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A monthly manual devoted to teaching how lo Iearn to draw the ROBOTECHTM asimated
cartoon characters and fighting craft in an intelligent and easy lo understand way. Each imsue
will cover one or more characlers or devices from each of the three major storylines that
make up the ROBOTECHTM saga. Each steryline wiil b/ fealured in rotatitln. lssues 1 throtzgb
4 will focus on the MACROSS characters, issues 5 through 9 will cover the SOUTFIERN
CROSS characters, and issues 10 through 1 2 will cover the NEW GENERATION characters.
Issues 13 through 24 will repea! the rotation examining new materiai from each stcryline.
W RIU EN AND COMPILED BY
DAVID CODY W EISS
ARTWORK BY
HARMONY GOLD U.S.A., lNC
LYNN M IN M EI
Rank : CIVILIAN Age:l 5
The darling of the SDF-I , Lyn n M i n m ei
is one of the civilians accidentally
transported into deep space when the
battlefortress' Space Fo ld is engaged.
During the year-long journey back to Earth
she is selected Miss Macross, and in this
role tries to boost 1he morale of 1he
civilians and cew aboard the immenso
craft. Despite her natural flirtatiousness,
her innocence and youth cause her to not
recognize Rick Hu nter's growing
infatualion. Rick's attentions soon shift to
Lieutenant Lisa Hayes, and Mfnme's
remarkable singing talent causes many of
1he emotion-starved enemy Zentraedi lo
defect, which ultimalely lurns the tide for
the humans in this first confkict of the
RO BOTECH W ars.
B REETA I
RanK ZENTRAEDICOMMANDER
The Ieader of the initial Zentraedi armada
searching for the Iost ROBOTECH Space
Fort ress , B reetai is a classic example
of the selected breeding techniques of the
Zentraed 1. He is totatly dedicated to the
discipline of combat and has nt:l other moral
concerns. Hs only objective is conquest,
at any cost. Contact with the Earth culture
and defenders changes aIIthis, however.
Eventually he rejects his Zentraedi
heritage and sides with the humans in their
struggle to make the secrets of
RO BOTECHNOLOGY open to aIt in the
universe.
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W eloome to the second issue of THE
OFFICIAL HOW TO DRAW
ROBOTECHTM series
,
a monthly book
designed to teach fans of the
enormously popular ROBOTECHTM
animated television series how to draw
all lhejr favorite characters and mecha.
Each month we will demonslrate how to
draw one or two characlers from the
show in the first half of the book, anJ
highlight how to draw some of the
fantastic lransforming fighting craft or
Mecha, in the second half.
Unlike some other how-to-draw books
on 1he stands which offer only a bland
step-by-step ecopy-me- approach, we
will demonstrate how to actually
construet a drawing, 1he way
protessional artists do. By showing the
rules and the thlnklng that go into
each drawing, we hope that you will
Iearn more than just how to copy a face
or a pose that is already in front of
you. You will iearn how to draw these
characters and craft in any pose or
angle you can imagine.
In addition, each demonstration will be
shown on a grayed-out image of the
fpnal drawing. so you can always see
how the construction steps relate to the
finished art.
Rememberp ANYBODY cen learn 14.
d raw 1. lf you stu d y the rules,
observe carefully how somthing is
drawn, and most imporlant of all
practice constantly, you will Iearn to
draw!
YOU LEARN TO DRAW B# DRAW ING!
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SPECIAL ANNOUNCEM ENTI!
W E W ANT YOUR LETTERS AND
DRAW INGS!
W e want to hear from you and see how you
are doing! Send us Ietlers telling us what
you Iike or don't like about what wepre
doing with THE OFFICIAL HOW -TO-
DRAW -ROBOTECH series. W e'II start a
Ietler column in issue #3 or #4 depending
on how soon we start getting letters. Not
only that bu1 in each issue we'll print some
of the best of your drawings of the
ROBOTECH characters you send us. So
start writing and drawing TODAY !
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Each drawing is constructed from basle
shapes and arranged according lo
relalionships called proportlons. Every
part of a figure is placed by m easurlng
its height or width as compared with the
other parts. In figure drawing, the basic
unit of measurement is the HEAD.
The head is constructed from an oval or
egg-shape. Lines dividing the surface of
the shape into halves mark 1he places
where eyes, ears, noses, mouths and other
features are located. Always remember
that you are describing a solid, curved
surface, so lines w rap around the basic
shape and ourve when the shape is tilted
or turned.
V
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The body is measured in head-helghts.
