Which Paper?

Carl Shank • March 9, 2023

Which Paper? A large part of using type correctly, persuasively and aesthetically pleasing depends upon the kind of paper used. You do not print a wedding invitation on any cheap copy paper that you might have at the office copier. Or, you want to submit a resumé and want it to showcase your character and standards. The paper choice is important for this. Or, you want a colorful, playful, shiny paper for a kid's party. What paper should you use? While many have gone the route of digital printing and digital typography, for Facebook and other social media use, others have seen the continued need to choose the right paper at the right time for the right job. But with the plethora of papers available, which one(s) do I choose?


Some Definitions about Paper

Paper Sizes. The standard known U.S. size paper is 8.5 x 11 inches, in either Portrait or Landscape mode. Legal size is 8.5 x 14 inches, used for contracts within legal, real estate and accounting professions. Tabloid or ledger size is 11 x 17 inches, used in offices for diagrams and documentation requiring larger drawings, like architectural and CAD drawings.  To many people wordwide, excluding North America and Canada, the most familiar paper size size is A4 (a familiar 210mm x 297mm). It is commonly used for letters and correspondence in the UK and it is the standard paper size for most home printers. The A4 size paper measures 8.27 x 11.69 inches, only slightly larger than the close equivalent to U.S letter size 8.5 x 11 inches. Most printers and copiers in this country are preset for letter sized paper.


Paper Weight & Thickness. Paper weight and thickness reveal the sturdiness and often opaqueness of the stock, with weightier paper providing more durability than a thin weighted paper stock. Paper is measured in points, where one point equals .001 inch, so that 10 point paper is .01 inches thick, 30 point is .03 inches and so forth. But paper weight can also be measured in GSM (grammes per square meter), so that fine art papers are usually made in the range of 120gsm to 850 gsm. Drawing papers are usually 130gsm and the Snowdon Cartridge papers are 300gsm. Thicker paper can withstand erasing and mark making. Such paper is ideal for printing processes including etching, silkscreen and offset lithography. Oriental papers tend to be lighter in weight, such as Japanese papers made with long fibers and great strength, often an artisan skill passed from generation to generation. Cover stocks are at the higher end of the weight spectrum and feel like thin cardboard. A REAM of paper is 500 sheets, and office paper is usually sold in reams.


Peter Giffen (https://www.officedepot.com/l/ideas-center/buying-guides/paper-buying-guide) notes that in the United States, the weight of paper stocks is usually done in pounds, which is the actual weight of 500 sheets of the “basis size” of the paper in question. Since the basis size may vary, comparing paper weights can be hard to do. For example, a 28-pound multipurpose paper is probably not the same weight or thickness as a 28-pound premium or cardstock paper. Standard copy paper is rated at 20 pounds and sometimes 24 or 28 pounds. I use 28 pound paper in my color printer for sharper images and no text see-through on the back of a sheet. Copiers use 20 pound paper as the cheapest stock for most office projects and memos and day to day use.


Paper Brightness & Opacity. Brightness refers to the amount of light that reflects off a sheet of paper and opacity refers to whether one can see the writing on the other side of the sheet. One hundred percent opacity (100%) means that no light shines through and zero percent opacity (0%) is see-through tracing paper. Black text tends to stand out on most paper brightness levels, so text documents only need an ordinary level brightness in the 80s and low 90s when measured on a scale of 100. A colorful design or fine-art reproduction may require the highest level of brightness.


Paper Types. There are generally five common paper types — matte, glossy, silk, bond and cardstock. Matte paper stock is generally used for text-heavy leaflets and flyers, with easy to read ink and sharp black and white contrasts. Glossy paper is used often for colorful flyers, leaflets, menus and other projects requiring sharp images. Such paper gives a high quality, professional appearance. Silk paper is soft to the touch and fills magazine pages, portfolios and other high quality printing. Bond paper is the durable traditional stationery paper for documents that you want to last a long time. Cardstock is used for business cards, booklets, leaflets and can stand extra wear and tear and constant use.


