For a velvet bag, approve colour, pile direction and the actual logo sample together. A colour reference alone leaves a visible part of the design undecided: the same directional fabric can look different when turned. Mark how the material should face on the finished bag, then compare undecorated and decorated samples under the same viewing conditions.
1. Identify the selected velvet, beyond its colour
The LinHord Velvet Tote Bag has long self-fabric handles and a broad body for branding. The Velvet Drawstring Pouch has a smaller face that changes shape when gathered. Both are listed as short-pile plush / velvet; this description does not establish a particular fibre percentage or backing. Request the proposed material reference, composition, construction, pile appearance and reverse before choosing a logo route.
2. Mark pile direction from opening to base
Texas A&M Extension’s velvet guide explains that pile direction changes the visual effect and recommends a consistent cutting direction. For a bag brief, apply that principle by identifying the face and drawing an arrow relative to the finished opening and base. Do not use “up” alone: it can mean the cutting-table orientation or the bag as carried.
Agree the relationship between the front, back, side panels and visible handle faces. If a deliberate contrast is part of the design, record it on the drawing. For the tote, inspect the body and handles together; for the pouch, compare its flat front with its filled, gathered appearance. Retain a direction-marked material swatch with the approved bag.
3. Compare the surface before changing the shade
Use the same light, viewing position and sample orientation for comparison. First align the opening and base of both bags; then deliberately change the viewing angle to understand how the selected pile behaves. A photograph is a record of one setup, not a replacement for the physical reference. Agree acceptable appearance on that material rather than declaring every light-dark difference a dye fault.
| Observation | Comparison to request | Record |
|---|---|---|
| Panel looks lighter | Align face and direction; compare together | Panel map and marked reference |
| Mark around a logo | Compare with undecorated material | Process, sample identity and affected area |
| Fine letters lose definition | Inspect actual-size decoration and its reverse | Artwork revision and decoration setup |
| Unpacked surface differs | Review before packing and after the agreed unpacking procedure | Packing method, review timing and acceptance |
4. Sample the logo on the actual pile
For embroidery, ask the decorator how the proposed stitches will stay visible on the surface and how the reverse will be finished. Madeira describes its water-soluble topping as a way to keep embroidery from disappearing into textured pile. That explains one possible sampling variable; it does not prescribe that product for every velvet bag. Review the selected backing, topping and removal process on the actual material, including any marks left around the design.
For any proposed heat-applied decoration, ask the processor to make a trial on the exact material and compare it with an undecorated reference. Ask which decoration product and supplier instructions are proposed, and inspect the surrounding pile and reverse before approval. Record the chosen process with the sample; this guide supplies no universal temperature or pressure.
Compare the same artwork at the intended size. Include its smallest essential letters, open spaces and solid areas. Look at edge definition, local stiffness, surrounding pile and reverse details. If an acceptable result requires simplified artwork or a larger mark, approve the revised drawing and the physical sample together. Feasibility and quotation remain subject to review.
5. Approve the finished bag and unpacked appearance
A successful flat swatch does not settle the finished shape. On the tote, review the mark with both handles raised and the agreed contents inside. On the pouch, check it open and drawn closed, watching whether a fold hides a necessary letter. Record packing folds and review the same sample after unpacking. Ask for an agreed handling procedure; do not introduce brushing, steam or cleaning as an assumed repair.
Keep the approved material, direction drawing, logo revision and sample identity together for reorders. Changes to material, colour or decoration require review against that record. The velvet gift-pouch guide covers the broader gift presentation; this approval record controls the surface and decoration of the selected version.
6. Send a surface-and-logo brief for quotation
- Product reference, finished size and intended contents.
- Material reference, composition, colour and face/reverse samples.
- Pile-direction arrows and panel/handle relationships.
- Actual-size artwork, placement and candidate decoration methods.
- Swatch and complete-bag approvals, including reverse and unpacked views.
- Viewing conditions, retained references and agreed acceptance criteria.
- Quantity per style and colour, destination and sample requirements.
LinHord’s bulk minimum is 100 pieces per style per colour; colours cannot be combined to reach it. Send the brief through the quotation form and contact the team to discuss sampling. A useful approval states which material, direction and logo result will be reproduced, so the product image and the purchase specification describe the same bag.