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Registered with The American College of Heraldry on 6 November 1992 under Number 1073.

Blazon: Azure, fretty raguly Or. Above the Shield is placed a Helmet with a Mantling Azure doubled Or, and on a Wreath Or and Azure is set for Crest, a satyr's head Sanguine, wreathed with olive leaves Proper, with bat's wings to the sides Azure, and in an Escrol below the Shield this Motto: “Melior Nullo Nullus Melior” (I am better than no man, but no man is my better).


Received in a Certificacion de Armas from the Cronista Rey de Armas under Protocolo:3/1995; Folios:149-151, and Confirmed by the Ministerio de Justicia, Madrid, Kingdom of Spain.

Blazon: En campo de azur (azul), una celosía ecotada, de oro. Va timbrado el escudo de armas de un casco de acero bruñido, con bordura y grilletas de oro, claveteado de lo mismo, forrado de gules (rojo), sumado de un burelete trenzado de azur (azul) y oro del que salen lambrequines de los mismos esmaltes y sumado a su vez de una cabeza de satiro, sanguino, barbado al natural, orejado con alas de murciélago, de azur (azul) y sumado de una corona de hojas de olivo, de sinople (verde). Divisa: En cinta de plata con letras de sable (negro): "MELIOR NULLO NULLUS MELIOR."


Registered by the St. Andrew Principal Herald Master of the Collegium Heraldicum Russiae under Number 167.

Всем и каждому чрез сию Гербовую Грамоту да будет известно и ведомо, что Русская Геральдическая Коллегия внесла в свой Гербовый Матрикул сей герб, владельцем коего является Kaвалер Дэвид Роберт Вутен А именно: В лазуревом щите золотая косая сучковатая решетка (фрет). Щит увенчан рыцарским шлемом с лазуревым намётом, подбитым золотом. Клейнод: на ливрейном бурелете голова сатира с оливковым венком и лазуревыми перепончатыми крыльями от висков. Девиз на ленте внизу: Melior Nullo Nullus Melior - «Я не лучше других, но и никто не лучше меня». Дано в Москве 9-го июля 1994 г. под номером 167. Командор Кавалер, Валерий Павлович Егоров, Герольдмейстер Принципал, Св. Андрея Первозванного, РГК


Registered with Burke's International Register of Arms, 29th January 2006. Registration No. 0009.


Registered with the Deutsches Erbe Wappenrolle, reg. no. 2334, on 18th February 2023.

Blazon: Azure, fretty raguly Or. On a helm with wreath and mantles Azure and Or, a satyr's head Sanguine, wreathed with olive leaves Proper, with bat's wings to the sides Azure. Motto: “Melior Nullo Nullus Melior” (I am better than no man, but no man is my better).


Registry listing for Arms and Badge at






As you might imagine, in my current position as Executive Director of The American College of Heraldry, I receive many requests from individuals on resources for ways to display their armorial bearings, whether it’s an artist to paint them, or an embroiderer to stitch them onto something, or, most often, where they can have their achievement engraved on a ring, cuff links, etc.

dwringbw.jpgdwring.jpgI have always wanted something a bit more unique, and I felt that the ring I had did not exactly reflect the image I originally intended. So, I spent a great deal of time sourcing all possible heraldic engravers worldwide, providing them with the specifications of the ring size I wanted, as well as a drawing of EXACTLY what I wanted on the table of the ring. I can tell you that prices for such a project ranged anywhere from $1000 to well over $3000 – all for the same type and size of ring, and amount of gold.

The company I landed upon, after numerous phone calls and emails – explaining in nauseously excruciating detail how precisely the final ring had to match my drawing – was Dexter Seal Engraving – The gentleman I dealt with was Simon Wright, and he went above and beyond to explain their process, and gave me assurances (backed with a guarantee) that what they carved would be what I depicted, as exactly as humanly possible. I jumped in with both feet, and entrusted my money and ring to his artisans’ capable hands.

I asked Simon to take some photographs of the process from start to finish, so I could see how they achieved the end result. You can see the results here:

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I am OVERWHELMINGLY pleased to advise that the pictures show a ring that PERFECTLY matches the drawing I sent, and thus may be the best 3-dimensional depiction of my crest I have yet seen. I provided them with a rather unique layout (I superimposed the crest of my achievement over the fretty raguly of the shield). I told the folks at Dexter that I wanted the final product to match my drawing EXACTLY - something that is very difficult to do when an artisan carves something by hand - especially with the geometric complexity of a fretty raguly "background."

Granted, my design is not intended to be a sealing ring – it was intended to be an “abstract” version of my arms, boiled down to the crest and shield. It may not be to your taste, but imagine that if they can do something “outside the box” like this for me, they would be eminently capable of handling a more traditional armorial achievement for you.

I’m not making anything off this extended “advertisement” – I just know that many of you have similar interest and concerns about getting a quality piece of jewelry to display your armorial bearings. And the good thing about Dexter is that they are at the lower, rather than the upper, end of the price range. Of course, each piece is different, and complexity = additional $$ (or £s), but they are more than fair, and in fact do a superior job for a fraction of what others would charge for the same work.

I would urge you to contact Simon Wright directly if you are interested in having this sort of work done. His direct contact information is shown below, along with their website, which I urge you to visit to see the wide variety of products they can produce. Tell him I sent you. Tell your friends about their services as well.

Simon Wright.

Dexter Seal Engraving, Dexters, Cherry Orchard, Tenterden, Kent. TN30 7LP. United Kingdom

Tel: +44 (0) 1580 765616     Tel # from the USA 011 44 1580 765616     Fax: +44 (0) 1580 765594

E-mail :


carved1.jpgOne "incarnation" of my arms (these originally drawn by Marco Foppoli) were custom etched into Rosewood Burl as covers for my iPhone by Carved, LLC.


Custom crafted from durable and sustainable woods, Carved currently offers Kindle Fire, iPhone, and iPad skins and cases, and are adding new items to their product line regularly. Through a unique laser-engraving technique, they can turn any photograph or logo that you have into an iPhone or iPad case or skin complete with amazing detail. All of their products are precision laser cut and engraved.


Woods available include Paldao, Padauk, English Sycamore, Redwood Burl, Olive Ash Burl, Purpleheart, and Natural Bamboo.


I can highly recommend the folks at Carved for both the quality of their product and the level of customer service they offer. They went above and beyond to work with me in creating a unique iPhone cover from the line art drawing I submitted. These products offer a new and unique way for armigers to display the armorial bearings.



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The far left bookplate was designed and rendered by my good friend, the late Daniel de Bruin. I would recommend visiting his website for extensive examples of his work, as well as biographical information.

The Armorial Ex Libris shown next was the first designed by the armiger, with the original arms rendered by Heraldic Artist Dennis Endean Ivall. Appearing at the top to the left and right of the arms, respectively, are the Badge of The Niadh Nask (Noble Confraternity of the Golden Chain) and the Badge of the Optime Merenti Niadh Nask.

The more recent Armorial Ex Libris shown in color at center was designed by the armiger, and incorporates the armiger's motto in Gaelic encircling the arms. On either side of the crest appear the Breast Stars of The Niadh Nask (Second Division) and the Optime Merenti Niadh Nask.

Another bookplate designed by the armiger incorporates a modified version of the original armorial bearings, in a more Gaelic style (as designed by Dennis Ivall), and surrounded by (clockwise from upper right): the badge of Optime Merenti Niadh Nask; the Donal IX Quatercentenary Medal; the Mountcashel Cross awarded to Officers of The Honourable Society of the Irish Brigade; the Arms of The Military & Hospitaller Order of Saint Lazarus of Jerusalem; and the Breast Star of The Niadh Nask (although not in color, which would indicate that of the Second Division). Below the armiger's name and title appears the logo of The Royal Eóghanacht Society.

