It can attack at any moment during the creation process. Many times, it sets in before you even start, when the concept is still fresh in your mind – before any marks are made, or the medium has been chosen. You are motivated to create but before you can even start, you tell yourself, “I can’t”.

It can also set in during the process itself while strokes are fresh. You second guess every decision, every mark, every color. The art-making process quickly becomes a mental struggle with yourself. The enjoyment of creating starts to fade along with your motivation.

You are losing the battle.

You decide that it’s just not worth it and you put your paints away.

It affects all of us. Well, most of us anyway. A lack of confidence can kill our creativity and stifle our art-making.

Confidence is important in all aspects of life, but especially in art. The creation process comes from within, and if your self confidence is weak then you are destined to fail from the start.

I often admire the artists that exude their confidence in their mark, boldly laying down strong colors with the simplest stroke. The resulting mark just seems to be perfect, working in harmony with the composition. This level of confidence doesn’t just happen.

So, how do we develop self-confidence? And more importantly, how to do we apply it to our art?

In this post, I’ll offer my suggestions for overcoming, or at least battling the mire of under-confidence. It’s something that I struggle with personally, so I don’t profess to have all of the answers on this subject. But perhaps I can offer a few suggestions that may help.

Here’s an infographic that outlines the highlights of growing your artistic confidence…

Embrace “Failure”

The word failure is in quotations because I don’t really believe in failures when it comes to art. Many times we start a work with a specific vision and in the end, the result doesn’t match the original vision.

We too often categorize these works as failures. Sometimes we don’t even complete them because we feel that we cannot meet our own expectations, so why even bother.

Over time, after we have experienced multiple “failures”, our confidence erodes. We begin to second guess our decisions and the enjoyment of art-making slowly dissipates. Our marks become timid and we are afraid to take chances. For some, the thought of drawing or painting even produces a feeling of anxiety.

With a simple shift in our thinking, however, we can view these experiences differently. And when we do, these “failures” can actually grow our confidence.

Let me explain what I mean…

No Experience is a “Failure”

Every experience should be viewed as a learning experience, no matter the outcome. This includes the experiences that we deem as “failures”. We grow artistically through every experience. We must learn what doesn’t work before we can apply what we know will work. So, each time we “fail”, we grow.

And this takes time. Sometimes lots of it.

Michelangelo once stated, “If people knew how hard I had to work to get my mastery, it wouldn’t seem so wonderful at all.”

Mastery takes time – it requires failure. When we look at a master artist, we only see the end result and the confidence that he has developed. We don’t see all of the “failures” that forged his confidence.

This is why “failures” should be embraced by the artist. The path to artistic success is often illuminated by the lessons learned through our “failures”.

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“Failures, repeated failures are finger posts on the road to achievement. One fails forward toward success.”
– C. S. Lewis

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Stop Comparing Yourself to Others

While it’s perfectly acceptable to be influenced by other artists, it’s important not to lose sight of the fact that you are not them. If you start to compare yourself to others, you quickly forfeit your unique artistic identity.

As individuals we should embrace our differences. As artists, we should do the same.

If we don’t, we are in danger of losing confidence in ourselves and what we produce.

Instead, take pride in who you are as an artist. Develop your skill, but don’t lose your voice. There have been many skilled artists throughout history, but those recorded in the history books are the few that spoke in their own voice and didn’t compromise. Nor did they compare themselves to others.

Develop Your Confidence

I still remember the first time that I jumped from a high diving board into a pool. I was no more than 6 or 7 years old. I was terrified.

I remember inching myself to the edge, looking down to make sure that my mother was watching.

I held the right railing with two hands, my knees slightly bent. Each foot was carefully placed on the concrete as I worked my way to the edge.

After several moments of watching the light dance off of the water below, I closed my eyes, allowed my knees to buckle and my body fall.

I emerged from the water with a huge grin. I quietly swam to the edge of the pool, but this time with a renewed confidence.

My second jump was different from the first. I didn’t close my eyes, and I didn’t look down. I knew what to expect. I had confidence in how I would perform. I had been there before.

Our art is no different. The more that we do, the more our confidence grows.

As we work in a medium or a subject, we grow. Our confidence grows. We know what to expect. We’ve been there before.

It may take time and it will require “failures”. In the end, artistic confidence is about perseverance.

