From the 1640s, Dutch tile-painters simplified their borders to a single flourish in each corner—a few mirrored curls and a dot resembling a spider's web, hence spin ('web' or 'spider' motif). This leaves the field mostly blank for a crisp, minimalist look. The most common Delftware corner motif and our flagship style. The model captures this minimalism, including tiny chips that nod to well-loved originals.

By the 1660s a new Delft look appeared: tiles with no corner motifs at all, just a lone emblem floating on a wide field of milky tin-glaze. Dropping decorative corners reduced pigment costs and painting time, the culmination of a shift from busy polychrome maiolica to spare blue-and-white. Gorgeously minimalist. This model generates tiles with ultra-small emblems that give maximum breathing room to whitespace.

Imported Ming 'kraak' porcelain sparked a craze for the Chinese-meander border in early 17th-century Dutch tiles: a continuous key-fret ribbon on all four sides. Almost always painted in deep cobalt, the meander frames a neat round medallion so the centre scene pops against the busy border. The model echoes that tight geometry and deep blue.

Alongside classic blue and white, the Dutch used manganese to create richly purple tiles from the late 17th century. These tiles showcase intricate designs blending Dutch traditions with foreign influences.

Similar stylistically to our fleur-de-lys style, this is a minimal and traditional style, with a vine leaf (called wingerdblad in Dutch) in each corner.