Oil Paints and Painting
Artists’ oil colours are put together by combining dry powder pigments with special refined linseed oil until the mixture reaches a stiff paste texture and then grinding it with strong friction in steel roller mills. The smoothness of the shade is fundamental. The usual feel is a smooth, buttery paste, rather than stringy or long or tacky. When a transient or mobile quality is needed by the artist, a liquid painting medium like pure gum turpentine needs to be added with the substance. In order to expediate drying, a siccative, or liquid drier, is commonly used.
Top-grade brushes are manufactured in two styles: red sable (from numerous members of weasel) and chemically whitened hog bristles. Both are available in numbered sizes for any of four regular shapes: round (pointed), flat, bright (flat shape but is shorter and not as supple), and oval (flat shape but bluntly pointed). Red sable brushes are widely preferred for a smoother, more delicate style of technique. The painting knife, a finely tempered, limber version of an palette knife, is a convenient item for painting oil colours in a robust way.
The generic support for oil paintings is a canvas of pure European linen of stable close weave. This canvas is cut to the required size and stretched over a frame, usually a wooden frame, to which it is then secured with tacks or, from the 20th century, with staples. If the artist needs to lessen the absorbency of the fabric itself and attain a smooth surface, a primer or ground can be applied and is left to dry before painting. The most often seen primers for this have been gesso, rabbit-skin glue, and lead white. If rigidity and smoothness are preferred over springiness and texture, a wooden or processed paperboard panel, sized or primed, needs to be used. Lots of other supports, such as paper and certain textiles and metals, also have been tested.
A coat of varnish is often given to a finished oil painting to protect it and prevent atmospheric attacks, minor abrasions, or an injurious accumulation of dirt. This film of varnish might be taken off safely by experts using isopropyl alcohol and other such common solvents. The varnish film also sets the surface to a full lustre and sets the tonal depth and colour intensity essentially to the vibrancy initially created by the artist in wet paint. Some painters, in particular those who do not favour deep, intense colouring, and stay with a mat, or lustreless, finish in the oil paintings.
Most oil paintings created before the 19th century were created in layers. The first was a blank, uniform field of thin paint called a ground. The ground subdued the gleam of the primer and formed a gentle base of colour on which to build images. The shapes and objects in the painting would then be roughly blocked in with shades of white, and gray or neutral green, red, or brown. The ultimate mass of monochromatic light and dark colours were termed the underpainting. Forms would be further defined by using either paint or scumbles; irregular, thinly applied layers of opaque pigment that can create a variety of visual effects. In the completion step, transparent layers of pure colour called glazes then could be utilised to create luminosity, depth, and brilliance to the forms, and highlights could then be created with thick, textured patches of paint known as impastos.
Oil as a painting medium is dated back to the 11th century. The practice of easel painting with oil colours, however, resulted directly from 15th-century tempera-painting styles. Basic improvements in the process of refining linseed oil and the availability of volatile solvents post 1400 coincided with a requirement for than pure egg-yolk tempera, meeting the developing desires of the Renaissance (see tempera painting). At first, oil paints and varnishes were employed to glaze tempera panels that were painted from the common linear draftsmanship. The technically gleaming, gem-like portraits of the 15th-century Flemish artist Jan van Eyck, for example, were done in this new style.
During the 16th century, oil paint emerged as the basic painting material in Venice. From then, Venetian painters had become proficient in the exploitation of the essential characteristics of oil painting, especially in employing multiple layers of glaze. Linen canvas, after a long era of growth, replaced wood panels as the most popular support.
One 17th-century master of the oil technique was Velázquez, a Spanish painter in the Venetian tradition, whose highly economical but informative brushstrokes have frequently been repeated, especially in portraiture. The Flemish painter Peter Paul Rubens challenged the norm in the manner in which he loaded his light colours opaquely, juxtaposing the thin, transparent darks and shadows. Another great 17th-century master of oil painting was the Dutch painter Rembrandt. In his art, a single brushstroke would effectively depict form; cumulative strokes created great textural depth, with a combination of the rough and the smooth, the thick and the thin. A technique of loaded whites and transparent darks is fully enhanced by glaze, blendings, and highly controlled impastos.
