TITLE: Stone Tools Illustrations with Vector Art: The &#39;STIVA&#39; Method
AUTHORS: Jacopo Niccolo Cerasoni

[DESCRIPTION]
Lithic illustrations are often used in scientific publications to efficiently communicate the technological and morphological characteristics of stone tools. They offer invaluable information and insights not only on how stone raw materials were transformed into their final form, but also on the individuals that made them. Here, the “Stone Tools Illustrations with Vector Art” (STIVA) Method is presented, which involves the illustration of lithic artefacts using vectorial graphics software (Adobe® Illustrator®). This protocol follows an optimised step-by-step method, presenting ten major sections that constitute the creation of a lithic illustration: photography, vectorial software configuration, scale, outline, scar borders, ripples, cortex, symbols, composition, and export. This method has been developed to allow researchers, students and educators to create clear and competent illustrations for any application, from scientific publications to public outreach.

(The last step contains a supplemental video with extra context and tips, as part of the protocols.io Spotlight series, featuring conversations with protocol authors.)

[GUIDELINES]
In the following protocol, typographical emphases and brackets have been used for software and in-text references. 
They are: (1) software features and tools written in bold, e.g. Curvature Tool; (2) "vector layers" in "quotation marks", e.g. "outline"; (3) references to steps of the protocol in italics, e.g. step 21; (4) <keyboard buttons> in <angle markers>, e.g. <Canc> or <Del>; and (5) computational workflows  linked by angle markers (>), e.g. <right click> > Arrange > Bring to Back.

Please note: This protocol has been developed for Adobe® Illustrator®, being specifically developed using Adobe® Illustrator® 2020. Nevertheless, previous Adobe® Illustrator® versions and other vector graphics softwares can be used (e.g. CorelDRAW® and Inkscape®). If previous versions or different vectorial softwares are being used, some functionalities will have to be accessed and applied differently.

[STEPS]
SECTION: Photograph Artefact
1. Lock camera on a tripod (ideally use a macro lens with a focal length of between 90mm to 105mm) and place in light box (if available).
SECTION: Photograph Artefact
2. Place artefact flat onto the workspace.
SECTION: Photograph Artefact
2.1. If the artefact does not sit flat due to its irregular shape, use an appropriate amount of modelling clay wrapped in plastic wrap so to create a modellable support surface.
SECTION: Photograph Artefact
3. With lamps or other light-sources set up direct and suffused lighting from one or more sides and the top. Scar shadows should appear. Try to prevent major shadowing on the background surface.
SECTION: Photograph Artefact
4. Take several photographs of the artefact, moving the lighting at different angles and heights so to create different shadow orientations.
SECTION: Photograph Artefact
5. Select the preferred photograph, which should have the highest degree of visibility of the single scars and ripples.
SECTION: Photograph Artefact
6. Repeat processes 2-5 for the remaining sides of the artefacts which you want to illustrate (e.g. ventral face, dorsal face, profile, platform).
SECTION: Photograph Artefact
7. Choose the photographs that will be used in the next steps, and save them in a separate folder. Do not delete the remaining photographs.
SECTION: Open and Configure Vectorial Graphics Software
8. Open Adobe® Illustrator®.
SECTION: Open and Configure Vectorial Graphics Software
9. Select:  Create new > choose size of preference
SECTION: Open and Configure Vectorial Graphics Software
10. Set the workspace to tracing:  Window > Workspace > Essentials Classic


    

SECTION: Open and Configure Vectorial Graphics Software
11. Set up the layers that will be used using the Create new layer button. 
SECTION: Open and Configure Vectorial Graphics Software
11.1. Create the following layers in ascending (bottom to top) order: “background”, “base photograph”, “cortex” (only if present), “outline”, “scars borders”, “ripples”, “symbols” (only if present), and “scale”.


  
 

SECTION: Upload Photograph
12. Select the layer "base photograph", making sure the layer is highlighted in blue in the Layers tab.
SECTION: Upload Photograph
12.1. Insert (import, drag or copy and paste) the previously selected photograph onto the layer.
SECTION: Upload Photograph
13. Lock layer “base photograph” by clicking the lock icon.

  

SECTION: Add Scale
14. Decide how long the scale will be (common scale lengths are: 1cm, 2cm, 5cm, 10cm and 20cm).
SECTION: Add Scale
15. Trace the selected length scale over the “base photograph” scale with the Rectangle Tool.


  

SECTION: Illustrate Artefact Outline
16. Use Curvature Tool to trace the outline of the artefact as a closed path. This action should be done while at a high level of magnification and using a medium to thin line stroke thickness, so to maintain as much detail as possible.


