Girl in a kimono pencil drawing. How to draw Japanese anime step by step. How to draw a kimono with a pencil step by step

Sources: http://youkata.livejournal.com/611.html
http://www.liveinternet.ru/community/2332998/post140658009/
http://costumer.narod.ru/text/japan-tradition-dress.htm
http://www.yoshinoantiques.com/newsletter_kimono.html
And very detailed and interesting here: http://maria-querrida.livejournal.com
+ various sources of images

This fully applies to the kimono, which gained great popularity in the world in the 20th century. The type of cut, silhouette, individual details and motifs were actively used in international fashion, but the kimono itself in its traditional form to this day remains one of the most difficult areas for foreigners to comprehend Japanese culture kimono. Much has been said and written about the fact that a kimono actually visually corrects the proportions of the body, but it’s not just about creating the illusion of slimness. The kimono not only regulates the pattern and rhythm of movements, but is also a kind of focus of national psychology. A Japanese woman in a kimono embodies the standard of discreet grace, soft femininity and modest charm.
Any National Costume one way or another reflects the characteristics of the material and cultural life people, including national character.

The decor of a kimono is always associated with the seasons and reflects the poetry and symbolism of natural phenomena.

Kimono still remains in the life of modern Japanese, although in a very limited way. Most often, the national costume is worn in connection with festive and special events. Elegant, bright kimonos with fur trim at the collar can be seen on modern girls V New Year. The same beautiful kimono, but without fur, is worn by many to the official ceremony on Coming of Age Day, which is celebrated in January by 20-year-old Japanese.

The process of putting on a real kimono is a kind of creative act that reveals not a person’s figure, but the features of his character. The kimono wraps tightly around the body, instilling patience and submissiveness. Long hemlines, wide sleeves and a tightly tightened belt change a person’s movements, making them leisurely and soft, like a cat’s.

Wearing a kimono is a special science. The back is straight, the chin is slightly tucked in, and the shoulders are relaxed. Movements should not be sweeping or abrupt. Under no circumstances, even by accident, should you show legs or other parts of the body hidden under clothing. This is not appropriate. The wisdom of this rule lies in the fact that it equalizes young and old women, hiding the faded beauty of the latter and the attractiveness of the former. The Japanese believe that a woman acquires a different beauty over the years, and the kimono becomes a wonderful shell for this chest of spirituality. Traditionally, the art of wearing a kimono is passed down from mother to daughter, but in modern Japan maintaining this ancient tradition There are specialized kimono schools that provide various courses for mastering the difficult science of putting on a kimono.

Yukata
Summer light cotton kimono with a printed pattern. Yukata is worn by both women and men. This is the simplest of all kimonos.

Furisode - girl's festive kimono. Previously, furisode could only be worn by a virgin or a girl under 20 years old, after which it was necessary to change the type of kimono. IN modern society furisode - clothing for unmarried girls, regardless of age.

Ushikake - wedding cape Today's ushikake (uchikake, uchikake) is a luxurious long cape worn over a kimono, trimmed along the bottom with a roll of scarlet (less often gold) fabric to glide more gracefully across the floor. Currently, the term "ushikake" is used only for the bride's outer kimono. Before the Edo era, ushikake was worn as casual and formal wear (depending on the decoration and material) by nobles and women from samurai families. IN late XIX century, ushikake also began to be called the outer kimono worn at the wedding ceremony. Ushikake is made of brocade or silk, lined with cotton wool, has long sleeves (more than 1 meter), is not tied with a belt, is not tucked, using the entire length of the dress. In ancient times, a kimono could be tied with a belt, picked up, and several ushikake could be worn at once. There were also male varieties of ushikake, which were not inferior to female ones in the splendor and brightness of their decor. Such costumes were worn by courtiers or at receptions in the imperial palace until 1870.

Tomesode - married woman's kimono
A strict short-sleeved kimono, usually black, with a wide patterned stripe along the hem and five family coats of arms. It is worn at family formal celebrations.
The colored tomesode is called "iro-tomesode", it is less strict and solemn.

