12 Best Mixed Media Paper for Artists (June 2026) Top Picks

Finding the right paper when you work across multiple media can feel like an impossible balancing act. I have spent the past three months testing pads and sketchbooks with watercolor, acrylic, markers, colored pencils, ink, and charcoal to find out which ones actually hold up. The best mixed media paper for artists needs to handle wet washes without buckling, accept dry media with good tooth, and still let you erase and rework areas without pilling or tearing.

After testing 12 of the most popular mixed media papers on the market, I can tell you that not all of them live up to the label. Some buckle the moment you add water. Others bleed markers straight through to the next page. But a handful of papers genuinely deliver on the promise of handling multiple media well, and I am going to walk you through each one with honest, hands-on results.

Whether you are a student building your first mixed media piece, a professional artist preparing work for a gallery, or somewhere in between, this guide covers papers at every weight, size, and budget. I tested every pad with the same battery of media so you can compare real performance side by side.

Top 3 Picks for Best Mixed Media Paper for Artists (June 2026)

Best Mixed Media Paper for Artists in 2026

1. Strathmore 500 Series Visual Mixed Media Journal – 100% Cotton Premium Paper

This is the paper I reach for when a piece matters. The Strathmore 500 Series uses 100% cotton paper, and you can feel the difference the moment you touch it. Cotton fibers grip pigment in a way that wood pulp simply cannot match, giving watercolor washes a richness and colored pencil layers a depth that surprised me during testing.

I worked through a full journal over six weeks, combining acrylic washes, ink drawings, and gouache highlights on the same pages. The paper took everything I threw at it. Even after three rounds of wet washes and aggressive erasing on one particular page, the surface held together without pilling or tearing. That kind of durability is rare in a wire-bound format.

The vellum surface strikes an excellent balance. It has enough tooth for dry media like graphite and charcoal to grab, but it is smooth enough that ink lines stay crisp and clean. I found that colored pencils layered beautifully with good burnishing results, and the cotton surface accepted watercolor with even washes and minimal pooling. At 90lb weight, it sits in a sweet spot that handles moderate wet media without excessive buckling.

The heavy-duty wire binding and sturdy cover make this a true field journal. I carried mine in a backpack for weeks without any page damage. The one trade-off is that you only get 34 sheets, so this is paper for finished pieces and important studies rather than quick throwaway sketches.

Who Should Buy This Paper

Professional artists and serious students who want cotton paper quality in a convenient journal format will love this pad. If you create finished mixed media pieces that combine wet and dry techniques, the Strathmore 500 Series gives you the surface quality to make your best work. It is also ideal for visual journaling where each page becomes a completed artwork.

Who Should Look Elsewhere

If you work primarily with heavy, soaking wet watercolor washes, a dedicated watercolor block with higher cotton content may serve you better. Artists on a tight budget who burn through paper quickly doing practice studies should consider the Canson XL instead. The 34-sheet count means this is not the pad for high-volume daily sketching.

2. Canson XL Series Mixed Media Pad – The Workhorse Paper for Every Studio

The Canson XL Series is the paper that shows up in more art studios than anything else I have seen. With nearly 50,000 reviews and a consistent 4.8-star rating, it has earned that place. I used this pad as my daily driver for two solid months, and it handled the widest range of media of anything I tested.

The rough texture gives paint something to grab onto. Watercolor washes settled evenly, acrylics adhered without beading, and gouache sat on the surface with good opacity. When I switched to dry media, the tooth held charcoal and pastel well, and colored pencils gripped the surface for solid color laydown. The 185gsm weight is substantial enough that most media stay on the page without bleeding through to the next sheet.

Where this paper shows its limits is with very wet applications. If you flood the surface with watercolor, the paper will buckle. It is not a dedicated watercolor paper and it does not pretend to be. I also found that alcohol ink bleeds right through, so if you work with alcohol-based markers or inks, you will want a different paper or need to use a barrier sheet.

The side wire binding makes it easy to flip pages and work flat. Perforations let you tear out clean sheets when you want to frame or scan a finished piece. For the combination of quality, quantity, and affordability, this is the pad I recommend to anyone who asks where to start with mixed media.

Who Should Buy This Paper

Students, hobbyists, and working artists who want a versatile everyday paper that handles most media well should start here. It is perfect for classroom use, art journaling, practice studies, and finished pieces that use a combination of media. The 50-sheet count gives you room to experiment without worrying about cost per sheet.

