Create a Picture Volume page effect with Photoshop

Create a Picture Volume page effect with Photoshop

The volume page effect is one of the cosmetic effects we use in designing images. Many filters can be done, such as by the Avbros, Pagecurl, or the famous kpt. But if used you will find that these filters to make the effect is too rigid, more important is not realistic enough, at a glance to see the traces of artificial. So I just used it once and I gave it up. This tutorial may give you some insight if you and I do not like the fixed mode of the filter and want to express your image in a more flexible way.

Since we're going to use a lot of path knowledge in this tutorial, before we start, I hope you've been able to manipulate Photoshop's path tools more skillfully. If you are a novice in Photoshop, this tutorial will also help you review the use of the path. 1. Let's start with the simplest volume page effect. Create a new document, 320x420 pixel size, resolution 72, white background. Select the rectangular vector shape tool, with a new work path, draw a rectangle that is about the size of the page, and leave a gap between the edges. (Figure 01)

Figure 01

2. Select the work path with the direct selection tool, select the Pen tool in the Toolbox, select Automatic Add/Remove on the toolbar above the screen, and add a node to the right and bottom edges of the path. Hold down the ALT key, place the pen on the newly added node, and you can see the pen tool become the conversion point tool, drag the node, change it to a smooth point, press CTRL, the Pen tool becomes the direct selection tool, move the new node up the bottom, and the new node on the right moves to the left. , then move the node in the lower right corner to the bottom left of the page, convert it to a smooth node, drag the smooth point, then adjust the direction point, adjust the position of the curve segment. As shown in the diagram, adjust each curve segment with the Bézier curve to make the perfect contact (Figure 02). The completed path shape is the shape of the volume page. Open the Path panel and save the work path for easy modification. The path is the key to the effect of the volume page and must be carefully adjusted.

Figure 02

If you are not accustomed to using shortcut keys, you can also use a variety of appropriate tools to achieve, but this is much less efficient.

3. Below we want to use this path shape. Create a new layer, named paper, choose the same hue and depth of two colors as the foreground/background color, where I choose the foreground color rgb (221,191,151), the background color is RGB (238,224,204). When the path is visible, press Ctrl+enter to convert the path to a selection, select the linear Gradient tool in the new layer, and drag the gradient tool diagonally to make the selection from the upper-left corner to the lower-right corner from deep. (Figure 03)

Figure 03

4. Create a new layer under the paper layer, named Curl. Select the polygonal Lasso tool, as shown in Figure 04, to select a selection.

Figure 04

Pay special attention to the edge of the selection and the curve tangent, that is, can not be more, and can not be less. (Figure 05)

Figure 05

Reverses the foreground and background colors, and fills the selection with a linear gradient. There's a miracle! Since the curl layer is under the paper layer, all unnecessary parts will be overwritten so that you have initially completed the Volume page effect. Alternatively, you may need to deepen the background color to increase the contrast of the page. (Figure 06)

Figure 06

It is important to note that if your path is properly drawn in the previous step, you will easily achieve the desired effect at this step. But if the angle of the curve is not appropriate, then the Volume page effect will be very blunt. In this case, you have to go back to the path, readjust the path, and then use the gradient Fill method to test the effect. Because sometimes the path looks good, but after filling the color, the shortcomings will be exposed. You may have to do many times to achieve a satisfactory result. In addition, the direction of the gradient is also very important.

5. If you are looking at this step, it will prove that you have obtained the desired path curve. Next, we'll add some cosmetic to the volume page effect to make it more natural. First, you need to increase the thickness of the paper. The method is simple, create a new layer on the paper layer, named Stroke, load the paper selection, set the foreground color to white, select Edit > Stroke command, stroke width 1px, position inside. Cancel the selection and use the eraser tool to erase the excess parts. Reduce layer opacity. In this way, a fairly thick piece of paper appeared. The thickness of the paper depends on the stroke color you use. For example, if you use the foreground color RGB (244,235,226) to stroke, you will find that the paper is thinner than the white-painted paper (Figure 07).

