An Artist’s Guide to pricing your work.
If you’re anything like me, you’ve been making art one way or another since childhood. A lot of my teenage years consisted of me alone in my room lost in my imagination. None of those drawings ever saw the light of day. Making art was a very solitary & self-oriented activity. But once you start putting your art up for sale, your relationship to it changes completely.
The transition to selling your work can be deeply jarring. Today I want to deep drive into these complex feelings to help other artists begin their journey with a new sense of confidence and direction.
1. Self-Worth vs The Price Tag
Sometimes the art we make is not just a pretty picture. We are putting a piece of our soul on a canvas and processing our life experiences. The best and worst times of our lives reflected back to us.
I have a couple art pieces like that. At the very beginning of this art journey, I had just quit my job at a hair salon because of a full nervous breakdown. I had some health complications after having my son and could no longer pursue a career I had sunk a lot of time & effort in. I turned to painting to process the tidal wave of emotions I was going through. It was simultaneously the darkest and happiest time for me which is very confusing. I loved being a new mother but I also needed to face down a lot of my demons and do some intense introspection & “shadow work.” It was an intense year but it altered the course of my life into exactly the person I wanted to be.
Now, how does one put a price tag on their will to live exactly? $50, $500, $10,000? To me that painting is priceless. But now that I am a couple years removed I can see that, for me, most of the value was in the act of painting itself. As much as I love it, it doesn’t need to sit in my studio until the end of time. The best outcome would be to give it to someone who will also love & appreciate it so I can make space for something new. Being an artist is a lot like fostering kittens in that way.
2. Handling Rejection
Everyone has a unique aesthetic they’re drawn to. It’s impossible to please everybody. We know this but facing other peoples’ opinions (especially in the beginning) is still very scary.
The price adds a whole new layer. What people spend their money on is also deeply personal and varies wildly from person to person. Someone might scoff at your $1000 painting but have no problem spending $2000 on a pair of shoes they never take out of their closet.
If you want to maintain your sanity, you just have to accept that peoples’ reaction to your artwork is 100% a reflection of them & rarely ever has anything to do with you. It takes practice, but don’t take their opinions personally. It’s important to maintain professional boundaries, take it as a data point instead of an insult.
Instead, put your energy into the people who DO like your work. Try to pin-point the type of person who resonates with you. They are often “cut from the same cloth” as you and have similar interests. In-person markets and shows are a great way to meet these people face to face.
3. Imposter Syndrome
In the beginning, it’s very easy to feel like you don’t belong. There's a voice in our head that wants to convince us that we aren’t ready yet. We might have a vision in our head of what a professional artist is that we don’t measure up to. But the simple truth is that an artist is a person who makes art- full stop. Once you sell anything with your artwork on it, boom you’re a professional artist! It is not an exclusive club you have to fight your way into.
Confidence comes after doing scary things, not before. Imposter syndrome is only conquered with experience and repetition.
4. Rejecting “the Starving Artist” Narrative
There’s this idea that “selling out” is one of the worst sins an artist can make. This is essentially trading your artist integrity for commercial success. A belief that once money enters the equation, art is tainted and no longer “pure.” Sure, this does happen from time to time, when people lose themselves in what is popular vs what is authentic. I think, however, this belief is toxic for a thriving arts community.
At the end of the day, the Arts are a trade. Making it as a professional artist requires a variety of different skills and a whole lot of effort. An artist deserves to be compensated just as much as a carpenter or electrician. We don’t ask other professions to sacrifice their livelihood for the “purity” of their craft. Clinging to this romantic bohemian fantasy just keeps artists stuck in a cycle of survival & poverty. I would argue that the desperation of poverty taints a person’s work more than money ever could. After all, safety and stability are the first steps towards self-actualization
This brings me to the pervasive idea that “the love of money is the root of all evil.” And while I agree excessive greed is the root of a lot of the ills of society, I think it also leads people to the toxic belief that poverty is somehow a virtue and being poor makes you morally superior in some way.
This is something I had to process when I was thinking about becoming a professional artist. Charging people money for what is ultimately a luxury can come with a lot of guilt, especially if you’re highly sensitive and tuned into the news.
I can tell you the exact moment changed my mind. One day, I had just pulled in my driveway with my about one year old son in the back seat. As I was taking him out, I noticed a homeless man who had soiled his pants pushing a cart down my street. My first instinct was fear. I rushed to get my son inside to avoid any interaction with the man. The second thing I felt was guilt & shame. He was a person in crisis and I felt powerless to do anything to help him.
At the time, we were a one-income household and we did not have extra money. I had recently quit my job due to my own physical and mental health crisis. And in that moment, the only difference between me and that man was that when I was at my lowest, I had a support system and he didn’t.
Money is a tool, it’s how you use it that matters. I can do more good by making money and donating a percentage of it to mental health and homelessness services in my community than I ever could wallowing in my own sadness. My suffering does not make anyone else suffer less.
Needless to say, I no longer feel guilty about charging money for my artwork.
5. The Audacity to Charge
Believe it or not, there are a lot of financially stable people out there that are able to afford your artwork. When I had the idea to write about this topic, I looked up the most current stats that broke down US Household Income. The results might be a little surprising.
