New Year, New Designs: The Journey into 2025 Digital Print Embellishments

New Year, New Designs: The Journey into 2025 Digital Print Embellishments

On January 21, a diverse group of print and design professionals gathered online for a meetup titled “New Year, New Designs: 2025 Trends & Inspiration.”,  Hosted by Matt Redbear, the session featured voices from across the industry, including Sabine Lenz of PaperSpecs, David Drucker (an experienced printer known for pushing artistic boundaries), Kevin Abergel (a writer and print-marketing strategist), and other knowledgeable participants. For 66 minutes, they engaged in a spirited conversation that blended lighthearted banter with deep dives into color theory, next-generation print technologies, and the sometimes competing aesthetics of minimalism and maximalism.

Below is a narrative account of the discussions, insights, and anecdotes shared during this illuminating meetup. Spanning everything from Pantone licensing woes to advanced finishing experiments, it reveals how an industry in flux relies on creativity, collaboration, and curiosity to keep moving forward.

1. Setting the Stage: Warm Greetings & Early Insights

The virtual “door” to the meetup opened promptly, revealing a series of familiar faces. Matt Redbear, the session’s host, welcomed everyone with an easygoing enthusiasm that instantly set the tone. Sabine Lenz joined from San Francisco, mentioning it was still early morning on the West Coast. David Drucker logged on soon after, displaying a recently produced invitation piece. The group was curious about his process—was it done digitally? Did it involve any advanced finishing?

David explained that most of his work involves digital presses, unless the job demands specialized analog processes or finishing steps. He held up the invitation in front of his webcam, pointing out its vivid colors. That alone prompted questions from the group: “Which press did you use?” “Are these specialty colors?”

In a moment that foreshadowed the meetup’s technical depth, David revealed he had tweaked the color by slightly reducing black in the separations, causing the other inks to “pop” more. From there, the conversation veered into a topic known among pre-press veterans as selective color. It was a prime example of how small changes in color formulas can dramatically enhance a finished piece.

Sensing the group’s interest, Matt gave the floor to other experts. Sabine interjected with a humorous remark about “dirty pictures,” clarifying she meant muddy-looking images. Kevin and others chuckled, and the light moment paved the way for a detailed discussion on color correction. Matthew (the same “Matt,” who was hosting) stressed that removing unwanted hues—especially from shadows and highlights—can yield cleaner results. He referenced how some designers don’t realize that what appears “white” on-screen might contain traces of other inks once printed, leading to a dull or off-white look.

This quick lesson offered a window into the intricacies of digital printing. Rather than letting the conversation become overly technical, Matt engaged the participants in clarifying questions. It was clear that even among seasoned professionals, there are always new insights to learn or old techniques to revisit.

2. Delving Deeper: CMYK, Ink Densities, and Pre-Press Constraints

As more attendees joined, the group started tackling the challenges of maximum ink densities. Certain digital presses can’t exceed a total ink coverage of around 220–240% without complications. Older web presses, which print on very thin paper stock, can be even more restrictive. This concept might seem niche to an outsider, but for professionals juggling brand colors, it’s a daily balancing act.

David and Matt recalled their own experiences: “If you exceed those thresholds, the press will compress or alter the color space anyway,” one participant noted, referencing tools like Fiery. Kevin, who was documenting much of the conversation, asked how clients react when color compressions lead to slight deviations in the final piece. David emphasized that most acceptance issues arise when designers are unaware of the press’s constraints. Good communication and test prints go a long way.

At one point, a participant jokingly proclaimed, “We can all go home now—we’ve learned enough already!” The humor underscored how quickly the session had moved from small talk to advanced print theory. Yet everyone seemed eager for more.

3. The State of Digital Embellishments for 2025

With the mood set, Matt smoothly guided the meetup toward its central theme: embellishment and design trends for 2025. Sabine, known for her educational content on PaperSpecs, revealed that confusion remains high among many designers about what is technically feasible. Despite the array of available press capabilities—raised UV, specialty foils, textured finishes—most creatives still operate within an older, narrower view of print.

That comment sparked a broader reflection: Why do these knowledge gaps persist? David offered a perspective shaped by decades in the industry. He argued that print professionals must become more proactive in suggesting ideas. “Designers won’t ask for advanced finishing if they don’t know it exists,” he observed. Matt affirmed this, pointing out that in some shops, staff function only as “order takers,” while in others, they see themselves as consultative partners.

The conversation also touched on the broader cultural backdrop. Matt noted how styles from the 1990s persist, coexisting with modern tastes in what feels like an endless “melting pot.” No single aesthetic truly dominates; minimalism and maximalism sit side by side. At design conferences, one can see pastel minimal layouts next to flamboyant, intensely layered compositions.

Sabine likened it to the Pantone “Color of the Year” phenomenon. “It’s often just marketing,” she said, “but it can still spark interesting experiments.” The group agreed that these official color trends sometimes drive brand interest—yet many designers remain skeptical, seeing it as a fleeting hype. The real excitement, they concluded, often lies in fusing old-school design principles with new technologies to produce something fresh.

