Lessons from the Digital Embellishment Designer Meetup: Designing for Touch

https://www.youtube.com/watch?v=r-IHnCyhfks

The Digital Embellishment Designer Meetup on July 18 brought together print and design professionals to share insights on creating tactile, high-impact labels and packaging. In this lively session – focused on “tactile textures and finishes” (what one host called the “three raised effects”) – experts ranging from print finishers to design consultants exchanged tips and experiences. The conversation touched on everything from the choice of paper stock to advanced digital embellishment techniques, all revolving around one theme: how to design for touch. Below, we distill the key lessons learned from the call, highlighting how to enhance print with texture and dimension in a way that elevates the design’s message.

1. Start with Paper – The Original Tactile Medium

One of the first points raised was that paper itself is the foundation of tactile design. As Sabine Lenz (founder of PaperSpecs) noted, “paper has a voice” – the texture and weight of the stock sets the tone before any inks or coatings are added. Simply switching from a smooth glossy sheet to a linen or laid textured paper can create an immediate touchable quality that engages the senses. Lenz shared a case where a luxury fabric brochure used a linen-textured paper to echo the feel of the fabric products – a subtle detail that reinforced the brand’s story . Had the piece been printed on generic glossy stock, “it would have given off a completely different vibe,” she explained . The lesson is clear: thoughtful paper choices can amplify a design’s message or mood . Designers should consider starting every project by asking what tactile impression the blank paper should convey – perhaps warmth and softness via a cotton sheet, or modern slickness with a coated card. Even before adding any embellishments, the feel of the paper in one’s hand can make a design more memorable and effective .

Beyond choosing textured stock, simply using a heavier weight or uncoated paper can add substance and tactile appeal. “The easiest way to achieve a tactile effect is your choice of paper,” Lenz emphasized during the call. For example, upscale wine and spirits labels often use uncoated, toothy papers (like estate or vellum stocks) to signal tradition and quality. In fact, such specialty label materials are now spreading into newer markets: textured linen papers are gaining traction in cannabis product packaging to lend sophistication . The material of the label or package speaks to consumers on a sensory level, so it should be chosen as carefully as the visuals and text.

2. Classic Techniques Still Deliver Tactile Magic

After paper, the discussion turned to traditional print methods that inherently create texture. Letterpress printing and engraving were highlighted as classic techniques valued for their tactile impressions. In letterpress, designs are pressed into the paper, creating an elegant debossed effect (an inlaid impression you can feel). With engraving (the kind used for fine stationery or invitations), ink is pressed from a etched metal plate onto the paper under great pressure, leaving raised ink on the surface and a slight bruise on the back of the sheet  . Both processes result in printing you can literally run your fingers over – the lettering or graphics are either depressed or elevated relative to the page. These methods have an old-world charm and offer a level of detail and refinement that is hard to match. “Letterpress presses deep down, so you get a deboss right there, and engraving lays the ink on top for a raised effect,” Lenz explained.

However, the group acknowledged that such traditional methods are increasingly rare or costly today. “Engravers are few and far between these days,” Lenz noted, referencing how the craftsmanship and equipment for true engraving have dwindled. When available, though, these techniques remain gold standards for tactility – conveying quality through touch. A business card with letterpress lettering or engraved details immediately signals a premium, handcrafted feel. Even blind embossing (raising areas of paper without ink) can add texture in a subtle, classy way. The key takeaway is that designers shouldn’t forget these analog options: if budget and run-length allow, incorporating classic embossing or letterpress can instantly elevate a printed piece’s haptic appeal.

3. The Rise of Digital Embellishment – No Dies, No Wait

Not surprisingly, much of the meetup focused on modern digital embellishment technologies – the new “toys” of the print world that enable tactile effects without traditional tooling. Digital embellishment presses use inkjet and UV curing to lay down clear polymer varnish in precise patterns, building up layers that simulate embossing or spot coating – all directly from a digital file. They can also deposit adhesive and foil in a single pass to create foiled effects digitally. The benefit? No need for metal dies or screens, quick setup for short runs, and the ability to prototype or customize on the fly. As one print provider on the call (Bob) quipped, “it’s huge to not have to wait on tooling or pay for tooling.” This is a game-changer for brands doing short-run or versioned packaging, who can now add tactile spot gloss, raised logos, and foils economically on quantities of even a few hundred or one. In traditional processes, short runs often made embellishments impractical due to setup costs, but digital methods remove that barrier .

