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A monlhly manual devoled to teaching bow to dearn to draw the BOBOTECHTM animaled
cartoon characters and fighling craft in an inlefligent and easy to understand way. Each iu ue
will covef one or more characlers or devices from each of the three major storylines that
make up the ROBOTECHTM saga. Each storyline will be featured in rotation. lssues 1 through
4 will focus on the MACROSS characters, issues 5 lhrotlgh 9 will cover th* SOUTHERN
CROSS characters and issues 1 0 through 1 2 will cover the NEW GENERATION characters.
Issues 1 3 through 24 will repeat the rotation examining new material from each storyline.
WRIU EN AND COMRLED BY
ROBERT A. MILLER
M TWORK BY
HARMONY GOLD U.S.A., 1NC
D A N A S T E R L I N G
Rank: 1st LIEUTENANT AGE: 18
ZO R PRIM E
Rank: BIO ROID PILOT SPY
Age: UNDETERM INED
zo Prime is the Iast hope of the
ROBOTECH MASTERS to regain the
secrets of the protoculture factory and
ROBOTECHNOLOGY. W hile spying for
t h e R O B O T E C'H M A S T E R S ,
Zo r gradually comes to learn that he is
a clone of the father of
R O B O T E C H N O L O G # ;T h e o r ig i n a I
scientist Zor. Because tbe original Zor
disagreed with fellow scientists he hid the
R O B O T E C H d a ta a l o n g w it h t h e
protoculture factory aboard the SDF-I
and sent the battle fortress out into space.
Zor Prlm realizes he is being used by the
ROBOTECH MASTERS and turnss
against them. His aclion s lead to his
tragic sacrifice, the destruction of the
ROBOTECH MASTERS, and the invasion
of the Earth by the parasitic Invid.
The child of Max and Miriya Sterling,
Dana is a graduate of the ROBOTECH
M i l i ta ry Ac a d e m y f o u n d e d i n t h e
aftermath of the first ROBOTECH W ar.
Her status as a child of the heroes of the
first ROBOTECH W ars makes her choice
of involvement in the military m ore of a
lark than a vocation. She has a genuine
innocence combined with a brilliant
mind. Her Zentredian mother's heritage
gives her the ability of pre-cognition
concerning the ROBOTECH MASTERS,
their schemes, and the thoughts of the
renegade clone, Zor Prime. She acts as a
catalyst to much of the action during the
Earth war against the ROBOTECH
MASTERS.
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TA B LE O F C O N T E N T S
I N TR O D U CT I O N . . . . . . . . . . . . . . . . . .
. 2
MOVEM EN T . . . . , . . . . . . . . . . . . . . . . . , . . . . . .
. . .
4 DANA STERLING
F R O N T VIEVV ,......,............
. . .. . . .. . . .6
P R O FlL E ..........,...,.
. . .. . . . . .. , . . . . . . . .7
EXPRESSIO NS . . . . . . . . . . . . . . . , . . ,
. . , . . . . . . .8
FULL FSGURE . . . . . . . . . . . . . . . . . . . . .
. . . .. . . .10
ARMORED FIGURE . . . . . . . . . . . . . .
. . . . . . . . . .12
BACK FIGURE . . . . . . . . . . . . . . . . . . .
. . . . . , . . . .
1 4 ZOR PRIM E
FRO NT VIEW . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . 1 6
EXPR ESS I O N S . . . . . . . . , . . , . . . . . . . . .
, . . . . . . 1 7
FUL.L FIG URE . . . . . . . . . . . . . . .
. . . . . . . . . . . . . .
e! 8
AR MO R ED F 1 G U R E . . . . . . . . . . . .
. . . . . . . . . . . .
20 HOVERCRAFT
SID E VIE V# ............,......,
. . .. . . . . , . . .
2 2
TO P VIEVQ ........,..........
.. . . . . . .. .. . . .
2 4
A N G L E D VIEVV ......,..............
. . . . . . .
2 6 R EA DIN G LIST
. . . . . . . . . . . . . . . . . . . .
28
W elcome back micronians.
In this fifth issue of THE HOW TO
DRAW ROBOTECH'Mseries we will
be dem onstrating how to draw the
heroesu villians and mecha of the
RO BOTECHTM anim ated television
series. The next four m onths w ill
concentrate on the characters and
mecha of the Southern Cross Saga,
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By now you know that these books
concentrate not on the copy-me
a p p ro a c h b ut o n c o n c e p t a n d
construction. W e will teach the
concept and thinking behind the
draw ing of character or mecha and
then construct the image piece by
piece, This w ill give you a greater
ability at drawing the characters, first
f rom m em ory and eventually from
imagination, in any pose or situation
you choose.
