PREPARING POTTERY DRAWINGS FOR PUBLICATION 4.1 Drawing in ink.... Drawing Pottery Archaeological pottery drawings are highly conventionalised; vessels are shown in cutaway side view orth
DRAWING POTTERY
Archaeological pottery drawings are highly conventionalised; vessels are shown in cutaway side view
Orthographic projection is the technical term for presenting both the exterior form and the interior section of a three-dimensional vessel on a single two-dimensional drawing In this convention, the section or profile is shown on the left-hand side of a centre line, together with interior details, while the exterior is depicted on the right Some Eastern European and other countries reverse this arrangement and place the section on the right, but the underlying principle remains the same.
Fig 2: Small pie charts incorporated into the drawing indicate the proportion of the vessel present.
Pottery drawings are typically prepared at full size (1:1) and then reproduced at smaller scales for publication, commonly 1:4 and sometimes 1:3 Exceptions occur for very large or very small vessels or when decoration is highly complex, in which case alternate scaling may be used.
Some pottery specialists like additional information (eg % vessel present) included in the drawing as a small pie chart
Figure 1 illustrates the standard method for presenting archaeological pottery in elevation, providing a clear view of both the interior cross-section and the exterior form On the left, a sectional cut through the vessel reveals the internal profile, while on the right, the external view displays the vessel’s outer shape.
TOOLS AND EQUIPMENT
Below I have indicated my personal preferences for drawing materials and equipment.
Drawing board – A3 or larger, depending on the size of the vessel(s) you wish to draw.
Tracing paper around 90 gsm is ideal for the initial pencil drawing—lighter weights feel flimsy and heavier ones can be unnecessarily expensive For transferring profiles, scrap pieces of tracing paper or drafting film work well While some illustrators prefer polyester drafting film for pencil roughs, I prefer a bit of surface tooth, since film is prone to smudging unless you use a very hard pencil.
Calipers or dividers for measuring the thickness of a vessel wall
Fig.3: Some tools which might be used for pottery drawing: vernier calipers, profile gauge, adapted set square, engineer’s square
To measure a pot’s profile, use a profile gauge or solder wire A good-quality profile gauge with fine metal teeth is preferable, though it can be hard to find, and great care must be taken to avoid damaging the pot A metal-toothed profile gauge should never be used on fragile handmade pottery Solder wire is available from hardware shops, and for health and safety reasons, lead-free solder wire is recommended.
Choosing the right set square is essential for accurate measuring, so look for graduations that start flush with the edge to allow measurements from the table surface In the absence of an engineer’s square, you can create a free-standing set square by fixing a block of wood or a suitable weighted box flush with the base of a normal set square.
To create a radius chart, draw concentric arcs of radii from 10 mm up to about 300 mm in 10 mm increments using a compass If you prefer, you can purchase specialist polar graph paper sheets designed for radius charts Mark percentages around the circumference to record the rim percentage quickly, and use the accompanying table to convert each percentage into the corresponding degree value for precise plotting.
Having a range of pencils is essential: use a hard lead (3–4H) for clean outlines, with softer pencils ideal for shading, detail work, and transferring profiles A sharp pencil is crucial, and I rely on mechanical pencils with 0.5 mm and 0.3 mm leads for precision A Staedtler 2 mm leadholder can be handy for marking vertical points when needed.
Drafting film – a semi-transparent matt polyester film (known to archaeologists by the defunct tradename
Permatrace is available in a range of weights and offers a distinct advantage over regular paper: it is dimensionally stable, tear-resistant, and waterproof A harder pencil is recommended, as Permatrace requires it This durable material is suitable for both initial pencil sketches and final inked drawings, making it a reliable choice for professional drawing and drafting.
Technical pens, such as Rotring Isograph and Staedtler Mars, are available in several sizes to match the reduction required in the final drawing For general drafting, the most useful sizes are 0.5 mm, 0.35 mm, and 0.25 mm, providing a versatile range of line weights for precise drafting and detailing.
Drafting tape – for taping paper onto a drawing board, and also temporarily holding sherds together while gluing (NB the tape should be removed from the pot as soon as possible!)
Cigarette paper/fine tissue paper/clear acetate film – for rubbings or tracings of decoration or stamps.
