Sustainable Archaeology

Winter Work-study at SA (2015-2016): Adventures in Legacy Collections & 3D Scanning

noreply@blogger.com (Sustainable Archaeology at Western University) — Wed, 27 Apr 2016 19:02:00 +0000

Western work-study student, Kylie Kelly, has spent a couple of years preparing collections from the Museum of Ontario Archaeology for long term storage at SA. Today, her guest blog discusses her experience with one of SA's newly acquired legacy collections and some of the 3D scanning she has been learning with artifacts from that collection.

Author biography

Kylie Kelly is a work study student at the Museum of Ontario Archaeology and Sustainable Archaeology: Western. She is currently completing the last few weeks of her Bachelor’s degree in Classical and Medieval Studies at Western University. She is set to begin her Masters of Art History in the fall of 2016. Kylie became interested in working at SA during her time as an assistant curator at the Museum of Ontario Archaeology. She has been working simultaneously at both institutions since September of 2015.

Introduction

In the summer of 2015 Sustainable Archaeology received a legacy collection that contained tens-of-thousands of artifacts from nearly every period of Canada’s archaeological past-- a private collection donated to SA by Dr. Brian Deller and family. The collection represents the life’s work, and passion of Merle Franklin. Mr.Franklin, a mostly self-taught archaeologist, focused much of his research on the archaeology of the lower Grand River. He carefully documented the objects as well as the spots on which they were found. Following the acquisition of the legacy collection, SA’s work study students, including myself, were tasked with reading through the pages of documentation, and sorting through the corresponding objects in the collection.

Slowly, the hand-made artifact trays and boxes started to fill the shelves at SA. On Monday I could be working on a box that was full of historic glass trade beads, and the next day I could be working with ancient lithics. The expansive collection contains everything from Paleo-Indian projectile points, to historic railroad ties-- it truly has it all. A few weeks ago I went to retrieve another box to sort through, and two artifacts caught my attention. The artifacts, a fork and a knife, were like nothing I had seen before (see figures 1 and 2, below). The fork had thin and stubby prongs, similar to classical depictions of Poseidon’s trident. The knife was equally as fascinating, it had an elongated ivory handle with multiple metal rivets. I had just started training with our white light scanners under the tutelage of Nelson Multari, SA’s 3D Technician, and Hillary Kiazyk, a part-time staff member at SA and student in Western’s Anthropology Department. I thought that the cutlery’s interesting shapes, reflective surfaces, and straight edges would be a great challenge for me to capture accurately.

Object History

As I began scanning the fork/knife duo I became more interested in their history, and how they had ended up in a collection in Southern Ontario. The knife had a clear makers mark stamped onto it that read “Joseph Rodgers E. Sons, Cutlers to Her Majesty” (Figure 2). Joseph Rodgers & Sons Cutlery Company was started in 1764 in Sheffield, England. It appears that the company began by making elaborate pocket knives; and that by 1821 they gained enough attention that King George IV appointed them “Cutlers of the Royal Family.”[i] The company’s favour continued over the span of five successive monarchs: King George IV, William IV, Queen Victoria, Edward II, and George V. I discovered that the donated set was made between 1837 and 1901, during the Reign of Queen Victoria. One of the most famous knives created by the company was the Norfolk Knife; it was produced during the same time period as the set at SA. But unlike the rest of the artifacts in the donated collection, the context of this set of cutlery – where it originated and how it ended up in this collection -- is regretfully unknown, as these particular items were donated un-provenienced.

Figure 1: Knife and fork found in the Franklin/Deller collection.

Figure 2: Maker's mark found on knife in Franklin/Deller collection.

Scanning Procedures

The 3D3 Systems (now LMI Technologies) structured light scanners at SA work by projecting a pattern of light onto the object. It then uses a rotating stage and cameras to capture the geometry of the projected lines in order to determine the shape and size of the surface of the object. An additional DSLR camera works to capture the texture, or color, of the artifact. The scanners are operated through Flexscan 3D 3.3 capture software, which allows the user to control the cameras, turntable, projector and model (for a detailed description of the white light scanning process at SA, see Ahmed et al. 2014). The nature of structured light scanning makes it difficult to capture reflective surfaces, as light projected onto the surface just bounces back off, leaving behind a fragmentary mesh, a problem I encountered repeatedly. Capturing a sharp edge is also challenging, as it requires scanning a mesh while utilizing lower cleanup settings in order to increase the amount of detail on the thin surfaces, thus there can be a lot of extra ‘noise’ captured in a scan that needs to be removed. To control the shine on the blade, I sprayed it with a non-corrosive powder to allow the white light to capture the surface, without bouncing off. Due to the high learning curve associated with this technology, and this being my first independent scanning project, completing the preliminary scans of the knife took roughly 6 hours, and over 200 captures. Finally, I was able to export the scan as a polygon (.ply) file to Geomagic Studio 2012 reconstruction software to refine the mesh and fill in any holes. I utilized a feature called mesh doctor that examines a 3D scan to detect and correct errors in mesh [ii]. Using this tool can result in a model that is “water tight”, meaning no holes are in the mesh. This water tight file is what we want to create if we are interested in producing a 3D print of a 3D scanned object.

