#21865
Blank paper...could anything be more basic and uncontroversial? Who'd have thought those innocuous white sheets could cause such a ruckus? Learn what the fuss is about and why paper mills and environmentalists are lining up on either side of the presses.
Sidles, Constance J. Adobe Magazine (1998). Design>Document Design>Prepress>Paper
#21947
Buying Laser Paper That Won't Jam 
How to choose paper for laser printing.
Sidles, Constance J. Adobe Magazine (1996). Design>Document Design>Prepress>Paper
#21861
Even the pros forget the basics sometimes. Constance Sidles gives a quick refresher course on asking yourself, and your client, all the right questions when you're choosing paper.
Sidles, Constance J. Adobe Magazine (1998). Design>Document Design>Prepress>Paper
#21918
Picking paper involves deciphering a lot of arcane terminology. Here's a quick reference guide.
Sidles, Constance J. Adobe Magazine (1996). Articles>Document Design>Prepress>Paper
#21931
Special 'blooper reel' edition: the author's biggest paper mistakes.
Sidles, Constance J. Adobe Magazine (1996). Design>Document Design>Prepress>Paper
#21908
Picking the right strength characteristics when you're buying paper can determine whether your job holds up on press, in the mail, or in your customers' hands.
Sidles, Constance J. Adobe Magazine (1997). Articles>Document Design>Prepress>Paper
#21937
Paper Fits (and What to Do About Them)
Save money by designing to fit standard printing-paper sizes.
Sidles, Constance J. Adobe Magazine (1996). Design>Document Design>Prepress>Paper
#22512
Paper Tips: Printing on Uncoated Stock
Uncoated paper has a soft finish and tactile quality not possible with most coated papers. But uncoated stock also interacts differently with ink than it coated cousins. Follow these tips to ensure the best results.
Creative Pro (2004). Design>Document Design>Prepress>Paper
#21904
Quick Footwork in a Dull Market
Right now the paper market is stable. So should you relax and enjoy the calm? Hardly. Now's the perfect time to test new paper sheets and negotiate better financial terms with your supplier.
Sidles, Constance J. Adobe Magazine (1997). Articles>Document Design>Prepress>Paper
#21856
Not in the mood for smooth? Consider going rustic with your paper and design.
Sidles, Constance J. Adobe Magazine (1998). Design>Document Design>Prepress>Paper
#21882
'Going against the grain' is more than a cliché when you're weighing the merits of one paper characteristic over another. Learn how paper's grain direction affects the finish of your jobs.
Sidles, Constance J. Adobe Magazine (2004). Design>Document Design>Prepress>Paper
#24044
Paper stock makes a big difference in the appearance of a product, and even though prices have come down recently, it's probably the most expensive element in your print run, so you need to make it count. Though budget is probably the biggest factor in choosing stock, here are several other considerations.
Dahlman, Gayle. Editorial Eye, The (1996). Design>Document Design>Prepress>Paper
#21915
'Tree-free' paper - made from fibers other than wood - isn't just a gimmick.
Sidles, Constance J. Adobe Magazine (1996). Articles>Document Design>Prepress>Paper
#31659
The system of paper weights used in North America dates back to medieval Europe. It is important to understand this system, in which 50# (50-pound) paper can well be thinner and lighter than 24# (24-pound) paper.
Copresco (2002). Articles>Document Design>Prepress>Paper
#21911
You Get What You Pay For...Sometimes
Buying the quality you need isn't just a matter of checking the price tag.
Sidles, Constance J. Adobe Magazine (1997). Design>Document Design>Prepress>Paper
