FreeShip- Cement-All, Concrete Ready-Mix, Rapid Set, Light Gray/Tan Mix- (Prompt rebate on orders with 3 or more FreeShip items!))

DESCRIPTION-> Click "Learn more about this item" for article & instructions!
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This is a commercial concrete mix that is preformulated by the manufacturer CTS to be a quick curing concrete patch material. I've renamed it from "Cement All" to "Cement-All" in this description so it will stand out clearer as a product name. It is not made with white portland cement and cannot be colored as brightly as the color tiles shown in the #80-102 White Art Concrete listing. It awaits testing to see how well it can be colored with pigments. Probably it will do adequately with the iron oxide colors like red, black, yellow and a few others, especially the earth tones. It is also a very fast setting concrete mix, perhaps too fast as supplied to fill molds other than open face molds. Measures can be taken to slow it down some if necessary. A retarder is available and temperatures can be lowered and water ratios increased along with increasing casting thicknesses and mass.

PICTURE #1- Sample bag quantities of this listing "Cement All" concrete.

--This Cement-All concrete was used with a range of water ratios by weight:
19.2 water/100 concrete powder (conversion factor = 0.161) (upper value)
18.0 water/100 concrete powder (conversion factor = 0.152) (median value)
15.6 water/100 concrete powder (conversion factor = 0.135) (lower value)
(The conversion factor = water/water+powder (19.2/192.2 = 0.161)
(See below "NOTES ON WATER RATIO, WORKING TIME, AND MIXING"
for detailed explanation). Mixing time should be about 2 minutes.

PICTURE #2- Tiles of our four custom Art Concrete mixes compared with Cement-All:

Cement-All (this listing) is on the bottom, in the center position. The
Cement-All tile is slightly lighter than the Tan Art tile #251. It is also
slightly more porous than Tan Art (it soaked up more shellac when that
wetting agent was put on the right side vertical strip).

NOTES SPECIFIC TO CEMENT-ALL CONCRETE:

Cement-All has a short working time before it reaches what I call "soft-set". Soft-set is the time at which it no longer flows when a small pick tool is poked into the top surface of the concrete mix and the amount of concrete moved by the tool no longer slumps back into the mass, but stays in a raised position. The working time is the length of time before the soft-set time. Cement-All has the shortest working time of any of our 5 concrete ready-mixes. It is recommended that you use Cement-All for larger cross section masses than our 4 custom concrete mixes (2 White Arts, Tan Art, and Dark Art), which are intended for extra small concrete masses such as jewelry or small containers.
Cement-All can be modified to have a longer working time with the use of a concrete retarder. CTS has such a retarder we carry wich they call "Set Control". CTS gives the temperature range with which Cement-All may be mixed as between 42F and 90F. We test our concrete mixtures at a slightly elevated temperature of about 76F to 78F. CTS uses the temperature of 70F when listing Cement-All's properties and "set time" (15 minutes). I believe what they call "set time" is the same as "soft-set" time. I have another term called "hard-set" which I define as the time when a small pick will no longer create a mark or indentation on the top of the concrete's surface. The next section gives more detail about why Cement-All is more suitable for larger projects than our other concrete mixes.

Cement-All has a greater blend of pozzolanic and strengthening additives than our White Art concrete and so is potentially stronger than those concrete mixes #63-101 or #80-102 (the White Art mixes are limited to ingredients which are very light colored and most of the pozzolanic ingredients are darker). I say "potentially" because the actual concrete when set-up if used at a similar viscosity is not as strong as our other 4 concrete mixes because Cement-All is strongest when used at high viscosities. The sample tiles break easier compared to our other 4 concrete mixes at a given specific powder loading and at the same time in the cure cycle. Cement-All is more sensitive to higher water ratios than our other 4 mixes. The highest water ratio the Cement-All data sheet mentions is 5 quarts of water per 55 lb bag of the powder (that works out to 16.7g/3.2g powder/water). At that ratio the mix is just on the cusp of being too viscous. The most cited water ratio in the Cement-All data sheets is 3.75 quarts of water per 55 lb of powder (that is 16.7g/2.4g powder/water). At that water ratio the mixture is a non flowing paste unless it is mixed longer than our other concrete mixes (it can form a slow flowing paste if mixed longer, but ironically if mixed longer it can soft-set before it can be completely poured). At that water ratio when mixed for only 1 minute to gain additional pour time (compared to 2 minutes with the other 4 mixes) it is not practical for pouring into molds, it's simply too viscous and the setup time is too fast to fill your molds unless your object molds are shallow open face molds with very little detail. At water ratios that give a pourable mix similar in viscosity to the White Art Concrete Mixes (16.7g/3.4g for example), the sample tile breaks when cured for 24 hours (that being the time the data sheet says the mix reaches a reasonably high compressive strength of 6000 psi). It needs an additional 24 to 48 hours to reach a point when flexural strength is high enough for the tile to not break. Flexural strength, which is what is being tested when the tile samples are being bent with both hands in an attempt to break them, does not reach a reasonably high amount for 7 days, according to the data sheet.

