Inking the first panels of the Survey's Roman fresco drawings in the studio using a Wacom drawing display

Here is a special, rather personal post for the last days of Summer - this is a photo from 2013, when I had barely started inking the Luxor Temple Roman Vestibule drawings. My son was born during that Spring and I had no choice but to combine my "fatherly" duties with working on the Survey's various projects. I had just started utilizing digital tools in my studio work, and creating the final outlook for the frescoes was the first real Photoshop challenge waiting to be resolved. ⠀ ⠀

Without getting too sentimental about all these new beginnings, I'd like to point out the advancements of computer technology we all rely on in these pandemic-ridden days. Much has changed in the past 7 years (next week my son is starting school...), however, many of my initial choices concerning methodology, software, and hardware seem to have a lasting effect.

As an artist, I still use Photoshop in the studio, rather than utilizing any of the more popular vector-based solutions. Of course, the driving force behind favoring freehand drawing even in the digital environment is found in the very DNA of the Epigraphic Survey and its attitude towards the monuments. Just like at the beginning, my favorite input device is produced by Wacom, a beautiful, large 4k drawing display connected to a specced out Mac Mini, which serves as the central hub for every task needed to be done off-season.⠀ ⠀

Naturally, I would still be able to ink my drawings without any of these devices, as I did for many years using plain black India Ink and my set of Rapidograph pens. Nonetheless, without digital epigraphy, I would never have been able to recreate the multilayered visual database that is the Roman fresco documentation today. All from the comfort of my room...⠀

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