Do you struggle with confidence? How do you overcome a lack of it?

The words, “value” and “intensity” are thrown around quite a bit in the world of art-making. And although their definitions are quite different, they are often confused with each other.

While value and intensity are different, they do have somewhat overlapping applications. This is one of the reasons that they are so often confused. Even though their applications are sometimes used interchangeably, knowing the difference between the two can help us make better aesthetic decisions in our drawings and paintings.

What is Value?

Let’s start by discussing value. Value, in terms of art, is the darkness or lightness of a color. Value is one of the seven elements of art and in many circles, it is considered to be the most important. Its importance in creating the illusion of light, form, and texture in a drawing or painting cannot be denied.

All values can be measured using a value scale, which theoretically has an infinite number of values. Most value scales are sufficient enough when showing 7-9 values.

All colors have an inherent value associated with them. For example, purely pigmented yellows are generally lighter in value when compared to purely pigmented blues, which are darker.

The pure color is generally referred to as “hue”. The value of a hue is adjusted by the addition of either pure black or pure white. Value is the measurement of the amount of black or white a pure hue has mixed.

By adding black to the color, the value is made darker, resulting in what is referred to as a “shade”. When white is added to a color, the result is a lighter value. Lighter values are referred to as “tints”.

An example can be seen with the color red. The hue is red. A tint of red is what is commonly referred to as the color “pink” (red + white). A darker value, or shade of red, may be a color that we commonly refer to as “Burgundy” (red + black).

Other colors can be added to a hue resulting in an adjustment of value. But because the addition of these colors also changes the hue, white and black are commonly used as the measurement. Since these colors are neutral colors, they only affect the value and do not change the hue.

What is Intensity?

Intensity, on the other hand deals with the amount of purity in the hue itself. It can also be referred to as “saturation”. Primary colors are considered to be the most “pure” in intensity.

Intensity can also be considered as the brightness or dullness of a color.

Intensity is adjusted by adding additional colors to the pure hue. A color can be made less intense by adding gray to the color. In some ways, intensity can be measured by the amount of gray in the hue.

Hues can only degrade in intensity. In other words, additional colors cannot be added to a hue to make them “more intense”. Each color that is added to a pure hue decreases its intensity.

Now This Is Where The Confusion Comes In…

When the intensity of a color is adjusted, the value also changes. In the same way, when the value is adjusted, the intensity changes but to a lesser degree.

In other words, a lighter value of yellow is also a less intense version of the hue. And a less intense yellow could be a lighter or darker version of the hue. I know – completely confusing.

So ultimately, although value and intensity are different, they are used interchangeably.

Practical Applications

Value and intensity can be exploited together to create desired illusions in drawings and paintings.

Areas or objects that are receiving light will be lighter in value. Conversely, areas that are not in light, or in shadow, will be darker in value.

Areas or objects that are receiving light are typically more intense in hue, while areas or objects in shadow are sometimes less intense chromatically.

The illusion of distance or space in a color drawing or painting can also easily be created using value and intensity. Space that is closest to the viewer (foreground) will have a greater likelihood of darker values. Colors will also be more intense in these areas. There is often more contrast between the darks and lights in these areas as well.

Areas of the landscape that are farther away (middle ground and background), can be depicted using lighter values and lower intensities. Mixing white will result in lighter values, while mixing grays will create duller hues. Less contrast between values is present in locations that are further from the viewer.

When used in conjunction, value and intensity can enhance the variety and depth of color used in an artwork and lead to more developed and interesting works.

I was in my second year of art school when my life changed. Well, my artistic life anyway.

It was in a special course for illustrators, appropriately named “Media and Methods”. It was taught by a visiting professor who was just barely out of Grad school. Looking back, I think that he taught this course only because the other “established” professors didn’t want to. They were “specialists” after all. How could a “painter” teach someone a drawing medium – absurd.

The course, as it names implies, was all about exposing students to different mediums and techniques. Students were required to produce works in ink, colored pencils, pastels, various forms of painting, and mixed media. In other words, many of us were to be forced from our “comfort zones”, as each of us had our own strengths and liked to stay within them.

In the competitive environment of art school, this was quite concerning for me. You see, I was an artist that worked exclusively in black and white. Graphite, charcoal, and pen and ink were my specialities. I had decided way back that this was the artist that I was meant to be. Color and I just didn’t get along. So, even in my second year of art school, colored pencils and pastels were a bit scary for me.