The Take Away

As I begin my Master’s degree in Art History next fall, I am constantly amazed with how relevant new technologies, like 3D scanning, are across numerous fields of study. Part of my research as an Art Historian looks at how artwork was constructed; by using 3D imaging I developed a new understanding of the craftsmanship and time it took to complete something that looks deceivingly simple. After the scan was complete I noticed many quirks in the artifact that I would have otherwise missed with the naked eye. The edge of the blade increases in size by a fraction of a millimeter the closer you get to the base; the surface of the blade has a distinct pattern of pitting on only one side; the handle’s rust deposits run parallel to the small fractures in the ivory. It is fascinating to me, given its broader context that this special set of monarch-endorsed cutlery ended up in an archaeology collection in southern Ontario – and it makes me wonder more about who owned it, and why and how it came to be included in the Franklin/Deller Collection—the possibilities of discovery are endless at Sustainable Archaeology!

Footnotes

i "The History of Joseph Rodgers." - Egginton Bros Ltd. Accessed April 20, 2016. http://www.eggintongroup.co.uk/history/the-history-of-joseph-rodgers.html.

ii For a detailed description of Mesh Doctor please visit: http://support1.geomagic.com/link/portal/5605/5668/Article/1012/What-is-the-Mesh-Doctor

References

"The History of Joseph Rodgers." - Egginton Bros Ltd. Accessed April 20, 2016. http://www.eggintongroup.co.uk/history/the-history-of-joseph-rodgers.html.

"The Sheffield Cutlery Map." Joseph Rodgers & Sons. Accessed April 20, 2016. http://www.sheffieldcutlerymap.org.uk/location/joseph-rogers-and-sons/.

2014 Ahmed, N., M. Carter and N. Ferris. Sustainable archaeology through progressive assembly 3D digitization. World Archaeology 46(1): 137-154.

Guest blog: New ways archaeologists ‘dig out’ answers

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 01 Mar 2016 20:42:00 +0000

By: Victoria Nagy, MSc

After spending a field season conducting consultant archaeological field work in Ontario, I wanted to work in a research facility, an environment I enjoyed during my Masters studies. Therefore, I was excited to join the staff at Sustainable Archaeology: Western University. During my past undergraduate and graduate studies I had been exposed to digital archaeology and database development but I had never been able to directly apply those skills.

I was fascinated by the shear potential for research at Sustainable Archaeology since I was first introduced to the facility back in October 2015. As an archaeologist with a background in scientific applications, I was especially interested in its scope and equipment. Research facilities such as Sustainable Archaeology are extremely rare in Canadian archaeology, its existence and continuing innovation fill a scientific void in Ontario archaeology. Sustainable Archaeology: Western University and Sustainable Archaeology: McMaster University showcase how Ontario values archaeological research and will focus on scientific applications to further understand Ontario’s rich heritage.

Hilary Kiazyk, a part-time employee at SA: Western, using the Artec Spider to scan a mammoth tooth (a part of a collection from the Museum of Ontario Archaeology) (Feb. 29, 2016).

My first week at SA I familiarised myself with two of our 3D scanning technologies: the white light scanner and the mobile Artec Spider scanner (blue light scanner). I created a 3D model of a projectile point using the Artec Spider and tried my hand at using a white light scanner with a Historic smoking pipe. The Artec Spider blue light scanner proved to be my favourite piece of equipment in the imaging lab. The speed at which it captured images greatly shorted the imaging process. Also, the editing functions were easier to use and more comprehensive. I definitely enjoyed forming an opinion about these incredible pieces of equipment.

I was also able to print a previously rendered 3D model to better understand the 3D printing process. I learned how key texture editing is to the printing process. Since SA’s 3D printer is a powder printer that applies texture (colour in layman’s terms) during the printing process, editing the texture before printing to obtain the most lifelike texture (and then ensuring the texture seen on a computer monitor is adjusted to reflect the real texture) is essential to creating a lifelike replica. Through their work with 3D printing, SA is creating a new collection of archaeological mimics that can be used for display, study or function.

The applications of 3D scanning and printing are endless. Two replicas of the famed Ötzi were recently produced at Materialise in Leuven, Belgium as a dual effort by the DNA Learning Center and the South Tyrol Museum of Archaeology. The team who replicated Ötzi via 3D printing used a CT scanner to generate the 3D model of Ötzi, much like the Micro CT scanner SA owns and operates. The Micro CT scanner at SA is primarily used to understand the internal structures of artifacts. Internal structures can convey to archaeologists how artifacts were made, what materials were used, and reveal any unseen processes. Using a Micro CT scanner would have brought another dimension to my past research studying the newly introduced rehydroxylation (RHX) dating technique. I was only able to conduct Thermogravimetric Analysis (TGA), which analyses materials’ response to intense heat (Nagy 2015). Access to a Micro CT scanner would have provided me with a much more accurate examination of the internal construction of my samples. The fact that this equipment is available to Western students, and other researchers is so important for future research in Ontario and the wider academic community.

Staff of Materialise and Gary Staab (the expert paleoartist behind the Ötzi replicas - second from the left) (Cold Spring Harbour Laboratory 2016).

