The Official How to Draw Robotech 01

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A m onthly manualdevoted to teaching how to I
earn to draw the ROBOTEC HTM anim ated
cartoon characters and fi
ghting craft in an pntellkgent and easy to understand way. Each issue
willcoverone or more characters ordevi
ces from each ofthe three majorstorylines that
make up the ROBOTECHTM saga, Each storyline willbe featured in rotation. lssues 1 through
4 willIocus on !l
Y M ACROSS charactars,issaes 5 lhrougb 9 willcover 1he SO UTHERN
CRO SS characters,and i
ssues 1Q through 12 w ill coverthe N EW G EN ERATIO N characters.
Issues 13 through 24 will repeat the rotation exam i
ning new materialfrom each storyline.
W RIU EN AND COM PILED BY
DAVID CODY W EISS
ARTWORK BY
HARMONY GOLD U.S.A., 1NC
RIC K HUNTER
S D F-I
Rank:LIEUTENANT AGE'
.I9
SUPER DIM ENSION FORTRESS-I
A centralcharacter in the openi
ng story of
the RO BOTECHTM saga, Rick is introduced
as a hot-shot am ateurpilot and close friend
of Lieutenanl Roy Fokker who comes to
witness the historic launch of the SDF-I.
1he salvaged alien Battle Fortress. Caught
up in the sudden inlerplanetary war with
the Zentraedl he distinguishes him sel
f as
a courageous pilotand dogged fighter,
overcoming his initial reluctance to em ploy
violence, even Jn defense of his world.
A mysteri
ous alien spaceship tha!crash
Ianded on Earth on Macross lstand in the
South Pacific, i
t presents the Earth w i
th its
only defense againsta sudden
interptanetary invasion by the warfike afien
Zentraedi. The Earth defenders have
sal
vaged and relaunched the vesseibut
know Iittle of its lrue capabili
ties and most
efficient handiing. The shi
p proves to be a
battle forlress capable of incredi
ble
transformations of shape and weaponry.
Unknown to the defenders,the shi
p has
Throughou!aIIof this he is also torn
hidden within il a protoculture factory,
between two young women. The first is
the m ysterious source of the energy tl
nat
Lynn M inm ei,a Chinese gi
rlhe befriends powers Robotechnology and the prize
thatthe Zentraedi have crossed space to
in the early stages ofthe war,and his
m ilitary superior, Lieutenant Lisa Hayes. possess.
Ri
ck's conflicts between his personal
feelings and hi
s duty to those he has
vowed to defend forge him into a strong
young warrior.
ln activating a spaee-fold drive 1he
fortress accidenlally transports aII of
Macross Isl
and out into deep space with i1.
The struggl
e to master the ali
en technology
in order to defend Earth while preserving
the li
ves and socialstructure of the
civilians unintentionally transported forms
the backbone ofthis epic tale.
v.E.ossëcrx,.sow vo oa'
A- aosore'cs susvALut.cesruary 198z.publpsheu rnootsly by BuacKrsonx: poeulssLxo Ixc 7as
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ProductlonCoordInatorDavldJohnson ProductlonAsslstan'AonEFFeraCircolatlonManagerC/JffMecGtlllvray Marketlng'Premotkonslohn
stepttenson staffEcjptor THE ()883c)/.4f.ttovbtFO flq.
4vv/:?080TECH MANUALe 19B5byHarmonyGold A1Irlghtsreserved No partofthis
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W elcome to the firstissue ofTHE
O FFICIAL HOW TO DRAW
RO BOTEC HTM series,a m onthly book
designed to teach fans ofthe
enorm ously popularRO BO TECHTM
anim ated lel
evision series how to draw
all lheir favorite charact/rs and mgcha.
Each m onth w e willdem onslrate how to
draw one ortwQ characters from the
show i
n the firsthalfofthe book,and
highlighthow to draw som e ofthe
fantastic transform ing fi
ghting crafl or
M echa,in the second half.
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slep-by-step *copy-m e* approach, we
will dem onstrate how to actually
construct a draw ing the way
professionalartists do. By show ing the
rulps and lhe thinklng lha!go inlo
each drawing,we hope thatyou will
Iearn more thanjusthow to copy a face
or a pose thatis already in frontof
you. You willlearn how to draw these
characters and craftin any pose or
angl
e you can im agine.
In addilion, each dem onstralion w illbe
shown on a grayed-oulimage ofthe
finaldrawing,so you can always see
how the construction steps relate to lhe
finished art.
Remem ber, ANYBO DY can Iearn to
draw ! If you study the rules,
observe carefully how som ething is
drawn, and most importantofall,
practlce constanlly you w ill Iearn to
draw !
YO U LEARN TO DRAW BY D RAW ING !
