Your artwork lives in Photoshop, and the people who need to see it do not. Export your layered pages as a single PDF, upload it here, and Flipbooks AI turns that file into a flipbook that turns page by page on any phone, laptop or tablet. Colors stay true, type stays crisp, and nothing gets flattened into a slideshow. Nothing to pay, no ads, no watermark over your pages, and as many PSD projects published as you care to export.
Put your Photoshop pages in reading order and export them as a single PDF in sRGB, at around 150 pixels per inch, with crop marks turned off. One file is all the upload needs.
Upload the PDF and the flipbook builds straight away. Choose the page turn, add your logo, set the background, attach links or video to the pages, and set a password if the work is not public yet.
Publish with one click, copy the link and send it to a client, a collaborator or your mailing list. Embed it in your portfolio site if you keep one, and check the analytics once people start reading.
Open your Photoshop document, put the pages in the order you want them read, and export the whole thing as one PDF rather than a stack of images. Upload that PDF here and the preview builds straight away. Choose a page turn style, add your logo, set the cover, drop in any links or video, then decide whether the piece is public or password protected. Check it on your phone before you publish, since that is where it will be read. Publish, copy the link, and the work is live. No design skill is needed at this stage, because the design is already done.
A Photoshop to flipbook converter takes the pages you designed in Photoshop and turns them into a booklet a reader can flip through in a browser. Photoshop does not publish a flipbook on its own, and there is no honest way around that, so the route is simple: save your pages as one PDF, then upload that PDF here. Flipbooks AI reads the file, keeps your layout exactly as you set it, and adds the page turn. What the reader gets is your spread, at your size, with a corner that lifts when they drag it. What you get is a link instead of a folder of exports.
The export is where most Photoshop flipbooks go wrong. Use File then Save a Copy, choose PDF, and keep the page order the same as the artboards or layer comps you built. Turn off crop marks, bleed and registration marks unless the piece is going to print as well, because a reader on a phone does not want a border of printer furniture. Flatten transparency on export so a blend mode does not shift, and keep compression moderate rather than maximum. A page that looks soft in the flipbook was almost always soft in the PDF first.
Photoshop files built for print usually sit in CMYK, and screens do not speak CMYK. If you upload a CMYK PDF the browser converts it on the way in, and your deep blues and warm oranges can shift. Convert to sRGB yourself before exporting, using Edit then Convert to Profile, so you see the change on your own monitor while you still have layers to correct it with. Keep a print copy in CMYK and a screen copy in sRGB. It takes a minute and it is the difference between artwork that looks like yours and artwork that looks close.
The usual way of showing multipage Photoshop work is a zip of JPEGs or a PDF attachment, and both put the reader to work. They download, they unzip, they scroll, and the order you intended falls apart by the second page. A flipbook holds the sequence. Page two follows page one because it is bound that way, spreads sit side by side the way you designed them, and the whole thing opens from a link with nothing to install. You also stop resending files every time you fix a kerning pair, because the link points at whatever version is current.
Print work is built at 300 pixels per inch and a flipbook does not need that. Screens read comfortably at 150, and a page around 1600 pixels on the long edge is plenty for zooming into detail. Exporting a long catalog at full print resolution gives you a very heavy PDF that crawls on mobile data and looks no better on arrival. Downsample on export, keep image quality high rather than maximum, and check one detailed page at full zoom before you publish the lot.
A flipbook shows a flattened page, so anything that depends on live layers has to be resolved before the export. Rasterize smart objects you have scaled hard, check that layer effects such as outer glow and drop shadow render the way you expect, and make sure no text layer is sitting on a missing font. If you use blend modes across groups, judge the exported PDF rather than the Photoshop canvas, because the two can differ. Once the PDF is right the flipbook shows exactly that, with nothing added and nothing removed.
Flipbooks AI keeps the parts of a design job that usually get lost in transit. Your page size and margins survive the upload, so a spread stays a spread. You can drop a clickable area on a product shot, embed a video beside a still from the same shoot, add quiet background audio to a lookbook, and set a cover that opens on its own. Add your own logo rather than a badge belonging to the tool, choose the page turn effect, and pick the background the pages sit against. There is no watermark across the middle of your work and no page limit to design around.
The frame around your pages is part of the presentation. Put your own logo in the corner, set the background color to something that flatters the artwork rather than fighting it, and choose a control style that stays out of the way. Studios that publish regularly keep the same settings across every piece, so a client opening a new flipbook recognizes it before reading a word. Several languages are supported, which helps when the same catalog goes to two markets.
A Photoshop page is a still image, and a flipbook lets you attach things to it. Put a link on a product so it opens the shop, on an address so it opens a map, or on your name so it opens your site. Embed a short clip beside a still to show the same shoot in motion. Add quiet background audio to a lookbook. Give the piece a table of contents so a reader can jump to the section they came for. None of this changes your artwork, it sits on top of it.
Photoshop holds a lot of different jobs. A photographer builds a wedding album. A studio lays out a brand book. A retoucher assembles a before and after portfolio. An agency mocks up a campaign deck it never wants to rebuild in slides. All of them export the same way and all of them become the same kind of flipbook. Twelve pages or two hundred, one spread or a full seasonal catalog, the upload does not change and neither does the price.
