Still, I See

The book comprises two chapters, compiling author Feng Yan's reflections and insights on transitioning from practice pieces to original creations, and from life experiences to artistic expression.
Through deliberate binding design, readers are able to perceive and deeply feel the inner meaning conveyed and carried within the book.
The design connects the slipcase, cover, and interior pages via precisely die-cut circular and square openings, with the apertures serving as an enduring metaphor for "seeing". The slipcase is printed with luminescent ink, revealing the subtle dynamics of day and night as light shifts.
The pure white cover, finished with a colorless debossing technique, envelops the richly colored interior pages, symbolizing the evolution of a painting from blank canvas to completed work. The flap repeats the opening text but presents it in two distinct printing techniques, suggesting multiple interpretations of the same content from different perspectives.
As the themes often relate to natural elements, a blue-green tone is adopted as the primary color and printed at the head. The foot retains traces of the original printing, echoing the book's depiction of the creative process.
Thus, the three edges of the book each exhibit entirely distinct states: from initial blankness, to primal purity, and finally to vibrant color, capturing the work's life trajectory like fragments of time, while also reflecting the author's personal journey.
Long-fiber, low-density eco-friendly paper is used throughout, offering a texture that is both lightweight and resilient, in harmony with the unadorned sensibility conveyed in the book, and plainly expressing the author's contemplations on life and creation.