Painting Pegasus

For artwork, sketches and doodles of a slightly more serious nature. Also reblogs of cool and useful tutorials and references!

[jenbendraws]

How to train yourself to be an effective storyboard artist

HI HELLO long time no see! I haven’t been on here in a long time!

A while back, a student reached out to me over e-mail and asked for suggestions and tips on storyboarding, and asked how to become an effective storyboard artist. I wrote a whole lot in response because I love talking about this stuff–I hope it was helpful for her, and I figured I’d post it here just in case it could be helpful for anyone else!

To be an effective storyboard artist in any medium, you’ll want to:

Keep reading

[frauleinpflaume-deactivated2020]

For artists who have problems with perspective (furniture etc.) in indoor scenes like me - there’s an online programm called roomsketcher where you can design a house/roon and snap pictures of it using different perspectives.

It’s got an almost endless range of furniture, doors, windows, stairs etc and is easy to use. In addition to that, you don’t have to install anything and if you create an account (which is free) you can save and return to your houses.

Examples (all done by me):

Here’s an example for how you can use it

[ladytygrycomics]

Great find, thanks!

[keiko86chanart]

OMG HEAVEN!!

Bless you!!!!

[art-res]

Very nice resource for those looking to improve their perspective, composition, and background rendering skills!

[reverie-lavellan]

idk if anyone will find this useful, but this is how i go about planning my stories. i mostly write fantasy, so that’s what this is most applicable to. but it could work with other genres too.

so there’s three major components to a story: the characters, the plot, and the world. creating them individually is the easy part, but they all connect and affect each other in different ways. (like you can’t have a character who loves peaches and eats them every day if they live a peasant in a region that doesn’t grow peaches, for example.)

so i created a cheat sheet to help connect all three components together.

1) the world creates the characters.

this is related to the peach example above. the characters should be a direct result of the environment they grew up in and the environment they currently live in.

2) the characters are limited by the world.

also related to the peaches. characters can’t do anything outside of what the rules of their surroundings and universe allow, such as eating peaches when they’re not available. this also applies for magic users. they can’t have unlimited magic, so keep in mind what you want out of both the characters and the world when creating magic systems.

3) the characters carry the plot.

we’ve all heard it before: “bad characters can’t carry a good plot. good characters can carry a bad plot.” but we all like a good plot anyway. try to make sure you’re not giving your characters too heavy or too light of a plot to carry.

4) the plot pushes the characters.

if nothing in the plot happens, your characters will remain static forever. if you struggle with plots, try starting with what character development you want to happen, then go from there.

5) the plot depends on the world.

you can’t overthrow the evil government if there isn’t one. think of what your world needs most and what your plot is centered around, and fit those two together.

6) the world is changed by the plot.

even if your plot is centered around something most of your world would call “insignificant”, the world will still experience some change from the plot. either the evil government will be gone, or maybe that one teacher is now way more careful about keeping an eye on the test key. either way, the world will be different from now on.

final note: usually people will be able to write one or two of the components with ease, but don’t know where to go from there. i personally can’t write plots, but thinking this way has really helped me actually make a story out of the world and characters because i looked at what i needed from what i had. i really hope this can help you too! happy writing!

tl;dr this is a cheat sheet to help anyone who struggles with writing one or two of what i consider the three major components to a story.

[thechekhov]

I made a thing! I was thinking about this for a few days - because I realized that when I was young, I was also frustrated about being given the same advice over and over - without really knowing what it meant!!

Here’s 5 techniques which I have done before which have helped me grow as an artist, which are good for 5-minute warmups or just straight up challenges for your sketchbook! 

Obviously, these are not the ONLY techniques - they’re just the ones I find most fun! And maybe they’re not the most ‘correct’ ones out there, but it’s better than another comic about practicing more, right? 

Good luck to everyone on their drawings!

[thecaffeinebookwarrior-deactiva]

Honestly, as an artist and illustrator myself, seeing all the posts yelling at newbies to “practice” is so frustrating to me. It feels condescending, and would have had me running for the hills in no time if I was just starting out. This is much more helpful.