Other basic influences on the later easel painting techniques are the smooth, thinly painted, deliberately planned, tight methods. A great many admired works (e.g., like those from Johannes Vermeer) were created with smooth gradations and blends of colours to achieve subtly modeled forms and delicate colour variations.
The technical requirements of some schools of modern painting cannot be realized with traditional genres and/or techniques, however, and some abstract painters - as well as a few contemporary painters who use traditional styles - have demonstrated a desire for a plastic flow or viscosity that cannot be created in oil paint and its conventional additives. Some desire a larger variation of thick to thin applications and a faster rate of drying. Some artists mix coarsely grained materials with their colours to create new textures, some artists used oil paints in much heavier volume than before, and many have turned to acrylic paints, because they are more versatile and dry rapidly.
Interested in oil painting? For art supplies Brisbane, including canvas art supplies and artists supplies, visit or call the Discount Art Warehouse.
Sphere: Related ContentWhat are Hydrocarbons?
Hydrocarbons are any of a class of organic chemical compounds composed solely of the elements carbon and hydrogen. The carbon atoms are joined to create the framework of the compound; the hydrogen atoms join to them in several varying configurations. Hydrocarbons are the principal constituents of petroleum and natural gas. They could be fuels and lubricants as well as raw materials for the construction of plastics, fibres, rubbers, solvents, explosives, and industrial chemicals.
A large part of hydrocarbons are created in nature. As well as part of fossil fuels, they may be located within trees or plants, like, for example, with the sort of pigments termed carotenes that are seen in carrots and green leaves. A little over 98 percent of natural crude rubber is part hydrocarbon polymer, a chainlike molecule formed of numerous units linked together.
Hydrocarbons are insoluble in water and are less dense than water, so will float on the top. They will generally be soluble in one another, when combined, as well as within some certain organic solvents. All hydrocarbons are fully combustible. If burned completely with an adequate amount of oxygen, they can produce carbon dioxide and water, releasing heat. If the oxygen is inadequate, the combustion will mainly yield carbon monoxide.
The structures and chemistry of unique hydrocarbons depend largely on the kinds of chemical bonds that attach the atoms of their constituent molecules. A carbon atom can have four single bonds, or it can have double or triple bonds. A hydrogen atom can feature one single bond.
Hydrocarbons are allocated within several classes based on their structure. The two fundamental classes are aliphatic and aromatic. Aliphatic hydrocarbons can be constructed of molecules in which the carbon atoms are joined in chains (termed acyclic) or in rings (called alicyclic, or carbocyclic). Aliphatic hydrocarbons also will be allocated into categories as per the types of bonds between the carbon atoms. If every bond is single (termed sigma bonds), the compound is said to be saturated. Such compounds are classified as alkanes or cycloalkanes. If two bonds or more bonds combine any two carbon atoms, the hydrocarbon is known as unsaturated. The bonds could be double, such as the alkenes or alkadienes, or triple, like the alkynes. Some compounds feature both classes of multiple bonds for the single molecule.
The simplest alkanes are methane, ethane , and propane. The three compounds can exist in just a singular structure each. Higher compounds of the series, beginning with butane, can be compounded in two different ways, from whether the carbon chain is straight or branched. Those compounds are termed isomers; those are compounds that feature a matching molecular formula but then have varied arrangements of the atoms. The outcome is, they can have a variety of chemical properties.
Cycloalkanes are ring structures featuring two fewer hydrogen atoms inside the molecule of the corresponding alkane. Lots of these have not one ring, but many. Six-membered rings are of significance because they can be seen in several natural products, especially the steroids. Cyclic structures can also be isomers where two molecules differ solely in the spatial arrangement of the substituent groups.
The main commercial sources of alkanes are known as petroleum and natural gas. Singular higher alkanes and cycloalkanes usually are synthesized by reactions designed for a particular product. These saturated hydrocarbons could also be synthesized from corresponding unsaturated molecules, by hydrogenation (including of hydrogen). Saturated hydrocarbons are largely inert; i.e., when at room temperature they won’t be affected by the majority of acids, alkalies, and oxidizing or reducing agents.
For hydrocarbon storage tanks and self-bundled hydrocarbon tanks, contact Logitank.com.au
Sphere: Related ContentTen Good Reasons to Consider Synthetic Grass
Gone are the days of synthetic grass looking fake and plastic. These days new generation synthetic lawn is lush, soft, extremely realistic and difficult to tell apart from the real thing.
