From rough sketches to constant critique, painting students reveal the hours of unseen process behind their art
Art may appear to be driven by creativity and talent, but for three visual arts students with emphasis in painting & illustration, the process is defined more by discipline, repetition and invisible labor rather than inspiration alone. Across different experiences, they described a shared reality: growth as an artist is built through failure, experiments and continuous refinement rather than natural ability.
“Having artistic talent, for me, is having the grit to go through a long process of just doing a lot of ‘ugly’ paintings,” said Liahona Billones, a senior from the Philippines. “People see what we produce … but they don’t see just how much mental work, research and study go into each of those pieces,” she continued. “They are not just a reflection of the artist’s skills, but of their interests, efforts and passion … after countless hours on the backend.”
The work behind the work
For Billones, much of that work looks far from polished. She said her time in the studio is often filled with unfinished pieces and rough sketches. “Some people are probably not expecting to see me make a lot of unrefined paintings,” she said. “But those are just part of the process of learning.” Even outside the studio, she said, the work continues through taking reference photos, watching tutorials, listening to podcasts and studying other artists.
A lot of the painting process includes things that are not painting itself.
Ocean Jardiniano, a senior from the Philippines, described a similar routine. She said a typical day involves sitting for hours in the studio, blending colors and working through ideas, often in solitude. “Creating art is more than just finishing a painting,” she said. “It takes hours, days and months of experimenting, iterating and conceptualizing.”
Jardiniano said one of the most important lessons she learned was the value of iteration. Before entering the program, she said she would paint based on a single idea without much experimentation. “But as we worked on our projects, we were asked to do them over and over again until we made the best out of them,” she said. “At first, it was frustrating and tiring, but I realized I was learning and growing as an artist."
Boydat Fuiava, a sophomore from New Zealand, said the program reinforces this mindset on both practice and reflection. He explained the studio classes often last three hours, during which students continuously work while receiving feedback from instructors. Outside of class, he said the process does not stop. “Basically, in the program you’re always making art and always thinking about art,” he said.
In addition to repetition, students also said critique plays a central role in their development. Jardiniano said weekly critiques require students to evaluate their own work and respond to feedback from others. “We give critiques to others as well as receive them from both our classmates and teachers,” she said. “This allows us to see different perspectives and understand what we can improve.”
Through this system, students begin to challenge common assumptions about artistic talent. Rather than viewing talent as an innate ability, Billones said what people often perceive as talent is actually the result of sustained effort. Similarly, Fuiava defined artistic talent as the willingness to experiment and commit to ideas, while Jardiniano emphasized the importance of connecting personal expression with others.
Portraits of truth
This combination of discipline and self-exploration becomes especially visible in one type of assignment many students identified as representing their growth: the self-portrait. Across their experiences, the self-portrait became more than an artistic exercise—it served as a space where technical skill, personal identity and emotional vulnerability intersect.
For Billones, creating a self-portrait sculpture required confronting personal insecurities. She said she had previously avoided self-portrait work because of self-confidence and body image concerns. During the project, she worked from mirrors and reference photos of her own face, forcing her to examine features she had long felt uncomfortable with. “As I worked on it, the way I saw myself and defined beauty was shaped for the better,” she said.
Jardiniano’s self-portrait took a more symbolic approach. Instead of representing herself literally, she used vivid colors, patterns and imagery to express her identity as an artist. “Creating this project helped me understand more about myself and my artistry,” she said. “Making this piece made me feel free.”
Fuiava also described his self-portrait as an experimental work, combining multiple mediums such as charcoal, acrylic, oil paint and marker. Rather than depicting himself in a traditional form, he represented himself symbolically as a black cat, based on how others have described him. “Everything in it was just me experimenting while trying to depict characteristics about myself,” he said. Despite the visible outcomes displayed in galleries or exhibitions, students emphasized that much of their work remains unseen.
It is not just a hobby that we enjoy doing. It is also a form of emotion that we want other people to feel.
BFA Painting & Illustration
Students interested in the BFA emphasis program must apply by submitting a portfolio that demonstrates a few strong, completed works. The faculty will also consider an applicant’s artistic process, looking at sketchbooks and techniques to better understand the student’s development and familiarity with different media. Students typically begin in introductory courses such as ARTS 119 (Drawing and Design Principles).
These classes provide opportunities to create artwork, receive feedback from the faculty and determine whether their work is ready for the program application. The same application process also applies to students pursuing the BFA emphasis in Graphic Design.