Rules
For Submissions and Common Armoury problems
This article describes Part VII Compatible Armorial Content; Part VIII Compatible Armorial Style; Part IX Offensive Armory; Part X Conflicting Armory and Part XI Presumptuous Armoury of the rules of submissions. We will also discuss the common solutions to the issues that arise with these rules. Realize that learning these solutions will increase your ability to assist in a new design and hence increase the submission acceptance rate.
Remember that we strive to maintain the heraldic content to our Society's period and style. Without this, the submission may be returned. Here are some pitfalls to avoid:
Period Charges
For those new, charges are items that we place upon the field (background) that makes heraldry special. We need to ensure that the charges are period but they also have a medieval flair. If the charge does look modern or has a modern reference, the submission may be returned. Again, ask the client why they want that particular item on their heraldry and you may find something else that could be used.
Period Armorial Elements
We include lines of division, field treatment, etc - basically everything else that's not a charge. These armorial elements need to be used in heraldry - not just in art of that time period. This can be a sticky point with some clients. Particularly, early period clients who wish to use Celtic knot work or other style that we can't show as "period heraldry".
I digress. We now enter into the concept of "artistic licence" versus registration. Often, the client wants something more stylized or "more to what they want". Use the "standard" form of the elements and/or charges. Then the armoury will get registered. What the client does with it after the fact is within his or her rights of "artistic licence". So, allow them to understand that we are registering the "standards" of which heraldry is based upon but we are not limiting their freedom of expression. Normally, this gets away from the problem. However, you can't find a "standard" picture or can't describe with a medieval description, we probably have a problem.
Period Artifacts
If we have documentation of artefacts from our time and span of the Society, we may use them. However, they must be shown like they would have been from that time period. We can use a cart or wagon for a vehicle but not a SUV. Artefacts should be real objects and not the art on them.
Period Flora and Fauna
Flora is defined as "the list of plants of an area or period" whereas fauna is "the animals of a region, period or special environment". We should note in both definitions that they restrict the plants or animals to a specific scope or area. We do the same in the Society.
Documented crossbreds or genetically altered plants or animals mostly existed after the end of our time period. We tend to think about animals and plants in simple ways within heraldry. We don't want to have to look up the scientific terms to describe the item on the device. Nor do we want scan through our botany books either. Simple animals and plants can be easily described as what you would teach a seven year old or younger. A bat, a dog, a maple leaf, a rose, etc but that they also have distinguishing characteristics that allow us to easily identify them. Go back to our seven year old. How can you describe the plant or animal to them? If it's easy and they can visualize it, then we probably have a period charge. If you need to pull a book out to show them a picture, it's probably not OK.
Ask the client why they want a complex animal or plant. Again, there's probably a story with it in which you can find an easy solution.
Compatible Monsters
We can create new monsters even if they were not used in period heraldry. However, these "compatible" monsters need to be easily identifiable and in line with period style. Often these are "combination" monsters where we can find the style and elements in period. However, with most "invented" things, we should warn the submitter that the Laurel staff would rule on whether the proposed creation is "compatible".
For newly created monsters, provide documentation with the elements and the style if possible. For previously registered ones, indicate the acceptances where appropriate but also check the precedents on-line. With some registrations, we now do not accept them. Just because we find it in the armorial even with lots of examples, doesn't mean that it is still registerable. We need to check the precedents for any new rulings.
Compatible Armorial Elements
Like compatible monsters, other armorial elements may be ruled compatible with the period style. However, most of these are accepted on a case-by-case basis. Look for the precedent on the Laurel page and refer to it if possible.
But again, ask the submitter why. Maybe there's a period charge or line of division that provides the same and improves the heraldic style. Sometimes, the submitter has poor information from the past that is no longer relevant. Occasionally, it goes back to the "modest proposal" but that's another story. Find out why. We often can find a period element that reduces the chances of return.
