Custom 3D Weight Designer

Four product families, all from our own custom line. Bumper plates in Competition Urethane, Competition Rubber, and Training Rubber. Grip plates in Premium Urethane. Round dumbbells in Urethane or Rubber. Fixed barbells, straight or EZ curl, in Urethane or Rubber. Pick any combination on the first step, and your logo, colors, and fonts carry across everything you select so the whole rack reads as one set.

Urethane is the premium surface and the difference is not subtle: it is roughly ten times harder than rubber, it does not give off the rubber smell that fills a closed weight room, and it holds up far better against gouges, scratches, and chipping. Rubber has a satin-matte look at a friendlier price point and is the right call on a tighter budget. On bumper plates the shape is identical between the two, so it is purely the material. The 3D preview renders the difference, so flip between kinds on the pick step and you will see the sheen change.

Competition plates are the thinner, tighter-spec plates serious lifters ask for, and they are the only products in the set that offer a custom plate body color. Training Rubber is the thicker and most affordable of the three bumper kinds, and it also covers the 15 lb change plate the competition lines do not carry. Either plate works on the floor or on a platform, so that is not the deciding factor. Both take your full logo, text, and color design on the face.

Yes. Select any mix of the four families on the pick step. The design you build carries across all of them automatically, so fonts, colors, and styling stay coordinated while sizing and wording adjust per product, because a dumbbell's face is laid out differently than a 45 lb bumper. Use the switcher bar under the model to flip between your picked products and check each one, or the left and right arrow keys on a computer.

Yes. On the Customize Design step, open the Layout section and use the Size tiles to put any denomination on the stage. On a computer that row sits just above the layout carousel; on a phone it sits just below it, under the same Layout pill. If your product has more rows than fit, View more rows reveals the rest.

You are picking what to look at, not what to buy. A bumper plate is the same 450 mm across at every weight, so switching only moves the printed number and the edge thickness. Grip plates, dumbbells, and fixed barbells genuinely change size with the load, so the preview changes with them. Your actual weights and quantities are collected on the quote form, where the quantity mix is pre-filled from your design and fully editable.

Competition bumpers, urethane and rubber, run 10, 25, 35, 45, and 55 lb. Training Rubber runs the same set plus the 15 lb change plate. Grip plates run 2.5, 5, 10, 25, 35, and 45 lb, and the little 2.5s and 5s have a clean solid face without the hand cutouts. Dumbbells run 5 to 150 lb in five-pound steps, and the rubber dumbbells add 7.5, 12.5, 17.5, 22.5, and 27.5 lb at the light end. Fixed barbells are typically quoted as the 20 to 110 lb set in tens, though partial sets are no problem. List exactly what you want in the quantity mix on the quote form and we will quote precisely that. Competition bumper weights can also be split across more than one plate color, so the 45s and the 25s do not have to match. See different colors for different weights.

Yes. There is an LB/KG toggle in the Weight section of the Customize Design step. It changes the label, not the plate: the weight on the stage stays exactly the one you picked and its number is rewritten as the true conversion, so a 45 lb reads 20.4, a 35 lb reads 15.9, and a 25 lb reads 11.3. Nothing resizes when you flip it. How the unit is written, "45 / LB" versus "20.4 / KG", stays your choice through the number style tiles, and the Size row relabels itself to match. These are exact conversions of our pound denominations rather than metric competition sizes, so tell us on the quote form if your program runs metric and we will spec the set accordingly.

Yes, by design. At those sizes there is not room for the hand cutouts, so the 2.5 and 5 lb grip plates have a clean, solid face. Your design adapts to it automatically, and the preview renders them true to how they will be made. The 10 lb and up carry the standard three-cutout grip face.

Fixed barbells are the bars with the weight permanently attached, and most facilities rack them as a run from 20 to 110 lb in ten-pound steps. You design one bar, straight or EZ curl, urethane or rubber, and the design repeats down the rack with each bar's own weight number. Quote the full ten-bar set or just the range you need.

Competition bumper plates, urethane and rubber. Those dye to your color, which is how team-color sets are done. Training bumpers, grip plates, dumbbells, and fixed barbells come in black with your logo, lettering, and design colors printed on the face, and that contrast is what keeps artwork crisp on those products. If plate color is on your wish list, pick a Competition bumper and the Plate color row appears at the top of the Colors section. You are not limited to one: a Competition bumper can be picked more than once so different weights can wear different colors. See different colors for different weights.

We can match an exact color, not just something close. Give us a Pantone, HEX, or RGB code, or the color values out of your vector logo, in the Anything else we should know? box on the quote form and we will match to it during proofing.

Yes, on Competition bumpers. Pick the Competition bumper you want, then use + Add another color next to it to add a second set. Each set is designed through the same steps and gets its own plate color, so white 45s and green 25s in one order is straightforward. You can have up to five, one for each denomination.

It is one design in more than one color, not two separate designs. The logo, layout, fonts and lettering are shared across every set, so a change to the artwork shows up on all of them. Only the plate color and the weights it covers belong to the individual set.

