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Between Rebecca and I, we decided to display her works orientated in a portrait position- she herself said it didn't make much difference - as we can better fit them all in.

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Rebecca Abstract drawings of character monologues - Ben

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Rebecca Abstract drawings of character monologues - Ben

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- complete 2X character monologue text-art for each of the 3 characters (6 images on A3 paper; scan to A3 acetate)

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For my layer, we have decided to print the word art on acetate. We decided to do this via six A3 acetate panels framed by the black paper surroundings

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I found that writing for another person's character presented both an unusual task, but also the difficulties of compromise. For example, although Rebecca felt that Ben's character was particularly well portrayed within the interior monologue part, when I first handed in the whole piece there were elements of the character she didn't like - the fact he was an occasional smoker (which I myself didn't mind cutting, it was more to move the plot forward that I included this detail). Similarly, I found difficulties in writing for Rachel's character George - the first draft of his monologue had only been 50 words long, and she wanted me to expand on this, which I duly did.

Rebecca suggested watching the dance she had been inspired by  - 'Overdrive' by Richard Alston - to inspire the different thoughts each separate character might experience. I found this helpful for my practice, to have the visual stimulus of a scene for inspiration. It is something I will try more frequently from now on.

Additionally, the use of the Pinterest board to create a collection of images for Lizzie's character has inspired me to use this site to help 'give form to' characters within my other writings.

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Overlay of the three hand-drawn word-art monologues - experimentation

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Overlay of the three hand-drawn word-art monologues - experimentation

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Although we collectively agreed the visual effect was alright, I decided not to overlay the three different characters monologues. This was becuase I felt it just seemed a bit too cluttered. Also, as I am now using a combination of more colours for each, the same multi-hued effect will be created just from one image. Finally, as Rebecca in her layer has also chosen to keep the abstract character drawings as separate from another, I just thought this would work best in the work as a whole.

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My layer second attempt - hand-drawn - Lizzie's monologue

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My layer second attempt - hand-drawn - Lizzie's monologue

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We all having decided on which part of the text to use for the outcome, and myself having expanded it so each character had an equal amount in their interior monologue - now I choose the key words and terms to highlight within my outcome.

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My layer second attempt - hand-drawn - Ben's monologue

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My layer second attempt - hand-drawn - Ben's monologue

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My layer second attempt - hand-drawn - George's monologue

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My layer second attempt - hand-drawn - George's monologue

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My layer first attempt- word art on Microsoft Word (for lack of fancy Adobe software...)

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My layer first attempt- word art on Microsoft Word (for lack of fancy Adobe software...)

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Although both Rebecca and Rachel did like this work, I decided to hand-write the layer I'm creating. This was partly due to time, partly because I thought it would better embody the characters; finally, it would merge better with their own hand-drawn work. I did wonder if this will compromise the eventual final piece, or if Rachel and Rebecca were unhappy about my choice, but they seemed to be fine with my final decision.

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Rachel, Rebecca and I thought it would be nice to have some actual figures within the work (seeing as my layer is word-art and Rebecca's is abstract art). In response, Rachel has worked on some figures which could either be incorporated into her layer, or hung between her outer layer and my middle layer, if time and resources allow.

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Rachel's drawing of my character Lizzie - 

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Rachel's drawing of my character Lizzie - 

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In discussion with my collaborators, we decided to change who was doing each layer.

Now, Rachel will complete the largest outer layer - as she is working on the 'environment' of the dancehall, this made the most sense. I will complete the written emotions the characters experience during the dance; and the top layer of the rotating mobile will be an abstract representation of this by Rebecca.

In addition, having spoken to the technicians we're now making major changes to the structure. Instead of Rachel's suggested ideas of steel beams or cut plywood to form the con-centric circular structure, we've had to downsize. Instead, for cost and time efficiency - we're using sports hula hoops, spray-painted black, attached with rods (again black) and the whole structure is to be hung. On the upside, as it is now far more lightweight we can actually have this mobile rotate (hopefully, time and resources allowing). I feel this could really emphasis the idea of motion - after all, the plot pivots around the motion of dance. I am optimistic it will work out.

