This article aims to analyze the narrative transfer made by Migoya and Seguí from the source novel Tatuaje (1974), by Manuel Vázquez Montalbán, to the story in images Tatuaje (2017). This is, what sequential art capabilities are used in graphic rewriting. At the same time, there is no doubt that when dealing with the translation of graphic narratives the translator must be aware of the deep overlap between the readable and the visible. Hence, the translation of the ninth art differs from the transliteration of purely linguistic texts. Therefore, employing Descriptive Translation Studies (DTS) as a framework, we will also illustrate some of the challenges involved in the transliteration of this work into Italian (Tatuaggio 2018).