Several participants shared how digital embellishment fits into their production. For example, Bob described using digital UV polymer and foil on rigid box wraps – printing the flat wrap with raised embellishments first, then wrapping it onto the chipboard box. This approach achieves an embossed look on luxury packaging that would be impossible to do after the box is assembled. It also avoids the need to physically press into thick board, which is technically challenging. In effect, digital adds tactile bling upfront, and the normal converting process follows. The group noted that having in-house digital embellishment capability opens up new creative and business opportunities. One printer mentioned they churn out highly embellished boxes for the cannabis industry – an emerging market where packaging is small-run but extremely design-heavy to grab attention (more on that shortly).

Importantly, digital embellishment doesn’t replace traditional methods outright, but it adds flexibility. It was observed that digital has expanded the overall use of embellishments rather than cannibalizing foil stamping or embossing – printers are using both more than ever . The ability to produce a “sample-of-one” with digital enhancement is a powerful sales tool: one printer on the call noted that showing a client their design with a touch of foil or raised gloss usually convinces them to include it, “virtually every time,” because they can see and feel the difference  . In short, the lesson here is that digital embellishment technology has made tactile design accessible and fast, enabling even small projects to benefit from the extra wow factor of texture and shine.

4. Calibrating the “Raise”: How Much Is Too Much?

When adding raised textures via varnish or coating, how high is high enough? This question sparked an intriguing discussion about optimal thickness of raised clear coatings (often called 3D UV or spot UV). Kevin, one of the hosts, shared results from a recent focus group study on consumer perception: they found that around 40 microns of height was the “sweet spot” for clear raised varnish – thick enough to notice, but not so tall that it looked gaudy. Beyond roughly 50 microns, average people started to perceive the effect as cheap or plasticky, according to that study. This aligns with common practice in some markets: a European member on the call noted most users keep their digital varnish between 40 and 60 microns height for a pleasing tactile feel. Restraint can signal elegance, especially for luxury pieces.

However, context matters (as we’ll explore in the next section). Another participant, Matt, pointed out that in certain markets more is more – and they routinely “lay it on thick.” In the cannabis and CBD packaging niche his company serves, the goal is often to create a “pow factor” – maximum sheen and texture to catch a consumer’s eye from across a room. In those cases, they push the limits of the digital varnish, using very high builds and large swaths of foil to ensure the package “throws light around” and stands out on a dispensary shelf. They might go through liters of coating fluid and large rolls of foil because clients demand that flashy, attention-grabbing look. The key is recognizing when a design calls for subtlety versus when it calls for bold spectacle.

The lesson is to calibrate the tactile effect to the project’s intent and audience expectations. For a high-end invitation or prestige brand label, a thinner, more refined clear coat (just enough to catch the light on a logo or pattern) will add perceived luxury without overpowering the design. Indeed, design experts caution that embellishments should enhance, not distract  – a point Lenz hammered home: “use embellishments to enhance the design’s message, not distract from it” . On the other hand, for a product competing in a crowded retail space or a playful design targeting impulse buyers, a thicker, high-gloss effect might be exactly what’s needed to scream “look at me!” The focus group insight simply reminds us that beyond a certain point, extra thickness yields diminishing returns in perceived quality – so use extreme 3D effects judiciously unless the style calls for it.