Armorial Element Requirements
Generally, if there style is acceptable, the armorial elements must satisfy:
1. The Identification Requirement where the item must be recognizable from their appearance. Again, remember if you can have a seven year old recognize it, the item is probably registerable. If it requires significant explanation, then it may not be easily recognized to everyone.
2. The Reconstruction Requirement where the item must be easily recreated from the blazon (words). Don't forget this includes its position on the field. If the position is not typical, registration maybe difficult. If the item has many forms of display (like a snowflake), we probably can't easily recreate it.
The easiest quick check is: From the blazon can I get a seven year old to draw it and will he or she understand what it is? If not, we may have a problem.
Sometimes, our submitters are graphic artists or artists looking for balance. Remember heraldry is a pictorial representation of someone or some group. Although our armoury has artistic value, we need to have it as a quick visual of who that is on the field. Like the hockey and football teams, all of us know whose playing because of the symbols on their uniforms. Our heraldry is not much different.
Ask the submitter if they can describe it to someone else. If not, they will have problems ensuring that banners, awards, etc have the right armoury on it. Also, ask if they can draw it easily. If not, we should be encouraging them to change it to something easier.
Registered Armorial Elements
Back in time, we accepted armoury that no longer meets the rules for submission. We allow that person (and with permission from the College their children) to register that element even though it breaks the rules now. These submissions are more difficult and we should get help from the Senior heralds.
Part VIII Compatible Armorial Style:
Armorial style gets into why the clients have problems with the process. We now start talking like lawyers instead of remembering that we are submitting a picture - a visual representation of what the client wants to be. But we need to remember that the design needs to be compatible with our time period and culture. So here are some of the style concepts, their pitfalls and some "rules of thumb" to help out.
Armorial Simplicity:
Our design should be "simple". We can describe a simple design as what we would have in a four-year-old's colouring book. Simple lines, simple colours, simple shapes. With this we reduce the issue in being "complex". The most important items of simplicity are:
1. Tincture and Charge Limits. The more charges and colours used the more complex the design. A general rule of thumb is that the total should be no more than 8. Think "heraldic pizza". If the design looks like a top a pizza - it's too complex!
2. Armorial Balance. Orientation of the charges should be "typical" to design. If you have problems describing the placement of the charges - particularly around each other, chances are the design is too complex. Remember big and bold and centred for single charges.
3. Armorial Depth. Charges normally are not 3D unless we find evidence in period. Think again of the children's colouring book. Most items don't have perspective. Three-dimensional objects are hard to embroidery properly or appliqué on a banner. Also, it can't have too many layered items.
In general, clients believe their device is their "SCA resume". I'm a fighter, calligrapher and love beer so I need a sword, a pen and tankard. This complex number of charges increases the complexity and the chance of conflict. Even if it doesn't break the rule of eight, the larger the number of different charges, the more likely it will conflict. So, ask the client why they need all those charges.
Then give a history lesson. Richard the Lionhearted a very famous leader of the crusades didn't have a sword on his device. He's famous enough as it is. Look for local Ealdormerian examples as well. Many of our Dukes (David, Hasdrubal, Roak, Osis, Berus, etc) don't have swords on their devices either. They used charges that represent them that weren't "swords" nor do their devices indicate their SCA resume.
Finally, armorial simplicity can be easily explained by reminding our client of how they will use it. Complex ones are difficult to reproduce. Remind the client of the number of times he or she plans on using the device - on a tabard, favour, banner, etc. More complex means more work. Is that what they want?
Armorial Contrast:
We define contrast as the ability to clearly identify the item at a distance. Normally, a paper copy of the device or badge at 10 feet. Colours and metals allow for easy differentiation. Traffic warning signs (Stop, deer crossing, etc) follow the "colour on metal, metal on colour" requirements and use the standard "heraldic colours". We don't do this "by accident" but because the sign can be easily identified from a distance. Heraldry was used to identify foe and friend from a distance in period and provided quick communication to the fighters on the battle or tournament field.
