Especially the ordinary landscape tree in the picture is portrayed more realistically by Higashinoji...

And if you look carefully, you will find-

"Isn't the young man on the painting Asi?"

Higashino Chihaya asked, touching her head.

When she mentioned this, the others realized.

The young man who is painting the landscape tree in the wall painting is Higashinoji, and Higashinoji is painting the wall painting... This visual effect presents a sense of "painting in painting".

Higashinoji did not stop his brush because of their discussion. He washed the paint and began to draw the third painting again.

It is still a picture of a young man painting a tree, which is a little bigger than the previous painting, and he has put in both of the previous paintings...

This feeling is like an oil painting gradually becomes three-dimensional through the medium of the wall... leaving the "wall" and independent in reality.

Without hesitation, Higashinoji began to draw the fourth painting...

Just like the previous one, the first three paintings are put into it, and the feeling of passing through space and coming to reality is even stronger.

Just when Kome Lianghua and the others thought that Higashinoji's fifth painting would still frame the four paintings in front, Higashinoji raised his brush and put it straight down.

The fifth painting is unexpectedly simple.

It is the look of a young man with his face tilted and stretched out his brush sideways, and there is nothing else.

But this simple scene made Ari Kono couldn't help but rub her eyes, with an expression that she thought she had read the wrong eyes.

Because the brush stretched out by the young man in this painting is exactly aimed at the landscape tree in reality from the plane.

It feels like the landscape tree in reality was drawn by a young man on the plane in the wall!

This is undoubtedly a wonderful experience, and it is even a bit dazzling.

Layered from far to near, finally jumping out of the picture and turning into reality...

The fifth painting is indeed very simple, it is a young man stretching out his brush.

It does not put all the first four paintings together, but allows the overall picture to break free from the constraints and thus take root in reality.

Even the students who came to join in the fun couldn't help but rub their eyes together, as if they had read it wrong.

Because the person in the "painted" reached out to draw the "landscape tree located in reality"... Isn't this just because he read it wrong?

But what they don’t know is that human eyes are actually very easy to deceive. This kind of painting method of misaligning reality and wall painting is actually quite common in later generations.

However, Higashinoji prefers to call this painting method "hometown doll-style" painting.

He made some changes to the wall paintings he had seen in later generations and applied them here.

This is just a simple cleverness. Higashinoji is not complacent. After all, this kind of painting method is easy to learn, just a simple nesting doll and wall painting deceives people's eyes.

If you really want to say that there is anything to praise for the painting in front of you, it might be that he painted about nine points of handsomeness.

There is nothing else.

Higashinoji put down the plastic painting plate in his hand and raised his hand to start cleaning up the messy props.

But before he could start, Konoe Ryoka and Takahashi Yumi came over to help.

"Teacher Higashino, this painting is too... too..." Takahashi Yumi cleaned up and said it several times before she could barely put it into a word: "It's so interesting, right?"

"It's interesting." Higashinoji responded happily.

"Yeah! Yeah!" Yumi Takahashi nodded vigorously.

Then he took out a 10,000 yen banknote from his small wallet, looking excited:

"Teacher Higashino, look, can you draw another picture for me?"

Well...

Yumi Takahashi's "fist" is really unorganized.
Chapter completed!