Each set opens on a different weight to start you off, the first on 45 lb, the next on 35, the next on 25, and you can move any of them. On the quote form every color gets its own block of quantity boxes, and a weight you have already ordered in one color is closed off in the others so nothing gets counted twice. The switcher at the bottom of the design area shows a colored dot per set so you always know which one you are looking at. Only Competition bumpers can be dyed, so this is the one place it applies. See which products take a custom plate color.

Bumper plates are the standard 450 mm (17.7 inch) diameter at every weight, which is the regulation footprint, so mixed loads sit flush on the bar. Grip plate diameter steps with weight the way it does across the industry, from about 7 inches at 2.5 lb to 17.7 inches at 45 lb. The 3D preview is built from the real product geometry, so proportions you see on screen are proportions you will get.

The designer covers our own custom line, but Blue Sky Fit Supply outfits whole weight rooms: racks, flooring, machines, and more from dozens of brands. Put anything else you need in the Anything else we should know? box on the quote form and your quote conversation can cover the full room, not just the branded pieces.

PNG, JPG, WebP, SVG, and PDF, and the first page is used if you give us a PDF. A PNG with a transparent background gives the cleanest result, but solid backgrounds are fine because the tool can remove them. Files up to 30 MB work, and very large images are scaled down for you.

Two formats the browser cannot open here: EPS and AI, and iPhone HEIC photos. For those, design with any PNG, JPG, or screenshot of the logo, then add the original under Attach files (optional) at the bottom of the Request Quote step. That control takes PDF, AI, EPS, PNG, JPG, SVG, PSD, HEIC, and HEIF, up to 10 MB each. Production works from the best file you have, so nothing is lost.

Go to the Add Logo step and use the upload box in the middle of the panel. On a computer you can click it to browse, or drag a file straight onto it from your desktop. On a phone, tap it and your photo picker and file browser open. The tool then cleans up the image, pulls out your colors, and builds a complete first design on the weight, and you watch it happen step by step. From there you fine-tune everything in Customize Design.

Three things, automatically. It cleans up the image so edges hold together at plate size, it reads your colors so the dominant tones become your design's palette and seed the lettering, and it finds the shapes inside the mark, like any outline rings around it, so those can be recolored or removed later. Your original file is never altered, and every change the tool makes is reversible from the controls.

The tool sharpens and enlarges most low-resolution logos on upload, so judge the result on the weight rather than the file you started with. If it still reads soft, look for a higher-resolution original, because the version on your website header is usually the smallest one your organization owns. Whoever made the logo will have the source file.

A soft preview does not mean a soft plate. Production works from the best file available, so if you have an EPS, AI, PDF, or SVG, add it under Attach files (optional) on the Request Quote step and our team takes it from there.

Those are formats a browser cannot open, so the designer cannot preview them. The workaround is the same for all three and takes a minute.

iPhone HEIC photos: take a screenshot of the logo and upload that, or export it as JPG from the share sheet (Photos, then Share, then Options, then Most Compatible). EPS and AI: upload any PNG or JPG version of the logo to design with. Then add the original file under Attach files (optional) at the bottom of the Request Quote step, which accepts all three, so production gets the good file even though the designer could not show it to you.

If your logo arrived on a solid rectangle, which is common with badge exports and screenshots, the Add Logo step offers a Remove the background color checkbox under your artwork once it spots one. Tick it and the weight shows through where the background was, and untick it to put the original file back. If the result takes too much or too little, a PNG with real transparency is the reliable fix.

Just below it is Let weight show through enclosed areas, which does the same thing for the closed spaces inside the mark, like the middle of a letter O.

The "Who's this for?" card seeds your lettering. The organization name and mascot become the arc text around the face so the first design lands complete instead of showing placeholder wording. Both are optional and editable: change them any time in the Text section of Customize Design, or clear a field entirely for a logo-only face.

The Logo size dial sits under your artwork on the Add Logo step, and the same dial appears again in the Logo section of Customize Design. Step it up or down and the preview tracks live.

Position depends on the layout, because placing the logo is most of what a layout does. Badge layouts, where the logo is the whole face, add a nudge pad with four arrows for fine placement next to that dial. Reset logo puts size and position back to the layout's defaults. For bigger moves, switch layouts rather than fighting the dial.

Many logos ship with built-in outline rings around the mark. The tool finds those bands so you can recolor them, peel them off, or add a fresh outer ring so the logo's edge stands out against the weight. They live under Logo outlines in the Colors section of Customize Design.

If an outline vanished on its own, that is the auto-peel: when the plate color would make the logo's outermost band invisible, the tool removes it rather than let the design silently lose its edge. It is reversible from the same controls, and your original artwork is never modified.

Yes. In the Colors section of Customize Design, the Logo row flattens your logo's interior to any one color from your palette, and Logo outlines handles the bands around it. The Original chip always puts your uploaded artwork back, and Reset colors returns the whole design to the colors it started with while keeping your sizes and text. The common use is flipping a full-color crest to a single-color version that pops on a black weight.