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“So, even in my second year of art school, colored pencils and pastels were a bit scary for me.”

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Scary or not, I was required to work in these mediums. But unlike so many of the other classes I had been in thus far, this experience was to be different.

None of my previous instructors, to this point, ever took the time to actually show us how to use a medium. Instead, they would just give us an assignment, a few days to complete it, and then tell us in the critique how we did it all wrong. Needless to say, this is not an effective way to “teach”. But that new, young, visiting professor took a different approach in his class.

On the first day of the class, he had us fill out a form. On it he asked, “What is your strongest medium?” Without hesitation, I wrote in “Graphite”.

The next day that class was in session, we were all given a schedule. Specific to our strengths, we were to teach the class a drawing or painting medium. I was to teach graphite. Others were assigned other mediums.

How I Found My New Loves

The class functioned in a unique way. Each artist shared their strongest medium and we all benefited by tips and techniques that we each had picked up along the way. Soon, the competitive nature of the class dissipated as we all collectively shared and grew together. No longer were we on “an island” of experimentation. We were learning together.

It was in this class that I grew the most during art school. I discovered a love for color, colored pencils, and pastels. One that would have never been found because of my stubborn obstinance against them prior to this experience.

But because I was forced to explore other mediums, and get serious with them, I was able to grow artistically. Without this exposure, I would have spent the rest of my time in art school and beyond confined to the mediums that I thought were “right” for me. Essentially, I would have not only limited my own breadth as an artist, but also the enjoyment that I have found in creating with the color mediums of pastel and colored pencils.

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“Your artistic voice is found in your message, not in the medium that you use. When you expose yourself to other mediums, you may find that you actually have a lot more to say.”

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So why do we as artists limit ourselves? Why do we feel that we must find our identity in the medium that we use?

Leonardo didn’t feel this way, neither did Michelangelo. These guys did not restrict their creativity to one drawing medium. So why should we?

It’s Good to Be Uncomfortable

It’s easy to get comfortable. It’s nice to be reinforced by success. When we try something new, we forego these things. I think that this is what stops many of us from exploring. Or perhaps, we’ve tried it before and failed.

Maybe it’s time for you to branch out as well. Maybe it’s time to try out that medium (or try it again) that is “scary” for you.

Here are a few tips to help ensure a better chance of success…

1. Educate Yourself on the Medium – Before diving in, read and watch everything that you can about the new medium that are about to undertake. Be careful that you aren’t overconfident and allow yourself to be open to other’s instruction. When you do this, you find that “Ah-Ha” experiences are plentiful. However, don’t go “overboard” with educating yourself without actually making marks and experimenting.

2. Let Your Style Shine – Our artistic style is as unique as our handwriting. You’ll find that your style will show itself in the new medium. Embrace it. Don’t get caught up in making your art look like someone else’s. Your style is yours and nobody else’s.

3. Be Open to Failure – Seldom will your first work in a new medium be a “Masterpiece”. In fact, in most circumstances that first work may look like a “failure”. But it isn’t a failure, because that work embodies growth and a learning experience. Recognize that this is part of it. Too many people try a new medium and expect immediate results. They hastily determine that they “can’t” and never try again. This is a mistake.

Your artistic voice is found in your message, not in the medium that you use. When you expose yourself to other mediums, you may find that you actually have a lot more to say.

So, what about you? What new medium are you going to try today?

Do you sell your artwork or have you ever considered doing so? Maybe you want to sell your art, but you’re not sure where to find people to buy it.

Let’s face it, the old way of selling your work through a gallery or dealer is a “tough road to plow”.  You have to first fall in to the graces of a dealer or gallery.  Then they have to sell the type of work that you create to their customer base of collectors.  Then, they take a cut – usually a huge one.  Some galleries will take 50% or more of the sale price. It’s no wonder that people think artists starve!

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Let’s face it, the old way of selling your work through a gallery or dealer is a “tough road to plow”.

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Sure, most galleries do the marketing for you.  For most of us artists, that’s the hard part anyway.  But there are so many ways to market your art today that the need for artist representation is going away.

