registration-marks

a VOLTRON Paladin torso armor pattern

Hey dudes~ so someone asked if i was willing to share my armor patterns, and the answer is HELL YEAH.

So, here’s the dealio with these: 

1. I used a dress form sized to me to make these.

( that’s  5″5, ~150lbs, 39-40″ at the bust lv,32″ at the waist.and 16″ across the shoulders.)

they can resize, but that’s on you. ;D

know your measurements, know where things line up.

2. These are designed with EVA foam as the intended material. Stuffed fabric could also work. (maybe.)

3. I’m all for sharing creativity, but for frack or quiznak sake, don’t repost and say you made these. don’t remove the text. its irritating and ugly fine, but the notes on the armor are important. 

(it will confuse people and hurt my feelings okay? let’s be a cool fandom everyone.)

Let’s start!

I recommend using a ruler. since this is on pattern paper (a godsend, btw) the distance between the little blue marks is all a perfect square inch.

the EASIEST way to achieve symmetry is to do one half and fold and copy it to the other. 

*I haven’t done the V shape yet, but can add it later or just make a proper tutorial thing.

Note: registration marks! also, this is designated as the LEFT shape, and connecting to the BACK piece of the armor. not the front. (flip it over and you got the right side!)

Now, I realized after cutting the foam and making sure i can get my head through the hole, this could get interesting really quick when getting the chest piece on and off, especially since my suit zips up the back…

SOLUTION: DO. NOT. GLUE. THE. BACK. PIECE. TO THE SIDES.

(or do, if you can fit. I can’t. broad shoulders.)

instead,on the back, I’m going to glue/staple/glue some black stretch fabric, and shape the gap to fit at an angle. it should sit flat when in place, and stretch when you need it to.

that way, you can get it on and off easily. 

**I will update on how this goes. 

this is where folding the pattern for symmetry is REALLY handy.

and a good example of how great this paper is.

the length of my guard is 20 inches.it lines up with the marks on the torso pieces.

the line going across as labeled is the light level. (EL tape goes there! diffuse your LED’s guys! be careful of your circuits!)

I still need to figure out the shoulder pieces, but this is what i got so far!

ALSO:

for anyone new to EVA foam:

https://www.youtube.com/user/evilted40/featured

Evil Ted Smith’s youtube channel is a friggn gold mine, guys.

if you do use EVA, please be careful. its difficult to cut, foam gives off fumes when heated or burned, and knives are sharp and most dangerous when slightly dull. use a dremel to fix an edge, not a knife. (it wont work.)

I’d also be happy to make a tutorial for using a dress form for this kind of thing!

feel free to message me personally if you have any questions, happy and safe cosplaying~!!

EDIT****

(its about damn time.)

THE ARMS AND LEGS!

Note, the leg piece i recommend getting the big roll of foam. and shrink the arms down an inch or so in length. 

this is my update for my leg armor, the hatching is velcro. also, ignore my measurements. sorry these took so long!!

The Things We Lose

There’s a map I keep
In my glove box, it’s
Nestled in with my
Speeding tickets and

My expired registration.
The first “X” marks where
It started on a night in
Mid January, when a

Soul recognized the
Starstuff nesting
Behind your warm
And sleepy eyes.

I haven’t wanted
Anything the way
I wanted to keep
You next to me.

I remember your
Tender expression
When you brushed
My hair from my face.

You told me that I
Felt like home but
Now the house has
Burned down; just

One more thing we lost.

cometkins  asked:

Hey there! I just got myself a Cameo myself and was looking into using it to cut shrinky dinks. I notice on some of your stickers they have colored borders, and some just have thin white borders. When it comes to the ones with colored borders, how do you go about printing and aligning everything so it turns out? I did a test on a scrap piece of paper and the alignment was really off on one side so I had white space on part of it s:

Are you giving yourself enough bleed? Remember to give yourself a thicker color outline than you need.

Your trim outline should be a few millimeters inside your stroke line.

That way you avoid offset if something is slightly misaligned. Making sure your Cameo is in a well lit room or near a desk lamp helps too, as it helps the scan eye pick up registration marks better. Make sure your images aren’t close to your registration marks. 

What I normally do is make a (no pun attended) silhouette of my sticker/charm in photoshop and just import the two images in Designer. Clicking on the design first, the outline second, then use the autotrace function. 