Yes. Upload a different logo sits beside your artwork on the Add Logo step and replaces the file while keeping your product picks. The tool re-reads colors from the new file and rebuilds the design around it, which is the point: fresh artwork deserves fresh colors rather than the old logo's palette. Expect to re-check your color and layout choices after a swap.

You need to be authorized to use the artwork you upload. The designer does not stop you or ask you to tick a box, because a quote request is an inquiry rather than an order, but permission does get confirmed before anything is produced. For school and college marks that usually means you are staff, or you have cleared it with the athletic department or licensing office. If you are a booster club or an outside vendor buying on a program's behalf, get their sign-off first. The artwork review that follows every quote is also where usage questions get sorted out with a real person.

The designer is built around one logo per design, and the layouts compose that mark with your lettering and weight number. If your concept needs a second mark, like a sponsor logo or a conference badge, describe it in the Anything else we should know? box when you request a quote and add the second file under Attach files (optional). The artwork review with our team is where multi-mark faces get worked out for production.

A layout is the arrangement of your logo, lettering, and weight number on the product's face: logo left with the weight right, text arched over a center seal, a full-face Badge, and so on. Browse them in the Layout section of Customize Design. The carousel shows a few at a time, and the View all link under it opens the full grid with live thumbnails of your design in each arrangement. Each product family has its own layout set, because a dumbbell's round end cap and a grip plate's cutout face are different canvases than a bumper's ring.

Badge layouts make your logo the whole face: no arc text, just the mark, large. They suit seals, crests, and circular badges especially well. In a Badge layout the Logo section adds a nudge pad of four arrows for fine positioning alongside the size dial, and the Remove the background color and Let weight show through enclosed areas checkboxes on the Add Logo step earn their keep here, since badge artwork often arrives on a solid background.

Everything color lives in the Colors section of Customize Design, organized by what it paints, top to bottom: Plate (Competition bumpers only), Text, Text outlines, Logo, and Logo outlines. Click or tap a swatch to apply one of your palette colors, or use the + at the end of a row to open the custom picker for the full spectrum with HEX and RGB entry. The palette starts as the colors read out of your logo, and anything you add joins it. Reset colors returns everything to your original upload.

Tapping a swatch chooses it. The ✎ Edit button at the end of a row changes it. Edit opens the picker with a row of small swatches across the top, one for every color in that row, starting on whichever you had selected, and clicking a different one edits that color instead without closing the picker. Changing a color there updates it everywhere the design uses it, including your logo artwork, so you never have to hunt down each place it appears.

It samples a color from anywhere on your screen, including outside the browser. Click it in the custom color picker and your cursor becomes a magnifier: click your logo on the 3D weight to match lettering to an exact tone inside your artwork, or click straight out of the browser window onto an image in your file explorer, a logo on another tab, a design program, or a PDF. Whatever pixel you click becomes the color. While it is active the weight turns face on and grows to fill the window, at the same size on every denomination, so there is more artwork to aim at. Press Escape to cancel without changing anything.

Picking from outside the browser needs Chrome or Edge on a computer. In Firefox, Safari, or on a phone the eyedropper still works, but only on things inside the designer page itself.

That is the contrast guard. When you change the plate color, elements that would become unreadable against it, like lettering or outline bands too close to the new background, get remapped to keep the design legible. It never overrides a color you picked explicitly, only the defaults the tool chose for you. If you want a low-contrast look on purpose, set those colors yourself and they will stay put.

Your lettering can carry up to four concentric outlines, the classic athletic look of a white stroke inside a colored stroke. Add, remove, and recolor them under Text outlines in the Colors section, and set each one's color individually. Thickness has its own dial and is scaled to the lettering so strokes never swallow the letterforms. One or two outlines is the sweet spot on most weights, and four is there for the full varsity treatment.

The Text section of Customize Design has a font picker with more than 130 typefaces: collegiate blocks, athletic slabs, scripts, and modern faces, each previewed in its own letterforms. There is a Search fonts box at the top and the list is grouped by style, so you can type "college" or scroll a category. One font applies across the design, which is deliberate because mixed fonts on a plate face read as a mistake, and it carries to every product in your set so the rack stays coordinated.

In the Text section of Customize Design, under Wording, each lettering position on the current layout has its own field: top arch, bottom arch, and so on depending on the layout. Type over the seeded organization and mascot wording with anything you like, or clear a field to drop that line. There is a length limit per position because the text has to physically fit its arc on the smallest weight, and the counter tells you where you stand. Wording is remembered per product family, so your bumpers can say one thing and your dumbbells another.

Arc text has to physically fit its curve. On a weight's face there is only so much arc, and the limit protects you from lettering that would shrink to unreadable or get clipped at the ends in production. Options that work well: use a shorter form ("ARCADIA" instead of "ARCADIA HIGH SCHOOL"), split the name across the top and bottom arches, put the full name on the bumpers and the short form on smaller faces, or try a layout with longer text runs. The size stepper also buys a little room at smaller type sizes.

