Unit Evaluation

In terms of learning, this has probably been my most exciting unit so far on this course. I came into Specialist  Practise wanting to do something different, something new and exciting and ultimately, something to improve my chances of employment once I have graduated. I took my minimal knowledge of what happens in industry in regards to the production of a set, after it has been designed and  have been able to make myself a key element in the making of the sets for the Autumn Term productions. 

I had had a small amount of tuition for using AutoCAD when I was on placement at the National Theatre, and it took me a good few weeks to get back into using the tools. It's all very easy to forget and AutoCAD isn't the most user friendly computer programme! When I was at the NT I was only taught drawing tools, nothing about layers, formatting, templates or plotting and page layouts. I'm very proud of what I have been able to teach myself. I have no idea if what I am doing is the correct way to do it, but the resulting effect is what I want so that's good. The biggest struggle I came across with the page layouts was trying to customise my own paper space. Once a friend of mine showed me where the wizard was hiding, I was able to create the AUCB layout. Once I had discovered the Layer Properties Manager, I was also able to create and manage my own layers which sped everything up a great deal! 

Not only has using a new computer programme been a huge learning curve, I have been working with Richard McCabe, set builder, to be able to contextualise my drawings, and make sure that what I am drawing is relevant and most importantly, an aid to set building. Being involved in the set building process was brilliant! I feel that I went into it eager to learn and I have learned so much. During the get out for In Extremis John made a comment, "Less than two weeks ago you didn't even know how to use a power drill!" and there I was conducting the disassembly of a huge structure with a team of actors to help. Building was physically hard work, and the long hours were draining but I absolutely loved it. I really enjoyed working with Richard, and I feel that we made quite a good team! I listened to what he was telling me, advising me and guiding me, making the most of someone with thirty years of experience in the industry. 

When it came to drawing up A Soldier's Tale, I knew what information I needed to make the pallets from, but once I'd [finally] drawn the proscenium arch, I was completely stumped with how the structure on the back would work. The drawing that Richard sent me didn't really clear it up, and it was only once we started building that I understood! I guess because my knowledge of set building is so minimal, this is going to be happening a lot. I'm still learning with AutoCAD and building but the knowledge I have is safely stored away never to be forgotten. 

The major problems I faced was mostly with communication across departments. I found it very irritating that people were constantly communicating with me via another person, for example, Rose was constantly being asked questions about what I had drawn, or where I was, when I am always contactable via email or my phone. I think this problem has resolved itself over time, as John will now pick up the phone to speak to me rather than creating a game of Chinese whispers to ask me about a ground plan or the dimensions for the pros aperture. 

I plan on keeping going with this work, being a draughtsman and a set builder, as I really enjoy it! I think it educates me as designer, as I know how scenery will get built. It has been hard work, but the time has really flown by and I have genuinely enjoyed myself. 

When I started SP I was worried about the lack of structure from the tutors because it is all independent learning but I found myself putting in a lot of hours and being extremely pro-active about my independent study to get things done. Having external deadlines from Richard helped me a great deal in making my work feel like it had a purpose. Working on live productions has been a great challenge too, as with a hypothetical project the only person it affects is me as the designer, whereas with this I am in effect working for the designer to achieve their vision and turn their two dimensional design into a three dimensional working stage set. 

There is not a lot I would have done differently with this unit, I feel I have effectively managed my time and my resources. The only major problem was my work disappearing from the system which was hugely frustrating. Luckily it wasn't any work that effected a live production as it was just my elevations for the studio theatre, which I'm sure if I was to do again it wouldn't actually take as long as it did the first time as my skills with AutoCAD have improved a great deal over these 11 weeks. Overall, a very enjoyable unit where I have been able to work on something that excites me, and I am able to lead it directly to future employment; I have even been offered a placement at Richard's company, Helix 3D. 

Studio Theatre Ground Plan: Lost Files

As I came to start working with the files of the Studio Theatre again after the productions, it had come to light that the files have been removed from my workspace. This is hugely frustrating as I spent so long doing them, but these things happen. I spoke to IT who said that the chances of the files being recovered was slim.

I'm sure I can re-draw them very easily, but it's hugely frustrating that it had happened in the first place. I now cannot submit them for assessment, but Rebecca is aware that I did them, and I worked on the groundplan drawing to produce the groundplan for In Extremis, so you can see from those drawings that I have done them.

I have learned that I must absolutely always back up my work. Always!