4. Pantone’s Licensing Shift: A Spotlight on Real-World Impact

Almost inevitably, the talk shifted to Pantone’s split from Adobe—a development that has rippled through design and print communities. Pantone’s spot colors have long been the gold standard for consistency, but with Adobe no longer bundling Pantone libraries by default, many designers are left scrambling.

David and Matt explained how they handle brand color requests: building swatches manually, referencing older color books, or inputting precise LAB values. Sabine posed the question: “Does anyone actually pay for Pantone’s new subscription?” The group consensus: hardly anyone they know. People prefer workarounds—partly out of budget considerations, partly out of frustration with new licensing models.

Though it might seem tangential to a conversation about embellishments, the topic showed how every corner of print design is intertwined. If a brand wants a specific Pantone color, the simplest path used to be selecting it in Adobe’s software. Now, designers must be more resourceful, possibly layering in extra steps or special inks. For print professionals, it’s another reminder that the industry’s technical and business landscapes can shift without warning.

5. Extended Gamut Printing vs. Refined CMYK

Sabine next asked if participants used extended gamut technologies—like adding neon pink or metallic channels—to match Pantone or achieve unusual colors. David said he tends to push standard CMYK as far as he can, citing decades of experience in adjusting formulas. Matt, however, mentioned a new wide-format printer that accommodates up to seven additional channels (white, clear varnish, neon inks, etc.). This capability drastically expands the color space and finishing options, particularly for packaging or large-format signage.

The discussion underscored how not every shop has the same technological arsenal. Some rely on skillful manipulations of CMYK, while others invest in cutting-edge presses. Yet the goal remains the same: delivering color-accurate, eye-catching prints that stand out.

6. The Frontier of Large Format: SwissQprint and Lenticular Effects

A highlight emerged when Matt introduced SwissQprint, a large-format technology that can print on everything from acrylic sheets to wooden doors, layering textures and varnish. Lenticular printing—creating images that shift when viewed at different angles—captivated everyone’s imagination. Matt lamented the scarcity of tutorials. Often, the only path is trial, error, and direct contact with an “application specialist.”

Sabine, well-connected in the industry, offered to introduce Matt to someone named Jason at SwissQprint. It was a quintessential moment of community problem-solving: new technology, incomplete official documentation, and a puzzle best tackled via personal networks. Their exchange symbolized how advanced finishing—and, by extension, digital embellishment—sits at the cutting edge of printing. The machines are powerful, but user guidance can lag, making knowledge-sharing essential.

7. David Drucker’s Safari Book: A Case of Copper Gilding and Ambition

One of the meetup’s most compelling moments came when David described his safari book project—eight deluxe volumes for a billionaire client who had hosted a safari for VIPs. Rather than defaulting to gold foil or standard embossing, David experimented with embossing copper onto the covers. He worked with a partner, Metal Magic, cycling through multiple copper thicknesses. Early tests revealed the risk of breaking the die, but David persisted.

The final result featured sculpted zebra imagery in copper foil, copper-gilded edges, and an overall look that conveyed a genuine “safari” flair rather than generic luxury. The group marveled at David’s willingness to push the boundaries. As Sabine and Matt both noted, his story exemplified how advanced embellishments can elevate print from mere ink-on-paper to high art.

David also described the next phase: testing how the same embossed die would look on various stocks—metallic, dark, or shimmer. Each version refracted light differently, creating a mini science experiment. It was an inspiring illustration of what happens when a printer invests time and resources into exploring new frontiers, sometimes with no immediate guarantee of profit—just for the pursuit of excellence.

8. Bridging the Gap: Educating Designers on Press Capabilities

Throughout these case studies, a recurring theme emerged: designers often don’t know the extent of finishing, foil, varnish, and color manipulations possible on modern digital presses. Sabine echoed the challenge: “They just don’t have the time to learn all of this. They’re juggling multiple roles, from website design to social media.”

In an industry survey Sabine conducted, the lack of time and resources to understand new print technologies ranked among top concerns. David stressed that it’s incumbent upon printers to speak up, to present a design suggestion that might exceed the client’s initial vision. “We’re not just vendors,” he said, “we should be collaborators, or else these techniques remain underused.”

9. 2025 Design Predictions: Matt’s Trend Rundown

Eventually, Matt revealed a slideshow detailing the design directions he anticipates dominating in 2025. The group welcomed this structured overview, which blended aesthetic observations with practical printing considerations.

• Textures and AI-Generated Patterns

  • Designers are leaning into textured visuals—film grain, organic brush strokes, chaotic scribbles—often aided by AI. This approach creates a sense of tangibility, especially when combined with real print textures like spot UV or raised varnish.

    
    

• Ethical and Inclusive Design

  • Expect more emphasis on accessibility, from color-blind-friendly palettes to simpler typographic arrangements for neurodivergent readers. The meetup participants noted that this shift extends beyond websites into physical print materials.

