How to Draw Robotech

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T A B LE O F C O N T EN T S ISSU E #9 BASIC A PPRO ACH PERSPECTIVE

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SCO TT BERN ARD FRO NT VIEW PRO FILE FULL FIG URE SIDE VIEW EXPRESSIONS

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M ARLEN E FULL FIGURE

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AN NIE EXPRESSIO NS POSES

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ARM O RED CYCLO N E BIKE MO DE BATTLO ID MODE

READ IN G LIST

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Boniour,fellow artistes,and welcome to this ninth issue of THE O FFICIAL HOW TO DRAW ROBOTECHO. If you've been draw ing constantly, forsaking school,Iove,sleep,and your allowance, you now have a pencil bum p on the third fingerofyourright hand.You've probably also becom e a really fantastic ROBOTECHTMartist!

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To help you im prove yourskillseven m ore rapidly,in thisissue we offerthe first of a tw o-part instruction on perlpectlve and how to use it.Ifyou

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use this information in conjunction

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with yourstudiesfrom the Reading List and whatyou've Iearned in the Iasttw o issues aboutcom position,you should be able to draw realistic, actionpacked RO BO TEC HT*scenesusing aII ofyourfavorite characters. Foryourdraw ingpleasure,inthisissue we give you Scott Bernard,M arlene, and spunky Iittle Annie.Foryou M echa m aniacs,we havedifferentversionsof ScottBernard's Arm ored Cyclone.So sharpen up those pencils put a bandage on that pencii-bum p, and rem em ber . . . YO U LEARN TO D RAW BY DRAW ING!

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SPECIA L A N N O U N C E M EN T 1 2

Last issue we experim ented w ith draw ing w ithoutghostim ages.Ifyou were happy w ith that,pleasew riteand let us know . In this issue,we willgo back to using ghostim ages.Honestly,

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we'renottryingtotortureyou-we're

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just trying to make drawing RO BO TECH TM as easy as possible for the m any differenttypesofartists out there. After all, your style is as individualas yourfingerprint!

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And once again,we remind youthatwe are stilldying to see the w ork you've

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pe h ro re d! uL ced tte .H rs on fr e osm tlyy ,o wu e' rend a rea co ly pd i ey sinog f yourartwork(notoriginals.mindyoul) could save us all!Send them to: elackthorne Publlshlng Ine. 786 Blackthorne Avenue

ElCajon,CA 92020 c/o H ow to Draw RO BOTECHIM

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ln order to create the illusion of three-dimensionality in your ROBOTECH'* drawings,it is necessary to Iearn somethlng about perspectlve.W hen you use

perspective,flatobjectsappearto have depth,wldlh,and heigbt.

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Theeasiestwaytoapproachdrawinginperspectiveisto rememberthatanyobject that you see can be sim plified.They can becom e cubes,cylinders,spheres,

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Rem em beralso thata cube is a threedim ensi onal square, a cylinder is three-dimensionalrectangle,a sphere is a three-dim ensionalcircle,and pyram id is a three-dim ensional triangle.

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= m erspective is related to geometry.Thisisa branchofmathematicsthatstudies m points,lines,angles,flatsurfaces,andsolidobjectsandtheirrelationshiptoeach o other. = P

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H Here are some basic geometric sbapes and angles.These willhelp you to < understand angles, how to measure them , and the relationship between the

foreground and background ofobjects.

An angle is form ed by Iinesextending from the arc of a 360* circle to its center. Angles are m easured in degrees ofthe circle.

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Rlghtanglesare form ed whentheIines extending from the arc ofthe circle to the center are 90> apart,or 1/4 the circu m fe rence o f the circle . Essentially, a right angle can be form ed by cutting a square rectangle in half diagonally, from

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An acuteangle measureslessthan90*.

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An obtule angle m easures m ore than 90@.

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Parallel IIn*: are two straight lines extending in any direction thatnever m eet.

Y = m c onverglngIIn@@arestraightlinesthat meetata pointcalled a vertex.

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ObllqueIlnes meetotherstraightIines to form an angle ofIess than 90O.

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A polygon is a flatfigure having three orm ore sides.

Polyhedronl are three-dim ensional

objects with many flat sudacescubes,prism s,pyram ids,etc.

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Fore:hortenlng occurs when an object(even a flatone)isturned toward you.Its Y axis is m oving in Iine w ith yourline ofsight.You afe then said to be view ing the m objectIengthwise. m Understanding foreshortening is an im portant elem ent of understanding perspective.Here are some exam ples offoreshortening.

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Let' s discussthe basictermsofdrawing in perspective.W hen you Iookatapieceof paperyou should be determ ining the horlzon IIn@ and establishing the vanl:hlng

polntonthatIineinrelationtoyourcentralobjectorobjects.Here'sanillustrationof these two term s. '- w w

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The horizonIine isalwaysateye Ievel.Yoursubjectcan beplacedaboveorbelow the horizon,butitm ustalways relate to it,even when it's notseen in the draw ing.