5. Match the Tactile Design to the Brand and Audience

Building on the above, the meetup underscored that context is king. A recurring theme was that tactile design choices must align with the brand’s story and the consumer’s expectations. For instance, luxury and premium brands tend to favor restraint and fine detail – “elegant, elevated, and understated” is the mantra . A subtle raised pattern, a hint of foiling, or a soft-touch laminate that feels like suede can convey sophistication. Going over-the-top with shine or texture could cheapen an otherwise upscale design. Sabine Lenz advocated using just one special effect as a focal point: “I always encourage designers to add one extra element – a single little twist to up the ‘oomph’ factor” without going crazy . It only takes one well-chosen tactile flourish (be it a foil logo, an emboss on a title, or a distinctive varnish pattern) to make a piece memorable. Her philosophy: pick one area to “wow,” and let the rest be supporting actors  . This ensures the design remains cohesive and the embellishment feels purposeful.

In contrast, for mass-market consumer packaging or trendy industries (think craft beverages, cannabis products, cosmetics targeting Gen Z), high-impact embellishment can be part of the brand persona. One speaker described how cannabis packaging clients opt for multiple embellishments – foil + holographic effects + thick gloss – all on one box. The cannabis sector’s competitive shelf environment has made flashy packaging almost a requirement. A packaging article notes that brands in this space use everything from foil stamping to holographic “Cast and Cure” coatings to attract buyers, and that “having packaging evocative of luxury can help buyers justify the purchase” of a premium-priced product . In other words, the tactile bling itself sends a message: this product is high-end, fun, or innovative. Likewise, an ornate embellished label might suit a craft whiskey’s limited edition bottle (where the customer expects a bit of sparkle or depth as part of the experience), whereas that same level of embellishment would feel out of place on a minimalist, eco-friendly brand’s packaging.

Thus, the lesson is a strategic one: design for touch in a way that aligns with the brand ethos and the consumer’s context. If the goal is luxury, think restrained – maybe a soft-touch coating (which gives a luxurious matte, velvety feel) combined with one shiny element like a gold foil crest. If the goal is “shelf shout”, don’t be afraid to combine a foil background, bold raised spot UV areas, and even textured materials. Just ensure the execution still looks polished. As one attendee put it, it’s all within context – you can’t blanket say ‘less is more’ or ‘more is more’ without considering who it’s for. A successful tactile design finds the sweet spot between subtle and striking appropriate for its audience.

6. Layering Effects Yields Rich, Multi-Sensory Design

One inspiring takeaway from the meetup was how combining multiple embellishment techniques in one piece can create a rich sensory experience. Laura, a designer who recently installed a digital embellishment press, shared a creative self-promotional piece her team produced – a folded chocolate box insert that was practically a tactile playground. On one side, they printed a photograph with a line-art illustration over it, then applied copper foil to the line art. The metallic lines reflected the image underneath, adding dimension and a surprise element as the light catches them. On another panel, a blurred background was overlaid with raised clear varnish in a pattern, giving a subtle texture when you run your fingers across it. The most charming detail: because the promo was timed for the Calgary Stampede, they included a photo silhouette of a horse, and they gave the horse a soft-touch coating so that recipients would literally want to “pet” it. Behind the horse, they digitally printed a repeating leather texture pattern in clear varnish, but in reverse (knocked out around the silhouette) – creating the illusion of the horse form in smooth relief against a textured background. None of these effects screamed for attention on their own, but together they made the piece immersively tactile and interactive.

This example shows how designers can think in layers: print + foil + varnish + coating, each serving a role. A foil can pick up a design element (like the copper lines echoing an image). A clear textured varnish can create background pattern or contrast (like the leather grain around the horse). A specialty coating like soft-touch can completely change the feel of a specific area (making a printed horse feel fuzzy or a paper feel like velvet). By mixing and matching techniques, you guide the user’s eyes and fingers across the piece. Importantly, Laura’s design kept these choices intentional – the tactile elements related to the theme (copper foil for a warm highlight, leather texture for a cowboy vibe, etc.) rather than random decoration. The lesson here is that thoughtfully layered embellishments can tell a story: each tactile detail adds a “chapter” that supports the overall narrative of the design. Don’t be afraid to use more than one effect, as long as each has a purpose and they harmonize. When done right, the result is a multi-sensory journey – the kind of printed piece people pick up again and again just to experience it.