[tb-sj]

HOW TO DRAW LEG TUTORIAL 

1.Leg anatomy point bone!!!(memorize it) and muscle 

2.how to see KNEE (check point I always check this point when I observe knee)

3.leg drawing tips (angle and what I checked)

4.(psd) file painting 

5.drawing and painting video 

6.Painting tips note)  

I will visit AMERICA CA march SF +LA

I’m selling this tutorial for make some budget :) 

this tutorial have tips of DRAWING LEG 

especially “KNEE”

hear is Artstation Link 

https://www.artstation.com/tbchoi/store/ov9O/how-to-tb-draw-legs-tips

Gumroad Link

https://gumroad.com/products/eXmCe/edit

[saltmalkin]

Was getting some of my images ready to be made into prints today so I thought I’d make a guide for anyone else interested in making prints of their work :D

[saltmalkin]

Been getting questions so here’s a gif that shows what soft proofing does.

Prints usually come out darker than monitor so we make the image lighter to compensate. The change in tones is mostly in the darks & comes when we remove some ink but shouldn’t be too noticeable in print  

[birdhousetaxidermy]

Red Fox Restoration

When a lady called the museum to ask for her pest damaged fox to be restored I was apprehensive because I know how much destruction pests such as moths and beetles can do. I asked the lady to send over some photos so I could determine if it were a lost cause. The damage was worse than I had expected but it was such a lovely mount I decided to accept the challenge. The fox was mounted in 1996 by Helen Sharp so its quality is no surprise as Helen is the daughter and student of Nottingham Natural History Museum’s taxidermy legend Don Sharp. This connection to the museum was another reason I was keen to salvage the fox.

Thankfully the pests had mostly kept to the extremities. There was some hair loss on the main body but not enough to create visible bald patches. As I tend to focus on bird taxidermy I have very little experience in this area. I’ve mounted plenty of small mammals but they have always been small enough to use the Mike Gadd beginners technique*. Therefore this project was going to be a huge learning experience for me! I decided the best way to restore the fox would be via transplant. Cue the wait for an ethically sourced fox! After many months of searching I finally sourced a pre-skinned fox pelt from the kind and very talented taxidermist, Emilie Woodford*.

Having no clue about the tanning process I did some research which I promptly threw out the window when Emilie kindly provided me with what I needed to keep the pelt in pickle until I was ready to work on it. Here’s the recipe:

Sources suggest pelts can stay in this solution indefinitely. The part of the pelt I haven’t used for this project is still in the pickle over a month later and seems to be doing fine. I check the pH regularly to make sure it stays low (pH 2). There’s loads of, often conflicting, information on pH levels when pickling and tanning and you can go mad trying to work out which is best. I took a leap of faith and combined several sources to come up with mine, it worked out! The night before I was going to commit to the transplant I took the pelt out of the pickle and cut it into sections so that I had four separate legs and a tail. I then rinsed each section and placed them in a neutralising bath of 1oz bicarbonate soda to 1 gallon of water (pH 5) for half an hour. I rinsed the sections again and hung them up for another half an hour before putting them into the tanning solution (pH 3.5). Here’s the recipe:

(all chemicals available through JHT*)

I left the legs and tail in the tanning solution overnight (~10 hours) before rinsing them out and organising them into bags to stop them from drying out while I prepared the fox mount.

I cut through the leg skin and removed it from the highest point of damage down. The form beneath was made from bone wrapped in wood wool and modelled over with plaster. I removed most of the plaster from the feet to allow for discrepancies in size between the old and the new fox. I then covered the cuff of the mount where I had removed the leg skin with cotton wool soaked in methylated spirits and left it a while to hydrate.

With the cuff skin still hydrating I added some airdry clay to the foot and carefully fit the new leg skin into place, repeatedly adjusting it as I sew up the incision around the form. By the time I got to the join the cuff skin had hydrated enough for it to be stitched to the new skin which I had now cut to size. At this point I really don’t need to point out the drastic colour difference between the two foxes! The sudden realisation I should have replaced this leg further up where the fur was longer to hide the join better now kicked in…but you live and learn. For this reason the join is much better hidden on the other front leg where the damage had spread further up. The next two legs went on the same way as the first without any trouble.

The next leg was going to be trickier, the pest damage covered most of the leg as well as large parts of the fox’s bottom eeeeek. Again I removed the damaged skin, hydrated it and fit the new skin.

When I took the manky old tail off I discovered the tail of the form was made from silicone. I think I’d probably damaged this a bit when removing the skin so I repaired areas with a hot glue gun and slipped on the new tail like a sock! This went amazingly swiftly to which I was overjoyed. I sewed the opening of the new tail to the old hydrated skin and gave myself a pat on the back for not freaking out at any point during the day!

