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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 ARTWORK BY

DAVID CODY W EISS 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 A mysteri ous alien spaceship tha!crash
the RO BOTECHTM saga, Rick is introduced Ianded on Earth on Macross lstand in the
as a hot-shot am ateurpilot and close friend South Pacific, i t presents the Earth w i
th its
of Lieutenanl Roy Fokker who comes to only defense againsta sudden
witness the historic launch of the SDF-I. interptanetary invasion by the warfike afien
1he salvaged alien Battle Fortress. Caught Zentraedi. The Earth defenders have
up in the sudden inlerplanetary war with sal vaged and relaunched the vesseibut
the Zentraedl he distinguishes him sel f as know Iittle of its lrue capabilities and most
a courageous pilotand dogged fighter, efficient handiing. The shi p proves to be a
overcoming his initial reluctance to em ploy battle forlress capable of incredi ble
violence, even Jn defense of his world. 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
in the early stages ofthe war,and his thatthe Zentraedi have crossed space to
m ilitary superior, Lieutenant Lisa Hayes. possess.

Rick's conflicts between his personal ln activating a spaee-fold drive 1he

feelings and his duty to those he has fortress accidenlally transports aII of
vowed to defend forge him into a strong Macross Isl and out into deep space with i1.
young warrior. The struggl e to master the ali
en technology
in order to defend Earth while preserving
the lives and socialstructure of the
civilians unintentionally transported forms
the backbone ofthis epic tale.
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A- aosore'cs susvALut.cesruary 198z.publpsheu rnootsly by BuacKrsonx: poeulssLxo Ixc 7as
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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 lelevision 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 fighting crafl or
M echa,in the second half.

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of -to-dra
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bloks
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
angle 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

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m easuring its heightorwidth as
com pared with the other parts. In
fi
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m easurement is the H EA D.

The head is construcled from an oval

oregg-shape. Lines di vidi
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surface of the shape into halves m ark >
the places where eyes, ears,noses, O
mouths and otherfeatures are Iocated. =
Always rem em ber that you are

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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 head-
helg 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
arms and Iegs are,and where the joints
are Iocated. These rel
ationships rem ain
the same no matterwhatposition the
body is in.

Tfy to anal yze each pose in stick-fi

gure
torm firsl. This i
s the easiest way of
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establ
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which to construct a Iivel
y, accurate t
drawing.

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Startoutby draw ing an oval to descri be Draw in the eyes, centering each about
the head adding two Iines below to Iocate halfway between the centerllne and the
the neck. Divide the head with verlicatand side ofthe head. The nose Iine falls about
horizontal Iines lo I
ocale the centerline 2/3 ofthe way belween the eye-llne and
and eye-line.Add a curved line forthe chin, with the bottom Iip halfway belw een
shoulders across a point 1/4 ofthe nose Iine and chi n. The ears fitbetween
centerline length below the chin. 1he nose Ilne and the boltom ofthe eyes.

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< Roughinthehair,indicaletheshape of Tighten up a1Ithe details and erase your
> the nose,m outh,sideburns'and collar, and constructi
on lines or Iay a piece oftracing
= addpupilsandhi ghlightstotheeyes(see paper over your rough draw ing and redraw
O 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
shoulderfalls 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 Erase construction lines or trace over

before. Add costume details. skelch forfinaldrawing.

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To draw the figure, staft with a ball-
and-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
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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 .
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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 Observe how,when the head is lilted,
head with a variety ofexpressions. ln the centerlines become elIlpses,
each case we show the finaldrawing thatis,lines wrapped around the
next to an exam ple ofthe basi
c curved surface of the head. Draw
construction. lfyou starteach ofyour through the head,following the lines
own drawings w ilh this basic analysis around. This way a(lthe features you
alIyour heads willbe soiid and draw willstay properly relaled no
consistent. matter how the form is turned and you
willbe conssantly aware thalwhatyou
are drawing is a soIid form in space
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only descrlbed by Iines on paper.
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To draw Ri ck's helmetorany other

headgear,the sam e rules apply as in
previous secti ons. Since a helmetusuall y
is found on a head,i t's iyeslto startby
drawing in the head shape first;compl ete
wi th rough indications 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
ck
curved wedge shapes forthe visor' a lhi ck
slrip with pointed ends wrapped around !he
sphere for!he si de-pieces'and so on.

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practice you construction skills on
Analyze each pose carefull y before you
starl drawing. Sketch in 1he sti ck figure
first and then build on that. Don'texpect
perfection 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 x
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the feelofa pose is as importanlas the
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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
size and expressi veness convey the strong em otions these characters experience. Notice
that the m ale 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
Sam e.

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CLO SE.UP SHOW ING
REFLECTED HIGHLIGHTS

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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 visualize 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 viewer,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 Iearning 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

George B.Bridgm an W eathervane Books

DRAW ING THE HUMAN FIG URE

By Jack Ham m Grosset& Dunlap
DRAW
Kurt Hanks and Larry Belliston W illiam Kaufm an, Inc.

DYNAM IC FIG URE DRAW ING

Burne Hogarth W alson-GuptillPublications
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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