As my time at Sustainable Archaeology continues I am constantly amazed at this facility and the potential it represents for the archaeological community in Ontario. The non-destructive analysis conducted here is necessary for the archaeological research of the future. Sustainable Archaeology is providing the next generation of archaeologists with the tools they need to conduct high caliber research. Sustainable Archaeology has facilitated new processes for archaeologists to ‘dig out’ conclusions. I look forward to my time here and the research in the immediate future that results directly from Sustainable Archaeology’s efforts.

References

Cold Spring Harbour Laboratory (2016). The making of Otzi the Iceman. https://www.dnalc.org/programs/otzi.html?utm_source=ALL+CUSTOMERS&utm_campaign=9ea4241666-MED_Otzi&utm_medium=email&utm_term=0_7544445bcb-9ea4241666-63081529&goal=0_7544445bcb-9ea4241666-63081529.

Nagy, V. 2015. A methodological study of a simplified rehydroxylation dating procedure (Unpublished Master’s thesis). Durham University, Durham, UK.

Author biography

Victoria Nagy is a new addition to Sustainable Archaeology: Western University. Victoria graduated in 2015 with Distinction from Durham University with a Master of Science in Archaeological Science. In 2013, she graduated with Distinction from Wilfrid Laurier University with a Bachelor of Arts (Honours) in Near Eastern and Classical Archaeology. Victoria has conducted archaeological field work in Jordan, the United Kingdom, as well as northern and southern Ontario. She has joined Sustainable Archaeology as a Data Entry Assistant to aid existing staff with database development. This week is her fourth week with SA: Western.

Sustainable Archaeology Newsletter, Winter 2015

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 11 Dec 2015 14:44:00 +0000

Our winter newsletter is now available. Check out what has been happening at Sustainable Archaeology Western and McMaster over the summer months.

Sustainable Archaeology Newsletter, Spring 2015

noreply@blogger.com (Sustainable Archaeology at Western University) — Mon, 23 Feb 2015 15:58:00 +0000

Our spring newsletter is now available. Check out what has been happening at Sustainable Archaeology Western and McMaster over the winter months.

Guest Blog: 2015 SA Work Study Projects

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 13 Feb 2015 21:28:00 +0000

This winter, SA: Western has had two Work Study students from the Department of Anthropology, Kayley Sherret and Connor Schmid, assisting with the day-to-day activities at our facility. We have certainly kept them busy with everything from collections management to researching file formats for the associated records in our Informational Platform. We've asked them to test the database, move boxes, repackage collections, label shelves and scan documents. But in the midst of that hard work, we've also asked them to familiarize themselves with some of SA's equipment and help us develop some of our user manuals. This has given them the opportunity to interact with SA Research Associates and Technicians, to apply some of the knowledge learned from their coursework, to do a little extra research outside of their curriculum and - hopefully! - to have had a little fun. Please enjoy the following blog post, written by Connor Schmid.

Connor Schmid, one of our work study students

Imaging and Re-associating Artifact Context

In the summer of 2014, as part of a re-boxing and collections management project, the Museum of Ontario Archaeology found a discreet box in their storage room. It contained two rings and a metal pendent with an unreliable context card. Dr. Chris Ellis of Western University identified these as Jesuit rings and a devotional medallion and affirmed their rarity. These are known to have been distributed by Jesuit Priests to the local people at Missions in the 17^th century and were widely traded (Cleland, 1972; Smith & Mattila, 1989). Sustainable Archaeology: Western work-study students have used several techniques to examine the rings and medallion, including: photography, 3D scanning, and microCT scanning.

Artifact Photography

These Jesuit artifacts have given us an opportunity to test our setup and skills with the SA digital photography equipment. First, we carefully mounted the artifacts using foam blocks to get a good view for our camera. We then adjusted the lighting to capture the small details on the artifacts. In this case, we used two light sources – one fixed to provide a constant light source, and the other adjusted to play with the shadows cast by the artifact. Once our lights were set up close to where we wanted them, we used image capture software (Nikon Camera Control Pro2) to manually adjust the camera settings, ensuring the proper focus and exposure for the photo. We then took a few shots of the artifacts, adjusting lighting, zoom, or camera position as needed until we got a photograph we considered excellent quality. Eventually artifact photos such as these will inform how photography is used in the SA Informational Platform.

Jesuit "L-Heart" Rings. Upper ring is of an unknown context. Lower ring is from the Omand Site on Christian Island, ON

Devotional Medallion, stamped on each side, from an unknown context

3D Scanning

While photography is useful for portraying a simple 2D image of an artifact, rarely do such images capture the entire artifact as it is in real life. For example, getting a complete picture of our two-sided Jesuit medallion is difficult, as we must take two pictures of either side, rather than an image that can display the entire three dimensional artifact. 3D scanning allows us to take a complete scan of an artifact, making a digital representation that can be rotated and examined as a real artifact would. The 3D scanners from 3D3 at SA use white light to capture a series of images that can then be combined into a three dimensional digital model. With help from our 3D Imaging Specialist Nelson Multari, we were able to take several scans, and then combine them in Flexscan3D, a model editing program, to make a 3D image that is an accurate representation of the physical artifact. Any “holes” in the model where the scanner couldn’t see – say, a shadowy area – were filled in using editing software, giving us the final digital version of the 3D scan. While the design on the rings can be viewed in greater resolution in our 2D photograph, the 3D scan allows us to orient the artifact and examine portions not captured by photography, such as the inside of the band.

