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A monthly manual devoted to teaching how to Iearn to draw the ROBOTECHTM animated
cadoon characters and fighting craft in an intelligent and easy to understand way. Each issue
will cover one or more characters or devices from each of the three major slorylines that
make up the ROBOTECHTM saga. Each storyline will be fealured in rotalion. lssues 1 through
4 will focus on the MACROSS characlers, issues 5 lhrough 9 will cover 1he SOUTHERN
CROSS characters, and issues 1 0 through 12 will cover 1he NEW GENERATION characters.
lssues 1 3 through 24 will repeat the rotation examining new material from each storyline.
W RTTENAND rY PILED BY M W
ROBERT K MIG ER '*
ROBERT A. HIBBERT
FRANCE Y ELAINE A. La
M ARIE CRYSTAL
RANK: Lieutenant
AGE: 20
Marie is an ace pilot in the Armored
T a c t i c a I S p a c e C o r p s . B e i n g
independent, proud and feisty has
made her quite a few enemies but has
also earned her many friends. Her best
friend is Dana Sterling. Together Marie
and Dana lead their squad with
humanity and hum or through many
trying times. Marie's troubles don't
really start until she meets the
Cassanova of the 15th Squad- sean
Phillips, She immediately falls in Iove
with him , and the battle against b0th
his roguish independence and her own
turns into her toughest fight.
ANGELO DANTE
RANK: SERGEANT
AGE: 26
'tAngie'' is a down-to-earth,rustic kind
o f g u y . H e i s t r u stw o rt h y a n d
honorable, but is also a chauvinist who
delights in pointing out the faults (real
or imagined) of women. This puts him
constantly at odds with his superior
officer, Dana Sterling. Although Angie
is at odds with Dana, he is still a loyal
and dependable soldier. Having grown
up during the initial Earth-zentraedi
wars, Angelo Dante is anxious to put
an end to the fighting. This vision of
intergalactic peace drives him to be a
strong trooper.
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TA BLE O F C O NTENTS
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Aloha and welcome to this eighth
fantastic Issue of How to Draw
RO/OTECH'*. lf vou Nave been
drawing constantly through the past
eight books, you're probably noticing
improvement in your work, It's only
natu ral. As Iong as you keep
practicing. yeu'll im prove.
To Nelp you in your further
improvement we present in this issue
the conclusion of our study In
comqosition. With this knowledge.
practdce, and further reading from the
Reading List. you will have an
understanding of how to Rt up your
drawings for maximum impact. Think
of it! Not just drawing the characters,
but placing them in actual scenes.
Doesn't it send a shiver down your
spine? Stick with us and you'll get it,
For your drawing pleasurek we also
have Marie Cryslal and the reet of the
Southern Cross gang. plus plenty of
Bioroid armor, the Biorold Hokercraft
and the armor of the ROBOTECH'* Sea
Squad, Draw. fellow artists, draw! As
the wise and ancient sage halh
said
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SPECIAL
ANNO UN CEM ENTI
ln this issue, 1'm goingto dispense with
the usual ghost images tbat I draw over
to show how completed drawings are
d o n e . I n stea d , l w i l 1 d raw t h e
illustration the same wayyou would. 1'11
draw the skeleton first and work from
that to the final illustration. I think that
you will find it easier to follow m y
examples if they're closer to the way
that you draw- without tracing.
I also would Iike to rem ind aII you
artists out there that we're still hungry
for m ore artworkf So if you wake up
one m ofning with a mad desire lo see
your Ietter or copies of your artwork in
print' get to your nearest copy machine
right away, and send it to:
Blacklhprne Publlllurlg lne.
T% Blackthprne Ave.
EI Cajon, CA 92:2:
e/o How to Draw ROBOTECH'M
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To draw lifelike, dynamic, action-packed scenes involving your favorite ROBOTECH'M
characters, i! is essential that you understand the basics of composltion. Good
com position sNould lead the eye ttl the main focus of the picture move the eye arourlc
the picture to pick up the supplementary details, and then Iead the eye out of the picture
First, Iet's discuss gettlng Into the picture.
ln this example, we use the zig-zag orZ
to form a path for the eye to follow. The
main focus on the road provides you
with a point of entry. Drawings with
deep perspective should be entered
with the zig-zag method.
