Using a combination of pressure and heat, paper is pressed between a male and female die until it stretches into its desired form. Embossing uses a recessed die, as in engraving. The embossing die remains uninked.

An emboss raises the image; a deboss lowers the image. Embossing offers the opportunity to create an effect using shadows and highlights. Dies can be either simple or complex, and a creative designer can make broad use of the technique.

An emboss can be made single-level, multilevel, sculptured or with beveled edges depending on the desired effect. For complicated designs or long runs, dies are most often made of brass. For fast turn-around jobs or single-level embosses, magnesium dies work quite well, and are easier and less expensive to produce, especially if a significant amount of handwork is required.

During the press operation, a resin “counter die” (actually a mirror-image of the embossing die in relief) serves to force the paper face down into the recessed areas of the embossing die, under controlled heat and pressure forming a clear, sharp image.

Counter-dies are usually made of cast resins; they can also be made of an embossing board material or pre-cast. The pre-cast counter die is preferred for long runs or whenever many re-runs are expected.

When planning to emboss or deboss a coated paper (matte, dull, gloss or cast coated), remember the coating can only stretch so far. It is imperative that the diemaker knows what paper and basis weight will be used, so the die will be made with the appropriate depth and configuration.

Embossing offers many opportunities for special effects beyond a simple blind emboss (an emboss made over an unprinted area).

Embossing die

Creating an embossing die is a one-time expense and, given the effect of the technique, a surprisingly modest expense. Dies may be hand-sculptured, machined in brass or some other metal, or acid-etched on a photo-engraved plate.

Single level die (bevel edge). This machine cut brass die shows the minimum bevel edge of 30 degrees. The most often used bevel on single level brass blind embossing dies is 45 degrees.

Single level embossing is especially effective for the line art and straight type. Single level dies can be mechanically etched and are more economical.

Single level die (rounded edge). Round edge brass die require a combination of machine and hand tooling.

Multilevel Die (bevel edge) This die contains several distinct levels that are machine cut. The die shows a maximum bevel of 30 degrees.

Multilevel embossing procedures an image with several distinct levels.

“Sculptured” embossing brass dies contain many levels and varying depths which produce images “in-the-round” and can be formed only by a hand tooled die maker.

The cost of a hand-sculptured die is determined by size, not by the intricacy of the detail, because skilled craftsmanship is involved, hand sculptured dies are more expensive.

There are several variations of this technique. “Blind” embossing, using no inks or foils, can be slightly glazed, using a heated die. The texture of the paper is smoothed out in the embossed area, giving a two-toned effect.

“Debossing” is simply the reverse of embossing. The paper surface is pressed down rather than up, as in embossing.

The Artwork

• The optical weight of an embossing is not the same as that of a similar printed image. In order to arrive at the desired optical weight, the embossed image may have to be increased (or decreased) in scale in order to satisfy its relationship to the balance of the design.
  
  Many embossed designs can take on additional weight through the use of texturing.
  
  The die-maker can easily add texture to flat areas of a die. Paper choice can also affect optical weight.
  
  
• The paper stock must be declared or the die-maker will make a shallow die that can be used on lightweight paper.
  
• When embossing a picture, give the embosser both a line drawing and a photograph of the object to aid in the preparation of the die.
  
• For multilevel or sculptured dies, use color-coded overlays to indicate various levels.
  
• Pencil drawings are acceptable for hand-sculptured dies.
  
• Artwork needs to be supplied as line art file, black white line copy or sharp camera ready black and white art. Keep edges crisp and clean, avoid fuzzy edges.
  
• Images must be square to the paper placement. Square images are easier to lock-up for the press run.
  
• Indicate image and non-image areas.
  
• Finished embosses look slightly smaller than original art. Compensate by increasing its size.
  
• When artwork is provided larger than actual size, indicate the amount it is to be reduced to reach actual size.
  
• Rules should be a 2-point thickness or more. 3/8 point for photo etch dies.
  • 5/8 point for flat stamp reverses on smooth paper.
  • 7/8 point rule flat stamp reverse on light textured paper.
    
  • 1 1/8 point rule smallest round rule for foil embossing.
    
  • 1 7/8 point rule smallest rule for foil emboss flat with a bevel edge.
• For small type consider a chisel emboss/deboss to hold the crispness of the type.
  
• Space type out a little more than normal to provide room for beveling to a greater depth.
  
• If the emboss is meant to register to four-color negatives should be supplied to the die maker or provide a printed sheet if possible to the diemaker.
  
• Indicate beveled edges or round edges. (See next page for symbols used to indicate your embossing desires.)