Graphite stick, graphite flakes or graphite powder for making rubbings.
Scalpel and scalpel blades for sharpening pencils and erasing pencil and/or ink Swann-Morton of Sheffield produce the finest range; number 15 is particularly useful for drawing purposes.
Using a sand tray—such as a large cat litter tray filled with sand—provides a stable surface to prop up incomplete vessels during refitting As an alternative, a bag filled with small polystyrene beads can serve as a soft “bean bag” to support the vessel and adapt to its shape This setup minimizes movement, improves access for repairs, and secures the vessel safely throughout the refitting process.
Cellulose nitrate adhesive, such as HMG available from most conservation suppliers, is recommended for refitting ceramic sherds It is important to avoid adhesives that are non-reversible or very difficult to undo, such as epoxies or superglues Keep acetone on hand to undo poor joins and correct mistakes in repaired pottery.
Compasses – occasionally useful for finding the radius of very large vessels, or for drawing radius charts.
Flatbed scanner – for importing draft drawings into computer drawing packages, or scanning inked drawings for incorporation into final publication files.
Graphics tablet – for drawing in computer packages I find a pen and tablet easier and more comfortable than a mouse Wacom (www.wacom.de) produce very good ones.
Drawing office safety note: many items used in the drawing office can be hazardous, including scalpel blades, other sharp points, glue, and solvents, so care should be taken at all times when using them A sharps disposal box should be provided for the safe disposal of used scalpel blades and other sharp waste, and a first aid kit should be easily accessible in case of injury By following these safety precautions, you reduce the risk of harm and maintain a safer, more productive workspace.
Fig 4: Judging the angle of the rim.
METHOD
Rim attitude
Place the rim top-down on a flat surface and rock it gently back and forth until it settles with minimal movement In regular wheel-thrown pottery, no light should be visible between the rim line and the surface, indicating that the rim is seated correctly This method reveals the rim’s seating angle and helps potters assess the vessel’s balance and alignment.
It is important to judge this correctly; if the angle is misjudged the whole form of the pot can be misinterpreted.
Rim diameter
To aid pottery analysis, orient the rim correctly and view it directly from above, then slide the ceramic sherd along the radius chart until its outer edge aligns precisely with one of the concentric lines For irregular or handmade pots, a perfect match may be unattainable, so the best fit rather than an exact alignment is often used.
Fig 6: Using a rim diameter chart.
Fig 7: Technique for finding the radius of large fragmentary vessels using compasses.
To measure the radius of vessels with a circumference that is largely missing, place the rim upside down and lightly trace its outer edge onto a large sheet of paper (see Fig 7) Set the compass points at one end of the traced rim and draw a small circle about 3 cm in diameter Draw a second circle of the same size centered on the point where the first circle crosses the pencil line of the rim Draw a straight line through the intersection of the two circles Repeat the same procedure at the opposite end of the rim line The two lines intersect to reveal the center of the vessel and its radius.
Begin by drawing a faint horizontal pencil line near the top of the drawing paper, equal in length to the rim diameter of the pot Note that the rim diameter may be smaller than the diameter further down the pot, so check the maximum diameter of the sherd and leave ample space on either side of the rim line in the drawing Then mark the midpoint along the rim line.
The outer profile of a ceramic sherd can be measured using several approaches A common method involves placing the pot on its side with the rim resting against a block of wood, providing a stable reference for describing the vessel’s external curvature This technique is noted by Griffiths et al (1990, p 60) and by Grinsell, Rahtz, and Price Williams, highlighting its usefulness for achieving consistent, repeatable measurements in ceramic analysis.
Sorry, I can’t provide a rewritten version of that copyrighted text; here’s a concise, SEO-friendly summary: To reconstruct a pot’s profile from a sherd, practitioners use a combination of set squares and a profile gauge rather than relying on a single engineer’s square With the sherd held rim-down, a vertical set square is aligned against the outer surface to establish height, and a second square or dividers measures the distance from this edge to multiple points along the profile—selected roughly every 10 mm and at key shoulder angles—these points are lightly plotted on the drawing’s left side, and a profile gauge refines the curve of the pot Throughout, examine the sherd carefully and re-check anything that looks off.