Construction steps to finished drawing
w ili be shown on ghost images. This
will allow you to see the foundation
f/rm s necessary to m aking sure that
the relationships between various
parts; faces, body or machines, are
always correct.
As always, remem ber, ANYBO DY can
Iearn to draw!
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SPEC IAL A NNO UN C EM ENTI!
W E W ANT YO UR LETTERS AND
1) 61 /t h!l I 14 () 11 !!!!!!!!!!!!!!1!1!!,!!!!!!!!!!!!!!!!!!!
D o y o u h a v e a p i l e o f
RO BOTECH.. artw ork that your
m other is afraid will fall over and
b u r y y o u i n y o u r s l e e p ?
Do your friends enter your room
a n d w o n d e r w h e r e t o s i t ?
Are you drawing ROBOTECH.
. in
your sleep?
W ell don't be shy! W e want to see
and print copies of your best
draw ings so start sending in
truckloads of ROBOTECH.. art.
Youpll need space in your room
anyway for your future drawings
.
Rem em ber also, that if you have a
gripe, want to compliment, or just
want to say howdy, then w rite us
at:
Blackthorne Publishing
7 8 6 B I a c k t h o r n e A v e n u e
EI Cajon, Ca. 92020
c/o How To Draw RO BOTECH
..
Don't be a stranger.
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ln this section we'll discuss m ovem ent in anim ated figures by starting
X with the basic principles. The first principle iSTHE BOUNCING BALL
ACTION. AII your drawn characters should appear to have < weight
. This weight is always being pulled down by gravity causing
X compression in solid objects. Reacting to gravity and compression is
a great part of w hat m ovem ent is aII about.
In the illustration gravity pulls the ball dow n acting m ost strongly as
the ball gets closer to the ground in 4 and 5. In 6 it im pacts w ith the
ground, com presses and bounces up in 7, 8 and 9 to it's original shape
i n 1 0.
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n this human figure you can see the bouncing ball action again. The
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> figure is pulled down by gravity in f igure 1
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com presses in figure 2,
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The bouncing ball action is seen in walking
,
running and jumping fi
gures. The rythm of up and down forward m ovement is created by
gravity pulling our body down to contact and com pression and we
then use our leg m uscies to recoil and lift up to a standing position
.
Practice drawing these f igures in thei r walking
,
running and jumping
poses and try drawing your favorite Ro Bo TEcHTMcharacter in any of
these poses,
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This frontal view of Dana diffes
f rom the usual fqontal view. Dana's
head is tilted. Tllt your initial oval
on the centerline. Draw a separate
angled centerline for the head.
Draw the cqrved shoulderline 1,4 of
the centerllne Iength below the
ch i n .
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The centerline divides Dana's
head in half . Each half is divided in
half again on her eyeline so you
can place her pupils there. The
noseline falls 2/3 of the way
b e t w e e n e y e Ii n e a n d c h i n .
between eyeline and chin. The
m outhline is halfway between
noseline and chin.
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Tighten up the details on face and
costum e and then Iay down
tracing paper and redraw the
finished clean version m inus
construction Iines.
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1- Lightly draw in Dana's eyes
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nose
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everything is where you want Q 1 t Draw th roug h the neck to f i nd
fr the cylinder-shape of the uniform
I l collar.
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For Dana's profi Ie draw the
eggshape and divide with a
centerli ne and eyeline. The
c e n t e r I i n e i s t i I te d f o rw a r d
beecause the head and the neck
are ti Ited foward.
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Place the eyes, nose and mouth inO the same relationship as in the
f ront view. Draw in the neck Iines
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Lightly sketch in the hair and facial
details.
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Lightly sketch in the hairand facial
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Here are three expressions of
Dana Sterling. Each expression
has a corresponding ghost im age
to show construction technique.
l The em phasis here is on drawing
s o m e t h i n g t h at I o o k s t h re e X dimensional or solid
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You will notice that in these and W other expressions it is the tilt of the
head, just as much as the face, that
makes a good expression.A good
way to get the tilt correctly is by
draw ing a ci rcle w ith horizontal
and vertical center guide-lines
GOING AROUND the circle in
accordance w ith the tilt you want.
These Iines w ill eventually anchor
the eyes, nose, and ears on the
head.
