Smooth Newsprint Paper + Alternatives

Newsprint paper is a cheap, disposable packaging material. It’s fragile, flimsy, and reverts to pulp upon slightest contact with water.

And yet—it’s also a delightful surface for figure drawing. (At least for the sort of short-pose style that I enjoy)

More specifically, smooth surface newsprint is something truly special. So much so, I wanted to dedicate an entire post to it.

First, it’s important to distinguish between the Rough Surface and Smooth Surface varieties.
The rough surface type is easy to find in most arts and crafts stores. It’s the default option, probably because the texture accepts any dry media easily. It feels totally average to draw on with charcoal—nothing special.

But the smooth surface variety is rare in the wild.
You won’t spot it in your typical craft or hobby store. If you live near a big city with dedicated fine art supply shops, you might find it—if you’re lucky. I order mine online, either from Blick or Amazon:

• Strathmore 300 Series Newsprint Pad (Smooth) – Blick

• Strathmore Newsprint Pad (Smooth) – Amazon

(This was drawn on newsprint some years ago. I enjoy the soft complexion.)

So, what’s so special about it?

Its texture is quite unique. Yes, it’s smooth—but not too smooth. It’s not as slippery as some papers, but rather has a gentle surface grain. I find that softer charcoal pencils, like 6B, work best on it. (Harder pencils like 2B don’t grip very well.) Once the charcoal is down, it’s easy to blend, smudge, and erase.

The smooth surface lends itself beautifully to sharp lines and crisp edges. Gentle gradations are easy, too. Rougher papers tend to break up lines and soften edges, often requiring more work—more rubbing and blending—to achieve desired effects.

It’s satisfying to simply place your marks exactly as you intend them to appear, and then move on to the next.

The color is off-white, almost toned, which reduces the value contrast between the paper and your marks. While you may sometimes want a full range of lighter values, the lack of them actually simplifies the drawing process. It means you don’t have to model the light tones much at all—perfect for short-pose figure drawing, where time is limited.

Also, it has one very unique quality:

It’s pillowy.

Imagine pressing your finger into a soft blanket.

When you draw on a thick pad of smooth newsprint, the paper flexes ever so slightly under your pencil. It bends around your mark. It caresses your tool—lovingly. It’s hard to describe the sensation, but you’ll know it when you feel it.

It’s the opposite of the abrasive discomfort of drawing on a single flimsy sheet against a hard surface. In that case, you might as well be rubbing against a stone slab.

Don’t do that.
Always have at least five layers of paper beneath your drawing surface—preferably a whole pad. For this reason, I often avoid using the last few sheets of any newsprint pad. Or, if I’m feeling extra frugal, I transfer them to a new one.

Sadly, smooth newsprint is not perfect…

As previously noted, it’s quite flimsy. It crumples far too easily. Rarely do I have a pad without little nicks or dents in the surface, despite my careful handling. If the air is humid, the pages may begin to wrinkle a bit. (Also, don’t sneeze on it!)

Heavy erasing will break the fibers, creating uneven texture. (I've erased a hole through a particularly troublesome drawing once.)

On top of all of that—being acidic, it ages poorly. It will yellow over time—especially when exposed to direct sunlight.

If your goal is to create finished work to sell or exhibit, newsprint isn’t the best choice.

There is a psychological advantage to working on such an ephemeral material.

It promotes a focus on the experience—on the practice. You’re not trying to create the world’s best figure drawing. You know the paper will decompose in a few years. The drawing isn’t the product—your growth as an artist is.

Henry Yan once told me that the students which made the most rapid improvement were those who filled each page of newsprint with dozens of drawings, one on top of the other. No individual sketch was precious. They were all just stepping stones.

That mindset is key to real progress.

Try it!

Some approximate alternatives I’ve enjoyed:

Tracing Paper: (Amazon Link)
Some artists might scoff at the idea, but I’ve actually found tracing paper to be a great alternative.
A thick pad of tracing paper has the same pillowy feel as newsprint—perhaps even more so. The downside? It’s thinner, even more flimsy, and of course, it’s translucent. Still, the fibers are a bit more durable, and it’s acid-free. I’ve made some of my best drawings on it. You can simply place a white (or toned) sheet of paper behind it for display. Look for large pads of the heaviest weight you can find.

Bienfang Graphics 360 Marker Paper : (Amazon Link)
This specific brand of marker paper is very smooth and thin. It’s bright white and lacks some of the subtle qualities of smooth newsprint, but it makes up for that with greater durability and longevity. Though a bit pricier, it’s a satisfying alternative.

I encourage you to experiment with a variety of papers. Please share your experience, if you've found other alternatives.

It’s surprising what a dramatic influence the surface materials have on the look and feel of your drawings—perhaps even more so than the drawing tools themselves. I'll share my thoughts and recommendations for those in the future.

—Lane