Ompir Style Fruit Basket
©2004 Gabriele Hunter
DecoArt Traditions Acrylics:

• DAT01 – Burgundy
• DAT02 – Naphthol Red (PR170)
• DAT3 – Naphthol Red Light (PR9)
• DAT12 – Yellow Oxide
• DAT14 – Hansa Yellow (PY 74)
• DAT19 – Pine Green
• DAT23 – Phthalo Green-Blue
• DAT24 – Phthalo Blue (PB 15:3)
• DAT26 – Ultramarine Blue
• DAT32 – Red Violet (PV 19)
• DAT36 – Warm White
• DAT37 – Medium White
• DAT42 – Carbon Black
• DAT43 – Raw Sienna (PBr 7)
• DAT44 – Burnt Sienna (PBr 7)
• DAT46 – Burnt Umber (PBr 7)

Note: Pigment numbers are only listed for
pure pigments, not mixes.

DecoArt Traditions Mediums:

• DATM01 – Glazing Medium
• DATM02 – Extender & Blending Medium
• DATM04 – Satin Varnish
• DATM06 – Texture Medium

DecoArt Traditions Brushes:

• #3 or #4 Round
• #3/0 Short Liner
• #1 Script Liner
• #6 Filbert
• #8 Filbert
• #10 Filbert
• #8 Flat

Other Supplies:

• Rusted tin wire
• Toothpick
• Wood glue
• QuikWood
• Compass
• Aluminum foil
• Paper towels

Source:

Annie’s Heritage Woods
P.O. Box 3
Elizabethtown, PA 17022
(717) 367-4101

Preparation:

Basecoat the basket in a slip-slap brush motion with 2 coats of Naphthol Red (PR170) + Burgundy + Burnt Umber (PBr 7) + Texture Paste 2:1:1:1. Let dry. Using a compass draw a 1/4 inch border on each panel. Use a #8 flat and paint the checkered squares with Raw Sienna (PBr 7) + Yellow Oxide. Check your pattern for placement. Dry brush with Yellow Oxide + Hansa Yellow (PY 74), the Hansa Yellow (PY74) + touch of Medium White. Use a #1 Script Liner and paint the border outline on the basket with Phthalo Blue (PB 15:3) + touch of Carbon Black (PBk 7). Highlight with Phthalo Blue (PB 15:3) + Ultramarine Blue (PB 29) + Warm White. Dry brush the rim of the basket with this same mix.

Molding on Handle

Note: When working with QuikWood, you will have approximately 20 to 25 minutes until the QuikWood hardens.

Molding Leaves: Start by cutting about 1-inch of QuikWood and knead it with your fingers until you get a uniform color.

1. Make a ball.
2. Flatten and press underside of leaf into clay.
3. Use a sharp knife to cut around the leaf and then attach to handle.
4. Let dry.

When making small leaves, make a ball, flatten it in your hand, pick the leaf up and squeeze one end together a little. Then press it down on the handle.

Molding Birds:

1. Cut off enough QuikWood to make several balls. Knead it with your fingers until you get a uniform color. Make several balls. They don’t have to be the same size.
2. Press down on one side of the ball and pull to make the tail.
3. Pinch and pull out some clay to make the beak.
4. Use a sharp knife or palette knife and carve feather detail. Attach to the leaves on the handle with wood glue and let dry.

Little Andy with his fishing pear:

1. With aluminum foil make a cylinder about 1″ high and 1/2″ wide. Cut off 1″ to 1-1/2″ of QuikWood and knead it with your fingers until you get a uniform color. Cover the cylinder with QuikWood.
2. With aluminum foil, make a ball about 5/8″. Wrap it with QuikWood. Attach the ball to the cylinder. Roll out a small snake and make a small scarf around his neck.
3. For the hat, cut out 5 or 6 teardrops. (I used a Kemper teardrop cutter.)
4. Put them together as seen in step 4 of the picture above. Make a cone shape out of QuikWood and twist it a bit. Now put it in the center of the teardrops. Attach the hat to the head.
5. Make a ball out of QuikWood and roll it into a tube shape. Cut it into 2 pieces about the size of the arms that you want to create (about 1-1/4″). Shape the arms. Press down on the upper section to make it larger. Use your thumb and press down on the lower section to form the hand area. Use a sharp knife to cut a straight line for the thumb. Now cut a piece of the thumb off in an angle to shorten it. Attach to the body. Shape the arms and hands keeping in mind that he will hold a fishing pole with a pear dangling down.
6. Make 2 small balls out of QuikWood. Press down to make flat round shapes (will be used for feed). Make a larger ball and roll it into a tube shape. Cut it into 2 pieces about 1-1/4″. Attach the round shapes to the bottom of the legs. Attach the legs to the side of the body. Attach all pieces to the handle.
7. See final color picture for positioning of birds and remaining leaves. Make a small pear and attach to a piece of wire. Once the pear is dry, attach the wire to a toothpick. When all painting is completed, drill a small hole where the fishing pole will be attached and then clue into position.

Transfer patterns using light graphite paper.

Painting Instructions:

Pears: Basecoat the pear with Raw Sienna (PBr 7) + Yellow Oxide. Start first shading with Raw Sienna (PBr 7) + a touch of Naphthol Red Light (PR9), then Naphthol Red Light (PR9) + a touch of Burgundy + Burnt Sienna (PBr7). Carry this second shading not as far out as you did the first. Soften the shadows with Raw Sienna (PBr 7) + Yellow Oxide. Load your brush with Yellow Oxide + a touch of Raw Sienna (PBr 7) and start building the highlights. Reload with Hansa Yellow (PY 74) and repeat. Finally, dry brush some Hansa Yellow (PY 74) + Medium White, then add Titanium White. Paint stem with Burnt Umber (PBr 7), highlight with Burnt Umber + Medium White.

Apple: Basecoat Raw Sienna (PBr 7) + Yellow Oxide. Sideload a #10 filbert brush with Raw Sienna (PBr 7) + Naphthol Red Light (PR9) and shade around the apple, leaving only the highlighted area free. Let dry. Glaze the entire apple with Naphthol Red (PR170). Reload filbert brush with Naphthol Red (PR170) + Burgundy and start shading on the left, coming around the apple to the right. Also shade the dip in the apple where the stem is attached. Deepen shading with Burgundy + a touch of Carbon Black. Dress a filbert brush with Naphthol Red Light (PR 9) + Hansa Yellow (PY 74) and pull strokes from the highlighted area, working toward the shadow area. Let dry. Reload brush with Hansa Yellow (PY 74) + a touch of Naphthol Red Light (PR9). Repeat, but don’t carry it out as far as the previous highlight. Let dry. Apply a coat of Glazing Medium over the apple. At this stage, you can come back and glaze the entire apple again with transparent Naphthol Red (PR170). Rebuild highlights. Apply final highlight with Hansa Yellow (PY 74) + Titanium White. Paint stem with Burnt Umber (PBr 7); highlight with Burnt Umber + Medium White.

Leaves: Basecoat with Pine Green. Shade at the bottom and center of the leaf with Phthalo Blue Green (PG7) + a touch of Burgundy. You may want to add a touch of Carbon Black (PBk 7) if it is not dark enough. Sideload a #8 or #10 filbert brush with Pine Green + Hansa Yellow (PY 74) + a touch of Glazing Medium; start the highlights from the tip of the leaf down toward the shadow area. Follow the curve of the leaf. Add a touch of Hansa Yellow (PY 74) + Medium White, continuing to lighten the leaves. Just remember, as you get lighter, the area it occupies gets smaller. Add more Hansa Yellow (PY 74) + Warm White for the final highlight. Pull the vine lines with Phthalo Green- Blue (PG7) + a touch of Carbon Black. For a final touch, you could add some dots of Warm White + Hansa Yellow (PY 74) to the tips of the forward leaves.

