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A monthly manual devoted to teaching readers to draw the 9OBOTECH'M animated
cartoon characters and fighting craft in an intelligent and easy-to-understand way. Each
issue will cover one or more characters or devices from each of the three major storylines
that make up the ROBOTECHTM saga. Each storyline will be featured in rotation.Issues 1
through 4 will focus on the MACROSS characters, issues 5 through 9 will cover the
SOUTHERN CROSS characters, an issues 10 through 12 will cover the NEW
GENERATION characters. Issues 13 through 24 will repeat the rotation, exam ining new
material from each storyline.
M TWORK CY '' WRITTEN AND COMPILFD BY
ROBERT A. HIBBERT
ANDREA LaFRANCE
S BER R
RANK: LIEUTENANT
AG E: 20
Scott Bernard is one of the new
g e n e rat i o n of R O B O T E C H TM D E -
FENDERS. He was born in outer space
on board the SDF-3 during the United
Earth Government's Expeditionary
Mission,He is a pilot in the MARS
D i v i s i o n , o n e o f t h e re m a i n i n g
ROBOTECH'M squadrons attempting
to reclaim the Earth from the INVID
I n v a d e r s . H e f s o n e o f t h e
RO BOTECH'M D EFEN DERS' i n it ia1
efforts to rout the INViD f rom their
ancestral planet. Scott organizes a
resistance force that includes Lancer,
6and, Lank, Little Annie, Rook Bartley,
a n d I N V 1 D S i m u l ag e n t M a r I e n e .
Scott's m ission is to reach Reflex Point
and join Admiral Rick Hunter's new
army at aII costs. He also seeks
revenge for the m urder of his fiancee
and other MARS pilots who were killed
in the raid that brought him to this
planet. His fiancee's death has caused
him to become a moody and driven
I o n e r , b tl t h e s o o n c o m e s t o
understand the value of friendship as
he moves toward the final battle at
Reflex Point.
I
RANK: NON-MILITARY STATUS
AG E '. 1 3
Annie has the distinction of being the
youngest mem ber of the resistance
fighters who revolve around Scott
Bernard and his m ission to reach
Reflex Point. Annie is smart and an
outrageous flirt. Her flirtatiousness
stem s from a desire to adopt a new
family to make up for the tragic death
of her parents during the invasion. Her
nickname in the series js M INT
because of her great fondness for
chocolate mints.
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O F C O NTENTS
ISSU E#9
BASIC APPROACH
PERSPECTIVE 4
SCOTT BERNARD
FRONT VIEW 1Q
PROFILE 11
FULL FIGURE 12
SIDE VIEW 14
EXPRESSIONS 16
M ARLENE
FULL FIGURE 18
ANNIE
EXPRESSIONS 20
POSES 22
ARMORED CYCLONE
BIKE MODE 24
BATTLOID MODE 26
READING LIST 2.
'Re zfficihl llaw lc Brhw Iltylltjlecll #9
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Boniour, fellow artistes, and welcome
to this ninth issue of THE OFFICIAL
HOW TO DRAW ROBOTECHO. If
you've been drawing constantly,
forsaking school, Iove, sleep, and your
allowance, you now have a pencil-
bump on the third finger of your right
hand. You've probably also become a
really fantastic ROBOTECHTM artist!
To help you improve your skills even
more rapidly, in this issue we offer the
first of a two-part instruction on
perlpectlve and how to use it. If you
use this information in conjunction
with yourstudies from the Reading List
and what you've Iearned in the Iast two
issues about com position, you should
be able to draw realistic, action-
packed ROBOTECHT* scenes using aII
of your favorite characters.
For your drawing pleasure, in this issue
we give you Scott Bernard, M arlene,
and spunky Iittle Annie. Foryou M echa
maniacs, we have different versions of
Scott Bernard's Armored Cyclone. So
sharpen up those pencils put a
bandage on that pencii-bump, and
remem ber . . .
YOU LEARN TO DRAW
BY DRAWING!