Devotional Medallion by sustainablearchaeology on Sketchfab

Jesuit Ring by sustainablearchaeology on Sketchfab

Omand Jesuit Ring by sustainablearchaeology on Sketchfab

MicroCT Scanning

3D scanning gets us a digital representation of the exterior of the artifact, but what if we wanted to examine the interior structure? You could use an invasive method, something like thin sectioning that destroys a portion of the artifact – or, you could use SA’s microCT machine and scan the interior of the artifact using X-rays. MicroCT uses X-rays to scan cross sections of an object that can be used to create a 3D virtual model of the original (Nikon). The ‘micro’ in microCT refers to the size of the cross section taken – in this case, each cross section can be in the micrometre range. This type of scanning allows us to create a 3D representation of an artifact that includes the interior structure, making it easier to discern such attributes as method of production, artifact composition, or even viewing fine details that have been obscured by corrosion or decay. MicroCT scanning showed that one of the rings was made of a very dense material, and that the metal hoop link at the top of the medallion is composed of a different metal than the rest of the artifact.

MicroCT Scan of the Omand Site ring

Detail of etched "L-Heart" Omand Site Ring

MicroCT scan of devotional medallion

We have had a tough time associating these artifacts with any particular site because our rings and medallion were found in a box that had included little context on the finds. Some detective work revealed that at least one of our rings is from the Omand Site on Christian Island (Smith & Mattila, 1989), associated with the Jesuit St. Marie II mission from the 17^th century. Unfortunately, the second ring and medallion have no associated context. The “L-Heart”motif was common on devotional rings from the Jesuit order, with L possibly representing St. Loyola, the founder of the Jesuits, and the heart representing affection directed to that saint (Fitzgerald, Knight & Lennox, 1994). Articles on the methods of production of Jesuit rings gave us an idea of what features a completed ring should have – such rings were cast as one piece, with the design being engraved after casting (Cleland, 1972). Our microCT scan revealed that the rings had features that were consistent with other descriptions of how authentic rings appear. The microCT scan has also shown that our rings and medallions are composed of different metals, based on the density of each artifact. Combined with photography and 3D scanning, we can create a better representation of these artifacts for others to view than we could using only description or photography.

References

Cleland, C. E. (1972). From Sacred to Profane: Style Drift in the Decoration of Jesuit Finger Rings. American Antiquity, 37(2). 202-210.

Fitzgerald, F.R., Knight, D.H., Lennox, P.A. (1994). Catholic Devotional Items from 17^th Century Ontario Archaeological Sites. Arch Notes, 94(5). 9-19.

Nikon. XT H 225 Industrial CT Scanning. http://www.nikon.com/products/instruments/lineup/industrial/xray_ct/ct/xth225/index.htm

Smith, D.G., Mattila, H.U. (1989). French Jesuit “L-Heart” Finger Rings from Christian Island. The Palisade Post, 10(3). 5-6.

It's an exciting New Year at Sustainable Archaeology!

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 06 Jan 2015 19:48:00 +0000

We are excited to start a new year here at Sustainable Archaeology: Western. This month we welcome a new staff member to our ranks, Dr. Jennifer Morgan, who is our new part-time Ancient Images Laboratory Technician. Dr. Morgan was the first PhD candidate to complete her program utilizing the resources at the facility (mCT scanner), and we are excited to have her and her expertise back at SA.

Last year wrapped with the completion of the installation of our videoconferencing station. The station is equipped with two 65" monitors, outfitted with Vidyo conferencing software that can accommodate up to 10 video-conference attendees at one time. Overflow can be handled by the Polycom Soundstation VOiP conference phone. The SA Advisory Committee's first meeting was hosted in the Collaboration Room in early December, and included one participant who joined the meeting via video conference from Quebec. The Vidyo conferencing system allows us to share presentations, graphics (3D as well as 2D images), even video with our colleagues anywhere around the word, and will aid the collaboration process significantly at this graphics-intensive research facility.

There are many other exciting developments in the works that we look forward to sharing. Stay tuned to this space - 2015 will be a big one for us! Happy New Year!

Significant Events

noreply@blogger.com (Sustainable Archaeology at Western University) — Mon, 03 Nov 2014 21:50:00 +0000

It's an anniversary of sorts for us. Four years ago today we took this photo on the site of what was going to be Sustainable Archaeology: Western. London hydro were on site to re-route those hydro lines you see in the photo, formally kicking off the long-awaited and anticipated construction phase of the project. It took ten months for the building to go up, but we were ensconced at our new desks by the following September.