The designs reflect organizations and titles "granted" from Terence Francis MacCarthy, who in fact was never the true MacCarthy Mór and thus did not have the right to make certain grants of titles. Thus the removal of the baronial coronet and the Niadh Nask Cross from behind the shield would be proper in all instances, as well as the removal of Niadh Nask insignia. Some of the previous versions, despite their relationship to the false MacCarthy Mór, are left in place to show both the artists' talents and the possible diversity of design.  

The final design was produced again by Daniel de Bruin, and illustrates the armiger's crest alone, sans any additional accoutrements. I wanted this to simplify my personal stationery, but also wanted to see how non-traditional a design the artist could produce - and he obviously came through with flying colors on this one. Mr. de Bruin does accept commissions, and his website (which may be seen by clicking HERE) showcases a wide variety of his color and black & white work.




Arms originally rendered by David Robert Wooten

Arms rendered by Richard McNamee Crossett

Arms rendered for Registration with the Collegium Heraldicum Russiae

Arms rendered for Registration with the Kingdom of Spain









Arms designed by Dennis Endean Ivall

Arms designed by John Ferguson


Celtic Armorial Bookplate rendered by Dennis Endean Ivall









Celtic Arms rendered by Dennis Endean Ivall sans flourishes



Ex libris design by Daniel de Bruin









Arms rendered by John Ferguson

Arms rendered by Don Smith

Arms rendered by Don Smith, sans mantling & helm









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26. Mayosski Vlaanderram

Wooten large 21.jpg          Wooten large 11.jpg          oberwappen wootens1.jpg

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35. Mark Anthony Henderson


41. Heikki Halkosaari












69. RUDY MARTINI / "REMI" 70. "ARKY" 71. "KATOKAT2" 72. "ABF-ART"
74. "ANDRÉ"

Argent, a Temminck’s Pangolin [Smutsia temminckii] intortant proper, within a broad circular scroll Azure, fimbriated Or, with the motto Melior Nullo Nullus Melior inscribed upon it around. All placed on an olive wreath Vert and ensigned above with an American coronet proper of eight mullets, five visible, alternate Argent and Or.

Jay White works as a highschool TA in upstate NY, having earned a Bachelor’s in History, working towards a position as a teacher after obtaining a Master’s in Education. Per Jay: "I have a number of specific fascinations, only two of which are heraldry and Pre-Columbian America. My personal art style isn’t fully developed as of yet, so in the meantime I’ve been imitating others. Along with the various styles of Europe, I’ve also taken inspiration from other cultures, practicing with Japanese mon crests, Arabic Kufic script, and the obvious Chīmallis. (While ostensibly Aztec, many of these Chīmallis’ emblazonments take inspiration from the wider Mesoamerican cultural sphere.) It’s a fun, niche hobby that I was really happy to find shared by other [incredibly welcoming] people." Jay's email is

From Jay:

A Chīmalli is essentially just an Aztec shield, but they varied widely in practice. They came in many sizes, were made out of different materials, and could serve in battle or for purely ceremonial purposes. They were heavily decorated using pelts, precious metals, and bird feathers. Pendants in the shape of chimalli carry an association with warfare and valor. The designs themselves don't appear to have been hereditary, having been more to do with class and military rank. Commoners wouldn’t have very elaborate designs, and were forbidden from wearing feathers, unlike nobility and very accomplished warriors.

I have to credit Di (Discord: Di (they/them)#0292; DeviantArt: DiAm1) for originating the idea, I was just inspired and happened to go off the deep end with it. I love history, and having an excuse to dive deep into scholarly articles and the old codices themselves is great. I have to take a few liberties when designing these chimallis, but it’s such a fun exercise, especially when getting to include motifs and double meanings that I otherwise wouldn’t be able to.

There are actually two Aztec calendars, the 365-day xiuhpohualli and the 260-day tonalpohualli. The latter, also called the day-count, is considered a sacred calendar due to its use in divination, serving a hugely important part in Mexica culture. Each child was given both a personal name and a calendar name based on the day in which they were born.

An Aztec week (or trecena) consisted of thirteen days, alongside a twenty-count of day symbols called tonalli (each with deep philosophical and divinatory implications). You would combine the day of your trecena with the symbol of your tonalli in order to get your calendar name.

In the case of David Wooten's birthday, 9 August 1958 (using the Alfonso Caso–H.B. Nicholson alignment) your name would be “10-Wind,” or Mahtlācehēcatl.

lit. “He is ‘It is the Day: Ten Wind’.” (ø-Mahtlāc-ehecatl)

In addition to your calendar name, you could also calque the meaning of your name. The Aztec script was pictographic and ideographic, and could also use rebuses to record words phonetically, so you could get something like:


Since David comes from Hebrew meaning “Beloved” the coordinate term in nahuatl would be tlazo (as in tlazotli “precious one”). I connected this to the tlazo(tl) glyph, which means “something pierced or perforated;” usually expressed as a bone needle. Instead of the usual cloth or piece of turquoise, I chose to have it pierce a heart (yōlli) to reinforce the intended meaning of “beloved.”


Wooten comes from the Old English words wudu (“wood”) and tūn (“settlement”), so I combined the nahuatl words cuahui(tl) (“wood”) and āltepētl (“city-state” / lit. “water”+”hill”). The word cuahuitl is often represented as a tree, but I chose to use the pile of logs instead to reduce confusion.

All together you get:

Tlazo Cuahāltepētl
Above are my shield & crest (left), as well as my personal badge (right), shown at the top of this section side-by-side. I also "pushed" Jay to render additional elements, including what supporters might look like (middle), as well as Calque and Calendar Name shown above. This is not part of his "regular" process, but he was gracious enough to include this in my "package" to show what would be possible.

* Those items marked with ** indicate where the armiger has modified the original artist's work either through addition of color, or computer enhancement

1. These armorial bearings were the armiger's first attempt at visualizing his own design. The shield recognizes the unrelated arms of the Broadhurst name (from the armiger's maternal line family name), and represents to me complexity-in-simplicity - a fairly "simple" geometric design "complicated" by the raguly nature of the fretted bars. The crest gives a nod to the Wooton line of Kent which died out in the late 1600's (those original unrelated arms featuring a cross engrailed with the Satyr's head as the crest - sometimes listed as a Saracen's head or Savage's head), which is unfortunately commonly used in illustrating the covers of some minor Wooten/Wootten/Wooton genealogies, when in fact they are entirely unrelated. The motto is of the armiger's own creation - "I am better than no man, but no man is my better," and is of course shown translated to the Latin.


2. These arms were rendered as part of the registration process for The American College of Heraldry by Richard McNamee Crossett. Mr. Crossett recently passed away, and unfortunately was perhaps America's only heraldic artist - hopefully someone will come along to fill the large void created by his absence.




