#mire-inheid

[otherwolves]

I love Robin so much omg What have they been up too lately? (also its so nice seeing other NB characters around, so thank you for that)

Thank-you, that makes me happy to hear!

I recently made Robin my Operator in Warframe, it was a good excuse to sketch their human appearance again:

There might also be some interesting developments between them and a certain aasimar...

[tricos-here]

🌟🌟🌟🌟 Tell me about the beepers, u weiner

I told you I have like no facts for them but ok

Blazeit-420  Blaze-22

no idea what she did before she was exo-fied but her name was Blake apparently

post-exo probably worked as a security guard or mercenary or something for Braytech

She’s mute but did you know she actually makes kinda like.. starting/ending transmission noises 

??? she’s an idiot

Miss-no-name over here

was a veterinarian turned combat medic during the Collapse 

probably has a dog or two 

has a roommate who’s ended up taking care of said dogs bc y’know, guardians duties 

pretty loud, very energetic 

??? not as much of an idiot

[mecharina]

the way you draw mechri is always so spot on omg robutts always give me a lot of trouble, so are there any advice you could give when it comes to drawing them?

Awghh, thank you for kind words. :’’’’’D 

Ah well, I really don’t know honestly? A lot of how I draw Mechari really comes from looking up at references. A LOT. I still have trouble drawing my own Mechari at times (side glances Romulus). So looking at official and concept art helps me tons when I’m drawing Mechari faces that aren’t traditionally in the game, but while keeping in mind of the aesthetics. (pics and stuff under read more)

I have compiled some Mechari refs I frequently use. Also look for other outside material! Like mech/cyborg concept art, etc. Sometimes looking at something different can help you compare what you don’t and do want out of your mechari creation.  *idk the artists for these so if anyone knows, it’d be much appreciated so I can credit them

Female Mechari Faces - Concept Art by Kory Lynn Hubbel

Male Mechari Faces - Concept Art by Johnson Truong

Male Customization Mechari Faces - Z-Brush Art *

Male Customization Mechari Body Skins - Render *

Mechari Illustrations by Garrett Hanna

1 , 2 , 3

Face shapes are particularly fun to draw, really just playing around with something like a shape or aesthetic that clicks for you. (While still working within the aesthetics of what we usually see w/ mechari. Or not, whatever floats your boat. o/ )

Like this guy is fairly simple, cyclops face, stretched out face proportions. 

Then you have this guy, who isn’t your traditionally face mechari. But from what I remember reading about them, some mechari, if they have the means, can change their appearances however they desire. So it is not out of their means if they wanted something like this. (But I’m just shooting the rounds here.)

Also counts that  you’re having fun with the process most of all.

Annnd that’s all I got really on how to make mechari faces. At least on how the process I go through making them. Hope it helps you. :’ )

[m0r1bund]

Hey i was wondering if you had any advice on inducing your art with a sense of story/colour picking? Your art always has a very strong sense of emotion in it, so i was wondering if you had advice ^^

OH WOOF that’s a really good question! and a toughie because for me, they’re all tied into one another in ways that can be hard for me to articulate.

You’ll have to forgive me if this is a little abstract, and founded heavily in my own experiences. Illustration is not something I’m formally trained in, and frankly I think other people speak on the fundamentals of it better than I do! This is only what has worked for me, and how I’ve arrived where I’m at. I am sure that some or all of it will be useless to you, or even (god forbid) utter nonsense, and so I urge you to take the best and leave the rest.

So– gonna tackle story first because that’s what shapes mmmmmost of my aesthetic decisions.

I think the big thing for me is treating not only the characters themselves, but also the world, objects, places, things– conceivably everything– as individual characters with history. This is, of course, not entirely feasible if you want to get anything done at all. But the good news is art is made of symbols and visual shorthand, and you have all of human and natural history to pull on. The more you get to know the “actors” you have at play, the more they can interact in novel ways– and the more questions are begged by their interactions, and the more answers, and so on and so forth until you’re 8 years in the hole thinking about what would happen if god decided to collab with some kid.