October 2014 was a time of significant change for us, as we welcomed two new staff members, Alex and Katie, and said goodbye to one of our long-term staff members, Kira. We also welcomed one new work study student, Kayley, to our ranks. Our Videoconferencing Station is now set up and we are able to collaborate with colleagues, share images and presentations anywhere in the world.Next month we look forward to using the station as part of the first meeting of the SA Advisory Board.

Last Friday marked another significant date on the SA calendar. October 31 marked the formal end of the 5 year CFI/ORF grant for Sustainable Archaeology. With only a few equipment purchases left, which are already in the works, the project is now supported by operating funds - we have officially been pushed out of the nest!

Notes from the SA: Fall 2014

noreply@blogger.com (Sustainable Archaeology at Western University) — Thu, 04 Sep 2014 14:40:00 +0000

Our Fall 2014 newsletter features updates on activities at both the Western and McMaster facilities, and an article by recent graduate Colleen Haukaas on her 3D scanning work at SA: Western. Scroll through the embedded PDF below, or download a copy from the Publications page of our website.

Guest Blog by Professor Andrew Nelson: On the Road with SA in the UK (Part 3, final installment)

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 08 Aug 2014 17:00:00 +0000

Interested in how research projects and collaborations are established and executed? This is the final blog post in our series of three that has followed SA Research Associate Professor Andrew Nelson on a recent trip to the UK. Read Part 1 of the series here, and Part 2 here.

July 11^th – Andrew took the opportunity to visit the Nikon Metrology Centre-of-Excellence in Tring. Tring is about 40 minutes by train north of London. This is where the microCT scanners - including our own! - are assembled, and where Nikon offers inspection services using their line of scanners. Andrew Ramsey, a CT Specialist at Nikon, showed Andrew N. around, and patiently tolerated a barrage of questions about the inner workings of the CT Pro reconstruction software. Andrew R. was part of the team that scanned the amazing 'mechanism' from the Antikythera shipwreck - and has lots of experience scanning interesting things!

CT scanners being assembled at Nikon Metrology in Tring, England.

July 12^th – Andrew visited the incredible block-buster exhibit at the British Museum entitled “Ancient lives:new discoveries”, featuring 8 Egyptian mummies [Andrew being a mummy expert himself - Ed.]. The exhibit features CT scans and detailed examinations of each individual, highlighting the story of their lives and how they were treated in death. Many of the exhibits included the ability for the visitor to interact with the scans – either rotating the views, cutting through the mummy or otherwise highlighting specific features. In many ways the exhibit was quite simple, but the visitors were enthralled. This might be an interesting way to exhibit the scans of the prayer beads at the AGO!

July 14^th – Scan day. Andrew linked up with Annie Kemkaran-Smith, to scan two objects from the Wernher Collection at Ranger’s House Museum in Greenwich. Annie is the Curator (Art Collections) of the National Collections Group with English Heritage, London. As such, she is the collections curator for Down House (Darwin’s home), Eltham Palace and Ranger’s House.

The objects were a small prayer bead and a miniature boxwood coffin – a memento mori (see an example of a very similar coffin at the Metropolitan Museum in New York, here). The scans are pretty amazing – particularly the coffin! It will take a lot of work with the analytical software to segment it into separate elements. We will demonstrate this work in a future blog post.

That was it for the bead and CT related work on this trip. It was a pretty eventful few days! We’ve got some more scanning planned at home in London, Ontario and the triptych with the Detroit Institute of the Arts to do – so lots more to come. Watch this space!

Thanks, Andrew, for sharing your adventures with us. It's been interesting to see where our microCT scanner was built, and the sorts of work researchers in the UK are doing with similar equipment. We are certain the trip has inspired research for both you and future students in the Anthropology Department at Western. We look forward to seeing your research and collaborations blossom here at SA: Western, and we're thrilled to be a part of this story!

Guest Blog by Professor Andrew Nelson: On the Road with SA in the UK (Part 2)

noreply@blogger.com (Sustainable Archaeology at Western University) — Thu, 07 Aug 2014 17:00:00 +0000

Interested in how research projects and collaborations are established and executed? This blog post continues the adventures of SA Research Associate Professor Andrew Nelson, as he gives us a behind-the-scenes look at his new collaborative project with the Art Gallery of Ontario. Read Part 1 of the series here.

July 8^th – Lisa Ellis, Sasha Suda (both of the AGO) and myself (Western University) visit the Natural History Museum in London, England to see their microCT scanning facility. They have a Nikon XT225 just like the one at SA: Western – perfect for this project, as the unit and the software here will be the same that I use at home, ensuring comparability of the scans. Lisa and Andrew, along with Andrew’s long time radiography colleague, Jerry Conlogue, met up at the NHM.

Prof. Jerry Conlogue stands in front of a showcase of some of the projects produced by the IAC lab at the NHM.

There we were met by Dan Sykes, Assistant Micro-CT Lab Manager and Micro-CT Specialist at the Imaging and Analysis Centre (IAC). This is an amazing operation – a lab full of humming computers with folks creating amazing images on their computer screens – everything from bee brains to meteorites to bones.

The Imaging and Analysis Centre at the Natural History Museum, London.

Andrew returned here later in July to scan two pieces from the Wernher Collection at Ranger’s House museum in Greenwich (see 3rd blog installment). One piece is a prayer bead, and the other is a small boxwood coffin that is carved in a similar manner as the beads. That should be fascinating… stay tuned.

