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W eloome to the second i ssue ofTHE OFFICIAL HOW TO DRAW ROBOTECHTM series, a m onthly book designed to teach fans ofthe enormously popularROBOTECHTM animated television seri es how to draw all lhejr favorite characters and m echa. Each month we willdem onslrate how to draw one ortwo characlers from the show in the firsthalfofthe book,anJ highlighthow to draw some ofthe fantastic lransforming fighting craft or M echa,in the second half. Unlike some otherhow-to-draw books on 1he stands whi ch offeronly a bland step-by-step ecopy-me- approach, we w illdem onstrate how to actually construet a drawing, 1he way protessionalartists do. By showing the rules and the thlnklng thatgo into each draw ing,we hope thatyou w ill

Iearn more than justhow to copy a face or a pose that is already in front of you. You w illiearn how to draw these characters and craftin any pose or angle you can im agine. In addition,each dem onstration willbe show n on a grayed-outimage ofthe fpnaldrawing.so you can al ways see how the construction steps relate to the finished art.

Rememberp ANYBODY cen learn 14. d raw 1 . lfyou study the rules, observe carefully how somèthing is draw n,and m ost imporlant of all practice constantly,you willIearn to draw ! YOU LEARN TO DRAW B# DRAW ING !

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SPECIAL ANNO UNC EM ENTI! W E W ANT YO UR LETTERS AND DRAW ING S! W e want to hearfrom you and see how you are doing! Send us Ietlers telling us w hat you Ii ke or don'tlike aboutw hatwep re doing with THE O FFICIAL HO W -TO DRAW -ROBOTECH series. W e'IIstarta I etler colum n in i ssue #3 or#4 depending on how soon we startgetting letters. Not onl y that bu1 in each issue we'llprint som e ofthe bestofyour drawings ofthe RO BOTECH characters yousend us. So start writing and drawing TO DAY !

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Each draw ing is constructed from basle shapes and arranged according lo relalionships called proportlons. Every partof a figure is placed by m easurlng its heightor width as compared with the otherparts. In fi gure drawing,the basic unitofm easurementi s the HEA D. The head is constructed from an ovalor egg-shape. Lines dividi ng the surface of the shape into halves mark 1he places w here eyes,ears,noses,m ouths and other features are located. Always remember thatyou are describing a solid,curved surface,so lines w rap around the basic shape and ourve when the shape is tilted or turned. The body is m easured in head-helghts.

This m ale figure i s 7 1/2 heads tall (you don' tcountthe hair). The l egs attach to the hips atthe halfway m ark. M ostolher Iandm arks on the figure are calculated by di viding 1he height into thIrds,halves or quarters and noting whatbody parl fall s close lo one of lhese Iines. Pay close altention to how Iong the arms

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and Iegs are,and where the joints are located. These rel ationships rem ain the same no m atterwhatposition 1he body is in. Try to analyze each pose in stlck-flgure form first. This is 1he easiestway of establishing a strong foundation upon whi ch to construct a Iively, accurate drawing.

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). Starl out by drawing an oval lo descri be the head, adding two I ines below 10 Iocate the neck. Divi de the head with verti caland horizontaltines to Socate the centerline and eye-llne.Add a curved line forthe shoul ders across a polnt1/4 ofthe centerllne Iength below the chin.

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Draw in the eyes,centerirl each about hal fway between the centerllne and the side ofthe head. The nose Ilne falls about 2/3 of the way between 1he eye-llne and chin,with the boltom 1ip halfway between nose Ilne and chi n. The ears fi tbetween the nose Ilne and the bottom of the eyes.

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O h nl o se,mouthandcollar,andaddpupi lsand ghlights to the eyes. Draw through the 1l neck lo find the cylinder-shape ofthe blouse collar.

Tighten up allthe delail s and erase your conslruction Iines orIay a piece oflracing paperoveryour rough draw ing and redraw only 1he finished forms. 6

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Draw ing the proflle is very m uch the same as doing 1he front. Staftwi th an eggshape,then divide with centerllne and eye-llne as you did the front view , but this tim e tilt the center line forward. Once again, the shoulder falls about 1/4 of1he head heightbelow the chin.

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Again,Iocate the eyes,nose,m outh and ears in the sam e relationship as in the front view. Note, however that the ear is localed on the centerline in the profile. The head balanceson1he neck Iike anegg ona thick round stick.

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Rough in the hair and olher facialdetails as before. Add costum e details.

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Erase construction Iines or trace over sketch for final drawing.

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Here are a numberofposes ofM lnm el's head wi th R variety ofexpressi ons. In each case we show the finaldrawinq nextto an exam ple o! the basic construction. lfyou start each ofyour own drawings with lhis basic analysis,al1yourheads willbe solid and consislent.

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matterhow the form is turned and you will be constantly aware that whatyou are draw ing is a solld form In space only desorlbed by lines on paper.