I think it’s a tidy way of approaching visual storytelling in illustration, too– as effective question-asking (and answering.) What’s happening here? What am I trying to say? Where am I? When am I? Who am I? What is the relationship between the different actors in this picture? How can I best communicate this? How can I have the most fun communicating this?

here’s some hypothetical ones for a piece from a month ago;

Okay, so we’ve got Sadren (upright) and Motu (on the floor.) Barring the externalities of the characters themselves, what’s happening here?

Are his eyes ok

Yes, thankfully. Sadren’s face was grievously injured by Motu some months beforehand, and Motu believed him to have died from his wounds. Sadren has smeared god’s blood on his eyes to highlight this (a practice called senuqe) and to fashion himself as a vengeful spirit.

What’s with the lantern?

That’s saint Lex’s lamp, a holy artifact that Sadren and co. stole from Motu just a few moments before.

The mask?

Motu wears a boondog mask. mask-wearing is a common practice in high Asthaom with many distinct customs that are much too exhaustive to repeat here; boondogs are macaque or drill-like primates native to high Asthaom.

The rafters?

Many forms of ancient Sarikote architecture involved carving whole structures directly out of the black stonefaces of Scaiuq, and often feature cascading arcs, loops, and circles.

the smile?

sometimes you gotta savor the fact that even god can feel fear

motu my dude are you good

No.

(And so on, and so forth. Most all of these questions aren’t answered by the image itself, but there is intention behind the design and placement of each element which the audience can speculate on– can grasp something of a story from. (I hope.))

Color is also something that’s tied up in storytelling, for me, but maybe in weirder ways than it otherwise would be. Each story in Moribund has a distinct set of palettes that I trend towards; The island Mercasor is like a memory of home to me, and is very bright, vibrant, and warm (red-turquoise-gold), where Asthaom is somewhat starker, harder, with history that has colored it more difficultly (blue-black-grey-red-bronze; usually desaturated.)

Color-picking is hard to dig at without getting into the works that guide those choices, so lemme reel that in… I try to approach color with the same sense of character that I do environments and story. I tend to choose palettes for a piece the same way that I do when I’m designing a character or object; they are often fairly limited, and you’ll see me reuse the same shades and pigments across an entire picture, sometimes even overriding colors that are distinct to a certain character’s design even if they would realistically persist in such lighting. This can unite the most radically unlike characters in a common world and emotional space, or– if those colors are left intact– set them apart and bring visual focus to them.

It’s probably worth mentioning that Moribund’s visuals are rooted in tapestries, murals, reliefs, and other traditional works of art, particularly here in the southwest. Picking colors like this probably wouldn’t be conducive to, say, a cyberpunk dystopia setting– but really, that’s the fun of navigating color and its relationship with the story you’re putting together.

I think that’s about all I got in me for tonight, but I hope at least some of this has utility to you :’^D and let me know if you need anything else! I enjoyed this question a lot.

[isei-silva]

Updated for @mire-inheid!

[foxofsunholt]

In lieu of another ask, is there a way to tell camille to fuck -me-?

also…yes

[kbearart]

character commission for @mire-inheid

[snarkspawn]

UM ROSE u cant just not tell us more about noora!

wELL ok there isn’t a lot to tell haha but thank you for asking! :3

She’s a hunter so she likes to stab and punch people in the face. And she doesn’t know anything about her past except that she has an annoying brother called Filburt, who is also a hunter and @potpourris‘ little plum, although he’d probably say that she’s the annoying one and he’s probably right because she’s a bit of a brat. Never takes anything seriously (except herself sometimes. She can be very stubborn) and like most guardians she enjoys dying and being dead. She also has a bit of a sweet tooth and her pockets are usually full of sweets. Her ghost’s name is Peanut.

Her hobbies include making inappropriate jokes at the worst possible times, embarrassing her brother and miscalculating jumping distances (and then falling down cliffs,floating rocks, buildings, mountains and other tall structures).