The Custom Thumbnail Reframing Tool

My custom thumbnail reframing tool was totally obsolete long before I invented it, and couldn’t possibly be of use to anyone besides myself. Everything I use it for can be done a thousand times more easily and effectively via even the most rudimentary digital means. But it pleases me to behold because it was begat by utilitarian necessity, and thus is humble and pure.

To use it, start with a storyboard thumbnail panel (drawn on a post-it), the framing of which is not quite right (1).

Now remove the post-it, and place it in the center of the reframing tool (2). Place the tool on a light box, under your blank thumbnail page. Now you can slide the tool and/or page around, looking for a more satisfactory framing (3). The 4 post-its permanently affixed to the tool let the image “float” in a uniform sea of yellow, thus tricking one’s eye into forgetting the original framing choice, clearing the way for a fresh “objective” decision, untainted by attachment to, or distaste for, the original framing. In practice, this sometimes effectively results in a reaffirmation of the original framing, which is totally fine.

Once you’re happy with your new framing, locate the red registration dots on the framing tool (4), and mark their location on your thumbnail page (5). Usually one mark will suffice (never more than two) since you’re generally not tilting the image, and keeping the edges of the post-it parallel to the panel borders during replacement is easy enough to eyeball. The tool has registration dots on all four corners, so you don’t need to worry about how it’s oriented. Now remove the drawing from the tool and replace it on the thumbnail page according to the registration mark(s) (6), and redraw your panel borders as necessary (7) (or, for a cleaner look, retrace the panel on a new, properly centered post-it). Reframing is complete.

The big limitation of the tool, especially compared to its digital analogues, is its obvious incapacity to resize an image. I usually end up, when my thumbnail draft is complete, with a handful of unsatisfactorily sized panels that I’ve marked “wider” or “tighter”, which I’m left addressing with a photocopier during the final drafting process. Oh well! Actually, as I’m writing this, I’m envisioning a “custom thumbnail resizing tool”, which would be a thumbnail panel border on a blank page, with the center of the panel cut out*, that you could hold closer to or further from the unsatisfactory panel to gauge a new sizing… but you’d still have to redraw a new panel anyway, so probably it’s not worth the trouble compared to just using a photocopier.

*Speaking of which, this is exactly what the first iteration of the reframing tool was. The “big breakthrough” was the context-neutralization afforded by the post-it ring.

Answers to Plushie Questions II

To follow up on a handful of questions that I got after posting this set of plushie construction questions, here’s some more bits and pieces on how I make plushes and working with Minky.

Once I have a pattern I like, I trace it onto tag board–heavy manila paper like file folders–so it lasts longer. On the pattern, I mark all the important info–nap and stretch direction, registration or alighment marks, darts, openings, etc.

Then I trace the pattern pieces out on the back of the Minky with a pen or pencil (depending on the color of the fabric). My pattern pieces don’t include seam allowances because it’s important to have the actual seam stitching line marked, since I don’t use consistant seam allowances. Smaller pieces have bigger allowances, as do openings for turning, etc. You can see below that the seam allowances aren’t consistant, since I just eyeball them.

The registration marks in the seam allowances make it easy to line up pieces exactly where they need to be. Here a seamed piece lines up with an unseamed point on the body. Notice that on the top seamed piece, the arrow shows the point on the seam allowance that has to meet the registration mark on the bottom piece, even though the actual seamed area extends beyond that point into the seam allowance. Remember, only the stitching lines need to match, not the seam allowance edges!

On pieces that have inside corners that will need to be clipped, so the area lays smoothly without puckering, I do some reinforcement stitching before clipping and sewing the final seam. Here below I’ve marked the corners on the body side piece. 

Here you can see where I’ve done the reinforcement stitching just inside the stitching line. I use a very short stitch to do this, so that when the corners are clipped, the area won’t rip out.

Clipping into corners and around curves is very important for making smooth seams and for letting curved areas lay flat without puckering and bunching.  Here’s the side of the rounded muzzle/nose of the calf pattern. You can see that the edge is wrippled on the bottom piece. The seamlines are the same length, but because the inside curve is smaller than the outside, the extra fabric in the seam allowance (which is longer than the stitching line) wripples up.

