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series, a m onthly book designed to teach fans how to draw aIltheirfavorite characters and m echa. Each m onth w e w ill dem onstrate how to draw one or

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two characters from the show in the first half of the book, and highlighthow to draw som e ofthe fantastic transform ing fighting craft or M EC HA , in the second half,

Unlike som e other how -to-draw books on the stands which offer only a bland step-by-step ''copym e '' a p p ro ac h , w e w ill dem onstrate how to actually construct a drawing, the w ay professio n al a rtists d o. B y show ing the rules and the thinking thatgo into each draw ing,w e hope

thatyou willlearn m ore than just how to copy a face ora pose thatis already in front of you. You w ill Iea rn ho w to d raw these characters and craftin any poseor

angle you can im agine. In addition, each dem onstration w ill be show n on a grayed-out im age ofthe finaldraw ing,so you c an aIw ay s se e ho w th e construction steps relate to the finished art. Rem em ber,AN YBO DY can learn to draw ! lf you study the rules, observe carefully how som ething is draw n, and m ost im portanl of all, practice constantly, you w ill learn to draw ! LEA RN T0 DRAW BY DRAW ING ! '

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SPEC IA L A N N O U N C EM E NT ! W E W A N T YO U R LETT ER S A N D D R A W IN G S ! W e w antto hearfrom you and see how you aredoing!Send usIetters telling uswhatyou Iikeordon'tlike about w hat w e're doing w ith the HOW TO DRAW ROBOTECH series.W e'IIstarta Ietter colum n soon.W e willalso be printing your draw ingsso whyw ait,send in your entries today!

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Each drawing is constructed from basic shapes and arranged according to relationships called proportions. Every partofa fi gure is placed by m easuring its height orw idth as com pared w i th the other parts. In figure draw ing,the basic unitof measurem ent is the H EAD .

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The head is construcled from an ovalor egg-shape. Lines dividing the surface of the shape into halves m ark 1he places where eyos, ears, noses,m ouths and other features are Iocated. Always remem ber that you are describing a solid, curved su/ace,so Iines w rap around the basic shape and curve w hen the shape is tilted or turned.

The body is measured in head-heights.

Ihis m ale figure is 7 1/2 heads tall (you don'tcountthe hair). The legs attach lo the hips at the halfway mark. M ost other Iandm arks on the figure are calculated by divi ding the hei ght into thlrds,haIves or quarters and noting whatbody partfalls close to one of these Iines. Pay close attention to how Iong the arms

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and I egs are,and where the joints are

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Iocated. These rel alionships remain the same no m atterwhatposition the body i s in.

Try to analyze each pose in stick-figure form first. This is the easiestway of establishing a strong foundation upon which lo construct a Iively accurate draw ing.

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The femal e figure differs in some points from the m alo, Bolh fîgures are mcasured in head-heights,but the proportions are catculated differently. This fem ale figure, basod on LYNN M INM EI, is only 7 heads bigh,m aking for a shorter m ore com pact figure. Dividing the height into quarters w illIocate the breasts, crotch and knees. The distance from the centerofthe sole of the foot to the knee-line is 1/3 ofthe figure's height, with the other 1/3-m ark Iocatfng the navel. Notice thatthe distance from the crotch to the bottom ofthe chin is arso equalto 1/3 otthe totalhei ght.

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Start out by draw ing an oval to describe the head, adding tw o Iines below to Iocate the neck. D ivide the head w ith verticaland horizontal lines to locate the center Iine and eye-line. Add a slightly curved Iine for the shouIders across a point I/4 of the centerline length below the chin.

D raw in the eyes,centering each about halfw ay betw een the centerline and the side ofthe head. The nose Iine falls about2/3 ofthe way between the eye-line and chin,w ith the bottom lip halfw ay betw een noseline and chin.M ax's

earsfitjustbelow thebottom ofthe eye-line to the m outh-line.

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m Rough in the hair, indicate the shape of the nose,m outh and the sharp ch in . Ad d pupils and highlights to the eyes.

Tighten up alIthe detailsand erase your construction Iines or Iay a piece of tracing paper over your rough draw ing and redraw only the finished form s.

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Draw ing the profiIe is very m uch the sam e as doing the front.Start w ith an egg-shape, then devide w ith centerline and eye-line as you did the frontview ,butthis tim e tilt the center Iine forw ard. O nce again,the shouIderfalls aboutI /4of the head height below the chin.

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Again locate the eyes, nose and m outh 1n the sam e felationsh1p as in the front view . The head balances on the neck Iike an egg on a thick round stick.

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Rough in the hairand otherfacial details as before. Add costum e details.