Genealogical, Nobiliary and Armorial Archive of the Chronicler King of Arms
Dean of the Body
D(on) Vicente de Cadenas y Vicent

Certification of the Shield of Arms that Correspond to the Use of
The Most Illustrious Lord David Robert Wooten
Madrid, 16 of March 1995

Vicente de Cadenas y Vicent, de Gaztañaga y Nogues, Chronicler King of Arms, Solely Recognized by the decree of 13 April 1951 Dean of the Body and the sole, legitimately accredited before The Minister of Justice for the processing of certificates of Genealogy, Nobility and Arms.
I certify: That the Shield of Arms that correspond to the use of the Most Illustrious Lord David Robert Wooten, native of Winston-Salem (Forsyth County) North Carolina, (United States), born 9 August 1958, son of Edward Franklin Wooten and Nancy Lee Wooten, born Broadhurst, are organized and composed in the following manner:

In a field of Azur (blue), a lattice, ragguly gold. The Shield of Arms is surmounted by a helmet of polished steel, bordered and grilled gold, riveted of the same, lined gules (red), topped by a twisted wreath of azur (blue) and gold from which issue lambrequins of the same tinctures and surmounted in its turn by a Satyr's head, blood-colored (sanguine), bearded proper, eared with bat's wings, azur (blue) and crowned with a coronet (wreath) of olive leaves vert (green).
Motto: On a ribbon of silver with letters sable (black): "Melior Nullo Nullus Melior".
The said Arms, as described and painted may be used by the Most Illustrious Lord David Robert Wooten, having them engraved, sculpted and painted in the usual places without impediment of any kind, being by the Certification of Blazon supported, ratified, legalized and legitimatized for the use of the same by the Illustrious Lord David Robert Wooten to whom they are attributed, as well as for his legitimate descendants in the place that corresponds to them.
And so that it be official and upon the petition, I present this Certification of Arms, as customary, to the faculty, conferred by the Royal Orders of 19 November 1749 and of 16 June 1802, as well as by the Royal Decree of 29 April 1915 and by the Decree of the Ministry of Justice of 13 April 1951, which regulate the functions of the Chronicler of Arms, reserving a copy of the present Certificate in my file, signed and sealed with my own seal, at Madrid the 16 March 1995 on the Feast of Saint Hilliard.

Seen at this Subsecretariat of the Ministry of Justice in order to certify as being his own, the signature of Don Vicente de Cadenas y Vicent, accredited in this ministry as Chronicler of Arms for the Registry of Certificates, Established by the Decree of 13 April 1951.

Madrid, 21 March 1995
The Subsecretariat
Office of Legalizations
Maria del Carmen Cuiiarro Gonzales

3. On registration of the armiger's armorial bearings with the Collegium Heraldicum Russiae, this rendering was created for that document. You will note that this rendering includes the baronial coronet of a Lord of Munster, as granted by The MacCarthy Mór, Prince of Desmond (see below) . This organization, headed by His Excellency Commander Chevalier Baron Valery Yegorov, Saint Andrew Principal Herald Master, now has a beautifully redone website which may be seen HERE.


4. The arms have also been registered with the Cronista Rey de Armas in the Kingdom of Spain. However, the rendering produced for such grants are commonly of simpler design and thus not meant for "framing" or artistic quality. They are usually meant only for reference to the Grant of Arms itself. The full translated text of the Grant is seen at right.


5. To my mind, Dennis Endean Ivall was perhaps the preeminent heraldicartist of his time, being a Bard of the Cornish Gorsedd. His work is unparalleled in style and expertise. His work on Cornish Heraldry and Symbolism is the textbook on the subject.


6. The late John Ferguson, ARCA, FRSA, SHA, RHS is perhaps best known to students of heraldry as a chief illustrator for Stephen Friar's work, A Dictionary of Heraldry, as well as his collaborative effort with that same author, Basic Heraldry. A graduate of the Royal College of Art, and a founder member of the Society of Heraldic Arts, he has been commissioned for local-government work, corporate bodies and individual patrons both in the UK and abroad. His work shows a flair which elevates him above most heraldic artists operating today, giving each piece its own unique character. Having seen his style in numerous publications and on stationery, I commissioned him to produce this illustration for my own stationery.


7. Daniel de Bruin was one of the least known (at least in the States) but most creative and unique heraldic craftsman of this century. Based in Holland, Mr. de Bruin's work may be seen in Von Volborth's The Art of Heraldry, which is where I first encountered his work. In fact, I had attempted for months through numerous contacts to locate him for a commission, and only came into contact with him when he contacted me with regard to our mutual membership in The Bookplate Society. We then happily struck up a mutual postal (and later email) correspondence, and I commissioned him to initially produce a simple black & white rendering of my arms, which may be seen hereabove. However, his main expertise lies in creating one-of-a-kind color bookplates (among other things) in a style which is instantly recognizable as his own. Mr. de Bruin passed away in late 2010, and his website (which may be seen by clicking HERE) showcases a wide variety of his color and black & white work.




8. One option for Niadh Nask would be the neck decoration known as the "Lesser Collar" which may be worn by all Companions, and may be depicted encircling the arms of Second and Third Division Companions. It consists of a red riband entwined with a Golden Chain, from which depends The Niadh Nask Cross as described above. Another option would be to surmount the arms atop The Niadh Nask Cross (the central symbol of all Niadh Nask insignia is a cross pommé Argent, fimbriated Or, [a white cross with enlarged circular ends on each arm, bordered in gold] with an inset Greek cross which is either Red, Green, or Blue, depending upon the Companion’s Division within the Noble Confraternity (First, Second, or Third, respectively). I therefore commissioned Dennis Endean Ivall to once again render my arms, here shown in Black & White with hatching for the Azure and Blue elements in the Shield and the Vert Greek cross (the Green indicating Niadh Nask of the Second Division [noble before 1596]). At his recommendation, I opted for a more "Celtic" design, incorporating an historical helmet of that theme. The illustrations include the coronet of a baronial Lord of Munster as well.


9. Taking a cue from the heraldic bookplate of Captain Thomas Paul Westgaard, Lord of Kileughterco, NN, KLJ, FSA (Scot), GCrLJ, BGS, as illustrated by Dennis Endean Ivall, I redesigned an older bookplate (also appearing in the aforementioned book as Plate 25) to incorporate a circular design rather than the more traditional square/rectangular form. The ex libris still shows the 2 breast stars of Niadh Nask 2nd Division (left) and Optime Merenti Niadh Nask (right). The background is that of the enlarged shield of the armiger, surmounted by the crest and the baronial coronet of a Lord of Munster.


10. This design reflects modifications made to previous renditions based on the new evidence presented against Terence Francis McCarthy (The designs reflect organizations and titles "granted" from Terence Francis MacCarthy, who in fact was never the true MacCarthy Mór and thus did not have the right to make certain grants of titles. Thus the removal of the baronial coronet and the Niadh Nask Cross from behind the shield would be proper in all instances, as well as the removal of Niadh Nask insignia. Some of the previous versions, despite their relationship to the false MacCarthy Mór, are left in place to show both the artists' talents and the possible diversity of design). Thus the removal of the baronial coronet and the Niadh Nask Cross from behind the shield.


11. This design was produced by the aforementioned Daniel de Bruin, and illustrates the armiger's crest alone, sans any additional accoutrements. I wanted this to simplify my personal stationery, but also wanted to see how non-traditional a design the artist could produce - and he obviously came through with flying colors on this one. His website (which may be seen by clicking HERE) showcases a wide variety of his color and black & white work.




12. Coming full circle, I found the need for a re-rendering of my original "traditional" armorial bearings, in the "classic" style, for use in "Established Families News," the bi-annual publication of Established Families in America (now The Ermine Society). Once again I turned to the most reliable and versatile heraldic artist I knew, Dennis Endean Ivall, who was able to produce this version.


13. For a similar purpose, John Ferguson was once again commissioned to produce a "sans coronet version" of my armorial bearings, for use in those publications requiring a "traditional" rendering of arms (as opposed to the somewhat more contemporary/abstract version as produced by Daniel de Bruin).


