Archaeological Graphics & Illustration

Escaneado en 3D y prototipado de piezas arqueológicas: las nuevas tecnologías en el registro, conservación y difusión del Patrimonio Arqueológico

by José María Tejado

Published in: Iberia. Revista de la Antigüedad, ISSN 1575-0221, Nº 8, 2005, págs. 135-160

Abstract: In this contribution we discuss some questions relative to the use of New Technologies in the scope of the... more Abstract: In this contribution we discuss some questions relative to the use of New Technologies in the scope of the registry, preservation and spreading of Archaeological Heritage. In particular, through the analysis of an example, we display some advantages and disadvantages of using a 3D digitizer (Konica Minolta Non-Contact 3D Digitizer VI-910) in small archaeological objects, as well as the application of the 3-Dimensional Photopolymers Printing System by means of a 3D printer (Objet EDEN 500VTM).

Key Words: Archaeological Heritage, New Technologies, 3D laser digitizer, 3-Dimensional Photopolymers Printing System, registry-preservation-spreading
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Resumen: En esta aportación vamos a comentar algunas cuestiones relativas al empleo de las Nuevas Tecnologías en el ámbito del registro, la conservación y difusión del Patrimonio Arqueológico. En concreto, a través del análisis de un ejemplo, vamos a presentar algunas ventajas e inconvenientes del empleo de un escáner 3D (Konica Minolta Non-Contact 3D Digitizer VI-910) en pequeños objetos arqueológicos, así como la aplicación del prototipado rápido por medio de una impresora 3D (Objet EDEN 500VTM).

Palabras clave: Patrimonio Arqueológico, Nuevas Tecnologías, láser escáner 3D, prototipado rápido, registro-conservación-divulgación.

Moche-Vasenmalerei und hypothetische Rekonstruktion von Zeremonialszenen

by Christiane Clados

http://www.famsi.org/research/nasca/index.html

http://research.famsi.org/nazca/nazca_list.php?_allSearch=&clnum=&hold_search=&edit.x=33&edit.y=15

Master thesis 1997.

Focus on the analysis and 3D-visualization of ceremonies as seen in Moche... more Master thesis 1997.

Focus on the analysis and 3D-visualization of ceremonies as seen in Moche multifigural vase paintings. The reconstruction drawings are based on iconographic, archaeological, ethnohistorical and ethnographic evidence.

Reconstructing the Pre-Columbian World

by Christiane Clados

Images and parts of text used in:

http://www.lindakreft.com/home.html

Text was finished in 2003. Paintings are done in oil and acryl, and were finished in 2004. Text was finished in 2003. Paintings are done in oil and acryl, and were finished in 2004.

Introduction (Picturing the Past)

by Jack Green

In: J. Green, E. Teeter and J.A. Larson (eds.), Picturing the Past: Imaging and Imagining the Ancient Middle East. Oriental Institute Museum Publications 34. Chicago: The Oriental Institute at the University of Chicago. Pp. 13-23 (2012).

This essay reviews the content and range of the images, models, reconstructions of ancient Egypt and the Middle East... more This essay reviews the content and range of the images, models, reconstructions of ancient Egypt and the Middle East featured in the 2012 Oriental Institute exhibition "Picturing the Past." This chapter explores approaches to images and visual culture; the image creators - architects, artists, photographers; the restoration process - with reference to Khorsabad; representing people of the Middle East - with reference to photography and illustration; physical and virtual heritage - site conservation, and the role of virtual and augmented reality.

Qué hacer con un modelo arqueológico virtual. Aplicaciones de la inteligencia artificial en visualización científica.

by Oriol Vicente Campos

Cauthored with Joan Antón Barceló. Published in Virtual Archaeology Review

For years, artists have collaborated with archaeologists in order to “reconstruct” all those ancient things not... more For years, artists have collaborated with archaeologists in order to “reconstruct” all those ancient things not preserved in the archaeological record, and they have provided archaeologists with artistic depictions of the past. Regrettably, modern “computer visualizations” do not modify this attitude. There are thousands of “computer reconstructions” of ancient monuments and prehistoric objects available today, but most of them are absolutely useless. Alternatively, we propose a different approach where computer visualization is defined as the automatic logical deduction of visual properties of three-dimensional objects instrumentally acquired. A general framework inspired in modern artificial intelligence is here proponed.