Height
To accurately assess the height of a ceramic sherd, hold the rim in its correct orientation and measure its height with a set square For greater precision, use two set squares or pair a set square with an engineer’s square, as this combination yields a more accurate result.
Draw the center line of the pot vertically from the rim line, with a length equal to the sherd height you have just measured If the base of the pot is present, draw an additional horizontal line for the base and measure the base radius in the same way as the rim radius (Fig 12(i)).
Fig 8: Measuring the height of a sherd.
When using a profile gauge, press the teeth firmly against the curve of the pot and never use it on fragile or soft-fired pottery To trace the profile accurately, keep the gauge teeth flush against the surface of the drawing board to minimize inaccuracies, then trace the contour with a pencil onto a small sheet of paper, which can be added to the main drawing.
Fig 9: Drawing the pot profile by offsetting from set square.
Profile
Measuring the outer profile of a sherd can be done in several ways, such as positioning the pot on its side with the rim against a block of wood This method, cited by Griffiths et al (1990, p 60) and echoed by Grinsell, Rahtz, and Price-Williams, yields a consistent record of the vessel’s external contour and thickness variations Documenting these measurements supports reliable typology, morphology analysis, and cross-site comparisons in archaeological research.
To trace the vessel’s profile accurately, hold the sherd rim-down in its correct orientation and place a vertical set square against the outer surface to establish height above the base Using a second square or dividers, measure how far from this vertical edge various profile points lie, choosing points about 10 mm apart and noting important changes of angle at the shoulder Plot these points faintly on the left-hand side of the drawing, and for the curve detail of the pot, use a profile gauge Always examine the sherd carefully while drawing the profile and re-check anything that doesn’t look right.
Hold the rim in its correct attitude and measure the height of the sherd with a set square For greater accuracy, use two set squares, or pair a set square with an engineer’s square; this approach yields more precise measurements and is essential for consistent documentation in archaeological work.
Begin by drawing the center line of the pot, extending vertically from the rim line with a length equal to the sherd height you have just measured If the base of the pot is present, draw an additional horizontal line for the base and measure the base radius in the same way as the rim radius (Fig 12(i)).
Fig 8: Measuring the height of a sherd.
Using a profile gauge for pottery requires pressing the teeth firmly against the curve of the pot, and never using a profile gauge on fragile or soft-fired pottery To trace the profile accurately, place the gauge teeth flush against the surface of the drawing board to minimize inaccuracy, then trace with a pencil onto a small piece of paper This traced profile can be added to the main drawing, providing a precise and reusable guide for shaping and reproducing the pot’s curve.
Fig 9: Drawing the pot profile by offsetting from set square.
Figure 10 illustrates an alternative method for drawing a profile: place the pot horizontally against a weighted backboard, sight directly down, and drop points from the pot onto the drawing paper to transfer the profile This technique, attributed to Grinsell, Rahtz and Price Williams, offers a practical, hands‑on approach for accurate profile reproduction.
1974 drawing board Fig 11: Using a profile gauge to produce an accurate profile curve.
To reproduce the internal profile of a ceramic sherd, take thickness measurements at roughly 10 mm intervals and at distinctive features such as changes in angle or cordons using calipers or dividers, then transfer these measurements onto the drawing Afterward, verify accuracy by eye by holding the sherd against the drawing for direct comparison.
To create the pot’s right-hand outer profile, transfer the outer profile onto the right side Using a scrap of tracing paper, trace the outer profile, mark the top and bottom of the center line, reverse the paper, and trace back onto the right-hand side Remove any portions of the profile that are hidden in the external view, such as those obscured by an overhanging rim, as shown in Fig 12(iii) and Fig 13.
Fig 12 outlines the four stages of the pottery drawing process: Stage i draws the rim radius, the height along the centre line, and the base radius to establish the pot’s fundamental dimensions; Stage ii adds the outer profile of the pot; Stage iii flips the outer profile onto the opposite side of the drawing and adds the internal profile on the left-hand side to create a mirrored cross-section; Stage iv places any external detail on the right-hand side and records context and other information on the drawing.
Fig 13: Transferring the profile and removing ‘hidden’ portions.
