Types of paper for illustration: weight, tooth and uses

October 15, 2026

Types of paper for illustration differ in four characteristics: weight (thickness and heaviness), texture or tooth, manufacturing finish (cold pressed or hot pressed) and fibre (cellulose or cotton). Choosing paper according to the technique you are going to use avoids the most common problems: paper that buckles with water, ink that bleeds or pencil that will not grip.

Paper weight: what g/m² means and how much you need

Paper weight is the weight of a one-square-metre sheet of that paper, expressed in g/m² (sometimes “gsm” on English-language packaging). It is an indicator of thickness and, therefore, of how well the paper withstands water, pressure and erasing.

• 80–90 g/m²: printer paper and cheap sketch pads. Fine for quick sketches and practice.
• 100–160 g/m²: drawing paper and most sketchbooks. Handles graphite, coloured pencils and dry ink.
• 180–250 g/m²: mixed media and bristol paper. Withstands light washes, markers and several layers.
• 300 g/m² or more: standard watercolour paper. Takes plenty of water with less buckling.

Weight is not everything: two 200 g/m² papers can behave very differently depending on their sizing and fibre. Use it as a first filter, not as the only criterion.

Tooth and finish: cold pressed and hot pressed

Tooth is the surface texture of the paper. In watercolour and drawing papers it falls into three categories, which depend on how the sheet is pressed during manufacture.

Hot pressed (satin)

Hot pressed paper (hot pressed) passes through heated rollers that leave it smooth. It is ideal for fine detail, botanical and scientific illustration, dip pen ink and clean scanning. The drawback: in watercolour, puddles dry with hard edges and it is less forgiving.

Cold pressed (fine or medium grain)

Cold pressed paper (cold pressed) keeps a moderate texture. It is the most versatile for watercolour: it allows gradients and glazes and shows some texture. Watch the terminology: on the Spanish market it is often sold as “grano fino” (fine grain) even though its texture is clearly visible. Always check whether the packaging says cold pressed or hot pressed.

Rough grain

Rough paper (rough, sometimes “torchon”) has a very pronounced texture. It favours dry brush effects, landscapes and loose styles. It is poorly suited to small detail or dip pen ink.

Cellulose or cotton: the paper’s fibre

The fibre determines how the paper absorbs water and how much working it can take. It is the main difference between a student paper and a professional one.

• Cellulose (wood pulp): more affordable. In watercolour it absorbs less evenly and the surface gets damaged sooner if you scrub or lift colour. Perfect for practice.
• Cotton (100 % or blend): more durable, withstands washes, lifting and layering. Colour spreads more evenly and gradients are smoother.

A practical tip: if your watercolours look “blotchy” and you do not know why, try the same exercise on cellulose paper and on cotton paper. Often the problem is not the technique but the paper. We go into more detail in watercolour supplies for beginners.

A good paper to start with watercolour in pad format is this one:

Types of paper for illustration by use

As well as weight, tooth and fibre, manufacturers develop papers designed for specific techniques. These are the ones an illustrator uses most:

Drawing and sketching paper

Medium-weight paper with a light tooth that grips graphite and charcoal. It is what you will find in most sketchbooks. Ideal for daily practice, studies and layouts.

Bristol paper

Bristol paper is a multi-ply board, rigid and with a very smooth surface (smooth finish) or a slightly textured one (vellum). It is the traditional standard for inked comics, fineliners and technical drawing, because the line stays crisp with no bleeding.

Watercolour paper

Paper sized to control water absorption, usually 300 g/m² or more, in cold pressed, hot pressed or rough. If you work with a lot of water, it is best to stretch it or use a block glued on all four sides.

Mixed media paper

Mixed media paper is a middle ground designed for combining techniques: it usually has a smooth or semi-smooth surface and a high weight to withstand light washes, ink, markers, gouache and pencil on the same sheet. It does not replace watercolour paper for heavy washes, but it is perfect for mixed-media illustration and travel sketchbooks.

Paper for alcohol markers

Alcohol markers bleed through almost any paper. Dedicated marker paper has a coating that holds the ink at the surface, stops it from bleeding onto the sheet below and allows smooth blends with less ink. It is usually thin and somewhat translucent, which is useful for tracing your sketch. You will find which markers to pair with it in best markers for illustration.

Toned paper

Toned paper has a base colour, usually grey, beige or cream. That colour acts as a mid-tone, so you only need to draw the darks with graphite or ink and the highlights with white pencil or gouache. It is a very quick way to train your sense of value and gives striking results with very few materials.

Table: which type of paper for illustration to use for each technique

This table sums up the most common choice of paper for each illustration technique. They are starting points; when your style departs from the conventional (for example, very diluted ink), adjust accordingly.

Common mistakes when choosing paper

The most common failures come from using paper designed for one technique with a different one:

1. Watercolour on drawing paper. It buckles, pills and the colour stays where it lands. If you do not want to buy watercolour paper yet, at least use mixed media.
2. Alcohol markers on porous paper. It uses a lot of ink, bleeds through and the blends look streaky.
3. Dip pen on rough paper. The nib catches on the fibres and spatters.
4. Choosing by weight alone. A very thick cellulose paper can perform worse with water than a slightly thinner cotton one.
5. Trying new materials on the final illustration. Always keep a strip of the same paper for colour and ink tests.

Tips for testing papers without overspending

Before buying large pads, test. Look for loose sheets or small formats from several ranges and run the same test on all of them:

1. A line of ink and another of marker to see if they bleed.
2. A graphite gradient from 2H to 6B.
3. A flat watercolour wash and a graded one.
4. An area where you erase hard to see if the surface gets damaged.

Note the results on the back of each sample and keep them together: in one afternoon you will have your own paper guide. If you are looking for ready-bound books with these papers, see our selection of best sketchbooks for drawing or the sketchbooks category.

Frequently asked questions

What paper weight is best for drawing?

For graphite and coloured pencils, 120 to 160 g/m² is comfortable and withstands erasing. If you are going to use water or a lot of ink, go up to 200 g/m² or more.

What is the difference between cold pressed and hot pressed paper?

Hot pressed is smooth and favours detail and ink; cold pressed keeps a texture that makes watercolour easier to control. Rough is even more textured.

What is mixed media paper?

It is paper designed for combining several techniques on the same sheet, such as pencil, ink, markers and light washes. It usually has a high weight and a semi-smooth surface.

Is cotton paper worth it for watercolour?

If you paint often, yes: it absorbs water more evenly, withstands lifting and gradients come out smoother. For practice and tests, cellulose paper is enough.

What paper should I use with alcohol markers?

Dedicated marker paper, with a coating that stops the ink from bleeding through and makes blending easier. Smooth bristol also works well, although it uses more ink.