Tabi: high socks (to the ankles) with a special compartment for thumb, usually worn with a zori.

Zori: cloth, leather or straw sandals. Zori can be richly decorated or very simple. Such shoes are worn by both men and women. Straw zori with white straps are the most formal shoes for men.

Geta: wooden sandals worn by men and women with yukata. Geisha also wore geta, but they had a different shape.

Obi: belt for kimono and yukata. It is about 30 centimeters wide and occupies the space from the chest to the waist. it is wrapped several times and tied with a decorative knot at the back. It has a decorative function; under it there is also a belt that holds the kimono.

And a little about the rules of wearing a Kimono. A lot, complicated in Asian, but very interesting:
From the blog http://maria-querrida.livejournal.com/39337.html
+ slightly supplemented with pictures

Everything about the hierarchy of the kimono and the rules for wearing it is very complicated, but if you understand them, everything turns out to be quite logical. The most important aspects on which the art of wearing a kimono is built are as follows:

Gender of the wearer
- age
- living person / dead person
- event (wedding, funeral, anniversary, etc.)
- season
- class affiliation \ personal taste

These are the main milestones to build on. For example, how living people dress and how they dress dead people are two big differences, and for example, if we see a person in a pure white kimono and obi, then it can only be an actor in the role of a ghost. Living people never dress like that. Or if a lady over 40 dresses in a bright furisode, this will only cause bewilderment.
The main means of expressing the language of kimono are fabric, color, pattern and shape. For example, than younger man, the brighter the colors and the higher the pattern extends from the hem to the waist. Sleeves indicate gender and age, the color and pattern of the hem indicate the degree of formality, and wearing a collar demonstrates a person's taste. All this together and a bunch of other nuances create complete picture.

Gender and age differences

Here the main role is played by the sleeves, their length and shape. In men they are short and with an acute angle, in married women a little longer and with a rounded corner, for girls they are very long and with a round corner, for children they are short and with a slightly rounded corner. The degree of sharpness of the angle, as it were, determines social status. For men it is the highest, for girls it is the lowest. In this sense, children are, as it were, higher in the hierarchy than girls, because they are forgiven a lot of things that are unacceptable for an adult girl or teenager. The second is obi. Men's obi are narrow, women's are wide, and men's and women's obi are tied differently. Also, women's kimonos are sewn longer than the person's height and the excess is tucked into the waistband, while men's kimonos are always sewn according to the person's height without excess. As for shoes, everything is the same as with sleeves: men have geta with square corners, women have round ones.

For men

for women

for girls

for children

Dead people, or how a living person should not dress

The only people who can be seen wearing a pure white kimono are brides and the dead. The difference is that brides wear gold or silver obi or colored capes over a white kimono. This similarity has its own deep meaning, because both of them seem to end one life and move on to another. Also, if people usually wear a kimono with a wrap from left to right, then on a deceased person they only wear a kimono with a wrap from right to left.

Formality

The most complex and confusing aspect of the modern kimono. In Japanese society, there are many different degrees of formality for a particular event, and each has its own clothing. In general, the kimono itself is formal clothing, not very casual. But even among kimonos there are many subclasses and differences in the degree of solemnity. To put it bluntly, a kimono can be haregi (formal) or fudangi (relatively informal). Fudangi is divided into street wear and informal wear. Informal kimonos are usually worn at home and are made of wool, cotton, and satin. Street kimonos can be made of crepe, wild silk or thick cotton; the only colors allowed are printed kimonos.

Kharegi is divided into two large groups: ceremonial kimonos and formal ones. The degree of formality within each subclass is determined by the color, the presence/number of crosses and the type of their application, the type of ornament and its placement. Among formal kimonos, the main distinction is the presence/absence of crosses.

