BRUSHES OMG i just made a bunch of csp brushes and bgs are so much easier now what have i been doing???
also 3d models for things i can draw bc fuck it.
also also overlay layers for shading so i dont have to shade every piece by hand are a godsend....or just not shading when light isnt playing into storytelling.
gradient. maps. seriosuly i have brushes that are in black and white i just slap gradient maps over.
also using the same pieces for similar panels and tweaking them a little.
I've learnt a few hacks for speeding up my work ^^
Zoom in and blur the BG as you include your characters in them! Zoom out and repeat process for several panels! I tend to create at least 2-3 angles of a certain area so it isn't too repetitive.
For CSP users: AUTO ACTION! AUTO ACTION! AUTO ACTION! Search the tags in the asset market and download as many relevant auto actions as you want! They've helped me out a ton!
In all honesty, the best hack I've used is to use bucket fill for colouring 
For illustration art or if I'm doing cover art, I colour the base in desaturated peach and colour above them. This is for when I have more time on my hands. (Example below isn't my art but it's a similar trick to what I use! I might try doing this in one of my episodes actually!
Some of the main ones that come to mind that I've picked up before starting comics in earnest a few years ago and now:
Switching to full digital. I started out making webcomics with traditional line art and... I can't emphasize enough how much extra time that added onto the whole process for each page. From having to fully erase and redraw elements that were off or needed to be resized or rotated slightly, to having to use a light box to trace repeat panels or backgrounds, to erasing out the pencils (or using other tools to do so) to scanning (each sheet 4 times because of the paper size). Working in full digital has been a huge all around time saver.
I've seen mentioned above, but something that I just recently discovered and started to use was layer masks for various things. Flats, shading, backgrounds... everything. I'm sure I'm not using them to full effect yet but just the sheer amount of clean up work that they remove is insane.
using the lasso tool more liberally. For coloring in flats, for shading complicated areas/shape over laps, quickly defining texture areas, etc.
Another one I saw mentioned above: custom brushes. I admittedly don't have too many yet... but I just recently learned how to make brushes out of patterns/shapes and can tell that has potentially useful applications as I try it out more. For now I made one to easily paint freckles on one of my characters tho.
Paths are another thing I've just recently discovered and started using. Especially since I use a custom slightly textured brush for inking, this allows me to quickly and easily stroke my panel borders, speech bubbles, store paths of characters to lay down a base for the flats and sometimes add a thick outline, etc. I've set up custom actions to quickly save selections as different types of path (panel, speech bubble, or character) and label them accordingly and then they become a useful too for saving and modifying selections easily.
Speaking of... actions in general. Another thing that I'm sure I'm not using to full capacity, but I only first learned what they were a year or so ago and I've made a few useful ones. The aforementioned path saving ones, one that sets up all of the typical layers and guidelines in a new file, etc.
Being faster to identify when I need or should be using a reference and bringing that into the sketching process earlier. Despite knowing that references are good I've often been reluctant to actually go seek them out unless I get really stuck on drawing a certain thing. I've been trying to get useful to pulling in references frequently even on things I'm confident I could "fake" well enough to increase the speed and quality of atypical things that I draw.
Well, for regular layers it's just what it sounds like, a mask to make sure that you would never' say' overpaint something you don't want to. But for me the greatest usage is using it with flat shading colors - I color on the b\w mask directly, and can instantly switch between drawing and erasing by simply pressing X to switch black and white. So much more convenient that jumping between two tools with the different settings.
I JUST learned it recently;
In Krita, the magic wand tool's range can be expanded. So now I have a faster way to colour and shade, being able to do it in a few minutes rather than half an hour.
I am so excited cause it means I can make stuff faster now!
Oh yes, too much BG can make reading fell sluggish. This gives me a better solution for one of my panel. Thanks! 
Well so far:
- customize your keyboard shortcuts -- I customized the keyboard shortcut for the tools wherein all the keys will be near my left hand, while I draw using the right hand (if you're right handed just reverse it P.S. I'm Ambidextrous btw)
-separate your color layer and line art/ make a copy for your lineart - trust me, if ever you screwed up, you don't have to redo the damn thing all over again
- name your layers not necessarily all but at least the important ones --- it will prevent you not to paint/fill the wrong layer and easier to change the colors if ever you decided to
- if you're using the wand tool: pressing Ctrl, while selecting the areas that will have the same colors
- using clipping mask
This is a really great tip that I’m only using just now 25 episodes into my comic. This is the best way to make backgrounds in my experience.
