The Official How to Draw Robotech 07

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A monthly manualdevoted to teaching how to Iearn lo draw the RO BO TECHTM anim ated cartoon characters and fighting craf!in an intelligentand easy to understand way. Fach irpsue

willcover one or more characters ordevi ces from each of1he three majorstorylines that make up 1he RO BOTECHY saga. Each storyline willt- featured in rotation. Issues 1 through 4 willfocus on lhe M ACR OSS characlers,issues 5 through 9 willcoverthe SO UTHERN CROSS characters,and issues 10 lhrough 12 wil coverthe NEW G ENERATIO N characters. lssues 13 through 24 willrepeatthe rotation examining new materi alfrom each storytine.

W RITTEN AND CY PILED BY RO BERT K M ILLER

M TW OM BY HARM ONY GO LD U.9.A.. 1N1

Alison Cant Elaine LaFI' a!' G

SEA N PH ILLIPS

LO U IE N IC H O LS

RAN K:PRIVATE AG E:23

RA N K:C O RPO RA L AG E:20

Form erfirstlieutenant,Sean PhilIips has the d ubious distinctlon ofbeing the 15th squadrons C asanova.This distincti o n is w hat cost him his form er rank when he m ade am ourous advances to the w rong wom an' ,the Colonelsdaughter.N ow heis a private but he still earns the great respectofthe othertroops because he is a good com bat soIdier and a Iikable person.Evenw ith the respectofhis fellow

Louie hsthe m echanicalgeniusofthe 15th squadron.Hehasnodesiretobeasoldier and only tolerates the Iife in orderto get closer to and Iearn the secrets of ROBOTECHNOLOGY. He dream s of using RO BOTEC H to createthe ultim ate m ac h in e. ln the m ea n1im e h is experiments atcreating problem solving or Iife saving mecha w ins him unwanted fam e w hen his m achines are put to unintended uses.

troops he sti11finds it hard to adjustto taking orders from his new com m anding officer,Dana Sterling.Dana w as once a sargeant under his com m and. H is

probIem s in adjusting are further com plicated w hen he fallsin Iove w i th ace RO B O T EC H pi1ot, M arie C rystaI.

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Howdyandwelcometothisseventhi ssue of HOW TO DRAW ROBOTECHR.lt's good to know thatyou've come thi s far. Youshouldbefeelingpreqygoodknowing thatyou' ve stuckto i tand learned some basic ways lo draw ROBOTECHY characters.

In this i ssue we willstudy balance and composition in drawing.W e willconcentrateonbalanceinthisissueandcompositi on nextissue.W e willcontinue drawing thecharadersoftheSOUTHERN CROSS SAGA,wrapping them up nextmonth.

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Aspecialtreatthisissueistbeinclusi onof plentyofarmorfrom thedifferentbranches ofthe ROBOTECH- army.W eal so have somefan mailand some ofyourdrawings toshowoff.Ourmechaforthi smonthisthe Veri tech copter.Sowhetheryou're afirsttimeroranoIdpro,follow the construction steps.practice constantl y,and you will

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Iearn to draw!

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YOU LEARN TO DRAW BY DRAW ING!

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SPECIAL

ANNOUNCEMENTI

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W E W ANT YOUR Lm ERS AND DRAW INGS! FifstoffIwanttolhanklhefansofROBOTECHTMforsending inthe Iettefs and art tba.make this issue so spectacular!lt's greatto see thatyou're drawi ng and that you care about what's going on in the btpok.The artwork is ve@ good and l'm cedainthatthere's pl entymore goodartworkoutthere.Sohow aboutsendingthat etuffin!W erekindofhtlngryforgoodartln factwe'reslawi ng!Keepwritinganddrawing and send uscopi es ofyourartwofk.

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Send yourIeqefs and copies Qfyourartworkto: Blaok horne Publishlng Inm 786 Blaeklhorne Avenue

EICajon,CA 92828

çlo How to Draw ROBOTECHY

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ln this issue,we willbegin the firstofa two-partdiscussi on on com position in art.Good com posi ti oncausesyoureyeto fl ow intothe picturetoits naturalfocusandthenflow backout again.Composi tiondonewellcausesyoutofeelthatapictureiswel l-bal anced- thatnopartofit has more wei ghtthan anyotherpart. So reallywhen we speakaboutcom posi tion we are actuallytajki ng about: 1.Bajance 2.Com position Let'sdi scussbalance forthisissue.

lnthi si llustration you can see two equal weightsaqachedtoaful crum.Theweights canbem oved,butyouseethattheydon' t need to be because they are balanced, but ..

