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A monthly manualdevoted to teaching how to Iearn lo draw the RO BO TECHTM anim ated
cartoon characters and fighting craf!in an intelligentand easy to understand way. Fach irpsue
willcover one or more characters ordevi
ces from each of1he three majorstorylines that
make up 1he RO BOTECHY saga. Each storyline willt- featured in rotation. Issues 1 through
4 willfocus on lhe M ACR OSS characlers,issues 5 through 9 willcoverthe SO UTHERN
CROSS characters,and issues 10 lhrough 12 wil coverthe NEW G ENERATIO N characters.
lssues 13 through 24 willrepeatthe rotation examining new materialfrom each storytine.
W RITTEN AND CY PILED BY M TW OM BY
RO BERT K M ILLER HARM ONY GO LD U.9.A.. 1N1
Alison Cant
Elaine LaFI'
a!'
G

SEA N PH ILLIPS LO U IE N IC H O LS
RAN K:PRIVATE RA N K:C O RPO RA L
AG E:23 AG E:20

Form erfirstlieutenant,Sean PhilIips has Louie hsthe m echanicalgeniusofthe 15th

the d ubious distinctlon ofbeing the 15th squadron.Hehasnodesiretobeasoldier
squadrons C asanova.This distincti o n is and only tolerates the Iife in orderto get
w hat cost him his form er rank when he closer to and Iearn the secrets of
m ade am ourous advances to the w rong ROBOTECHNOLOGY. He dream s of
wom an' ,the Colonelsdaughter.N ow heis using RO BOTEC H to createthe ultim ate
a private but he still earns the great m ac h in e. ln the m ea n1im e h is
respectofthe othertroops because he is experiments atcreating problem solving
a good com bat soIdier and a Iikable or Iife saving mecha w ins him unwanted
person.Evenw ith the respectofhis fellow fam e w hen his m achines are put to
troops he sti11finds it hard to adjustto unintended uses.
taking orders from his new com m anding
officer,Dana Sterling.Dana w as once a
sargeant under his com m and. H is
probIem s in adjusting are further
com plicated w hen he fallsin Iove w i
th ace
RO B O T EC H pi1ot, M arie C rystaI.
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TA B LE O F C O N TENTS
 Howdyandwelcometothisseventhi ssue
Z of HOW TO DRAW ROBOTECHR.lt's
good to know thatyou've come this far.
2 Youshouldbefeelingpreqygoodknowing
thatyou've stuckto i
tand learned some
basic ways lo draw ROBOTECHY char-
Q acters.
Q In this i
ssue we willstudy balance and
Q composition in drawing.W e willconcen- + t
trateonbalanceinthisissueandcomposi-
tion nextissue.W e willcontinue drawing
thecharadersoftheSOUTHERN CROSS
SAGA,wrapping them up nextmonth.
1
Aspecialtreatthisissueistbeinclusionof
plentyofarmorfrom thedifferentbranches
ofthe ROBOTECH- army.W eal so have
somefan mailand some ofyourdrawings X
toshowoff.Ourmechaforthi smonthisthe
Veritech copter.Sowhetheryou're afirst-
timeroranoIdpro,follow the construction
steps.practice constantly,and you will
Iearn to draw!
N
YOU LEARN TO DRAW
BY DRAW ING!

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SPECIAL
ANNOUNCEMENTI
#.t W E W ANT YOUR Lm ERS
AND DRAW INGS!
FifstoffIwanttolhanklhefansofROBO-
TECHTMforsending inthe Iettefs and art
tba.make this issue so spectacular!lt's
greatto see thatyou're drawing and that
you care about what's going on in the
btpok.The artwork is ve@ good and l'm
cedainthatthere's plentymore goodart-
workoutthere.Sohow aboutsendingthat
etuffin!W erekindofhtlngryforgoodartln
factwe'reslawi ng!Keepwritinganddraw-
ing and send uscopies ofyourartwofk.
N
Send yourIeqefs and copies Qfyourart-
workto:
Blaok horne Publishlng Inm
786 Blaeklhorne Avenue
EICajon,CA 92828
çlo How to Draw ROBOTECHY

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3
ln this issue,we willbegin the firstofa two-partdiscussi on on com position in art.Good
com posi ti
oncausesyoureyeto fl ow intothe picturetoits naturalfocusandthenflow backout
again.Composi tiondonewellcausesyoutofeelthatapictureiswel l-bal
anced- thatnopartofit
has more wei ghtthan anyotherpart.
So reallywhen we speakaboutcom posi
tion we are actuallytajki
ng about:
1.Bajance
2.Com position
Let'sdiscussbalance forthisissue.

lnthi
si llustration you can see two equal
weightsaqachedtoaful crum.Theweights
canbem oved,butyouseethattheydon' t
need to be because they are balanced,
but ..