July 9^th – Lisa and Sasha head back to Canada. There’s nothing going on that’s relevant to the bead project – but Andrew did visit the Hunterian Museum. This is an amazing collection of anatomical specimens – both human and animal, as well as the skeleton of Charles Byrne, the Irish Giant. Fascinating stuff – lots here that could be microCT scanned! (Byrne’s skull has been scanned at the Natural History Museum).

Next time, Andrew visits the Nikon Metrology Centre-of-Excellence in Tring - where our microCT scanner was born - stay tuned to Part 3 of our blog series.

Guest Blog by Professor Andrew Nelson: On the Road with SA in the UK (Part 1)

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 05 Aug 2014 21:19:00 +0000

Interested in how research projects and collaborations are established and executed? Be sure to follow the next few blog posts contributed by Professor Andrew Nelson, SA Research Associate. Andrew shares the details of a research project still in its infancy.

Sustainable Archaeology (SA) and Art Gallery of Ontario (AGO) are collaborating on an research project focused on late Medieval/early Renaissance prayer beads in the Thomson Collection at the AGO. These beads are devotional objects carved from boxwood that date to the first-half of the 16^th century. See Codart Ezine and the AGO blog Art Matters (both previously featured in this blog) for some of the work that’s already been done! Curators and researchers have identified about 135 of these beads in collections in Europe and North America.

This projects focuses on the cultural context of these devotional objects, their collection history as well as technical aspects of their construction… that’s where the SA comes in. In 2012, the AGO first visited SA: Western to undertake microCT scans of 3 prayer beads in the Thomson Collection (you can go back to that blog post, here). We confirmed that the beads are very complex constructions, with major and minor components – they are works of technical virtuosity (see the AGO's video clip of one of the scanned prayer beads here). Since those first scans, we have now scanned all the beads in the AGO’s collection, three additional beads from a private collection, and we’re now branching out to do more!

… and that brings us to London, UK.

The Team – Lisa Ellis is a Conservator of Sculpture and Decorative Arts at Art Gallery of Ontario. Sasha Suda is the Associate Curator of European Art at the AGO.

Lisa and Sasha were in London for the GothicIvories: Content and Context conference, 5-6 July 2014. Andrew was there on “vacation”. We coordinated our time to work on the bead project together.

July 6^th – Andrew landed in London, joining Lisa and Sasha at a gallery opening at Sam Fogg’s Gallery of Medieval Art, Islamicand Indian Art - a heady mix of collectors and academics, mixing over champagne and art. Contacts were made for Monday.

The British History Museum, London, England.

July 7^th - Lisa and Andrew met up at the British Museum to peruse the galleries. In particular we visited the Waddesdon Bequest collection, an amazing collection of objects amassed by Baron Ferdinand de Rothschild and bequeathed to the British Museum. The highlight of course, from our perspective, was the boxwood miniature tabernacle - this is a prayer bead in a stand… with an elaborately carved base and a top that opens up like petals.

Later, we hooked up with Sasha and visited with Dr. Dora Thornton, Curator of Renaissance Europe at the British Museum, as well as staff members Gina and Ellie. The British Museum has also scanned the bead from the tabernacle mentioned above – and we talked a lot about the analysis of the scans, and potential for collaboration – a very positive meeting!!

Dr. Thornton took us down to a workroom in the bowels of the museum to check out this amazing boxwood triptychaltar-piece. It is carved in a very similar manner to the prayer beads – the craftsmanship is amazing! The image at the top is of course the crucifixion – the figures in the round part of the base represent the apostles at the last supper (Judas sitting alone in front). This piece would be great to scan – but might be too delicate to transport to a scanner. However, Andrew is going to link up with the Detroit Institute of the Arts in August to scan a similar triptych in collaboration with the Nikon Metrology office in Michigan (the company that built our mCT scanner) – stay tuned…

Having taken our leave of the British Museum, we headed down the Victoria Line to the Victoria and Albert Museum to meet with Glyn Davies, a curator at the V&A. There we discussed three prayer beads in their collection:

St John the Evangelist in Distress

St. Jerome in his study and St. Catherine of Alexandria:

and Scenes from the Life of Jerome

Sounds like we’ve got a return scanning trip to plan soon!!!!

Be sure to follow the continuation of Prof. Nelson's adventures in our next blog post!

Database Testing

noreply@blogger.com (Sustainable Archaeology at Western University) — Thu, 17 Jul 2014 13:22:00 +0000

Our Western University work study students Sarah (left), Rabia (front right) and Mark (middle right) are hard at work in our Digital Conversion lab, testing the database with boxes of archaeological collections recently transferred by our partners, Archaeological Services Inc. Working closely with our database team (including Colin, sitting in the center) they will work through the data entry forms for sites, intra-spatial contexts, and artifacts by entering real world data from site reports and artifact catalogues. In addition to working with the data entry forms, they will also be testing hardware tools that feed directly into the database (no transcription required!), including the DM barcode scanners, digital scales, and digital calipers.