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Rachel used our shared Pinterest Boards to 'pin' visuals to help inspire the outcome

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The final layer Rebecca is creating. She is going to expand on the abstract drawings created to represent character. In terms of materials, we need it to be translucent mostly, with opaque areas. We discussed this and decided to print on acetate sheets the patterns to get different colours/sizes of things, but also use collage and paper-cut to create shadow.

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The second layer is supposed to represent the stage - Rachel is in charge of this. She says she'll likely work with collage, mixing abstract drawings with the silhouettes of dancers to set the scene.

Below are some examples of Rachel's 'tests' for this layer:

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The first layer (the one I'll work on) will include the actual written text - so a literal representation of character - of the excerpt selected (we chose to use just the interior monologue parts for each of the three characters watching the dance). It's been left largely down to me as to how to create this, although as I am not an artist I am keen for Rachel and Rebecca to support and guide me through choosing how best to display this.

Rebecca posted the work of Jane Peterman on the group chat to get me started:

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In discussion with my collaborators, I was advised to focus in on the excerpt we chose, which was the internal monologue part, and expand on what I'd written for Lizzie and George as Rebecca's character Ben had a considerable amount more written. Once 'evened-up', I could then consider how many of the total 600-so words to include in the outcome.

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Although we had originally settled on the 'boxes' idea, we decided against this. In a critical feedback session amongst other NUA peers, Rachel and Rebecca's prototype of the boxes didn't go down too well - the audience said they would have preferred to see a larger scale, less enclosed installation, to truly represent the 'freedom' of dance.

Another suggestion was to actively get me, the writer, involved in the actual physical artistic creation of the project. In this regard, I will now attempt to complete a 'layer' of the new idea.

The new outcome idea is to have a three-tiered mobile/lamp/hanging, with light either from the centre or shone through it, which will cast the designs upon the wall. There will be three open top and bottom cylinders within each other, opening up in that 'Russian-doll' style. The circle form they choose to be aesthetically pleasing and to represent the Roundhouse. I didn't feel this was a compromise, and actually preferred this new idea to the original one as it would be really interesting to see a part of my actual text displayed visually.

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Rachel's illustration of Camden Market (possible setting, outer layer)

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Rachel's illustration of Camden Market (possible setting, outer layer)

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George Alice:
16; Pet squirrel; likes knitting, rock-climbing and diving; doesn't like green; wants to be a pediatric nurse

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Ben - abstract representations by Rebecca

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Ben - abstract representations by Rebecca

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Rachel was unwell this week, but Rebecca and I met anyway to work on connecting our two characters, and formulating provisional ideas for the outcome. We put the 'mobile' idea aside as something to possibly come back to, as it turned out the three of us were having doubts about it. Instead, Rebecca suggested a series of interactive boxes to represent the scene. We also thought of a possible scene for our three characters to interact it - at a dance showing (a dance created by the choreographer Benjamin), which Lizzie and George (Rachel's character) attend. We thought also on the artist Rachel lately added to Pinterest - Irma Gruenholz - who creates sculptures out of clay. Rebecca and I thoguht perhaps she could work on the interactive boxes, and use string (like Gruenholz) to make her 2D illustrations 3D; and Rachel could possibly work on creating either clay models to interact within the scene, or a separate 'setting' box; or perhaps something more open than a box - like a stage. We also discussed the idea of having Rachel work with setting and possibly creating clay characters (which is more grounded in reality) frame the climax of the writing piece, which is the dance, which could be presented in a more abstract way.

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Lizzie - Abstract representations by Rebecca

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Lizzie - Abstract representations by Rebecca

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Benjamin Zhang:
French-Chinese, 27; choreographer, dancer; mysterious; stubborn, but also approachable; passionate about his work; people want to work with him; smart

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Rebecca envisioned Lizzie as being younger than I had imagined her, but I felt this worked really well. She also created abstract illustrations to represent Lizzie (left and left below)

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I illustrated my three characters as prompted to do so by Rachel. I enjoyed the process, and it gave me an insight into different modes of creative practice. Rebecca and Rachel both created characters of their own (shown further down).

