Three days later, one evening, she finished her last painting at school in the studio, and I sat next to her. At that time, during the whole painting process, she no longer didn't say a word like last time, but chatted with me while painting, but still showed seriousness and concentration.

When she was done, she got up and stood in the distance to look at her work, and I got up to stand with her to look at it. The last time she stopped writing and told me that it would be completely finished in two or three hours, I saw that the painting was a very good painting even if it was not revised. When I see her completely finished work today, I deeply feel how grounded her dream of becoming a painter is.

The final work tends to be perfect, and there are no loopholes, and it is on par with her graduation painting.

I saw first-hand her finishing touches on this painting, how she brought an already perfect painting to life, and I deeply felt that the subtle secrets of art are always elusive. The addition of often unexpected dots makes the picture brilliant, and the choice of modifiable directions and modifiable ways is like doing the world's strongest brain teaser, and when we know the answer, we are always amazed at how unexpected the direction of thinking is.

She is also very satisfied with her final work, with a relaxed and happy expression on her face: "Finally finished." ”

Like the last time she finished drawing, she asked me to wash her pen and she went to wash her hands. After that, we sat and chatted against the white radiator as we did last time, and the warmth of the radiator passed through my clothes to my back, and she could definitely feel the warmth of the radiator. Her posture was like last time, with Jiro's legs crossed.

"Do me a favor." I say.

"What's the busy?" She asked, turning her head to look at me.

"Model me." I say.

"Models?" She said, "Do you want to draw me?" ”

"Yes." I said, "I want to draw you." ”

She turned her head, sat up straight, and didn't speak. I began to worry about it again, for fear of making it difficult for her to make a choice. I hope that all my requests will be answered by her with genuine intentions, and there will be no room for reluctance. She rejected me outright, and it didn't seem to me to be the slightest bit uncomfortable, and I didn't feel bad about it.

"Okay." She thought for a moment, turned her head to look at me and said, "When are you going to put pen to paper?" ”

"Right now." I said, "All your stuff is here, just use your brushes and paints." ”

"Now?!" She sighed and said, "It's too sudden." ”

"It's okay." I said, "You look good like this, it's natural." ”

She thought for a moment and said, "Okay. ”

There were a few easels scattered around the studio, so I got up and picked up one and put a sketchpad on it. Helen Lin brought me a canvas of hers, and I pinned it to the canvas. Then she put her brushes, palettes, and knives together and placed them on the table next to her easel.

When everything was ready, I found a spot and put a stool in the middle of the window for her to sit there. I took a general look at the light, moved the easel and the stool she was sitting on to the window, and turned off the two lights on the right wall, so that the light on her face looked more comfortable and more conducive to the expression of the picture.

At first, I wanted to paint a silhouette of her sitting on a stool with her legs crossed, but in the end I decided to just paint her half. I sat her on a stool and instructed her in her posture and position, and she behaved obediently and submissively, completely following my requests, without the slightest hesitation or procrastination. I also showed the calm and composure of a painter, and when I instructed her to sit, there was a confidence in her tone – completely different from the usual state when I talked to her. Although I only painted a bust of her, I still asked her to sit with her legs crossed and her hands on her laps. In this way, her body is slightly sideways, and if it is drawn, others can deduce her sitting posture from the picture at a glance.

I sat in front of her easel in front of her, conceiving the layout, making all the preparations, and observing her closely. Her expression was quiet, as if she were recalling some memory that was already gone. I sat in front of her easel in front of her, conceiving the layout, making all the preparations, and observing her closely. Her expression was quiet, as if she were recalling some memory that was already gone. I got the general proportions and outlines in mind and began to lay out the colors......

On the first day, because it was late when she finished painting, I only painted her portrait for an hour, leaving only a few simple outlines and colors on the canvas. For the rest of the day, we went to the studio every other day. Painted from nineteen p.m. to twenty-one and a half p.m.

I would wait for her on the steps in the garden across from the exit of their dorm building, and she was always on time, never late, never early. Every time I could see her walk out of the dormitory door towards me. At that time in winter, it was already completely dark, and I was standing under the street lamp on the steps, and I would pace back and forth when I waited for her, and my shadow changed position and size under the light of the street lamp. When she arrived, I went to the studio with her.

During that time, I completely gave up on looking for an internship and focused most of my attention on Helen's portraits. I still got up on time in the morning and went to breakfast on time, and I never deliberately created any "chance encounters", but I did meet her occasionally. Once, when I was having breakfast in the restaurant, I saw her sitting not far from me, and she saw me too, and I brought my meal and sat across from her. Chat with her while eating.

"You're much more cheerful than when I first met you." She said.

"Of course." I said, "People always have to change." ”