書封以深綠色書布做底，呼應兩位作者老師跟教授描繪自然地景，也回應他們對家鄉土地深厚的感情－土地是孕育自己，讓人聯想到「大地母親」這個概念，孩童時候，常是母親為我們縫補衣服，畫面中間的線條用刺繡的方式，致敬土地的孕育，也象徵人與土地的親密連結。

葛柏雅教授在書中提到線條很適合表現風景的多樣性－可以代表田、作物、山、或是溪的形象。而線條也有「連結」的意象，將王傑老師在的七堵與葛柏雅教授的戈勃谷連接起來。

瑞士畫家保羅・克利（Paul Klee）也很關注線條元素，還作為在包浩斯教授造型課程的主題，他認為單點的移動即成為線，線條為移動的痕跡，更主張線條能呈現不同的「步態」。

《雙城圖簿》也可作為《雙城徒步》是老師與教授以自身作為點，在家鄉的土地上移動汲取靈感成為徒步的線，再運用線條在紙上繪製而成的圖簿。

The cover uses deep green book cloth as its base, echoing the authors’ depictions of nature and their deep connection to their homelands—lands that nurtured their growth, evoking the image of Mother Earth. As a child, it was often the mother who mended clothes, so the central line is expressed through embroidery, a quiet tribute to care and memory.

Professor Corbella mentions that lines can capture the diversity of landscapes—fields, crops, mountains, and rivers. Lines also symbolize connection, linking Wang Chieh’s Qidu with Corbella’s La Vall de Corb .

Swiss artist Paul Klee, who explored the expressive power of lines in his Bauhaus teachings, believed that a moving point becomes a line, and a line is the trace of movement—each with its own gait.

雙城圖簿：加泰隆尼亞與台灣風景
ARRELS PICTÒRIQUES:Diàleg entre CORBELLA i CHIEH｜
書籍裝幀設計