Surface Appeal: The Science of Shine and the Emotion of Design

At a recent Digital Embellishment Designer Meetup, a group of print and packaging designers gathered (virtually) to talk about “surface appeal” – the almost magical draw of shiny, textured finishes – and how these tactile effects evoke emotional responses. The session held just before Thanksgiving, wasn’t a typical technical workshop. Instead, it delved into the science of shine and the emotions it sparks, from nostalgia and curiosity to surprise and even feelings of gratitude. The conversation, led by designer Matt Redbear with input from industry experts like Kevin Abergel of Taktiful and Sabine Lenz of PaperSpecs, revealed why sparkly foils, glossy varnishes, and raised textures can make printed pieces so captivating. It also touched on emerging trends, design strategies, and tools that can help creatives make the most of these eye-catching effects. What follows is a synthesis of insights from that discussion – an exploration of why humans “ooh and aah” over shiny objects and how designers can harness that reaction in print design.

Why Shiny Surfaces Fascinate Us

Matt Redbear kicked off the discussion by sharing a personal story: as a toddler, he was transfixed by the spinning vinyl record his mother danced him around to. The rotating, glossy disk left an imprint on his young mind – linking motion, shine, and a warm emotional memory. To this day, Matt says, he’s “still a fan of vinyl” and gets a “dopamine” rush whenever he sees light catching a smooth, shiny surface. Many of us have similar memories – whether it was a holographic sticker, a foil sports trading card, or a glinting holiday gift wrap, something shiny in our childhood likely grabbed our attention and never let go. This emotional connection to shiny things isn’t accidental or purely nostalgic; it’s rooted in human psychology and biology. Our brains are wired to pay attention to contrast and motion, and a reflective object that glitters as it moves will naturally stand out in a dull environment. Shiny surfaces can signal water or freshness in nature, and perhaps evolution taught us to notice them. Even today, a bit of sparkle can evoke childlike excitement. Designer Julie Plata chimed in during the meetup to agree – “anyone else get that feeling?” she asked. Indeed, the group consensus was that embellishments trigger a mix of curiosity and delight that’s hard to articulate but very real for each person.

What’s especially intriguing is how personal the reaction can be. One designer’s “ooh, shiny!” might be rooted in nostalgia for 90s-era holographic trapper keepers; another’s might come from a love of high-fashion bling. Some approach special finishes from a technical angle (marveling at how it’s made), while others respond on a visceral, artistic level (loving how it looks and feels). There is no single way to describe the appeal – and that’s exactly why surface appeal is such a rich area for designers to explore. It bridges left-brain and right-brain: the technical science of materials and the subjective realm of human emotion.

The Science of Shine: How Light Meets Material

Behind every glimmering print is some serious science. Shine emerges from how light interacts with a surface, as Matt explained. A smooth surface reflects light directly, creating specular highlights – those crisp, mirror-like gleams that signal “glossy” to our eyes. Modern digital embellishment machines lay down clear polymer varnishes or metallic foils that cure into ultra-smooth layers, amplifying this effect. For instance, a clear UV coating can be applied in raised, patterned layers; once cured, it’s like glass, catching light and adding depth. If you add foil on top (often a super-thin layer of vapor-deposited aluminum with pigment for color), you get a brilliant metallic shine that outshines anything in nature. (Kevin joked that aside from perhaps mother-of-pearl or a shimmering butterfly wing, nothing in the woods is as iridescent as a holographic foil.)

In fact, some comparisons to nature did come up. Holographic foils – those rainbow-sheened materials currently “the most popular type of foil in the market,” according to Kevin – work by micro-engraving tiny diffraction patterns into the foil. These microscopic grooves split and scatter white light into spectral colors, similar to how a prism or certain butterfly wings create a colorful iridescence. Matt pointed out that in nature, the vivid blue of a morpho butterfly’s wings isn’t due to blue pigment (blue pigments are extremely rare in animals); it’s due to the scale structure diffracting light so that only blue is reflected to your eye. In the same way, a holographic foil has no actual rainbow ink – it’s typically a silvered surface etched with patterns that bend light. When you tilt it, the colors flash and move. This interplay of physics and design is literally “sculpting light” on the surface of print. The smoother and finer the surface and pattern, the more dramatic the shine.

