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A monthly manual devoted to teaching how to Iearn lo draw the ROBOTECHTM animatedcartoon characters and fighting craf! in an intelligent and easy to understand way. Fach irpsuewill cover one or more characters or devices from each of 1he three major storylines thatmake up 1he ROBOTECHY saga. Each storyline will t- featured in rotation. Issues 1 through4 will focus on lhe M ACROSS characlers, issues 5 through 9 will cover the SOUTHERNCROSS characters, and issues 10 lhrough 1 2 will cover the NEW GENERATION characters.lssues 1 3 through 24 will repeat the rotation examining new material from each storytine.

W RITTENAND CY PILED BYROBERT K MILLERAlison CantElaine LaFI'a!'G

M TW OM BYHARMONY GOLD U.9.A.. 1N1

SEA N PHILLIPSRANK: PRIVATEAGE: 23

Form er first lieutenant, Sean Phil Iips hasthe d u bious d isti nctlon of bei n g the 1 5thsquadrons Casanova. This distinction iswhat cost hi m his form er rank when hemade am ourous advances to the w rongwoman', the Colonels daughter. Now he isa private but he still earns the greatrespect of the other troops because he isa g ood co m bat so I d i e r a n d a I i ka b l eperson . Even with the respect of his fellowtroops he sti 11 f inds it hard to adjust totaking orders from his new commandingoff icer, Dana Sterling. Dana was once asargeant under his command. Hisp r o b I e m s i n a d j u s t i n g a re f u rt h e rcom plicated when he falls in Iove with aceR O B O T E C H p i 1 o t , M a r i e C ry s t a I .

LO UIE NICHO LSRANK: CO RPO RALAG E: 20

Louie hs the mechanical genius of the 15thsquadron. He has no desire to be a soldierand only tolerates the Iife in order to getcloser to and Iearn the secrets ofROBOTECHNOLOGY. He dreams ofusing ROBOTECH to create the ultimatem a c h i n e . l n t h e m e a n 1 i m e h i sexperiments at creating problem solvingor Iife saving mecha wins him unwantedfam e when his m achines are put tounintended uses.

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Howdy and welcometothis seventh issueof HOW TO DRAW ROBOTECHR. lt'sgood to know that you've come this far.You should befeeling preqygood knowingthat you've stuck to it and learned somebasic ways lo draw ROBOTECHY char-acters.

In this issue we will study balance andcomposition in drawing. We will concen-trateon balance inthis issueand composi-tion next issue. We will continue drawingthecharadersofthe SOUTHERN CROSSSAGA, wrapping them up next month.

Aspecialtreatthis issue istbe inclusion ofplentyof armorfrom thedifferentbranchesof the ROBOTECH- army. We also havesome fan mail and some of your drawingsto showoff. Ourmechaforthis month istheVeritech copter. So whether you're a first-timer or an oId pro, follow the constructionsteps. practice constantly, and you willIearn to draw!

YOU LEARN TO DRAWBY DRAW ING!

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WE WANT YOUR Lm ERSAND DRAWINGS!

Fifst off I wantto lhanklhe fans of ROBO-TECHTM for sending in the Iettefs and arttba. make this issue so spectacular! lt'sgreat to see that you're drawing and thatyou care about what's going on in thebtpok. The artwork is ve@ good and l'mcedain that there's plenty more good art-work outthere. So how aboutsendingthatetuffin! Werekindofhtlngryforgood art lnfactwe're slawing! Keepwriting anddraw-ing and send us copies of your artwofk.

Send your Ieqefs and copies Qf your art-work to:Blaokhorne Publishlng Inm786 Blaeklhorne AvenueEI Cajon, CA 92828çlo How to Draw ROBOTECHY

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ln this issue, we will begin the first of a two-part discussion on composition in art. Goodcomposition causes your eye to flow into the picture to its natural focus and then flow back outagain. Composition done well causesyoutofeel that a picture is well-balanced-that no part of ithas more weight than any other part.

So really when we speak about composition we are actually tajking about:1. Bajance2. Composition

Let's discuss balance for this issue.

ln this illustration you can see two equalweights aqachedtoafulcrum. The weightscan be moved, but you see that they don'tneed to be because they are balanced,but . .

V. .. . . Suppose we move one weightcloserto the center of the fulcrum. You can seethalthe weight on lhefarend seems heav-ier, thus putting the fulcrum off balance.

V'V. -We can restore balance by moving theother weight closer to the center or bymaking the weight closest to the cenlerheavier.

On the Iast pa'ge we spoke about moving or changing a welghton afulcrum to balance it. Gettinga feel for which weight will balanie the fulcrum will help you in your drawings and in yourunderstanding of the scale of attraction.

Here are some basic rules to help you find the scale of aqraction.

