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[Four oak leaves in cross v. four holly leaves conjoined in cross] We have hitherto granted a CD for type of a single leaf: oak leaf vs. maple leaf (Karl the Meek and Mild), or oak leaf vs. elm leaf (Siobhan O Riordain). But this is offset here by the identical motifs: the arrangement and conjoining in cross add to the visual similarity. [returned for visual conflict] (Anne Chavelle of Silver Oak, July, 1992, pg. 22)
[A compass star and overall a lion's head cabossed] As drawn, the compass star is almost completely obscured by the lion's head, rendering it unidentifiable. Charges must be drawn so as to be recognizable, per Rule VIII.3. Visually, the star's rays blend with the lion's mane, making it almost a sun in splendour Or; as such, it's very close to [a charged sun].
Some of the commentary mentioned possible conflict between this "irradiated lion's face" and a lion's face jessant-de-lys --- e.g. [a leopard's head jessant a fleur-de-lys]. I believe there's a visible difference between the straight rays shown here and a fleur-de-lys' curved petals. (Tirlach Kinsella, September, 1992, pg. 44)
[A skull argent, vested of a jester's cap Or] This is returned for visual conflict with [a leopard's head argent jessant-de-lys Or]. The jester's cap is split in three points, looking much like a fleur-de-lys. It's also visually close to [a woman's head couped proper crined Or]. (Gareth Shieldbane, September, 1992, pg. 45)
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[An estoile gyronny wavy of twelve Or and purpure] This conflicts visually [A mullet of six points gyronny of twelve Or and gules]. ...While we concede sufficient technical difference, a visual comparison confirmed they were too close. [Badge returned for this reason and for using gyronny of more than eight on a charge] (Katrine Vanora of Maidstone, October, 1992, pg. 26)
[Or, two swords inverted in saltire sable between two foxes combattant gules marked proper] This is in visual conflict with [Or, a sword inverted azure hilted sable between two red foxes combattant proper]. We concede sufficient technical difference, with a CD for number of swords and a CD for their tincture --- but when held side-by-side, technical difference is outweighed by the visual similarity. (Lucas Phelan MacPhail, January, 1993, pg. 29)
[Per pale and per chevron purpure and argent, three roses counterchanged] Visual conflict with [Per pale and per chevron azure and argent, three roses counterchanged]. Though we concede sufficient technical difference, the consensus of those at the Laurel meeting was that the two were too similar. Some attributed it to the similarity of blue and purple, others to the identical complex patterns of light and dark; but all agreed that the visual similarity overrode the CDs for field and charge tincture. (Grainne of Starmount, January, 1993, pg. 33)
[A seeblatt] Lord Leveret (now Lord Brachet) has brought up a possible conflict with the badge of Douglas, Earls of Douglas (Fox-Davies' Heraldic Badges): [A heart]. His staff has found evidence that the blazon seeblatt could be emblazoned either in its standard form, or in a form indistinguishable from a heart (in the arms of the Duchy of Engern, 16th Century). I've found corroboration in Neubecker & Rentzmann's 10000 Wappen von Staaten und Städten, pp.147, 285: the arms of the Bishopric of Vyborg, in Finland, were blazoned (and emblazoned) either as three hearts conjoined in pall inverted or three seeblätter conjoined in pall inverted.
There are still enough distinct renditions of seeblätter and hearts in period (e.g. the Armorial de Gelre, or Siebmacher) that I hesitate to rule them purely artistic variants. However, there can clearly be cases of visual conflict involving the charges, and the [submitter's badge] is such a visual conflict [returned for this and also for conflict with a water-lily leaf]. (House Windsmeet (Caitlin Davies), May, 1993, pg. 17)
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