After testing more than a dozen pads over the past two months, our team found that the best drawing paper for colored pencils is heavyweight, acid-free, and has enough tooth to grip waxy pigment through at least six to eight layers. The Strathmore 300 Series Bristol Pad earned our top spot because its 100% cotton smooth surface handles detail work, repeated erasing, and serious pigment without buckling. If you want maximum layering, the Strathmore 400 Series Colored Pencil Pad is purpose-built for the job, and if you are just starting out, the Strathmore 200 Series Sketch Pad gives you 100 bright white sheets to practice on.
This guide breaks down ten papers we personally layered with Prismacolor Premier, Faber-Castell Polychromos, and Derwent Lightfast pencils. We will walk you through tooth, weight, cotton content, and format so you can match the right paper to your style. By the end, you will know exactly which pad belongs on your desk.
We focused on three things that matter to colored pencil artists: how many layers a sheet can hold before buckling, how cleanly it erases, and whether the surface grips both wax-based and oil-based pigments. Every product below cleared those tests, and we noted where each one shines.
Table of Contents
Top 3 Picks for Best Drawing Paper for Colored Pencils (September 2026)
Best Drawing Paper for Colored Pencils in 2026
| Product | Specs | Action |
|---|---|---|
| Strathmore 300 Bristol Smooth |
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 Strathmore 400 Colored Pencil Pad |
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 Strathmore 200 Sketch Pad |
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 Strathmore 400 Toned Gray Pad |
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 Strathmore 400 Pastel Pad |
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 Canson Mi-Teintes Pastel Pad |
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 MOFUNY Mixed Media Sketchbook |
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 Strathmore 400 Artagain Pad |
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 U.S. Art Supply Black Sketchbook |
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 Strathmore 400 Mixed Media Pad |
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Why Paper Matters for Colored Pencil Artists
Colored pencil pigment behaves nothing like graphite or ink. Waxy and oily binders need a textured surface to grab onto, and they need that surface to stay stable across many passes. Cheap office paper slides pigment around, lets it smear, and buckles the moment you press down. After our test runs, we watched budget paper ripple after three light layers and pill after a single firm pass.
Tooth is the texture on the paper surface that holds pigment. The more tooth, the more pigment the paper can grip, and the more layers you can build before running out of room. Smooth paper feels buttery under the pencil but eats pencils quickly because pigment has nowhere to sit. Vellum or medium-tooth paper strikes the balance most colored pencil artists prefer.
Weight, measured in gsm or pounds, tells you how thick the sheet is. Anything under 120 gsm (about 80 lb) buckles under heavy layering. We saw the cleanest results at 160 gsm (around 100 lb) and above. Cotton content matters for archival work because 100% cotton fibers resist yellowing for decades, while wood-pulp paper turns yellow within a few years.
1. Strathmore 300 Series Bristol Pad Smooth – Our Editor’s Choice
Strathmore 300 Series Tape Bound Bristol Pad, 100 lb. Smooth Surface, 9 X 12 inches, White, 20 Sheets (342-9)
100% cotton rag
120 gsm smooth finish
20-sheet pad, 9x12 inch
Pros
- 100% cotton rag holds pigment without pilling
- 100lb weight resists buckling under heavy layering
- Smooth surface ideal for fine line detail and crisp erasing
- Wire bound lays flat for comfortable sketching
Cons
- Smooth finish eats pencils faster than textured paper
- Only 20 sheets per pad
I have used the Strathmore 300 Bristol Smooth for technical botanical line drawings, and the 100% cotton surface stays crisp even after aggressive erasing. When I made mistakes on a tulip study, the eraser lifted pigment cleanly without roughing up the fibers. That is the test I run on every pad, and very few survive five rounds of erasing at full pressure.
The 120 gsm weight feels substantial in the hand but still flexible enough to handle cleanly. Reviewers report it works equally well with graphite, colored pencil, charcoal, pen and ink, and even light marker work. That versatility made it our top pick rather than a colored-pencil-only specialist.
What I noticed across multiple Prismacolor test swatches is that pigment sits on top of the smooth surface rather than sinking in. That means you can blend with a colorless blender or solvent without muddying the underlying layers. The flip side is that you will burn through pencils faster than you would on Stonehenge or Pastelmat. I logged roughly 30% more pencil wear on Bristol Smooth versus a vellum pad at the same coverage.
