3D embossing
Three-dimensional embossing effects on cardboard
Tactile and palpable prints are particularly appealing: Three-dimensional embossing of printed images can make them even more lifelike. For example, the bark of a tree or the knobs of a basketball suddenly become tangible and tactile.
Psychological added value through tactility
The haptic touch also activates the touch sense. And the more senses you appeal to, the greater the cross-linking and memory storage in the brain. For example, a mailing that is pleasant to the touch creates a longer attention span, a higher response rate and an improved recall of your advertising message.
Variations of embossing in print
- If the image is raised, i.e. above paperlevel, it is referred to as embossing
- If the image is recessed, i.e. below paperlevel, it is called debossing
- A single-level embossing has one raised level. A single-level debossing has one immersed level.
- A multi-level embossing has two or more levels parallel to the paper surface.
- Sculptured 3D relief embossing, on the other hand, shows three-dimensional gradients and body shapes, such as a face or statue.
- A more historical term for tactile embossing is "blind embossing". The word "blind" is intended to indicate that the embossing image is positioned on plain paper without printing ink involved in its area.
Light reflection enhances printed effect
Additional light reflection greatly enhances the visual effect of an embossing. There are two possibilities for this:
- Metallization of the embossing image with a very thin layer of reflective metal, a so-called foil relief embossing.
- High-gloss UV varnishing of the embossing image.
Paper and cardboard for embossing
Paper and cardboard can be embossed well up to around 500g/m². With thick cardboard and paperboard, the material is often too thick for embossing. Here, however, a well palpable indentation can usually be pressed in. Papers that are too thin usually have too little body to allow impressive deformation.
Important tips for your embossed printing type
Embossing sounds very simple at first glance. Nevertheless, a few points are crucial for success already in the conception phase:
- The embossed image is visible laterally reversed and inverted on the reverse side. A high embossing, for example, is present on the reverse side as a side-inverted debossing. The debossing on the reverse side is therefore often cleverly incorporated in graphic design as a "space divider".
- The human eye focuses more on distracting color contrasts than on height differences. The embossing of a high-contrast pre-printed image, such as a black headline on white paper, is therefore hardly noticeable. Remedy: Avoid high color contrasts or use spot UV-varnish to add light reflection to the embossing.
- The embossing height, that can be achieved, depends very much on the suitability of the paper for embossing. Both the paper manufacturer and we will be happy to advise you in more detail.
- A "naked" embossing, without light-reflecting additional effects such as gloss varnish or metallization, is a great plus for activating the sense of touch. However, it will never be the eye-catcher that attracts potential customers from a distance and invites them to look at it.
Below are some "impressive" examples in our photo gallery:
An embossing is a deformation of a material by means of an embossing tool. Paper, for example, is pressed between the embossing die and the counterpart and thus formed into the shape of the embossing die. Thicker materials, such as 2mm grey cardboard, can no longer be formed between the embossing die and the counterpart. However, they can have a recess pressed into them by means of the embossing die. In this case, the material is not deformed but compressed.
An embossing on paper or cardboard can be massively enhanced optically by adding light reflection. There are two possibilities for this:
- Metallisation of the embossing image = hot foil relief embossing
- High-gloss UV varnishing of the embossing image = embossing with high gloss UV-varnish
The human eye focuses more on distracting colour contrasts than on differences in height. The embossing of a high-contrast image, such as a black headline on white paper, is therefore hardly noticeable. Remedy: Avoid high colour contrasts or incorporate optical enhancement through light reflection. This can be done by metallising or partially varnishing the embossed motif with a high-gloss finish.
The basis for effective embossing is also a suitable material. Thin paper has less body for deformation than thick cardboard. With inexpensive, coated paper, the paper´s coating layer often tends to break open with higher deformation. High-quality folding box cardboard can withstand more here. Fibre length is also an important issue: long fibres bridge height differences.
In the case of very large embossed motifs, the strong material displacement can also cause the paper to toss or curl. In extreme cases, this can result in a brochure with the cover page bulging at the cut edge.
Too fine detailled images no longer deform the material, but rather have the effect of a knife blade pressing in on the material. In this case, the paper cracks more quickly. An alternative here is usually a relief varnish instead of embossing, available in matt or gloss, depending on the objective.
During embossing, the paper is deformed. This is a mechanical stress for the fibre meshwork, which can lead to cracks in the paper. For a strong embossing result, papers with long fibres are therefore preferable. This is the case with most high-quality, uncoated design boards, such as Gmund Color. High-quality (!), coated folding box cartons, such as Algro Design, are also usually designed for embossing.
Industrial mass-produced paper, on the other hand, is often problematic: especially standard coated paper often has a lot of (cheap) paper coating to save (expensive) wood pulp. However, this much paper coating is brittle and breaks very soon. Although the embossing tool would work out even more height, the contact pressure cannot be increased any further. Uncoated cheap papers do not have a paper coating, but can also quickly show cracks due to short fibres.