Yes. The Text section has a Size stepper for the arch text, with a link toggle so you can keep top and bottom matched or unlink them and size each separately. The Weight section has its own Size stepper for the weight number. Sizes are per product family, so pumping up the dumbbell's number does not distort the bumper. If a size control looks greyed out, the current layout does not use that element.

Both. There is a Lettering case toggle in the Text section. All caps is the default because it is the traditional plate look and reads best on an arc, but mixed case is one tap away and some scripts genuinely want it.

Yes. The Weight section has a Number style grid of eight lockups, shown as mini previews: stacked "45" over "LB" in dash, plain, lowercase, "LBS", and "POUNDS" variants, an inline "45LB", a ruled version, and a bare number. Pick whichever matches your program's look. The style applies across every denomination and follows the LB/KG toggle above it.

Identical design, correct number. The weight number is the one element that changes per denomination, and smaller faces like the 2.5 lb grip plate or a 10 lb bumper automatically adapt the design to their real proportions. What you set, meaning layout, colors, fonts, and wording, holds across the family. You can check any of them yourself with the Size tiles in the Layout section. Different products in your set adapt more visibly, since a dumbbell end cap is a different shape than a bumper ring, but they share your fonts and colors so the rack reads as one program.

Different canvas. A bumper offers a wide ring around a center hub, a dumbbell face is a solid disc, and a grip plate has hand cutouts to design around. Each family has its own layouts tuned to its geometry, so when you switch products the tool moves your design to the nearest equivalent arrangement rather than smearing the bumper's layout onto a face it does not fit. Fonts, colors, and styling stay locked across the set, and placement is what adapts.

Undo. The curved arrows sit in the button cluster at the top right of the design area, and on a computer Ctrl+Z works too, with Ctrl+Shift+Z or Ctrl+Y to redo. The designer keeps a deep history of your session, so you can step back through dozens of changes. For colors specifically there is also Reset colors, which returns you to your uploaded palette, and Reset logo for size and position. Both leave the rest of your design alone.

Use Upload a different logo on the Add Logo step to rebuild the design around new artwork, and your product picks survive. To change what you are outfitting, go back to step 1, Pick Weights. If you want a blank slate on the same logo, re-uploading the same file re-runs the automatic build, and stepping back through undo works too. Your autosave tracks whatever you did last, so "over" is always recoverable during the session.

The standard sections cover what nearly every design needs, deliberately, because plates read best when the arrangement follows a proven layout. If you have a requirement the panels cannot express, like a specific placement or an element the layouts do not offer, put it in the Anything else we should know? box on the quote form. The artwork review with our design team is exactly where one-off requests get handled, and they can adjust things the tool does not expose.

Drag it: mouse on a computer, finger on a phone. The 3D model rotates freely so you can check the face straight on, catch the material sheen at an angle, and see the edge. Double-click or double-tap the model to snap the view back to a clean front-facing fit.

Click the magnifier in the button cluster at the top right of the design area and the zoom row opens: Zoom out, a percentage readout, Zoom in, Fit to view, which frames the whole product, and Fullscreen. The plus and minus buttons move in 5% steps. On a phone you can also just pinch. Zooming in close is the honest way to inspect lettering and outline details, because the model is built from the real product geometry, so what survives a close look on screen survives on the weight.

Yes, on both. Open the magnifier in the cluster at the top right of the design area and click Fullscreen. That reclaims the browser's tab strip and address bar, which is worth having when you are inspecting a weight up close.

On a phone the tool already opens full screen from the Design Yours card, so you are likely there from the start, and your device's back button exits. On a computer, Esc exits.

The idle sway is intentional. It is a slow drift that keeps light moving across the face so you can judge the material and colors the way you would holding the real thing. It goes still the moment you interact, and stays still while you are zoomed in close for detail work or comparing number styles.

On a computer, the buttons around the design area fade out after a couple of seconds without mouse movement so you can look at your design, and screenshot it, without the tool's own furniture in the way. Move the mouse and everything returns instantly. Nothing is lost or closed. It is a presentation courtesy, not a malfunction.

First give it a beat on slow connections, because the 3D engine loads on demand. If it still does not appear: refresh the page, and your design autosaves so nothing is lost; try another browser, since current Chrome, Edge, Safari, and Firefox all work; and check that you are not on a locked-down machine where WebGL, the graphics capability 3D needs, is switched off. On machines without WebGL the designer automatically shows a flat preview instead, and every design and quote feature keeps working. Only the spin is missing.

The geometry is built from the real products' measurements, including plate diameters, hub proportions, grip cutouts, and dumbbell head shapes, and urethane versus rubber renders with its true sheen. On-screen colors are close, but every monitor differs, which is why exact color matching happens during proofing against the codes you give us. Treat the preview as faithful for layout and proportion, and the proof as the authority on exact color.