Zooming in on Microscopic Analysis at SA

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 27 Jun 2014 19:43:00 +0000

Sustainable Archaeology has a new piece of analytical equipment - a Nikon SMZ-25 stereoscopic microscope. We are excited by the versatility of this new instrument, which will allow us to view objects within a range of 6.3 to 315x magnification with both direct and transmitted light sources.

Chad Steele, from Nikon Canada, puts the SMZ-25 together.

No single piece of equipment has arrived at our facility intact - everything from our humidity readers to our microCT scanner, even our building, have arrived in multitudes of pre-assembled pieces. This single microscope was no exception - above is an image of just a fraction of the packaging that this piece of equipment came in.

The SMZ-25 is a fully automated microscope; magnification, zoom and even lighting are mechanically adjusted either on the computer or the separate control unit/monitor. Besides magnification, there are a number of lighting options that increase the versatility of the system. It has a transmitted light source in the base that forces light up through an object, allowing us to view things like thin-sections of ceramic or soil on prepared slides. There is a ring light that sits on the lens, providing even illumination of an object, such as a trade bead, from the top-down. And there are goose-neck fibre-optic lights that allow us to move and adjust the angle of the light source to capture and highlight surface details on an object, such as use-wear on the edge of a projectile point. Oblique coherent contrast (OCC) illumination provides contrast and colour to otherwise clear and colourless objects such as diatoms (microscopic algae) or starch. The unit is also equipped with a 5 megapixel camera for capturing publication-quality images, and the Nikon NIS-Elements software comes with the ability to focus-stack (z-stack) multiple images upon one-another in order to capture a clear image with a greater depth-of-field.

Nikon SMZ-25 stereomicroscope with camera and remote control unit.

We look forward to using the microscope to examine floral remains such as seeds and even pollen, phytoliths or diatoms from archaeological sediments. It will also be used to examine the temper inclusions in ceramics, cut marks on faunal remains, usewear on tools, to identify the species of wood/charcoal samples and even examine fingerprints in clay objects. With analytical software capable of defining regions of interest and morphology, counting, measuring, and filtering, this stereomicroscope makes a valuable contribution to the Imaging capabilities of Sustainable Archaeology: Western.

Canadian Archaeology Association Conference: Public Archaeology Day

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 20 May 2014 19:03:00 +0000

In addition to the open house event hosted by Sustainable Archaeology and the Museum of Ontario Archaeology as part of the 2014 CAA conference held here in London, we also had the opportunity at the end of the conference to participate in a Public Archaeology day. Sponsored by the CAA conference, the public day featured free public lectures by Chris Ellis of Western University, Dana Poulton and Christine Dodd of D.R. Poulton and Associates Inc., and Ron Williamson of Archaeological Services Inc., as well as displays by local archaeologists and archaeological firms, the Museum of Ontario Archaeology, the DH Maker Bus, the Ontario Archaeological Society, and others. Sustainable Archaeology's table featured the ever popular Oculus Rift with the virtual recreation of the Lawson site, as well as a number of 3D printed objects.

Events such as the public day provide SA with an opportunity to interface with the public, to share what we are doing, and what we hope to accomplish. The Oculus Rift and the 3D prints offered sufficient "wow-factor" to draw people to the table, but conversations quickly evolved past the "wow" to very interesting discussions regarding how digital technologies can help make archaeological artifacts and data accessible beyond archaeologists, and beyond the facility itself. While SA is not intended to be a public facility in that we are not physically open to the public as a museum would be, our database will be publicly accessible once complete, and events such as the public day can help us to understand what the public would be interested in learning about, and interacting with.

Canadian Archaeological Association Conference Open House

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 16 May 2014 17:42:00 +0000

On May 15th Sustainable Archaeology: Western, along with our neighbours at the Museum of Ontario Archaeology, welcomed attendees of the 2014 Canadian Archaeological Association conference for an evening open house.

Tours of the repository and laboratories were conducted by Dr. Neal Ferris, Dr. Rhonda Bathurst, and Kira Westby, with Dr. Andrew Nelson exhibiting examples of scanning projects at the micro-CT station in the Ancient Images Laboratory.

Checking out the micro-CT

Repository tour with Dr. Rhonda Bathurst

It was exciting for us to engage with fellow archaeologists from across the country on issues related to collections management, database development, and integrating digital technologies, to hear their feedback on the facility, and to hear their questions. Garnering particular interest amongst some of the attendees was SA's use of barcoding technologies and inventory management tools, as well as our 3D scanning and 3D printing equipment. And of course the Oculus Rift virtual reality headset, showcasing the re-creation of the Lawson site, is always a big hit, both for those trying it out, and for the crowd watching!

Thank you again to everyone who attended, it was a great evening! We hope to hear from many of you again soon!

Mezzanine Box Packing Stations

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 04 Apr 2014 16:03:00 +0000

After receiving several exciting deliveries from our packaging suppliers, we have set up two box packing/artifact processing stations in the repository's Mezzanine. Our stations will be used by SA staff when Sustainable Archaeology has been contracted to re-package collections as part of a transfer.