Comma Strokes:
Pull the comma strokes with Raw Sienna (PBr 7) + Yellow Oxide. Pull some overstrokes with Yellow Oxide + Hansa Yellow (PY74).

Little Andy:
Jacket: Basecoat jacket with Naphthol Red (PR 170) + a touch of Burgundy. Dry brush highlights with Naphthol Red Light (PR 9), then Naphthol Red Light (PR 9) + Hansa Yellow (PY 74). The antiquing will take care of all shadow areas.
Pants: Basecoat the pants with Phthalo Blue (PB 15:3) + Ultramarine Blue (PB 29). Highlight the pants with Phthalo Blue (PB 15:3) + Ultramarine Blue (PB 29) + Warm White; repeat by adding more White.
Face/Hair: Mix a flesh tone using Medium White + Naphthol Red (PR 170) + Yellow Oxide + (3:1/2:1/2). Put some of this mixture onto your palette. Basecoat the face and hands with this flesh tone. (This may take several coats.) Apply pattern or draw on facial features with Burnt Sienna (PBr 7). Sideload flesh tone + a touch of Burnt Sienna (PBr 7) and shade down the outside edges of the bridge on the nose, next to the eye socket, under the hairline, and on hands where they come out from under his jacket. Start the highlights with flesh tone + Medium White across the forehead, down the nose, and the cheeks. Build these highlights up by adding flesh tone + Warm White. Paint the eyes with Carbon Black. Paint the eyebrows with small strokes of Carbon Black (PBk 7). Add a shine dot with Warm White in the eye. Basecoat the mouth with Naphthol Red (PR 170). Pull the smile line with Naphthol Red (PR 170) + a touch of Burnt Umber (PBr 7) + Glazing Medium. For Hair: Pull strokes with Phthalo Blue (PB15:3) + a touch of Carbon Black (PBk 7), then Phthalo Blue (PB15:3) + Ultramarine Blue (PB 29). Add Warm White to the previous mixture to get lighter.
Hat: Basecoat with Raw Sienna (PBr 7); shade with Raw Sienna (PBr 7) + Naphthol Red Light. Add some Burgundy to the tip of the hat; highlight the front of the hat with Raw Sienna (PBr 7) + Yellow Oxide, then with Yellow Oxide + Hansa Yellow (PY 74).
Scarf/Belt: Basecoat with Raw Sienna (PBr 7); highlight with Raw Sienna (PBr 7) + Yellow Oxide, and then with Yellow Oxide + Hansa Yellow.

Birds: Basecoat the birds with Raw Sienna (PBr 7). Dry brush Raw Sienna (PBr 7) + Naphthol Red Light (PR 9) across the body. Highlight with Raw Sienna (PBr 7) + Yellow Oxide, then by adding a touch of Hansa Yellow. Basecoat the beak with Raw Sienna (PBr 7) + Yellow Oxide. Highlight with Yellow Oxide + Hansa Yellow (PY 74). Paint the eyes with Carbon Black (PBk7).

Antiquing: Before you get started with the antiquing process, apply 2 coats of Glazing Medium. This will protect your painting. Create an antiquing mixture using 2 parts Burgundy + 1 part Carbon Black and 2 parts Extender and Blending Medium. Brush a coat of Extender and Blending Medium over the surface of your piece. Remove excess with a paper towel. Apply a coat of antiquing mixture. Let it dry. Don’t wait too long, or you will have problems removing the antiquing. Take a soft cloth and wet it, wringing out most of the water. Start in a large area where you know you want to remove most of the antiquing, and begin rubbing in circular motion until the antiquing lifts. Continue working until you are satisfied with the result. If you take too much off, you can always go back and apply a glaze of the antiquing color.

Final details:
I did come back and strengthen the highlights. Glue the toothpick into place. Varnish with two coats of JansenArt Satin Varnish. Enjoy.

©2004/2005 These designs may be used for personal study. Please request permission for teaching from the individual artist.