What that boils down to, in simpler language, is that you will be wanting to mix your concrete to a pourable state, which will have too much water for the mixture to reach any kind of reasonable strength in a reasonably quick time. But not to fear, there are measures that can be taken to compensate for these deficits. The most obvious being to reserve Cement-All's use to larger projects with thicker walls. Another measure is to use "Set Control", a retarder made especially for Cement-All. If you slow down the soft-set time you will have enough working time to fill your molds adequately without raising the amount of water used and making a mix that needs a longer time to gain strength. You will have time to make thicker mixes with less water become workable. Other measures you can take are to raise the mass of the objects you will be casting. The larger the mass, the greater the heat of cure exotherm and the greater the strength of your castings, simply because they will be of thicker cross sections and those cross sections will cure faster during post working time. You can also raise the curing temperature. Keep the mixing and pouring temperature as low as possible to give yourself the longest possible working time and then move the still in mold castings to a warm area to speed cure, compensating for a higher water ratio (if needed) that you're using to make the mixture easily pourable (but, as mentioned above, if you use a retarder you may not need to increase the amount of water).
Another factor that leads to the above recommendation to cast larger sized objects using Cement-All is the size of the aggregates in Cement-All. Aggregate size is larger than in any of our 4 custom concrete mixes, and would not be suitable for castings which have very fine details with mold cross sections that are very thin; the aggregate size would not readily fill the mold (especially with the fast setup time of Cement-All).

Since integral bright and painterly pigment addition would probably be wasted on Cement-All (testing by you will reveal whether that is true), I've viewed it more in terms of its 3-D sculptural possibilities instead of 2-D pigment coloration (please refer to our #251 and #252 concrete mixes to see pictures of these sculptural possibilities). Sculptural properties include surface texture and shape, which can vary from simple low bas-relief to extreme high relief. Color is still an important factor in any sculptural treatment but it's more often used in tandem with texture which plays with light by reflecting, scattering, breaking, absorbing, or otherwise modifying light. And as for shape, this darker concrete seems to beg freer, organic shapes, at least for me. I read about (and repeat) "playing with art" nowadays, but it still boils down to specific and easily described methods that have been in use by many people for many years. Yes, there are a few materials being combined in new ways using novel methods; a good example is the creation of "Cells" using epoxy resin, silicone oil, and alcohol. But those materials have all been around for a long time and the new methods are a result of patching together old methods that have been used for decades. The old saying that there is "nothing new under the sun" seems to be more true with the passing of time, due perhaps to the steady increase in human population combined with the existence of the internet and the increasing ease with which it disseminates information to the "masses". The "nothing new..." proverb means (according to Wiktionary) "There is nothing truly novel in existence; every new idea has some sort of precedent or echo from the past."
I only bring that up because I've been making concrete samples using ways to cast the darker #251 and #252 and this Cement-All item (although I've not done any sculptural experiments with Cement-All alone, the experiments with the Tan Mix, #251, and yes #252 apply also to Cement-All) and have "discovered" what (to me) are new methods of mold making and casting these concretes. In truth I've only "re-discovered" new methods. "Nothing new..." also means people are independently re-inventing the same things all the time.

NOTES ON WATER RATIO, WORKING TIME, AND MIXING FOR CEMENT-ALL:

--This Cement-All concrete was used with a range of water ratios by weight:
19.2 water/100 concrete powder (conversion factor = 0.161) (upper value)
18.0 water/100 concrete powder (conversion factor = 0.152) (median value)
15.6 water/100 concrete powder (conversion factor = 0.135) (lower value)
NOTE: 15.6 water/100 concrete powder is a thick paste only for open face molds.
Mixing time should be about 2 minutes.
Soft Set times at a given water ratio:
Recording of Soft-Set times was not diligent: ~5 minutes @ 19.6/100 & 18.0/100.

Note that the given amounts above are what I used in my testing and will be the optimal ratios for this Cement-All concrete mix. But, you are free to use whatever proportions give you the best results for your application. Don't want to be bothered by carefully measuring units of weight? Then use measuring spoons for proportioning by volume. You will need to experiment using your spoons to see what will give workable mixes for your process. Just keep in mind that an optimal mixture will be the thickest that your process allows. Making soupy pourable mixes will result in weakened concrete and if you are adding pigments, it will lighten the colors. Also be aware that volume measuring is not accurate from batch to batch if you allow the amount of packing of powder in the spoons to change each time you measure a batch. What follows is for those who have accurate scales that will measure small amounts of weight (using grams is preferrable):
19.2/100 is the highest water content. More water in the concrete mix makes it more pourable, makes it weaker when cured, and can lead to more settling out of the dense ingredients. When adding pigments it will lighten the color slightly. But when adding extra aggregate it can allow more aggregate to be added and still have a workable mixture.
15.6/100 is the lowest water content (and is not practical for pouring). Less water will give a thicker mix, will make it stronger when cured, and will discourage settling out of the heaviest ingredients.
Using the ratios to determine the proportions for a desired total amount of concrete mix can be done in two ways. The least specific is to just divide the numbers of the water ratio by the same amount (example: dividing each number of 19.2/100 by 10 gives a correct mix amount of 19.2/10 water/powder (by weight; I used grams)). The easiest way to find the proportions for a desired total amount of mix is done by using the conversion factor: for example, if a total amount of 16 grams of concrete mix is wanted, multiply 16 by the conversion factor, then subtract that number from 16. So, for 19.2/100, conversion factor of 0.161 times 16 = 2.58, which is the water amount. Subtract 2.58 from 16 = 13.42, which is the concrete powder amount. That gives you a water ratio of 2.58/13.42 water/powder to use for a total mixture of 16 (grams or other unit weight).
Above are relative times of what I call "Soft Set", which is somewhat equivalent to "working time" (plus a degree more). It is the time when a very small spatula poked in slightly to the wet concrete surface lifts up a small amount of mix and the mix does not settle back into the concrete mass on its own. You will probably find that your Soft Set times do not coincide with my figures. Take the given times as a relative indication of which concrete mixes we carry set up faster or slower than the others. Differences in temperature cause the greatest variance, but other factors like how effective your mixing technique is (and how long you mix), whether colorants or other additives are being used (they can act as accelerators or retarders), whether you are keeping freshly poured concrete covered with a plastic sheet or wet paper towel suspended above it (a good idea during the initial hardening phase of the concrete) and even the relative humidity since very dry conditions can rob some moisture from the concrete mix during stirring, placement, and settling (prior to covering).

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MAIN DESCRIPTION:

This is a strong and hard light gray/tan colored concrete mix which is specially formulated for small to large objects like vessels, sculptures, and the like. It has relatively small sized, scaled down aggregates so the mixture can fill any details which will be narrow cavities in your mold that would not fill if aggregates ("agg") are too large.

Cement-All combines several ingredients to make a concrete "proportionately strong" for small sized objects it can cast (although our custom mixes can be cast in even smaller items like jewelry). If you cast a 12mm (1/2") detailed jewelry pendant with the general purpose "High Strength" concrete mix found in 60 or 80 lb bags from masonry suppliers, you will probably fail, not just because the aggs are too big but because the concrete is not strong enough, mainly it's flexural and compressive strength is not great enough. Like it says on the bag of those mixes, for sizes 2" or thicker. It's strength is only high enough when its mass is large enough, in multiple inches.

Is Cement-All Concrete mix considered a "pozzolan" mixture? Yes. It has special cements beyond just Portland cement which make it extra strong. Pozzolans are defined as:
"....a broad class of siliceous and aluminous materials which, in themselves, possess little or no cementitious value but which will, in finely divided form and in the presence of water, react chemically with calcium hydroxide (Ca(OH)2) at ordinary temperature to form compounds possessing cementitious properties. The quantification of the capacity of a pozzolan to react with calcium hydroxide and water is given by measuring its pozzolanic activity." That is from Wikipedia.