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ln this exam ple, the foreground figures
help you get into the picture. The tree
leads you around in a circle to the
p e o p I e i n t h e b a c k g r o u n d . I n
Iandscapes, composition should Iead
the eye from front to back.
ln this exam ple, the eye moves cleanly
into, around, and out of the picture. e
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Gelting out of the piclure is as important as getting into it. Passing through and out is the
visualimpression you want to give the viewer and you do so by creating an exlt The exlt
can be a door, a window, or even the sky that leads the eye out of the plctu re Never create
two or more exits. This will confuse the viewer.Try not to make the exit distract the viewer
from your main subject.
Here is an example of using the sky to
provide an exit for the eye. The eye
follows the figures in an oval pattern
around and up through the hammer to
the s ky,
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I n this picture, the door and the sky
above the second open door Iead the
way out very effectively, Notice how
the object protruding fiom the bag
helps to Iead the eye to the door.
W ith this exam ple we see an almost
overpowering exit diffused by the
strength of darker spots of interest on
either side. The eye passes from one
object to the other and then out the
window.
Clrular compoeltlon can be used as a way to unify the elements of your picture. lt aids
the eye in taking in the entire scene of your drawing. Placing important objects on a
circular or oval path in your drawing will Iead the eye into, around, and out of your picture
again.
l n t h i s d r a w i n g t h e c i r c u I a r
construction is obvious. You can see
how one form leads into another. This
flow is so comfodable that you could
keep going around it indefinitely.
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Here is circular composition in a
Iandscape. In this drawing the eye is
prevented from escaping out the sides
of the picture. As we move toward any
corner, an object or Iine carries us
safely around it until we have
completed the entire circuit.
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ln this drawing, the obvious circular
composition is a classical sym bol of
unity.One circle amplifies the effect of
the other to create complete repose
and harm ony.
6
In angular composltlon we will use triangles, vertical Iines and horizontal Iines to
replace circular composition. The angular composition never retu rns back on itself.
Angular composition is used to replace the sm00th eye movement of the circle with
the shock or ruggedness of angular eye movement.
In this example, we can see triangular
com position at work. Alm ost every-
thing in the picture is composed at an
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In this exam ple of vertical composi-
tion, the strength of vertical forms
moving upward must be balanced by
horizontal Iines. This is because the
vertical ine is the strongest Iine in any
picture. Vertical composition is gen-
erally used to draw and paint figures.
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W ith this exam ple, we see that hori-
zontal composition is best suited to
Iandscape drawing or painting. The
horizontal Iine will always need to be
crossed by a vertical or diagonal Iine to
achieve balance. Remember that you
need not use Iines to create vertical
or horizontal impressions. You can use
spots, shades of color, or objects.
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Start turning the sticks into cylinders
now. Draw though the ends of the
cylinders to turn them into solid forms.
Mark off the features of the face. W hen
drawing the arm on the right, be aware
of the slight foreshortening of the
forearm.
To draw Angie, start with the Double
Diamond: for his mid-section. Use the
sticks and balls method to draw the
arms, legs, and neck. Use an oval
shape for the head. Draw wedges, or
any simple shapes, for the hands and
feet. Angie stands eight heads tall, with
the crotch at the half mark, the chest at
the quarter mark, and the knees at the
three-quarter mark.
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Now you can start roughing in Angie's
costume and other details. Remember
that the clothes wrap around his body
and hang on his arms and Iegs. Finish
Angie's head, remembering that he has
a relatively Iarge jaw, and add detail to
the hands.
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It's tracing paper time! At this point
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if D
ou're happy with your sketch
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redraw m
a clearner version on the tracing paper
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As you tighten up your drawing
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visualize it as a three-dimensiona! D
person and drw the costume Iines <
moving around his figure rather than > l
aying flat.