Yes definitely! It’s basically looking at the bigger picture and then going smaller. It’s helped me out a ton ^^
character sheets, using simple forms, drawing with a time limit, learn to use 3d models, quick poses
i learned the most when i did 24 hours 24 pages comic books because it shows all the weaknesses
you have when you work under a strict time limit
Mine are
•having the script laid out first
•having a colour palette
•sketching it on paper and going over it
•doing new scenes in layers (sometimes I can just add to a scene instead of making a new one)
First thing i had to do was to divide my chapters in parts... Before starting to draw i wrote the entire plot, with dialogues, plot twist etc...
Soon i learnt that if i didn't divide the chapters in parts i had to draw too much and couldn't keep up with my schedule.
Now:
- I create a super long ps file where i roughly sketch out the entire chapter (i even write inside the frame sometimes, like "that building here", instead of drawing)
divide this long ps file into smaller files to edit in clip studio (usually from 5 to 13 panels)..
Frames and Lineart layers are vector layers.. Then i set them as "reference" layer (this is very important and it's something that only Clip Studio lets you do)
once i set the reference layer, guess what? the fill tool knows the "boundaries" of lineart and frames so i just click whenever i want the color and it just gonna fill itself!!
Export:
I use a script for photoshop i found online which cut my file into many layers of 800 x 4000 px (tapas size) or 800 x 1280 (webtoon) this a life saver as well... maybe i'll share the script in a post here eventually, d'you think it'd help?
EDIT: @Darth_Biomech HOLY SH*T the 3d room method is dope!!
If you want to resize lineart smaller in Photoshop, put a minimum pass on it. This is super useful for dealing with stuff like photos in a picture frame that appears several times in a scene.
Offset is also a useful function if you want to do looping patterns.
I reuse backgrounds from panel to panel if the setting is the same location.
Which is easy if I work in batches like you mentioned.
I also reuse lineart occasionally, but that kinda rarely happens.
I also kinda gave up on doing shading via a multiply layer, replacing it with inking, most of the time.
Transitioning from traditional to digital. the way I use I use to work was
Draw artwork on paper---> scan it into the computer ---> open it in photoshop ---> rearrange the panel ---> then sketch it over again---> then lineart.
But after I got comfortable with drawing straight into the computer, I was able to get done a whole chapter in three weeks (sketches ready for lineart) the speed was tremendous. I'm so happy. lol
also, I make my own seamless patterns in photoshop.
I'd be VERY careful with that, since your readers are going to be viewing your work just a page per week or maybe even less, so you need to keep the pacing in mind. It's excruciating to wait for a week and then all you get is two panels with no dialogue in them. My readers have already complained about that in their usual sarcastically-venomous way.
Maybe it's better to initially draw bkg's with zooming in in mind, bigger? Then you won't need to blur them. I tried to use blurred BKGs, but it instantly went into "this doesn't look right, and it's ugly" territory for my style, so nowadays whenever I can I just use either gradients or abstract extremely blurry blobs of color that roughly match the bkg.
This is the advice I learned for myself but wasn't sure if it was good advice to give others. A lot of advice on backgrounds is how to more easily make detailed ones and I was thinking "I just save time by either making them incredibly simple or not making them at all, am I doing it wrong?" So it's good to see someone with more experience provide affirmation.
Though I do primarily gag comics and I figure most audiences don't pay heed to details like that for comedy. But I have an upcoming comic that's supposed be more aesthetically similar to mainstream manga, so I was getting worried that this time-saver might not fly as well for that type of work.
Yeah, it's totally fine (especially in manga where pages are so small, there just isn't the page estate. Even in really detailed works, they save backgrounds for spreads and large panels to make the reader feel like they live there, and then they go back to simplified stuff) you just want to avoid the feeling of being in the void, and it's really up to the artist to know if they're making a void or not, which just takes experience to get the hang of.
Yes, pacing needs to have something occur every update, I totally agree with you on that. But what I meant isn't so much about pacing as it is about composition. Sometimes we over-complicate (I totally do this) and cram 14 panels on a page with one line of dialogue per panel, when 4-6 with multiple lines of dialogue in some panels would have been better and easier to read. So like...you're right, and don't go too far and say "one panel a page it is!" because it's still sequential, and panels are still necessary to tell comic book stories, but...likewise if there's too much content on a page it is a really bad time, and it needs to get edited down.
