A NEW CHAPTER AND CHALLENGE:
PRINT DESIGN IS ABOUT DEPTH OVER VOLUME
“AI and digital tools are changing how ideas are made, but print designers are still shaping how they are experienced in the real world.”
This is our 63rd year of conducting a benchmark poll to our audience on the role that print and paper play in the service of graphic communications. The quote above from our Spring 2026 poll — both a practical and a philosophical take on the value proposition of print design in a digital age — provides a piercing insight as to how the industry is evolving.
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MESSAGE FROM THE SPONSOR | BILLERUD
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Billerud is exclusive sponsor of GDUSA’s annual print and paper survey. Billerud makes high performance packaging materials for a low carbon society. We are a global leader in paper and packaging materials made from cellulose fibers, and we are passionately committed to 
sustainability, quality and customer value. We serve customers in more than 100 countries through nine production units in Sweden, USA and Finland, and around 5,200 employees in 16 countries. Billerud is listed on the Nasdaq Stockholm. In the United States, Billerud operates out of a regional head office in Miamisburg OH, two mills in Michigan’s Upper Peninsula and a converting facility in Wisconsin. We are a leading supplier of high-quality graphic and label papers, packaging materials, and market pulp. At Billerud, we build brands and business results for our customers.
Our history in the forestry and paper industry spans more than 150 years. Today, our materials are used in packaging and paper products relied on by millions of people across the world every day. Across our nine production units, we manufacture materials that our customers convert into milk cartons, fruit boxes, beauty packaging, carrier bags, cement sacks, labels, high-end publications and magazines – just to name a few applications.
The body of GDUSA’s June 2026 edition is printed on Influence® Gloss, 60 lb. text from Billerud. Influence® is a high-quality coated No. 3 web paper. More information about the products available from Billerud can be found here. Or to learn more, please contact your Billerud sales professional or visit billerud.com.
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Over six decades, GDUSA’s coverage of print design suggests several broad, though admittedly overlapping, chapters in the story of print and paper.
In the first chapter, designers were often perceived (and self-perceived) as decorators and prettifiers. Among the consequences of passivity: decisions were restricted by little product choice and lots of control by printing and production experts.
In phase two, designers emerged as creative masters and thought-leaders who added value to commerce and culture. In this phase, print was the default medium, and control and responsibility for content and production flowed upstream to the creative community — making designers the center of all things print, and sparking a golden age of creative print communications, paper specification and innovative print production..
In phase three, designers are widely appreciated for the value they bring to the table. But the dramatic rise to dominance of digital communications required the creative community to acquire expertise across multiple media and to recalibrate their relationship with print and paper into a more strategic and selective use.
In 2026, we may well to be on the cusp of a new chapter.
Graphic design today is evolving into a practice where speed and craft increasingly sit side by side.
Digital tools and AI-assisted workflows are already reshaping the early stages of the process — for better or worse — helping designers explore more ideas, test more directions, and iterate with greater speed and ease. But this shift doesn’t diminish the importance of the print designer; in many ways, it sharpens it into one that is more focused, more intentional, and more craft-driven — especially in areas where physical presence truly matters.
But seen through this filter, today’s poll results and accompanying reader comments make perfect sense. They reflect a situation in which: print and paper remain essential to branding, communication, and creative expression; the best designers and marketers don’t choose between digital and print but combine them for greatest effect in today’s integrated marketing landscape; and print designers aren’t going away but evolving and adapting.
The essence of the theory: As ideation and production accelerate, the value of the print designer increasingly lies in higher-level judgment: shaping the concept, refining direction, and making material choices that give the work weight and clarity in the real world. Print, in this context, becomes less about volume and more about depth. Fewer object, made and disseminated with greater care.
(See, also, our Editors on print ‘apocaloptimists’.)
This is, as they say, a developing story.
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SIX TAKEAWAYS FROM OUR 2026 READER POLL
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MAKING A LIVING: Print remains central to professional practice. Fully 97% of GDUSA designers include print in their mix, 61% of projects involve a print component, and 84% expect print work to hold steady or increase slightly over the next 3–5 years. Engagement varies — designers split roughly into thirds between print-first, hybrid, and digital-first — and our audience tends to skew older — but in 2026, it is safe to say that print remains a vital force and a common thread across the profession.
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CLASSIC STRENGTHS: Print endures because of its defining qualities: it’s tangible, physical, and lasting, fostering a sense of intimacy and human connection that digital media often lacks. In an environment shaped by digital clutter and fatigue, print’s relative rarity helps it stand out—fresh, personal, surprising, impactful. It also signals trust: well-crafted print feels intentional, credible, and authentic in ways that ephemeral digital communications often do not.