So, for the submission, use the standard heraldic colours and metals (see article on Administrative Handbook issues for further information). Our colours are azure (blue), gules (red), purpure (purple), sable (black) and vert (green). Our metals are argent (white or silver) and Or (yellow or gold). Best way to remember is the standard crayon pack - without pink, orange or brown. However, these bring up the lightness and darkness requirements of the armorial contrast standard.
Pink is a light variation of red. Orange is a dark variation of yellow. Brown is a light variation of black. From far away, pink looks like red or could fade on a light background. Orange may look like either red or yellow depending on the tint. Brown will look like black. Hence the reason why we really stick to the above colours except when the charge is a proper or natural (see the Glossary of Terms Table 3).
But we can confuse the colour concept further by adding furs or field treatments to the colours. If we add them to the colours above, then the field is still identified primarily from its colour. Therefore, we consider the field (background) to be a colour. If we add a fur or field treatment to a metal, then again the field would be considered a metal. However, if the field treatment equally divides between colour and metal, then we consider it to be equal and can put either a colour or metal upon it. If you are unsure of what a fur or field treatment is, consult a basic primer on heraldry for the explanations.
What are good examples of contrast?
1. A metal and a colour. So, a metal background (argent or Or) with a coloured charge (azure, gules, sable, vert or purpure) would have the best contrast. This is the "metal on colour OR colour on metal" rule.
2. An element equally divided of a colour and a metal and any other element. An equally divided charge or element becomes equally a colour or a metal. Hence when compared to anything else, we could see the difference.
3. A colour and a charge blazoned as proper which is mostly light. When using proper, the difference between a colour and a light proper one (best if it's close to either argent or Or) makes the charge stand out. If the difference in the tint is too little, check with the 10 foot rule. If you can't see it, it probably will not pass.
4. A metal and a charge blazoned as proper which is mostly dark. Again, the difference is the most important.
Even after we explain "best contrast", our clients still want to be colour on colour or metal on metal. Unless you use some significant research with Polish or Islamic heraldry, we often return this do to lack of contrast. However, there is a simple way around this. Ask the client if they would have badge instead. Although we use badges often for households, kingdom awards, etc because we share them with others, badges are only shared if the owner allows them to be. If the badge is fieldless, then the submitter may put red on black or on anything. Just something to think about.
But contrast requirements continue. We need to make sure that the charges, backgrounds and layered elements have contrast as a result of their placement on the field. We need to make sure that the majority of the element has contrast to the "neighbouring" areas of the field. Some things to consider are:
1. Field and charges on it or placed overall need contrast. Remember this includes field treatments. Look at how much of the charge contrasts with the field. If half or more of the charge meets the "metal on colour or colour on metal" guideline, chances are is OK.
2. Layered charges (charges on charges) should have contrast. Placing a charge upon another one is a layer. Like a charge on the field, we put another layer on top. We expect the field and the charge to have good contrast and so we expect the charge placed upon another should as well.
3. Elements (fields and charges) divided into two or four parts evenly can use any two tinctures or furs. So we can have a field quarterly with gules and sable. We believe that this difference is easy to see and follows period practices. So, don't get hung up on backgrounds with two colours as long as they divided the field in half or in quarters. Same thing for charges but they must remain "identifiable".
4. Elements divided in multiple parts (not 2 or 4) must have contrast. So anything that cuts the field up into six, checky or small parts must follow the metal and colour rule between the parts. Think of the computer pixel concept or the television screen on how colour is made from the primary colours. We could make a different colour appear from a distance. Small black and red checky would look like brown from a distance. Small red and blue checky would look like purple.
5. Elements divided in three equal parts must have contrast between all their parts. Different from the small pieces or the 2 and 4 rule, three equal parts can be different tinctures if they contrast from one to another. But I haven't seen this used much.
We can work the client with contrast and draw out what the options can be that is "better contrast". Sometimes, we design something that we think looks good but when "tweaked" using our contrast requirements often the client gets something more like he or she wants.
