Taking Your Graphics to the Next Dimension

Oh, how far print has come. It might have started off simple with just text on pages, but time, creativity, and advancing technologies gave us an explosion of ways to put ink on any number of substrates for vibrant, eye-catching applications. However, the industry wasn’t content to stop there: It entered the third dimension. Today, dimensional graphics are exploding in popularity, and for good reason.

“When we look at the dimensional graphics space, a significant trend is the increasing use of tactile elements to create an engaging, multi-sensory experience,” says April Lytle, regional marketing manager at Scodix North America. “This goes beyond traditional techniques, with brands now leveraging these elements for both aesthetic appeal and a more inclusive consumer experience.”

Dimensional textures help bring this wallcovering to life. Even using a repeated pattern can make a big difference. | Credit: Roland DGA

And it’s not just adding dimensional elements to flat graphics that has seen an uptick in popularity, Philip Chu, Roland DG’s UV printer product manager notes. He says, “The power of UV printing makes it easy and cost-effective for users to incorporate eye-catching dimensional and textural effects into their prints, adding value and visual appeal. Such effects can be printed directly onto three-dimensional objects (including cylindrical items) or onto flat surfaces for applications like wall wraps or displays.”

Those trends aren’t going anywhere either. Maggie Grande, senior marketing and communications manager for Konica Minolta, notes that “embellishment of varnishing and foiling,” along with “textured printing, which gives dimension to the printed piece” are the top trends she sees driving the space forward. She sees adoption rates increasing, as “printers want to offer more value-add to their customers, and print buyers are looking to differentiate product packaging. Customers like the tactile feel of dimensional printing.”

“As far as the biggest trends are concerned, I see continued growth for UV printing in the area of product decoration. Demand for customized/branded promotional items and personalized products is at an all-time high,” Chu says. “And we expect this growth and popularity to continue, especially with the increase in online stores. Previously, it was much harder to get customized items, as the equipment was very expensive. Those creating such goods had to deal with minimum quantities to make up for that, which is why most of the orders were for larger groups, like company retreats. Creating customized items for smaller gatherings, such as wedding parties, was more expensive. The introduction of more affordable high-quality UV printers has allowed print professionals to provide on-demand product customization more cost-effectively.”

Lytle points out many of the same trends, noting, “Over the next 12 to 18 months, we anticipate this trend will mature further. As digital embellishment technology becomes more accessible and integrated into workflows, brands will explore more advanced forms of tactility. This will include a greater focus on functional tactility — where texture serves a purpose beyond aesthetics — and seamless integration with other technologies to create more immersive and interactive brand experiences.”

Putting Tactile into Practice

It’s all well and good to note that dimensional graphics are a fast-growing segment, but what types of applications is it really best for? After all, while it would be nice if every single printed project had an element of tactile interaction, that’s probably an unreasonable expectation.

Luxury applications are the first that come to mind, as they are the ones that have been using dimensional elements the longest.

Printers can use modern dimensional print technologies to create regulation-approved ADA signage. | Credit: Konica Minolta

“Most often, you’ll find dimensional printing used for applications where a premium look and feel is essential — luxury packaging, book covers, and high-end invitations,” Lytle notes. “These are all about making a strong first impression. For a long time, foil was the primary way to add a tactile element, largely because it was one of the few options available through traditional, or analog, printing methods. The use of tactile varnishes is a more recent development.”

But dimensional printing has applications that go beyond the traditional brands. Kitt Jones, segment manager of Interior Design and Surface Decoration — Roland DGA, says, “Dimensional printing is most used for applications that benefit from added texture and tactile appeal, such as product decoration, packaging, promotional items, POP/POS displays, custom, and décor elements. UV printing excels in this space by allowing direct printing onto objects, giving brands the ability to transform plain, blank surfaces into visually striking, high-value products that feel premium to touch, enhancing perception and driving sales.”

Direct-to-object technologies allow printers to not just create vibrant graphics directly on nearly any object that will fit in the machine, but also add elements designed to make people want to pick them up, feel them, and pass them around. Promo products are great candidates for adding dimensional elements across the board. Sure, you can have a ball, or bottle, or other promo item with vibrant, eye-catching graphics, but when you add that extra tactile element, now people will want to pick that item up and keep it, not just admire it from afar. This means that brand’s name and message is going further, increasing the ROI of every single piece.

Plus, Chu points out that dimensional printing isn’t just for decorative purposes. Today’s technologies, he notes, can be used to print Braille that is ADA-compliant, opening entirely new avenues and applications many printers didn’t have the resources for in the past.

Lytle also points out that when thinking about dimensional effects, it encompasses more than just adding a rough texture to a piece. She lists:

• Tactile and EU-Compliant Glitter: Today’s technologies can produce a “glitter” effect that looks and feels just like traditional glitter but is completely compliant with EU environmental standards and doesn’t use actual glitter particles. This is a game-changer for brands that want to create an exciting, sparkling product without the associated environmental concerns.
• Holographic Varnish and Light Effects: We can use raised varnish patterns to create stunning optical illusions with holographic foil. The light bends as it hits the raised surface, producing a beautiful, highly visual effect that captures consumer attention.
• “Cast & Cure”: This technique allows for semi-transparent holographic effects in hundreds of patterns. It’s an excellent way to add a layer of sophistication and security to a product without overpowering the design.
• Uncoated Substrates: A common misconception is that you can’t get high-quality dimensional effects on uncoated paper. However, current technology allows for extremely high varnish builds on these materials, resulting in new possibilities for everything from unique packaging to high-end print.

