I am best known for my pixel-crayon works. These blend modern digital photography with the traditional encaustic crayon resulting in works that balance sculpture with painting. These works are extremely labor-intensive and and meticulously crafted taking many days or even weeks to create even the smallest work. The hand-made crayons are a mixture of damar varnish, artist pigments, and bees wax which makes them exceptionally durable and light fast. Each and every work is composed of thousands, or tens of thousands of these encaustic crayons all melted together (on the back) into a durable wooden frame.
Over the years, I have done larger commissions for companies like Hilton Hotels, Royal Caribbean, Target, and several others. These larger commissions were created using multiple panels and composed of tens of thousands of individual crayons for each finished work and priced between $35K-$50K.
See pages:
https://www.christianfaur.com/NewSite/2018/07/18/target/
https://www.christianfaur.com/NewSite/2018/07/18/hilton-skyline/
https://www.christianfaur.com/NewSite/2018/06/20/bowl-of-limes/
Bowl of Limes 
I have also done medium sized commissions that were made up of several panels but smaller in size. Often these are focused on an individual portrait. One issue with larger works, is the need for a grid to ensure that the works are stable over time and do not shrink or expand over a large surface area.
I use the individual wooden frames a way of giving the encaustic wax inside the panel the ability to slightly shrink or expand without causing a crack on the image surface. This is similar to cutting relief joints in concrete. This also makes transporting and storing the work much easier.
Although not as often, I do create smaller portrait commissions that are single panels.
The size for these single panel portraits is based on the Melodie Series and runs 14x14x3 inches in size (including frame). The panel holds a total of ~2200 crayons which are arranged in a grid that is 43 crayons wide by 51 crayons high (nature of how crayons stack).
The difficulty for the smaller portraits lies with the lack of resolution in the crayon medium I am working in. A crayon is ~1/4 of an inch in diameter so even a smaller work like the Melodie series has only ~43 crayons horizontally that makes up the image. Think of this detail like an emoji icon on your phone but smaller as the icons on phones have ~128 pixels across which makes it 7 times as detailed (in 2 dimension) as what I can work with for a smaller work.
To do this type of portrait I usually have the client look through the Melodie series and find a pattern or style that they like and then I discuss the pricing based on the difficulty. For example, the zigzag pattern was extremely difficulty to cast, so costs more than a simpler monochromatic work with a red grid:
As seen below, I then create an image map with a photo that is provided or that I have taken. The map acts as an approximation to what the final work will look like. The difficulty lies in producing a likeness of the original image with very little detail. A photo that works best must fit in a square format and be very closely cropped and have high contrast.
After the initial pixel map is approved by the client, I require 50% of the commission fee up front before making the crayons, frames, etc.. This is non-refundable, as it will pay for my time and costs associated in creating the work. The other half is paid upon receiving the finished work.
The singled paneled portrait commissions are priced at ~$4,800 for each panel; This cost is the same as the Melodie Series.
Here are some examples of 14×14 inch portraits using a “Random Color” method from my show “The Land Surveyors”:
Below is an interview I did with our local PBS station (Broad and High) that goes into my process in more detail. In addition you can read more about my work in in the 2012 article American Craft Magazine entitled Coloring outside the lines