Armorial Identifiably
Although elements are identifiable by themselves, we can often design something that makes them difficult to see from afar. Some examples are:
1. Reducing its size when compared to available field. Big and bold. We want the charges to stand out on the field. But sometime they want to have it smaller to look less obvious. For the submission, however, the client should fill as much of the field as possible but still allow the field tincture and/or treatment to be seen. Once passed, they can used the "artistic licence" to reduce the size.
2. Excessive counterchanging, voiding or fimbration. This reduces the ability for our brain to fill in the overall picture. If the charge is too cut up, we may not see the initial charge from a distance and just see the counterchange as clutter. Again use the 10-foot rule with the submission form.
3. Obscuring too much of an element. Again, we now lose what the element should be.
Simple check for identification: Can our seven year old tell what is it or what colour it is? If not, then the element cannot be easily identified. Ask the client why they want it that way. Often, they indicated because "it looks good". A new sketch may change their minds.
Obtrusive Modernity
Armory needs to give the feel of the middle ages and the time period we are creating. See that section of the Administrative Handbook. However, we want to reduce modern design concepts as well. Examples of these are:
1. Pictorial Design.
We can't have a picture that looks like a scene or landscape. If the client wants it to be this way, show better in period examples or ones around the Kingdom. Good examples usually sway the client away from this problem.
2. Modern Insignias (including trademarks).
This rule is upheld even if they meet good examples of heraldry. Often, the client has a joke in his or her history that explains this. Somewhere in the story and further dialogue, you will normally get to a better design. Something less modern, more medieval and if possible, more like the client themselves.
3. Natural Depiction.
Think if the animal or plant could have an alternative form that could be confused. A garden rose - could be many tints (including our heraldic ones). So, by definition can't be "proper". Check things like "rainbows" and other such confusing items to Table 3 in the Glossary of Terms.
4. Modern Style.
Look for obvious references particularly from role-playing, fantasy art and other "fringe" related groups.
Modern problems tend to happen when the client didn't use a herald or pursuivant as part of their process. They decided on something familiar (modern) and often didn't know that a more period item could have worked just as well. Hence, we need to work with our chatelaines or newcomers to ensure the people who need help get it. Generally, give good examples of what has passed recently and what people use often throughout the Kingdom.
Fieldless Style
Fieldless armory is often badges and gets around the contrast problem we discussed above. However, fieldless armory needs to be "self contained". They can't depend upon an element stopping it from continuing off the page. A pale need the edge of the badge to indicate the end of the bar down the centre of the design. Fieldless, however, allows an early period persona person to have a mark, which tends more towards what we would do "pre - 1400".
As an aside, we do have a "tinctureless" concept but this is now only used for seals.
Documented Exceptions
As always, we have exceptions to the rules. However, these submissions can get registered if we can adequately document the "exceptions" as a period practice. Get help with these types. But in general we can have:
1. General Exceptions.
We can show several European heraldic jurisdictions that used the proposed element. Several examples from several different Colleges in period would show that it was a commonly used.
2. Regional Style.
We can also get a regional difference for particular styles of heraldic (Islamic and Polish come to mind). However, you need to provide the following:
a. The submitter must explicitly request an exception. We need to specifically state that the client wants an exception on the form.
b. Documentation to show that it was not uncommon. One example is not a common style. At least three good period examples should be provided.
c. Documentation shows that all the elements are of the regional style. This means that the whole design is of the regional concept. You can't use Islamic heraldry with English charges. You must use the correct charges for the concept.
With documented exceptions, you enter the "more difficult submission" realm. Get help from the Senior heralds with this one - just to make sure the documentation and paperwork is done properly. Also ensure that the client really want to go down this road or if it's just a "nice to have". If not, you maybe able to find something else he or she wants.
