Lessons from the Paper Queen: Sabine Lenz on Print’s Tactile Renaissance

Sabine Lenz has seen the future of print, and it’s tactile. Known affectionately as the “Paper Queen” by her followers, Sabine is the founder of PaperSpecs – an online hub for designers passionate about paper and print . In a digital era, she has become a champion of print’s resurgence, showing creatives and marketers how the sense of touch can make printed communications more powerful than ever. In Episode 28 of “Taktiful Tuesdays,” host Eric Vessels sits down with Sabine to uncover lessons from her journey and insights into print’s evolving role. This article distills those lessons – from bridging the designer-printer divide to using digital embellishments wisely – and explores why print is experiencing a tactile renaissance in marketing and design.

Sabine’s Journey into the World of Print and Design

Sabine’s love affair with print started in her graphic design days. Early in her career, she noticed a troubling knowledge gap: many designers were never taught the “nuts and bolts” of paper, printing, and finishing. Determined to bridge this gap, Sabine founded PaperSpecs as a resource for creatives to learn about paper choices, printing techniques, and new print technology . Her mission is clear in her own words: “I firmly believe that we can make this world a better place through great design… and this great design can only happen if our choice of paper, printing and binding is great, too.” .

Lovingly referred to as the “Paper Queen,” Sabine has embraced the role of educator and connector in the print community . She combines a designer’s creativity with deep technical knowledge, acting as a bridge between the creative vision and the technical execution. This passion is rooted in personal experience. Sabine recalls how often brilliant design concepts end up watered down or ruined by poor production decisions. In fact, she observed that a gap in understanding often meant “great concepts are ruined by fatal paper choices and misinformation about binding and printing.”   Rather than accepting this as the status quo, Sabine set out to ensure designers have the knowledge to make the right choices from the start.

One example Sabine often cites is the importance of choosing the right paper to match a project’s intent. A well-chosen paper stock can amplify a design’s message, while the wrong choice can detract from it. She recounts a luxury fabric brochure by Perennials, where the design team selected a linen-textured paper to echo the feel of the fabric products.  The Perennials brochure used a linen-textured paper to mimic the touch of luxury fabric – a detail that reinforces the brand’s story. Sabine notes that had it been printed on a glossy coated sheet, “it would have given off a completely different vibe,” changing the brochure’s entire feel . This subtle material choice made the piece more memorable and effective. For designers, it’s a perfect case in point: thoughtful decisions about paper and finish can make or break a project’s impact.

Sabine’s journey – from a frustrated designer searching for the right paper, to a leader who provides resources to thousands of creatives – highlights the value of print expertise in design. It also underscores a theme that runs throughout her conversation with Eric: print isn’t just about ink on paper, it’s about crafting an experience. And to craft that experience well, designers must broaden their knowledge and collaborate closely with the people who bring their visions to life in ink, foil, and tactile textures.

Bridging the Designer-Printer Communication Gap

Despite her love of print, Sabine acknowledges that many designers find print production daunting. “Print is intimidating, let’s not kid ourselves,” she says. “Just Google it, and you go down a rabbit hole that is so deep your head is spinning.”  This sentiment will ring true to any creative who has felt overwhelmed by paper catalogs, printing specs, or the sheer variety of finishing options. There is often a disconnect between the creative world of design and the technical world of print production – a gap Sabine is determined to close.

One common mistake, Sabine notes, is that designers sometimes leave critical printing decisions entirely to the printer . It might come from a place of trust or tight deadlines, but it’s risky. “It boggles the mind that anyone could put their blood, sweat and tears into a project, and then blindly trust someone else to see it through to completion,” Sabine remarks incredulously . Her point: designers pour themselves into the creative design; they should also be involved in how that design gets produced. When designers say “I don’t know, you’re the expert” to a printer’s question about paper or finish, it can lead to results that miss the mark . Sabine instead encourages designers to engage in a dialogue with printers – to ask questions, learn the constraints and possibilities, and make informed choices rather than handing off decisions entirely.

Fostering better designer-printer collaboration was a major theme of Sabine’s conversation with Eric. Both agree that when designers and printers work together from the early stages, the final product benefits. Printers have technical know-how and experience with what works in production; designers have the vision of the end-user experience. Sabine suggests bringing printers into the discussion early on. For example, a designer might have a bold idea for an embellished invitation; a printer can advise how to achieve that effect economically, or suggest an alternative method that yields a similar result. This kind of collaboration prevents the dreaded scenario of a beautiful design being deemed “unprintable” or going over budget due to last-minute surprises.

