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A monthly manual devoted to teaching how to Iearn lo draw the ROBOTECHTM animated
cartoon characters and fighting craf! in an intelligent and easy to understand way. Fach irpsue
will cover one or more characters or devices from each of 1he three major storylines that
make up 1he ROBOTECHY saga
.
Each storyline will t- featured in rotation. Issues 1 through
4 will focus on lhe M ACROSS characlers, issues 5 through 9 will cover the SOUTHERN
CROSS characters, and issues 10 lhrough 1 2 will cover the NEW GENERATION characters.
lssues 1 3 through 24 will repeat the rotation examining new material from each storytine.
W RITTENAND CY PILED BY
ROBERT K MILLER
Alison Cant
Elaine LaFI'a!'G
M TW OM BY
HARMONY GOLD U.9.A.. 1N1
SEA N PHILLIPS
RANK: PRIVATE
AGE: 23
Form er first lieutenant,Sean Phil Iips has
the d u bious d isti nctlon of bei n g the 1 5th
squadrons Casanova. This distinction is
what cost hi m his form er rank when he
made am ourous advances to the w rong
woman', the Colonels daughter. Now he is
a private but he still earns the great
respect of the other troops because he is
a g ood co m bat so I d i e r a n d a I i ka b le
person . Even with the respect of his fellow
troops he sti 11f inds it hard to adjust to
taking orders from his new commanding
off icer,Dana Sterling. Dana was once a
sargeant under his command. His
p r o b I e m s i n a d j u s t i n g a re f u rt h e r
com plicated when he falls in Iove with ace
R O B O T E C H p i 1 o t , M a r i e C ry s t a I .
LO UIE NICHO LS
RANK: CO RPO RAL
AG E: 20
Louie hs the mechanical genius of the 15th
squadron. He has no desire to be a soldier
and only tolerates the Iife in order to get
closer to and Iearn the secrets of
ROBOTECHNOLOGY. He dreams of
using ROBOTECH to create the ultimate
m a c h i n e . l n t h e m e a n 1 i m e h is
experiments at creating problem solving
or Iife saving mecha wins him unwanted
fam e when his m achines are put to
unintended uses.
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TABLE OF CONTENTS
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Howdy and welcometothis seventh issue
of HOW TO DRAW ROBOTECHR. lt's
good to know that you've come this far.
You should befeeling preqygood knowing
that you've stuck to it and learned some
basic ways lo draw ROBOTECHY char-
acters.
In this issue we will study balance and
composition in drawing. We will concen-
trateon balance inthis issueand composi-
tion next issue. We will continue drawing
thecharadersofthe SOUTHERN CROSS
SAGA, wrapping them up next month.
Aspecialtreatthis issue istbe inclusion of
plentyof armorfrom thedifferentbranches
of the ROBOTECH- army. We also have
some fan mail and some of your drawings
to showoff. Ourmechaforthis month isthe
Veritech copter. So whether you're a first-
timer or an oId pro, follow the construction
steps. practice constantly, and you will
Iearn to draw!
YOU LEARN TO DRAW
BY DRAW ING!
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SPECIAL
ANNOUNCEMENTI
WE WANT YOUR Lm ERS
AND DRAWINGS!
Fifst off I wantto lhanklhe fans of ROBO-
TECHTM for sending in the Iettefs and art
tba. make this issue so spectacular! lt's
great to see that you're drawing and that
you care about what's going on in the
btpok. The artwork is ve@ good and l'm
cedain that there's plenty more good art-
work outthere. So how aboutsendingthat
etuffin! Werekindofhtlngryforgood art ln
factwe're slawing! Keepwriting anddraw-
ing and send us copies of your artwofk.
Send your Ieqefs and copies Qf your art-
work to:
Blaokhorne Publishlng Inm
786 Blaeklhorne Avenue
EI Cajon, CA 92828
lo How to Draw ROBOTECHY
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ln this issue, we will begin the first of a two-part discussion on composition in art. Good
composition causes your eye to flow into the picture to its natural focus and then flow back out
again. Composition done well causesyoutofeel that a picture is well-balanced-that no part of it
has more weight than any other part.
