![]() To avoid distortion, the original bleached enlargement holding the Rapidograph line drawing was used for specifying the context of the color pencil texture. While delivering satisfactory results, using a traditional medium to create these drawings also delineated several difficulties. MHB 95 shows faint traces of the original painted design peeking through a thin layer of plaster cover. ![]() ![]() The drawings, created by using Derwent Artist color pencils on matte acetate paper (mylar), were scanned and color corrected afterwards, in preparation of being published in the Survey’s forthcoming publication, Medinet Habu Volume X. Started in 2011, the idea was to create a graphical representation of all the pigment traces that can be recovered from the surface. As the preservation of painted details on all these pillar faces is very poor, the Epigraphic Survey decided to complement the photographic and line drawing documentation with a series of color pencil studies. The sample drawing used in the forthcoming tutorial is a color pencil representation augmented over MHB 95, a Thutmoside raised relief square pillar face with minimal paint preservation. In this first installment, digital EPIGRAPHY would like to show you how to take a traditional drawing medium, such as color pencil, and turn it into a digital Photoshop toolset appropriated for documenting larger surface areas, while opening a whole new range of possibilities. ![]() Eventually, all the articles appearing in this series will be tied together within a single case study of a color enhanced drawing sequence based on the Ramesside square pillar, MHB 125, at the Small Amun Temple in Medinet Habu. The following article is going to be a somewhat unusual tutorial as it is aimed to give the reader a sneak-peek into the process of developing a new documentation method.
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