In Living Color: Jian Guo’s Stained Glass Art and the Cosmere

Written by: Tayan Hatch

Published on November 1, 2024

Time to read 5 min

Like many of you, I’m continually amazed by the incredible talent of artists who bring Brandon Sanderson's expansive universes to life. One such artist is Jian Guo, the visionary mind behind the Chinese editions' captivating cover art, and the stained glass pieces hanging in the Sandersons’ home.

Known for his intricate stained glass style, Jian Guo has a unique ability to distill Brandon's complex worlds into stunning visuals that resonate with fans worldwide. I had the pleasure of speaking with him about his creative process, the cultural bridges his art builds, and how he weaves deeper meanings into his work.

Question 1: Your covers for the Chinese editions of Brandon Sanderson’s books have captured a uniquely vivid and immersive interpretation of the Cosmere. What elements of Brandon’s storytelling inspired your design choices, and how did you translate those themes visually?

Brandon's works have a strong visual ability in their own right, and the illustrations that come with the books I've seen create a specific worldview when combined with the text. Additionally, the rich background setting and details in the books are well-suited to my geometric style of painting, and I use abstract or simplified lines when designing patterns, which makes it easier to sketch out characters and leave room for the audience to further imagine.

Question 2: Each of your covers feels like a world in itself, with intricate details that fans love to explore. Can you walk us through your creative process? How do you begin visualizing a piece as vast as one of Brandon’s worlds?

It is essential to read Brandon's book first, and sometimes additional references or editorial notes are needed to provide clearer context. This mainly involves determining the framework and shared elements of the series' design, such as when designing the Chinese cover series for Mistborn, the circular structure with clouds surrounding the outer frame was one of the universal elements that locked in the three-part series. Second, reading the novel's details and key chapters helps determine the characters and scenes that appear in each book, and they are integrated into the frame and form narrative scenes, such as the cover of The Way of Kings, which depicts the glorious Knights Radiant fighting against the Parshendi on the Shattered Plains, which is the main plot of the book, and the background uses the double vortex converging lines and the circular emblem pattern as the series' universal element. The foreground character design and line flow are similar to the pattern of the eye of the storm, and together they create a sense of impending storm.

Question 3: Art often crosses cultural boundaries in ways words can’t. As an artist working on novels that blend Western fantasy with universal themes, how do you approach balancing cultural perspectives within your illustrations?

Just like the artworks hanging in the castles and churches of Europe, the sense of beauty they convey transcends time and borders, using traditional artistic techniques to depict fantastical universes beyond imagination. The surreal feeling that arises from the combination of the two can inspire readers' imagination, just like the plant and animal motifs drawn on the margins of manuscripts, which are ordinary things but give people a sense of novelty and enhance the charm of the text.

Question 4: Brandon was so inspired by your artwork that he even featured it as stained glass pieces in his home. How did you feel when you heard about this, and did it influence your connection to his work?

I first started working with Brandon on cover art by chance, and the art editor only provided me with very little material and fragments of text. Fortunately, the editor did not limit the style, so I was free to express myself creatively. I completed the commission freely, and I was surprised when the Chinese version was published and delivered to Brandon's hands. He liked the use of this style to show his world, and from then on, he began to gradually commission me to create more works in this style. I think that the narrative and sequential sense of the stained glass window–like style is very strong, and Brandon's writing also pursues an epic and melodic sense. The two complement each other, and it can be considered a small kind of understanding.

Question 5: Many fans have expressed how your artwork draws them deeper into the worlds of Brandon’s books. How do you view your role in shaping the Cosmere experience for readers?

Brandon's Cosmere universe has been attracting more and more talented artists to create, working together to complete the vision of this fantastic world through their brushes. I am just one of the artists trying to interpret this rich and colorful world with my own style, often simply playing a role in beautifying it. Brandon himself and the designers who provide the concept designs are the true creative core of this universe.

Question 6: There’s a lot of detail and symbolism in your covers that mirror themes within the stories. Are there any symbols or motifs you included that might be meaningful to readers on a deeper level?

In the real world, many trademarks and religious symbols have very important connotations and meanings, and some of the patterns in my works are given by the authors themselves, and some are from my own understanding after reading. The Allomancy patterns in Mistborn look like various metal nails and punctures, in contrast to the spiral winding of the mist; I think it is representing Ruin and Preservation. As the Everstorm in Stormlight passes through Roshar, the double pupil shape of Honor combines to form two overlapping spiral patterns. Eventually, I incorporated these elements into the design, and the composition tried to reinforce the message of the novel, mimicking the hidden symbolism, and readers might be able to appreciate the meaning of my design.

Question 7: If you could choose one character or moment from Brandon’s work to illustrate in a new medium or style, what would it be, and what approach would you take to capture it?

I have drawn a lot of fanart for those characters or scenes of the games I played; I captured their most wonderful scenes. Brandon's books are very rich. There are many characters and scenes to choose from. As a Chinese person, I like the setting of The Emperor’s Soul very much. The setting and the combination of seal carving and soul shaping may become a good painting theme, and the simple and bright story is also suitable for my story-based pictures to express. I'm reading the third volume of Stormlight, and as the plot unfolds, I'll find more clues and inspiration to draw.

A Final Reflection

Talking with Jian Guo left me feeling deeply inspired—not only by his incredible talent but by his thoughtful approach to capturing the essence of Brandon’s work. His passion for creating art that transcends language and cultural barriers brings richness to the Cosmere experience. Jian’s dedication to detail, symbolism, and beauty enhances each story in ways that are genuinely magical.

I’m so grateful to have had the chance to learn more about his process and to share that with you. Here’s to more incredible moments and visuals that invite us deeper into our favorite fantasy worlds!