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STRATEGIC AND SELECTIVE: Digital is the default — faster, cheaper, more measurable, and often more appealing to clients — so print now plays a more targeted role. The most effective strategies integrate print and digital as complementary tools, especially where communication meets physical experience: branding, packaging, retail environments, events, and high-consideration categories like luxury, real estate, finance, healthcare, and education.
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CONTROL AND CRAFTSMANSHIP: As print becomes more selective, quality and craftsmanship matter more. Designers continue to assert control over key production and purchasing decisions: 82% specify or recommend paper, and 84% select printers. Again, the depth of engagement varies: print-focused and hybrid designers are the most hands-on, while digital-first practitioners tend to defer.
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PRINT DELIVERABLES: The range of print work remains broad. As always, brochures and collateral still lead the pack, with eight-in-ten designers engaged. Other strong areas, some surprisingly so: direct mail, posters, packaging, print ads, invitations, business stationery and cards, annual and corporate reports, catalogs, periodicals and publications, and books.
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EXPANDING DIGITAL TOOLKIT: AI is now part of the workflow. Three-in-four graphic designers use it in some manner, mostly for early ideation and exploration, less so for production support and iteration, and very few for final client-ready or print-ready deliverables. For now, AI is seen more as a starting point than a finishing tool, especially for print-heavy and brand-sensitive work. While digital tools drive speed and scale, print communication continues to demand craft, material knowledge, and production expertise.
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COMMENTS: HOW DOES PRINT FIT INTO YOUR PROFESSIONAL LIFE?
“Print design remains a valuable part of my work by offering something more tangible and enduring than screen-based experiences. Its physical presence adds credibility, permanence, and intention — whether in packaging, editorial, or branded materials — and invites closer attention… and encourages more deliberate design decisions that lead to stronger, more thoughtful outcomes.”
“Print design is the genesis of all design — explicit structure, image and message hierarchy and balance rely on how the design works on paper. Whether the design progresses and ends in digital media — or — in executing dimensional design of exhibitions, signage, packaging – it starts with the strength of the principles based on print.
“Print design sticks in memory because it uses touch. That’s just how brains work.”
“Print design remains a core part of my professional practice, especially in branding, editorial, and environmental graphics. While digital platforms dominate communication, print offers a tangible, controlled experience that reinforces credibility and emotional connection. I see its strengths enduring because physical materials create lasting impressions and elevate brand perception in ways screens often cannot. Rather than competing with digital, print complements it bringing depth, authenticity, and a sense of permanence to the overall design strategy.”
“Print isn’t optional…it’s a necessity. When I hand someone my business card (a silk-laminated, trading card-sized piece larger than standard), it immediately sparks a conversation. People want to touch it, ask about it, learn more. That reaction is something a digital ad simply can’t replicate. Print and digital work together, one reinforces the other. Print builds credibility and leaves a lasting impression, while digital extends the reach. As long as humans value tangible experiences, print has a place in my work.”
“I’m seeing a trend back to physical printing on paper. If designed well and with intention, print provides stability and credibility to the digital messaging.”
“Print design, as a medium, maintains a uniquely close relationship with its audience in ways digital formats cannot fully replicate. While both are effective tools, print’s tangible nature allows designers to create more grounded, enduring experiences. Its strength lies not only in tactility and perceived credibility but also in its ability to linger, cutting through the noise of rapid, short-form content with intent and longevity. As designers, it is our responsibility to reinforce that print is not a relic but a relevant and powerful medium.”
“Digital may get attention but print gets remembered.”
“There is a desire for printed material. People enjoy the tactile, the ability to sit with the printed material, read, pause and also allows for less distraction.”
“The digital media world is bombarded and cluttered with digital info. Most of the time this info
is briefly glanced at and then tossed away with the click of a button, disappearing from the viewer’s field of vision and therefore their memory. Print design work is physically present at all times and is more likely to be kept on a desk or coffee table, providing repeated, readily available exposure to the message. While digital media can be effective for immediacy, print is highly effective for and often superior to driving engagement, trust, and lasting memory.”
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“Paper makes you feel something — the weight in your hands, the texture under your fingers.”
“Print design fits into my professional life today through teaching ad and project design. I use print design principles to help students understand layout, typography, branding, and visual communication. Whether creating posters, brochures, advertisements, or presentation materials, print design remains an important foundation for developing strong design skills. It allows students to learn how to organize information clearly and creatively while preparing them for both traditional and digital design careers.”
“There’s a ritual to print… opening it, flipping pages. It slows things down in a good way. Same with unboxing.”
“Print design continues to play an important role as it offers something digital media cannot replicate. In an increasingly digital world, printed materials help organizations stand out and carry a stronger sense of credibility. While most print is supported by digital media, I believe the two work best together rather than in competition. Much of my work involves publications, advertising, and brand materials that are meant to be physically experienced. A recent project — a commemorative history book—reinforced this. After months of anticipation, the printed book gave readers something meaningful they could hold, share, and preserve, rather than another file lost in a digital archive.”
