|General Illustration||Papercrafting||B&W Comic Art||Product Design / Architecture||Multiliner Work||Mixed Media Art||Photocopy Compatible|
|Art Paper Pack||x||x||x||x||x||x||x|
|Mini Paper Pack||x||x||x||x||x||x||x|
|Stamping Illustration Paper
A4 :: B4
|Manga Manuscript Paper A4 :: B4||x||x||x|
|Natural White Paper||x||x||x||x|
|Pure White Paper||x||x||x||x|
5"x7" :: 5"x12" :: 5"x17" :: 7"x10" :: 9"x12":: 11"x14"
Writeable 5"x7" :: Writeable 9"x12"
A2 :: A3 :: A4 :: B4 :: B5
|X-Press It Blending Card||x||x||x||x||x|
|Alcohol Marker Pad
A3 :: A4
|Tracing Paper / Vellum||x||x||x||x|
|Yupo / Mylar Film||x||x|
Most basic papers fall into this category. Paper can range in thickness from simple, thin copier paper to heavyweight illustration board. Many uncoated papers are soft and will feather easily, so always test new paper before using it for a project.
Not all coated papers are the same. Some have surface texture, and others are smooth. Any time you use your markers with coated paper, experiment first to see how the ink builds up on the surface, how inking pens dry, and how the coating affects the colorless blender.
Coated vs Uncoated Paper
Glossy paper works well with Copic markers; however, it cannot be colored on in the same way as uncoated paper. When working on glossy paper, trace paper or vellum, use a darker marker than you would use on uncoated papers. Extra-pale colors will not show up on this type of paper.
Glossy paper is coated, which doesn't allow the paper to absorb the ink. This means that layers of colors can't be piled up and blended smoothly like other paper types allow.
The Colorless Blender will not work the same on glossy paper, as it will on other papers. Glossy paper is unforgiving, so if a mistake is made (like inking outside the line) it can't be fixed with the Colorless Blender.
Glossy paper picks up less ink. Less ink means lighter colors and longer lasting markers due to less absorption.
Light strokes to dark to light. Dark strokes to light.
Tip-to-tip blending. Palette blending.
Vellum and tracing papers allow inks to sit on the surface, never soaking into the paper. Vellum allows marker work to be completely erased without leaving any speckling. Vellum or tracing papers are transparent, allowing the color to be seen through either side.
Use short strokes from base to opposite end, then blend from end and back.
Repeat on the opposite side with a new color.
Draw a tree on the first side, then use the colorless blender to clean up edges.
On your testing paper, draw a circle with a Copic Multiliner. Let the ink dry completely, as some papers are not as absorbent as others. With a light color marker, color in the circle, being sure to evenly soak the paper. Color up to the line but not over. Let it sit for a moment.
Color over the paper again. This is a way to see how much ink it takes to over soak the paper.
Note: Does the marker ink stay where it is placed? Did it feather beyond the line? If color was applied right up to the line and the marker ink kept going, then the paper is soft and it will be hard to get precise detail.
Take a second, darker color and feather it into half the circle. Using the original light color, fill in circles over the area where the two colors meet. This tests how well colors blend. Watercolor paper soaks up so much ink that it is a hard surface to blend on and will cause your markers to dry out faster.
Allow the colored area to dry thoroughly. Take the Colorless Blender and touch it to a colored area. Does the ink move out of the way? Does it get lighter where the blender was touching the paper? Some papers will give crisper edges than others. This is important to keep in mind when using the blender pen.
Over-soaked / softedges
Lighter color blendedover dark color
For general illustration, comic illustration, fashion illustration, or anything that requires a lot of precision, you will do well with an uncoated paper. We recommend a stamping illustration paper, manga illustration paper or natural white sketchbook paper. These types of papers will you give you the best results for blending and mixing colors.
If you are an artist that doesn’t go back and blend, and you do more painting, layering colors, not mixing or blending as much, then the pure white illustration paper is a good option because it is coated on the back side.
The pastel marker (PM) pad is a coated, thin paper that uses less ink, works well for tracing and comes in larger sizes. Be aware that this paper won’t allow for blending after ink is dry.
For optimal results when coloring, papercrafters need a thick, opaque cardstock with tightly knit fibers. When working with cardstock, an uncoated, smooth surface will ensure smooth lines when stamping with rubber stamps, wheras textured cardstock will not not.
Even a high-quality cardstock may bleed out the backside, so always work with scratch paper underneath your work. Cardstocks that are 120 lb weight will not bleed out the back with Copic markers, but for most projects this is overkill. Paper of this weight is good for making single layered cards, but it will suck the ink from your markers more quickly.
When coloring on a thicker cardstock, color slowly and evenly to saturate the paper. If you start seeing white streaks in your work, either your marker is drying out or you are coloring too fast. On thinner cardstocks, flip your paper over to see if it looks smooth on the backside. This is how you can tell if you have been evenly soaking your paper.
For papercrafters, we suggest the X-Press It Blending Card because it is a good, thick, bright white paper that blends well. For card making, we suggest stamping illustration paper, which is slightly thinner. Other papers suggested for papercrafting include our sketchbook paper, mini paper pack, vellum or tracing paper.
Switching from one paper style to another will take some getting used to. If you usually work on a thicker cardstock and you switch to a thinner one, it may seem that the ink is bleeding more, but in reality you may just be using too much ink. Take your time getting used to how each paper style works with your markers.
If you are doing black and white comic drawing – or using screen tones, we suggest using the manga manuscript paper. It has a very smooth surface, so even your finest Multiliner pen sizes will give you a very smooth, unbroken line. It also has printed blue guides which are great for lining up rulers, but are not conducive to coloring.
For professional product design, automotive design, architecture and landscape architecture, we recommend using our alcohol marker pad. Once the ink is dry on this paper you can’t go back and rework it because the colorless blender does not work with this product. The Copic alcohol marker pad is similar to other brands on the market, except that our marker pad is specially formulated to reduce speckling*.
*Speckling is caused by denser, darker parts of the tree being mixed with lighter parts during the paper making process. The different types of wood absorb ink at a different rates, causing a speckled pattern to appear.
Architects and Landscape Architects frequently use tracing paper or vellum. Higher quality tracing papers will give you better results because they have a sturdy coating that reduces speckling. Tracing paper and vellum also have the added benfit of allowing you to fix your mistakes.
Any time you use the Copic Multiliners you will want to work on a paper with a very smooth surface. If you think on a microscopic level, every time you drag your pen tip across the top of the paper it's like rubbing it against sandpaper. Your pen nib, especially the finer tipped pens, will not last as long if used on a rough surfaced paper.
Additionally, rough surfaced paper will not allow you to get a clean, consistent pen line. For example, if you were to use copier paper to draw with a Multiliner, the paper fibers are going to pull your pen line thicker, so your lines will not be as precise.
If you like to add pressure to get a thicker line, we suggest using a few sheets of scratch paper under your work at all times to extend the life of your Multiliner. Working directly on a hard, flat surface may be better if you are doing more technical drawings that require a very precise, consistent line.
For mixed media projects, many people enjoy using various forms of watercolor or bristol boards with our markers. This is a great option, just be aware that these paper types are intended for water-based media, so they can absorbe a lot of ink and cause your markers to run dry much quicker.