7. Plan for Production: Techniques and Constraints

Designing cool tactile effects is one side of the coin – producing them is the other. Several meetup participants shared practical tips about integrating embellishment design with manufacturing considerations. One key lesson: know your production process and plan embellishments accordingly. For example, if you’re creating a luxury box or label that will be applied to a bottle, consider whether the embellishment should happen on a flat sheet before converting into the final shape. As mentioned earlier, Bob’s team often prints and embellishes flat wraps for rigid boxes, because trying to emboss or foil a pre-assembled box isn’t feasible. Likewise, if you’re designing a folding carton with heavy foil and spot UV, think about creasing and folding – will the foil crack on the score? Should the varnish avoid any glue flaps or areas that need to bend? A bit of foresight in the design stage can save headaches later.

Another production consideration is registration and detail. Eddie, another call participant, talked about pushing the limits of detail with his digital embellishment machine. He surprised some by showing extremely fine-line foil and varnish work on synthetic substrates. Printing on plastics or films (for say, shrink sleeves or durable labels) can be tricky because coatings might not adhere or might spread. Yet his team developed a technique (even filing a patent) to achieve crisp results on 100% poly materials – opening the door to embellishing things like flexible packaging and banners that traditionally weren’t candidates for this. The takeaway: innovations are making it possible to embellish on new materials (not just paper), but each substrate has its quirks. Designers should consult with their print providers about what’s achievable on a given stock, especially if it’s not typical paper. For instance, some digital presses can lay down clear varnish on synthetic or coated stocks with high precision, but very rough or absorbent papers might diffuse the varnish, yielding softer effects. Understanding these interactions will help in choosing the right combination of paper, coating, and foil to get the desired tactile outcome.

The group also emphasized collaboration between designers and production teams. Complex projects – like a folded interactive mailer with multiple embellishments – require close coordination. One member (Stephen) described an award-winning casino marketing piece his team developed, which involved a clever folding structure inspired by a famous “folding expert” (Trish Witkowski). The design had flip-book style panels, multiple doors opening, and various embellishments throughout. Pulling it off was challenging and his production crew initially “hated him” for the complexity, but through prototyping and tweaking, they made it work – and the piece garnered huge recognition. The lesson here: don’t shy away from ambitious tactile designs, but do involve the folks on the production floor early and often. By understanding the limits of machines, the tolerances for alignment, and the sequence of operations, you can design embellishments that are exciting yet manufacturable. In the end, the most successful tactile projects often come from an iterative process where designers, press operators, and finishing specialists collaborate – adjusting a foil area here, a varnish thickness there – to achieve the perfect result.

8. Embellishment as a Value-Add – and a Profit Center

An undercurrent in the discussion was the business side of embellishments. Beyond aesthetic appeal, tactile enhancements add perceived value that clients will pay for. Bob joked early on, “we just want to raise the price,” getting a laugh – but there’s truth there. Embellishments increase unit cost, but they also increase willingness-to-buy and potential selling price for the printed product or packaged good. Studies have shown that an embellished print or package commands more attention – for example, eye-tracking research by the Foil & Specialty Effects Association found that people’s eyes go to embellished areas sooner than non-embellished . And if it catches the eye faster, it can drive higher response rates or sales. The group acknowledged that while embellishments might seem like a luxury, they often pay for themselves by boosting the effectiveness of the piece.

For print providers, offering digital embellishment can indeed become a profitable niche. Short-run jobs that were previously unfeasible (e.g. 50 personalized foil wedding invitations, or a micro-batch of 500 premium labels for a craft gin) can now be taken on and priced at a premium. One attendee mentioned the boom in craft distillery projects – small regional whiskey or tequila brands who want top-tier packaging but in modest quantities. Digital foil and varnish allow printers to service these clients without massive setup costs, thus opening a new revenue stream. Even in larger runs, embellishments are often an upsell: adding a spot UV or foil could add, say, 15% to the print quote, but might increase the customer’s ROI by much more if it differentiates their product. As Kevin from Taktiful noted, “the value is tremendous just because of the ease of producing prototypes and making changes on the fly” with digital methods . Clients can be shown a tangible prototype with the special finish, get excited, and approve higher-end production – a much faster sales cycle than trying to convince them with descriptions alone.