Everyone adores the natural look of a lawn, but who has the time these days? With artificial grass you get all the benefits of real grass without ever any chance of dead patches, muddy patches or the weekend maintenance routine.
Never mow again
Imagine having your weekends available to do what you like most without ever having to start up the mower again. Not only will you never be caught out by unexpected visitors and an unkempt lawn, you’ll have the serenity of never having to listen to that mower motor pacing up and down your yard ever again!
Save your water
Only grass that grows needs water, so save it for something more useful, like drinking a nice glass of it while you are admiring your lawn.
No nasties
Don’t worry about having to use disgusting fertilisers, stepping in something nasty, or dealing with seasonal hayfever. With synthetic grass this is all in the past, you can sit on it, lie on it, roll in it and get up without being caked in mud or grass clippings.
Can be installed anywhere grass won’t grow or you don’t want to mow
Synthetic grass doesn’t need sunlight , it is quite happy in shady areas and will keep them looking lush while still providing you with many years of usable space. Being synthetic it is unaffected by constant direct sunlight or harsh conditions, this grass is made to last. Synthetic grass is also at home around the pool, good quality grasses are UV, salt and chlorine resistant.
It might look delicate but its durability will surprise you
As well as homes these grasses are used in schools and council public areas, even dog runs and kennels. Just by looking at these new generation artificial lawns you could be forgiven for thinking they are fragile, but in fact they are extremely hardy. They can stand up to heavy daily traffic, children, pets, are non-flammable and, you can expect high quality synthetic grass to last as long as high quality pavers.
It is available for DIY
For those that are willing, you can install your own synthetic grass. Find a good DIY installation guide do it yourself and save some money.
Turn unusable space into your favourite place
Synthetic lawn is so attractive, you will find that areas that were never used in the past become your resting and/or play areas.
You don’t need to leave home to have a practice hit on the green.
If golf is your thing then what could be more luxurious than a putting green in your backyard. There are many options when it comes to artificial putting greens. Everything from DIY putting kits through to PGA level greens just like those in the homes of professional golfers, these PGA level greens allow you to chip and pitch from a distance, with a realistic roll from every angle of the green.
Synthetic lawn is placed on the fringe of the green and can expand out to truly blend the putting green into the garden landscape.
Of course synthetic putting greens have all the same low maintenance advantages of synthetic grass. So these greens will be ready for play when you are.
Perfect for Children’s play areas
Synthetic grass has always been popular in day care centres, but synthetic lawn takes it to a whole new level of softness. Synthetic grass doesn’t conceal hidden hazards the way that sand or chipped bark can, and synthetic grass can be installed to comply with soft fall standards for use where play equipment is used.
Perfect for pets
Animals adore synthetic grass and it is often used in luxury dog kennels.
Urine will soak through and make its way into the ground below, unfortunately there is no way of magically making number 2’s disappear so they will need to be picked up just as you would with real grass, however neither one of these will damage your grass. Removal of waste is purely for you and your dog to avoid any inconvenience.
For dogs that like to dig holes there are special installation techniques that will ensure your grass lasts as long as it should so make sure you mention this when you are being quoted on installation.
Enduroturf is Australian made, is available Australia-wide and recognised as being one of Australia’s largest suppliers and installers of synthetic grass. Brisbane is home to Enduroturf’s head office but you can find our synthetic grass in Melbourne, Geelong , Canberra, Sydney, Cairns, Toowoomba, , Tasmania , Alice Springs, Adelaide and we of course also provide our synthetic grass in Perth. Call us today for a free, no obligation quote or visit us at enduroturf.com.au
Sphere: Related ContentWhat is Sculpture?
Sculpture is an artistic form in which hard or plastic materials are molded into three-D items. The designs may be embodied in freestanding objects, in reliefs on surfaces, or in environments ranging from tableaux to contexts around the spectator. A huge variety of material can be used, including clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects. Materials will be carved, modeled, molded, cast, wrought, welded, sewn, assembled, or purely shaped and combined.
Sculpture is not a fixed name that can be applied to a permanently standing category of objects or range of activities. It is, rather, an art that is growing and changes and is continually extending the range of activities and evolving new types of objects. The breadth of the term grew much wider in the latter half of the 20th century than as it had been merely two or three decades before, and in the fluid state of the visual arts at the turn of the 21st century, one cannot predict what its future dimensions are likely to become.