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Supposewemoveoneweightcloser

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to the centerofthe fulcrum.You can see

thaltheweightonlhefarendseemsheavier,thusputtingthe fulcrum offbalance.

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OntheIastpa' gewespokeaboutmovingorchangingawel ghtonafulcrum to balancei t. Getting

a feelforwhich weightwillbalanie the ful crum willhelp you in yourdrawings and in your understanding ofthescaleofattraction. Here are som e basic rulesto hel p you findthe scal e ofaqraction.

1.Fverypi ctureisacoll ectionofobjects. 2.Eachobjectinaglcturehasavasuethatdependsuponwhefeyouplaceiti nthepicture. 3.Anobjectplacedneartheedgeofthepicturehasmorevaluethanoneplacednearthemiddle,

Inthispicture,theshipo#tothe rightgives balancetothewholeand m akesyoureye m ove across the centerlineofthe picture absorbing the detailsofthe drawing.

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W iththisdrawingyou seethatplacing the blackshi p ontherightside ofthe centerline isnotenoughto balancethe weightof the sailboatwhich istoo close to the Ieft edge.

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OntheIastpage,thegoalofthescaleofattracti onwastokeepyourattentionmovingacrossthe drawing.The viewer's eye should flow in and outofany picture you draw.Thi s is aided by verticaland horizontalbalancp. AIIofyourdrawingsshouldhaveahorizonIinewhichtheeyenaturallyfollows.Theverti cali tems thatyoupl aceonthatlineshoul dbesobalancedintheirweight/aqractionastokeeptheeyefrom stopping al ong its pathand notcontinuing. Herearethree exam plesofthe use ofverti caland horizontalbalance.

B In this Iine drawing balance i s achieved primarilybecausenooneIi ne i sallowedto totallycutacrossthedrawingverticallyor

horizontally.Primaryhori zontalIines IA1 andvedicalli nesIB1touchonl yoneedge ofthe pi cture.

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Inthispicturethe heavy horizontallineot the l and causesthe eyeto move straight across.W ithoutbalancedvedi calIi nesthe eyewillnotstop and focus.

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A too-heavy verticalfigure stopslhe eye from moving totally across the horizon. Thefigure should nottouch bothtop and bottom ofthe pi cture.

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Inretrospect,i t' simportantto rememberthatthegoalinyourdrawing isto makethevi ewer'seye moveacrossthewhol e picture.Howyoudothi swillbe moreamaqerofyourfeelingsratherthan rulesandcan onl y be achi evedthrough constantpractice.Asyou practi ceyou'llfind you can adaptthese rulesto yourownneeds and feelings.

Transiflon ofIine makes the eye feelmore comfortabl e as itmoves from a verticalto a horizontalIine.Inthistypeofbalance,theeyemovesform onelinetoanother- forexampl e,from ashorelinetothehorizon- via placementofverticalordiagonallinesnearthepointofintersection.These break up the horizontalflow,allowingtheeyeto be redirected along anew line.

In this drawing,lhe eye moves easily acrossthe Iand tothe hori zon,due tothe placementofthe smallboats.Tbe boats stop the eye long enough so the viewer can m ake thetransi ti onfrom Iine to Iine.

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In thi s picture,the vedicalline needed to stop the eye from moving downward wi th the shoreline i s too farfrom the pointof intersectionto be effective.

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In thi s picture,it's partly cloudy with a chance ofshowers.

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To draw Sean,start wi th the DoubleDiam ondlforSean'storso.Use sticksto indi cate the arms,Iegs and neck. Use rounded shapes forthe head and atthe

elbow and knee joints.Wedges orany simple shapescan beused forhandsand feet. Pay attention to proportion here: Sean stands 7-1/2 heads tall,with the crotch atthe 1/2 mark,the chest and kneesatthe 1/4 marks.

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Stadturning the sti cks into cylinders now. Draw through the ends ofthe cyli nders

(called ellipses)so you can see where theyoverlaporpassbehind othershapes. Mark offthe features on the face,being carefulto shi ftthe centerlines to the left, because Sean'shead i s turnedsli ghtly.

