One hears often of the versatility of portand cement concrete or mortar as an artistic material because of its low cost, safety and good workability. While these qualities are hardly to be discounted, they are secondary to others: its responsiveness to the hand of the artist, its remarkable change from a plastic to a solid by setting and hardening, and its limitless range of color, value, and texture. Combined with its structural versatility, permanence, and stability these features make it an ideal sculptural material. The process can be exemplified by the making of a human figure. First an original figure from which later work is done is modeled in clay over a metal armature. A thin, light plaster waste mold, usually in several parts, is then taken from the clay original. After such preliminaries, layup is almost embarrassingly simple. First, a one-fourth inch thick layer of wet mix is brushed vigorously onto the mold surface. Next, a thin sheet of fiberglass felt is laid on before a second layer of mortar is applied with a small spatula. The entire unit is then wrapped in wet cloth and plastic sheeting and left undisturbed for two weeks of curing. After that length of time the mortar is hard enough to permit the mold to be chipped away by using a mallet and chisel. The work is kept moist during this process. In all cases, features peculiar to achievement in portland cement mortar are especially sought after. A few techniques can be listed: tapping lightly with a wire brush immediately after the surface has emerged from the mold produces an aged, weathered texture; brushing on a coat of colored slurry made from mineral pigments, allowing it to begin to dry, and then scrubbing it off leaves deposits of color in recessed areas; by refraining from vibrating all the air pockets out the wet mix, a spread of tiny pockmarks can be had on the sculptural surface.