Mass-produced home accessories are easy to buy, but they rarely feel personal. A coaster chosen from a store shelf may protect a table, yet it does not reflect the colors of your home, mark a shared experience, or carry the satisfaction of having made something with your own hands.

That is why Jesmonite coasters and trinket trays have become such rewarding beginner projects. They are small enough to complete in a workshop, practical enough to use every day, and flexible enough to suit almost any visual style from quiet neutral marble to bold, confetti-like terrazzo. More importantly, making them introduces you to genuine casting skills: measuring, pigmenting, pouring, controlling air bubbles, demoulding, sanding and sealing.

In Singapore, Concrete Everything offers a hands-on Marble and Terrazzo Coasters Workshop where participants can experiment with both finishes in one session. The experience is not simply about decorating a ready-made object. You work with the material in its liquid state, decide how the colors should interact, and reveal a finished piece that cannot be reproduced exactly even if someone else chooses the same palette. 

Why Jesmonite Is a Smart Choice for Small Homeware

Jesmonite AC100 is a two-part casting material made from a water-based acrylic liquid and a mineral base. Once combined, the components form a pourable material that can capture fine mould details and accept pigments, fillers, and decorative effects. Unlike conventional solvent-based resin systems, AC100 is water-based and solvent-free, making it especially suitable for indoor creative studios and small-scale homeware projects. 

Its greatest strength for beginners is the balance between creative freedom and manageable project size. A coaster does not require advanced mould-making or reinforcement, while a trinket tray offers enough surface area to practise more deliberate color placement. The same basic material can produce a stone-like neutral object, a soft pastel accessory, or a vivid statement piece simply by changing the pigment proportions and pouring technique. Jesmonite’s manufacturer specifically identifies AC100 as suitable for decorative moulded objects such as coasters and trays. 

The material also sets relatively quickly. Jesmonite’s technical sheet gives AC100 an initial set time of approximately 15 to 20 minutes at 18°C without retarder, while its practical casting guide advises leaving a simple cast for around 30 to 40 minutes before demoulding. The broader manufacturer guidance notes that actual demoulding time can range from about 30 minutes to two hours depending on room temperature. In Singapore, this means the temperature of an air-conditioned studio can noticeably affect the pace of the session. 

That quick turnaround matters. Participants can experience the complete transformation from loose powder and liquid to a solid, usable object within one workshop rather than waiting days to see whether a project succeeded. The piece will still need further drying before reaching full strength, but the immediate demoulding moment gives the activity a satisfying sense of completion. Jesmonite recommends allowing a demoulded AC100 object to cure for approximately 24 hours before sanding or sealing. 

For trinket trays, the practical possibilities are broad. A slim tray can hold rings beside the bed, keys near an entrance, paper clips on a desk, or hair accessories on a dressing table. Coasters can be made to coordinate with an existing dining area or created as a personalized housewarming set. Because Jesmonite materials have not been tested to food-safety standards, however, trays should be treated as decorative organizers rather than surfaces for direct food contact. 

What to Expect at Concrete Everything’s Singapore Workshop

Projects, formats, and design choices

Concrete Everything’s workshop is designed to introduce both marbling and terrazzo rather than limiting participants to one visual technique. The current listing describes a session in which participants select their own color combinations and create marbled and terrazzo-style pieces using coaster or tray moulds. Available forms include circular, square, hexagonal, and walled designs, although the exact options may depend on the booking selection and studio availability. 

A marble effect is created through controlled color movement. Instead of stirring several colors until they become one flat tone, differently pigmented portions are folded, layered, or lightly swirled together. The goal is to preserve visible veins and transitions. Jesmonite’s own user guide notes that pigment can be swirled through the mixed material to create varied effects, while its official starter project uses marble-effect coasters as an introductory application. 

Terrazzo takes a different approach. Small cured colored fragments are distributed through a contrasting base mix. After the piece has cured, sanding reveals the embedded fragments more clearly and creates the characteristic speckled surface. Concrete Everything’s home kit similarly allows users to make their own terrazzo flakes or add ready-made flakes, which illustrates why the technique involves more preparation than a single-color pour. 

These two approaches teach different forms of control. Marbling rewards restraint: too much mixing causes the colors to merge and the veins to disappear. Terrazzo rewards planning: the size, density, and color of the chips determine whether the result looks delicate, playful, or visually crowded. Trying both in the same session helps a beginner understand that successful casting is not only about choosing attractive colors; it is also about controlling how those colors occupy the surface.

