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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.
PORTLAND CEMENT:
Portland cement is what holds the aggregates together and is available in
different grades and colours. The type you can buy at the local hardware or
lumber store is grey in colour. White portland cement has the tetracalcium
aluminoferrite removed, resulting in a pure white powder, with no loss of
strength. It is more expensive.
AGGREGATES:
STONE:
Crushed stone or gravel can range in size from
1/4" to 1". For small-scale sculpture you
probably won't need any larger than 1/4" or
5mm. You may not need it at all unless cost is a
factor: stone is cheaper than cement. Stone
adds strength to larger work.
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SAND:
Sand should be "sharp", that is have sharp edges, so
that the crystals of cement grab it. It is usually called
sharp sand, brick sand or mortar sand. The grains of pit
run sand or beach sand are usually too round.
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FINE:
Stone dust, a waste product from quarries or stone
works, can be added to smooth mixes for small-scale work. It adds strength,
reduces shrinkage on setting, and may add to the visual appearance of the
concrete. Limestone or marble dust are two types of stone dust.
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Supplementary cementitious materials. L-R: fly ash, metakaolin, silica fume, fly ash, slag,
and calcined shale. Image courtesy Portland Cement Association.
EXTREMELY FINE:
SILICA FUME:
Another waste product, this admixture is from metal smelting. It is a very
fine dark grey powder. Particle sizes are 1/100 the size of portland cement
particles. If used in the right proportions (about 8% by weight of the
portland cement) it can double the compressive strength of the concrete,
reduce permeability, increase density. It can be difficult to handle as it is
very fine, and makes the wet mix "sticky".
METAKAOLIN:
Metakaolin (used at about 8% by weight of the portland cement) can double
the compressive strength of the concrete, lowers permeability and increases
density but also has advantages over silica fume. Metakaolin makes the mix
creamier, less sticky, and is a plain white in colour. Particle size is smaller
than cement but bigger than silica fume. Metakaolin is a fairly new additive
and may be difficult to find. (Try distributors of plastering materials for the
pool industry.)
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LIGHTWEIGHT:
PERLITE, VERMICULITE, PUMICE:
Naturally occurring minerals that expand when heated. Perlite is white and
crispy, vermiculite is darker. Pumice is a volcanic (glass) rock.
POLYSTYRENE BEADS:
Difficult to mix in and messy to use (static cling and very
lightweight) - it is best to use coated beads. B-Lite® is
one brand of coated beads.
PLASTIC FIBRES:
Fibre additives, such as FiberMesh and Fiber Ad (polypropylene) are chopped
(about 1/2", 1 cm) strands of plastic. They disperse into the wet concrete
mix and help prevent shrinkage cracks as the concrete sets. Shrinkage
cracks can later cause problems. On a very small scale the fibers also add a
small amount of tensile strength. They are almost invisible in the final
product. A new fibre called PVA or polyvinyl alcohol, has a much greater
bond with the cement and therefore a much higher tensile strength. Note:
You cannot use a polymer additive such as latex or acrylic with PVA fibres or
that bond is weakened.
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GLASS FIBRES:
Glass fibres added to the concrete mix be alkali
resistant, or the alkalinity of the cement will eventually
break them down. Their purpose is to add tensile
strength to the concrete, replacing steel reinforcing in
special circumstances. This makes them a useful addition for art work where
the concrete might be cast in a space where steel reinforcing could not be
used. The coated fibres, such as Cem-FIL, are usually 12 mm long, and are
added after the wet mix is ready. Also available as a mesh or cloth (see
image).
STEEL REINFORCING:
Steel is the most commonly used reinforcing to give concrete tensile
strength. In construction projects it use used as rebar, 1/2 to 1" rod.
Smaller art projects can use much thinner steel rod. There are also varieties
of galvanized steel meshes or screens available. One type of expanded steel
mesh is used as a stucco base and can be cut with metal snips (carefully).
There are other square grid galvanized meshes, 1/4", 1/2" and so on.
Chicken wire, used for fencing, is also a flexible and easy to use material.
AIR ENTRAINERS:
Air entrainers are used in concrete that may be exposed to frost, or repeated
freeze-thaw cycles. They work by creating tiny air bubbles in the wet mix.
