Digital Philately and Parisian Bridges

Thomas Broadhead, Knoxville Philatelic Society News

Philately is a visual hobby, but it is also a tactile one. Not only is it fascinating to see the many varieties of stamps and covers, but it is also amazing to hold pieces of paper that individually have interesting histories. Seeing pictures of stamps in catalogs, which are increasingly printed in full color, is almost as good as seeing ‘the real thing’ in an exhibit or in our own collections.

The advent of the electronic age has given us access to beautiful images of stamps that we will never see in person, and our own KPS newsletter is full of digital images – some scanned from the actual stamps and covers and others borrowed from the world wide web. A year ago, philatelic exhibiting in the U.S. took an electronic direction with the first competition for ‘Digital Philatelic Studies‘ (DPS) held at last October’s Fall Mega Event – a huge stamp show sponsored by the American Stamp Dealers Association (ASDA) in New York City. In addition to traditional exhibiting, the ASDA again this year invited the submission of electronic exhibits, and I decided to try my hand at this new format. One great help was the information provided on the ASDA web site, which includes four complete DPS exhibits from last year’s competition.

The Alexander III Bridge Issue.

Several digital formats are possible, and I decided to develop a Power Point presentation for my study of ‘The Most Beautiful Bridge in Paris.’ I wrote an article about this a few years ago for the KPS newsletter, with the focus on the Alexander III bridge, built 1897-1900 in honor of the Russian Czar Alexander III. This marvel of architecture (4 architects) and art (more than 13 artists were involved in its decoration) is featured on a 100 franc airmail stamp issued in 1949.

Most of my DPS features this stamp, its production proofs, varieties, and postal history. However, my exhibit begins with examples of all French stamps and postal stationery that have ever shown Parisian bridges. Although there are 37 bridges (‘ponts’ in French) including pedestrian bridges (‘passerelles’) that cross the Seine River in Paris, they have not received the philatelic attention that I think they deserve!

The Bridges Shown on the Stamp.

The most spectacular depiction of bridges in Paris appears on the 1000 franc definitive airmail stamp issued in 1950. The image below is one from my DPS and shows this stamp with the identified bridges. The details of the design and the engraver’s art allow each bridge to be recognized from the number of arches and the relative locations of other buildings and monuments. The Alexander III bridge is distinctive in having a single span, more than 100 meters long, and it is easily recognized as the bridge farthest in the distance on this stamp. Note, however, that there is an unidentified bridge near the top and a missing bridge in the design.

Do DPS Your Way

Fran Adams

Perspective is your unique spin on your little piece of the wide, wide world of philately. It’s how you arrange your material and knowledge into the final presentation using a fresh angle only you can create. It’s the realization of the dream, so stay as true to the dream as possible and you’ll be satisfied with the result.

If you’re doing this for the judges, and these days, digital philatelic studies are gaining a standing of their own, well, maybe you pay attention to the rules of philatelic literature judging found on the APS web site stamps.org/directories/dir_lit/litjudging.pdf. Additional resources for a DPS are the Mega-Event Digital Philatelic Study rules www.asdaonline.com/index.php?id=65 and various article in ‘The Philatelic Communicator‘, journal of the Writer’s Unit 30 www.wu30.org of the APS.

For the most part however, this is a very personal and creative exercise. Now is your chance. Organize your study in your fashion and get things done right!!

Effort

A project will absorb as many hours as you’re willing to put into it. If you’re like me, time gets away from you and before you know it – geez is it time for dinner already? I now limit my sittings at the computer screen in terms of minutes and my eyes thank me for it. (I cheat a little as I don’t limit the number of times I can sit there each day.) There are no rules that say I have to be on the computer every day, so I can build the study as suits me time-wise.

That said, you’ll likely put a reasonable amount of time into building your new study. At first it may appear to be an unending task and essentially, it could be, depending on what you wish to achieve – study or full blown philatelic reference. As I said earlier in Dream, Questions and Goal, choose your subject carefully so a useful result is possible. Any basic study can always be expanded by adding new discoveries to its content and depth to the support information making it ever more comprehensive.