To get it to lay flat and smooth, it needs to be clipped, to allow the fabric to expand. Here you can see what happens to the seam and fabric when the left side (red arrow) is clipped, as opposed to the right side (green arrow) which is not clipped.

Here’s both sides clipped, but now there is pressure on the top, which is curling (green arrow) as the fabric on the sides expands.

Here, the top is now clipped, and you can see how clipping into the seam allowance, right up to–but NOT through–the seam stitching line lets the fabric spread out into little V’s and the edge is smooth with no wripples.

Because Minky has a fluffy nap, when you sew it, some of the fur gets caught in the seams, making the seam edge smooth. This makes the seams stand out. 

If you like that look,or it does’t bother you, then great. If not, then you can take a few minutes as you go along and lift the fur out of the seams for a smoother, seamless look. I use a needle to slide under the trapped fluff and gently lift it up out of the seamline.

Here’s the seam halfway done, and then done.

Last thing is working with really long napped faux furs. When you cut the fabric pieces out with scissors, you’re going to get uneven choppy edges to the pieces, and in the process, trim off some of the fur along the seamline, making the seams stand out again. I use an Xacto blade to cut out pieces from the longer faux fur, instead of using scissors.

Run the blade gently along the back of the fabric, slicing through just the knit backing, then begin to gently pull the cut apart. GENTLY is the key! There will be small thread ladders that hold the fabric together. 

Slide the Xacto blade under these ladders and lift up, cutting through just the backing and NOT the fur. By doing this, you keep as much of the fur as possible intact, minimize the mess, and will have smooth fluffy seams in the end.

Once you’ve sewn a seam with the longer faux fur, take a few minutes to go back and lift the fur out of the seamline with a needle or a pin, for an almost invisible join.

Any more questions, please msg me or ask box! Hope this helps some of you.

Some of the ink I desperately want like right now, but will likely have to wait a long long time for.
1. an amethyst crystal (sorta) not sure where I want it, I just love geometric tats, might just get it in outline with no color, but purple is neat too.
2. Tri-force, again not sure if I want color or no, but this one is probably a shoulder or ankle,
3. I want these guys on my shoulder blades. I played way too much mass effect. Might jazz em up a bit.
4. This one is the one I picture the clearest, I want it on my left forearm pointing towards my hand.
5. This will probably end up being what I get first, cause I want it small, it’s a printers registration mark with the CMYK swatches behind it, it’s a good small test to see if I can actually GET tats in the first place with how weird my skin/healing problems are.
6. Not sure where I want it but I NEED AN OWL ON MY BODY AT LEAST ONE, MAYBE EIGHTEEN.
7. Peonies are very pretty and I love the idea of line work one, I drew this on a blue sticky note and am too lazy to fix it properly for the sake of this compilation.
8. And finally one that actually means a whole lot to me, not many people know that I am actually hard of hearing, approximately half deaf in both ears, with variances for different tones. I’m supposed to wear hearing aids, but unless I get the super expensive kind they really make me have sensory overload problems. But I want this behind my left ear because I’m slightly more deaf in that ear than my right.

@fyeahcopyright Reacts to the REACT Trademark Application

Last night,​ @edwardspoonhands posted a piece on Medium about @thefinebros​ and the ongoing kerfluffle about their “ownership” of “REACT”; Hank updated his piece overnight, but it still both oversimplifies and overcomplicates trademark law in the way not uncommon to most intelligent people who haven’t practiced trademark law for years (i.e. the analogy to Burger King is great and the note that trademark law isn’t the same as copyright law is an important one but the distinction between descriptive and generic marks is skirted over, even though it could impact what rights the Fine Bros own). 

However, we have (well, @heidi8​ has) practiced trademark law since literally the 1990s, and we want to get in the weeds, look for the seeds of the Fine Brothers’ misdeeds - or, more possibly, the absolute incomprehension of YouTube by their lawyers. 

Someone told Hank this at some point, but it’s not accurate. 

Trademark rights in the US are accrued by use, not by registration. Absent some very limited exceptions, a person/business/nonprofit/team/organization/family (hereinafter “Entity”) starts to develop rights in a trademark as soon as they start to use it (commercially, which is defined very broadly), but when the word is not a coined term, those rights are tied directly to the types of goods or services or serieses (hereinafter, “Stuff”) on which that mark is used. 