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Here's Angie wilh a variety of facial
expe ssions and angles. In each case I
show a final drawing next to an
exam ple of the basic construction. If
you start each of your own drawings
with this basic outline aII of your heads
will be solid and consistent.
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Observe how, when Angie's head is
tilted, the centerlines become ellipses:
Iines wrapped around the curved
sudace of the head. This way, aI1 of
Angie's features will stay well-related,
no matter how his head is turned. You
should be constantly aware that the
object that you're drawing is solid.
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Here's Angie in a variety of poses
designed to build your skill in drawing
the human figure. W hen drawing these
figures, rem em ber to use the llne of
a c t i o n . R e m e m b e r a I s o t h a t
foreshortening will be necessary for
some of the body parts due to the
figure standing and m oving at an
angle. W hen you're finished with these
four figu res, practice putting Angie in a
few poses of your ow n.
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Turn the sticks into cylinders. Stad
adding hair to Marie's head and
outlines to her face to indicate where
her features will be.
Marie's figure. Iike Angie's, begins with
the Double Dlamonds. You should
notice, however, thatherarms and Iegs
are longer than m ost of the other
characters'. Marie stands 6-1/2 heads
tall, with her chest at 1-1/2 heads, waist
at 2-1/2 heads, knees at 4-1/2 heads,
and ankfes at 6 heads. The toe on the
left is at 6 heads, and the toe on the
right is at 6-1/2 heads. Draw the balls
and sticks for her arm s, the wedges for
her feet and hands, and the oval for her
head.
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Now start roughing in her costume and
details. Don't be afraid to erase and
make corrections. Once you have
M a r i e C r y s t a I d r a w n t o y o u r
satisfaction, it's time for . . .
. . . tracing paper. Throw a piece of
tracing paperoveryour finished sketch
and draw the clean version of Marie
Crystal. W hen it's done. send us a copy
of your drawing.
15
Here are five different poses of Marie Crystal's head. Start with the basic drawing that is
next tt:l Marie's head and then work to the finished version. Hemem ber that drawing any
head is sim ply a matter of determ ining how you want to tilt the ball that is used as its
basis. Once you know how the ball will be tilted, you can add the jaw and neck. Attach
both of these to the vertical centerline as shown. Attach the eyebrows to the horizontal
centerlines and draw the eyes in below. The nose is at the bottom of the circle on the
vertical centerline and the mouth is drawn below in whatever shape you think a mouth
should be in.
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rawing the head, think about the emotion you want to convey and remember that
the tilt Or angle Of the head can sometimes say more than the Iook on the character's face
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T0 best convey the character's emotions, you should use both the expression and the X
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General Rolf Emerson stands eight
heads tall. His chest is at two heads, his
waist is at three headsk his crotch is at
four beads, his knees are between five
and six, his ankles are at seven, and his
toes are at eight heads. Now draw the
Double Diamonds for the torso, the
oval for the head, and the balls and
sticks for the arms and egs.
1 8
Now turn your correctly proportioned
stick figure into a three-dimensional
person. Turn the sticks into cylinders
and start adding detais and hair to the
bead.
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Take a piece of tracing paper and
redraw your final version of the
General. When you're done
, send us a
copy.
N ow th at yo u h ave t h e t h ree-
dimension skeleton of General Rolf
Emerson correctly drawn, you can
throw some clothes on him. Add
details to his costume and draw the
folds in his uniform at the joints. Make
aII the correotions you need to make
until you're satisfied.
19
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On the next six pages are fullfigures for the Bioroids and the
ROBOTECHTM Navy Armor.Use the same methods you've been
taught and each of the figures willturn out great.An easy way to
determine the proportions on these figures is to determine the
heel-to-head heights of your figure.Then divide that height by
eight.Two and one-third that height is the shoulder width.
B IO R O ID IN V ID
Now remem ber that one is generally the chin,two is the chest,
three is the naveland elbows,four the crotch and wrists,five is
mid-thigh,six is the knees,seven is mid-shins and eight is the
feet.