Where to Start?

If you’re already thinking of all the ways you can add texture and dimension to your customer’s next projects, the next question you might be asking is, “Where do I start?” Of course, each manufacturer calls out their own technologies, but they offer tips on where to look beyond just the equipment, as well.

Dimensional printing can be used for more than just flat printed pieces. Creating eye-catching book covers is another way to use the same tech. | Credit: Scodix

“For print providers looking to add dimensional capabilities, the first step should be to evaluate their goals, consider their existing client base, and determine the types of applications they want to pursue — whether that’s high-end signage, displays, interior décor, or added value markets,” says Jones. “In terms of technology, UV printing and DIMENSE offer complementary solutions.”

Chu also highlights DIMENSE technologies, but points out, “Direct-to-object for personalized items and interior signage are two very common uses of textured/dimensional printing. Roland DG’s VersaOBJECT family of UV printers makes these types of applications easy, both for experienced users and those who are new to item decoration and personalization.”

Grande notes that printers should consider the “Konica Minolta/MGI embellishing and Konica Minolta AccurioWide UV-LED wide-format equipment,” along with “business development programs and tools” designed to help build the files correctly — and sell it all to customers.

“If a printer wants to add dimensional elements to their capabilities, the best way to start is with digital foil. It’s an economical and efficient option for low-to mid-run jobs and prototyping,” Lytle says. “Choosing the right technology is super important too. Not all digital embellishment technologies are the same, so it’s crucial to carefully evaluate quality. A key step is to review the recommended media lists from suppliers. This tells you which inks, processes, foils, and substrates have been thoroughly tested and proven to work best.”

She continues, “You also need to consider sheet size. Different technologies support different sizes, such as B1 or B2. You should choose a technology that matches your current or planned production needs. Look for a solution with software that integrates seamlessly with your existing web-to-print or other automation systems.”

But it’s not just about the equipment, it’s about learning how to get the best effects, and how to bring those ideas to customers.

“Third-party organizations like Nielsen and Clemson University have conducted numerous studies on the power of touch in consumerism,” Lytle notes. “The Foil & Specialty Effects Association (FSEA) is another great resource, who are actively leading research into the impact of tactility. These sources provide valuable, data-backed insights that can be used to demonstrate the tangible (or …tactile) benefits of dimensional printing to clients. Companies like Taktiful offer extensive market reports specifically focused on selling digital embellishment. Their resources include research on tactile finishing and current marketing trends, which can help sales teams position these products effectively.”

Jones stresses that printers have more to gain by embracing dimensional offerings in whatever form they ultimately choose.

“Many print providers are underutilizing dimensional printing in areas like interior décor, architectural wall coverings, custom furniture wraps, object decoration, custom signs, and displays,” Jones says. “These applications are often overlooked because printers are used to flat graphics workflows and may perceive textured or sculpted printing as complex, time-consuming, or requiring specialized equipment.

Additionally, many shops focus on volume over value, missing the opportunity to differentiate their offerings and command premium pricing. In reality, dimensional printing in these spaces adds tangible value, allowing businesses to transform ordinary surfaces into immersive, tactile experiences that clients are willing to pay more for, especially when delivered on-demand.”

Setting Up Files for Success

Learning how to make effective use of white ink layers is another critical component of getting the most out of dimensional prints, Grande says. “You will need a white file to build up the texture (dimension) and a color file. Learn Adobe Illustrator and learn how to correctly tag those white files. Start out with basic layering, then move to more complex layering. Spend the time experimenting and testing the market. Understand value-add selling, and price accordingly.”

“File setup can be handled very easily in Adobe Illustrator, Corel Draw, or any vector-based drawing program,” Chu agrees. “You need to use layers if you’re looking for a spot color treatment (i.e., highlighting a specific area in gloss).”

Jones concurs, pointing out, “Setting up files for dimensional graphics is straightforward once you understand the workflow. Designers typically use a spot channel or spot color in popular design software to define which areas of the graphic will be raised or remain flat, giving precise control over texture and relief.”

In the end, Jones notes, it’s more about getting started than knowing where you want to end up. “The best advice I can give someone just starting with dimensional graphics is to think big but start small. Understand the technologies and focus on understanding how texture and relief can enhance the perception of value for different applications, whether it’s décor, product decoration, or signage.

Investigate your market and talk with your current clients to see what resonates with them but also investigate other markets and customers you could potentially reach.

“It’s also important to understand how each application can drive ROI, to differentiate your offerings from your competitors, and to always keep the end user and their experience in mind. Lastly, I’d say look into the evolving technology of dimensional printing and understand the opportunity it presents, as this is an amazing tool to help move you and your business into a profitable and unique future.”

Lytle tells PSPs just starting out in dimensional graphics to experiment.

“Don’t be afraid to try multiple different designs at once; the digital process makes it easy to produce various proofs, often on the same sheet. As you experiment, remember that your substrate (material) is just as important as the design itself. The print process and the specific settings you use, like dyne level, are critical to achieving a high-quality result. To ensure the best outcome, always follow a recommended material list and consult with experts who understand the science behind these processes. By keeping these factors in mind, you’ll be well on your way to creating stunning dimensional graphics.”