Who Should Look Elsewhere

Artists who primarily work with alcohol markers or alcohol ink should avoid this paper since those media bleed through. If you do large-scale wet watercolor washes, you will want a heavier dedicated watercolor paper or the Strathmore 400 Series at 140lb to minimize warping.

3. Prang Mixed Media Journal – Budget-Friendly for Beginners and Classrooms

The Prang Mixed Media Journal is the least expensive option in this lineup, and it performs like a paper that costs twice as much. I tested it with markers, colored pencils, light watercolor washes, and pastels, and it handled most of those media respectably. The heavy chipboard back gives you a solid surface to draw on even when you are standing or working without a desk.

Where this journal surprised me was with alcohol markers. Many pricier papers let alcohol markers bleed right through, but the Prang held up well. I was able to do full marker illustrations with minimal ghosting on the reverse side. That alone makes it worth considering for marker artists on a budget.

The trade-offs are clear when you push the paper hard. Heavy watercolor washes cause curling and some bleed through. Sharpies go straight through the page. The paper is thinner than the Canson XL or Strathmore options, so layering is limited. But for light mixed media work, art journaling, and classroom projects, it delivers solid performance.

The spiral binding lays flat, which is essential for journaling work. At 8.5 by 11 inches, it matches standard notebook dimensions, so it fits easily into bags and backpacks. With 60 sheets per journal, you get plenty of creative real estate for the price.

Who Should Buy This Paper

Beginners exploring mixed media for the first time will appreciate the low cost and forgiving nature of this journal. Classroom teachers buying supplies for students will find it budget-friendly at scale. Marker artists who want an affordable practice surface should also consider it, since it handles alcohol markers better than papers costing significantly more.

Who Should Look Elsewhere

Artists who use heavy wet media techniques or want to create gallery-quality finished pieces should step up to a heavier paper. If you work with Sharpies or saturated ink applications, the bleed-through will frustrate you. Professional artists who need archival-quality cotton paper should look at the Strathmore 500 Series instead.

4. Strathmore 400 Series Mixed Media Pad – Heavyweight Paper for Finished Artwork

The Strathmore 400 Series is what I grab when I want to create a finished piece, not a practice study. At 140lb, this is the heaviest paper in the lineup, and that weight makes a real difference when you are working with wet media. I laid down multiple watercolor washes on a single sheet and experienced minimal buckling compared to lighter papers.

The 11 by 14 inch format gives you more room to work than standard 9 by 12 pads. I found this extra space particularly valuable for pieces that combined large watercolor backgrounds with detailed ink and pencil work on top. The paper surface accepts watercolor, acrylic, oil pastels, and inks without complaint. Sharpies and permanent markers held their color well without significant bleed-through.

The main drawback is the sheet count. Fifteen sheets goes fast when you are working on serious pieces, and you will feel every sheet you use because this paper is not cheap per page. I also noticed that water can bead up on the surface if you apply it too quickly over a large area. Working in layers and letting each wash dry solved this issue, but it requires patience.

For artists producing work intended for sale, exhibition, or portfolio documentation, the Strathmore 400 Series offers the weight and surface quality that holds up to scrutiny. The acid-free construction means your work will not yellow over time, which matters for pieces you plan to keep or sell.

Best Media Combinations for This Paper

This paper excels with watercolor and ink combinations, acrylic underpainting with colored pencil detail work, and mixed media pieces that involve collage elements. The heavy weight supports gel medium and light collage without warping. I recommend using it for pieces where wet media is the primary technique and dry media plays a supporting role.

What to Know About the Large Format

The 11 by 14 inch size is ideal for larger compositions but requires more storage space than standard 9 by 12 pads. If you work at a small desk or prefer compact formats, this may feel unwieldy. Consider the storage implications before committing, since finished mixed media pieces on 140lb paper are thick and do not lay flat without pressing.

5. Canson Artist Series Mixed Media Paper – Dual Surface Versatility

The Canson Artist Series stands out because it gives you two different surface textures in one pad. One side of each sheet has a fine texture suited for detailed ink and pencil work, while the other side has a medium texture that grips watercolor and pastel better. I flipped between surfaces depending on the media I was using, and it felt like having two pads in one.