A Soldier's Tale: Evaluation

I started work on A Soldier's Tale as soon as I had finished building In Extremis and as you can read from my previous blog posts, I had a lot of trouble drawing Rosalie's false pros! I felt the whole of the Soldier's Tale experience was a lot faster than In Extremis, probably because I was working on it for three weeks, start to finish. I enjoyed this quick-paced turnaround as I had to be motivated, organised, forward-thinking and practical. I felt that Rose and I collaborated more then Rhiannon and I did, not sure why that is. 

I also felt like I walked into Soldier's Tale more experienced and more knowledgeable, being able to answer Rose's queries without needing to go to John or Richard as I had some contextual knowledge of building! 

The ground plan for Soldier's Tale was a bit of a nightmare. I couldn't get a concise ground plan with dimensions, even the file Kie put on my computer didn't want to open for me. I took my dimensions straight from Rose's model box, and it turned out that it was a bit off from the actual measurements of the Ocean Room. I know now that I should have done a site visit and measured the venue myself, but unfortunately time was not on my side for this production. John and I ended up working from the centre lines of the dance floor rather than off the walls. This wasn't as much of a solution as I'd hoped for, because everyone kept asking me where the projection screen was and I literally had no idea. In retrospect I suppose it's a good thing that everyone is asking me these questions, because they expect me to have the answers and be all knowing! Sadly, I wasn't in this case. 

I took over ordering the timber, and Rose ordered in the poly-block. This was all we needed to order because everything else was being re-claimed. I really enjoyed working with Rose, as we'd never worked together before on anything and we didn't know each other very well beforehand, but I feel that we supported and helped each other throughout, which is a nice feeling! 

I went full on with the pre-build preparation, and made sure I was there to load the van with everything we needed to take down to site. I feel that I know what is needed and I should be responsible for the logistics of the equipment. 

Working away from the university had it's disadvantages. Firstly, it was absolutely freezing. It cannot have been more than 5 degrees in there at any point and I think I really suffered because of that, despite having my thermals on! There was also the difficulty of finding the Studio, and it meant that the painting was 2hrs behind schedule because Debs was unable to find it. Luckily I had been there before! 

I think one of the biggest struggles to overcome was that we had a lack of help, especially in comparison to In Extremis, and we would have been in an even worse position if it wasn't for the three second years coming in and being absolute stars by helping us out! It couldn't be helped, we were building over the hand-in dates. I'm still absolutely gutted about falling ill on the fourth day of the build, especially as I missed the get in! It could not have come at a worse time. 

Overall, I feel  A Soldier's Tale was a success, and I have read and heard some very good reviews of the production (sadly, I couldn't make it). I felt that as I had some building knowledge, I was able to take on more of a responsible role, which has made me feel even more prepared to take on the next two productions! 

A Soldier's Tale Construction Journal: Day 4

I opened up the Workshop at the usual time of 8:30am, and we were back down to a smaller team. It was Debs, Rose, Ellen and myself. I had to get back to the steelworks to pick up the iron which was now in perfect size pieces for the front of the stage. Once I came back it was about 10am and I started work cladding the boxes. 

Unfortunately this is where it all went a bit sour, and along the way I had managed to pick up a stomach bug. I was suffering from hideous stomach cramps, and I thought if I rested a little bit in the warmth I would improve and be able to finish what I needed to do. Sadly they only got worse and at around 11:30am Debs strongly advised me to go home. 

It is here that my work for A Soldier's Tale was cut short. I was devastated that I was too unwell to work, and extremely disappointed that I couldn't be there for the Get-In and that I couldn't lead the build inside the venue. I had left all my drawings with Rose, so she was able to follow those. I don't think a stomach bug is the best thing to be passing round actors and production team, so it was a wise decision to not attend the get in. Still very disappointed. 

A Soldier's Tale Construction Journal: Day 3

I had to open up the Studio at 8:30am and I was now in effect, running the workshop. It was bitterly cold in there, so I made sure all the girls were warm before we started. I was expecting Debs to turn up at around 9am so we originally made a plan to wait for her. When she didn't arrive at 9am, I got the girls to start doing bits and pieces like painting the floor black. I needed to order some more timber, because when I starting cladding the boxes in reclaimed 6 x 1/2, it was too heavy so I organised with John to use 3 and 3/4 inch by half instead, so I had to put in an emergency order with Columbia Timber. 

