Much of this information was compiled and written by Alison Filley in 2019 for the University of Iowa

2021 updates by Alison Filley and Michelle Rozic

To learn more about Alison Filley, click here

A pdf is available for download here.

So, you want to order printmaking paper…

There are a few things to consider before buying paper:

• What medium/s will be used?
• What size is the print?
• What size is the edition?
• What is the budget?
• Are particular paper characteristics wanted, such as a color, texture, or certain edge qualities?

As these questions are answered, the wide selection of available paper will narrow to a specific kind of paper and the quantity needed. Printmakers typically find a favorite paper that is used throughout many editions. This allows them to learn and capitalize on the unique qualities of the paper and to create continuity across a series. If a paper will be used frequently it is worth considering buying in bulk to save money. The biggest discounts typically occur at 100+ sheet orders for cotton rag papers, but some companies offer quantity discounts starting as low as 10 sheets. Bulk quantity discounts can also be achieved by splitting an order with others to reach the minimum threshold needed to achieve the lower sheet price. Splitting an order is helpful for reducing the cost of small editions or experimenting with new papers. When printing big, roll paper is typically more cost effective.

Paper Types

There are two main categories of printmaking papers: western or European papers, and eastern papers, such as Washi, or Japanese paper. Consider if the paper is archival, or acid free, when selecting paper.

Western Paper Fibers

Western papers typically use the short fibers of cotton or linen. To gain strength, these papers are typically thicker than their eastern counterparts. Contemporary papers also use wood cellulose, or a combination of cotton and cellulose.

Eastern Paper Fibers (excerpted from Hiromi Paper)

The long plant fibers used to create Washi, or Japanese paper, allow for the paper sheets to be thin and strong. Kozo, or mulberry bark, is used in around 90% of the washi made today. Mitsumata, or edgeworthia, has fibers shorter than kozo, with insect-repelling qualities. Gampi is the most expensive fiber, as the plant cannot be cultivated. Gampi produces strong, translucent and shiny paper.

Paper Qualities

(Some information sourced from Jacksonart.com)

Surface

The paper’s surface texture can impact how the ink transfers to the paper. Smooth papers, such as hot press papers, work best for planographic processes such as lithography or screen print. They often appear brighter and shinier. Textured papers typically have a more matte finish, and can work well for intaglio and letterpress. Heavily textured papers can be calendered, or pre-stretched and smoothed, before printing.

Sizing

Sizing adjusts papers’ absorbency and strength, impacting how the ink interacts with the paper fibers and how durable the support is for the rigors of certain printing processes, like multi-color lithographs. With internally sized paper, sizing is added to the paper pulp prior to forming the sheet. The sizing coats each paper fiber, producing evenly sized paper. Externally sized paper, or surface sizing, is applied after the paper is formed and dried. Some papers are both internally and externally sized. Waterleaf papers do not have any sizing. Some printmaking processes require paper dampening to soften the paper fibers and make them more receptive to the printing ink. The amount and type of paper sizing impacts how the paper is dampened and the length of time the paper can be soaked before falling apart.

Edges

During the hand sheet forming process, the mould and deckle create an irregular paper edge called a natural deckle, as the paper fibers taper off. Artists sometimes tear paper to give the illusion of a natural deckle. When tearing paper it is best to tear from the back, so the front maintains the irregular edge. Many mould made papers have four natural deckles, some contain two deckles and two cut edges. Printmakers typically consider the paper edge, whether a natural deckle, torn deckle, or cut edge, when they are planning their editions. Typically, the sides and top are the same – either both natural, torn or cut – with the bottom either the natural deckle or the same as the sides and top.

Color

All paper has a unique color and color cast. Whites range from warm to cool, bright to toned. Paper color will impact the perceived color of the inks, as most printing ink is slightly transparent and will visually mix with the color of the support. When choosing paper, consider if the paper colorants are archival and lightfast.

Weight

Paper thickness is signified by weight, typically by grams per square meter (gsm or g/m2) or pounds (lbs.). Thinner papers (<120gsm) typically work best for printing by hand, with lightweight gampi often used for relief printing with a baren. Thicker papers (150-300gsm) often work best for the deep embossments of etching, collagraph and letterpress.