Details about Cement-All concrete:

- Has multiple types of cement and additives which produce a denser and stronger concrete. An example of such an additive is a "water reducer" which allows a given amount of dry concrete mix to become fluid and workable using less mixing water. Excess water in concrete contributes to porosity. And porosity means lower density and lower strength. An object much smaller than sidewalks and walls, such as elements in jewelry or small sculptures need concrete which is dense for reproducing tiny details. And it needs high flexural strength to resist breaking when in thin sections. Note that the exact ingredients are held back as a trade secret by the manufacturer of Cement-All, RapidSet (CTS)

- Is made with relatively light colored cements, and light colored additives to produce a tan colored concrete.

- Needs only water to produce either a pasty or fluid mix. Concrete made with small amounts of water is very strong, but Cement-All does allow for higher than normal amounts of water when needed to be quite fluid and still have surprising strength and hardness. It can accommodate the addition of different aggregates. The amount it can take depends on the specific aggs in question. It is best found by testing. If the amount added dries out the mixture to an extreme degree, don't go overboard with the addition of significantly more water. Try first the addition of a wetting agent (the dishwashing additive product called "Finish" is an easy to find example) with a small amount of additional water. If additional water is still needed, add it in small amounts in steps. Superplasticizers (aka "water reducers") are probably already included in Cement-All, so they will not help. Whether a given desired mixture will be strong enough can only be found out by testing (see the next paragraph below this).

- Has high hardness. We've tested Cement-All with small (1.75" x 1.75") thin tiles. After they're cured, the tiles allow us to do inexpensive testing by holding them at various heights and dropping them onto a slab of polished granite. We see how resistant to breaking they are and also how hard and dense they are by the sound they make when hitting the granite. The hardest samples have the highest pitched vitreous ringing sound when they hit the granite. We have another test of flexural strength which is simply attempting to break the tile with forceful bending by both hands.

- Can be heated to 120 F under a light or in an oven to speed it's cure and drying time. It's best to allow it to harden enough to demold at room temperatures. Depending on the concrete mix, the water used, the configuration of the mold, the thickness (mass) of the casting, and the room temperature, objects can be demolded in 1 to 4 hours. Surface treatments like exposed aggregate can be undertaken shortly after demolding. Coating/finishing/wetting with natural oils and finishes like linseed or shellac can be done after 2 to 6 hours depending on ambient temperature and humidity. Burnishing works best (hard concrete can be burnished with various metal tools) after full cure which may take 8 hours to 3 days (contrast that with construction concrete which must be covered to retain moisture and will not be fully cured for 1 to several weeks, depending on the type of concrete used).

- Has lower shrinkage than pure Portland cement concrete. It is also less subject to efflorescence (crusty whitish mineral salts deposited on the surface by the movement of water through the concrete) than construction grade concrete.

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Rubber mold material considerations for concrete:

Rubber mold materials for casting concrete:
-- DIY custom silicone, platinum based, thick walled molds
-- Pre-made thin walled silicone molds
-- DIY custom urethane molds
-- DIY custom latex molds

Portland cement concrete mixes (either with or without other cements and high strength additives) can and should be cast into rubber molds for ease of demolding, especially with decorative or sculptural objects that are detailed. Large objects usually are cast into custom urethane molds. If shrinkage from the original object can be tolerated custom latex is an option if the proper release agents are used. Small objects like those that our concrete mixes are intended for more often use silicone rubber molds these days. Using the pre-made silicone molds with very thin walls that are available all over the internet are not a good choice for production molds but are great for a limited number of castings. More on that just below.
Urethane is less expensive, thus is more often used for larger molds. Latex is even less expensive than urethane. But besides cost, urethane has several things going for it that make it superior to silicone.
Urethane is much tougher (with greater tear strength, assuming you use a quality version) than silicone, but most urethane rubber must be used with adequate release agents for each casting made. The same can be said for latex molds. Silicone molds are most often not used with release agents and will more accurately reproduce fine detail as long as they hold up. But concrete is rough on rubber molds of any type. Concrete tends to stick to more substrates than plaster or gypsum cement and concrete is highly abrasive, unlike plaster and gypsum cement. It will dull shiny silicone molds if you are production casting scores of castings. For around twenty or fewer castings you should not have any trouble casting concrete into bare silicone molds and getting easy release with no significant mold deterioration, although mold shine will probably deteriorate before that.