I also got to work cutting all the cladding for the Orchestra Stage, very carefully numbering them with a big purple crayon so it was visible and I didn't have the same problems as I did with In Extremis (the painters painting over the numbers). 

Debs arrived at about 11:00am after getting very lost, and I having to wander the industrial estate looking for her! Once Debs had arrived and set up, I was able to take the corrugated iron to the steelworkers to be cut down. I had to take Debs' truck as they wouldn't fit in my car! That was fun. When I finally got back I could work on cladding the boxes, not before ordering my team a pizza for lunch. 

Rose and I working out the steeldeck and ply to get the minimal amount of movement between them. 

Cladding the boxes

Ellen hard at work texturing the poly block

Getting everything painted

Debs and Rose discussing the pros.

End of day three!!

By the end of Day 3, we had the first layer painted on everything. I still had a few more boxes to get clad, but it was only a quick job. Having a larger team today was really helpful as everyone worked very hard and we got a lot done, they were fabulous! I feel that I can effectively run the workshop keeping morale up and keeping everyone busy and energised. 

A Soldier's Tale Construction Journal: Day 2

So the second day started much the same as the first day finished. Richard and Rose kept working on the pros, and I just plodded along making my pallets. Richard was determined to get finished quickly as he wanted to leave at 2:30pm. 

Pros coming into shape

Hand sawing the pallets into shape. 

It is finished!

 

Richard showed me how to tie the structure together once it was in place in the Pavillion, simply using super screws to stitch the sections together, and attaching the brace, marked into position where it will be parallel with the floor that will also hold the curtail rail. 

All my lovely pallets laid out in sequence

Putting the floor for the stage down ready for painting

I cut Rose's blue foam to size. Because I am awesome.

Grace being useful!

So after Richard left us, we had the help of Ellen and Grace to get everything ready for Debs who is coming in tomorrow to paint the set. The floor has all bee covered in polythene sheets to protect the floor from paint. We cut all the poly block to size and the floor laid out and drawn ready to paint. I have also been given the keys for the site so I am in charge! I do love a bit of responsibility. Definately need to layer up more tomorrow, it's getting colder. 

A Soldier's Tale Construction Journal: Day 1

The build for A Soldier's Tale started at 8:30am this morning, over in Studio 3 in Poole. The first thing we did was to start putting together a few of the pallets for the thrust stage and also to decorate the stage. On my drawing I initially did a 50mm space in between the pieces of 6 x 1, but it would be safer and looks better to decrease the spacing down to 20mm, or the thickness of the 6 x 1. This meant the width of the pallets were 660mm instead of 750mm. Rosalie didn't mind as she said the choreographer would prefer a smaller thrust! 

Making a Pallet

You can see from this picture that we use a piece of 6 x 1 to measure the space in between planks, and also the piece of
3 x 1 to keep a uniform distance from the edge. 

Three Pallets

Richard sent me a CAD drawing of how he was going to be making the pros, and in all honesty I didn't understand it. Once Richard showed me the CNC cut ply plates I started to understand, and watching him put it together it started to make sense. Because of the complex nature of the obtuse angles on Rose's pros, there was no way of actually measuring and cutting these angles, so what Richard had done is pre cut the angles onto these ply plates, and using as many parallel lines as possible, was able to build up the structure. 

For example, piece 1 is cut at a 60 degree angle like the pros.

We then attach the 3 x 1 on Edge

"Can you see what it is yet?"

Working on the parallel

As I was the main instigator for snack buying, I made sure than a lovely range of consumables was on offer. Always important in keeping your team motivated. As you can see from the below image, I actually went for a higher quality range of biscuits as opposed to your generic custard cream. Yum!

Possibly the most important thing on site...

Ply plates

Whilst Richard got on with this, I thought it would be good if I got to work on making the pallets, as it was something I could do independently, and Richard didn't need both Rose and myself working on the panels with him. They worked quite quickly, and I was always aware of the techniques being used and exactly how Richard did it for future reference.  

You can see the concept with the parallels

Keeping busy with the pallets

Looking great guys!

Not sure what this was.... but it didn't work. Richard looked quite cross. 

Drawing on the angles ready to be cut with the panel saw

Richard had his laptop with the drawing on so he could keep dimming up the
drawing to have the exact measurements

I used the Festool to cut the pallets to the correct angle.

The festool didn't cut through the inner timber so that had to be done by hand. 

