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A monthly manual devoted to teaching how to Iearn to draw the ROBOTECHTM animatedcartoon characters and fighting craft in an pntellkgent and easy to understand way. Each issuewill cover one or more characters or devices from each of the three major storylines thatmake up the ROBOTECHTM saga, Each storyline will be featured in rotation. lssues 1 through4 will Iocus on !lY M ACROSS charactars, issaes 5 lhrougb 9 will cover 1he SOUTHERNCROSS characters, and issues 1 Q through 1 2 will cover the N EW G EN ERATION characters.Issues 13 through 24 will repeat the rotation examining new material from each storyline.

WRIU EN AND COMPILED BYDAVID CODY W EISS

ARTWORK BYHARMONY GOLD U.S.A., 1NC

SDF-ISUPER DIMENSION FORTRESS-IA mysterious alien spaceship tha! crashIanded on Earth on Macross lstand in theSouth Pacific, it presents the Earth with itsonly defense against a suddeninterptanetary invasion by the warfike afienZentraedi. The Earth defenders havesalvaged and relaunched the vessei butknow Iittle of its lrue capabilities and mostefficient handiing. The ship proves to be abattle forlress capable of incredibletransformations of shape and weaponry.Unknown to the defenders, the ship hashidden within il a p rotoculture factory,the mysterious source of the energy tlnatpowers Robotechnology and the prizethat the Zentraedi have crossed space topossess.

RICK HUNTERRank: LIEUTENANT AGE'.I 9A central character in the opening story ofthe ROBOTECHTM saga, Rick is introducedas a hot-shot amateur pilot and close friendof Lieutenanl Roy Fokker who comes towitness the historic launch of the SDF-I .1he salvaged alien Battle Fortress. Caughtup in the sudden inlerplanetary war withthe Zentraedl he distinguishes himself asa courageous pilot and dogged fighter,overcoming his initial reluctance to employviolence, even Jn defense of his world.

Throughou! aII of this he is also tornbetween two young women. The first isLynn Minmei, a Chinese girl he befriendsin the early stages of the war, and hismilitary superior, Lieutenant Lisa Hayes.

Rick's conflicts between his personal ln activating a spaee-fold drive 1hefeelings and his duty to those he has fortress accidenlally transports aII ofvowed to defend forge him into a strong Macross Island out into deep space with i1.young warrior. The struggle to master the alien technology

in order to defend Earth while preservingthe lives and social structure of thecivilians unintentionally transported formsthe backbone of this epic tale.

v.E. ossëcrx,. sow vo oa'A- aosore'cs susvALut. cesruary 198z. publpsheu rnootsly by BuacKrsonx: poeulssLxo Ixc 7asBlacqthorne Avenue EI CaJon. Cahfornla 92020 U S A Telephone (519/ 463.9603 SleFen J Schaaes anU Ao n E Sera Publlsler: Paut Fa//:rlay.Productlon Coord Inator Davld Johnson Productlon Asslstan' Aon EF Fera Circolatlon Manager C/Jff MecGtlllvray Marketlng' Premotkons lohnstepttenson staff Ecjptor THE ()883c)/.4f. ttovbt FO flq.4 vv /:?080 TECH MANUA L e 1 9B5 by Harmony Gold A1I rlghts reserved No part of thispubrlcatkon may be reprocjtlcecl by any means wdthout the wrllten permlsslon of the publlsher and copyrlght holcierls) No slmilarùty between any cdfthe persons names. characters and.'t)ç Instlturtlorls wltri any Ilvlng cir dead persoqs names characters ancl.'or lnslltutlon: Is I ntended and anysdmllarlty whlch exlsts Is purely colncldental Cover ctllor by Denrtls Fraric/s $ Paol Tap/ert/av Prdnled In the U S A

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W elcome to the first issue of THEOFFICIAL HOW TO DRAWROBOTECHTM series, a monthly bookdesigned to teach fans of theenormously popular ROBOTECHTManimated lelevision series how to drawall lheir favorite charact/rs and mgcha.Each month we will demonslrate how todraw one or twQ characters from theshow in the first half of the book, andhighlight how to draw some of thefantastic transforming fighting crafl orMecha, in the second half.

= Unlike some other how-to-draw bookson the stands which offer only a blandslep-by-step *copy-me* approach, wewill demonstrate how to actuallyconstruct a drawing the wayprofessional artists do. By showing therulps and lhe thinklng lha! go inloeach drawing, we hope that you willIearn more than just how to copy a faceor a pose that is already in front ofyou. You will learn how to draw thesecharacters and craft in any pose orangle you can imagine.

In addilion, each demonstralion will beshown on a grayed-oul image of thefinal drawing, so you can always seehow the construction steps relate to lhefinished art.

