Greyscale texture drawing superimposed over the background photo to enhance all visible details on the Roman murals
Continued from PART SIX...
The Pharaonic relief carvings were indicated on multiple layers according to the regular digital Chicago House Method, with one unique difference: all these layers were represented in a light gray tone to keep them in the background and emphasize the fresco. By tweaking layer opacity, the same black brush stroke could be used on all elements, while a layer’s prominence could be changed at any time. With such flexibility, any data from this complex pool could be emphasized or omitted, making the file an unprecedented compilation of visual information.
In the end, there became two important components of the Survey’s publication of the Roman murals:
- First, a thorough photographic recording intended to provide the most complex library of hues and shades applied by the ancient artists on the wall.
- Second, greyscale texture drawings to enhance the visible details and present all remaining traces of pigment on the walls, deliberately omitting any undesirable surface interferen
However, when assembled to integrate with the entire wall section, the fresco's sporadically preserved sections appeared disconnected, like separate islands on the wall. As a solution, a single weight line drawing of the Pharaonic background relief's essential components was created to provide a unified background and hold the composition together. This discreet line drawing was confined to the carved lines' representation, distinct from the strip around the fresco edges. No damage or plaster was included, while the detail level was kept to a minimum, creating a lightweight wall map of the Pharaonic decorative program for each wall.
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