Close other heavy tabs, since video calls and streaming are the usual culprits and the 3D view shares your graphics hardware with them. On laptops, plugging in helps, because battery mode throttles graphics. On phones, closing backgrounded apps frees memory. If your machine simply cannot run 3D smoothly, the flat preview still supports the entire design and quote flow.

The essentials: ← and → step through your products whenever you have more than one loaded, which is the same thing the arrows on the bar below the model do, and that bar only appears once there are two or more. Ctrl+Z undoes, Ctrl+Shift+Z or Ctrl+Y redoes, Esc closes dialogs and popovers, and Tab moves through controls, since the whole designer is keyboard navigable. The arrow keys stand down while you are typing in a field or a dialog is open, so they never steal a keystroke.

Automatically. The designer snapshots your work to your browser every 30 seconds and when you leave the page, then offers to restore it next time you open the tool on the same device. There is no save button to remember.

For a save that lives anywhere, meaning a new device, a colleague's inbox, or six months from now, make a link. On a computer, click Share at the top left of the design area, then Copy link. On a phone, tap the ☰ menu in the top corner, then Copy link. That stores the design with us and gives it a permanent address.

Open Share, which is the second of the two buttons at the top left of the design area on a computer, or a set of rows in the ☰ menu in the top corner on a phone. It offers three routes: Copy link, a URL that opens your live design for anyone, and the workhorse for emailing an AD or texting a coach; Share via…, your device's own share sheet, which is the fast one on phones; and Email my design, which opens a pre-written email with the link, ready for you to address.

Whoever opens the link sees the design in full 3D and can adjust it or request a quote themselves without touching your copy.

Top left of the design area, as two small buttons that drop a card down when you click them. Save holds Download image, plus Download all N on one image once you have picked more than one product. Share holds Share via…, Copy link, and Email my design.

The other cluster, at the top right, is the working controls: undo and redo, zoom, and the ? button that opens this help assistant. Both clusters fade out after a couple of seconds of no mouse movement and come straight back when you move it.

Yes. Download image lives under Save, which is the first of the two buttons at the top left of the design area on a computer, or a row in the ☰ menu on a phone. It produces a clean front view of your design as a PNG with none of the tool's buttons in it, sized for slide decks, booster newsletters, and approval emails. For anything interactive, send the design link instead: the image is a snapshot, the link is the living design.

Yes, once you have picked more than one product. The same menu that holds Download image gains a second row, Download all N on one image, where N is however many products you picked. It lays every one of them out in a grid on a single PNG, each labelled, so a committee sees the whole program in one attachment instead of four.

You will find it under Save at the top left of the design area on a computer, or in the ☰ menu on a phone. The row only appears with two or more products, because with one it would just be the download above it.

Designs are not published anywhere. A design is visible only to people who have its link, so treat the link the way you would treat a shared document URL. The examples behind "Show me what's possible" are curated by us separately, and your design never appears there on its own. Quote submissions go only to our sales team.

Links are built to keep working long term, because committees move slowly and we know it. If a link ever fails to open, the fallback is quick: whoever has the design open can generate a fresh one with Copy link in seconds. Requesting a quote is the strongest save of all, since the submission stores your design with your contact info on our side, where our team can always pull it back up.

Yes, with one step. The in-browser autosave stays on each device, so the bridge is a link. On the phone, tap the ☰ menu in the top corner, then Copy link, and send it to yourself however you ferry URLs between devices. Open it on the computer and you are editing the same design there. Plenty of people rough out the idea on a phone during practice and polish it at a desk later.

The autosave holds one work in progress per device, so the way to keep alternatives is links. Finish concept A, use Copy link, save that URL somewhere, then remodel into concept B and link that too. Each link is an independent, permanent snapshot, so collect them in a doc and you have your comparison sheet for the committee. Links opened later can each be edited onward without touching the others.

Open step 4, Request Quote. Your set is read back to you with a quantity box for every denomination, pre-filled from your design and fully editable. Below that: name, email, phone, ZIP, whether you are residential or commercial, your organization, street address, a timeline, an Anything else we should know? box, and an optional place to attach files. Then submit.

Your design, your artwork, and your colors travel with the request automatically, so there is nothing to describe or re-attach. A member of our team follows up to review the artwork with you and put real numbers to it.

Pricing is quoted per project, because the honest number depends on products, denominations, quantities, and artwork. A full bumper set for three racks prices differently than a dumbbell run. The quote is free, fast, and carries zero commitment, so submit your design with your real quantities and you will get actual numbers rather than a worst-case placeholder. If you are budgeting early, say so in the Anything else we should know? box, because ballpark-for-the-board is a request our team handles all the time.

For a brand new custom design, the minimum is 245 lb of product. That is a low bar for a weight room and most programs clear it without thinking about it.

Nothing in the designer or the form enforces it, so build what you want and submit it either way. There is also room to move: a program that has ordered from us before and needs to add to its set is not starting over at the minimum, and if you have already got a custom set and a plate goes missing or gets damaged, we will make you a replacement. If the number is a problem for your situation, put it in the Anything else we should know? box and we will talk it through.