Philatelic items, background text and support graphic.

Payoff

The real payoff is in the organization of your data. You’ll gain immediate access to the information, without looking through a bookshelf, and as you continue adding, the smaller bits of data won’t get lost. The effort will shine most brightly when you perform a search for a key word and let the document do the work for you.

A second and perhaps more personally beneficial payday occurs when someone you don’t know sees your study and contacts you with information you’ve either been unsuccessful in finding or didn’t know about. Sharing information is now possible with less effort than ever before. Digital documents are very portable and quite easily transmitted anywhere in the world via a quick e-mail message or posting to a web site.

How about sharing your information source with your friends, local club, specialty society or even at a national convention as a public presentation? Helping others expand their knowledge is also an honorable goal and perhaps a kindred heart may be found to boot.

The latest development on the DPS front is promotion of the medium by the Mega-Show in New York. Participating in a competition may be an option for your newly minted digital philatelic study.

As you’ve read this far, you’ve completed a portion of the planning process discussed above, so grab that notebook and start writing down those ideas.

Structure and Content

Fran Adams

Structure is good, but without logically aranged content, it’s nothing.

Level 1 – ‘Splash’ (Title) Page

The ‘splash’ page of the study is at the apex of the pyramid, the main entry point for the study. A ‘splash’ page is exactly that – you want to make a memorable first impression. A good first impression utilizes a clean design where the subject is immediately recognizable. You do not have to incorporate the latest technological innovations to make it a good experience.

The judicious use of graphics, a prominent title, perhaps a subtitle as well as the purpose and objective of the study is what we’re aiming for. At the bottom of the page, include a footer area with a copyright notice and a version number or revision date. More information could be added, but the goal is to keep it simple and attractive. The viewer should look at the ‘splash’ page and be intrigued enough to want to see what follows.

Level 2 – Introduction and Table of Contents

A more complete introduction than is found on the ‘splash’ page is an important item on my personal list. This is the answer to the title page teaser and should make viewers hungry for the remaining pages by giving them the complete storyline in short-form. That’s not to say your entire story should appear on this page, but a detailed overview of the study is appropriate.

Some exhibitors may not agree with this view, but keep in mind that this is not a philatelic exhibit. It’s a digital study and therefore needs more depth than can be afforded in the exhibit frame simply because it presents depth in the subject and is not restricted by physical boundaries.

A table of contents or index is important somewhere in the study and you may have both. I personally like both as it increases the viewer’s ability to find information quickly. A table of contents consisting of bullet points and a few words describing each bullet point is informative and short. It can be constructed by selecting several of the ordered ideas from your notebook exercise. Produce the bullet points by synthesizing each main idea into a word or two, essentially section headings. An index can be included in Level 4.

Level 3 – Philatelic Content

The main philatelic content should follow the introduction and table of contents. Go directly to the substance of the study and give the viewer what they came to see.

What, besides stamps, should you include in your study?

It depends on the type of study, but in general, these are philatelic items you own or aspire to. You can scan your materials and ask if owners of other materials might also provide you with scans. Everyone enjoys having their efforts recognized, so ensuring that owners are recognized as study contributors is key to obtaining cooperation. DO NOT renege on your part of the deal! If anything, give them more credit than they’re due…

My digital reference includes all types of philatelic materials, exhibit pages, checklists, maps, illustrations, descriptive texts, historical documents, postal regulations, etc. Anything you deem appropriate can be used as this is your dream, just remain aware of copyright restrictions.

Be comprehensive by including materials directly associated with the subject. It’s a good practice as it strengthens the study. Correctly and logically arrange the material and allow the focus pieces on a page to shine by not overcrowding them.

A catalog type study is a reasonable place to start and it may actually help you in the beginning. As you develop however, keep your focus! Don’t allow ‘scope creep’ to expand your initial idea beyond your goal, diluting your project so it’s only a “Jumble of Stuff on the Subject of…” When in doubt, leave it out (or consider including it in level 4 as appropriate).

