Marbling is the process of layering tinted glazes over a white or coloured base to create a marble-like finish.The result is a luxurious texture that mimics the look of authentic marble. Marbling can be used in both modern and traditional environments....
History ....
Natural marble,with its cool, translucent sheen and delicate veined surface, is a very special material.There has always been a lot of interest in simulating the effect with less expensive materials, like paints and glazes. The marbling technique dates back to the time of the ancient Egyptians when it was difficult to transport the genuine material, so the Egyptians instead imitated it using paint.

Right surfaces

Choose surfaces that could possibly be made from real marble, such as tabletops, countertops, moldings, panels, fireplace mantels, columns and pillars.The marbling technique can also be applied on plates, gift boxes, floors, doors and furniture.

The authentic look

The pressure under the earth's surface that is responsible for transforming it from limestone to marble is also responsible for the formation of veins. Marble also has a lot of variety in coloursfrom cool grey and cream to green and rich-red earthy shades.

“Since it is such a heavy material, slabs of marble are pieced together whenever it has to be used on a large scale.Sections are colour-matched in order to present a uniform effect. Large areas of one colour are often integrated in a design and are surrounded by border patterns or friezes created using marble in contrasting colours. When marbling, you need to reproduce these effects so that the end product looks authentic,”advises Prem Kumar, an interior designer.

To reproduce the base colour of marble, apply layers of paint in subtly graded colours using a sponge, rag or brush. Next, trace the distinctive dark veins on top and then paint them in with a fine brush. Then blur or soften them using a dry brush or by sponging. Said Nitin Kholi of Furncraft, “As the marble look is based on random effects, the veining must be asymmetrical and must have varying width and depth of colour.”

Colours

The colours used in marbling are richer and more variegated. The right effect is obtained more by means of glazes rather than by using opaque colours. Different parts of the same piece of marble can exhibit wide variations in colouring and veining.To achieve this, choose two or three colours of paint within the same colour scheme-one light, one medium and one dark.

The right way

Decide what colours you want on the marble. Three is the minimum, but you can use more if you like. For best results use a light base with dark glaze. Seetu Kholi, interior designer at Furncraft, details how marbling can be done: Step1: Make sure that your surface is in good condition. Patch holes and uneven surfaces. Then, for an even finish, apply the base paint with a roller.The base paint should be in satin or semi-gloss latex finish. Let it dry for 24 hours.

Step 2: Wet your sponge with the dark paint, and begin daubing it over the base coat. (This works best if your base coat is still a little wet). Rotate your sponge and vary both the amount of paint and the pressure to avoid repetitive patterns. Vary the colours by dipping your sponge in the medium and/or light colours, then back in the dark, and vice versa. This helps you create a mottled pattern.

Step 3: It's now time to do the veining. Pour some of the light colour (use fresh colour) in a small container.Dip your brush in the light colour. Study the mottled surface of the object you're marbling and decide in which direction the veining would logically go,then lightly draw the brush in a wavy line across, twirling it just a bit as you go to vary the width of the line, and tapering it off lightly at the end. Continue like this, varying the length, width and direction of your lines, and making appropriate forks and splits in the veining. Vary the colour of the veining by occasionally dipping the brush into the medium or dark paint and then into the light paint.

Step 4: Finish off with very light sponging on some of the light, dark and medium paints in random spots, barely touching the sponge to the surface, again rotating your sponge to vary the pattern.

http://timesofindia.indiatimes.com/articleshow/1049593.cms

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artificial marble...
Artificial marble
Faux marble or faux marbling is a wall painting technique that imitates the color patterns of real marble (not to be confused with paper marbling). Marble dust can be combined with cement or synthetic resins to make reconstituted or cultured marble.

Faux painting
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(Redirected from Faux finishing)

Faux painting or Faux finishing are terms used to describe a wide range of decorative painting techniques. From the French word for "fake", faux painting began as a form of replicating materials such as marble and wood with paint, but has come to encompass many other decorative finishes for walls and furniture....http://en.wikipedia.org/wiki/Faux_finishing

Marbleizing or faux marbling is the preparation and finishing of a surface to imitate the appearance of polished marble. It is typically used in buildings where the cost or weight of genuine marble would be prohibitive. Faux marbling is a special case of faux painting used to create the distinctive and varied patterns of marble - the most imitated stone by far
.....http://en.wikipedia.org/wiki/Marbleizing

Faux painting
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Faux painting or Faux finishing are terms used to describe a wide range of decorative painting techniques. From the French word for "fake", faux painting began as a form of replicating materials such as marble and wood with paint, but has come to encompass many other decorative finishes for walls and furniture.
........http://en.wikipedia.org/wiki/Faux_painting

Faux finishes:
Marbleizing or faux marbling is used to make walls and furniture look like real marble. This can be done using either plaster or glaze techniques.

Example of faux painting a wood designGraining, wood graining, or faux bois (French for "fake wood") is often used to imitate exotic or hard-to-find wood varieties.
Trompe l'oeil, "trick the eye" in French, is a realistic painting technique often used in murals, and to create architectural details.
Venetian plaster is a smooth and often shiny plaster design that appears textured but is smooth to the touch. Venetian plaster is one of the most popular and traditional plaster decorations.
Color wash is a free-form finish that creates subtle variations of color using multiple hues of glaze blended together with a paint brush.
Strie, from the French word meaning "stripe" or "streak", is a glazing technique that creates soft thin streaks of color using a paint brush. It is a technique often used to simulate fabrics such as linen and denim.
Rag painting or ragging is a glazing technique using twisted or bunched up rags to create a textural pattern.

Marble is a nonfoliated metamorphic rock resulting from the metamorphism of limestone, composed mostly of calcite (a crystalline form of calcium carbonate, CaCO3). It is extensively used for sculpture, as a building material, and in many other applications. The word "marble" is colloquially used to refer to many other stones that are capable of taking a high polish.
........http://en.wikipedia.org/wiki/Marble

Scagliola (from the Italian scaglia, meaning "chips"), is a technique for producing stucco columns, sculptures, and other architectural elements that resemble marble. The Scagliola technique came into fashion in 17th century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family in Florence.

