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A monlhly manualdevoled to teaching bow to dearn to draw the BO BOTECHTM animaled
cartoon characters and fighling craftin an i
nlefligentand easy to understand way. Each iu ue
willcovef one ormore characlers ordevi
ces from each ofthe three majorstorylines that
make up the RO BOTECHTM saga. Each storyline willbe featured in rotati on. lssues 1 through
4 willfocus on the M A CROSS characters,issues 5 lhrotlgh 9 willcoverth* SO UTHERN
CRO SS characters and issues 10 through 12 will coverthe NEW GENERATION characters.
Issues 13 through 24 willrepeatthe rotation examining new m aterial from each storyline.

W RIU EN AND COMR LED BY M TW ORK BY

ROBERT A.M ILLER HARMO NY GOLD U.S.A.,1NC

DANA S T E R L IN G Z O R P RIM E
Rank: 1st LIEUTENA NT A G E:18 Rank: BIO RO ID PILO T SPY
Age:U ND ET ERM IN ED
The child of Max and M iriya Sterling, zoç Prime is the Iast hope of the
Dana is a graduate ofthe ROBOTECH ROBOTECH M ASTERS to regain the
M ilitary Acade m y fo unded in the secrets of the protoculture factory and
afterm ath of the firstRO BO TECH W ar. RO BOTECHN OLOG Y.W hile spying for
Her status as a child ofthe heroes ofthe the R O B O TEC'H M A ST ER S ,
firstRO BOTECH W arsmakesherchoice Zo r gradually com es to learn thathe is
of involvem ent in the m ilitary m ore ofa a clone ofthe fatherof
lark than a vocation.She hasa genuine RO B O TEC H N O LO G #;The originaI
innocence com bined w ith a brilliant scientist Zor.Because tbe originalZor
m ind.Her Zentredian m other's heritage disagreed with fellow scientists he hid the
gives her the ability of pre-cognition RO BO TECH data along w ith the
concerning the RO BO TEC H MA STERS, protoculture factory aboard the SDF-I
their schemes,and the thoughts ofthe and sentthe battlefortressoutinto space.
renegade clone,ZorPrime.She acts asa ZorPrlm é realizes he is being used by the
catalystto m uch ofthe action during the RO BOTEC H M ASTERS and turnss
Earth war against the ROBOTECH against them . His aclion s lead to his
M ASTERS. tragic sacrifice, the destruction of the
ROBOTEC H MASTERS,andtheinvasion
of the Earth by the parasitic Invid.
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TA B LE O F C O N T E N T S
IN TR O D U C T IO N .................. 2 .

DAMOVEM EN T ...NG
NA STERLI .,.................,....... . .4
FRO NT VIEVV ,......,............. . .. . . .. . . .6
PRO FlLE ..........,...,.. . .. . . . . .. , . . . . . . . .7
EXPRESSIO NS ...............,..,. . , . . . . . . .8
FULL FSG URE ...................... . . . . . . .10
ARMO RED FIGURE ............... . . . . . . . . .12
ZOBA
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PRIFIG
MURE
E .................... . . . . , . . . .14
FRO NT VIEW ........................ . . . . . .16
EXPRESSIO NS ........,..,........., . . . . . .17
FU L.L FIG URE ................ . . . . . . . . . . . . .e!8
H OAR MO R ED
VERC RAF1G U RE ............. . . . . . . . . . . .20
FT
SID E VIEV# ............,......,. . . . . . . . , . . .22
TO P VIEVQ ........,........... . . . . . . . . . . . . .24
ANG
R EA DILN
EDGVI EVV
LIST......,............... . . . . . .26
... .... .... .... ... .. 28
 '

W elcom e back m icronians.

In this fifth issue of TH E H O W TO
D RAW RO BO TEC H 'Mseries w e w ill ).v.t9
be dem onstrating how to draw the
heroesu villians and m echa of the
RO BO TEC HTM anim ated television
series. The next four m onths w ill
concentrate on the characters and -..A.A'
x -
m echa of the Southern C ross Saga,
,k
''.
By now you know that these books /
concentrate not on the copy-m e
app ro ac h b ut o n con cep t a nd k z
/- ?
construction. W e w ill teach the
concept and thinking behind the
draw ing of character or m echa and
then construct the im age piece by
piece, This w ill give you a greater
ability at draw ing the characters,first
from m em ory and eventually from
im agination, in any pose or situation
you choose.