Inkjet papers are specially designed to absorb the inks used in the printing process. Laser paper can withstand the heat (from the printer's fuser) of laser printing. Photo paper can be matte or glossy and is used for printing photographs. Bond paper has a high content of cotton rags or cotton textile fibers in its composition. The name goes back to the late 19th century when such paper was used to print government bonds and other official documents. Bond paper today is often used for stationery, letterhead and drawing paper.


The best archival grade paper (according to https://www.pegasusart.co.uk/types-of-art-paper.irs) is made from 100% cotton which gives a strong, acid free material which lasts longest, and is the most resistant to discolouration and deterioration. The interweaving of the fibres gives paper its inherent strength which is improved by the use of 'size', the paper being too absorbent on its own, prone to disintegrating when too wet. Saunders Waterford, Somerset papers, Arches and some Fabriano papers, which are all 100% cotton, are sized to respond well to water based media. Japanese papers have a subtle beauty all of their own; generally very light weight they are made with long fibres and have great strength. "Acid-free" indicates the paper is made without rosin and alum sizing which would make the paper acidic. Acid-based paper is prone to fade over time and atmospheric conditions.Microscopic impurities on or in the paper can in time create little brown marks, called "foxing."


Specialty papers can be especially environmentally-friendly due to materials used or how fast they biodegrade.Recycled paper according to the FTC (Federal Trade Commission) is "a paper that only contains 100% post-consumer recovery fiber. If less that 100% the paper is called recycled-content paper."  Recycled paper can be made from pre-consumer materials, recovered from the leftovers in the manufacturing process, or post-consumer waste, gathered from used newspapers, for instance.


Again, Peter Giffen is helpful here — "Sustainable papers come from carefully controlled forests that are replanted and renewed. They meet specific environmental standards, helping users support practices that better protect forests and the environment. Some papers boast an FSC certification. The Forest Stewardship Council is a widely respected not-for-profit organization that seeks to protect the world’s forests by monitoring and improving timber production. The FSC has worked with key players in the lumber industry to inspect and track timber and pulp through production chains, ensuring that woodlands are managed sustainably. Any paper products certified by the FSC are created with sustainable practices.


While some businesses might be hesitant to use recycled paper since its texture and quality can differ slightly from virgin paper brands, FSC-certified products are virtually indistinguishable. Generally speaking, recycled paper costs more than unrecycled paper because there is more demand for the latter, and recycled paper costs more to process."


Premium paper has all the top attributes of weight, coating, brightness, opacity and material, making them good for presentations and quality print jobs. Such paper is made from a blend of wood pulp and cotton (usually 75% and 25%) and has a luxurious feel and is made to last for archival projects. Premium paper is often used for resumés, portfolios, quality reports, business proposals, announcements and high-level presentations. They have great brightness and durable weight.


Midori, or MD paper, is Japanese paper with whisper thin texture. It is lightweight and smooth, yet there is no bleed through for fountain pens. It can be used for notebooks, writing letters, or for calligraphy. Calirefontaine is French classic thick and opaque smooth, lined paper. Classica paper is designed and made in Italy, with a soft, almost fabric-like feel and is used for stationery sets.


Paper History (from ChatGPT, an AI Artificial Intelligence site).

The invention of paper can be traced back to ancient China, where it was first developed during the Han Dynasty (206 BC–220 AD). Prior to this, various materials were used for writing, such as bamboo, silk, and animal skins. However, these materials were expensive and difficult to obtain, so the Chinese began experimenting with other materials.


The earliest known paper was made from mulberry bark, hemp, and rags. The fibers were pounded into a pulp and then pressed and dried into sheets. This process allowed for the production of large quantities of paper at a much lower cost than other writing materials, making paper accessible to a wider range of people.