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SPECIAL
ANN O UN CEM EN T
12 Last issue we experimented with
drawing without ghost im ages. If you
were happy with that, please write and
* NN
.
N let us know
. In this issue, we will go
* back to using ghost images. Honestly,
C*-''lo (h we're not trying to torture you-we're
%.#' just trying to make drawi ng
ROBOTECHTM as easy as possible for
the m any different types of artists out
there. After all, your style is as
**% individual as your fingerprint!
And once again, we remind you thatwe
are still dying to see the work you've
produced. Honestly, we're really dying b here! Letters from you and copies of
your artwork (not originals. mind youl)
could save us all! Send them to:
elackthorne Publlshlng Ine.
786 Blackthorne Avenue
El Cajon, CA 92020
c/o How to Draw
ROBOTECHIM
.
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ln order to create the illusion of three-dimensionality in your ROBOTECH'*
drawings, it is necessary to Iearn somethlng about perspectlve. W hen you use
perspective, flat objects appear to have depth, wldlh, and heigbt.

The easiest way to a

pproach drawing in perspective is to remember that any object
that you see can be simplified. They can become cubes, cylinders, spheres,
pyramids, or a combination of these basic geometric forms. 9
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Remem ber also that a cube is a three-
dimensional square, a cylinder is
three-dimensional rectangle, a sphere
is a three-dim ensional circle, and
p y ram i d i s a t h ree-d i m e n s i o n a l
triangle.
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erspective is related to geometry. This is a branch of mathematics that studies m
points, lines, angles, flat surfaces, and solid objects and their relationship to each o
other. =
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Here are some basic geometric sbapes and angles. These will help you to <
understand angles, how to measure them, and the relationship between the
foreground and background of objects.
An angle is formed by Iines extending
from the arc of a 360* circle to its
center. Angles are measured i n
degrees of the circle.
Rlght angles are formed when the Iines
extending from the arc of the circle to
the center are 90> apart, or 1/4 the
c i r c u m f e r e n c e o f t h e c i r c l e .
Essentially, a right angle can
formed by cutting a square
rectangle in half diagonally, from
corner to corner.
An acute angle measures less than 90* .
An obtule angle measures more than
90@ .
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Parallel IIn*: are two straight lines
extending in any direction that never
meet.
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meet at a point called a vertex.
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Obllque Ilnes meet other straight Iines
to form an angle of Iess than 90O .
A polygon is a flat figure having three
or more sides.
Polyhedronl are three-dim ensional
objects with many flat sudaces-
cubes, prisms, pyram ids, etc.
6
Fore:hortenlng occurs when an object (even a
axis is moving in Iine with your line of sight.You
object Iengthwise.
Understanding foreshortening is
perspective. Here are some exam ples
flat one) is turned toward you. Its
afe then said to be viewing the
an important element of understanding
of foreshortening.
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Let's discuss the basic terms of drawing in perspective. When you Iook ata pieceof
paper you should be determining the horlzon IIn@ and establishing the vanl:hlng
polnt on that Iine in relation toyourcentral object orobjects. Here's an illustration of
these two terms.
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The horizon Iine is always at eye Ievel. Your subject can be placed above or below
the horizon, but it must always relate to it, even when it's not seen in the drawing.
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The vanllhlng polnt (VP) is the point or points on the horizon where a11 lines
perpendicular to it .meet. Objects appear Iarger or smaller in proportion to their
distance from you. Perspective helps you to accurately draw these differences in
size.
8
In perspective drawing you can work with one, two, or three vanishing points.
W orking with one point is called parallel perspective; two points, oblique
perspective', three points, aerial perspective. Study these examples and practice
with simple cubes.
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The number of vanishing points in your drawings depends on the position from
which the viewer sees the object. When you knowthe numberof vanishing points in
the drawing, you will know which type of pekspective to use.
9
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On the vertical line, mark off the
placement of Scott's nose and mouth.
Once you have Iines drawn in for the
eyes and mouth, sketch ears between
the Iines. Draw in the neckline and start
sketching in the hair.