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Edgar Degas - Little Dancer aged Fourteen

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Edgar Degas - Little Dancer aged Fourteen

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Although I liked this piece, I didn't create an outright response, but thought it could be an alternative route regarding Rebecca's work, as she had explcitly worked with drawing the motion of dance. I discussed this with her, but as she has already worked on the 'Lizzie' character (and enjoyed that), we agreed to dismiss this idea.

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The Fijian's don't actually hunt whales, but collect the ivory from beached carcasses. The highly polished and beautifully bespoke Tabua is used as a gift of honour.

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I created 3 Pinterest boards (one for Rebecca to add to, one for Rachel to add to, and a board which encapsulated a few details relating to my character Lizzie. Rachel has since added to the Pinterest board, including the work of Irma Gruenholz, which could be a different take on things. She also suggested that, in a crossing of our creative specific area, that I draw one or more of my characters, and her and Rebecca both write about then illustrate a character (using the alter-ego and lonely hearts premise combined). This could be immensely useful to try adapting to the practice of our collaboration partner. I also think it (as Rebecca has briefly illustrated Lizzie in a semi-realistic way - not abstractly) could be really fascinating to experiment and see how our illustrated interpretations of the same character vary.

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Find and save recipes, parenting hacks, style inspiration and many other ideas to try.

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First 'proper' meeting - 31st January 2017

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First 'proper' meeting - 31st January 2017

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Rachel, Rebecca and I met at the Norwich University of Arts (Guntons Building) so I could physically see their work, and to discuss ideas for the project. I showed them both my Pinterest boards I'd created having looked at their websites; also clearing up some uncertainties regarding the character development pieces I'd uploaded for them (I, having slightly misinterpreted the brief, linked two of my characters already. We decided to separate them and focus mainly on the 'Lizzie' character). Rachel had actually already been looking into one of the artists I had saved to the board, we seemed to have quite a few common ideas - for example, the idea of creating a 3D model of a scene.

Rebecca's board was conceptually harder for me to find 'matches' of artists for her style. Although - like Rachel - Rebecca had a lot of the links I'd found saved already; whereas I had the idea of her illustrating the diving motion from ideas from my piece 'free-diving in Fiji', Rebecca instead wanted to focus more on another motion: dance . I hadn't realised she had already created a wonderfully abstract character: her character was the motion of a dance created by a (real-life) choreographer, Richard Alston.

In terms of beginning to work with each other's creations, Rachel hadn't had the time as she had 'hand-in' to complete for her course. I completely understood and it wasn't an issue as she has contributed thus far in many helpful ways to the group. Rebecca had however, drawn some beautiful abstract representations of my character lizzie - appearance, traits, and even her hometown and upbringing were alluded to! I was really impressed with the work, and thought the style very well matched for my character's personality.

We had the idea of creating a scene in which Rebecca's dance 'character' and my Lizzie interact (Rachel said she was fine to create a 'setting' if I provide plot, and Rebecca works on representing the action and characters). We are not quite sure yet what form this will take, but one idea was to have Rebecca's drawings used to represent and interaction of Lizzie's experience of the dance (within her mind) and the dance character itself, then Rachel would create either a textured backdrop to project the drawings onto, to represent the setting of a theatre where the dance is performed; or to create a 3D mobile using shapes and colours from Rebecca's drawings. We are aiming for a three-way collaboration, but have all agreed that we could be flexible and split if it proves too difficult to configure the two styles of artwork in a single piece.

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In my creative writing seminar, I was instructed to create three character profiles. One based on a lonely hearts column, the second after visiting the Sainsbury centre and being inspired by a piece on exhibition there. Finally, to create an 'alter-ego' character of myself.

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UEA portfolio -

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Example 2 -

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Example 1 -

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I met with my two NUA student pairings Rebecca Loh and Rachel Edwards. We discussed our particular styles. Rebecca told me she draws movement; she has looked at the way actions like dance can relate to the page. Rachel told me she creates charcoal drawings; draws buildings, and has experimented with 3D sculpture. Thinking on these two different styles, I concluded that for Rebecca I could focus more on a piece with character and action; whereas Rachel might find it better to work with setting alongside character.

We also discussed my own work, which I loosely described as sort of 'prose-poetry'. I then uploaded 3 pieces of writing created prior to the project to Google Drive (also messaging each other via a Facebook group chat).