. . . Supposewemoveoneweightcloser
to the centerofthe fulcrum.You can see
thaltheweightonlhefarendseemsheav-
ier,thusputtingthe fulcrum offbalance.
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OntheIastpa'
gewespokeaboutmovingorchangingawel
ghtonafulcrum to balancei
t. Getting
a feelforwhich weightwillbalanie the ful
crum willhelp you in yourdrawings and in your
understanding ofthescaleofattraction.

Here are som e basic rulesto hel

p you findthe scal
e ofaqraction.

1.Fverypi
ctureisacollectionofobjects.
2.Eachobjectinaglcturehasavasuethatdependsuponwhefeyouplaceiti nthepicture.
3.Anobjectplacedneartheedgeofthepicturehasmorevaluethanoneplacednearthemiddle,

Inthispicture,theshipo#tothe rightgives
balancetothewholeand m akesyoureye
m ove across the centerlineofthe picture
absorbing the detailsofthe drawing.

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W iththisdrawingyou seethatplacing the

blackshi p ontherightside ofthe center-
line isnotenoughto balancethe weightof
the sailboatwhich istoo close to the Ieft
edge.

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Thispicture lacks balance,and withouti

t
the viewer's attenti
on is drawn to the N r
objectandstops,ratherthanmovingacross = -.w .
the com positi
on.

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5
 OntheIastpage,thegoalofthescaleofattracti onwastokeepyourattentionmovingacrossthe
drawing.The viewer's eye should flow in and outofany picture you draw.Thi
s is aided by
verticaland horizontalbalancp.
AIIofyourdrawingsshouldhaveahorizonIinewhichtheeyenaturallyfollows.Theverticali
tems
thatyouplaceonthatlineshoul dbesobalancedintheirweight/aqractionastokeeptheeyefrom
stopping al
ong its pathand notcontinuing.
Herearethree exam plesofthe use ofverti
caland horizontalbalance.

B
In this Iine drawing balance i
s achieved
primarilybecausenooneIi ne i
sallowedto
totallycutacrossthedrawingverticallyor
horizontally.Primaryhori
zontalIines IA1 /
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andvedicalli nesIB1touchonlyoneedge .a
ofthe pi
cture. z.
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Inthispicturethe heavy horizontallineot

the l
and causesthe eyeto move straight r
across.W ithoutbalancedvedi calIi
nesthe C .X . x-
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eyewillnotstop and focus.
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A too-heavy verticalfigure stopslhe eye

from moving totally across the horizon.
Thefigure should nottouch bothtop and
bottom ofthe pi
cture.

6
 Inretrospect,i
t'
simportantto rememberthatthegoalinyourdrawing isto makethevi ewer'seye
moveacrossthewhol e picture.Howyoudothi swillbe moreamaqerofyourfeelingsratherthan
rulesandcan onl y be achi evedthrough constantpractice.Asyou practi
ceyou'llfind you can
adaptthese rulesto yourownneeds and feelings.
Transiflon ofIine makes the eye feelmore comfortabl
e as itmoves from a verticalto a
horizontalIine.Inthistypeofbalance,theeyemovesform onelinetoanother- forexampl e,from
ashorelinetothehorizon- via placementofverticalordiagonallinesnearthepointofintersec-
tion.These break up the horizontalflow,allowingtheeyeto be redirected along anew line.

In this drawing,lhe eye moves easily

acrossthe Iand tothe hori
zon,due tothe
placementofthe smallboats.Tbe boats
stop the eye long enough so the viewer
can m ake thetransi
ti
onfrom Iine to Iine.

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In this picture,the vedicalline needed to

stop the eye from moving downward wi th
the shoreline i s too farfrom the pointof
intersectionto be effective.
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In thi
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chance ofshowers. O
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To draw Sean,start wi th the Double- Stadturning the sti

cks into cylinders now.
Diam ondlforSean'storso.Use sticksto Draw through the ends ofthe cyli nders
indi
cate the arms,Iegs and neck. Use (called ellipses)so you can see where
rounded shapes forthe head and atthe theyoverlaporpassbehind othershapes.
elbow and knee joints.Wedges orany Mark offthe features on the face,being
simple shapescan beused forhandsand carefulto shi
ftthe centerlines to the left,
feet. Pay attention to proportion here: because Sean'shead i s turnedsli ghtly.
Sean stands 7-1/2 heads tall,with the
crotch atthe 1/2 mark,the chest and
kneesatthe 1/4 marks.