Remember, ANYBODY can Iearn tod ra w ! If you stu d y the rules,observe carefully how something isdrawn, and most important of all,practlce constanlly you will Iearn todraw!YOU LEARN TO DRAW BY DRAW ING!

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Each drawing is constructed frombaslc shapes and arranged accordingto relationships called proportlons.Every part of a figure is placed bymeasuring its height or width ascompared with the other parts. Infigure drawing, the basic unit otmeasurement is the HEAD.

The head is construcled from an ovalor egg-shape. Lines dividing thesurface of the shape into halves markthe places where eyes, ears, noses,mouths and other features are Iocated.Always remember that you aredescribing a solid, curved surface, soIines wrap around the basic shape andcurve when the shape is tilted orturned.

The body is measured in head-helg hts. This figure is 7 1/2 headstall (you don't count the hair). The legsattach to the hips at the halfway mark.Pay close atlention to how long thearms and Iegs are, and where the jointsare Iocated. These relationships remainthe same no matter what position thebody is in.

Tfy to analyze each pose in stick-figuretorm firsl. This is the easiest way ofestablishing a slrong foundation uponwhich to construct a Iively, accuratedrawing.

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.''-',',--V -Start out by drawing an oval to describethe head adding two Iines below to Iocatethe neck. Divide the head with verlicat andhorizontal Iines lo Iocale the centerlineand eye-line. Add a curved line for theshoulders across a point 1/4 of thecenterline length below the chin.

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Rough in the hair, indicale the shape of<the nose, mouth, sideburns and collar, and> 'add pupils and highlights to the eyes (see=p.1 4 for details). Draw through 1he neckO to find 1he cylinder-shape of the shirtX collar.

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).. v .,Draw in the eyes, centering each abouthalfway between the centerllne and theside of the head. The nose Iine falls about2/3 of the way belween the eye-llne andchin, with the bottom Iip halfway belweennose Iine and chin. The ears fit between1he nose Ilne and the boltom of the eyes.

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Tighten up a1I the details and erase yourconstruction lines or Iay a piece of tracingpaper over your rough drawing and redrawonly the finished forms.

Drawing the profile is very much the sameas doing the front. Start with an egg-shape,then divide with centerl Ineand eye-llneas you did the front view, but this time till1he center Iine forward. Once again theshoulder falls about 1/4 of the head heightbelow the chin.

Again, Socate the eyes, nose. mouth anö earsin the same relationship as in the front view.

Note, however that the ear is Iocated on thecenterline in the profile. The head balanceson the neck like an egg on a thick round stick.

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Rough in the hair and other facial details asbefore. Add costume details.

Erase construction lines or trace overskelch for final drawing.

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To draw the figure, staft with a ball-and-stlck diagram. placing the partsin proper relation to each olher. Usestlcks to indicate 1he arms, legs andneck; rounded shapes for the head.chest, hips and at the elbow aqd kneejoints; and wedgel or mltten-likeshapes for the hands and feet. Payattention to proportion here: Rickstands 1 1/2 heads tall. The legsattach at 1he halfway mark bklt theknees are 2/3 of the way up 1he leg.

The chest is 1 1/2 heads high, theneck, 1/4.

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Slart turning the sticks into çyllnderenow. Draw through the ends of thecylinders (called elllpses), so you can seewhere lhey overlap or pass behind othershapes. Mark off the features on 1he face asbefore, boing careful to shift the centerlinesto the left, because Rick's head is turnedslightly.Drop a Iine from where the neck meets thefront of the chest straighl down to 1he floor.This line (called 1he center of balanoe),alw ays falls on a line drawn from one footto the olher.

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Now you can stan roughing in the uniformand other details. Remember that 1heclothes wrap around the form and hang onthe body parts. Finish the head and handsnow .

As you lighlen up yogr drawing, visualize a1I1he costume lines (sleevebands stripes,seams, etc.) as Iines on the surface ofthese curved and folded forms wrappingaround cylinders running up and down thehills and folds and creases.

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Here are a number of poses of Rick'shead with a variety of expressions. lneach case we show the final drawingnext to an example of the basicconstruction. lf you start each of yourown drawings wilh this basic analysisalI your heads will be soiid andconsistent.

Observe how, when the head is lilted,the centerlines become el Ilpses,that is, lines wrapped around thecurved surface of the head. Drawthrough the head, following the linesaround. This way a(l the features youdraw will stay properly relaled nomatter how the form is turned and youwill be conssantly aware thal what youare drawing is a soI id form in spaceonly descrlbed by Iines on paper

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To draw Rick's helmet or any otherheadgear, the same rules apply as inprevious sections. Since a helmet usuallyis found on a head, it's iyesl to start bydrawing in the head shape first; completewith rough indications of where tbefeatures are. W hen roughing in the helmetreduce aIl parls to their simplest shapes; acul-up sphere for the helmet itself; thickcurved wedge shapes for the visor' a lhickslrip with pointed ends wrapped around !hesphere for !he side-pieces' and so on.