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Each drawing is constructed from
baslc shapes and arranged according
to relationships called proportlons.
Every partofa fi
gure is placed by
m easuring its heightorwidth as
com pared with the other parts. In
fi
gure drawing, the basic unit ot
m easurement is the H EA D.
The head is construcled from an oval
oregg-shape. Lines di
vidi
ng the
surface of the shape into halves m ark
the places where eyes, ears,noses,
mouths and otherfeatures are Iocated.
Always rem em ber that you are
describing a solid,curved surface, so
Iines w rap around the basic shape and
curve when the shape is til
ted or
turned.
The body is measured i
n headhelg hts. This fi
gure i
s 7 1/2 heads
tall(you don'tcountthe hair). The l
egs
attach to the hi
ps atthe hal
fway mark.
Pay close atlention to how long the
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arms and Iegs are,and where the joints
are I
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ationships rem ain
the same no matterwhatposition the
body i
s in.
Tfy to anal
yze each pose in stick-fi
gure
torm firsl. This i
s the easiest way of
establ
ishing a slrong foundation upon
which to construct a Ii
vel
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drawing.
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Startoutby draw ing an oval to descri
be
the head adding two Iines below to Iocate
the neck. Divide the head with verlicatand
horizontal Iines lo I
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and eye-line.Add a curved line forthe
shoulders across a point 1/4 ofthe
centerline length below the chin.
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Draw in the eyes, centering each about
halfway between the centerllne and the
si
de ofthe head. The nose Iine falls about
2/3 ofthe way belween the eye-llne and
chin, with the bottom Iip halfway belw een
nose Iine and chi
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1he nose Ilne and the boltom ofthe eyes.
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Tighten up a1Ithe details and erase your
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ghlightstotheeyes(see paper over your rough draw ing and redraw
p.14fordetails).Drawthrough1heneck only the finished form s.
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Draw ing the profile is very m uch the same
as doing the front. Startw ith an egg-shape,
then divide with centerlIneand eye-llne
as you did the frontview,but this tim e till
1he center Iine forward. O nce again the
shoul
derfalls about 1/4 ofthe head height
below the chin.
Again,Socate the eyes, nose. mouth anö ears
in the same relationshi
p as in the frontview.
Note, however that the ear is Iocated on the
centerline in the profile. The head balances
on the neck like an egg on a thick round sti
ck.
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Rough in the hairand otherfacialdetails as
before. Add costume detai
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Erase construction lines or trace over
skelch forfinaldrawing.
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To draw the figure, staft with a balland-stlck diagram. placing the parts
in properrelation to each olher. Use
stlcks to indicate 1he arms,legs and
neck;rounded shapes forthe head.
chest,hips and atthe el
bow aqd knee
joints;and wedgel ormltten-like
shapes forthe hands and feet. Pay
attention to proportion here: Rick
stands 1 1/2 heads tall. The legs
attach at1he halfway mark bkltthe
knees are 2/3 ofthe way up 1he leg.
The chest i
s 1 1/2 heads high,the
neck, 1/4.
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Slartturning the sti
cks into çyllndere
now. Draw through the ends ofthe
cylinders (called elllpses),so you can see
where lhey overlap or pass behind other
shapes. M ark offthe features on 1he face as
before,boing carefulto shiftthe centerlines
to the left,because Ri
ck's head is turned
slightly.
Drop a Iine from where the neck meets the
frontof the cheststraighl dow n to 1he floor.
This line (called 1he center of balanoe),
alw ays falls on a line drawn from one foot
to the olher.
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Now you can stan roughing in the uniform
and otherdetails. Rememberthat1he
clothes w rap around the form and hang on
the body parts. Finish the head and hands
now .
As you lighlen up yogr drawing,visualize a1I
1he costume lines (sleevebands stripes,
seams,etc.) as Iines on the surface of
these curved and fol
ded form s wrapping
around cylinders running up and down the
hills and folds and creases.
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Here are a number ofposes of Rick'
s
head with a variety ofexpressions. ln
each case we show the finaldrawing
next to an exam ple ofthe basi
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construction. lfyou starteach ofyour
own drawings w ilh thi
s basic analysis
alIyour heads willbe soiid and
consistent.
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Observe how,when the head is lilted,
the centerlines become elIlpses,
thatis,lines wrapped around the
curved surface of the head. Draw
through the head,following the lines
around. This way a(lthe features you
draw willstay properly relaled no
matter how the form i
s turned and you
willbe conssantly aware thalwhatyou
are drawing is a soIid form in space
onl
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To draw Ri
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s helmetorany other
headgear,the sam e rules apply as in
previous secti
ons. Since a helmetusuall
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is found on a head,i
t's iyeslto startby
drawing in the head shape first;compl
ete
wi
th rough indi
cations ofwhere tbe
features are. W hen roughing in the hel
m et
reduce aIlparls to theirsimplestshapes; a
cul-up sphere for the helmet i
tself; thi
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curved wedge shapes forthe visor' a lhi
ck
slri
p with pointed ends wrapped around !he
sphere for!he si
de-pieces'and so on.