Augmentations of Honours
Our Crown has the right to give both royal augmentations and kingdom augmentations as per Kingdom law. But these augmentations are subject to the rules of submission just like anything else. Normal rules still apply even though the royalty gave them the right to display it in their eyes. We need to remember that the client desires the honour and we should work with the submitter to integrate into their design (if they want it).
Part IX Offensive Armory:
As we stated in our discussion of the Administrative Handbook, we strive to ensure that the enjoyment of all participants is maintained. Offensive Armory contradicts General Principle #2. We need to remember that all though the design may be period, we have members of the populace that will be offended and hurt by the display. Offensive Armory includes:
1. Vulgar Armory. The armory is toilet humour, sexually explicit and generally obscene.
2. Offensive Religious Symbolism. We can't mock beliefs of any religion.
3. Stereotypical Designs. We can't mock ethnic, racial or sexual stereotypes either.
4. Offensive Political Symbolism. We can't mock politics and we can't include hate groups either.
Generally, if you have a device or badge submission of this type, question why the client wants it. Often they have a toilet humour story to go with it. Look for good heraldic ideas that reduce the issues of the above. If you can't, you must allow the submission to go through the process. Chances are Kingdom will returned it and your client may get the hint. If not, it will have to go Laurel as well. At this point, really stress to the client that it probably will not pass and would be best not to display it.
Part X Conflicting Armory:
Conflict happens when one piece of armory is too visually similar to other ones. To ensure that we don't confuse one person for another, we need to ensure that the armory does not conflict to those that are protected. But we can work around that if we have permission to conflict (see the section in the administrative handbook article). However, normally, we don't have that luxury. So, we need to understand how to conduct a conflict check but also use the rules for conflict in the initial design discussion.
We now enter to the complexity of "heraldese" and start to confuse not only ourselves but also the client. If you are unsure of a definition, refer to the Glossary of Terms on the Laurel website. Start to use this as way to further understand this section in detail. Submission returns can be very hard to understand and we need to be able to convert the words into something our client will understand. Use this site and your understanding will increase. Also, for those of you from the past, the concept of half or minor differences does not longer apply, please refer to the Rules of Submission formally so you convert to the new standards.
Armory designs must be different using:
Addition of Primary Charges
If you add or remove a primary charge group, the armory doesn't conflict. Adding major charges or ordinaries to a design will make a point of difference. This is where Brand's "add a bordure" concept comes from. If the client's device looks like another one registered, adding a bordure or another ordinary will make a point of difference. A bordure will not cause people too much stress because most of their design remains intact.
Substantially Different Charges
If we change every primary charge type, then simple armory will not conflict. Simple armory has at most two types of charges on the field. Beyond that we have non-simple armory. Basically, a white bear on a black background can be identified with our 10-foot rule from a white horse on a black background. Although the only difference in the armory is the charge, we can see the difference from far away. No different than the moose crossing sign versus the deer crossing sign. We can see the difference even though the colours and placement is the same. If we work with the client not to have a "SCA resume" device, we probably can get to the point of a "simple" device. Try the K.I.S.S method of design (Keep It Simple Silly) when working with the client. Remind them of how much more they would have to embroider, appliqué, or paint on banners, tabards, etc. Simple heraldry is much cleaner, reduces conflict but also easier in general to display.
Required Charges Transparent
The SCA defines requirements for groups and Kingdoms to have elements on their devices. Groups (including Kingdoms) must have a laurel wreath and Kingdoms must also have a crown. These charges for the purpose of counting primary charge groups are NOT included. So, they don't add to the complexity. This exception can only be done when comparing SCA group armory to other armory. If you have problems with this as a new incipient group, contact one of the senior heralds for help.
Significant Armorial Differences
If we have two clear visual differences between two pieces of armory, we consider them not be in conflict. We can get clear differences from:
1. Field Differences.
If we change the colour, direction of the partition lines, style of the partition lines or the number of pieces of the field division, we have a difference. But we have to explain further. When we look for field differences, we need to look for:
a. Charged Fields.
