Digital Epigraphy (Second Edition)Chapter 2 – Drawing Conventions
Chapter 2, Section 1 - Basic Techniques
Written by W. R. Johnson, M. De Jong, S. Osgood, and K. Vértes
The Epigraphic Survey’s standard ink-line weights
Note: Shadow line diameters will vary depending on the scale of the drawing; the above is intended to be a general guide only and is flexible. For instance, some very small scale hieroglyphs or other details often require an even thinner shadow line than a 0/.35 (grey).
Sun line weight is always 4x0/.18, regardless of the scale of the drawing and Trace/Damage lines are always done with a 6x0/.13 pen. Paint lines are most often 6x0/.13 but in unusual cases can be 4x0/.18 when required for clarity.
The mechanical pens of choice are Koh-i-Noor Rapidograph pens. The ink that best survives the bleaching process is Koh-i-Noor 3085-F Ultradraw Ink, Non-clogging Waterproof Drawing Ink for Paper, that should be purchased fresh at the beginning of each season, at least one ¾ fl. oz. (22 ml.) for each artist for each six-month increment of work. Old, unfinished bottles should be thrown away at the beginning of each season or used for personal work.
Note: When inking on Dendril Multi-Media Vellum (used extensively for Colonnade Hall plates) use Koh-i-Noor 3071-F Acetate Ink, Waterproof Drawing Ink for Acetate and Film. Regular ink does not adhere to the vellum.
Raised Relief:
The hypothetical sun is always from the upper left
The transition between sun and shadow lines occurs at a 45-degree angle to the ground line (sun line = upper left, shadow line = lower right)
Outer corners of shadow lines should be nicked at a 45-degree angle
Interior shadow lines are generally 1/2 to 3/4 the diameter of exterior shadow lines
Sunk Relief:
The hypothetical sun is always from the upper left
Exterior shadow weights are the reverse of raised relief (shadow line = upper left, sun line = lower right); the transition between shadow and sun lines occurs at a 45-degree angle to the ground line
Interior details are rendered in the Raised-Relief Convention; Interior shadow lines are generally 1/2 to 3/4 the diameter of exterior shadow lines
To download the demonstration materials for this and following Sections, click on the following links:
- Translating three-dimensional relief into two-dimensional pencil/ink lines
- Translating carved lines into inked lines
- Ink line conventions for raised and sunk relief (Hieroglyphs)
- Ink line conventions for raised relief (Offerings, Offering Stands)
- Ink line conventions for raised relief (Pillars, Fans, Thrones, Snakes)
- Ink line conventions for raised relief (Birds)
- Ink line conventions for raised and sunk relief (Human Figures)
- Ink line conventions for raised and sunk relief (Sporrans, Sashes, Bull’s Tail Intersection)
- Ink line conventions for raised and sunk relief (Heads, Eyes, Ears, Feet)
- MHB raised and sunk relief samples
*All the explanatory drawings appearing in this article are drawn by W. R. Johnson and M. De Jong and the property of the Epigraphic Survey © All rights reserved.
WHAT TO READ NEXT
Chapter 2, Section 2 - Translating Three-Dimensional Relief into Two-Dimensional Pencil/Ink Lines
Written by Krisztián VértesIn Raised Relief the background stone is removed, leaving the carved hieroglyph or figure projecting above the surface of the wall on a shallow platform stone.
Chapter 2, Section 3 - Archaeological Elements
Written by Krisztián VértesThe carved reliefs and inscriptions which are the focus of the Epigraphic Survey documentation efforts are usually found in an architectural setting (except in the case of decorated block fragments) on interior and exterior walls, portals, columns, four-sided pillars, architraves, and sometimes ceilings.
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