Website builder for artists

Your site is the public record of the work, and the people who matter read it as part of the work. Siter.io publishes the file you designed in Figma, so the spacing and the type are yours rather than a theme’s. What it will not do is take money for a piece — worth knowing before you start.

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The short answer.

Siter.io suits an artist who wants the site to look like the work rather than like a template, and is content for it to be a catalogue rather than a shop. You design in Figma, send the pages over with the plugin and publish on your own domain from $7/mo billed yearly. There is no shop and no CMS here.

Build it here if…

The work is visual and the layout is part of it. You design in Figma already, or are willing to. The site shows the work, carries a CV a gallery can skim, and opens an email.
Look elsewhere if…

You need a checkout for prints or originals, a blog or exhibitions feed that updates itself, or the same site in two languages. None of those three exists here.

Selling happens somewhere else.

Siter.io has no e-commerce. It is listed as upcoming with no date, so plan a site here as though it is not arriving this year.

That is not fatal if the site was never going to be the till. Let the site be the catalogue and arrange the transaction elsewhere — but decide that on purpose rather than discovering it after you have paid.
Three arrangements that work

Represented by a gallery. The easiest case, because the gallery already handles money. Each series page carries the work, its dimensions, medium and year, and the enquiry goes to the gallery. Your site does the looking; theirs the invoicing.

Selling prints or editions. Run the checkout at a print lab or marketplace and link each piece to its listing. A link out is just a link, so it is buildable here, and the fulfilment and tax mess stays with people set up for it.

Selling originals yourself. An enquiry form on the page where the work is, then a conversation and an invoice by email. Slower than a cart, and for a five-figure painting it is what the buyer expected. What not to do is design a Shop page with a Buy button that goes nowhere.

How the design gets there.

Five steps, and the third one is the real work.
1. Design the pages in Figma.
2. Send a frame with the plugin.
3. Lay out the two narrower widths.
4. Upload your fonts, check the type.
5. Connect a domain and publish.
What the import carries, and what it does not

The import runs one way. The plugin sends a frame from Figma to the canvas, and there is no re-sync. Later changes in the Figma file do not flow into a page already imported — send the frame again, or edit on the canvas. Decide early which file is the master.

Prototype animation stays behind. Figma prototype animations and interactions do not import. Siter.io has its own on-canvas animations, so the movement is rebuilt in the editor. Budget an evening if the prototype was elaborate.

Three fixed breakpoints, not fluid widths. You lay the site out at three set widths and that is the control you get. A design that only works at 1,440px needs a decision about what it becomes on a phone, and that decision is better made in Figma than discovered on the canvas. How the breakpoints work.

Bring the fonts, mind the files. Font files upload on every plan. Export images at the size they are displayed rather than dropping in print masters; a 40MB TIFF helps nobody in a gallery corridor.

What actually fits an artist’s site.

Four things this tool is good at that a template builder makes you fight for.

Your type, not a theme's
Upload your own font files on any plan, so the site is set in the same face as the invitation card.
How custom fonts work
Images sit where you drew them
The layout arrives from Figma as drawn, so a spread with deliberate white space around one image survives the trip.
Movement, without a developer
On-canvas animations and interactions are part of the editor. Figma prototype animations do not import, so they get rebuilt here.
Enquiries arrive as a form
A contact form and an enquiry form is usually the whole requirement. Forms come with every plan, and the allowance per plan is on the pricing table.
How the forms work

Four things artists get wrong.

None of these is a software problem, which is why no builder will warn you about them. Each is cheap to fix before you send the link, and awkward afterwards.

The work is three scrolls down
A full-bleed statement, then a manifesto, then an image. If someone is opening twenty sites in a row, the third scroll is doing no work for you.
The series does not read as a series
Twelve pieces at four crops on three background colours read as twelve unrelated things. One width, one background, one caption format.
No obvious way to make contact
An address baked into a JPEG, or a form four clicks deep. Put a copyable address where the work is.
No CV anyone can skim
Year, venue, city, solo or group, newest first. A prose paragraph, or a PDF, is far harder to skim on a phone than a plain dated list.

