4) Once you have your masks set up, it’s time to use your brush. Create a layer in your background speedline group. Select the pen tool, and make a straight path. This should be 90 degrees anti-clockwise from the direction you want your speedlines to be going. Here I wanted them pointing left to right, so I made a path going from the bottom to the top of the panel.

5) This is where some trail and error comes in, as the next few steps will vary depending on your image. Switch to the brush tool, pick one of your speedline brushes and adjust the master diameter to the length you want the longest speedlines to be. Then, making sure you still have the path selected, hit the enter to stroke the path. I tend to prefer thinner brushes, but it will depend on the size of your image. If the speedlines are too thick or too long, adjust their size in the brush tip shape pane and try again. If you see any ‘blunt’ ends appearing, drag the path back towards the edge of the panel.

6) Our speedlines are still looking a bit sparse, so lets add some more. Adjusting the spacing and size if you like, stroke the path a few more times. The lines can be made thinner by dragging the path back towards the edge of the panel. You can either keep building the speedlines up on the same layer, or make a new layer for each stroke to give yourself a little more control.

7) Make a new layer in your foreground speedline group. Drag the path back a little and then stroke it a couple of times to put some speedlines in front of the character.

8) And there you have your linear speedlines. If they don’t give you quite the effect you want, try experimenting with angles. Generally, diagonal lines will look more unstable or uncomfortable than lines that follow the shape of your panel— which can be just what you need for a particular moment. For example, this image looks more dramatic if the lines follow that character’s gaze rather than the edges of the panel:

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