Crosses are such badges that are placed on the back below the neck (one cross), on the back upper part of the sleeve (already three crosses) and on the front part of the sleeve in the area of ​​​​the collarbones (five crosses). In general, crosses are family coats of arms by origin. They can depict a stylized gender sign, or they can simply be a cross in a circle. In modern Japan, it doesn’t matter what the cross represents, the main thing is that there is one)) In the Heian era, personal belongings were marked with crosses; in Kamakura, samurai sculpted them onto banners and weapons to distinguish their own from their enemies. Initially, crosses were worn only by noble nobles or Kabuki actors, for whom the crosses served business card professions. Today, crosses are an important indicator of the formality of a kimono. There are over 8,000 cross designs.

Formal kimonos come in three grades: without crosses (tsukesage or oshare homongi colors), then with one embroidered (!) cross (yuzen tsukesage or iro muji colors), and the most formal among the formal (hehe) is with one drawn (! ) cross (colors of yuzen tsukesage or iro muji). That is, if there is only one cross on the kimono, then it is formal, if more, it is already ceremonial.

Ceremonial kimonos are divided into full (seiso) and incomplete (reiso). Incomplete ones are either homongi with three crosses, or iro tomesode with three and five crosses, respectively. Full (seiso) are divided into seiso for unmarried girls and for married ladies. For girls it is only furisode, and the formality is determined by the length of the sleeve. The longer, the more formal, and there are only three degrees: almost to the floor, a little higher and even higher. There are no crosses on furisod. The seiso of a married lady is only a black tomesode with three or five crosses.

Now let's figure out what makes a kimono formal.
Firstly, the material. A formal kimono can only be made of shiny silk. Matte silk and any other fabric are informal.
Secondly, the colors. Basic rule: the smaller and more often the pattern is located, the less formality
As for the choice of design motifs, for formal clothing they use traditional Japanese motifs of nature, objects, scenes from classical literature, and on more informal kimonos you can see a variety of patterns

In addition to everything previously described in the definition of formality, the kimono is very important color. In ancient times, the color of an outfit was especially important. For example, red and purple robes signified belonging to the imperial family and were prohibited for others. Now a big difference there is between black and colored kimono. Reiso (partial ceremonial) can be colored, but seiso (full ceremonial) can only be black. The most formal women's kimono is a black tomesode with a pattern only on the hem and with five crosses (mons). A slightly inferior option in terms of formality - everything is the same, but in color (iro tomesode). For example, at a wedding, the bride's immediate family should wear black, while her married friends may wear iro tomesode. For girls, the degree of formality is indicated by the length of the sleeves; color does not play such a role here.

They stand apart mourning kimonos- mofuku. There is also a whole hierarchy here, depending on the closeness of the person’s relationship with the deceased and the proximity of the funeral date. Funeral kimonos are also divided into ceremonial and formal. Ceremonial mourning is worn by relatives of the deceased, formal mourning is worn by friends and colleagues. In terms of the degree of mourning among the ceremonial ones, the most formal is a black kimono with 5 crosses + a black obi. This is the deepest mourning possible. For example, a wife wears it to her husband’s funeral. Ceremonial semi-mourning is worn by the relatives of the deceased. It can be any dark color without a pattern with 5 or 3 crosses + black or colored obi. In general, the more black there is in the outfit, the closer the relationship this person had with the deceased. Drawings of contrasting colors (even white and gray) are not allowed in the mofuku ensemble. Thus, by varying the degree of mourning, a person expresses his closeness to the deceased.

Mourning also changes over time. For example, a wife wears all black on the day of her husband’s funeral, i.e. complete mourning. But at the wake on the 49th day after death, she can already wear, for example, a burgundy kimono + black obi, that is, semi-mourning. The secretary of the late husband would dress like this just for the funeral itself, since she was in a more formal relationship with the deceased. The degree of mourning of a monochrome colored kimono varies with accessories - shoes, belt, obi. The more black they contain, the more mournful they are. A black obi belt on a colored kimono is the last remnant of mourning, when it is replaced with a colored one, this means that the mourning is over.