Key words: ARCHAEOLOGY, VISUALIZATION, ARTIFICIAL INTELLIGENCE, SIMULATION

Eyckerman, M. & Hendrickx, S., The Naqada I tombs H17 and H41 at el-Mahasna, a visual reconstruction [in:] Friedman, R.F. & Fiske, P.N. (eds.), Egypt at its Origins 3. Proceedings of the International Conference “Origin of the State. Predynastic and Early Dynastic Egypt”, London, 27th July - 1st August 2008. OLA 205. Leuven: 379-429

by Stan Hendrickx

When working at Abydos during the last months of 1908, E.R. Ayrton and W.L.S. Loat were informed about a cemetery... more When working at Abydos during the last months of 1908, E.R. Ayrton and W.L.S. Loat were informed about a cemetery being looted at nearby el-Mahâsna. They visited the site and identified it as a Predynastic cemetery, which they subsequently excavated in January 1909. As usual for the time, only the most important finds were described or illustrated in the excavation report. The objects themselves were distributed to a number of museums, amongst them the Egyptian collection of the Royal Museums for Art and History in Brussels. Fortunately, the contents of individual tombs seem to have been kept together during the distribution, and the Brussels museum received nearly all of the objects from Tombs H17 and H41. Tomb H41 was one of the richest in the cemetery, containing among other significant objects, a very interesting human figurine. The material from Tomb H17 includes a palette with lightly engraved decoration, which was unnoticed by the excavators. The inventories of the two tombs are discussed with particular attention given to their visual presentation. For this purpose, parts of the tombs are reconstructed in drawing, using the published photographs in combination with the actual objects in Brussels. The reconstruction of the figurine from Tomb H41 is of particular interest in the context of the recent discoveries in the settlement of el-Mahâsna.

More than meets the eye: new recordings of megalithic art in north-west Ireland.

by Guillaume Robin

(Hensey, R. & Robin, G.). Oxford Journal of Archaeology 30: 2 (2011), 109-130.

In this paper new and previously known passage tomb art in north-west Ireland is recorded using an innovative... more In this paper new and previously known passage tomb art in north-west Ireland is recorded using an innovative recording technique. The use of this method, which involves vector drawing from digital photographs taken with oblique lighting (VeDPOL), has clarified and increased the instances of megalithic carving in the north-west of Ireland. At two monuments – Listoghil and Heapstown Cairn – the new recordings have allowed us to contextualize the art within the broader corpus of passage tomb motifs. Additionally, it is proposed that one of the carvings from Listoghil is of later prehistoric origin and not Neolithic as previously believed. Finally, and most importantly, this paper highlights a group of motifs recently found at Cairn B in the Carrowkeel-Keashcorran complex. This discovery demonstrates for the first time that megalithic art was a feature of all four major passage tomb complexes in Ireland.

Eyckerman, M. & Hendrickx, S., Visuele documentatie van de grafmodellen uit het graf van Henu te Deir el-Bersha (Egypte). ArcK, 2 (2008): 80-90

by Stan Hendrickx

In 2007, the intact burial of Henu, a First Intermediate Period official (ca. 2050 BC) was found at Deir el-Bersha... more In 2007, the intact burial of Henu, a First Intermediate Period official (ca. 2050 BC) was found at Deir el-Bersha (Egypt). The tomb contained a number of funerary models made of wood, representing activities of daily life that should be at the disposal of Henu for his eternal life. Funerary models are a well known type of objects, which are generally published as photo’s and only exceptionally as drawings. However, the two types of illustration are not mutually exchangeable, each of them has its specific possibilities and limitations. Drawings allow, among others, to emphasize important details or reduce the impact of damages. Archaeological drawings of for example pottery are made according to specific principles, which don’t exist for drawing tomb models. Therefore, principles and appropriate illustration techniques were developed for representing the models of Henu. The importance of illustrations is to be considered in the context of the constantly increasing amount of scientific publications, necessitating means for surveying publications without reading full texts. In this respect, specially adapted illustrations offer great possibilities.
[article in Dutch]

Toward a Historical Ecology of Pinniped and Sea Otter Hunting Traditions on the Coast of Southern British Columbia

by Iain McKechnie

McKechnie, Iain and Rebecca J. Wigen
2011 Toward a Historical Ecology of Pinniped and Sea Otter Hunting Traditions on the Coast of Southern British Columbia. In Human Impacts on Seals, Sea Lions, and Sea Otters: Integrating Archaeology and Ecology in the Northeast Pacific, edited by Todd J. Braje and Torben C. Rick, pp. 129–165. University of California Press, Berkeley.

In this chapter, we compile archaeological data on the distribution of pinnipeds and sea otters from archaeological... more In this chapter, we compile archaeological data on the distribution of pinnipeds and sea otters from archaeological assemblages along the coast of southern British Columbia. We evaluate the spatial and temporal extent of human hunting and explore the possible influence humans may have had on this aspect of the marine environment and, conversely, discuss the potential significance that hunting these animals had to First Nations cultures in the region.

