The Official How to Draw Robotech 05

8/12/2019 The Official How to Draw Robotech 05

http://slidepdf.com/reader/full/the-official-how-to-draw-robotech-05 1/36



T'111 02 1(pq(lEJ( l

& c 7

m

A monlhly manual devoled to teaching bow to dearn to draw the BO BOTECHTM animaledcartoon characters and fighling craft in an inlefligent and easy to understand way. Each iu uewill covef one or more characlers or devices from each of the three major storylines thatmake up the RO BOTECHTM saga. Each storyline will be featured in rotation. lssues 1 through4 will focus on the M A CROSS characters, issues 5 lhrotlgh 9 will cover th* SO UTHERNCRO SS characters and issues 1 0 through 1 2 will cover the NEW GENERATION characters.Issues 1 3 through 24 will repeat the rotation examining new m aterial from each storyline.

W RIU EN AND COMR LED BYROBERT A. M ILLER

M TW ORK BYHARMO NY G OLD U.S.A., 1NC

D A N A S T E R L I N GRank: 1st LIEUTENA NT A G E: 18

Z O R P RIM ERank: BIO RO ID PILO T SPY

Age: U ND ET ERM IN ED

zoç Prime is the Iast hope of theROBOTECH M ASTERS to regain thesecrets of the protoculture factory andRO BOTECHN OLOG Y. W hile spying fort h e R O B O T E C'H M A S T E R S ,Zo r gradually com es to learn that he isa clone of the father ofR O B O T E C H N O L O G # ;T h e o r ig i n a Iscientist Zor. Because tbe original Zordisagreed with fellow scientists he hid the

R O B O T E C H d a ta a l o n g w it h t h eprotoculture factory aboard the SDF-Iand sent the battle fortress out into space.Zor Prlm é realizes he is being used by theRO BOTEC H M ASTERS and turnssagainst them . His aclion s lead to histragic sacrifice, the destruction of theROBOTEC H MASTERS, and the invasionof the Earth by the parasitic Invid.

The child of Max and M iriya Sterling,Dana is a graduate of the ROBOTECHM i l i ta ry Ac a d e m y f o u n d e d i n t h eafterm ath of the first RO BO TECH W ar.Her status as a child of the heroes of thefirst RO BOTECH W ars makes her choiceof involvem ent in the m ilitary m ore of alark than a vocation. She has a genuineinnocence com bined w ith a brilliantm ind. Her Zentredian mother's heritage

gives her the ability of pre-cognitionconcerning the RO BO TEC H MA STERS,their schemes, and the thoughts of therenegade clone, Zor Prime. She acts as acatalyst to m uch of the action during theEarth war against the ROBOTECHM ASTERS.



F(111 (qllllptqp/à)l

- o r o . c x)'-'x

e. ts. ) . . t...

1. fjïj k ..j yj, j- =y yj ) a- o . yt. k- ''' A ,4z''m tzr ''V. $ ., .

p$ ' - -- . '''j-f-. /-' / y .zo%j

.y ) . .

.oczb 4 ,L ( j ? y ,y .x. j ' k j zz'-j .?.t (' 11-

'

''l t - - u...- ,.'.- , ,c c . J ..à t L t .

j yyj / , j yj j

- )j / , (tr' - .. ..... .. ..,,)-.... .... 1t ttb- . ... %- --' - :: glzt:s JF

ks . + +

T A B L E O F C O N T E N T SI N TR O D U C T I O N . . . . . . . . . . . . . . . . . . 2

MOVEM EN T . . . . , . . . . . . . . . . . . . . . . . , . . . . . . . . 4A NA STERLING

F R O N T VIEVV ,......,............ . . . . . . . . . . . 6P R O FlL ..........,...,. . . . . . . . . . . , . . . . . . . . 7EXPRESSIO NS . . . . . . . . . . . . . . . , . . , . , . . . . . . . 8FULL FSG URE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10ARMO RED FIGURE . . . . . . . . . . . . . . . . . . . . . . . 12BA CK FIG URE . . . . . . . . . . . . . . . . . . . . . . . . , . . . . 1 4O R PRIM E

FRO NT VIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6EXPR ESS I O N S . . . . . . . . , . . , . . . . . . . . . . . . . . . 1 7FU L.L FIG URE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . e 8AR MO R ED F 1 G U R E . . . . . . . . . . . . . . . . . . . . . . . 20OVERCRAFT

SIDEVIEV#............,......, . . . . . . . . , . . . 22



W elcom e back m icronians.In this fifth issue of TH E H O W TOD RAW RO BO TEC H 'Mseries w e w illbe dem onstrating how to draw theheroesu villians and m echa of theRO BO TEC HTM anim ated televisionseries. The next four m onths w illconcentrate on the characters andm echa of the Southern C ross Saga,

.v. t 9

'

- ..A.A'x -

,k'.