Three stages, and you have already done the first. Design it, right here in the tool. We review your artwork, where a real designer goes over your submission with you, catching resolution issues, tightening spacing, and matching your official colors. You approve a proof, a production-accurate rendering we need your sign-off on before the order is finalized.

Getting to that sign-off can take a few rounds of changes or none at all, and either is fine. The proof is the contract for how your weights will look, so if it is not right, it does not go to production.

Yes, and that is what the proofing stage is for. Screen colors get you close while designing, and production matches your official colors. Give us the codes in the Anything else we should know? box on the quote form: Pantone is ideal, and HEX or RGB works too, so "our navy is PMS 289" is exactly what we want to hear. Your athletic department or brand guide usually has them. If you do not know your codes, submit anyway and our team will pin them down with you during artwork review.

You can, but you do not have to. We already have the logo from your design, so the Attach files (optional) control at the bottom of the Request Quote step is spare capacity, not a second job. Use it for anything that helps us quote: a vector version of your logo (EPS, AI, PDF, or SVG), a photo of weights you want us to match, a purchase order, or a second mark you mentioned in the notes.

On a computer you can drag files onto it or click to browse; on a phone, tap it. It takes PDF, AI, EPS, PNG, JPG, SVG, PSD, HEIC, and HEIF, up to five files at 10 MB each. If an attachment fails it will not block your submission.

The denominations and counts you actually want. Every product you designed gets its own block, with a box per denomination and a toggle for whether you are counting pairs or single units. There is a Bulk add dropdown on each block for the common cases, like adding a full set or two of each, and tapping a product's thumbnail enlarges the design so you can confirm which one you are filling in. If you gave one product more than one plate color, each color gets its own block, headed with a dot and the color name, and a weight you have already ordered in one color is closed off in the others so nothing is counted twice.

It arrives pre-filled from your design as a starting point, so edit it freely. If you are outfitting multiple rooms or phasing a budget across semesters, say so in the Anything else we should know? box and the quote will be structured that way.

Quotes go straight to our sales team, a real person rather than a queue, and follow-up typically lands within one business day.

The Timeline dropdown tells us how to pace it. The options are Immediately, 1-3 Months, 3-6 Months, 6+ Months, and Just Exploring. "Immediately" gets urgency; "Just Exploring" gets numbers you can plan around without a pressure campaign. Every design that has been submitted stays on file, so exploring today does not mean starting over in the fall.

Yes, submitting freezes nothing. Keep editing in the tool and share the updated link with the rep who contacts you, or just describe the change. Artwork review exists precisely to converge on the final design together. Every detail stays adjustable until you approve the final proof, and that approval is the only point of no return.

As long as there are no unforeseen delays, production typically runs 4 to 6 weeks, which means most orders deliver in under seven. That is the answer for almost everything we make: training bumpers, grip plates, dumbbells, fixed barbells, and any competition bumper plate in black.

The one exception is a competition bumper plate dyed a color other than black. Those take longer than six weeks and the exact time varies with demand, so we confirm it with you before the order is placed rather than guessing at it here.

If you are working against a hard date, like a season opener or a facility ribbon-cutting, put the date in the Anything else we should know? box. Deadlines stated up front get planned for. Our team will tell you plainly whether a date is makeable before you commit.

Because dyeing a competition bumper to a color other than black adds time to production. The Plate swatches in the Colors section print the tier on whichever chip you have selected, so you find out while you are choosing rather than after you have committed: black reads 4-6 weeks, and any dyed color reads 6+ weeks.

"6+" is deliberately open because the real figure moves with demand, and we confirm the exact lead time with you before the order is placed. If your date is tight, a black competition plate with your colors in the printed design keeps you in the 4 to 6 week window.

One of your lettering fields still has the placeholder wording, and the tool stops you from quoting a design with dummy text baked into it. Go to the Text section in Customize Design, find the field under Wording, and either type your real wording into it or clear it to remove the line entirely. Then submit again.

In the sheet at the bottom of the screen. Drag its handle up to open it, down to tuck it away and see more of your weight. The ‹ Prev and Next › buttons in the sheet's header move between the four main steps.

Inside Customize Design, the sections sit as pills across the top of the sheet in this order: Layout, Colors, Text, Weight, Logo. Tap one to switch. That pill row scrolls, and it walks itself left as you move along so the last pill comes into reach, but you can also drag it anywhere you like with a finger. The Size tiles that choose which denomination you are looking at sit under the Layout pill, just below the layout carousel.

In the panel down the left side of the page. The four steps are tabs across the top, and on Customize Design all of the sections stack in one scrolling column rather than hiding behind pills: Size, Layout, Logo, Colors, Text, and Weight, in that order.

The 3D weight fills the rest of the page, with two button clusters over it: Save and Share at the top left, and undo, redo, zoom, and the ? help button at the top right. The chevron at the top of the panel collapses it to a thin rail if you want the model bigger, and clicking the rail opens it again.