Unless we have an uncharged peripheral ordinary on the field (chief, bordure, base, quarter, canton, gyron, orle, double tressure or flaunches), we can only get one clear difference for the background. In the old days, we had some other rules about this, but now the field (no matter what you do to it), will only count as one clear difference.
b. Field Primary Armory.
We can have armory that either has no charges or an uncharged peripheral ordinary known as field primary armory. To get a difference here, the field must have substantially different style direction or tincture will results in a clear difference. When we have a conflict, look a changing the direction - normally not a problem with the client or changing the style of line partition. Changing to embattled - especially with fighters who like castles often are not a problem. But work with the client to keep the lines of partition simple for them to use. Having examples of what they look like will make this easier to discuss so you get the clear difference.
c. Fieldless Difference.
Fieldless automatically gets one clear difference from any other armory. Period. Fieldless badges will also get you around the problem of someone wanting blue on black. If that's what they want, submit it as fieldless and they may display it that way. Don't get hung up on that it will be hard to recognize on the field - that's their choice and fieldless gets around that problem.
2. Addition of Charges on the Field.
If we add or remove a group of charges, we get one clear difference. They also count separately. For example, Gules, a bend argent would have two clear differences from Gules, a bend argent between two roundels, a bordure Or. You get one difference for the roundels and one for the border. Although the bend goes through the two roundels, they are different charge groups.
3. Additions of Charges Overall.
If we add or remove a charge that is placed overall, we get one clear differnce. Watch for charges overall to ensure that layers underneath don't get obsured. If so, we may have a identification problem. Use the 10 foot check to see if you have any problems - otherwise a re-draw may be necessary.
4. Tincture Changes.
When changing charge colours, we need to ensure that we change at least 50% of the charges involved. Normally, we change the whole charge group colour and there's no issue. However, with more complex heraldry, we can have multiple charges on an ordinary. If so, 50% or more must be changed to get a tincture clear difference. When we are in this situation, we may want to see if the client could reduce the number of charges to a single charge group. It just makes life easier. If you are confused about this one, contact a Senior Herald.
5. Type Changes.
We can change at least half the charges in the group and will get a clear difference. However, the change must be considered different in period. So, a puma and a lion would be the same but a lion and tyger would not. Look to see if we could confuse someone on it and conduct our 7 year old test. How easy would it be for them to draw the difference? If easy, probably clear. Type changes also happen for the partition line style but you can't count it twice. So, if you have a close one, change the partition line style and you get a clear difference (aside - not like in the "old days")
6. Number Changes.
If we change the number in the group placed on the field or overall, we get one clear difference. General rule of thumb, one is different than two, two is different than three. Start there. Normally, clients don't want more than three. If so, the rules of submission has a guideline. But ask why? Also try to see why they want one, two or three. If it's just "artistic balance", most likely the client will add or remove one from the group making it clear. But if we don't ask, we go down a long path of other ways to get around the conflict problem. More often than not, the client likes the charge itself not the number - but sometimes they do.
7. Arrangement Changes.
If we change the position of the group, we get one clear difference. The standard arrangement of three charges is two and one. If the submitter changes it to one and two, we get clear difference. Often, our client will not object to these types of changes because he or she gets the charge, background and colours. Only the placement on the field changes. Also look for charges in fess or pale. For example, Gules, in fess three trilliums argent would have one clear difference from the Kingdom's badge, Gules, three trilliums argent. A simple way to get around the conflict.
8. Posture Changes.
If we change the posture or orientation of charges, we get one clear difference. Normally, charges have a default position (see table 4, Conventional SCA Default Postures of the Glossory of Terms). With animals or monsters, we can change their posture and result in a difference. For other charges, we can change their orientation from the default. If none is listed in the blazon, the default position is assumed. Again, this get around the issue if the lion, sword, etc is in conflict. Simply change the posture or orientation - one CD. Don't let the client think that to sinister has any problems. We don't use this to represent anything but the direction. Remember the change in posture must be significant and not sutle.