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Obsewe how,when the head is tilted,the centerllnes become ellIpses,that is, lines w rapped around the curved surface of the head. Draw through the head,following the Iines around. Thi s w ay a1Ithe features

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Pay attention to !he relationshi p betw een the head,neck and shoulders in these sampl es. Do vary !he tiltofthe head on 1he neck and ofthe neck on the shoul ders, and avold a straight-up-and-down *stacked'approach. This willproduce livelier, more graceful-fooking poses.

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To draw the Iigure, start with a balland-stlck diagram, placing the parls in proper relation to each other. Use stlcks to indicale the arms,iegs and neck;rounded shapes forthe head chest,hips and atthe elbow and knee

Start turning the Micks inlo cylinders now. Draw through the ends ofthe

cylinders (called ellipses),so you can

shapes forthe hands and feet. Pay attention to proportion here: M InmeI stands 7 heads tall,with the crotch at 1he 1/2 m ark, the breasts and the

see where they overlap orpass behind othershapes. Mark off1he features on the face as before,being carefulto shiftthe centerlines lo the Ieft, because M inm ei's head i s turned sIightIy. Drop a Iine from where the neck meets the front ofthe cheststraightdown to

knees at the 1/4 marks (see p.5 for more details).

the floor. This line tcalled 1he center ofbalance),always falls on a Iine

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drawn between the centers ofthe feet.

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visualize aIIthe costume Iines (sleeves slripes,belts seams,etc.)as lines on 1he surface ofthese curved and folded forms,w rapphng arounö oylinders, running up and down 1he hillsand folds and creases.

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Partofthe fun ofdrawing Minmei(and the otherfemale ROBOTECH characters)

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islothe c ingimaMgi nativ e1v arie tyeinchar heracters ost of he mal

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appear in nguniform orin one kind of civilian onl cloy thi

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but1he wom en w ear many different styles of dress. Study

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then create yourown designs. lfyou need inspiration,Iook at clothing ads in newspapers and magazines orin store catalogs.

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nalyzeeachposecarefullybefo reyou starldrawing. Sketch in the sti ck figure -

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Now here are some eyes taken from a RO BO TECH m odelsheel. Notice lhat the Japanese styl e avoids drawfng lines completely around forms, instead they break outlines and Ieave gaps belween pads that do a lotof m ovement.

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The Japanese approach to drawing expressions is much broaderthan the average Western approach. They don' !feelcom pelled to Iim i t theircharacter's faces to a reali stic-only style. O ui te often in each show there willbe a character who acts as a com i c rel iefwho is drawn in a very carloony stylexin strong contrast to the more reati stk Neroes. The heroes themselves can express lheirem olions with highly exaggerated faces distorted to emphasi ze the strength oftheirfeelings. In 1he W est,we would callthis styl e ofacting pm ugglngd', and discourage i1s use,butitm akes up a good partofthe appealofthe Japanese cartoon. Don'tbe afraid to use it in yourdrawings. Make the mouth in a shouttake up m os!ofa face'ifa face is cryingr scrunch up the features; i fa face is surprised, make the eyes big,and the mouth hang open wide. ln olherwords, make the face funny and have fun draw lng it. 18

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Here we go again. In lhese dem onslrations of Breetal's head and the following one ofhis body on pages 22-23,we'lldo the com plete process forthe Iast time. Ifyou have difficul b ty, refer ack to the M lnmeldemos on pages 6-7 and 10-11, orto the RlckHunterdemo in issue #1. '

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Even though Breetalan: hisfellow Zentraedlar/ some 50 feettall, tbeir basic proporlion and construction i s the sam e as the standard male figure dem onslrated earlier.

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The following is a partialIistofbooks thatwillbe of interest and hel p to you in Iearning more aboutdrawing. Rememberthatbooks can only show you the way. YOU LEARN TO DRAW BY DRAW ING I

BRIDGMAN'S COM PLETE GUIDE TO LIFE DRAW ING G eorge B.Bridgm an W eathervane Books D RAW ING THE HUM A N FIG UR E By Jack Ham m

G rosset& Dunlap

DRAW Kurt Hanks and Larry Belliston

W illiam Kaufm an,lnc.

DYNA M IC FIG U RE DRAW ING Burne Hogadh

W atson-G uptillPublications

HO W TO DRAW CO M ICS THE M A RVEL W AY Stan Lee and John Buscem a Sim on and Schuster CREATIVE ILLUSTRATIO N Andrew Loom is

Bonanza Books

DRAW ING THE HEA D AND HA NDS Andrew Loom is

Bonanza Books

FIGURE DRAW ING FOR ALL IT'S W ORTH Andrew Loom is

Bonanza Books

FU N W ITH A PEN CIL Andrew Loom is

Bonanza Books

THE NATURAL W AY TO DRAW Kim on Nicolaides

Houghton M ifflin Co.

ATLAS OF HUMAN ANATOMY FOR THE ARTIST Stephen Rogers PeG Oxford Uni versity Press THE A RT O F DRAW ING W illy Pogany

Littlefield,Adams Co.

HOW -TO-DRAW TIPS FROM THE TOp CARTOONISTS DonnarPublications

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