MicroAir is one brand. Very small quantities are used.
SUPER PLASTICIZERS:
In mixing concrete you try and get all the dry particles in the mix to be
wetted. The aim is to use as little water as possible, because water not
chemically combined stays in the dry mix and causes weakness. Plasticizers
help to wet the surfaces, enabling the mix to use less water. One brand is
Pozzolith. Tiny amounts are used. It is also called a "water reducer."
LATEX OR ACRYLIC:
Latex or acrylic additive (or admixture) is sometimes used in concrete,
adding it to the water first. It acts as a plasticizer (to use less water),
increases strength and makes it more waterproof, and increases adhesion
(for example, when adding a surface to an older piece of concrete).
SEALERS:
In some circumstances it is advisable to seal the concrete surface to reduce
water penetration, which aids frost resistance and resists acid rain.
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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.
This concrete bracelet has a silver ring as the main structure. Silver pegs
were soldered around the circle, then drilled. Stainless steel wire was
threaded through the holes and wrapped around the pegs. A mixture of
portland cement (2 tbsp), stone dust (2 tbsp), silver filings (1 tsp),
fibermesh (pinch) and latex solution, was pushed into and through the
armature. The concrete was supported on a concave surface while it set.
Filing and wet sanding the concrete after two days completed the rough
shape of the piece; final wet sanding and sealing with siloxane about a week
later.
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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects. Also see the step by step page for more details on this technique.
It's important to note that you can use a variety of mixes for different
purposes. I often use a cement-sand mix (1:1 or 1:2) for applying the first
couple of layers, then switch to a cement mix with no aggregate or a very
fine admixture (such as stone dust or kaolin) for the final layers.
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Alternate Mix #1
---500 ml portland cement
---1 L sharp sand (mortar or brick sand)
---about 20 ml fibres
Mix this dry then add:
---small amount of water with 7 drops MicroAir (air entrainer), half tsp
(.25ml) Pozzolith (plasticizer)
---more water to make the right consistency
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me
sh
is a
fast
wa
y of
developing a hollow form. (See
image on right.) Cardboard is cut
out or folded, then taped together
using a waterproof tape like a
packing tape shown here. The
tape-wrapped cardboard is the
basic shape. Make sure all the
cardboard is covered by plastic
tape. It is then wrapped in several
layers of chicken wire, burying all
the loose ends, twisting the edges
together and lifting the lower
layers off the cardboard. A
cement-sand mix is packed into
the mesh. After a day the cement
covered form can be refined by
filing or using a very coarse
sandpaper (24 grit). The cardboard can then be removed (unless the form is
a closed one). O
Another method
uses plastic board - see image on left - (aka 'Coroplast', the white plastic
that looks like cardboard, used for election signs, backing prints, etc). I have
a STEP BY STEP explanation on another page.
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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.
You can use a variety of mixes for different purposes. A cement-sand mix
(1:1 or 1:2) can be used for the basic cast shape then a cement mix with no
aggregate or a very fine admixture (such as stone dust or kaolin) for
patching and finishing. [See the mixes page for recent improvements to
these mixes.]
This is the 32" (82 cm) long mold for a piece similar to the Cast Boat
Form and is made from galvanized steel held in a wood structure. I've used
plastic tape to hold parts together and to give an interesting surface texture.
At this point I'm using a fairly complex mix:
---4 litres portland cement
---8 litres sharp sand (brick sand, mortar sand)
---80 ml polypropylene fibres
---1 tsp (15 ml) MicroAir (air entrainer)
---4 tsp (45 ml) Pozzolith (plasticizer)
---approx. 2 litres water
This mix has been developed using information from Master Builders data
sheets (see links page) for quantities of the air entrainer and plasticizer. It
would be suitable for outdoor use. The amount of water is a rough estimate
because of sand moisture and type. It is essential to use as little water as
possible. To get the liquid additives into the mix you should add them to
some (perhaps 200 ml) of the water first, add that solution to the dry mix,
then continue to add straight water.
After a day the mold is broken open and the shape refined with files and
emery paper. Then a small amount of coloured mix is rubbed into the
textured surface:
---200 ml cement
---no sand
---2 drops MicroAir
---7 drops Pozzolith
---1.5 tsp black pigment
---latex solution (3 water:1 latex)
After another day this is sanded smooth.