The workshop format can also work well for couples, friends, families, and workplace groups because everyone follows the same production stages without having to make identical objects. One participant might choose muted sage and cream, while another builds a high-contrast palette around cobalt, yellow, and white. Concrete Everything also advertises private, corporate, and team-building workshop formats with customizable packages, making the activity relevant to businesses seeking a more tangible alternative to a conventional group outing. 

For a company, the finished object can extend the value of the event beyond the session itself. A team could work within an approved brand palette, create matching desk trays, or produce small personalized gifts for an internal celebration. That business benefit is an inference from the workshop’s customizable format: participants leave with a useful object that can continue to remind them of the shared activity. 

Booking details that matter

At the time of writing, the workshop page provides the following information:

• The listed promotional price is S$80, reduced from S$90, although pricing can change.

• Sessions are shown from 2:00 p.m. to 5:00 p.m. at 37 Jalan Pemimpin, MAPEX, #03-08, Singapore 577177.

• The studio asks participants to arrive approximately 10 minutes early and requires a minimum of five participants before a session is confirmed.

• The page mentions both “one marbled and one terrazzo coaster” and “two coasters/two trays.” Because those descriptions are not perfectly consistent, participants should confirm the exact number and format of pieces attached to their selected mould option before booking. 

The minimum-participant policy is particularly important when planning a date-specific celebration. The studio states that it sends a confirmation email once the minimum attendance has been reached. Bookings are for one person each, no-shows forfeit their charges, and cancellations are not permitted after confirmation under the terms displayed on the workshop page. 

The listed dimensions also help set expectations. Standard circular and square pieces are approximately 8 by 8 by 1 centimetre, walled coasters are approximately 10 by 10 by 2 centimetres, and the tray option is approximately 18 by 9.5 by 1.5 centimetres. These are compact homeware items rather than large serving trays, which makes them best suited to drinks, jewelry, keys, stationery, and other small belongings. 

How the Making Process Works from Mix to Finish

A successful Jesmonite cast begins before any color is added. The mould should be clean, dry, and placed on a level surface. Even a slight tilt can create a coaster with one thick side and one thin side. The mixing cup and tools should also be free of moisture and old residue, as Jesmonite’s official guidance recommends clean, dry containers and accurately weighed components. 

AC100 uses a standard ratio of 2.5 parts mineral base to one part liquid by weight. This is not a recipe to estimate by eye. A digital scale is important because excess liquid can affect curing and strength, while excess powder can produce a mix that is difficult to pour into edges and fine details. The official guide warns that failure to measure and mix correctly can result in strength loss, slower curing, and reduced durability. 

For a solid color, pigment is best blended into the pre-weighed liquid before the mineral base is introduced. The powder is then added gradually while the mixture is stirred until smooth and free of dry lumps. Official Jesmonite pigments should not exceed 2% of the total mixed weight; over-pigmentation may prevent proper setting or leave the finished object weaker and more breakable. Strong color therefore comes from accurate dosing, not from pouring in pigment until the mixture appears dark enough. 

A marble design normally requires the maker to reserve or divide portions of the mix and color them separately. The colors are then brought together with minimal stirring. A single light fold may create broad, fluid veins, while several thin drizzles can produce finer lines. There is a point at which further stirring stops improving the pattern and begins destroying it. Learning to recognize that moment is one of the main benefits of working beside an instructor.

Terrazzo requires a different sequence. Colored material is first cured into thin sheets or fragments and broken into chips. Those chips are mixed into or arranged within a fresh base color. A pale base with widely spaced dark chips looks clean and architectural; a high concentration of multicolored fragments feels more playful. The important design decision is not simply which colors to choose, but how much visual space each color should occupy.

When the mix is ready, a small amount should be worked into the mould’s surface and corners before the remainder is poured. Jesmonite recommends brushing a thin first layer approximately 1 to 2 millimetres into the mould to displace surface air, followed by gently tapping or vibrating the mould. Pouring in a thin stream into one area rather than splashing the mix around the entire mould can also reduce turbulence and trapped bubbles. 

Demoulding should not be rushed. The piece may appear solid at the edges while remaining fragile in the center. Conversely, leaving AC100 inside a non-breathable mould for too long can trap moisture, causing surface marks or “sweating.” Jesmonite’s casting guide recommends removing the object once it has set and then allowing the remaining moisture to evaporate outside the mould. 