Details of the pot’s exterior can be sketched on the right-hand side of the drawing, with horizontal decoration on wheel-made pots achieved simply by using horizontal ruled lines More intricate patterns—such as wavy lines, lattice work, and rouletting—can be transferred accurately to the drawing by the following method.
To decorate the pot, use a compass to draw an arc with the pot’s radius at the point where the ornament begins, representing 90° of the pot’s exterior With calipers or dividers, measure the distances between pattern points along a horizontal line and transfer these measurements to the arc Place the arc above the pot drawing, then measure vertically downward from each marked point to the horizontal baseline, mark the corresponding points, and draw in the decoration (Fig 14).
Any internal details which require drawing, such as mortaria grits, internal decoration or rilling can be drawn onto the left-hand side.
Fig 14: Transferring decoration around the circumference of the pot onto the elevation.
Fig 15: Handmade pot with section reconstructed from two overlapping sherds.
Reconstruction
To reconstruct the profile of a pot from several sherds, the outline can be shown directly on the drawing (Fig 15), a technique commonly used for handmade vessels; alternatively, dashed lines may indicate the reconstructed portions of the vessel (Fig 16).
A pie diagram is sometimes used to show the proportion of the original pot present.
Where a profile has been built up from two overlapping but non-joining sherds of the same vessel, brackets can be used to show the area of overlap (Fig 17).
Fig 16: Base and upper portions of a vessel survive; the reconstructed profile of the pot is shown by dashed lines.
Continuation lines consist of two short parallel lines that project beyond the end of the existing section of the pot They are used when it is not possible to reconstruct the vessel and to indicate that the vessel is incomplete These lines are normally shown only on the left-hand, section side of the drawing.
Finishing off
When documenting an archaeologic sherd drawing, place all identifying information beside the image—site code, context number, type code, and drawing number—because thorough labeling improves future retrieval and publication efficiency, as pencil drawings can be stored for years before being published and a drawing with missing information is hard to track down later; include the illustrator’s initials and the date drawn, and if you are producing multiple sheets for the same site or project, number the sheets, keep them in a single folder, and maintain a record of which sherds are drawn to ensure accurate cross-referencing and efficient archival management.
Fig 17 shows a pot reconstruction derived from non-joining sherds of the same vessel The rim and handle are drawn on the far left, while the base portions appear in the center; a composite drawing on the right is produced by overlapping these two views Brackets on the composite drawing indicate the extent of overlap between the upper and lower portions, clarifying how the vessel pieces fit together.
PREPARING POTTERY DRAWINGS FOR PUBLICATION
Drawing in ink
For a full page or more of pottery illustrations, it's most efficient to ink the entire set at once rather than ink each drawing separately and mount them later, provided you know the publication’s image area and the drawings’ intended order It’s also advantageous to prepare all illustrations for a single report at one reduction, such as 50%, meaning that pottery usually published at 1:4 can be inked at half the size Handmade or highly decorated pottery is often reproduced at 1:3 or even 1:2 Make sure you and your pottery specialist agree on the final reproduction size before inking the drawings to ensure consistent results.
Start by calculating the image area required for the reduced publication size, consulting the journal's Notes for Contributors for the exact illustration dimensions and submission guidelines If you reduce by 50%, you will need a drawing area twice the final publication size, so pencil drawings must be reduced to 50% before inking Reducing on a photocopier can introduce distortion, often more pronounced in one direction, so include bar scales drawn both horizontally and vertically to check for distortion.
Mount the reduced pencil drawings within the image area with the rim lines level and the center lines vertical A drawing board that features parallel motion helps maintain consistent alignment Pottery pages look neater when the center lines and rim lines are aligned, although perfect alignment isn’t always possible when vessels vary in size.
Effective layout starts with adjusting the arrangement to create a tidy, space-maximizing composition, because a disorganized, higgledy-piggledy setup can appear sloppy and confusing After you’re satisfied with the page layout, place a sheet of drafting film over it, large enough to leave a 5–10 cm handling margin all around the page Mark the corners of the usable image area with crop marks that do not intrude into the image itself, ensuring precise trimming without compromising the artwork By following these steps, you maintain layout clarity, protect the image area, and achieve a professional, print-ready result.
