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scale art projects.

 
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. More information?

Concrete is a mix of portland cement, aggregates, water and other optional

additives that give the mix certain characteristics.

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.

Ê
Ê

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.

Ê
Ê

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.

Ê
Ê

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.)

Ê
Ê

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.

Ê
Ê

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).

PIGMENTS AND DYES:

Pigments or dyes can be added to the mix, or applied to the surface of set
concrete. Special dyes are made for this purpose as common pigments can
be broken down by the alkalinity of the cement. The range of colours are in
the earth tone range: black, grey, brown, ochre, dark red. Blues and greens
are available but costly for large projects. Pigments are available as liquids,
or as powders. Concrete can also be surface coloured with acid stains or
opaque stains made for outdoor use. The latter has a wide range of colours,
but some may not be long-lasting.

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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Scale | Mesh | Casting | Colour | Hazards | Books | Sources

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Working with portland cement at a

jewellery scale has led me to mixtures that
use few aggregates. Even sand seems too
coarse for some jewelry. The mix is
portland cement (white or grey),
polypropylene fibres (optional: to reduce
shrinkage cracks as shown at right) and water or acrylic or latex solution
(optional). I have recently had success using waste grindings from a local
limestone quarry in a 1:1 or 1:2 ratio with the portland cement. Cement
with no aggregates can lead to a lot of shrinkage. See the materials page for
more details.

This is a reliable mix:

-- 1 tbsp stone dust (screened, limestone or marble)
-- 1 tbsp portland cement (grey or white)
-- half tsp metakaolin
-- pinch fibres
-- (optional) 1 tsp metal filings (silver, bronze)
-- acrylic or latex solution (as little as possible)
The cement is mixed well -- it should be thoroughly wetted, but not liquid --
and placed in the mold, or around a framework (see bracelet) and covered
with plastic wrap for 24-48 hours, making sure the surface does not get dry.
After this period it can be released from the mold and wet sanded to shape.
Small air holes can be filled with a mix of the same proportions and covered
for another day then wet sanded again. After a weeks curing (covered, not
allowed to dry out) it can be sealed.

 



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.

Home | HOW-TO | Materials | Small

Scale | Mesh | Casting | Colour | Hazards | Books | Sources

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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. 

mixes%$ %
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This leaf-shaped bowl was made using two

mixtures applied by hand (using rubber
gloves) to a galvanized steel mesh form,
sometimes called hardware cloth. It is 22"
or 55 cm long. Expanded metal mesh can
also be used. The metal is first cut with
snips (use leather gloves -- the cut edges
are very sharp), formed by hand and
wired at strategic places with iron wire.
The metal acts as support during curing and also increases the tensile
strength.

In this bowl form the basic structure was made

using wire mesh to produce a three-dimensional
form. The mesh is heavy enough to support itself.
A heavy copper wire was wired to it to make the
two legs. The inside was temporarily covered with
plastic tape to prevent the mix from being pushed
through.
[See the mixes page for recent improvements to these mixes.]
Mix #1
---500 ml white portland cement
---500 ml white sand
---about 40 ml polypropylene fibres (loose)
Mix this dry then add:
---about 200 ml latex solution (3 parts water: 1 part latex)

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

[See the mixes page for recent improvements to

these mixes.] After mixing for several minutes it
was applied to the outside of the steel mesh form,
about 5 mm thick, and the work covered in plastic.
After it set (but could still be scratched easily,
about 24 hours), the form was turned over, the
temporary tape was removed and the inside
covered with another layer of mix to bury all the steel, pushing it well into all
the spaces. A texture was then scratched or trowelled into the surface and
let set for a day
Mix #2
---100 ml gray portland cement
---about 50 ml latex solution (3 water : 1 latex)
This mix was applied to the dampened bowl form and rubbed into the
texture. After it set, excess was scraped off to expose the white underneath.
A day of so later the whole form was wet sanded to smooth the surface. The
piece was kept damp and covered for a week. Gold leaf was applied to the
copper legs..

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s
met
hod
of
usi
ng
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.

A variation on this method is to carve blocks of styrofoam (also called

beadboard, rigid foam insulation) into the basic shape, then wrap that form
in chicken wire or galvanized mesh.