2024 US Household Income Breakdown (before taxes)
30% of households made under $50,000
27% of households made between $50,000 - $99,999
42% of households made more than $100,000
Now obviously this is not a full picture of the finances of the average American but it does help put things into perspective. You do not need to underprice your work out of guilt. There are people out there that value your work and can afford it!
There are ways to cater your artwork to people of all different financial backgrounds. The goal is to make your business sustainable for you. You do not need to struggle on the behalf of other people's wallets.
6. Practical Pricing Strategies
Pricing Formulas are great guides to build a consistently priced body of work. You can tweak them depending on the project/artwork.
Price per Square Inch
(width x height) x $ multiplier = retail price
Industry Standard for Fine Artist & Oil Paintings
The Multiplier: Your “value” as an artist. You might start at $1.00 or $2.00 per square inch and raise it as your demand grows.
Pros: Creates consistent pricing across your body of work.
Cons: Prices can skyrocket too fast when working with larger canvas
Example) 10in x 10in x $2 = $200
20in x 20in x $2 = $800
Price per Linear Inch
(width + height) x $ multiplier = retail price
Best for large scale works
The Multiplier: Start between $10 and $15, raise it as your demand grows.
Pros: Creates a more balanced price jump between sizes
Cons: Less Common, might need to explain to your collectors
Example: (10in + 10in) x $10 = $200
(20in + 20in) x $10 = $400
Price per Hour
(Hourly Rate x Hours Worked) + Cost of Materials = Retail Price
Best for intricate work, commissions, crafts, & goods with fluctuating price of materials, i.e jewelry.
Pros: Ensures you are paid fairly for your literal time.
Cons: Can penalize you getting faster/more efficient
Example: ($30 x 4hrs) + $20 materials = $140 retail
Market Comparison
Research similar artists in your same niche and skill level. Follow similar pricing.
Best for grounding your prices in what’s already on the market.
Pros: Ensuring your prices are “realistic”
Cons: Doesn’t quantify your unique style, skills, or vibes
“Retail” Method
(Base Price x 2) = Retail Price
Best for if you plan to sell your artwork in galleries or boutiques.
Pros: Factors in Gallery or Store’s standard 50% cut
Cons: Can feel “expensive” if you’re selling directly to fans.
There are many approaches to pricing your artwork. At the end of the day remember it’s your business and you have executive control. Do what feels right to you. Just start somewhere and adjust your prices as you sell out of certain styles of paintings.
Side note: It’s a good idea to have a minimum price so even if you’re working with small canvases you’re still charging enough for your time and skill level.
Commission Pricing
(Base Price x 1.4) = Commission Price
I approach commissions by adding between 30% - 50% to the base price of the size of their choice, depending on the complexity of their request.
Alternatively, you can start with the clients budget and work backwards to figure out what sizing would work best for the clients request.
Once you’ve nailed down your formula of choice, make a Price List with the range of prices & sizes and have it available to potential buyers. Make your prices obvious and visible. Most people are shy and don’t want to risk the embarrassment of asking how much a painting is and will assume it’s too expensive.
7. The Pricing Ladder
The best way to keep your artwork accessible is to offer a range of products and paintings at different price tiers to suit the needs of different collectors.
Entry Level: $1 ~ $50 “The Impulse Buy”
Product Examples: Manufactured products like stickers, postcards, & prints. Also quick doodles, sketches, and experimental works that you wouldn’t otherwise sell at full price. I would also call this the "impulse buy range.”
This tier is best for new collectors and people who are price conscious. It’s good to have an accessible entry point. Once someone buys something from you once, they are more likely to buy more from you again in the future.
Mid-Tier: $50 ~ $250 “The Sweet Spot”
Product Examples: Higher quality manufactured items like apparel, canvas or limited edition prints, and small original paintings.
This tier is best for first time art buyers and gift buyers. Still in the realm of accessible and is what will pay the consistent bills.
Investment-Tier: $250 ~ $1000 “The Serious Collector”
Product Examples: Originals on paper, medium sized canvases, and custom commissions.
This tier is best for collectors who have moved beyond prints and want to own a unique piece of your story. These buyers are often looking for "statement pieces" for their homes or offices.
Legacy-Tier: $1000+ “The Heirloom Investor”
Product Examples: Large-scale Originals, complex gallery pieces, or exclusive series.
This tier is best for established patrons, corporate clients, and those looking for a high-end experience. While these take longer to sell, these are career-defining artworks that set the standard for your entire body of work.
8. The Long Game
A career is not magically built overnight. Being an artist is a life long commitment. We have decades ahead of us to hone our craft and build our collector base. The important thing is to keep at it and never give up on yourself.
As a beginner myself, I’m in the trenches right there with you. My current strategy is to focus on producing a large amount of smaller works. The best way to improve quickly is to make a lot of something. I learned this first hand while making my Tarot Deck. 78 card sized illustrations improved my art drastically. I spent on average 2 hours drawing each card. That’s at least 156 hours of practice.
This year as I focus on building my body of original oil paintings, I plan to follow a similar structure. Commit to painting 2 hours a night Monday, Wednesday, and Friday from 7pm to 9pm. It’s so simple and reasonable I have no choice but to follow it. In just 2 nights I have already started three paintings and finished one!
One day when my children have grown a little, I will have a whole work week to work on my craft and build my art business, but until then we just have to do our best with the little time we do have. Remember, it doesn’t matter how slow you go as long as you don’t stop.
Good luck out there,
Emma Baginsky
