Aiko Kijo exhales at the end of the day's student council work.

She won't be able to see the scene of the North School for long, and after a while, after the end of the high school students' classes, they will have to leave the school to study at home.

And this also symbolizes the end of her student status and the beginning of the days of entering society and accepting social beatings.

This is also something that can't be helped, and Aiko Kijo doesn't blame her parents, younger brother and sister.

It's just that what should be regretted will still be regretted.

As for the matter of entering social work... Aiko Kijo only told Tsukasa Higashino.

"It's good that I only told Higashino-san," Kijo sighed.

For Tsukasa Higashino, she is still very relieved, and feels that Tsukasa Higashino is not the kind of person who likes to spread things around.

After all, Higashino Tsukasa is very good at being a person, and he is much more mature than many boys of the same age.

The kind of situation where she cried just now, if it were some high school boys, they would definitely look like 'I understand you, I understand you', and then talk nonsense to comfort her.

"Let's go back." Aiko Kijo took a deep breath and turned to lock the door to the student council room.

Then...

Then Aiko Kijo bumped into Asami Machu, who ran over in a panic, and then she heard Mazami's hurried voice: "Aiko-senpai, aren't you going to college?" ”

"Huh?" Aiko Kijo looked confused when she heard this.

Could it be that Tsukasa Higashino told Asami Machu about the matter?

But it shouldn't be.

Tsukasa Higashino isn't that kind of person...

That is, who heard her conversation with Tsukasa Higashino, and then spread everywhere, and finally reached the ears of Asami Machu?

It's possible.

Because Higashino-san can't do such a thing-

"Higashino-san told me. He said you're ready to look for a job after graduation... Is it true? Aiko-senpai? ”

It's really Tsukasa Higashino?!

Aiko Kijo was speechless for a moment.

All she could think about was that at that time, Higashino Shile nodded and promised her, 'Okay, no problem.' ' expression.

But she didn't be stunned for too long, because Asami came to the front from time to time: "Is it true?" Aiko-senpai? ”

Asami couldn't help but ask.

Because it was Tsukasa Higashino who told her, she still cares about it... After all, there is no need for Higashino to lie about such a thing.

"Uh..." Aiko Kijo wanted to smile, but she didn't know how to laugh, so she could only force the corners of her mouth very stiffly: "That's it..."

The way she looks makes people feel like, 'If there was a 'wry smile' in this world, then this is probably what it looks like.'"

“... Is it true... But just now, Aiko-senpai, are you still..."Asami Mazumi's eyes widened when she got the answer, and she was speechless for a while.

She understands how important going to college is to Aiko Kijo, so when she learns the news, she can only move her mouth in hatred, and a thousand words are only turned into one sentence: "How can this be..."

The rest is simple.

Asami comforted Kijo Aiko and cried.

And her crying seems to have poked at the weakness of Aiko Kijo, who finally couldn't pretend to be so bland, and couldn't help but hug Asami from time to time and cry.

Just as yawning is contagious, one person crying or laughing can also infect others.

But in the same way, some annoyances are much more comfortable when crying.

Youth is indeed full of regrets, but in retrospect, in addition to the regret in my heart of 'alas, why did I do that at the time', there are also times when I can't help but hook the corners of my mouth.

The high school years, full of sighs and unwillingness, are not perfect.

Aiko Kijo fully understood this at this time.

Sharing her unwilling but helpless emotions with Asami Mazuka made her feel much better.

But after feeling a lot, she couldn't help but think of the culprit Higashino, and couldn't help but shake her head and sigh, a little angry: "Higashino-san... I told him not to tell Asami about this. ”

Although there was complaint in the tone, it was more of gratitude.

At least Higashino let her know that she wasn't alone in withstanding the pressure.

But...

Aiko Kijo raised her head, and her heart couldn't help but think about it: "Why did Higashino-san do this?" ”

The same is true of the fan.,Tell this about Asami Mazuma too...

Tsukasa Higashino doesn't have to do so much for them... Did he have any motives?

Regarding Kijo Aiko's question, Asami Machu next to her was also full of incomprehension.

She originally thought that it would be almost the same if Tsukasa Higashino helped write, but the other party was helping to find someone and telling her about Aiko Kijo's graduation... That certainly helped a lot, didn't it?

