Technology and Terminology of Knapped Stone - IRIT

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Fig. 46 — Tracing the outline and the arrises. 1 : orthogonal projection of points along the outline of the artefact. 2 : drawing the outline. 3 : drawing the arrises. Taking measurements of the artefact. 4 : transferring measurements of the arrises on paper, a : using a compass to transfer a point, b : transfer of conspicuous points, c : drawing the main arrises, d : drawing the retouches. Shading is a means of expressing volume and is done with a pencil, in light hatching or grey flat tint. The convention is that of a north-west light source, i.e. parallel rays at a 45° angle directed across the artefact from top left-hand to bottom right-hand. This can be obtained by adequately positioning a high intensity adjustable lamp over the face of the object to be drawn. To shade an object it is necessary to find the separative line between light and shade. To do so, you should look at the object with one eye half open and the other completely closed. You will no longer be able to distinguish details and will only perceive solid masses. Where is the lightest patch, where is the darkest ? What is the gradation of intermediate tone values between light and dark? The tone values of chiaroscuro include four categories : - values of light, or parts directly hit by light. If the surface is smooth, the light will be reflected and will radiate. The zones of shade always slightly spread over the adjacent zones of light. In order to obtain the desired relief it is therefore best to increase the size of the zones of light, so that they are rendered larger than they actually appear. 4 113
- values of half-light, or parts still directly lit, but with less intensity; - values of shade, or parts that light does not touch directly; - values of reflection, or parts left in shadow but nevertheless indirectly brushed by a small amount of light. Pen and ink drawing should respect these values. 4.3. Pen an d in k drawin g This is the final stage in the illustration of an artefact (fig. 45 : 3). Downstrokes of consistent thickness are used for the outlines and arrises. Some illustrators use a varying thickness of line for the arrises (broader in zones of shade) to create an impression of relief. However, this technique is advised against because the broadened line tends to be less precise and the general outlines will lack accuracy. Borrowing from engraving techniques, the first lithic illustrators devised a graphical method that was adapted to prehistoric industries and rendered the three-dimensional aspect of the object, the nature of the material and the sequence of knapping events. Engravers use hatching to express volume; their parallel lines are rectilinear and of consistent thickness. The tone values of grey are rendered by more or less complex cross-hatching forming a lattice pattern. Where lithic technology is concerned, hatching fulfills a double purpose. The lines, similar to hachures, are used as a means of expressing relief and of showing in a highly stylized way how the object was made. For this reason they are known as direction lines. Imitating ripples, the direction lines represent the shock wave in the stone, which caused the removal of the flake. They originate at the impact point, from which they spread out concentrically. Fully rounded when they are close to the impact point, the direction lines straighten out as the distance from the impact point increases, without ever becoming rectilinear. This process highlights the negative bulbs and shows on a single drawing the entire chronological sequence of flake removals. The direction lines are drawn using downstrokes and upstrokes. The line tapers to a point: the head of the line is thickish while the tail is very fine. This can only be achieved with a split-ni b pen. The pressure of the hand bears on the nib, widening or narrowing the split to adjust the thickness of the line. The direction lines should all be parallel. Based on the relief rendered on the finished pencil drawing, the values of shade and light are expressed by varying several parameters (fig. 47), the length of the direction lines, their thickness and their frequency : - in zones of light the lines are few in number, fine and short; they cover about a third of the surface of each removal negative; - in zones of half-light the lines are fairly numerous, thick and of middling length; they cover about half the surface of each removal negative; - in zones of shade the lines are very numerous, very thick and long; they cover about two-thirds of the surface of each removal negative; - in zones of reflection the lines are abruptly interrupted to express a zone of light within a zone of shade. 5. Materials and surface s 5.1. Raw material s The fundamentals of lithic illustration were established on the basis of flint artefacts. The conventional method of representing flint in a stylized way uses downstroke and upstroke direction lines. What about other flaked stones, which do not have the same texture as flint? They should be differenciated (fig. 48). However "while it is highly advisable to portray the grain of the stone, this should never be done at the expense of an accurate technological representation" 111 . The same principle of direction lines is followed, but the character of the lines and the background of the drawing are made to vary according to the textures of the different materials. Several different treatments are proposed hereafter. 111 "... il est bien entendu que, s'il est hautement souhaitable que le grain de la roche soit exprimé avec soin, jamais la réalité technologique ne doit en souffrir". Dauvois, 1976 : 52. 114
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Technology and Terminology of Knapp
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In the same collection Préhistoire
