Productivity in art: How can I create as many artworks as possible as quickly as possible to fill a studio?

We regularly receive inquiries About us exchange with artists via KUNSTPLAZA and About us social media channels. These inquiries revolve around quickly building an art collection for one's own studio (e.g., for open studio days…) or for exhibitions.

As a preliminary note, we would like to point out that quality should always come first and take precedence over quantity. Art usually takes time.

Nevertheless, the question is valid, and fortunately, there are (accepted in the art world!) approaches and methods for filling one's studio with art as quickly as possible. We spoke with established artists and lecturers at art academies.

In order to quickly fill a studio with an impressive number of works without losing artistic relevance, a shift from the "one-off piece mentality" to process-oriented mass production crucial.

These are the strategies taught at art academies

Here are strategies and advice, as often taught at art academies (e.g., in the tradition of Gerhard Richter or Andy Warhol), to combine productivity and aesthetics.

1. Serial production: The artist's "assembly line"

Established artists like Andy Warhol have shown that quantity can generate its own quality. Don't work on one picture at a time, but on 10 to 20 simultaneously.

• The focus: Place all canvases or papers next to each other on the floor or against the wall.
• The process: Once you've mixed a color, use it consistently on all your artwork before moving on to the next color. This saves cleaning time and creates visual coherence (a "common thread") for your entire collection.
• Advantage: You don't have to decide which color comes next for every image.

2. Use large-format tools

To fill areas quickly and dynamically, you should put aside fine brushes. Professors at academies often recommend tools that encourage randomness and enforce speed:

• Squeegees and spatulas: Inspired by Gerhard Richter . Large squeegees allow layers of paint to be spread across the entire canvas in seconds.
• Paint rollers and brushes: Use paint rollers from the hardware store for backgrounds and rough textures.
• Spray paints: Allow for quick layering and drying, which speeds up the work process.

3. The “Alla Prima” technique (wet-on-wet)

Don't wait for drying times. In academic painting, the alla prima technique a work to be completed in a single session.

Mix colors directly on the canvas.

Use acrylic paints with a drying retarder if you want soft transitions, or work with pure acrylic to build up layer upon layer in minutes.

4. Reduction of decision complexity

Time is usually lost due to hesitation. Experienced lecturers recommend imposing artificial time limits on oneself:

• Limited palette: Work with only three colors plus black and white. This takes the burden of constantly choosing colors off your shoulders.
• Time-boxing: Set a timer (e.g., 20 minutes per canvas). The time pressure forces you to use intuitive, bold brushstrokes and prevents you from "painting to death" a picture.

5. Modular Art and Collage

A studio can quickly feel crowded if you group small-format series into large wall installations.

• Works on paper : Sketch quickly on heavy paper. You can later mount these on wooden panels or present them in identical frames. Fifty framed sketches often look more impressive than three large oil paintings.
• Mixed media : Use photocopies, newspapers, or fabrics as a base. Painting over collages instantly gives the image depth without having to paint every structure yourself.

Summary of expert tips

strategy	method	Goal
Simultaneous work	Edit 10+ works simultaneously	Visual unity & time saving
Tool scaling	Squeegees, rollers, sponges instead of brushes
Systematics	Fixed rules (e.g., only lines or only 3 colors)	Eliminating decision fatigue
Output focus	Allow for a sketchy character	Using "non-finito" as a stylistic device

A piece of advice from the academy:

"Stop looking for the masterpiece. Produce material instead. The masterpiece is often hidden in the mass of the process."

“Recipe” for a series of 10, including a materials list and schedule

To make it a little easier for you to get started and implement, we have put together an example “recipe” for a series of 10.

Here is your battle plan for the “Series 10/4” – 10 large-format, professional-looking artworks within approximately 4 hours of pure working time (plus drying time).

This concept is based on the layering method in contemporary abstract painting (e.g., following the example of the Leipzig School or Berlin Abstraction ) to create depth and dynamism.

1. The materials list (the “shopping cart”)

Buy from a hardware store or art supply store to control costs for this quantity:

• 10 canvases: at least 80 × 100 cm (size fills the room).
• Colors: 2.5 liters of white wall paint (emulsion paint as a base), 500ml of black, and 3 strong accent colors (e.g. Prussian blue, golden yellow, magenta).
• Tools:
  • 1 wide facade paintbrush.
  • 1 large paint roller with telescopic handle.
  • 1 window squeegee (rubber lip) or a long, straight wooden board as a squeegee substitute.
  • Spray bottle with water.
  • Painter's tape (wide).

2. The schedule: The 4-hour series

Place all 10 canvases next to each other (on the floor or wall). Work through all the images from left to right, like a machine.

Lesson 1: The primer & texture (wet-on-wet)

• Action : Mix the white paint with a little water and one of the accent colors (very light). Roll all 10 canvases completely.
• The trick : Spray the wet paint with water so that it spreads slightly. Using the black flat brush, make 2-3 bold, rough strokes on each canvas.
• Goal : To immediately defeat the "horror vacui" (fear of the empty space).

Break (30 min.)

Allow the first layer to dry slightly. It can still be damp (for blending effects).

Lesson 2: The squeegeeing (The dynamic layer)

• Action : Apply undiluted paint (the accent colors) in blobs directly at the top edge of the canvas.
• The process : Take the window squeegee/squeegee and pull the paint off with a single, strong stroke from top to bottom or across the image.
• Effect : The typical "Richter streaks" appear. Repeat this for all 10 images. Clean the squeegee only very briefly in between – color transfer between images will create a serial effect.

Lesson 3: Masking & Contrast

• Action : Use painter's tape to mask off one or two geometric shapes on each picture (e.g., a narrow rectangle or a cross).
• The process: Paint over these areas with a contrasting color (e.g., pure white or black). Remove the tape immediately while the paint is still wet.
• Effect: Hard edges against the wild squeegee marks immediately create a "gallery-worthy", professional look.

Hour 4: Finishing & Accentuating

• Action : Go through the row with a fine brush or a spray nozzle.
• The process : Add “highlights” (splashes, small fine lines or signature elements).
• Goal : Each image receives an individual touch, while the basic series look is retained.

Professional advice for presentations

The way the large number of pictures are hung in the studio is crucial for their impact:

1. The "grid" hanging method: Hang 9 of the pictures in a precise 3x3 grid. This precise arrangement significantly enhances even quickly created artwork.
2. Uniform framing: If the budget allows, use simple shadow gap frames made of wood. A frame signals to the viewer: "This is finished and valuable."
3. Lighting: Use spotlights. Cast shadows on the textures of the paint application make the images appear deeper and more expensive.

And finally, a lecturer's secret:

"Quality is often simulated by the absence of hesitation. Those who work quickly and boldly avoid the strained details that often betray beginner work."