This is French-made paper, and the manufacturing quality shows. At 138lb (224g), it sits between the Strathmore 400 Series and the Canson XL in terms of weight. I found it handled watercolor well with only minor warping, and the surface erases cleanly without smudging. That last point matters more than you might think. When you are reworking areas of a mixed media piece, the last thing you want is graphite or charcoal smearing across your carefully painted background.

Where this paper struggles is with markers. The surface absorbs marker ink heavily, which means you will use more ink than usual and the colors may not appear as vibrant. For artists who rely heavily on markers, this is a significant drawback. Some users also report minor warping with heavy water applications, though I found it manageable.

The perforations work well for clean page removal, and the side wire binding keeps the pad manageable during use. With 30 sheets, you get a reasonable amount of paper for serious work without the commitment of a large bulk pad.

When Dual Surface Matters

Artists who switch between fine detail work and broader painterly techniques within the same session benefit most from the dual surface design. You can start a watercolor background on the medium-texture side, let it dry, then flip to a fresh sheet and work on fine ink details using the smooth side. It is a small feature that genuinely changes your workflow for the better.

Storage and Longevity

The acid-free paper ensures your artwork will not yellow or degrade over time. I recommend storing finished pieces flat between acid-free tissue paper rather than leaving them bound in the pad, especially if you have used wet media. The 9 by 12 size fits standard portfolio sleeves, making archival storage straightforward.

6. Ohuhu Mix Media Pad – Portable Square Format with Generous Sheet Count

The Ohuhu Mix Media Pad caught my attention for one big reason: 62 sheets means 124 working pages. That is more working surface than almost anything else in this lineup. I used it as my travel sketchbook for three weeks, taking it on commutes and to coffee shops, and the compact 8.3-inch square format proved ideal for on-the-go creativity.

The medium texture has a slight tooth that colored pencils love. I did several pieces combining colored pencil bases with acrylic pen accents, and the paper handled both media well. The included vinyl sheet is a smart addition. You slide it under your working page to prevent bleed-through, which means you can use both sides of each sheet without ruining the page underneath.

At 120lb (200gsm), this paper sits in a workable middle ground. It handles light watercolor and acrylic washes, though heavy saturation causes warping. I would not recommend it for pen and ink fine detail work because the surface texture can cause ink to feather slightly. For colored pencils, markers, and light wet media, it performs very well.

The spiral binding accommodates both left-handed and right-handed artists equally, and the pages are perforated for clean removal. At this sheet count and quality level, the Ohuhu offers strong value for daily practice and art journaling.

Portability and Travel Use

This is one of the most travel-friendly pads I tested. The square shape fits into standard messenger bags and backpacks without sticking out. If you sketch outdoors, travel frequently, or want a pad for your daily commute, the compact format is a real advantage. The sturdy spiral binding holds up to being tossed in and out of bags all day.

Media Compatibility Notes

Stick with colored pencils, alcohol markers, light acrylics, and gouache for best results. Heavy watercolor washes will warp the pages. Pen and ink lines may feather on the textured surface. If your mixed media work leans toward dry media with light wet accents, this pad is an excellent match.

7. ARTEZA Mixed Media Sketchbook – Compact Everyday Creativity

The ARTEZA Mixed Media Sketchbook is the one I keep in my everyday carry bag. At 5.5 by 8.5 inches, it is smaller than a standard notebook and fits in a jacket pocket or small purse. Despite the compact size, the 110lb (180gsm) paper punches above its weight class in terms of performance.

I tested this pad with acrylics, gouache, markers, pens, and pencils over several weeks of daily use. The paper handled every media type I tried without significant bleed-through. Watercolor required a lighter touch since heavy washes caused some buckling, but for sketch-and-wash techniques where you add light watercolor to pencil or ink drawings, it works beautifully.

The micro-perforated pages are one of my favorite features. When a piece turns out well, you can tear it out cleanly for scanning or framing without jagged edges. The spiral binding lets the pad open completely flat, which is essential when you are working across a full spread or pressing hard on detailed areas.

With over 4,100 reviews and an 85 percent five-star rating, the community consensus matches my experience. This is reliable, versatile paper in a format that encourages daily use. It is not going to replace heavy cotton paper for gallery work, but for sketching, journaling, and mixed media experiments, it is hard to beat at this size.

