Lehrfilm zur Funddokumentation - Zeichnen von Keramik

Today we will show you the drawing of ceramics. This is based on the last film, Photography of Ceramics, and the same motto applies. It's really just about drawing ceramics, and it's not an application for small finds or museum pieces. It's really just about the excavation material and how I document it in the second step through the drawing. Also important when drawing, it is much more complex than photography, which means we only use selected pieces and will show you how to draw them during this film. Yes, and as with photography, if you don't have all the technical means available, we always show you variants of what you can do if you don't have the perfect equipment. Here, for example, is normal white printer paper, as you can get it anywhere in A4 or A3. Then we also have millimeter paper, which is also important for certain drawing techniques. And then there is also transparent paper on papers, which is a bit transparent, where you can, for example, see the millimeter paper well underneath. What else do we need? First of all, a pencil, or a technical pencil. If you have a technical pencil, please use it. Otherwise, you can also use a very simple pencil. But always make sure that it is really pointed. Then of course we need erasers. If you have a pen, it is of course better, because it is more precise. Otherwise, you can also use a normal eraser. Then we also need a geotriangle for the drawing. So that can be a larger one. With the geotriangles, you can also use the smaller variants. You can also use a circle, if you have one. We'll show you what it's good for in a moment. Then we still need, very importantly, a profile comb to remove the profile of the shard. But again, if you don't have it, we'll show you another technique to remove the profile as precisely as possible. And a slide ruler to measure the strength of the wall. So now we can start with our first drawing. We start with a edge shard. So up here I see that there is no broken edge. It's about the edge of the vessel. Here the vessel body follows. We want to create a cutout. That means we imagine that we saw the vessel at this point. We open it up and draw this cut that was created by it. I'll draw it once with the pencil. We take the longest possible area on the vessel. From the edge to the body of the vessel. And we can also mark the exact same spot on the back of the vessel. And here we draw a straight cut line. Of course, we also want to show the angle of the shard later in our drawing. We'll get to that later. It is important for the vessels that we align this edge correctly on our drawing. I'll show you this now using a simple wooden box. But you could also do this with a wooden block or a stone. Or also on a geotriangle. It is important that I have a flat surface. And to draw later, a flat surface that lies vertically on my drawing board. When aligning, I always look exactly at the edge down here. When I put the edge on the ground, no light is allowed to shine through here like now. And it must not tilt like in this case. There is a correct alignment. The vessel cannot tilt from left to right. Nor does light fall through here on the edge between the vessel and the surface. We put the box, the stone, whatever, on the sheet of paper. And align the vessel at the vertical edge, as we have just seen. When we have found the right spot, we take a pencil. Then I try to look as straight as possible at the edge from above. So that this plane appears as a line here. And start drawing along the edge of the vessel. As we said before, we leave the pencil aside for now. And draw this line here on our paper. When I have drawn this here, I draw my baseline, which is shown here through the box. Next, I could draw the anvil approach here. For this, I would put the vessel here again. And mark where the anvil sits on my drawing. Finally, the inner line of the vessel is still missing here. When I imagine the whole vessel here again, which I have cut through, I would like to put this line here on the paper as well. The easiest way to determine this inner edge is to measure it with the ruler first. Here I have my cutting edge. I measure the thickness of the vessel wall and transfer it to exactly this edge, also on my paper. I have to repeat this in a few places. For example, here is the bend just before. Next, we see here that the vessel is getting much thicker. At this point, I measure again and transfer the value. And then you can look at the exact edge shape here. How is the edge shaped? Is it rather round, as in this case, or angular or inclined? Here it is very round. And then I connect the lines that I have made here. I always look at how the vessel is shaped. Here is the transition. Here we still see a broken edge. Obviously, another tone was added here, which is no longer preserved. Then we connect these individual points together and have a first simple drawing. Then you would mark here that there was a broken edge, so that you know that it is not entirely to be determined here. Now I would take a closer look at the vessel. We have already seen the broken edge here. When we turn the vessel, we see the white painting on the outside. The painting goes up to the very top edge of the edge, runs here and another strip can be seen down here. We also transfer this to our sketch. Now we can put the box aside. Since it is about straight lines running parallel to the edge, we can simply sketch lines with the geotriangle, which tell us where the painting is taking place. When we have entered the lines, we make a legend and label everything well, so that we understand what we have drawn when we no longer have the box at hand. On the one hand, we have