10) Do you use a lot of different papers? If so, which paper do you like best?
Kathy J. Imel: Yes. I have one set of different papers for watercolor, graphite and colored pencil. The common element is that it is hot-pressed and fairly heavily sized (if for watercolor). I use a completely different set of papers (with more “tooth”) for pastel. My current favorites are Wallis sanded pastel paper and black Stonehenge printmakers’ paper.
Robin Jess: For my watercolor paintings, I used Arches 140 lb hot press exclusively. However, if I were to do an image for commercial use now (other than fine art prints) I would use a whiter paper, as sometimes the tone of Arches can be an issue. I know that backgrounds now can be removed digitally, but to avoid that, I would try a whiter paper.
Mindy Lighthipe: I use Fabriano Artistico 300 lb Soft Press for Watercolor, LanaAquarelle Hot Press 300 lb for gouache.
Julie Sims Messenger: I have tried lots of different papers but keep going back to Arches watercolor paper because it is so forgiving (for me). Because I work the paper surface with many layers of glazing, I need a surface that won’t degrade easily. I will use the 140 lb for more delicate subjects because the surface is very smooth and I will use the 300 lb for more substantial subjects like woody plants because the surface has some slight tooth, even though it is hot press.
Scott Rawlins: At present, much of my colored pencil work is done on illustration board or coquille board. Because I use a great number of materials, I also use a number of grounds regularly – e.g., Denril film, handmade paper, mat board, various clay-coated surfaces and printer paper for digital work. In any given year I probably use 10 different surfaces.
Susan Rubin: Having experimented with numerous papers over the years, I gravitate toward just a few that will consistently give me the results I like. For both colored pencil and graphite, I like Fabriano Artistico 140# hot press watercolor paper, Saunders Waterford 140# HP WC if I want a cream-colored surface, or Rising Stonehenge, white or black. I do a good deal of my work on double-frosted Mylar as well.
Dolores R. Santoliquido: Early on I experimented with using different papers. I use a dry-brush technique that requires a very tough, exceptionally smooth surface. The paper I have worked on for over 20 years has been Arches 140 lb. hot press paper. Unfortunately, in recent years the surface of the paper has been pilling and I am in the process of seeking a paper that works as Arches did a few years back.
ArtPlantae Today 
I would like to know which paper is better for using watercolour. Arches or Fabriano Artistico?
Christina,
I encourage you to direct this question to members of The Society of Botanical Artists on Thursday, November 20th. One of the questions they have been asked pertains to grounds and their preferences for watercolor, graphite, pen & ink, etc.
I’m sorry, but I’m new to all this. How can I redirect my question about Arches versus Fabriano Artisticoto the members of The Society of Botanical Artists?
The Q&A for The Society of Botanical Artists will be structured like this one was for Today’s Botanical Artists. All you’ll need to do is click on the question about paper and post your question like you did above. Thank you so much for posting your question and for your participation. This is exactly how we want this educational blog to be used.