This one was a bit tricky anyway, because of the lack of timber. It ended up breaking in half.
Rosie didn't mind as it added to the effect!

It's Rose's Set!

So we left Saturday with one leg of the pros cut, and most of the pallets made. It was a very productive day! Although it was absolutely freezing in the studio. I kept busy and moving all day so I stayed warm, let's hope the weather doesn't get any colder. 

A Soldier's Tale: Preparing for the Build

So tomorrow morning at approximately 8.30am, we start building the set for A Soldier's Tale. The timber that we are reclaiming is hopefully going over in the van today, along with the tools from Uni that we are going to be using.

I have arranged to pick Rose up at 8.00am to arrive on site in Poole at 8.30am. Richard is due to arrive at 9am, and I want the studio ready for when he arrives so we can get to work right away.

Today we had the orchestra come in for a rehearsal, and an extra steeldeck has had to be added to the rear of the orchestra stage, and as we are reclaiming the timber to cover it I had to make sure we had enough! I know that we had roughly 90m covering the Floor area in In Extremis, and we had more left over. We need just under 100m to cover the staging so we should be fine. I wont be affixing the staging until wednesday, just cutting the pieces to size and numbering them (with a thick pen this time!) so the job of fixing them to the steeldeck will be much quicker.

I need to make sure everything is printed out neatly showing dims and angles of everything we need as I wont be able to run to the printer every time I need something. BE PREPARED!

It is at this point that I'm also starting to come across problems with communication between the departments. No one seems to be talking directly to me, and is expecting the right answers from the wrong people. I dont have a comprehensive layout of the Ocean Room and I'm trying my best to get the answers, but the model box isnt accurate and I'm still unsure of what the groundplan is.

I know what I am building!

The problem I am finding is that instead of someone coming directly to me (despite always being available on email and my phone, and I live in the CAD Pad) they are asking someone else if I have done something instead of asking me. Which makes me come across like an idiot, and that I dont know what I am doing.

I have only been working on A Soldier's Tale properly since Monday evening and I have been organising and drawing all week trying my very best to get everything right but I feel that there are certain people that are trying to make me look bad and I almost feel like I am being jeopardised.

Everything I am doing I am doing because when I leave university I want to be extremely employable, and the last thing I want is for people to constantly be trying to bring me down! 

In Extremis: Production Photos

Here are some professional production photos taken of In Extremis. I chose these pictures as you can see the different uses for the set, and the way it can be lit differently. Seeing the show made me really proud of what I had achieved, building something on such large scale that received great feedback from actors and audience alike. 

A Soldier's Tale: Production Meeting

1st December 2011

"A Soldier's Tale"

Production Meeting

The Production Meeting for A Soldier's Tale was quite positive, just checked in with every department making sure everything was on track - which it was!

We had the Director, Doug Cockle there which was good because it meant he knew who I was! John Camble gave us the schedule for next week, and I am only needed officially on Wednesday 7th December for on site set building. The set will be going in around 1pm, and my build time starts at 2pm until around 7pm when the Tech Run/Dress starts. I plan on attending that Tech run, but I dont think I will be available the next day because of my presentation dedication.

It was good to be involved with the meeting, but I was quite annoyed because I wasn't actually informed of when it was going to be! I am not on the mailing list for all departments, which is annoying because I see myself as an HOD for the Set Building. None of the other departments knew who I was, as I haven't been included in anything before today, which is frustrating! I think John sees my work as trivial and what I am doing isn't important; when in fact I am trying to build up a professional portfolio of work for future employment, and not being taken seriously is aggravating to say the least. 

A Soldier's Tale: "Ground Control to Major Tom"

Ground Plan: The Problem

After giving the ground plan to John for the studio mark up, John emailed me bringing to my attention that the dimensions given to me were wrong. Rosie's model box states the acting space is 11,800mm wide, but it's not. And the floor cloth in place is 10,000mm x 10,000mm.

I had an emergency meeting with John Camble, and after ringing the Pavillion and getting the Ocean Room re-measured we can confirm that the space is 11,200mm. We worked out the set only just fits, but the concern is how it is going to look in the space. There is a Production Meeting happening tomorrow where we can clear things up before the set gets built this weekend.

It's so important to check measurements yourself and to be able to contextualise your work into a space; stupidly I haven't been to the Ocean Room yet, but I think John and I are going tomorrow. I have to stop relying on information from other people because their mistakes become my mistakes. This has been the first major hiccup of SP, hopefully will be able to get it sorted.