Scagliola is a composite substance made from selenite, glue and natural pigments, imitating marble and other hard stones. The material may be veined with colors and applied to a core, or desired pattern may be carved into a previously prepared scagliola matrix. The pattern’s indentations are then filled with the colored, plaster-like scagliola composite, and then polished with flax oil for brightness, and wax for protection. The combination of materials and technique provides a complex texture, and richness of color not available in natural veined marbles.

A comparable material is terrazzo. "Marmorino" is a synonym, but scagliola and terrazzo should not be confused with plaster of Paris, which is one ingredient......http://en.wikipedia.org/wiki/Scagliola

Stucco or render is a material made of an aggregate, a binder, and water. Stucco is applied wet and hardens to a very dense solid. It is used as a coating for walls and ceilings and for decoration. Stucco may be used to cover less visually appealing construction materials such as concrete, cinder block, or clay brick and adobe.
The difference in nomenclature between stucco, plaster, and mortar is based more on use than composition. Until the later part of the nineteenth century, it was common that plaster, which was used inside a building, and stucco, which was used outside, would consist of the same primary materials: lime and sand (which are also used in mortar). Animal or plant fibers were often added for additional strength. In the later part of the nineteenth century, Portland cement was added with increasing frequency in an attempt to improve its durability. At the same time, traditional lime plasters were being replaced by gypsum plaster.

Traditional stucco is made of lime, sand, and water. Modern stucco is made of Portland cement, sand, and water. Lime is added to decrease the permeability and increase the workability of modern stucco. Sometimes additives such as acrylics and glass fibers are added to improve the structural properties of the plaster. This is usually done with what is considered a one-coat stucco system, as opposed to the traditional three-coat method.

As a building material, stucco is a durable, attractive, and weather-resistant wall covering. It was traditionally used as both an interior and exterior finish applied in one or two thin layers directly over a solid masonry, brick or stone surface. The finish coat usually contained an integral color and was typically textured for appearance.

Then with the introduction and development of heavy timber and light wood-framed construction methods, stucco was adapted for this new use by adding a reinforcement lattice, or lath, attached to and spanning between the structural supports and by increasing the thickness and number of layers of the total system. The lath added support for the wet plaster and tensile strength to the brittle, cured stucco; while the increased thickness and number of layers helped control cracking.

Modern stucco.... is an exterior cement plaster wall covering. It is usually a mix of sand, Portland cement, lime and water, but may also consist of a proprietary mix of additives including fibers and synthetic acrylics that add strength and flexibility. Modern synthetic stucco can be applied as one base layer and a finish layer, which is thinner and faster to apply, compared to the traditional application of three-coat stucco.

As with any cement-based material, stucco must be reinforced to resist movement cracking. Plastic or wire mesh lath, attached with nails or screws to the stuctural framing, is embedded into the base coat to provided stiffening for the stucco. One method often used to help conceal the smaller surface cracks that may appear is the application of one of a variety of pre-mixed acrylic finishes. Flexible acrylic finishes have the ability to stretch and bridge over cracks, improving appearance and limiting the passage of moisture behind the stucco.

Where stucco is to be applied to a structure of wood-framing or light-gauge steel framing, the framing is protected from moisture damage by applying a vapor-permeable, water-resistant weather barrier; typically an asphalt-saturated paper or one of a variety of manufactured plastic-based sheets, known as "building wraps" or "stucco wraps". The properties of the weather barrier must not only protect the framing from rain and moisture, but at the same time allow the free passage of any water vapor generated inside the building to escape through the wall.

A wide variety of stucco accessories, such as weep screeds, control and expansion joints, corner-aids and architectural reveals are sometimes also incorporated into the lath. Wire lath is used to give the plaster something to attach to and to add strength. Types include expanded-metal lath, woven-wire lath, and welded-wire lath.

The first layer of plaster is called a "scratch coat," consisting of plastic cement and sand. A brush is used to scratch the surface horizontally or in a crisscross pattern to provide a key for the second layer. The first coat is allowed to dry (cure) before the second layer is applied.

The next layer is called the "brown coat" or leveling coat. It also consists of sand, cement, and lime. It is leveled with tools called "darbies," "rods," and "federeges," scraped smooth, and floated to provide a smooth, even surface onto which the finish coat is applied. It is then allowed to dry (cure) for 7-10 days minimum to allow "checking" (shrinkage) and cracking to take place.

If applied during very dry weather, the layers of stucco are sprayed with water for one or more days to keep a level of moisture within the stucco while it cures, a process known as "moist curing." If the stucco dries too soon, the chemical hardening ("hydration") will be incomplete, resulting in a weaker and brittler stucco.

The final, exterior layer is the final layer is the "finish coat," of which there are two recommended types:

1. Color Coat is a colored sand, cement, and lime mixed finish and is typically 3 mm (1/8") thick. It is applied over the second coat (brown coat) and can be floated with water for a sandy finish or textured over with a trowel to create various styles of finishes. Premixed, bagged stucco is gaining in use and is available in coarse graded sand and finer graded sand for creating a variety of troweled finishes; it is available in a variety of colors.




2. Acrylic Finish is an acrylic-based finish from 1.0 mm to 4.0 mm thick. It can be applied in many ways; it is the most recommended finish for long-lasting quality. It also can be ordered in any color.




3. Hard Coating is another method of adding a finish to the stucco wall, although no longer recommended

In the 1960s and 1970s people added a variety of materials like glass chunks, stones or marble into the wet stucco wall. This kind of finish coat is very heavy and inflexible and is hard to repair

The term plaster can refer to plaster of Paris, lime plaster, or cement plaster. This article deals mainly with plaster of Paris.

Plaster of Paris is a type of building material based on calcium sulfate hemihydrate, nominally CaSO4·0.5H2O. It is created by heating gypsum to about 150 °C.

2 CaSO4·2H2O → 2 CaSO4·0.5H2O + 3 H2O (released as steam).
A large gypsum deposit at Montmartre in Paris is the source of the name.[1] When the dry plaster powder is mixed with water, it re-forms into gypsum. Plaster is used as a building material similar to mortar or cement. Like those materials plaster starts as a dry powder that is mixed with water to form a paste which liberates heat and then hardens. Unlike mortar and cement, plaster remains quite soft after drying, and can be easily manipulated with metal tools or even sandpaper. These characteristics make plaster suitable for a finishing, rather than a load-bearing material.

