Balusters were a popular architectural motif in the Renaissance, and they were often used in Delftware tiles to frame central scenes. This style features a dark blue border with balusters on the left and right sides and fleur de lys motif in each corner.

The aigrette is an elegant corner motif that resembles a sweeping plume or feather. This specific AI style wraps the central scene in a ring or garland of aigrettes, balancing the composition and making a field of tiles feel stylishly cohesive.

Delft tiles did not exist in separation from the cultural and artistic context of their times. Styles — including the Baroque that gripped Europe in the seventeenth and eighteenth centuries — profoundly impacted its progress. This style, like our Greek A style, was particularly inspired by the contemporary engravings of Daniel Marot. Each scene is framed neatly in an oval cartouche, and the overall style is playful and classical, while still retaining the classic Delft blue and white.

In Delftware, Chinese meander patterns are a distinctive feature that reflects the influence of Chinese porcelain on Dutch pottery. These corner motifs patterns consist of interlocking lines forming a continuous, maze-like design.

Similar to our old spare style, this look is minimalistic and spare with the classic web corner motif. It is slightly more detailed and crisp, with more consistent corners.

Early Delftware, prevalent in the late 1500s to early 1600s, emerged as a transitional style between Italian-Spanish Majolica and the classic blue-and-white Delftware. Characterized by bright colors, ornate patterns, and restricted imagery, it originated when Italian potter Guido da Savino established the first majolica workshop in Antwerp around 1500. This style featured a diverse color palette, elaborate ornamentation, and central emblems often enclosed in thick painted frames. Large corner motifs created a strong carpet effect when tiles were arranged together. While rooted in Majolica traditions, Early Delftware gradually developed its own distinctive look, incorporating more everyday subjects and loosening frame designs. This style offers rich historical context and visually striking elements.

This stylized depiction of a lily flower is, of course, most associated with the French kings and the French ancien regime more broadly. However, it was a very popular corner motif on Delftware tiles throughout the period of its flourishing, even as geopolitical confrontations between France and the Low Countries raged.

The Greek A (De Grieksche A) factory — so named for the distinctive mark on its pottery — operated in Delft from 1658 to 1811. This style is an ode to their busy, classicising style of the turn of the eighteenth century under the ownership of Adrianus Kocx. The influence of French Huguenot emigré and engraver Daniel Marot lends a specific Baroque touch to many of their designs. They were collected abroad, including at Hampton Court in England under the reign of William and Mary.

The style follows the 'kleine bloem' (little flower) model with its informal, asymmetrical arrangement and decorative leaf sprigs in the corners. The brushstrokes are loose and expressive, with lots of cobalt blue.

Similar to our old spare style, this look is minimalistic and spare with the classic web corner motif. It is slightly more detailed and crisp, with more consistent corners.

This pattern showcases a distinctive diagonal servetster motif, painted in rich purple on a tin-glazed earthenware base. The motif represents an interesting evolution in Delft tile design, combining geometric precision with organic decorative elements under the influence of the Baroque and Rococco in the eighteenth century. The colour would have been orignally made with manganese pigments.

This pattern showcases a distinctive diagonal servetster motif, painted in black on a tin-glazed earthenware base.

Alongside the classic blue and white, the Dutch also used manganese to create richly purple tiles, emerging in the late 17th century and that represent a distinctive phase in Delftware production. These tiles, characterized by their rich, deep purple hues derived from manganese oxide, showcase intricate designs that blend Dutch artistic traditions with diverse foreign influences.

This style imitates the traditional Dutch gevlamd (flamed) glazing technique, characterized by fluid interactions between brown and white glazes applied to a tin-glazed base. The distinctive marbled effect was achieved historically through manual manipulation of the wet glazes, resulting in natural flow patterns. Some speckling, characteristic when using this technique, emerged during the final firing process. Each tile was unique; we use AI to simulate this natural variation and transfer the designs straight onto a tile.

The ox-head (known as ossenkop in Dutch), alongside the web and the fleur-de-lys, is one of the most iconic corner motifs in Delftware. This style is a minimalist take on the classic ossenkop motif, with a crisp distinction between the frame and the central scene.

Delftware tiles were not always blue and white. In the 18th century, polychrome tiles were also popular, with a variety of colors and designs. This style is inspired by the polychrome tiles of the period, with a rainbow of ornamental borders with an octagonal frame.

Similar to our roundel with web corner motifs style, this style features a roundel frame with motifs in each corner. However, the corner motifs in this style are blue carnations, which were also a popular motif in Delftware.

Similar to our other two roundel styles, this style features ox-head (ossenkop) corner motifs.

The classic roundel framing, combined with delicate web corner motifs, was a signature style of Dutch Delftware that balanced structure with movement. The circular frame creates a porthole-like window into the scene, while the almost floral corners (which are in fact, inspired by spiders webs!) add a sense of energy and decoration to the otherwise empty spaces. This pairing was particularly popular for landscape scenes and architectural studies, as the roundel naturally draws focus to the central composition.

Very similar to our roundel with web corner motif style, this differs in that the background is a cream color, giving it an antique look. The roundel frame and web corner motifs are the same as in the other style.

This style is a an homage to the spare, minimalist Delftware typical of the seventeenth century, with a twist: it has been trained to produce one of the iconic hoekmotieven (corner motifs) of Dutch delftware, the web motif. The web motif is characterised by four loops each with spots inside them or on the lines of them, with a fifth spot in the middle.Then, over this shape, two tendrils cross over, with tendrils splaying out, sometimes curling at their ends. Remember, when placed together as a tegelveld (or field of tiles), they will couple together in the corners, creating star-like meadows alternating with the individual emblems in each tiles, having a delightful carpet effect. The web motif is one of the most common corner motifs in Dutch Delftware, and this trained AI model style attempts to get this right in homage to it.

When Delft tiles weren't just one or two colours, they could really stand out! This pattern is an allusion to so-called nail tiles which showed tropical birds in full colour, perched on a nail. These tiles were particularly popular in the 18th century.

This style, traditionally known as 'Stertulp met kwartrozet' (star tulip with quarter rosette) in Dutch is particularly brightly coloured, evoking the rich, vibrant origins of Delftware in Italian and Spanish majolica. This tile design was often made into repeating patterns of four.

This AI style recreates the traditional Dutch gestippeld technique, where artisans would create the appearance of texture through countless tiny dots applied by hand to tin-glazed tiles. The AI generates this labor-intensive stippling effect, capturing the subtle variations in density and pattern that historically gave each tile its distinct character. The result honors the delicate approach that Dutch craftsmen used to build up depth and shading in their designs.

One of the most popular types of historic Delft tiles were flower tiles (bloemtegel). This pattern is an ode to a specific type, which has a tulip in the centre and yellow-and-blue fleur-de-lys motifs in all four corners. This pattern was particularly common in the seventeenth century.

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

Some Delftware artisans took the minimalist approach of their craft to the extreme, leaving the corners of their tiles empty. This stye does that as well and aspires to a stylishly spare, almost abstract look.

Similar to our other without hoekmotieven style, this style features a blank white background with a central scene in blue and white. It differs however in consistently having that scene be very, very small. This is traditional to many historic Delftware tiles and is a great fit for more minimalist, modern designs.

This pattern shows tiles that show intricate design of rosettes and leaf-chalices (bladkelken), characteristic of the refined ornamental style that flourished in Dutch tile production in the mid-eighteenth century. The design reflects the period's interest in formal botanical patterns, with the rosettes and leaf forms showing influence from both European baroque decorative traditions and the lasting impact of Islamic floral designs on Dutch ceramic arts.