to say here that it is a break, on the other hand it is a white painting and also on this strip it is a white painting. It is also important that the more description and additional information I make about the drawing, the better I can understand and classify the vessel afterwards. But it often helps me to look at a photo again when I no longer have the box at hand, for example to understand what kind of white painting it is. We have just seen how you can make a sketch or help yourself without a profile cam to get a relatively good documentation. Now I would like to show you how to remove the profile cam. Unlike before, we now use transparent paper for this, but you can actually do it as you like. But with this method, transparent paper is actually the most practical. We have the sheet in front of us. We take the same piece again, the same edge fragment. And as we have just seen, we orient ourselves again on this line. So it's the same principle, so to speak, the cut through the vessel. So the marked pencil line remains the same. And we are now orienting ourselves on this when we put on the profile cam to get the right profile. So, the removed profile, so here you can see it quite well, it would be like this. I put it on the transparent paper, take my pencil and draw along the line. I have to be careful that the cam does not slip. And maybe not press too hard at first, because you have to remove parts again and again that are missing from the first profile shot. So now I see, for example, that I'm missing a little bit up here. That means I just put the cam on again and take the edge off again at the top. And then I put it on at the top. The same is also the case in the lower area. I'm still missing a few pieces. So I also take the cam from below, put it back on along the line and improve my drawing here. Next, we take off the outside of the vessel. So again the line, as was already shown in the sketch. Along this line we then lead the profile cam and thus get exactly the profile of our fragment. I'll just put that down for now, because we don't know the thickness of the piece yet. And that's what the sliding empty comes into play. And then we take points off, as was just shown. We take the strength down once, transfer it to our drawing. Then in the middle, where I see that it is a little thicker. I always have to be careful that I actually hit the same spot in the picture again, more or less. And then I take the strength on the top edge again and mark it. We draw the points briefly with the pencil. And it is really very important to think carefully about where I have measured the strength. That I don't measure up here and then suddenly enter the point down here. That leads to rough mistakes. So always make sure that you know roughly where you have taken the strength and then transfer it. And when I have taken the points, I can apply the profile that I have taken off on the outside. And here it is always good if you take the scissors in your hand again to make sure and check whether it can be done roughly or whether you have not made a mistake. So I have taken the measurements, now put on my cam and drive carefully along the measurements and take off the profile and again carefully mark here. Now I see that the edge is not closed yet. I change that now by putting the profile cam back on top and complementing the drawing. The same again from the inside. Put on the profile cam and now I also have the inner curve. We have now made the pre-drawing or the weak drawing and now want to reinforce the line. It is best to put the scissors next to our pre-drawing and also feel again with the finger along the surface to actually feel the turntables, because we also want to have them documented in our drawing. So I now have the scissors, I have my pre-drawn line and draw it now reinforced. So now I have the first turntable here, I make a slight increase, I have another one here, I draw in very lightly and so on. Important, as already said in the sketch, here is a small break, which is then also drawn in, but then left open because there is a break. So then it is very clear that this is not the original surface, something is missing there. And then I do the same at the bottom again. Here I also see very clearly these turntables, which means I also draw them in my drawing again as turntables. And the same from the outside too. So there I see that these turntables are not so pronounced, which means nothing is actually retained in the lower area. That means I can really just draw the line in the upper area up to this rather pronounced edge, which is also clearly visible up here. Then we have the edge here and again no turntable. That means we take the edge here, which is relatively round, and close it at the top. Then you can carefully erase the pre-drawn lines with the eraser or eraser, so that you only have the really strong original line. Now in this case we can still clearly see the turntable approach, which we have not yet recorded in our profile. And then we do the same again. We just draw the line that we drew here before, parallel to the turntable, so that we have an orientation. And then we take the profile over the drawn line. So, the profile can now be clearly seen here with the turntable. Now we put the angle on our drawing and draw, and this is very important now, only here the upper and the lower line. Because here in the middle, this is broken. This is not the original outside. That means we really only take what is original and not broken. And draw above and below the drawn line. And so we get our turntable approach in the profile drawing. Now we have drawn the profile, and now we have to determine the diameter of the vessel. And how we do