Plaster.... was a common building material for wall surfaces in a process known as lath and plaster, whereby a series of wooden strips are covered with a semi-dry plaster and then hardened into surface. The plaster used in most lath-and-plaster construction was mainly lime plaster. Lime plaster cure time is about a month. To stabilize the lime plaster during curing, small amounts of Plaster of Paris were mixed into the putty. Because Plaster of Paris sets quickly, "retardants" were used to slow setting time enough to allow workers to mix large ......http://en.wikipedia.org/wiki/Plaster
Cement plaster is a mixture of suitable plaster, sand, portland cement and water which is normally applied to masonry interiors and exteriors to achieve a smooth surface. Interior surfaces sometimes receive a final layer of gypsum plaster. Walls constructed with stock bricks are normally plastered while face brick walls are not plastered. Various cement-based plasters are also used as proprietary spray fireproofing products, the world over. These usually use vermiculite as lightweight aggregate. Heavy versions of such plasters are also in use for exterior fireproofing, to protect LPG vessels, pipe bridges and vessel skirts
http://en.wikipedia.org/wiki/Stucco

Polished plaster is a term for the finish of some plasters and for the description of new and updated forms of traditional Italian plaster finishes.

The term covers a whole range of decorative plaster finishes - from the very highly polished Venetian plaster and Marmorino to the rugged look of textured polished plasters. Polished plaster itself tends to consist of slaked lime, marble dust, and/or marble chips (which give each plaster its distinctive look).

Polished plaster is mainly used internally, on walls and ceilings, to give a finish that looks like polished marble, travertine, or limestone.

Such plasters are usually applied over a primer and key-coat base, from 1 to 4 layers. They are finished (burnished) with a specialised steel trowel to a smooth glass-like sheen.

Polished plaster is usually sealed with a protective layer of wax.

"
http://en.wikipedia.org/wiki/Polished_plaster

Plasterwork refers to construction or ornamentation done with plaster, such as a layer of plaster on an interior wall or plaster decorative moldings on ceilings or walls. This is also sometimes called pargeting. The process of creating plasterwork, called plastering, has been used in building construction for centuries.http://en.wikipedia.org/wiki/Plasterwork
Plasterwork is one of the most ancient of handicrafts employed in connection with building operations, the earliest evidence showing that the dwellings of primitive man were erected in a simple fashion with sticks and plastered with mud. Soon a more lasting and sightly material was found and employed to take the place of mud or slime, and that perfection in the compounding of plastering materials was approached at a very remote period is made evident by the fact that some of the earliest plastering which has remained undisturbed excels in its scientific composition that which we use at the present day. The pyramids in Egypt contain plasterwork executed at least four thousand years ago, probably much earlier, and yet existing, hard and durable, at the present time. From recent discoveries it has been ascertained that the principal tools of the plasterer of that time were practically identical in design, shape and purpose with those used to day. For their finest work, the Egyptians used a plaster made from calcined gypsum just like plaster of Paris of the present time, and their methods of plastering on reeds resemble in every way our lath, plaster, float and set work. Hair was introduced to strengthen the stuff, and the whole finished somewhat under an inch thick. Very early in the history of Greek architecture we find the use of plaster of a fine white lime stucco, such has been found at Mycenae. The art had reached perfection in Greece more than five centuries before Christ, and plaster was frequently used to cover temples externally and internally, in some cases even where the building was of marble. It formed a splendid ground for decorative painting, which at this period of Grecian history had reached a very high degree of beauty.....
http://en.wikipedia.org/wiki/Plasterwork

Comparatively few items are required for the more common plastering operations, although the craftsman well-versed in all disciplines of the trade will possess a wide range of tools and materials. These would typically include trowels, floats, hammers, screeds, a hawk, scratching tools, utility knives, laths, lath nails, lime, sand, hair, plaster of Paris, a variety of cements, and various ingredients to form color washes.

While most tools have remained unchanged over the centuries, developments in modern materials have led to some relatively recent changes. Trowels, originally constructed from steel, are now available in a polycarbonate material that allows the application of certain new, acrylic-based materials without staining the finish. Floats, traditionally made of timber (ideally straight-grained, knot-free, yellow pine), are often finished with a layer of sponge or expanded polystyrene.

[edit] Methods
For fine plasterer's sand-work, special sands, not hitherto referred to, are used, such as silver sand, which is used when a light color and fine texture are required. In England this fine white sand is procured chiefly from Leighton Buzzard. For external work Portland cement is undoubtedly the best material on account of its strength, durability, and weather resisting External properties. The first coat or rendering is from 1/2 to 3/4 inches thick, and is mixed in the proportions of from one part of cement to two of sand to one part to five of sand. The finishing or setting coat is about 3/16 inches thick, and is worked with a hand float on the surface of the rendering, which must first be well wetted.

[edit] External Plastering
Stucco is a term loosely applied to nearly all kinds of external plastering, whether composed of lime or of cement. At the present time it has fallen into disfavor, but in the early part of the 19th century a great deal of this work was done. The principal varieties of stucco are common, rough, trowelled and bastard. Cement has largely superseded lime for this work. Common stucco for external work is usually composed of one part hydraulic lime and three parts sand. The wall should be sufficiently rough to form a key and well wetted to prevent the moisture being absorbed from the plaster.

Rough stucco is used to imitate stonework. It is worked with a hand float covered with rough felt, which forms a sand surface on the plaster. Lines are ruled before the stuff is set to represent the joints of stonework. Trowelled stucco, the finishing coat of this work, consists of three parts sand to two parts fine stuff. A very fine smooth surface is produced by means of the hand float. Bastard stucco is of similar composition, but less labor is expended on it. It is laid on in two coats with a skimming float, scoured off at once, and then trowelled. Colored stucco: lime stucco may be executed in colors, the desired tints being obtained by mixing with the lime various oxides. Black and grays are obtained by using forge ashes in varying proportions, greens by green enamel, reds by using litharge or red lead, and blues by mixing oxide or carbonate of copper with the other materials.

