Hot stamping foils, cold foils and holographic films for printers and converters — sourced across China's specialist foil makers, matched to your substrate and machine, and consolidated into one dependable shipment.
Connecting Global Materials.
Delivering Better Solutions.
We are an independent sourcing partner, not a single factory. That is the point: your job decides the film — not someone's production line.
Metallic, matte, pigment and holographic shades drawn from multiple specialist makers — not one catalogue.
Samples stamped on your own substrate first, so the bulk order runs the way the trial did.
Mixed shades, widths and product families combined into a single export order.
Technical data sheets and RoHS / REACH declarations supplied from the producing factory.
Start with the finished piece, not the roll. Every case is labelled by the family that actually made it — Stamping Foils transfer a design onto the surface, Lamination Films cover the whole surface and stay on it, Cast & Cure leaves only the effect behind. Filter by family, or browse by application.
The gold sits on the label, not the bottle — and on premium wine and spirits labels it is hot-stamped: a heated die presses the fine filigree onto the label stock in its own stamping pass, which is how lines this fine stay this crisp. The classic route for estate wines and spirits.
Try it for: estate wines, craft spirits, olive oil and vinegar labels.
This is how cold foil reaches a jar: the labels are foiled on the roll — adhesive printed in the shape of the design, foil pressed on without heat — then applied to the finished jars. What makes it cold foil is the process, not the label: adhesive and foil go down in-line, in the same pass as the print.
Try it for: candle and home-fragrance jars, cosmetics, food and beverage labels.
There is no label on this pouch: the gold botanical design is cold-foiled directly onto the packaging film, in-line at press speed, before the film is formed and sealed into a stand-up pouch. One pass gives the whole design its metallic finish — nothing is stamped or applied afterwards.
Try it for: coffee and tea pouches, snack and pet-food pouches, refill packs and sachet films.
No label here: the gold lines are stamped straight onto the glass itself, with a heated die. Plastic and glass grades bond where ink cannot — logos, bands and fine lines on bottles, caps and jars, with adhesion matched to the material.
Try it for: perfume and skincare bottles, cream jars, cosmetic caps and closures.
The brushed-gold band across this air-conditioner panel is foil stamped directly onto the moulded plastic itself — no label, no insert. And it is not limited to panels: the same plastics grades carry trim lines, lettering and decorative bands across the whole appliance — control panels, housings, door trims and dials on air conditioners, washing machines, refrigerators and small appliances — bonded to survive heat, humidity and years of wiping down.
Try it for: appliance panels and control panels, decorative trims, dials and housings — air conditioners, washing machines, refrigerators and small appliances.
Deep gold on black cloth and coated board, holding hairline rules and small type cleanly through casing-in and the bindery.
Try it for: hardcover editions, diaries, certificates, presentation folders.
A single foil pass turns a simple card into the one that gets kept. Grades available for both coated and uncoated stocks, in short and long runs.
Try it for: wedding suites, corporate stationery, gift and loyalty cards.
This is hot stamping on a food box: the fine gold frame exists only where the die touched the lid — the rest of the box is plain printed board. A localised design, not a gold box.
Try it for: chocolate and confectionery boxes, tea caddies, festive gift packaging.
Pigment foil is the non-metallic line: it stamps a flat, solid, matte colour — pure white on a matte black carton, a brand red, a deep blue — with no shine and no reflection at any angle, the exact opposite of a gold or silver metallic foil. Where metallic foil catches the light, pigment foil simply holds its colour, and stays opaque where print would sink and grey.
Try it for: cosmetics and gift cartons, brand-colour logos on dark board.
The foil itself carries the pattern — rainbow, pillar-of-light and custom designs, stamped onto the pack as a localised design that moves as the pack moves. The same pattern families also run as full-surface lamination and as registered transfer; the Products section separates the three.
Try it for: cosmetics and electronics cartons, event tickets, security seals.
When the whole box is gold — inside and out, edge to edge — that is not stamping. The board itself is laminated with metallised film before it is cut and folded, so the colour is the surface, not a design on it.
Try it for: chocolate and gift boxes, tea caddies, festive and Ramadan packaging.
A rigid box wrapped in brushed matte metallic board — again, the gold covers every face, so it comes from the laminated board, with a blind deboss for the leaf motif. Quiet on the shelf, unmistakably premium in the hand.
Try it for: skincare, fragrance, beauty gift sets, candle packaging.
This is what the film itself brings: a holographic lamination turns a plain carton into one the light keeps catching — the whole surface shifts colour as it moves on the shelf, and still protects the print through packing, shipping and the bathroom shelf. Metallised, gloss and soft touch finishes run on the same board.
Try it for: toothpaste, pharmaceutical and personal-care cartons.