Drying time gave me opportunity to research how the hell I was gunna rectify the drastic colour changes between the old and new skins. There’s surprisingly little information on colouring taxidermy furs but there is a number of Youtube videos of people airbrushing faux fur masks, thank ffff for furries! There is also interesting footage of airbrushing taxidermy at the American Natural History Museum using dyes but I decided to brave it and go for acrylics as in the furries videos.  I’ve only used an airbrush once before when restoring an old bream at the museum and I was useless. Thankfully friend and super talented model painter, Lance Allen* lives just around the corner and was willing to help. I’d like to say after being given a quick tutorial from Lance I was raring to go but I really didn’t want to mess up the mount at this stage so instead I leered over Lance while he skilfully blended the two skins together and created a masterpiece.

For the airbrushing we used Valejo Model Air Acrylic paints and some inks, applied very lightly with lots of blow drying in between coats and brushing the hair with a pet brush and flea comb to make sure it didn’t clump together. I fully intend to stop being a wuss and get my own airbrush so I can practice and eventually finish restoring the Rothschild giraffe neck and head that’s been sat in the workshop for years.

After picking up the custom made Perspex display case from local company Marlin Plastics* I was ready to make the base. Using a circular saw I cut two pieces of MDF, one to the outside measurements of the case and one to the inside measurements. This makes a good base as the case can then be screwed to the top piece of MDF which is fixed to the bottom larger piece. I tend to order cases a bit on the large size because I hate to see mounts with their noses pressed against the case. I might have ordered a little too large this time but Hopefully I’ve made that less obvious by filling the space above the fox with some dried grass. The grass was dried hanging upside down to keep it straight, I then drilled holes in the base and used expanding wood glue to fix the grass tufts into these holes. The shorter grass has been painted green. I made the rocks using Black Magic Craft* tutorials on Youtube. I really enjoy carving rocks out of polyurethane foam, probably because the end product looks so different to its blue cuboid beginnings. Definitely gunna buy a hot wire cutter soon because carving it is long and messsssssy! Another Youtuber with really good scenery making tutorials is Luke Towan*. My partner and I literally lose entire evenings watching tutorials on terrane making, It is sad, we love it. In the past I’ve had problems with my ground cover crumbling off over time. I used to paint over the finished base with a PVA and water mix. That’s not great because it can displace the ground work and sometimes leaves a cloudy white sheen. I now spray the finished base with isopropanol and then spray it with a mixture of Mod Podge, water and fairy liquid, works very well. I’d like to get into making some super detailed scenes like those in the tutorials but as this is client work, and it’s really not all about that base, I’ve made it pretty simple. In hindsight I should have added more long grass tufts at the back… heyho.

There were a few finishing touches to do to the fox. It was missing a nail which I recreated from Miliput and painted to match the others. The left ear was torn and bent so I fixed that with a bit of Gorilla Glue. I touched up the paint work around the face and gave the eyes a good clean with a meth soaked cotton bud. Once happy with the base I fixed the fox to it after trimming the leg wires and creating a trench with my Dremel for the wire to slot in underneath the base. After a million years of cleaning the case from cat hair stuck on with static and faffing around making sure it was in the exact right position, I screwed the bases together and covered the screw heads with adhesive padded feet after counter sinking them. I then very carefully screwed the Perspex case to the top base. I say ‘very carefully’ because I once cracked the case when I was screwing it to a kestrel’s base and literally cried. But success! I got through this whole project without crying and learning loads of new stuff. If you’re not sick of me by now and have any questions on taxidermy or restoration let me know.

* Links

Mike Gadd’s book: https://taxidermy.co.uk/uk/taxidermy-training/beginner-small-mammal-taxidermy-training-book 

Emilie Woodford: https://www.facebook.com/woodfordtaxidermy

Taxidermy and tanning supplies: http://www.jhtsupplies.co.uk

Lance Allen: https://www.facebook.com/lanceallenminiatures

Pickle and Tan info: https://www.vandykestaxidermy.com/Lutanreg-FN-Kit-Instructions-by-VanDykes-W130.aspx  

Pickle and Tan info: http://www.amystaxidermy.com/pages/tanning.htm

Recolouring Taxidermy at the American Natural History Museum: https://www.youtube.com/watch?v=i0F5VpgKesQ

Airbrushing faux fur: https://www.youtube.com/watch?v=ydRuh0zZsns

Marlin Plastics: https://www.facebook.com/marlinplastics

Black Magic Craft- Rock Making: https://www.youtube.com/watch?v=VjZmihU7nxg

Luke Towan- Scenery Building: https://www.youtube.com/watch?v=yygwun1cdug&t=469s

[flayote]

CLICK HERE!

i realized while putting this together that there were some more pictures i wish i’d gotten, so i may go back and add some things next time i’m prepping a yote. but hopefully this is still clear and you find it helpful!

