By Erin Judge, contributing writer, PostPress

PostPress sat down with visionary designer and paper queen Sabine Lenz (SL), PaperSpecs, and the queen of digital print and embellishments, Christine Yardley (CY), Print Panther Direct, to discuss the shimmer, sparkle and ever-present tug-of-war between creativity and reality for print embellishments. (This article was based on the recent She Said, She Said – Design, Print and Embellishments presentation at Amplify Print 2025.)

In your opinion, what type of print projects or applications lend themselves to the addition of print embellishments? When does it not make sense to add embellishments?

SL: As a designer, I reach for embellishments when I want a piece to stand out instantly – the kind of project where the look and the feel help tell the story: high-touch marketing pieces, luxury packaging, invitations, special-edition covers or anything where brand perception is key.

That said, I don’t add embellishments just because I can. If the project is purely transactional, budget-driven or the brand’s aesthetic is intentionally minimalistic, embellishments don’t make sense. The magic happens when the effect amplifies the message – when a metallic foil reinforces a sense of prestige, or a raised coating draws your fingertips to a key detail.

CY: Anything meant to spark a reaction – packaging, direct mail, event invites, promo pieces – benefits from embellishment. For example, we worked on a recent piece entitled Paved with Gold, wherewe used gold digital foil to symbolize “the path forward.” By literally paving the road in gold, the foil created an emotional connection for the recipient while highlighting the possibilities of print. But embellishments aren’t right for every project – high-volume commodity printing or things that are purely functional, like forms, instructions, and flyers for mass handouts.

When a project calls for metallic effects or a spot coating, what questions should be asked to help create the perfect finished piece? How should a designer think differently about the design when print embellishments are included? 

SL & CY: Always start by picturing the finished piece in someone’s hands – what should they feel, see and remember?

SL: From there, I ask myself whether the embellishment is a focal point or a supporting detail – then, how the stock color and texture will look with it, and how the design can help it really stand out.

If embellishments are part of a project, I think in layers rather than flat artwork. I design with contrast so the effect has space to shine – simplifying if needed – and always consider how light will interact with the surface. I also bring my printer into the process early. The sooner I understand and confirm what’s technically possible, the more I can push the design in the right direction.

CY: You also need to consider how the piece is being produced – digitally or conventionally – and whether there are limitations in run size or turnaround. Design-wise, less is more. Determine where you want contrast vs. shine. You need space and hierarchy, so the embellishment elevates, not clutters.

In our Extreme Digital Guide (produced in partnership with Konica Minolta), every image was selected to play with foil and varnish intentionally. A lion’s mane became a layered foil gradient. A jellyfish image got transparent varnish for a glowing, wet look. Designers often don’t realize how much you can build a feeling through embellishment alone.

When analyzing a project that will be printed and embellished, how do you determine the best embellishment approach, especially as it relates to metallic effects? How do you decide if the job is better for digital foil or more traditional methods?

SL: It always starts with the creative goal. Is the metallic element there to command attention, add subtle highlights or create depth?

If seeking a specific tactile experience, both traditional foil stamping and digital polymer-based foiling can be used. Shorter runs or designs that need personalization naturally point toward digital foil. For a sense of elegance, traditional hot foil stamping on a thick, soft uncoated sheet still is unbeatable.

CY: I start with three things: volume, turnaround and the final look we’re after. If the piece is short-run, fast-turn or variable, digital foil wins – providing flexibility and speed. But, if the piece utilizes sculpted embossing or a specific Pantone match with deep texture, traditional might be the better bet.

What types of embellishment techniques do you find most interesting and attractive? Is there anything new you have seen lately that has caught your eye with embellished print?

SL: For me, the most attractive embellishments feel integral to the design, pulling you in and making you want to linger with the piece a little longer.

I’ve always loved a true blind emboss – the kind you can only achieve with traditional methods – for its subtlety and tactile elegance. That said, I’m excited to see more digital matte “embossing” that is coming on the market. I think it has real potential for adding depth and texture in ways that work beautifully for both short runs and more experimental pieces.

CY: I’mstill obsessed with foil-on-foil and clear over foil layering! But I also love to see designers use restraint – like matte gold foil on soft-touch stock or gloss varnish on black – creating texture without color. We recently produced a piece which used fluorescent, pink toner layered with clear, dimensional varnish on black stock. It was subtle and electric at the same time.

Other minimalistic tactics like digital dithering can create a subtle yet powerful impact. Adding a whisper-thin layer of varnish can add texture without gloss, catching the light without screaming.

In your opinion, do you believe print embellishments will continue to be a big part of the growth of print overall?

SL: Absolutely, embellishments – particularly digital embellishments – are here to stay, and I believe they’ll play an even bigger role in the growth of print. So much of what we design today must compete for attention. Embellishments give us another layer of storytelling. They catch the eye, invite touch and instantly signal that the piece has value.

The beauty is that with digital processes, embellishments are no longer just for long runs or luxury budgets. We can add foil, texture and other effects to short runs or highly targeted pieces – making it easier for brands of all sizes to stand out. Combining impact with flexibility, digital embellishment will be a central part of print’s future.

CY: Absolutely. Print’s edge is tactility – and embellishment turns that up to 11. One of our clients said their embellished piece was the only printed item their customers kept. That’s stickiness. That’s value.

Digital embellishment makes this possible for small brands, too. You don’t need a huge press run. You need a great design and a few hundred copies to create real impact. Print that performs is print that gets touched, kept and remembered, and embellishment is what gets it there. 

To learn more, visit PaperSpecs at www.paperspecs.com and Print Panther Direct at www.printpantherdirect.com.