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 THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.

 
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. More information?

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.]

For casting these medium sized forms, I am using

expanded polystyrene insulation. It can be cut roughly with
a sharp knife, or accurately with a scroll saw. This method
is particularly suited to simple geometric forms.
In this photograph, five layers of 1" (2.2 cm) polystyrene
are sandwiched together using double-sided tape and duct
tape on the outside to hold it all together. This is a one-off
mold process. The mold will be broken to release the
concrete.
The mix for casting should be wet enough to slump in the
mold, to fill corners and spaces, but not so wet that it weakens the end
result. The mix I used was:
---750 ml grey portland cement
---750 ml white sand
---40 ml polypropylene fibres (loose)
---about 300 ml latex solution (1:3,
latex:water)

This is the casting for Slot Box 3, in

process, after breaking the mold and
removing the polystyrene. A copper
rod has been cast in place. Size:
11.5" across (29 cm) X 5" (13 cm)
high. Galvanized steel or plywood are
just two more of the many possible
mold-making materials. The large
Cast Form with Gold Leaf on
a gallery page was made using
galvanized sheet metal for the form.
This mold for a bowl form was made from
styrofoam, drywall cement to round corners, and a
hand-raised copper bowl. The bowl was removed
after the concrete mix set. The drywall cement was
washed away.

These smaller jewellery pendants were cast and shaped

white and grey portland cement (with fibres and latex
added for strength), 2.5 inches (6.5 cm) long. They
have been made into pendants (see this gallery page).
They were cast in forms made from thin brass, then
refined with wet sanding.

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.]

Home | HOW-TO | Materials | Small

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. More information?

Concrete can by coloured or dyed with a limited palette of several colors.

Because the portland cement is caustic, some pigments that work well in
paint media are attacked by the causticity, resulting in colour break-down
over time. To be certain, you must use pigments that have been proven to
last when mixed with concrete.

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.

Concrete tiles, stained with acrylic outdoor stains.

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THIS PAGE is one of several explaining techniques about how to use concrete in small-
scale art projects.

 
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. More information?

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.

"Allergic dematitis" means that once you develop a sensitivity to cement, in

the form of a skin allergy, you may not be able to use it any more. So use
preventive measures to make sure you do not develop the sensitivity in the
first place.

From c  
 by Michael McCann, Lyons and Burford, New York (ISBN
0823002950) [order from amazon.com]:

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Another recommended book on safety for artists is O c   


 
   by Monona Rossol, Allworth Press, 1994, ISBN:
1880559188
[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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Concrete Handbook for Artists: Technical Notes for Small-scale

Objects, is my own book. It's based on this web site but has a lot more
information. My intent is to explain the theory and principles of concrete, to
give you the tools to understand what is happening, rather than the details
in making a particular object. The book is about working directly with
concrete, not about casting multiples. Beyond the basic principles of
concrete, the book explains mixes and additives and how these mixes must
be changed for different uses. It explains several methods of forming
concrete. I have also intentionally set limitations of scale: jewellery,
sculpture and small functional objects. 135 pages, 7.5" X 9", black and white
photos and line drawings. Paperback binding (lay-flat). ISBN 0-9730223-0-
2. Revised in 2006. Cost is $29.95 USD or $29.95 CAD plus shipping. More
information?

Creating Concrete Art Furniture by Charles Sthreshley, 2008,

is an all-color step-by-step manual for making concrete furniture.
It's as close as you can get to being in the studio with Sthreshley.
Recommended.
[order from amazon.com]

Ê
Ê

Top of the list for other books would be the newly

published Creative Concrete Ornaments for the Garden :
Making Pots, Planters, Birdbaths, Sculpture & More by
Sherri Warner Hunter , Lark Books, 2005, ISBN:
1579905854 [order from amazon.com]. (And I'm not just
recommending this book because several of my techniques are in it...) The
book has excellent instructions for different types of concrete for many
different techniques: casting, armatures, using foam, carving, surface
treatments. There are also many projects to follow -- about 30 -- with
excellent photographs. Hunter, a Tennessee sculptor, has really done her
technical research, and she's got the right idea in using different mixes for
different purposes. This book is all you need to start and continue to learn
with. I recommend it highly.