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Here are a variety of poses for you topractice you construction skills onAnalyze each pose carefully before youstarl drawing. Sketch in 1he stick figurefirst and then build on that. Don't expectperfection on the firsl lry, mostprofessionals do a series of rough skelchesbefore selecling the best and refining thalone lo final form. Remember that geltingthe feel of a pose is as importanl as theaccuracy of the details.

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Rlck Hunter, Iike all the other ROBOTECH characters, is drawn in a distinct style.This styte is very poputar in Japanese animation and is pfobably !he most recognizablething aboul these characters. Here and in Iater issues we will poinl out and demonstrate

l how to draw the delails thal will enable you to do good ROBOTECH art. This issue we'll

point out some important things about the way eyes are drawn in this slyle.

In ROBOTECH character faces the eyes are easijy the mosl imporlant feature. Theirsize and expressiveness convey the strong emotions these characters experience. Noticethat the male face shown here is 3 1/2 eyes wlde, with the pupll about 1/2 an eyew ide. Al1 pupils have at Ieast one shiny highlight, and in close-ups, two or three.Always remember that the eyes work as a pair; when one moves the olher does theSame.

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On first Iook, somelhing Iike 1he SDF-I may Iook 1oo complex lo draw, but, if you knowhow to analyze 1he forms properly, it becomes easier to master. The first thing to do isto visualize the ship in its most basic shape, in this case, a Iong flat box with a thinwedge on front. AIl the Iines defining the box are really parallel, but because 1he shape istilted towards the viewer, they are drawn as all converging toward a distant poinl at 1he 1

Kupper right. This is parl of something called perspeotlve, which we can't explain herebut can be found in many good drawing books (we name one in 1he reçommendedreadlng 11st on p. 28).Next, break down the turrets, guns, engines, pods and other shapes that fit on or into themain ship structure into thelr simplesl forms. Pay close attenlion to keeping linesparallel and to follow the surface of the forms you are describing. W atch how Iines bendas they change from one surface to another.W hen you have a1I the forms Iocated and roughed in erase and redraw or lrace over yoursketch to make a final drawing with a1l 1he details in place.

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The following is a parlial list of books that will be of interestand help to you in Iearning more about drawing. Remember thatbooks can only show you the way. YOU LEARN TO DRAWBY DRAW ING!

BRIDGMAN'S COMPLETEGeorge B. Bridgman

DRAW ING THE HUMANBy Jack Hamm

GUIDE TO LIFE DRAW INGW eathervane Books

FIGUREGrosset & Dunlap

DRAWKurt Hanks and Larry Belliston

DYNAM IC FIGUREBurne Hogarth

W illiam Kaufman, Inc.

DRAW INGW alson-Guptill Publications

HOW TO DRAW COMICS TIIE MARVEL W AYStan Lee and John Buscema Simon and Schuster

CREATIVE ILLUSTRATIONAndrew Loomis

DRAW ING THE HEAD AND HANDSAndrew Loomis

FIGURE DRAW INGAndrew Loom is

Bonanza Books

FOR ALL IT'S W ORTHBonanza Rnnks

Bonanza Books

FUN W ITH A PENCILAndrew Loomis

THE NATURAL W AY TO DRAWKimon Nicolaides

ATLAS OF HUMAN ANATOMY FOR THE ARTISTStephen Rogers Peck Oxford University Press

Bonanza Books

Houghton Mifflin Co.

THE ART OF DRAW INGW illy Pogany

HOW -TO-DRAW TIPS FROM THE TOP CARTOONISTSDonnar Publications

Littlefield, Adams Co.

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

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Reqjie Byers' independent ####l#f# For the first time, Reggie Byersserles debuts as Blackthome's 2nd ##:&#f# in Graphic Novel Format!Graphic Novel. This is a deluxe B&W Plus, aII new story pages and fullreprinting of the first four issues of page illustrations of ###&#f#lthe comic. This introduces ####l#f#, thefemale samurai, and her epic and tragic

SHIJRIKEN G/u/a-c Novn - 96battle with her brother, Eagle Claw! page s&w interior with ftp/ co/or

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Due to m A*qive failure to follow orders, Ham my, Ben, andW olph are tem porarily dlsm issed from official police duty on theSwam p lndlgo Police Vice Force. This order came directlyfrom Lt.Colonel Nightsight. THE PROBLEM:

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LITTLE NEMO IN SLLIMBERLAND 3-D #1 - 32 three dimensional pages comic (glassesincluded) with full color, laser-scanned covers . . . . . . . . . . . . . . . . . , . . . . $2.50 ($3. 50 Canada)