[canmom]

How to (almost) instantly disable all 300 companies Tumblr wants to share your data with

If you’ve logged in to Tumblr in the last few days, you will have seen the GDPR warning, telling you Tumblr is part of the Oath family of sites, and requiring you to opt-in to their privacy settings.

You may not have realised that, in contravention of the GDPR rules which ban default opt-ins, if you don’t go into the ‘more options’ button and opt out of each individual sharing partner, Tumblr will share your data with a whole huge list of other companies. Like, 300 of them.

@the-mad-duchess has a post here describing how you can disable them.

If you’ve already opted in to the Oath privacy stuff, you need to go to your Settings page:

Click the Privacy button on the right:

Then, click the little button next to ‘Cookie Consent’ to revoke it.

After confirming you want to revoke consent, you will immediately be taken to that big privacy opt-in page again. From that point we follow the steps @the-mad-duchess described - first click ‘Manage Options’:

Then, click the blue ‘Manage’ button, and expand the two lists. You’ll see five kinds of data sharing, and like 300 different companies:

The first five you can click manually more easily than using javascript. That might be enough to opt out of any data sharing - but I want to be sure. So, let’s make sure we disable every single enabled partner as well.

However, clicking on 300 little buttons to opt out of  is an absurd demand. There is, thankfully, a shortcut, using your browser’s developer tools.

What you want to do is open the web console. In Firefox, you do it like this: click the little menu in top right, then go down to where it says Web Developer:

Then, click the Web Console option:

This will open up the web console in the bottom of the screen. It will have a bunch of messages in it that you can ignore:

As shown, what we want to do is copy and paste some JavaScript code into this, then hit ‘enter’, which will make the browser simulate a mouseclick on every single one of these little buttons and thereby turn them all off. The code is this:

var rows = document.getElementsByClassName("vendor-options")[0].children; for (var i = 0; i < rows.length; i++) {rows[i].lastChild.firstChild.click();}

If you’re not familiar with JavaScript, let me briefly explain what this is doing. The first line finds the part of the page with all the buttons in it - specifically, the rows in the table of vendors, which is identified by the “vendor-options”. The second line goes through each of them one by one, and for each row of the table, goes inside and finds the button, and simulates a click on it.

If it works correctly, you will abruptly scroll to the bottom of the page and all those little buttons will slide to the ‘greyed out’ position. Now you can go ahead and click Done, click the OK button, and carry on using Tumblr, trusting that if they keep their word, they won’t share your data with those 300 companies.

I’m gonna chat with the New XKit devs to see if this can be added (they may already be working on it). But I hope this saves you some time.

Note also - this is not actually compliant with the new GDPR laws. The rule is that you have to explicitly opt in to letting companies use your data, you can’t have a list of default opt-ins behind a button like this. At some point, somebody will hopefully sue Yahoo/Oath and establish that in court. In the meantime, let’s keep our data to ourselves.

[tariqah]

God

[blogshirtboy]

Just wondering, do you have any tips for inking?

I’m no expert, but here are a few very basic things that might help get you started

1. Use varying line weights and tones!

A pretty common thing I see among artists who are just starting out is that they use a fixed line width for an entire image and it always makes images look flat and kind of shitty:

I try to use thicker lines for stuff in the foreground and thinner lines for backgrounds, both to create a sense of depth, and to highlight important information. I also tend to use thicker outlines to block in shapes and thinner lines to define the features and details. These are super basic concepts, but they instantly make any image look more interesting and dynamic.

Tone is another element you can use to add depth and to shift focus:

2. Watch out for tangents!

A tangent is basically when two or more lines interact with each other and create a relationship the artist didn’t intend. They can ruin an image, but they’re also pretty easy to avoid if you’re keeping an eye out for them!

 The Schweizer Guide to Spotting Tangents is an excellent resource about what to watch out for!

3. Draw big, then reduce!

Resizing an image can cover up a lot of minor mistakes in your drawings. No matter how sloppy something looks at 4000x4000, chances are it won’t be noticeable at 700x700.

4. Become comfortable with your tools!

Wether you choose to work digitally or traditionally it’s important to become comfortable with your tools. Figure out the medium you’re most comfortable with, figure out it’s strengths and shortcomings, and figure out how to make it work for you.