Client review usually means a chain of attachments with version numbers in the filename. A flipbook link stays the same while the file behind it changes, so the client always opens the current round. Send one link to everyone who has to sign off, protect it with a password while the work is under wraps, and turn off downloading when you would rather a draft did not circulate. When feedback arrives you republish, the same link shows the new version, and there is nothing to resend.
Graphic Designers
Photographers
Design Studios
Art Directors
Retouchers
Freelancers
Plenty of PSD work was laid out for paper: a magazine, a program, a menu, an exhibition guide. Those files make good flipbooks because the pagination is already there and the reading order is already decided. Strip the bleed, convert to sRGB, drop the resolution to a screen size, and the piece reads on a phone the way it read in the hand. It also gives a print job a second life for the people who never got a physical copy, which is usually most of them.
Most people will open your work on a phone, often while doing something else. Flipbooks AI scales each page to the screen without cropping your composition, so a full bleed image stays full bleed. Readers swipe to move, pinch to zoom into detail, and double tap to fill the screen with a single page when a spread gets small. Nothing installs, nothing asks them to sign up, and the first page appears while the rest loads behind it. Your careful type stays readable at thumb distance, which is where most of the reading actually happens.
Photoshop pages are image heavy by nature, and that is the one thing that can make a flipbook feel slow. Flipbooks AI compresses each page for delivery without touching your original, and shows the opening pages while the rest arrive in the background. A reader on a train sees page one immediately instead of a spinner. If you also downsample on export, a long catalog opens about as fast as a short one.
Nothing here asks you to change how you work. Design in Photoshop, place the pages in InDesign if that is your habit, or bring in something a colleague built in Canva or Figma. Everything arrives as a PDF and the upload is identical. The embed code drops into a portfolio site, a Webflow page, a WordPress post or a shared team doc. The tool is the last step of your process, not a new one to learn.
Design work carries a logo already, and it should be yours. Flipbooks AI is completely free, with no watermark stamped over your pages, no ads beside them, and no upgrade prompt sitting on the cover. You get unlimited flipbooks, unlimited pages and the full set of options, including branding, password protection and analytics, at no cost. That matters most for the work that pays nothing back directly: a portfolio, a spec piece, a personal project you still want to look finished.
Most designers have years of finished work sitting in project folders that nobody will ever see again. Exporting the good ones and publishing each as a flipbook turns that archive into something you can link to from a portfolio, a proposal or a message to a prospective client. Keep them together in one place, give each a clear title, and send the one that matches the brief instead of a general reel.
I shoot weddings and I used to send albums as a zip of JPEGs. Half the couples opened them out of order and the sequence I spent a day building was gone. Now I export one PDF from Photoshop, upload it, and send a link that opens on their phone with the spreads intact. Nobody has asked me how to unzip anything since.
Product catalogs
Our studio does brand books, and clients kept opening old versions out of their inbox. The flipbook link never changes, so we republish and the current round is what they see. The password option means we can share a pitch before anything is announced without worrying about where the file ends up.
Client lookbooks
I had years of finished PSD projects sitting in folders nobody would ever see again. Over a weekend I exported the good ones, published each as a flipbook, and now I send the one that matches the brief instead of a general portfolio. It cost me nothing, which still surprises me.
Newsletters and programmes
The color shift caught me out the first time. I uploaded a CMYK export and the reds went flat. Converting to sRGB in Photoshop before exporting fixed it completely, and the second version looked exactly like my monitor. Worth knowing before you publish a whole catalog.
Portfolio flipbooks
Some work cannot be public: a campaign before launch, a pitch you did not win, a client who has announced nothing yet. Put a password on the flipbook and share it only with the people who need it. Turn off downloading so a draft does not travel further than the meeting it was made for. Hosting is secure, and a private flipbook is not listed anywhere, so the link is the only way in.
When the flipbook is ready, sharing takes one copy and paste. Send the link in an email, drop it in a client thread, or put it behind a QR code on a printed card. Embed it on your own site so the work sits in your portfolio rather than on a file host. If the piece is not public yet, put a password on it and hand that out separately. Nobody needs an account to read it, and nobody needs the right software, which is the part that usually breaks when you send a design file.
The difference between a flipbook someone skims and one they finish is usually a handful of small decisions. Open on the cover rather than a spread. Put a contents page right after it. Add a share button so a reader can pass the piece to a colleague without saving anything. Put your contact link on the last page, where somebody who reached the end is most likely to use it. None of it is technical and all of it changes how the piece lands.
