archaeoINK - Jona Schlegel

@jonaschlegel.com

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founder • archaeology science comm • (conceptual) illustration x programming • Amsterdam https://jonaschlegel.com/ https://www.archaeoink.com/

Different silhouettes of different archaeological female figurines and statues from different areas of the world and time periods, showing that women have always shaped history. #archaeology #prehistory #ancient #antiquity
A torn poster with black and white figures of a rock band pasted on a wall covered in overlapping graffiti tags. The poster reads “Rock n’ Roll always about spirit and fun,” with faded text and marks from later tags and paint layers.
Digital illustration of an ivory cross-section in warm beige tones. A fine network of dark intersecting lines radiates from the centre, forming geometric Schreger patterns characteristic of ivory
Digital illustration of a trowel cutting through layered soil. Each layer shows archaeological deposits with stones, pottery fragments, and features. The soil profile curls in a scroll-like shape, as if written by the trowel.
orange and black. The vase shows two women holding spindles beside a central triangular weaving pattern. Decorative motifs run around the upper section, and loom weights are depicted on the lower part
Digital collage showing hands reaching upward among flintknapping tools such as antler tines, hammers, and scrapers. Flint flakes are scattered across circular green and ochre shapes. The word “FLINT” appears in cut-out letters near the bottom right
A digital illustration showing two hands reaching toward a circle of bronze artefacts, including swords, spearheads, and axes. Each object has a different shade of bronze — from golden yellow to deep reddish-brown — representing the varied colours of Bronze Age metalwork
A three-panel digital illustration showing the archaeological process of residue analysis. In the first panel, a clay pot sits over a small fire surrounded by stones. In the second, a broken pot is uncovered in the ground with a trowel nearby. In the third, gloved hands hold a sherd and take a sample with a small tool. Two circles highlight what residue analysis can reveal: plant grains and a goat
day two of archInk 2025: shell. the central piece today is a scallop shell painted in watercolour. around it i sketched different shell artefacts — scrapers, spoons, containers, ornaments. it shows how versatile shells are as archaeological finds, and how many uses they once had. this page is also a small experiment in drawing itself. mixing digital work with watercolour and pen sketches makes it feel layered, like different notes on the same theme.
A hand-drawn illustration showing the archaeological Inktober prompt "Pigment". In the centre is a large stone with a prehistoric bull painting in brown and black. On the left, a flat stone holds red, yellow, and black mineral pieces. On the right, another flat stone shows brown mineral lumps ready for grinding. Labels identify bright red, golden yellow, black (charcoal), and rich brown pigments. Text explains that pigments are minerals ground on flat stones and mixed with water to paint.
Hand-drawn 'who can archInk?' guide on lined paper with archaeological artifacts in margins including decorated pottery and tools. Text states archInk is open to everyone, but particularly useful for archaeologists, researchers, students, and educators to visualise theories, try new perspectives, connect with others, and develop drawing skills. Describes it as a place to think on paper, experiment with ideas, and share process with community. Instructions to use #archInk2025 and #archInk hashtags, signed @archaeoInk
Hand-drawn 'how to archInk?' guide on lined paper with archaeological artifacts in margins including pottery, bone tools, and figurines. The text explains participation is simple - take daily prompts and create interpretations. Notes there are no medium rules, mentioning sketches, digital art, 3D models, photographs, collages, notes, or poems from past years. Instructions to use #archInk2025 and #archInk hashtags, signed @archaeoInk
Hand-drawn explanation of archInk on lined paper with archaeological artifacts in margins including a classical face mask, brushes, and pottery. Title asks 'what is archInk?' The text explains that archInk connects archaeology with ink (drawing), started in 2018 from Inktober, providing archaeological prompts for October. It emphasizes the goal is daily practice to explore archaeology and connect with others, not perfect art. Instructions to use #archInk2025 and #archInk hashtags, signed @archaeoInk.