14. On the recommendation of several acquaintances, as well as some glowing reviews, I contacted the late Don Smith of Heraldic Graphics about rendering his own version of my armorial bearings. His artistic expertise was self-evident, and in concert with an excellent grasp of computer graphics, his work easily transitioned into the 21st century realm of heraldry. His pricing was a mere £28 for the work seen at left, and was MORE than worth the price - this is not merely some "canned" computer program into which stock graphics are pasted - it is quality artwork. His original website may be seen at


15. I commissioned Andrew Stewart Jamieson to produce a rendering of my arms. Born in 1961, Andrew studied Heraldry, Calligraphy and Manuscript Illumination for three years under one of the great heraldic artists of the 20th century, Anthony Wood. In 1983 Andrew graduated with a First with Honours. Since that time he has worked as a freelance heraldic artist and designer accepting commissions from the College of Arms, The Catholic Church, the Order of Malta, the Military, the City of London, the House of Lords and many corporate and private clients. His work has been published in many books and he also wrote and illustrated the very successful Pitkin Guide, Coats of Arms. As well as producing the traditional work for which he is best known Andrew has been experimenting with more contemporary styles which although look to the mediaeval period for inspiration are also more in tune with 21st Century tastes. In heraldic art as in any art, Andrew believes that the artist should explore and extend the boundaries of their work to avoid rigidity, self repetition and stagnation.


16. This version is a computer-enhanced version of the original John Ferguson artwork appearing immediately above it in the table. Through the use of Corel PhotoPaint, the original black & white image was colored, and then bevel and chrome effects were added.




17. This is a 100% computer-generated version of my arms, though not quite in the standard manner expected. While the computer/art skill is quite significant, the crest was rendered affronté, which would usually not be done unless so blazoned. Regardless of this minor issue, their work is quick, quality and reasonable.


18. Susi Galloway is an extremely talented artist of many disciplines, one of which happens to be heraldic paintings. Fascinated by ancient arts she chose a Heraldry Master Painter to teach her the skills of the trade over a period of 4 years. She produces heraldic work in black & white line art, line drawing in flat colors (digital or on paper), line drawing in color, shaded (digital or on paper), and hand painted in oil, acrylics or water colors (on paper or canvas). She also produces handpainted genealogical trees. Her website may be seen HERE.


19. Dudley Bateman began painting armorial achievements in 1981 following his retirement at the age of 51 from the Royal Air Force after nearly 35 years service. Unable to find suitable employment due mainly to few if any jobs and rampant ageism rife at that time, he was obliged to put to use his natural artistic abilities in order to supplement his meager service pension. An interest in history coupled with an eye for line and colour set him on the road to painting armorial bearings following a visit to Norwich Cathedral with its wealth of armorial achievements. From small beginnings working in a spare bedroom, Dudley now works from home in a custom built studio from where he sends his work all over the world. He is well known in heraldic circles, especially in East Anglia where he resides with his wife Margaret, and carries out work for local councils, university colleges, businesses, clubs etc, as well as for individuals. His work has been featured on three different television stations as well as local and regional newspapers. His website may be seen HERE.




20. Andrew Stewart Jamieson had already produced a black and white line art version of my arms (#15), but when I received his full color painting of roughly the same drawing, I was overwhelmed. This points out the obvious difference between a simple line art drawing and a painting done by one of the world's premier heraldic artists.


21. Marco Foppoli is an Italian heraldist whose works stand out as unique in contemporary heraldry. His passion for Graphics and an inborn interest for Historical matters mix up perfectly in Heraldry, becoming soon a relevant part of his job of Graphic Designer and Illustrator. Through an attentive study of ancient codexes and Medieval rolls of arms, his style finds out and revisits the formal beauty as well as the graphic elegance of the Gothic and Renaissance heraldry. His extensive website may be seen HERE.


22. I embellished Marco Foppoli's work along the style of those done by my Heraldry Embellished company.


23. I have admired Baz Manning's work for years, being fellow members of The Society of Heraldic Arts. Some years back I offered to update his website, which may be seen HERE. His artistic formats include Shield Maker, Heraldic Arts, Heraldic Researcher, Recording, and Photography. The initial talent - that of Shield Maker - separates him from the bulk of heraldists working today, as he is one of only a tiny handful worldwide who have mastered the art of working with, and painting on, wood and other media. Quite by surprise, Baz rewarded me with a tabletop shield of my own armorial achievement, the shield painted on the obverse, the crest on the reverse. The shield itself is 3.75" wide and 4.5" tall, standing on a brass post mounted to a wooden base, the overall height being 9". I included herewith Baz's explanation of the logic behind the unique rendering of the crest:

     "I am a great one for literal interpretation of blazons. I would normally apply accuracy first and foremost but your crest has taken me on a voyage of discovery which altered my attitude this time. I was taught at college that the blazon should always be referred to so as to avoid mistakes that can grow over the years like Chinese whispers. But I was also told by the late John Brooke-Little that he considered this at great length during his career as a herald and came to the conclusion that the painting on the patent is as relevant and will sometimes be what the herald had intended if the blazon is ambiguous. In your case, of course, I had to substitute your various on-line images for a patent but the blazon was still quite specific: your crest is blazoned as a satyr, not just a satyr's head as everyone depicts it. This is why Daniel drew a full satyr on your bookplate; he was not giving you a token supporter but simply placing your crest as blazoned to the side of the achievement. However, there is the consideration to be made that the depictions you use all show a head and not the full body. This has to be what was intended or you would have changed it long ago. So for once I went with common usage and fell into line with your other artists, so started thinking about a head.

     "The colouring was a problem for me. I was not comfortable with the red of sanguine and wonder even now why so few of your artists have got it right? I could have discussed all this with you and you will remember that I did approach you for your definition of sanguine, which made me think deeply about it again, but now maybe you can tell me your thoughts about the satyr - full body or head? Anyway, the final issue was bats wings which means just that to me: bats, not dragons' wings.

     "My studies and thoughts led me to the conclusion that I should revert to the origins of heraldry on the battlefield and create a monster to strike terror into the hearts of your enemies. A satyr is not a tame friendly creature but a spirit which could once have been human, altered by its own innate corruption and dwelling in the lower energies of lust and base desire, unpurified by love. Whether once human or the spawn of the devil its purpose is to corrupt the lives of those around it. He has a certain magnetic appeal which stimulates the earthy, baser side of human nature and if we are drawn into his sphere we will be in serious trouble. Bunyon said that the road to hell is easily travelled but the road back long and arduous. The satyr may be one of the first creatures to tempt souls onto this path but his true nature will only become apparent when they are lost. The laurel wreath signifies to me his connection with the earth while the bat's wings make it a creature of the night, which is why I painted them with a dark blue, as well as for the colour balance this achieved. My interpretation of sanguine is darker than maybe it should be as I saw his complexion burned from his time in the fiery pits of hell. His red eyes are inhuman and show he can seek you out in the darkest of nights. This is one unpleasant dude, a fearsome creature which, like all good heraldic beasts, is best avoided!"

     I strongly encourage armigers to visit Baz's website and commission their own tabletop shield while he is still accepting commissions.




24. A unique and brilliant interpretation of my coat of arms by Russian heraldic artist Michael Yurievich Medvedev. Michael states: "The raguly of your arms (actually I would call it counter-raguly) was interpreted differently by different artists; structurally, my version is closer to that chosen by Andy [Jamieson].

"There was a problem with the bat's wings as only the Spanish blazon - they are indicated as a replacement for the ears; the basic English blazon implied that the ears - be they visible or not - are on their places, and this was the way Marco [Foppoli] interpreted that. This was also the solution preferred by myself.  My main point was to represent a satyr closer to the ancient Greek images, and to play with the fragments of the field Azure as quasi-charges. I dare to hope that you will enjoy it all at least to some extent; I confess I enjoyed it immensely."