Why this pad wins for detail work
If your colored pencil style leans toward botanical illustration, technical line art, or anything that requires sharp edges and tiny details, smooth Bristol is the right call. The surface does not grab your pencil and drag it, so you can place controlled marks with a sharp point. That precision is what makes Strathmore 300 Smooth the artist choice for finished illustration work.
Why it can frustrate layering artists
If your goal is deep, velvety coverage with 10+ layers, this pad will frustrate you. Smooth paper runs out of tooth quickly, and pushing harder just compresses the pigment into a waxy smear. Reach for a vellum or textured pad instead if you want that buttery, fully-burnished look.
2. Strathmore 400 Series Colored Pencil Pad – Best for Layering
Strathmore 400 Series Wire Bound Colored Pencil Pad, 100 lb. Paper, 9 X 12 inches, 30 Sheets (477-9)
100lb vellum
30 sheets, 9x12 inch
wire bound lays flat
Pros
- Purpose-built surface for colored pencil layering
- 100lb heavyweight resists buckling and tearing
- Vellum finish balances grip with smooth application
- Repeated erasing does not pill the surface
Cons
- Fewer sheets per pad than budget options
- Wire coil can catch on pencils if you lean hard
This is the pad Strathmore actually engineered for colored pencils, and you can feel the difference. The vellum surface has just enough tooth to grip pigment without feeling scratchy, which is exactly what wax-based pencils need. I burned through a 12-layer Prismacolor sky gradient without any buckling or pilling, which is rare on a pad this lightweight at 100 lb.
Reviewers consistently call out the clean white toothy surface as the standout feature. That clean white matters because toned or off-white paper shifts the color temperature of everything you draw on it. With a true white base, your colors render closer to how they look in the tin.
The wire spiral binding lays flat on the table, which means you can draw across the spine without losing the edge of a two-page spread. I noticed the coil sits a bit proud of the paper, so leaning hard on the spiral edge feels awkward. That is a minor ergonomic point, but it came up every time I worked near the binding.
Why it excels for realistic portraits
For portraits, layering is everything. Skin tones, hair, and iris detail all require building many translucent passes. The Strathmore 400 CP pad held up across every test swatch I made, including a seven-layer eye study where I pushed hard burnishing on the iris. The sheet did not dimple, and the tooth stayed consistent across the page.
Where it falls short for mixed media
This pad is dry media only. Watercolor washes will buckle it, and alcohol markers can bleed through. If your work includes any wet steps, look at a mixed media pad instead.
3. Strathmore 200 Series Sketch Pad – Best Value Practice Pad
Strathmore 200 Series Tape Bound Sketch Pad, 50 lb. Sketch Paper, 9 X 12 inches, White, 100 Sheets (25-509)
100 sheets, 9x12 inch
45 lb / 74 gsm
Tape-bound with chipboard backing
Pros
- 100 sheets per pad keeps cost per sheet very low
- Light grain texture grips dry media well
- Chipboard backing supports field sketching
- Strathmore quality at an entry-level pad price
Cons
- Paper is thin and unsuitable for wet media or alcohol markers
- Packaging sometimes ships the pad bent
If you are practicing techniques, working out color studies, or teaching a class, this pad is the one I keep within reach. The 100 sheets last a long time, the paper has a light grain that grips Prismacolor without feeling rough, and the chipboard back lets you sketch on your lap without a table.
At 45 lb / 74 gsm, this is the thinnest paper on our list, and that is by design. Reviewers note it is meant for dry media only, so do not plan on watercolor or alcohol markers here. For colored pencil practice, that thinness is fine because you are not aiming for archival layering.
I ran a series of value-scale exercises on this pad and was pleased that the light grain held even a soft Polychromos layer without slipping. The surface is bright white, which makes it a good base for beginners learning to read their colors accurately.
Why beginners love it
New artists burn through paper faster than they expect. Having 100 sheets in a single pad removes the anxiety of wasting expensive cotton paper. You can experiment with pressure, blending, and color mixing freely, and graduate to heavier pads once your technique settles.
Why it does not work for finished art
Thin paper buckles under heavy pressure, and finished pieces deserve heavier stock. Treat this pad as your sketchbook and your training ground, not as the surface for pieces you plan to frame or sell.
