Strathmore makes it easy for artists to express themselves in a small format, then exchange their creations in a big way. All our Artist Trading Cards are precisely cut in the official, trading-ready ATC size to give artists all the performance benefits of our high quality paper now with precut convenience.

We've assembled our bestselling papers in trading card format covering a full range of mediums including drawing, watercolor, acrylic, oil, mixed media and collage.

For more information about Artist Trading Cards.

There is a simple test that you can use to compare the surface strength of papers. We call it a “tape pick test.” You will need standard household transparent tape such as Scotch Magic Transparent tape and a dark paper or surface.

1. 1. Apply two 6-inch strips of tape on the front side of the paper surface, one in a vertical direction and one in a horizontal direction on the page. Fold over the last ½" of the tape, creating a tab for removing the tape.
2. Rub the tape several times using a fair amount of pressure to the entire area.
3. Outline the tape area with a soft pencil (but avoid marking the tape since that will produce extra pressure in the “test area”).
4. Allow the tape to sit for 5 minutes.
5. Hold the paper flat against the table and remove the tape slowly by peeling the tab back parallel to the surface.
6. Place the tape on a dark paper or surface. Examine it to see if fibers lifted onto the tape. Examine the area you outlined on the sheet looking for surface damage.

For highest quality of surfaces, the tape should lift no fibers and the paper surfaces should not be disrupted by the tape.

Henry Pernell Johnson was born and raised in Cordele, Georgia, 1967. His goal is to nurture and cultivate the unique qualities of each person through his art work. As a professor at the Savannah College of Art and Design, he says teaching keeps the roots of his artistic skills watered. His life was shaped by his mother and father, Diane Flood and Henry Johnson. It is the up bringing which inspires his remarkable work. Although Pernell has termed himself “ordinary,” his ability to make the ordinary special through his art is extraordinary.

Pernell is a graduate of Crisp High, Cordele, GA. After high school he pursued a career in Art at The Art Institute of Atlanta where he earned an AA, Florida State University, BS and The Savannah College of Art and Design where he earned his Master of Fine Arts. He concentrated in illustration and graphic design. Although many of his pieces are graphic and illustration, he does not limit himself with subject matter. Pernell chooses subject matter that moves him personally. He dwells in the emotional bonds between an illustrator and his subjects, while leaving the image open to interpretation by those who view it. Henry Pernell Johnson is a Professor of Foundation Studies at Savannah College of Art & Design.

The bold and graphic illustrations Alice creates are geared towards the editorial, book, and advertising markets.  Since completing her degree in May of 2009, Alice has worked for a number of clients including Oregon Home Magazine, Charleston Magazine, Hybrid Mom Magazine, The Science Factory Children’s Museum, The Children’s Miracle Network, The Eugene Weekly, and Trew Gear Ski Co.

Alice’s winning art will appear on a Special Edition Strathmore Premium Recycled Pad this Fall.

William Rose’s studio is located in Prairie Village, Kansas, where he has been actively creating artwork for about 8 years. He stumbled across his passion for drawing quite unintentionally and soon began accepting a flurry of offers for commissioned portraits. Practically overnight he went from a person who thought stick-figures would be the grand extent of his artistic expression, to a professional fine artist creating portraits and figurative artwork in multiple mediums and being accepted into prestigious juried shows and competitions. “I wish everyone could experience such an extraordinary surprise – it changed my entire perspective on life and sent me down a new creative path I continue to travel today.”

William enrolled in life drawing courses at the Kansas City Art Institute, and began to study drawing and painting primarily by pouring through art instruction and history books, countless magazines, and visiting museums across the country to view the masters. During this time, he was appointed to the art committee for a major international corporation’s new world headquarters, which exposed him to a vast realm of art media and processes, assembling a remarkable collection of artwork by regional artists. Recently, he won a prestigious cover competition and his work appeared on the cover of American Artist Magazine. This national exposure led to a request to produce all of the artwork for a new movie just filmed in Carmel and backed by the Eastwoods about an art prodigy who gets pulled into the world of international art forgery. “Up until this past year, creating artwork had been an evening/weekend activity, but now I’ve taken the creative leap through the open window and transitioned to a career as a full-time artist.”

The selection of paper for shading techniques is influenced by the type of pencil used, the degree of darkness desired, the shading technique used and the expression of the shading technique desired. The key here is to select a paper surface (medium or smooth) based upon the effects you’re looking to achieve.

As a general rule, a textured surface will be able to produce a more even, more luminescent shade than a smooth surface. These types of surfaces are usually chosen for
shading as the texture of the paper makes shading easier and produces a greater range of tone that can be more evenly applied.

The higher the grade of textured paper surfaces the deeper and more even the resulting shading will be. While all
three Strathmore® grades – 300, 400 and 500 – will produce even, deep, luminescent shades, the 500 Series papers will produce the richest and
deepest shade.

The smoother the paper grain the more difficult it will be to produce an even shade. Although smooth papers can produce good results with graphite, they cannot produce as great a range of tone (shade) as textured surface paper. A smooth surface is very good for pen and ink as well as marker.

Strathmore Medium Surface Drawing Paper
Even, medium textured surface. Random surface produces subtle, rich shades that are expressive with great luminosity and sensitivity.