A soft touch lamination film over deep black board gives rigid wine boxes their velvet, fingerprint-resistant surface — the matte finish absorbs light instead of reflecting it, so foil and embossing on top read sharper. The same film protects the board through gift season handling and shipping.
Try it for: wine, champagne and spirits gift boxes, limited editions and presentation cases.
Decorative composite films sit under the moulded back panel, giving fine dot textures, brushed lines and colour-shift effects that change with the light — decoration and surface protection in one layer.
Try it for: phone backs, wearables and consumer-electronics housings.
No film and no foil stay on these boxes: a reusable film casts the holographic pattern into a UV coating on ordinary board, then goes back on the roll for the next job — the light-play of a metallised carton, without metallised stock.
Try it for: cosmetics, spirits and premium FMCG cartons and sleeves.
Three families, organised by one question: what ends up on your product? A foil design transferred onto it — a film laminated over the whole surface, which stays — or an effect cast into its coating, with nothing left behind. Find your family first; the lines inside it are split by substrate and machine, the way a printer actually buys.
A design is transferred onto the surface — only where the design is. Two transfer methods sit inside this family, hot and cold; everything else is a choice of finish and substrate.
Bright golds, silvers and metallic colours, matte metallics and holographic patterns for cartons, book covers, cards and labels — grades for fine detail, large solids and high-speed rotary work.
A separate foil system from paper grades: different release and adhesive layers, built to bond directly to the item itself — plastic, glass and other rigid surfaces, where print alone will not hold.
Silver and gold cold foils applied in-line on flexo, offset and letterpress lines — above all for self-adhesive labels. Metallic print at full press speed, overprintable to any metallic shade, with no stamping die to make.
A finish of hot stamping, kept as its own line because it behaves so differently: pigment foils stamp a flat, solid colour — white, black, red, blue and more — in a matte, non-metallic finish, the opposite of gold and silver metallic foils. No shine, no reflection: just dense, opaque colour that stays true even on dark board.
One film family, two ways of using it. Laminate: the film covers the whole surface and stays on the product. Transfer: the film's metallic layer moves onto the paper and the film itself is peeled away. The advanced pattern technologies — micro-engraving and platinum relief — are delivered through either route.
Full-surface films that protect the print and set the feel of the finished piece, from everyday gloss to the velvet finish of soft touch.
The holographic pattern is in the film, and the film covers the whole sheet: the board itself becomes holographic before it is printed, cut and folded. A different product from holographic stamping foil, which places the same kind of pattern only where a die touches.
Our advanced-technology line. Micro-engraved (light-etched) holographic patterns — including high-relief platinum effects — are carried on a film and delivered two ways. In laminate form the film stays on the board; in transfer form the pattern layer is heat-pressed onto the paper and the base film is stripped away, leaving nothing on the carton but the pattern itself. Registered (positioned) transfer aligns that pattern to the printed design, panel by panel — the finish used on high-end cigarette and wine cartons.
The film is a mould, not a material: nothing of it stays on your product — only the effect, cast into a UV coating.
The film casts its micro-pattern into a UV coating on the sheet, the coating is cured, and the film is peeled away and reused — holographic, lens and textured effects without metallised board or a stamping pass.
The shade families below anchor our standard colour cards. On screen they are an indication only — foil is a material, and it is judged on the sheet, not on a monitor.
Working on a specific shade? Send us a printed sample, a competitor's foil code, or even a photograph of the finish you need to match — shade matching against physical references is a standard part of our sampling. A printed swatch book with real stamped samples on white, black and kraft stock is available on request.
Four steps between your first message and a shipment you can plan production around.
Substrate, machine type, design, estimated quantity and your deadline. Photographs of the stock and the artwork are enough to start.
Within 48 hours we shortlist the grades and shades that fit, across our partner factories — then stamped samples on your substrate follow by courier.
You run the samples on your own machine. If a shade or grade is not stamping cleanly, we adjust before anything goes into production.
Production is checked against the approved sample, and mixed shades and families are consolidated into one export shipment with full documents.
Stamped shade cards on white, black and kraft stock, plus short sample rolls of the grades closest to your work — the fastest way to see what these films will do on your substrates.
Lingo Foils is an independent film sourcing and application partner based in Foshan, in the heart of Guangdong's print and packaging industry.
A single factory can only sell what its own lines produce. We work across a network of specialist foil makers instead — so every recommendation starts with your substrate, your machine and your deadline, not with someone's inventory. And when a job needs three shades from two makers, it still leaves as one order, one shipment, one partner who answers for it.
Foshan, Guangdong, China
Tell us about the job — the more specific you are about substrate, machine and quantity, the faster and more accurate the match. Use the form to prepare your enquiry brief, then email it to us in one click — or write to us directly:
