When in 2009 the author was entrusted with the mission of producing a catalogue of the coffin sets of the so-called "Eighth Lot of Antiquities" from Bab el-Gasus (Sousa 2017), he could hardly imagine that this would be a turning moment of his life as a researcher.
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.
Any kind of visual interpretation, either being a color rendering of a wall painting or a modeled three-dimensional view of an object, must be tailored to the audience and to the purpose of the actual drawing, whatever the range of technological aids available at the moment.
In the following article, we shall continue exploring new ways of enhancing our traditional documentation techniques in a meaningful way, this time mostly concentrating on the artist’s work in the studio.
In this new series of tutorials, digitalEPIGRAPHY would like to draw your attention to the importance of stylistic accuracy in epigraphic documentation by focusing on the representation of a common feature, the human ear.
I’ve used a few different drawing displays in the past years and one aspect of their design stayed consistent: they had large, spacious screens, at least 20 Inches in diameter. I loved my first Cintiq 21UX just as much as the Cintiq 22HD I used in Egypt.
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...
As it was already explained in the first edition of the Digital Epigraphy manual, Photoshop is our choice of quintessential tool when it comes to digital inking in the studio. We paint most of our brush strokes freehand using very little artificial help.