And this doesn’t necessarily mean buying the fanciest pens or the newest drawing software, it means practice. Familiarity and ease of use comes with time. And that sort of leads me to the most important point…

5. Chill

Try not to stress about it too much! Check out other inking tips online, read comics (read Scott McCloud’s books), study other artists, play around with different styles and techniques, and most importantly: try to have fun with it!

[weirdlandtv]

Some sample pages from Andrew Loomis’s series on how to draw comics, 1939-1961, concerning perspective and composition. (The changes in font and layout stem from the fact the pages come from different prints.)

I tried to collect the most useful pages, but of course I’m limited to only 10 images per post.

This is a follow-up of sorts of the Disney “how to draw comics” handouts I posted earlier, and which can be found HERE.

[kasiaslupecka]

How to design stylized character that is still believable? By that I mean, it looks like realistic human but although is something that would fit video game or comic? 

Check out those simple tips from me :) As an example I am using Street Fighter characters.

Hope you’ll like it! 

[nabsthevulture]

Articulation Guide Directory

Though there will be links to the other parts on each guide, this will list all of them in order in case you don’t wanna go searching!

1. Spine and Tail

2. Ribs

3. Forelimb

4. Hind-limb and Pelvis

5. Carpals and Metacarpals

6. Tarsals and Metatarsals

7. Phalanges

8. Miscellaneous Bones

If you found these helpful and you’d like to show some support, Buy me a Coffee? I appreciate it Immensely c:!

[vultureculturecoyote-deactivate]

Do you have any resources to help with assembling a rabbit skeleton? I have one and I got the vertebral column out of order and I can't figure it out. I got the c1 and c2 (if they are even called the same thing in rabbits as humans, I don't know). I was able to find scientific journals with diagrams, but there seems to be no constant with the number of vertebraes in each of the sections. Thanks either way!

I usually run a wire up through the spine while the animal is still whole. That way when it rots or cooks down to the bone they stay in the correct order.  

Unfortunately I dont really know the exact order they go in. I’m really REALLY bad at figuring out the verts. And I dont have a whole rabbit skeleton to look at right now D: 

[vultureshop]

I found a Flickr post on here a while ago, and it is a giant collection of animal  bones.   Real pictures of tons of animals and their skeletons, I love it so much.  I know there are rabbits on there (different species too) I used it to articulate my rabbit skulls!  You can find it Here.  Good luck, I know those verts can be super tricky!

[vultureculturecoyote-deactivate]

Omg this! This right here! TY!

[felidadae]

at last, a sorta tutorial!

This is honestly a very loose, general rule of thumb when you’re considering how to put together a drawing - take everything I’ve said with a grain of salt (and a dash of your own experience), because composition and flow is super subjective

this is just some shared personal tips based on my own learning - but I hope it helps anybody who might be struggling n_n

[peridotsalien]

I got a request to do a tutorial on how to create galaxies! Well, here you go!! Painting galaxies is so much fun, and can be really calming. So have fun!! 

If you have any questions or if I made a mistake, feel free to message me!

Do not remove caption

[hashtagloveloses]

sending this to palpatine so he can make his own galaxy instead of ruining the one far far away

[stadriemblems]

So, you have decided that you finally want to make your own embroidered patches. That’s great! Whether you are an artist or designer who wants to see your work in thread form, an event organizer looking to make patches for your upcoming event, or if you need patches for your business or organization, we can help! With over 40 years in the business, we know just what it takes to produce amazing patches.

This guide will help you through the process. From coming up with a concept to receiving your final product, we will guide you step-by-step. First, let’s take a look at some of the different options you can choose from.

Introduction to Patch Options

Embroidery Percentage

Your patch’s embroidery percentage refers to the amount of your patch that is covered with thread. A patch is embroidered on to a fabric called “twill.” A patch with less than 100% embroidery will still have some of its twill showing.

Patches up to 99% embroidery will be a little cheaper than ones that are 100%. When making the choice between these options, consider your design first. When twill is visible, it’s usually used as the ‘background’ color. If your design has a solid background color, then less than 100% might be a good option for you. Or maybe you prefer the look of a 100% embroidered patch. It’s up to you!

Patch Border Options

Embroidered patches have two border options: Merrowed and Die-Cut.

Merrowed borders wrap around the outside of the patch and are slightly raised. Merrowed borders are possible on designs that aren’t too complex. Squares, ovals, rockers, circles and similar shapes can have merrowed borders.