Hand-drawn archInk 2025 prompt list on lined paper with archaeological tools scattered around the margins including pottery sherds, flint tools, brushes, and an ink bottle. The title 'archInk 2025' is written in orange and green lettering. Below are 31 numbered prompts organized in three columns: 1 Pigment, 2 Shell, 3 Residue, 4 Bronze, 5 Flint, 6 Horn, 7 Textile, 8 Stratigraphy, 9 Ivory, 10 Palimpsest; 11 Transformation, 12 Echo, 13 Pseudoscience, 14 Network, 15 Bioarchaeology, 16 Gatekeeping, 17 Ownership, 18 Exclusion, 19 Preservation, 20 Visibility; 21 Embodiment, 22 Provenance, 23 Absence, 24 Toolmark, 25 Reclamation, 26 Ephemeral, 27 Justice, 28 Looted, 29 Temporality, 30 Becoming, 31 Afterlife signed by @archaeoInk
Overhead photo of a wooden desk workspace showing a laptop, black wireless mouse, small potted succulent plant, and digital stylus pen. On a tablet screen is a digital illustration featuring the word 'Monday' in large script lettering with a classical archaeological vessel (amphora or urn) in the center. Around the vessel are handwritten words including 'motivation', 'dedication', 'authorship', 'navigation', 'office work', 'archaeology', and 'you' on a watercolor wash background in muted pink/brown tones.
Educational illustration on teal background showing settlement archaeology. Features the letter 'S' in a white rounded square, followed by text defining settlement archaeology as studying spatial organization, architecture, and social structure of past human settlements. Below are illustrations of various historical buildings including round thatched houses of different sizes, a rectangular structure with a thatched roof, and a detailed roundhouse showing construction techniques. Additional text explains the field focuses on understanding community structure, space usage, and environmental interaction.
Illustration showing overlapping archaeological magazines and newspapers with sensationalized headlines including 'ARCHAEOLOGY 25° Years of Discovery - Shaping how the world sees archaeology', 'Archaeological Discovery - The headlines shape the story', 'Hidden history revealed', 'Stuns archaeologists', and 'Dig reveals golden treasure'. The publications feature images of pyramids, artifacts, and archaeological sites. Signed '2.Discovery #INKTOBER2024 #archINK'.
Conceptual illustration showing scales of justice labeled 'Archaeological Interpretation' with 'Subjectivity' on the left side showing an archaeologist holding a crystal ball, and 'Objectivity' on the right side showing an archaeologist with a laptop and notebook. Below are archaeological artifacts including what appears to be the Xanten Crown shown in two interpretations - as a crown on the left and as a bucket fitting on the right, along with a human skull. Labeled '14 Objectivity #archInk #DataDriven'.
Hand-drawn comic-style illustration titled 'What does a field archaeologist do & work on' showing six panels: field surveys with GPS equipment and survey markers, archaeological excavations with tools and finds, documentation through surveying equipment, photography and written records on stratigraphic unit sheets, post-excavation processing with finds being cleaned and archived in record books, and report writing on laptop. Signed Jona Schlegel.
Archaeological wall illustration showing building remains with labeled features: clay bricks forming a walled-up window frame on the left, mortar residues, boulder stone construction in the upper and general areas areas, and overall forming a remaining wall section. The drawing uses different textures and shading to distinguish between construction materials and phases. Signed as archInk 2021 with the prompt "archaeological illustration", created by Jona Schlegel
Hand-drawn Easter egg split in half, revealing archaeological layers inside. The layers include soil, pottery shards, a tiny brush, a trowel, and a steaming coffee cup. The egg rests on a simple background, blending festive imagery with archaeological tools and symbols. Illustration done by Jona Schlegel from archaeoINK
Jona, a woman stands smiling on the deck of a ferry on the way to Victoria BC, wrapped in a scarf and black coat. Behind her, calm waters stretch out toward forested mountains under a blue sky with wispy clouds. The atmosphere is crisp and bright, suggesting a winter or early spring day.
A circular illustration depicting the life cycle of a ceramic vessel. At the centre is a cracked but partially reconstructed pot, blending realistic texture with drawn elements. Around it, four phases of its life: The Creation (top right): Hands shape the wet clay, carving decorations. The Use (bottom right): A ladle represents the vessel’s daily function. The Burial (bottom left): The pot rests among stones and soil, laid to rest. The Rediscovery (top left): A trowel carefully removes soil, exposing the vessel once again. The artwork captures how objects move through time, from human hands to the depths of the earth and back. Signed “archaeoINK Jona ‘24” in the bottom right.
An image of Ms. Casey from the Apple TV+ series Severance
A digitally illustrated pattern featuring various female figurines from different archaeological periods, drawn in shades of pink, purple, beige, and black. The figurines include representations of the Venus of Willendorf, Cycladic figures, and other ancient sculptures, surrounded by small green leaves. In the center, bold black text reads 'HAPPY INTERNATIONAL WOMEN'S DAY,' standing out against the intricate background. The artwork celebrates historical depictions of women and their cultural significance.
