ARCHAEOLOGICALILLUSTRATION 177
they can be both informative and attractive. When effect-
ively applied, stippling can greatly enhance a drawing,
suggesting shape and texture (figures 18.12 and 18.13).
It can, however, also be misleading if carelessly done and
can obscure as much detail as it shows.
RECORDING CONSTRUCTIONAL AND OTHER
DETAIL
In addition to decorative surface detail, it is important
to record other surface features. For example, is there
evidence of the way in which the object was made or
repaired? On pottery this might take the form of its
fabric, the internal shape of the vessel or the coil-
construction indicated by the undulating surface (figure
18.14). Ironwork may show evidence of rivets, welding
or hammering. Tool-marks might be apparent on stone-
work. All such features are relevant in terms of recording
all the available information.
Care should be taken to distinguish between different
materials in composite objects. For example, an iron
knife with a wooden handle might be drawn using stip-
pling for the iron and linear shading to convey the grain
of the wooden handle. A wide range of methods exists and
the most appropriate option for each illustration should
be chosen with care (figure 18.15). Clarity is essential
and it is usually useful to provide a key to explain the
conventions used.0 5cmFigure 18.11 When complex decoration is being recorded
it can be ‘rolled out’ as shown here. If the design is repet-
itive it might not be necessary to show it all in this way.
(Based on original artwork by Ben Ferrari)
Figure 18.12 The drawing of a complex object, with views and details selected to convey the maximum amount of
information. Different techniques have been used to convey the texture and character of the various materials of which
this swivel gun from La Trinidad Valencera(1588) is made. The dull reflective surface of the bronze barrel is indicated
by stippling, while fine lines of various thickness depict the granular structure of the wrought-iron breech, swivel crutch,
and locking wedge. The leather pad behind the wedge is represented by black and white blocking, with a little dotting
to convey the curves of the folds. (Colin Martin)