创意总监◯ 文成武↖字体设计◯  洪美玲↖创意团队◯ 一册品牌

这本画册是基于写关键词其中的临界值作为展开对象，临界值这个关键词来源于阿布和乌雷他们两位艺术家的从认识到一起无法分开，再到冷却互相伤害，最后到分离和生死。他们的艺术创作映射了他们的生活，时常思考一件事情的好坏或者说能比识别和不比识别他们之间的临界点是什么，如果他就像滑块一样，如果我们调整滑块的参数值，那么一段关系或者一个事物容易比我们掌握，也不会走向坏的结果，我们时时刻刻保持在临界值之上，不在跨越临界值之下成为一个研究的目的和对象。从文字编排课程到元数据我发现对文字的编排较为感兴趣，展开的对象首先从文字识别的临界值作为一个点，在本画册中一共分为13个章节，总共分为两个大的分类文字和照片他们之间的临界值。

在探索文字的临界值中我对庞大的中文进行了采样，采样了汉字中的独体、左右、左中右、上下、上中下、半包围、全包围结构七种结构，每一个结构中最少笔画和最多笔画的汉字作为采样，所以这些采样从而囊括了复杂的汉字不同的结构表现。

在段落文字采样中对韩炳哲《倦怠社会》、《他者的消失》等段落采样，也采样了乌雷和玛丽娜从相遇到相爱到分离的观点作为文本，呼应来整本画册和两位艺术家关系前后变化的临界值，所以在以下有他们艺术发展过程的详细图文，在本画册设计中尺寸从小到大的变化，那么在翻阅过程中我想最小不能比K的尺寸也作为一个临界值，最大不能比快印或者说不方便翻阅的K本也一种临界值；画册的色彩从黑到白色的过程，那么黑色和白色的临界值是什么，在翻阅画册的时候可以从阅读者角度去界定，在探索临界值的时候我发现相对是无法去探索临界值的，只有找到一个参考的对象或者绝对的关系才能探索到临界值。

这本画册作为一个过程创作，很多地方不成熟，或者也叫不上一本书，比如说没有页面，比如说是否方便翻阅、画册的目录及其章节页的清晰程度，字体字号的规范程度及其对齐标题符号很多问题，那么这也是我接下来推进的空间，但是这些都不影响我这次创作的目的。

↖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.