So really when we speak about composition we are actually tajking about:
1. Bajance
2. Composition
Let's discuss balance for this issue.
ln this illustration you can see two equal
weights aqachedtoafulcrum. The weights
can be moved, but you see that they don't
need to be because they are balanced,
but . .
V. .
. . . Suppose we move one weightcloser
to the center of the fulcrum. You can see
thalthe weight on lhefarend seems heav-
ier, thus putting the fulcrum off balance.
V'
V. - We can restore balance by moving the other weight closer to the center or by making the weight closest to the cenler heavier.
On the Iast pa'ge we spoke about moving or changing a welghton afulcrum to balance it
. Getting
a feel for which weight willbalanie the fulcrum will help you in your drawings and in your
understanding of the scale of attraction.
Here are some basic rules to help you find the scale of aqraction.
1 . Fvery picture is a collection of objects.
2. Each object in a glcture has a vasue that depends upon whefe you place it in the picture.
3. An object placed nearthe edge of the picture has more value than one placed nearthe middle,
In this picture, the ship o#tothe right gives
balance to the whole and makes your eye
move across the centerline of the picture
absorbing the details of the drawing.
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With this drawing you see that placing the
black ship on the right side of the center-
line is not enough to balance the weight of
the sailboat which is too close to the Ieft
edge.
This picture lacks balance, and without it
the viewer's attention is drawn to the
objectand stops, ratherthan moving across
the composition.
Onthe Iast page, the goal of the scale of attraction wasto keep your attention moving across the
drawing. The viewer's eye should flow in and out of any picture you draw. This is aided by
vertical and horizontal balancp.
AII of yourdrawings should have a horizon Iine whichthe eye naturallyfollows. The vertical items
thatyou place onthatline should be so balanced in theirweight/aqraction asto keeptheeyefrom
stopping along its path and not continuing.
Here are three examples of the use of vertical and horizontal balance.
In this Iine drawing balance is achieved
primarily because noone Iine is allowed to
totally cut across the drawing vertically or
horizontally. Primary horizontal Iines IA1
and vedical lines IB1 touch only one edge
of the picture.
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In this picture the heavy horizontal line ot
the land causes the eye to move straight
across. W ithoutbalanced vedical Iinesthe
eye will not stop and focus.
A too-heavy verticalfigure stops lhe eye
from moving totally across the horizon.
The figure should not touch both top and
bottom of the picture.
6
In retrospect, it's importantto rememberthatthe goal in yourdrawing isto makethe viewer'seye
move acrossthe whole picture. Howyou dothis will be more a maqerof yourfeelings ratherthan
rules and can only be achieved through constant practice. As you practice you'll find you can
adapt these rules to your own needs and feelings.
Transiflon of Iine makes the eye feel more comfortable as it moves from a vertical to a
horizontal Iine. Inthistype of balance, the eye movesform one lineto another-forexample,from
ashorelinetothehorizon-via placementof vertical ordiagonal lines nearthe pointof intersec-
tion. These break up the horizontal flow, allowing the eye to be redirected along a new line.
In this drawing, lhe eye moves easily
across the Iand to the horizon, due to the
placement of the small boats. Tbe boats
stop the eye long enough so the viewer
can make the transition from Iine to Iine.
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In this picture, the vedical line needed to
stop the eye from moving downward with
the shoreline is too far from the point of
intersection to be effective.
In this picture, it's partly cloudy with a
chance of showers.
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To draw Sean, start with the Double-

Diamondl for Sean's torso. Use sticks to
indicate the arms, Iegs and neck. Use
rounded shapes for the head and at the
elbow and knee joints. Wedges or any
simple shapes can be used for hands and
feet. Pay attention to proportion here:
Sean stands 7-1 /2 heads tall, with the
crotch at the 1 /2 mark, the chest and
knees at the 1 /4 marks.
Stad turning the sticks into cylinders now.
Draw through the ends of the cylinders
(called ellipses) so you can see where
theyoverlap or pass behind othershapes.