Illustrating the process

• Cut the image out of illustration board and paste it on top of another board. Place the paper over the image and rub. (For debossing use the negative space.)
  
• For large areas, cut the desired images from separate sheets of paper and lay them one on top of another.
  
• For intricate patterns, lay the page over foam core or corrugated cardboard and press on the sheet with a dull instrument.

	Debossed snap edge
	Fade off
	Round lift
	Beveled flat lift
	Multi-level (Sculptured)
	Flat lift with embossing
	Raised faceted
	Intaglio (sunk faceted)
	Round debossed
	Beveled flat debossed
	Debossed panel

Questions to be answered before quoting prices for dies.

• Do you want a handmade or photo engraved die?
  • Brass
  • Copper
  • Magnesium
  • Not sure
• Is the image emboss and/or deboss, foil emboss, or flat stamped?
  • Emboss dies
  • Emboss/deboss
  • Flat stamping dies
  • Foil emboss dies
  • Foil deboss dies
• What are the horizontal and vertical dimensions of the image?
  
• Is this a single level, multilevel or sculptural die, and how do you want the edges-beveled, stair-step, straight or other?
  
• Is this a design only or does it have a panel? If there is a pane, does it emboss or deboss?

Evaluating proofs

• Should have sharp well-defined edges. Make sure the emboss is deep enough.
  
• Any good embosser will tell you that if IT (detail) isn’t in the die it isn’t going to be in the finished job.
  
• Check for “halos” (shadows around the emboss-needs more makeready).
  
• Hold the paper up to light and check the back for ruptures or pinholes.
  
• Embossing without heat should be avoided if at all possible since the depth and fidelity of the die reproduction will be substantially limited.
  
• The texture of the paper should not be eliminated unless called for in the design.

The most out of the process

• For sharp detail or pointed edges on deeper embosses the die maker must use beveled edges.
  
• Wrinkles and puckers could occur if designs are placed too close to the edge of the paper.
  
• Small elements placed too close together will not have sufficient room to form.
  
• Borders can be most effective as a broad line border where acceptable. Larger over-sized paper should be embosssed and then trimmed to size.
  
• Borders should be avoided near folds as they become false score and cause folding at the wrong place.
  
• Envelopes can be converted before embossing unless the design cannot appear on the back.
  
• When combined with other processes embossing is usually done last, since running through another press could flatten the emboss.
  
• If embossing is too high it may be crushed by duplicating or word processing equipment.
  
• Dies generally have a beveled outside edge-usually 30 degrees to 80 degrees-to keep the paper from tearing under the pressure.
  
• Additional definition can be achieved through controlled scorching of the embossed image. This gives the emboss a glazed or polished effect. This technique is especially effective on darker colored paper.
  
• Work with the grain. A cross grain emboss may cause buckling problems.
  
• Glazing is an effect that can be used when embossing a heavy textured paper by controlling the amount of heat and pressure when contact to the stock is made. This gives the emboss a glazed or polished effect. This technique is especially effective on dark colored paper.
  
• Scorching is an effect given to an emboss by increasing the die heating plate temperature beyond normal. A two-tone appearance can be achieved on lighter colored stock. It can only be done with blind embossing. The added heat will smooth out the texture and add highlights to the embossing.

Improving your designs

• Designs should have sharp, well-defined edges.
  
• Save time by completing and sending out embossing first. The die can then be completed while you’re finalizing your work.
  
• Imprinting of names on business cards can be done after embossing if proper care is taken.
  
• Brown and dark gray cover stocks are more susceptible to scorching or glazing. Those papers that will scorch or glaze will allow the embossed image to carry a heavier optical weight.
  
• Distinctly different surface characteristics of text paper finishes provide contrast to embossed images.
  
• Light colored paper may be more effective with blind embossing as they show the interplay of light and shadows across the embossed area better than darker tones.
  
• Working with the backside of embossing the debossed side.
  • Debossing a copy area is usually not objectionable, as it does not detract from the readability of copy.
  • Design around the deboss or even “highlight” the debossed side of an embossing. Remember the backside of the counter die as it frequently bears some imperfections not visible on the front side.
  • When the backside deboss is objectionable you may laminate paper over the deboss or use a double sided sheet, then fold half to back itself up.
    
• For quality embossing, paper selection is crucial. The heavier the weight of the paper, the greater the depth and sharpness that can be achieved-24lb plus paper is preferred.
• The use of heavily textured sheets adds another design element because the embossing will press out the texture, creating a surface contrast.
  
• Cotton fiber content provides extra strength necessary to produce a deep, sharp embossed letterhead.
  
• Dies generally have a beveled outside edge.