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Authors Marie-Louise Inizan*, Mich
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Chapter 4 : Debitage 59 The core De
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List o f illustration s Fig. 1 Raw
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Foreword Many students and research
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Why? Technology has its place withi
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In blade debitage 17 , for instance
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Chapter 1 Raw material s Knapped ha
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2. Knappin g suitability o f hard r
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• A single block of raw material
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Raw material procuremen t strategie
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unmodified block roughed ou t or pr
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Knapping, shaping, flaking, retouch
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could not be reached with such othe
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ipples, hackles (see p. 142). Parad
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• Languette 31 breaks occurring o
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- distinguish intentional from unin
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Fig. 9 — Blade debitage carried o
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Chapter 3 Shaping We use the term s
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to another in the course of roughin
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Fig. 13 — Example of bifacial sha
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aspects be from now on taken into c
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Polyhedral and spheroidal shaping a
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Fig. 18 — Preforms. 1 : experimen
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(fig. 18 : 3), using indirect percu
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As a rule, the part played by shapi
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study should not be dissociated fro
Page 63 and 64: Fig. 21 62 1 — Relatively simple
Page 65 and 66: Fig. 22 — Volumetric representati
Page 67 and 68: 66 Fig. 23 — Levallois debitage o
Page 69 and 70: 1. Recurrent unipolar Levallois met
Page 71 and 72: 0 1 2 3 9 Fig. 26 — Various examp
Page 73 and 74: 72 Fig. 28 — Phonolite cleaver on
Page 75 and 76: In the repeated production of blade
Page 77 and 78: Indirect percussion Strangely enoug
Page 79 and 80: Fig. 31 — Pressure debitage of bl
Page 81 and 82: method was invented in a Sibero-Mon
Page 83 and 84: These seven characteristics, as wel
Page 85 and 86: If the microburin blow has removed
Page 87 and 88: Fig. 34 — Various examples of spe
Page 90 and 91: Chapter 6 Technology a s a means to
Page 92 and 93: 1. Observation o f surface conditio
Page 94 and 95: 3. Framework fo r th e readin g o f
Page 96 and 97: Fig. 36 — Refitting. Centripetal
Page 98 and 99: hammer, the stability of the core o
Page 100 and 101: Only the major milestones in the co
Page 102 and 103: Chapter 7 0 I ~"~2 3 4 o Graphic re
Page 104 and 105: 103 Fig. 37 — Acheulean handaxe,
Page 106 and 107: Fig. 39 — Pressure-flaked bladele
Page 108 and 109: Fig. 41 — Examples of orientation
Page 110 and 111: 1 I Fig. 43 — Two layouts of view
Page 112 and 113: 4. Graphi c desig n an d techniqu e
Page 116 and 117: Fig. 47 — Uncompleted laurel leaf
Page 118 and 119: Fig. 48 — Graphical treatment of
Page 120 and 121: Fig. 50 — Large convex Mousterian
Page 122 and 123: 6. Symbol s Although multiple views
Page 124 and 125: Clean breaks are indicated by two s
Page 126 and 127: Fig. 54 — Schematic representatio
Page 128: indicated by numbered arrows. The p
Page 131 and 132: ANVIL. A block of relatively hard s
Page 133 and 134: produced at the very moment the fla
Page 135 and 136: Fig. 60 — Inclination of a burin
Page 137 and 138: Fig. 62 — Various types of butts.
Page 139 and 140: If the morphology of the raw materi
Page 141 and 142: 7 8 9 11 1 2 13 1 4 1 5 Fig. 65 —
Page 143 and 144: - or from a cobble, a slab, a core,
Page 145 and 146: INVERSE. A term defining a position
Page 147 and 148: distinguish the types of certain to
Page 149 and 150: Fig. 72 — The stone-knapper's set
Page 151 and 152: 5 Fig. 74 — Various examples of p
Page 153 and 154: 1 2 3 Fig. 75 — Position of remov
Page 155 and 156: 0 1 cm Fig. 78 — Proximal fragmen
Page 157 and 158: conventionally applied to "the fash
Page 160 and 161: AKAZAWA T., ODA S., YAMANAKA I. 198
Page 162 and 163: CRABTREE D.E. 1966 A stone worker's
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LAPLACE G. 1964 Essai de typologie
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SEMENOV S. A. 1964 Prehistoric tech
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Multilingual vocabulary
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pressure platfor m : proximal: f i
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ENGLISH : FRENCH abrasion : abrasio
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Levallois (méthode, éclat, etc.)
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punctiform : punktförmi g refittin
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ENGLISH : GREEK translated by A. Mo
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epiklinήV (epexergasίa) : low ang
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punch : punzone punctiform : puntif
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ENGLISH : PORTUGUESE translated by
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face : fac e faceta: buri n face t
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pressure platform : plano de presi
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