Common Papers for Printing Processes                                             

Here are a few common papers used for each printmaking technique. If you’re just starting out or are exploring new papers, sample packs are a terrific way to try out a wide variety of papers to find those best suited for your particular work.

• Chine collé: Kitakata, Kozo (thin), Sekishu
• Collagraph: See intaglio papers
• Foil: Lenox 100, Johannot, Rives BFK
• Intaglio: Acquerello by Magnani, Domestic Etching, German Etching, Hahnemuhle Copperplate, Johannot, Kozo, Mulberry, Pescia, Revere, Rives BFK, Rosaspina, Sekishu, Somerset, Zerkall Copperplate
• Letterpress: Mohawk Superfine, Pescia, Rives Lightweight, Stonehenge, Zerkall Book (see this Boxcar Press article for more recommendations)
• Lithography: Acquerello by Magnani, Arches 88, Pescia, Revere, Rives BFK, Rives Lightweight, Sekishu, Somerset Satin, Stonehenge, Zerkall Litho
• Monotype and monoprint: Arches 88, Arnheim 1618, Domestic Etching, German etching, Rives BFK, Somerset Satin, Stonehenge
• Relief: Arches Cover, Arnhem 1618, Kitakata, Lenox 100, Masa, Mulberry, Rives BFK, Stonehenge
• Silkscreen: Acquerello by Magnani, Arches 88, Arnhem 1618, Coventry Rag, French Paper, Pescia, Rives BFK, Sekishu, Stonehenge

Printmaking Paper by Name

Click the paper name to learn more about each paper

Acquerello by Magnani – 100 % cotton, mouldmade in France, 4 deckles, unsized (allows for high absorption), neutral ph and acid free, light sizing, cold press (Italia) and hot press (Portofino) surface available, white only, 550 gsm, sizes: 22” x 30”, uses: intaglio and monotype, silkscreen (hot press surface)

Arches 88 – 100 % cotton, mould made in France, 4 deckles (2 natural, 2 tear), unsized (allows for high absorption), acid free, smooth texture, watermark, white only, sizes: 22” x 30” and 30” x 42”, uses: lithography, monoprint, silkscreen

Arches Cover – 100% cotton, mould made in France, 4 deckles (2 natural, 2 tear), lightly sized, acid free, modest surface texture, watermark, colors: white, black, buff; sizes: 19.5” x 22.5”, 22” x 30”, 29” x 41”, 31.5” x 47.25” and 42” rolls; uses: lithography, intaglio, letterpress, monoprint, relief, silkscreen, pastel & charcoal

Arnhem 1618 (Speedball) – 100% rag, made in Holland, 2 deckles, internally and externally sized, acid free, semi-smooth, vellum texture, colors: white and warm white, sizes: 8.5” x 11”, 22” x 30”, 26” x 40”, 30” x 44”, 38” x 50”, and 50” rolls, uses: intaglio, monoprint, relief, silkscreen, *budget friendly 

Copperplate (from Zerkall) – 25% cotton, mouldmade in Germany, 4 deckles, unsized, acid free, medium texture, watermark, white only, sizes: 22” x 30” & 30” x 42”, does not require soaking but can be damp packed; uses: intaglio, lithography, letterpress, silkscreen

Coventry Rag – 100% cotton, made in USA, cut edges, internally sized, medium texture and smooth, sizes: 22” x 30”, 26” x 40”, 35” x 44”, 38” x 50”, and 60” rolls, uses: letterpress, silkscreen, foil, pen & ink, pastel & charcoal

Domestic Etching – 50% cotton, 50% sulphite, machine made in USA, cut edges, internally and externally sized, acid free, lightly textured, off white only, size: 26” x 40”, uses: bookmaking (especially pop-ups), lithography, intaglio, letterpress, silkscreen

French Paper – fiber content varies by type and many are recycled, made in USA with renewable hydroelectricity, cut edges, acid free, sizes: 8.5” x 11”, 12.5” x 19”, 26” x 40”; variety of colors, uses: silkscreen and letterpress; *color is not lightfast – colors will fade over time and as quickly as a few weeks near natural light