The meetup group noted that humans tend to interpret these bright, crisp highlights as signals of something luxurious or high-quality. Think of a foil-stamped wedding invitation or a golden product logo – the shine implies extra care and expense. There’s actually a “science of luxury perception” underlying this: our eyes and brains have learned that matte usually means ordinary (e.g. plain paper) while gloss and gleam mean special (e.g. polished gold, crystal glass). Sabine Lenz remarked that these effects, especially when combined with texture, create “a reward for your attention.” A package or card that glitters and feels interesting to touch can captivate someone for far longer than a flat print. This isn’t just anecdote – studies back it up. In one neuromarketing study, researchers found that adding tactile finishes like foil, embossing, or soft-touch coatings to packaging increased the time people spent looking at and handling the product. Shiny or textured print engages multiple senses (sight, touch) and thus embeds itself more deeply in memory and emotion than flat ink alone.

In a study on premium packaging (with foil, embossing, gloss on high-grade paper), 93% of participants chose the embellished package versus 7% who chose a plain version – people purchased the premium package 13× more often .

The meetup discussion touched on these findings as well. Matt mentioned that numerous studies in psychology and marketing have quantified the “shine factor.” One particularly striking set of data comes from Sappi’s consumer research in partnership with Clemson University: they discovered that simply touching a beautifully finished package two times made shoppers 50% more likely to buy it, and by the fourth touch the odds shot up to 90% . The group wasn’t surprised – it validated what designers and print lovers have sensed all along. Moreover, in those experiments premium embellished packaging beat out plain packaging every time, with consumers 13 times more likely to purchase products in the foil/embossed/glossy boxes than in the unadorned boxes . This science of touch and sight underscores an exciting truth: by carefully designing surface appeal, we can literally influence behavior and create an emotional bond with an audience.

Trends: From Holographic Hype to Micro-Embellishments

Naturally, the conversation steered toward current trends in embellishment. Holographic foil is having a major moment – you’ve probably noticed those rainbow-finish logos, trading cards, or packaging accents popping up everywhere. Karlien Murray noted that this “glitter and loud” style feels reminiscent of the 1970s’ love of shiny disco-era flash. Everything old becomes new again: trends are cyclical, and we’re seeing a resurgence of iridescent, shiny effects in design. Sabine Lenz agreed that holographic foils are “obviously popular” and a lot of brands are trying them out to grab attention. But she posed an important question: “How long-lived is that going to be? Is it just a trend?”

The group consensus was that while the visual novelty of big, bold holographic patterns might eventually wear off, the use of foil and shine is here to stay – it will just evolve. In high-end design, there’s already a movement towards subtlety and complexity in embellishments. Instead of a whole box screaming in holographic rainbow, designers are exploring micro-embellishments: very fine foil details, clear varnish patterns that you only notice upon closer look, tone-on-tone effects, and hidden surprises. Karlien described it as “more visually complex… a reward for your attention” – perhaps a package looks simple at first glance, but as you turn it in the light, a delicate pattern shimmers into view. These “little surprise moments” can delight consumers and convey a sense of exclusivity or sophistication. It’s akin to finding a secret bonus on a product – a design Easter egg.

One example discussed was the use of micro-engraved foils with unpredictable light play. Instead of one uniform shine, these might change color or pattern depending on angle, giving a dynamic quality. The technology for digital embellishment allows for virtually unlimited variation: designers can even incorporate variable data foiling (unique foil patterns or serial numbers for each piece) to create one-of-a-kind collectibles – something Kevin noted is already happening in the trading card industry.

Another trend-driver is the state of our digital lives. Kevin raised a great point: in an era of constant screen noise – endless notifications, messages, and digital ads – a shiny, tangible object has no competition in the physical space. It grabs your attention in a way a phone notification can’t, simply by virtue of being real and novel. Perhaps this is why so many brands are turning back to print and direct mail with high-impact finishes; it’s a surefire way to cut through the digital clutter. Sabine added that especially for younger generations (who grew up digital), there’s a fresh sense of “wait, you can do that in print?!” when they encounter clever print pieces with foil or interactive folds. Print is experiencing a mini-resurgence as people re-discover its tactile joy. What’s old is new – and what’s new (like digital embellishment tech) makes it easier than ever to experiment.

