As part of my two-dimensional art class, I recently participated in the Art Department's seventh annual charcoal drawing marathon this past Sunday. Our assignment was very broad: We were told to use a variety of shapes, color tones and depth to fill the very large, intimidating blank pieces of paper in front of us. Between 9 a.m. and 4 p.m., we drew without stopping. We had no specific subject to work with, we simply had to respond to our environments and the music that was playing.

The presiding art professors encouraged us to think of our pieces as completely mutable. We were encouraged to draw over things, erase our work and paint over large sections of our pieces to work, then rework, the charcoal. As someone who has taken many art classes, the process was a challenge. I'm used to crafting my pieces carefully, focusing on intricate shading and minute details. Inevitably, I get attached to my art and I'm reluctant to change anything more significant than those tiny details.

This experience made me explore a very different technique: a "kill your darlings"-type of technique, where you have to get rid of some of the bits of your work that you're attached to in order to improve the piece as a whole. While this was difficult, it helped me loosen up and go with the flow of things.

By the time 4 p.m. arrived, it seemed that there was more charcoal on my face, hands and arms than on my actual canvas. Despite the mess and a very sore drawing arm, I was very happy with my piece. Looking around the room, I was pleased to see that others found the process — and final results — to be successful.