that, we'll show you now. Exactly. There are also different ways to determine the diameter. We want to show you two variants now. We have the variant here with a circular sheet of paper. You can buy that. We also provide you with one for download on the website. We have created that especially for you. With the circular sheet of paper, I can simply put the vessel on it and thus determine the diameter. Here, the most important thing is that I determine the correct alignment again at the beginning. As we learned at the very beginning. So I make sure that it doesn't tilt, that I can't look through, but that the edge is well aligned. When I have aligned the vessel correctly on my surface, I can try to align the profile line, the roundness of the vessel, with one of these circles on the sheet of paper. If I'm not in the right place, you can see how here, the arc of the vessel bends off, while the circle is much too large. If the circle is much too small, I can also see how the profile line of the vessel goes over different arcs. If I get closer to the right circle, then we see here that the profile line and the arc below it are well aligned, remember which circle it was, and read here that it is 8 cm, and apply that to our drawing. It is important to always note whether you have taken the diameter or the radius. Here on the arc, the diameters are entered. Here you can see, for example, the diameter of 8 cm, or the radius from the center point to there are only 4 cm. When I determine my diameter, I can also determine at the same time how many percent of the edge is still there. Here we can already see that about 15% of the total circumference of the edge is still there. We have also included this on the arc, because it is sometimes very useful to have this information. I'll show you again. Here from the edge it is 15%, even though down here, as you can see, there is much more vessel, almost half, but up here from the edge it is only 15%. But if I don't have such a nice circle paper to determine the diameter, I can also do it with a circle. I'll show you again how to do that. I take a simple white piece of paper, put my scissors back on and align them nicely on our surface. So you make sure that the vessel does not wobble, that no light falls through and is nicely aligned on the paper and simply draw a line along the roundness of the vessel. And then we already see the circle of the vessel here and then we take a circle and place it on a radius, which is certainly smaller than the radius of the vessel. So this one here is very large. We reduce the radius. This one is certainly smaller than the vessel. Then we put the circle with the tip on the line and draw a circle. Then we put the circle again with the same radius. So we don't adjust anything here. On the line and draw another circle and do the same on the other side again. Here we have cut points between the circles. Here and here and here and here. Through these cut points we now draw a line each and then again a line through the other two cut points. Now we orient ourselves. This is the line we drew. Now we can measure from this cut point of the two lines to the radius, to the circle we drew from the vessel and see that it is 4 cm in radius or 8 cm in diameter. What we want to show you now is how to align the vessel, what we have already seen on the wooden box in connection with the sketch, how to draw it technically and put it on the sheet. For this we need the circular disc again, which you can print out. But we also need a geotriangle. But we still have to prepare that, because we need a zero line at the bottom and then continue in centimeters up to the top. To do this, we take the crepe tape, put it on the edge, fold it over once. So we just took the diameter, 8 cm. That means we can put the piece right there, align it again so that it no longer tilts and then take the highest point on the outside, so in this case it would be this point here on the outside, the height. And we do that by driving the geotriangle to the point and see at what height it linearly approaches and that's up here at 11 cm. So we're talking about this point now, that's the highest, outermost point. And then we also need the diameter to the point as the second point. That means I'm looking down at the sheet now and that's also 11 cm in this case, as you can see. I write on my piece of paper as a reminder, height 11 cm and in this case, quite easy to remember, diameter also 11 cm. So again as a reminder, here is the edge, here is the highest point we just took, that's this point here. And now we transfer the point in our drawing and that's exactly the outermost point we have here, that's this point here. And the other point, the 8 cm, I had already drawn it, is on the edge. And for simplicity's sake, we'll call this point point A and the other point point B. I now transfer these points to my coordinate system. And we have, as before, the 8 cm on the zero line, zero line, 8 cm in diameter, on the axis of diameter. Then I have another value, namely the 11 cm in diameter, so 11 cm on the axis of diameter, with a height of 11 cm. That means, from the 11 cm, I go 11 cm up and also put a point here. So that I now know which point is which, I mark them with a letter and now take a capital B for the 11 on 11 cm point and for the other point, namely the edge point, I mark it with a capital A. Now I have the same points on my drawing, point A and point B, in the coordinate system. And now the task is to put these points on top of each other, so A on A and B on B. Here is the cross of A, here is the cross of A, the point A, I look up, there is my B cross and I also slowly draw this on the point B. So that I also remember that and transfer