Level 4 – Supporting Information

Below the main philatelic material content is the supporting information section. Support information consists of items such as philatelic articles on the subject, historical and social background information, book and magazine references, a glossary of terms used, short biographies of important people or information on institutions associated with the subject, a bibliography, author credits, contact information, awards won, internet links, administrative information including ‘legal beagle’ notices and a ‘help’ page explaining how to use the study. The list goes on and on depending on your study’s intended purpose.

You’ve read references watched slide shows and listened to experts and collectors present their knowledge during seminars at meetings and shows. You’ve formed a library of books, magazine and newspaper clippings, photocopies and notes. How much time did you spend digging out those references? How difficult was it to find them once you knew they existed? How long does it take to find that little nugget of information you need right NOW in that library?

Including references in your digital study provides solid bedrock for it. Future specialists in your field will appreciate your efforts even if they don’t know you. After all, we’re only caretakers of this material and improving the state of the art is a duty as well as a joy in our hobby.

Structure and Organization

Fran Adams

After a successful week of note taking, let’s organize your dream. You do not have to, nor should you, immediately execute every minute detail you’ve written down.

The Main Ideas

Review your notes and pick out perhaps four or five main ideas and list them in an outline fashion. You should end up with a list of ideas that describe your chosen study in general terms which seem to flow from beginning to end. That’s your storyline.

Build this outline at a high level as it covers the entire study. A valuable tool in evaluating which general ideas should be included is to ask “Why?” Why is this idea so important it should be one of the four? Can it be combined with another into a more general category?

Occasionally, you might wish to include a particularly good idea, but it just doesn’t seem to fit anywhere. Put it aside. Over time, the place for that idea will become evident, and it can be worked into the fabric of the study with less effort. This is a work in progress.

What We Have

This initial planning exercise has resulted in a draft outline of your storyline. The remaining notes concerning colors, style, etc. will be used in our next steps, so keep them handy. We now build a four-level pyramid that incorporates your outline, materials, knowledge, labor and perspective. You may construct a pyramid with fewer or more levels – this exercise will use four.

Pyramid structure with four levels.

A four-level pyramid is the basic digital study structure and should remain flexible enough to accommodate the addition of items at each level. As you add content or points of interest, you’ll find your overall storyline WILL change, so don’t lock yourself into a specific concept.

Watch for opportunities to expand each level with new points of interest, material and knowledge (remember those ideas that didn’t fit before?) This is a dynamic process and it will become more refined as it is implemented.

What comes next?

Digging into the pyramid structure, the subject of our next article.

A Dream + 3 Questions = The Goal

Fran Adams

To realize a Digital Philatelic Study (DPS) you’ll need a dream and a few questions that result in a goal to achieve that dream.

A Dream

This part can be the most fun and picking your subject carefully will allow you to build your study with less effort. Focus on building a clear-cut DPS; your readers will thank you for it. Unless you’re a seasoned veteran, don’t start with the ‘History of the Egyptian Mail Systems’ or ‘Life on Earth’.

Pick a more modest and manageable subject like the ‘Earliest Recorded Pharaonic Letter on Watermarked Papyrus‘ or ‘Piltdown Man’. In both cases, we’re talking about a limited number of items. A single stamp and souvenir sheet depict Piltdown man for instance as an extreme example.

A clearly definable subject is best.

Three Questions

The next step in defining your goal may be accomplished by answering three questions.

1. Why are you producing the DPS?
   Examples: Personal benefit, benefit of others or simply for fun.
2. What will your DPS be used for?
   Examples: Information distribution, a pocket reference or a competitive literature entry.
3. What are you not willing to compromise in your DPS?
   Examples: Quality of information, production timeline or document size.

The Goal

Documenting your goal is a little more difficult than thinking about it. Not difficult from a technical point of view, but difficult from a motivational point of view. Many of us are lazy to some degree, believing we can remember everything we envision and later sadly realizing we’re not further along with the project for lack of this discipline.

So, how do you document your goal?

I suggest using a small notebook. Make legible and coherent notes in it as you daydream your project together. Don’t worry about the sequence or completeness of your ideas at this point. The main thing is to write down your thoughts and ideas – you will sort it all out later.