“Firm believer in hands on printed pieces as a promotional medium. My customers respond positively and expect it.”
“I think physical media is important and furthers the experience of the viewer/customer. When everything lives only in a digital world, it is easy for just another digital ad to get lost in that world, just as it is easy for that one physical piece to be held onto and remembered.”In a digital world print stands out. It’s becoming more niche and more powerful — like vinyl records for the design world.
“Print is not a format. It is a system governed by physics — ink, substrates, tolerances, and process. In my work, it remains critical because it demands real decisions, not visual approximations. Its relevance is not nostalgia or tactility; it is accountability. Digital can fake results. Print cannot.”
“People trust print because it carries physical evidence of effort and care — ink, paper, production.”
“People underestimate how much packaging shapes the way we feel about a brand. Before someone even tries the product, they’re already making judgments based on the box in their hands — the texture, the colors, the weight, the way it opens. Packaging makes a product feel premium, playful, sustainable, luxurious, or personal before a single word is spoken. And that’s why unboxing has become such a big deal. A great unboxing moment turns customers into storytellers, and that’s something traditional advertising can’t really buy anymore.”
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“There’s an honesty to print. Once it’s out there, it’s final.”
“Print is a major part of my business and has grown in the past 12 months, especially where exhibit graphics is concerned.”
“In a post-covid, social media world, I am finding people value in-person experiences. My clients are spending more money in the experiential space – more conferences, activations, trade booths. More events. In my personal work, I am seeing a surge in stationery and posters.”
“Packaging is often the first physical brand moment, which makes it interesting.”
“Print is really used now to target now. Instead of trying to reach everyone, it’s become more focused and intentional. As a designer, I’ve noticed brands use print to create more personal and meaningful connections with specific audiences, especially when they want something to feel more premium or memorable.”
“The smartest campaigns don’t choose between print and digital; they choreograph them to work together.”
“I think print design must endure! Even with AI being everywhere, there will still be a need for printed things like: business cards, flyers, physical signage, direct mail, coupons, and packaging. Or even more “boring” things like paper invoices and documentation.”
As more and more digital ads bombard users, there could be an opportunity for ‘old school’ direct marketing to make lasting impressions, as some digital interaction may create distrust through false products, businesses, and/or claims.”
“Annual reports are satisfying to work on because the challenge is simplifying complexity.”
“Packaging design and advertising design aren’t going anywhere. A physical restaurant menu is far superior to a shitty menu on my phone. There’s a reason kids love analog film and vinyl records these days, they are tactile.” “I work for a non-profit. For my audience, print is a medium that conveys authenticity and authority. Because a brochure or flyer is printed, it give the reader a sense that this piece of paper is something worth spending time with.”
“Packaging is often the first physical brand moment, which makes it crucial.”
“My primary work is direct mail and marketing communications for political campaigns, and statistics show that print medium is still the most powerful one to educate and inspire voters, so I definitely see these strengths enduring.”
“I think print design must endure! Even with AI being everywhere, there will still be a need for printed things like: business cards, flyers, physical signage, direct mail, coupons, and packaging. Or even more ‘boring’ things like paper invoices and documentation.”
“We use many printed materials for recruitment purposes for our college. We also still do a printed magazine and many short run or specialty projects for events.”
“Print will always be a vital part of the advertising industry. Especially in consumer advertising.”
“I like brochures because they let me build structured narratives.”
“We are being asked to do more Invitations and event graphics because people are tired of experiences that disappear after a swipe. A designed invitation feels intentional — it tells you this moment actually matters. Whether it’s a wedding, a launch party, a gallery opening, or even a corporate event, the design sets the emotional tone before anyone walks through the door. Digital convenience never killed the desire for tangible experiences. People want keepsakes again. They want things that feel crafted, personal, and worth remembering. Event graphics and printed invitations create anticipation in a way a calendar link never can. They turn an event from ‘something happening’ into something people genuinely look forward to.”
“Print doesn’t really compete with digital — it supports it. The two work best when they’re used together. Digital is great for speed and reach, while print adds a more personal, tangible experience that people can connect with differently. When combined, they help create a stronger and more consistent brand experience overall.”
“Spatial design is exciting because it pushes print into 3D thinking.”
“We use print less often, but when we do, it carries more weight because it’s usually tied to a bigger system. Print now feels like a physical doorway into digital experiences.”
“Print is often reserved for the audiences that matter most now. Luxury brands use print because it slows attention down. For cars, real estate, legal and financial stuff, print allows space for detail. When selling expensive products, print signals permanence and seriousness.”
“People want keepsakes again.”
