SURFACES & SUPPORTS

Over the years, paper has become an invaluable tool for record keeping and making art. Today a variety of papers are both affordable and readily available. Because drawing paper can vary widely, artists generally describe a paper using the following properties: material, weight, texture, finish, brightness, and color.

Papers made from cotton rags are called “rag paper;” these strong sheets are made up of the longest cotton fibers. Aside from art, rag paper is used for important documents that need to last or withstand wear and tear, such as money.

MATERIAL

The majority of paper today is made out of cellulose fibers derived from wood pulp, cotton, or a blend of the two. Generally speaking, the higher the content of cotton, the higher the quality of paper.

WEIGHT

Paper weight is measured in either pounds per ream (500 sheets) or grams per square meter (gsm or g/m2). Using gsm to describe a paper’s weight is more consistent and perhaps more descriptive; however, the pound system is more common in the United States. Remember: The greater the lb or gsm, the thicker the paper.

BRIGHTNESS & COLOR

Art papers are available in nearly every color imaginable. Most artists work on papers that range from bright white to cream; however, some artists use the tone of the paper as a middle value and apply the highlights and shadows using charcoal or Conté crayon. This is a quick way to produce dramatic results.

STANDARD PAPER WEIGHTS
35 lb / 50 gsm	newsprint
45 lb / 60 gsm	kraft paper
60 lb / 90 gsm	sketching paper
80 lb / 130 gsm	drawing paper
100 lb / 260 gsm	heavy drawing paper
140 lb / 300 gsm	watercolor paper
300 lb / 638 gsm	heavy watercolor paper

You may notice that some papers and canvases are labeled “acid-free.” This means that the surface will not yellow or deteriorate as time passes. Unless you’re drafting rough sketches, make it a point to work on acid-free surfaces. You never know which pieces you’ll want to last!

TEXTURE & FINISH

To understand texture and finish, run your finger across several different papers. The surface quality plays a role in how the paper responds to and accepts the medium.

MEDIA ON PAPER TEXTURES

Graphite pencil (2B) gradation on smooth paper

Graphite pencil (2B) gradation on medium paper

Graphite pencil (2B) gradation on rough paper

Soft pastel on smooth paper

Soft pastel on medium paper

Soft pastel on rough paper

Rough Paper

Rough papers have a prominent “tooth,” which refers to the bumps and grooves on the paper’s surface. These raised areas catch your medium as you stroke across the paper.

GOOD FOR COARSE, EXPRESSIVE STROKES

NOT GOOD FOR FINE DETAIL

Smooth Paper

Smooth papers have little to no tooth, and medium papers have a tooth somewhere in the middle. Papers with minimal tooth are best for artists who work in fine detail.

GOOD FOR FINE DETAIL

NOT GOOD FOR SOFT MEDIA

Laid-Finish Paper

Papers with a laid finish feature fine, parallel grooves that catch the drawing medium and give the artwork a ribbed texture.

GOOD FOR CHARCOAL, PASTEL, AND CONTÉ CRAYON

NOT GOOD FOR HARD PENCIL

Wove Finish

Papers with wove finish are smooth with a subtle woven or mesh pattern. It is the standard finish for stationery used for printing and writing.

GOOD FOR CONTROLLED, DETAIL WORK

NOT GOOD FOR EXPRESSIVE MEDIA

Matte

In almost all cases, artist paper has a matte or “uncoated” finish, which is nonreflective and receptive to wet and dry media.

GOOD FOR DRAWING PAPER

NOT GOOD FOR PRINTING

Gloss

Gloss paper is slick and reflective; the lack of friction makes it difficult to accept and control a medium.

GOOD FOR PRINTING

NOT GOOD FOR WET OR DRY MEDIA

FORMATS

Paper comes in a variety of formats, and your choice should depend on your requirements and personal taste. Below is a breakdown of available formats.

Pads & Books

Paper pads consist of a stack of papers on a firm cardboard backing, which allows you to sketch without a table if needed. The papers are attached along one edge with tape, glue, or a plastic or metal spiral. These formats are available in a range of manageable sizes that suit artists on-the-go. However, many artists choose to remove single sheets and work on another surface to prevent indentations transferring to the papers beneath.

Rolls

Paper is available in rolls, often a cheaper option per square inch than pads or loose sheets of paper. However, the savings may not be worth the time involved in cutting your own sheets. Also, paper that has been freshly cut from a roll has a tendency to curl.

Loose Sheets

For a serious drawing, loose sheets are a great choice because they have clean, ready-to-display edges. This format also allows you to experiment with different paper types without having to buy multiple sheets of the same surface.

A good, convenient drawing paper choice for beginners is an 80-lb., 9” × 12” pad.

TYPES OF PAPER

The suggestions that follow highlight the most common types of paper available to artists. Remember that you are not limited to the suggestions in this book, and some surfaces may suit you and your medium in a way not described.

Newsprint

A thin, inexpensive drawing surface that is perfect for creating loose sketches. Artists often use newsprint for gesture drawing or thumbnail studies.

GOOD FOR QUICK SKETCHES

NOT GOOD FOR FINAL WORK

Kraft Paper

Also referred to as “butcher paper,” some artists prefer the warm tones of this paper for sketching and gestural drawings.

GOOD FOR TONED STUDIES

NOT GOOD FOR WET MEDIA

Drawing Paper

This large category covers paper that is suitable for graphite and other dry media. Heavier weights are more appropriate for serious drawings.

GOOD FOR FINAL WORK

NOT GOOD FOR WET MEDIA

BRISTOL BOARD COMPARISON

Graphite pencil (2B) on the vellum side of Bristol paper

Graphite pencil (2B) on the plate side of Bristol paper

MARKER PAPER COMPARISON

Marker (brush tip and pointed tip) on marker paper produces crisp lines that don’t bleed. The paper also allows for layering to darken a marker’s value.

Marker (brush tip and pointed tip) on unsized, cold-pressed paper produces rough lines that readily bleed into the fibers, creating dark, irregular strokes.

BRISTOL BOARD

This popular surface features two drawing surfaces: plate finish on one side, and vellum finish on the other. The plate side has a very smooth texture that works best with graphite, pen and ink, and even airbrush. The vellum side is rougher and works best with dry media that requires some tooth.

GOOD FOR DRY MEDIA

NOT GOOD FOR WET MEDIA

ILLUSTRATION BOARD

Thick, multi-ply paper or paper mounted to a hard core, creating a sturdy surface that does not easily crease, warp, or curl under dry media. Generally speaking, artists use illustration board for work that they plan to scan or photograph.

Some artists use illustration board with wet media such as watercolor, gouache, or acrylic; however, some will not accept the paint effectively and can warp or bow under the moisture of paint. If you do choose to use it with wet media, consider painting an “X” on the back to curb warping. Remember to read the manufacturer’s medium suggestions as well.

GOOD FOR SCANNING / PHOTOGRAPHING

NOT GOOD FOR LONGEVITY

MARKER PAPER

Marker paper has a smooth surface ideal for achieving the crisp, graphic look of marker drawing. It is coated to minimize absorption, which prevents the ink from bleeding or feathering and allows for layering and mixing.

GOOD FOR MARKERS/PEN AND INK

NOT GOOD FOR GRAPHITE

VELLUM PAPER

“Vellum” can refer to the finish of a surface, but in this case it refers to a translucent paper. The translucent quality of this durable surface makes it a good choice for technical drawing or tracing.

GOOD FOR TRACINGS

NOT GOOD FOR BRIGHT DRAWINGS

Vellum