Choosing Paper for Drawing

Hi everyone, have you ever been very proud of your design until you realised that the paper is pilling? Or have you started a new project only to see that the paper quickly deforms? Or have you simply gotten lost in front of the shelf of a shop that offers so many types of paper that you don't know which one will suit your graphic technique?

Today we will look at some basics to help you choose your paper properly.

THE DIFFERENT PAPER FORMATS FOR DRAWING

There are many different paper formats, but here are the most conventional ones:

In general, notebooks in A5, A4, and A3 formats are very easy to find, while "raisin" sizes are more often sold in pads of loose sheets. A2 and A1 are mainly used for printing (notably for posters).

Some types of paper are not available in all formats, and this is something to pay attention to. In fact, papers with a fine grammage and smooth texture are most commonly found in A5/A4 formats, while thick papers with a grainy texture are most commonly found in A3 or sultana formats.

You need to pay special attention to the type of paper offered in notebooks as they are often quite thin and not suitable for felt pens or paint.

However, there is no format suitable for a particular technique, you can paint on 10 cm squares or draw in pencil on A1 paper, the choice is yours, just make sure the paper fits your technique well.

PAPER WEIGHT

The grammage refers to the thickness of the paper (but not necessarily its strength); it is almost always indicated in grams per square meter.

The weight offered for papers varies widely and is one of the main things to look at when you choose your paper. There are broadly three major categories of weights:

In general, the thicker the paper, the more resistant it is to erasures, smudging or wet techniques; however, the higher the grammage, the higher the price. It is often advisable to use thin (and therefore inexpensive) paper for sketches or quick sketches of one's ideas and to use thicker paper for more refined projects.

The grammage is always indicated on a pad of paper and almost always on notebooks or loose sheets so it's quite easy not to be mistaken, but if you are in doubt, you can always ask for advice in store.

THE GRAIN

The grain of paper refers to its more or less coarse texture, which creates small bumps and hollows on the paper. This is due to the manufacture of the paper or its material.

It can be noted that the thicker the paper, the more likely it is that the grain will be visible.

Beyond its aesthetic aspect, the grain has real utility; it allows certain techniques, like painting for example, to better adhere to its roughness. It also allows other techniques, such as dry pastel, to act as a sort of micro-sanding that helps release the pigments from the pastel to better deposit them on the paper and subsequently work with them.

Conversely, the absence of texture is also important for other techniques, the smoothest papers (such as bristol or layout) allow for results close to that of printing, sometimes quite astonishing. This also helps to not wear out the tool too much, as is the case with alcohol markers.

We are seeing more and more papers (often handmade) made from natural fibres such as linen, cotton or hemp. This often gives a slightly different texture than traditional grain because the plant fibre is more visible. It is not suitable for all techniques, but the textures offered can be very interesting and provide a real benefit depending on the media.

THE COLOUR

The last main characteristic of a card is its colour. Although most traditional cards are white or light beige, more and more often we see coloured cards called mid-tone arrivals.

The use of coloured paper is primarily a matter of taste but can prove very interesting in the final outcome of the project. The color of the paper becomes a central element of the composition and often allows, in addition to being a small artistic challenge, to better highlight the other colours.

It should also be noted that it is easier to bring out shadows and highlights when working on a mid-tone. For some, it is also a very good way to step out of their comfort zone and fight against the blank page syndrome.

Mi-tints are available in many sizes and weights, so I invite you to try them for whatever technique you use!

PAPER SUITED TO EACH DRAWING TECHNIQUE

I now invite you to take a look at some common techniques to see which card is most suitable. If the technique you are using is not listed, it is very likely that it is similar to one of them and therefore the recommended cards are the same.

THE PENCIL FOR DRAWING

The pencil is a dry technique and the most convenient of all. All weights and grains are suitable depending on what you want to do.

For the highest quality finish, I recommend a weight of at least 120g/m² with a smooth or very fine texture.

COLOURED PENCILS

Just like the pencil, it is a dry technique that is very forgiving and therefore presents no particular problems.

For the highest quality result, I recommend a paper weight of at least 120g/m² with a very smooth texture; the ideal would be bristol board.

CHARCOAL, A DRY TECHNIQUE FOR DRAWING

Charcoal is a dry technique that produces a lot of volatile and highly staining dust.

For optimal results, I recommend using paper with a weight of at least 150g/m² and a medium to thick texture to properly hold the material and retain volatile pigments; ideally, an ingres paper would be best.

DRY PASTEL

Dry pastel is a dry technique that requires a porous surface for pigments to adhere properly and colours to blend better. Typically, the paper is pre-treated to make it porous using pumice stone or marble powder.

I recommend choosing a thick paper of at least 350g/m² with a bit of texture. The ideal would be a special pastel paper (although quite expensive).

OIL PASTEL

As the name suggests, oil pastel is an oily technique that requires a good amount of material and shading.

I recommend choosing a thick paper of at least 250g/m², you can use any type of grain, it depends on your preference.

THE MARKERS

Classic markers are a wet technique but dry very quickly. Generally, it’s a quite forgiving method that does not require any special support.

I recommend that for optimal results, you opt for a medium weight paper of at least 90g/m², as smooth as possible. The ideal would be Bristol paper.

ALCOHOL MARKERS

Alcohol markers are a moist technique that dries fairly quickly.

For alcohol markers, there is no room for error; if you want to keep your markers long and in good condition, you must use Layout paper. However, if you want to combine the techniques (marker + coloured pencils or crayons), Layout may be fragile, so I recommend using Bristol paper, BUT this will greatly reduce the life of the markers.

WATERCOLOUR

WatercoloUr may be THE quintessential wet technique.

As with alcohol markers, you can't go wrong, but you need a special watercolour paper (at least 250g/m²), the only one thick enough to absorb water and allow the colours to mix well without the paper becoming deformed.

THE GOUACHE

Gouache is a wet technique that requires less water than watercolour.

You can use watercolour paper or a thick paper of at least 250g/m², smooth or with a slight texture for a more uniform rendering.

ACRYLIC

Acrylic is a wet technique quite similar to gouache but somewhat thicker.

I therefore recommend using fairly thick sheets of at least 250g/m², but ideally closer to 300g/m², so that you can work with the colours without risking tearing the paper or having it warp. You can choose the texture you like the most, but generally these are papers with medium to thick textures.

OIL PAINTING

Oil painting is an oily, wet technique because turpentine is generally used to mix the colours. Due to the weight of the paint, the number of layers and the solvent, it is often not recommended to work with oil paint on paper. However, if you wish to do so, you should use a very thick paper (at least 300g/m², ideally 350g/m²) on which a preparatory layer for oil painting will be applied beforehand.

The best option is to use a special tarred paper for oil painting.

In conclusion, when choosing your paper the first question to ask yourself is what technique do you want to use it for? Based on that, you will already have a good idea of the type of paper to choose in terms of weight and texture. All that remains is to choose the size and possibly the colour.

I hope this article helps you find the ideal paper for all your projects 😊

Illustrator and writer: Chloé Pouteau