Gampi – 100% gampi, handmade, no sizing, sizes (dependent on type): from 15” x 20” to 25” x 37”, color: natural, Echizen Shikibu is available in 18 colors, translucent with almost no visible fibers, smooth surface and satin-like sheen, 16-50gsm, uses: etching, excellent for chine colle

German Etching (Hahnemuhle) – 75% cotton & 25% high alpha cellulose, mould made in Germany, 4 deckles, 300 gsm, lightfast, acid-free, white with yellow tones, waterleaf, 22” x 30”, uses: intaglio, etching, lithography

Hahnemuhle Copperplate – 100% alpha cellulose, mould made in Germany, 4 deckles, minimal internal sizing, neutral ph, small watermark, colors: warm white, bright white; sizes: 22” x 30.7”, 31.7” x 47.2”, uses: intaglio, lithography, letterpress, *budget friendly

Hosho Student & Hosho Professional – 100% sulfite, handmade in Japan, 4 deckles, professional is smoother, student is heavier with a coarser texture, size: 19” x 24”, uses: relief, chine collé (professional)

Ingres (Fabriano) – acid free, laid paper, colors: yellow (gialletto), ivory (avorio), white (bianco), ash (cenere) & ice (ghiaccio), 90 & 160 gsm, size: 27” x 39”, uses: bookmaking (good results also with relief, letterpress and lithography)

Johannot – 75% cotton, 25% esparto (grass grown in Africa), mouldmade in France, 4 deckles, acid free, lightly textured, watermark, white only, sizes: 19.5” x 25.5”, 22” x 30”, uses: intaglio, lithography, letterpress, foil, silkscreen, relief, wood engraving

Kitakata – either 100% Philippine gampi fiber or 90% Philippine gampi and 10% sulphite depending on source, semi-handmade in Japan, 4 deckles, laid pattern, extraordinarily strong, colors: natural and green, sizes: 16.5” x 20.5” and 38” roll, uses: lithography, monoprint, relief, chine collé

Kozo – 80% kozo, 20% alpha cellulose, semi-handmade in Japan, 4 deckles, laid texture, color: natural, unsized, size: 16.5” x 20.5”, uses: printmaking, drawing, collage, book arts

Lenox 100 – 100% cotton, made in USA, 4 cut edges, acid free, medium texture, off white only, sheet sizes: 22” x 30”, 26” x 40”, 48” x 50”, also in 60” and 72” rolls, uses: intaglio, letterpress, silkscreen, foil, drawing, *budget friendly

Masa – 100% sulphite, machine made in Japan, 4 cut edges, smooth on one side, rough on the other, colors: white and soft white, sizes: 21” x 31” and 43” rolls, uses: relief, letterpress, silkscreen, *budget friendly

Mohawk Superfine – fiber content varies, up to 30% post-consumer waste fiber, made in USA, cut edges, acid free, eggshell and smooth finish, colors: ultrawhite, white, softwhite, various text weights and cover weights available, sizes vary by type: 8.5” x 11” up to 26” x 40”, uses: letterpress, silkscreen, drawing, bookbinding (great for blank sketchbooks)

Mulberry – 80% Thai kozo, 20% sulphite (fiber mix may vary by source), handmade in Japan, 4 deckles, laid pattern, high wet strength, size 25” x 33.5”, machine made rolls available, uses: intaglio, lithography, monoprint, relief, silkscreen, bookbinding

Okawara – 100% kozo, made in Japan, different grades: machine made (cut edges) 38” rolls, handmade student (4 deckles) size 18” x 25”, and handmade professional (2 deckles) 12” x 16”, neutral PH, uses: lithography, letterpress, relief, bookbinding, chine-collé

Pescia (Cartiere Magnani) – 100% cotton, mould made in Italy, 4 deckles, lightly sized, smooth texture, colors: cream, grey, light blue, soft white, white; sheet size 22” x 30” but comes in smaller pads, uses: intaglio, lithography, silkscreen, monoprint, pastel & charcoal

Revere (Cartiere Magnani) – 100 cotton, mould made in Italy, 4 deckles, three surfaces available: silk (smooth), suede (medium) and felt (rough), 250-330gsm, colors: polar white, standard white, warm white, ivory, bisque, and black; sizes: 22” x 30”, 30” x 44”, 42” x 56.5”, uses:

Rives BFK – 100% cotton, mould made in France, 4 deckles, acid free, smooth surface, watermark, colors: white, cream, grey, off white, tan; sizes: 19.5” x 25”, 22” x 30”, 24.75” x 35.25”, 29” x 41”, 30” x 44”, 31.5” x 47.25”, and 42” rolls, different weights, uses: all printmaking

Rives Lightweight & Heavyweight – 100% cotton, mould made in France, 4 deckles, lightly sized, colors: buff and white, sizes: 19” x 26” & 26” x 40”, 115 gsm (lightweight) & 175 gsm (heavyweight), uses: letterpress, relief, silkscreen, book binding, pen & ink, charcoal & pastel

Rosaspina (Fabriano) – 60% cotton, 40% alpha cellulose, mould made in Italy, 2 deckles, lightly sized, acid free, wove surface, watermark, colors: cream and white; size: 27.5” x 39”, uses: intaglio, lithography, letterpress, silkscreen, pastel & charcoal

Sekishu – 80% kozo, 20% sulphite, handmade in Japan, 4 deckles, not sized, colors: white, off white; size: 24” x 39”, available from 10gsm to 33 gsm, uses: intaglio, lithography, monoprint, silkscreen, chine-collé

Somerset – 100 % cotton, mould made in England, 4 deckles, lightly sized, acid free, Satin (smooth), Velvet (light texture), and Textured, watermark, colors: white, soft white, antique, black, buff, cream, newsprint grey, radiant white; sizes: 22” x 30”, 30” x 44”, 35” x 46.7”, and 60” rolls, different weights, uses: intaglio, lithography, letterpress, silkscreen, monotype, drawing

Stonehenge – 100% cotton, made in USA, 2 deckles, acid free, colors: black, cream, fawn, kraft, natural, pale blue, pearl grey, polar white, steel grey, warm white, white; sheet sizes: 22” x 30”, 26” x 40”, 30” x 44”, 38” x 50”, and 50” rolls, uses: letterpress, relief, silkscreen, pen & ink, pastel & charcoal, *budget friendly

Strathmore 400 Series Heavyweight Printmaking – 100% high alpha cellulose, 4 deckles, medium-texture soft surface, acid free, white, sizes: 22” x 30” sheet; 5” x 7”, 8” x 10”, 11” x 14” and 18” x 24” pads, uses: lithography, intaglio, screen print, relief 

Zerkall Book – 10% cotton, 90% high alpha cellulose, 4 deckles, acid free, buffered with calcium carbonate, comes in two surfaces laid and wove (smooth and medium texture), colors: white, soft white, and cream, uses: bookbinding, letterpress, relief, silkscreen, wood engraving, pen & ink, pastel & charcoal

Zerkall Litho – 100% high alpha cellulose, 4 deckles, neutral pH, mould made in Germany, smooth surface, sizes: 22” x 30” and 30” x 42”, 270gsm, white, uses: lithography and other printmaking techniques.

Digital Printing

Although you can run almost any paper through an Epson printer or other archival inkjet printer you will achieve the best result with line crispness and color accuracy with a coated paper. The coating on many of these papers allows you to hand print an image on top of the digital print and can sometimes allow the paper to be dampened. It’s recommended you use the correct ICC profile for each paper. If dampening, check that the inkjet inks are waterproof. Pigment based inks are recommended. Options Include:

• Baryta Photographique – alpha cellulose, acid free, pure white
• Canson Infinity – includes a range of paper
• Coated Japanese papers – Kozo, Asuka, Niyodo (Hiromi Paper carries excellent washi coated for inkjet printing)
• Edition Etching Rag – 100% cotton, smooth texture, bright white
• Hahnemuhle Digital FineArt collection – variety of papers with different fiber contents from cotton rag to alpha cellulose, range of texture: smooth, textured, and glossy, comes in sheets and rolls
• Printmaking Rag – 100% cotton rag, smooth velvet texture, bright white
• Rag Photographique – 100% cotton, smooth texture,
• Stonehenge Digital – 100% cotton, made in USA, acid free, white

Paper Vendors for Online Ordering

Also check your local art supply stores as many carry a selection of printmaking paper, though aren’t able to fulfill shipped orders or maintain a website that reflects their entire inventory. Local to Los Angeles, in addition to Dick Blick, Hiromi Paper, Kelly Spicers, McManus and Morgan Paper, Artist and Craftsman and Carter Sexton are a few of the art supply stores that carry printmaking paper.