You can sell your art in a number of ways online and if you haven’t been living under a rock, then you’ve probably heard of one of the most popular ways to do it.  You can sell your art on Etsy!  You don’t have to be a marketing genius  to make good money selling your art on this platform either. Many artists and craftspeople make a full-time living selling their work on Etsy.

Sure, like a gallery or dealer, they take a portion of your profit – but it’s so low in comparison, it’s definitely worth a shot.

In this post, I’ll show how to set up an Etsy account, set up a shop, and post your first art work. I’ll also share a few pointers on selling your work on Etsy and how you can get the word out about what you’re selling.

Set Up Your Etsy Account

You’ll need an Etsy account to get started, so we’ll take care of this first.  Head over to Etsy and click on the “register” button in the top right corner.

Now you’ll just need to put in your name, your email, create a password, and a username.

Next, you’ll need to confirm your account by checking your email and clicking on the confirm button.

Once your account is confirmed, you can login.  You can go shopping if you like and see what others are selling. We are selling, so the next step is to set up our shop and our first product.

Set Up Your Shop

To set up your shop, scroll to the bottom of the page to the footer.  There, you can click on the button that says “Open a Shop”.

A page will open up that tells you all of the great things about owning a shop.  You can (and should) familiarize yourself with how Etsy works.

The big things…

• It costs $.20 to post an item for 4 months (or until it sells)
• Etsy collects a 3.5% fee on the sale
• There are no membership fees
• A valid credit card or a PayPal account is required to sell

Once you are familiar, click on the “Open an Etsy Shop” button.

The next step is to name your Etsy shop.  Be creative with your name.  It’s how your customers will identify with you.

Post Your Etsy Product

Now that your shop is set, you’ll need to fill it with your art.  Remember, Etsy will charge you $.20 for each item for a 4 month listing.  Click on “List a new item” to get started.

Next you’ll need to enter information about the art that you are wishing to sell.  Be as detailed as possible in your listing and let your customer know exactly what they will be getting.

The first few sections are pretty straight forward.  You’ll designate the who made it, what it is, and when you made it.

It’s important to point out here that if you wish to be commissioned to create a work, you can indicate that here.

You’ll describe what material (medium) in which the art was created.  Give the art a descriptive title (one that customers will be searching for) and a description.

Use as many words that you think people will be searching for in your description. This will increase the likelihood of your art being found on Etsy.

You’ll also need to upload a photo of your work.  Make sure that your photo is presented well.  If you need some help with photographing your art, you can check out this post.

Etsy also provides a handy video on photographing your “product”.

Now you can preview your listing on Etsy.  This gives you an idea of what your customers will see when they click on your art.

The last step is to put in your bank’s information so that you can get paid when your work sells.  This is also the account in which Etsy will withdraw their modest fees.

 Once your bank info is stored, you can customize your shop and start selling.

A Few Suggestions For Selling on Etsy

Here are few suggestions to help you find more success with your selling…

Take a Look at What’s Out There – Do a little “shopping” on Etsy and see what people are buying.  This will give you an idea of what you can make and what people are willing to pay for.

Do a Price Check – While you’re “shopping”, check the prices that others are charging.  Are you pricing your work too high – or worse, too low?

Consider Selling Prints –  Many Etsy sellers create prints of their work.  The benefit of doing this is that you get to keep the original while charging far less for the work.  Most Etsy shoppers won’t mind buying a print.  An added benefit is that you can resize the image and offer various sizes and versions, increasing the chance that someone will make a purchase.

If you do decide to sell prints, make sure to have high-quality prints made by a professional printing company.  You need to be sure that the prints that you sell will “stand the test” of time.

Appeal to the Masses – Create art that centers around a specific theme or subject that appeals to a large number of people. Don’t get too “deep” or personal with the art that you are wanting sell. Keep it light and universal.

Getting The Word Out

Once you’ve got great art to sell and your shop is live, you’ll need to start sending customers to it.  In other words, you’ll have to do a bit of marketing.  Fortunately, this isn’t as hard or intimidating as it may sound.

Facebook – The first place to “market” is within your own networks.  Share your new shop with your friends on Facebook and encourage them to share it with their friends.  Many of them will do so and you will immediately have a small customer base.

Pinterest – Share your art on Pinterest. Create a board with your work and link back to your shop.

YouTube – Create a YouTube channel where you talk about your art, describe your process, and maybe show the steps that you took to create it.  In the description section of the video or in the video itself, link to your Etsy shop or product.