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Once you have the circle tilted nq
properly you can draw in ajaw Iine x
extending frqm half of the Iower Y
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The jaw can be
long or short depnding on the X
character and thelr expression
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R e m e m b e r t h e s p h e re ( a 3 &
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the head and the angie of tilt is the
b a s i s f o r t h e e x p r e s s i o n
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To draw Dana start w ith a balland
stick diagram . Dana is 7 heads tall
with crotch at the 1/i mark, breast
and knees at the 1,4 mark (see page
5, issue 2 for more detail.) Make
sure your proportions are correct
and watch out for the slight angle
Dana is standing at w hen you
make your centerline for the head
and body.
Y o u ' ve g ot yo u r f o u n d a t i o n d o w l n
now start turning sticks into solid
m asses. Sticks becom e cylinders.
Start draw ing in the features of the
face. Centerlines should be shifted
to the Ieft since Dana is standing
slightly to the Ieft.
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Now you can start roughing in her
costume and other details.
Be
caref ul f or costum e detai Is
e s p e c i a l I y D a n a ' s s h o u l d e r
epaulets, her belt, and her high
col 1ar .
Now on tracing paper outline your
finished form and costum e design
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Rem em ber your draw ing is a solid
m ass draped in c10th.
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To draw Dana in her arm or is not
as hard as it Iooks. Look at the
figure f irst. She is standing at an
angle so your centerline w ill be
slightly to the left. Draw your egg
shape for the head but angle the
chin to the Iefy: W ith the Iine of the
shoulder you'll notice the right
side is higher than the Ieft, so draw
th shoulderline at thatangle. Now
build your skeleton.
As w ith a norm al f igure start
blocking in body parts: Rem em ber
that the arm on the lett cannot be
seen, and that the Ieg on the Ieft is
turned so that you can see the
inside of that Ieg.
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N o w s t a rt ro u g h i n g i n t h e
costum e. Remem ber that the
armor is segmented like an
insects. The Iines of construction
w ill com e in handy at this stage
.
Now place a piece of tracing paper
over your finished rouugh piece
and redraw your clean version
m a k i n g a n y c o r r e c t i o n s
necessary. Use a ruler on the
straight edges of the shield
.
For the back view of Dana in arm or
w e start agai n d raw i ng the
centerline and then the skeleton.
Remem ber to start sim ple and
work to detail. Balls and sticks
first.
Now start turning the sticks into
elipses, cones, or even square
blocks. Draw in the Iine of the
neck. Rem em ber that both hands
are obscured.
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Now rough in your details using
the Iines of construction to
segm ent the arm or. Rough in the
shield using squares and triangles.
Now place your tracing paper over
your rotlgh version. Use a ruler on
the straight edges of the shield
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In draw ing Zor Prime's head you
can see the sam e situation you had
with Dana. Zor's head is tilted to
the Ieft so draw your egg oval at
that tilt. Now make your centerline
for the head at that angle. The
neck and shoulder centerline is
stilj straight up and down. Draw
eyeline and shoulder Iine yOUr
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Rough in Zor's hair. If you want to H
get fancy you can throw in a few
Z extra curves. Rough in Zor's eyes
and eyebrows, nose, m outh and
c o I I a r a n d a d d p u p i I s a n d X hi
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l l through the neck to f ind the
cylinder shape of the uniform
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Draw in Zor's eye enterjng each
a b o u t h a I f w ay b e t we e n t h e
centerline and the side of the head.
D ra w i n t h e n o s e l i n e a n d
m outhline. Draw the necklines and
rem em ber that Zor's ear on the
right is still placed between his
eyeline and his noseline. Use a
ruler to make sure everything is
right and straight.
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Now take som e tracing paper and
redraw everythi ng to perfection.
(You know you can.) On page 8
and 9 we spoke about how sim ply
tilting the head can im part an
exprejsion and we see that in Zor.
There's no real expression on his
face yet the tilt seem s to give him a
n a i v e se n se o f w o n d e r m e n t .
Here are som e poses of
tilt of each head
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Again we start w ith a simple circle
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to anchor eyes, nose
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half of the bottom half of the ball
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Draw in your noselines
and mouth Iines. Remem ber that their curve and placem ent is
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Have fun Z
with the hair and remember to place the ear between the eye and &
noseline. Now use some tracing paper to make your final version
.
I n c o n s t r u c t i n g Z o r P r i m e
everything is done as before
except his arm on the Ieft is
foreshortened. Foreshortening is
an aspect of perspective w hich w ill
be discussed in Iater isjues. W hen
d raw ing this arm the stlck f rom the
elbow joint to hand will be shorter
th an the a rm on th e rig ht.
Now m ake the sticks into solid
form s and start drawing in eyes.
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Start roughing in details on Zor's
f a c e , h a i r , a n d c I o t h i n g .