Jona is holding up a sketch book journal with a hand-drawn sketch of the Lion’s Horoscope from Nemrud Dağ, filled with notes and diagrams. In the background, the museum display shows the real replic relief from the Allard Pierson museum in Amsterdam, painted in bright colours according to research
A photograph of three hand-drawn, postcard-sized illustrations on textured paper, placed on a wooden surface. The top card features a detailed ink and watercolour drawing of an archaeological trowel with a wooden handle and a piece of inscribed pottery, accompanied by the handwritten text “happy Troweling.” The other two cards display abstract stratigraphic layers in earthy tones, outlined in ink. The drawings are made using watercolour and ink, capturing elements of archaeological fieldwork and documentation. All drawn by Jona Schlegel.
A collage of seven historical sketches (1836–1981) of a carved stone from Gavrinis, France. Each drawing highlights different aspects, from the natural holes to the engraved spiral patterns. Over time, the focus shifts from the holes to the carvings, showing changes in documentation. Source: Serge Cassen, Valentin Grimaud. Aux dimensions de l’image dans l’étude des représentations gravées néolithiques. Archéologie : imagerie numérique et 3D, Sylvie Eusèbe; Théophane Nicolas; Valérie Gouranton; Ronan Gaugne, Jun 2018, Rennes, France. ￿10.34692/r27k-k629￿. ￿hal-02077354v2￿ p. 2 – Fig. 1 : Évolution des représentations de la dalle C1 à Gavrinis (Larmor-Baden, Morbihan). DAO : S. Cassen.
Two females at Manemba holding rattles. Credit: Kumbani and Díaz-Andreu 2024
British actress Abigail Lawrie portrays Nebraska-born Morris, who called the Southwest “the only place to live,” better even than “Timbuctoo, Samarkand, and Paris.” Minesh Bacrania
A vibrant watercolor by Ann Axtell Morris showing rendered murals from the Temple of the Warriors. Figures in turquoise, red, and yellow are intricately detailed on a red background, evoking the vivid artistry of the Maya.Courtesy the Peabody Museum of Archaeology and Ethnology, Harvard University |
A vibrant watercolor by Ann Axtell Morris showing reconstructed murals from the Temple of the Warriors. Figures in turquoise, red, and yellow are intricately detailed on a red background, evoking the vivid artistry of the Maya | Gift of the Carnegie Institution of Washington, 1958. President & Fellows of Harvard College, The Peabody Museum of Archaeology and Ethnology
A sweeping watercolor of Mummy Cave Ruin, showing ancient cliff dwellings tucked into a sandstone alcove, surrounded by green vegetation and bathed in warm sunlight by Ann Axtell Morris | UNIVERSITY OF COLORADO MUSEUM OF NATURAL HISTORY
A digital illustration of a network of circles on a blue background. Inside the circles are archaeological tools (like a laser scanner and a trowel) and artefacts (including a Venus figurine, a Roman pot, decorated ceramics, and a Roman dodecahedron). A monarch butterfly connects the circles, symbolising creativity and connection. The image is signed 'archaeoINK' in the bottom right corner
The final illustration for the cover of Adventuress Archaeology, showcasing a woman symbolically connecting the past, present, and future of archaeology. The artwork is detailed and vibrant, featuring archaeological tools, artefacts, and dynamic elements that highlight the theme of women in archaeology across time
Illustration of a Ground Penetrating Radar (GPR) system used in archaeology, especially the sub-discipline of archaeological and geophysical prospection. The image shows a GPR machine with annotations explaining each part: the control unit that processes signals into images, data storage for saving information, the battery pack providing power, and the survey wheel for tracking distance. The illustration also depicts the antenna emitting radar waves into the ground and picking up reflections, which vary in timing and strength to reveal hidden features below the surface.
Illustration of archaeological stratigraphy showing soil layers from humus to bedrock, with descriptions of each layer’s composition. A stratigraphic sequence diagram represents soil layers from younger to older, following the law of superposition. Includes notes on the Harris Matrix, used to understand the sequence of deposits. Created as an educational tool to clarify the difference between stratigraphy (study of layers) and stratification (the layers themselves).
A comic-style illustration of a bioarchaeologist examining a human skull, with text: "Bioarchaeology examines human skeletal remains to understand past populations." Created by the artist to educate on archaeology's diverse disciplines in an accessible, visual format
Two hand-painted cards featuring hanging ornaments in a playful archaeological theme. Stars with different patterns and colours—stripes, polka dots, and checks—are interspersed with small illustrations of artefacts like amphorae, trowels, and other archaeological tools. The cards are clipped onto a rustic string, surrounded by small paint pans in shades of green, blue, and red, and a fine paintbrush. The composition evokes a festive, handcrafted feel with a touch of archaeology.
