STEPS: Brushing to a Parallel Time Line

1. Open the image you want to warp into the fourth dimension. I begin with a map of Japan (Figure 7-34). Japan is a wacky combination of 17th-century cultural uniformity, 1950's innocence, and 21st-century corporate imperialism, so it strikes me as a perfect subject for my compound-time experiment.

2. Apply a couple of filters. I choose Filter ^ Pixelate ^Mosaic and set the Cell Size value to 20 pixels. Then I apply Filter ^ Stylize ^ Emboss with a Height of 5 pixels and an Amount of 200 percent. Figure 7-35 shows the results.

3. Choose the History Options command from the History palette menu. Then turn on the Allow Non-Linear History check box and press Enter.

4. Click the Open item in the History palette. This reverts the image to the state at which it existed when you first opened it. But thanks to non-linear history, Photoshop retains the alternate filtered versions of the image just in case you'd like to revisit this timeline in the future.

5. Click in front of the first filter effect in the History palette to make it the source state. In my case, I click in front of the Mosaic item.

Figure 7-34: This map of Japan comes from the Digital Stock image library.
Figure 7-35: The results of applying the Mosaic (left) and Emboss (right) filters. Both effects are overstated, so I'll undo them and then paint them back in with the history brush.

6. Select the history brush and start painting. As you do, you'll paint with the filtered version of the image. For my part, I set the blend mode to Darken and painted around the island country to give it a digital edge, as in the first example of Figure 7-36.

Figure 7-36: I set the brush mode to Darken and painted in the Mosaic effect with the history brush (left). Then I changed the brush mode to Overlay and brushed in the Emboss effect (right).

7. Switch the source state by clicking in front of the second filter effect.

Naturally, I clicked in front of the Emboss item.

8. Paint again with the history brush. This time, I changed the brush mode to Overlay and painted randomly over Japan and the surrounding ocean. The result appears in the second example of Figure 7-36.

After you finish, you can toss the filtered states. This alternate timeline has served its purpose. Or keep it around as a snapshot to come back to later.

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