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創意總監? 文成武↖字體設計?  洪美玲↖創意團隊? 一冊品牌

這本畫冊是基于寫關鍵詞其中的臨界值作為展開對象，臨界值這個關鍵詞來源于阿布和烏雷他們兩位藝術家的從認識到一起無法分開，再到冷卻互相傷害，最后到分離和生死。他們的藝術創作映射了他們的生活，時常思考一件事情的好壞或者說能比識別和不比識別他們之間的臨界點是什么，如果他就像滑塊一樣，如果我們調整滑塊的參數值，那么一段關系或者一個事物容易比我們掌握，也不會走向壞的結果，我們時時刻刻保持在臨界值之上，不在跨越臨界值之下成為一個研究的目的和對象。從文字編排課程到元數據我發現對文字的編排較為感興趣，展開的對象首先從文字識別的臨界值作為一個點，在本畫冊中一共分為13個章節，總共分為兩個大的分類文字和照片他們之間的臨界值。

在探索文字的臨界值中我對龐大的中文進行了采樣，采樣了漢字中的獨體、左右、左中右、上下、上中下、半包圍、全包圍結構七種結構，每一個結構中最少筆畫和最多筆畫的漢字作為采樣，所以這些采樣從而囊括了復雜的漢字不同的結構表現。

在段落文字采樣中對韓炳哲《倦怠社會》、《他者的消失》等段落采樣，也采樣了烏雷和瑪麗娜從相遇到相愛到分離的觀點作為文本，呼應來整本畫冊和兩位藝術家關系前后變化的臨界值，所以在以下有他們藝術發展過程的詳細圖文，在本畫冊設計中尺寸從小到大的變化，那么在翻閱過程中我想最小不能比K的尺寸也作為一個臨界值，最大不能比快印或者說不方便翻閱的K本也一種臨界值；畫冊的色彩從黑到白色的過程，那么黑色和白色的臨界值是什么，在翻閱畫冊的時候可以從閱讀者角度去界定，在探索臨界值的時候我發現相對是無法去探索臨界值的，只有找到一個參考的對象或者絕對的關系才能探索到臨界值。

這本畫冊作為一個過程創作，很多地方不成熟，或者也叫不上一本書，比如說沒有頁面，比如說是否方便翻閱、畫冊的目錄及其章節頁的清晰程度，字體字號的規范程度及其對齊標題符號很多問題，那么這也是我接下來推進的空間，但是這些都不影響我這次創作的目的。

↖This album is based on the critical value of the keywords as the development object. The keyword critical value comes from the two artists Abu and Ulay, from knowing each other to being inseparable, to cooling down and hurting each other, and finally to separation and life and death. Their artistic creation reflects their lives. They often think about the good and bad of a thing or the critical point between being able to recognize and not being able to recognize. If it is like a slider, if we adjust the parameter value of the slider, then a relationship or a thing is easier to control than we can, and it will not lead to a bad result. We always stay above the critical value and do not cross the critical value to become the purpose and object of research. From the text arrangement course to metadata, I found that I am more interested in the arrangement of text. The object of development is firstly the critical value of text recognition as a point. In this album, there are 13 chapters in total, which are divided into two major categories: text and photos. The critical value between them.

In exploring the critical value of characters, I sampled the vast Chinese language, sampling seven structures of Chinese characters: single character, left-right, left-middle-right, up-down, up-middle-down, semi-enclosed, and fully enclosed. The Chinese characters with the least and most strokes in each structure were used as samples, so these samples thus encompassed the different structural expressions of complex Chinese characters.

In the paragraph text sampling, Han Bingzhe's "The Burnout Society" and "The Disappearance of Others" were sampled, and the views of Ulay and Marina from meeting to falling in love to separation were also sampled as texts, echoing the critical value of the entire album and the changes in the relationship between the two artists. Therefore, there are detailed pictures and texts of their artistic development process below. In the design of this album, the size changes from small to large. In the process of flipping through, I think the smallest size that cannot be smaller than K is also a critical value, and the largest size that cannot be smaller than the quick print or inconvenient to flip through K is also a critical value; the color of the album changes from black to white, so what is the critical value of black and white? It can be defined from the reader's perspective when flipping through the album. When exploring the critical value, I found that it is relatively impossible to explore the critical value. Only by finding a reference object or an absolute relationship can the critical value be explored.

This album is a work in progress, and many parts are immature, or cannot be called a book. For example, there are no pages, and it is not easy to flip through. There are many problems with the clarity of the album's catalog and chapter pages, the standardization of fonts and sizes, and the alignment of title symbols. These are also areas where I will make progress next, but these do not affect the purpose of my creation this time.