In other words, APPLE can be one company’s trademark in connection with computers and another company’s trademark in connection with music, and both of them can put it on t-shirts and pens and stuffed animals as long as the logos aren’t the same, and there won’t be any conflict (until the computer company wants to start selling music). 

The concern for the courts and the trademark office is Likelihood of Confusion, and there are tests to determine if a junior user is likely to be confused with a senior user. There are a lot of things the courts look to, including the overlap between the parties’ Stuff and their distribution channels, and even the number of similar marks in use on similar Stuff. 

PTO and court policy states that if you’re using a dictionary word in connection with a filmed series or a book series, you have to specify the theme of the series - with @thefinebros did in their PTO applications. They already have registrations for three marks containing the term REACT, and a bunch more are publishing tomorrow, which means that anyone can file a petition to oppose the registration, which an attorney has already said he plans to do, on the grounds that REACT is generic (though I hope he argues in the alternative that it’s descriptive of the Stuff). 

Why does it matter whether REACT describes “a series of programs in the field of observing and interviewing various groups of people”? 

Because the USPTO does not allow registrations of marks that are descriptive of the Stuff that they are used commercially with without a showing that the mark has acquired distinctiveness. The word “react” describes the content of the programs - they show people reacting to things. 

A claim of acquired distinctiveness generally required the claimant has been the sole and exclusive user of it, advertised it extensively, etc., because they have to show that “the primary significance of the term in the minds of the consuming public is not the product but the producer”. In other words, when people hear “a react video” do they think of The Fine Brothers and/or their designees, or do they think of any video where someone is reacting to something? 

If you weren’t the senior user of it in the first place, and others have used it before you and while you’ve been using it, and it’s very descriptive, it takes a lot of effort to say that secondary meaning has attached to it in connection with that specific Stuff

But not necessarily for all Stuff. Is REACT descriptive for candy? Nope, and it’s likely they’d be able to get and keep a registration for REACT in connection with candy, t-shirts, mouse pads, swords, and probably even cameras and microphones. 

Is their distinctive REACT logo that they use on YouTube & elsewhere descriptive, design-wise, of the Stuff? Again, no - so they would probably be able to get and keep a trademark registration for the Design Mark REACT, as long as they stated to the PTO that they don’t claim exclusive rights to the word, just to the logo. 

Those are neat ways to protect a brand that you’re building while not trying to restrict those who are using it descriptively or decoratively, or on unrelated goods and services. Start using it on merchandise like candy or shirts or stuffed microphones or camera-pillows, and protect the logo so people know that it’s MY THING unless it has that logo on it. 

If a mark is generic for specific Stuff, btw, nobody can register it and secondary meaning cannot develop. But again, a mark is only generic for specific Stuff, like “apple” is generic for the fruit, but not generic for computers or music companies. 

What puzzles me about this is, why did they suddenly announce their licensing project right before their current applications publish? As I noted above, anyone who believes they may be damaged by a registration - including anyone who may ever want to create a video of people reacting to things and use the term “react” in connection with it - can file to oppose a registration; you have to file papers with the PTO and there’s a fee, and the process can take over a year to move through the Trademark Trial and Appeal Board, but if you win, the mark doesn’t register - which doesn’t mean they can’t use it because rights-by-use-not-registration - but it does prevent them from getting the benefits of registration. 

Even if they aren’t trying to prevent everyone from using the word “react” - and no, they don’t have the law on their side if that’s what they are trying to do - why did they put their pending applications at risk like this by shouting about it? Is it because they can now claim secondary meaning more easily than they could in, say, September of 2015? 

Fwiw, the marks that they have already registered, including KIDS REACT, TEENS REACT and ELDERS REACT, haven’t been registered for five years yet, and thus anyone who believes they may be damaged by the ongoing registration of those marks can petition the PTO to cancel those registrations on the grounds that the marks are descriptive of the Stuff; again, small fee, pleadings filed with PTO, will take over a year through the TTAB. 

But, still. 

And that’s not even as significant as the hundreds of thousands of subscribers they’ve hemorrhaged over the last few days. 

Will this situation make them rethink their licensing plans, and switch to protecting their Stuff by using their marks on merch? 