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Now youcanstartroughinginhiscostume Asyou tighten up yourdrawing,visualize

and other details. Remember that lhe a1Ithe costume lines (sl
eeves,stripes,
clotheswraparoundtheform andhangon belts,seamsetc.)Thesecanbeseenas
thebodyparts.Finishtheheadandhands lineson the surface,wrapping around the
now . cylindersofthearmsand legsand running
up and down the fol ds and creases of
. Sean's torso,

9
*
HereisSean'sheadinanumberofposes
Q withavarietyofexpressi ons.Ineachcase
we show the finaldrawing nextto an
d example ofthe basic construction.lfyou
stad each ofyourown drawingswi ththis
basic analysis,aIlyoblrheads willbe solid
and consistent.

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around the curved surface ofthe head
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properlyrelatedno matterhow the form i
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spaceonlydescri
bed by Iinesonpaper.

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 Here is adrawing ofSean in armor.Start Check yourpropodions.Is the shoulder
by drawing a six-inch centerline,On this angled properly? Are the wai
stline and
centerli
ne measure down from the top of elbow jointonthesameIine?Arethe I
eg
thehelmet:3/zrtothechinand shoulders, jointsandhandsonthesameIines?Once
1-3/4,downtothewaistline,2-9/16*down you've checked your proportions start
tothe crotch,and3-1/2*tothe kneepads. makingthesticksintocyli ndersandblock-
Thefootontheleftrestsonthe5-1i4'line ing in the squares,rectangles,and trian-
and thetoe ofthe rightfootrestsonthe 6* glesofthe shield.
m ark.Now use the Double Diamonds to
constructthe torso and an ovalto con-
struclthe head.Add yourbal land sticks
forarmsandIegs.Draw arectangl eforthe
shield.

12
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Now startroughing in differentsegments Ifyou're satisfied with whatyou've drawn,

ofSean'sarmor.Stadworkingonhishead then puta pi ece oftracing paperoverit
and face mask.Sean's armor is veïy and redraw your clean version making
detailed so take yourtime and don'tbe anycorrectionsnecessary.Thisisacom-
afraidtoerase.Hang Inthere- you'llgeti
t! plexfigure to draw,so i fyouthink i
tlooks
goodthen shootusacopysowecanprint
it.
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Here we have the armorofthe ROBO-

TECHTMarmy'sDesertSquad.Thisfi gure
isabout6*tall.The shoul
der-line stafts1*
down.The waistline starts 2* down;the
hipllineis3*down'
,thekneesarebetween
3-1IT and4',thefootatthe leftisonthe
5-1i*'Iineandthefœ tontherightlouches
the 6'Iine.

14
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Now use the techniques you used for

SeanPhillips'armortocompfetethisDesert
Squad'sarmor.Be especiallycarefulwith
the helmet,It's odd-shaped and willbe
hardto draw atfirst,butkeep practi
cing.
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This isthe armorofthe TacticalArmored

Space Corps.The drawing is 6-1/4*tall
withtheshoulder-lineat1*thewaistlineat
2*,the crotch at3' and the knees at4>.
ThefootontheIeftisonthe5-3/4*Iineand
the footon the ri
ghtison the 6-1l4*line.

16
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Once again,you can tlse the methods

you'veIearnedtoconstrtlctthebasicskel-
etonandworkittothefinishedform . Once
youhave yourrough drawing completed,
youcanthen taketracingpaperandcon-
structthe finishedform .
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 To draw Louie,startwith an ovalforthe You've gotyourfoundati on down'now
head.Draw the cehterline for his head startturningsticksintosoli
d masses.Sti
cks
angled tothe I
eft.Draw the necklinejust become cylinders.Startsketching in the
behind thejaw.Connectthe neckto the features*ofLouie's face.ReMemberthat
Double Diamonds ofthe body and then the centerlinefortheface istothe left.
sketch in the arms and Iegs using sti
cks
and balls.

18
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scostume On tracing paper. outline the finished
and othefdetails. drawing ofLouie Nichol
s.Ifi
tdoesn' tlook
ri
ght,go back to yourrough sketch and
make corrections.Ifitlooks great,then
send us acopy.