/

k z/- ?

& x.z<

By now you know that these booksconcentrate not on the copy-mea p p ro a c h b ut o n c o n c e p t a n dconstruction. W e w ill teach theconcept and thinking behind thedraw ing of character or m echa andthen construct the im age piece bypiece, This w ill give you a greaterability at draw ing the characters, firstf rom m em ory and eventually fromim agination, in any pose or situationyou choose.

Construction steps to finished draw ingw ili be show n on ghost im ages. Thisw ill allow you to see the foundation

f/rm s necessary to m aking sure thatthe relationships betw een variousparts; faces, body or m achines, arealw ays correct.

As alw ays, rem em ber, A NYBO DY canIearn to draw

yt .r .,

4, ) g- o.

.y yt- .



$t. 'ap/-

v '

SPEC IA L A N N O U N C EM ENTIW E W A NT YO U R LETT ERS A ND1) 61 /t h l I 14 () 11 1 1 ,

D o y o u h a v e a p i l e o fRO BO T EC H.. artw ork that yourm other is afraid w ill fall over andb u r y y o u i n y o u r s l e e p ?Do your friends enter your rooma n d w o n d e r w h e r e t o s i t ?Are you draw ing RO BOTEC H. inyour sleep?W ell don't be shy W e w ant to seeand print copies of your bestdraw ings so start sending intruckloads of RO BOTECH.. art.Youpll need space in your room

anyw ay for your future draw ings .

Rem em ber also, that if you have agripe, want to compliment, or justwant to say how dy, then w rite usat:Blackthorne Publishing7 8 6 B I a c k t h o r n e A v e n u eEI Cajon, Ca. 92020c/o How To Draw RO BO TECH ..

Don't be a stranger.

. x '

. J- mjgp -x <-N

- ( *-.r



=u .-:' -Z 3

q lo 4 // /6O .. ,

l

X V h7 I

<

ln this section we'll discuss m ovem ent in anim ated figures by startingX with the basic principles. The first principle iSTHE BOUNCING BALL

ACTION. AII your drawn characters should appear to have weight T his weight is alw ays being pulled dow n by gravity causing

X compression in solid objects. Reacting to gravity and compression isa great part of w hat m ovem ent is aII about.

In the illustration gravity pulls the ball dow n acting m ost strongly asthe ball gets closer to the ground in 4 and 5. In 6 it im pacts w ith theground, com presses and bounces up in 7, 8 and 9 to it's original shapei n 1 0.

r-l , G'- ,Zuz

Nœ In this hum an figure you can see the bouncing ball action again. Them> figure is pulled down by gravity in f igure 1 com presses in figure 2,$.J and then uses his Ieg muscles and the force of com pression to bounce> up in figure 3 and 4.

4



The bouncing ball action is seen in w alking , running and jum pingigures. The rythm of up and down forward m ovem ent is created by

gravity pulling our body dow n to contact and com pression and wethen use our leg m uscies to recoil and lift up to a standing position

.

Practice draw ing these f igures in thei r w alking , running and jum pingposes and try draw ing your favorite Ro Bo TEc H TMcharacter in any ofthese poses,

KO<mKmZH

5



OZ

Xm

*

<Z<

This frontal view of Dana diffeçsf rom the usual fqontal view. Dana'shead is tilted. Tllt your initial ovalon the centerline. Draw a separateangled centerline for the head.Draw the cqrved shoulderline 1,4 ofthe centerllne Iength below thech i n .

b

% ' .jpr :

% % J,. ., ).y

.'

.pz .z ', .