“I see print and continuing to have value alongside digital. For instance, I design a lot of books for both print and ebook. And brochures are still valuable along with websites and digital advertising.”
“I’m seeing a slight uptick in print work … mainly for event collateral to give a premium touch.”
“I love and will always love print. Digital is fleeting, you see it one second and it’s gone. Print endures, people cherish and share print and will continue to do that.”
“I think there will always be a place for print. There is nothing like the experience, but sadly, I don’t think people in their 20s and 30s would agree with me.”
“A good poster in the real world can still cut through everything else going on.”
“We use print as a way to pull people into a bigger digital experience. Print grabs attention first, then directs people online where they can explore more, interact with the brand, or keep engaging with the campaign. The two really work hand in hand.”
“Magazines let you control rhythm across pages, and with books you’re shaping a whole experience.”
“Stakeholder touchpoints are increasingly digital first (and maybe likely digital only). Print materials elevate brand image, but don’t make it in front of most who interact with the brand.”
“A high-end brochure feels more like editorial than advertising.”
“Sustainability isn’t some extra checkbox at the end of a print project anymore — it has to be part of the design process from the beginning. The paper stock, inks, finishes, packaging, shipping, production waste — every decision matters. Good print design isn’t just about making something look beautiful, it’s about making something responsibly and thinking about the full life of the piece after it leaves the press.”
“Most clients say they care about sustainability, and a lot of them genuinely do — but when budgets get tight, cost usually wins. If there’s a cheaper paper stock or production option, that’s often the direction the project goes. As designers, we try to push for more sustainable choices where we can, but budget is still the thing driving most print decisions.”
“Unlike digital, print comes with real production costs — paper, ink, finishing, distribution, time.”
“I never forget that the paper stock you choose completely changes how a design feels. If I’m working on something with rich photography, bold colors, or high contrast — like luxury packaging, product catalogs, or marketing pieces — I’ll usually spec a premium coated stock because it holds detail better and gives the ink more punch. The colors feel sharper, blacks feel deeper, and the whole piece looks more polished. But when I want something to feel warmer, more tactile, or more personal, I’ll lean toward premium text and cover stocks with an uncoated finish. That’s usually better for invitations, stationery, editorial work, or anything where you want people to interact with the paper. Uncoated stocks absorb ink differently, so the colors soften a little, but sometimes that’s the point. Good designers pick it based on emotion. The paper is part of the message.”
“Print is permanent, which is special, but digital lets you adapt in real time. Digital is more dynamic.”
“AI will change print design for sure, but I don’t think it replaces designers. It just removes some of the repetitive work. The real value in print design has always been the thinking — knowing what feels right, what connects emotionally, and what makes something worth holding onto. If anything, AI makes originality and human judgment even more important.”
“The entry barrier is higher in print and there are real consequences.”
“Honestly, the biggest thing AI gives me is help at the very start of a project. It’s great for quickly exploring directions, pulling references together, and stress-testing ideas before I commit to anything. A lot of the early thinking that used to take days — moodboards, research, rough concepts — get moving in hours. It doesn’t replace the creative decisionmaking, but it makes getting to that point a lot faster and open-ended.”
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“The danger of AI isn’t bad design, it’s too much ‘good enough’ design.”
“My fear isn’t that AI will take the place of graphic designers completely; it’s that it’ll flood the world with fast, cheap, mediocre design and make people forget the difference between real craft and disposable content. Then design starts to lose its intention and clients stop valuing process, thinking, and originality. That’s the dangerous part, dilution.”
“AI is a great starter but a terrible finisher.”
“Some days I think AI is amazing for creativity, and other days I think it’s making everything start to look the same. I can use it to brainstorm faster, test ideas, write copy, build concepts, and get past creative blocks, it definitely helps. But I also struggle with the fact that a lot of AI-generated work feels kind of empty after a while. Good design usually comes from real experiences, personal taste, mistakes, culture, and human perspective — not just remixing. Print design especially makes me think about this because print feels intentional. You’re choosing paper, texture, finishes, colors, making something physical that people actually interact with. I don’t think AI is automatically bad for creativity. I just think we have to be careful not to let convenience replace actual ideas.”
“We have to be careful not to let convenience replace actual ideas.”
“People think AI will replace print designers because it can make layouts fast. But print design isn’t just moving stuff around on a page. It’s about materials, texture, scale, color, and knowing how something actually feels in someone’s hands. AI can copy aesthetics, but it can’t replace taste or experience.”
“Print will always be a part of my work. My clients recognize the importance of having something in someone’s hands. Interestingly, I do not use AI for anything other than image searches because the vendors have now incorporated it in so much of their workflows. My clients come to me because I do not use AI.”
“AI and digital tools are changing how ideas are made, but print designers still shape how they are experienced in the real world.”