A word of caution…Don’t be too “sales-y” in your videos. People will be turned off if you push too hard.

It will take some time to get YouTube followers, but overtime this can a great avenue to sell your work.

Never has it been so easy for artists to sell directly to their patrons. Why not take advantage of Etsy and start selling your work?

Are you already selling on Etsy?

Everything’s ready. The materials are out and your mind is clear. Your motivation level has never felt higher. You are ready to create.

You sit down to work and then it hits you.

Like a massive semi-truck barreling down the road at 75 miles per hour, the blank paper or canvas smacks you square in the face. You are now in “gridlock” – stunned and frozen by some mysterious force. You feel helpless and a little panicked as the white of the surface grows brighter and more intense. A sense of urgency grows inside. You look around as if you’ll see something to inspire you but nothing seems to spark. You don’t want to waste this creative motivation that you feel and it’s time to work, but nothing – just nothing.

Frustration comes next. Then hopelessness, as you feel the time drip away. Your creative juices turn to sludge. The motivation that you felt just moments before is fading. The diagnosis is bleak – you have “artist block”.

It happens to us all. As artists, we all face this dilemma from time to time. It’s part of being a creative person. It can feel so depressing when it happens. It’s amazing how strong the desire to create can be and how much pressure we often place on ourselves to produce.

Fortunately, there are ways to combat artist block. You can learn to absolutely crush it when it rears its ugly head, and put the beast away forever.

Before we delve into a few strategies, let’s examine what’s causing the issue in the first place.

Factors That Contribute to Artist Block

Artist block occurs when a few factors come together and join together to create a “perfect storm” of sorts. When these factors all happen simultaneously, artist block happens. The problem is that when they set in, the strength of enemy just grows and it’s hard to escape.

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“Creativity needs to breathe.  It becomes smothered when you place a time limit on it.”

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The biggest factor is the pressure that you have placed on yourself. For many artists, the feeling to create something that is better than what they created before is very real. For some reason, many of us feel that we have to “one up” our previous artworks with every new thing that we produce.

Although having that aspiration is good, it can be a contributor to artist block. Just like it’s sometimes a bad idea to compare yourself to other artists, it’s also not good to compare yourself with yourself. You shouldn’t place unnecessary pressure on yourself to perform miracles with your art on every attempt.

While some pieces of art may change the world, the likelihood that your next work is going to be one of them is slim.  So relax.  The art that you create doesn’t have to be a thesis on the meaning of life.

Another factor is a lack of time.  Have you ever noticed that artist block usually happens when you are on a deadline or have limited time.  The limitation of time can make you feel a sense of urgency that can destroy creativity.

Creativity needs to breathe.  It becomes smothered when you place a time limit on it.

To allow your creativity to breathe, plan ahead.  Create a schedule for making art.  Block out chunks of time to work and write them in calendar.  That way you know, in the back of your mind, if you don’t produce today, there’s another opportunity scheduled in the future.  You’ll be surprised how far this little bit of assurance can go.

A third factor is an obsession with materials.  I know that this one sounds a bit strange, but let me explain.

Some artists are just media freaks.  They collect art materials and feel the need to use them without having a plan or reason to.  It’s no wonder that when they sit down to work, nothing happens.  There was no creative spark in the first place – just an urge to use that new medium that they purchased.

Now I love materials as much as the next artist, but we need to realize that art materials are tools of communication.  We need to know what we want to say, before we decide how we are going to say it.

You wouldn’t go to the hardware store and buy a hammer and then go home and decide what you are going to build with it.

Decide what you are going to create first, then decide what materials will help you get the job done.

Work S.M.A.R.T.

To help overcome the perils of artist block, consider approaching your work as a process.

I like to think of the approach that I use as an acronym – S.M.A.R.T.

SUBJECT – Before even considering the medium or the technique, first decide on the subject.  The subject of your work should influence the medium that you will use and the approach that you will take, so it only makes sense to start here.

If you are working from a photo reference, create it first.  If you are working from life, find your subject.

If you haven’t got a subject in mind, then it’s not time to sit down and work.

Artistic inspiration will almost never happen while you’re sitting at an easel.  Instead, it will strike when you least expect it.  It may happen in the shower, at the park, or while you’re driving.  But don’t expect it to descend from the heavens when you’re ready to paint.