Roughcast or pebbledash plastering is a rough form of external plastering in much use for country houses. In Scotland it is termed "harling". It is one of the oldest forms of external plastering. In Tudor times it was employed to fill in between the woodwork of half-timbered framing. When well executed with good material this kind of plastering is very durable. Roughcasting is performed by first rendering the wall or laths with a coat of well-haired coarse stuff composed either of good hydraulic lime or of Portland cement. This layer is well scratched to give a key for the next coat, which is also composed of coarse stuff knocked up to a smooth and uniform consistency. While this coat is still soft, gravel, shingle or other small stones are evenly thrown on with a small scoop and then brushed over with thin lime mortar to give a uniform surface. The shingle is often dipped in hot lime paste, well stirred up, and used as required.

Sgraffito is the name for scratched ornament in plaster. Scratched ornament is the oldest form of surface decoration, and at the present day it is much used on the continent of Europe, especially in Germany and Italy, in both external and internal situations. Properly treated, the work is durable, effective and inexpensive. The process is carried out in this way: A first coat or rendering of Portland cement and sand, in the proportion of one to three, is laid on about an inch thick; then follows the color coat, sometimes put on in patches of different tints as required for the finished design. When this coat is nearly dry, it is finished with a smooth-skimming, 1/12 to 1/8 inches thick, of Parian, selenitic or other fine cement or lime, only as much as can be finished in one day being laid on. Then by pouncing through the pricked cartoon, the design is transferred to the plastered surface. Broad spaces of background are now exposed by removing the finishing coat, thus revealing the colored plaster beneath, and following this the outlines of the rest of the design are scratched with an iron knife through the outer skimming to the underlying tinted surface.

Sometimes the coats are in three different colors, such as brown for the first, red for the second, and white or grey for the final coat. The pigments used for this work include Indian red, Turkey red, Antwerp blue, German blue, umber, ochre, purple brown, bone black or oxide of manganese for black. Combinations of these colors are made to produce any desired tone. Lime plastering is composed of lime, sand, hair and water in proportions varying according to the nature of the work to be done. In all cases good materials, well mixed and skillfully applied, are essential to a perfect result.

Coats
Plaster or render that is applied to external brickwork on dwellings or commercial buildings can be one or two coats in Western Australia. Mostly clay bricks are used sometimes concrete bricks or concrete tilt panels. Materials used are commonly sand of a light yellow colour with little clay content with fine to coarse grains or sand. Sand finish is the common term used for external render and may be one or two coats the better being two coat as it gives a more consistent finish and less chance of becoming drummy or cracking. In two coat render a base coat is applied with a common mix of five parts sand to one part cement and one part dehydrated lime and water to make a consistent mortar. Render is applied using a hawk and trowel and pushed on about 12 mm thick to begin. Most plasterers use a tbar to screed of walls until it is plumb straight and square. Scratching the wall after screeding is complete is a good idea to give key to second coat. An old saw can be used or maybe just get some tin and cut angles and use on wall. The second can be slightly weaker or the same 5/1/1 and maybe a water proofer in the mix added in the water to minimize effloresence (rising of salts) Some plasterers used lime putty in second coat instead of dehydrated lime in the render. The mortar is applied to about 5 mm thick and when the render hardens is screeded off straight. A wood float or plastic float is used to rub down the walls. Water is splashed on walls and immediately rubbing the float in a circular or figure 8 motion. After the work area is all floated, the finishing with a sponge using the same method as floating with wood float. Bringing sand to the surface. most plasterers use a hose with a special nozzle with a fine mist spray to dampen walls when rubbing up (using a wood float to bring a consistent finish) This method using a hose brings a superior finish and more consistent in colour as there is more chance in catching the render before it has a chance to harden too much.

Plaster is applied in successive coats or layers on walls or lathing and gains its name from the number of these coats. One coat work is the coarsest and cheapest class of plastering, and is limited to inferior buildings, such as outhouses, where merely a rough coating is required to keep out the weather and draughts. This is described as render on brickwork, and lath and lay or lath and plaster one coat on studding. Two-coat work is often used for factories or warehouses and the less important rooms of residences. The first coat is of coarse stuff finished fair with the darby float and scoured. A thin coat of setting stuff is then laid on, and trowelled and brushed smooth. Two-coat work is described as render and set on walls, and lath, plaster and set, or lath, lay and set on laths.

Three-coat work is usually specified for all good work. It consists, as its name implies, of three layers of material, and is
Moldings
Plain, or unenriched, moldings are formed with a running mold of zinc cut to the required profile. Enrichments may be moldings added after the main outline molding is set, and are cast in molds made of gelatin or plaster of Paris. For a cornice molding two running rules are usual, one on the wall, the other on the ceiling, upon which the mold is worked to and fro by one workman, while another man roughly lays on the plaster to the shape of the molding. The miters at the angles are finished off with joint rules made of sheet steel of various lengths, three or four inches (102 mm) wide, and about one-eighth inch thick, with one end cut to an angle of about 30°. In some cases the steel plate is let into a stock or handle of hardwood.
Cracks
Cracks in plastering may be caused by settlement of the building, and by the use of inferior materials or by bad workmanship, but cracks, apart from these causes, and taking the materials and labor as being of the best, cracks may yet ensue by the too fast drying of the work, caused through the laying of plaster on dry walls which suck from the composition the moisture required to enable it to set, by the application of external heat or the heat of the sun, by the laying of a coat upon one which has not properly set, the cracking in this case being caused by unequal contraction, or by the use of too small a proportion of sand. Building and background movement even on a settled building can contribute to cracking in plaster work.

Traditionally, crack propagation was arrested by stirring chopped horse hair thoroughly into the plaster mix.

