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.
Due to centuries of decay and abuse of the monuments, there is one apparent feature that stands out immediately when we look at tomb or temple walls today: the tremendous amount of loss of the original surface.
When we look at ancient Egyptian monuments, color is to be found everywhere. Documenting either tombs, temples or the smallest painted graffito, we must provide a reasonable solution for recording the painted remains of the surface.
Tidbits of the digital Chicago method Part 3 - How to create a better dashed line using Photoshop Dual BrushWritten by Krisztián Vértes
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...
Tidbits of the digital Chicago method Part 2 - Creating and applying a plaster template for digital inkingWritten by Krisztián Vértes
In this second tutorial discussing nuances that are specific to the digital iterations of the Chicago method, we’d like to debate over yet another peculiar surface treatment, the representation of areas obscured by plaster.