    
    

• Nostalgia Meets Sustainability

  • Retro influences—from ‘80s neon to ‘90s bubble typography—merge with eco-friendly initiatives. Print runs might be smaller, but they’re imbued with recycled stock or biodegradable foil, reflecting a global push for greener solutions.

  
  

• Minimalism vs. Maximalism

  • At the extremes, some brands favor austere minimalism (using copious negative space and subdued color) while others opt for energetic, hyper-detailed “maximalist” layouts. Both are valid. Both can include digital embellishments.

  
  

• Unconventional Color Combos

  • Matt shared examples of unexpected pairings—burgundy with electric lime, coral with green, lavender with olive. Some combinations drew praise, others raised eyebrows. The lesson? Designers are increasingly unafraid to clash colors if it means standing out.

  
  

• Retro Serifs, Bubble Type, and Custom Masking

  • There’s a resurgence of fluid, curvy type reminiscent of vintage posters. Matt showed social media ads featuring bubble letters cut out with shape masks—a technique that could benefit from digital foil or spot coating in print.

10. Copper as the New Gold?

One tidbit that excited the meetup was the suggestion that copper might overtake gold in popularity. With David’s safari book as a shining example, the group predicted that earthy metallics—copper, rose gold, bronze—have a fresh, organic appeal that resonates with current design sensibilities. Gold and silver still hold timeless charm, yet copper feels unique and sophisticated for 2025’s aesthetic wave.

Sabine pointed out that adopting a novel finish helps brands differentiate. “If every premium brand uses gold foil, it starts to lose its impact,” she noted. Copper, by contrast, can feel both high-end and unexpected—a combination that catches consumer attention.

11. The Importance of Collaboration & Learning Opportunities

As the meetup edged toward its conclusion, Sabine announced she would host a webinar on January 30, diving deeper into the hottest print design trends for the new year. She emphasized that short print runs no longer inhibit advanced embellishments. Digital technology allows for even small-batch, personalized runs to feature sophisticated foil, varnish, or raised textures.

Matt congratulated her on the initiative, recognizing that these webinars fill a critical education gap. In turn, Kevin mentioned how communities like the Digital Embellishment Designer Meetup or Taktiful events serve a similar purpose: sharing knowledge in real time. Together, they demonstrate how a once-exclusive realm of specialized finishing is increasingly accessible—if designers and printers know where to look.

12. Reflections: An Industry in Motion

By the final minutes, participants had covered an impressive range of topics. Some key takeaways include:

1. Educating the Client (and the Designer): Printers can’t rely on clients to request advanced embellishments; they should propose them.

2. Technology Evolves Faster Than Documentation: New machines (like SwissQprint) appear regularly, but tutorials often lag, making personal networks vital for learning.

3. Creative Experimentation Pays Off: Projects like David’s copper-embossed safari book highlight the value of risk-taking and iterative prototyping.

4. Style Is Cyclical, but Execution Is Evolving: Whether minimal or maximal, nostalgic or futuristic, modern design can harness digital embellishments to stand apart.

The synergy between those who attended—printers, designers, and marketers—demonstrated a willingness to exchange ideas. From pre-press hacks (removing black from color builds) to entire new finishing frontiers (lenticular illusions), the meetup illustrated how dynamic and intertwined modern print has become.

13. Looking Ahead: Tactical Trendsetters and Further Gatherings

Near the end, someone alluded to an emerging initiative called “Tactical Trendsetters,” envisioning bite-sized videos that explore upcoming design directions. Matt, as host, encouraged the group to keep innovating and sharing. He thanked each participant for their insights, noting how the meetup format fosters immediate problem-solving—one person mentions a challenge, another offers a connection or tip.

With final waves and promises to see each other at the webinar or next month’s designer forum, the session wound down. Yet the sense of forward momentum remained palpable. The conversation underscored that 2025’s print industry will blend advanced digital finishing, fresh color approaches, and a willingness to mix styles or eras. Printers who become educators—and designers who remain open to suggestions—stand poised to create breathtaking results.

Conclusion

The January 21 meetup provided a snapshot of an industry amid a thrilling evolution. Host Matt Redbear guided discussions on everything from fundamental color tweaks to next-level embellishments like textured foils or lenticular prints. David Drucker’s copper safari book showcased the artistic heights that result when a printer dares to explore uncharted territory. Sabine Lenz reminded participants of the continuous learning imperative, pointing to her upcoming webinar and the ongoing need for community-based education. Kevin Abergel, alongside the other attendees, added perspective on marketing, brand identity, and the commercial viability of these trend shifts.

While the session lasted only 66 minutes, it contained enough insight to fuel months of creative experimentation. As print runs get smaller, design demands get more personalized, and new color technologies become mainstream, the potential for digital embellishments continues to grow. The ultimate lesson from this meetup is that curiosity and collaboration, more than any single piece of equipment, will shape the future of print. Through forums like these, professionals combine practical know-how with imaginative flair—elevating mere ink on paper into something truly memorable.