[See the mixes page for recent improvements to these mixes.]
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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.
The most typical concrete colours are earthy: brick or rust red, buff or
yellow ochre, brown, charcoal (close to black). Green is less common and
more expensive. Blue is even more expensive. (How often have you seen
blue concrete?) Most colours seem to be derived from iron oxide or cobalt. A
good colour chart can be seen
at:http://www.scofield.com/coloredconcrete_colors.html.
Or http://www.lambertusa.com/color/id35.htm (A new window will open.)
The colours typically come in a powder form, or mixed with water as a paste.
Getting a deep rich colour can be a problem as most of the pigments have a
maximum percentage (usually 10%) that can be used before they weaken
the mix, so you can be left with a weak concrete with a good colour, or a
strong concrete with a pastel shade. Often the main body of concrete is
mixed without the dye, and then a mix of cement and pigment used as a top
coat. This gives you the strength, with a deeper colour on the surface.
Acid stains work by painting the acid stain on the surface. The acid creates
porosity and the stain penetrates. You can also stain the surface of concrete
using water-based, or acrylic, opaque stains. These stains are made to be
used with outdoor wood, so I am not sure about long-term colour-fastness
when used on the surface of concrete exposed to the weather. Apply with a
stiff brush and wipe off immediately with a slightly damp cloth. This leaves
the colours imbedded in the texture of the concrete.
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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.
CONCRETE:
This is not intended to be a comprehensive list of hazards about working
with concrete or portland cement but tries to give you an overview. Cement
is extremely caustic when mixed with water and not cured, so use common
sense. This means it will burn your skin. Wear protective gloves and glasses
or goggles. The dust, either from mixing cement and sand, or from sanding
dry concrete, is toxic (free silica, chromium contaminants). Wear an
appropriate mask or respirator (one approved for toxic dust). Always wet
sand rather than dry sand whenever possible.
From c
by Michael McCann, Lyons and Burford, New York (ISBN
0823002950) [order from amazon.com]:
My own book, Concrete Handbook for Artists, has a chapter on hazards, and
cautions on the use of most materials throughout the book.
SEALERS:
SILOXANE:
These sealers are often solvent-based, and need a lot of ventilation when
applying. Read the label carefully. Wear gloves, protect your eyes.
V-SEAL:
Although v-seal is water-based, clear and odourless the label does caution
about slight irritation to skin and eyes, so wear rubber gloves. Ventilation is
necessary as "it can cause headache, irritation of nose, throat and lungs."
POZZOLANS:
Pozzolans such as metakaolin, silica fume or fly ash, are all silicates. Use a
respirator approved for them. Silicates cause silicosis, a serious lung
disease.
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c % by Dik Schwanke and Jean Lahti-
Wagner, University Press of America, 1985, ISBN:0819146250 (currently not
available) describes the technique of carving into cement when it is partially
set. This gives rapid and pleasing results. There are lots of formulae and
sections on casting and modelling over various supports.
by John W. Mills, Praeger, New York, 1968 (ISBN:
0853340161, out of print) describes making a multi-piece plaster mold
around a clay form. The mold can then be used to cast one solid concrete
sculpture.
: Mold Techniques and Materials: Metals, Plastics,
Concrete, by Dennis Kowal and Dona Z. Meilach, Crown Publishing, New
York, 1972 (ISBN: 0517500590, out of print) has a chapter on concrete and
plaster casting, with other sections on mold making.
- %
, by A. J. Majumdar and V. Laws. BSP
Professional Books, Oxford, 1991 (ISBN 0-632-02904-8) is a highly technical
research book on the combination of alkali resistant glass fibres and cement.
The book may be difficult to find. Although it is not an art book or a how-to
manual, I mention it as there are few books on this subject.
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, by John Plowman, Running Press,
1995, ISBN 1561385328. "Covers carving aerated concrete blocks...lots of
photos of process."Order from Amazon.
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%, by Oliver Andrews, University of
California Press, 1988, ISBN 0520064526. "Good coverage, including
technical background, aggregates and proportions for different purposes,
carving, casting, modelling over an armature, stressing (pre- and post-
tensioning) and finishes." Order from Amazon.
