STEP TWO
Glazing the yellow vase, I used a combination of transparent yellow, a hint of permanent rose and quinacridone gold. This portion of the vase was glazed three times, allowing each pass to dry throughly. First with the above combination, second glaze pure transparent yellow, then back to the first combo of pigments, skipping area to give the highlight of the glass.

STEP ONE
The darkest shapes first - adding a variety of values, will give the base depth and roundness. 

Painting the Murano Vase

Here is my palette, looks messy but it is an organized mess.  I have mixed burnt sienna & phthalo blue for the rich dark brown, to begin my painting at the lower portion of the vase.  I love painting this portion of the vase, knocking in the darks is just a very comfortable way for me to see the beginning of my painting.  Next I mix various golden colors using Quinacridone Gold, transparent yellow and a hint of permanent rose.  I mix separate puddles of the pigment so that I can have them ready to go as I paint the detail of this vase.
REFERENCE PHOTO

I will begin this painting mixing the darkest values for the yellow vase first.
Good Morning - It is 7:45 and this watercolorist is ready to go.  Painting early in the morning is wonderful, with no interruptions.  Above is a photo of my workspace, clean palettes, brushes, paper towels and of course my line drawing ready to be painted.

STEP FIVE

Details details, finishing the little bit of flower and the bottle in the background only took another 30 minutes.  As usual this dark to light watercolorist, painted in the darkest shapes of the petals of the flower n the right side, first I mixed permanent rose with phthalo blue, for a dark red, in a couple strokes I painted the darkest value, while it was still wet I put down another stroke of paint directly next to it.  I wanted to achieve the movement & depth of the petal but give it too much importance to the still life.

And of course last but not the green perfume bottle, dark to light using Winsor Green (blue shade) and adding a hint of transparent yellow.

So this watercolorist is calling it day, tomorrow  I will paint my 2nd 3-hour lesson, "The Murano Glass".

STEP FOUR 

Painting the shadow, this is as easy as it gets in watercolor, wet the are with clear water and drop in the pigment, let the water do it's thing.  I love this shadow, warms to cools.  I did just begin painting the stopper.  Pain very light values,  follow the curves and wha-la success.

STEP THREE

Finishing touches on the perfume bottle. Up in the right hand (corner?) area of the perfume bottle I painted in a heavy mixture of dark blue then gently adding a mixture of purple, this are is the only tricky area, it is all in the timing and keeping a bead of pigment so that it does not dry out while switching colors, this is called a gradated wash, with a pesky highlight.

STEP TWO

Add water to the pigments in which was mixed for the darkest values, this will give you the mid to dark values paint the shapes in that will begin to add more depth to the perfume bottle.  As you can see the bottle is a reflective surface, this is why there are so many detail shapes.  I will not be able to paint in all the shapes for this lesson, due to the small amount of time available for this workshop.  Now the painting is ready for the glazes of the lightest values, which will blend and give the perfume bottle a full shape.

STEP ONE

Mixing Permanent Alizarin Crimson, Winsor Green (blue shade) and Phthalo blue for the darkest darks.  This is a bit interpretive and if you paint and follow the shapes, the spirit of the glass will come through.  For the darkest values of the gold/yellow on this perfume bottle, I mixed quinacridone gold with permanent alizarin crimson and a hint of phthalo blue.  I am setting this up for the mid to dark values to be painted in next.