Mark off the features on the face, being
careful to shift the centerlines to the left,
because Sean's head is turned slightly.
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Now you can start roughing in hiscostume
and other details. Remember that lhe
clothes wrap around theform and hang on
the body parts. Finish the head and hands
now.
As you tighten up your drawing, visualize
a1I the costume lines (sleeves, stripes,
belts, seams etc.) These can be seen as
lines on the surface, wrapping around the
cylinders of the arms and legs and running
up and down the folds and creases of
.
Sean's torso,
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Here is Sean's head in a number of poses
with a variety of expressions. In each case
we show the final drawing next to an
example of the basic construction. lf you
stad each of your own drawings with this
basic analysis, aIl yoblr heads will be solid
and consistent.
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properly related no matter how the form is
= turned. You will be constantly aware that
what you are drawing is a solid form in
space only described by Iines on paper
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Here is a drawing of Sean in armor. Start
by drawing a six-inch centerline, On this
centerline measure down from the top of
the helmet: 3/zrtothe chin and shoulders,
1-3/4, down tothe waistline, 2-9/16* down
to the crotch, and 3-1 /2* to the kneepads.
The foot on the left rests on the 5-1 i4' line
and the toe of the right foot rests on the 6*
mark. Now use the Double Diamonds to
construct the torso and an oval to con-
strucl the head. Add your ball and sticks
forarms and Iegs. Draw a rectangle forthe
shield.
Check your propodions. Is the shoulder
angled properly? Are the waistline and
elbow joint on the same Iine? Are the Ieg
joints and hands on the same Iines? Once
you've checked your proportions start
making the sticks into cylinders and block-
ing in the squares, rectangles, and trian-
gles of the shield.
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Now start roughing in different segments
of Sean's armor. Stadworking on his head
and face mask.Sean's armor is vey
detailed so take your time and don't be
afraid to erase.Hang In there- you'll get it!
If you're satisfied with what you've drawn,
then put a piece of tracing paper over it
and redraw your clean version making
any corrections necessary. This is a com-
plex figure to draw, so if you think it looks
good then shoot us a copy so we can print
it.
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Here we have the armor of the ROBO-
TECHTM army's Desert Squad. Thisfigure
is about 6* tall. The shoulder-line stafts 1*
down. The waistline starts 2* down;the
hiplline is 3* down', the kneesare between
3-1 IT and 4', the foot at the left is on the
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Now use the techniques you used for
Sean Phillips' armortocompfetethis Desert
Squad's armor. Be especially careful with
the helmet, It's odd-shaped and will be
hard to draw at first, but keep practicing.
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This is the armor of the Tactical Armored
Space Corps. The drawing is 6-1 /4* tall
with the shoulder-line at 1* the waistline at
2*, the crotch at 3' and the knees at 4>.
Thefooton the Ieft is on the 5-3/4* Iine and
the foot on the right is on the 6-1 l4* line.
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Once again, you can tlse the methods
you've Iearnedto constrtlctthe basic skel-
eton and work itto thefinishedform
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you have your rough drawing completed
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you can then take tracing paper and con-
struct the finished form.
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To draw Louie, start with an oval for the
head. Draw the cehterline for his head
angled to the Ieft. Draw the neckline just
behind the jaw. Connect the neck to the
Double Diamonds of the body and then
sketch in the arms and Iegs using sticks
and balls.
You've got your foundation down' now
startturning sticks intosolid masses. Sticks
become cylinders. Start sketching in the
features*of Louie's face. ReMember that
the centerline for the face is to the left
.
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You can staft roughing in Louie's costume
and othef details.
On tracing paper. outline the finished
drawing of Louie Nichols. If it doesn't look
right, go back to your rough sketch and
make corrections. If it looks great, then
send us a copy.
19
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Here are five drawings of Louie Nichols'
head and face. Each drawing has a dif-
ferent expression. Next to the drawing is a
ghost image with a circle. Inside of the
circle, different okal shapes are drawn.
These ovals show horizontal and vedical
guidelines that you can use to place the
nose, ears, eyes, and eyebrows.