1 . Fvery picture is a collection of objects.2. Each object in a glcture has a vasue that depends upon whefe you place it in the picture.3. An object placed nearthe edge of the picture has more value than one placed nearthe middle,

In this picture, the ship o#tothe right givesbalance to the whole and makes your eyemove across the centerline of the pictureabsorbing the details of the drawing.

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With this drawing you see that placing theblack ship on the right side of the center-line is not enough to balance the weight ofthe sailboat which is too close to the Ieftedge.

This picture lacks balance, and without itthe viewer's attention is drawn to theobjectand stops, ratherthan moving acrossthe composition.

Onthe Iast page, the goal of the scale of attraction wasto keep your attention moving across thedrawing. The viewer's eye should flow in and out of any picture you draw. This is aided byvertical and horizontal balancp.

AII of yourdrawings should have a horizon Iine whichthe eye naturallyfollows. The vertical itemsthatyou place onthatline should be so balanced in theirweight/aqraction asto keeptheeyefromstopping along its path and not continuing.

Here are three examples of the use of vertical and horizontal balance.

In this Iine drawing balance is achievedprimarily because noone Iine is allowed tototally cut across the drawing vertically orhorizontally. Primary horizontal Iines IA1and vedical lines IB1 touch only one edgeof the picture.

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In this picture the heavy horizontal line otthe land causes the eye to move straightacross. W ithoutbalanced vedical Iinestheeye will not stop and focus.

A too-heavy vertical figure stops lhe eyefrom moving totally across the horizon.The figure should not touch both top andbottom of the picture.

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In retrospect, it's importantto rememberthatthe goal in yourdrawing isto makethe viewer'seyemove acrossthe whole picture. Howyou dothis will be more a maqerof yourfeelings ratherthanrules and can only be achieved through constant practice. As you practice you'll find you canadapt these rules to your own needs and feelings.

Transiflon of Iine makes the eye feel more comfortable as it moves from a vertical to ahorizontal Iine. Inthistype of balance, the eye movesform one lineto another-forexample,fromashorelinetothehorizon-via placementof vertical ordiagonal lines nearthe pointof intersec-tion. These break up the horizontal flow, allowing the eye to be redirected along a new line.

In this drawing, lhe eye moves easilyacross the Iand to the horizon, due to theplacement of the small boats. Tbe boatsstop the eye long enough so the viewercan make the transition from Iine to Iine. I-1

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In this picture, the vedical line needed tostop the eye from moving downward withthe shoreline is too far from the point ofintersection to be effective.

In this picture, it's partly cloudy with achance of showers.

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To draw Sean, start with the Double-Diamondl for Sean's torso. Use sticks toindicate the arms, Iegs and neck. Userounded shapes for the head and at theelbow and knee joints. Wedges or anysimple shapes can be used for hands andfeet. Pay attention to proportion here:Sean stands 7-1 /2 heads tall, with thecrotch at the 1 /2 mark, the chest andknees at the 1 /4 marks.

Stad turning the sticks into cylinders now.Draw through the ends of the cylinders(called ellipses) so you can see wheretheyoverlap or pass behind othershapes.Mark off the features on the face, beingcareful to shift the centerlines to the left,because Sean's head is turned slightly.

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Now you can start roughing in hiscostumeand other details. Remember that lheclothes wrap around theform and hang onthe body parts. Finish the head and handsnow.

As you tighten up your drawing, visualizea1I the costume lines (sleeves, stripes,belts, seams etc.) These can be seen aslines on the surface, wrapping around thecylinders of the arms and legs and runningup and down the folds and creases of

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Here is Sean's head in a number of poseswith a variety of expressions. In each casewe show the final drawing next to anexample of the basic construction. lf youstad each of your own drawings with thisbasic analysis, aIl yoblr heads will be solidand consistent.

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, when the head is tilted, the mcenterlinest<ome elkpses: Iineswrapped œaround the curved surface of the head

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properly related no matter how the form is=turned. You will be constantly aware thatœwhat you are drawing is a solid form in

space only described by Iines on paper.

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Here is a drawing of Sean in armor. Startby drawing a six-inch centerline, On thiscenterline measure down from the top ofthe helmet: 3/zrtothe chin and shoulders,1-3/4, down tothe waistline, 2-9/16* downto the crotch, and 3-1 /2* to the kneepads.The foot on the left rests on the 5-1 i4' lineand the toe of the right foot rests on the 6*mark. Now use the Double Diamonds toconstruct the torso and an oval to con-strucl the head. Add your ball and sticksforarms and Iegs. Draw a rectangle fortheshield.

Check your propodions. Is the shoulderangled properly? Are the waistline andelbow joint on the same Iine? Are the Iegjoints and hands on the same Iines? Onceyou've checked your proportions startmaking the sticks into cylinders and block-ing in the squares, rectangles, and trian-gles of the shield.