Michael's website may be seen HERE.


25. Australian heraldist Barrie Burr is known internationally for his skillful renditions (emblazons) of armorial bearings using digital technology. He has developed this art to a high level while continually expanding his knowledge of heraldry. He is an active contributor to various international forums and a member of international heraldic bodies, including acting as Principal Heraldic Artist for the Royal College of Heraldry of the Principality of Hutt-River (near Perth, Western Australia).

Mr. Burr's methods parallel my own previous work with Heraldry Embellished, utilizing both existing armorial clipart along with self-created elements/augmentations to produce "homogenous" digital renderings of achievements.


26. Mayosski Vlaanderram is a French-Flemish artist who studies medieval history and does heraldry has a hobby to promote the art around the world. He produces artwork for virtually every application of the heraldic art. His Instagram page may be found HERE.


27. Ljubodrag Grujic, an heraldic artist based in Pancevo, Serbia, uses primarily modern electronic vector techniques to create his artwork, but pays special attention to producing high quality works that do not fall behind more traditional heraldic techniques. The bulk of his work so far consists of several hundred private commissions worldwide, but the most influential pieces in his portfolio were the new states arms and flag for his country, commissioned by the government of Serbia, as well as the new dynastic arms of the Royal House of Karageorgevich of Serbia and Yugoslavia. In January 2011 he defended the MA thesis “Influence of the English language as the source and intermediary language on the basic Serbian heraldic terminology.” He collaborates with several heraldic associations and is a firm believer in bringing heraldry into the 21st century as a living, breathing art form. In addition to drawing heraldry he also writes scientific texts on heraldic terminology and history.

Regarding my own achievement, Ljubodrag relates:

“Since you already possess numerous renditions, I took some liberty at combining very strict blazonic notions with liberal designer solutions. The biggest concern for me with the bulk of your already existing heraldic works is that they have counter-raguly line of division. As it has been already mentioned and probably debated at some length, there is always a question of sticking strictly to the blazon come hell or high water. There is always, but always, a fine line between following the blazon to the best of one’s understanding and what the armiger really wanted, the former being logically more sound. There’s also a question whether the notion behind “raguly” is that the protruding geometrical lines (that only partially resemble branches, since “raguly” is in a different category than “ragged”) could only be placed around the subordinary in a zig-zag manner or could the protruding lines be placed parallel one to another? Analogy with other lines of partition says that only a zig-zag manner of placement is truly “raguly” and that the other one is “counter-raguly”. The other logical view, though, could be that the cross raguly or chevron raguly are depicted in the Anglo-French heraldries as essentially symmetrical ordinaries, but it could also be argued that they are ordinaries and thus follow different logic or, even better, that there are continental examples where cross raguly dutifully follows the zig-zag manner of placing the “raguly” bits. Long story short, the choice for this kind of raguly solution seemed firmer which in no way implies that other heraldic artist where dead wrong.

"Another question with the “fretty raguly” is the width of the “fretty” charge. The earlier historic examples have really thin “bendlets” placed widely apart which would go well along with the additional raguly division. If you take into account that the raguly division should be relatively wide itself, my choice also seemed the only logical one, at least to my frame of mind.

"The last consideration with fretty raguly is its 3D shading. Although Anglo-French heraldries are very strict concerning 3D depiction of basic shield division and ordinaries, my approach is a very modern one, which is even more warranted if one takes into account that fretty is not any of those.”

His website may be seen HERE.


28. A "Standing Knight" version of my achievement as rendered by Andrew Stewart Jamieson.


29. Sivane Saray is a relative newcomer to international heraldry, but is quickly becoming one of the most sought-after heraldic artists working today. Based in Belgium, his style is reminiscent of both Marco Foppoli and the late Daniel de Bruin, though with his own unique flair. The finished achievements are somewhat "rough," though uniquely the artist's own. His Facebook page may be found here -




30. Dimitri Prica developed an interest in graphic design from boyhood but never pursued studies therein past his week-long stint as an intern in a web-design company, where he was first introduced to Inkscape. At the start of 2019, with a resurgence of free time, he immersed himself in the creation of logos based on various orthographies of the world, from Mongolian ʼPhags-pa to the Ditema syllabary. His residing in Japan at the time then led to a keen interest in Monshō-gaku, the monochromatic heraldic devices of the Samurai. Finally, he was reminded of his fondness for all things knightly and dove headlong in the world of heraldic design and artistry, equipped now with the expertise he had acquired in vector graphics. A little over a year later, he began offering art in three different styles: a 12th century manuscript style, modelled after the Zürcher Wappenrolle; a (mostly) flat shaded style most adapted for ex-libris; and a more complex, highly-detailed style with lighting effects, diapering, and the works! He can be found on Instagram -  

31. Brian Abshier is a brilliant heraldic artist who probably has absolutely no time on his hands owing to constant commissions (deservedly so). That being said, I still quote from his website (wherein you will find a much more detailed explanation of his style and process): "In my heraldic artwork, I adhere to the original principles of heraldry. One of the most important to me is the full use of the space. This means that charges can sometimes be contorted to fit within the confines created by the divisions and ordinaries on the field. It also means that a field with no divisions or ordinaries may be filled entirely with a single charge. Another aspect of my artwork is that all charges are heavily influenced by medieval artwork. So you will not be finding any anatomically correct lions or dolphins in my artwork. Instead, charges will all be drawn from various armorials, bestiaries, manuscripts and other original sources. If the charge is a modern charge, I will do my best to create a medieval looking version of the charge." His website may be found at

32. Kevin Arkinstall is an internationally well-knownis an internationally well-known heraldistnown for his brilliant, detailed painted emblazonments. He is a trained professional artist, calligrapher and manuscript illuminator. He is a Fellow of the Society of Heraldic Arts and serves on their Advisory Council. He has an in-depth practical knowledge of a wide range of techniques and materials, and regularly undertakes commissions for clients such as The Royal Household, The House of Lords, military bodies, civic and local authorities, corporate entities, and individual patrons. Kevin has run many successful workshops for students ranging from beginners to fellow professionals, encompassing heraldic art, calligraphy, quill cutting, gilding, and the preparation and use of vellum and parchment. His email isknown for his brilliant, detailed painted emblazonments. He is a trained professional artist, calligrapher and manuscript illuminator. He is a Fellow of the Society of Heraldic Arts and serves on their Advisory Council. He has an in-depth practical knowledge of a wide range of techniques and materials, and regularly undertakes commissions for clients such as The Royal Household, The House of Lords, military bodies, civic and local authorities, corporate entities, and individual patrons. Kevin has run many successful workshops for students ranging from beginners to fellow professionals, encompassing heraldic art, calligraphy, quill cutting, gilding, and the preparation and use of vellum and parchment. His email is

33. This is a personal badge I created and assumed for myself after years of tossing ideas back and forth in my head. The end result features a rendering of a Temminck’s Pangolin (native to Ethiopia and other parts of East Africa - one of a few species of the most illegally-trafficked animal in the world - these harmless creatures are killed for their scaled, and only later for meat - the scales are given the same sort of superstitious properties as Rhinoceros Horn or Tiger Penis, especially in Asian markets - I urge anyone and everyone to do whatever they can to help this incredibly-endangered creature - - contact me for more info). The pangolin drawing was produced by my sister-in-law, Terrie Smith (, an incredibly talented artist that works in several forms of media). She rendered the Pangolin at my direction, and then I crafted a suitable badge "backdrop" upon which to place it.