Take a week.

Think about the study you want to do for only one hour per day that week and write down ideas as they come along. One hour – then detach yourself.

Doing such a time sensitive exercise will keep your mind fresh for that important hour. No fiddling with your notes and remember the most important point – no idea is too dumb – just write, write, write.

A DPS is not a digital exhibit. Open your thoughts process and allow yourself freedom to include ideas, information or materials not normally seen in a paper-based exhibit limited to 16 pages per frame. Now is not the time to be shy.

Notes may include philatelic material, run-of-the-mill points normally presented for the area, as well as more off-beat items such as: artwork and illustrations (printing presses, etc.), information from references, entire articles related to the subject (with permission of the authors), tidbits of knowledge from a friend, one or two colors associated with the subject, ideas on how you wish to present your creation, a theory you have or a question that needs an answer.

This last one can get you further than you might believe.

Limit this phase to seven days as you’ll get nearly 90% of your ideas during this time. The longer the period, the less productive it is nearer the end.

A Few Key Points

Fran Adams

The following are points I’ve come to recognize as being helpful in my efforts to produce digital philatelic presentations. Bear in mind that this list is not all inclusive, nor is every personal opinion included; but, it may be helpful to those starting out with their own digital efforts.

1. The viewer is king: Understanding a viewer’s desire to learn leads to a useful digital reference tool or DPS.
2. Clearly define the document’s title, purpose and objectives.
3. There’s always more to discover and include.
4. Technology is not the enemy – don’t fear it.
5. Don’t be afraid to do things differently.

It’s Not the Same Old Thing

It’s absolutely imperative that the viewer feels they are learning something from your DPS. The document must be useful or it’s simply another piece of information that has no lasting impact. This point is often neglected – the viewer is king and as such, we need to deliver something of value to them.

What am I Looking At?

Be clear on what is being shown. A page stating the obvious is sometimes not so obvious. A good statement will provide the clarity needed.

Clear goals help both the creator and the viewer.

Are We Done Yet?

I’m also not sure my digital reference will ever be completely finished, but that’s inherent in the process of information gathering. There’s satisfaction in knowing I can continue the journey at my own pace and skill level, plus it’s a great outlet for my creative side.

I share my digital reference on the Internet and once in a while, I get an e-mail with information on a new stamp release or some other facet of the area. Other collectors are sharing with me as well.

Fears

The future of Digital Philatelic Exhibiting should be bright, but it’s fraught with fears of Photoshop fakes, concerns of ownership, verification, or just plain reluctance to include this exhibiting method in philately’s future. Digital Philatelic Studies however are, simply put, electronic literature. This new breed of literature has far fewer ‘issues’.

Enlargements should include original sizes.

DPS rules bypass the fears in Digital Philatelic Exhibiting and literature is inherently a collection of information from all sources, regardless of ownership. As the DPS is a completely new development, it owes little to established philatelic competition and can develop on its own terms, changing its rules as appropriate to accommodate the future.

The Incoming Tide

More and more collectors are becoming familiar with computers and more proficient with various software programs. Our ability to share information is faster and easier with higher speed connections to the Internet. The avalanche of digital exhibits and title or synopsis pages being posted to the Web today is a good indication that this medium is here to stay and becoming very popular, very quickly.

With the hobby seemingly diminishing, maybe this is another way to help ensure its future among younger generations. Perhaps digital materials for simple studies might also be offered free through our societies and the participants encouraged to craft them, in their own fashion, into new and exciting formats (kids love computers and being creative!).

With a little luck, it’ll be fun and they’ll continue with more serious projects, building on the experience and methods of others until we finally have Intelligent Digital Philatelic Reference Tools that talk to us and search through libraries, etc. on our behalf.

The dream is there for the grasping. So, when can we look forward to seeing your digital effort?

Planning a Digital Study

Fran Adams

Once a collector turns to exhibiting, the requirement to increase one’s philatelic knowledge expands exponentially, typically as a result of the need to display that knowledge to further an award level. Accumulating reference material is not the goal of the exercise. The references must be organized, indexed and readily available to support your information needs.

