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Archaeoink, Vienna (2026)

22/07/2026

Week 3 begins with a painted ship from Book 12 of the Odyssey.

This time, the prompt is an Attic red-figure stamnos made in Greece around 2,500 years ago. The front shows one of the most recognisable Odyssey scenes: Odysseus tied upright to the mast while his crew row past the Sirens.

Before this moment, Circe warns Odysseus about the Sirens’ song. It draws sailors away from home. Odysseus wants to hear it, but he also wants to survive it. So he tells his crew to block their ears with wax and bind him to the mast. When he asks to be released, they must tie him even more tightly and keep rowing.

Draw the whole object or focus on one part: the ship, the mast, the ropes, the oars, the prow eye, the Sirens’ wings, their feet, or one small detail of the red-figure decoration.

Use any material you like. Tag + and use so we can see your work.

Reference and object image credit:
Siren Painter, Odysseus and the Sirens, Attic red-figure stamnos, c. 475–470 BCE, British Museum, 1843,1103.31, also catalogued as E 440. Photograph: The Trustees of the British Museum, shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence.
Visit here: https://www.britishmuseum.org/collection/object/G_1843-1103-31

Additional image references and credits used in the slide:

- top right siren: Unknown Greek maker, Black-figure Kylix with Sirens, 6th century BCE, terracotta, Walters Art Museum, 48.37. Photograph: Walters Art Museum, via Wikimedia Commons, CC BY-SA 3.0.
- top left object with sirens: Siren Painter, Odysseus and the Sirens, Attic red-figure stamnos, c. 475–470 BCE, British Museum, 1843,1103.31. Photograph: ArchaiOptix, via Wikimedia Commons, CC BY-SA 4.0.
- bottom right crawling upwards sirens: Herbert James Draper, Ulysses and the Sirens, 1909, Ferens Art Gallery, Kingston upon Hull. Image via Wikimedia Commons, CC0.
- bottom right siren sitting on stone: W. Heath Robinson, In the Meadow Where the Sirens Sat Were the Bones of the Men They Had Slain, illustration for Jeanie Lang, Stories from the Odyssey Told to the Children. Image via Wikimedia Commons, public domain.

08/07/2026

Our first prompt begins with a small terracotta figurine made in Sicily around 2,500 years ago.

Most of its original white surface has disappeared, and its legs have broken and been reassembled. Under the ram, only a small human head remains visible. The Getty catalogue identifies this hidden figure cautiously as Odysseus (or one of his companions) escaping from Polyphemus’ cave in Book 9 of the Odyssey.

Draw the whole object or focus on one part: the horns, fleece, face, missing surface, cracks, or the narrow space beneath the ram.

Use any material you like. Tag + and use so we can see your work.

Reference and object image credit:
Unknown maker, Statuette of Odysseus under a Ram, Greek, Sicilian, 525–500 BCE, terracotta with paste (milk of lime) and polychromy (pink), 79.AD.37, The J. Paul Getty Museum, Getty Villa, Gift of Lee Rizzuto. Image: The J. Paul Getty Museum, Getty Open Content / CC0.

Additional image references and credits used in the slides:
- Ulysses and Polyphemus Mosaic, 4th century AD, Villa Romana del Casale, Sicily. Photograph by Carole Raddato, via Wikimedia Commons, CC BY-SA 2.0.
- Polyphemus group of Sperlonga (reconstruction). Photograph by Sailko, via Wikimedia Commons, CC BY 3.0.
- Jacob Jordaens, Ulysses and his Men Slip Away Concealed under Rams (also known as Ulysses Mocking Polyphemus), c. 1630–1635, Pushkin Museum of Fine Arts. Image via Wikimedia Commons, Public Domain.
- Charles Lamb, The Adventures of Ulysses (Boston: D. C. Heath & Co., 1900), page 8, “Ulysses Offering Wine to Polyphemus.” Digitised by the Library of Congress, Public Domain.

09/09/2025

The archInk 2025 prompt list has arrived!

