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Here is the final result of my feminine version of the hands I painted in 2003. When I sit looking at the result of this painting showing through
my computer screen it’s obvious that the “3d”effect etc of the painting is gone when looking at it like you are doing now! Therefore the magic of
an original painting is to be experienced live : )
I hope that you find the painting appealing anyway.
Please contact me if you have any questions regarding this painting
 Here is the materiel I usually work with when creating a painting in oils. From above right corner, going clockwise you see • Titanium white, Cadmium red deep, Cadmium red light, Cadmium yellow extra pale, Yellow ochre, Alizarin crimson and Ultramarine blue. For this painting I used mostly Phthalo blue though. • A pencil for the basic drawing • A surgical blade knife to scratch off some unwanted texture etc. • A palette knife to create thick textures and mixing colours on the board if wanted. At this painting I used mostly toilet paper to create some textures because I painted rather thin. • Four synthetic brushes in different sizes; a round brush size 2 for details and flat brushes in the sizes 2, 6 and 12 for other work. • A maulstick to prevent smearing paint all over the painting – where not wanted... • Gesso primer to create a texture before applying anything else on to the board. It will contribute to accomplish an interesting texture finish when applying the oils. • toilet paper, just for example, of what works to create further textures etc. • Turpentine (free from smell) to thin the oils with and to clean the brushes with. • In the middle you see the palette of course with the oils at and the turpentine  1. I decided to create this painting on a white board. First I put tape around the edges to keep it clean from paint and when the painting is finished it’ll make a clean white frame when ripping the tape off. At this photo you can see the white board through the pencil drawing. At this stage I have created a basic texture with brushes and toilet paper to the chest using mixes of every colour I mentioned above. I worked with diluted paint at this point. Beginning with the background working towards the foreground. 
2. In step two I just keep on adding details to the wood, trying to finish it as much as possible before continuing to the hands.  3. As I have finished the basic colours of the chest I continue to work with the hands, doing one hand at the time. I work pretty thin and light with the colours and keeping them “fresh” throughout the whole basic elements because I like to adjust the light of the painting in the end adding darker colours to give more strength to the light and then if I want to I create thick textures with the brush when adding the finishing details..  4. At
this step you see a better illustration of how I begin adding
colours. From the fingertips up you see the first layer of colours,
how I’m defining the shapes, tones and light. Just above
the ring I have started to work more thickly and determined after
I have captured the tone of the basic layer.
5.
As you can see here I have changed the lines of the chest and painted everything to a “90 % level” I have saved the white areas of the rings and flower leaves as a reference of the lightest spots, to compare other colours with. When doing this I help myself a little to not paint too dark in the light areas. I also saved the rings to last just to paint them light and “glowing” 
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