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Here are a variety ofposes for you to
practice you construction skills on
Analyze each pose carefull
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starl drawing. Sketch in 1he sti
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first and then build on that. Don'
texpect
perfecti
on on the firsl lry, most
professionals do a series ofrough skelches
before selecling the best and refining thal
one lo finalform. Remem ber that gelting
the feelofa pose is as importanlas the
accuracy of the details.
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Rlck Hunter,Iike allthe other RO BOTECH characters, is draw n in a distinct style.
This styte is very poputarin Japanese anim ation and is pfobably !he mostrecognizable
thing aboulthese characters. Here and in Iaterissues we willpoinlout and dem onstrate
l how to draw the delails thalwillenable you to do good ROBOTECH art. This issue we'll
pointoutsome importantthings aboutthe way eyes are drawn in this slyl
e.
In RO BOTECH characterfaces the eyes are easijy the moslimporlantfeature. Their
si
ze and expressi
veness convey the strong em otions these characters experience. Notice
that the m al
e face show n here is 3 1/2 eyes w lde, with the pupll about 1/2 an eye
w ide. Al1pupils have atIeastone shiny hi
ghlight,and in close-ups, two orthree.
Always rem emberthatthe eyes w ork as a pair;when one m oves the olherdoes the
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On firstIook,som elhing Iike 1he SDF-I may Iook 1oo compl
ex lo draw,but,ifyou know
how to analyze 1he forms properly,itbecomes easierto m aster. The firstthing to do is
to vi
suali
ze the ship in its m ostbasi
c shape,in this case,a Iong flatbox with a thin
wedge on front. AIlthe Iines defining the box are really parall
el,butbecause 1he shape is
tilted towards the vi
ewer,they are drawn as allconverging toward a distant poinl at1he 1K
upperright. This is parlofsomething call
ed perspeotlve,which we can'texplain here
butcan be found in many good drawing books (we name one in1he reçommended
readlng 11st on p.28).
Next,break dow n the turrets,guns,engines,pods and othershapes thatfiton or i
nto the
m ain ship structure into thelr sim pleslforms. Pay close attenlion to keeping lines
paralleland to follow the surface ofthe forms you are describing. W atch how Iines bend
as they change from one surface to another.
W hen you have a1Ithe forms Iocated and roughed in erase and redraw or lrace over your
sketch to m ake a finaldrawing with a1l1he detail
s in place.
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The follow ing is a parlial list of books thatwillbe of interest
and help to you in I
earning m ore aboutdrawing. Rem em berthat
books can only show you the way. YO U LEARN TO DRAW
BY DRAW ING !
BRIDG M AN'S COM PLETE G UIDE TO LIFE DRAW ING
W eathervane Books
George B.Bridgm an
DRAW ING THE HUMAN FIG URE
By Jack Ham m
DRAW
Kurt Hanks and Larry Belliston
Grosset& Dunlap
W illiam Kaufm an, Inc.
DYNAM IC FIG URE DRAW ING
W alson-GuptillPublications
Burne Hogarth
HOW TO DRAW COM ICS TIIE MARVEL W AY
Stan Lee and John Buscema
Simon and Schuster
CREATIVE ILLUSTRATION
Andrew Loom is
Bonanza Books
DRAW ING THE HEAD AND HANDS
Andrew Loomis
Bonanza Books
FIG URE DRAW ING FO R ALL IT'S W ORTH
Andrew Loom is
Bonanza Rnnks
FUN W ITH A PENCIL
Andrew Loomis
Bonanza Books
THE NATURAL W AY TO DRAW
Kimon Nicolaides
Houghton Mifflin Co.
ATLAS OF HUMAN ANATOM Y FOR THE ARTIST
Stephen Rogers Peck
Oxford University Press
THE ART O F DRAW ING
W illy Pogany
Littlefield,Adams Co.
HOW -TO-DRAW TIPS FRO M THE TO P CARTOO NISTS
Donnar Publications
HOW TO USE CREATIVE PERSPECTIVE
ErneslW .W atson
Van Nostrand Reinhold
n v m ilm h le n n w fro
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LITTLE NEMO IN SLLIMBERLAND 3-D #1 -32 three dimensionalpages comic (glasses
included)with fullcolor,laser-scanned covers .................,....$2.50 ($3.50 Canada)