[edit] Slabs
For partitions and ceilings, plaster slabs are now in very general use when work has to be finished quickly. For ceilings they require simply to be nailed to the joists, the joints being made with plaster, and the whole finished with a thin setting coat. In some cases, with fireproof floors, for instance, the slabs are hung up with wire hangers so as to allow a space of several inches between the soffit of the concrete floor and the ceiling. For partitions the slabs frequently have the edges tongued and grooved to form a better connection; often, too, they are holed through vertically, so that, when grouted in with semi-fluid plaster, the whole partition is bound together, as it were, with plaster dowels. Where very great strength is required the work may be reinforced by small iron rods through the slabs. This forms a very strong and rigid partition which is at the same time fire-resisting and of lightweight, and when finished measures only from two to four inches (102 mm) thick.

The slabs may be obtained either with a keyed surface, which requires finishing with a setting coat when the partition or ceiling is in position, or a smooth finished face, which may be papered or painted immediately the joints have been carefully

Modern interior plastering........
There are two main methods used in construction of the interior walls of modern homes. Those methods are either Drywall or Plaster. In drywall a specialized form of sheet rock known as "greenboard" (yclept because on the outer paper coating is greenish) is screwed onto the wall-frames of the home to form the interior walls. The place where the two edges of wallboards meet there is a seam. These seams are covered with mesh tape and then the seams and the screw heads are concealed with the drywall compound to make the wall seem as one uniform piece. Later this is painted or wallpapered over to hide the work. This process is typicaly called "Taping" and those who use drywall are known as "Tapers".

Veneer plastering differs from the drywall method in a number of ways. The two most notable differences is that a thin plaster coat covers the entire wall and not just the seams, and secondly the drywall compound is a thick paste where plaster method uses a great deal of water and is applied very wet. Other differences is that walls intended to be plastered are hanged with "Blueboard" (named as such for the industry standard of the outer paper being blue-grey in color). This type of sheet rock is designed to absorb some of the moisture of the plaster and allow it to cling better before it sets. Plastering is also a one-shot one coat application; Taping usualy requires sanding and then adding an additional coat; since the compound shrinks as it dries. Plaster tends to cost more and takes longer to complete the work.

[edit] The Plasterer & Laborer
The plasterer usualy shows up after the Hangers have finished building all the internal walls, by attaching blueboard over the frames of the house with screws. Typicaly during this stage the wiring of the house is finished but none of the wall plugs have been mounted, this causes the plasterer to use extension cords as well as hoses run from the basement to obtain water and power. The plasterer is usualy a subcontracter working in crews that average about three veterans and one laborer. The job of the laborer is to setup ahead of and clean up behind the plasterers, so they can concentrate on spreading the "mud" on the walls. If the laborer is efficient and has free time during a "mix" he can opt to also act as an apprentice and is given tasks to help him learn the trade. Usualy he is put in a small cramped closet that won't receive much lighting and encourage to try to finish the job on his own. This can be quite messy.
....http://en.wikipedia.org/wiki/Plasterwork

Cultured marble, also referred to as cast polymer, is a blend of high strength polyester resin and natural marble dust formed in a variety of molds to make a single piece article such as bathtubs, shower pans and vanity tops [1]with a surface that resembles marble. [2] Though it is a less expensive alternative to natural marble, it can have more tensile strength.

Because cultured marble is made with a moulding process,[3] it allows greater design flexibility than with stone. For instance, manufacturers of cultured marble can make a bathroom vanity with integrated bowl (or bowls). This eliminates grout lines around the bowl.

The manufacturing process encompasses several steps. [4] One step uses a non-porous gelcoat on the counters and sinks which seals the product and prevents mold and bacteria growth and staining. The process does not use hazardous material; the main risk is the flammability of the polyester resin. [4]
http://en.wikipedia.org/wiki/Cultured_marble
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All Rights Reserved. I worked for Tiffany Marble Molds International for 14 years and I trained every Tiffany Marble training class from September 1990 till March 2004, except one. So I know what it takes to establish a successful cultured marble factory and what causes a new business to fail. Since leaving Tiffany Marble, I have put together an organization that offers the most profound and thorough turnkey opportunity in the world offering:

• The largest selection of superior quality molds in the world.
• All the necessary equipment every factory requires.
• Supplies that are specific to this industry.
• Training in a working factory that is unmatched in the industry with free
follow up training and free training video.
• After-sale customer support you can count on to answer your marketing and
manufacturing questions.

Manufacturing cultured marble, often referred to as man made or artificial marble, offers a great opportunity for those who wish to manufacture bath and kitchen building materials for their local housing market whether they are in America, Asia, Europe, South America or Africa.

My intentions are to help those who are willing to buy the 'proper' cultured marble molds, equipment, raw materials, training and continuous support required to establish a successful business. To be competitive in today's market manufacturing cultured marble, granite, onyx, densified solid surface, and other formulas to build a profitable business, you have to be equipped with the right tools.

Unlike many salespeople who often misinform and mislead potential customers and know very little about the business they promote, we are very ‘hands on’ and know all the products and materials in this industry inside and out and are a stickler for detail. It is crucial to 'buy right'. In today's competitive market, you cannot use old, outdated industry practices. We will take you by the hand and show you how to buy much more for far fewer dollars and select the latest mold designs and equipment to give you maximum production with less overhead and labor cost. You cannot build a palace with only a hammer and some nails, nor can you start a successful cultured marble shop with only a small package of molds and a few supplies. Instead of 'learning-as-you-go', let's put together a plan, cut down the learning curve drastically, and start making money by producing beautiful, marketable products properly from the beginning.

There is a world of information on these pages and I know those who are truly interested in establishing a successful business will view it in its entirety. Compare and save. Please check out the Blog on this page for some articles I’ve written from time to time. Feel free to make any comments in the guest book, and check back often to view any new posts.

If you are overseas and are using a slow connection, e-mail me with your postal mailing address so I can mail you this website on a CD for faster viewing.
http://www.culturedmarblemolds.com/

Pertaining to starting a new Cultured Marble factory
Molds, Equipment, Supplies & Training
These are the most frequently asked questions asked by those investigating establishing a cultured marble factory. I have been adding to and working on this page since I first built the website. Many of these Frequently Asked Questions were asked by trainees during the years when I was working at Tiffany Marble and some are questions I’ve been asked recently by prospects who have found my website and are searching for answers prior to starting their own cultured marble factory. Working independently, I am now able to be forthright and answer all questions thoroughly.

