleries instructions on image resolution and size. If in doubt, or no specific instructions are provided, make sure they are of a good quality but not too big, particularly if you’re sending several images at the same time.

• Unless requested, avoid sending images of your work taken on walls or in frames. This might be fine for an online store, but it may not be for the gallery. It can look unprofessional and also draws attention away from your work.

• Do not take pictures of works under glass: the glare and reflections will make it difficult to see the quality of your work.

• Unless instructed otherwise, always name your images stating the:

·         Year;

·         Title of work;

·         Medium;

·         Dimensions.

Alternatively, list your attachments at the end of the e-mail, stating the name of the file and all the relevant details. It might seem a bit long-winded, but it’s very useful for the people who have to sort through the images. And, the gallery owner will thank you for it!

"do not mention that part-time 

job at the local chip shop."

Polishing your CV

Your CV is a crucial presentation that should be prepared with great care. I’ve seen a lot of young and not so young artists get things wrong. 

Here's some tips on what you should and shouldn't include:

•         Include any relevant art-related jobs and experience, but do not mention that part-time job you had at the local chip shop. This kind of information may be fine for a normal job application but not for a gallery owner.

•         If you have had a lot of experience, be selective about the shows you list in your CV. Some of the more important galleries may be put off by the fact you did a show in a pub, so you might want to avoid mentioning it.

" a gallery owner wants proof that you're pro-active, productive and reliable." 

• If necessary, tailor your submissions to suit the different types of gallery/organisation.

• Split your exhibitions into two sections: Solo Shows and Group Shows, this makes your CV more immediate and easier to read.
• Remember, a gallery owner wants proof that you’re pro-active, productive and reliable. They also like to see that your work is endorsed and exhibited by others on a regular basis. Too many gaps between exhibitions could be a potential turn-off. The more you exhibit, the more chance you have of being taken seriously.

When listing your exhibitions always include the following information:

•     Year;
•     Name of Exhibition;
•     Name of gallery, organisation, institution organising the exhibition;
•     Venue (where applicable) and country.
•     Name(s) of the curators.

Be honest, accurate and check this information carefully before sending your submission. The gallery owner may well look you up online.

"a gallery will be more willing to invest in you if you’ve got some solid documentation and press coverage behind you" 

Bibliography 

Another thing I've noticed about many of the artist CVs, is that they don’t include a bibliography. 

Any press articles, critiques and catalogue texts that mention your name will make for a well-rounded CV. Also, a gallery will be more willing to invest in you if you’ve got some solid documentation and press coverage behind you.

When listing this information always include the following:

• Date of publication;
• Name of publication/exhibition catalogue;
• Issue number, if applicable;
• Title of article;
• Name of journalist/critic/writer.

The great thing about today’s technology, is you can also create hyperlinks to the articles, making it quick and easy for the gallery owner to find your reference material.

"Never make exaggerated claims or make your work appear to be something it’s not."

Artist Statement

• Your artist statement should be clear and accurate. This is not a place to blow your own horn. Never make exaggerated claims or make your work appear to be something it’s not.

• Explain the concepts in a concise and simple manner, avoiding any complex, specialist terms, unless absolutely necessary.

• Where possible, avoid the use of foreign words, unless they are the specific industry names or terms.

• Explain your reasons for working the way you did and why you made those decisions.

• Don’t get too philosophical. Keep on topic and be objective about your work and practice.

Obviously, your artist statement will change over time. Go back to it regularly, and re-write it if necessary. Even if you don’t use what you've written, it's a great way to assess where you’re at and where you’re heading.

Covering Letter

• Remember, you are approaching a business. Like all communication in the business world, do it professionally.

• Write a letter, don’t write the e-mail like a text message and don't use smileys, Internet slang, or abbreviations like ‘U’ and ‘2’  – believe me, this happens often. It comes across as lazy and sloppy.  Not everyone is forgiving and there are still a lot of purists out there who will bin your e-mail at the very sight of it.

Don't do this: “hi I would like 2 exhibit my work in ur show heres my artist cv and a link 2 my website" 

If a gallery or organisation is going to invest in you, then you also need to show that you can work in a professional manner and that you’re prepared to make the effort. After all, if you don’t care, why should they?

Lay-out, Spelling, Grammar and Punctuation

• Once you’ve got all that out of the way, you will need to check your spelling, grammar and punctuation. Your submission will be better received if it’s well-written. 

"The right dose of bold print, underlining, spacing and bullet points will make your CV easier on the eye."

• Read it out-loud, does your covering letter and statement flow right? If you can, get an extra pair of eyes to look it over too.

• Look objectively at the lay-out and content. Is it clear and easy to read?

• Use a simple, readable font (Verdana, Georgia and Trebuchet MS are good choices, among others), they are clean and modern and much easier to read on screen – they also look pretty good in print too. Do some research online and find the one that works best for you.

• The right dose of bold print, underlining, spacing and bullet points will make your CV easier on the eye – just don’t overdo it!

• If you know how, and the submission process allows, you could also put all your information and images into a nice PDF presentation, a bit like an art catalogue.

I hope this guide has been useful. Obviously, there are lots of different situations and gallery realities out there, but I think I’ve covered most of the essentials.

If you have any questions, comments or suggestions fire away!

Bastian Contrarian