Dick Blick

• sells a variety of paper in addition to a large selection of art supplies
• based out of Galesburg, IL
• order online at www.dickblick.com
• online prices are significantly cheaper than in-store prices, orders typically require at least 10 sheets to avoid a $3 handling fee
• quantity pricing discounts typical after 25 sheets
• free shipping on orders over $49
• “ding and dent” paper is sold at the Galesburg warehouse for a deep discount, sometimes $1-$3/sheet with small tears or bent corners; other deeply discounted art supplies are also sold, such as dented ink cans, leaking paint tubes, etc.

Dolphin Papers

• sells a large variety of printmaking papers
• based out of Franklin, IN
• order online dolphinpapers.com or by phone 877-868-002
• discounts are available for repeat customers along with quantity price breaks, call for specific discount information

French Paper

• paper sold only online www.frenchpaper.com
• paper is searchable by color, weight, collection, or size
• shipping costs are clearly stated during checkout, but can be expensive due to the weight of the paper
• significant price breaks at large quantities (typically 200 sheets cost a little more than twice the cost of ordering 50 sheets)

Hiromi Paper

• specializes in washi, or Japanese papers
• based out of Culver City, CA
• order online at www.hiromipaper.com
• website clearly shows quantity pricing discounts for each paper
• shipping is calculated at checkout

Kelly Spicers

• envelopes, paper, wide format and digital papers, best suited for letterpress printing
• west coast with retail stores and online sales
• order online at retail.kellyspicers.com

 Lenz Arts

• art supply store that routinely offers 100 pack paper sales
• based out of Santa Cruz, CA
• order online at lenzarts.com
• check website for sales on Rives BFK, Arches 88, and other European papers

Letterpress Paper (a division of Legion Paper)

• Legion Paper’s online retail distributor of letterpress papers
• based out of New York and Los Angeles
• terrific website to learn about paper or to contact the company for paper recommendations
• wide assortment of sample packs available for purchase
• order online at www.letterpresspaper.com

Mohawk Connects

• sells all Mohawk paper/envelopes online at www.mohawkconnects.com
• website can be very difficult to navigate as there are so many options with each kind of paper
• Mohawk superfine is the most common used in letterpress/book arts and comes in a variety of text and cover weights

Paper Connection

• specializes in Japanese paper and other Asian papers
• store location in Providence, RI
• order online at shop.paperconnection.com

Takach Paper

• sells a large variety of printmaking papers
• based out of Albuquerque, NM
• they change their prices frequently with market fluctuations so visit www.takachpaper.com for the up to date PDF price list that includes quantity discounts
• order by phone 877-611-7197

Talas

• sells a variety of printmaking papers in addition to conservation/bookbinding supplies
• based out of Brooklyn, NY
• order online at www.talasonline.com
• website clearly shows quantity pricing discounts for each paper
• shipping is calculated at checkout

Twinrocker Handmade Paper

• handmade Western or European papers, both custom-made and stocked, as well as papermaking supplies
• sample pack available for purchase
• based out of Brookton, IN
• order online at www.twinrockerhandmadepaper.com

For more detailed information about each paper it’s often a good idea to read the information straight from the manufacturer. A good resource for this is Legion Paper, the U.S. wholesale distributor to many of the most commonly used printmaking papers. Legion Paper carries 3,000+ papers sourced from 60+ paper mills. Much of this information came from their website. www.legionpaper.com

For more information

Online

Jackson Art: Everything You Need to Know About Printmaking Paper

Legion Paper

Hiromi Paper

Books

Papermaking: The History and Technique of an Ancient Craft, by Dard Hunter, 1978

Paper: Paging Through History, by Mark Kurlansky, 2016

On Paper: The Everything of Its Two-Thousand-Year History, by Nicholas A. Basbanes, 2014