{"title":"選書展 ── The Page as Art：探索圖像書的設計美學","description":"\u003cp\u003e翻頁的流暢從來不是偶然，一切都是精心設計的結果。\u003c\/p\u003e\n\u003cp\u003e這次選書，我們將圖像書視為一件藝術物件。每一頁都不只是在讀故事或看圖，唯有親手拿起，才能感受書籍從紙張到結構呈現的所有細節。一幅優美的插畫固然吸引，但一本真正精彩的圖像書遠不止於此。當你將書捧在手上，觸碰封面的那一刻，美學體驗便已展開。\u003c\/p\u003e\n\u003cp\u003e設計一本好的圖像書，就像電影分鏡，遠景、中景、近景交替。不論是繪本、圖像小說或藝術刊物，插圖都必須結合排版，建立閱讀節奏；創作者、視覺編輯與設計師反覆推敲：字體、間距、角度如何安排；紙張磅數與油墨光澤如何呈現圖像；要跨頁還是留白，為什麼這一行字，剛好出現在你最想閱讀的時刻⋯⋯\u003c\/p\u003e\n\u003cp\u003e而這一切的精心編排，都是為了讓人能順暢地理解創作者想傳達的世界，讓紙本成為永不過時的載體。\u003c\/p\u003e","products":[{"product_id":"小象的鼻子為什麼這麼長","title":"Why is the elephant's nose so long","description":"","brand":"天津人民出版社","offers":[{"title":"Default Title","offer_id":45237987836226,"sku":"9787201148144","price":150.0,"currency_code":"MOP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0771\/7113\/0690\/files\/image_137d1d18-bd10-4a5d-8e75-e5e8121ab316.jpg?v=1689585105"},{"product_id":"痕跡","title":"trace","description":"\u003cp\u003eLaw Yuen Yee is an artist who is difficult to define. 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With engaging, often surreal illustrations and concise prose, it unpacks all facets of war: where it comes from, how it creeps up on us, and how it destroys everything.\u003c\/p\u003e\n\u003cp\u003eThis thought-provoking and groundbreaking work is a magnificent resource for educators in guiding the difficult but necessary discussions about the wars still taking place around the world.\u003c\/p\u003e\n\u003cp\u003eAs Deborah Ellis, author of the Breadwinner series, states: \"If children are strong enough to endure being bombed and starved, they are strong enough to read about war.\"\u003c\/p\u003e","brand":"Greystone Kids","offers":[{"title":"Default Title","offer_id":51205488247106,"sku":"978-1771647267","price":209.0,"currency_code":"MOP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0771\/7113\/0690\/files\/61LpwbvN0NL._SY522_43258421-522b-4b2a-9fa5-f552005aa60b.jpg?v=1756806625"},{"product_id":"백조의-호수","title":"Swan Lake","description":"\u003cp dir=\"auto\"\u003e\"Swan Lake\" is a picture book rendition of Tchaikovsky's classic ballet, \"Swan Lake.\" This book uses paper-cutting and other techniques to dreamily convey the classical themes of love and good versus evil, as well as universal emotions, inherent in the original work. 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The interplay of light and shadow from the cut paper integrates seamlessly, making this book akin to a meticulously directed production and a finely crafted work of art, possessing significant collectible value.\u003c\/p\u003e","brand":"Borim Publishing","offers":[{"title":"Default Title","offer_id":51671662494018,"sku":"9788943309275","price":190.0,"currency_code":"MOP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0771\/7113\/0690\/files\/Screenshot2025-12-12at16.49.12.jpg?v=1765529365"},{"product_id":"魔鏡-mirror-mirror-in-my-hand","title":"Magic Mirror: Mirror, mirror in my hand","description":"\u003cp\u003e\"Mirror, mirror, on the wall, how many likes will this selfie get?\" The woman tightly gripped her phone and pressed \"post.\"\u003cbr\u003eShe carefully examined her meticulously retouched reflection in the mirror, finding her face within the phone's screen, and then subtly sharpened her chin a little more.\u003c\/p\u003e\n\u003cp\u003eEach time, she checked the number of likes in the mirror. 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Painting is like sleep-talking!\" —Ding Boyan\u003c\/p\u003e\n\u003cp\u003e　　So, here are ten years' worth of dreamland treasures, all gathered at once.\u003cbr\u003e　　Ding Boyan's first art book, \"Sleep-Talking Along the Way,\" is finally released!\u003cbr\u003e　　It features nearly 150 artworks spanning from 2013 to 2023,\u003cbr\u003e　　Presented across eight themes, with six-color printing, and three types of paper, fully showcasing the worldview of Ding Boyan's art.\u003c\/p\u003e\n\u003cp\u003e　　Having once used \"Good Morning Anxiety\" as his comic pen name,\u003cbr\u003e　　He is, in fact, simultaneously immersed in \"anxiety\" in both his conscious and subconscious.