Thirty-one days this October for exploring archaeology through drawing and creative work.

started back in 2018 because archaeology and art just belong together. And every since then, every October, archaeological concepts find their way onto paper, screen, or whatever medium feels good. This year's prompts range from ancient materials like pigment and bronze to contemporary questions around justice and gatekeeping.

Anyone can participate, in every way possible. Some archaeologists might sketch down theories, students might use photographs, and researchers could even write poems about stratigraphy. Some people work in traditional ink, others go digital. Past years brought 3D models, collages, written pieces. The medium and equipments used do not matter.

What matters is the daily practice of thinking creatively. Each prompt might become a conversation starter, a way to connect with others. And by people sharing their process, their questions, and their different perspectives on the prompt, we will end up with a collage of approaches.

Perfect drawings are not required. Curiosity about the past and willingness to explore it through creative practice count. Whether the work happens with a pencil stub or professional software.

Use the hashtags and to help people find each other's work.

Taking on archInk for the first time feels both exciting and daunting. Are you also ready to join in?

31/10/2024

Inktober Day 31: Landmark

A landmark can be defined as any natural or human-made feature that holds significance in a cultural or historical context. Landmarks serve as prominent reference points in both physical landscapes and cultural identity. Ancient sites like Stonehenge exemplify landmarks not only due to their imposing presence but also for their long-standing role in shaping how we interpret the past.

Stonehenge, extensively studied through archaeology, has been shown to have complex construction phases, with some elements aligned to astronomical events like the solstices. Through the continued development of excavation methods, ground-penetrating radar, and 3D modelling, new insights constantly challenge older interpretations. This process of research, where each finding leads to the refinement of hypotheses, is essential to understanding past human behaviour and social organisation.

In archaeology, landmarks like Stonehenge illustrate the evolving nature of our understanding of ancient societies. As new data is gathered and technologies advance, we reinterpret these structures. They not only function as points of reference within landscapes but also contribute to the shaping of our perspectives on ancient capabilities, technologies, and worldviews.

How do such ancient landmarks, still visible in today’s world, influence our perception of the cultures that created them? Do they reinforce certain biases about technological advancement or societal complexity, and how does archaeology continue to challenge those biases?

In today's archaeological practice, visual tools are vital. Whether documenting a site or conceptualising new perspectives, illustrations and digital models help communicate findings. If you're interested in exploring how illustration can support archaeological research or communication, conceptual art can be a valuable tool to bring your ideas to life.

30/10/2024

Inktober Day 30: Violin

In archaeology, interpretations are often influenced by what we know from our own culture. This can happen when we name unfamiliar ancient artefacts after everyday objects from our world. For example, when an ancient figurine or object is named after a violin, it might not only help us picture the item, but it could also shape how we understand its use and significance. The challenge is that such comparisons, though helpful, could obscure the artefact's true context.

By incorporating visual interpretations like this one into archaeological studies, it's possible to open discussions that bridge modern perspectives and ancient realities. If you are working on a research project, teaching archaeology, or communicating with the public, visual tools like conceptual illustrations can help make these connections clearer and more engaging. A tailored approach to visualisation could help you communicate the nuances of archaeology more effectively, offering a unique insight into the material culture you're exploring.

29/10/2024

Inktober Day 29: Navigator

Navigating an archaeological excavation is no small task. Today, the term "navigator" stretches beyond physical exploration—it includes the use of digital tools that assist archaeologists in documenting and understanding sites more efficiently. This drawing reflects a hand holding a mobile device with an app for navigating burial types, showcasing how technology has become intertwined with archaeological fieldwork.

The role of mobile apps and software in archaeology is increasingly significant. These tools allow archaeologists to record excavation data, map findings, and even classify features like burial types, all from a device that fits in a pocket. Mobile technology might speed up documentation processes, and it could provide archaeologists with access to a vast amount of information while in the field. On the other hand, it may shift focus from traditional hands-on methods to a more screen-centered approach, possibly impacting the way archaeologists engage with their work.

Nevertheless, the potential for technology to complement traditional field methods is evident. By combining mobile tools with archaeological expertise, a deeper, more comprehensive understanding of excavations can be achieved. This concept is shown here, where the digital interface overlays an archaeological site, representing the merging of ancient human activity with modern recording techniques.

