A thick, unkempt line is streaked across the strip, with barely any effort displayed. A black marker is used as the medium to cover a bigger and darker area in a short time.

In this case the process is also a defining statement to the concept of the given emotion.

A uniform string of two-dimensional dots is uncomfortably broken by a 3D square which stands out untactfully in terms of its size, shape and position relative to the dots.

A black micron pen is used to show clarity and allow the neat design to enhance the awkward situation attempted.

From a single point or dot pierced through a white strip of paper, the strip is quickly torn apart halfway in different directions.

The same is done with a black strip which then overlaps the white strip to give a protruding physical 3D effect. The raw, physical tears are intentional to exude an air of an outward-lashing aggressiveness, like a wild beast clawing it’s way out of incarceration.

Turbulence never feels flat, which is why a 3D strip was constructed from kitchen paper soaked in a mixture of glue and black Chinese ink.  It is then molded in a rocky structure and stuck on the strip to dry. More black paint is then swathed over the dried product to give it a bumpier gravel effect.

Swirly lines that weave and intertwine with each other show the fluidity of a lyrical mood. This is further emphasized with varying loops that the lines make and their varying gradual thickness. Micron pen used.

A bizarre line would be far from uniform or calm. Without giving my marks too much intention, I made the lines with jumpy, quick and erratic movements.

The contrast of negative space is then used in the diagonal halves of the strip to make the design even odder.

A medium-sized paintbrush is immersed into a mixture of Chinese ink and water, and then flicked onto a white strip in random directions.

I envisioned psychotic as someone whose brain has snapped like a frayed rope tearing apart from overload. I used deep, dark, jagged lines to intensify the malevolence of this strip. Outstretched roots and veins are portrayed to seem like they are desperately trying to grab hold of whatever they can in order to feel complete again.

Measuring every grid down to the millimeter, Tetris-inspired blocks are added and fitted to each other such that every block fits perfectly with one another.

This strip is deliberately placed beside ‘Systematic’ to juxtapose how being indecisive does not work well with being systematic. The result would be a poor attempt to fit everything nicely, just like how decisive planning in life is also crucial.

I used oval shaped dots to assimilate footprints walking to and fro continuously. I myself am guilty of pacing about whenever I feel anxious or excited. I was satisfied with this version because they also bore some resemblance to crawling ants, which give a good number of individuals an uneasy feeling.

A very thin vine is drawn with a trembling hand, which splits and curls away from the sheer lack of thickness every now and then.

Two interwoven lines are illustrated, both with fading thickness, one smothering the other from above and below. Whenever the two faded regions meet, it creates a deeper contrast to the rest of the strip.

Character is given to the graphite strokes, as if it requires immense effort to simply create a constant dark tone. Numerous attempts are made to create as many dark tones as it can with minimal success.

This was supposed to carry the same idea as that of Draft 2, whereby a series of horizontally aligned squares would lose its linear focus and trail off. However, a genuine mistake was made due to a lack of focus where the supposed pencil-marked squares were supposed to be outlined by a marker. Instead, the empty spaces between the squares were outlined into squares, thus leaving a pencil-marked square without a marker outline.

This pattern is an optical illusion-inspired piece, where it is seemingly a solid object, perhaps the legs of a table. Yet, on closer scrutiny, there is a flaw in every repetition.

Concentric circles are still used just like in the first 2 drafts, but the lines are now solid instead of perforated and not symmetrical. This is to give the design an inward sliding effect, as if to plunge into a never ending pit to escape from the embarrassment of a situation.

Odd and simple objects are used in this minimalist approach. The objects all possess little to no relation to each other to effect a queer and undecided atmosphere.

It can mean something, or it can mean nothing.