You must know that she took the initiative to break up in front of her, and the accomplice is the senior sister Aiko Mujo next to her.

The two of them were puzzled, and in the end they could only attribute it to the fact that Tsukasa Higashino was a good person.

At the same time, Aiko Kijo couldn't hold back the apology in her heart and said to Asami Machu next to her: "I'm sorry, Asami, when you broke up with Higashino-san... I should advise you. ”

As she spoke, she raised her head and sighed deeply: "If only I caught the happy blue bird..."

Asami shook her head, and remembered that Tsukasa Higashino helped today, and she also looked up at the ceiling, with a slight relief in her tone: "It's not that I didn't catch the happy blue bird, but I let it go." ”

The two of them sighed here, and what they said was also gentle, if Higashino Tsukasa was here, he would wave his hand and shake his head - who is the bird?

And when the two of them sighed here, Tsukasa Higashino rushed into the studio early, took a drawing board with Ryoka Konoe and began to paint.

He thought deeply about what Aiko Kijo had just said, and his thoughts were at a high point at this time, and he was full of inspiration.

I regret the loss of something good... He did feel that sense of regret.

This is in line with the theme of the Art Awards, 'Regret for the Passing of Something Good'.

But at the same time, Tsukasa Higashino also experienced the feeling of Aiko Kijo accepting the reality of helplessness and becoming mature and relieved.

This kind of mood may have been shared by Tsukasa Higashino before.

But after he entered society for several years, this feeling of 'maturity' was gone... It should be said that the mind is numb.

And this is also in line with the theme of this time - growth.

Yes! Tsukasa Higashino intended to paint an oil painting that both expressed growth and regret for the passing of something beautiful.

In the process of growing up, people also lose a lot of things.

Youth is sloppy, and we are all wrapped up in time and grow up in a hurry.

It's both growth and loss.

That's the theme that Higashino has decided on this time.

And the title of the oil painting, Tsukasa Higashino, also thought of it, just a few characters-

"Summer is Over".

Many people may wonder about this title... The current season is still winter, and there is still a period of time before the beginning of spring, so why is it that summer is over when you get here?

But in fact, the phrase 'summer is over' is comparable to 'the moonlight is beautiful' in Higashino's previous life.

It is different from the hazy love implied by the metaphor of 'the moonlight is beautiful'. 'Summer is over' is a sign that something good has disappeared from life.

Summer has always been a special season in Japan.

There is Koshien, which has attracted the attention of the whole country, struggled desperately, sweated and slightly regretted, there are also fireworks that suddenly disappear at the end of the fireworks festival, there are unsent letters, and there are also love affairs that end without a problem, there is the sound of squeaky and shaking electric fans, and there are also popsicles melting and dripping on the asphalt road.

Japanese people have always had an indescribable affection for summer, just as they have an inexplicable feeling about winter.

Summer came to an abrupt end, and people suddenly grew up overnight.

For this reason, the phrase "summer is over" is as popular with Japanese people as "the moonlight is beautiful."

It's just that 'Moonlight is Beautiful' is more widely spread - after all, it has the bonus of the writer Natsume Soseki.

And this is the main reason why Tsukasa Higashino chose the phrase "Summer is over" as the title of this painting.

Tsukasa Higashino pinched the brush in his hand, feeling the mood of Aiko Kijo that he had just experienced, and thoughts and images quickly appeared in his mind...

He didn't hesitate any longer, he picked up his brush and began to paint.

This canvas was prepared by Tsukasa Higashino a few days ago, and it is just right to use it.

And next to Tsukasa Higashino, Ryoka Konoe didn't dare to breathe, for fear of disturbing Tsukasa Higashino's creation.

But the same... She was also a little curious.

Unlike Kuronomiya Akisa, this was the first time she had seen Tsukasa Higashino, who was so focused on painting.

Usually the expression of joy is almost invisible, but Tsukasa Higashino's expression is very serious, and the movements are indescribably standardized, and there is a sense of ease and freehand. Watching him draw is definitely good for the treatment of OCD, because he doesn't have any superfluous movements from beginning to end, and the lines are well scaled...