Beyond Bling: Balancing Bold and Subtle

While talking about shiny trends, the meetup panelists were quick to emphasize balance and purpose in design. Not every project calls for a rainbow hologram explosion (just because you can coat something in metallic does not always mean you should). The art of using embellishments effectively often means restraint: using just enough shine or texture to enhance the message or aesthetic, but not so much that it overwhelms. Sabine humorously wondered if holographic’s popularity might be a short-lived “let’s try it because it’s new” fad. Karlien responded that she sees a spectrum of styles emerging – from the “glitterball” end of loud shine to the “elegant and subdued” end where only a small foil element accentuates an otherwise minimalist design. Both have their place.

The key is knowing your audience and the emotion you want to evoke. A hip teenage makeup brand might go full-on iridescent to signal fun and trendiness. A luxury whiskey might opt for a dark matte label with a micro-foil pattern that’s barely there until it catches the light – conveying sophistication and the idea that “there’s more than meets the eye.” As Karlien put it, after the initial wave of “shine as the main meal”, designers are likely to integrate shine in more nuanced ways, ensuring that the embellishment serves the design, not the other way around. The meetup conversation encouraged designers to think of these effects as part of their visual vocabulary: sometimes a whisper of gloss can speak louder than a shout of sparkle, depending on context.

Interestingly, incorporating subtle effects can also create a sense of exclusivity and personalization. Because digital embellishment technology allows for short runs and even one-offs, designers can craft small-batch pieces with special touches. Sabine mentioned seeing this in the world of collectible art books and limited editions – where, for example, each copy of a book might have a slightly different foil design or a unique serial number in foil, increasing its collector appeal. This is the intersection of craft and tech that gets many designers excited: using cutting-edge machines to produce work that feels handcrafted and personal.

Nostalgia and Novelty: The Collectibles Connection

One of the most enthusiastic parts of the discussion was when the topic of trading cards and collectibles came up. It turns out a lot of people in the embellishment community are fueled by childhood nostalgia – Pokémon cards, sports cards, comic book collectibles, all those shinies we coveted as kids. Trey Young, a designer from a photo printing company, shared how he takes inspiration from Pokémon and sports “trading card” styles when designing novelty photo products. He noted that for a long time, the rare, shiny card in a pack (maybe just with a gold-foil logo or a single holographic layer) was the pinnacle. But now, with better digital printing and foiling tech, companies are doing incredible layered effects: for example, a “reverse holo” where the entire card glistens except the main character, or combinations of reflective foil, spot inks, and textured varnish. Some cards even have multiple layers of clear coat to create tactile depth on top of foil patterns.

Matt Redbear confirmed that this industry is not slowing down – his team has been working on projects like Buffy the Vampire Slayer collectible cards and even niche themes like “Pope Leo trading cards.” (That one got a laugh; how do you tastefully embellish the Pope? Very carefully, it seems!) The approach is to use embellishment strategically: maybe a subtle halo of gloss behind the portrait, or a gilded frame – “you don’t just slather varnish all over the Pope,” Matt joked, underscoring the need for respect and balance in design choices. Even the backs of cards are now seen as canvases for creativity – Matt mentioned applying different varnish textures on the reverse side of cards to enhance the tactile feel when you hold them.

Kevin added some industry context: there are major printing companies whose entire business is high-end trading cards, and they’ve been innovating with digital embellishment. For instance, serial numbering in foil (like “1/100”, “2/100”, etc.) to emphasize a card’s rarity, or hidden UV designs that only show at angles. The collectibles market is huge and shines (literally) as a proof-of-concept for how embellishments create value. A plain card is just a piece of paper; add a hologram or foil autograph, and suddenly it’s a prized possession. That emotional attachment and perceived value are exactly what brands in other sectors hope to capture by using similar techniques.