19
 P '- w
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Here are five drawings ofLoui

e Nichols'
head and face.Each drawing has a dif- %@
ferentexpression.Nexttothedrawingisa
ghostimage with a circle.Inside ofthe
circl
e,differentokalshapes are drawn.
These ovals show horizontaland vedical ..
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 Once you have the circle and its inner Y
ovalsdrawn,you willknow how yotlwant m
the head til
ted Now you can draw in the
.
m
jawline.Thejawlinedropsfromthevertical œ
gui
delineofthecircle. Theearsareplaced P
on this same guideline. Now you can O
k make the mouth, nose,and necklinesto =
N. . meettheneedsofthepictureanö charac- *
ter.Once you have the basics drawn in
W
l youcanrough indetail softheheadsand,
faces ofLouie Ni
chols.

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 Jam es Schweitzer 11

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25 Eddy Garcia
d
< DearSirsland/orma'amlsi):
Ihavebeenreadin yourOfficialHow to
Draw ROBOTECHT books (issues *1
and *2)and have beenvery impressed
and enthusiastic in r% ard to them . They Hello James!
< are withouta doubtthe mostcomprehen-
sive,and yetdecisive, ttHow--ro-Draw''
Thanks forthe compliments. W e tryto
œ books Ihave everread!
doourbesthere atBlackthorne.W earein
the process ofgetting permission to do
They are very good tutorials and don't morebooksonanimatedseri esfrom lapan
comeacrosswi ththatcondescendingatti- but my boss i s keeping ever/hing a
lude so many other books have (they secret.We'Iljusthavetowaitandsee.As
sound as ifthe authors ofthe book are you say,itdepends on the popularity of
speaking to totalincompetents who have thisbook,butwithfansIikeyouwecan' tgo
nevertouched pencil s or paperin their wrong!
iives).Also,lhey don'
ttake the quantum Thanks againforthe letterand yourart
leaps from sketch to sketch and expect which isverygood!
youtofoljow.-l
-osum i tup,theyîallintothat
middle ground between the extremes of
artbooks,which is great!
1have always been a Japanese artfan
andhave,invain triedtodraw inthatst/e.
The problem ,Inow see,w as thatIhad
no knowledge ofcorrectconstruction or
Iayoutbefore Istadeddrawing(1tried to
draw thefinishedproduclinthefirstdraft).
ROBOTECHTMis, i n myopinion,one of
the finestaccomplishm ents otJapanese
animation and your series i s a pedect
com plernentto it! DearBlackhorne,
Bytheway,Ihavereadthatthi sseriesis
plannedtogofortwenty-fourissues,wbich
DrAtfirst,lpickedQ
u TheOf
aN ROBOTECH to ksi
f/4Sa/Howto
m plybecause
isgreat,butafterlhathaveyouconsidered i
twas ROBOTECHTM. Butnow,thanksto
a series on other Japanese animalion- you,1candraw thefullfi
gure ofa charac-
ori
ented shows such as Captain Harl ock ter.Iusuallystucktodrawingjustthefaces
or,perhaps.Stafblazersto nam eonlytwo becauselcoul d neverproportionthebody
ofthemorepopularinmyarea?Thesetwo to match the head and arms,etc. 1also
have distinctstysesaswelland would no have more patience!
doubtbe populartoo.Onl y a suggestion, ThanksforaI!yourhesp andlcan'twai t
and probablysomeonethere hasalready forThe New Generation books to come
thoughtofit.Theidea,ofcourse,depends otlt.
on the pogutaTityanö levelofsuccess ol GoY Luck!
the currentseries lunderstand. Sincerely,
Tocag itoff,thanksagainfofone ofthe Marrin McFarrows
bestthingsto come alongsincethe show Medford,MA
i
t6;f!!f!
Sincerely,
James Schweitzer14
Hespefia,CA