  

SECTION: Illustrate Artefact Outline
17. Lock layer "outline".
SECTION: Illustrate Scars Borders
18. Use Curvature Tool to trace the scars borders of the artefacts as open paths. Set the thickness of the paths at the same thickness of the artefact outline.


  

SECTION: Illustrate Scars Borders
19. Whenever the scars borders are difficult to distinguish, view the original artefact under lateral light for direct observation of ambiguous areas.
SECTION: Illustrate Scars Borders
20. Lock layer “scars borders”.
SECTION: Illustrate Ripples
21. Select a scar, view it at different magnifications, and observe its ripple direction, depth and texture variations.
SECTION: Illustrate Ripples
22. Use Curvature Tool to trace one or more reference ripples, which will be traced over any visible ripple marks found on the “base photograph”. 


  
 

SECTION: Illustrate Ripples
22.1. The number of reference ripples will depend upon the length of the scar (e.g. a small retouch scar will need one, a long fluting scar will need 5 or more). 
SECTION: Illustrate Ripples
22.2. Start on one side of the ripple mark from the scar border and draw an open path to the opposite scar border. Ripples should be composed by only 3 anchor points (nodes); one at each edge, and one along the path.


  

SECTION: Illustrate Ripples
22.3. Important note: when drawing the open path ripple, the direction (first to last anchor) should follow the desired direction of the final ripple, as this will be important for step 27.
SECTION: Illustrate Ripples
22.4. If no specific ripple marks are visible on the “base photograph”, directly observe the artefact under lateral lighting for direct observation of orientation and depth of ripple marks. 
SECTION: Illustrate Ripples
22.5. If it is not possible to access the artefact directly, view the previously unselected photographs taken with different lighting orientations to discern any identifiable ripple marks.
SECTION: Illustrate Ripples
23. Use Curvature Tool to draw more ripples, using the same path construction and thickness as in step 22. 


  

SECTION: Illustrate Ripples
23.1. The density of ripples and distance between them will be dependent on the variation in depth of the scar surface (e.g. very flat scar surface will have distant and sporadic ripples, very concave scars and hinge terminations will have dense and close ripples).
SECTION: Illustrate Ripples
24. Repeat steps 21-24 for all the remaining scars.


  

SECTION: Illustrate Ripples
25. Simplify ripples by selecting them, and then select: 

Object > Path > Simplify… > Set indicator to maximum 

SECTION: Cut Ripples Marks To Length
26. Use Scissors Tool to cut ripple to length. This step will give dimensionality to the flaked scars, with the intent to inform the viewer on the depth, directionality and topography of the scar.

Note: Keep in mind the open path direction that was set in step 22.4.
SECTION: Cut Ripples Marks To Length
26.1. To properly cut the ripple marks, the surface has to be assessed and identified, so to distinguish areas of the scars which are flat and regular versus areas of the scars which are deep and irregular.

When cutting a ripple mark, the following rules should be applied:

If the area where the ripple mark is located is flat and/or regular, then the ripple mark will be long (cut a short portion of the ripple mark)

If the area where the ripple mark is located is deep and/or steep and/or irregular, then the ripple mark will be short (cut a long portion of the ripple mark)
SECTION: Cut Ripples Marks To Length
26.2. To increase efficiency, cut a path at the desired point along the ripple path and press <Del> or <Canc> button on keyboard right after. This should automatically delete the unwanted path section without having to change tool for each ripple.
SECTION: Cut Ripples Marks To Length
27. Repeat step 27 for all ripple marks.


  

SECTION: Feather Ripples
28. Select all ripples, and change profile to width profile 4.


  

SECTION: Feather Ripples
29. Lock layer “ripples”.
SECTION: Adjust Stroke Widths
30. Adjust stroke width of layers: “outline”, “scar borders”, and “ripples”. 

To adjust the stroke width, unlock the layer, select all paths within layer by pressing the “select all” indicator, and adjust stroke width.


  

SECTION: Adjust Stroke Widths
30.1. The following stroke width ratio is recommended: “outline” - 3:3 , “scar borders” - 2:3 , “ripples” - 1:3
SECTION: Adjust Stroke Widths
31. Lock layers “outline”, “scar borders”, and “ripples”.
SECTION: Draw Cortex
32. Before drawing the cortex, Basic Graphic_Dots fill has to be activated as a stroke.
SECTION: Draw Cortex
32.1. Draw an open path with Curvature Tool. Set fill to any Basic Graphic_Dots fill. To do so: Click Fill drop down icon > Swatch Libraries menu > Patterns > Graphic Patterns > Basic Graphic_Dots > choose dotted fill of choice.