Sabine pointed out that beyond cards, other print mediums are tapping into the collectible mindset. Limited-run posters, art prints, even event tickets or book covers with foil and embossing can become keepsakes rather than disposable items. In a world of infinite digital copies, a physical piece with unique tactile qualities feels special. That specialness can translate into customer loyalty and willingness to pay more – a concept not lost on luxury marketers.

Designing for Touch and Shine: Tips and Tools

So how can designers effectively incorporate these dazzling effects in their work? Throughout the meetup, several practical tips and techniques emerged. One big theme was iterative experimentation. Because the look of foil and varnish can vary greatly depending on thickness, pattern, paper stock, and lighting, it’s wise to test multiple variations of a design. Matt shared his workflow: if a client sends a design for embellishment, he’ll often create a test sheet with several versions side by side – perhaps one with a heavy gloss layer, one with a lighter layer, one with a foil texture A, another with texture B, and so on. By printing them all in one go, you can compare and see which effect truly sings. “Make a test sheet with as many options as will fit,” Matt advised. This saves time versus doing one test at a time, and it often sparks new ideas. Sabine enthusiastically agreed, noting that for designers who don’t have an embellishment press in-house, it’s worth asking your print vendor to run a proof with multiple treatments on one sheet. The first version you had in mind might not be the best – or you might discover a combination (say, raised clear varnish over holographic foil) that exceeds expectations.

Another pro tip: use digital pre-visualization tools. Not everyone has the budget or access to do endless physical tests, but software is catching up to simulate how light plays on embellished surfaces. In the meetup, Kevin and Matt unveiled a new tool (codenamed “Reactor”) that lets you load your artwork and virtually apply foil and varnish layers. It produces a 3D-rendered preview that you can rotate under different lighting environments – for example, seeing your design in a bright room vs. a dim room, and at various angles, to predict how the highlights will appear. Matt demonstrated with some fall-themed designs: a print of autumn leaves with gold foil accents and a clear texture on a pumpkin, a collage of a girl in a raincoat where the raindrops were rendered in glossy varnish, etc. On-screen, we could see the foil gleam and the varnish catch reflections as the virtual light moved. While it’s not a perfect substitute for a physical sample, such a tool can give designers confidence in their choices before going to press. It helps answer questions like “Will a subtle pattern even show up?” or “Is this foil overpowering the rest of the design?” early in the process.

In terms of file preparation, Matt noted that he often uses Adobe Illustrator and Photoshop to create the separation layers for embellishments. For instance, a common approach is designing a mask layer in Photoshop where everything you want to be glossy or foiled is in black on a separate alpha channel. Using seamless texture patterns can add interest – Matt likes to overlay textures (which he sources from stock sites like Dreamstime or Envato Elements) into these mask layers. For example, instead of a solid spot varnish on a background, he might use a pattern of tiny geometric shapes or a fine grunge texture in that mask, so the varnish itself has a pattern when it hits the light. Many digital embellishment presses (such as MGI JETvarnish, Scodix, etc.) even come with onboard pattern libraries that you can apply to a solid area, turning it into a textured effect. Designers should explore these options, either by collaborating with their printer or by using plugins/stock imagery to simulate the pattern in their design file.

One important consideration that sometimes gets overlooked in design stage: the environment where the piece will be viewed. Matt told a vivid story of visiting a jewelry store in his youth – the diamonds and gold displays were arranged on jet-black velvet under pinpoint halogen spotlights. The result? Extreme contrast and sparkle, as the gems reflected tiny bright light sources against a dark background. In more diffuse lighting (or against a lighter background), those same diamonds wouldn’t pop as much. The lesson for print designers is that the context matters. A gold foil may look blazing in sunlight but nearly black in a dim room (where it might reflect a dark ceiling). Kevin recounted a funny trade show anecdote: a client complained their gold foil looked too black under the expo hall lights – it was actually just mirroring the shadowy ceiling above. The fix was literally to tilt the paper and voilà, it turned gold again. Similarly, if you put a silver foil element on uncoated brown cardboard, initially it might appear to have a golden hue because it’s reflecting the warm-toned surroundings. Always test your embellished pieces in conditions similar to their final use. If it’s a package, consider store lighting (sometimes fluorescent, sometimes warm spots). If it’s an invitation, consider that people might see it under home lighting at night. You can adjust your design – or choose a different foil color/varnish gloss level – to optimize for those conditions. Sabine added that even something as simple as a velvet backdrop in a presentation can enhance perceived sparkle, an old trick from the photo studios.