The blazon for the Badge is: Argent, a Temminck’s pangolin [Smutsia temminckii] intortant proper, within a broad circular scroll Azure, fimbriated Or, with the motto Melior Nullo Nullus Melior inscribed upon it around. All placed on an olive wreath Vert and ensigned above with an American coronet proper of eight mullets, five visible, alternate Argent and Or, and at the top, issuant therefrom two flags in saltire: dexter White and sinister Orange.


34. I was extremely honored to have been bestowed The Order of the House of Grujic, fourth class, also traditionally named Knight Officer, on 5 August 2021. As explained in the bestowal document shown hereabove: "The possession of said Order of The House of: "The possession of said Order of The House of Grujic does not interfere with any decoration of the state or any other territorial type or interfere with allegiance of its members to, including but not limited to, state, religious or corporate entities, as it is a modem version of a house order, therefore a private entity based on the notion of unalienable individual sovereignty does not interfere with any decoration of the state or any other territorial type or interfere with allegiance of its members to, including but not limited to, state, religious or corporate entities, as it is a modem version of a house order, therefore a private entity based on the notion of unalienable individual sovereignty organised together into altogether into a suprafamilialntity. The basis on which the House exists and operates is international and multilingual and is in no way limited to any one region or country." The artwork shown with the various elements associated with the Order were rendered by heraldic artist entity. The basis on which the House exists and operates is international and multilingual and is in no way limited to any one region or country." The artwork shown with the various elements associated with the Order were rendered by heraldic artist Ljubodrag Grujic.


35. Mark Anthony Henderson is an amateur heraldic artist who uses Adobe Photoshop, Inkscape,, Paint.NE, and other digital programs to design heraldry. He is also developing his 3D digital skills as well. His website may be seen here -, and other digital programs to design heraldry. He is also developing his 3D digital skills as well. His website may be seen here -, and other digital programs to design heraldry. He is also developing his 3D digital skills as well. His website may be seen here -




36. Fray Rafael Nieto is a priest who graduated in Theology from the Pontifical University of Salamanca. He studied two more years of specialization in Pastoral Theology in Madrid, focusing his final degree research on the work entitled “Image of the cross and the crucified. Iconological reading and pastoral use. Exhibition The Ages of Man.” Interested in everything that has to do with the use of images throughout history, he combines his work with design, painting, sculpture, drawing, photography... He specializes in religious art. He collaborates with the design and edition of several printed magazines and web pages in Spain, Venezuela, Peru, and Italy. Father Rafael is an enthusiast of heraldry, both civil and ecclesiastical. His training includes an Icon painting course from Chordiortes Academy. Madrid, and he is a Professional Master in Graphic Design and Web Animation with a Specialization in Art Direction (Cortes Academy. Madrid, and he is a Professional Master in Graphic Design and Web Animation with a Specialization in Art Direction (MDCE), Professional School of New Technologies,), Professional School of New Technologies, CIC, Madrid. His beautiful website (in Spanish) may be seen here:, Madrid. His beautiful website (in Spanish) may be seen here:, Madrid. His beautiful website (in Spanish) may be seen here:


37. Artur Gomes is a brilliant heraldist, experienced in traditional and digital media, mostly pen & ink drawings and digital painting. Currently focused on digital emblazonments of Heraldic Achievements. Open for commissions. His extensive portfolio is available at his ArtStation website at



38. Delighted to have received these newest emblazonments of my personal achievement by heraldic artist Thomas Falk, an heraldic artist based in Borås, Sweden. I am even more enthralled by the "Art Nouveau"-style emblazonment of my achievement, working the crest in as a little figure in the lower right corner (or sinister, if you prefer) of the overall achievement - truly creative style. I would highly recommend those interested in a somewhat "nontraditional" (or traditional) version of their own Armorial Bearings contact him for a commission. Thomas says that he tries "to develop the art of heraldry in many directions - comic, Art Nouveau, etc. - so my influences are Herge, Peo, as comics, but also 1920 styles' Some of my favorite artists are Romero Britto, Keith Haring, Lichtenstein, pop artists that keeps it simple. Art Nouveau, just the style. Heraldic artist influences: Marco Foppoli and Davor Zovko, but also the late Otto Hupp and lots of my fantastic colleagues." Thomas's Instagram page is, and his business page for heraldry and medal design is He can be found on Facebook at, or



39. Self-styled “Digital heraldic illustrator” British heraldist Quentin Peacock, working closely with the College of Arms, has been illustrating professionally with vector graphics since he left Southampton Solent University in 1999 (or Southampton Institute of Art and Design as it was known then) where he studied Graphic Design and Illustration. Having always loved illustrating by hand, he turned to digital illustration more and more during his professional career. It was while working as a Studio Manager in Cambridge that he had his first request to illustrate a family Coat of Arms, though little did he know what a large part of his life it would become. Over the last several years he has worked on numerous heraldic commissions, many of which come through Heralds like Clive Cheesman and Peter O’Donoghue. It has always been Quentin’s aim to demonstrate how beautiful heraldry can be created digitally, even to look as if it has been hand painted. Digital heraldry will never (and neither should it) replace hand-created heraldic art, but we are in a digital age and the need for professional digital heraldry is growing. It is his intention to make sure that it is done well, and even to serve as an inspiration to other artists. All of Quentin’s work is achieved through vector-based graphics which are a versatile and professional method of creating the highest quality files for printing and for use on screen. His style has been heavily influenced by those at the College of Arms and traditional English heraldry, which is no surprise having developed his knowledge and techniques under the guidance of Clive Cheesman, the Richmond Herald. In addition to his website ( he has both Facebook and Instagram pages with many examples of his work.   


40. American heraldist Lee Lumbley is a digital heraldic artist and designer based in Dallas, Texas. He is a Fellow of the International Society of Amateur Heralds. His other affiliations include the American Heraldry Society, The Heraldry Society Royal Heraldic Society of Canada, the Society of Heraldic Arts, and the International Society of Commoners Heraldry. In 2018, Lee was the contributing author of John Tepper Marlin, PhD’s volume Oxford College Arms, published by Boissevain Books, New York. That text is currently being edited for its fifth printing. In 2021, The Heraldry Society’s Coat of Arms published an article of his research along with his artwork to that text as an expansion and update to John P Brooke-Little’s 1951 series. His current projects include a book and articles on the Arms of the Colleges of Cambridge University; contributing to another Coat of Arms article authored by Bernhard Juby, PhD; working toward his L-RHSC; and publication of his artwork in a forthcoming volume on armorial bookplates. In 2020, He was a featured artist in the Dutch heraldic publication Blazeon, and his work has appeared in various other publications. He accepts private commissions and may be contacted through his website -; or his Facebook page:


41. From clean pencil sketch to black-and-white finished lineart to color emblazonment to finished vector full-color emblazonment, I am delighted with the results of Heikki J. Halkosaari's (whose work I first came across on Reddit) interpretation of the blazon of my arms. Quite obviously, his version of the crest is unique amongst all the others, and I am delighted with the results! The two images on the right of this section come from the Aspilogia Discordia on the Reddit Heraldry server, the artist voluntarily creating emblazonments of all achievements of members on the roll of said server. Heikki is a Finnish heraldic artist, doing heraldry as a hobby as a balance to his profession in another field. He has done graphic design and illustrations sporadically for many years, and started taking heraldic commissions in 2019. He works mainly digitally, doing hand-sketched digitally-illustrated work as well as vector graphics. In addition to basic emblazonments of armorial bearings he likes to occasionally do more variable commissions like illustrations of knights in their coats of arms or seal designs. He adores the simplicity of medieval and modern Nordic heraldry, and tries to focus on the heraldic design and stylization with field filling. He does not currently have a website, but his Instagram address is



42. Yet another Discord "contribution," this one by the user @XmanABQ, who creates "hieroglyphic blazons" for a given shield. While these are obviously not meant to be worded in proper heraldic blazon, the symbols do describe the escutcheon as literally as possible, to wit: "DAWD bears the insignia which is blue linen with woven strips of golden cloth in the shape of stripped branches." Presented here for its uniqueness alone.