After roughly 24 hours of curing, the surface can be refined. A marble coaster may need only light edge sanding, whereas terrazzo usually needs more deliberate sanding to expose the colored chips. Progressive sanding moving from a coarser abrasive to finer grades removes casting irregularities without leaving deep scratches. Concrete Everything recommends beginning around 120 grit for prominent imperfections and progressing through finer grades such as 320 and 1000 grit for a smoother finish. Sanding produces mineral dust, so a mask, eye protection, and sensible dust control remain important even though the casting system itself is water-based. 

The final stage is sealing. AC100 is porous, and an unsealed coaster can absorb condensation, coffee splashes, cosmetics, or colored oils. Jesmonite Acrylic Sealer and Gloss Sealer are compatible with AC100 and are designed to improve protection against moisture, dirt, and staining. A satin or matte coating preserves a stone-like appearance, while gloss gives the colors and terrazzo fragments a more polished visual depth. 

A sealer improves resistance, but it should not be confused with complete waterproofing. Jesmonite’s own Academy materials state that both acrylic and gloss sealers increase water resistance while remaining non-waterproof. In daily use, wipe spills promptly, avoid leaving a wet glass on the same coaster for prolonged periods, and do not put the item in a dishwasher or microwave. Jesmonite also advises against exposing its products to temperatures above 80°C. 

Common Mistakes and Better Habits

Many first casts fail for small, preventable reasons rather than a lack of artistic ability. The most useful habits are technical and repeatable:

• Estimating instead of weighing: Use the specified 2.5:1 base-to-liquid ratio by weight. A visually “close enough” mixture may still cure poorly or lack strength. 

• Mixing aggressively: Fast whipping introduces unnecessary air. Add the liquid first, introduce the powder gradually, scrape the sides and bottom, and mix steadily until smooth. 

• Adding too much pigment: More pigment does not automatically produce a better color. Stay within the recommended maximum and create lighter shades by reducing pigment, not by disturbing the component ratio. 

• Treating sealant as optional: Coasters and trays routinely encounter moisture, makeup, oils, and dirty hands. Proper curing, sanding, and sealing are what turn an attractive cast into a functional piece of homeware. 

Another common mistake is expecting handmade casts to look factory-perfect. Small variations in veining, chip placement, and edge texture are part of the process. Concrete Everything explicitly notes that casting is handmade and that individual results will differ from reference images. 

That does not mean every flaw should be celebrated. A random air pocket caused by hurried pouring is different from an intentional irregular vein. Good craftsmanship lies in learning which variations express the material and which ones signal a process that needs improvement.

Cleanup also deserves attention. Jesmonite advises scraping unused material into the bin before washing mixing pots, brushes, and moulds with warm, soapy water. Allowing residue to cure before disposal prevents unnecessary wet material from accumulating in sinks and keeps reusable tools in better condition. 

For anyone who wants to continue after the workshop, Concrete Everything sells local AC100 sets, pigments, moulds, sealers, mixing blades, sandpaper, terrazzo flakes, and complete DIY coaster kits. Its current coaster kit includes powder, liquid, six pigments, a silicone mould, cups, mixing tools and sandpaper, with several coaster and pill-tray mould options. This makes the workshop a useful first step before investing in supplies: you can discover whether you enjoy the measuring and finishing stages as much as the color design. 

Frequently Asked Questions

Is the Jesmonite coaster workshop suitable for beginners?

Yes. The workshop is structured around small moulded objects and guided techniques, so prior casting experience is not required. 

How long does the Concrete Everything workshop take?

The current listing shows a three-hour session from 2:00 p.m. to 5:00 p.m. Check the selected booking date for the latest schedule. 

Can I use a Jesmonite tray for food?

Use it for jewelry, keys, stationery, and other decorative storage. Jesmonite materials and their official sealers have not been tested to food-safety standards. 

Are Jesmonite coasters waterproof?

Not completely. Sealing improves water and stain resistance, but official guidance states that sealed AC100 should not be treated as fully waterproof. 

Can I make more Jesmonite pieces at home after the workshop?

Yes. AC100, pigments, moulds, tools, sealers, terrazzo flakes, and beginner DIY kits are available locally through Concrete Everything.