'' x ' .. n .. xe ... ' e 1

. n. .w.%.)x .s t' y'R :J . : .

x . s . , . . jz.hxv ..T-tMc 4

'y

- - x . - <p'L < ' ' '-. -

... : ..<:- . y , .,-; .... r.. . w ( ?) .'x 'x ' ' (' '' ' ' . $ ' ,J h

j ' %' ' . .

The centerline divides Dana'shead in half . Each half is divided inhalf again on her eyeline so youcan place her pupils there. Thenoseline falls 2/3 of the w ayb e t w e e n e y e Ii n e a n d c h i n .between eyeline and chin. Them outhline is halfway betweennoseline and chin.

aA

A/ %Aj

g' ;: 'J J.

w z :# ,7R *7) >. *% -.

vvfx

'

(? 1,.J ; t,J/ ' 1 J'

Tighten up the details on face and

costum e and then Iay dow ntracing paper and redraw thefinished clean version m inusconstruction Iines.

B1lI

>1- Lightly draw in Dana's eyes , nose

R ,mouth, and hair. Make sureeverything is where you want1 t Draw th roug h the neck to f i ndfr the cylinder-shape of the uniformI l collar.

6



f

/

'rN /. W c $'

For Dana's profi Ie draw theeggshape and divide with acenterli ne and eyeline. T hec e n t e r I i s t i I ted f o rw a r dbeecause the head and the neckare ti Ited fow ard.

>/ z

>% f'%

H . / m

<

T

ZPlace the eyes, nose and mouth in Ohe same relationship as in thef ront view . D raw in the neck Iines .

Lightly sketch in the hair and facialdetails.

/

/ .

& .-

- ' N'è' J s'

> A

w < . N*. /f

Lightly sketch in the hairand facialdetails.

Y

mTrace over the sketch foryourfinal Cd rawing. *M

m



Here are three expressions ofDana Sterling. Each expressionhas a corresponding ghost im ageto show construction technique.

l T he em phasis here is on drawing

s o m e t h i n g t h at I o o k s t h re edimensional or solid,

mYou will notice that in these andother expressions it is the tilt of thehead, just as m uch as the face, thatm akes a good expression.A goodw ay to get the tilt correctly is bydraw ing a ci rcle w ith horizontaland vertical center guide-lines

GO ING ARO UN D the circle inaccordance w ith the tilt you w ant.These Iines w ill eventually anchorthe eyes, nose, and ears on thehead.

A vw xw' nwx

'------F--'-'

. x;/ 'sj' t j -v.

. vr

. .v . .;) *-w wgreu -e- .:)ww

x/ %. ..> .x .>-zzaw xx.

y -.v )> o '.

. ....w #x .. A

N

N

M >

N$>.

< > h;

. ' ; j.

' z j t,)x

. k,v,x - .

- .-. ,/ 'M

.

j ty4$r -. -drçs%



V-- '

J%w '

% N. =

.s zM

Once you have the circle tilted nqproperly you can draw in ajaw Iine xextending frqm half of the Iower Yhalf of the clrcle . The jaw can belong or short depçnding on the Xcharacter and thelr expression . rnR e m e m b e r t h e s p h e re ( a 3 &dimensiùnal circle.) is the basis for &the head and the angie of tilt is theb a s i s f o r t h e e x p r e s s i o n O

Z

w r .M

.V' .' @ n: ''

..A '. X..'

/ k '' '$. f

; . .. ' ) . . . 1 $ ,. < ... q ' A : tù fz/ ' 5

L x*';) t

. .. . at.*k . ; 'v.,--. xumovq zw.- v )s. uz %. 'M ' '' a '

x.% %'

'x ,5 . '

. e . .r' . +. aw . ..,-'k

.z Nq - .. ' ?'

fq .,- ??- .. )u

j

wy s

. . ),

9





)'4î

ç

$.

m

-

40 t ''--% - j êV.

wzr t

)h

-

mC

2

Cmm

Now you can start roughing in hercostum e and other details . Becaref ul f or costum e detai Ise s p e c i a l I y D a n a ' s s h o u l d e repaulets, her belt, and her highcol 1ar .

Now on tracing paper outline yourfinished form and costum e design .

Rem em ber your draw ing is a solidm ass draped in c10th.



