I would not use negative color film. If you use transparency film, and scan that, you will have accurate colors that you can see in the transparency and compare to the final image.
The problem with negative film, is that a lot of scanners have problems with the film profile (orange masking color plus spectral dye distribution) that has to be accounted for to get a color accurate reproduction.
The most common way to copy artwork is with 3200K tungsten lights as the source and Kodak 64T (EPY) film. EPT can be used but the EPY is much finer grain. If you are using daylight balanced lighting, then either Ektachrome 64 (EPR) or 100 (EPN). I prefer the EPN as the EPR always looks a bit "blue" to me.
Tungsten lighting is a lot more predictable to use, unless you are using a fixed copy stand with daylight balanced lights. "Daylight" with strobes, is not quite as easy as using tungsten as the tube color temperature will sometimes vary slightly (depending upon the strobe head design) with the output level.
While tungsten/halogen lights do go redder as they age, they are remarkably consistent until the last 5% of their life. Also, it's easy to see from the lamp when you need to replace it if you're using tungsten/halogen lamps from the deposits on the inside of the glass of the lamp tube.
The inclusion of either a color separation guide and gray scale, or Macbeth chart can aid in final color adjustments for reproduction. However, if you are using a 35mm camera, the best way to do this is to shoot two identical exposures. One with the color charts plus art, and the second full-frame of the art only. Scan both, adjust the color using the one with the chart and use the second full-frame for reproduction.
As always, bracket from -1/2 stop to +1/2 stop. I generally shoot -1/2, -1/3, 0, +1/3, and +1/2 exposures. I'm always a bit surprised at how the color saturation can change as the film will see the paint pigments differently than your eyes.
If your meter is accurate, my guess is the -1/3 will be the one that looks best.
The last thing is to make sure the lighting is even over the piece of artwork. I use a footcandle meter to do this and adjust lighting so that it is within + / - 3fc over the entire image with a lighting level of 300 to 400 fc depending upon the size of the work (dictates how far away the lights are). When I first started copying artwork, I was surprised to see that I was aware of a 10% difference in illumination across the art in the copied image.
Now, if you want to do this down and dirty and still get good results, this is how I'd do it. Take the piece of artwork outdoors between 10:00 AM and noon on a sunny day. Put the piece of art on an easel so that it is fully illuminated by the sun (it should be over either of your shoulders or directly in back of you). This will be the closest to "daylight" color balance. Use the 100 EPN and you'll be very, very close.
I would not use either Astia or Provia as neither is color-accurate. Provia always emphasizes blues & greens, while Astia pushes yellow/green a bit. If you'd like to confirm this it's easy to do. Shoot a Macbeth color chart with Provia, Astia, and Ektachrome EPN; and the EPN will be the winner by far for color accuracy. I've done that as I always test films before I use them, and that's the conclusion I came to through more than one test.
