Choosing Paper for Bookbinding: What I Use and Why: Summer 2025 Edition
- Melanie Grant
- Jul 8
- 3 min read
I’m often asked about the materials, supplies, tools, and equipment I use for bookbinding—so today I am spotlighting the essentials of paper choice that I use in my studio. Whether you’re just starting out making books or refining your process, I hope this information will help take the guesswork out of choosing the right materials.
One of the the questions I hear most often is:
“What kind of paper do you use in your handmade books—and why?”
In the Beginning…
When I made my first books, I filled them with a mix of sketch and mixed media paper—whatever I had on hand or could easily find. I was using them for my own art practice, so function and durability were my only real priorities. Heavier paper was ideal for learning how to stitch and pierce with an awl, and I wasn’t yet thinking much about grain direction or finish.
That’s where many bookbinders begin—and for good reason. You learn a lot just by doing.
What I Look for Now
As my skills grew, so did my expectations. Now I pay attention to features that affect not just construction, but also how the finished book feels and performs:
Paper Type – writing, drawing, or watercolor? Each serves a different purpose.
Grain Direction – this one is essential for proper folding and durability. Is it short or long?
Finish – smooth, vellum, or lightly textured can make a big difference.
Weight – I prefer lighter weights than you might expect (typically 70–80 lb text).
Color – I lean toward neutrals with a slightly weathered look as well as white.
Texture – just enough tooth to feel handmade but still practical.
Digital Compatibility – important if I’m printing content or templates.
Making Smart, Sustainable Choices
As a small book binding / art studio, I can’t buy dozens of different paper reams just to try them all. I need materials that check all the functional boxes—size, grain direction, and digital compatibility—while still offering beauty and design flexibility.
It took a bit of experimenting (and a few missteps) to figure out what worked best for my practice, but I eventually landed on two go-to papers that work for about 80% of the books I make:
My Two Favorite Papers for Bookbinding
1. PC 100 Environment White (12×18, Long Grain, 80lb Text)Made by Neenah, this paper is 100% recycled and environmentally friendly. It runs beautifully through most printers and folds crisply for binding. I use it for journals, inserts, and any project that needs clean, classic white pages with a touch of sustainability. This is a luxurious paper and gives my handmade books polish.
2. Royal Sundance White Paper (11×17, 70lb Text, Smooth Fiber, 30% Recycled)This is my everyday, all-around favorite. It’s digitally compatible, the perfect weight, and cost-effective—especially when purchased in reams of 500. I keep it stocked in three colors, all neutrals but with a gently weathered look. The paper color I choose depends on the aesthetic of the cover or the story the book is telling. I stock this paper in three colors: white heather, a soft gray heather, and a heathered cream color.
Where I Buy Paper
You can find these papers through major online distributors like:
Both offer a wide selection and make it easy to buy in bulk a few times per year. Their customer service is great and I can get on the phone to ask specific questions and reccomendations.
Of course, Neenah and Mohawk Fine Papers are carried by other sellers too—so if you're looking locally or through other online sources, just make sure you’re matching the specs you need for size, grain direction, and weight.
Whether you're just beginning your bookbinding journey or looking to upgrade your materials, I hope this gives you a helpful place to start. Choosing paper can feel overwhelming at first, trust me I know, but once you find a few go-to options that suit your needs, everything else starts to fall into place.
If you have a favorite paper you love using, I’d love to hear about it. Drop a comment below, I would love to hear from you —I’m always curious about what other binders and artists are working with.
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