9. Addition of Charges on Charges.
If we add or remove charges placed entirely on other charges, we get a difference. Charged charges allow us to again get what the client wants. Add something else on top of their primary charge which is what they want. So, a lion charged with a rose will allow someone to get a more common charge passed. Once drawn, often the client thinks it really cool!
10. Changes to Charges on Charges.
To get a clear difference, we need to make a significant change to Charges on Charges. Since charges on charges reduce the identification from a distance, the difference must be very significant. To accomplish this, we can:
a. Make two or more visually significant changes to the charges on charges. We can change the type, number, tincture, posture or arrangement.
b. Substantially change of changes placed upon a charge or ordinary. However, we need to have it simple and correctly drawn so it remains recognizable.
Once you get into changing charges on charges, ask for help. We don't do this rule often. We normally just use #9 to get around the main charge issue. Once you get into this realm, consult one of the Senior Heralds.
Armorial differences get easier once you work with them. Try starting with a blank page and as you make fields, do field divisions, think of the potential issues. From there, your conflict checking ability will increase.
Visual Test
After it's all said and done, we use the visual test to see if the armory has an issue with protected ones. We still need to check for things that can be confused as something "close to it". We can't use the blazon only because somethings look similar. Check not only the charges but the overall effect. If they potentially look the same, we may have an issue. This visual test comes with practice and knowing what has been accepted.
Part XI - Presumptuous Armory:
As we discussed in the General Principles, we can't claim status or power something that we don't have. We have several ways of controlling this:
Reserved and Restricted Charges
The Society has determined charges that either have positions within or outside the SCA. We list them in Tables 1 and 2 of the Glossary of Terms. Table 1 refers to those reserved for members or groups in the SCA. If the client holds these ranks, they may use the reserved charges. Use the order of precedence to check the date if possible. Table 2 refers to restricted charges that either have legal protection or are known to be offensive.
These lists are very short in realty and often clients who have worked with the system before believe that there is more here. What's happened is that Laurel has returned the charge for one of the other reason already discussed (modern, lack of identifability, etc.) and the client assumes that it's on a list somewhere. Ask if they know when it was returned, by which level and check the on-line LOAR and precedents for more information. Once we know why it was really returned, we can address those issues.
Charge and Name Combinatons
If the client's name and armory submission looks like famous heraldry (from myth, literature or history), we can then confuse them with that actual person. So, it's presumptuous.
Marshalling
Marshalling in period combined two or more designs to indicate lineage and a claim to lands. Because we earn our status in the SCA from our own actions, we can't claim to lands or title. We even have a crown tournament to allow a gentle to achieve the right to bear the Kingdom's arms. Normal field divisions are per pale and quarterly. To get around the visual of marshalling, we can:
1. Use identical charges in all sections of the field.
2. Use complex partition lines to separate the sections which were not used in period.
Try to work with the submitter to chose one of the charges. If not, try maybe another field division such as per chevron, per bend, per fess which get away from the marshalling problem.
Arms of Pretense and Augmentation of Honour
Although period and modern heraldry allows for augmentation, we can't use it unless we have the right. Ask the client if they do. If so, then they can incorporated it into their device. Kingdom law describes this very well on how the Royalty may do it. However, augmentations must follow the Rule for Submission and good heraldry style. Without, the submission maybe returned.
In Summary:
We have discussed the main rules for armory. For the most part, we need to understand the rules and work the client to develop a good style and content without offending or being presumptuous. After we do that, we look for conflict. Conflict can be worked around with adjustments as we discussed but also we can look for a permission to conflict. We can't get permission to accept poor style or content.
Key to the success is working with the client from the moment they want armory. Without someone to steer the client through the process, they often get ideas that become very difficult to change. Remember KISS (Keep It Simple Silly) not only when you discuss the rules with the client but with the design itself. Good Luck!