Working on the François-Joseph Navez project with Fien Messens was a rewarding experience that introduced me to various tools and techniques for digital preservation, transcription, and archiving in art history. My involvement centered on the OCMW collection of Navez documents, comprising nearly 300 pages of letters, sketches, and notes from the artist’s archive. This work gave me a hands-on introduction to the processes and precision required for effective digitization.
For the digitization stage, I worked extensively with the Transkribus tent—my first time using this technology. The tent proved invaluable, providing a controlled environment that minimized light interference and enhanced image quality. This allowed us to capture high-resolution images suitable for digital archiving, ensuring that Navez’s work would be preserved with as much clarity and detail as possible. Working with the tent gave me insight into the nuances of archival digitization, from managing lighting conditions to handling delicate documents with care.
In parallel, I conducted Handwritten Text Recognition (HTR) on the digitized letters, using both ‘Transkribus’ and ‘Microsoft Azure HTR’ software. My experience with these tools highlighted how crucial user-friendly and efficient software can be to large transcription projects. Transkribus, in particular, stood out for its intuitive interface and superior accuracy, which greatly reduced the time needed to produce high-quality transcriptions. This process not only enhanced my technical skills in using HTR software but also underscored the importance of accurate transcription in creating searchable and accessible historical records.
One of my key contributions to the project was developing a nomenclature system for the image files. Given the high volume of documents, it was essential to establish a naming convention that would allow files to be easily identified and retrieved. I researched best practices in digital archiving and created a draft proposal, which was then refined with feedback from Fien Messens. The final nomenclature system organized files according to key identifiers such as document type, date, and content category, contributing to the project’s overall structure and ensuring a coherent file management system.
I also had the opportunity to work on various texts and assignments that contextualized Navez’s work and our findings for both academic and general audiences. This aspect of the project allowed me to develop narratives around the materials we were preserving, combining my interests in art history with digital humanities. Writing these pieces reinforced my understanding of Navez’s significance in the neoclassical movement and the broader art historical context of his time.
Overall, my experience on the Navez project was both educational and professionally enriching. From learning to use new digitization equipment and software to contributing to the organizational structure of the archive, each part of the project broadened my skills in digital preservation and archival management. This experience deepened my appreciation for how technology can preserve cultural heritage and underscored the importance of accessible, well-organized archives for future scholarship. I am grateful for the opportunity to have worked on a project that combines art historical research with digital innovation, and I am eager to apply these skills to future projects in digital humanities.