  

SECTION: Draw Cortex
32.2. Click Swap Fill and Stroke button. 

SECTION: Draw Cortex
32.3. Delete open path.
SECTION: Draw Cortex
33. Use Curvature Tool or Pen Tool to trace the cortex outline as a closed path tracing carefully the “outline” and “scar borders” paths that border the cortex area.
SECTION: Draw Cortex
34. Create new dot-pattern brush.
SECTION: Draw Cortex
34.1. Select: Window > Brushes > New Brush > Pattern Brush
SECTION: Draw Cortex
34.2. Name your new brush.
SECTION: Draw Cortex
34.3. Click each tile drop down menu and select the doted pattern of choice (generally 10 dpi 10-30% are recommended).

  

SECTION: Draw Cortex
34.4. Once all tiles have been set, the preview window will show what the final brush will look like. Click OK.
SECTION: Draw Cortex
35. Use Paintbrush Tool set on the newly created pattern brush to fill in the cortex outline. 


  

SECTION: Draw Cortex
35.1. The brush can be used to regularly fill in the cortex area will parallel strokes or used to characterise texture and irregularities. 
SECTION: Draw Cortex
35.2. The brush strokes can overlap and be drawn outside the cortex outline, attention should only be given to the fill within the cortex outline.
SECTION: Draw Cortex
36. Select all the brush strokes from step 36, making sure to not select the cortex outline. 
SECTION: Draw Cortex
36.1. <right click> the selected paths, and group.
SECTION: Draw Cortex
37. Select the grouped brush paths, then:

 <right click> > Arrange > Bring to Back
SECTION: Draw Cortex
38. Select the grouped brush paths and the cortex outline.
SECTION: Draw Cortex
38.1. Click <right click> > Make Clipping Mask 
SECTION: Draw Cortex
38.2. The final result should show only the cortex area filled in with the desired pattern.


  

SECTION: Draw Cortex
39. Lock layer “cortex”.
SECTION: Add symbols
40. Any further symbols (e.g. percussion point, retouch extension, wear extension, burin) can be added using a variety of vectorial tools such (e.g. Rectangle Tool, Ellipse Tool, Line Tool, Curvature Tool, Pen Tool)


  

SECTION: Add symbols
41. Lock layer “symbols”.
SECTION: Create Artefact Composite
42. Repeat processes 12-42 to illustrate the remaining artefact sides.
SECTION: Create Artefact Composite
43. 
Remove "base photographs" from all the illustrations.
SECTION: Create Artefact Composite
43.1. Use Rectangle Tool to draw a background with a colour of choice onto "background" layer.
SECTION: Create Artefact Composite
43.2. Modify stroke colour of the  figures to match the background and offer good visual contrast.


  


SECTION: Create Artefact Composite
44. If the figures are not at the same scale, rescale them separately so to make them regular. Use the scale bars (drawn during step 15) and rulers (<Ctrl>/<Cmd> + <R>) to double check accuracy.
SECTION: Create Artefact Composite
44.1. Once complete, delete any repeating duplicate scale.
SECTION: Create Artefact Composite
45. Move and arrange the different illustrations so to create a well ordered composition. Use the rulers and guide to make sure that the intervals between the figures are regular.


  

SECTION: Crop Artboard
46. Once the composition is complete, resize the artboard: 

File > Document Setup… > Edit Artboard > Crop artboard to desired size


  

SECTION: Finishing Touches
47. Double check all the paths, making sure there are no protruding nodes, and that all strokes are overlapping correctly.
SECTION: Finishing Touches
48. Add any final object that is required, creating new layers for each.
SECTION: Finishing Touches
48.1. Use Line Tool or Rectangle Tool to connect the different illustrations, and add them in new layer "connectors".
SECTION: Finishing Touches
48.2. Use Type Tool to add text labels for the scale and for any other information that wants to be added (e.g. specimen number, features, figure numbering) in new layer "text".
SECTION: Finishing Touches
49. Your final illustration is complete.


  

SECTION: Export Final Figure
50. On Adobe® Illustrator® a variety of export formats can be selected. The most common are: 

1. .PDF (File > Save as… > Save as type: > Adobe PDF)

2. .JPG (File > Export > Export as… > Save as type: > JPEG)

3. .TIF (File > Export > Export as… > Save as type: > TIFF)
SECTION: Supplemental Spotlight Video
51. (The following video contains extra context and tips, as part of the protocols.io Spotlight series, featuring conversations with protocol authors.)