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What it does
Flat digital artwork reads as flat because it has no substrate. Paper Fiber puts one underneath: the image is settled onto a paper ground and then disturbed by the three things that actually make stock look like stock.
How it works
The image is blended seventy percent of the way over a paper ground, so the paper keeps a real presence in the highlights instead of being a texture pasted on top.
A broad value drift is added from smooth noise at a fourteen-unit amplitude, which is the slow unevenness you see when you tilt a printed sheet to the light.
A second, deliberately stretched noise layer runs at one fifth the horizontal frequency of the vertical. That anisotropy is what reads as fibre rather than as generic grain.
Roughly one pixel in a hundred is darkened sharply to stand in for the specks and inclusions in uncoated stock.
What each control changes
Scale
Sets the fibre and drift frequency. Lower values give tight, dense tooth; higher values give the loose unevenness of heavier stock.
Contrast
Applied to the image before it meets the paper, so it changes how much the stock shows through the midtones.
Intensity
Opacity of the paper layer over the untouched image. Below about eighty the original reads through the stock, which keeps fine detail while still gaining a substrate.
Ink palette
Chooses the paper colour. Ember is warm and uncoated; Ink is cooler and closer to a book page.
Reseed
Redraws the fibre and fleck distribution without touching anything else. Useful when a fleck lands somewhere awkward.
Good for
Poster and album artwork that needs a physical substrate
Editorial layouts and zines
Softening artwork that looks too clean or too digital
Less suited to: Images where fine detail must stay legible at small sizes; the fleck and fibre layers compete with small type.