Die-cut borders can be used on simple shapes as well. But, they are usually used on complex shapes. If your design has a piece that protrudes out or has complex edges, it will most likely need to have a die-cut edge. There is no price difference between the two options.

Backing Options

There are a variety of backing options available for embroidered patches. If you’re looking to save a little money, the plastic backing option is included in our orders for free. For an additional small per-patch fee, you can also have iron-on, adhesive, hook and loop (one or two sides), pin back, or magnetic backings. You can also choose to have no backing at all.

Thread Colors

We have hundreds of vibrant thread colors to choose from. Your first 10 thread colors are included for free with your order, and additional colors are available for a small per-patch fee. If your patch is less than 100% embroidery, you can also select the color of your twill. The twill does not count towards your total thread count. You don’t have to select thread colors yourself, though; our expert team can pick the closest match for you. With so many colors to choose from, we will most certainly have a thread to closely match each color in your design.

Designing your first patch

So now that you are familiar with your options, let’s talk about your design! Embroidery can be really beautiful, but it does have limitations. Designing your patch in a smart way will ensure that your patch is recognizable, readable, and beautiful. It’s also important not to load up your patch design with too many elements. Unless your patch is huge, having many tiny elements on a single design will usually make it look cluttered. This also gives less space for details. Consider which parts of your design are the most important and focus on those instead of giving less attention to several elements. We also have a team of talented artists to help you out with design as well.

Text size

We recommend that any text on an embroidered patch be at least 0.25” high. With text that is at the minimum size, your font choice needs to be something simple. Myriad, Helvetica, or Arial are all great font choices for minimum size text. Text with embellishment, script, or very thin lines will usually not stitch well at small sizes.

If your design has small text, you can also enlarge the size of your patch to accommodate the stitching, or you can also switch the process to a woven patch instead. These types of patches have a completely different look from embroidered ones, but they allow for much smaller text and details.

Choosing Colors

We offer up to 10 thread colors for free, but sometimes designs packed full of color will go well-over 10. If you don’t want to pay the additional fee for 11+ colors, consider combining similar colors. For example, if you have 2 different yellows, you can eliminate one and make them both the same. Make sure to pick colors with enough contrast to make your patch readable. Depending on the situation, sometimes using fewer colors can make a more striking design than one will many colors.

Patch Design

Coming up with an interesting or unique design can sometimes be difficult. Try taking a look at our patch gallery for some inspiration. It might be tempting to add several different elements to your patch, but that isn’t always beneficial to the design. Simple designs can have lots of impact!

We can also blend colors to make beautiful gradients, and stitch in different directions to create beautiful textures. There are also some unique-looking threads available: glow-in-the-dark, metallic, and neon!

What if I’m not a designer or artist?

Don’t worry; all of our orders come with artwork set-up for free. Whether your design just needs some small tweaks or you only have a napkin drawing, we have you covered. If you don’t have finished art, here are a few tips for describing what you are envisioning to your artist:

1. Be as descriptive as possible! If there are any details that are important to you, let us know!

2. Feel free to send us photos or examples to help the artists know what you’d like.

3. Make a rough sketch, if possible. Even if it’s not very detailed, having a sketch can be really helpful to our artists.

The Order Process

Once you have an idea of what you want, you can start the order process. Our process is fairly simple, but let’s go through it step by step.

One you get a free quote through our website, you will be assigned a dedicated account manager. Your account manager will be able to advise you on pricing and help you decide if you are unsure which product you want. If you need assistance with artwork, you will have direct access to your assigned artist.

Your artist will send you a digital rendition of your patch for your approval. Once you are satisfied with your artwork, we will then move on to the next step. If you have finished artwork, we will inspect it to make sure it will stitch properly before we move on.

The next step is for you to approve a sewn sample. We will send you a photo of a single sewn sample for your approval. At this step, most patch samples look great and we proceed to full production. However, sometimes small adjustments, like color changes, need to be made. You will have this opportunity to make small changes to your patch if necessary.

It usually takes about 2-3 weeks for us to complete an order and ship it to you. Rush services are available as well.

Hopefully, this cleared up some questions you might have had about making custom embroidered patches! Leave us a comment, or send us an email if you need any more information. If you’re ready to make your first patch, get a free quote from Stadri Emblems here! Read this post on our site Send us an ask if you have any questions!

[8bitrevolver]

This is where I get my stuff made, if anyone is wondering!

[dustrial-inc]

Hmm Patches?