A few features which in previous centuries were regarded as essential to the art of sculpture but are now not present in a majority of modern sculpture and can no longer form part of the definition. One of the most significant of these is representation. Previous to the 20th century, sculpture was seen to be a representational art; imitating forms in life, mostly of human figures but also inanimate objects, like game, utensils, and books. At the turn of the 20th century, however, sculpture also included nonrepresentational forms. It has long been accepted that the forms of such functional three-dimensional objects as furniture, pots, and buildings can be expressive and beautiful without being representational. It was only during the 20th century that nonfunctional, nonrepresentational, three-dimensional works of art began to be produced.
Before the 20th century, sculpture was regarded as essentially an art of solid form, or mass. Whilte the negative elements of sculpture — the voids and hollows within and between its solid areas — have always been to some degree an inextricable part of any design, but this role was unacknowledged. In a good part of modern sculpture, however, the focus has shifted, and the spatial roles have started to come out as dominant. Spatial sculpture is today a generally recognisable branch of sculpture.
It was also taken for granted in past sculpture that its components had to be of a constant shape and size and, excepting items such as Augustus Saint-Gaudens’s Diana (a monumental weather vane), could not move. With modern developments of kinetic sculpture, neither the immobility nor immutability of its design can remain to be viewed as essential to the art of sculpture.
Additionally, sculpture during the 20th century was no longer limited to the two traditional forming processes of carving and modeling, or to any traditional natural materials as stone, metal, wood, ivory, bone, and clay. Now that contemporary sculptors can use any materials and methods of manufacture that serve their purpose, the art form can no longer be identified with any special kind of materials or techniques.
During all this evolution, there is probably just one thing that stayed constant in sculpture, and it emerges as the foremost abiding concern of sculptors: the art is a branch of the visual arts that is specially concerned with the creation of items in 3-D.
Sculpture might be either in the round or in relief. A sculpture in the round will be a separate, detached piece in its own right, with an independent existence in space as a human body or a chair. A sculpture in relief does not have this independance. It projects from and is attached to or is an integral part of some other object that serves either as a background for it or a matrix from whence it emerges.
The actual three-dimensionality of sculpture in the round puts restrictions on its scope in certain respects when compared with the scope of painting. Sculpture cannot have the illusion of space by solely optical means, or invest its shape with atmosphere and light as we see in painting. However, sculpture does possess a reality, a vivid physical presence that cannot be found in the pictorial arts. Different forms of sculpture are tangible as well as visible, and appeal strongly and directly to the tactile and visual sensibilities. Even the visually impaired, and those who are congenitally blind, can produce and appreciate different types of sculpture. It was, in fact, said by the 20th-century art critic Sir Herbert Read that sculpture should be seen as firstly an art of touch and that the originating roots of sculptural art can be based on the pleasure we experience in doing this.
All 3-D forms are perceived as having an expressive character along with their pure geometric properties. They may come across to the observer as delicate, aggressive, flowing, taut, relaxed, dynamic, soft, and such. By exploiting the evocative qualities of form, the artist is able to create imagery in which subject matter and expressiveness mutually reinforce the form. This visual imagery will go beyond the mere presentation of fact and impress a near endless range of subtle and powerful feelings.
The aesthetic raw material used in sculpture is, so to speak, the complete realm of expressive 3D form. A sculpture can draw upon what we see that exists in the endless range of natural and man-made form, or it can be an art of genuine invention. It has been used to express a wide range of human emotions and feelings from the most tender and delicate to the highly violent and ecstatic.
All human beings, innately involved from birth with the world of 3D form, realise something of its structural and expressive elements and have emotional reactions to them. This combination of intellectual understanding and sensitive reaction, often called a sense of form, can be cultivated and refined. It is to this sense of form that this art form primarily appeals.
For art supplies Brisbane, including canvas art supplies and artists supplies, visit or call the Discount Art Warehouse. Become a member for free and get 10% discount on future purchases.
Sphere: Related ContentWhy use Promotional Products?
In the advertising industry the performance of an advert is measured by:- How many people it reaches, how many times they see it, do they relate to it?, do they recall what it was selling?, and most importantly, will it make them buy?