Ê
Ê

Making Concrete Garden Ornaments by Sherri Warner Hunter is her first

book. Originally published as 
   
   !
c"
 "


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. [order from amazon.com]

I would also recommend Sculpting With Cement : Direct Modeling in a

Permanent Medium by Lynn Olson, Steelstone Press, 1982, ISBN:
0960567801, now available again. [order paperback from amazon.com]. The
book suggests using very fine steel wool mixed with portland cement for
strength (similar to the plastic fibers above) in small-scale work. There are
excellent sections on surface finishing, reinforcing with steel, carving and
additives.

Concrete Countertops: Design, Form, and Finishes for the New

Kitchen and Bath by Fu-Tung Cheng, Eric Olsen, Taunton Press, 2002,
ISBN: 1561584843.[order from amazon.com] Although this book is about
countertops, it has good solid technical information. A lot of the methods
used here can be used in artwork. You can also buy the video Concrete
Countertops DIY instructional DVD. Their newest book is Concrete at
Home, and includes information and images on floors, walls, fireplaces,
countertops. It's exceptionally good.[order from amazon.com]

Concrete at Home : Innovative Forms and Finishes: Countertops,

Floors, Walls, and Fireplaces by Fu-Tung Cheng, Eric Olsen, Taunton
Press, 2005, ISBN: 156158682X. [order from amazon.com]. This book
shows other ways that concrete can be used throughout the house.

  
  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.

&  


  ' ( ) *  


+  ,, S.H.
Kosmatka, B. Kerkhoff, and W.C. Panarese, Cement Association of Canada,
ISBN: 08913122181. An excellent reference, written for the construction
industry, so the technical information is impeccable. The association says:
"This premier publication on concrete technology includes the latest in
product advancements...the fully revised 7th edition represents the book's
most extensive update and expansion with special focus on blended
cements, high performance concrete, supplementary cementing materials,
and fibers." Order #EB101 fromhttp://www.cement.ca/. If you want the U.S.
version it is available from http://www.portcement.org/ in their online
catalogue as #EB001, and also available on CD.

Also, here's a two-page PDF file of some of my workshop notes.

Other readers suggest:


- %  
  , 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.

O +

 

 O
 . , by John Plowman, Running Press,
1995, ISBN 1561385328. "Covers carving aerated concrete blocks...lots of
photos of process."Order from Amazon.

/ * '
 
 c

%, 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.

Casting in Ciment Fondu, by Edward Folkard FRBS, published and sold by

Alec Tiranti, 70 High Street, Theale, Reading, Berks, England, 1983, ISBN
0854566407. "20 pages, very focussed information covering molds, casting
techniques, fault avoidance, repairs, surface treatment and colours, and a
brief section on uses apart from casting." Tiranti confirms that it is still
available at £1.75 plus p & p (which in the UK is 35p). They have a web site
at http://www.tiranti.co.uk.

The Technique of Sculpture, by John W. Mills, published by B.T.Batsford Ltd.,

1976, ISBN 0713430516. "Covers casting, good coverage of armatures (not
discussed by Folkard to any depth), has some photos." It is out of print. I
have two other ISBN numbers to search for: 0823052109 and 0713425091.

This is general, generic information about where to find materials for

concrete, with a few specifics for hard-to-find materials. It's mainly Canada
and U.S. based as these are the countries I can easily obtain materials from.
See also the materials page for an explanation of why some of the additives
are used. Thanks go to a lot of people for emailing me with leads to sources
of supply. See the links page for further sources.
PORTLAND CEMENT:
Widely available at local lumber companies, hardware stores and
construction supply outlets. White portland cement may be more difficult to
find. Try masonry supply outlets.

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.

LATEX OR ACRYLIC ADDITIVE:

Usually available in four litre or one gallon containers, from masonry
suppliers or construction supply outlets (such as contractor equipment
rentals). It looks like milk and has a consistency like cream. Most large retail
lumber outlets now carry acrylic admixture.

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.