In a world where technology is an undeniable part of fieldwork, it might be worth considering how mobile apps or digital documentation could enhance your archaeological project. If you're interested in combining illustration with excavation documentation, this approach can bridge the gap between visual communication and technological innovation.

28/10/2024

Inktober Day 28: Jumbo

Humans have long been captivated by the idea of creating monumental structures. From ancient pyramids to modern skyscrapers, such oversized feats stand as symbols of power, culture, and ambition. These grand monuments often tell stories of the people who constructed them and the eras they belonged to. Each of these creations—whether the Eiffel Tower or the Burj Khalifa—also carries the weight of cultural identity, technological achievement, and sometimes, human hubris.

But why are we, as a species, drawn to build on such a colossal scale? What drives the desire to create landmarks that will stand the test of time and dominate the skyline? Whether it is to reach the heavens or to leave a lasting legacy, these structures become icons, shaping the way future generations view the past.

In today's world, these monuments continue to inspire, influencing both urban design and our perception of history. Through a contemporary lens, oversized buildings can reflect not just architectural ambition but also the desire to communicate identity on a global stage.

In today’s archaeological world, visual tools are still essential. Whether it's documenting a site or conceptualising ideas, art and archaeology have never been closer. If you're interested in integrating illustration with archaeology for your project or research, conceptual art like this can bring a unique perspective and enhance communication.

27/10/2024

Inktober Day 27: Road

The Roman roads, still visible in today’s landscapes, are more than just ancient highways. They reflect a deep understanding of engineering, durability, and the Romans' vision of connectivity. These roads formed the backbone of the empire, enabling trade, governance, and military movements, leaving behind not just a physical trace but a cultural legacy that shaped how we view ancient Rome.

Archaeologists today encounter these roads as a tangible link to the past. Layered under centuries of sediment, sometimes hidden beneath modern roads, they speak to the ingenuity and foresight of the Romans. As we uncover and document these routes, we ask ourselves, how do these roads influence our perception of the Romans today? Their strategic placement, quality of construction, and long-lasting impact tell us a story of control, planning, and empire-wide communication that reached far beyond what is visible in the ground.

In modern archaeological research, visual representation plays an essential role. Whether it's the use of illustrations to convey the complexity of road construction or to document excavated sites, roads like these continue to serve as a bridge between past and present. Illustrating and re-imagining such elements brings these ancient structures into focus, allowing us to communicate their significance to both scholarly and public audiences.

In today’s archaeological world, visual tools are still essential. Whether it's documenting a site or conceptualizing ideas, art and archaeology have never been closer. If you're interested in integrating illustration with archaeology for your project or research, conceptual art like this can bring a unique perspective and enhance communication.

26/10/2024

Inktober Day 26: Camera

Photography has been a critical tool in archaeology for over a century, evolving from simple field documentation to advanced techniques like image-based modelling. This modern approach, using tools like Structure from Motion (SfM), allows archaeologists to create 3D models of sites and artefacts, transforming the way we record and interpret archaeological data.

But what impact do these methods have on the accuracy of archaeological documentation? While they can capture intricate details, they also introduce questions about how much we rely on digital tools to convey the reality of what we see in the field.

This illustration of a camera highlights the ongoing importance of visual documentation in archaeology and invites reflection on how technology shapes our understanding of the past.

25/10/2024

Inktober Day 25: Scarecrow

Ancient Egyptian reliefs, like this one, often depict scenes of everyday life—some of which seem so distant yet strangely familiar. Here, people are actively chasing birds away from their crops, a practice that served as an early form of 'scarecrow.' These representations remind us of how vital harvests were to the survival of ancient communities, and the lengths they went to protect them.

What can these depictions in Egyptian reliefs tell us about daily life and the importance of harvests? These scenes offer insights not just into agricultural practices but also into the rhythms of daily survival and the deep relationship between humans and the land.

This kind of visual storytelling allows us to connect across time, understanding how much effort was needed to secure a successful harvest. It also shows how visual interpretation of ancient artefacts can be a key to unlocking aspects of daily life, often left out of written records.

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