But...

Tsukasa Higashino came in in such a hurry... What do you want to draw?

Higashino Tsukasa walked in in very anxiously just now, didn't say hello to anyone, and seemed to have only a drawing board in his head, so he rushed over directly.

This startled Ryoka Konoe, and the paint in her hand almost didn't catch on her own face.

This is the first time Ryoka Konoe has seen such a serious appearance of Tsukasa Higashino... Of course, she was a little curious about what Higashino was drawing.

In fact, not only her, but even the other girls in the studio looked over curiously.

They are students who were selected by Yoshiko Okano to participate in the Art Creation Awards.

Although Ryoko Okano thinks that it is basically impossible for them to win the award, if they participate, there is a chance, you must know that this is a grand event for young students from all over Japan... No matter what's going on, they have to make up for it, and it's good to have a little more experience.

So just like that, many girls in the studio put down their brushes, secretly stood behind Tsukasa Higashino, and then stretched out their heads.

Higashino didn't hesitate like them, it took a day or two to make a draft, a few weeks to put on a color, and a few weeks to revise.

He just rolled up the brush and started painting as soon as he got started.

Of course, this is what Higashino only does when he is inspired.

Because when you have inspiration, your hands are not controlled by others, as if something is pulling you away, and you can draw your hands before you think of them with your brain.

It is different from the previous "Tokyo Sunset Impression" and "Tokyo".

It's probably a summer room.

There are some shabby metal window frames, and the sunlight outside refracts on them, which has a little shiny color.

The bed against the metal window was littered with messy bedding. Next to the futon are curtains that were supposed to be navy blue, but they look gray due to age.

Among them, the electric fan, which has been damaged and exposed the color of red and blue wires, squeaks and squeaks on the bedside table and turns...

Tsukasa Higashino's technique is superb... The whole picture looks very realistic.

Everyone just felt as if they were in this room... It's a scorching summer day outside, and it's accompanied by cheerful memories of summer.

The main color set by Tsukasa Higashino this time is zinc white with yellow.

This makes the whole picture full of beating and restlessness.

The fresh colors are like a cool breeze blowing into the lungs on a summer day, making the whole person feel much more comfortable.

But...

"The main color is so jumpy... Do you still want to use the classical painting method like this...? ”

There was a little girl next to her who couldn't help but whisper.

The so-called classical painting method is actually a realistic painting method.

Logically speaking, the main color is so jumpy, it is better to use some painting methods in impression painting.

Although this little girl, as a member of the Kita-Gijuku studio, of course, understands the strength of Tsukasa Higashino... But that's too messy, isn't it? If you don't deal with the connection well, the main color and realistic picture that jumps off will cause a gap between the two.

This is what some textbooks on painting taught her... And it makes a lot of sense.

But she didn't speak again after she said this, and continued to read quietly - maybe Higashino Tsukasa has a way to solve this sense of disconnection?

In their gaze, Tsukasa Higashino painted a scroll of brushes.

The zinc-white color makes up the soft sunlight, and the yellow in the middle accentuates the hue, so that the overall color looks less jumpy, but presents a hazy feeling of summer heat and people will not wake up.

But...

"There's still a sense of separation..."

Another little girl spoke.

Indeed, there is always an indescribable sense of disconnection in Tsukasa Higashino's paintings this time, which makes people feel very uncomfortable.

Realism and jumping out failed to combine.

That's not right... If I continue to paint like this, I guess this painting will be ruined.

Everyone subconsciously looked at Ryoka Konoe.

They were embarrassed to stop Higashino Division, after all, the main palace of Konoe Ryoka was here.

To persuade her boyfriend to be herself, she also went on it herself.

This made Ryoka Konoe very embarrassed, but she didn't say anything, silently watching Higashino's next move.

Tsukasa Higashino also left a part of the bed next to the bed in this summer room in the middle...

It's like drawing a sketch of the human body with eyes to be considered a complete painting.

She feels that the blank space should be the most important place for Tsukasa Higashino to overcome the sense of fragmentation of the whole picture - that is, the so-called finishing touch.

Under her gaze, Higashino's brush finally lifted.

I'm ready to put pen to paper in the blank space.