We’ll see, and I am sure that we will react.

Shirt Tutorial (Again)

So the first time I made a shirt painting tutorial it was for a single color symbol. Recently I’ve been trying to paint two-color shirts because I think painted shirts hold up better and are cheaper than iron-on shirts and they’re certainly cheaper and better fitting than the official shirts. I’ll include a comparison of an iron on shirt and a painted shirt at the end of this tutorial, but for right now here are the painted shirts.

I’m using the freezer paper method and it’s fairly easy. Tutorial under the cut!

Keep reading

6

Jacob van Loon (on Tumblr) & Chad Wys (on Tumblr)

(previously)

CW: I admit I’m guilty of delivering that line quite a lot: “I make art for myself.” I know I started out creating work for my eyes only, and occasionally I still feel that genuine sense of isolation in my craft. Years ago I made the decision to stop painting relatively traditional landscapes and to start using visual information from culture as a means of social commentary. I made that abrupt change for myself and I never had any intention of sharing the results. Eventually I did start sharing, and now I feel a bit of pressure and responsibility to craft something successful and meaningful (as amorphous as “success” and “meaning” is). But at the same time my work has grown stronger precisely because its meaning is influenced by, or even dependent upon an audience.

JVL: Landscapes? I’m both surprised and interested you went from something as innocuous as landscapes to something as confrontational as your current works. What are some pieces you consider transitions? How much did you experiment before realizing your current body of work?

CW: It was an abrupt decision to begin working with found objects (the impetus came from different directions, but I suspect mostly from my academic studies and the desire to push myself artistically). Initially I spent time divided between painting landscapes and experimenting with appropriation and found objects; now, I haven’t painted a landscape in years. I suppose it makes some sense that my first readymade consists of a large 19th century landscape found in a thrift store, on which I painted a rudimentary color test (a series of contrasting, bright hues slopped on at the center of the picture plane). I’ve always had a fondness for art historical motifs; I began, more or less, by painting them outright and I’ve ended up appropriating them from the visual culture around me.

JVL: How did the bars come about? I’ve seen similar markups on old illustration plates too. I’ve taken after that approach after seeing how you use planes of color in your work—smaller sheets I make to study Audubon’s palette (which I thought mine was similar to but it’s really not).

I have a hard time remembering work from more than two years ago—I see older work resurface online sometimes and it blows my mind that I ever made something like that. There’s still this underlying fussiness in my work that I feel like I am combating a lot of the time, but the technicality and certain pangs of bleakness tie most of my work together. There are a lot of thin veils separating the ideas I pursue in my work and I don’t know if they should be there anymore. We should get together sometime, get hammered and paint some landscapes.

CW: Absolutely! I once held an art lesson with some family—my mother and grandmother to name two—and we had more fun painting landscapes than we could have imagined. I think they began to appreciate how difficult the whole “art thing” really is; or, judging by their output, they should have!

As for the color bars, etc., in my work: I think the initial idea came from the printer registration marks and color-blocking found at the margins of commercial packaging, as well as older photomechanical reproductions of fine art, etc. I suppose I wanted to bring those marks from the margins into the image area in an effort to draw attention to them, to underscore the status of reproduction and mechanization. Part of it had also to do with combining elements of Color Field and abstract expressionist theory into unexpected places: a hybridization, or bastardization, of artistic styles and eras. How have you arrived at your current stylistic choices?

JVL: I think there’s a lot of different vehicles for art to travel in, although my parameters are less stringent than my peers. Illustration is an artform designed for consumption of narrative. It usually illuminates an existing situation but also facilitates an accessible new consideration for the viewer. To me, there’s something edifying about being able to design an image which can dictate large amounts of information to another person.

CW: Your work is certainly illustrative in style; some of your latest pieces recall great botanical engravings of the 19th and 18th centuries. There’s a fragmented and perhaps subversive narrative present that I find alluring, especially your glancing homage to the motif of scientific categorization as a system of knowledge and visual information-sharing (you seem to be obliterating scientific order). But your work is expressive, highly abstract, and it grapples with definition in terms of form and color practically as narrative forces unto themselves; in this way, I think we share some creative/aesthetic interests.

Your First Flower paintings are explosive, enigmatic, energetic, wonderful. How do you see yourself having evolved, stylistically and conceptually, to this point?