This male figure is 7 1/2 heads tall (you
don't count the hair). The legs attach to the
hips at the halfway mark. Most olher
Iandmarks on the figure are calculated by
dividing 1he height into thI rds, halves or
quarters and noting what body parl falls
close lo one of lhese Iines.
Pay close altention to how Iong the arms
and Iegs are, and where the joints are
located. These relationships remain the
same no matter what position 1he body is
i n .
Try to analyze each pose in stlck-flgure
fo rm first. This is 1he easiest way of
establishing a strong foundation upon which
to construct a Iively, accurate drawing.

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tThe female figure differs in some points from 1he male. Both figures are measured in head-helghts, but 1he propoftions are calculated differently. This female figure, based on LYNN MINMEI, is only 7 heads high, making for a shorter, more compact figure. Dividing the height into quarters will Iocate the breasts, crotch and knees. The distance from the cenler of the sole of the foot to the knee-line is 1/3 of the figure's height, with the other 1/3- mark
locating the navel. Notice that the distance
from the crotch to the bottom of the chin is
also equal lo 1 /3 of the total height.
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Starl out by drawing an oval lo describe
the head, adding two Iines below 10 Iocate
the neck. Divide the head with vertical and
horizontal tines to Socate the centerline
and eye-llne. Add a curved line for the
shoulders across a polnt 1/4 of the
centerllne Iength below the chin
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nose, mouth and collar and add pupils and O , hl
ghlights to the eyes. Draw through the
neck lo find the cylinder-shape of the 1 l
blouse collar.
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Draw in the eyes, centerirl each about
halfway between the centerllne and the
side of the head. The nose Ilne falls about
2/3 of the way between 1he eye-llne and
chin, with the boltom 1ip halfway between
nose Ilne and chin. The ears fit between
the nose Ilne and the bottom of the eyes.
Tighten up all the delails and erase your
conslruction Iines or Iay a piece of lracing
paper over your rough drawing and redraw
only 1he finished forms
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Drawing the proflle is very much the
same as doing 1he front. Staft with an egg-
shape, then divide with centerllne and
eye-llne as you did the front view
,
but
this time tilt the center line forward
. Once
again, the shoulder falls about 1/4 of 1he
head height below the chin.
Again, Iocate the eyes, nose, mouth and
ears in the same relationship as in the front
view. Note, however that the ear is
localed on the centerline in the profile
. The
head balances on 1he neck Iike an egg on a
thick round stick.
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Rough in the hair and olher facial details as
before. Add costume details.
Erase construction Iines or trace over
sketch for final drawing.
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Here are a number of poses of Mlnmel's
head with R variety of expressions. In each
case we show the final drawinq next to an
example o! the basic construction. lf you
start each of your own drawings with lhis
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basic analysis, al1 your heads will be solid
and consislent.
Obsewe how, when the head is tilted, the
centerllnes become ell Ipses, that is,
lines wrapped around the curved surface of
the head. Draw through the head, following
the Iines around. This way a1I the features
I you draw will stay properly related no
matter how the form is turned and you will
be constantly aware that what you are
drawing is a solld form In space only
desorlbed by lines on paper.
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the head, neck and shoulders in these
samples. Do vary !he tilt of the head on
1he neck and of the neck on the shoulders,
and avold a straight-up-and-down
*stacked' approach. This will produce
livelier, more graceful-fooking poses.
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To draw the Iigure, start with a ball-
and-stlck diagram, placing the parls
in proper relation to each other
. Use
stlcks to indicale the arms, iegs and
neck; rounded shapes for the head
chest, hips and at the elbow and knee
ioints', and wed ge e.or mltten- like
shapes for the hands and feet
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attention to proportion here: M In meI
stands 7 heads tall, with the crotch at
1he 1/2 mark
,
the breasts and the
knees at the 1/4 marks (see p. 5 for
more details).
Start turning the Micks inlo cylinders
now. Draw through the ends of the
cylinders (called ellipses), so you can
see where they overlap or pass behind
other shapes. Mark off 1he features on
the face as before, being careful to
shift the centerlines lo the Ieft
,
because Minmei's head is turned
s I ig h tIy .
Drop a Iine from where the neck meets
the front of the chest straight down to
the floor. This line tcalled 1he center
of balance), always falls on a Iine
drawn between the centers of the
feet.

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Now you can start roughing in her
costume and other details. Rememe r
that 1he clolhes wrap around !he form
and hang on 1he body parts. Finish the
head and hands now.
As you lighten up your drawing,
visualize aII the costume Iines (sleeves
slripes,belts seams, etc
.