[jadenvargen]

omg that comic was so cute! how do you make comics that long so fast? i tend to struggle with it asdgj

WELL MY METHOD IS NOT REALLY RECOMMENDED its like. just rushing thru it cause i get so stressed by unfinished wips, so i just push through any hand cramps i get and set up goals like “ok 5 pages til this afternoon!” and drinking from a jug of water beside me at all times. i just get very excited and trip over my own feet to draw stuff, and its kind of stressful honestly so…….. I THINK ITS BETTER TO TAKE YOUR TIME, IF U CAN! 

i do think! it’s good to set up goals for yourself though. and splitting things up, like, one day you do the script, one day you sketch, one day you pick out sketches, and then split the final thing into sessions. i think..

[eldstunga]

for the emotional palettes: hungover in 27 :P (i kno its super late to ask this but here we are)

Remember I asked for palettes back in DECEMBER?I allowed myself to set the red layer to screen, I know that’s cheating a little. ;)

[juczerro]

mire-inheid skomentował(a) Twój post: I’m starting to drop the base! \o/

omg congrats! soon u will have the nicest deepest voice! i cant wait to hear it

Aaaa! Thank youuu! <3 And hell yeah! You definitely will! ^.^

[tricos-here]

a smooch

and 0.1seconds before imminent death 

ft. @mire-inheid ‘s Canole Candle

[beetrootpatch]

SOCK OMG your skills.. i cannot tell you how gorgeous your art is! i love how you paint sylvari so much and your spiky mom is.. im in love

THANK YOU! I appreciate it, painting plant people is one of my favorite things! It’s been a while since the last time I drew Draighean though, it was fun to do it again since I do enjoy her design. Glad to hear she has a fan!

[m0r1bund]

Maybe a slightly easier question but... what is your favorite symbol/symbolism to use in art and why?

ohhhh m’god that’s ramble territory but I’ll try to reign it in! Favorite is hard to say, but I mentioned the practice of senuqe off-hand and it is one of the more prolific and easy to explain.

Senuqe (or Sem Kai) is the Sarikote practice of decorating one’s scars for ritual, ceremonial, or artistic purposes. There’s a lot of different reasons one might choose to do so; some senuqe can be celebrations of the body, of experience and valor, where others are marks of grief and shame, and are adorned only in mourning. Scars aren’t necessarily physical, either. They can mark soul-wounds, invisible illness, trauma, and so forth.

[A] [few] [instances]

Mukhaillen also wears permanent senuqe (the marks under his eyes) that act as brands, marking him as the penitent Beast Out of the East. The act of re-applying them every day is like prayer to him.

edit: whoops, just noticed all the examples I had were eye markings. wanted to clarify you can mark anywhere on your body :^P

[isei-silva]

Veneann for @mire-inheid! ko-fi sketch grab!

[earth-dad]

Hey i hope you dont mind, but could you give some tips for making comics? even just short ones, cause your comics are just.. amazing tbh.

hey thanks! 

my comic process isnt really different from anyone else’s (script > thumbnails > comic) and is probably pretty chaotic since i tend to stray from my thumbnails and change scripts in the middle of drawing the pages...... lmao

so i guess my advice is to like look at comics? like lots of different kinds of comics -- long plotty ones or short stream of consciousness ones, study their layouts and panels and framing and how the dialogue/text bubbles interact with the panels and guide your eye through the layout and just like. experiment with it in your thumbnails. i spend literally 50% of the process of drawing comics just like reading comics

also what helps me is to imagine my script as a fully realized movie and try to figure out how to capture the “cinematography” in comic form. like... i looked in my sketchbook a few weeks ago and found some sketches from an older comic that was literally just “scenes” from the “movie” i imagined the comic as, numbered those scenes, and then put those scenes into a layout on a different page.

not to say that i do that exact process all the time bc some comics are easier to put down on paper than others but i spend all my time imagining scenes in my head anyway so why not take advantage of what i’m good at lmao

i think some people prefer to describe in their scripts what each page/panel should look like ? so it really depends what’s easier for you which way you decide to get into it

really a lot of what i’m thinking about when im drawing anything sequential is how to capture mood and emotion... i think about what miyazaki said about ‘ma’ a lot. the stuff youve picked up reading about other artists’ thought processes can help you think about what you want to do, not just for comics, but just creating in general