In the ☰ menu in the top corner while the designer is full screen. Download image, Download all N on one image once you have picked more than one product, Share via…, Copy link, and Email my design all live there, and so does Help & questions, which opens the help assistant. On a computer these same actions sit as two buttons at the top left of the design area instead.

That is the focus assist. While you edit the weight number, text, or logo on a phone, the camera leans in so you can see what you are changing, and it backs off when you leave that section. You can also take control yourself: pinch, or use the zoom controls, and your manual zoom wins until you move on. Fit to view in the zoom row reframes the whole product any time.

That is expected, and nothing is moving behind it. The keyboard sits over the page rather than shrinking it, so your weight, the camera, and the sheet all stay exactly where they were while you type.

You should not have to hunt for the field either: tapping into one scrolls it to the top of the sheet for you, above the keyboard. Type the wording, tap done, and the keyboard drops away. If a field still ends up out of reach, scroll the sheet itself and it comes back into view.

By design. Request Quote is the one step that is a form rather than a design control, and a form read through a third of a phone screen is how people abandon it. So on step 4 the sheet locks open to the full screen and gives the form all of it. Nothing else moves while it does: the weight and the camera stay put behind it.

Use ‹ Prev in the header to go back to Customize Design and the sheet returns to normal.

Your phone's back button, or a back swipe, closes the designer and returns you to the page. Full-screen mode registers itself with your browser history precisely so back works the way you expect. Your work autosaves on the way out, and tapping Design Yours again brings the designer straight back with your work exactly where it was.

Run the checklist. Format: PNG, JPG, WebP, SVG, or PDF. iPhone HEIC photos need a screenshot or a JPG export first, and EPS and AI are production files you attach on the quote step instead. Size: files over 30 MB are rejected, so export smaller. Connection: a dropped network mid-upload can look like a silent failure, so retry on solid Wi-Fi. Still stuck? Try a different export of the same logo. A stubborn file is nearly always the file, not the tool.

First check which product is on stage. With several products picked, edits like per-family wording and sizes apply to the one you are looking at, so the change may have landed on the product you edited rather than the one displayed. Flip through the switcher bar under the model to confirm. A control that is greyed out means the current layout does not use that element, so a text-less layout shows no text controls and non-Competition products show no plate color. If something genuinely stuck, refresh, because autosave means you lose nothing.

Current Chrome, Edge, Safari, and Firefox, on computers and phones alike. The usual trouble spots are outdated browsers and locked-down machines: district-managed school computers sometimes disable WebGL, in which case the 3D falls back to a flat preview and everything else keeps working. In-app browsers inside social and email apps can be flaky, so if the tool misbehaves in one of those, open the link in your real browser instead. One feature is genuinely browser-specific: the eyedropper can only pick colors from outside the browser window in Chrome or Edge on a computer.

Check the simple causes first. The restore offer appears only on the same device and browser you designed in, so a different machine, a private or incognito window, or cleared browsing data will not have it. If you made a link at any point, through Copy link, Share via…, or Email my design, open that, because it is the design, intact.

If you submitted a quote, we have it. Reply to the follow-up, or reach us any of three ways: call us at 720-650-0055, email info@blueskyfitsupply.com, or use the contact form at blueskyfitsupply.com/pages/contact. Our team can pull your design back up. Gone for good with none of those? Rebuilding is fast: upload the same logo and the tool auto-builds again.

No. The dark studio backdrop is the designed environment. It is the honest stage for judging how weights read in a weight room, which is rarely a white-walled showroom, and it keeps the focus on your colors rather than the page's. If the product itself renders black, that is the product: grip plates, dumbbells, barbells, and Training bumpers come in black with your design printed on the face, and a custom plate color is a Competition bumper option.

Ask the help assistant for a person and it will hand you over. Say you are stuck or ask for someone to take a look, and it takes your name and email. Your question, the conversation and a link to your design go to our team together, so whoever gets back to you already knows where you got to and can open the exact design you were working on. There is no form to fill in and nothing to explain twice. The assistant is the ? button in the cluster at the top right of the design area, on a phone or a computer, and on a phone it is in the ☰ menu as Help & questions as well.

If you would rather reach us directly, take your pick: call us at 720-650-0055, email info@blueskyfitsupply.com, or use the contact form at blueskyfitsupply.com/pages/contact. Either way you get the same team.

And if you would rather finish the design yourself, Request Quote on step 4 sends the most detail of all, and half-done designs are welcome. Nobody has ever been told to go finish it themselves.

Yes, and that is exactly what this tool builds. Upload your logo and the designer puts it on Competition Urethane, Competition Rubber, or Training Rubber bumpers from our own custom line, with your lettering arched around the face and your colors throughout. Competition plates can even be dyed to a team color. You design in the browser, see it in 3D, and request a quote, then our team reviews the artwork and you approve a final proof before anything is made. The four steps take about two minutes to walk once.