The low-down on silicone molds:

The big advantage of silicone is that theoretically, you don't need any release agents. In fact, it's very difficult to get water based release agents to spread evenly on new silicone because of the extreme hydrophobic nature of silicone. And oil based releases are problematic because of silicone's tendency to absorb oils and swell, distorting the mold and also start a vicious circle of weakening the mold surface leading to pitting, roughness, and sticking of the casting. Urethane, most types of which need a release agent for each casting is very easy to release-coat.
The all-important outer surface of a silicone mold can start dulling (if shiny) and take on unwanted textures from wear in less than production casting 10 pulls, depending on the quality of the silicone and the presence of fillers. At that point, silicone molds will require release agents to get any further life from them.
Be wary of the pre-made thin-walled silicone molds that flood the craft market. Good quality pure platinum cured silicone rubber is expensive. Third party mold makers are free to add fillers to lower their costs. Some fillers such as fumed silica and carbon black can enhance certain forms of strength, but all fillers (with the possible exception of small amounts of pigment) will increase the permeability of silicone which is the root cause of silicone absorbing solvents from release agents and the casting material itself. Fillers will speed up the onset of the mold wear described above. A translucent, platinum cured, thick-walled silicone mold made yourself will greatly outlast a thin-walled mold (especially if it contains fillers). And, if you can find translucent premade silicone molds you should choose them instead of colored molds. They indicate lack of fillers.
Another peculiarity of silicone (and some other polymers) used to cast high quality concrete is a "whitish" appearance that castings can take on. Not many sources cite this phenomenon but it exists. Some people who notice this relate it to efflorescence (which is a well known problem), but it's presentation is not at all like traditional efflorescence, which most often appears on masonry walls. Urethane molds do not seem to share this odd property. You will find that castings in urethane tend to have more "color". I personally can't explain why this occurs. The only commonality with efflorescence is the whitish color. And, it's not a problem if you're wanting your castings to be white! If you're adding colorants to your concrete then it becomes a consideration and something to be tested for depending on your particular castings and processes. And, it's a problem you can do something about if you're making your own molds and have a choice of whether to use silicone or urethane.

Surface treatment of concrete castings:

Concrete has a wider variety of possible surface appearances than its cousins, plaster and gypsum cements, unless you chose the few gypsum cements that are made with the ability to accept aggs. Even if you're casting with the lower strength construction concretes that come in 60 or 80 lb bags, you can use exposed aggregate surface treatment to get a different appearance. But you can't effectively and inexpensively color gray Portland cement based concretes with anything but the red or black of the iron oxides that are the most saturated of the iron oxide pigments.
"Exposed aggregate" is a surface treatment that's been around since the early 1900's. "Aggregate" (or "Agg") refers to the sand and gravel of varying sizes that is necessary to make concrete. The strength of concrete is increased most effectively when the aggregate grain sizes are a mixture varying from fine to coarse. The other ingredient of concrete is the "cement" which binds the agg grains together. Portland cement is the type most often used as the binder, but there are others with different properties.
Exposed aggregate involves removing the outermost layer of the concrete binder and its smaller aggs to a depth that reveals the integral larger aggs, effectively "exposing" those aggs, making them appear to have emerged from the concrete body. The "larger" exposed pieces of agg can be medium or coarse. Most often they are coarse enough to visibly distinguish individual agg particles. The resulting surface will have a "bumpiness" dependant on the size of the largest agg grain. Agg particles will be partly submerged into the mass of concrete and partly protruding upward away from the mass. The protrusions will result in a slightly bumpy surface which can be smoothly rough if the agg is made of rounded particles or sharply rough if the agg is angular.
The exposed agg can be over the entire surface of the concrete or only over areas of a pattern that is walled off by strips of dividing borders, curved or straight, which define the pattern. Parts of the pattern can consist of agg of different colors, sizes, or particle shapes.
The tricky part of exposed aggregate is in removing whatever depth the binder and smaller aggs need to be removed accurately. There are several methods employed to remove the concrete surface: by chemical means, by brushing before full cure of the concrete, or by abrasion.
A chemical that reacts with the alkalinity of the binder ( a mild acid) is applied evenly over the surface which dissolves the binder to the desired depth immediately followed by a pure water rinse which carries away the dissolved binder and smallest agg grains, leaving the now lower outer surface of the concrete intact. Timing is crucial to avoid weakening the concrete too deeply.
For small objects vinegar is an acid that will work for removal of depths 1 mm or less. Either brush the vinegar or immerse the object into a container of vinegar for 1 minute or less, and then use a soft brass brush to get rid of the softened concrete. Follow this with a thorough brushing with a non-metallic brush while the object is soaking in a container of pure rinse water or by brushing under a stream of running warm water.
An alternate method that avoids the use of a chemical reaction is to demold the object as soon as possible, while the concrete is hard but not cured. Us a thin bristle wire brush to abrade the concrete surface and small agg grains away to a shallow depth. This method depends on demolding the object soon enough and it won't work on objects with fine details, it will ruin the detail. Also on detailed objects you won't want to demold early because you need the concrete to be hard enough to withstand the demolding process without breaking off the detail.
Removal of the surface layer of concrete by abrasion can be done in several ways. One is by blasting with hard grinding material such as aluminum oxide, silicon carbide or other loose abrasive media in a sand blasting cabinet. Using this method the blasting nozzle "gun" which is held by hand is easy to control and areas to be removed by varying depths can be accurately accomplished. Areas to be left shiny (if the concrete is polished before going into the blasting cabinet) can be protected by adhering rubber sheeting onto the object where the concrete is to be left polished. Patterns can be created consisting of brightly polished areas against a varying depth matte surface finish
Another way to remove surface concrete by abrasion that is not strictly an exposed aggregate method involves grinding away the surface concrete with diamond pads or burrs (for curved surfaces) after the concrete is fully cured. Often this method goes further, to actually polish the concrete. It differs from exposed aggregate in that the resulting surface is smooth and the agg grains themselves will have been ground, revealing the interior color of the agg pieces. This method works to full effect when the agg consists of larger pieces.
Another less often used method of concrete surface treatment is burnishing. A cured concrete surface, either "as is" from the mold, or with an outer surface that's been ground smooth, is hard enough to be burnished with metal tools rubbing and compressing the surface to a bright, very polished-appearing state, leaving a mark of metal ground on the concrete surface that the burnisher stylus is made of. If softer metal styli are used more metal will be deposited and line drawings can be made on the concrete surface. A brass pencil-like stylus, for example, would leave brass lines that are drawn upon the surface. Wider tipped hard metal tools can be made to compress without transferring any of the metal. A professional mechanical burnisher usually works using a tip that is a ball or roller that rotates against the surface,

Coloring Concrete:

Please see our custom white concrete mixes #80-102 (recommended), or (secondly) #63-101. Cement-All can be colored by a limited number of pigments because it is darker than a concrete made with white Portland cement (and other ingredients specially chosen to be light colored).

Exposure to Sunlight:

All materials containing colorants will be affected by sunlight. It is only a question of when, not if. Our art concretes when mixed with water and cured have not yet been tested by the ravages of time in the sun, they have not been around for a year so far. We recommend interior use only. In any case it is inevitable that a concrete containing cements other than regular Portland Gray will not hold up as well as construction type concrete when used outdoors. Our White Art concrete will be more affected than our Tan Art and Dark Art concrete.
When colored by pigments, White Art Concrete should be kept from direct sunlight as much as possible. Pigments are the first to be affected in any material to be colored, including paint mediums, plastics (such as epoxy "resin"), glass, and cementitious materials like plaster or concrete. The lightfastness of colorants varies depending on the chemistry of the pigment, its opacity or transparency (pigment versus dye), the concentration in a medium, the chemistry of the medium (linseed oil versus epoxy versus white concrete), the direction of the sunlight (a sun high in the sky will transmit more UV radiation than a sun low on the horizon), and other factors.
But it can be said that pigments used with organic mediums such as natural or synthetic polymers (linseed oil, epoxy, etc) will fade faster than pigments used with inorganic materials such as concrete. And of course, organic pigments in themselves will fade faster than inorganic pigments. Let's finish on a positive note: although pigments will fade when exposed to sunlight, a given pigment that is added to linseed oil and put on a painting's canvas will be more subject to fading than the same pigment added integrally to a compatible white concrete.

Reviews

Reviews (4)

Average:

Dec 8, 2024

Arrived quickly and great product. Thanks

Susan Hotham

Jun 14, 2024

Good quality , shipping too longer

lissette torres

Oct 1, 2023

Glad that I could get a small amount of cement delivered for free. I hate to drive and need this quick! Thank you!

Kárr

Aug 15, 2023

Nichole Latendresse