Construction stepsto finished draw ing

w ili be show n on ghost im ages.This %& x.z
w ill allow you to see the foundation <
f/rm s necessary to m aking sure that
the relationships betw een various
parts; faces, body or m achines, are
alw ays correct.

As alw ays,rem em ber,A NYBO DY can

Iearn to draw !

(try.. -

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 SPEC IA L A N N O U N C EM EN TI!
W E W A NT YO U R LETT ERS A ND
1)61/th!lI14()11!!!!!!!!!!!!!!1!1!!,!!!!!!!!!!!!!!!!!!!
D o y o u h a v e a p ile o f
$t. ' /-
RO BO T EC H.. artw ork that your
ap m other is afraid w illfallover and
b u ry y o u in yo u r s lee p ?
Do your friends enter your room
a nd w o n d e r w he re to sit?
Are you draw ing RO BOTEC H. in .

your sleep?
v '
W elldon't be shy!W e w antto see
and print copies of your best
draw ings so start sending in
truckloads of RO BOTECH.. art.
Youpll need space in your room
anyw ay for your future draw ings.
Rem em beralso,that ifyou have a
gripe,wantto compliment,orjust
want to say how dy,then w rite us
at:
B lackthorne Publishing
7 8 6 B Ia c kth o rn e A v e n u e
EICajon,Ca.92020
c/o How To Draw RO BO TECH ..

Don'tbe a stranger.

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ln this section we'lldiscuss m ovem entin anim ated figures by starting
X withthebasicprinciples.ThefirstprincipleiSTHEBOUNCING BALL
< ACTI
weigh
ON.
tT hiAI
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.
yo
wei urisdr
ght awwn
al ayschang
beiractersledsh
pul ould
dow apgr
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ve
X compressioninsolidobjects.Reactingtogravityandcompressionis
a great part of w hat m ovem ent is aIIabout.
In the illustration gravity pulls the balldow n acting m oststrongly as
the ballgets closerto the ground in 4 and 5.In 6 it im pacts w ith the
ground,com presses and bounces up in 7,8 and 9 to it'soriginalshape
in 10.

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œ In this hum an figure you can see the bouncing ballaction again.The
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figure is pulled down by gravity infigure 1, com presses in figure 2,
$.J andthenuseshisIeg musclesandtheforceofcom pressionto bounce
> upinfigure3and4.
4
The
fi bouncing ballaction is seen in w alking, running and jum ping
gures.The rythm ofup and down forward m ovem entis created by
gravity pulling our body dow n to contact and com pression and w e
then use our leg m uscies to recoiland lift up to a standing position .

Practice draw ing these figures in theirw alking, runningandjum ping

poses and try draw ing yourfavorite Ro Bo TEc H TMcharacterin any of
these poses,

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from the usualfqontalview.Dana's head in half.Each halfisdivided in

head is tilted.Tlltyourinitialoval half again on her eyeline so you
on the centerline.Draw a separate can place her pupils there. The
angled centerline for the head. noseline falls 2/3 of the w ay
Draw the cqrved shoulderline 1
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the centerllne Iength below the between eyeline and chin. The
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1- Lightlydraw in Dana'seyes, nose Tighten up the details on face and

R ,mouth, and hair. Make sure costum e and then Iay dow n
tracing paper and redraw the
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finndt finished clean version m inus
fr the cylinder-shape ofthe uniform construction Iines.
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For Dana's profiIe draw the

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centerline and eyeline. T he front view .D raw in the neck Iines.
ce n te rIine is tiIted fo rw a rd Lightly sketch in the hairand facial
beecause the head and the neck details.
are tiIted fow ard.

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details. drawing. *M

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Dana Sterling. Each expression -
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w ay to get the tilt correctly is by N
draw ing a circle w ith horizontal N
and vertical center guide-lines
GO ING ARO UN D the circle in
accordance w ith the tilt you w ant.
These Iines w illeventually anchor
the eyes, nose, and ears on the
head.

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properlyyoucandraw inajaw Iine x
extending frqm half ofthe Iower Y
half of the clrcle The jaw can be
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long orshort depçnding on the X

character and thelr expression rn .