\u003cbr\u003e　　It is the common groundwater body for his two forms of creation.\u003c\/p\u003e\n\u003cp\u003e　　His comics absorb and transform emotions through their plots;\u003cbr\u003e　　His paintings, however, bring forth various props and vessels,\u003cbr\u003e　　Allowing unconscious unease to take hold, then taming it.\u003c\/p\u003e\n\u003cp\u003e　　This art book thus carefully selects his favorite motifs,\u003cbr\u003e　　As the basis for categorizing his painting works:\u003c\/p\u003e\n\u003cp\u003e　　Vacuum Exploration\u003cbr\u003e　　Cracked BODY\u003cbr\u003e　　Display, Object\u003cbr\u003e　　Comfort Zone\u003cbr\u003e　　In and Among Books\u003cbr\u003e　　Therapy\u003cbr\u003e　　On the Journey\u003cbr\u003e　　New Memories\u003c\/p\u003e\n\u003cp\u003eIn the early stages of his creation, space served as Ding Boyan's important stage. Things that were about to be destroyed, were being destroyed, or had already been destroyed gathered here, their desolation feeding the artist's intricate pencil strokes and sunset-like color palette. By depicting \"the end of the road,\" the artist unconsciously calculated the shadow's position of \"the end of the road\"—that is precisely where his conscious alter ego stands: beyond the end of the road. This transcendent, or at least detached, illusionary viewpoint neutralizes most of his unease (which might be why his \"anxiety\" in his works is not verbose or violent, but rather gentle like a large mammal), and the remaining irreducible parts spill over into shallower substances.\u003c\/p\u003e\n\u003cp\u003eFor example, the broken, bloody bodily tissues appearing in the \"Cracked BODY\" chapter; the strange objects and distorted artworks in the \"Display, Object\" section; the \"Comfort Zone\" depicting mundane earthly spaces or \"rooms\" adorned with alien surface textures; the grotesquely textured books in \"In and Among Books\" that evoke both curiosity and unease; the works in \"Therapy\" showing us how similar repair and destruction's masks are; the concrete playground equipment-like vehicles in \"On the Journey\" seemingly simulating the shrunken, regressed imagination adults have of other places, yet also reminding us how symbols brought joy to our childhood selves. They may not have sharp ideas or saturated entertainment, unable to immediately serve a function for the viewer, but their hazy gaze and faintly discernible whispers convey a sense of origin. From the abyss of consciousness, they are projected before us by the artist. Those distortions and omissions are an invitation from the world's backside, a way sleep beckons. A necessary looseness.\u003c\/p\u003e\n\u003cp\u003eFinally, \"New Memories\" appears, like a timeline conjured by loading the wrong save file. This series of 2023 works combines Ding Boyan's distinct comic portrait style with the aforementioned painting elements, introducing sweet and eye-catching anomalies into a world that was originally diffuse, loose, and harboring cold smiles. The gaze that directly confronts bleak reality and gazes at the filler of emotional voids intertwine and meld here (for example, the juxtaposition of the highly fake-feeling airplane and cute girl in \"Before Departure\"), creating sparks powerful enough to jolt one awake from a cryosleep device. A movie ending with a hint of a sequel doesn't always bring anticipation, but when you finish the bonus mini-comic in the \"Book within a Book\" section, you should be very confident: under Ding's command, this train will surely reach a more distant and novel landscape.\u003c\/p\u003e","brand":"Mangasick","offers":[{"title":"Default Title","offer_id":52531226247490,"sku":"9786269669141","price":383.0,"currency_code":"MOP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0771\/7113\/0690\/files\/Screenshot2026-03-21at5.31.46PM.png?v=1774085594"},{"product_id":"after-a-bird-fell-down","title":"After the bird landed,","description":"\u003cp\u003e\"As a bird's corpse gradually decomposes, the seeds in its belly slowly germinate.