Strathmore Bristol Vellum
Medium textured surface. Random surface, with texture that is slightly more pronounced (peaks and valleys slightly further apart than drawing paper), enabling paper to handle very soft graphite pencils. Produces shades that are extremely expressive, but not as sensitive as Strathmore medium surface drawing paper.

Smooth Paper Surface
The higher the grade of smooth surface paper, the smoother the paper surface. While all three Strathmore grades – 300, 400 and 500 – are smooth, the 500 Series paper is the smoothest. The smoother the paper the more difficult it is to produce an even shade.

We suggest that you look for a 100% cotton paper. Cotton fibers are stronger than wood pulp fibers. Cotton improves many of the working properties that are important, including the paper’s ability to accept heavy marker coverage without bleeding, and allows for the building of colors and blending of tones. Cotton also improves surface strength.

The paper should have some degree of transparency if you intend to “trace” from images. A nice white sheet provides the proper background reflection for marker pen colors. Look for a smooth finish which allows the marker to flow across the surface of the sheet with little resistance. This allows you to work at a quicker pace which reduces the likelihood of feathering. Smoothness also helps artists achieve sharper edges.

More information about 500 Series Marker Paper.

Artists tell us they love using our 500 Series Aquarius II® Watercolor paper for bookmaking. This unique cotton/synthetic blend of watercolor paper resists buckling so it doesn’t need to be stretched. It is also lighter weight (80 lb) compared to traditional watercolor sheets (140 lb) so it’s easier to work with when cutting and binding books.  The finish is smoother than traditional watercolor which makes it an excellent mixed media sheet.

Katie Cook is a professional illustrator, cartoonist and comic artist working out of the Ann Arbor, Michigan area. She graduated from the College for Creative Studies in 2004 with a BFA in illustration, her love of cartooning and comics has led her to where she is today.

Katie has done licensed and comic work for DC, Marvel, Star Wars, HEROES, Lord of the Rings, and more. She loves being a nerd and being able to draw nerdy things for a living is like a dream come true.

"I use Strathmore® smooth bristol for every project that comes my way. The smooth surface takes ink beautifully and my underlying pencils erase away without smudging or tearing any of the paper. The bristol is also a really bright white, which gives everything great contrast and an automatic vibrancy. The board can take all kinds of artistic abuse, like marker, watercolor, gouache and colored pencil and still stay intact, which is rare for illustration paper that's not mounted to a board. It's pretty hefty stuff! I really love this bristol and can go through an entire pad of the 9" x 12" board in one sitting just sketching out ideas!"

Rag is a term used today to describe papers that contain cotton rags and linters. Rags come from the clippings used in the making of textiles and from the reprocessing of cotton garments. Linters are the by-product of the cotton gin process. They are shorter fibers that cling to the cotton seed after it is extracted by the cotton gin. This makes cotton rag a more environmentally-friendly option compared to tree-based papers.

There are also a number of other advantages to papers that are constructed of 100% cotton. First, cotton cellulose is up to 10 times stronger than wood cellulose. Cotton is also lignin free. Lignin that is left in tree-based papers will naturally turn yellow or brown over time.

Cotton paper has become the preference of many professional artists because of its purity, durability and permanence.

While both smooth and plate surfaces offer a finish suitable for smooth, fine line details, our plate surface is considered an "ultra-smooth" finish which is ideal for the professional illustrator. The surface is excellent for detailed work with pen and ink, technical pen, airbrush and markers.

The term "plate" comes from a process that is exclusive to the Strathmore® brand. The finish is created by hand – layering sheets of paper between special metal plates to create a "book." The book is sent to a specialized piece of equipment that compresses it creating a very consistent, ultra smooth surface like no other.

Sizing is applied to paper in the papermaking process to make sheets less porous. Without sizing, paper would react to moisture like a blotter. The type and amount of sizing applied to paper varies with each type based on the desired working properties.

Drawing paper is sized for surface strength, helping protect the surface for erasing. Watercolor paper is sized to help produce a consistent wash as well as help the scrubbing and layering of colors. We do NOT use any animal products as part of our sizing process. We use plant-based and synthetic sizing.

Here are some general guidelines. Use acid and lignin-free paper, board or boxes for storage. Do not use PVC plastics. They are unstable and release damaging fumes. Do not store your art in damp areas such as the basement or by heaters. Avoid locations that experience extreme temperatures such as attics.

What are artist trading cards?
Artist trading cards (ATCs) are miniature pieces of art that are traded around the world. Artists create, trade and collect art at organized “swap” events, either in person or online. The only official rule for ATCs is the size: 2.5" x 3.5".

How did the movement start?
In 1997, M. Vanci Stirnemann, a Swiss artist, created 1200 cards by hand as part of an exhibit. On the last day, he invited others to create their own cards and trade with him during the closing reception. The movement took off, and today, there are ATC swaps in almost every major city around the world. There are also many online swaps.

How do I create ATCs?
Most swaps are open to any media, materials or techniques as long as the card fits into a standard trading card sleeve. ATCs are traded, not sold. However, there are some artists who choose to sell cards. Cards that are sold are called Art Card Editions and Originals (ACEO).

How do I trade cards?
You can locate an in-person swap in your area, find an online swap, or organize your own swap. There are a number of Web sites that others have created to help artists get started. They can be found by doing online searches using key words such as “artist trading cards.”

See more information about Strathmore Artist Trading Cards