The lesson for both designers and printers: embrace embellishments as a value-adding feature, not an unnecessary frill. When used wisely, they enhance not just the look but the perceived quality of the item, which can strengthen a brand and justify higher pricing . Printers should highlight these benefits to clients (bringing samples, sharing success stories of embellished pieces outperforming plain ones), and designers should feel confident proposing tactile enhancements when they fit the project’s goals. In the current market, where so much communication is digital and flat, a well-crafted physical piece with texture can feel extra special – and consumers and brands alike are rediscovering that. As Sabine Lenz and others pointed out, we’re witnessing something of a “tactile renaissance” in print – a renewed appreciation for print that you can touch, not just see  .

9. Continuous Learning and Experimentation are Key

Finally, a broader lesson from the meetup was the importance of community and knowledge-sharing in this evolving field. Many participants were part of the Digital Embellishment Alliance or related networks, coming together regularly to swap tips, show off experiments, and inspire each other. This spirit of collaboration accelerates learning – someone discovers a trick for fine details on an MGI press, someone else figures out a clever design hack for a tactile effect, and everyone gains. The call was peppered with shout-outs: a hello to newcomers, kudos to someone’s recent project, references to industry experts (like fold guru Trish Witkowski’s ideas influencing Stephen’s piece). It’s clear that no one person has all the answers when it comes to designing for tactile impact. The technology, materials, and techniques are advancing quickly, so staying updated is a must. Whether through meetups, webinars, or forums, designers and printers benefit from seeing what others are doing in real time.

Additionally, experimentation was a recurring theme. The experts encouraged trying new things and learning from failure. Not every crazy idea will pan out – an embellishment might end up too subtle (as Sabine warned, a clear varnish on white that “vanishes” under certain light ), or too over-the-top. The trick is to prototype, get feedback, and refine. One designer’s “mad scientist” project of integrating NFC chips into print (bringing together tactile print with digital interactivity) might spark another’s imagination about what’s possible. The energy of the group suggested that pushing the boundaries is part of the fun – whether it’s printing on unexpected substrates, layering effects in new ways, or streamlining production workflows. Every project is an opportunity to learn something and then share that lesson with the community.

In summary, the meetup reinforced that designing for touch is an evolving art and science. By engaging with peers, staying curious about new methods, and remembering the fundamentals, we can all continue to raise (literally) the quality of print design. The tactile renaissance in print is real and ongoing – and as this group demonstrated, it’s powered by both cutting-edge technology and the age-old desire to make something beautiful that people can feel with their own hands  .

Conclusion

The July 18 Digital Embellishment Designer Meetup offered a masterclass in how to make print jump off the page – and into the hands of the audience. Key lessons included starting with the inherently tactile nature of paper, leveraging both vintage techniques (like embossing and engraving) and modern digital methods to add texture, and always tailoring the approach to the brand context. Participants stressed intentionality: use these powerful effects strategically to complement the design’s message, whether that means a whisper of varnish or a shout of foil. We learned that there’s a time for subtlety and a time for extravagance, and knowing your audience is crucial to striking that balance. We also saw that innovation is alive and well – printers are conquering new frontiers like fine-detail foil on plastic, and designers are inventing fresh combinations of effects that delight multiple senses at once.

Ultimately, the embellishments are not just visual extras; they are design elements in their own right, capable of evoking emotion, conveying quality, and differentiating products in a crowded marketplace. As one expert noted, a printed piece can do more than deliver a message – “it can spark an emotion, create a memory”  – and tactile enhancements are often the spark to do exactly that. The meetup’s collective wisdom can be summed up in a simple directive to any designer or printer: go beyond seeing, and start designing for feeling. By integrating touch into our design vocabulary, we craft printed experiences that engage on a deeper level and leave a lasting impression – literally, in the fingertips of our audience.