WZLC

m*

<Z<

To draw Dana in her arm or is notas hard as it Iooks. Look at thefigure f irst. She is standing at anangle so your centerline w ill beslightly to the left. Draw your eggshape for the head but angle thechin to the Iefy: W ith the Iine of theshoulder you'll notice the rightside is higher than the Ieft, so drawth shoulderline at thatangle. N owbuild your skeleton.

A s w ith a norm al f igure startblocking in body parts: Rem em berthat the arm on the lett cannot beseen, and that the Ieg on the Ieft isturned so that you can see theinside of that Ieg.



'

v l P ,

(i1 l ' 1

z E ' 1

M ' j Ei 1 ë' 2 :

E :i1

. 1.

' ', ' <

: / /

'q,L

'

j l

.

>mKOm

m

D

Cmm

N o w s t a rt ro u g h i n g i n t h ecostum e. Remem ber that thearmor is segm ented like aninsects. The Iines of constructionw ill com e in handy at this stage .

Now place a piece of tracing paperover your finished rouugh pieceand redraw your clean versionm a k i n g a n y c o r r e c t i o n snecessary. U se a ruler on thestraight edges of the shield .



For the back view of D ana in arm orw e start agai n d raw i ng thecenterline and then the skeleton.Rem em ber to start sim ple andw ork to detail. Balls and sticksfirst.

Now start turning the sticks intoelipses, cones, or even squareblocks. Draw in the Iine of the

neck. Rem em ber that both handsare obscured.



s X>

. ,- -

r-, t z . Vt ok x',, / (v? .j

.

/ ;u uy, --,x - , s o ,- $ k'y ,

s, y c> m' - kzss m

J . '

/''v .

yyy7

/ 1

C.

)'

'

k

'

. .

,j . qy ,, t)

vzâ' . vyNow rough in your details usingthe Iines of construction tosegm ent the arm or. Rough in theshield using squares and triangles.

Now place your tracing paper overyour rotlgh version. Use a ruler onthe straight edges of the shield .



( / . .7 1 '.i ; ''. ' . ' / j . / x

x x %

s . . : ) h / : ?. t ,.y. : , , i ? . / ' ? E l .v , ; . h, i i k: 6 ë ; t E y.p - .-Y ...s . F t . L $ .j$ h .t : .a...;.g , . ; z x : s kvl ) Ju $.-. ' qo ;.), -, u , ' )-

'. . . . . z - . . ,

)z Jx.j g p-* >Qr z; 2 /.-' .;20----' : ? ' = x i x.T J . 2 ' v z ( ( ) ,. .. . . . q .. l y q $ i ; . v. a ;.y)

.z1 .. ', i xkC. . % 5 .w '' ; f ' '. ' ''

. . Y ' .. z r ' h .'V ..,.. .' p a.:. .'. % . (.2 .. .. j , ; N y... ...

. .;. t , ;

'

: . z z vr . u-*x.... jxw. .'j-. 1 F

z'è f -' . ..r t ,: :k J t E 't z ,' @ . . .z .k $ X. - x l i à- ' Z s . ' J . -.'v .x . ... t'

x . -.r 'k : i . 'x x ..z . . ......... > X% '

.. x x N ts .... ..... v' 'v-.pIn draw ing Zor Prim e's head youcan see the sam e situation you hadw ith D ana. Zor's head is tilted tothe Ieft so draw your egg oval atthat tilt. N ow m ake your centerlinefor the head at that angle. Theneck and shoulder centerline isstilj straight up and dow n. Draw

eyeline and shoulder IineOUrnOW . ...

/ . r .. : , : . k : . ' . f 2 E t ..l q s ) w: t . '.x b'

,. s x

yw..y ; * 1.

. ..- ..

., .

1: .. . ;t $2 . . ).1%... 'ï s - .xJ ,' b'r> ' .. .

ès:;z x - >-e' .': L..v J t '. .' ' b

; . < , . ).S:..

l I I ' -.-x*

. . e#Now you get to have some real fun.Rough in Zor's hair. If you want to get fancy you can throw in a few

Z extra curves. Rough in Zor's eyesand eyebrow s, nose, m outh andc o I I a r a n d a d d p u p i I s a n d hi

ghlights to the eyes. D rawl l through the neck to f ind the

cylinder shape of the uniformco I I ar.

z) ' .v' s-

; .'. . ) à' - . .. , j ... .. :2

.'