T-minus three days till build...



A Soldier's Tale: Ordering and Sourcing

Today I placed an order with Columbia Timber for the building materials needed for the build at the weekend. I needed some delivered to Uni and some delivered to the studio so I have arranged that.

Delivery Date: Friday 2nd December

Delivered to: FAO: Amber Dernulc, AUCB

Ordered: 6 sheets 6mm MDF (4' x 8')

Price: £11 + VAT per sheet

Delivery Date: Saturday 3rd December (8.30am)

Delivered to: Studio 3, Poole, BH17 0UG

Ordered: 130m 3x1 PSE Redwood

               40m 2x3 PSE

               8 sheets 6mm MDF (4' x 8')

Price: 3x1; £1.14pm + VAT

          2 x 3; £1.99pm + VAT

          £11 + VAT per sheet

John will be processing the Purchase Order for me as the money is coming out of the Acting budget, which is great! 



A Soldier's Tale: Ground Plan

One of the things on my to-do list for today was to submit the ground plan for a solider's tale ready for mark up at 9.30am.

I have drawn up a rough ground plan, but at the moment I'm having a few concerns over the placement in the space according to the design, and the size.

Will give my tech drawings to Rosalie, and make sure she knows how big the space is, as it would be better to iron out any problems with dimensions sooner rather than later.

I am getting quicker on AutoCAD and I have managed to do this groundplan in a few hours. Although it is not highly detailed, I can now create a detailed plan to build from. I have had to make a few executive decisions regarding the sizes of the pallets in front of the pros, as they were a bit uneven, which is easier to amend when they are made. I wanted to get some straightforward angles and dimensions to build from before applying a creative touch!

A Soldier's Tale: Production Meeting with Rosalie

Today Rosalie and I decided to have a quick meeting to discuss everything that needed doing at this stage. She had a list of things that she needed to acquire, and it was good to be able to go through it and take some weight off her shoulders as I am trying to do as much as I can in order to prepare for my EMP role where I will be taking on the role of "Project Manager" for The Road.

We discussed the things like scheduling the build, I said I wanted to do it. Rosie told me which people had volunteered, and I was worried that if we have too many people it would be more of a hindrance than a help so I suggested having Richard leading the build, with myself assisting alongside Rosie and maybe Ellen. I warned Rosie that it is hard graft, long hours of physical labour!

I told her I would take charge of building materials and ordering those as my knowledge of timber is now at an adequate level! Rosie also asked me to source black matting to go underneath the pallets, and black lino to go under the two stages in order to protect the floor of the Ocean Room.

Rosie is now sourcing most of the set dressing pieces such as chairs, the cabinet door and other pieces. I told her good places to acquire things from; curtain rings from In Extremis and curtain poles from Wilkinson.

The only thing I insisted to Rosie was to get the corrugated iron pre-cut to size in the university workshop as I don't think we'd have the means over at the Studio in Poole.

I will organise the equipment list of what John and I will take over on Friday, and the schedule of what needs to be done. I will also be responsible for refreshments for everyone over the weekend as an army marches on it's stomach; and good biscuits will keep a build team going. (Pink wafers and chocolate bourbons anyone?!)

I had also discussed with Rebecca about having a camera recording the entire weekend's process, as sped up it would make a good film following the building process, and the Get In/Get Out. I'd really like it as a reference on my showreel/blog.

It felt good to know that Rosie and I were working with each other, not against each other. Rosie needs my prior knowledge and [small amount] of expertise to be the best we can both be. I feel that we are going to be supporting each other through this a lot more than Rhiannon and myself. Rosie seems to try her best at helping me out with the technical side, and I don't mind it when she doesn't know the answer; we're all learning! Organising who was doing which job was also good and made me feel like I had responsibility with it.

Tomorrow's To Do List:

- Have ground plan ready for the mark up in Studio Theatre

- Order timber from Columbia Timber

- Source black matting

- Source black lino

- Schedule the build

- Create and equipment list for the build

- Organise for some petty cash for weekend refreshments

- Discuss with Lindsay at the Media Equipment for a camera to film the build.

All systems are go!!!

In Extremis: The Get Out

As I knew precisely every join in the structure I was an integral part to the get out in being able to dismantle the timber ready for re-use for A Soldier's Tale.