Accessibility of information is the most important element and electronic media is one way to make your knowledge requirements quickly available. Digital references can be invaluable information organization tools, especially if they’re portable and cross platform. Once assembled, digital information can also be published for public consumption in the forms of printed matter, slide shows, digital philatelic studies (DPS) or references, distributed on compact disc or through the World Wide Web.

Building a DPS or digital reference requires planning, organization, a logical structure and personal effort. Hopefully, this series of articles will benefit interested readers as they contain steps I’ve found valuable in producing such electronic philatelic presentations and references.

Defining the Project Scope

In 1999, I began with the idea that an electronic philatelic exhibit would be valuable if I could integrate additional information. Thereafter, imagining how comprehensive it could be and what types of data it might include produced a goal of a full-bodied reference machine. As with most labors of love, my visions were greater than my expertise. I was forced to confront unforeseen obstacles but continued as this was something I really felt would be both interesting and useful.

That early digital exhibit has since grown into the proportions originally envisioned and become a digital philatelic reference (Bone and Stone) rather than a 16 page digital exhibit with a bit of support material. I’ve since promised myself that for future projects, I would be more thoughtful in regard to my personal ambitions.

You may be thinking the challenge of building a digital reference is too great a task.If that’s true – you’ve successfully constructed a self-defeating wall – start with individual tasks to achieve the end goal. You’ll be surprised how fast a simple thing grows in the world of digital philately.

Perhaps you also believe you’re unable to do this alone. There are plenty of other collectors interested in sharing information and expertise. Find someone with similar interests whom you admire and would like to work with. Ask if they might be willing to join forces and produce a joint work. If there’s more than only one person, that’s fine. Joint projects can mesh the knowledge and talents of many individuals into a greater whole. (Finally, a use for those techie guys…)

The Nuts and Bolts

The how-to is variable depending on your goal. The items you’ll need are:

Hardware —

1. Computer, and
2. Printer, and
3. Access to a Scanner or Digital Camera, and
4. Supplies — ink, labels, CDs.

Software — Microsoft, Adobe or others

1. Word Processing software (MS Word), or
2. Presentation software (MS PowerPoint), or
3. Page Layout software (Adobe InDesign), and
4. Graphics software (Adobe Photoshop Elements).

Other Essentials —

1. Time — each of us has some,
2. Information and Knowledge — of the subject area, and
3. Philatelic Material — your collection and other images.

All but one of these items is straightforward; most people have misgivings about the second – software. You believe you need to be an expert user of PowerPoint or whatever software you have, right? Wrong.

Doing a Google search for a “free PowerPoint tutorial,” I found a large number of quick lessons that were graphical and free. I’ve used both free and paid (Lynda.com) online graphic tutorials and they do help. Other resources are the local adult education classes, or, if you’re really having trouble and need an in-house expert, ask the grandkids!

Most high-end programs come with online tutorials. The XXX for Dummies series (Wiley Publishing, Inc.) and Visual Quickstart Guides (Peachpit Press) books are also excellent resources.) Another consideration is publication production costs. If you burn a CD for distribution and add a plastic case with a printed label, a single finished CD is less than $3 for materials, including label, printer ink, and electricity.

I’d like to encourage all collectors and exhibitors to share their knowledge by building digital philatelic studies, electronic exhibits, and/or reference documents.

Use the software you are most comfortable with as familiarity, aside from being a main concern, allows you to concentrate on the content. Each method has its benefits and practicalities and learning about the areas you’re not familiar also brings great satisfaction.

DPS Critique – Mega-Event 2007

Bob Odenweller, David Herendeen and Fran Adams

The following is a general letter provided as feedback to the participants of the 2007 DPS Competition.

“The jury for Digital Philatelic Studies (DPS) entered in the 2007 Mega-Event in New York reviewed each submission using the Mega-Event DPS definition as a basis. The jury suggests exhibitors review the following points, in addition to their evaluation sheets, to assist in further developing their entries.

