Interview about Vector Scissors, winner of the A' Art and Stationery Supplies Design Award 2025
Vector Scissors combine the guiding precision of a paper guillotine with the versatility of handheld scissors. The handle can be pressed against the edge of a table, stabilizing both the hand and the blades. This allows for a controlled, linear cutting motion using the table as a guide, ensuring straight cuts with ease. Extensive research into scissor mechanics, blade orientation, and ergonomics led to a refined design that enhances precision without altering traditional functionality.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsWhen I was very young, I always loved making things out of paper. I’d build models, cut out shapes and make cars or buildings out of paper, anything I found exciting at the time. A4 office paper was always available at home, so it naturally became my go-to material for creating things. And with that came scissors. I remember we had this big kitchen scissors with long blades, and I used that for everything. I made so many paper models with it that I’ve lost count.I got pretty skilled at using scissors, especially for papercraft, but one thing always bothered me, cutting a straight line was difficult. No matter how careful I was, I’d always get a bit of wobble. Then one day, my father brought home a paper guillotine because he needed to cut photos and printed sheets. Of course, I immediately started using it for my projects too. It was a game changer, suddenly I could cut clean, straight lines, much faster. So I adapted my workflow and started using both scissors and the paper guillotine together. My paper models instantly looked better.Fast forward to university. I was studying industrial design, and our first assignment was to research and redesign a pair of scissors. The brief was very open and we could take any direction we wanted. At first, it felt impossible. There are so many types of scissors out there, and I was unsure what could I possibly add.But I kept coming back to this one experience from my childhood, cutting straight lines with regular scissors. It still wasn’t easy. Why do we need to draw a line first, grab a ruler, use a pencil, and then carefully follow that line with scissors, just to get something clean? I started wondering, isn’t there a better way of doing this?That’s when it clicked. I remembered how efficient the guillotine was and started breaking down both tools, scissors and the guillotine, into their core functions. That’s when I realised that the paper guillotine is essentially a pair of scissors, just laid out differently. One blade is just a flat plate and you only control the other one. And then it hit me: what if the edge of a table could act like that bottom blade?That was the moment everything slowly came together. Most people cut paper on a table anyway, so why not design scissors that could be pressed along the edge of the table and guide your hand for a straight cut? That was the original concept behind Vector.What followed was months development, cardboard prototypes, testing different mechanisms and shapes. I had to figure out how to make it work. The first working prototype came together by the end of the assignment. The handle was made from wood, the blades were mocked up in plastic, it looked rough, but it functioned. Sort of. It still had plenty of flaws, and the cutting performance wasn’t proven yet. But it was a start.What came next was years of refining it on the side, alongside my university studies. It became one of the longest and most challenging projects I’ve ever worked on.
The shape of Vector evolved over many iterations. I was essentially designing the scissors from the inside out. I began with the core function, figuring out how the handle could rest against the edge of a table while still allowing the blade to move freely and cut. Once I locked in the blade orientation and handle angle, I had something that worked mechanically, but it was far from comfortable to use.From there, the next challenge was to develop a handle that actually felt good in the hand. That process took months and probably around 40 physical prototypes to get right. I started with cardboard models, then moved to polyurethane foam, clay, and eventually plaster handles that I cast in silicone molds. I sculpted and refined each version by hand, following the natural shape of my palm and how it wanted to hold the object. Then I’d mold and replicate those shapes, iterate again, and slowly evolve the design into something that felt truly ergonomic.Every part of the handle has a purpose. Every radius, every curve, it’s all there for a reason. Even the space between the handles, the size and angle of the thumb rest, and the width of the grip were tested and refined until the scissors just felt “right.” You don’t realize how bad a handle can be until you use one that pinches your fingers in all the wrong places. So I paid close attention to every contact point.I also learned a lot from the scissor craftsman I partnered with during development. Their focus was strictly on the blades. I had to understand how scissor blades are shaped, how and when the edge is forged, and how they fine-tune the closing tip to achieve cutting precision. There’s a tiny protruding bump near the tip, and I learned how critical that is to the mechanics, it controls where and how the blades meet.So the final form is really a fusion of that blade craftsmanship and months of ergonomic sculpting. Once everything came together, the mechanics, the comfort, the proportions, it just felt right. And that’s when I knew the shape was finished.
The main frustration was how hard it is to cut paper in a straight line with regular scissors. Your hand naturally shakes, and it takes a lot of patience and coordination, not everyone has that. Once I started looking into this, I realized there are many people who could benefit from a tool that makes straight cuts easier and more intuitive.For example, people with shaky hands or less refined motor control can achieve much better results with Vector, because the table edge guides their hand. And the learning curve is surprisingly quick, you don’t need to be precise, the product helps you be precise.Even when using a hobby knife, there are so many steps. You need a cutting mat, a ruler, a pencil to mark the line, then carefully follow it with the blade. It’s a whole setup. A paper guillotine simplifies that, you just place the paper and cut, but those tools are bulky and not very convenient to store or use casually.So with Vector, I wanted to bring the same clean-cut simplicity into a compact, handheld tool. It’s faster, easier to use, and much more convenient for everyday tasks while still offering the precision people need.