In order to harness all of your ideas, consider carrying around a small notebook.  Most of us have smart phones that keep our notes for us as well.  I like to use an app called Evernote to keep up with my “moments of inspiration”.

Evernote is great because when I have an idea, I can just speak into the phone and it is saved.  You can even add photos or handwritten notes.  When I’m ready to work, I open the app and scroll though all of my ideas.

MEDIUM – Once you have your subject, then it’s time to consider the medium.  Many artists prefer just one or two mediums and create art in those mediums exclusively.  But others create art using a variety of media.

The manner in which you create marks with a specific media is unique. The strokes that you make while painting a landscape with oils will be different than the ones made by another artist.

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“While some pieces of art may change the world, the likelihood that your next work is going to be one of them is slim.”

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You need to understand who you are as an artist.  We are all different and the way you use the medium will affect the success or failure of your artistic communication.

For example, if I were to create a landscape, the subjects within the reference would influence what medium I would choose.  If the reference featured mostly organic objects, like trees, water, or rocks, I would most likely use a softer medium like pastel or oils.

If the landscape had more architectural elements, then I would likely choose a linear medium like pen and ink, graphite, or colored pencils.

ACTION – Now that the subject and medium have been decided, it’s time to take action and produce the work.  Because you have done the prep work, the work should flow without any chance of artist block getting in the way.

REWORK – When the artwork is “finished”, plan to revisit it in the near future and make any necessary changes.  You need time to let your mind reset and see your work with “a new set of eyes”.

THINK – When the work has been reworked to “perfection”, it’s time to think about the result and consider its success or failure.  (Remember, it’s okay to fail.)  Take a final look at the art and evaluate what specifically was a success and what was less successful.  Ask for other artists’ input and be open to “constructive criticism”.  Make notes on what could be improved in your process and make the changes the next time around.

Artist block is a killer, but it usually happens because of a lack of plan.  Too often, it’s the result of trying to “put the cart before the horse”.

Let your creative moments happen when they do and don’t force them “on demand”.  Make notes when they strike and when it’s time to create – get to work.

What’s the first thing that you consider when you’re about to start a drawing? Is it the subject matter, the medium, or maybe the composition? These aspects are incredibly important to your success, so it’s no wonder that they are typically the first places that your mind goes when starting a drawing.

How much and how often do you consider the surface itself?

Often neglected in the art-making process is the surface that the art is created upon – in essence, the very foundation of your work. And like the foundation for a building, the foundation for your artwork is critical.

The tallest building in the world, Burj Khalifa in Dubai, measures 2,717 feet tall. (That’s over a half mile). It is truly an engineering marvel, a masterpiece of construction. But without its foundation, it would be the largest mass of rubble on the planet. The foundation for this structure is equally impressive. Deep into the earth, 164 feet down, 58,900 cubic feet of concrete supports the building. It took over a year to build the foundation alone.

Your art deserves the same attention to the foundation that it is built upon. It’s time to carefully consider the surface, so let’s take a look at your options and how they will affect the mark.

What is Paper Made Of?

Paper can be made out of a variety of materials.  Papers are made by turning fibers into moldable pulp.  Most commonly, these fibrous materials originate from timber (wood) or cotton.  The pulp that is produced is molded together, most often pressed, and dried to produce the paper. The molding, pressing, and drying process all affect the finished surface.

Lower quality papers are typically made from wood pulp.  Wood pulp is highly acidic and will degrade over time. Newsprint and lower quality drawing papers will fall into this category.

Higher quality papers are made entirely from cotton and/or linen fibers making them more resistant to chemical break-down over time.  These papers are commonly referred to as “rag” paper.  These papers are usually “hand-made” and feature a deckled edge along with an embossed watermark.  Papers such as Arches and Stonehenge will fall into this category.

Many papers fall somewhere in-between and are made with a mixture of wood and “rag” fibers.  Often, chemicals are added to the papers to slow or prevent pH changes over time. Many mid-priced papers fall into this category.

Acid Free Vs. Archival

Papers that are labeled “acid-free” means that they are acid neutral.  Many papers are treated to make them “acid-free”.  If the paper has been treated, it will wear off over time and the paper will begin to deteriorate (along with your art).  Papers that have been treated will be labeled as “acid-free” but may be missing the “non-archival” mark up.

