Artist's Palette

• 90 per cent of the paper I use is black paper. The other 10 per cent varies depending on the background colour I feel will suit my subject. • Primarily, I will use any brand of soft pastels. I prefer Schmincke pastels for the final touch up. • Refe

Born in Burnie, Tasmania, Lynette McLeod resurrected her artistic talent some 12 years ago at the age of 55. At that time in her life she was a keen gardener. She also loved to read and would maybe sketch the odd drawing every now and then – in ink o

Isaac Mark Shelley’s life began in the Hawkesbury area near Sydney, in 1990. He has lived in the Blue Mountains west of Sydney for more than ten years. He worked at Glenbrook Nursery in the lower mountains for a few years; and more recently began wor

Ngurratjuta Iltja Ntjarra: Many Hands Art Centre is proudly Aboriginal owned and operated and is situated in the township of Alice Springs. This art centre has been established to provide a place for Arunda artists to come together to paint, share an

My home is in Hastings, a town on the Westernport side of the beautiful Mornington Peninsula in Victoria. I was born in 1940 at Carnegie, an outer suburb of Melbourne. Art was never on my agenda, even into my fifties. My life had been such a practica

I got a new canvas, wet it and threw leaves on it. I broke down the blank canvas with some aerosol and water. I mapped out what would become the sky, mountains and whatnot lightly; with trickled water still sitting in patterns underneath. I had no pl

• Paper and graphite pencils for sketch. • Plywood (3 ply is best). • Yellow carbon paper. • Cutting tools. • Black acrylic paint. • Shellac. • A large piece of cut glass for rolling up ink. • Spatula. • Water based relief ink. • Hard roller. • Cartr

Depression and anxiety, caused by a workplace accident, have become a part of my life. I had a fall, landing on my head. I have to really force myself to paint sometimes. Once I am painting though, it is good. I work mostly from photographs or imagin

• 90 x 60 cm stretched canvas. • Oil paints: Cerulean Blue; Titanium White; Flesh; Alizarin Crimson; Brilliant Red; Yellow Ochre; Medium Yellow; Payne’s Grey • Brushes: Number 12 Flat; Number 10 Round; Number 2 Liner. • Odourless Turps. • Gel Medium.

• French box easel. • Canvas. • Reference photographs. • Various colourful Atelier Artists’ Acrylics. • Various paint brushes and palette knife. • Atelier Modelling Compound. • Atelier Gloss Medium and Varnish. • Clingwrap. • Beach sand. • PVC glue.

• Large canvas 1.5 x 1.5 metres – primed and stretched. • A mixture of oil paints, acrylic oil sticks and oil pastels. • A selection of brushes. • Palette knife and fingers. After the canvas was primed, I roughly sketched out the ‘frame of the paint

• Half sheet of ‘pinkish’ pastel paper with a smooth surface. • Six shades of Caput Mortuum pastels. • Caput Mortuum pencil. • Pastels in Blue and Lamp Black. • Newspaper photograph. There are times when something hits me in the eye and I know I hav

I was born in Bryn Mawr, Pennsylvania (USA) in 1974. These days I live in the Brisbane suburb of Yeronga. I moved to Brisbane in December 2007 with my husband Eric, who is a marine biologist at the University of Queensland. I have a small studio belo

• Ampersand Claybord (smooth white). • Black waterproof acrylic or India ink. • Acrylic round brushes with sharp points (Numbers 2 and 6). • White cotton gloves (available at the grocery store). • A sheet of tracing paper. • Craft knife with several

Peter Godsall lives near the village of Cobargo in the beautiful Bega Valley of New South Wales. Originally from the UK, he was born in south-east London. This man has been painting casually, with a group, for quite a long time. In the past he receiv

• Artists’ canvas. • Artists’ acrylic paints and water-based oil paints as described. I applied two coats of acrylic gesso to make sure the canvas was properly sealed. Careful draughtsmanship came into play as I used a very weak acrylic Yellow Ochre