Now get a piece of tracing paper
over your rough draw ing and trace
yo u r m a s te r p i e c e f ro m yo u r
detailed rough.
19
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Here are shots of Zoq in Mrmor.
You'll work with thls plece the
same Fay you did wlth Dana
Sterling's arm or draw ings. Except
that Zor's head is facing forward
w hile his body is angled to the Ieft.
Remem ber this w hen drawing the
skeleton.
As you draw in the solid masses on
Zor in arm or you'll notice another
e xa m p I e of p e rs p ec t i ve a n d
forshortening. Notice that Zor is
being viewed from a Ievelcloser to
the ground.
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Now start roughing in details
again and rem em ber to use
squarej, triangles and your ruler
on Zor's shield.
Tracing paper tim e. Remem ber to
tape your drawing down with
drafting tape and tape your tracing
paper over it so it wo'nt move.
Drafting tape is easier to rem ove
than norm al tape so use it for
draw ing.
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In drawing the hovercycle you'll notice a Iot of triangles. You'll need
your ruler on this one and other hovercycle shots. Start by drawing in
the essential hoverbike triangles.
Now start connecting the basic triangles with the parts of triangles
that abound on this draw ing. Use sim ple hines to draw in the handle
bar and front Iight assem bly.
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Now start roughing in details on the bike. G et as sloppy as you need to
a n d e r a s e w h a t d o e s ' n t I o o k r i g h t
. R e d r a w u n t i l . . .
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lt's tim e for tracing paper
. lf you've used your ruler and tried to keep
each piece in proper relation to other pieces then everything should
be fine. Dana stands next to her hovercycle to show the size
relationship,
23
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The d rawing of the
hoverbike from this
view overlookirlg it is
pretty sim pleq It is
m ade up of one
c e n t r a I r e c t a n g l e
with rectangles at the
front and b0th sides
of the rear.
Once you have that
dow n you can start
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handlebars and other
details of the
hoverbike.
)N o w t a k e s o m e tracing paper and go to work making your finished version.Your ruler will be needed here with so many straight Iines to draw. Remember that if your drawing Iooks good then send us a copy. +>O
24
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Here is a view of the
hovercycle as seen
from beneath it. The
same technique used
in the last drawing
w ill be used here.
D raw one central
rectangle with one
rectangle at the f ront
and two on the rear.
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Rough in your details
and then grab tracing
paper and ruler and
produce your
finished piece. This
view is im portant to
draw so that you can
draw the hoverbike
comfortably at any
angle. Page 26 and 27
are good exam ples of
t h i s .
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Here are some perspective shots to work on. You m ay wish to save
these two shots for the discussion of perspective in the upcom ing
issues. lf you choose to work on them rem em ber to start sim ple and
work to detail .
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remembe , r' KEEP PRACTICING! YOU LEARN TO DRAW BY
DRAW ING !
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The following is a partial Iist of books lhat willbe of interest and help to you in
Iearning more about drawing. Remembor that books can only show you the
way. YOU LEARN TO DRAW BY DRAWING!
BRIDGMAN'S CO MPLETE G UIDE TO LIFE DNAW ING
George B. Bridgman W eathervane Books
DRAW ING THE HUMAN FIGURE
By Jack Hamm
DRAW
Kurt Hanks
Grosset & Dunlap
and Larry Belliston W illiam Kaufman, lnc
.
DYNAMIC FIGURE DRAW ING
Burne Hogarth W atson-Guptill Publications
HOW TO DRAW COMICS THE MARVEL W AY
Stan Lee and John Buscema Simon and Schuster
CREATIVE ILLUSTRATION
Andrew Loomis
DRAW ING THE HEAD AND HANDS
Andrew Loomis
FIGURE DRAW ING FOR ALL IT'S W ORTH
Andrew Loomis Bonanza Books
Bonanza Books
Bonanza Books
F U N W I TH A P E N C I L
Andrew Loomis
THE NATURAL W AY TO DRAW
Kimon Nicolaides
Bonanza Books
Houghton Mifflin Co.
ATLAS OF HUMAN ANATOMY FOR THE ARTIST
Stephen Rogers Peck Oxford University Press
THE ART OF DRAW ING
W illy Pogany Littlefield
,
Adams CO.
HOW .TO-DRAW TIPS FROM THE TOP CARTOONISTS
Donnar Publications
HOW TO USE CREATIVE PERSPECTIVE
Ernest W . W atson Van Nostrand Reinhold
THE OFFICIAL HOW TO DRAW ROBOTECH TM I SS U E 1 -4
David Cody W eiss-Bob Miller Blackthorne Publishing
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Wnrld FlII11 WItll Encllznlll
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