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The vanllhlng polnt(VP) is the pointorpoints on the horizon where a11lines

perpendicularto it.meet.Objects appearIargerorsmallerin proportion to their distance from you.Perspective helps you to accurately draw these differences in size. 8

In perspective drawing you can work with one,two,orthree vanishing points. W orking w ith one point is called parallel perspective; two points, oblique perspective' ,three points,aerialperspective.Study these exam ples and practice w ith sim ple cubes. '

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You can startsketching in the details on ScottBernard'suniform .Take your time drawing Scott's collar, artillery pouch,and boots.

As you tighten up vourdrawing,try to think of Scott Bernard as a tbreo dimensionalfigure,nota flatdrawing. Visualize the Iines of his costume going around a solid body,notIaying flat.O nce you have achieved this and you're satisfied with yoursketch,take som e tracing paperand redraw a final version,

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QTo draw Scott Bernard's side view, begin by drawing averticalcenterline. Indicate where you wantthe top ofthe head and the bottom ofthe feet.Divide it into eight equal parts. One part dow n,indicate the shoulders.M ark off the placement of the elbows three parts dow n.The crotch and the w rists willbe at four parts.Six parts dow n, place the knees.Now use the Double Diam onds forthe body and balls anti sticks forthe arm s and legs.D raw a circle forthe head. 14

Now startturning balls and sticks into cylinders,and indicate the features of the face.Sketch the hair.

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Start sketching his costum e and tightening up details in his face and hair.M ake sure your proportions are correct by checking them againstthe origlnaldrawing.

W hen you are satisfied with your sketch, pullout that m agic piece of

tracing paper.slap itdown onto your board,graba pencil,and startdrawing!

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Here are a variety ofexpressionsto help you practice drawing head shapes.W hen draw ing these heads use a three-dim ensional ball, called a ephere, as the foundation.Now determine how youwantthe headangled.anddraw horizontaland vertical centerlines through the sphere to form ellipses. Use the horizontal centerline as the guideforplacing the eyes and eyebrow s.Atthe pointw herethe

guidelines intersect,draw in the ears.Draw thejawline and indicate a centerline going down the m iddle ofthe head in frontofthe face- use thiscenterline to place Scott'snoseand m outh.O nceyou havethisbasicfoundation,youcanstartdraw ing in details of the face,eyes,and hair.Rem em ber that you're drawing a threedim ensionalform ,notsim psy aflatfigure.Thisisespeciallyim portantw henplacing the eyes.Be sure to curve them around the head.

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To draw Marlene' s figure, zraw a centerline, then m ark off w here you want the top of her head and the bottom of her feet. D ivide the

centerline into eight equal lengths. D raw in the shoulderline ataboutone Iength dow n.The line should be tw o

Iengths w ide. U se the D ouble D iam onds to build the foundation for her body, w ith the crotch at four Iengths dow n.Sketch in the Iegs and arm s, using balls and sticks.Elbow s are three Iengths dow n;knees are six. Draw in M arlene's head.

Startturning the sticks into cylinders. Draw through the ends to illustrate their solidity.Indicate the features of Marlene's face and start roughing in herhair.

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You can startsketching in the details

onMarlene.HerjacketisveryIoose,so

draw it draping her body from the shoulderline dow n.

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As you tighten up yourdrawing,try to think of M arIene as a threedim ensionalfigure,nota flatdraw ing. Visualize the Iines ofclothing going around a solid body, not lying flat. O nce you have achieved this and you're satisfied w ith yoursketch, take som e tracing paperand redraw a final version.

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HereareavarietyofAnnie'sexpressionstohelpyoupracticedraw ingheadshapes. W hen draw ing these heads,use a three-dim ensionalball,called a sphere,as the foundation. Now determ ine how you want her head angled, and then draw horizontaland verti calcenterlines through the sphere to form ellipses.Use the horizontalcenterline asthe guide forplacing hereyesand eyebrows.Atthe point

where the guidelines intersect,draw in Annie's ears.Draw in herjawline and

indicate a centerline going dow n the m iddle ofherhead in frontofherface- use this centerline to place Annie's nose and m outh. O nce you have this basic foundation,you can start draw ing in details ofherface,eyes,and hair.Rem em ber thatyou're drawing a three-dim ensionalform ,notsim ply a flat figure.This is especially im portantw hen placing hereyes on herhead.Be sure to curve hereyes around the form .Annie's head is proportionately largerthan the norm due to the

factthatshe isachild.Herjaw andneckarealsosmallerthantheothercharacters.

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H ere isA nnie in a variety ofposes.Use the Ilne ofacllon to determ inethe general shape ofthe pose.This line isthedirection thatthe posecausestheviewer' s eye to m ove.

Rem em ber that Annie's body proportions are different from those ofthe other charactersdueto herage.HerIim bsareshorter,herhead isIarger,and hertorso is thicker.W hen constructing yourbasic foundation build itoverthe Iine ofaction, rem em bering thatyou're creating a three-dim ensionalsolid figure.