The first step was to free the steeldeck from underneath the rostra so the guys from the steeldeck company could take it with them along with the rest of the seating. John and Pete took headway with this once I told them how it was put together, and the treads were removed complete and ready to go into the Prop Store ready for re-use. We de-clad the rostra so we could recycle the timber for the pallets used in A Soldier's Tale.

Next, along with Jake the actor, we pulled up all of the floor planks, some screws coming out easier than others! We ended up taking a crowbar to some of the planks we had nailed in or where the screw head had ran off the screws; rendering them unusable and irremovable.

After that was done, the next step was to start dismantling the structure. We started at the downstage-right end, first by removing the aesthetic "support", then the bracing from the wall, then using a team of us to lower the leg to the floor. It was a very quick process, much quicker than getting it up there but there were a lot more of us than there was when it was being erected. We went section by sections keeping the rest of the structure attached to the wall to keep it secure and reduce the risk of it falling on us. We kept the back piece attached to the wall till last, bringing down the A-frame first with one person footing each leg so it didn't slide away from underneath us. The last piece to come down was the first to go up, the rear section to the structure; this came down very slowly with a lot of us walking it down.

We disassembled most of the pieces but as we were running out of time we chose to leave most of the longer legs still in their construction, John and myself deciding that we would disassemble them as and when we needed them at the Studio where we are building A Soldier's Tale.

What became of the wheel I hear you ask?! Well, as it is such an impressive part of the set that everyone enjoyed and appreciated it, we have put it in the university grounds as a sculpture that demonstrates what the School of Performance is capable of!

It felt very cathartic to take the set apart, and it feels nice that it has come round full circle and also, that I was involved in every step. It also feels good that I ended up being an appreciated member of the team, integral to the removal of the set.

In Extremis: Evaluation

I found the whole of In Extremis a very valuable and educational experience from start to end. It have given me wonderful opportunities to work on something not usually associated with my course and to carve myself a niche for future employment potential. 

Drawing the set was fairly challenging in itself, as Rhiannon didn't know the exact measurements of her set and I had to do a lot of work from the model box, and also change a few of her measurements to make it work structurally. I feel I put in a lot of hours into the digital drawing for this, and my trial and error system has made me fairly confident in AutoCAD and able to work quite quickly. Having Richard going over my drawings and telling me where I needed to improve I felt was very important, as my tutors in the department aren't experienced in digital technical drawings and the advice they could offer me was limited. This isn't anything bad against the course, I know I'm bringing something new to Costume.

I think that when you look through my drawings from version 1 to version 2, you can definitely see an improvement. I'm learning all the time with AutoCAD and I will be for as long as I use it so my drawings will constantly be improving. Ideally what I would've done is to have redrawn everything as we made it after the build so I have almost a set of blueprints for In Extremis, but because I went straight into A Soldier's Tale I couldn't.

My favourite set of drawings are for the Wheel, and even when you look in the file, you can see my complete working progress (not printed in full) and my trial and error, going down different pathways with the drawing. It didn't take as long as I thought it would do, only a couple of days, and I was very proud of myself. The only frustrating part was that I sent Richard the CNC ready file so he could cut it, which was millimetre perfect and he didn't use it. If we had used mine, the wheel would have been equilateral!! 

My drawings were referenced constantly throughout the build for measurements, angles, and construction and being a valuable part of the whole 2D to 3D realisation because of my knowledge of the set meant that I was always involved in the process, despite being left out of a few meetings at the beginning of the unit (which was frustrating but I overcame that). Richard understands the role I want to take on and so pointed me in the right direction all the way. 

Working with Richard on the set build was great fun, whilst being highly educational. During the build we deviated from my drawings slightly, due to things like problem solving and making things more structurally sound. For example the wheel is completely different to the one I originally drew, but the end result is still the same. I'm really proud of what I have achieved, especially as I'd never picked up a power drill before the build and but the end I was tying the structure together 4 metres up in the air!

It was a long and tiring build, but I made a conscious effort to keep morale up, to keep motivated and to work quickly and efficiently. Yes, I made mistakes, there is a knack to drilling and I need to work on my interior spirit level as I was drilling wonky, but that just comes with time and practise. I didn't make any drastic mistakes that affected the build, which was great! I'm always scared of ruining something. 

The feedback I received from the actors and my tutors was all really positive which felt great, I think I've found something I am truly good at and fortunately, I can make a career out of! 

Rhiannon and I before the structure came down.