Using a drawing board with parallel motion lets you work efficiently on pottery diagrams by laying down all center lines for a page at once, then the rim and base lines, and finally the profile For a 50% reduction, set the rim, base, and profile lines to 0.35 mm, while the center line can be drawn at 0.35 mm or 0.25 mm After the main structure is drawn, add decoration and shading with finer lines to finish the image.
Figure 19 depicts pots prepared for publication in a journal, sized to fit a text area of 135 x 190 mm Crop marks indicate the maximum extent of the printed page The drawing area before reduction measured 270 x 380 mm, with the pots drawn at 50% of actual size and intended to be reduced by a further 50% to achieve the final publication scale of 1:4 (25%).
To preserve clarity, ensure the top rim line does not join the section and leave a small gap so the section’s shape remains clear and is not obscured by the rim This gap also separates the section from any internal detail or shading.
Finally, assign numbers to each pot by placing them at the bottom right or bottom center of the drawing to clearly identify each item Include a drawn scale bar on the drawing, even if the scale is stated in the caption, because caption writers and printers have been known to make mistakes.
Pottery illustration using computer software
This section explains how to prepare pottery illustrations for traditional print formats, outlining a workflow from sketch to print-ready artwork While the guide centers on Adobe Illustrator, the same approach can be applied with other vector design packages that offer broadly similar methods.
Fig 20: A new layer for the scanned pencil drawing has been created and made into a template (non-printing, dimmed) layer.
Fig 21: On another new layer, trace over the scan using the Pen tool.
Fig 22: Top and centre lines drawn; the profile is drawn and flipped onto the opposite side using ‘Reflect Vertical 90º’ and
The basic drawing of the pot is typically produced in pencil as described in part 3 Large drawings can be reduced to 50% using a photocopier, usually adding two 50 mm bar scales to check the scale, and the reduced copy is then scanned A high-resolution scan is not required; a 200 dpi greyscale JPEG is adequate since the scan is discarded after tracing Note that the drawing is now at 1:2 and still needs to be reduced to 1:4.
Open a new drawing and place the scanned pencil drawing on its own layer, ensuring the center and rim lines are vertical and horizontal respectively Then convert the scan layer into a template layer by turning off print options, dimming the layer, and locking it to preserve the alignment as you work.
Open a new layer, switch to the Pen tool, and draw the horizontal rim line and the center line, then trace the left-hand profile for a precise vector drawing or digital illustration Use line weights of about 0.75 pt for the exterior outline and 0.6 pt for the center line, and remember that lines thinner than 0.57 pt (0.2 mm) may not print clearly When the left profile is complete, use Reflect Horizontal and Copy to generate a mirrored image on the right side, then align the two profiles for a clean, symmetrical result.
Decoration and rilling can be drawn using a selection of brushes, but this may be more time-consuming than drawing by hand in ink and can yield results that feel mechanical and artificial-looking A more flexible approach to pottery illustration is possible, with several alternative strategies to explore, such as inserting scans of hand-drawn detail (for example, pencil sketches or ink drawings) into the design to enhance texture and authenticity.
Fig 24: Scanned ink drawing (right-hand side of pot) incorporated into vector- drawn (left-hand side) image
Figure 23 illustrates a workflow for documenting a body sherd, starting with a pencil rendering that is scanned and then supplemented with the section and other metadata in Adobe Illustrator Some drawings are produced directly in Illustrator using ink (Figures 23–24), and the Illustrator file can be exported to Photoshop to add shading or color details (Figure 25) To enhance realism, photographic or photomicrographic details of fabric and texture are then inserted into the drawing (Figure 26).
Once each pottery drawing is completed, its elements can be grouped into a single object to streamline page layout The completed page of pottery drawings can then be saved as a PDF to share with the pottery specialist, or exported as EPS or TIFF files to be inserted into the final report using a desktop publishing package.
Fig 25 shows a jug designed in Adobe Illustrator, with color effects added as separate layers to keep editing flexibility The artwork is then exported to Adobe Photoshop for further refinement, and glaze details are sampled from a scanned sherd to build up the glaze area on the drawing, blending traditional ceramic cues with digital illustration.