This will answer many of your questions that pertain to cultured marble molds, equipment, training, raw materials, costs, training, etc. I don’t have these Questions and Answers in any particular order, but more or less wrote them down in the order they came to mind and in the order they were asked. So, take the time to read the who thing since you will find many important Questions and Answers throughout. I encourage you to come up with additional questions that I can include here.

What is cultured marble?
Webster’s Dictionary defines ‘cultured’ as ‘produced under artificial conditions’. Cultured marble is a mixture of resin, marble dust, and catalyst. Pigments are added to the mixture to get the desired colors. This matrix mix is then poured into cultured marble molds where it will harden into the shape of the mold whether it’s a sink mold or a bathtub mold, etc. It’s about four times the tensile strength of natural marble, and more stain resistant. Its seamless qualities make it an excellent choice for the bathrooms and kitchens since there are no grout seams for dirt to hide.

Is there more than one type of cultured marble?
There are several variations and formulas such as cultured onyx, cultured granite, spray granite, flexible marble, solid surface, and other formulas that you can view on the Formulas page.

Can I be competitive with natural marble and tile? What are the advantages of cultured marble?
Absolutely. Natural marble is very porous, stains easily, and is less sanitary in the kitchens. Food products spilled on an unsealed natural marble countertop or one made with tile can seep into the pores of the natural marble creating a very unsanitary condition. Tile requires grout, which is more porous than natural marble. Fabricated solid surface kitchen countertop is dense, so food juices won’t penetrate or seep into the countertop. For the same reasons, the solid surface and gel coated cultured products for the bathroom are more stain resistant and more sanitary.

Natural marble is generally limited to flat surfaces while manufactured cultured marble products are not. Cultured marble can easily be formed to produce bathtubs, shower pans, one-piece vanity tops, large one-piece shower surrounds, one-piece bathroom flooring, and many other products made on the molds you see on the Molds page. Your customers will never have to clean mold from grout infested showers again, and will love you for it.

What can you supply me to start my cultured marble factory?
Molds, Equipment, Supplies, Training and continuous Support.

Raw Materials: I do not sell raw materials. I’ll line you up with closest and best source for your raw materials whether you are establishing your factory here in the U.S., or overseas. Some overseas manufacturers may have to import resin and I have a list of overseas suppliers from which to choose from, that I will give you when you’re in for training.

What raw materials make up cultured marble?
Crushed limestone, polyester resin, gel coat, powder or liquid pigments & catalyst.

What size space do I need for a cultured marble factory?
Wow... this is really a broad question. It really depends on how large an operation you intend to grow in to, and how much equipment you start with. One company has a formula they use to determine how many square feet are required per every one-thousand dollars worth of molds. But, since I’m selling the same cultured marble molds for a fraction of the price, obviously this formula won’t work. Just as important, if you have equipment including multi-level (4 or 5 level) storage racks (see Equipment page) for your molds, you can put four times more molds into the same square footage than if you are working without any equipment. This is another huge cost-saving benefit to having mold storage racks and conveyor equipment.

Domestically, most new cultured marble factories start out with a smaller area than a new manufacturer overseas. The reason for this is that a domestic factory can start out with a smaller package of molds and order a single mold now and then and have it in their factory in a reasonable period of time. Overseas, most manufacturers prefer to start out with a larger selection of molds to start with because it is not as easy to order one or two molds and have them in their factory in time to produce the product for their customer. By the time you account for manufacturing time, shipping time, and the time it takes to clear customs, your customer may be long gone because they couldn’t wait for you to get the mold.

To get to your question. Domestically, you can easily start manufacturing in 3,000 square feet. If you add equipment, you can utilize more molds and produce more pounds per day in this same 3,000 square feet. With conveyor and storage equipment, you can grow and remain in this same 3,000 square feet, producing several thousand pounds of marble per day, so you may not out-grow this space for some time to come. If you quadruple the quantity of your molds, you can simply add addition multi-level storage racks and still produce in the same square foot manufacturing space. The average factory overseas is between 10,000 to 20,000 square feet, or 1,000 m² to 2,000 m² and it’s not uncommon to start with 2,000 m².

How many molds do I need to start with?
It depends on your investment and working capital and what products you want to manufacture, but what is most important is that you start out with enough molds to sustain your business through the beginning stages. You will want to have a well rounded selection of molds to produce bathtubs, shower pans, vanity tops with bowl options, shower surrounds, and the necessary accessories like soap dishes, trims, shampoo holders, and window sills . I also suggest including some products like columns, shower seats, and other items that make you stand out above the competition to give you every advantage with your new venture.

How can I determine how many units per day I can make on each of your mold packages?
How many ‘units’ per day each mold package produces is irrelevant. How many ‘Pounds-Per-Day’ (or Kilograms-Per-Day) you produce is what you need to know. There is a big difference between making 20 soap dishes totaling 100 pounds and making 20 shower surrounds totaling 4,000 pounds. Guess which “20 units” make you money? “Units per day” looks good on paper, (I made 200, five pound soap dishes today!) but your whole factory will revolve around how many pounds per day you produce. E-mail or call me if you want a chart that shows how many ‘Pounds-Per-Day’ you can expect to produce on each mold package. I also have them in ‘Kilograms-Per-Day’ so let me know which one you prefer.

What types of products should I manufacture?
I pretty much address this earlier, but a good way to find out what will be the biggest sellers is to talk to your future customers. Contractors will be your best source for this kind of information. They will tell you which products they prefer, and which sizes and styles would be their preference. Look at a copy of their floor plans. Print off the mold drawings on the Mold page and show them what their options are. At the same time, some contractors may not have used these kinds of products in your area. You have to show them, for example, the benefits of having one-piece shower surround wall panels vs. tile. He benefits by a fast and easy installation. The end user benefits from never having to clean soap scum and mold out of tile grout again.

How many employees will I need?
With the proper equipment, it shouldn’t take too long before 4 employees will be producing 2,000 to 3,000 pounds per day. Without the conveyor equipment, you will require additional employees to sort out the chaos and shuffle the molds around the factory.

