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BAJR GUIDE 32: ARCHAEOLOGICAL ILLUSTRATION – SMALL FINDS

BAJR GUIDE 32: ARCHAEOLOGICAL ILLUSTRATION – SMALL FINDS

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Published by David Connolly
This guide aims to serve as a meaningful introduction to the illustration of small finds, not solely as an academic discipline, but as a discipline operating within a commercial environment.

As such I have written the guide with the following two aspects in mind:

Digital Technology

Few guides to small finds have been written in the past, and those that do were written before digital technology had made a significant impact on the way that archaeological illustrators work.

Collaborative process

Similarly, previous guides tend to make no mention of how important it is to be aware of the fact that the illustrator is part of an integrated process and needs to work within a set budget and does not work in isolation. An illustrator should be in touch with specialists to discuss significant aspects of any given assemblage, a project manager to discuss deadlines, and typesetters to confirm the preparation of illustration ready for submission to journals.

Accordingly, I have made particular reference to both how digital technology can aid the illustrative process, but also how an illustrator does not, (or at least should not), work within a vacuum, and is part of an integrated process.

by Thomas Small MAAIS MIfA of Small Finds & Design.

www.smallfindsdesign.co.uk

contact@smallfindsdesign.co.uk
This guide aims to serve as a meaningful introduction to the illustration of small finds, not solely as an academic discipline, but as a discipline operating within a commercial environment.

As such I have written the guide with the following two aspects in mind:

Digital Technology

Few guides to small finds have been written in the past, and those that do were written before digital technology had made a significant impact on the way that archaeological illustrators work.

Collaborative process

Similarly, previous guides tend to make no mention of how important it is to be aware of the fact that the illustrator is part of an integrated process and needs to work within a set budget and does not work in isolation. An illustrator should be in touch with specialists to discuss significant aspects of any given assemblage, a project manager to discuss deadlines, and typesetters to confirm the preparation of illustration ready for submission to journals.

Accordingly, I have made particular reference to both how digital technology can aid the illustrative process, but also how an illustrator does not, (or at least should not), work within a vacuum, and is part of an integrated process.

by Thomas Small MAAIS MIfA of Small Finds & Design.

www.smallfindsdesign.co.uk

contact@smallfindsdesign.co.uk

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Published by: David Connolly on Oct 24, 2012
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05/13/2014

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 Archaeological IllustrationSmall Finds
BAJR Practical Guide Series
Thomas Small MAAIS, MIfA 
June 2013
Guide32
© held by authors
 
BAJR GUIDE 32: ARCHAEOLOGICAL ILLUSTRATION – SMALL FINDS
by Thomas Small MAAIS MIfA of Small Finds & Design.www.smallfindsdesign.co.uk contact@smallfindsdesign.co.uk 
 
Introduction
 This guide aims to serve as a meaningful introduction to the illustration of small finds, not solely as an academic discipline, but as a discipline operating within a commercial environment. As such I have written the guide with the following two aspects in mind:
Digital Technology
Few guides to small finds have been written in the past, and those that do were written before digital technology had made a significant impact on the way that archaeological illustrators work.
Collaborative process
Similarly, previous guides tend to make no mention of how important it is to be aware of the fact that the illustrator is part of an integrated process and needs to work within a set budget and does not work in isolation. An illustrator should be in touch with specialists to discuss significant aspects of any given assemblage, a project manager to discuss deadlines, and typesetters to confirm the preparation of illustration ready for submission to journals. Accordingly, I have made particular reference to both how digital technology can aid the illustrative process, but also how an illustrator does not, (or at least should not), work within a vacuum, and is part of an integrated process.
Case studies
I provide two examples of small finds illustration that I offer as case studies: A medieval bone comb, and a clay smoking pipe. The process of measuring and illustrating these objects is extensively illustrated, and by applying the principles demonstrated, the reader should achieve a good understanding of how to tackle any small finds that they may be required to draw.
BAJR GUIDE 32: ARCHAEOLOGICAL ILLUSRAION – SMALL FINDS

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