The knowledge of paper-making eventually spread to other parts of the world, including the Arab world and Europe. During the Middle Ages, paper mills were established throughout Europe, and paper became an important commodity for trade and commerce.


In the 19th century, the invention of the Fourdrinier machine revolutionized paper-making. This machine allowed for the continuous production of paper, and it became the standard method of paper-making worldwide. Today, paper is produced in various grades, from high-quality writing paper to newsprint and packaging materials.


The history of paper is one of constant innovation and improvement. Today, paper is an essential material for communication, education, and commerce, and it continues to play a vital role in our daily lives. However, as the world becomes more environmentally conscious, there is a growing trend toward using sustainable materials and reducing paper waste.


Modern Paper Producers include

Mohawk Fine Papers — Mohawk is a leading paper maker based in the United States that produces a wide range of papers for various applications, including printing, packaging, and stationery. They are committed to sustainability and have received numerous awards for their environmental initiatives.


G.F Smith — G.F Smith is a UK-based paper maker that specializes in producing high-end papers for the design and print industries. They have a reputation for innovation and quality, and their papers are used by many leading designers and artists.


Fedrigoni — Fedrigoni is an Italian paper maker that produces a wide range of papers for printing, packaging, and other applications. They are known for their commitment to sustainability and have received several awards for their environmental initiatives.


Neenah Paper — Neenah is a US-based paper maker that produces a range of papers for printing, packaging, and specialty applications. They have a strong commitment to sustainability and have received several certifications for their environmental practices.


Arjowiggins — Arjowiggins is a French paper maker that produces a wide range of papers for various applications, including printing, packaging, and stationery. They have a long history of producing high-quality paper and have received several awards for their sustainability initiatives.


Hammermill — Back in 1898, five years before the Wright brothers took off at Kitty Hawk, three brothers from Germany founded the Hammermill Paper Company in Erie, Pennsylvania. As immigrant success stories go, the Behrend brothers rank right up there in the history of American business. Especially since, more than 120 years later, Hammermill paper is still being made in America. unlike imported papers, the paper mills that produce Hammermill are strategically located near sustainably-managed forests. That means shorter transportation distances, which lead to less fuel usage, reduced emissions, and a healthier planet. But the biggest benefit of being made in America is this: Hammermill paper helps to preserve American forests. This may sound counter-intuitive, but the claim is a sound one. First, our entire business model depends a sustainable supply of paper fiber from healthy forests.  And second, 90% of Hammermill paper fiber is sourced from sustainably-managed, privately-owned forestland. (From the Hammermill website at https://www.hammermill.com/blog/hammermill-paper-is-made-and-remade-and-remade-in-america)


A good source for buying various papers is PaperDirect (https://www.paperdirect.com/digital-catalog).


Takeaways would be to always use good quality stationary and write on white, ivory or cream letter paper. This will give the recipient the feeling of quality and that your letter is of importance to them. If you are not using headed paper, ensure your full address is written in the top right hand corner of the letter. Notepad paper can't be too thick or too thin, since flimsy paper tears too easily and thick paper is too bulky. Instead, opt for a happy medium with 70-pound opaque notepad paper that offers a smooth writing experience and enough stability to hold up to vigorous note-taking. (https://www.psprint.com/resources/notepad-printing-techniques/) The choice of paper for typesetting depends on several factors, including the printing method, the purpose of the printed material, and the desired aesthetic effect. Generally, papers that have a smooth, even surface and good opacity are considered best for typesetting, as they allow for crisp, clear text and images.