Archival papers are also acid-free but are by nature, non-acidic.  An example of this would be “rag” papers that are less likely to break-down over time.

In the end, “archival” papers are best, “acid-free” papers are good, and the rest are best used for sketching.

Understanding Paper Weight

Drawing papers are designated by weight. This can be confusing if you don’t know why they have a weight designation. The weight gives the artist an idea of the thickness and stability of the paper.  It is most commonly dictated according to pounds.  The weight designation is the physical weight of a ream of paper, which is 500 sheets.

Logically, 500 sheets of heavy watercolor paper will weigh more than 500 sheets of thin tracing paper.

Example: Strathmore 300 Series tracing paper is 25 pounds, while Strathmore Cold press Watercolor Paper is 140 pounds.

Understanding “Tooth” or Paper Texture

All papers have a surface texture that influence the mark.  This surface texture is commonly referred to as “tooth”.  The tooth of the paper is produced according to the process that is used to create the paper. “Cold press”, “Hot press”, and “Rough” are designations assigned to watercolor papers.  (Watercolor papers are not just for use with watercolor.  Many artists prefer them for drawing as well.)

Coldpress Papers

Coldpress papers typically feature a coarse tooth.  They are referred to as “Coldpress” because unheated cylinders are used to press the paper as it is manufactured.  This results in small, irregular indentions in the surface of the paper.

Cold press papers are typically preferred by watercolor artists, pastelists, or anyone looking to exploit the surface texture.  Since Cold press papers have a heavy tooth, watercolor paints can easily be controlled. Pastels can be heavily applied and layered.

Hotpress Papers

Hotpress papers feature a smooth tooth.  They are referred to as “Hotpress” because the cylinders that are used to press the paper during the manufacturing process are heated. The heat causes the paper to conform to the smooth mold producing a smooth surface.

Hotpress papers are preferred by artists wishing to have control over precise marks, such as with pen and ink or detailed watercolor paintings.

Rough Papers

A third category of surface texture, conspicuously referred to as “Rough”, exists among paper types. Rough papers are not produced by cylindrical pressing, like Hotpress or Coldpress papers.  Instead, they are flat-pressed mechanically or not pressed at all.  The result is a very heavy tooth.  Rough papers can stand up to multiple washes of watercolor or heavy applications of pastels.

Other Textures

Not all papers are designated as “Hot press”, “Cold press”, or “Rough”. Some papers are manufactured to purposely feature a regular textured pattern.  (Cold press and Rough papers have an irregular pattern.)  These papers are pressed by machine to create the pattern.

An example of paper that features a regular pattern is Canson Mi-Teintes paper.  The dimples are equally spaced apart and are equal in depth.

Laid Papers papers also feature a regular textural pattern.  Instead of dimples, this paper features a linear pattern.

An example of paper that uses a laid pattern is Strathmore charcoal paper.  (This paper is my preferred surface for House Portraits)

Upon close inspection, the laid pattern is clear…

Bristol Board Textures

Bristol board or Bristol paper (named for the town in England) requires its own category for texture.  Bristol board is a heavier paper, much like card stock. It is suitable for a variety of media and features two different types of “tooth”, both of which are fairly smooth.

“Plate” surfaces are supper smooth and are best for use with pen and ink applications.  “Vellum” surfaces feature a weak tooth, but are still quite smooth.  The weak tooth, however is still present and is best for use with graphite, charcoal, or colored pencils.

Illustration Board

Illustration board is manufactured as “Cold press” or “Hot press” like watercolor paper.  Cold press illustration board is slightly textured.  The tooth of cold press illustration board is very similar to that of Vellum Bristol Board.  Hot press illustration board is very smooth with an almost waxy surface.

Illustration board differs from Bristol board in rigidity.  Only one side of illustration board is suitable for marks, unlike Bristol board.  The backside features a heavy board for support.

Because of its rigidity, a variety on media can be used on illustration board including graphite, ink, watercolor, acrylics, charcoal, and colored pencils.  Because it can accept such a wide variety of media, it is a suitable surface for mixed media applications.

Sandpaper For Drawing

Many paper manufacturers produce light sandpapers for drawing/painting.  These papers allow for heavy applications of media while maintaining the tooth of the surface. These papers are mostly used for colored media applications such as colored pencils or pastel.

