Currently moving but still uploading new traditional motif polymer clay cutters. Shop is view-only for now. Join the mailing list for the launch date. — Ela Aydin Dismiss
A tall teardrop composition built around a central hatayi axis, with symmetrical wing forms carrying dotted berry clusters, nested petals and a drop base — the full vocabulary of Ottoman floral illumination in a single cutter.
DIMENSION 52mm x 34mm
Personal use only — Studio Licence required to sell commercially.
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All sizes listed are approximate and given in millimetres. Minor variation is normal and part of the handcrafted nature of 3D printed cutters.
Clay thickness and slab preparation will vary depending on the design. As a general starting point, I work at approximately 3mm for most of my designs. More intricate, high-detail work may benefit from a thinner slab. Condition your clay thoroughly and press firmly and evenly for the cleanest result.
For my full technique guide including pasta machine settings, clay brands, and tips by design type, visit the Clay Guidelines page.
Rinse your cutter with warm water after use and allow to air dry completely before storing. Avoid acetone, harsh solvents, or prolonged heat exposure as these can affect the material over time. Store flat or upright in a dry place away from direct sunlight.
Hatayi Sorguç means hatayi plume. A tall egg-shaped outer silhouette with a pointed crown holds a complete hatayi polymer clay cutter composition: a central vertical axis anchored by a large pointed oval at the mid-section, flanked by symmetrical swept wing forms that carry dotted berry clusters and smaller pointed petals along curving stems. The base draws inward through a series of nested arcs to a single teardrop drop motif. No area of the interior is left empty. The sorguç, the jewelled plume mounted on Ottoman imperial turbans, was itself often decorated with hatayi floral forms, making this design a layered reference to both the motif and the object it adorned.
The hatayi tradition developed across the 15th and 16th centuries as one of the defining visual languages of the Ottoman court, appearing across Iznik tilework, silk kaftans, and the illuminated pages of imperial manuscripts.