Successful Layout & Design

By Carl Shank April 7, 2026
The King James Bible (KJV), commissioned by King James 1 in 1604 and published in 1611, has been a profound Bible translation and masterpiece of beauty through the ages. It has been one of the most influential English translations of the Bible. Its history combines politics, religion, and literary achievement in early modern England. It has an elevated, poetic style that influenced many later writers. It has been prized for its literary beauty, historical continuity and memorability in public reading and worship (ChatGPT).
By Carl Shank April 6, 2026
Responding to AI and Digital Babylon H. Carl Shank April 4, 2026 Austin Gravley, a former Social Media Manager of The Gospel Coalition, and now the Director of Youth Ministry at Redeemer Christian Church in Amarillo, TX, is writing a book on AI and the digital revolution taking place. He compares this Digital Babylon and its captivity and its exiles to Christians living under the overwhelming influence of an active anti-Christian developing AI. Piecing together his comments with those of many others on the advancing scene of AI on our lives, several themes come to mind. First, AI is not God. While there are some in the Silicon Valley who might wish or see AI as a unifying, ontological force that can shape or rule our lives — the Super Machine —others remind us that this is only technology. And as advanced as AI is and becomes, God is still sovereignly in control of it and our lives. Jason Thacker, professor of philosophy and ethics at Southern Seminary and Boyce College, writes — “We must engage these issues, rather than respond after their effects are widely felt. But we don’t have to face today or tomorrow with fear. God is sovereign and his Word is sufficient for every good work, so we are able to walk with confidence as we apply his Word to these challenges with wisdom and guided by his Spirit.” ( The Age of AI: Artificial Intelligence and the Future of Humanity , Zondervan, 2020) A recent storm that darkened my community and scuttled Internet services reminded me of that. Even AI data centers, growing to over 3,000 in 2025 nationwide, are not immune to power disruptions and total blackouts. AI pundits may claim to have control procedures to keep the Internet and AI running cannot promise it to be so. We need to keep this in mind in the Digital Babylon age, as was needed to be kept in mind by Israel in the Babylonian Empire age in biblical times. Babylon went through many iterations, but will be defeated by God at the end of the day, as noted in Revelation. Digital Babylon will experience the same demise. This is not prediction, just Bible truth. We as believers need to hold on to such truth. Second, AI is still technology. Indeed, advanced and advancing technology, but not human. Matthew Schultz in a recent mereorthodoxy.com article notes— “Technology has existed since the Garden and is an integral component of our cultural mandate. We should also remember that one of the core distinctions between the Creator and his creatures is that we never create matter but merely (!) rearrange it. This becomes clear whether we consider an ancient farmer in Mesopotamia irrigating a plot of soil, a medieval peasant in Northumbria weaving a basket from flax, or a young musician in London taking the raw outputs of machine sound, adjusting its pitch, volume, and length, and incorporating it into a DAW loop. While there are all sorts of important distinctions and qualifications between pre- and post-industrial craft, there is no metaphysical distance between the two.” ( Artificial Intelligence Is A Technology , Feb. 26, 2026). AI may be the harbinger of a new Industrial Age, but though changes will be major and sometimes severe, the human side of the equation cannot be discounted or counted out. Part of my retired status as a pastor and theologian is that of a typographer restoring old type faces and doing a deep dive into the history of type. Two historical typographical truths stand out. Although the Renaissance age brought movable type from Gutenberg and others into the machine age, the typographical flair of those ancient scribes with pen-drawn exquisite type remained a stylistic standard. The second note is that with the Industrial Age, while affecting the quantity and speed of type development and printing, master type craftsmen rebelled against machine driven type for more organic typefaces. This was seen, for instance, in the type movement spawned by William Morris (1834–1896). William Morris was an Arts & Crafts designer who founded the Kelmscott Press (1891), reviving hand craftsmanship in printing. His work influenced the twentieth century private press and type revival movements. Lettering became a vehicle for breaking convention. Led by figures such as Morris, there was a decided reaction against industrialization, seeing machine-made goods as dehumanizing and ugly. Handcraftmanship, honesty in materials and utility fused with beauty made up much of what was called the Arts & Crafts Movement. That movement was rooted in medieval guild ideals and morality in design. (For an expanded history of type development, see “Advances in Typography: A Historical Sketch — Three Parts” in the blogs by CARE Typography, www.caretypography.com , Nov. 8, 2025, Nov. 18, 2025 and Nov. 20, 2025) Third, AI affects everyone everywhere. Austin Gravely, a former Social Media Manager of The Gospel Coalition, raises and answers the query — “’So what?’, you may think. ‘I’m not an Internet technician. I’m not a fan of AI. I’m not planning to change how I use the Internet. Why does any of this matter to me?’ To put it bluntly: you are naive if you think these disruptions won’t directly affect you, or indirectly affect you through the effect they will have on others. If the iPhone, social media, and AI have taught us anything, it is that you are impacted by these events regardless of whether you participate in them or not.” ( The State of the Internet: 2026 , mereorthodoxy.com, March 30, 2026) He goes on to say — “A changing Internet will change you. It will change you in ways you can see and in ways you can’t. It will change those you live with, work with, play with, build with, and fight with. It will change what is possible, probable, permissible, and prohibited in your life, your vocation, your church, your neighborhood, and any other physical space the Internet touches.” I recall my 99 year old mother who passed away a couple of years ago in a nursing facility. She was one of those survivors of the Great Depression and World War Two who dismissed the first moon landing and had her flat screen TV removed from her room for fear the government was watching. She lasted for nine years in the same private room in a modern nursing center. She was attended by doctors and nurses and staff who used AI on their computers and other care devices. She even had a modern digital phone removed from her room and refused to learn it. While she personally rebelled against her AI driven machine age, she could not escape those who used such technology for her care. We cannot isolate ourselves from AI and its advancing development, no matter how isolated we try to be. Fourth, AI can be either a blessing or a curse. Again, Matthew Schultz notes — “Our task is not to develop a unique theology of AI but to catechize our members into a people who can wield this technology without becoming captive to its internal logic. Like alcohol, artificial intelligence will become a test of character, a dangerous good that divides the foolish from the wise.” He says “Yet the greatest danger is both more pervasive and less obvious: AI is much more likely to be deployed as a multiplicative layer that allows ever more efficient micro-targeting of digital services and physical products by industries that already profit from compulsive behavior. The advent of hyper-personalized, real-time engagement strategies will require legislative safeguards, especially if AI leads to video advertisements generated in real time for an exhaustively mapped individual profile.” We must seek to “humanize” AI and employ it “humanly.” We must resist the phenomenological bent toward unbelief in AI development and pressures. We must once again learn to think critically and pervasively and biblically about AI. Our young people must be taught prescriptive critical thinking practices, rather than unwittingly and ignorantly giving in to what their phones and computers spit out. Church and ministry pastors must pastor rather than let AI bots plan, prepare and even give their sermons. We must learn to smartly negotiate with the “Magnificent Seven”— Apple, Microsoft, Alphabet, Amazon, Meta, Nvidia and Tesla — rather than blindly following their lead. Convenience and speed must not be allowed to overtake and overcome careful, sustained and critical thinking and acting. “To give language to this change, we must take the best of Christian thinking regarding the social and political imaginary and apply it to the economic imaginary of life under the glowing shores of Digital Babylon, and that kind of work cannot be done with quick hot takes. It will take slow, deep, and thoughtful meditation to apply the riches of Christian thought to making sense of the companies that got us here and where they are taking us.” (Austin Gravley, The State of The Internet: 2026 ) I am both excited and wary of AI. I have learned to be much more cautious about social media and the videos and photos and information they give. Much of it has been and is being AI produced and tweaked. Spammers use AI technology to wrest thousands of dollars from unsuspecting senior citizens. Schools are requiring students to turn off their cell phones or “bag” them until after school hours because of the insidious nature of AI generated stuff. I value more and more of a face-to-face approach in teaching and learning and mentoring others. And we must adopt a state of “believing is seeing” rather than a non-Christian scientifically sanctioned “seeing is believing” approach to truth and justice.
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