) as lines on
1he surface of these curved and folded
forms, wrapphng aroun oylinders
,
running up and down 1he hills and folds
and creases.
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Part of the fun of drawing Minmei (and
the other female ROBOTECH characters) -Ny
is the imaginative variety in her t I . clothing
.
Most of 1he male characters .><
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appear only in uniform or in one kind of Y I l
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civilian clothing
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but 1he women wear '
many different styles of dress. Study zz ' '
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clothing ads in newspapers and r
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Lynn Mlnmel, Iike alI the other ROBOTECH characters
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fs drawn in a distinct style
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This style is very popular in Japanese animation and is probably the most recognizable
thing about lhese characters
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I how to draw the details that will enable you to do good ROBOTEC H art
. This issue wepll
continue our discussion of eyes (see issue #1) and then point out some important things
about the way expresslons are drawn in this style
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In alI drawing, Japanese or western the
eyes are the key lo oommunicating
expression and emotion to your viewer. ln
the Japanese style, the eyes of a character
are deliberately drawn big and their
movemenl is often exaggerated beyond the
range of real human eyes.
Here is a gallery of eye expressions for
you to study and copy. Pay close
attention to the simplicily of
construction that is how few Iines it
takes to describe the forms.
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the Japanese style avoids drawfng lines
completely around forms, instead they
break outlines and Ieave gaps belween
pads that do a lot of movement.
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The Japanese approach to drawing expressions is much broader than the average Western
approach. They don'! feel compelled to Iimit their character's faces to a realistic-only style
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Ouite often in each show there willbe a character who acts as a comic relief who is drawn in a
very carloony stylex in strong contrast to the more reatistk Neroes
. The heroes themselves
can express lheir emolions with highly exaggerated faces distorted to emphasize the strength
of their feelings. In 1he West, we would call this style of acting pmugglngd'
, and discourage i1s
use, but it makes up a good part of the appeal of the Japanese cartoon
. Don't be afraid to use it
in your drawings. Make the mouth in a shout take up mos! of a face' if a face is crying
r
scrunch
up the features; if a face is surprised
, make the eyes big, and the mouth hang open wide
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olher words, make the face funny and have fun draw lng it
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Here we go again. In lhese demonslrations of Breetal's head and the following o
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on pages 22-23, we'll do the complete process for the Iast time
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If you have difficulty, refer b
ack to the Mlnmel demos on pages 6-7 and 1 0-1 1
,
or to the Rlck Hunter demo in issue #1
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(wer your rough drawing and redraw only the finished forms
. 20
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Even though Breetal an: his fellow Zentraedl ar/ some 50 feet tall
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23
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27
The following is a partial Iist of books that will be of interest and help to you in
Iearning more about drawing. Remember that books can only show you the
way. YOU LEARN TO DRAW BY DRAWINGI
BRIDGMAN'S COMPLETE GUIDE TO LIFE DRAW ING
George B. Bridgman W eathervane Books
DRAW ING THE HUMAN FIGURE
By Jack Hamm
DRAW
Kurt Hanks and Larry Belliston
DYNAMIC FIGURE DRAW ING
Burne Hogadh
Grosset & Dunlap
W illiam Kaufm an, lnc.
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
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 PeG 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 . Watsen Van Nostrand Reinhold
THE OFFICIAL HOW TO DRAW ROBOTECH :'M ISBUE 1
David Gtx:ly W eiss Blackthorne Publishing
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IN QNO RPO KA ED
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In assoclatlon
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w 1 t h I . R . V . M e r c h a n d 1 s 1 n g C o r p . , 1 s
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o .t ? star 1 n Our 3-D Galaxy, Bullwinkle the
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v , * M oose... and his pal, Rocky the Flying
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. Siberian Seductress Craftiest Creep.
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BULLW INKLE and RO CK Y3-D is adapted for Blackthorne Publishing
by John Stejhenson and Jorge Pacheco directly from the award
winning televlsion show by Jay W ard Productions, Inc. BULLW INKLE
and ROCKY .3-D //1 brings you all the m isadventures of this highly
recognizable comedy team just as you remember them.
BULL WINKL E and ROCK F 3-D # 7 - 32 page. lhree dlmeslonalpages w'lllp lull color. Iaser-scanned covers. One
pair ol J-D g'asses tncluded +/t/, each comlc . .. . . . . . .. . . . . . . . . . .. . . . . . . . . . . . . . .. . :2.50 (Canada :.'3.50/
29
A v a ilab le n o w fro m ...
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LACKTHORNE QBLISHING
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