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Once you have the circle and its inner
ovals drawn, you will know how yotl want
the head tilted
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Now you can draw in the
jawline. Thejawline dropsfromthevertical
guideline of the circle
.
The ears are placed
on this same guideline
.
Now you can
make the mouth
, nose, and necklines to
meetthe needs of the picture an charac
-
ter. Once you have the basics drawn in
, you can rough in details of the heads and
faces of Louie Nichols
.
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25 Eddy Garcia
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Dear Sirs land/or ma'amlsi):

I have been readin your Official Howto
Draw ROBOTECHT books (issues *1
and *2) and have been very impressed
and enthusiastic in r% ard to them
. They
are without a doubt the most comprehen-
sive, and yet decisive
,
ttHow--ro-Draw''
books I have ever read!
They are very good tutorials and don't
come across with thatcondescending atti-
lude so many other books have (they
sound as if the authors of the book are
speaking to total incompetents who have
never touched pencils or paper in their
iives). Also, lhey don't take the quantum
leaps from sketch to sketch and expect
youtofoljow.-l-osum it up
,
they all intothat
middle ground between the extremes of
art books, which is great!
1 have always been a Japanese art fan
and have, in vain tried to draw in that st/e.
The problem, I now see
,
was that I had
no knowledge of correct construction or
Iayout before I staded drawing (1 tried to
draw the finished producl in the first draft).
ROBOTECHTM is
,
in my opinion, one of
the finest accomplishments ot Japanese
animation and your series is a pedect
complernent to it!
Bythe way, I have readthatthis series is
plannedtogofortwenty-four issues
,
wbich
is great, but afterlhathave you considered
a series on other Japanese animalion-
oriented shows such as Captain Harlock
or, perhaps. Stafblazers to name only two
of the more popular in my area? These two
have distinct styses as well and would no
doubt be popular too. Only a suggestion
,
and probably someone there has already
thought of it. The idea, of course
,
depends
on the pogutaTity an level of success ol
the current series l understand
.
To cag it off, thanks again fof one of the
best things to come along since the show
it6;f!!f!
Hello James!
Thanks for the compliments
. W e try to
doour best here atBlackthorne
. W e are in
the process of getting permission to do
more bookson animated seriesfromlapan
but my boss is keeping ever/hing a
secret. We'Il just have to wait and see. As
you say, it depends on the popularity of
this book, butwith fans Iike you we can't go
wrong!
Thanks again for the letter and your art
which is very good!
Dear Blackhorne,
At first, l picked u The Off/4Sa/ How to Q D
raNROBOTECH to ksimplybecause
it was ROBOTECHTM
. But now, thanks to
you, 1 can draw the full figure of a charac-
ter. I usuallystucktodrawingjustthe faces
because l could never proportionthe body
to match the head and arms, etc
. 1 also
have more patience!
Thanks for aI! your hesp and l can't wait
for The New Generation books to come
otlt.
GoY Luck!
Sincerely,
Marrin McFarrows
Medford, MA
Sincerely,
James Schweitzer 14
Hespefia, CA
26
To Mr. Stephenson:
Hello. I hope you're feeling fine and in
the best of health. My name is Eddy and
I'm writing tiday to let you know I've just
read our ''HOW TO DRAW ROBO- t
, TECH issue number two and look for-
ward to issue three. It was mentfpned in
issue twoof ''H.T.D.R.''for readersto send
in their ROBOTECHTM drawings. I thought
''great'' butwho do I send themto exactly?
I didn't know, so I've sent some of my
drawingstoyou. Someare ROBOTECHY/
M across and a few others I thought you
might find amusing if you aren't a Japan-
ese animafan and hopethatyou can help
me to get the drawings into the hands of
whoever is working on ''HOW TO DRAW
ROBOTECHTM '' If I've really blundered
and sent it to someone who doesn't know
what I've jusl been writing about I'm sorry
about that, but could you help me out
anyway?
Lots of Iuck inthefuture,
Edward Garcia
Hello Eddy!