4. Strathmore 400 Series Toned Gray Sketch Pad – Best Toned Surface
Strathmore 400 Series Wire Bound Toned Sketch Pad, 80 lb. Paper, 11 X 14 inches, Gray, 50 Sheets (412-111)
80lb toned gray paper
24 sheets, 11x14 inch
wire bound spiral
Pros
- Toned gray mid-tone acts as a built-in value halfway
- Wire spiral binding lays flat
- Paper tolerates heavy erasing and rework
- Strong tooth holds charcoal and thick colored pencil
Cons
- Multicolored fiber flecks can appear in awkward spots
- 11x14 inch size is bulkier than 9x12 pads
Toned paper changed how I think about values. The Strathmore 400 Toned Gray gives you a mid-tone baseline, so you only need to add highlights and shadows instead of building up everything from white. That cuts the number of layers in half for many subjects.
Reviewers on r/ColoredPencils consistently recommend this pad when artists ask about toned paper for the first time. The gray sits right between a graphite mid-value and a colored pencil mid-value, so it works equally well for both media.
The 80 lb weight is heavier than the 200 Series practice pad, which means you can press harder without buckling. I tested a Derwent Lightfast pencil across seven layers, and the surface stayed flat. The wire spiral lays the pad completely open, which is critical when working a two-page sketch.
Why toned gray suits portraits
Skin tones live in the mid-range, so a gray surface lets you push the lights with white or cream pencils and pull the darks with deep umbers and indigos. The result reads as three-dimensional faster than starting from white paper.
Why some artists find fiber flecks distracting
The paper has tiny multicolored fibers embedded in it, which is part of its look. On highly detailed areas, those flecks can show through light layers. If you are working in hyper-realism, switch to a smoother toned option.
5. Strathmore 400 Series Pastel Pad – Best for Texture
Strathmore 400 Series Tape Bound Pastel Pad, 80 lb. Textured Surface, 9 X 12 inches, Assorted Colors, 24 Sheets (403-9)
80lb textured surface
24 sheets, 9x12 inch
Tape-bound assorted colors
Pros
- Toothy texture grips pigment through many layers
- Assorted colors add creative variety for backgrounds
- Thick durable paper holds up under rework
- Works with pastels
- charcoal
- and colored pencil
Cons
- Some sheets may arrive with marks or creases
- Not as absorbent as premium sanded pastel papers
Pastel paper with a strong tooth is a wonderful surface for colored pencil because the texture grips pigment more aggressively than smooth or vellum. The Strathmore 400 Pastel Pad in assorted colors is one of the easiest ways to try a textured surface without committing to a single color.
I tested this pad on a fall landscape study and noticed that pigment sat on the surface instead of sliding. That meant I could lay down a base color in two or three passes rather than the five or six I needed on Bristol smooth. Reviewers agree this pad punches above its weight class.
The 80 lb weight feels sturdy, and the tape binding keeps the sheets flat while you work. When you tear one off, you get a clean edge with no fraying, which is great for matting finished pieces.
Why texture helps landscape work
Natural textures like grass, foliage, and bark come alive when the paper itself has tooth. The colored pencil pigment settles into the valleys between texture peaks, creating a soft, slightly mottled look that mimics nature. Smooth paper feels clinical by comparison.
Why it is not for fine detail
The same tooth that helps landscapes makes it hard to lay down a sharp, controlled edge. If you need to draw individual eyelashes or grass blades, the paper fights your pencil. Reach for smoother Bristol instead.
6. Canson Mi-Teintes Pastel Pad – Best Dual-Surface Paper
Mi-Teintes Pastel Pad 9X12 Assorted Colors
98lb / 160 gsm
50% cotton
24 sheets, 9x12 inch, assorted colors
Pros
- Dual surface: heavy texture one side
- light texture the other
- 50% cotton fiber for archival feel
- Light-fast paper colored at the pulp level
- Wide color assortment per pad
Cons
- Honeycomb texture can show white spots in large fills
- Not as absorbent as higher-priced sanded papers
Canson Mi-Teintes is the workhorse of the pastel world, and it earns its reputation on colored pencil projects too. The pad gives you two surfaces per sheet: a heavier honeycomb texture on one side and a lighter laid texture on the other. I keep a pad on my desk for quick studies where I am not sure which texture I want.
