[Editor's note: This class was originally published by the National Philatelic Museum in 1952. It is an article of historic importance---coming from one of the world's most respected stamp designers.]

It is not an easy task to explain just what a designer does to perfect a stamp design as artists are so busy with the work at hand that they have no time to analyze their way of working.

However, I will begin by saying that the prelude to a good postage stamp design is a 'good idea-the better the idea the better the chance of turning out a good design.

A design is essentially an arrangement of details according to a definite plan, actually, a design is the development of an idea.

When a postage stamp designer starts with an idea furnished by a postal administration or by a special group interested in promoting a stamp, his task is limited to following instructions and to bringing out the idea in pictorial language as clearly and effectively as possible. But when it is left up to the artist to supply an idea there is a different problem.

Ideas are fleeting things like a rare bird or exotic butterfly; they make their appearance when least expected. You might say they come "before you start thinking" for they cannot be forced. This is inspiration-the most valued, and yet the most volatile element in all art.

Once the inspiration enters the artist's mind its development is dictated by good taste and practical considerations. Ideas may come to an artist full-blown, or they may go through a series of changes and adaptations before they crystallize as the design that satisfies the creator and the committee that gives final approval.

Stamp designs have a way of taking on a symbolic meaning even where symbolism is not intended. Symbolism is the best means we have ever found for preserving the essence of an idea. It is important, therefore, for a designer to arrange the elements that must go into a stamp, namely: the vignette, the legend, and the value in a manner that will not invite criticism nor ridicule.

Symbolism in stamps is derived, in part, from the fact that postage stamps generally commemorate an historic event or perpetuate the memory of someone who is an inspiration to both present and future generations.

One of the strongest attractions stamp designing has for an artist is the fact that his work shares the immortality of the stamp. That is why, I believe, all postage stamp designers take their work seriously. They realize that their artistic achievements as well as their failures will be perpetuated. Self-consciousness, however, is bad for an artist. He must be concerned only with the problem at hand and forget that the world is looking on. No greater joy can come to a designer than to see his pictorial message translated into words and described by total strangers.

Stamps are issued with a definite purpose; each has a message to convey to the greatest number of people. Sometimes, as in the case of United Nations postal issues, the message is intended for the entire world. It is important, therefore, under such an assignment, for the artist to subordinate his ego and to try to express the aspirations of mankind.

Curiously enough, originality, the rarest gem in all art, is not the result of clever tricks but rather the logical solution to a given problem. In this regard the stamp designer is akin to the inventor; if the problem is solved, the postage stamp design could be no different. It is a case of design following function---it is as simple as that.

Much to the surprise of some philatelists, I am not a stamp collector and when I search for an idea I do not begin by rummaging through other artists' designs. To me, each postage stamp is a new problem requiring a fresh start. It is necessary, however, to keep in touch with the work of other stamp designers, or to run the risk of repeating ideas that have been used before or, to be left behind by more progressive exponents of philatelic art.

One of the characteristics of modern art in postage stamps is the absence of what were commonly known as "designers' aids," such as, frets, acanthus leaves, etc., generally used to fill awkward corners. The present day designer uses them very sparingly or if possible, not at all. He uses elements that are directly related to the idea and develops his design into a decorative whole, endeavoring to get the most out of the available space in terms of clarity of message, visibility and display value. This is called visual impact.

If I may be allowed to describe a specific case, I will outline how my "Human Rights" stamps [see illustration at right] came into being and will enumerate the steps that led to the crystallization of my original idea.

My first thought came out of the blue while I was riding in the subway. I visualized a human figure, naked from the waist up, with hands outstretched reaching for a star which symbolized liberty. This visual was crudely outlined on a United Nations envelope with a fountain pen.

The next step found the prospective design on tracing paper. It showed the star with the U. N. emblem in the center. The human figure was reduced to two hands. The earth was added at the base.

In the third stage, the star was eliminated because of a mechanical hazard the words "Human Rights" (an obligatory element of the design which was to appear in the five languages of the United Nations) could not be fitted into equal space because of different spellings. This was changed, therefore, to a gleaming sun, where the U. N. emblem could be made larger and the "Human Rights" legend, which followed a circle, could be spaced regardless of the number of letters each language required.

Task Finished
The fifth stage showed the design in a comprehensive form. It was executed in lead pencil, in great haste, and mailed just the night before the contest closed.

As is my custom when I enter a competition, I did my best; then I left everything "in the laps of the gods." So when the winners of the contest were announced and my name was not mentioned, I took a trip to Mexico to spend Christmas with my family, and I tried to forget about the matter.

Upon returning to New York in February, it was a pleasant surprise to find, after opening a package containing the rejected design, that there was a typewritten note at the foot of an accompanying form letter thanking losers for their efforts. The note, signed by Reidar Tvedt, Chief of the United Nations Postal Administration, advised the writer to keep the "Human Rights" design for further reference.

Revisions Suggested
Soon afterwards, I was asked to resubmit the design with a few suggested revisions. The first was that of replacing the U. N. emblem with the "Human Rights" ring and flame (created for the first "Human Rights" stamp by H. Woyty-Wimmer and now adopted as the permanent "Human Rights symbol) and eliminating the earth at the bottom of the design. The second was the removal of the numerals I had placed at each end of the four corners of the vignette in an effort to convert the legend "United Nations" (in five languages) into a frame surrounding the stamp. This was also intended to keep the denomination value away from the vignette, but it gave the whole a cluttered effect.

Much credit is due to Mr. Tvedt, also, Juan Juta, of the United Nations Department of Public Information, an artist in his own right, for seeing the possibilities of the design and for correcting this error.

The numeral was placed at the upper right hand corner to avoid its coming near the outstretched hands. With these revisions, the sixth step was completed and the sketch was approved.

Designed by Helguera, here is one of the original artist renderings of one of the first UN postage stamps issued in 1951.

A model in wash by Victor McCloskey, Jr., after a presentation drawing by Helguera. It was used as a guide in designing the stamp that, in 1947, honored the 100th anniversary of America's first postage stamps.

The envelope model which was remodeled for the typographic and embossing process which is employed in the production of stamp envelopes.

Leon Helguera's finished drawing for the United Nations Human Rights issue of 1963 (referred to in the accompanying course at left).

The Technical Assistance issue of the U.N. which was designed by Helguera's friend, Olav Mathiesen.