My name is Bob Miller and I'm working
on ''HOW TO DRAW ROBOTECHTM''theSe
days. Asyou can see, you didn'tblunderat
all. As Iong as you send your leoers and
copies of your art to:
Blackthorne Publishing
786 Blackthorne Avenue
EI Cajon, California 92020
c/o ''The Offi iaI How to Draw
ROBOTECH
avefything will be okay. Keep upthe good
work. Your a4 Iooks great!
Dear Blacidhorne:
When I saw your special announce-
ment on page 3 of How to Draw ROBO-
TECHR #2
,
I decided to write you this
leqer. Your first two issues have been a
great help to me because I had problems
drawing Rick Hunter and Breetai. The
eyes and facial expreu ions were the most
dicut Thelapanesedrawfngstyles held
mewith that. I mustconfess, though. Ifind it
harder to draw using the step-by-step
melhod, so I do it by Iooking at the picture
and drawing it. After a lew times l pretty
much remember howthe finished product
is supposed to Iook. In future issues (after
:12) when you will be ''repeating the rota-
tion examining new material from each
story line,'' pleasedo an issue on Macross
City, the insides of the SDF-I and Zen-
traedi space cruisers, the cockpit of the
Veritech fighter, and the little trash robots,
phones. and cameras seen in Macross
City everyonce in awhile. I will startsend-
ing my bestdrawings so keep upthe good
work with this series. Thank you.
Sincerely yours
Matt Figroid
Palm Springs, CA
Hi Matl!
Thanks for the letter and art. If you're
having trouble following the step-by-step
don't worry. The second most important
thing to remember is to get Step One
Jrawn. Drawing the skelelon is jmporlant
for making sure the propodions are cor-
rect and that your character is doing just
whatyou want itto do. The most important
thing to remember isto keep drawing. You
learn to draw by drawing.
>
M
>
27
> Th@ following il a Nrtlal lisl of bnekk that will t- of Intereat aod help to you in fearnln:
* more ohzwl dawlng. Remem-r lhat t00% can only lhow you tbe way. YOU LEARN
- T0 DRAW RY DRAWINQI =
BRIDG MAN'S COM PLETE GUIDE TO LIFE DRAW ING
George B. Bridgman W eathewane Books
ANIMATIO N
Preston Blair series vol. #26, W alter T. Foster
HOW TO ANIMATE FILM CARTOONS
Preston Blair series vol. #90 W alter T. Foster
DRAW ING THE HUM AN FIGURE
Jack Hamm Grosset & Dunlap
CARTOONING THE HUM AN FIGURE
Jack Hamm Grosset & Dunlap
DRAW
Kurt Hanks and Larry Belliston William Kaufman, Inc.
DYNAM IC FIGURE DRAW ING
Burne Hogarth W atson-Guptill Publications
HOW TO DRAW COM ICS THE MARVEL W AY
Stan Lee and John Buscem a Simon and Schuster
CREATIVE ILLUSTRATIO N
Andrew Loom is Bonanza Books
DRAW ING THE HEAD AND HANDS
Andrew Loom is Bonanza Books
FIGURE DRAW ING FOR ALL IT'S W ORTH
Andrew Loom is Bonanza Books
FUN W ITH A PENCIL
Andrew Loomis Bonanza Books
THE NATURAL W AY TO DRAW
Kimon Nicolaides Houghton Mifflin Co.
ATLAS OF HUM AN ANATOM Y FOR THE ARTIST
Stephen Rogers Peck Oxford University Press
THE ART O F DRAW ING
W illy Pogany Littlefield, Adam s Go.
HOW -TO-DRAW TIPS FROM THE TO P CARTOONISTS
Donnar Publications
HOW TO USE CREATIVE PERSPECTIVE
Ernest W . W atson Van Nostrand Reinhold
THE OFFICIAL HOW TO DRAW ROBOTECH TM ISSUES 1-7
David cody welss/Bob Miller Blackthorne Publishing
l
N
*
IN #
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AII rights reserved. @
Brdvestan'6s a
It was a lnusy planet, but it did ' Registerxt Trademark of
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and forgot about it. Then one day, Kerium ' '
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