Here's how to draw Scott Bernard's
head. Start by drawing vertical and
horizontal centerlines surrounded by a
circle. The circle's center should be the
point of intersection of the horizontal
and vertical Iines. On the horizontal,
mark off the position of the eyes and
draw in the jawline.
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Now start adding m ore detail to the
hair. Tighten up SFott's eyes and
eyebrows and start working on his
Collar. '
Tighten up aII the details and erase the
construction lines on yoursketch. Now
take a piece of tracing paper, Iay it over
your sketch, and draw a finished clean
version.
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To draw Scott Bernard's profile, begin
once again by drawing the vertical and
horizontal centerlines. Draw a circle
again. with the point of intersection as
its center. Sketch in a jawline from the
front of the circle to its center. Draw in
a shoufderfine.
Now begin roughing in the hair and
adding more detail 'to the eyes and
eyebrows. Tighten up thedrawing and,
as always, do not be afraid to eraseand
start over if you're not satisfied.
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On the horizontal centerline, sketch
the eye and eyebrow, and at the
intersecting point of the centerlines
begin sketching in the ear. Draw the
nose and mouthline. Sketch his neck
and collar.
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Erase the construction lines. Lay
tracing paper over your final sketch.
Draw a clean version of Scott
Bernard's profile and then send us a
copy.
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To draw Scott Bernard's figure
,
irst
draw a centerline
.
Indicate where you
want the top of the head and the
bottom of the feet
.
Now divide the
centerline into eight#qual segments
.
Draw in the shoulderline at about one
segment down. The shoulders should
be 2-1/3 segments wide
. Now use the
Double Diamonds to indicate the body
,
with the crotch at four segments down
.
Sketch in the legs and afms
, using balls
and sticks. Elbows are three segments
down; knees are six
.
Draw in the head
.
Start turning the sticks into cylinders
.
Draw through the ends of the cylinders
so you can see where they overlap or
pass behind other shapes
. Indicate the
features of the face and start roughing
in the hair
.
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You can start sketching in the details
on Scott Bernard's uniform. Take your
time drawing Scott's collar, artillery
pouch, and boots.
As you tighten up vour drawing, try to
think of Scott Bernard as a tbreo
dimensional figure, not a flat drawing.
Visualize the Iines of his costume
going around a solid body, not Iaying
flat. Once you have achieved this and
you're satisfied with your sketch, take
some tracing paper and redraw a final
version,
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To draw Scott Bernard's side view,
begin by drawing a vertical centerline.
Indicate where you want the top of the
head and the bottom of the feet. Divide
it into eight equal parts. One part
dow n, indicate the shoulders. Mark off
the placement of the elbows three
parts dow n. The crotch and the wrists
will be at four parts. Six parts down,
place the knees. Now use the Double
Diamonds for the body and balls anti
sticks for the arm s and legs. Draw a
circle for the head.
14
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Now start turning balls and sticks into
cylinders, and indicate the features of
the face. Sketch the hair.
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Start sketching his costume and
tightening up details in his face and
hair. Make sure your proportions are
correct by checking them against the
origlnal drawing.
When you are satisfied with your
sketch, pull out that magic piece of
tracing paper. slap it down onto your
board, grab a pencil, and start drawing!
15
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Here are a variety of expressions to help you practice drawing head shapes. When
drawing these heads use a three-dimensional ball, called a ephere, as the
foundation. Now determine how you want the head angled. and draw horizontal and
vertical centerlines through the sphere to form ellipses. Use the horizontal
centerline as the guide for placing the eyes and eyebrows. At the point where the
guidelines intersect, draw in the ears. Draw the jawline and indicate a centerline
going down the middle of the head in front of the face- use this centerline to place
Scott's nose and mouth. Once you have this basic foundation, you can start drawing
in details of the face, eyes, and hair. Remember that you're drawing a three-
dimensional form, not simpsy a flat figure. This is especially im portant when placing
the eyes. Be sure to curve them around the head.
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To draw Marlene's figure, zraw a
centerline, then mark off where you
want the top of her head and the
bottom of her feet. Divide the
centerline into eight equal lengths.
