The author collects 12 designers and artists in different fields that she has interviewed in the past 10 years. They are both critical and reflective in their creations, deviate from mainstream aesthetic tastes, and we define this strong commonality as "bad design". I carry the concept of "bad" into every corner of the book. The Riso-printed photo on the outside of the protective cover needs to be torn off together with the plastic film, and this act is the beginning of the "bad". The book is double-sheathed, and the outermost cover has a total of 24 styles, which are cut from randomly selected inner pages of the book. I think that every person, every page, every word in the book is equal and has the right to be the subject of the cover. In the book, 6 young scholars from different fields were invited to comment on the article. Their words were interspersed in the book in the form of bullet screens. Each of them extracted a sentence and put it on the cover in the form of a takeaway note. It is our reverse digestion of "elite criticism". The text used on the cover comes from my graffiti on the abandoned walls of the urban village. The ugly and rough text fits my need for "bad". They are screen-printed in multiple layers to form a see-through occlusion relationship and cover the cover to create a cluttered, hard-to-read feel. In terms of typesetting, each article establishes its own completely independent grid system by means of font, font size, font weight, etc. This method of deliberately destroying the conventional reading logic from the perspective of vision makes the graphics and text form an external A state of chaos, obscurity and inner coherence. The tactile arrangement of the seven papers used alternately in the book also adds to this chaotic arrange.