\" Beyond text and images, what other vocabulary can be used to tell this short story?\u003cbr\u003e\u003cbr\u003e_After the Bird Lands_ approaches from the perspectives of picture books and artist's books, focusing on the inherent structural characteristics and logical forms of books themselves. Combining the designs of board books and pop-up books, it incorporates \"page volume\" into the narrative.\u003cbr\u003eBut how can volume tell a story? This book creates a \"hole\" by hollowing out and stacking layers of inner pages. By placing tangible story elements within this hole, the concept of the book as a \"container\" is brought to the forefront, making readers aware of the volume of the pages.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAs the pages are turned, the holes in the inner pages grow larger, and a small seedling grows taller as the volume of the pages decreases. 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Following \"The Lost Soul,\" which depicted Nobel Literature laureate Olga Tokarczuk, she now collaborates with French children's author Gilles Baum, a former math teacher, to create a breathtakingly beautiful work.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJoanna, who once said, \"Images should not repeat what words have already said,\" immediately draws readers into an atmosphere akin to The Beatles' famous song \"A Day in the Life\" with a series of panoramic and album-like fragmented images at the book's beginning. You see the changing light and shadows on the lake surface, as if at different times, ever-shifting yet day after day. After the title page, the art style shifts to delicate pencil and colored pencil, and the narrative enters a new context:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\"People got used to staying in the water, living like carp.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSome days, no one spoke a word.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eIn a village without a horizon, silence was the best company.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDays passed by like that.\"\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSo people became accustomed to always gazing downwards—in this muddy world, it was the only possible way to look. However, one night, something extraordinary happened: light and orange hues filled the sky. In that moment, for the first time, the residents looked up, and the children, whose curiosity was only now awakened, were the first to surface, wanting to investigate (turning the page, Joanna inserts a beautiful scene of sunlight filtering through treetops, viewed from below).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe children discovered a peculiar person skipping stones across the water, creating beautiful melodies. Using the image of \"skipping stones\" as a catalyst, the world originally filled with mud, silence, and sorrow was replaced by wonder and beauty—until that magnificent finale.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIllustrator Joanna Concejo's colored pencil strokes infuse the words of French teacher and mathematician Gilles Baum with a world that is at times serene and melancholic, at others vibrant and sparkling. Gilles said, \"I had to be the narrator of that luminous moment, to record that instant of 'human resurrection.' The story unfolded before me so vividly. This time, finding an ending wasn't difficult; it was born in the trajectory of the last skipped stone—that skip was more perfect than any before it:\u003c\/span\u003e\u003cstrong\u003eWhat if that stone never stopped?\u003c\/strong\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAnd Joanna said, \"I think it's best to keep things in suspense, not to over-define or label. I'm a little afraid of 'language,' afraid of the power of words to fix things, words can sometimes weaken or truncate things, making them too clear and losing other possible meanings. I like the ambiguous quality of images; it's my communication with the reader's senses. 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