Figure 07

6. If you feel that the gradient is not ideal for performance, can be a new layer on the curl layer, named Highlight, select a large number of soft writing, with white in the page roll up the corners of the spray to increase the high light, control the stroke as soft as possible, reduce the opacity to 51%, layer blending mode to overlay. Within the curl layer. Select the Deepen tool to set the range to midtones, with a exposure of 25%, and deepen on the opposite side of the high light. (Figure 08)

Figure 08

7. There are many ways to increase the icing on the surface, the most commonly used is to add shadows to objects. In our case, the irregular shape of the paper determines that we cannot use the usual method. We need to sketch out the shape of the shadow ourselves. Open the Path panel, use the Pen tool to tick the following path (Figure 09), Save the path, convert it to a selection, create a new layer under the curl layer, name it shadow, and fill the selection with black. After canceling the selection, the Gaussian blur filter is used, with a radius of 2 pixels. Reduce the layer opacity to 47% (Figure 10).

Figure 09

Figure 10

But the shadow is too flat, not real enough, so we add a layer mask to it, set the foreground color to white, set the background color black, select the linear Gradient tool, set the gradient opacity to 53%, make a gradient in the mask, and shade a part of the shadow. (Figure 11)

Figure 11, a simple volume page effect is completed. (Figure 12)

Figure 12

8. I know that there is no point in making such a blank volume page. We need to apply it to the image. In this example, we will do this for a movie poster. If you have successfully completed the previous section, the rest is just a lift. Open the poster image, adjust to the appropriate size, copy it to our image, place it on top of the paper layer, and temporarily close the stroke layer (Figure 13).

Figure 13

Holding down the ALT key, point the mouse to the poster layer on the layers panel and the paper layer, and the grouping icon appears. Group the poster layer and the paper layer below. In this way, the shape of the paper layer determines the shape of the poster layer, the poster will naturally appear the Volume page effect. (Figure 14)

Figure 14

9. But this is still far from enough, because there are images and text, so we have to take care of the posters inside the image and text distortion. To achieve the most natural twist effect, there is no replacement filter. You can copy the paper layer and fill the shape with a vertical gradient. Then use the substitution filter to distort the image. If you can use the replacement filter skillfully, you will get a good result. But this method is more difficult, we use a simpler way to replace it. Select the poster layer, press ctrl+t, pull out the deformation box, select the Twist command, the deformation box to the lower right corner of the control point to the center of the page dragged. The poster will have the appropriate twist effect. Until you feel fit, determine the deformation (Figure 15). This method, although not very precise, has been able to meet the general requirements of the image.

Figure 15

10. Open the stroke layer, because the color image of the following relationship, white strokes appear a little thin. You can copy it, and then use an eraser that reduces transparency to part, flattening the copy layer and the stroke layer. Why not put the stroke layer and the paper layer together, then group the poster layer? In that case, the white stroke layer does not appear at all. We can also add a brightness/contrast adjustment layer on the poster layer and set the brightness to-10. Add a layer mask, with a white to black gradient, from the top left corner of the adjustment layer to the lower right corner to make a gradient, shaded part of the adjustment effect. This makes the image volume page more natural. (Figure 16)

Figure 16

11. Finally, we add the background to the image. You can attach a texture, or some other background image. In this example, I made a marble texture as a background. If you are interested, you can refer to: New document, 320x420 pixel size, resolution 72, white background. Restores the default foreground and background colors, and after rendering with a cloud filter, performs a stylized > contour filter to produce a marble texture (Figure 17).

Figure 17

Copy the background layer and change the blending mode of the replica layer to multiply. To several replica layers to do varying degrees of ambiguity, reduce the opacity of the layer. Adjust colors with hue > saturation. Make cloud rendering with black and white, then make two layers of clouds, make the contrast larger, coloring with hue > Saturation command, and keep roughly the same color as just the coloring. Use this layer as a background layer. Finally, you can copy a texture layer, blur it with a motion blur filter, and make it appear striped and added to the marble as noise. (Figure 18)

Figure 18

The texture of the marble depends on two aspects: a random cloud filter effect, and a set of contour levels. You can start to adjust in this way. To get a nice texture image, try more. Pay attention to the texture color and image matching. Finally, all the layers are merged, the texture image is copied to the working document, and all the work is done. (Figure 19)