Essential Guide for Choosing Comic and Graphic Novel Paper

If you’re a comic book publisher, or thinking about entering the market, you picked a great space. A recent study by Mordor Intelligence projects a worldwide industry CAGR of 5.37% from 2024 to 2029. That represents a rise from a current market size of USD 17.11 billion to USD 25.23 billion. Actual printed copy sales of comic books and graphic novels were USD 1.87 billion in 2023, according to estimates from ICv2.

According to the Mordor Intelligence study, North America is the largest geographic market for comic books while Asia Pacific is the fastest growing. Mordor Intelligence considers the market to be moderately consolidated with media companies such as Marvel Entertainment, Dark House Media, Image Comics, DC Entertainment and Archie Comics being the major players. But there’s plenty of room for smaller publishers and upstart self-publishers as well.

Major comic book genres include fantasy, romance, history and science. Captivating stories and intriguing illustrations help drive the global popularity of comics and their graphic novel subset.

So, comic books and graphic novels represent a growing yet competitive market. And being so visually driven, publishers need to ensure that their print versions, which form the core of even the largest comic book media companies, live up to readers’ expectations.

The Role of Paper in Comic Book Printing

Creating great print in any form begins with good paper choices. That’s why we’re offering our latest blog post, “Essential Guide for Choosing Comic and Graphic Novel Paper.” We want your words and graphics to pop off the paper and engage your fans.

We also know that selecting paper may seem routine. But despite significant industry consolidation, there are still many choices. And getting your stock selection right is one of the most important decisions in creating outstanding comic books and graphic novels.

Traditional Comic Books

The standard size for a comic book is 6.625 in x 10.25 in, with four to six story panels on each page, and covers are normally 6.75 in x 10.5 in to allow for bleed, though comic book sizes are highly dependent on what fits on the racks at comic stores. Though page counts can vary, 24-32 pages remain the norm. That’s mainly dictated by printing equipment that most economically produces eight- and 16-page forms.

For many years, inexpensive newsprint was the standard comic book paper. That changed in the early 1990s when Marvel Entertainment began using higher-quality, coated paper. They offered both basic and deluxe versions for a period of time, but the higher-quality, gloss editions soon eclipsed the basic versions, which then began to fade nationwide.

Today, most interior pages of major-publisher comic books are either 55 lb. gloss text or 70 lb. gloss text. Covers are typically 80 lb. gloss text. Varnish, UV gloss or aqueous coating are common for additional pop and durability.

Ultimately, you determine the look and feel of your comic book, which should reflect your audience and publishing objectives. For example, if you want to capture a vintage look, then your choice might be an inexpensive, lightweight uncoated stock with a heavier matte or satin-finish cover. And you might combine that by specifying the vintage size of 7.75 in x 10.5 in. These choices would provide a way-back look while offering more longevity along with a more substantial feel.

Graphic Novels

The graphic novel format emerged in the 1960s and 1970s but didn’t become mainstream until the late 1980s. Author, columnist and bookseller Richard Kyle coined the terms “graphic story” and  “graphic novel” in his 1964 column “The Future of Comics,” which appeared as a feature in The Comics Journal (“Richard Kyle in Retrospect,” Dan Nadel, September 7, 2017). From that point on, graphic novels, in particular, referred to longer-form, more complex comic book narratives that go beyond superheroes to tackle more complex genres and themes.

Graphic novels also have a clear beginning, middle and end, whereas comic books are generally extracted from a larger story. The graphic novel form covers fantasy, fiction, non-fiction, history, fantasy and even current affairs in an accessible way.

Both adults and younger people consume graphic novels. According to Aisling O’Mahony (“The Rise of Graphic Novels,” The Publishing Post), “With the power to make literature increasingly accessible and engaging, graphic novels have cemented their reputation as a serious literary artform.” In 2022, graphic novels accounted for the third-highest-selling fiction genre, with 35 million copies sold in that year alone.

Graphic Novels Have No Standard Size or Paper

While comic books lean heavily toward a standard size and paper grade, graphic novels do not. They can be whatever you choose, though more common trim sizes are 6.5 in x 8.5 in, 5.5 in x 8.25 in, 5.75 in x 8.25 in, 6 x 8.5 in and the standard comic book size of 6.625 in x 10.25 in.

You can choose softcovers or hardcovers, though most graphic novels are softcover, perfect bound. Printing runs the gamut from one to four-color process. But if you’re looking for norms, most graphic novels use an 80 lb. gloss cover that will likely be aqueous or UV coated.

Yet there are many reasons that you might choose papers outside the norm. These include:

• Intended use and desired durability
• Page count
• The aesthetic appeal you’re trying to achieve
• Shipping weight considerations
• Budget

Whether you’re printing a traditional comic book or a graphic novel, request paper samples. You can also obtain paper samples with ink drawdowns to see how the paper and ink will interact.