We cannot think of any other sort of advertising that is as persuasive as promotional products at delivering you exposure to customers and achieving goodwill that leads to sales.
Consider these examples:-
1. A low cost item like a promotional fridge magnet, custom notepad or promotional drink bottle will offer your company an abundance of repeat advertising exposure to your customer. Your logo/message (or even something as simple as your telephone number) will always be at hand - they will not have to pick up the Yellow Pages to find your (and your competitors) details.
2. Being given a mid priced item like a promotional desk clock, a branded mousemat or a logo printed coffee mug will exhibit to your existing customers that you appreciate them, they will thank you for it, which in turn will produce goodwill towards you and your business. Furthermore it will give years of daily exposure to your logo/message. The cost of pre exposure (to your message) will be miniscule.
3. Top clients and staff are integral to our business and they will be to yours too. Studies have shown that happy staff are productive staff and you will know how much business, say, your top twenty five customers provide. A $30 thank you gift will represent less than 1/1000 of most employees yearly pay!
It might a smaller fraction of a contract you are tendering for or the annual sales volume of clients. Some of the largest companies we know are not huge payers but have a focus on staff contentment and showing them they are appreciated - they often use Corporate Gifts. Patting someone on the back and telling them they are essential is good but the act of giving is a lot more powerful.
What are Promotional Products?
Promotional Products are items that can be decorated with a clients name, logo or message on them. The industry is rapidly growing and has a value of $3.0 billion p.a. in Australia. Marketers desire to brand their organisation, product, or service is the reason they use Promotion Product’s items and services.
Many other media options are available - newspaper, radio, and direct mail to name a couple - however these do not offer the accountability offered by Promotional Product Marketing. Promotional Products are successful, as not only do they present your message but your client will thank you for them.
Consider the benefits of Promotional Product Marketing outlined below:
Targeted - Promotional Products target the people you are interested in. No non-prospects, no wasted circulation.
Longevity - A quality Promotional Product will be around for years and is used on a daily basis by your client. No other media can use as much exposure.
Versatility - There are so many applications for Promotional Products Marketing that a listing of them would look like the Sydney telephone directory.
Budget Flexible - From a few cents to hundreds of dollars Promotion Products has products to fulfill your individual communication objectives.
Obligation - Good business is based on Giving away Promotional Products to customers strengthens these relationships and creates an obligation towards doing business with you and your organisation.
Functional - The Promotional Products we offer are useful ensuring that your client will use the gift and be exposed to your message on a daily basis.
Promotion Products is a Brisbane based company that supplies promotional products such as promotional drink bottles and custom notepads and much, much more, call us on 1300 303 717 at anytime.
Sphere: Related ContentThe History of Weddings
Some form of marriage has been found to exist in all human societies, past and present. Its importance can be seen in the elaborate and intricate laws and rituals surrounding it. Although these laws and rituals are as varied and copious as human social and cultural organizations, some universals do apply.
The crucial legal function of marriage is to ensure the rights of the partners with respect to each other and to establish the rights and define the relationships of children within a community. Marriage has historically conferred a legitimate status on the offspring, which entitled him or her to the various privileges assured by the society of that community, including the right of inheritance. In most societies marriage also allowed the permissible social interaction allowed to the offspring, including the sufficient selection of future spouses.
Until the late 20th century, marriage was rarely a matter of free choice. In Western societies love between partners came to be associated with marriage, but even in Western society (as the novels of writers such as Henry James and Edith Wharton attest) romantic love was not the primary purpose for matrimony in most eras, and one’s marriage partner was carefully chosen.
Endogamy, the practice of marrying someone from within one’s own tribe or group, is the oldest social regulation of marriage. When the methods of communication with outside groups are restrictive, endogamous marriage is a natural conclusion. Cultural pressures to partner within one’s social, economic, and ethnic group are still very strongly policed in some societies.
Exogamy, the customof marrying outside the group, is prevalent in societies in which kinship relations are the most complex, thus excluding from marriage large groups who may trace their lineage to a common ancestor.
In societies in which the large, or extended, family remains the basic unit, marriages are usually arranged by the family. The assumption is that love between the partners occurs after marriage, and much consideration is given to the socioeconomic advantages given to the larger family from the match. By contrast, in societies in which the small, or nuclear, family predominates, young adults usually choose their own mates. It is assumed that love precedes (and determines) marriage, and less thought is normally given to the socioeconomic aspects of the match.