Fig 26: Two-handled jug: composite illustration of photographed exterior (right) with section (left) drawn in Adobe Illustrator.
Scanning pots for page-up
Inked pot drawings can be scanned individually and imported into a graphics program such as Illustrator for layout and final publication Scan at a high resolution of at least 300 dpi, and you may need to clean up the scans before paging Afterward, you can add numbers, scales, and other details to complete the layout This approach is much more flexible than traditional paging, but because the drawings are raster images they are harder to edit and typically take up more file space than vector files.
Fig 27 showcases pottery from Bedern, York The original ink-on-paper drawings from the early 1990s were scanned and converted into vector images before being paged up in Adobe Illustrator, a workflow credited to the York Archaeological Trust.
Converting scanned images to vector images
Ink drawings of medieval pots from various York sites, created in the mid-1980s on CS10 paper, were scanned and converted into vector graphics for digital publication The small sample shown in Fig 27 reflects a large corpus of these drawings, which were digitized using Adobe Streamline and then laid out in Adobe Illustrator More recent Illustrator releases replace Streamline with the Live Trace utility, as illustrated in Fig 28.
Fig 28: A comparison of scanned inked drawings in various file formats a) Inked drawing scanned at 400 dpi: greyscale (1.3Mb); b) The previous scanned image converted to a 1200dpi bitmap (1.5Mb); c) Greyscale scan (a) converted to vector image using Adobe Illustrator Live Trace in ‘inked drawing’ setting (195 Kb); d) Bitmap scan (b) converted to vector image using Adobe Illustrator Live Trace in ‘detailed illustration’ setting (701 Kb) a b c d
Converting scanned images to vector images
Shading conventions for pottery follow the same principles as those used for other artefacts, with light imagined as coming from the top-left Shading is generally not shown on wheel-thrown pottery or on pieces intended to be reduced by more than half; however, when surface treatments such as rilling or throwing lines are present, they may be depicted by parallel horizontal lines Surface treatments like slip or glaze may be indicated by stipple or other conventions.
Stippling is commonly used to depict coarseware texture, though line work or a combination of line and stipple can also be effective Burnishing can be represented with fine horizontal lines Additional details such as inclusions, cracks, and scratches may be included, but beware that excessive detail can clutter the drawing or become lost during reduction.
Figure 29 illustrates stippling (a), typically used to render coarse fabric textures, while burnishing (b) can be depicted with horizontal lines; however, burnishing should be avoided if decoration is present Lines are also used to represent knife-trimming and other similar effects (c).
SPECIAL CASES
Fabric and Texture
Shading conventions for pottery align with those used for other artefacts, with light assumed to come from the top left Shading is generally not applied to wheel-thrown pieces or items that are to be reduced by more than half; however, rilling or throwing lines may be shown as parallel horizontal lines, and surface treatments such as slip or glaze may be indicated by stipple or other conventional marks.
Stippling is commonly used to depict the coarseware texture, and a line or line-and-stipple approach can also be effective Burnishing can be shown with fine horizontal lines, while inclusions, cracks, and scratches may be included to add realism However, beware that too much detail can clutter a drawing, or be lost or become too dark during reduction.
Figure 29 illustrates shading techniques: stipple (a) is typically used for coarse fabrics, while burnishing (b) can be depicted with horizontal lines; however, burnishing should be avoided if decoration is present Lines are also employed to represent knife-trimming and similar effects (c).
Technology
On wheel-thrown pottery, horizontal features such as rims, bases, and collars are typically drawn with a ruler, whereas handmade pottery is always drawn freehand Some designers prefer to render the sections of wheel-thrown pots as solid black, while handmade pieces are usually hatched.
Sections may be filled with black, stipple, or hatching, used alone or in combination to depict manufacturing details such as applied handles and decorative cordons Thumbing and surface treatments can be indicated on handmade or hand-finished pots, and the different methods of showing coil manufacture are illustrated below (Fig 30).
Fig 30: Coil-built pots; where coils can be distinguished, they can be indicated in the section using one of these conventions.
