1908 
JUNE, 
Fig. 1. Showing wet paper used over the form 
not be too fluid, neither too stiff; a little ex- 
perience will soon teach one when it is just 
right. 
Taking a trowel full of concrete, build 
up around the form as far up as it will stand 
without sagging or sliding away; this is 
influenced by the shape of the form, more 
or less. A form witha sharp inward inclina- 
tion will stand a greater amount than one 
more yertical. Allow this to set, say, two 
or three hours, after turning the templet 
and planing off the excess. The first appli- 
cation sets slowly, as the water, naturally 
settling at the bottom and meeting with a 
non-absorbing body (tarred paper), does 
not dry out as soon as the layers which 
follow, the water in these being absorbed 
by the under layer of concrete, so that 
following layers can be applied about every 
Fig. 2. 
Making the shaft for a sundial 
VARIOUS STEPS IN THE MANUFACTURE OF CONCRETE GARDEN FURNITURE SHOWING 
THE GARDEN MAGAZINE 
half hour. Care should be used in not 
putting on too much at the starting point. 
Layer after layer is applied until the pot 
or vase is complete, and if an extra 
smooth surface is desired, a mixture of 
one part of fine screened sand, and one part 
of cement can be applied quite thin with 
a brush, the templet being turned mean- 
while, smoothing it down to the desired 
surface. 
It is not really necessary to use rein- 
forcing wires, as the concrete dries very hard, 
but it is advisable and is easily done and 
further assists to hold the concrete in place 
while building. Short pieces of old bale 
wire or telegraph line wire can be laid in 
and around the various layers, interlaced, 
etc., making the object when complete 
a tough, almost unbreakable mass that will 
stand some pretty hard knocks if by 
accident the piece should fall from its place. 
Ea RR 
The cap for the sundial is made reversed 
Fig. 6. 
Fig. 3. Part of form for Fig. 4, with templet 
If one does not like the natural color of 
concrete, various colors can be obtained 
either by application or by incorporation 
with the concrete. Such work, however, is 
not altogether satisfactory. By mixing dry 
yellow ochre with cement and water and 
applying with a brush, colors varying 
from yellow ochre to cream or buff will 
result. Red ochre used similarly will result 
in different shades of red. Lamp _ black 
gives various shades of gray. Pure white 
quartz sand, in the concrete, gives almost 
a white color and brick dust, coal dust, 
etc., can be used. Chemicals of different 
kinds give many pleasing and varying 
tones. Proto-sulphate of iron (ccpperas) 
one ounce, dissolved in three ounces of 
water, applied with a brush, produces a 
yellow tone. If a crystal of chrome alum 
(about one-half inch in diameter) be added 
to the solution a rust red tone results. 
Water paint can also be applied. Oil 
Form and templet for base of oil jar 
Fig. 5. 
USE OF TEMPLETS, FORMS, AND MOLDS 