Lastly, the meetup panel emphasized playfulness. Designing with embellishments should feel like creative play, not daunting task-work. Sabine’s mission with her company (PaperSpecs) has been to inspire designers to “unleash creativity” and find the fun in print design. When you treat varnish and foil like a playground – “what if I try this? or layer that?” – you’re more likely to discover a brilliant, unique effect. Matt echoed this sentiment: approaching a project with a sense of play can lead to innovative outcomes that rigid planning might not. In his own practice, he often starts with a wild idea (like “what if the entire background is holographic except the subject?”) and then reins it in through testing to find the right balance. The wonderful thing about modern digital equipment is that it’s quite forgiving to experimentation – you can run a few sheets, tweak, and run again without the massive setup costs of traditional foil stamping or screen UV coating. So go ahead, indulge your inner kid who loved shiny stickers, and experiment!

Community and Continuing Inspiration

One heartening aspect of the meetup was the sense of community among designers and print pros in this niche of digital embellishment. What used to be a very specialized, technical corner of the print world is now opening up, and forums like the Digital Embellishment Alliance (under the Foil & Specialty Effects Association) and events by groups like PaperSpecs are bringing creatives together to share ideas. The meetup itself was sponsored by industry players (MGI Digital Technology was thanked as a sponsor, alongside PaperSpecs and Taktiful), highlighting that everyone – manufacturers, designers, print shops – benefits when knowledge is shared. Sabine mentioned her upcoming event PaperSpecs Unboxed on December 4th, a virtual/hybrid extravaganza where attendees receive a curated box of print samples and then join an online show-and-tell. Events like these allow designers to touch and feel examples of cutting-edge techniques (worth “$160 in samples,” she noted) while hearing the backstory of how they were made. One exciting feature Sabine teased was a behind-the-scenes look at how the Amazon Holiday Toy Catalog was designed with interactive print features – a prime example of print media creating joyful, physical experiences in a digital age.

For those new to this field, the advice is: get involved and ask questions. In the meetup, newcomers like Enmanuel from a company called Scandicore introduced themselves and expressed excitement about learning the craft. Seasoned folks like Matt and Sabine were quick to welcome them and offer help. Kevin shared links for everyone to try out the new Taktiful Reactor visualization tool for free through the end of the year, encouraging the community to come back next meetup with their own experiments to show. This kind of open, collaborative spirit means you don’t have to figure everything out alone. Whether it’s through LinkedIn groups, print industry conferences, or local meetups, connecting with peers can spark new ideas and troubleshoot challenges. As Kevin said, “We’re so happy to have you. We always learn something here.” The world of design is ever-evolving, and when it comes to something as tactile and technically involved as digital embellishment, sharing knowledge accelerates everyone’s growth.

Conclusion: Designing Emotions, One Glossy Layer at a Time

The surface appeal of a printed piece is far more than a visual afterthought – it’s a deliberate design dimension that merges material science with human emotion. As we’ve seen, a bit of shine or texture can trigger memories of childhood wonder, can differentiate a brand in a noisy marketplace, and can even subconsciously persuade someone to pick up and keep that piece of print. The insights from the Digital Embellishment Designer Meetup underscore a powerful idea: design is not just about how something looks, but how it feels – both to the touch and to the heart. By understanding the science (light, texture, touch) and embracing the art (play, storytelling, trends), designers can create printed experiences that genuinely resonate with people.

In a season of gratitude (fittingly, this discussion took place right before Thanksgiving), one can’t help but feel thankful that in our digital world, we still have magical analog tricks up our sleeves. A shimmery greeting card that makes someone smile, a package so pretty the recipient doesn’t want to throw it away – these are small moments of joy and connection that physical design can deliver. As you experiment with that next foil accent or tactile varnish, remember the simple joy it can spark. It might just give someone that warm, fuzzy feeling Matt described – like a favorite song on vinyl, spinning under the light, forever tied to a happy memory. And ultimately, creating that feeling is what great design is all about.