Drawings or paintings that are created on sandpapers usually have an ethereal, “smoky” look as the paper is usually still visible in areas.

Vellum

Vellum is a smooth paper that is created by combining plastic with cotton or wood pulp materials.  The material is translucent making it suitable for tracing.  This type of vellum paper should not be confused with Bristol paper that has a “vellum” surface.

This surface is suitable for ink drawings and preliminary drawings and it is also widely used for colored pencil drawing.  It is quite easy to get a smooth surface with colored pencils working on vellum paper.

Specific Paper Brands and Characteristics

I do think it’s helpful to look at specific brands and their characteristics, so let’s have a look at a few popular surfaces…

Strathmore Drawing 300 Series

This medium-toothed paper is acid free and is priced on the lower end of the pricing scale. It is available in large and small pads and is my preferred surface for sketching.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 70 lb.
• Price: $
• Recommended Mediums: All dry drawing media. (Best for sketching although it can be used for finished work as well.)

Stonehenge by Legion

This paper features a slight, medium tooth that is capable of accepting a variety of media. This archival surface is considered a “professional surface” and is best used for finished artworks.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 250 gms
• Price: $$$
• Recommended Mediums: Graphite, colored pencils, charcoal, and pastels.

Strathmore Bristol Paper

This mid-priced paper is available in two varieties of tooth – vellum and smooth. The vellum surface features a weak tooth that is slightly stronger than the smooth surface which is weaker. Both papers are rigid and similar to card stock.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 100 lb.
• Price: $$
• Recommended Mediums: Pen and ink, graphite, colored pencils, and markers.

Canson Mi-Teintes Pastel Paper

This mid-priced paper features two distinct surfaces. The front side of the paper features a heavy tooth, while the back features a slightly weaker one. Both sides of the paper can be used for finished artworks.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 98 lb.
• Price: $$
• Recommended Mediums: Pastels, colored pencils, and charcoal.

PastelMat Paper by Claire Fontaine

This paper is relatively new on the “art scene”. This higher-priced paper is a professional surface that features a reinforced backing. Each sheet also conveniently includes a waxy cover sheet to protect your work.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 170 lb.
• Price: $$$
• Recommended Mediums: Pastels, colored pencils, graphite, and charcoal.

Marker Paper

This thin paper (18 lb.) is semi-translucent and features a very weak tooth. This paper is designed to reduce bleeding that often occurs when a wet drawing medium, such as markers or ink, are applied.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 18 lb.
• Price: $
• Recommended Mediums: Markers, pen and ink, and colored pencils.

Recycled Papers (Artagain Paper by Strathmore)

Recycled papers can be used for finished artworks, but not all of them are acid free. If you’re creating a drawing that you want to last a while, be sure that the recycled paper you choose is labeled “acid free”. These papers are available in a variety of tones. Black paper is featured in the video above, but gray papers are also available.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 60 lb.
• Price: $$
• Recommended Mediums: Graphite (gray-toned paper), white charcoal (gray and black-toned papers), colored pencils, gel pens/colored ink, and oil pastels.

Cold Press Watercolor Paper

Despite the name, watercolor papers can be used for a variety of drawing media. Cold press papers feature a heavy tooth making them suitable for artists looking to exploit the surface texture.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 90 lb., 140 lb., 300 lb.
• Price: $ – $$$
• Recommended Mediums: Watercolor pencils, Inktense pencils, colored graphite, charcoal, pastels, ink, and water-based painting mediums.

Hot Press Watercolor Paper

Hot press watercolor papers feature a much weaker tooth compared to cold pressed papers. This makes them more suited for drawings created by combining watercolor and pen and ink – especially when the pen and ink applications dominate.

Paper Information…

• Acid Free? Yes.
• Paper Weight: 90 lb., 140 lb., 300 lb.
• Price: $ – $$$
• Recommended Mediums: Watercolor pencils, Inktense pencils, colored graphite, pen and ink, and water-based painting mediums.

Paper Suggestions

There are far too many paper manufacturers and types to examine each brand, but having a bit of knowledge about paper in general should help you in choosing what’s best for your application.

Some people will tell you that you need to use a specific type or brand for a specific medium or technique. You won’t hear this from me.  Your choice of paper is as unique as the mark that you make. Only through experimentation will you find what works best for your artistic voice.