43. Still another Discord "contribution," this one by the user @Gecktron, based in Brandenburg, Germany. Continuing example of how heraldry remains alive in younger artists developing their styles and keeping the art alive!


44. The kind of fun you can have with CorelDRAW and the right clipart (by me). And then, after I pieced together the crest, it was eating away at me to "finish" the achievement, which I did (primarily ~ 85% - plus a lot of stretching, twisting, tweaking, etc). Plus after creating my armoji for the Discord heraldry server, I realized that - although it's not necessarily an historical shield shape - I loved the "fat" armoji shield, and so incorporated it into the emblazonment. Again, nothing replaces "pure" hand-drawn/painted work, or 100%-from-scratch digital vector work like some of the geniuses on here produce, but I was rather chuffed with the end result of this one. PS, I readily cop to using the fretty raguly Dimitri Prica produced for his emblazonment of my achievement, as I absolutely love the "blocky" look it has.


45. And yet one more Discord "contribution," this one by the user @Wide_Chungoos. I can't stress enough that those interested in every level of heraldic art, from beginner to expert, should look into the Discord Roll of Arms at


46. The Discord Roll of Arms just keeps coming! And in this case, the artist - @Escudo - had similar "math" issues to my own when trying to figure out the vector geometry of my shield - so he just went with hand-drawing it. Quite a nice job!


47. Camila S. C. is a multi-disciplinary artist from Caracas, Venezuela, and her emblazonment/interpretation of my achievement is by far the most unique to date. We started out aiming for an Art Nouveau theme, and it transformed into this beautiful piece now seen - after working through numerous possible iterations to the artist's extreme graciousness. She started doing Heraldry in 2018. Her other works can be found on her website ( When not drawing, she enjoys studying, watching telenovelas and getting lost around the city.


48. Those who have always wondered why black and white emblazonments of some heraldic achievements have straight lines, vertical lines, dots, etc, these are part of the Petra Sancta system. As per's website: "Known as the system of Sylvester Petra-Sancta, an Italian herald, it makes use of the following equivalents (illustration below): argent is denoted by a plain field, or by dots or points, gules by perpendicular lines, azure by horizontal lines, vert by lines from dexter chief to sinister base, purpure by lines from sinister chief to dexter base, and sable by crossed lines horizontal and perpendicular. Furs are depicted with black or white spots on the appropriate ground; vair and countervair are shown by alternate lines and plain surfaces." Illustration by the armiger.


49. It took decades for me to develop a personal badge/seal, trying to determine whether or not to select an element from the achievement itself, or create something from scratch - but I didn't want something overused and "clichéd." It finally struck me that I should base the badge off the most important cause I have followed for decades - the plight of the pangolin. Pangolins have been a passion of mine for over 50 years – ever since I saw the first one in a school natural sciences book. I do all I can, in my limited capacities, to support the protection of the harmless creatures. What are pangolins? If you’ve never heard of the pangolin, you’re not alone. This shy creature, as big as your cat or dog, is the world’s most trafficked mammal, with more than one million pangolins poached in the past decade, primarily for Chinese (superstituous) "medicine" for everything for sickness cures to virility boosts (just like Rhino horn, Tiger penis, Bear gall bladders, etc). Learn more about the pangolin, why all eight pangolin species are at risk of extinction - - and watch a good video on the subject - Artwork of the pangolin rendered by Terrie Smith, while the remainder plus all coloring, etc. produced by the armiger.


50. Tjeerd Dolstra, known in the online heraldry community as Luxwolda, is a Dutch digital artist with over 15 years experience in heraldry and graphic design. His work covers all elements of digital heraldic design including coats of arms, standards, badges, bookplates, and style reproductions. Currently his main focus is the Wapenboek Luxwolda - a digital armorial featuring members of the ever-expanding heraldry community.


51. Refiaten is a Catalan amateur heraldic artist who has always been fascinated by heraldry, which blends his interests in history, art and design. Briefly wanting to become a professional drawer as a child, he either lacked the talent or the persistence to become one, ditching his pencil until the COVID-19 pandemic started, when he found himself with a lot of indoor free time. Spurred by the activities organized by the online heraldry community, he tried his hand at vector drawing, marveled at the possibility to adjust nodes, painless rescaling, and the transformative possibilities in general. He is not so interested in developing a personal style and he is in having fun and trying new things. However, the piece shown here is part of a series of works that follow the same principles, belonging to what he calls tin box style. This style features flat colors with no gradients and white edges where the light would come from, giving the impression the figures are slightly raised above background, in a homage to the reliefs found in old tin boxes and plaques. You can find Refiaten's art on his Instagram account @refiaten.


52. Denis Sirotinin lives in Russia, in the southern city of Krasnodar. He has been drawing since childhood, a self-taught artist. From 1998 to 2001 he received a higher education as a manager. He has technically never worked in his specialty, but has been doing branding and web design for a long time. From time to time he drew simple illustrations and strip-comics for print media. He works in Adobe Photoshop (raster graphics), Adobe Illustrator (vector graphics), Spine (animations), Blender (3D graphics). His website is


53. This version was emblazoned by Wilhelm Horwood following German heraldic principles and proportions, and registered with the Deutsches Erbe Wappenrolle, reg. no. 2334, on 18th February 2023. Wilhelm Horwood is a dual national British/German whose interest in heraldry developed as a child due to the fact that heraldry is very visible and alive in Germany. This is because all Germans have a legal right to use heraldry enshrined in their civil law. Wilhelm has been designing coats of arms in the German tradition for over 30 years and is the Chair of the Heraldic Committee of the Deutsches Erbe Wappenrolle (German Heritage Roll of Arms), which exists to help those with an ancestral connection to the wider Germanic cultural area to have their coat of arms registered in Germany. The Germanic cultural area consists of any territories that were once part of the Holy Roman Empire, Austrian Empire, German Empire or old lands governed by the Teutonic Knights in eastern Europe) To see his work, see it HERE ( or HERE (


54. Ricardo Escobar Espiniella graduated in Fine Arts from the University of Salamanca and is a great fan of history and ethnography, especially the world of popular magical beliefs, themes around which his work revolves. He currently combines editorial illustration and the production of graphic work in his engraving workshop with a modest YouTube channel where he publishes illustrated educational videos. On social networks his work can be found published under the pseudonym Don Recaredo. His primary website is


55. Having already sung the praises of Brian Abshier (see #31), I list an abbreviated kudos to him for creating a medieval artwork styled pangolin for my personal badge. His website may be found at


56. Edward Teather produced both a stamp, as well as a series of variations on an Art Deco theme of my achievement. He even followed that up with an Art Deco "interpretation" of my personal badge. Edward is an heraldic artist based in the UK working in both digital and traditional mediums. He began taking commissions on the online heraldry community Discord in imitations of historical styles such as A.C. Fox Davies’ Book of Public Arms and a number of different medieval armorials. He has since branched out to offer a wide range of emblazonment styles. He is currently at university studying philosophy and politics. His Instagram is @edwardteatherart, and he is on the Discord Heraldry Roll of Arms as End_of_my_Teather. If you are keenly interested in digital - and non-digital - heraldic innovations and artwork, here's a direct invite link -


57. "Imperial" from the Discord Heraldry server makes cards from one of his favorite games, Inscryption.* Owing to the simple "bit" based cards of the game, and the ample supply of armojis that most users on the server posses, he is able to make custom "death cards" (in his words, "despite [his] lacking artistic skills"). [* Don't worry - I didn't know anything about the game either, so I Googled it: "Inscryption is an inky black card-based odyssey that blends the deckbuilding roguelike, escape-room style puzzles, and psychological horror into a blood-laced smoothie. Darker still are the secrets inscrybed upon the cards..." OK, then...]