Getting into the Weeds of Paper Selection

There are many nuances to paper selection. Here is more in-depth information for comic book and graphic novel publishers who wish to take a deeper dive into the world of printing papers.

Understanding Pounds Vs. Grams in Paper Weights

One small complication in specifying printing paper today is the introduction of foreign-manufactured stocks that use the metric system to determine basis weight. In this system, it is the weight of one square meter of paper expressed as grams per square meter or gsm. Basis 60 in the North American system means that 500 sheets of 25” x 38” 60 lb. book paper weighs 60 pounds. The metric equivalent of the same paper is 89 gsm.

Here is a simple conversion chart for coated cover and book weights. You’re unlikely to use cover weights in standard comic books, but graphic novels are another matter.

Coated Cover                                                Coated Book (Text)

Uncoated Papers

There is one other complication with uncoated paper when you move from one grade to another – like bond to offset. The tricky part is that the standard size can change from grade to grade as well as with cover stocks.

Other Factors Influencing Your Comic Book or Graphic Novel Paper Choice

Brightness

The paper’s ability to reflect a volume of light, the measurable reflection or brilliance of the paper. Premium coated papers have a TAPPI (North American Standard) brightness level above 88 and No. 1 papers have brightness levels from 85-87.9. No. 5 stocks have a brightness of 72.9 and below. Higher brightness is generally preferred among designers today. So, a coated paper with a brightness of 98 is an extremely bright sheet that illuminates transparent printing inks, giving a cleaner, crisper color and better black contrast. Papers may be sold based on TAPPI, ISO (European standard) or D65 Brightness (based on perceived brightness for paper viewed in north sky daylight) standards.

Whiteness/Shade

The ability of the paper to reflect all colors of light equally across the visual spectrum. Thus, the whiteness measure is more in line with your visual perception, and there is a general consensus that the higher the whiteness rating, which also uses a 0-100 scale, the whiter the paper. Choices among “white” papers range from balanced to red and blue shades. Blue is generally perceived as being brighter and adds intensity to images with cooler colors.

Holdout

The ability of a paper to uniformly hold ink on the surface. Higher holdout means sharper dot reproduction and increased ink gloss.

Opacity

The property of paper that minimizes image show through from the reverse side or from the next sheet. Achieving opacity becomes increasingly challenging with lighter stocks and is one of the reasons groundwood is sometimes added to lightweight grades.

Bulk

The thickness of paper when compared to its weight. A high-bulk paper is thicker but less compact than a low-bulk paper of the same weight and size. Bulk can be a factor in the final thickness of the printed piece and can impact shipping costs or merchandising. You may get fewer books in a carton or a display rack even though the papers are the same weight.

Smoothness

The even and consistent continuity of the surface is achieved mainly through the calendering process. Calendering, however, comes with a tradeoff, as the process tends to flatten the paper, making it less stiff and opaque. Manufacturers compensate for calendering in their base formulations.

Digitally Optimized

Because toner-based and inkjet printing systems are different from offset lithography, they often require papers that are digitally optimized. The cost for these papers is continually coming down while selection is increasing. Despite the advancements, digital print production still requires matching the paper to the press and considering issues such as static, paper grain direction, ink coverage and image quality requirements. Your print provider will know approved stocks for its digital printing systems. If you want to try other papers, be sure to test a small quantity first.

Finish

Choosing the right finish is critical to achieving the desired result. Uncoated offers a wide range of finishes as well as colors. Coated paper finishes, from least to highest gloss, include matte, dull/silk, gloss and cast coated. Uncoated paper finishes include laid, smooth/wove, vellum/parchment, felt and eggshell.

How Walsworth Can Help With Paper Selection

Walsworth has years of experience printing and distributing comic books and graphic novels. Our clients include some of the industry’s most recognizable names, from Dungeons & Dragons and Minecraft to art books for Larry Elmore, the noted fantasy illustrator whose work appears in Dungeons & Dragons, Dragonlance and his own comic strip series, SnarfQuest.

When it comes to paper, we offer a complete paper procurement program. Our high volume allows us to purchase in large quantities at very competitive prices. We also offer ancillary services such as providing swatches, dummies and ink draw-downs. Our representatives welcome opportunities to work with your design team.

And if you share our goal for sustainable print, our team will collaborate with yours to address the entire print production and distribution supply chain. Our integrated approach helps comic book and graphic novel publishers consider how their materials will be printed, distributed, used and recovered, as well as the impact of the paper selection and other actual raw materials used in production.

Getting in touch is simple. Just submit your information and a friendly Walsworth associate will be in touch within 24 hours.