Archaeological Draughtsmanship

Principles and Practice Part I: Principles and Retrospect

Bibliographic Data

ID3243582
AuthorsStuart Piggott (corresponding author)
Year1965
Volume39
Issue155
Pages165-176
Publication date1965-09-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueAntiquity (JOURNAL)
Journal identifiersISSN: 0003-598X • E-ISSN: 1745-1744
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0003598x00031823
OpenAlexW1481031557
LanguageEN
Citations received22
References cited1

All technical and scientific illustration is at once symbol and communication, a pictorial language addressing the author's audience side by side with his written text. It transmits information according to an agreed code of conventions which translates actuality into forms and outlines in one or more colours, usually black on white, in a manner which will convey to the observer the features of the original which the illustrator wishes to present. As Winston Churchill wrote of painting, 'the canvas receives a message despatched a few seconds before from the natural object. But it has also come through a post office en route. It has been transmitted in code . . . it reaches the canvas a cryptogram'. Archaeological draughtsmanship involves the construction of technical cryptograms, and as in all ciphers these must be made according to rules carefully observed by both transmitter and recipient

Archaeology · Art · Art history · Code (set theory) · Natural (archaeology) · Object (grammar) · Painting · Programming language · Symbol (formal) · Visual arts · White (mutation) · Artificial Intelligence · Computer Science · History · Image Processing and 3D Reconstruction

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