AGGREGATES
---Crushed stone or gravel can be found at local Ready Mix concrete
suppliers, or masonry supliers.
---Sand can be found at these places too, and hardware stores sell it in
bags. Sharp sand (also called brick sand, or mortar sand) is best.
---Stone dust (limestone or marble): try local quarries. Marble dust is
sometimes sold as "swimming pool aggregate."
---Lightweight aggregates like vermiculite and perlite: try garden suppliers
or hardware stores.
FIBERS:
Polypropylene fibers (brand names Fibermesh or Fiber Ad) can be difficult to
find locally. Try your local Ready Mix concrete supplier and ask if they will
sell you a bag. It's usually supplied in 1 lb. bags -- about $10 -- enough for
a cubic yard of concrete. The fibres are about 1 cm (.5") long. Sometimes its
called "micromesh." Fibermesh has aweb site with their address, where you
can write or phone. The new PVA fibres are available through Nycon.com.
Small quantities through concretedepot.net (as of March 2007).
GLASS FIBRES:
A reinforcing additive (see links page for Cem-FIL), they must be alkali
resistant, usually written as "AR". The chopped strands are probably the
most useful. In North America they are available from Ball Consulting or
Composite Materials (see links page).
MESH:
Hardware cloth, expanded galvanized mesh, or chicken wire, can usually be
found at lumber stores, masonry suppliers or hardware stores. The
expanded galvanized mesh is used as a base for exterior stucco on houses.
For the wire to hold it together ask for binding wire, stove-pipe wire or
galvanized wire, usually available at hardware stores.
AIR ENTRAINERS and PLASTICIZERS:
These are difficult to source. Master Builders is one manufacturer, but won't
sell small quantities. Try your local ready mix supplier. Air entrainers are
only essential for outdoor work in frost zones. Plasticizers are not essential,
they just increase strength. If you can't find a plasticizer like Pozzolith or
Polyhede, you can use the latex or acrylic additives in water, although they
are more expensive in large quantities.
SILICA FUME:
An extremely fine dark powder, silica fume is a waste product from the
smelting of metals. As a concrete additive it increase strength and reduces
permeability. Available through Master Builders and other suppliers it is
difficult to find in small quantities. Lafarge Cement adds silica fume to their
SF cements.
METAKAOLIN:
One brand made by Engelhard is called MetaMax(see links page) and is a
fine white powder with similar qualities to silica fume. It increase strength,
decreases permeability, lessens drying shrinkage. It is used as 5-15% by
weight of the portland cement. It may be difficult to find in less than 50
pound bags. U.S. sources: A.E. Flemming Co., Detroit, MI, 810-826-9200.
Rieblan Sales, Garland, TX, 800-374-1594. The Concrete Countertop
Institute sells individual bags (40 lbs). See their website. Also try
distributors of plastering materials for the pool industry.
SEALERS:
Sealers for waterproofing concrete can be found in your local hardware or
lumber store. Most of the readily available ones are acrylic-based. Silane or
siloxane sealers combine chemically inside the concrete leaving a natural
surface, but may be difficult to source. Try Lighthouse Products for their
siloxane sealers, PO Box 1253, New Smyrna Beach, Florida 32170 (904-428-
8888 or 1-800-228-5537). In Canada, Gem-Gard SX, a siloxane sealer is
available in large 20L pails from the distributor Form and Build. Smaller
quantities may be available from CPD (see latex above), through a local
distributor. V-Seal, clear, colourless and water-based is available from V-
Seal's web site in North America.
DYES/PIGMENTS:
As powders or liquids that are mixed into concrete, they can be found in
local hardware or lumber stores, or try a local company that manufactures
concrete block. Surface dyes: I've had good luck with acrylic-based opaque
stains available at your local paint store that are used for outdoor wood, but
I don't know about long-term breakdown. Special dyes or stains are also
made for rubbing into the surface of cured concrete and can be obtained
through craft supply stores or hardware stores. One brand is DecoArt's
"Patio Paint." Acid stains etch into the surface of the concrete and are
commonly used to colour concrete floors. See the links page for several
sources.