I know there are many different kinds of paper for different tools that we artists use. So what do you perfer for charcoal, and graphite?

I'm always mindful of acid free paper, I would very much like for my drawings to last a very long time. And have always thought it was the most important thing acid-free paper. No one said anything to me, I figure acid-free paper was the safe way to go.

Recently I just came across a ph balanced paper, is that the same thing as acid free paper? Or should I say away from ph balanced papers?

So what does everyone uses? What's the brand, and tooth of the paper?

Hi Skeller,

Good question. I almost missed it.
I actually only use three types of paper for my pencil and charcoal drawings.

For sketching, practice or composition, my choice of paper is a 160 gsm bright white smooth inkjet printer paper. It is very cheap and has enough tooth and thickness to do some testing and sketching.

Finished works will depend on the subject and feeling I want to capture in the drawing. In general I like to use a Smooth or Vellum Bristol ranging from 220 to 320 gsm for portraits. For landscapes I prefer to use Arches 300 gsm cold pressed water color paper. I have just started a large project of drawing castles in Switzerland that will use only Arches.

For sizes, I try to use standard ISO ranges of paper sizes but for some projects I will cut the paper to size. In my Castle project I plan to do a tower of a castle and I will cut the paper to be very long and narrow.

All the paper is wood and acid free. I have tested these papers for erasability, durability and ability to achieve a wide value scale, particularly the dark values. One of the other advantages of the Arches paper is that it is Aquarelle so I can do mixed media or washes if needed.

My understanding of the pH balance is that an acid free paper with a pH of 7.5-10 could conceivably last 1000 years under proper storage conditions. Check the specs on the paper if you need archival quality paper. In most cases I wouldn't think so.

In the end though I would draw on a napkin as long as I could keep drawing. Hey, maybe that would sell better than the quality stuff? I'll need to give that a try.

That's hilarious ! Got me laughing out loud ! And I totally agree

I have a uncle in Tenn...he is a hermit you could say ..he never goes outside ..he is very introverted..not sure I spelled that right ..but he is also a amazing artist ....his work is colored pencil and very scary images ....he lives alone in a small room .....but the paper he uses and has for many years is anything he can find .. he will even open a box and use the side with no print...his work has always looked good .....when I go see him I take him pencils and paper ...but for the most part he uses whatever he can get his hands on .

myself I do not know alot about paper ...I like smooth paper ...I have some very nice strathmore given to me as a gift and I use it sparingly .

Personally I look for a very high rag content. That's cotton ... less expensive papers use wood which is very acidic. Over time the acid will turn the paper yellow and brittle - like old newspapers. The process can be arrested but it's expensive. On the other hand, we still have original drawings on paper from folks like Leonardo DaVinci, Michelangelo and many others. They used hand made papers of high rag content - Michelangelo is said to have used Fabriano which still exits. In fact I like their 300lb. Bright White sheets very much for older male subjects.

Since the difference in price isn't much, I always go for archival quality papers. After all, I'm going to spend at least 50 hours on the piece ... is it worth it to save as much as $1 on lesser quality material?

I think all artists have their own personal list of favorite papers and few are the same. Much depends on your style and techniques. I mostly lean towards realism so I like papers like Strathmore Bristol Plate Series 500, 2 or 4 ply, which is very smooth. For the last year I've been using Mellotex that I get directly from Mike Sibley. Again it's very smooth but of high rag content. For animals I will often pick up Strathmore Bristol Smooth Series 300 - lower rag content but more than enough to last for a very long time.

Better paper is also easier to work with and once you learn it's intricacies, each paper will have it's advantages .. and disadvantages (no paper is perfect). Try lots of them (they're reasonably inexpensive) and see what you like and what you don't.

I came across this text on About.com by Helen South


Surfaces - also called supports - for graphite pencil range from cheap pulp paper for sketching through to a top class heavyweight rag drawing board. The surface you choose will have great bearing upon the final result. Ultimately paper selection comes down to personal preference, as different papers will suit different ways of working. Here are some good choices. Single sheets can be affordable, so try a variety. Especially consider giving boards a try - you might get a pleasant surprise!


1. Stonehenge by Rising Paper Mill (Fox River)
Stonehenge is one of the most popular artist's papers, recommended by many professionals for graphite and colored pencil drawing. 100 percent cotton, buffered, acid free, machine-made. Stonehenge is a versatile paper, available in white, off-white, cream, grey and natural. Stonehenge has an excellent even, rather soft surface with a slight tooth not suited to blending. An affordable paper with excellent archival qualities. Available in 90lb/220gsm, white in 120lb/280gsm (approx) and in pads.

2. Strathmore 500 Bristol Board
The 500 series is Strathmore's professional range. 100 percent Cotton, acid free, buffered. Strathmore 500 bristol board is available in a medium surface with some tooth for graphite or colored pencil drawing, or plate finish for very fine pencil or pen work. This bristol board has a firm surface able to take a reasonable degree of reworking.

3. Strathmore 400 Series Drawing Paper
Strathmore's 400 series papers are affordable and versatile. There's a straight Drawing paper available in a medium (for pencil, colored pencil etc) and smooth (fineline pen, technical drawing) surface. A heavier 100lb paper is available for dry media. Strathmore's website doesn't specify the fiber content - presumably it is wood paper pulp. Sold in sheet form, sketchpads and large rolls.

4. Hahnemuhle Ingres Antique
Mouldmade in Germany from alphacellulose, watermarked, laid pattern. The laid pattern of this versatile paper mimics that used by the old masters. Alpha-cellulose fibre is made from wood pulp which has had the lignin removed, and is considered as archivally stable as cotton paper. A lighter paper at 27lb/100gsm, its surface makes this paper best suited to more expressive linework and shading rather than highly detailed realist graphite drawing.

5. Rising Artist Bristol Board
From the makers of Stonehenge paper. Rising Artist Bristol board comes in two finishes, Vellum (medium) - describing its slightly toothy surface, not to be confused with calfskin vellum - and plate, for very fine work. Rising Artist Bristol Board is a multi-ply sulphite paper, acid-free, in 22 x 30 inch sheets.

6. BFK Rives Printmaking Paper
My allt-time favorite paper for printmaking and drawing. Mouldmade in France, 100 percent cotton, acid free, buffered, lightly sized, watermarked. Sold as a printmaking paper, it is a stable paper with a smooth firm surface, robust enough to take some working. Available in a 'neutral' white, grey or tan, 250-300 gsm (77-120 lb) 22x30 inch sheet, also in rolls for seriously large drawings!

There are as many papers as there are manufacturers and people it seems. All claiming their own abilities to help you create the perfect drawing.

I think over time you will try many types of paper and find one that suits your needs and give you a level of predictability as to its behaviour under your pencil or charcoal.

You can try some sample packs of papers fairly inexpensively from www.legion.com. That gives you a chance to experiment with a wide range without breaking the bank or ending up with a shelf full of expensive paper that you'll never use. Once you've found what suits you best, you can then invest in it knowing that it fits the bill for your needs.

Personally, I use the smooth side of mi-tientes for charcoal and also Rives. For drawing, I prefer smooth paper, but with some tooth. I have some plate bristol but I have to say that I don't like them a lot. Its difficult to get rich darks on very smooth paper or at least for me. I think my favourite paper for drawing has been Illustration board. It has a slight texture and is ever so forgiving of my mistakes.