Draw in the shoulderline at about one
down. Iength The line should be two
I e n g t h s w i d e . U s e t h e D o u b l e
Diamonds to build the foundation for
her body, with the crotch at four
Iengths down. Sketch in the Iegs and
arm s, using balls and sticks. Elbows
are th ree Iengths down; knees are six.
Draw in M arlene's head.
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Start turning the sticks into cylinders
.
Draw through the ends to illustrate
their solidity. I ndicate the features of
Marlene's face and start roughing in
h er ha i r.
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You can start sketching in the details
on Marlene. Her jacket is very Ioose, so
draw it draping her body f rom the
shoulderline down.
As you tighten up your drawing, try to
t h i n k o f M a r I e n e a s a t h re e -
dimensional figure, not a flat draw ing.
Visualize the Iines of clothing going
around a solid body, not lying flat.
Once you have achieved this and
you're satisfied with your sketch
,
take
some tracing paper and redraw a final
version.
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Here are a variety of Annie's expressions to help you practice drawing head shapes.
W hen drawing these heads, use a three-dimensional ball, called a sphere, as the
foundation. Now determine how you want her head angled, and then draw
horizontal and vertical centerlines through the sphere to form ellipses. Use the
horizontal centerline as the guide for placing her eyes and eyebrows. At the point
where the guidelines intersect, draw in Annie's ears. Draw in her jawline and
indicate a centerline going down the m iddle of her head in front of her face- use
this centerline to place Annie's nose and mouth. Once you have this basic
foundation, you can start drawing in details of her face, eyes, and hair. Remem ber
that you're drawing a three-dimensional form, not simply a flat f igure. This is
especially important when placing her eyes on her head. Be sure to curve her eyes
around the form. Annie's head is proportionately larger than the norm due to the
fact that she is a child. Her jaw and neck are also smaller than the other characters.
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Here is Annie in a variety of poses. Use the Ilne of acllon to determine the general
shape of the pose. This line is the direction that the pose causes the viewer's eye to
m ove.
Remem ber that Annie's body proportions are different from those of the other
characters due to her age. Her Iim bs are shorter, her head is Iarger, and her torso is
thicker. W hen constructing your basic foundation build it over the Iine of action,
remem bering that you're creating a three-dim ensional solid figure.
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Here we have a slightly foreshortened view of Scott Bernard's Armored Cyclone.
Remember to start with simple forms first and work to the complex final drawing,
Scott's Cyclone Rider is actually very easy to draw. It consists of two circles for the
wheels, one rectangle for the upper body, and another to cpnnect the Iower wheels.
24
Draw a vertical centeriine through the middle of the bike to divide it in half
. At this
point, we can begin to break the shapes into smaller forms. Separate the rectangle
on the Iower half of the bike into two smaller rectangles with a circle dividing them
.
You'll notice that the upper half of the body consists of two triangles. Separate it as
shown in my illustration. Connect the upper and lower halves of the body with a
tfiangle.
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Now begin turning the shapes on your paper into solid, three-dimensional forms. At
this point, study the illustration and begin adding the smaller details of the bike.
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At this point, check your sketch against the original illustration of Scott Bernard's
Armored Cyclone.If you're not satisfied with the way your bike Iooks, don't be
afraid to go back and redraw. If you are satisfied with what you've done, then it's
tracing paper tim e! Lay a piece over your sketch, and draw a finished, clean copy-
then pleasel send us a copy! 25
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To draw Scott Bernard's Armored Cyclone in its Battloid
use the same construction m ethods we Mode,we will
would use for a human figure.Begin by drawing a
centerline and marking on that centerline the eight
divisions for placement of body parts.Place the head one
division down,chest at two divisions,waist at three,
crotch at four,knees at five,mid-shins at six,and the
ankles at seven.Now draw the basic skeleton that you
would use for a human,consisting of Double Diam onds,
balls and sticks.