| Application | Rating | Unlimited Credits | Usage Rating | Description |
|---|---|---|---|---|
| 10/10 | Yes | 1 | Flipbooks AI takes the PDF you export from Photoshop and publishes it as a real flipbook: page turns, clickable areas, embedded video, your own logo, reader analytics and a link you can send anywhere. Unlimited flipbooks, no watermark, no ads and no subscription. | |
Adobe Photoshop | 5.2/10 | No | 2 | Photoshop is where the pages get made, and nothing replaces it for image work, retouching and composition. What it does not do is publish. It exports files, and somebody still has to turn those files into something a client can open without Adobe software installed. |
Adobe InDesign | 7.1/10 | No | 3 | InDesign is the better place to build long documents, with master pages, running heads and proper text flow. It exports interactive PDFs too, but a reader still needs a PDF viewer, there is no page turn, and nothing tells you whether the document was ever opened. |
Adobe Acrobat | 8.3/10 | No | 4 | Acrobat is a capable PDF reader and editor and it handles forms and signatures well. As a way of showing designed pages it stays plain: the file downloads, opens in a viewer and scrolls. Presentation and reader tracking are simply not what it was built for. |
Issuu | 6.4/10 | No | 5 | Issuu is a long running publishing platform with a large public library and a reading experience people recognize. Free accounts wrap Issuu branding around your pages and cap what you can upload, so a designer who wants the frame to be their own tends to end up paying. |
FlipHTML5 | 7.8/10 | No | 6 | FlipHTML5 converts PDFs into flipbooks and ships a large template gallery for people who prefer to build pages inside the tool. The free tier marks your pages and holds back the reporting, so the parts a studio would use day to day arrive with a subscription. |
Heyzine | 6.9/10 | No | 7 | Heyzine has a pleasant editor and good looking turn effects, and it gets a first flipbook out quickly. Free accounts limit how many flipbooks you keep and add a badge, and the branding controls a design studio cares about sit on the paid tiers. |
Behance | 8.1/10 | No | 8 | Behance is a strong place to be seen, because the audience is already designers and the clients looking for them. It presents work as a scrolling project page rather than a bound document, so pagination, facing spreads and a cover do not survive the trip. |
Publuu | 6.5/10 | No | 9 | Publuu makes clean flipbooks and its link tracking is genuinely useful for sales work. Free use is limited in pages and in how many flipbooks you keep, and the parts a designer cares about, such as removing the branding, belong to the paid plans. |
Image Files by Email | 7.6/10 | No | 10 | Sending a folder of JPEGs is free and everyone can open them. It also arrives out of order on half the devices, loses your facing spreads, tells you nothing about whether anybody looked, and needs resending every single time you change a page. |
Not every Photoshop job is a catalog. A single announcement, a seasonal promotion, a conference handout, a mood board built for one client and one meeting. Publish each as its own flipbook with its own link and its own numbers, so you can see which piece got read and which did not. Because there is no limit and no cost, a small job is worth publishing properly instead of being emailed as a JPEG and forgotten.
A PDF attachment tells you nothing at all. A flipbook tells you how many people opened it, which pages they stayed on, and where they closed it. For a portfolio that is useful feedback: if everyone stops at page four, page four is doing something wrong. For client work it is quiet evidence that the deck was read before the meeting rather than during it. The numbers are simple and kept per flipbook, so you can compare two versions of the same piece without setting anything up.
Design files age badly. A PSD needs Photoshop, a particular version of it, and the fonts you happened to have at the time. A flipbook is a web page, so it opens in any browser on any device, now and later. Updates arrive on their own, new phones are supported as they appear, and nothing on your side needs maintaining. Work you publish today will still open long after the file it came from has stopped opening cleanly.
Not yet. Photoshop files carry layers, smart objects and live effects that a browser cannot read, so export your pages as one PDF first and upload that. The export takes a moment, and the flipbook then shows exactly what you designed, with nothing flattened wrongly or reordered.
If your pages are separate documents, use File then Automate then PDF Presentation, add the files in the order you want and save a multi page PDF. If the pages are artboards inside one document, use File then Export then Artboards to PDF. Either route gives you the single file the upload needs.
Use sRGB for anything that will be read on a screen. CMYK is built for ink, and when a browser converts it the saturated colors can shift. Convert the document to sRGB in Photoshop before exporting so you see any change while you can still fix it, and keep the CMYK version for the printer.
Around 150 pixels per inch is plenty for reading and zooming on a screen. Full print resolution makes a much larger file that loads slowly on mobile data and looks no sharper once it arrives. Export one page at your chosen setting, zoom into the finest detail, and if it holds up the rest of the document will too.
Yes. Every flipbook is free, with no watermark on your artwork, no ads and no page limit. Branding, clickable links, embedded media, password protection and analytics are all included, so a portfolio piece costs exactly what a client catalog costs, which is nothing.
They stay exactly as the PDF renders them. Type reads crisply because the flipbook shows the page at reading size and lets the reader zoom further. Layer effects, blend modes and smart object scaling are resolved during the export, so check the PDF once and what you see there is what readers get.
Yes. Your artwork stays a still image and the interactive parts sit on top of it. Attach a link to any area of a page, embed a video clip, add background audio, or build a contents list that jumps to a section. Nothing is redrawn and the layout does not move.
Yes. Fix the artwork in Photoshop, export again and republish. The link stays the same, so a client who bookmarked it sees the new version without you sending anything. That is the main reason designers stop attaching PDFs to email threads in the first place.
If you still have questions or want to explore more details about our features, limitations, and usage, we invite you to visit our full FAQ page.