Best Uses for the Compact Size

This size is perfect for art journaling, quick studies, travel sketching, and daily creative practice. I found it ideal for morning warm-up sketches where I combine ink drawing with a light watercolor wash. It is also great for testing color combinations before committing to larger, more expensive paper.

Durability During Travel

The spiral binding and compact dimensions make this one of the most durable travel options I tested. I carried mine loose in a backpack for weeks without page damage. The cover provides adequate protection for the paper, though I would recommend a simple sleeve or folder if you plan to carry it alongside other items that might press against the pages.

8. U.S. Art Supply Mixed Media Sketchbook 2-Pack – Maximum Sheet Count Value

The U.S. Art Supply 2-Pack gives you 120 sheets of 9 by 12 mixed media paper, which is the highest total sheet count in this lineup. I split the two pads between my studio desk and my travel bag, which worked perfectly. Having a dedicated pad in each location removed the friction of packing and unpacking paper every time I moved.

The fine tooth texture is particularly well-suited for graphite and colored pencil work. I completed several detailed pencil drawings with smooth shading and clean erasing, which tells me the surface sizing is well-calibrated for dry media. Light watercolor washes performed adequately, though this is not the paper for soaking wet techniques.

The main issues are build quality rather than paper quality. The perforations detach a bit too easily, and I lost a few pages just from handling the pad. The front cover is thin and does not provide much rigidity when you are working without a desk. Markers will bleed through with heavy application, so plan accordingly if markers are part of your workflow.

For the total number of sheets you get at this price, the value proposition is strong. Students burning through practice paper, teachers stocking a classroom, and artists who work daily will appreciate not running out of paper every few weeks.

Best Value Use Cases

This 2-pack shines for high-volume artists who go through paper quickly. Art students doing daily practice exercises, classroom teachers supplying multiple students, and workshop instructors needing paper for group sessions will get the most value. The per-sheet cost is among the lowest in the lineup while maintaining acceptable quality for most mixed media techniques.

What to Watch Out For

Handle the pages carefully near the perforations, as they can detach during regular use rather than just when you intentionally tear them out. The thin cover means you will want a hard surface underneath when working. If you use markers frequently, keep a barrier sheet handy to prevent bleed-through onto the next page.

9. BB Bachmore Drawing Pad – Top Spiral Binding with Hardbound Covers

The BB Bachmore pad differentiates itself immediately with top spiral binding and hardbound covers. The top spiral means both left-handed and right-handed artists work without the binding getting in the way. I am right-handed, but my left-handed partner tested it as well and confirmed the binding was completely out of her way while drawing.

Bleed resistance is where this paper genuinely impressed me. I hit it with ink, watercolor, and acrylic in the same session, and nothing bled through to the next page. The 122lb (180g) weight provides a solid barrier, and the surface seems to have good sizing that keeps media on the top layer rather than soaking through.

The textured surface is a double-edged sword. It gives dry media excellent grip and helps paint adhere well, but it also means the surface has visible grooves. If you do detailed tracing work or want a perfectly smooth finish, these grooves will show up in your final piece. Some artists may find this adds character, but others will find it distracting.

The hardbound covers are made by hand, and they give this pad a premium feel that belies its moderate price. You can work standing up with the pad resting on one arm, and the rigid back cover supports your drawing without flexing. For artists who work away from a desk frequently, this is a meaningful advantage.

Left-Handed Artist Experience

The top spiral binding makes this one of the best options for left-handed artists in the lineup. Side-bound spirals often force left-handed artists to work over the binding or remove pages. With the top spiral, your hand glides freely across the entire page surface without any obstruction. If you are left-handed and have struggled with spiral-bound pads, this design solves that problem completely.

Working Without a Desk

The combination of hardbound covers and top spiral binding makes this the best pad in the lineup for working without a table. You can hold it comfortably in one hand while drawing with the other, and the rigid back prevents the paper from flexing. Plein air artists and anyone who sketches on location should consider this pad specifically for its field-friendly design.

10. Strathmore 300 Series Mixed Media Pad – Smooth Vellum Surface Made in USA

The Strathmore 300 Series sits in an interesting position. It is the entry-level Strathmore mixed media paper, but it carries the quality and consistency that the brand is known for. The first thing I noticed was the surface quality: a beautiful stark white with an incredibly smooth vellum finish that makes graphite glide across the page.