Start turning the sticks into cylinders. Draw through the
ends of the cylinders so you can see where they overlap
or pass behind other shapes.At this point,you should
start drawing basic shapes to indicate the mechanisms
on the body of the figure.Use ovals to indicate the wheels
on its back,cylinders to indicate the rockets on its wrists,
and triangles,rectangles,and squares to indicate kther
mechanisms.
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You can start sketching in the details on Scott Bernard's
Armored Cyclone in its Battloid Mode.As you're doing
this,check and recheck your proportions untilyou're
satisfied that your drawing Iooks like the original.Does it
Iook solid and three-dimensional? lf it doesn't,erase and
Q redraw.
As you tighten up your drawing,try to think of the
Armored Cyclone Battloid as a three-dimensionalfigure,
not a flat drawing.Visualize the lines of its armor going
around a solid body,not Iaying flat.Once you have
achieved this and you're satisfled with your sketch,take
some tracing paper and redraw a finalversion.
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The following is a partial lisl of books tha! will be of interest and help to you in
Iearning more about drawing. Remember that books can nly show you lhe
way. YOU LEARN TO DRAW BY DRAW INGI
BRIDGMAN'S COMPLETE GUIDE TO LIFE DRAW ING
George B. Bridgman W eathewane Books
DRAW ING THE HUMAN FIGURE
By Jack Hamm
DRAW
Kurt Hanks and Larry B#lliston
DYNAMIC FIGURE DRAW ING
Burne Hogarth W alson-Guptill Publications
Grosset & Dunlap
W illiam Kaufman, lnc.
HOW TO DRAW COMICS THE MARVEL W AY
Stan Lee and John Buscema Simon and Schusler
CREATIVE ILLUSTRATION
Andrew Loomis
DRAW ING THE HEAD AND HANDS
Andrew Loomis
FIGURE DRAW ING FOR ALL IT'S W ORTH
Andfew Loomis Bonanza Books
Bonanza Books
Bonanza Books
FUN W ITH A PENCIL
Andrew Loomis
THE NATURAL W AY TO DRAW
Kimon Nicolaides
Bonanza Books
Houghton Mifflin Co.
ATLAS OF HUMAN ANATOMY FOR THE ARTIST
Stephen Rogers Pe& Oxford University Pfess
THE ART OF DRAW ING
W illy Pogany Littlefield
,
Adams CO.
HOW -TO.DRAW TIPS FROM THE TOP CARTOONISTS
Donnar Publicalions
HOW TO USE CREATIVE PERSPECTIVE
Ernest W . W atson Van Nostrand Reinhold
THE OFFICIAL HOW TO DRAW ROBOTECH TM l S SU E 1 -4
David Cody W eiss-Bob Miller' Blackthorne Publishing
H RB IITHROBBH 1HE e ?EVINE?
B CKIHORXE'S 1$1% ; FB .1
EXCITING 3-B 20MI2 100K l
8ERIES PUBLI8IIEB IUARTERLYI
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In December we'll bring you the hottest characters of this year and
next! T'HE CALIFORNIA RI3INS** in 3-D #1 ! W ise-crakin', hip and !
tntally cool, these amazing little characters will appear in aII new
stories and art brought to you only from Blackthorne. I
TqE O!l.lF0##M jlS/#S#* in 3-0 # f - 32 lr*- l d
jmenstln) yjej wzth yll c I (. /d'l. - anntd ove/z. '. lvLl.k. . . JI.jk (a.so aoada, ae ;6I # aise: lnC
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* 1987 LUCASFILM Ltd.AlI Rights Reserved
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& STOCIEZ! K '
STORY BY '
LEN WEIN '
(F5f# TITAKS.SAAMP Tl$A%
AqT BY .
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& tlIM NELION g
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jssuE M INI-SERIES!
STAR WABS' in 3.B #1 . J2 thf'ee d/frlenslona/ page
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lt was a Iousy planet, but it did * Rtvstered Tratkvnark of l 1, have oxygen
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##;yf#M#TM #-P #1 is 32,action-packed 7-D pages with full-color. Iaser-scanned, covers. - ' --'
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