58. Another fellow Discord Heraldry server member - "CaptainWowUK" - emblazoned my arms in a very unique manner, in response to DrFrankenClipper (my Discord alter ego that produces a tenplated rendering of members' arms using clipart, almost exclusievly) rendering of their own achievement. As usual, I asked them to write a description of their work, etc. and this was the somewhat tongue-in-cheek response: As an Englishman Nathan Rhodes believes in good manners and that a kindness deserves a good turn. In this spirit after receiving an unsolicited emblazonment of his arms, furious that he was now obligated to uphold his principles, he stopped staring into the long cold dark of the abyss, fired up a free Pixel Brush app on his long-suffering Galaxy Android Note 8 and deployed the seldom used stylus pen. After some time, and the liberal use of colourful language, he produced an attempt at a emblazonment of Mr Wooten’s arms in a style which he [Nathan] has taken to calling “Pixie Arms” for some reason. Why pixel art? Well, he is not actually very good at drawing, but pixel art being a form of impressionism allows him a fair amount of leeway as long as it looks close enough to what he is trying to draw!


59. Quentin Peacock is an internationally-recognized digital heraldist, and his work is already well represented in my collection. To that I add yet another emblazonment of my personal badge - kinda hard to stray from it when the pangolin is not a common heraldic charge (and as I am reminded by EVERY heraldic artist who emblazons it, they are a HUGE pain to render). His website may be found at


60. Dimitri Prica is a machine!! He continues to churn out a wide variety of emblazonments of my achievement - this time the crest by itself, and even though he gave me a very conventional haircut, it is still great! His link can be found elsewhere on this page.


61. @LordKeeper is another one of those intrepid artists and heraldry enthusiasts on the r/heraldry Discord group. If you're not already a member, you should see the exciting things going on there!


62. A nice surprise "return volley" of my own shield executed in @The Great Crosslabe's (boermac on r/heraldry) "stained glass" style," in return for my own emblazonment of his achievement. I've said it before - anyone interested in seeing unique amateur (and professional) innovations happening in the world of heraldic art should definitely join the server.


63. And yet ANOTHER very kind "trade" of emblazonments from @fbrasseur on the Discord r/heraldry server. Once again, another resource  for the wide variety of emblazonments that can be done with the same blazon. Thus the primary reason for this page of my own.


64. The Discord Heraldry group never ceases to keep giving back (to be fair, I have barraged virtually everyone on that subgroup with my own clipart+ emblazonments of their own achievement). This clean, crisp digital emblazonment of my shield was perfectly executed by the user "ianassa."


65. Totally out of the blue I was alerted to one of the most unique emblazonments of my achievement I could have every imagined (and that's saying something, given everything that's already on this page). This one (complete with the initial working sketch, which they obviously got bang-on the first time, assuming this is the first draft), by an Instagram user pseudonymed @Ludi heraldici is genius in its layout, caricature/cartoonish in the crest while perfect in the shield. I love the use of my long Argent hair (that way I don't have to say it's White) in a straight but "chunky" style. I am absolutely frothing at the mouth over it, and wish I knew more about the artist (whose scarce few other examples on his IG page prove his "traditional" heraldic emblazonment expertise.


66. The digital genius of Fray Rafael Nieto makes me chartreuse with envy yet gain - this time his interpretation of my badge. Absolutely brilliant!!


67. Brilliant heraldist Thomas Falk (Facebook: has struck again, surprising me with yet another alternative emblazonment on my achievement (see elsewhere here for other renderings he has produced with my arms). Note: I always caution applicants to The American College of Heraldry that helms such as that which appears hereon are "traditionally" only allowed for sovereigns - that is, within the British College of Arms "circle." That being said, there are several other parts of Europe where such rules don't apply, or are flexible at the very least. In any event, this is a beautiful emblazonment.


68. Details on heraldic artist Sivane Saray are included elsewhere on this page, but suffice it to say that I am quite proud to display Sivane's emblazonment of my personal badge in his very unique style, easily recognized at a single glance.


69. Yet another "reciprocal" emblazonment of my achievement by artist Rudy Martini ('Remi" on the r/heraldry Roll of Arms group). Once again, an example of new heraldic artists flexing their emblazonment muscles by trading with other artists.


70. And still one more "reciprocal" emblazonment of my achievement by artist "Arky" on the r/heraldry Discord Roll of Arms group. Yet another example of new heraldic artists flexing their emblazonment muscles by trading with other artists..


71. "Katokat2" produced a couple of emblazonments of my arms on the Discord Roll of Arms r/heraldry group. I cannot say enough about the amount of activity happening on this site.


72. Didn't imagine I would ever see a "LEGO" version of my shield, but "abf-art" on the Discord Roll of Arms - who also produced some nice "regular" emblazonments - has a true talent with 3D imaging. I am chartreuse with envy...


73. Emblazonments by Aaron Mitton - Reddit user Woden_Spoon (


74. More "reciprocity" by Reddit user "André" for work on his own arms by DrFrankenClipper (my alter ego) on the Discord Roll of Arms.


After many years of agonizing over a final design for a signet ring, deciding between a full achievement of arms, shield alone, crest and shield, crest alone, etc., I finally decided upon a simple but appealing design. With the aid off Dennis Endeann Ivall, I chose to have my only my crest and the baronial coronet of a Lord of Munster (see above for more info on this "lordship") engraved on a signet ring. 



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Hazardous radiation Class 3 laser. § Warning: Trees sprayed with noxious gases. § WARNING: Contents may be hot after heating. § Warrantee period limited. § Wash, rinse, repeat. § Watch for falling rock. § Watch for ice on bridges. § Watch out for construction. § Wattages stated are maximum recommended. § We collect no personal information about you when you visit. § We have sent the forms which seem to be right for you. § We reserve the right to substitute equivalent items. § Wearing of this garment does not enable you to fly. § What you thought was chicken at that Chinese restaurant wasn't. § You could be a winner! § You must be at least this tall to ride. § You must be present to win. § You must bring claim check and entry form with you. § You need not be present to win. § You should have had a V-8. § Your actual mileage will vary depending on your car's condition, optional equipment, and how and where you drive. § Your call is very important to us. § Your canceled check is your receipt. § Your mileage may vary. § Your odds of winning are dependent on the number of entries. § Your results may vary. § Your system administrator may have disabled some of the program’s options. § NOTICE: Disclaimer does not cover misuse, accident, lightning, flood, tornado, tsunami, volcanic eruption, earthquake, hurricanes and other Acts of God, neglect, damage from improper or unauthorized repair, incorrect line voltage, broken antenna or marred cabinet, missing or altered serial numbers, electromagnetic radiation from nuclear blasts, sonic boom vibrations, customer adjustments that are not covered in this joke list, and incidents owing to airplane crash, ship sinking, motor vehicle accidents, dropping the item, falling rocks, leaky roof, broken glass, mud slides, forest fire, or projectile (which can include, but not be limited to, arrows, bullets, shot, BB's, shrapnel, lasers, napalm, torpedoes, or emissions of X-rays, Alpha, Beta, and Gamma rays, knives, sticks, and stones, et. al.) § AND, this supersedes any previous disclaimer.