UST College of Fine Arts and Design

UST College of Fine Arts and Design

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The official page of the University of Santo Tomas College of Fine Arts and Design, Manila,

16/06/2026

Asst. Prof. Gigi B. Ocampo, MS, Chair of the Department of Advertising Arts of the UST College of Fine Arts and Design, now serves as a Member of the Technical Panel for Fine Arts of the Commission on Higher Education until 2029.

Asst. Prof. Gigi B. Ocampo, MS, Chair of the Department of Advertising Arts of the UST College of Fine Arts and Design, now serves as a Member of the Technical Panel for Fine Arts of the Commission on Higher Education until 2029.

Article: https://www.ust.edu.ph/ocampo-of-advertising-arts-appointed-to-ched-technical-panel-for-fine-arts

15/06/2026

The University was recognized by the Commission on Higher Education(CHED) - National Capital Region as one of the Transnational Higher Education Providers, in compliance with the provisions of Republic Act No. 11448 or the Transnational Higher Education Act.
Recently, the UST College of Fine Arts and Design rolled out its dual-degree program on industrial and product design with the The Hong Kong Polytechnic University - PolyU.
Article: https://www.ust.edu.ph/ust-recognized-as-one-of-ncrs-six.../

The University was recognized by the Commission on Higher Education(CHED) - National Capital Region as one of the Transnational Higher Education Providers, in compliance with the provisions of Republic Act No. 11448 or the Transnational Higher Education Act.

Recently, the UST College of Fine Arts and Design rolled out its dual-degree program on industrial and product design with the The Hong Kong Polytechnic University - PolyU.

Article: https://www.ust.edu.ph/ust-recognized-as-one-of-ncrs-six-hubs-for-cheds-transnational-education-initiative/

08/06/2026

[CFAD] Memo 71 Office Schedule for Special Term, AY2025-2026

Photos from The Varsitarian's post 06/06/2026

The UST College of Fine Arts and Design confers degrees upon its 429 graduates during its Solemn Investiture Rites at the Quadricentennial Pavilion on Wednesday, June 3.

(Photos by Joachim Nigel Z. Tanglao/ The Varsitarian)

29/05/2026
28/05/2026

University of Santo Tomas
College of Fine Arts and Design
Class of 2026 โค๏ธ๐Ÿ’š

Photos from Ustgs-Cccpet's post 23/05/2026

๐—Ÿ๐—ถ๐—ธ๐—ต๐—ฎ๐—ป๐—ด ๐—ž๐—ฎ๐—บ๐—ฎ๐˜†: ๐—จ๐—ฆ๐—งโ€“๐—ก๐—–๐—–๐—”โ€“๐——๐—ง๐—œ ๐—”๐—ฑ๐˜ƒ๐—ฎ๐—ป๐—ฐ๐—ฒ ๐—œ๐—ป๐—ฑ๐—ถ๐—ด๐—ฒ๐—ป๐—ผ๐˜‚๐˜€ ๐—ž๐—ป๐—ผ๐˜„๐—น๐—ฒ๐—ฑ๐—ด๐—ฒ, ๐—–๐˜‚๐—น๐˜๐˜‚๐—ฟ๐—ฎ๐—น ๐—˜๐—ฑ๐˜‚๐—ฐ๐—ฎ๐˜๐—ถ๐—ผ๐—ป, ๐—ฎ๐—ป๐—ฑ ๐—–๐—ฟ๐—ฒ๐—ฎ๐˜๐—ถ๐˜ƒ๐—ฒ ๐—›๐—ฎ๐—ป๐—ฑ ๐—–๐—ฟ๐—ฎ๐—ณ๐˜๐˜€