JVL: I had a stint while studying Illustration in college, making things as ornate and detailed as possible, which involved a lot of pen work laced with the all-too-typical non-committal application of soft colors. That work ceased to feel rewarding, my ideas were polluted by a need to fulfill technical proficiency. Taking extracurricular initiatives in collage and painting allowed to me to confront some of the same ideas in a more efficient and honest way. I’ve had an argument with myself for the past three years on and off along the lines of “just because I can do it doesn’t mean I should do it.” The First Flowers were my foray back into technical ink work in a while and imposing geometric and painterly motifs as placeholders for objects or as disruptions made sense to me. To be able to fill three square inches with ornate detail is one thing, rendering the same three square inches and then blotting out areas of it is another. It’s a simple aesthetic liberty but took years to come to. I was once asked why I would spend the time to build up so much detail only then to cover it again. It was implied that I was wasting my time. Maybe I am.

(to be continued)

Chad Wys, A farm At Midday. Acrylic on canvas, 11"x8.5" (2008)
Chad Wys, Thrift Store Landscape With A Color Test. Paint on found print and frame, 34"x42"x2" (2009)
Chad Wys, Caution: Goya. Mixed media on found print and frame, 21" x 25.5" x 1.5" (2010)
-
Jacob van Loon, First Flower I. Ink, watercolor and acrylic on paper, 16x20" (2013)
Jacob van Loon, First Flower II. Ink, watercolor and acrylic on paper, 16x20" (2013)
Jacob van Loon, First Flower III. Ink, watercolor and acrylic on paper, 16x20" (2013)

[art discussion hosted by Artchipel]

3

RPK-47

Before anyone jumps on the issue of this not being an RPK, technically it is, by mistake or intentionally, it’s not clear why. These rifles were imported my Mitchell Arms and are pre-ban models. Estimated count of “RPK-47” marked Yugo M70 is around 160 or less, making them extremely rare but also expensive. As for why it’s important to consider technicalities; if you live in a state that requires firearm registration, whatever is marked on the receiver is what will be registered. 

The scope mount sits rather high on the receiver compared to other AK variants. Although a ZRAK optic is mounted, a POSP with the AK rail will also fit.

Seriously...

…recommending jpegs for print?

I fucking despair at what they teach people on design courses.

I once had to deal with a file submitted to the printers I worked for by a design college…a promotional thingy they’d produced. It has no bleed and used about a dozen different spot colours. These are the people teaching people how to design professionally and they had no technical understanding whatsoever!

So…here’s a tip. You’re working in print, save your files as 300dpi LZW compressed CMYK tiffs. If your document has multiple pages then use InDesign to combine them into a multi-page document and export them from there as a PDF. In your PDF export settings choose the PDF/X-1a:2001 setting. This will ensure that your resultant PDF is print quality (your printer may specify a different output setting, if so, follow their intructions). Assuming you’ve had the sense to set up the bleed correctly in your InDesign document (3mm bleed is standard, but some people use 5mm bleed) then you need to go into the Marks and Bleeds tab in your PDF output settings and select “Use Document Bleed Settings.” Do NOT export your PDF with crop marks, bleed marks, registration marks, colour bars or page information unless your printer has specifically requested that you do. In general the printer’s RIP will add those features exactly as they need them to be set up.

On spot colours: Each spot colour you use will require its own printing plate and this will, of course, add to the cost of your print. If you wish to use any spot colours in your print project you need to discuss that, and the additional costs incurred, with your printer first. Spot colours are really only ever necessary if you are working on a corporate project where they insist on a specific colour for their corporate design/logo, or if you are using metallic inks, spot UV or other special effects. Basically, stay away from using spot colours unless you know what you are doing.

My inbox is always open to anyone who has any technical design and prepress questions. You want to check my credentials? Before I worked in comics I worked as a professional graphic designer for ten years, specifically working as the in house designer for a print firm, meaning that I dealt on a day to day basis with the people who produced the print plates and ran the presses…if something was wrong, I heard about it, and had to fix it. Since then, I’ve worked in the comic book industry doing prepress, and you can see my wealth of experience in that field in my list of published credits here. I also handle all of the design and prepress needs of the UK’s largest comic convention, from passes and the programme to flyers and massive banners.