Why does the equipment allow me to produce more parts per day?
The equipment gives your factory organization, and there is no lifting or shuffling around of molds. All the molds are on a roller track and follow a ‘flow’ or ‘system’ through the factory making it easy to move the molds through the manufacturing process. They molds start out in the set up area, slide down the track to the spray booth, over to the vibrating table, into the storage rack to cure. They are then moved to the de-mold and finishing area before starting this sequence again. Without the equipment, there will always be alot of chaos and time consuming shuffling around of molds to move them through the manufacturing process. Also, if you don’t have an extra large space, you are limited on the quantity of molds your factory is able to accommodate, which limits production and how many pieces or pounds per day your factory can produce. If you’re not able to start out with a conveyor system in the beginning, your first goal should be to do what needs to be done to include one in your manufacturing operation as soon as possible. The equipment makes you money by increasing production and at the same times saves and money by producing with less labor, and in less space.

Can I make any color of marble?
There are more colors available to you than you will probably ever use. But, if you have all the standard colors available and want more, you can even order custom colors. There are dry power pigments, liquid pigments and many granite colors to satisfy any customer’s needs.

Can I make any shape of cultured marble?
The molds are designed to be very versatile and by using divider bars, templates and a combination of molds, you can supply any standard or custom shaped products for your customers requirements. You can manufacturer products specific to your customers requirements that they could never buy off a shelf in a building supply store.

Is it possible to pour my molds four times per day?
You will have a very successful business if you only turn your molds once a day provided you have enough molds to start with. Whoever says it’s possible to turn your molds four times per day has never worked in a factory pouring marble or is smoking something. How many times per day your molds can be poured has nothing to do with the molds you're pouring on, but everything to do with the raw materials you are putting on the molds. Your molds could certainly handle being poured four times per day but the question is whether you are capable of setting up the molds, waxing the molds, spray them with gel coat, letting the gel coat cure, pour the marble, and have the marble cure fast enough to take it off and do this cycle four times in a day. Oh, maybe we're not talking about an eight or ten work hour day. Also refer to the piece I wrote on the Blog regarding this.

What happens if this current building trend doesn’t continue?
Statistically, when new construction goes down, remodeling construction goes up, and the remodeling industry is usually a more ‘custom’ market where the mark-up is better than the new construction market. You may require a larger variety of mold styles and sizes in the remodeling market, but the bigger mark-up will more than pay for itself.

What are the molds made from?
I’ll save my time and space here and simply refer you to the Molds page. I covered this question there since it's a very important question that demanded a detailed explanation.

What is the life expectancy of a mold?
The molds are designed to produce several thousand parts and will last you many years by using a little common sense and incorporating a maintenance plan.

Do you have a minimum mold package requirement?
No, I don’t have a minimum requirement but if I feel you’re undercapitalize, I’ll tell you so. For starters, you have to start with enough molds to produce enough products to sustain the business. You’ll want to be able to produce bathtubs, shower pans, shower surrounds, vanity tops, window sills, trim moldings, soap dishes and a few other miscellaneous accessories that will go into a bathroom or kitchen.

Of course there are exceptions to the rule. If an individual wants to manufacture a few select items and work it in conjunction with their existing business, then it may be feasible to start with a very small selection of molds, for example, a cabinet shop who wants to produce their own cultured marble, onyx, granite, and solid surface sinks and countertops. for their existing customers.

Is it hard to keep the molds in good working condition?
The molds are quite easy to work with and maintain. You’ll learn the importance of mold maintenance in training and we’ll do some mold maintenance work. The molds are designed to make you several thousand pieces and will last you many years with proper maintenance. There is nothing difficult about maintaining your molds and it is more a matter of discipline and working habits. In one sentence and a 5 minute demonstration, I’ll teach you something that, if every marble shop would do it, would save them thousands of dollars in sanding and buffing labor cost and give them several years of extra service. Did you hear about the guy in San Francisco that put over 600,000 miles on his 1988 Toyota, and is still driving it? That is extreme, but it shows you what maintenance will do for you. In your case, good mold maintenance will not only save you labor cost, but will allow you to use every mold for many more years.

Will you help in laying out our factory?
Certainly! I have quite a few factory layouts that I’ve done in the past that may work for you and if you already have a building, chances are one of them will fit your building configuration nicely. E-mail or fax me your factory floor plan, including dimensions, door locations, and support columns, and I will send you a factory layout to fit your requirements.

Are there factors we need to keep in mind in regards to expansion when laying out the factory?
Yes, but I always do that when laying out a factory floor plan anyway. If you don’t have equipment, simply adding equipment with multi-level storage racks will allow you to add four times more molds to your mold inventory. That, in turn, frees up space to add even more racks so that your factory can utilize even more molds. The equipment layout drawing that you see on the Equipment page could easily be adjusted to allow for twice the mold capacity.

When laying out a new factory with the equipment, we would want to take ‘expansion’ into consideration when we set up the factory initially. The most common ‘add-ons’ in a factory would be more storage racks, a gel coat heating tunnel, and more vibrating tables.

Do I really need a spray booth?
Absolutely! One of the first steps in producing marble, onyx, and granite is applying gel coat on the mold. The gel coat is one of the first steps in manufacturing your marble and it is what gives your products the stain resistant qualities. So, you will require a spray booth to apply your gel coat.

I see you stress the importance of a larger spray system rather than using a more simple cup gun. There must be some advantage to spending the extra money.
I had a long half page explanation how a quality gel coat spray system will pay for itself in a short period of time. To keep this FAQ as short and to the point as possible, let me simply say here that the money you save on material cost (gel coat) and time (labor), a gel coat system will pay for itself in one year. If you start out using a cup gun, seriously consider graduating as soon as possible, to a better system. I would not recommend your spending an extra 5K or 6K unless it was going to add to your bottom line.

Some places don’t stress equipment like you do on your website? Why?
I think the Equipment page pretty much answers this but I will summarize it in a few short words. The cultured marble conveyor, transfer, and storage equipment will cut your labor cost and increase your production, putting more profit in your pocket. Why others don’t promote equipment more is a good question. I guess if they only sold molds they might think it would take money out of your mold budget and you would buy fewer molds. I look at the whole picture and will help you build a factory that will make you money.