About obi .
The basic rule is that expensive brocade or painted obi only go with formal kimonos, and with the help of an obi you can either increase or decrease the formality of the same kimono. The most formal obi is the maru obi, which is 4 m long and 70 cm wide. Due to the pain of tying it and its inconvenience, this type of obi is rarely used. The most common type is fukuro obi (the next most formal) with a width of about 30 cm. It is easier to wrap. But the most comfortable one is the nagoya obi (the next most formal after the fukuro), which is already sewn along the long side to a “wearing” width, so it is very easy to put on. Depending on the material and design, this obi can be worn with a formal kimono or even with the lower ranks of a ceremonial one. The obi also comes with accessories - a scarf and a cord. The scarf is tucked under the obi, so that the edge sticks out. And the cord is tied directly to the obi.
maru obi fukuro obi

nagoya obi

Shoes.

In general, everything is simple here. There are two types of shoes: geta and zori. Geta are wooden with two stumps, zori are round with a flat sole and often covered with fabric. Zori is formal, geta is informal. Zori are worn only with white tabi socks, geta most often without socks, although some expensive geta can, in principle, be worn with socks to an informal kimono. Geta are only worn on the street, and in some hotels, restaurants and high-end stores it is even prohibited to wear geta because they make a loud clicking noise. In the dawn you can appear anywhere. The degree of formality of the zori is determined by the material from which they are made, as well as the height of the platform. The higher the platform and more expensive material- the more formal.

Another element of a woman’s wardrobe, which at one time was borrowed from men, is the haori jacket. It can be worn over a kimono. Haori sets a serious tone for the kimono, very formalizes it, just like the jacket of a European suit. A black haori with a plain kimono can serve as a light mourning option.

Age differences.

So, first, let's look at what age categories there are. The main age stages are as follows: infants and children up to 10-11 years old, teenager from 11 to 17, girl\bride - 17 (after finishing school) - 23 (before marriage), young woman (from marriage to the birth of the first child), adult woman(somewhere until the age of menopause), and then all elderly people, regardless of gender, fall into the category of nenpai no kata, that is, simply elderly.

Babies and young children are dressed almost the same regardless of gender. A girl becomes a teenager by undergoing the Juzan Mairi ritual of “entering the temple” on April 13 of the year she turns 13. On this day, she wears furisode for the first time with an adult obi and if her mother chose not very children's drawing, then she will be able to wear the same kimono until she is 20 years old. At the age of 20, a girl undergoes the seijin shiki coming of age ritual, after which she officially becomes an adult. Ideal girl innocent, submissive, obedient, reserved and cheerful. These qualities are traditionally expressed by furisode

In terms of formality, furisode is equal to the female black tomesode, so it also has common features with it. For example, furisode also has a main base color background (hot pink, acid green, bright blue, red) + asymmetrical pattern over the shoulder to the hem (homongi). The subjects also correspond to youth - butterflies, flowers, spirals, birds. For girls, the pattern jumps along the top and bottom of the kimono, and the older the lady, the closer to the hem the pattern goes. Another marker of age is the collar, or rather the way it is worn. A girl should wear it close to her neck, so that it extends no more than the width of a fist from the base of the neck, because the back of the head is an erotic part of the body among the Japanese, and a decent girl should not show it. The front of the collar should be folded wide and high towards the neck, forming a wide "V".
As for Obi, he is also the most possible different colors and patterns. The main difference is that while women almost always wear an obi with a standard taiko knot, girls can tie it in any way they want - with a butterfly, wings, a turtle, or even a propeller, as long as it looks like a wrapped gift. Youth is the time of matchmaking and weddings, so you need to have a “marketable” appearance, so that when looking at the girl, the potential groom will have a desire to unwrap the “packaging” and see what’s inside.)) The higher the obi is tied, the younger the owner, although the height of the obi - not really an indicator of age, but rather of sexual experience. Let's just say that the lower the obi, the more experienced the woman is. Scarf unmarried girl looks out from under the obi, the cord is also tied high.

