Artists are, by nature, creative problem-solvers. You thrive on variation, experimentation, and the joy of bringing new ideas to life. But when it comes to building a sustainable art business—especially one that involves galleries, collectors, and shipping—some structure can actually make your life easier and more profitable.
One of the most common questions I hear is: How many sizes should I be working in? Should you offer endless variety to appeal to different buyers? Or stick to a tight range for simplicity?
My take: You can (and should) offer diversity in your body of work—but that doesn’t require dozens of different dimensions. In fact, streamlining your size options can give you more freedom to focus on what matters: making great art and selling it efficiently.
Lead with Your Vision, Not Your Tape Measure
Start by thinking artistically, not logistically. What size formats best serve your creative goals? Do you love long, horizontal panoramas? Are you drawn to tight, intimate compositions? Do square formats speak to your subject matter?
This isn’t about painting to fit a shipping box—it’s about deciding which formats let your voice come through clearly.
That said, once you’ve identified the types of compositions and subject matter you love to work with, you can start thinking strategically about how to standardize.
The Sweet Spot: 7 to 10 Repeatable Sizes
In my experience, artists who settle into a range of 7 to 10 consistent sizes find the best balance between creative flexibility and business efficiency.
With this range, you can:
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Offer small, medium, and large options to appeal to a range of budgets and spaces
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Still produce work that feels varied and diverse
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Simplify every downstream process: ordering materials, framing, photographing, labeling, shipping, and storing
You don’t need to offer a precise range of 12×16, 16×20, 18×24, 20×30, 24×36, 30×40, etc.—but having a core set of go-to dimensions makes everything smoother.
The Hidden Costs of Endless Variety
Every time you introduce a new, one-off size, you create friction:
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You have to order a new frame or stretcher bar, often at a higher price
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You need a custom box or crate
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You lose the ability to batch print labels or marketing materials
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You increase your odds of damage or delay in shipping
Even a few extra minutes spent wrestling with packaging or ordering logistics adds up—especially if you’re producing work regularly or shipping across the country.
Special Sizes? Yes—Just Use Them Intentionally
Streamlining doesn’t mean you have to give up creative spontaneity. Occasionally, you’ll find a subject or reference image that demands something out of the ordinary. Go for it.
The key is to make intentional exceptions, not routine ones. Think of special sizes as a creative bonus—not the default.
Over time, you’ll find that even your “creative departures” often still fit within your overall size strategy.
Standardization Builds Trust with Buyers and Galleries
Here’s something many artists don’t consider: Consistency creates confidence.
When a collector or gallery sees your body of work—online or in person—and notices that your work is presented with uniformity, it signals professionalism. It also makes things easier for the buyer:
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They can imagine how multiple pieces might look together
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They can easily compare pricing across sizes
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They know what to expect when they receive a shipped piece
This consistency becomes part of your brand. It reinforces the idea that your work isn’t just expressive—it’s dependable, collectible, and well thought out.
Final Thought: Discipline Creates Space for Creative Freedom
Having a standard set of sizes isn’t about limiting yourself. It’s about creating a structure that frees you from constant decision fatigue—and lets you focus your energy on what matters most: making your best work.
When you’re not reinventing the wheel every time you face a blank canvas, you gain momentum. Your studio becomes more efficient. Your business becomes more profitable. And your collectors and galleries feel even more confident representing and buying your work.
Are you already working with a consistent range of sizes? Or are you still experimenting to find what fits? Let me know how it’s working for you.
Thank you so much for your insight on this Jason
My sizes have been all over the place, but as of today, there is no more inconsistency.
This is the first time I have heard of this.
Glad it hit at the right time, Olaf. Standardizing sizes can be a game-changer—not just for logistics, but for building a clearer brand. Looking forward to seeing how the consistency shows up in your body of work
Thanks Jason for the insightful article.
I am an abstract photographer (Jozenart.com), as I am driven by compositions, my pieces vary a lot in dimensions (the ratios). How can the principles in your articles apply to my case? Thanks.
You could standardize on mat and frame sizes. Then you just have to worry about cutting the mats to fit your prints. I have access to a mat cutter by virtue of Watercolor Art Society-Houston membership so that’s not a big problem for me.
Good tip, Paul. Standardizing frame and mat sizes is a practical workaround for photographers and works on paper. It allows room for variety while keeping presentation streamlined—and saves a lot of headache when prepping for shows.
Great question, Clara. With abstract photography, I’d still suggest identifying a handful of ratios that best serve your compositions and sticking with those. It doesn’t mean locking yourself in, but having a “go-to” set of formats can simplify production, framing, and marketing—while still giving you room to explore.
have used that formula for decades. that way i can buy dozens to hundreds of canvases as opportunity allows, same with frames. i tend to paint in groupings so i prepare the base elements of the sets on custom gessoed canvases all at the same time. that way can just pick out the next canvas as the muse takes me, often as am 1/2 way through the former piece working with the same basic pallette range.
generally it saves time, funds and promotes creativity as there are always canvases avail to work on.
You’ve built a system that supports both creativity and productivity—love it. Preparing materials in advance and working in series with a consistent palette is a powerful way to stay in flow. That kind of discipline builds real momentum.
Years ago, I used to do drawings in unusual sizes to force the purchase of a custom frame that was truly suited to the image. I didn’t make anything on framing. It was just an aesthetic thing. I was thinking that would stop the mindless purchase of black photo frames that may or may not really enhance the art. Then I found out that clients were cutting the art to fit into those ubiquitous black photo frames anyway. Ugghhh!
So, this suggestion makes total sense to me. Go with the flow.
I have found that working in a few established sizes also allows me to buy quality frames when they are on sale. I buy what I think will fit nicely with the themes/subjects that I am currently pursuing. Sometimes, opportunities to show or sell a work come up quickly and having frames available means that I can respond without a lot of last minute fuss.
You’re speaking every gallerist’s nightmare with that bit about clients trimming artwork to fit! 😬 Your approach now—stocking quality frames and working within consistent sizes—is exactly the kind of strategic thinking that pays off long-term. Smart, efficient, and still leaves plenty of room for creative decisions.
I made this decision several years ago and it was definitely the right decision. It is so much easier to hang a show with less sizes. For larger paintings I generally use gallery wrapped canvases in a few sizes so it isn’t necessary to provide frames.
Exactly—fewer sizes make hanging and planning shows so much easier, and gallery wraps for large works are a great solution. It’s a smart balance of professionalism and efficiency.
You always have great information Jason. I had just considered this for the first time recently so your article is very timely. I will be taking your advice and settling on a few sizes that I enjoy painting the most. Thanks!
Appreciate that, Joe! Locking in your preferred sizes is one of those small shifts that can make a big difference across the board. Glad the timing lined up.
Where I’m painting can often drive my size Choice. In plein air, particularly if I’m in the southwest or on the ocean I often choose pano sized canvas. 8×16, 6×12 etc. in studio I often go for 16×20 or 18×24 but 24×48 can be effective too. Looking forward whether the piece is going to be framed or gallery wrapped can also drive the size.
That makes sense—location and setting do influence format. The key is exactly what you’re doing: balancing creative responsiveness (like panos for landscapes) with a consistent set of studio sizes that work well for production and presentation.
Thank you for the insight, Jason. It confirms what I had been thinking, as I’m at the age, where I need to simplify my life (and studio)!
Your blogs have been most helpful and informative through the many years I’ve followed them!
I’m glad it confirmed what you were already feeling. Streamlining can be a great gift at any stage—but especially when simplifying becomes the priority. Wishing you clarity and ease in the next phase of your work.