What is the most basic equipment will I need to get started ?
The equipment that you will absolutely require is: a Blender/Mixer, Vibrating Table, and a Spray Booth and Gel Coat Spray system. You could start with this and eventually grow into buying the above mentioned equipment as your profits allow.

Do I require a lot of small tools?
You biggest investment will be in molds and equipment that you see on those two pages on this site. There are some such as a compressor and some small power tools that you will need such as skil saw, sanders, buffers, etc.

Are there other companies that sell the concept of establishing a new marble factory?
Of course! There are companies that sell molds, there are companies that sell the equipment, and there are companies that sell cultured marble supplies. But, there isn’t anybody that will watch out for you and bundle everything together with your benefit in mind. Molds, Equipment, Supplies, Detailed Training, and the crucial Continued Customer Support. I will see to it that you buy everything that is required to make you money, but at the same time make sure you are not buy unnecessary items to establish your new factory.

What are the square feet requirements?
Good question. I must not have explained this clearly earlier, so I’ll try to be more clear. That depends on how big of an operation and how many molds you start with and whether or not you start with the conveyor and storage equipment. The factory layout system on the Equipment page is in a small 3200 square foot building. Notice that this factory has four multi level storage racks. Without the multi level storage racks, you would require twice as much space and you would produce fewer parts per day since you don’t have an organized system in your factory. If you’ll look at the drawing, you’ll notice that if you add another 20 foot of transfer cart rail, you can add another four additional multi level mold storage racks, which will double the capacity in this same 3200 square feet. So, as you can see, your square foot requirement is not based strictly on how many molds you have. Also, this gives you an idea on how the equipment will actually pay for itself in a short period of time, by saving on manufacturing space, and increased production.

Can I buy my supplies locally?
Some supplies and shop tools you can buy locally and some you will buy from supplier specific to this industry. When you come in for training, you will get my personal list of ‘all’ suppliers that I have been working with and collecting for the past 15 plus years.

Why are there so many sizes/depths of Vanity Top Molds? Bathroom Vanity tops are generally 22" deep. Kitchens are 25". Where would I use a big 30" Deep No Bowl All Purpose?
You’ve done your studying, or you’re a contractor. You are correct in your dimensions, but to make a mold package even more versatile, this 30" No-Bowl All Purposes is a good mold to have. It will allow you to make the various style of edges, such as the Bullnose, Ogee and other drop front edges you see in the Photos Page.

Are there any environmental issues or hazardous waste?
There is no hazardous ‘waste’ in producing cultured marble. You will be using a flammable polyester resin to manufacture your cultured marble products, but it’s a common raw material in manufacturing.

Are you a franchise?
No. There are no continued obligations once you establish your marble factory. You can buy from any and all the suppliers in the industry. In fact, I give you my personal supplier list that I’ve accumulated over the years. But, of course I will continue to give you the personal support when you need it.

Who will be my customers?
New and remodeling contractors will be your biggest customer and they will be a repeat customer for all their future projects. But, other potential customers include bath and plumbing shops, plumbing contractors, cabinet makers, and interior designers. Believe it or not, tile supply stores and tile setters can be a big customer for your shower pans and soap dish accessories. Some of the local Lowe’s and Home Depot type of stores often buy their customer order products locally. Your most lucrative market is selling retail, direct to the end user. Consider investing in a showroom to display your products. It will pay off handsomely.

Where/How will I find my customers?
Since contractors will be your biggest and most immediate customers, sending a personalized introduction letter is very effective. There are many local building permit publishers that sell the weekly building permits applied for in each county. When you get established, plan a ‘Grand Opening’ open house and get the word out by newspaper, radio and TV. I see a local marble shop advertising on TV in the evenings. We’ll go more into detail on this when you’re in for training.

Can I expect to go home and make quality products after training?
Yes. I have been training for the past 15 years so I have an idea what points to concentrate on. I always make sure everybody understands what we’re doing before moving on to the next project. I always like see everybody taking notes so you will have all the information written in their own words and in your own language for later reference. You’re also free to take video and photos.

Will I be capable of training my staff after my training?
With the knowledge you’ll gain in training, in addition to your videos, photos and notes, you should be able to train others when you return home and set up your factory. When questions come up, I’m only an e-mail or a phone call away and I try to be very prompt in replying to e-mails. At the latest, you’ll get your question answer the following morning.

Can you come to my factory to train my employees when I get it all set up?
Set up your factory and start producing a few samples. If you feel it’s required certainly we can discuss training in your factory to train your staff and solve any manufacturing problems you may have. I want to give you every opportunity possible.

What are the electrical requirements in a factory?
Electrical supply varies depending on where in the world your plant is located. Most domestic (USA) electricity is 60 Hz. Internationally, 50 Hz service is the most common. In addition, electricity is available in single phase or three phase. Single phase is available almost everywhere; in homes, offices, small industrial buildings, etc. Three phase is usually available in medium to large industrial buildings. It is much more economical to operate equipment on three phase (where possible) supply due to the higher voltage. For example - a small plant with a single mixer and spray booth would need about 40 Amp, 60 Hz, single phase service or about 13 amp, 60 Hz, three phase service. A larger fully equipped factory would require three phase electrical service to efficiently operate the production equipment. This would be something on the order of 45 Amp, 60 Hz service.

What size of compressor will I need?
You will want a compressor capable of putting out 125 cfm @ 60 psi. You can’t really buy a compressor ‘too big’, but at the same time, no use buying a lot more than you require. But, you’ll want a compressor capable of supplying air for spraying gel coat, vibrating your tables, and using any air tools such as buffer and sanders.

Will I need a lot of storage space for my marble products?
No. You won’t be producing products to inventory. Inventory does not make you money. You will be making your products per your customer’s specifications, and they should go out the door as soon as they are ready.

What do I need to look for in a building?
You will want to set up your factory in an industrial area. It’s a ‘factory’. You don’t need something classy for manufacturing especially since most of your first customers will be contractors. Often times, a showroom can be set up in the same building as the factory and many people like to buy from a ‘factory’. They know they’re getting a ‘deal’ by purchasing directly from the factory. After you get established, check into the feasibility of building an additional showroom offsite in a higher traffic/retail area to expand into the