Interestingly, even for the craftsman, this blade orientation was a challenge. Because Vector needs to work next to a table edge, the blades and handles have a unique configuration. I remember they were intrigued but also a bit puzzled when I first explained how I wanted the blades to connect. Thankfully, they were open-minded and willing to try the solution I had in mind, and it worked. That was a really rewarding moment for both sides.One tiny but crucial detail was the pin connecting the two blades. In most scissors, it protrudes a bit, but we needed it to sit completely flush. If it stuck out even slightly, it would interfere with the edge-gliding function. With their expertise, we figured out a manufacturing method to make the connection totally flat.They brought decades of knowledge to the table, everything from selecting the right steel, to understanding how to forge and grind the blades, to setting the exact edge angle for sharp, clean cuts. Even the tip of the blade was fine-tuned so that the very last millimeter of the cut would be clean. These are small things most people wouldn’t even notice, but they matter.
The ergonomic design of Vector really came from physically sculpting and testing dozens of prototypes by hand. I started with rough wooden blocks and later used clay and foam, materials I could easily shape, sand, or build up as I worked. Because I was holding these prototypes for hours, I immediately felt what wasn’t working. If something pressed too much into my palm or didn’t support the fingers well, I could fix it right away.The sculpting process helped me follow the natural shape of the hand, both in open and closed positions. I carved the form by instinct and feel, always aiming for something that felt effortless to hold and use. I also made silicone molds to replicate and tweak the best versions. Over time, these iterative changes led to a handle that feels fluid and organic, but everything on it has a purpose, every curve, radius, and spacing is there because it passed the test of comfort through real use.This hands-on approach was essential. It let me design not just by looking at a screen, but by directly shaping what I wanted people to feel. That’s what gave Vector its unique, sculpted form.
Vector introduces a new approach to cutting. It doesn’t aim to replace traditional scissors or guillotines, but adds a fresh option—something that blends precision and ease in a format we haven’t seen before. Because of this, I see it carving out its own product category, especially for consumers who often struggle with tools that require perfect coordination.What makes it exciting is that it lowers the barrier for achieving clean, straight cuts. It offers a simple but pleasant benefit for the users. That has potential across many segments: students, hobbyists, makers, even professionals in creative industries. I imagine expanding it into a product family with variations for different tasks, materials, or hand sizes, while continuing to explore how design can make precise tasks feel intuitive and accessible to more people.
During my early research and conversations, one thing kept coming up: most people admitted they weren’t confident cutting with scissors. Whether it was curves or straight lines, many struggled more than I expected. That confirmed it wasn’t just my personal experience growing up doing papercraft, but a more common issue.The second insight was that paper guillotines, while effective, aren’t really household items, and not that popular. They’re bulky, take up space, and not something you’d grab casually for a quick task. On the other hand, scissors are always around, in every household but don’t offer the same straight-line precision unless you use them with extra tools like a ruler, pencil, etc. That gap between the two tools felt like an opportunity.The third insight was about accessibility. I realized that many people, children, elderly, or anyone with shaky hands or limited coordination could benefit from a more guided, stable cutting method. Even if it's just for one small cut, it matters. Something that doesn’t require a perfectly steady hand to get a satisfying result. That’s when the idea of using the table edge as a guide really clicked. It offered a simple, clever way to stabilize the motion without adding bulk or complexity.
Almost all of the development took place in Budapest, where I first explored the concept, built countless prototypes, and shaped the core idea into what it is today. After relocating to the Netherlands, I revisited the design with fresh eyes and made a small redesign, refining a few details on the handle and adjusting the blade lenght.That said, I wouldn't say the shift between Hungary and the Netherlands had a direct influence on the outcome. I tend not to be defined by the environment I’m in. I pull inspiration from all over through conversations, tools I use, problems I notice, and random moments of curiosity. So while both cities have strong design scenes, Vector wasn’t really shaped by a local aesthetic or cultural influence. It was more of a personal journey, driven by the idea itself and the process it demanded.
There were quite a few challenges. First, regular scissors aren’t designed to work against a table edge, their blade orientation simply doesn’t allow for it. So I had to completely rethink the geometry: how to position the blades so they could press flat against the edge while still cutting efficiently.To work properly, one side of the scissors had to be completely flat so it could rest against the table, while still functioning like a normal scissor. It also had to stay in place, open and close easily, and allow for a sliding movement toward the front, all at the same time. Finding the right joint position was another tricky part. If the pivot was off, the handle would open and close at an awkward angle, ruining the experience.Then there was the pin that connects the blades. I envisioned it to be flush on both sides, especially the table-facing side where any protrusion would interfere. But the other side still needed to allow for assembly and tightening. That created a mechanical and production challenge, and it took multiple iterations to find a fastening solution that worked.Another major challenge came later: translating the sculpted ergonomic handle into something manufacturable. The original shape was highly organic and hand-sculpted, beautiful but tricky to replicate accurately in CAD. Preparing it for injection molding meant refining the geometry without losing its feel or comfort. That step alone took considerable time and engineering effort.
I see Vector not just as a standalone product, but as the beginning of a new category of guided tools. The core idea, using the edge of a surface to stabilise and improve control has broader potential wherever accuracy and ease matter.What excites me most is that this kind of guided, intuitive motion helps people achieve better results with less effort. It lowers the barrier to precision and gives users more confidence in their actions.
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