FIG H TE R
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No matter how tallthe figure is,these proportions should remain
the sam e.Once you have your basic skeleton down
,you can add
any details you wish.Feet can become hooves or fins
,hands can
become claws or clubs
,and you can make the body or parts of the
body thicker or thinner.
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Practice drawing the standard figure over and over again so that
when you draw the figure in action you willhave an ingrained
sense of these proportions.Use these proportions to set up the
figures.
FU LL FIG U R E
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To draw the Hovercraft, start with an oval for the generai shape. The steering
column is a triangle. Make sure everything is angled as you see it.
Now turn the oval into a three-dimension disk. Draw the steering column as a solid
pyramid attached to the rectangular box at the bottom.
26
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It's time for detail work. You can draw what we've given you or customize it to your
design. There is a lot of detail so take your tim e. Erase and redraw if you have to.
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Once you have your final version drawn you can pull out a sheet of lracing paper
and make your clean copy. Remember that no matter how detailed this mecha
Iooks, it's still just a collection of simple shapes. lf you get those propodioned right,
everything else will fall into line. 27
n . fole 1* a e < 1I*t of H - - * th* wlll % of In**t e he to y In *0 %
mor. e ut drle . R@- m* *at =--''* @*n on# *l'@w #ml te way. YOU LKARN
T* DRAW BY DRAWINQI i
BRIDGM AN'S CO M PLETE G UIDE TO LIFE DRAW ING
George B. Bridgman W eathe-ane n--ks
ANIM ATIO N
Preston Blair serles vol. #26, W alter T. Foster
HOW T0 ANIM ATE FILM CARTOONS
Preston Blair series vol. #90 W alter T. Foster
DRAW ING THE HUM AN FIGURE
Ja+ Hamm Grosset & Dunlap
CARTOONING THE HUM AN FIG URE
JaG Hamm Grosset & Dunlap
DRAW
Kurt Hanks and Larry Bejliston W illiam Kaufman. Inc.
DYNAM IC FIGURE DRAW INQ
Bum e Hx arth W atson-Guptill Publl tions
HOW TO DRAW COM ICS THE M ARVEL W AY
Stan Lee and John Bus ma Simon and Schuster
CREATIVE ILLUSTRATIO N
Andrew Loom ls Bonanza Books
DRAW INQ THE HEAD AND HANDS
Andrew toom ls Bonanza Books
FIG URE DRAW ING FOR ALL IT'S W O RTH
Andrew Loom ls Bonanza Books
FUN W ITH A PENCIL
Andrew Loom ls Bonanza Books
THE NATURAL W AY TO DRAW
Kimon Nicolaldes Houghton M ifflin Co.
ATLAS O F HUM AN ANATO M Y FO R THE ARTIST
Stephen Rogers Peck Oxford University Press
THE ART OF DRAW ING
W illy Pogany Llttlefleld. Adams Co.
HOW -TO-DRAW TIPS FRO M THE TO P CARTO ONISTS
Donnar Publl tions
HOW TO USE CREATIVE PERSPECTIVE
Ernest W . W atson Van Nostrand Relnho?
THE OFFICIAL H0W T0 DRAW RO BOTECH IM Issue 1.8
Davld cody welss/sob Mlller Blackthorne Publishing
28
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##; VCSTA8Y* #-P # l is 32, action-packed 3-D pages with full-cobr. Iaser-scanned. covers. - - - '-.
Ofle piir of 3-D lasses is incltded with each comic. . . . . . . . . . $2.51 ($3.50 Canada) -2 -=-.=
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THE FLINTSTONESIn 3-D #2, BOZO la&D#f, and GUMaY'ln3-D#4 #
P:I#F * 1987 Aq Clokey Produclipns. AII Rights Respped
are 32 three dimensional page comics with full color Iaser-soanned @ jxz usy jjarrrsc nclures ccfp A1I aights Resefve , ppzp
coveis. One pair 3-D glasses included with each book. $2.50 ea. rgz'nl#rsrlwf& e' 1g8z Hanna.Bafbem.A1I qights qeserv,