Show your DIY album pages

i might be off by one or two


and this is for ALL Sower, ground under feet, mound under feet, and no ground under feet

time.... and some luck

and a lot of stamps to look through!!!

Started to work on DIY pages Luxembourg 1852-1940 ('Eker-style')

They are expensive and I will probably never get them. But there should be a space for them if some of them should find the way to me
It's the style of Jon (blaamand ) and his brother Jens (barbu ) and I have to hear with them if this is is the right way to do it.

For comparison, here is my page of the same series...
I never knew of that variety - no dot! It isn't in my SG catalogue, and of course Scott would never have anything like that listed. Or the shades even! I'll have to re-do that page as I have the 5 øre with & without dot.




erthur , if you have a bunch of holes, let me know, I have a bunch of dupes you may need!

Great Greenland pages erthur and brightonpete 



tobben63 - Very nice work you've done on the Luxembourg pages! As you know I already had the honor to "proof-read" all the pages - and now I really look forward to populating them myself   
(Hope you will forgive me for 'some' constructive criticism ) 



angore - the 'dashed' boxes are for varieties/specialized stuff, and serves 3 purposes:

- to differentiate between what is a "basic collection" (main numbers in fully drawn boxes) and what is beyond (in dashed boxes).
- we plan to include boxes for most varieties, but because of their nature most of them will never be filled anyway. So by having them dashed it kind of excuse the variety boxes being empty and are not giving the glaring appearance of empty spaces/missing stamps
- A 'complete collection' will have the full-boxes filled - any stamps in the dashed boxes indicate a over-complete collection.
Hope that made some sense 

angore - yes, valid point, organizing the varieties separately is a fine solution to. As long as it works for you then no need to make it more complicated   Would love to see examples of how you do it.

The goal of our approach is that the pages will become comprehensive and hopefully serve as a permanent solution, without little or no need to add things at a later stage and more importantly not needing to revisit every time new varieties are obtained. Doing it like we do it obviously creates more work when creating the initial set-up. Fortunately I am in a cooperation with my brother and tobben63, and by sharing the work it becomes achievable. If it was not for such a team effort I would probably have opted for a more manageable solution as well, by having separate pages for such extra stuff. Obviously several pros and cons with each solution. Like you say, we prefer the option to keep sets together, and also prefer it presented in a timeline.

All my custom Great Britain Wildings pages...Steiner style. This has many more than Steiner. I may eventually add thin paper types but did not have a complete list as SG and Scott did not mention them.

Great looking pages angore and brightonpete , well done - quite a few varieties to look for there! 

brightonpete - good thinking, I share your view. Earlier I used to include all the varieties mixed within the basic set. That could get messy and look rather chaotic, so after some trial and error I came to the same conclusion as yourself. So now I've started to first display the basic set on its own, directly followed by a section - or several sections - of varieties of that basic set. If possible on the same page as the basic set when the basic set is not too big. 
This way the basic set will not be 'interrupted' by lots of empty spaces for difficult and missing varieties - and the basic set will appear 'complete' when it actually is completed.

The Small Queens can serve as an example. I've made 7 pages in total for the Small Queens, below is the 2 pages dedicated for the Early Montreal Printings (the 2nd of the 4 printing periods). The 'basic set' in this case is simply the 6 stamps at the top line (in fully drawn boxes). The rest of the two pages are all for varieties of those 6 stamps (thus those boxes are only partially drawn). There are separate variety-sections for shades, for perforation varieties (with some basic shades) and finally a section for vertical wove paper (in various shades and perf's.)





(Sorry, I've shown these pages earlier on this forum, so apologies for showing them again, just found them relevant for what's being discussed now)

Very nice set tobben63, congratulations 😊

brightonpete, that set of fruit definitives happens to be one of my very favorite Canadian definitive sets and your pages are beautiful the way you have them set up. A good reference for me in the future.

I think this is just about done- I have tried various layouts, but this seems the easiest "self-explanatory" in case years from now, anyone asks me, I won't have to go look up the type differences....

the only change I am considering is to just  indicate the 10 c denomination for this page, rather than the 10 centimes to 75 centimes....  in which case I could delete the denomination under each mounting position/box (and the black frame is to allow me some wiggle room attaching the mounts).... Hmmm, and maybe add date of issue....  OK...not quite done

if anyone sees a glaring error, please let me know-  If it passes muster, mounts and stamps and on to the 15c (which is going to be more of a challenge as there are more types with a somewhat confusing assortment of 'identifiers"

I apologize for weighing into this, but I was once a proofreader in an earlier life. Since you said you wanted to finalize this as a template source, let me just suggest a couple of things:

(1) To my eye, there should not be a space in "1 st". It's more customarily "1st". Or, if you really want to get fancy, you can show the "st" in a superscript, so that it's about halfway up the "1":  like "1^st".  It'll likely depend on whether the package you're using for the pages will allow you to do that kind of font work.  (Word does, and this board does, but not sure about your page layout software.)

(2)  In the area in the 2nd column, where you identify the designer and engraver, the spacing between the hyphen and the name should be consistent. There's an extra space in the designer line which is not in the engraver line.

That said, you may have options to create an actual dash, which, depending on the font, is different from a hyphen.   There are typically 2 kinds of dashes commonly available:  an "en" dash (the width of the letter "n" in that particular font), and an "em" dash (the width of an "m" in that font).

Here's an example using whatever the default font in my web browser:

-   hyphen
–  en dash
— em dash

Maybe something like:  

     Design — Louis Oscar Roty   (That's using an em dash.)

If you're on the Apple platform, I'm not sure anymore how you get that character.  (I used Macs back when it was the only option for page layout. but it was a long time ago.)

If you're on Windows, you can find both dashes using the character map.  (Or Google it.)

Just my 2 centimes' worth!

Again, apologies for the drive-by post, and please feel free to do whatever works best for you!




    

And please excuse my own errors. I've been up for about 20 hours, and have got to crash

To have othes to review your work is great. I have Jon (blaamand) and Jens (barbu). Jon can manage to write a half book of critics on 8 pages I present for him 🤣🤣🤣🤣
But I'm grateful that they take their time. Learn from the best 👍