Rem ember the sphere (a 3 &

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To draw Dana startw ith a balland Y ou've g ot yo urfoundatio n dow nl

stick diagram .Dana is 7 heads tall now startturning sticks into solid
w ith crotch at the 1
/i m ark,breast m asses.Sticks becom e cylinders.
and knees atthe 1
,4 mark (see page Startdraw ing in the features ofthe
5,issue 2 for more detail.)Make face.Centerlinesshould be shifted
sure your proportions are correct to the Ieft since Dana is standing
and w atch outforthe slightangle slightly to the Ieft.
Dana is standing at w hen you
m ake yourcenterline forthe head
and body.
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Now you can startroughing in her Now on tracing paperoutline your

costum e and other details Be . finished form and costum e design.
careful for costum e detaiIs Rem em beryourdraw ing is a solid
e sp ec ia lIy D a n a's sh o u ld e r m ass draped in c10th.
epaulets, her belt, and her high
col1ar.
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To draw Dana in her arm or is not A s w ith a norm al figure start

as hard as it Iooks. Look at the blocking in body parts:Rem em ber
figure first. She is standing at an that the arm on the lettcannot be
angle so your centerline w ill be seen,and thatthe Ieg on the Ieftis
slightly to the left.Draw youregg turned so that you can see the
shape for the head but angle the inside of that Ieg.
chin to the Iefy:W iththe Iineofthe
shoulder you'll notice the right
side is higherthan the Ieft,so draw
th shoulderline at thatangle.N ow
build yourskeleton.
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N ow start ro u g hin g in the Now place a piece oftracing paper

costum e. Rem em ber that the over your finished rouugh piece
arm or is segm ented like an and redraw your clean version
insects. The Iines of construction m a k in g a n y c o rre c tio n s
w ill com e in handy at this stage. necessary. U se a ruler on the
straight edges of the shield .
Forthe back view ofD ana in arm or Now start turning the sticks into
w e start again d raw ing the elipses, cones, or even square
centerline and then the skeleton. blocks. Draw in the Iine of the
Rem em ber to start sim ple and neck. Rem em ber that both hands
w ork to detail. Balls and sticks are obscured.
first.
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Now rough in your details using Now place yourtracing paperover
the Iines of construction to yourrotlgh version.Use a ruleron
segm ent the arm or.Rough in the the straight edges of the shield.
shield using squaresand triangles.
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p D raw in Zor's eyeé èenterjng each
In draw ing Zor Prim e's head you abo ut h aIfw ay betw ee n th e
can see the sam e situation you had centerline and the side ofthe head.
w ith D ana. Zor's head is tilted to D raw in the n o se line a n d
the Ieft so draw your egg ovalat m outhline.D raw the necklines and
thattilt.N ow m ake yourcenterline rem em ber that Zor's ear on the
for the head at that angle. The right is still placed betw een his
neck and shoulder centerline is eyeline and his noseline. U se a
stilj straight up and dow n. Draw ruler to m ake sure everything is
yOUr eyeline and shoulder Iine rightand straight.
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H Rou ghinZor'shair.Ifyouwantto N ow take som e tracing paperand
get fancy you can throw in a few redraw everything to perfection.
Z extracurves.Rough inZor'seyes (You know you can.) O n page 8
and eyebrow s, nose, m outh and and 9 w e spoke about how sim ply
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r asndto add pupiIs and tilting the head can im part an
the eyes. D raw exprejsion and we see thatin Zor.
ll through the neck to find the T here's no realexpression on his
cylinder shape of the uniform face yetthe tiltseem s to give him a
coIIar. na ive sense o f w o n de rm ent.
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tilt of each head as w ell as the expression on the face .

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Again w e startw ith a sim ple circle D raw a centerline around the circle.

to anchoreyes,nose, and ears.Now ajawline isdrawn infrom 0ne

half of the bottom half of the ball Draw in your noselines .

and m outhIines. Rem em ber that their curve and placem ent is
d ep en d en t o n the h o rizo nta I a nd ve rtica I ce nterIines.
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Now rough in the details being carefulon the eye details. Havefun Z
with the hairand rememberto place the earbetween the eye and &
noseline. Now use som e tracing paper to m ake your finalversion .
In c o n stru cting Z o r P rim e N ow m ake the sticks into solid
everything is done as before form s and start draw ing in eyes.
except his arm on the Ieft is
foreshortened. Foreshortening is
an aspectofperspective w hich w ill
be discussed in Iaterisjues.W hen
d raw ing this arm the stlck from the
elbow jointto hand willbeshorter
than the arm on the right.
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Start roughing in details on Zor's N ow get a piece of tracing paper

fa c e , h a ir, a n d c Io th in g . overyourrough draw ing and trace
yo ur m asterp ie ce fro m yo u r
detailed rough.