I spent most of my testing time with graphite, colored pencils, and light ink work on this pad, and it excelled in all three areas. Pencil lines were crisp, colored pencil colors appeared vibrant against the bright white surface, and ink drawings looked clean without feathering. The smooth surface makes this one of the best pads in the lineup for detailed dry media work.

At 117lb (190g), this paper is thinner than most others in the lineup, and that shows when you add water. Light watercolor washes work fine, but anything beyond a quick wash causes buckling. Alcohol markers bleed through with heavy application, so this is not the pad for marker-heavy work. The front cover is also notably flimsy, which is frustrating at this price point from a premium brand.

Despite these limitations, the Strathmore 300 Series earned its loyal following. The Made in USA quality control is consistent across batches, the micro-perforations work cleanly, and the wire binding provides a true lay-flat experience. For artists whose mixed media work leans toward dry media with occasional light wet accents, this is an excellent everyday paper.

Best Dry Media Performance

If your mixed media work is primarily graphite, colored pencil, charcoal, or ink with minimal wet media, this pad offers the best surface quality in the lineup for those techniques. The smooth vellum finish produces cleaner lines and more vibrant dry media colors than any textured paper can achieve. Technical illustrators and artists who prioritize line quality should start here.

Understanding the 300 vs 400 vs 500 Series

Strathmore numbers its series by quality tier. The 300 Series is their student-grade line, designed for practice and studies. The 400 Series steps up to professional-grade weight for finished work. The 500 Series uses premium cotton fiber for archival-quality pieces. If you start with the 300 Series and find yourself wanting more weight and durability, upgrading within the Strathmore family is straightforward.

11. Fabriano 1264 Mixed Media Pad – Italian Craftsmanship with Eco Credentials

Fabriano has been making paper in Italy since 1264, and that heritage shows in the 1264 Mixed Media Pad. The medium texture has a warmth and character that I did not find in any other paper I tested. It is not the smoothest surface, nor the most textured, but it occupies a pleasing middle ground that works well across media types.

I had the best results with watercolor and colored pencils on this paper. Watercolor washes settled evenly with good pigment retention, and colored pencils layered smoothly over the medium texture. Detailed drawings came out crisp, and the surface held ink lines well. The 60-sheet count gives you plenty of room to work, which is generous for this quality level.

The environmental credentials matter to me, and they may matter to you as well. This paper is FSC certified and manufactured using hydro-power, which significantly reduces its environmental footprint compared to papers made with conventional energy sources. Fabriano has been a leader in sustainable paper production for decades.

The downsides are practical rather than performance-related. The paper is thin enough that using both sides is risky, especially with wet media. Erasing is not as clean as I expected from a paper at this price point. And several customers report receiving pads with bent pages from shipping, which suggests the packaging could be more robust. At 89 reviews, this also has the smallest review sample in the lineup, so long-term durability data is limited.

Eco-Conscious Artist Choice

If environmental impact factors into your purchasing decisions, the Fabriano 1264 is the clear leader in this lineup. The FSC certification ensures responsible forestry practices, and hydro-power manufacturing dramatically reduces carbon emissions compared to conventional paper production. You get quality Italian paper while supporting sustainable manufacturing.

What to Know Before Ordering

Given the reports of shipping damage, I recommend checking the pad carefully when it arrives and requesting a replacement if pages are bent. The thin paper means you should plan to use only one side per sheet for wet media work. Order with these expectations set appropriately, and you will find the paper quality itself is genuinely impressive for the price.

12. Canson XL Series Mixed Media Pad 18×24 – Large Format for Big Ideas

Sometimes you just need more space. The Canson XL Series in 18 by 24 inches gives you the same reliable mixed media paper that made this line the best seller in its category, but scaled up for larger compositions. I used this pad for two ambitious pieces that combined acrylic backgrounds, watercolor mid-tones, and detailed ink and pencil foregrounds, and the extra room transformed my approach to composition.

At 160gsm, this is slightly lighter than the 9 by 12 version (185gsm), but the performance characteristics are consistent across the Canson XL line. The textured surface absorbs paint well, dry media grips the tooth, and the acid-free paper prevents yellowing. The larger sheets give you room to work big, which changes your mark-making and composition decisions in ways that smaller pads cannot.