After marriage, a girl enters the category of women (regardless of calendar age). Bright furisodes are becoming a thing of the past forever; a woman will never wear it again. Now she can only wear iro tomesode or black tomesode. The colors of the tomesode are more restrained, the sleeves are less rounded and shorter. Calm, discreet, elegant, respected, full of dignity - these are the characteristics ideal woman expressed in her outfit. In young women, the pattern can be bright and rise high to the waist from the hem, and with age, the older the lady, the closer the pattern is to the bottom. In general, everything goes lower - the collar, the front neckline, the obi, the cord and even the scarf. All this expresses her sexual maturation. For young women, the cord is tied somewhere in the middle, the neckline is lowered slightly, forming a narrow “V”, the scarf is almost invisible from under the obi. For older ladies, the neckline is even narrower, the obi is lower, and a cord is tied at the bottom of the obi.
According to the rules, a woman can dress a little “older” than she is, but she cannot dress “younger.” However, many try to “knock off” their heels with the help of clothes, although this is very difficult. After all, if the discrepancy is noticeable to others, it will look funny and indecent. So it goes))

Often those of modern women who does not get married until age 30, makes a career, etc. choose the opposite tactic - they dress a little older than they are, and thus get a decent and comfortable outfit for themselves.

Geisha clothing stands out. In general, geisha are like the last stronghold, the keepers of kimono traditions and the only ones who wear a kimono both at work and just at home. Since geisha are special creatures, their clothes are a strange mixture of different characteristics. Basically, the outfit of a maiko (geisha in training) is similar to a young girl's furisode. He also has long sleeves that reach the floor, bright colors with a pattern all over the field, which emphasizes youth. The neckline of the collar is wrapped high at the neck, the scarf peeks out strongly from under the obi, the cord is tied just above the middle. But at the back of the collar it is pubescent almost to the beginning of the shoulder blades (which is terribly sexy in their opinion). Also maiko is only worn full version obi - maru obi with a very large knot.

Seasonality.

This is a very interesting aspect of wearing a kimono. Everything here is also very complicated, but in short, wearing a kimono according to the seasons not only reflects the needs of the weather, but also has an aesthetic meaning. Each season has its own fabric and its own designs. All kimonos are divided into simple (hitoe) and lined (awaze). Hitoye is worn from June to September, the rest of the time - avaze. Previously, there was even a special ceremony of koromogae - a change of wardrobe, when clothes from one season were put away and others were taken out.
Next comes the material and color, and lastly, the design. Each season (a couple of months) has its own pattern, and general rule this: the type, fabric and color of the kimono should correspond to the month of wear, but the pattern should be from the next month, should always, as it were, anticipate the coming season. If this is not the case, then this is an indicator of emotional poverty and poor taste of the carrier. All this together allows you to adapt to specific weather. For example, if October (the autumn month) turned out to be hot, then you can continue to wear a hit, but then you should choose darker colors and a clearly autumn pattern (leaves, geese, orchids). Or if May (spring) is hot, then you can start wearing smart clothes ahead of schedule, but it should be made of thick crepe, because... It's not time to wear silk yet.

Seasonal designs:
January\February - pine, plum, bamboo

March\April - cherry, butterflies, Viseriya

May\June - iris, willow, birds

July\August - shells, waves

September\October - grass, maple, chrysanthemum

November\December - bamboo in the snow, pine needles, ginkgo.

The combination of obi and kimono is also determined by seasonality, and it is impossible for both to have the same motif. The motives should be different in appearance, but combined on a more subtle level. For example, a kimono with cranes + an obi with a tortoiseshell pattern (the turtle and the crane are symbols of longevity), or a kimono with flowers + an obi with waves, or a kimono with a river wave + an obi with stylized water irises.

Of course, today only geishas or kimono fans can have a whole wardrobe to dress in such a variety. The bulk is limited to a pair of kimono and obi for special occasions. Maybe that’s why solid-colored kimonos are more popular now, as they can be more easily varied by formality and seasonality with the help of an obi and get an outfit that suits the occasion every time.