. , $ . .. ' % ' - x, . . . , , ,. . t :. : .ï : .r.. j , . %

: f ( J /' : ( hj k . > j ...,.

.. ,E E :è f . ( . p't L. . . .h 1 y

t J . .. h.'x . , A u

. )l.h k )- - ' jx q g r u , , j .k . . . / ',' : :'. ':.: . . . N ; g , ; y )q q t k ) î..

(.' 1 '. . 1 . % - ' ' '.z . . . . . . .'' , jf.... .:

.

' 'L- - z sg ' , .x : y.. ;.'7 . F ' ' ' x . . .

'

$ ' j. .kv%

'

. . z ' .. ' ' .. t7.- '.-w . - g 7 -. - ..< . ?

r L ' '( l , - $ %' - : ;.. #t s < ' e .N à . -

. x - , x . ë 2. t.x. - ' Nx x

. - . . xv N .. r . .

r .. .....D raw in Zor's eyeé èenterjng eacha b o u t h a I f w ay b e t w e e n t h ecenterline and the side of the head.D ra w i n t h e n o s e l i n e a n dm outhline. D raw the necklines andrem em ber that Zor's ear on theright is still placed betw een hiseyeline and his noseline. U se aruler to m ake sure everything is

right and straight.

z' .X ' -A 7 '..

,xF' (qNxhi-q- -

7 )

x. >

N ow take som e tracing paper andredraw everythi ng to perfection.(You know you can.) O n page 8and 9 w e spoke about how sim plytilting the head can im part anexprejsion and we see that in Zor.T here's no real expression on hisface yet the tilt seem s to give him an a i v e se n se o f w o n d e r m e n t .



Here are som e poses oftilt of each head

..M' ' ' - . r 'a ..x. pms. 'x R.'. L .z S .;.' Y .

. , . z J '. . x. t ( , y.z )( h h Itjb f ..y , $ ; j. . . .:w . ..g). / .. w z ' ) t / ' i ' ' '' % t. . .: . y j ., &. y l ' z't <. . :

. j, z '..$ . q . , . . )( ' . $ / . . t ?', s.k l ': . ) 1 j . ., ': ( ) z . . ) ' x t . g > ( ,? , ',;z . .. .....- . - - . - r. , . y'l4 .-- %- fs ( '

. .) ) 'L it - ';k'..- i: t

l y t. . .. . 1 . . . k ... .- k'J 7 h ï yz-j (t . . - - k. .,' ( x kqh. . . q . j t . ) . )w jy .. - ,

.. - j - j j. . , .. . .jk

... ) ) <. ... j 4 ...yj

. .yz

z a/ .''x w . ) $

. .. . -. cpZor w ith a variety of expressions . Notice th e

as well as the expression on the face .

j ' '. ..vh '

t'

.. , / I ...';.c z , . z j 'f : '' L ( ' : 1 . ' . ( ' . v -x ' .'. , lsh . ( ,jL ( . ' , j ' . v. .. t . :f f . r :'h . / . v, . . - . . . t

. î lj' ), ..

'

%'

'r J ' ï . '. r..k . . . . 1y . ? . . ;, . z ,

.

h ' . ' 1 s h .. .,) , ): 1'' ?. J) . . . x

. ( / . - : . ( . r; :. .) .. q.vj , t ; . :,

jlk . . ) ' .,.2. . X.K

Again w e start w ith a sim ple circle . D raw a centerline around the ci rcleto anchor eyes, nose , and ears. Now a jawline is drawn in f rom 0nehalf of the bottom half of the ball Draw in your noselinesand m outh Iines. Rem em ber that their curve and placem ent isd e p e n d e n t o n t h e h o r i z o n t a I a n d v e r t i c a I c e n t e r Ii n e s

V'-vz v -

q A-mx K% - - Nj. , ((' u r-n'

) o ( - - ''m- x g. . ( -.; .) m77= j (.. . .-- . .. . f' . m

t ---, o q mez y - . k y . . k &x-

) K -

ONow rough in the details being caref ul on the eye details . Have fun Zwith the hair and remember to place the ear between the eye and &noseline. Now use som e tracing paper to m ake your final version .