19
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Here are shots ofZoqin Mrm or. A syou draw in the solid m asseson
You'll work with thls plece the Zor in arm oryou'llnotice another
same Fay you did wlth Dana exa m p Ie of pe rspective and
Sterling's arm ordraw ings.Except forshortening. Notice that Zor is
that Zor's head is facing forward being viewed from a Ievelcloserto
w hile his body is angled to the Ieft. the ground.
Rem em ber this w hen draw ing the
skeleton.
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Now start roughing in details Tracing papertim e.Rem em berto

again and rem em ber to use tape your draw ing dow n w ith
squarej,triangles and your ruler drafting tape and tape yourtracing
on Zor's shield. paper over it so it wo'nt move.
D rafting tape is easier to rem ove
than norm al tape so use it for
draw ing.
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In draw ing the hovercycle you'llnotice a Iotoftriangles.You'llneed

yourruleron this one and otherhovercycle shots.Startby draw ing in
the essentialhoverbike triangles.

N ow start connecting the basic triangles w ith the parts of triangles

that abound on this draw ing.U se sim ple hines to draw in the handle
bar and front Iight assem bly.
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Now startroughing in detailson the bike.G etas sloppy as you need to

a nd e ra se w h a t d o e s'n t Io o k rig h t. R e d ra w u n til...

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each piece in proper relation to other pieces then everything should
be fine. Dana stands next to her hovercycle to show the size
relationship,

23
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The draw ing of the

hoverbike from this
view overlookirlg it is
pretty sim pleq It is
m ade up of one
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hoverbike.

24
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H ere is a view of the

l Rough in yourdetails
hovercycle as seen 1 and then grab tracing
from beneath it. The paper and ruler and
sam e technique used produce your
in the last draw ing finished piece. This
w ill be used here. view is im portant to
D raw one central draw so thatyou can
rectangle w ith one draw the hoverbike
rectangle atthe front com fortably at any
and two on the rear. angle.Page 26 and 27
are good exam plesof
this. œ
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Here are som e perspective shots to w ork on.You m ay w ish to save

these tw o shots for the discussion of perspective in the upcom ing
issues.lfyou choose to w ork on them rem em berto startsim ple and
w ork to detail.

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The same simple shapes ar9 still there bqt need to be angled
differently due to how w e are vlew ing them .IfItdoes'ntturn outrlght
rem em ber', KEEP PRACTICING! YO U LEARN TO DRAW BY
D RA W IN G !

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 The follow ing is a partialIistofbooks lhatw illbe ofinterestand help to you in
Iearning more aboutdrawing. Rememborthatbooks can only show you the
= way. YOU LEARN TO DRAW BY DRAW ING!

O BRIDG M AN'S CO M PLETE G UIDE TO LIFE DNA W ING

G eorge B.Bridgman W eathervane Books
K
c D RAW ING THE HUM A N FIG URE
< By Jack Ham m G rosset& Dunlap
œ
D RAW
Kurt Hanks and Larry Belliston W illiam Kaufm an,lnc.
c
DYNAM IC FIG URE D RAW ING
c Burne Hogarth W atson-GuptillPublications
= H OW TO DRAW CO M ICS THE MA RVEL W AY
œ Stan Lee and John Buscem a Sim on and Schuster
X
X C REATIVE ILLUSTRATIO N
Andrew Loom is Bonanza Books
O
O DRAW ING TH E HEA D AND HANDS
u2 Andrew Loom is Bonanza Books
C
FIG U RE D RAW ING FO R ALL IT'S W O RTH
Andrew Loom is Bonanza Books
FU N W ITH A P EN C IL
Andrew Loom is Bonanza Books
THE NATU RA L W A Y TO DRAW
Kim on Nicolaides Houghton M ifflin Co.
ATLAS OF HUM A N A NATO M Y FO R THE ARTIST
Stephen Rogers Peck O xford University Press

TH E ART O F DRAW ING

W illy Pogany Littlefield, Adam s CO.
HOW .TO-DRAW TIPS FROM THE TOP CARTOONISTS
Donnar Publications
HOW TO USE CREATIVE PERSPECTIVE
ErnestW .W atson Van Nostrand Reinhold

THE OFFICIAL HOW TO DRAW ROBOTECH TM ISSU E 1-4

David Cody W eiss-Bob M iller Blackthorne Publishing
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A tale ofdeception ant treachery! Pointexter from the Complex, but n0t
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underwaterto undercut the illegalactions, W urmhauser. But when they return to
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