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Now start roughing in different segmentsof Sean's armor. Stadworking on his headand face mask. Sean's armor is veïydetailed so take your time and don't beafraid to erase. Hang In there- you'll get it!

If you're satisfied with what you've drawn,then put a piece of tracing paper over itand redraw your clean version makingany corrections necessary. This is a com-plex figure to draw, so if you think it looksgood then shoot us a copy so we can printit.

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Here we have the armor of the ROBO-TECHTM army's Desert Squad. Thisfigureis about 6* tall. The shoulder-line stafts 1*down. The waistline starts 2* down; thehiplline is 3* down', the kneesare between3-1 IT and 4', the foot at the left is on the5-1 i*' Iineandthefœ tonthe rightlouchesthe 6' Iine.

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Now use the techniques you used forSean Phillips' armortocompfetethis DesertSquad's armor. Be especially careful withthe helmet, It's odd-shaped and will behard to draw at first, but keep practicing.

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This is the armor of the Tactical ArmoredSpace Corps. The drawing is 6-1 /4* tallwith the shoulder-line at 1* the waistline at2*, the crotch at 3' and the knees at 4>.Thefooton the Ieft is on the 5-3/4* Iine andthe foot on the right is on the 6-1 l4* line.

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To draw Louie, start with an oval for thehead. Draw the cehterline for his headangled to the Ieft. Draw the neckline justbehind the jaw. Connect the neck to theDouble Diamonds of the body and thensketch in the arms and Iegs using sticksand balls.

You've got your foundation down' nowstartturning sticks intosolid masses. Sticksbecome cylinders. Start sketching in thefeatures*of Louie's face. ReMember thatthe centerline for the face is to the left.

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On tracing paper. outline the finisheddrawing of Louie Nichols. If it doesn't lookright, go back to your rough sketch andmake corrections. If it looks great, thensend us a copy.

19

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Here are five drawings of Louie Nichols'head and face. Each drawing has a dif-ferent expression. Next to the drawing is aghost image with a circle. Inside of thecircle, different okal shapes are drawn.These ovals show horizontal and vedicalguidelines that you can use to place thenose, ears, eyes, and eyebrows.

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Dear Sirs land/or ma'amlsi):I have been readin your Official Howto

Draw ROBOTECHT books (issues *1and *2) and have been very impressedand enthusiastic in r% ard to them. Theyare without a doubt the most comprehen-sive, and yet decisive, ttHow--ro-Draw''books I have ever read!They are very good tutorials and don't

come across with thatcondescending atti-lude so many other books have (theysound as if the authors of the book arespeaking to total incompetents who havenever touched pencils or paper in theiriives). Also, lhey don't take the quantumleaps from sketch to sketch and expectyoutofoljow.-l-osum it up,they îall intothatmiddle ground between the extremes ofart books, which is great!1 have always been a Japanese art fan

and have, in vain tried to draw in that st/e.The problem, I now see, was that I hadno knowledge of correct construction orIayout before I staded drawing (1 tried todraw the finished producl in the first draft).ROBOTECHTM is, in my opinion, one of

the finest accomplishments ot Japaneseanimation and your series is a pedectcomplernent to it!Bythe way, I have readthatthis series is

plannedtogofortwenty-four issues,wbichis great, but afterlhathave you considereda series on other Japanese animalion-oriented shows such as Captain Harlockor, perhaps. Stafblazers to name only twoof the more popular in my area? These twohave distinct styses as well and would nodoubt be popular too. Only a suggestion,and probably someone there has alreadythought of it. The idea, of course, dependson the pogutaTity anö level of success olthe current series l understand.To cag it off, thanks again fof one of the

best things to come along since the showit6;f!!f!

Hello James!Thanks for the compliments. W e try to

doour best here atBlackthorne. W e are inthe process of getting permission to domore bookson animated seriesfromlapanbut my boss is keeping ever/hing asecret. We'Il just have to wait and see. Asyou say, it depends on the popularity ofthis book, butwith fans Iike you we can't gowrong!Thanks again for the letter and your art

which is very good!

Dear Blackhorne,

At first, l picked u The Off/4Sa/ How toQDraNROBOTECH to ksimplybecauseit was ROBOTECHTM. But now, thanks toyou, 1 can draw the full figure of a charac-ter. I usuallystucktodrawingjustthe facesbecause l could never proportionthe bodyto match the head and arms, etc. 1 alsohave more patience!Thanks for aI! your hesp and l can't wait

for The New Generation books to comeotlt.