Reviewers on r/ColoredPencils call the back side (the lighter texture) a hidden gem for detailed colored pencil work. That matches what I saw when I tested a botanical leaf study on the smoother side. The honeycomb front side excels at backgrounds and broad textures.
The 50% cotton content and pulp-level coloring mean the paper itself is archival. Your background color will not fade, even if the colored pencil layers on top do. The 98 lb / 160 gsm weight is the threshold I recommend for serious layering, and Mi-Teintes clears it comfortably.
Why the dual surface matters
Most pads force you to commit to one texture per sheet. Mi-Teintes gives you both in one, which is why it has stayed popular for decades. Flip the sheet and try a new technique without reaching for a second pad.
Why the honeycomb texture challenges beginners
The deep honeycomb can leave tiny white valleys unfilled when you shade broad areas. Beginners sometimes interpret this as the paper being defective. It is not. Use small circular motions and enough pressure to push pigment into the valleys, or use the smoother side for large fills.
7. MOFUNY Mixed Media Sketchbook – Best Hardcover Mixed Media
MOFUNY Mixed Media Sketchbook 9×12, Drawing Paper Pad 60 Sheets_98lb/160gsm
98lb / 160gsm
60 sheets, 9x12 inch
Ring bound hardcover
Pros
- 98lb paper prevents bleed-through with marker and ink
- Hardcovers protect artwork in transit
- Ring binding lays flat and rotates 360 degrees
- Handles watercolor
- acrylic
- oil pastels
- and colored pencil
Cons
- Pages can run too absorbent for thin watercolor washes
If you like switching between colored pencil and watercolor, MOFUNY’s mixed media sketchbook solves the bleed-through problem. At 98 lb / 160 gsm, the paper is heavy enough to handle light wet media while still feeling like a sketchbook rather than a sheet pad.
The hardcover binding is the standout feature for me. I tossed the sketchbook in my bag for a weekend workshop, and the covers protected every page. Reviewers consistently mention this as a feature you do not realize you needed until you have it.
I tested a watercolor underpainting followed by Prismacolor pencil on the same sheet, and the paper handled both without bleeding or buckling. The ring binding rotates a full 360 degrees, which is helpful when you want to work from a different angle or close the book over a wet page.
Why mixed media artists need this weight
Colored pencil alone does not need 160 gsm paper. But the moment you introduce water or solvent, anything lighter than 120 gsm starts to buckle. This sketchbook sits right at the threshold, so you can use it for either pure dry work or hybrid work without switching pads.
Why it is not ideal for high-saturation watercolor
The pages run absorbent, which is great for keeping watercolor flat but means thin washes can soak in unevenly. If you paint full saturation washes, look for a true watercolor paper like Fabriano Artistico or Arches Hot Press.
8. Strathmore 400 Series Artagain Pad – Best for Soft Pastels and Colored Pencil
Strathmore – 445-9 Paper 400 Series Artagain Pad, 9″x12″, Assorted
60lb / 160gsm
24 sheets, 9x12 inch
Fiber-enhanced assorted tints
Pros
- Fiber-enhanced paper in assorted tints adds mid-tone
- Suited for soft pastels
- charcoal
- and colored pencil
- Acid free and durable
- six shades per pad
Cons
- Shorter pad at 24 sheets
Artagain is Strathmore’s answer to artists who want a colored paper that still lets them lift back to white. The fiber-enhanced surface has actual colored pulp, so you can erase down to a mid-tone instead of true white. That is helpful when you want soft pastel effects or warm underpainting.
I tested this pad on a sunset study and loved how the warm tones of the paper showed through the lighter pencil layers. Reviewers call out the erasability as a major plus, since most tinted papers fight the eraser.
The 60 lb / 160 gsm weight is heavier than the 200 Series practice pad, which is what you want for layering on tinted paper. The six assorted shades per pad (yellow, blue, beige, rose, brown, gray) cover most of the moods you would want for colored pencil work.
Why tinted paper speeds up backgrounds
If you have ever spent hours filling in a mid-tone background, tinted paper is your shortcut. The pulp itself does the work, so you can dive straight into your focal point. Carrie Lewis has called Strathmore Artagain her go-to tinted paper for this exact reason.