Erase construction lines or trace = oversketch for finaldraw ing. m

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O S Ht eerr elia ng re' sah ne ua mb de wi rt oh fpa os veasri o ef ty Ma oxf Z expressions.Ineachcaseweshow I the final draw ing next to an exam ple ofthe basic construction.

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If you starteach of your own

I1I draw ings w ith this basic analysis,

1 aIIyo iurheadswillbe solid and * M

CONSstent. t Ob ilted, servethehow, when the head is centerlines becom e

< ellipses,that is,Iines wrapped

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follow ing the Iines around. This w ay aI1the features you draw w ill stay properly related no m atter how theform is turned and you w ill be constantly aw are thatw hatyou are draw ing isa solid form in space only described by Iines on paper.



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Now you can startroughing in his c0stum e and (7ther details. Rem em ber that the clothes w rap around the form and hang on the body parts.Finish the head and hands now.

As you tighten up your drawing, visualize aII the costume Iines

(sleeves, stripes, belts, seams, etc.) as Iines on the surface of these ctlryed and folded form s etc.) as IInes on the surtace o1 these curved and foIded form s, w rapp ing aro und cyIindersi running up and dow n the hiIIsand folds and creases.

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In the draw ing of RO BO TEC H characters, one w ay d istinct characters are created is through head shapes. A distinctly shaped head is recognizable even as a siIo u h e tte m a k in g in sta n t identification of a R O BO T EC H characterpossible.In this chapter w e w illdiscuss facialshapes and

hatrstyles.

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The Zentaedi agents Rico, Bron and K onda best exerrlpIify characterization through head shapes.Anyoneorcom bination of sim ple geom etric shapes can be used to createa head.The angle of

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the jawline can be changed to

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create various charactertypes:

The squarejaw suggests the brute

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w hile thin pointed jaws (in conjunction with sleepy eyes.) suggests the schem er.

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Haircan also be used to suggesta character type. by throwing hair across one eye a m ore sinister character is created. Short hair

suggests neatnessand orderwhile Iong or shaggy hair suggests

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youthfulor anim alfreedom .

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Now study the otherRO BOTECH characters for head shapes and hair to find the visualdifference and then startdraw ing.

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Variation in body types are as im portant as in facial types. A distinctive body is im portant in recognizing a particularcharacter. There is no w ay Bron could be

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m istaken forRico orKonda.There

are three distinct body types:

Muscular. skinny and fat (or round). com bine these w ith different heights and you have enough body types to keep you busy.

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You shouId have enough practice underyourbeltto attem ptdrawing Khyron's head.It's the same ovalegg shape for his head but note the difference between Khyron's sinistereyes and Max Sterling's w ide trusling eyes. That's visualcharacterization. '

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ghten upallthedetaiTsanderaseyourconstructionIinesorIayapi eceoftracingpaper

over your rough draw ing and redraw onl y the finpshed form s,

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Khyron's basic body proportions even at50 feetare

the same as m icronians (you and I),so the real challenge is his great uniform . Practice draw ing each piece separally rem em bering the cape com es

to a pointbehind him and thatthe back ofhisjacket is Iike an elongaled tuxedo. 18

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Rem em ber,if it's notto yourIiking then keep doing it until you like it. Loving w hat you're doing and doing itare the keys to good art .

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The follow ing is a partialIis!ofbooks lhatw illbe of interestand help to you in I earning m ore aboutdrawing. Rememberthatbooks can only show you the way. YO U LEA R N TO DR AW BY DR AW ING !

BRIDG M A N'S CO M PLETE G UIDE TO LIFE DRAW ING George B.Bridgm an

W eathervane Books

DRAW ING THE HUM A N FIG URE By Jack Ham m

G rosset& Dunlap

DRAW Kurt Hanks and Larry Belliston

W illiam Kaufm an,Inc.

DYNAM IC FIGU RE DRAW IN G Burne Hogarth

W atson-GuptillPublications

HO W TO D RAW C OM ICS THE M ARVEL W AY Slan Lee and John Buscema Simon and Schuster CR EATIVE ILLUSTRATIO N Andrew Loom is

Bonanza Books

DRAW ING THE HEA D AND HA NDS Andrew Loom is

Bonanza Books

FIG U RE D RAW ING FO R A LL IT'S W O RTH Andrew Loom is

Bonanza Books

FUN W ITH A PENCIL Andrew Loom is

Bonanza Books

THE NATURA L W A Y TO DRAW Kim on Nicolaides

Houghton M ifflin Co.

ATLAS OF HUM AN ANATO M Y FO R THE A RTIST Stephen Rogers Peck Oxford University Press THE A RT O F DRAW ING W illy Pogany

Littlefield, Adam s CO.

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