A DPS is NOT a scan of a regular stamp exhibit and is intended to be much more. A DPS is more closely related to an article or research paper than an exhibit.

In an article, the first paragraph establishes the article’s goal and the rest of the article provides further details.

The goal of the DPS must be stated up front and the rest of the DPS must support and illustrate that goal.

A DPS differs from a physical philatelic exhibit in that it is not restricted to a limited space and the content is not limited simply to philatelic material with descriptive captions. A DPS should include more. In addition to story line text, enhanced graphics, references and explanations of terms are expected as supportive information to elaborate on the goal and the philatelic material shown.

A common mistake is to present material like a bulleted slide show. Bullet points can’t convey stories, they’re triggers for you to speak to. When giving a slide show, you have speaker notes used to tell your story to an audience. All that background information is not on the slide you show. The idea is to include “some” of that story line text in your DPS as you’re not present to tell the story.

Don’t be afraid to do things differently, but make sure viewers can read your work. Centering text under an item as a caption is fine. However, would you read a novel with page after page of centered text?

Many facets of a study demand showing details of stamps, etc. Enlarge those details and flaunt your errors and varieties. Ensure that the viewer will be able to visibly recognize what you’ve taken the time to describe. When doing so, give each enlargement its time in the sun. Don’t cram everything on a single page. Making enlargements appear at the reader’s request rather than forcing all viewers to see all details provides the viewer with interactivity and gets them involved with your study.

Take credit for personal research, but give others their due and cite your sources. Showing your research and knowledge is simple – include a bibliography at the end of the DPS. Have a synopsis? Link it in. Did you write the definitive article on the subject? Great; link it in.

A method of tying all this information together must be employed or it’s just a bunch of “electronic stuff.” A single file or a file with links to external files is the best method and a navigation system is required. Using the ‘enter’ and ‘backspace’ keys is fine (please do not disable this function), but employing links to move between sections or pages is better. To help viewers navigate through your study, a description of control mechanisms should appear early in your presentation.

A Table of Contents is a great addition. Link the entries to the main sections within the study. Do you use abbreviations and jargon? How about a page at the end with an explanation of terms, or use of a tool-tip that defines a word when the cursor goes over it? Simply try to help your viewer as much as you can.

Keep in mind what you appreciate in others’ writing. Have someone else review your DPS as a “sanity” check. A non-philatelist can often be most helpful.

Lastly, keep it simple as fancy effects are very disruptive to a viewer and are not required. Many have said this before: “Because you can doesn’t mean you should.”

Respectfully submitted,

DPS Competition

The Fall American Stamp Dealers Association Inc. (ASDA) Mega-Event includes a new form of philatelic competition. Participants may submit a Digital Philatelic Study (DPS). Such studies allow collectors to broaden the basis for the presentation of their research and knowledge and to complete studies which might not be undertaken in the framework of a conventional philatelic display or exhibit. It is expected that such studies will become very popular with collectors and students and will lead to major advances in philatelic research and knowledge.

The DPS accepted for the show will be displayed on both individual computer stations and by public computer projections at the Mega-Event to be held at Madison Square Garden, New York, in October of each year.

Rules and Entry Form for the Fall Mega-Show in New York.

Who may submit an entry and team entries

A DPS may be submitted for entry in the show by an individual who is: over 18 years of age; an emancipated minor; or under 18, with the approval of his/her legal guardian.

Entries may also be submitted by a team comprising no more than four people, each of whom meets the criteria specified above. Each team should have a designated Captain and all communication about the entry and the DPS should be submitted by, and will be sent to, the Captain of a team.

The name of the applicant(s) must be made known in connection with their application, but, at the request of the applicant(s), may be given as an alias in any published communication about the DPS.

Types and number of applications

A specific DPS may be submitted for either the competitive or non-competitive show, but not both.

Anyone who meets the criteria specified above may submit multiple entries for an individual DPS or may be included on multiple team entries or both, but each DPS must be submitted on a separate entry form. A participant may enter no more than three digital philatelic studies (DPS) as an individual or as a team member, but only one entry on which the applicant is listed as a sole entrant or as Captain will be eligible for the first/second place or ‘Most Popular’ prizes.

