This lesson is going to introduce you to a tool called the quick mask. It’s kind of the middle ground selections and layer masks, and we can also use it to very quickly create a black-to-transparent lineart, something that can be incredibly useful to have.

While this isn’t too hard, I’m going to assume you have a basic knowledge of Photoshop for this (what a layer is, the painting tools and so on.) You’ll also need an lineart or a clean sketch of some kind to work with.

Meet the Quickmask

The quickmask is a tool that lets you create a mask or selection with much more precision and versatility than the lasso, marquee and wand tools, allowing you to control the mask using Photoshop’s painting tools. It’s easier to explain through using it than describing it, so we’re going to create a quick demo image so you can see how it works.

1) First, create a new document to work with. It doesn’t really matter what size, but I’ve used a 400×400 square.

Create a new image to work with.

2) Once you’ve got your canvas, grab the lasso tool (by clicking its icon in the tool bar or by hitting the L key) and draw yourself a random shape.

Mask off a shape with the lasso tool

3) Now to check out our mask. The quickmask button can be found under your foreground and background colours on the tool bar: it’s the little rectangle with a circle inside it:

The Quickmask Button

You can also access it by hitting the q key.

When in quickmask mode, you’ll be able to see your mask or selection as a transparent red film covering the areas that are not selected.

A Basic Mask

Now here is where it gets interesting. The mask is effectively a greyscale image, with the white areas being fully selected, and the red fully deselected. But it isn’t just on or off: shades in-between will be partially selected. And it’s not just there to look at—we can edit it too.

4) You can edit the mask with pretty much any painting tool Photoshop has. Grab some brushes with different hardnesses and textures and throw down some scribbles to test this out.

Painting into our mask

Use white for areas you want to be selected, and black for parts you want to mask away. You can also use blending modes like screen or multiply on your brushes if you like, just like working into any normal greyscale image.

5) Hit the quickmask button again (or press q) to get back to normal mode. You should see the ‘marching ants’ dashed lines around the rough areas of your mask. Don’t worry if it seems like your detail has been lost, it hasn’t.

Back in normal mode

Hit ⌘+h (ctrl+h on windows) to hide the marching ants. (You can bring them back by pressing it again.)

6) Now to actually use that mask for something. In this example, I’ve just thrown down a simple gradient.

Applying a gradient using the mask

You can use your mask to apply anything—painting, fills, even image adjustments and filters.

7) You don’t just have to use the brush tools to edit the mask either. Anything that can work with a greyscale image will work, including gradients, pattern fills, filters and even cut and paste.

Using a round gradient as a mask

Painting with a round gradient mask

The applications for masks are endless, from just using them to avoid painting in certain areas, to more complex uses like selectively blurring different parts of your image to different levels. The ability to use cut and paste inside quickmask mode also gives us a quick way to create a mask from a lineart, which we will be looking at in the next part of this lesson.

Linear Speedlines

1) The first thing we need is an image. Something inked, black and white or screentoned will work best. For this one I’ve drawn a quick shot of a guy reacting to something off panel. If you’ve not flattened it, put all the layers you’ve used to make the image so far into a group, to make it easier to see what you’re doing.

Note: These techniques work best on images smaller than 2000×2000, though that’s not a hard and fast rule.

Speedlines are one of the most simple ways to add energy and drama to a comic panel, but unfortunately they’re also one of the most tedious things to actually draw. However, Photoshop’s powerful and versatile brush settings can be used to create them much more quickly.

This section of the tutorial will talk you through the process of creating a set of speedline brushes. In the second part, I’ll show you how to combine the brushes you’ve created with the path tool to quickly create linear and radial speedlines. It’s worth bearing in mind that this method does not give the exact control and results of painstakingly creating them by hand with a pen and ruler. Also, while there’s nothing hugely advanced in this tutorial, I’m going to assume the reader has at least some familiarity with Photoshop before trying this.