26
To Mr.Stephenson: DearBlacidhorne:
Hello.Ihope you're feeling fine and i
n W hen Isaw yourspecialannounce-
the bestofheal
th.My name i s Eddy and menton page 3 ofHow to Draw ROBO-
I'm writingtidayto l
etyouknow I'
vejust TECHR #2, Idecided to write you this
leqer.Yourfirsttwo issues have been a
read tour''HOW TO DRAW ROBO- greathelpto me becauseIhad problems
TECH ,i ssue numbertwoand l ookfor-
ward to issue three.Itwas mentf
pned in drawing Rick H unterand Breetai.The
i
ssuetwoof''H.T.D.R.''forreaderstosend eyesandfaci alexpreu i
onswerethemost
i
ntheirROBOTECHTMdrawings.Ithought diëcutThelapanesedrawfngstyleshelœ d
''great''butwhodoIsendthemtoexactly? mewi ththat.Imustconfess,though.Ifindit
Ididn' tknow,so I'
ve sentsome ofmy harderto draw using the step-by-step
drawingstoyou.SomeareROBOTECHY / melhod,so Ido itby I
ookingatthe picture
M acrossand afew othersIthoughtyou and drawing it.Aftera lew times lpretty
mightfind amusing i
fyouaren'ta Japan- much rememberhowthefinished product
eseanimafan andhopethatyoucanhelp issupposedto Iook.Infuture issues(after
me to getthe drawings into the handsof :12)whenyouwillbe''repeatingtherota-
whoeveris workingon ''HOW TO DRAW tion examining new materialfrom each
ROBOTECHTM''I f I'
ve reall
y blundered storyline,''pleasedoanissueonMacross
and senti
tto someonewhodoesn'tknow City,the insides ofthe SDF-I and Zen-
whatI'vejuslbeenwritingaboutI'm sorry traedispace cruisers,the cockpi tofthe
about that,but could you help me out Veritechfighter,andthe li
ttl
e trashrobots,
anyway? phones.and cameras seen in M across
LotsofIuckinthefuture, Cityeveryonce i nawhile.Iwillstartsend-
Edward Garcia ingmybestdrawingssokeepupthegood
workw i ththisseries.Thankyou.

Hello Eddy! Si
ncerelyyours
My name is Bob Mill
erand I'm working MattFigroid
on''HOW TO DRAW ROBOTECHTM''theSe Palm Springs,CA >
days.Asyoucansee,youdi dn'
tblunderat
all.As Iong as you send yourleoers and
copies ofyourartto: HiMatl!
Blackthorne Publishing Thanks forthe letterand art.Ifyou're
786 BlackthorneAvenue having troubl
e fol
lowing the step-by-step
EICajon,Cali
fornia92020 don'tworry.The second mostimportant
c/o ''
The OffiiaIHow to Draw thing to remember is to getStep One
ROBOTECH Jrawn.Drawing the skelelon is jmporlant
avefythi
ng willbeokay.Keep upthegood formaking sure the propodi ons are cor-
work.Youra4 Iooksgreat! rectandthatyourcharacterisdoingjust
whatyouwantittodo.Themostimportant
thingtorememberistokeepdrawing.You
learn to draw by drawing.
M
>

27
> Th@ following ilaN rtlallislofbnekkœthatwillt- ofIntereataodhel
p toyou infearnln:
* more ohzwldawlng. Remem- rlhatt00% canonlylhow youtbeway.YOU LEARN
-
= T0 DRAW RY DRAWINQI
BRIDG M AN 'S CO M PLETE G UIDE TO LIFE D RAW ING
G eorge B.Bridgman W eathew ane Books
A NIM A TIO N
Preston Blair series vol.#26,W alterT.Foster
H OW TO AN IM ATE FILM CA RTO O NS
Preston Blair series vol.#90 W alterT.Foster
DRAW ING THE H UM AN FIG U RE
Jack Ham m G rosset& Dunlap
C ARTO O NING THE HUM AN FIG UR E
Jack Ham m G rosset& Dunlap
DRAW
Kurt Hanks and Larry Belliston W illiam Kaufman,Inc.
DYNAM IC FIG UR E DRAW IN G
Burne Hogarth W atson-G uptillPublications
HOW TO D RAW CO M IC S TH E M ARVEL W AY
Stan Lee and John Buscem a Simon and Schuster
C R EATIVE ILLUSTRATIO N
Andrew Loom is Bonanza Books
DRAW ING THE HEAD AND HANDS
Andrew Loom is Bonanza Books
FIG UR E DRAW ING FO R A LL IT'S W O RTH
Andrew Loom is Bonanza Books
FUN W ITH A PENC IL
Andrew Loom is Bonanza Books
TH E NATURA L W AY TO DRAW
Kim on N icolaides Houghton M ifflin Co.
ATLAS O F HUM AN A N ATO M Y FO R TH E ARTIST
Stephen Rogers Peck O xford University Press
TH E ART O F DRAW ING
W illy Pogany Littlefield,Adam s Go.
HO W -TO -D RAW TIPS FRO M THE TO P C ARTO O N ISTS
Donnar Publications
HO W TO USE CR EATIV E PERSPECTIVE
ErnestW .W atson Van Nostrand Reinhold
THE O FFIC IA L HOW TO DRAW RO BOTECH TM ISSUES 1-7
David cody w elss/Bob M iller Blackthorne Publishing
 l
N

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