it to the drawing, I now draw a line along the axis of diameter and that is then the line on which the vessel is aligned. So, like the wooden box, this would be the drawn line that we have calculated. Now we have drawn the profile, as you remember at the beginning, simply cut a cut through here, held it on the drawing paper. Now, of course, we still want the other side of the vessel, so only the outside. To do this, we have to mirror the whole thing. And we do this by first fixing the center again. So we need the radius, that is, we have the diameter of 8 cm divided by 2 equals 4 cm, that is the radius and that is our point where we will mirror the drawing. I have now marked it here with a zero and from there I now go down in the right angle. So now I need a new sheet of paper and put it over my drawing. I make sure that the line on which I have aligned the vessel is parallel to my sheet. Then I take my pen and first draw the profile and also the pre-drawn heel approach as well as the axis on which I have aligned the drawing. To do this, I now take the ruler again and draw along the line and, very importantly, I also take the zero point that I just took, because that is the axis on which we want to mirror. When I have drawn all of this, I take my pre-drawing away and turn it over once, so that I now have my profile drawing on the other side of the axis. And the same principle again, I slide it under my new sheet of paper, align it exactly on the axis and now I don't draw the whole profile anymore, but really only the outer edge and again the heel approach. What we see inside, that is on the left side and on the right side we have the view only from the outside, how I look against the vessel, so without the inside view, only the view from the outside, how I would actually perceive it if it were still completely preserved. And now I draw the lines that I have just marked, so on the one hand these turntables and then also the decoration, outside and inside the same. At the beginning I marked and drew the turntables and I would now also mark them again in the drawing. So now I have drawn the striking lines here, which can also be clearly seen on the inner surface. The same also here in the lower area. Now I have as another point the painting, which can be clearly seen here. And there I can again use my turntable, which I used at the beginning to measure how wide this painting is. In this case we are now at 1.5 cm. I would then transfer that in the same way, because you can clearly see that the line is not quite straight, but really simply drawn around the vessel with a brush stroke. I would not use a ruler here, but simply draw a line freehand. And the same now also in the lower part of the vessel. There I have it a little more difficult, because it is so bulgy, that is, the view is slightly distorted. So if I actually only use the turntable to measure the width of this strip, it is a false indication in the view, because we look almost like this against the vessel, so the view is shortened here. That means the easiest thing I do is simply to put the scabbard on the drawing and to see where approximately the painting starts, namely just below the neck to the shoulder and then a little further down on the shoulder. And the same principle, I would also simply do it by hand, so that it becomes clear that this is not a completely straight line. So that we know later what these individual lines mean, we have to sharpen them even better. So we are now sharpening the areas that are painted. So it is clear that this is definitely painting and not just turntables or other drawings. And so we know in which color the decoration was painted, we can then write that on the edge, so in this case white. What is still important now is to draw the scale. We have drawn on a scale of 1 to 1, only if we want to scan this paper later and accidentally move something, so that we can reconstruct again and again what size the vessel actually has. Once the 0 and, for example, the 5 make a line, write another centimeter next to it and have a clear line, which is 5 centimeters. And then we can always hang on to it if something goes wrong when scanning. It is very important to bring some information under the drawing. On the one hand, in any case, as with film photography, it clarifies the idea number, the found number, context, i.e. as much information as possible, where the piece comes from, that you can always assign it. That is very important and must always be there. Then, as additional information, it should not be neglected to write down the diameter again. In our case, that would be the 8 centimeters. Then it is always good to mention who actually drew it. You can simply write down the name and then also the date when it was created. This way you definitely don't lose information and can relatively easily assign the drawing if something has been lost. Of course, you can also bring as much additional information as you want, for example, about the tonal composition, tone color or surface composition. All of this is completely free. Maybe the more information, the better. But as I said, the core information are the ones I mentioned. And above all, always don't forget the found and context number. That is the most important thing. Now we are already at the end of our film on drawing ceramic panes. You can also read all these steps and a little more detailed information on the website of the DAI Tutorials. Everything is described in detail there. You are welcome to sign up and read it again. We hope you enjoyed how we explained the individual steps to you, that you were able to start something and that this really helps you with the finding and drawing documentation of objects.