Importantly, bridging this gap also means educating each other. Sabine advocates that designers should learn the basics of print technology – “not just about paper but print technologies, as well. The two go hand in hand.”  At the same time, printers and vendors can help by explaining their capabilities in designer-friendly terms and even providing training. Sabine’s company, PaperSpecs, for instance, offers a library of resources and even live events to help creatives get comfortable with print production  . The result Sabine is aiming for is a more confident design community that not only dreams up striking concepts but can also shepherd them through to an equally striking physical reality.

By closing this communication gap, the industry as a whole wins. Projects can be done faster, with fewer errors, and with more innovative outcomes when both sides understand each other. Sabine’s core message is that communication and knowledge-sharing are key. A designer should feel empowered to discuss ideas with a printer (“Can we do this with a spot UV or maybe a textured varnish?”) and a printer should feel free to suggest improvements (“If we use XYZ paper, you’ll get a better result for that effect.”). In Sabine’s view, such collaboration turns print from a commodity back into a craft – a joint effort to produce something amazing.

Mindful and Minimalist Use of Digital Embellishment

When the conversation turned to the shiny new toys of the print world – digital embellishments – Sabine’s advice was clear: just because you can embellish everything, doesn’t mean you should. In recent years, digital presses and specialty machines have made it easier than ever to add foil accents, spot gloss, embossing effects, and other tactile elements in shorter runs. This is exciting for creatives, but Sabine cautions that restraint and intentionality are crucial. Her philosophy: use embellishments to enhance the design’s message, not distract from it.

Sabine shared a clever approach for designers working with tight budgets (which, these days, is most of us!). “I always encourage designers to just add one extra element to their piece – a single little twist to up the ‘oomph’ factor,” she says . In other words, find one aspect to elevate. It could be a special finish, an unusual fold, or a pop of texture – but keep it to one standout moment. As Sabine puts it, “It only takes one twist to elevate your piece.”  For example, if you have a simple tri-fold brochure, try moving the first fold inward to create a short panel reveal, or switch up the format to a small square brochure . That one modification can make the piece feel unique and engaging without blowing the budget. The same principle applies to digital embellishments: a touch of gold foil on a logo, or a spot gloss pattern on a key image, can make a brochure or business card catch the eye – provided it’s done with purpose.

During the chat, Sabine and Eric discussed how to avoid common pitfalls when using embellishments. One frequent mistake is making an embellishment so subtle that it’s nearly invisible. For instance, applying a clear varnish on small white text might sound elegant, but under certain lighting it vanishes entirely . In a real-world case, a team attempted this on a white title against a matte background – the result was so faint that no one noticed the special coating . The lesson? If an embellishment doesn’t stand out at all, it fails to justify its cost and intent. Sabine’s stance is to aim for an understated look, but not to the point of ineffectiveness. This aligns with the collective wisdom of print finishing experts: “elegant, elevated, and understated” is the goal , but make sure the effect still registers for the audience. A well-placed foil or varnish should catch the light or invite a touch – it should contribute to the piece’s impact in a noticeable way, even if it’s tastefully restrained.

Sabine also highlighted that every embellishment should serve a purpose in the design. It might underscore a theme, draw attention to a key detail, or evoke a certain feeling. If it’s just there for show with no connection to the message, it can feel gratuitous. In her own work and the examples she shares, the best uses of embellishment create what she calls “surprise and delight” for the recipient . A great example discussed was the advent of digital edge printing – a new technique Sabine is excited about that allows printing on the edges of a book or card stock digitally. “It adds an extra element of surprise and delight, which will ultimately lead to a memorable experience,” Sabine says, “and really this is what it is all about. Where the power of print truly lies.”  That quote encapsulates her approach: the power of these special effects is in the experience they create for the reader. When someone runs their fingers over a raised metallic title or sees a design shimmer as it catches the light, it triggers an emotional response — curiosity, pleasure, even awe. Those emotions forge a stronger connection with the content and the brand behind it.