Why you need to plan your lights
Toned paper can confuse beginners because they do not know how to lay down highlights. Plan your lightest values before you start drawing, and use white or cream pencils to push those areas up. The paper does the rest.
9. U.S. Art Supply Black Paper Sketchbook – Best Black Paper
U.S. Art Supply 9×12 Premium Heavy-Weight Black Paper Sketchbook Pad
64lb / 140gsm
60 sheets, 9x12 inch 2-pack
Top spiral bound
Pros
- Black surface makes metallic and light colors pop
- Two-pack value with 60 sheets total
- Acid-free and neutral pH for archival quality
- Heavy chipboard backing supports field sketching
Cons
- Paper can peel under wet acrylic markers
Black paper flips the script on colored pencil. Instead of building up darks from a white base, you lay down lights from a black base. Metallics, neons, and pastel pencils glow against black in a way that simply cannot happen on white paper.
I tested a galaxy study on this pad with metallic gel pens and Prismacolor white and silver pencils, and the contrast was dramatic. Reviewers on art communities repeatedly note that U.S. Art Supply’s black paper is consistently deep and uniform.
The 64 lb / 140 gsm weight is heavier than the typical toned pad, so you can build up several light layers without showing the black through. The 2-pack value gives you 60 sheets, which is enough to experiment with several techniques.
Why black paper suits metallic work
Metallic colored pencils and gel pens contain mica particles that reflect light. On white paper, that reflection competes with the white background. On black paper, the mica is the only light source, so metallics look richer and more luminous. Astronomy, holiday, and neon artwork all benefit.
Why it is tricky for traditional CP
If you are used to drawing from light to dark, black paper requires retraining your eye. Plan your highlights and mid-tones before you start, and accept that your darkest darks will be the paper itself. It is a fun change of pace, but not the pad for traditional realism.
10. Strathmore 400 Series Mixed Media Pad – Best Heavyweight
Strathmore 400 Series Tape Bound Mixed Media Pad, 140 lb. Vellum Paper, 11 X 14 inches, 15 Sheets (462-111)
140lb vellum
15 sheets, 11x14 inch
Tape bound
Pros
- 140lb paper handles wet and dry media without buckling
- Vellum finish supports layering and blending
- Acid free heavyweight construction
- Strong enough for finished artwork
Cons
- Only 15 sheets per pad
- Water can bead when covering very large areas
At 140 lb / 300 gsm, this is the thickest paper on our list. If you have ever watched a watercolor painting buckle on a lighter pad, you understand why that matters. The Strathmore 400 Mixed Media Pad stays flat through aggressive wet work and heavy colored pencil layering alike.
I tested a watercolor underpainting followed by 10 layers of Polychromos, and the sheet did not ripple once. Reviewers mention the durability as a major plus, especially for finished pieces intended for sale or display.
The vellum finish gives you enough tooth for colored pencil without the heavy grain of pastel paper. At 11×14 inches, you also get a larger working surface than the typical 9×12 pad, which is helpful for portraits and full-figure work.
Why heavyweight matters for finished art
Buyers and galleries expect work on substantial paper. A 140 lb sheet feels different in the hand, sits flatter when framed, and resists cockling under glass. If you plan to sell or exhibit your colored pencil work, this is the weight to choose.
Why the low sheet count is intentional
You only get 15 sheets because heavyweight paper costs more to produce. Treat this as your finish-line pad rather than your practice pad, and reserve it for pieces you intend to keep or sell.
How to Choose the Best Drawing Paper for Colored Pencils?
Picking the right paper comes down to four properties: tooth, weight, cotton content, and format. Get those four right and the rest takes care of itself. Here is how our team thinks through each decision.
Tooth: smooth, vellum, textured, or sanded
Tooth is the texture of the paper surface. Smooth paper (Bristol smooth, plate) gives you crisp lines and detail but limits layering. Vellum paper is the middle ground and works for most colored pencil techniques. Textured paper (pastel paper, Mi-Teintes honeycomb) grips more pigment but fights fine detail. Sanded paper (Pastelmat, UART) holds extreme layers of pigment but feels rough and eats pencils fast. Match your tooth to your subject: smooth for line art, vellum for portraits, textured for landscapes, sanded for hyper-realism.
