Writing the Drawing of the Writing Center

In order to represent the student and tutor, we chose a rectangle and triangle respectively. The triangle being the most geometricaly sound figure we felt directly corresponded with the role of the tutor, he is both teacher and peer, not fully adhering to the student's paper, but working with the student as a "writer." Likewise, we felt a rectangle adequately represented the student, stable in the general sense and quite able to stand alone, but overtly asymmetrical in his academic strengths (perhaps more analytically oriented, the longer side, than creatively, the shorter side).
The first depiction, coming to the writing center, illustrates the rectangle (student) adorned with a headband and feather (signifying his/her Native American heritage, i.e. "otherness") with tears in his/her eyes, a look of confusion on his/her face, carrying his/her paper into the writing center. The writing above the door is the law we, as writing center tutors, have declared that visually illustrates the paradox between spoken language and written language; thus, being sympathetic to the difficulties associated with writing. The tutor (clad in a cowboy hat, boasting a holster equipped with a Colt .45, chewing a piece of straw, and adorning cowboy boots to signify the essence of "whiteness," and his placement in the South-the "norm") awaites the student inside. On the wall of the writing center is a banner with the word "Coexist" written in symbols on the wall to portray the need for the center to embrace all aspects of our "melting pot" society. The shelf of books, three of which are discernable-Webster's Dictionary, Freud's Interpretation of Dreams (the issue of psychology in the writing center), and St. Martin's Handbook for Writer's (a must)-gives the Writing Center it's "literary aura."
The second depiction, a session in progress, is made up of two drawings. The first depicts both tutor and student (still wearing a confused, frustrated expression) brainstorming together ways to enhance the paper (Q: coming from the tutor's side of the brainstorm to represent questions, and A: the student's side to represent the answers, or, for a better term, responses). An arrow is drawn between the two drawings and indicates a progression from drawing one to drawing two. Drawing two depicts the student with a lightbulb (a universal pictorial respresentation for idea) enclosed by his thought-bubble smiling, his paper bigger and shining (improved), and the tutor sitting back letting the student do his work. The cowboy hat of the tutor and feather of the student have been lain on the table, both have been open with regards to their cultures, accepted their differences, and the impact those differences have on writing.
The third depction, the result, has little illustration. The white space serves to illustrate the relative insignificance of all other details once the writing session has culminated. The bulk of the illustration is a glowing student, his finger hoisted into a "number one," holding a glowing paper. He/She has succeeded in enhancing not only their paper, but their abilities as a writer. The tutor is set into the background. Smaller, and withdrawn we recognize that he was ultimately a factor in this improved student, though little emphasis is placed on him as he remains relatively static (the same smile that he harbored in depictions one and two, he has once more in depiction three); for, the session is for the student, and the student is the product.