Yes. Round urethane and rubber dumbbells take your mark on the end caps, and fixed barbells, straight or EZ curl, carry it on their heads. Each face gets layouts designed for its shape rather than a shrunken copy of the plate design, while fonts and colors stay locked across the set, which is the reason a fully outfitted room reads as one program instead of four separate orders. Dumbbells run 5 to 150 lb and barbells are usually quoted as the 20 to 110 lb set. Design any combination in one session, and the quote covers the mix.

The pattern we see across the weight rooms we outfit: bumper plates first, because they are the most visible equipment in the room and the photo that ends up on recruiting social media, then dumbbells and fixed bars to complete the look. Strength coaches usually drive the design, with the mascot on the plates and the program wordmark on the arcs, while the athletic director owns budget sign-off. That is why the designer makes shareable links: build the concept, send it up the chain, and let the decision-maker spin it in 3D themselves. Flooring, racks, and wall branding often ride the same project, so mention them in your quote and it is one conversation.

On Competition bumpers, yes. The plate body dyes to your color, so a full rack in your navy or cardinal, with logo and lettering on top, is a real option rather than a mockup trick. Other products come in black with your colors carried in the printed design, which keeps artwork crisp on those faces. Exact matching happens at the proofing stage against the Pantone, HEX, or RGB codes you give us, so screen color gets you close and the proof makes it exact. One thing worth knowing while you choose: a dyed competition plate takes longer to produce than a black one, so the color swatches print their lead time on the chip.

Blue Sky Fit Supply makes them. The custom weights are our own equipment line, and custom branding is built into how they are manufactured rather than added as an afterthought, which is why the designer, the artwork review, the proof, and the equipment all come from one team. Blue Sky outfits complete weight rooms beyond the custom line, including racks, flooring, and machines from dozens of brands, so a branded set can be one line item in a full facility project or a standalone order.

Most quotes we see get built around a phase or a funding event: a facility renovation line, a booster club campaign, a season-end budget window. The quote process is shaped for that reality, so request numbers with your real quantities, mark the timeline as Just Exploring if you are building a proposal, and you will get figures you can put in front of a board without committing to anything. Designs and quotes stay on file, so the concept you price in spring does not need rebuilding when funds land in fall. Phased orders, like bumpers this year and dumbbells next, are normal, so say so in the notes.

Three things show up in every design that makes us stop scrolling. Contrast: lettering and a logo that read from across the room, which the tool's contrast guard protects by default. Restraint: one font, two or three colors, a proven layout, because the full varsity treatment of four text outlines exists but one crisp outline usually wins. A clean mark: a logo without a leftover background box, sized so it owns its zone without crowding the arcs. Start from the auto-built design, which applies these rules already, and adjust from strength rather than from scratch.

Yes. Department and unit insignia on plates and dumbbells is a common ask, and the designer handles it the same way it handles a school mascot: upload the badge or crest and it lands on the equipment in your colors. Two things buyers in this space usually raise first are durability under round-the-clock shift use, where the urethane surface is the one to look at, and how the purchase fits a procurement cycle. Both are quote-conversation topics, so note your timeline and any purchasing requirements in the notes and the quote will be built around them.

They do, and their needs skew differently from a weight room. Lighter denominations get the heaviest use, so the small grip plates and the low end of the dumbbell range matter more than a full bumper set, and both go well below where a weight room starts: grip plates from 2.5 lb, dumbbells from 5 lb with half-step sizes on the rubber. Branding a clinic's equipment is as much a patient-facing signal as an athletic one, and a clean single-color logo usually reads better in a treatment space than a full-color crest. Design what you need in the tool and list the light-end quantities on the quote form.

Yes, and it is usually a smaller, more design-led order than an athletic program's. The questions that come up here are about fit and finish rather than volume: matching equipment to an interior palette, keeping branding subtle enough for a shared amenity space, and outfitting one room rather than a full facility. Competition bumpers can be dyed to a brand color, and the other products carry your mark on a black body, so design both ways in the tool and see which suits the room.

Yes. A full set of bumpers carrying the box's logo is one of the most visible things a training gym can own, and it photographs well, which is usually the point. Competition plates take a dyed body in your color, and training bumpers cover the lighter change plates that class programming actually burns through. Design the set in the tool, list your denomination mix on the quote form, and the quote covers exactly what your floor needs.

Both work, and multi-site is worth flagging up front. If you are outfitting several locations under one brand, one design carries across every room, and the quote can be structured per site or phased across budget periods. Municipal and community buyers often have approval steps and purchasing rules that shape timing more than the equipment does, so put that in the notes when you submit and the quote conversation starts in the right place.

The renderings are the sample. The 3D preview is built from the real product geometry, and the final proof you sign off on before the order is finalized is production accurate, with your official colors matched during review. That is the commitment gate built into every order, and for most programs it is enough.

If your organization genuinely needs something in hand beyond the proof, raise it with your rep during the quote conversation. We can sell a single plate or produce a one-off when the project warrants it, and it is decided case by case at the project level rather than being a checkbox in the tool.