I have always been a fan of extremely finicky and time-consuming processes; through slow-paced studio days, I can work through forms intuitively and meditate on ideas for hours. While this is great for coming up with interesting constructions, it is not conducive to experimentation in other areas of my studio practice. For instance, during the time post-graduate school, I wanted to incorporate more color and pattern into my pieces, but because of the amount of time it took to construct each individual attachment (i.e. measuring out, rolling out, and attaching individual balls) that would cover a significant section of a vessel, my progress exploring surface variations was slow and frustrating. I needed a process that would fit the old adage “work smarter not harder,” so I could have more time for other areas of my studio practice. I wanted a tool that would help me measure, shape, and attach small pieces of clay all in one. A small press mold or sprig mold was the solution (A).
Positives and Negatives
For the purpose of experimentation and efficiency, I decided to create bisque-fired ceramic positives, with which I could make as many sprig molds as I wanted (B). This way, if the original sprig mold gets lost or damaged, replacements or variations of the original design can be made faster than trying to recreate the tool from scratch.
AB
A positive is the exact shape and size your sprig will be, so making sure all details are smoothed and preventing undercuts (C) is key to making a successful positive. Using cookie cutters or simple guides is a great way to make a positive. Once you have a finalized form that you want to make a sprig mold of, attach it to a small slab of clay. Do this at the leather-hard stage to prevent details from getting smudged. I recommend using a simple, round-edged shape to help prevent chips and breaks. Bisque fire the positive before making the sprig mold.
C
Creating Sprig Molds Using Positives
To make a sprig mold, roll a small clay ball using soft, fresh clay into a small cone approximately the size of a baby carrot. The fatter end should be smooth, wrinkle-free, and the diameter should be a bit wider than your positive’s form. Position this fatter end directly above and in the center of the positive, and press down firmly to ensure all details transfer. Set the new sprig mold aside to dry to leather hard, after which you can trim off the excess using a knife, cheese cutter, or loop tool. Ensure the tapered end where your fingers hold the tool isn’t smooth; a textured handle helps you grip the tool. Bisque fire the sprig mold before use. Takeaways:
Positive/Master Mold: Sculpted form attached to a small slab, bisque fired, representation of what the final sprig will look like. Start simple and build complexity, avoiding all undercuts.
Negative/Sprig Mold: Small press mold made from a positive master mold for creating low-relief shapes. Bisque fired for durability and reuse. The negative space inside is to be filled with clay to create sprigs.
Positive/Sprigs: Sprig molds are used for creating sprigs. Sprigs are pressed clay attached to a clay object’s surface for relief decoration.
How to Make and Use Sprigs
Once you have your sprig mold ready to use (1), press a small piece of smooth clay into the negative space and remove the excess (2). Slip and score the sprig and the attachment area. Firmly press your sprig mold to the desired location (3) (support the inside of the form where possible), then pull back on the sprig mold allowing the sprig to remain attached to the surface. With your attachment now in place, smooth extra clay into the surface to seal the attachment (4), and smooth the edges with a damp sponge or paintbrush (5). Repeat this process as desired (6).
Sometimes when I use sprigs to create a pattern, I mark their placement with an X using a needle tool so I know approximately how I want everything to be positioned. I also tend to start attaching in the middle rather than the edge in case I need to make adjustments.
1 Bisque-fired sprig molds are durable and porous, allowing the clay to release.2 Press a small piece of fresh clay into the sprig mold cavity and remove excess.
3 Score the clay in the sprig mold. Press the mold firmly onto scored site on pot.4 Using a rib or wooden knife, smooth the clay around the attachment to seal.
5 Smooth the edges with a damp sponge or paintbrush.6 Repeat this process changing the direction, proximity, and shapes as desired.
Other Tips
If the clay isn’t coming out from the sprig mold and you know there aren’t any undercuts, try using less water when scoring and slipping the attachment and attachment site. Using too much water will make the clay slide, but removing the clay in the sprig mold, lightly drying the attachment area, and reloading your sprig should do the trick!
Naomi Peterson received an MFA in ceramics from the University of North Texas. In 2024, she was selected as an Emerging Artist by Ceramics Monthly. Naomi has taught nationally at various institutions such as the Glassell School of Art and Art League Houston as well as teaching workshops online and in person. Currently, she is an artist-in-residence at KC Clay Guild.
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Positives and Negatives
For the purpose of experimentation and efficiency, I decided to create bisque-fired ceramic positives, with which I could make as many sprig molds as I wanted (B). This way, if the original sprig mold gets lost or damaged, replacements or variations of the original design can be made faster than trying to recreate the tool from scratch.
A positive is the exact shape and size your sprig will be, so making sure all details are smoothed and preventing undercuts (C) is key to making a successful positive. Using cookie cutters or simple guides is a great way to make a positive. Once you have a finalized form that you want to make a sprig mold of, attach it to a small slab of clay. Do this at the leather-hard stage to prevent details from getting smudged. I recommend using a simple, round-edged shape to help prevent chips and breaks. Bisque fire the positive before making the sprig mold.
Creating Sprig Molds Using Positives
To make a sprig mold, roll a small clay ball using soft, fresh clay into a small cone approximately the size of a baby carrot. The fatter end should be smooth, wrinkle-free, and the diameter should be a bit wider than your positive’s form. Position this fatter end directly above and in the center of the positive, and press down firmly to ensure all details transfer. Set the new sprig mold aside to dry to leather hard, after which you can trim off the excess using a knife, cheese cutter, or loop tool. Ensure the tapered end where your fingers hold the tool isn’t smooth; a textured handle helps you grip the tool. Bisque fire the sprig mold before use. Takeaways:
How to Make and Use Sprigs
Once you have your sprig mold ready to use (1), press a small piece of smooth clay into the negative space and remove the excess (2). Slip and score the sprig and the attachment area. Firmly press your sprig mold to the desired location (3) (support the inside of the form where possible), then pull back on the sprig mold allowing the sprig to remain attached to the surface. With your attachment now in place, smooth extra clay into the surface to seal the attachment (4), and smooth the edges with a damp sponge or paintbrush (5). Repeat this process as desired (6).
Sometimes when I use sprigs to create a pattern, I mark their placement with an X using a needle tool so I know approximately how I want everything to be positioned. I also tend to start attaching in the middle rather than the edge in case I need to make adjustments.
Other Tips
If the clay isn’t coming out from the sprig mold and you know there aren’t any undercuts, try using less water when scoring and slipping the attachment and attachment site. Using too much water will make the clay slide, but removing the clay in the sprig mold, lightly drying the attachment area, and reloading your sprig should do the trick!
Naomi Peterson received an MFA in ceramics from the University of North Texas. In 2024, she was selected as an Emerging Artist by Ceramics Monthly. Naomi has taught nationally at various institutions such as the Glassell School of Art and Art League Houston as well as teaching workshops online and in person. Currently, she is an artist-in-residence at KC Clay Guild.
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