In addition to the basic subjects in primary school, there are also secondary ones that develop physical and Creative skills child. Drawing is one of these lessons that can reveal the student’s inner worldview, show it strengths and character traits. Even though the subject is taught in educational institutions no more than once or twice a week; its importance should not be ignored. Teachers recommend, on the contrary, to pay special attention to him, helping children in their successes and achievements. For example, if you asked a child to draw a Japanese woman in a kimono for 4th grade as homework, you should not neglect the time to complete this task, which is not as simple as it seems at first glance. It is better to devote a few hours to drawing, allowing your daughter or son to be distracted from mathematical examples and spelling, than to get a bad grade at school, while forgetting about your inner “I”.

If your child has never completed such complex drawing tasks before, and simply doesn’t know where to start, in today’s article we will help you learn the intricacies of painting. The master class in the photo below will help adults and children answer the question of how to draw a Japanese woman in a kimono for 4th grade without much difficulty.

A little about Japan

Each culture is interesting and unique in its own way, let alone Japan. Since ancient times it has attracted residents of other countries with its bright oriental flavor. The people living on its territory are incredibly smart, wise and caring people. They respect older generation, care about animals and, most importantly, are not ashamed of their history, telling about it not only in films, theatrical productions and, but also in words. The Japanese women in kimonos alone are worth it!

Who are geishas?

Despite the unusual and one might even say provocative definition, women called geisha are incredibly decent and creative personalities. Japanese women in kimonos are a person of art, responsible for good mood their viewers. They entertain the audience oriental dances, Japanese singing and traditional tea drinking. Moreover, their bright appearance, combining a kimono and a fan, a voluminous hairstyle, snow-white skin powdered as if with talcum powder and evening makeup - cannot but arouse interest among adult and children's audiences.

The essence of the work of geishas in Japan is to hold banquets. For example, if a grandiose entertainment event is planned, then these women act as actors who can not only make people laugh, but also amaze others with their creative potential.

How to draw a Japanese woman in a kimono for 4th grade? Master class with pencil step by step

To help your child with a difficult task, start drawing a picture with him. Take two white sheets of A-4 format, a simple pencil and colored pencils. Keep one piece of paper for yourself, and give the second to your son or daughter. Start drawing each detail step by step, observing step by step instructions and the instructions described below.

You need to draw a Japanese woman in a kimono on a whole landscape sheet. Therefore, in the upper part of the right corner, draw a small circle (head) with a compass. Draw the beginning of the neck and.

Circle the circle again and draw the contours of the Japanese woman's face. Draw the outlines of the forehead, chin and neck areas. After that, start drawing the hair, neatly styled into a perfect, slightly voluminous hairstyle.

Draw decorations on the hair, and then (narrow eyes, natural eyebrows, slightly raised nose and voluminous lips bow shape).

The next step is to draw the lines of the shoulders, kimono and arms.

To get the perfect Japanese woman, you must not forget about the fan. To do this, you should draw an open accessory in your hand, as if open in front of the Japanese woman’s face. You should also draw the cutout on the kimono and the folds that gather at the forearm.

Draw the second arm, half covered by the kimono.

One more fan won't hurt! The technique of drawing this detail remains the same.

We follow the finishing touches in the photo below, and then color the Japanese woman with colored pencils. If you don’t have them at hand, you can use watercolors, gouache or felt-tip pens. Of course, if the teacher allows the use of these items in homework.

How to draw a Japanese woman in a kimono differently? Solution for 4th grade students in the photo

Others are shown below step by step diagrams with a clear and simple drawing technique. Even a student who is far from art will be able to cope with each of the drawings.

Drawings of a Japanese woman in a kimono drawn by children, photo:

Below I will show you how to draw a kimono with a pencil and also reveal one more secret. More precisely, you probably don’t know what it really is. No, these are not the clothes worn by karatekas, judo or aikido fighters. This is what we are used to calling them. In fact, this is the national costume of the Japanese, which is worn for a reason, and certainly not for a fight. Why it is needed and how to depict it I will show below. Here's a visual example of a girl in a kimono as a starting point: I specifically took a girl, and an anime one at that, to make it easier to draw.