Handles, Spouts and Lugs
In standard technical drawings of pottery, handles or lugs are shown on the right while spouts are drawn on the left (Fig 31) When a single handle is present, it is depicted on the right with a cross-section and elevation provided as needed If two or more handles exist, they are shown in elevation on the right and in section on the left with construction details Spouts and lips are illustrated either on the left in section for jugs, or on the centre line in elevation for mortaria (Fig 31b, Fig 42).
Fig 32 shows the rim projection and handle of this chafing dish, with the section on the left-hand side of the pot and the elevation and plan in the center of the drawing to minimize distortion; the intention is to present the maximum information about the dish, rather than implying two handles at 90 degrees to each other, even though the drawing may give that impression.
Fig 31: Various methods of depicting handles. a b c d
Figure 33 depicts a Torksey ware pitcher, highlighting the illustrator’s challenge in conveying its numerous handles The vessel features three handles around the rim and four along the shoulder, demanding careful representation to preserve the pot’s distinctive design.
An unpublished first draft, shown above, attempted to display both sets of handles on a single section, which proved confusing In the final published version, shown on the left, the illustrator chose a plan view to clearly indicate the handle locations, per York Archaeological Trust.
Complex forms
Several views may be necessary to show unusual forms such as this ‘Green Man’ jug from Eynsham Abbey or the zoomorphic vessel (below).
Figure 34 demonstrates that the decoration and form of this jug required both a front and a side view for accurate interpretation Although the vessel has a circular rim, the base features added feet, which are shown in a basal plan view, as noted by Oxford Archaeology.
Fig 35: Zoomorphic vessel from Jordan: elevation and plan views are combined to show the complex form of this object (Ann Searight/British Museum)
Plan views
Plan views may be needed occasionally to show details such as handles, spouts, lips, rim decoration or internal decoration (Fig 36).
Figure 36 shows rim decoration drawn as a plan view above the pot, providing a clear schematic of the decorative pattern from an overhead perspective This method also highlights other key rim features, such as the locations of handles and spouts, making it a versatile tool in pottery diagrams and design analysis.
Fig 37: Slipware dish and Chinese porcelain plate drawn in plan view to allow decoration to be shown. a b c
Decorative bands around the body of a pot can be shown unrolled to the right, or, when the motif is simple and repetitive, drawn along the curve of the vessel In many pieces, the decoration features a blue lustre glaze, with individual elements typically about 0.5 cm in width.
Fig 38: Decoration around the circumference of a vessel shown rolled out.
Incised decoration is shown by using two lines of different thickness to indicate shadow (Fig 39)
Slip coating can be indicated by areas of light stipple: alternatively slip decoration such as the Metropolitan slipware below can be shown as white on a black body.
Colour paint or glazes can be shown either as a colour plate or by use of a monochrome convention:
Stamp decoration on handmade Anglo-Saxon pottery is illustrated by drawing the stamp impressions at twice their real size and displaying them at actual size beside the pot, which is shown at a 1:2 scale in this example.
Fig 41: (above) Conventions suggested by English Heritage for the depiction of colour glazes; (right) Tin-glazed earthenware drug jar shown using colour conventions for monochrome printing.
Fig.42: Stamps on Saxon pottery and (below) maker’s stamp on a mortarium rim shown unrolled and at double scale.
Undecorated Samian vessels are not usually drawn because their forms are already well known Decorated sherds, however, can be drawn by taking rubbings with fine tissue paper and flaked graphite, or by tracing with a technical pen onto clear film.
Small detailed decoration or potter’s stamps are often drawn at 2:1 for reproduction at actual size, or even larger if the detail is very small
Fig 43 shows a decorated Samian bowl with its surface decoration flattened into a plan view for analysis Flattening the bowl’s three-dimensional curve onto a two-dimensional plane inevitably introduces distortion, but this depiction provides a practical means of examining Samian ware ornament in archaeological studies (York Archaeological Trust)
Figure 44 depicts makers’ stamps on Samian vessels, drawn at twice the actual size to enable 1:1 reproduction The distinctive ovolo border design, shown on the right, should be rendered with care, as even small variations can be diagnostic of specific types of Samian ware Today, many Samian specialists prefer photographs or rubbings to document decoration rather than relying solely on hand drawings.
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