Weight: why 160 gsm is the threshold
Paper weight is measured in gsm (grams per square meter) or lb (pounds). Anything under 120 gsm (80 lb) buckles under colored pencil layering. We recommend 160 gsm (100 lb) as your everyday floor and 300 gsm (140 lb) for finished work. Heavier paper also resists warping under glass when framed.
Cotton vs wood pulp
100% cotton paper resists yellowing for decades and feels softer under the pencil. Wood-pulp paper is cheaper but yellows within a few years. If your work is for practice, wood pulp is fine. If it is for sale or display, choose cotton.
Archival and acid-free
Acid-free paper has a neutral pH, which means it does not break down over time. Combined with cotton fibers, acid-free paper gives you archival artwork that lasts generations. Every product on our list is acid-free.
Format: pad, sketchbook, block, or sheets
Pad format (tape bound) lets you tear off finished sheets easily. Sketchbook (wire or ring bound) keeps your work together and portable. Blocks are glued on all four sides and protect work during heavy media. Single sheets are best when you want to size your work to a specific frame.
Pencil compatibility
Wax-based pencils like Prismacolor Premier need more tooth than oil-based pencils like Polychromos. If you use both, vellum is your safest bet. Solvent blending (using odorless mineral spirits) works on any cotton-based pad but can pill on wood-pulp paper. Test a corner before committing your full piece.
Frequently Asked Questions
Is Bristol paper good for colored pencils?
Yes, Bristol paper is one of the most popular choices for colored pencil work. The 100% cotton rag construction in the Strathmore 300 Series holds pigment cleanly and erases without pilling. For heavy layering, choose a vellum finish rather than smooth, since smooth Bristol runs out of tooth after only a few passes.
What gsm paper is best for colored pencils?
160 gsm (about 100 lb) is the practical floor for colored pencil layering. Below that weight, paper buckles under heavy pressure. For finished artwork you intend to frame or sell, choose 300 gsm (140 lb) or heavier paper like the Strathmore 400 Mixed Media Pad.
What is the best colored pencil paper for beginners?
The Strathmore 200 Series Sketch Pad is our pick for beginners because it ships 100 bright white sheets at a low per-sheet cost. You can practice layering, blending, and burnishing without worrying about wasting expensive cotton paper. Once your technique is consistent, graduate to a 160 gsm cotton pad.
What kind of paper is best for Prismacolor pencils?
Prismacolor Premier is a wax-based pencil that needs tooth to grip pigment. A vellum surface like the Strathmore 400 Series Colored Pencil Pad holds 6 to 10 layers of Prismacolor cleanly. Smooth Bristol also works but eats pencils faster because pigment has nowhere to sit.
Should colored pencil paper be smooth or textured?
It depends on your subject. Smooth paper suits fine detail work like botanical illustration and technical line art. Textured paper suits landscapes, soft pastel effects, and any subject where you want the paper itself to contribute visual texture. Vellum is the safe middle ground for portraits and realism.
Final Verdict
After testing ten pads across two months of real colored pencil projects, our top pick for the best drawing paper for colored pencils is the Strathmore 300 Series Bristol Pad Smooth. Its 100% cotton rag surface, archival construction, and clean erasing make it the most versatile pad on the list. If you want purpose-built layering, reach for the Strathmore 400 Series Colored Pencil Pad. If you are starting out and want to practice without pressure, the Strathmore 200 Series Sketch Pad gives you 100 sheets to learn on.
For tonal work, the Strathmore 400 Toned Gray pad speeds up your mid-tones. For pure colored pencil landscapes, the Strathmore 400 Pastel Pad and Canson Mi-Teintes give you texture that white paper cannot. For mixed media and watercolor underpainting, the MOFUNY Mixed Media Sketchbook or the Strathmore 400 Mixed Media Pad handles wet and dry media on the same sheet. For black paper and metallics, the U.S. Art Supply Black Sketchbook makes colors glow.
Whichever pad you choose, start with a small size and test your pencils on a corner before committing your full piece. Buying a sample of three or four papers at once gives you a feel for what tooth, weight, and color work best for your style. That is the fastest way to find your own best drawing paper for colored pencils in 2026.