I n c o n s t r u c t i n g Z o r P r i m eeverything is done as before

except his arm on the Ieft isforeshortened. Foreshortening isan aspect of perspective w hich w illbe discussed in Iater isjues. W hend raw ing this arm the stlck f rom theelbow joint to hand will be shorterth an the a rm on th e rig ht.

N ow m ake the sticks into solidform s and start draw ing in eyes.



mc

v t 3 r- r-

m

>>*' Cmm

f/

k zzz t

Q> x.z<

Start roughing in details on Zor'sf a c e , h a i r , a n d c I o t h i n g .

N ow get a piece of tracing paperover your rough draw ing and traceyo u r m a s te r p i e c e f ro m yo u r

detailed rough.

19



m

ëœ

O

Here are shots of Zoq in Mrm or.You'll work with thls plece thesame Fay you did wlth DanaSterling's arm or draw ings. Exceptthat Zor's head is facing forwardw hile his body is angled to the Ieft.Rem em ber this w hen draw ing theskeleton.

A s you draw in the solid m asses onZor in arm or you'll notice anothere xa m p I e of p e rs p ec t i ve a n dforshortening. Notice that Zor isbeing viewed from a Ievelcloser tothe ground.



l , >, x --

' l K- o- j j x- -''-n / ,, m

' / 1

: , G)x Q c

mm / ..

ïI

t?I

I, ? rj

/

Now start roughing in detailsagain and rem em ber to usesquarej, triangles and your ruleron Zor's shield.

Tracing paper tim e. Rem em ber totape your draw ing dow n w ithdrafting tape and tape your tracingpaper over it so it wo'nt move.D rafting tape is easier to rem ovethan norm al tape so use it fordraw ing.



5>Q

m>OI

In draw ing the hovercycle you'll notice a Iot of triangles. You'll needyour ruler on this one and other hovercycle shots. Start by draw ing inthe essential hoverbike triangles.

N ow start connecting the basic triangles w ith the parts of trianglesthat abound on this draw ing. U se sim ple hines to draw in the handlebar and front Iight assem bly.



Um

Sm

Now start roughing in details on the bike. G et as sloppy as you need toa n d e r a s e w h a t d o e s ' n t I o o k r i g h t R e d r a w u n t i l . . .

)sjryt;?-% a o

)-'-t /- ---:h-1-' 6'. -/

k 7v

c

Z-

1 - z

lt's tim e for tracing paper lf you've used your ruler and tried to keepeach piece in proper relation to other pieces then everything shouldbe fine. Dana stands next to her hovercycle to show the sizerelationship,

23



5Q>QIm>OI

: , .: j' . ' ' . .. )brww w ;; 1s ?'. .. . G . .

.lkN .

: : *''''N. e'RN' 4

l ' . .'l ' t $ ' y '

, . ' . 6 4-> . ' ,:' %'k- 'ç

, , . y. : . a.e . N

..''

....- - ''' .?''-

. .:.' x)

$ <g . ï.uJ l11 .J ' .1v $ ' JC

) I. ' . 1 l , .j ' . :l I . I )

The d raw ing of thehoverbike from thisview overlookirlg it ispretty sim pleq It ism ade up of onec e n t r a I r e c t a n g l ew ith rectangles at thefront and b0th sidesof the rear.O nce you have thatdow n you can startr o u g h i n g i n t h ehandlebars and otherdetails of thehoverbike.



c')l .

IO<mT

OdO

K

H ere is a view of thehovercycle as seenfrom beneath it. Thesam e technique used

in the last d raw ingw ill be used here.D raw one centralrectangle w ith onerectangle at the f rontand two on the rear.

l1

Rough in your detailsand then grab tracingpaper and ruler andproduce your

finished piece. Thisview is im portant todraw so that you candraw the hoverbikecom fortably at anyangle. Page 26 and 27are good exam ples oft h i s . œ

O

OKSm



5Q>Q

m>OI

Here are som e perspective shots to w ork on. You m ay w ish to savethese tw o shots for the discussion of perspective in the upcom ingissues. lf you choose to work on them rem em ber to start sim ple andw ork to detail .