The University of Santo Tomas successfully organized Likhang Kamay: Training Course on Teaching Indigenous Hand Crafts in Higher Education Institutions on 13โ€“16 May 2026, bringing together educators, cultural workers, artisans, and institutional partners to strengthen the integration of Indigenous Knowledge Systems and Practices (IKSP) in higher education.
Organized in celebration of ๐—ก๐—ฎ๐˜๐—ถ๐—ผ๐—ป๐—ฎ๐—น ๐—›๐—ฒ๐—ฟ๐—ถ๐˜๐—ฎ๐—ด๐—ฒ ๐— ๐—ผ๐—ป๐˜๐—ต, the four-day training course highlighted the role of universities in safeguarding indigenous creative traditions through teaching, research, and community engagement. The program was conceptualized by the ๐—จ๐—ป๐—ถ๐˜ƒ๐—ฒ๐—ฟ๐˜€๐—ถ๐˜๐˜† ๐—ผ๐—ณ ๐—ฆ๐—ฎ๐—ป๐˜๐—ผ ๐—ง๐—ผ๐—บ๐—ฎ๐˜€ ๐—š๐—ฟ๐—ฎ๐—ฑ๐˜‚๐—ฎ๐˜๐—ฒ ๐—ฆ๐—ฐ๐—ต๐—ผ๐—ผ๐—น โ€“ ๐—–๐—ฒ๐—ป๐˜๐—ฒ๐—ฟ ๐—ณ๐—ผ๐—ฟ ๐—–๐—ผ๐—ป๐˜€๐—ฒ๐—ฟ๐˜ƒ๐—ฎ๐˜๐—ถ๐—ผ๐—ป ๐—ผ๐—ณ ๐—–๐˜‚๐—น๐˜๐˜‚๐—ฟ๐—ฎ๐—น ๐—ฃ๐—ฟ๐—ผ๐—ฝ๐—ฒ๐—ฟ๐˜๐˜† ๐—ฎ๐—ป๐—ฑ ๐—˜๐—ป๐˜ƒ๐—ถ๐—ฟ๐—ผ๐—ป๐—บ๐—ฒ๐—ป๐˜ ๐—ถ๐—ป ๐˜๐—ต๐—ฒ ๐—ง๐—ฟ๐—ผ๐—ฝ๐—ถ๐—ฐ๐˜€ (๐—จ๐—ฆ๐—ง๐—š๐—ฆโ€“๐—–๐—–๐—–๐—ฃ๐—˜๐—ง) with the support of the ๐—จ๐—ฆ๐—ง ๐—–๐—ผ๐—น๐—น๐—ฒ๐—ด๐—ฒ ๐—ผ๐—ณ ๐—™๐—ถ๐—ป๐—ฒ ๐—”๐—ฟ๐˜๐˜€ ๐—ฎ๐—ป๐—ฑ ๐——๐—ฒ๐˜€๐—ถ๐—ด๐—ป (๐—จ๐—ฆ๐—งโ€“๐—–๐—™๐—”๐——), in collaboration with the UST Museum, UST Center for Continuing Professional Education and Development, ๐— ๐˜‚๐˜€๐—ฒ๐—ผ ๐—ป๐—ด ๐—ž๐—ฎ๐—ฎ๐—น๐—ฎ๐—บ๐—ฎ๐—ป๐—ด ๐—ž๐—ฎ๐˜๐˜‚๐˜๐˜‚๐—ฏ๐—ผ and the Asia Pacific Higher Education Network on Safeguarding Intangible Cultural Heritage (APHEN-ICH). The training course was also supported by the ๐——๐—ฒ๐—ฝ๐—ฎ๐—ฟ๐˜๐—บ๐—ฒ๐—ป๐˜ ๐—ผ๐—ณ ๐—ง๐—ฟ๐—ฎ๐—ฑ๐—ฒ ๐—ฎ๐—ป๐—ฑ ๐—œ๐—ป๐—ฑ๐˜‚๐˜€๐˜๐—ฟ๐˜† โ€“ ๐—Ÿ๐—ถ๐—ธ๐—ต๐—ฎ๐—ป๐—ด ๐—™๐—ถ๐—น๐—ถ๐—ฝ๐—ถ๐—ป๐—ผ and the ๐——๐—ฒ๐˜€๐—ถ๐—ด๐—ป ๐—–๐—ฒ๐—ป๐˜๐—ฒ๐—ฟ ๐—ผ๐—ณ ๐˜๐—ต๐—ฒ ๐—ฃ๐—ต๐—ถ๐—น๐—ถ๐—ฝ๐—ฝ๐—ถ๐—ป๐—ฒ๐˜€, and is part of the Heritage Month activities of the National Commission for Culture and the Arts (NCCA).

