Chapter 229: Chapter 140: Radiant as the Stars

Saint-Exupéry’s level of painting is actually quite ordinary; the original watercolor illustrations are at the level of a child’s simple line drawings.

If there’s anything special about them,

it might be... this French writer created a set of appealing simple line drawings reminiscent of child’s art.

Don’t underestimate "appealing," this straightforward evaluation.

A person without professional training and an amateur can create works for personal enjoyment easily, but when judged as pieces of art, they’re often not suitable for close examination.

Works that can reach the standard for commercial commissions are even rarer.

To be honest,

the original illustrations by Saint-Exupéry have received decent market responses over the years, with some readers genuinely liking them.

Apart from the natural subjective bonus brought by the author’s handwritten creations,

for an amateur painter, the final presentation of the work isn’t too bad and even carries a sense of childlike innocence.

Each illustration’s main figure is composed of sparse lines, and the background typically consists of extremely simple curves. Yet when combined, the overall image looks comfortable.

Gu Weijing previously could not understand why such a non-conventional pen usage could achieve such artistic effect.

Now he somewhat understands—

The secret lies in the composition.

While the original author’s painting skills have no outstanding features, the artistic conception is interesting, possessing a whimsical imagination.

Art learning values applying concepts broadly and understanding different domains.

Today, collector Chen Shenglin gave him pointers on composition, and Gu Weijing has gained a lot, gaining insights into the understanding of picture structure.

He discovered,

sometimes, composition doesn’t necessarily have to adhere to specific formal artistic theories; instead, being adaptive and flexible, incorporating personal understanding can achieve better results.

There is no one with a deeper understanding of the works than the original author.

An amateur like Saint-Exupéry, free from theoretical constraints,

in designing the pictorial structure, relies entirely on natural imagination, making it perhaps easier to break free from the rigid norms that professional painters fall into.

Just like Chen Shenglin, who has not picked up a brush in years, yet designs oil painting compositions that possess more vitality and life than those rigidly adhering to the pyramid triangle composition method.

After designing the draft for his upcoming exhibition piece, looking back at these illustrations again, he notices that the proportions in "The Little Prince" are quite intriguing.

The illustrations often have large areas of blank space and exaggerated proportions.

Unprofessional,

simple forms, yet the compositions have a Zen-like quality.

Compared to not-so-impressive painting skills, this kind of composition embodies the essence of Saint-Exupéry’s art and emotional expressions.

If not limited by the original author’s inherent painting skills after execution, the visual impact of these works could certainly reach a higher level.

"Interesting."

Upon realizing this, Gu Weijing decided to retain the basic structure of the compositions from "The Little Prince" while making careful micro-adjustments to fit visual proportions better.

After all, in every trade, one excels in their vocation.

Saint-Exupéry is not a professional artist; although imaginative in composition, it remains somewhat rough in many places.

Wherever the structure can clearly be optimized, Gu Weijing doesn’t necessarily have to follow it verbatim.

Combining the pen sketches that Gu Weijing has already completed.

Soon, he already has mature ideas in his mind and has picked up the painting knife again.

Time flows slowly.

By the time the moon is high in the sky, a row of completed illustrations lies before Gu Weijing.

He places the palette aside, scrutinizing his work.

[Title: "Little Prince - The Lonely King"]

[Painting Technique: Painting Knife Painting·Legendary Level]

[Emotion: Heartfelt]

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[Title: "Little Prince - The Garden of Blooming Roses"]

[Painting Technique: Painting Knife Painting·Legendary Level]

[Emotion: Heartfelt]

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[Title: "Little Prince - Chaotic Drunkard"]

[...]

A dozen or so painting drafts awaiting drying almost occupy an entire wall.

The painting knife technique is indeed rapid; once a clear idea is formed, completing so many illustrations is just a matter of hours.

Without surprise, the emotional rating for each piece reached the level of being heartfelt.

This is the best-looking set of illustrations that Gu Weijing has ever painted.

"Mr. Tree Sloth, I’ve finished a new batch of illustrations, shall I send them for you to take a look?"

Gu Weijing scanned each illustration into an electronic format and sent them to his agent.

He is very satisfied with these paintings.

In terms of technique and emotion, they have reached the limits of his capabilities, and the composition aligns with the original author’s true intention.

A lonely and arrogant king, a rose full of fantasy and longing to be loved, an alcoholic submerged in alcohol to forget pain all day...

The images are vibrant but not vulgar, the lines elegant yet not frivolous.

Compared to the first illustration he sent to Mr. Tree Sloth, besides the straightforward visual appeal, there’s more of a three-dimensional sensory touch.

The beauty of this set of illustrations is no longer just about looking stunning but carries a heavier atmosphere.

This mysterious feeling is difficult to articulate directly with words.

After injecting emotions, the characters in the picture instantly come alive, no longer just a two-dimensional oil painting but more like infusing a living soul into it.

This is the highest pursuit of illustrations, the so-called sense of communication.

Art speaks for itself.