Y+>

Dœ=WZ<26

x . . ..a, , '

.. . ,

tt // . . -- '

p z' ,.x ,r' - -

/ ,/ $ , 'y .. ., '

?.

.

)-.).. . .

,.

-

.

yyv '--: X) .



The same simple shapes ar9 still there bqt need to be angleddifferently due to how w e are vlew ing them . If It does'nt turn out rlghtrem em be , ' KEEP PRACTICING YO U LEARN TO D RAW BYD RA W IN G

. * :. fz . ;w )

'2r J

'

j

. z'--w.

. ;$ > . .' R

s . .. . -x w

T < .

#$ AN. . x .x / <c>

' > <C>' N '''N l z

>Z

%Sm



=

OKc<œ

c

c=œXXOOu2C

The follow ing is a partial Iist of books lhat w illbe of interest and help to you inIearning more about drawing. Remembor that books can only show you theway. YOU LEARN TO DRAW BY DRAW ING

BRIDG M AN'S CO M PLETE G UIDE TO LIFE DNA W INGG eorge B. Bridgman W eathervane Books

D RAW ING THE HUM A N FIG UREBy Jack Ham m

DRAWKurt Hanks

G rosset & Dunlap

and Larry Belliston W illiam Kaufm an, lnc .

DYNAM IC FIG URE D RAW INGBurne Hogarth W atson-Guptill Publications

H OW TO DRAW CO M ICS THE MA RVEL W AYStan Lee and John Buscem a Sim on and Schuster

C REATIVE ILLUSTRATIO NAndrew Loom is

DRAW ING TH E HEAD AND HANDSAndrew Loom is

FIG U RE D RAW ING FO R ALL IT'S W O RTHAndrew Loom is Bonanza Books

Bonanza Books

Bonanza Books

F U N W I TH A P E N C I LAndrew Loom is

THE NATU RA L W A Y TO DRAWKim on Nicolaides

Bonanza Books

Houghton M ifflin Co.

ATLAS OF HUM A N A NATO M Y FOR THE ARTISTStephen Rogers Peck O xford University Press

THE ART O F DRAW INGW illy Pogany Littlefield

, Adam s CO.

HO W .TO -DRAW TIPS FROM THE TOP CARTOONISTSDonnar Publications

HOW TO USE CREATIVE PERSPECTIVEErnest W . W atson Van Nostrand Reinhold

THE OFFICIAL HOW TO DRAW RO BOTEC H TM I SS U E 1 -4David Cody W eiss-Bob M iller Blackthorne Publishing







' Fro Ing OO n . ..Ho

.- - ., - - ., . - ,*. ., L K E BL I I

*. FNtls, j;l ,,, .' jjl

. J . C

: J # J # J . .'T'IY E FLfFf>--

W H/-TI-IE:R Y& ld'R F @ 4 , . . Jpd4k'1&5 prPIK

GrQ && Y J , . , . c :

. : . @ . .

J # J . J J @

J . . J J

jrq; j * :-N m'N

x <5. . - @u,./ $ c

(: -' - J' J , - @ .C m r

/v% sy . e a . @

2*4 #9 . . x p

e . . *. . . . -

@ . ' @,?t7> .

.. : , .j. , . . ,q . I f . .,y., ,/ .., t zp;-x z s j ,;), k?,;.. ) ; g k ., . ,, . , , ) ( ''fj / ' i' z t +' - .7 ' j'''t 'tfs $0 13-. .$* ' ' '

k-.- / . ,- ')' ---- -- ,1,- -k(t çà u-- ).)rh).-, . ---' '-b . x l .

z ttt; . ' . '3 .'f- - .z'' --' ' ' ''/ 1z-s. - = ' z # rzu- . = ' .>-R ' >t ; . o ., ./ x.. - ... - ... - . . J v . r ) . . ,.-( .g.a. ... k '., a t

.j . ( . qxs.oz . . h. . z:. J uk ' 3 b . k # f* kxl .1 t't2 & j . i y I' w'*' = - - w x. , z z x Z' ï ç

tj . L ';.l . . . q x' w '-' xsx t . 3.y q . v ,r A vfssx ;yw. .. .x . z .j, <, . . ..., l-xs ,,z

:; r-- ,.w,z ljh- ' <- ' . . --c-- / X? .) ,.sxa.=. . .. ,y tt 'x. .u --

-. k hs

s jjk :yy j - - . . z''''-hk.b ' . .x, . a: ù viîfl ) 1 ' w-j . t g'.. . .r'zrjp u . . . , . . . . , . . zv , <. . mw..v.- . , l p . z . . .- hM 7' k I : .

k().s . . . r . r ..