GoY Luck!Sincerely,Marrin McFarrowsMedford, MA

Sincerely,James Schweitzer 14Hespefia, CA

26

To Mr. Stephenson:Hello. I hope you're feeling fine and in

the best of health. My name is Eddy andI'm writing tiday to let you know I've justread our ''HOW TO DRAW ROBO-t

,TECH issue number two and look for-ward to issue three. It was mentfpned inissue twoof ''H.T.D.R.'' for readersto sendin their ROBOTECHTM drawings. I thought''great'' butwho do I send themto exactly?I didn't know, so I've sent some of my

drawingstoyou. Someare ROBOTECHY/M across and a few others I thought youmight find amusing if you aren't a Japan-ese animafan and hopethatyou can helpme to get the drawings into the hands ofwhoever is working on ''HOW TO DRAWROBOTECHTM '' If I've really blunderedand sent it to someone who doesn't knowwhat I've jusl been writing about I'm sorryabout that, but could you help me outanyway?

Lots of Iuck inthefuture,Edward Garcia

Hello Eddy!My name is Bob Miller and I'm working

on ''HOW TO DRAW ROBOTECHTM''theSedays. Asyou can see, you didn'tblunderatall. As Iong as you send your leoers andcopies of your art to:

Blackthorne Publishing786 Blackthorne AvenueEI Cajon, California 92020c/o ''The Offi iaI How to DrawROBOTECH

avefything will be okay. Keep upthe goodwork. Your a4 Iooks great!

Dear Blacidhorne:When I saw your special announce-

ment on page 3 of How to Draw ROBO-TECHR #2, I decided to write you thisleqer. Your first two issues have been agreat help to me because I had problemsdrawing Rick Hunter and Breetai. Theeyes and facial expreu ions were the mostdiëcut Thelapanesedrawfngstyles helœdmewith that. I mustconfess, though. Ifind itharder to draw using the step-by-stepmelhod, so I do it by Iooking at the pictureand drawing it. After a lew times l prettymuch remember howthe finished productis supposed to Iook. In future issues (after:12) when you will be ''repeating the rota-tion examining new material from eachstory line,'' pleasedo an issue on MacrossCity, the insides of the SDF-I and Zen-traedi space cruisers, the cockpit of theVeritech fighter, and the little trash robots,phones. and cameras seen in MacrossCity everyonce in awhile. I will startsend-ing my bestdrawings so keep upthe goodwork with this series. Thank you.

Sincerely yoursMatt FigroidPalm Springs, CA

Hi Matl!Thanks for the letter and art. If you're

having trouble following the step-by-stepdon't worry. The second most importantthing to remember is to get Step OneJrawn. Drawing the skelelon is jmporlantfor making sure the propodions are cor-rect and that your character is doing justwhatyou want itto do. The most importantthing to remember isto keep drawing. Youlearn to draw by drawing.

>

M>

27

> Th@ following il a Nrtlal lisl of bnekkœ that will t- of Intereat aod help to you in fearnln:* more ohzwl dawlng. Remem-r lhat t00% can only lhow you tbe way. YOU LEARN- T0 DRAW RY DRAWINQI=

BRIDG MAN'S COM PLETE GUIDE TO LIFE DRAW INGGeorge B. Bridgman W eathewane BooksANIMATIO NPreston Blair series vol. #26, W alter T. FosterHOW TO ANIMATE FILM CARTOONSPreston Blair series vol. #90 W alter T. FosterDRAW ING THE HUM AN FIGUREJack Hamm Grosset & DunlapCARTOONING THE HUM AN FIGUREJack Hamm Grosset & DunlapDRAWKurt Hanks and Larry Belliston William Kaufman, Inc.DYNAM IC FIGURE DRAW INGBurne Hogarth W atson-Guptill PublicationsHOW TO DRAW COM ICS THE MARVEL W AYStan Lee and John Buscem a Simon and SchusterCREATIVE ILLUSTRATIO NAndrew Loom is Bonanza BooksDRAW ING THE HEAD AND HANDSAndrew Loom is Bonanza BooksFIGURE DRAW ING FOR ALL IT'S W ORTHAndrew Loom is Bonanza BooksFUN W ITH A PENCILAndrew Loomis Bonanza BooksTHE NATURAL W AY TO DRAWKimon Nicolaides Houghton Mifflin Co.ATLAS OF HUM AN ANATOM Y FOR THE ARTISTStephen Rogers Peck Oxford University PressTHE ART O F DRAW INGW illy Pogany Littlefield, Adam s Go.HOW -TO-DRAW TIPS FROM THE TO P CARTOONISTS

Donnar PublicationsHOW TO USE CREATIVE PERSPECTIVEErnest W . W atson Van Nostrand ReinholdTHE OFFICIAL HOW TO DRAW ROBOTECH TM ISSUES 1-7David cody welss/Bob Miller Blackthorne Publishing

lN

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