So, a kimono is a long-sleeved robe that looks like a multi-colored bag in which a humanoid body is hidden. It is still sewn by hand (according to at least, in rich houses), since this is a whole ritual, the secrets of which are passed on only to family members. You can, of course, buy a ready-made kimono, but not everyone can afford it. Its cost is approximately equal to the cost of an inexpensive car in our country. There are also cheap options, but they are not much different from a regular robe.

How else does a kimono differ from our clothes:

1. It hides figure flaws. Yes, exactly the shortcomings! European clothing (or everything that is made in Odessa on Malaya Arnautskaya Street) on the contrary, emphasizes the bulges of the wearer’s body, if you know what I mean. But for the Japanese, on the contrary, the straighter and smoother, the more beautiful;
2. By the length of the sleeve you can understand whether it is worth meeting a girl. If the sleeve is long, this indicates that the girl is not married.
3. In addition to patterns, the fabric may also contain family coats of arms. This means that the person belongs to a noble family;

There are still a lot of problems with Japanese clothing, but that’s a completely different topic. Here we will see a young lady with long sleeves:

How to draw a kimono with a pencil step by step

Step one. Let's start with a sketch of the puppet body. There will be a circle or a ball or whatever it is on the back. In general, this is for beauty. You don't have to pretend to be him. But I thought it would be better this way. Step two. Let's draw the hair and mark the location of the eyes and lips. Let's now sketch out a sketch of the robe. Step three. Let's get down to detail. We draw hair, eyes, mouth, butterflies. Don't forget to pay attention to folds on your clothes. It's the most important. Step four. Now let's add shading, it will give the kimono and the girl a more realistic look. Don't forget to clear the paper from the auxiliary lines and correct the contours. Here is the result: See more similar lessons on the topic.

Japanese culture is very interesting and unique. It attracts many with its uniqueness and special oriental flavor. The Japanese are leisurely, thoughtful people, very smart and wise. They can sit and contemplate an object for hours in order to understand its essence. This trait has been with them for a long time. Very beautiful country Japan. There are a lot of colors, holidays and flowers. And how interesting and unique Japanese national costumes are!

The basis women's suit It is a kind of fabric cape covering the entire body - a kimono. A girl is taught to wrap herself in a kimono correctly from the very beginning. early age. Kimonos are made from the finest, easily draped fabrics. They are very colorful. Usually flowers, various animals and birds are painted on a kimono. Japanese characters- letters and words. We would like to present to your attention step by step lesson drawing of a Japanese woman in a kimono.

Stage 1. A Japanese woman in a kimono covers the entire landscape page. Therefore, at the top of the sheet we draw a small circle for the head and draw lines for the neck and arms.

Stage 2. We draw a circle and build the contours of the face. These are smooth features of the forehead, cheekbones, chin, and neck. We outline the hair lines. Then, on the head we draw a high hairstyle. The forehead is open, the hair is raised up and neatly arranged in peculiar waves on top and on the sides.

Stage 3. Add decorations to the hair: small dense bouquets of flowers, beautifully located in the hair. We draw facial features: narrow eyes, eyebrows, wide nose and small mouth.

Stage 4. Draw the lines of the shoulder and part of the kimono to the very bottom. We show thin hand with graceful fingers peeking out from the slit of the kimono.

Stage 5. Draw a fan in the hand. We connect two lines along the edge with a wavy line. We show the kimono cutout in the form of a triangle at the neck and the folds on the kimono.

Stage 6. The second arm will be moved to the side. Draw a kimono on this hand.

Stage 7. Add exactly the same verve to this hand.

Stage 8. Now along the fans we draw many features emerging from one point.

Stage 9. Complementing the bottom of the kimono. This is his hem. Draw beautiful waves. So that the hem of the kimono is light, airy and flows smoothly to the floor.

Stage 10. Decorate the sleeves and bottom of the kimono with a beautiful floral pattern.