, . - - u. xx . 'x y . x . - p - .- 'j ./' '. e : . l #

:5 : -- ' J q . . ,. :

@ J hlk h





41 . - . .B>IT y

. yIU +ee- , . . twe . @G

xpm: ;î. .w s %. . . . . .. #)

j

KM

.

y j yF' x. <v. )

2 ) j 'IIIlFLIIEELkqLX CC) 1C) g2' (CCI ktldtrl: z, , ' t .s --> ï () . '#PENîNG 14 x .NWW D' .x .'*-

z $ :1% . OORS . '

NJ '. 4 'N .:e. 1 x

' $ 1 2 5 lj s ..r w ' '

. .: j ù J.....,

...r x. $. rj. J$ > ;

. xj . J j t uz 4 a v .(,' g. aj y ..a j u r y . -(. j. . j htx yw -.

r' ' x , V , - .z? ./ *yzs - .o, t . , - . ,..

,, , ;t . .

kj . .. ,. u. , k.-ry- ,jykyjyx- . v z y/ -ry - k :;t--

-. rj / - . j j

A - .

,'

? , z @' @

: * z *

*' è

. ql- . ' 4,4 - .

z t h ,0.-C.; J ' ' 77 ' ' e ?J O ,z' J A C K H U N T C o m b a t 9 e t r a n , n z jz' zz . k ' * . southeast Asia . Agent for b0th the

.ye' k .J- z'' , . c I A a n d N s B . A m a n ex t r e me I y g o od

... x o o O at doI ng extremely nasty jobs. A man '>a...< pushed over the edge of san ity, into

.'e z ' ' ' - m ad n ess a n d am n es i a L oo se I n th ej , ys .

w a....e'k'x . . v , t; jy o r e. s re ets . o m e w . .' w=11 $1

:< ; , , JA cK H(. N'r/a/ 'rh is gs not j ust anj t 7 adventure story fi I Ied wtth ex plos Ive # . . '-' J ( ac i o n a n d i n t r ig u e . b u l a n i n ten se -. l - g à # .: . g. . ' - ..z pj; c h a ract e r st u d y T he sto ry of a m a n t '

. . , m . . ' j a ed jar p ast th e I i m il s of 1 u rl a c y.,- - . p u s s r u g g I i n g to f in d o u t wh o he I s kn a- world where every face m ay h Ide adea d 19 ene my .

JA (7# I'III8I'ER # 1 - 32 page, fvll cc/or mcnthly comic took with fu// color . laser-scanned cokws $ 1 .25 4,$ / . 75 Canala)



: . 1 ' ' e * *

#1 PROFITABLE LICENSE R'VE N EVE YO UI LlK FO R EH EM B ESEEN T

* 19BT O bfok lnG

e

. .%Z,, .''

(.èb <-kk#.: l -

c,s . ' kil y. ;

. ' #;.r ;. é .'? t s . '. k . . y .. . ..: ,, . 1k ï )k -:..' .. . ' '

+

* .'

y ) h '' 'k ' - ; y .STORY BY -' . .* :, , . . , . fohn '

Stephenson ''z ï t - ' ') ' ' jyjp:l; ' ...# k .

,. .ABT BY j w y , . -

: . # N y. .. R. C ruz '),r ,': '

c J .v .$. .) .. . t ' .,

.. .*').r?

. ...r J/. t.. )

. MEJ. ,

y,,- jrjyk. '',4j:r .L: '. y(1 i ddi.xk

,t ,t#,k ,;,1i q 'r-)1i,'. )

.

N, ,,; O . *

.

y . + v v . wv ss * z r 1o . 1uN4:h .-

+y+

Date post:	03-Jun-2018
Category:	Documents
Upload:	zodoaco
View:	240 times
Download:	14 times

The Official How to Draw Robotech 05

Documents