Adobe Systems Inc., the maker of popular digital design programs for creatives, is planning to launch the full version of its Photoshop app for Apple Inc.’s iPad as part of a new strategy to make its products compatible across multiple devices and boost subscription sales.
On October 15, Adobe unveiled Photoshop CC for iPad, one of the most ambitious third-party software projects we’ve ever seen for iOS. With such a long history on the Mac (Photoshop 1.0 for Mac OS was released in 1990), conquering Apple's tablet is going to be a huge opportunity for Adobe and creative professionals alike.
Adobe’s most popular plan, which includes Photoshop CC, digitalEPIGRAPHY’s choice of software for digital inking, will be sold in some areas (excluding Europe, the Middle East and Africa) for $14.99/month in the next week.
The most recent iteration of Apple’s iPad Pro line was released exactly four months ago, on the day our website went live. The new, radical form factor, the share power of its new processor...
Clicking our way through the many options/tools used in the studio can be rather cumbersome, especially without knowing the right shortcuts and finding an optimal way to execute these commands.
Although we at digitalEPIGRAPHY are committed to the software that works best for our field and studio drawing needs, there are instances when one needs to experiment with alternatives.
Adobe Photoshop CC is a photo, image, and design editing software built for professional designers, photographers, and artists. It is now part of the Adobe Creative Cloud service...
A time-consuming way of merging scans of oversized images involves a lot of manual manipulation by the artist, but it gives a lot more control over the entire process.
Upon upgrading from Photoshop CC 2017 to CC 2018 there are a few differences to be noted regarding to the using of the standard brush tool. There are changes to the brush presets panel, allowing users to manage brush presets more quickly and easily...
When inking large drawings with multiple layers, one can easily get lost in the details. This focus-oriented process often leads us to craft repetitive tasks manually, over and over, until our hands hurt.
Dedicating an entire article for such a nuanced topic might seem like an overkill for some, however, knowing how certain Photoshop brush settings work and understanding how we can tweak these features...
Making a selection before interacting with certain elements of a drawing is one of the most vital tasks anybody who works with visual documentation must learn early on. In the first installment of our new tutorial series...
The following article is going to be a somewhat unusual tutorial as it is aimed to give the reader a sneak-peek into the process of developing a new documentation method.
To be able to effectively use Photoshop in the studio, one needs to create a perfect personal workflow. While the same results can often be achieved by using different methods, the amount of time and effort it takes to accomplish your goals highly matters.
One of the most understated requirements of digital inking is the ability to be in full control of line placement and line quality. Obviously, ink line quality can be altered by several aspects as is often dictated by the publisher’s requirements.
The Epigraphic Survey’s digital inking method involves a set of ink brushes, attributed with certain pixel brush widths. With many recent changes and additions altering brush behavior in Photoshop CC, digitalEPIGRAPHY takes a look at the prospect of updating the Survey’s official ink brushes.
The Warp Transform Tool has been part of Photoshop for a long time, and it had remained mostly unchanged since its introduction until last year, when Adobe updated its Creative Cloud software suite for 2020.
In the following tutorial, we'd like to show you the main differences between several options to disintegrate certain types of pixels, while explaining how to "detach" a scanned line drawing from its background.
In this new tutorial of the Survey's "Tidbits…" series, digitalEPIGRAPHY would like to focus on one of the focal points in rendering raised and sunken relief, namely sun-shadow transitions.
Started with the first epigraphical efforts in Egypt, it has been a natural desire to capture this attribute when represented on a sheet of paper with only two aspects: length and breadth. In the next installment of this series, we'll put relief representation under the microscope.
After our preliminary study was completed, we set out to fully document the preserved decoration in the tomb of Djehutihotep. With originally more than 250 m² of painted surface and a high degree of detail in the decoration, this poses quite a challenge.
Toon SykoraRead more
The Museo Egizio in Turin is home to many famous pieces of ancient Egyptian art. Less known is that the collection also contains roughly 9000 fragments and approximately 230 larger ensembles of New Kingdom hieratic papyri from Deir el-Medina, many of them unpublished.
Elena Luise HertelRead more
The digital epigraphic record in Djehuty’s chapel comprises five phases: photographic documentation, in situ preliminary drawing, initial inking, collation, and final inking. This procedure ensures that the record is faithful and, in addition, that it reflects the artistic spirit that was embedded in the original work.
Méndez-Rodríguez and Ruiz Sánchez de LeónRead more
Back in Spring, we introduced a new series, which would include some of our favorite books regarding the techniques and methods used in creating digital art. Our next entry is Carlyn Beccia’s manual, a practical guide to digital painting with Adobe Photoshop and Corel Painter.
Précis and commentary by Júlia SchmiedRead more
The next entry to Reading section’s series dedicated to creating digital art is a comprehensive guide to the basics of digital painting in Photoshop.
Précis and commentary by Júlia SchmiedRead more