What is paper to an artist? A blank page, whether inside a fresh new sketchbook or a full sized sheet placed in front of you, can spark all sorts of creative ideas. Imagining what your next art project will be is great inspiration.

As you know, we carry a wide selection of papers for all kinds of artistic applications including watercolour, drawing, printmaking, decoration and graphic design. But do you know which paper is right for your piece?

We've put together some information to help you answer those questions, so you can choose the best paper for your creative process. Most of this information has been adapted from an Opus newsletter supplement which we published a number of years ago, entitled The Paper Cut. As we have received numerous requests to republish this supplement, we decided to bring you the 'high points' in this article. We hope you find it useful.

Paper Fact: Using wood pulp in the making of newsprint paper was introduced by Charles Fenerty of Halifax, Nova Scotia in 1838.

When your artwork has a value attached to it—be it personal or financial—the archival quality of the paper that you choose needs to play a deciding factor in your choice. Acid-free or pH neutral papers are the preferred choice when longevity is important to you.

Rag papers are made with 100% cotton—the ultimate in archival quality. They are acid-free and do not become brittle or discolour over time. Coming in second are pH neutral papers, which have buffers such as calcium carbonate added to the pulp to change the pH. This ensures that an acidic paper will have a neutral pH. If the acid remaining in the sheet outlasts the buffering agent used when the paper is made, it is still subject to deterioration or yellowing.

Paper Fact: The Arabs introduced papermaking to the West during the 13th century. Paper mills were set up in Baghdad, Damascus, and Cairo. Later, other mills were set up in Morocco, Spain and Sicily.

If you are a watercolourist, you will want to keep three basic characteristics in mind when choosing your paper: weight, surface texture, and sizing.

Most watercolour papers are sold in a variety of forms, from full-sized sheets, pads and blocks, to rolls and oversize sheets. This allows you to choose the format which works best for you.

Paper weight: The three most common weights of watercolour paper are 90lb (190gsm), 140lb (300gsm) and 300lb (640gsm). 90lb paper is the lightest weight and generally requires stretching prior to use; 140lb paper is the most popular weight because it is stable and less expensive than heavier weight papers. Depending on your technique, you can get away without stretching 140lb paper, although in general, stretching is still recommended. 300lb paper is the heaviest weight and will buckle the least. Stretching is not usually required with a 300lb paper. Opus carries our own Opus European Watercolour paper, a 200lb paper which—like 300lb—does not require stretching.

Stretch it out: For those of you who may not be familiar with stretching, the process is to attach your paper onto a board or surface when it is wet, using staples or tape. Once the paper is dry, it will tighten to create a taut surface which will not buckle when paint or water is applied. Just leave your finished painting stretched until it is dry, and then gently remove your work before framing. You can also use an Opus Paper Stretcher designed specifically for stretching watercolour paper.

Surface texture: Depending on your painting style, you also have the option to choose the surface type which best suits you or the type of project you are doing. Medium surface watercolour paper, or Cold-press, is a popular choice for most types of watercolour painting. It is also the most common choice for beginner watercolourists because it is a good middle ground for learning different techniques. Smooth surface, or Hot-press, is good for very detailed work, and Rough paper is most effective with gestural paintings. Or for something really unique, try the new Frederix Watercolour canvas, available in a selection of sizes with a canvas texture.

Sizing: Another consideration with watercolour paper is the sizing. Sizing helps to reduce the absorbency of your paper, which is what enables you to manipulate your paint in more fluid applications. Your paper can be internally or externally sized. Each brand of paper has varying degrees of sizing added, affecting its absorbency. It is best to test a variety of papers to determine your preference, and many watercolourists will tell you that they have personal favourites for different types of work.

Paper Fact: n AD105 Ts'ai Lun, a Chinese court official, is said to have created paper from textile waste using rags.

When you choose a drawing paper, you will also be interested in some specific characteristics. The first thing to look for is the tooth or surface texture. After that, options such the paper weight, the finished size of sheet, and the opacity are all worthy of consideration. Colour choice is another consideration with many types of drawing and illustration projects.

Tooth: As with watercolour, the finer the detail you want to work in, the smoother the paper you will want to choose. Smoother papers are also better suited to certain types of media. For example, if you work in very clean pen and ink illustration, you will likely prefer a smoother paper as it lends itself to crisper, more pronounced line work. Try using a a hot-pressed watercolour paper.

In addition, because the drawing process can entail layering different types of media—from pencil, to charcoal, to pastel and conté, or even ink or gouache—you will need to make sure that the texture on your paper is suited to holding different types of media. Basically it is a case of physics, as paper texture is essentially a series of "pockets" which collectively trap the particles of media you apply to the surface. It stands to reason therefore, that the deeper the pockets (and texture), the more suited the paper is to holding more and more layers of material. For anyone who has tried to apply heavy marks using compressed charcoal on newsprint, you can appreciate this as you have experienced the frustration of your charcoal literally falling off the page.

Opacity: This refers to the transparency of your paper. While most drawings are made on opaque paper, there are a number of translucent papers—such as tracing papers and vellums—which will allow you to work in layers. This can be useful for achieving different visual effects, or for creating layered work, as with animation or drafting. Translucent papers can also be used with a light table, enabling you to transfer imagery from other sources, or work effectively with a series of connected drawings.

Size and Colour: The size and colour of paper you choose is largely based on your personal preference and the specific project. The most important thing to realize is that you are generally limited only by your own imagination. For example, working large can offer you a brand new challenge with 'where' you work, as oversize sheets can be a challenge to hang on a wall or easel. So we suggest you try working on the floor, it will give you a whole new perspective! Likewise, a different colour background might challenge you to think about your colour in a whole new way or change the way you look at negative space or shadows.

Paper Fact: Improvements in papermaking allowed artists to keep their sketches rather than paint over them. This was the standard practice before the introduction of paper as an artist's material.

When you are looking at printmaking papers, you definitely need to take into account your type of printing technique. For example, Intaglio printing requires paper which will withstand soaking as well as stretching and pulling. Lithography paper should be flat and chemical-free, with a minimum curling tendency and good ink-drying properties.

If you prefer to print in relief, a smooth surfaced paper will pick up more detail, or you can choose handmade Japanese, Indian or Thai papers.

Screen-printing offers you a wider choice of papers. You can use unsized to heavily sized papers as well as hot-pressed to rough surfaces.

Of course, we can't talk paper without mentioning pads and sketchbooks. Sketchbooks are another great source of paper. We have a large selection of sketchbooks because we know the possibilities which a new sketchbook offers. From classic black to vivid colours, to chic moleskine—inspiration and ideas are no farther than the covers of your latest sketchbook!

No matter what you choose, all papers are unique. What one artist loves may not suit another. This is why we encourage you to experiment and find what works best for you!