One of the challenges of epigraphic work consists of essentially converting three-dimensional artwork into a two-dimensional representation on paper (or on-screen). This note summarizes an experiment in solving one aspect of this conversion problem.
Recording Djehutihotep. Digital epigraphy in a Middle Kingdom governor’s tomb at Dayr al-Barsha (Part 1)
Starting in 2017 a team of KU Leuven (Belgium) has initiated a new epigraphic recording of the Middle Kingdom tomb of Djehutihotep at Dayr al-Barsha in Middle Egypt.
Combining digital and traditional inking methods on MHB 122, an obscured scene at the Small Amun Temple in Medinet Habu
This is a study of the multiple drawing processes used by the Epigraphic Survey (Chicago House) to document a pillar scene of Thutmose III Given Life by Amun-Re on the façade of the Small Amun Temple at Medinet Habu in Luxor.
Documenting the Amenhotep III wall scene LD177 at Luxor temple (Part 1) – digital “penciling” and the updated digital Chicago method
In order to reflect the evolution of computerized recording techniques since the Digital Epigraphy Manual’s release in 2014, the Epigraphic Survey initiated an update of its digital documentation guidelines.
Creating the composite drawing of the Bark Sanctuary’s western outer wall in the Small Amun Temple at Medinet Habu (Part 1)
The documentation process for the western outer wall of the Medinet Habu Bark Shrine was fairly complicated, although at first sight the project seemed rather straightforward.
Creating the composite drawing of the Bark Sanctuary’s western outer wall in the Small Amun Temple at Medinet Habu (Part 2)
Digital penciling on site at the doorway was mostly done using the Wacom Companion as the initial tool for capturing the carved lines. First, the shortcuts for Photoshop had to be modified slightly compared to the settings being used in the studio,
Creating the composite drawing of the Bark Sanctuary’s western outer wall in the Small Amun Temple at Medinet Habu (Part 3)
The digital inking process started with upscaling the composite pencil drawing from 400 dpi to 1200 dpi, which resulted in exponential growth in the file size. To keep the drawing manageable while preserving all the layers, the 8-bit RGB file was transformed into 8-bit Grayscale (Image/Mode/Grayscale).