Hosted at the UST College of Fine Arts and Design, the opening day established the intellectual and policy foundations of cultural education. The program opened with messages from ๐—”๐˜€๐˜€๐—ผ๐—ฐ. ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐—๐—ฒ๐—ป๐—ป๐—ถ๐—ณ๐—ฒ๐—ฟ ๐—ฆ. ๐—”๐—ด๐˜‚๐—ถ๐—น๐—ฎ๐—ฟ, ๐——๐—•๐—”, Assistant Dean of UST College of Fine Arts and Design, and ๐——๐—ฟ. ๐—˜๐—ฟ๐—ถ๐—ฐ ๐—•. ๐—ญ๐—ฒ๐—ฟ๐—ฟ๐˜‚๐—ฑ๐—ผ, Chairman and Executive Director of the National Commission for Culture and the Arts, emphasizing the importance of cultural education and heritage safeguarding in higher education. Participants were then introduced to broader discussions on Philippine culture and the arts through lectures delivered by ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐— ๐—ฒ๐—น๐—ฎ๐—ป๐—ถ๐—ฒ ๐——. ๐—ง๐˜‚๐—ฟ๐—ถ๐—ป๐—ด๐—ฎ๐—ป-๐— ๐—ฎ๐—ฟ๐—ฐ๐—ผ๐˜€, ๐—ฃ๐—ต๐—— on Introduction to Philippine Culture and Arts, ๐— ๐—ฟ. ๐—๐—ฒ๐˜€๐˜‚๐—ฏ๐—ฒ๐—ป ๐—”๐—ป๐—ด๐—ฒ๐—น ๐—•๐—ผ๐—ป๐—ด๐—ผ๐—น๐—ฎ๐—ป on the Philippine Culture and Arts Framework, ๐—”๐˜€๐˜€๐˜. ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐—”๐—น๐˜ƒ๐—ถ๐—ป ๐—ฅ๐—ถ๐—ป๐—ด๐—ด๐—ผ ๐—–. ๐—ฅ๐—ฒ๐˜†๐—ฒ๐˜€, ๐— ๐—” on the Cultural Education Framework of the Philippines, and ๐—”๐˜€๐˜€๐˜. ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐—๐—ฎ๐—บ๐—ฒ ๐— ๐—ผ๐—ป๐—ฟ๐—ฒ๐—ป ๐—ง. ๐— ๐—ฒ๐—ฟ๐—ฐ๐—ฎ๐—ฑ๐—ผ, ๐— ๐—”๐—–๐—›๐—ฆ, who discussed international and local frameworks on safeguarding intangible cultural heritage.

On its second day, Likhang Kamay expanded learning beyond academic spaces through an immersion at Likhang Filipino Exhibition Halls in Pasay City. The day opened with welcome remarks from ๐— ๐˜€. ๐—ฅ๐—ต๐—ฒ๐—ฎ ๐— ๐—ฎ๐˜๐˜‚๐˜๐—ฒ, Executive Director of the Design Center of the Philippines, is setting the stage for conversations on the role of design institutions in advancing Philippine creativity. Participants were introduced to indigenous craftsmanship and cultural entrepreneurship through ๐— ๐˜€. ๐—–๐—ผ๐—ฟ๐—ฎ๐˜‡๐—ผ๐—ป ๐—”๐—น๐˜ƒ๐—ถ๐—ป๐—ฎ, Director of Museo ng Kaalamรกng Katutubรฒ, whose lecture on Philippine Indigenous Crafts highlighted the significance of traditional knowledge and making practices. Sessions by ๐— ๐˜€. ๐—ฆ๐˜๐—ฒ๐—ฝ๐—ต๐—ฎ๐—ป๐—ถ๐—ฒ ๐—š. ๐—ฃ๐—ฎ๐—ฑ๐—ถ๐—น๐—น๐—ฎ and ๐— ๐˜€. ๐—ฅ๐—ผ๐˜„๐—ฒ ๐—”. ๐—ฅ๐—ฒ๐—พ๐˜‚๐—ฒ๐—ท๐—ผ of the Design Center of the Philippines further demonstrated how indigenous motifs and ethnic patterns may be respectfully translated into contemporary products while preserving cultural meaning and integrity. The day concluded with immersion at Likhang Filipino, allowing participants to engage directly with the intersections of heritage, design innovation, and the creative industries.