The Value and Application of Creative Media to the Process of Archaeological Visualisation and Interpretation

by Alice Watterson

Presenting at TAG 2010 in Session 24 "Thinking beyond the tool: archaeological computing and the interpretative process" on Saturday 18th December in Bristol

For many years illustration (digital or otherwise) and the process of reconstruction have been considered as 'the... more For many years illustration (digital or otherwise) and the process of reconstruction have been considered as 'the final step' or accumulation of archaeological practice, rather than an integral part of the interpretation process (Sorrell 1981). Building upon my own experience as an archaeological illustrator and digital artist, this paper will investigate the potential and application of various creative media (hand-drawn illustration, 3D modelling and animation, virtual reality technologies, etc) to the process of archaeological reconstruction and interpretation.

In order to investigate how archaeological reconstructions are assembled and how the act of assembling them and the consequential output functions as an archaeological interpretative process this paper will consider case studies from my own previous projects. Namely, the great hall reconstruction from Bodiam Castle in East Sussex and the prehistoric ceremonial complex animation at Forteviot, Perthshire as well as discussing the theoretical direction of my current PhD. research.

Visualising the Ceremonial Complex at Forteviot

by Alice Watterson

Presenting this at the Visualisation in Archaeology workshop 21-22 Oct 2010, University of Southampton, in Session 4

The media with which we choose to represent our reconstructions should never be considered a passive device (Smiles... more The media with which we choose to represent our reconstructions should never be considered a passive device (Smiles and Moser 2005), but to what extent does this notion affect an audiences' interpretation and engagement with a site? This paper will consider a series of reconstructions produced using a range of mediums over four years of excavations at the prehistoric ceremonial complex at Forteviot in Perthshire, Scotland. Building upon the author's own experience as an archaeological illustrator and digital artist the reconstructions will be evaluated from a critical perspective.

The role of the stone in Neolithic steles and passage tomb art: case-studies and methods of representation in Ireland and Brittany.

by Guillaume Robin

(Robin, G. & Cassen, S.) In : V. Davis & M. Edmonds (eds), Stone Artefacts as material and symbolic markers in cultural landscapes: an International perspective. Implement Petrology Group International Symposium, York, September 6th-11th 2007. Internet Archaeology 26/27 (2009).

In the last decades, a great interest has been paid to the stone as building material in megalithic monuments and... more In the last decades, a great interest has been paid to the stone as building material in megalithic monuments and several works has been carried out on quarries location or on the monumental and symbolical role of stones in the architectures. However very few works exist on the relations between the parietal art of these monuments and the material which carry them whereas, several studies has been made on the links between paintings and the relief of the caves during Upper Paleolithic.
In Neolithic monumental art, is the stone only a support for the carved motifs ? Is its role only practical, without significance ? Or did it have a more developped function related to the symbolism of the carvings ? In this paper we would like to show through different examples in Ireland and Brittany that the stone do have a role in Neolithic monumental art. Different case-studies show that there are relations between carvings and stone texture, stone colour and stone relief. After the presentation of these case-studies we would like to show how three-dimensional modelling can be a relevant tool for this archaeological question.

Moving the immovable. A short study of methods of recording and illustrating Neolithic engraved steles in Brittany.

by Guillaume Robin

(Cassen S., Martinez P., Robin G., Merheb M.). In: R. Vergnieux & C. Delevoie (dir.), Virtual Retrospect, proceedings of the conference, Biarritz (France), November 8th-9th-10th 2005. Bordeaux: Ausonius Editions (2006), pp. 187-193.

This text is a summary of some known techniques
of three-dimensional representation used over these last years in... more This text is a summary of some known techniques
of three-dimensional representation used over these last years in Brittany by a human science laboratory with more or less success regarding the time/cost/results ratio. We try to take advantage of any technical possibilities available to create digital models of archaeological surfaces (orthostats, soils, tumuli) from existing drawings or by direct recording through different digital techniques: a laser theodolite station, photogrammetry, a 3D model created from digital photographs, and a surface 3D scanner. Four case studies on the Carnac area (Brittany) are summarized.

Recording art on Neolithic stelae and passage tombs from digital photographs.

by Guillaume Robin

(Cassen, S. & Robin, G.). Journal of Archaeological Method and Theory 17:1 (2010), 1-14.

Current research on the carved, pecked, and incised art of Neolithic stelae and passage tombs in Brittany and Ireland... more Current research on the carved, pecked, and incised art of Neolithic stelae and passage tombs in Brittany and Ireland has required the creation of a new method of recording. This new technique has several advantages over traditional recording methods (tracing and rubbing): It is noninvasive and it allows very precise data acquisition, as well as providing an accurate record of the carved representations. The present paper describes the four stages of the process and presents its analytical capacities, using as an example the carved axe from the Table des Marchands passage tomb.