Applications will be made by means of an official application form that must be received no later than the cut-off date for the given year.

Uses of the DPS

The applicant(s) who submit an entry for either the competitive or non-competitive show give(s) the ASDA the right to present the DPS during the Fall Mega-Event. In addition, applicants have the option to give the ASDA the further rights to reproduce the DPS as a whole or in part in electronic form on the ASDA website or on a CD.

The CD, containing all of the exhibits which the ASDA has been authorized to place on a CD, will be given to the individual participants, and to all team members of the team entries, where they have granted permission for the DPS to be included on the CD.

Technical Specifications

A DPS will be an electronic file or set of files that may not exceed a total of 200 Megabytes. It is recommended that it contain the material that would ordinarily be found on about 20 normal exhibit pages. The file(s) must be in a format or formats such as HTML (with relative paths), PowerPoint, PDF, or Word Documents that can be read or viewed by a Windows browser. It can include text and graphic images, including animation, but, it may not include sound.

The DPS should have a title page that describes the topic of the study and indicates how it should be viewed (scrolled, use of hypertext linkages, Table of Contents in a frame, etc.). DPS that are not easily viewed by a novice computer user may be rejected.

The individual or team of individuals need not own the material that is displayed in the DPS, but must have the legal right to include it in the DPS and allow its reproduction as described above. In addition to currently owning it, they may have scanned it at an earlier point in time when they owned it, may have obtained written permission from the current owner to include it in the DPS, or have obtained it from some public source. Signing the application form signifies that the individual or team has the appropriate legal rights to illustrate all material which is included in the DPS.

Every image that is included, with the exception described below, must have been taken from a real item and an original image of that item or part of that item must be included in the display. The original image is defined as an image that resembles as closely as possible the real item or that part of the real item that is given in the display. The original image may be magnified or reduced in size, but such changes in size must be noted in the text associated with the item.

Additional auxiliary images that are enhancements of any kind of an original image may be included in the DPS as long as the display clearly indicates the original image from which the auxiliary image was derived and specifies the way in which it was enhanced. For example, if a cancellation is lifted from a canceled stamp, then the canceled stamp would be the original image, and the lifted cancellation the auxiliary image. The study would have to indicate both that the cancellation was lifted and show the stamp from which it was lifted.

A constructed image that is one which is created by electronic means and not derived from an extant, real item may be included in the DPS if it plays a critical role in furthering the argument being made in the display. Such constructed images must be labeled as such and the critical point it makes must be clearly indicated. A DPS may be rejected if it makes extensive use of constructed images or if any of the constructed images do not meet the requirements specified above (critical to the argument and labeled as such).

Submitting a DPS

DPS accepted for the show must be submitted on a CD. Applications will be acknowledged as they are received.

Judging of the DPS

Judging of those DPS submitted in the competitive class will be undertaken by a panel of three judges. Several criteria will be assessed including, but not limited to, the intellectual merit of the subject chosen, the methodology of the study, the significance and appropriateness of the conclusions reached, the furtherance of philatelic knowledge and understanding, the completeness with which the story is told and illustrated, the concordance between text and illustrations, and the ease of use by the viewer.

The Jury will select first, second and third place entries. Prizes will be awarded for first place and second place. An additional prize will be awarded to the DPS selected by viewers as the ‘Most Popular’ exhibit.

Designated award certificates will be given to the first, second and third place entries and award certificates for participation will be given to the other individual applicants, and to the Captains and team members of all accepted DPS submitted, including those submitted as non-competitive DPS.

The decisions by the judges shall be final.

For further information, contact Dr. Edward Grabowski at 908-337-0039 (edgpe2003 @ yahoo.com), Richard Maisel at 212-982-6796 (rm3 @ nyu.edu), Colin Fraser at 845-679-0684 (frasers @ writeme.com), or Jim Roselle at 516-759-7000 (joroselle @ erols.com).