![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvi0aoIdTVV0KgicE6nOx9ra1v2Oo5l6hTYZeK9F-yFvwLcqaasamsWmKJ9WliUriS5mxTtvqH24lD8lrcRhYn6I1PDVSAj0leLDsENMUiGy1ExVVzq-DIRixkvLHnCiE7i4Y2Jd3r5M/s200/IMG_6172.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlkpCqK_uEzh4S3xGsFMUPgaFn9-BZjz8Gg5wXsOyteNeevbW-ha7mjI68yeda7SctVZW2mUndW-3oI19VkeoiiYn5AWTdfPeTTqHjAM-Y9dC1Tjt_ukFuIyulm7u6nF_9DSPabUtpPWI/s200/IMG_6173.jpg)
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I preserved highlights in the glass by leaving some of the white paper showing, and I also put in a thin wash of both Winsor Blues (GS and RS) for emphasis. I didn't plan these steps ahead of time -- it was entirely an intuitive process. The flowers emerged slowly, as I dropped in color wet-into-wet, and also painted around the flower shapes. The purpose flowers were done with a combination of Winsor & Newton Mineral Violet and Permanent Rose. When the blossoms were dry, I painted the yellow centers of the daisies, using Winsor & Newton New Gamboge. After the daisy centers were dry, I used a wash of Burnt Sienna to add shadows.
Once the flowers areas were complete, I built up the vase. I worked around the vase, painting the background with multiple washes. To soften some areas of the background, I washed over them with clear water, which lifted some of the pigment and let it settle into the paper. In the final stages of this painting, I deepened the color of the upper- and lower-right corner, dropping Winsor & Newton Dioxazine Violet, French Ultramarine, and Winsor Blue (GS) into the damp background. I also added some fern-like fronds on the left side of the painting, using a small brush and dotting the damp paper with Daniel Smith Undersea Green.
"Blue Glass Vase"
transparent watercolor 12" x 16" matted and framed
SOLD
SOLD