The same limitations that apply to the smaller Canson XL apply here. Heavy watercolor washes cause warping, alcohol markers bleed through, and the paper is not suitable for soaking wet techniques. At this size, buckling is even more noticeable because there is more surface area to warp. I recommend taping down the edges if you plan to use significant water.

Storage is a practical consideration with 18 by 24 paper. Thirty sheets at this size take up considerable shelf space, and finished pieces need flat storage in a portfolio rather than stacking. Make sure you have a workspace and storage solution that accommodates the larger format before committing to this size.

When to Choose Large Format

Choose this size when your work is intended for display, when you want to create pieces that fill a standard mat or frame, or when you work with broad, sweeping strokes that feel cramped on smaller paper. Art instructors will find this size ideal for classroom demonstrations where students need to see techniques from across the room. The large format also works well for collaborative pieces where multiple artists work on the same sheet.

Tips for Working Large

Tape your sheet down to a board or table using artist tape along all four edges to minimize warping with wet media. Work in layers and let each layer dry completely before adding the next. Keep a clean sheet of paper or a board handy to rest your hand on while working to avoid smudging completed areas. The larger surface area means longer working times per piece, so plan your sessions accordingly.

How to Choose the Right Mixed Media Paper

After testing all 12 pads, I want to share what I learned about choosing mixed media paper so you can make the right call for your specific workflow. The most important factor is matching paper characteristics to the media you use most often.

Understanding Paper Weight: GSM vs lb

Paper weight is the single most important specification for mixed media paper, and the dual measurement system causes real confusion. GSM (grams per square meter) measures the actual mass of a single square meter of paper. Pound weight (lb) measures the weight of 500 sheets at a specific size, which varies by paper type. This means 140lb watercolor paper and 140lb drawing paper can be different thicknesses.

Here is a practical conversion guide based on what I tested. Papers at 98 to 110lb (160 to 180gsm) work well for dry media with light wet accents. Papers at 117 to 138lb (185 to 224gsm) handle moderate wet media with some buckling. Papers at 140lb and above handle heavy wet media with minimal warping. Anything below 90lb will buckle with even light water application.

Surface Texture Guide

Surface texture, sometimes called paper tooth, determines how well different media adhere to the paper. Smooth or vellum surfaces work best for detailed ink work, graphite, and markers because they produce clean lines. Medium texture is the most versatile option, balancing dry media grip with wet media absorption. Rough texture gives the best grip for charcoal, pastel, and watercolor but can make fine lines appear broken or textured.

Think about your primary media. If you work mostly with pencils and ink with occasional watercolor, a smooth to medium surface serves you better. If watercolor and pastel form the base of most pieces, a rough or medium texture will give you better results.

Binding Types and Why They Matter

Spiral binding (side or top) lets the pad lay completely flat, which is essential for working across spreads or pressing hard on detailed areas. Side wire binding keeps the binding out of the way for right-handed users but can interfere with left-handed artists. Top spiral binding works equally well for both left and right-handed users. Glued pads tend to be more compact but do not lay flat without weighing down the pages.

Perforations are worth paying attention to if you regularly remove pages for scanning, framing, or sharing. Micro-perforations give the cleanest tear-out, while standard perforations can leave rough edges. Some pads skip perforations entirely, which means you need to cut pages out with a knife if you want clean removal.

Preventing Paper Buckling

Paper buckling is the most common complaint I see in artist forums, and it happens when paper absorbs water and expands unevenly. The best prevention is choosing a heavy enough paper for your wet media techniques. If you love watercolor, look for 140lb or heavier paper. Taping your paper down to a rigid board with artist tape along all edges also helps significantly. Working in light layers rather than flooding the surface with water reduces buckling even on lighter papers.

For papers that do warp, you can flatten finished pieces by placing them between two clean boards with weight on top for 24 to 48 hours. This works best if the piece is fully dry before pressing.

FAQs

Final Thoughts on the Best Mixed Media Paper for Artists

After three months of testing 12 mixed media papers with every media combination I could throw at them, my top recommendation remains the Strathmore 500 Series Visual Journal for its unmatched 100% cotton surface quality. The Canson XL Series earns the best value title for daily studio use, and the Prang Mixed Media Journal delivers solid performance for artists on a tight budget. The best mixed media paper for artists is ultimately the one that matches your primary media, your working style, and your budget. Start with one of these three based on your needs, and you will not be disappointed.