Back at the UST College of Fine Arts and Design, Day 3 transformed ideas into lived experience as participants engaged directly with scholars, facilitators, and artisans while exploring practical approaches to teaching indigenous hand crafts in higher education. The morning sessions were led by ๐——๐—ฟ. ๐—๐—ฎ๐˜†๐˜€๐—ผ๐—ป ๐—ฃ๐—ฒ๐˜๐—ฟ๐—ฎ๐˜€ of the University of the Philippinesโ€“Diliman, who introduced participants to Indigenous Knowledge Systems and Practices and discussed culturally responsive teaching approaches and translanguaging realities in the classroom. The highlight of the day was the immersive artisan engagement workshops facilitated by ๐—”๐˜€๐˜€๐—ผ๐—ฐ. ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐—”๐—ป๐—ป๐—ฎ ๐— ๐—ฎ๐—ฟ๐—ถ๐—ฒ ๐—›. ๐—•๐—ฎ๐˜‚๐˜๐—ถ๐˜€๐˜๐—ฎ, ๐— ๐—–๐—›๐—ฆ, ๐—Ÿ๐—ฃ๐—ง, featuring Pabalat (Paper Cutting) of San Miguel, Bulacan, Shell Craft of Iloilo City with ๐— ๐˜€. ๐—๐—ฎ๐—ป๐—ถ๐—ฐ๐—ฒ ๐—ฆ๐—ฎ๐—น๐—ถ๐—ฑ๐—ฎ๐—ป, Pottery of Tiwi, Albay with ๐— ๐—ฟ. ๐—ฆ๐—ฎ๐—น๐—ฒ๐—บ ๐—–๐—ผ๐—ฟ๐—ถรฑ๐—ผ, and Buli weaving traditions from Quezon led by ๐— ๐—ฎ๐—ฟ๐˜† ๐—๐—ฎ๐—ป๐—ฒ ๐—”. ๐—–๐—ฎ๐—น๐—น๐—ฒ๐—ท๐—ผ, ๐—˜๐˜€๐˜๐—ฒ๐—น๐—ฎ ๐—–๐—ฎ๐—ฏ๐—น๐—ฎ๐—ถ๐—ฑ๐—ฎ, ๐—”๐—ฑ๐—ผ๐—ฟ๐—ถ๐—ฒ ๐——๐—ฎ๐—ฑ๐—ผ๐—ฟ, ๐—›๐—ฒ๐—ฟ๐—บ๐—ถ๐—น๐—ถ๐—ป๐—ฎ ๐——๐—ถ๐—ฎ๐˜‡, and ๐—Ÿ๐—ฎ๐—ป๐—ถ๐—ฒ ๐——๐—ฒ๐—ฟ๐—ฒ๐—ฐ๐—ต๐—ผ. Participants moved beyond observation and experienced firsthand the patience, skill, and cultural narratives embedded in each craft tradition. Through hands-on activities and conversations with artisans, participants gained deeper insight into the relationship between making, meaning, and cultural transmission.

The final day of Likhang Kamay, held at the UST Museum, marked the culmination of four days of reflection, learning, and creative exchange dedicated to strengthening indigenous arts education in higher education institutions. The day formally opened with welcome remarks from ๐—ฅ๐—ฒ๐˜ƒ. ๐—™๐—ฟ. ๐—œ๐˜€๐—ถ๐—ฑ๐—ฟ๐—ผ ๐—–. ๐—”๐—ฏ๐—ฎรฑ๐—ผ, ๐—ข.๐—ฃ., ๐—ฆ๐—ง๐—ต๐—Ÿ-๐— ๐—”, Director of the UST Museum. Centered on Foundations of Indigenous Art Pedagogy in the Philippines and a Workshop on Course Development, ๐—”๐˜€๐˜€๐—ผ๐—ฐ. ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐—”๐—ป๐—ป๐—ฎ ๐— ๐—ฎ๐—ฟ๐—ถ๐—ฒ ๐—›. ๐—•๐—ฎ๐˜‚๐˜๐—ถ๐˜€๐˜๐—ฎ, ๐— ๐—–๐—›๐—ฆ, ๐—Ÿ๐—ฃ๐—ง guided participants in translating insights from lectures, field exposure, and artisan engagement into concrete educational outputs. The workshop encouraged participants to envision courses, learning activities, and pedagogical strategies that integrate indigenous crafts into formal academic settings while remaining grounded in cultural sensitivity and ethical engagement. The training course concluded with closing messages from ๐—”๐˜€๐˜€๐˜. ๐—ฃ๐—ฟ๐—ผ๐—ณ. ๐— ๐—ฎ๐—ฟ๐˜† ๐—–๐—ต๐—ฟ๐—ถ๐˜€๐˜๐—ถ๐—ฒ ๐——. ๐—ค๐˜‚๐—ฒ, ๐— ๐—ฆ, ๐—Ÿ๐—ฃ๐—ง, Dean of the UST College of Fine Arts and Design. The training course affirmed that safeguarding indigenous hand crafts is not only the work of artisans and cultural institutionsโ€”it is also a shared responsibility of educators who shape future generations through teaching, creativity, and meaningful engagement with heritage.

22/05/2026

Please be guided accordingly. Thank you.

22/05/2026

As the academic year draws to a close, the University of Santo Tomas proudly recognizes our student achievers who demonstrated excellence in various fields.
We congratulate our achievers, their parents and guardians, as well as their mentors and loved ones on this auspicious day

22/05/2026

Tomorrow, we honor our exemplary academic achievers whose outstanding activities and achievements made a mark in their journey in UST.
Join us in celebrating the Student Awards Day 2026 at the Quadricentennial Pavilion on May 22, 2026!

Tomorrow, we honor our exemplary academic achievers whose outstanding activities and achievements made a mark in their journey in UST.

Join us in celebrating the Student Awards Day 2026 at the Quadricentennial Pavilion on May 22, 2026!

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