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Here we have a slightly foreshortened vi ew ofScottBernard's Arm ored Cyclone. Rememberto startwith sim ple formsfirstand work to the complex finaldrawing, Scott's Cyclone Riderisactuallyveryeasyto draw.Itconsistsoftwo circlesforthe wheels,one rectangleforthe upperbody,andanothertocpnnecttheIow erw heels.

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Draw a verticalcenteriine through the m iddle ofthe bike to divide itin half. Atthis point,we can begin to breaktheshapes intosmallerforms.Separatethe rectangle on the Iowerhalfofthe bike into two sm allerrectanglesw ithacircledividing them . You'llnoticethatthe upperhalfofthebodyconsists oftwo triangles.Separate itas show n in m y illustration.Connectthe upperand low erhalves ofthe body w ith a tfiangle.

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Now beginturning theshapesonyourpaperintosolid,three-dimensionalforms.At this point,study the illustration and begin adding the sm allerdetails ofthe bike.

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Atthispoint,check yoursketch againsttheoriginalillustration ofScottBernard' s Arm ored Cyclone.Ifyou're notsatisfied with the way yourbike Iooks,don'tbe afraid to go back and redraw .Ifyou are satisfied w ith whatyou've done,then it' s tracing papertim e!Lay apiece overyoursketch,and draw afinished,cleancopythen pleaselsend us a copy!

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To draw ScottBernard'sArmored Cyclonein its Battloid M ode,w e w illuse the sam e construction m ethods we w ould use for a hum an figure. Begin by draw ing a centerline and marking on that centerline the eight divisionsforplacem entofbody parts.Placetheheadone division dow n,chest at tw o divisions,w aist at three, crotch atfour,knees atfive,m id-shins atsix,and the ankles atseven.Now draw the basic skeleton thatyou w ould use fora human,consisting ofDoubleD iam onds, ballsand sticks.

Startturning thesticksinto cylinders.Draw through the ends ofthe cylindersso you can see w here theyoverlap orpass behind othershapes.Atthis point,you should startdrawing basic shapesto indicate the mechanism s on the bodyofthefigure.Useovalsto indicatethew heels onitsback,cylindersto indicate the rocketsonitsw rists,

and triangles,rectangles,and squares to indicate kther m echanism s.

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You can startsketching inthe detailson ScottBernard's Armored Cyclone in its Battloid Mode.As you're doing this,check and recheck yourproportions untilyou're satisfied thatyourdraw ing Iookslikethe original.Doesit Iooksolid andthree-dim ensional? lfitdoesn' t,erase and

redraw.

As you tighten up your draw ing,try to think of the Armored Cyclone Battloid asa three-dim ensionalfigure, nota flatdraw ing.Visualize the lines ofitsarmorgoing

ar ound a solid body,notIaying flat.Once you have achieved this and you're satisfled w ith yoursketch,take som e tracing paperand redraw a finalversion.

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The following is a partiallislofbooks tha!willbe of interestand help to you in Iearning more aboutdrawing. Rem em berthatbooks can önly show you lhe way. YO U LEAR N TO D RAW BY DRA W ING I

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BRIDGM AN'S CO M PLETE G UIDE TO LIFE DRAW ING G eorge B.Bridgman W eathewane Books

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DRAW ING THE HUM AN FIG URE By Jack Hamm

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DRAW

m

Grosset& Dunlap

Kurt Hanks and Larry B#lliston

W illiam Kaufm an,lnc.

DYNA M IC FIG URE DRAW ING Burne Hogarth

W alson-G uptillPublications

HOW TO DRAW CO M ICS THE M ARVEL W AY Stan Lee and John Buscema Sim on and Schusler

C REATIVE ILLUSTRATIO N Andrew Loomis

Bonanza Books

DRAW ING THE H EAD AND HANDS Andrew Loom is

Bonanza Books

FIG URE D RAW ING FO R A LL IT'S W O RTH Andfew Loom is Bonanza Books FU N W ITH A PENCIL Andrew Loom is TH E NATURAL W AY TO DRAW Kimon Nicolaides

Bonanza Books

Houghton M ifflin Co.

ATLAS O F HUM AN ANATO MY FOR THE ARTIST Stephen Rogers Pe& Oxford University Pfess THE ART O F DRAW ING W illy Pogany

Littlefield, Adam s CO.

HOW -TO .D RAW TIPS FRO M THE TO P CARTOO NISTS DonnarPublicalions HOW TO USE CREATIVE PERSPECTIVE ErnestW .W atson Van Nostrand Reinhold THE OFFICIAL HOW TO DRAW RO BOTECH TM lS SU E 1-4 David Cody W eiss-Bob Miller' Blackthorne Publishing

H RB IITHROBBH 1HE e ?EVINE?

B CKIHORXE'S l

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In December we'llbring you the hottestcharacters ofthis year and next!T' HE CALIFORNIA RâI3INS** in 3-D #1!W ise-crakin',hip and tntally cool,these amazing little characters willappearin aIInew

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storiesandartbroughttoyouonlyfrom Blackthorne. d TqEO!l. lF0##M jâlS/#S#*in3-0#f-32làr*-

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