In societies with arranged marriages, the overwhelming custom is that someone acts as an intermediary, or matchmaker. This person’s capitalresponsibility is to arrange a marriage that will be agreeable to the two families represented. Some form of dowry or bridewealth is almost always exchanged in societies that favour arranged marriages.
In societies in which individuals choose their own mates, dating is the most typical way for people to meet and become acquainted with prospective partners. Successful dating may result in courtship, which then usually leads to marriage.
Marriage rituals
The rituals and ceremonies for marriage in the majority of cultures are associated primarily with productivity and confirm the importance of marriage for the continuation of a clan, people, or society. They also assert a familial or communal sanction of the mutual choice and an understanding of the difficulties and sacrifices involved in making what is considered, in most cases, to be a lifelong commitment to and responsibility for the welfare of spouse and children.
Marriage ceremonies include symbolic rites, often sanctified by a religious order, which are considered to confer good fortune on the couple. Because economic considerations play a crucial role in the success of child rearing, the presentation of gifts, both real and symbolic, to the married couple are a meaningful part of the marriage ritual. When the presentation of goods is extensive, either from the bride’s family to the bridegroom’s or vice versa, this usually indicates that the freedom to choose one’s marital partner has been restricted and announced by the families of the betrothed.
Fertility rites with the intention to ensure a fruitful marriage exist in some form in all ceremonies. Some of the oldest rituals still to be found in contemporary ceremonies include the prominent display of fruits or of cereal grains that may be sprinkled over the couple or on their nuptial bed, the accompaniment of a small child with the bride, and the smashing of an object or food to cultivate a successful consummation of the marriage and an easy childbirth.
The most universal ritual is one that symbolizes a sacred union. This may be expressed by the joining of hands, an exchange of rings or chains, or the tying of garments. However, all the elements in marriage rituals vary greatly among different societies, and components such as time, place, and the social importance of the event are established by tradition and habit.
These traditions are, to a certain extent, formed by the religious beliefs and practices found in societies throughout the world. In the Hindu tradition, for example, weddings are highly elaborate affairs, involving several prescribed rituals. Marriages are usually arranged by the parents of the couple, and the time of the ceremony is determined by careful astrological calculations. Among most Buddhists marriage remains chiefly a secular affair, even though the Buddha offered guidelines for the responsibilities of lay householders.
In Judaism marriage is thought to have been instituted by God and is described as making the individual complete. Marriage involves a double ceremony, which includes the formal betrothal and wedding rites (prior to the 12th century the two were separated by as much as one year). The modern ceremony begins with the groom signing the marriage contract in front of a group of witnesses. He is then led to the bride’s room, where he places a veil on her. This is followed by the ceremony under the huppa (a canopy that symbolizes the bridal bower), which includes the reading of the marriage contract, the seven marriage benedictions, the groom’s placing a ring on the bride’s finger (in Conservative and Reform traditions the double ring ceremony has been introduced), and, in most communities, the crushing of a glass under foot. After the ceremony the couple is led into a private room for seclusion, which symbolizes the consummation of the marriage.
From its beginnings, Christianity has emphasized the spiritual nature and indissolubility of marriage. Jesus Christ explained of marriage as instituted by God, and most Christians consider it a permanent union based upon mutual consent. Some Christian churches consider marriage as one of the sacraments, and other Christians confirm the sanctity of marriage but don’t consider it as a sacrament. Since the Middle Ages, Christian weddings have taken place before a priest or minister, and the ceremony involves the exchange of vows, readings from Scripture, a blessing, and, sometimes, the eucharistic rite.
In Islam marriage is not strictly a sacrament but is always understood as a gift from God or a kind of service to God. The basic Islamic tenets concerning marriage are written in the Qur’an, which states that the marital bond rests on “mutual love and mercy,” and that spouses are “each other’s garments.” Muslim men may have up to four wives at one time (though they seldom do), but the wives must all be treated equitably. Marriages are traditionally contracted by the father or guardian of the bride and her intended husband, who must offer his bride the mahr, a payment offered as a gift to guarantee her financial independence.
If you are looking for a Cairns wedding celebrant, a wedding celebrant in Cairns or a Cairns civil celebrant, contact Del at sharingandcaringcairns.com.au
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