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Now youcanstartroughinginhiscostume and other details. Remember that lhe clotheswraparoundtheform andhangon thebodyparts.Fini shtheheadandhands

Asyou tighten up yourdrawing,visualize

a1Ithe costume lines (sl eeves,stripes, belts,seamsetc.)Thesecanbeseenas

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lineson the surface,wrapping around the cylindersofthearmsand legsand running up and down the fol ds and creases of Sean's torso, 9

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HereisSean'sheadinanumberofposes withavarietyofexpressi ons.Ineachcase we show the finaldrawing nextto an example ofthe basic construction.lfyou stad each ofyourown drawingswi ththis basic analysis,aIlyoblrheads willbe solid and consistent.

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Obsewehow,whenthe head is tilted, the c e n t e r l i n e st < ome e l k p s e s : I i n e swr a p p ed around the curved surface ofthe head Th is

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Here is adrawing ofSean in armor.Start by drawing a six-inch centerline,On this centerli ne measure down from the top of thehelmet:3/zrtothechinand shoulders, 1-3/4,downtothewaistline,2-9/16*down tothe crotch,and3-1/2*tothe kneepads. Thefootontheleftrestsonthe5-1i4'line and thetoe ofthe rightfootrestsonthe 6* m ark.Now use the Double Diamonds to constructthe torso and an ovalto construclthe head.Add yourbal land sticks forarmsandIegs.Draw arectangl eforthe shi eld.

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Check yourpropodions.Is the shoulder

angled properly? Are the wai stline and

el bow jointonthesameIine?Arethe I eg jointsandhandsonthesameIines?Once you've checked your proportions start makingthesticksintocyli ndersandblocking in the squares,rectangles,and triangl esofthe shield.

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/Now startroughing in differentsegments ofSean'sarmor.Stadworkingonhishead and face mask.Sean's armor is veïy detail ed so take yourtime and don'tbe afraidtoerase.Hang Inthere- you'llgeti t!

Ifyou're satisfied with whatyou' ve drawn, then puta pi ece oftracing paperoverit and redraw your clean version making anycorrectionsnecessary.Thisisacomplexfigure to draw,so i fyouthink i tlooks goodthen shootusacopysowecanprint it.

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Here we have the armorofthe ROBOTECHTMarmy'sDesertSquad.Thisfi gure isabout6*tall.The shoul der-line stafts1* down.The waistli ne starts 2* down;the hipllineis3*down' ,thekneesarebetween 3-1IT and4',thefootatthe leftisonthe 5-1i*'Ii neandthefœ tontheri ghtlouches the 6'Iine.

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Now use the techniques you used for SeanPhillips'armortocompfetethisDesert Squad'sarmor.Be especiallycarefulwith the helmet,It's odd-shaped and willbe hardto draw atfirst,butkeep practi cing.

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Thi s isthe armorofthe Tacti calArmored Space Corps.The drawing is 6-1/4*tall withtheshoulder-lineat1*thewaistlineat 2*,the crotch at3' and the knees at4>. ThefootontheIeftisonthe5-3/4*Iineand the footon the ri ghtison the 6-1l4*line.

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Once again,you can tlse the methods you'veIearnedtoconstrtlctthebasicskeletonandworkittothefinishedform . Once youhave yourrough drawing completed, youcanthen taketracingpaperandconstructthe finishedform .

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To draw Louie,startwith an ovalforthe head.Draw the cehterline for his head

angled tothe I eft.Draw the necklinejust behind thejaw.Connectthe neckto the Double Diamonds ofthe body and then sketch in the arms and Iegs using sti cks and balls.

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You've gotyourfoundati on down'now startturningsticksintosoli d masses.Sti cks become cylinders.Startsketching in the features*ofLouie's face.ReMemberthat the centerlinefortheface istothe left.

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c m m On tracing paper. outline the finished drawing ofLouie Nichol s.Ifi tdoesn' tlook ri ght,go back to yourrough sketch and make corrections.I fitlooks great,then send us acopy.

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r' I Here are five drawings ofLoui e Nichols' head and face.Each drawing has a differentexpression.Nexttothedrawingisa ghostimage with a circle.Inside ofthe circl e,di fferentokalshapes are drawn. These ovals show horizontaland vedical guidelinesthatyou can use to place the nose,ears,eyes,and eyebrows.

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