One of the challenges I’ve seen many artists face—especially those shifting from hobbyist to professional—is finding a rhythm of productivity that feels focused, sustainable, and effective. There’s a natural desire to create more, finish more, and build momentum. But without structure, that ambition can easily lead to overwhelm.
Tracking your productivity can help—but only if you do it in a way that supports your creative process rather than stifling it.
Here’s how I suggest artists approach productivity tracking based on what I’ve observed from the most consistent and successful creators I work with.
Track Both Outputs and Inputs
It’s tempting to only count finished pieces. That’s the most visible and tangible result of your time in the studio. But relying on finished work alone doesn’t tell the full story.
I recommend tracking two categories:
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Outputs – How many pieces you complete, or how many total square inches of artwork you produce.
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Inputs – How many hours you spend in the studio working.
When you measure both, you get a clearer picture of your pace. You’ll begin to understand how long certain formats take, what days are most productive, and how shifts in routine affect your output. Tracking inputs also helps reinforce the habit of showing up—especially during slower creative stretches.
Let the Numbers Show You Where to Adjust
Data brings discipline. It can reveal gaps you didn’t notice and point to areas where small improvements could yield big results.
For example:
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If you’re spending 30 hours a week in the studio but finishing very little, it might be time to evaluate distractions or refine your workflow.
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If your pieces are getting smaller over time, that might be a strategic decision—or it might be worth reassessing your pricing and scale.
Use the data to check your assumptions, not beat yourself up.
Stop Tracking What Isn’t Useful
Not every metric is worth your attention. I’ve had artists try to track everything: square inches, brush hours, number of brushstrokes (yes, really). That kind of over-tracking turns into a burden, and ironically, takes time away from the work itself.
If a metric isn’t helping you make better decisions or stay more focused, drop it.
Set a monthly review reminder to glance at what you’re tracking. Ask yourself: Is this helping me focus? Is it helping me improve? If not, let it go.
Output Alone Doesn’t Equal Success
This might be the most important point: don’t confuse volume with value. You can be busy and still be off course.
Balanced productivity means producing consistently and maintaining quality. It means having the time and energy to market your work, connect with collectors, and pursue representation—not just rushing to finish the next piece.
The most successful artists I work with aren’t necessarily the fastest or most prolific. They’re the most intentional.
Build a System That Serves You
Your tracking method doesn’t have to be complicated. A simple spreadsheet with columns for date, hours worked, pieces finished, and total square inches is often enough.
You’re not trying to impress anyone with the numbers. You’re trying to build awareness—and momentum.
Because when you know what’s working, you can do more of it. And when you notice burnout creeping in, you’ll see it early and adjust before it derails your progress.
This is good. My first gallery asked about my output wanting one new piece 60″ X60″ every month. In my studio, I literally was jello heaped up in a pile at the foot of my studio floor. I worked to exhaustion realizing that my pieces were becoming less resolved and signs of short cuts. After a few months, I leveled with Bob Gino & they appreciated that my guesstimation of one per month just was not reasonable. Phil Orlando began studying my work and his critiques were really insightful. I trusted then that we were a team, they truly supported me. Trying to be superman proved to me and my gallery owners that I wasn’t. Our relationship lasted several mutually enjoyable years. I work 3 hours in the AM, then switch to daily tasks shopping, car care, haircut etc, for another 3, and if I feel I made progress in the AM, work another 3 or 4 hours in the PM. I make certain to log real sleep. Thanks for the article. I’m developing a concept right now for a series I call “The Elephant in the Room” thanks again
Your story really highlights the importance of honesty and balance. Galleries appreciate reliability, but not at the cost of your health or the quality of your work. Carlos, I like how you shifted into a rhythm that works for you and maintained trust with your gallery—great lesson for other artists.
I have been using Artwork Archive to input all my work for many years.. Inputing takes time but it sure tracks everything I need. I also found a formula for pricing that keeps it simple, so I don’t track hours. Some take longer than others and some come together quickly. So by keeping the same price on the same size makes it so much easier for me, and consistent for my clients. I can change the formula
This is the formula I use, I don’t remember where I got it however. Add length and width, after totaling, I use a number to multiply by, re: 24 +24= 48 then times a number that works for you. In this case if I x by 25 = $1200. So if I know how much I want to charge for that size, then I can use 20 for any size.
That’s a smart approach—keeping your pricing simple and consistent helps both you and your clients. I like the straightforwardness of the formula you’re using, Dianne.
What I needed to hear /read.
When I was engaged in the arts education career, my studio work was catch as catch can- a bit of time here, a day there. I counted on juried shows to drive my output. It worked and became a patterned ritual. The only consistency was the random inconsistency like a rubber band.
Tracking was not a thing until the Art Business Academy, and the question, “How many pieces do you estimate you can produce consistently?”
That question is almost universal across any “coach’ or program you can find.
Once I determined I was an artist (another story another time) I started watching myself. My ritual is daily work. the hours are fairly consistent. The big initial point is to carve out “studio time” and treat it is sacred and immovable. It doesn’t matter how much time, just that you are in your art head and space.
It’s taken a long time but I’m getting there. the strength if my work and ideas deserves a solid time to be at work. Start by believing that.
My two cents.
Your comment captures something powerful: once you start treating your studio time as sacred, everything shifts. Stephen, I like how you said it doesn’t matter how much time—just that you are there and working. That mindset makes all the difference.
Jason, these new articles are so on point! Info every artist needs and some of us have learned the hard way. I would encourage that all of these latest articles be put into a book for easy access!! You can sign me up as the first one on the book waiting list!!! So much great information, thank you for your generosity in sharing!!
A good follow up to this would be that article you did on creating a solid schedule to increase productivity. Unfortunately I can’t remember the title ( which is why I would love a book in hand for reference!!)
A book may very well be in the future—I’ve heard that request from a few different directions. I love that you remembered the scheduling article, Trish, because that ties so directly to productivity. Thanks for the encouragement.