The Official How to Draw Robotech 02

8/12/2019 The Official How to Draw Robotech 02

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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 Wars.

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

DRAWINGS

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.

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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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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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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.

Pay attention to he relationship between

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

Pay

attention to proportion here: M In meI

stands 7 heads tall, with the crotch at

1he 1/2 mark

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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

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) as lines on

1he surface of these curved and folded

forms, wrapphng aroun oylinders

,

running up and down 1he hills and folds

and creases.


14/36

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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.lothing

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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

Here and in Iater isstles we will point out and demonstrate

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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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

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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'

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use, but it makes up a good part of the appeal of the Japanese cartoon

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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

ne of his body

on pages 22-23, we'll do the complete process for the Iast time

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If you have difficulty, refer

ack to the M lnmel demos on pages 6-7 and 1 0-1 1

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or to the Rlck Hunter demo in issue #1

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Tighten up a1I the details and erase your construction Iines or Iay a piece of tracing paper over

your rough drawing and redraw only the finished forms.

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Date post:	03-Jun-2018
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The Official How to Draw Robotech 02

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