Screenshot of the archaeoINK's scientific and archaeological illustration literature collection
An ink illustration of Stonehenge, showing a simplified yet detailed outline of the iconic standing stones. The foreground consists of uneven grassy terrain, with subtle shading to indicate the passage of time. The illustration poses questions about the evolution of the meanings and significance of such landmarks throughout history.
The illustration shows a violin in the center, flanked by two ancient ceramic artefacts shaped similarly to the instrument. The comparison highlights how naming artefacts after familiar objects can influence their interpretation in archaeology.
A hand holds a smartphone displaying an app categorising different burial types, with a skeleton burial site in the background. The image represents the blending of mobile technology with archaeological excavation, symbolising the use of modern tools in field documentation and research.
A black-and-white silhouette of iconic oversized structures across history: starting with the Sydney Opera House, Big Ben, the Pyramids of Giza, the Eiffel Tower, Burj Al Arab, Petronas Towers, and finally, the Burj Khalifa. The text below reads: "Why are humans drawn to creating oversized structures, monuments, and objects?"
A black-and-white illustration of a Roman road section in cross-section, showing multiple layers of stone construction. Text above reads: "How do these roads, still visible in modern landscapes, influence our perception of Romans today?"
A detailed illustration of a camera, symbolising the essential role of photography in archaeology. The text surrounding the camera asks how modern visual methods like photography and image-based modelling impact archaeological documentation.
An illustration based on an ancient Egyptian relief, showing two figures chasing birds away from crops. The scene reflects early agricultural practices, emphasising the importance of protecting harvests in ancient times.
The illustration shows a person on an early archaeological expedition documenting the pyramids and the Sphinx using a surveying tool. The figure stands with the Great Pyramid and the Sphinx in the background, capturing the vastness of the scene.
An illustration of two 17th-century daggers. The top dagger is heavily corroded, showing thick rust covering its form. The bottom dagger is restored, revealing its blade and handle. The image asks: “What challenges come with deciding how much rust or corrosion to remove during restoration?”
An illustration of a makeshift archaeological field camp, featuring two tents—one for shelter and another for equipment and tools. This setup reflects the practical, often improvised nature of excavation camps and highlights the importance of logistics in fieldwork.
An illustration of three different portrayals of a rhinoceros: one stylized with intricate patterns, another more anatomically accurate, and a third representing an ancient artifact, symbolizing the changing human perceptions of the animal across time and cultures.
An illustration of a video game console being held, with Lara Croft, Indiana Jones, and Nathan Drake appearing on the screen, representing popular portrayals of archaeologists in video games and films. These figures influence how the public views the field, contrasting with the careful research archaeologists actually perform.
An illustration of two medieval farmers ploughing the land using oxen, forming ridges and furrows. This practice leaves enduring marks on the landscape, which archaeologists study to understand historical agricultural methods and human-land interactions.
An illustration showing motorised archaeological prospection tools: a ground-penetrating radar (GPR) system mounted on a tractor and a magnetic sensor system towed by a quad. Both tools allow for wide-area, non-invasive surveys of archaeological sites.
An open field journal lies on a desk, surrounded by archaeological tools like a pencil and measuring tape. The journal displays detailed sketches and diagrams from an excavation. The text on the page asks, "What value do old notes, sketches, and diagrams offer when revisited later?"
A muddy archaeologist stands proudly beside an excavated trench, hands on hips, covered in dirt and looking content. The soil layers in the trench visually highlight the depth and time archaeologists dig through to uncover history. This image portrays the grungy yet rewarding aspects of fieldwork.
An illustration of a tall stack of archaeology guidebooks, each with distinct titles. The books represent key texts that shape how archaeologists, especially beginners, approach the field. The stack serves as a metaphor for the layers of knowledge gained through reading, studying, and applying archaeological methods.
A drawing of ancient ruins, with figures walking through columns and crumbling walls. The composition reflects the act of roaming through historic sites, suggesting how both the physical space and imagination shape our understanding of the past. In the background, a temple ruin stands amidst scattered stones, inviting contemplation of history.
An illustration showing multiple soil horizons with different layers of soil, rocks, and archaeological features. It raises questions about how archaeologists identify and interpret these layers, asking how precise they need to be and how to deal with variation when drawing boundaries between soil layers.