What to put on it, and how many pages that takes.

The pages that earn their place

A work index that is mostly images. A page per series rather than per piece, with dimensions, medium and year under each work. A statement short enough to read standing up. A CV with exhibitions, and a contact page that is an address rather than a maze. Five to eight pages for most practices — fifty pieces as fifty pages is a navigation nobody browses.

Watch the page allowance

Solo allows 10 pages, Plus allows 50 and Pro is unlimited. A series page holding twenty images still counts as one, so the allowance rarely bites if the structure is sensible. It bites immediately if every piece gets its own URL.

Updating a show without a CMS

There is no CMS, so an exhibitions list is a designed block you edit and republish rather than a feed that fills itself. Three or four dates a year is a twenty-minute job; posting weekly is the wrong job for this tool. Version history is part of the product, though what a restore covers and how far back it reaches is not documented, so check it in the app before you rely on it.

What it costs to be live.

Every figure below is per month billed yearly, which is how the pricing page shows them by default. Month to month the same three plans cost $8, $14 and $28 instead.

Solo — $7/mo billed yearly

1 published website, 10 pages, 3 forms and 2 editor seats, with a domain you already own pointing at it. Enough for a work index, a few series pages, an about page and a CV.
Plus — $12/mo billed yearly

3 published websites, 50 pages, 5 forms and 4 editor seats. The one to take when a project or a collaboration wants a site of its own.
Pro — $24/mo billed yearly

5 published websites, unlimited pages and forms, 6 editor seats, and a page can be downloaded as HTML. What comes down with it is not documented, so do not buy this plan as an exit.

The free Start plan builds and previews privately and cannot publish to a public address, so a live site begins at Solo. Pointing a domain you already own at the site is a paid-plan feature, as are the removable “Made with Siter” badge and the per-page SEO fields — title, description, slug, share image — which matter when the search someone runs is your own name. Editor seats let another person into the canvas, and roles are there to organise who changes what; the exact permissions are not documented, so check them in the app before handing a gallery or a collaborator access. Full detail on the pricing page and under features.

Frequently asked.

What is the best website builder for artists?

It divides on one question: does money change hands on the site? If you sell prints or editions directly, you need a builder with a real checkout, which rules Siter.io out today. If the site is a catalogue and what matters is that the design carries the sensibility of the work, a tool that publishes your own Figma layout rather than a theme is the shorter route.

Can I sell my art on a Siter.io website?

Not directly. E-commerce is absent and listed as upcoming without a date. Link each piece to a listing at a marketplace or print lab instead, or take enquiries through a form and invoice by email — ordinary practice for artists selling originals, and neither needs a cart.

Can I use my own fonts?

Font files upload on every plan, so the type on the site can be the type on the invitation card rather than the nearest available substitute. Check that each licence covers web use; a desktop licence bought for a print catalogue often does not.

Can I show video work?

YouTube embeds work on every plan. Direct upload is capped at 10MB on paid plans, which is a loop rather than a film. If moving image is the practice rather than documentation of it, host the files with a video platform and embed them.

Can I take the site with me later?

The domain registration sits at your own registrar, in your own name, so the address moves the moment you point it elsewhere. The pricing page lists transfer of a website to another email address on every plan, which is how a site leaves one account for another — what travels with it is not documented, so confirm that in the app before you promise it to anyone. Downloading a page as HTML is a Pro feature, and what comes down with it is not documented anywhere we can cite, so treat it as a convenience rather than an exit. Keep the Figma file; that is the design you can take anywhere.

Built for other people too

Also useful: what makes a personal site work, the kinds of site people build here, uploading your own fonts and collecting enquiries with a form.

Design it in Figma. Publish it as your own.

If the pages already exist as Figma frames, the plugin sends them across and you finish them on the canvas. Building and previewing is free; publishing on your own domain starts at $7/mo billed yearly.
Get the plugin ->
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