In summary, Sabine’s lesson on embellishments is to embellish with intention. Use the amazing tools now available – digital foiling, UV coatings, textured inks – but use them in service of the design’s story. A restrained, well-chosen embellishment not only adds luxury or impact, it also respects the design’s clarity. It’s about finding that sweet spot where the tactile elements amplify the message. As Sabine would say, aim for the “wow” without going overboard, and your print piece will leave a lasting impression.

Bridging Terminology Confusion in Print Production

Another challenge Sabine and Eric tackled is the terminology tangle in print production. Designers and printers sometimes seem to speak different languages. A designer might say, “Let’s use a spot UV here,” and a digital press operator might reply, “We can do a clear toner coating.” They’re actually talking about a similar effect, but the terms differ. Likewise, one print vendor might brand a technology as “3D varnish” while another calls it “dimensional coating.” It’s no wonder designers (and even printers) can get confused by the jargon.

Sabine points out that this isn’t just semantics – confusion over terminology can lead to miscommunication and mistakes in executing a project. Clarifying the language of print is an important step toward smoother collaboration. In the episode, Eric noted that even the term “embellishment” itself is being defined. What counts as an embellishment? Is it only foils and embossing, or does a fifth ink like white or neon count? To tackle questions like these, industry groups are working on standard definitions. (In fact, the Taktiful team recently joined the Ghent Workgroup to help standardize how we talk about print enhancements .) The goal is to get everyone – from software developers to printers to designers – on the same page with terms and file specs .

For designers, Sabine suggests not to be shy about asking for clarification. If a printer mentions a technique you haven’t heard of, ask them to explain or show samples. In turn, printers can ask designers what effect they’re looking for if the terminology is unclear. Sabine’s broader work through PaperSpecs often involves educating creatives on print vocabulary. Her resources break down what different coatings, foils, and specialty processes mean and how to use them. The payoff of learning this language is huge: when you as a designer know the lingo, you can communicate your ideas more precisely and explore new possibilities you might not have known to request.

During the interview, Sabine and Eric laughed about how many times they’ve seen confusion over something as simple as paper specifications. For instance, a designer might specify “80# cover” paper, but if the printer is used to thinking in grams per square meter, that request might be misinterpreted. Or a client might say “I want it laminated” when they actually mean a high-gloss UV coating – two different processes with different costs. Misunderstandings like these can delay a project or result in unintended outcomes. Bridging the terminology gap means establishing clear communication early: double-checking terms, providing examples, and even including visuals or samples in discussions whenever possible.

Sabine is a big believer in making print knowledge accessible. “The easier we can make it for designers to understand what is happening and what is available to them, the better for all of us,” she emphasizes  . In practice, this might mean standardized glossaries, better communication from manufacturers, and hands-on learning. Sabine’s own events, like PaperSpecs Live, often include sessions where printers and experts demonstrate techniques in person – cutting through the jargon by showing what foil vs. varnish vs. letterpress actually look and feel like. By demystifying these terms, Sabine is helping creatives gain the confidence to spec their projects accurately and creatively.

In the end, mastering the language of print empowers designers. When you can articulate exactly what special effect you envision – and understand the terms your print partners use – you’re far more likely to see your vision realized. Sabine’s advice is to embrace continuous learning: print is not a static field, and new terms and technologies will always emerge. But with an open mind (and perhaps a handy cheat-sheet of print terms), designers and printers can find common ground. When everyone speaks the same language, the result is a smoother process and a better final product .

Inspiring New Generations and the Resurgence of Tactile Design

One of the most uplifting topics Sabine and Eric explored was the renewed interest in tactile design among younger generations. In an age dominated by screens, there’s something fresh and exciting about holding a beautifully crafted print in your hands. In fact, industry research and trends bear this out: much like the comeback of vinyl records and other analog experiences, younger generations are rediscovering the joy of physical media . They appreciate the uniqueness of a tangible piece – the textures, the weight, even the smell of ink on paper – as a welcome break from digital saturation.

Sabine has a front-row seat to this print renaissance. Through her work, she interacts with design students and young professionals who are eager to incorporate print and tactile elements into their projects. Many of them see print as a way to stand out and create deeper connections in a world of ephemeral digital content. A printed invitation or a creative direct mail piece engages multiple senses in a way an e-mail or Instagram post simply cannot. Sabine noted that the experiential aspect of print is a big draw for today’s up-and-coming creatives. For Gen Z and millennials who grew up digital, holding a crafted piece of print can feel almost novel and special – something that leaves a stronger impression because of its physical presence.