Single and multi-level embossings are raised or recessed in parallel levels in relation to the paper surface. They are clearly defined geometrically. Relief embossing, on the other hand, rises and falls in free progressions. Typical examples of relief embossing are motifs such as body shapes, for example faces, statues or part of the surface of a golf ball. A typical example of a one-step embossing is a lettering that is raised in one level.
A 3D embossing is an umbrella term for all types of deformation of paper or cardboard. These include blind embossing, mere compression of cardboard or microembossing, each in the possible designs of single-level, multi-level or sculptured relief embossing.
A single-step or single-level embossing is raised in a parallel level in relation to the paper surface, i.e. it is higher.
A single-step or single-level debossing is recessed in a parallel level in relation to the paper surface, i.e. it is lower.
Viewed from the side, it looks like a step on a staircase. Hence the name.
A multi-level embossing is raised in several parallel levels in relation to the paper surface. Viewed from the side, it looks like several steps of a staircase. Hence the name. A simple example is the picture of a pocket calculator: The 1st raised step here would be the housing, the 2nd step the protruding keys. Experience shows that with 2 steps it is possible to design beautifully. However, more than 2 steps usually make little sense and should be avoided: The height differences that can be achieved are only faintly recognisable here.
In the case of debosing the result is recessed instead of raised.
A blind embossing is an embossing on paper or cardboard where there is no pre-printed embossing motif. It is therefore an embossing on a "naked", unprinted area of the paper. However, the term lacks a more precise definition, such as whether the embossing is raised or recessed or whether it is single or multi-level.
Blind embossing looks particularly good on solid-coloured, dark-coloured design cartons. The design should also be reduced and not distract visually from the embossing. On white paper and with visually distracting printing all around, the perceptibility for the eye can be severely impaired. Our tip: By varnishing 1:1 with light-reflecting, glossy UV varnish, the blind embossing can be emphasised very strongly. This is then referred to as embossing with a high gloss uv-varnish.
A raised embossing is a deformation of paper or cardboard in which the embossing motif is raised. On the reading or viewing side, the embossed motif is legible and raised, while on the reverse side of the paper it is inverted and recessed.
The raised embossing can be executed in different ways, such as single-stage, multi-level or as a sculptured 3D relief (see the explanations in the related FAQ points).
Deep embossing is a deformation of paper or cardboard in which the embossing motif goes into the depth. On the reading or viewing side, the embossed motif is legible and recessed; on the reverse side of the paper, it is consequently reversed and raised.
The debossing can be executed in different ways, such as single-stage, multi-level or as a sculptured 3D relief (see the explanations in the related FAQ points).
The term "microembossing" stands for embossing that consists of ultra-fine details. These are usually elements such as hatchings, grains, hairlines and microscopic texts or line logos. A "normal" embossing on paper deforms it in height or depth. Microembossing on paper and board, however, merely creates a fine impression in the paper surface. Microembossing by itself is very inconspicuous. Only when combined with a real metallic coating does it unfold its effect. Metallic coatings such as silver or gold reflect incident light. This makes the microembossing motif suddenly very visible.
The embossed image is always visible on the reverse side. A high embossing is therefore present on the reverse side as a side-inverted low embossing. The embossing on the reverse side is therefore often incorporated into the graphic design as a "space divider". For business cards, folding cards are often used. In the case of soft-cover brochures, folded flaps often cover the back (6-page or 8-page cover).
Yes, but only with a press-in. The thick cardboard gets compressed. A deformation of the material is no longer possible with such a thickness.
In the case of delicate motifs, tactile and visible elevation can alternatively be achieved with our UV - relief varnish.
The word relief comes from the French and stands for "the highlighted". It has its origins in geography and refers to differences in height on the surface of the earth. In art, the term relief is used for representations that stand out plastically from the background. Examples are wall ornaments or carvings. High-quality printed matter such as invitations, business cards or book covers are also often embossed in relief. While print appeals to the sense of sight, relief embossing also activates the sense of touch. This leads to a longer attention span and better memory.
Letterpress and embossing are two different processes used in printing:
A raised embossing is a deformation of paper or cardboard in which the embossing motif is raised. On the reading or viewing side, the embossed motif is legible and raised, while on the reverse side of the paper it is inverted and recessed.
Letterpress is a printing process in which the printing parts of the printing form are raised, comparable to a stamping device. The first medieval letterpress forms were carved wooden letters, which were later replaced by cast lead letters. Today, classical letterpress printing with inks is only used in niches, selling historical or classical style print matter. Technically closely related and frequently used, however, is hot foil stamping, a letterpress with coloured foils instead of liquid ink.