To nurture this enthusiasm, Sabine actively works on inspiring and educating the new generation of designers. She shared with Eric how events like PaperSpecs LIVE are designed to do exactly that. “We’re stepping up to the plate because we can expose designers to print technologies, as well as papers that they’re not aware of,” Sabine says . At these one-day conferences, creatives get to see and touch what’s possible: from new sustainable papers to live demos of embellishment techniques. It’s part education, part inspiration, and part playtime in the best sense. PaperSpecs LIVE is where they can get inspired, learn and connect in ways that will transform their projects, Sabine explains . By giving designers (especially those who may not have learned much about print in school) a hands-on experience, Sabine is lighting a spark that can lead to more innovative print projects down the line.

Sabine and Eric also touched on how this tactile renaissance isn’t just driven by nostalgia – it’s also practical from a marketing standpoint. Marketers are finding that physical print pieces can cut through the digital noise. A well-crafted direct mail campaign, for example, can yield higher engagement because recipients spend more time with a piece of mail than they do with an email blast. Add an interesting texture or a pop-up structural element, and that engagement often multiplies. Younger marketing professionals are catching on to this and pushing for integrated campaigns that include print for exactly that reason. Sabine’s insights help connect the dots: by designing these print pieces thoughtfully (with the principles she’s outlined – collaboration, clarity, creativity), the next generation of marketers and designers can achieve results that surprise and delight their audience.

Sustainability is another factor contributing to print’s resurgence among younger audiences, and Sabine acknowledges this. Today’s emerging designers care deeply about the environmental impact of their work. The good news is that print technology and paper manufacturing have come a long way – from recycled paper options to eco-friendly inks. Sabine has observed that when you present students and young creatives with sustainable print choices, they’re excited to use them. The combination of tactile impact and eco-conscious materials means print can align with their values while still delivering a unique experience. In the episode, Sabine mentioned the growing demand for sustainable print solutions and how the industry is adapting to meet it . This adds yet another layer to print’s appeal: it can be tactile, memorable, and responsible all at once.

All these trends point to a bright future for print, one that Sabine Lenz is helping to shape. By empowering new designers with knowledge and inspiration, she’s ensuring that print’s legacy of creativity carries on. The “tactile renaissance” is real – you can see it in the excitement of a young designer holding an embellished print sample for the first time, eyes lighting up at the possibilities. Sabine’s work and words encourage those moments, reminding us that print’s best days may well be ahead as a new wave of talent embraces the medium.

As Sabine Lenz’s insights remind us, print is far from a dying art – it’s an evolving craft experiencing a revival. From her journey as a designer who straddled the digital and physical worlds, Sabine learned that great design is holistic: it marries vision with materials, creativity with technique. The lessons she shares are both practical and inspiring. Communicate and collaborate – don’t let a project falter because the designer and printer were speaking past each other. Educate yourself – a little knowledge about paper grain or foil application can go a long way to making a design feasible and fabulous. And above all, be intentional – whether it’s choosing a paper, adding a foil accent, or deciding how much is enough, let every choice serve the design’s purpose.

Print’s tactile renaissance is a response to something humans have perhaps missed in our screen-driven lives: the desire to feel something real. Sabine’s enthusiasm for that tactile power is contagious. She shows that a printed piece can do more than deliver a message; it can spark an emotion, create a memory, even change someone’s perception of a brand. As she eloquently put it, the true power of print lies in creating “long lasting, truly memorable experiences” . In a world of fleeting digital impressions, that lasting impact is print’s unique strength.

Sabine Lenz, our “Paper Queen,” leaves us with a hopeful outlook. The old and the new are coming together: centuries-old crafts of paper and press are now augmented by digital embellishments and innovative techniques, all in the hands of a new generation that values creativity in every medium. The renaissance is here, and it’s shiny (but not too shiny!), textured, and wonderfully human-centric.

In the end, the lesson from Sabine is clear – print is not just about ink on paper, it’s about the touch, the feel, and the experience you impart. By bridging gaps – whether in communication, knowledge, or technology – we can ensure that every print project, big or small, carries that magic. And as designers and print professionals embrace this mindset, the future of print looks more engaging and alive than ever. Print’s tactile renaissance has only just begun, and thanks to leaders like Sabine Lenz, we’re all invited to be a part of it.