Each station includes trays for laying out artifacts, polyethylene bags, polypropylene vials, clay desiccant and polyethylene foam from Uline, as well as other archival supplies from Gaylord, such as acid test pens (for testing whether packing tissue is acid-free) Paraloid B-72 resin (used to affix the tiny DM code catalogue numbers to artifacts), and gloves.

For more on Sustainable Archaeology's standards for packing collections, please visit our website and browse through our Procedures and Practices.

Tracking our Progress

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 18 Mar 2014 15:18:00 +0000

One of the reasons that we love sharing and updating Sustainable Archaeology's progress on our blog is the opportunity to look back at how far we have come - literally from the ground up! In March of 2011, our Ancient Images Laboratory was just concrete, an idea of what could be. Now, in March of 2014, we have a fully outfitted and functioning space that features our micro-CT scanner, digital x-ray, artifact photography stations, and 3D printer.

3D Printing - testing size and colour

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 11 Mar 2014 15:58:00 +0000

We have been running the 3D printer through its paces, working with scaling the printed objects, and with different processes and products for post-printing infiltration.

Our test object was a small red projectile point. The point was first scanned in 2012 by the Sustainable Archaeology Animation Unit using the macro white light scanner.

The untextured (left) and textured (right) scans of the point

In order to see how the printer was handling the detail captured in the original scans of the projectile point, we decided to print not only an original sized replica, but also one that was 2x larger, and one that was 3x larger.

Print in progress in the build bed

By scaling the model, we are able to better see with the naked eye the detail that was captured in the scan. Depending on the end user need, printing scaled versions of the scanned object may prove beneficial - for example, if there is detail not easily seen by the naked eye, or where we wish to isolate and print one segment of the object at a larger size in order to examine a specific feature of the original. For example, with our print, we are able to better see each flake scar on the point by examining the larger model, and could use the larger model to take measurements (converting to account for the size difference).

Scaled 3D prints (left to right): 3x larger; 2x larger; original size

Back side of the three printed points

In addition to testing scale, we were interested in testing how different infiltration products and methods affect the end product. We printed several copies of the point at its original size, and used the 3D Systems infiltrant Z-bond, as well as Paraloid B-72 resin, and the salt water infiltration we had previously used for our first print test.

Infiltrating the prints (left to right): Z-bond infiltrant; Paraloid B-72; salt water

Back of prints with different infiltrants (left to right): Z-bond; Paraloid B-72; salt water

As you can see from the images, the print infiltrated with the Z-bond demonstrates the most robust colour. The Paraloid resin offers a significant improvement over the salt water, and we plan to explore its use further, using different concentrations of the acrylic resin in acetone. As with scale, the end user need will help determine what infiltration product will be used with a print - for example if the user is interested in a print as a replication, or whether they simply wish to have a physical copy of the scanned object to handle and examine.

Comparison of the original artifact (left) with the Paraloid (center) and Z-bond (right) infiltrants

Notes from the SA: Spring 2014 Newsletter

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 04 Mar 2014 18:53:00 +0000

Our Spring 2014 newsletter features the upcoming Canadian Archaeological Association conference in London, ON, as well as updates on activities at both the Western and McMaster facilities. Scroll through the embedded PDF below, or download a copy from the Publications page of our website

3D printer training and our first test print

noreply@blogger.com (Sustainable Archaeology at Western University) — Mon, 10 Feb 2014 19:44:00 +0000

On February 6th and 7th, we received training for our 3D Systems ProJet 660Pro printer. Training included not only how to set up and complete a print using the software, but also essential steps such as the cleaning of the machine that is required after the conclusion of each print.

After completing the necessary setup, calibration, and print head alignment, we performed our first test print, using a scan of a small bone comb that had been completed using Sustainable Archaeology's white light 3D digitizers. To test the process of positioning objects in the build envelope using the software, we printed three copies of the same object.

Printing in progress.

After a print is completed, the parts must be carefully excavated from the excess powder in the build envelope. The parts are quite delicate prior to any post-processing treatment, and can easily be broken during removal from the powder. Our objects were particularly delicate, as to maximize our training time, we did not allow for the usual one to two hours of drying time generally recommended between the conclusion of the printing process and the start of post-processing.

Excavating the prints

For our first test, we experimented with one of the available post-processing techniques, which is infiltration using a solution of Epsom salts and water. We plan to experiment further in the coming weeks to determine what scanning procedures produce the best files for printing, and to determine what post-processing techniques will produce the best colour replication.

Front and back views of the completed print

The final print (right) and the original object

January Arrivals at SA

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 24 Jan 2014 18:21:00 +0000

Happy new year to our blog readers! We've had a busy January so far, welcoming two new arrivals to the facility: our (much anticipated!) 3D printer, and our new artifact cabinets.

The 3D printer is a 3D Systems ProJet 660Pro from vendor Progressive Educational Systems Inc. The ProJet 660 uses a composite powder rather than plastic for its build material, and has the capability to create replication-quality pieces in full colour. Stay tuned for our inaugural "first print" post!

Interior view of the printer

In addition to the printer we received our Delta and Rousseau cabinets from Spacesaver Solutions Inc. The cabinets will be used to house special or fragile artifacts.

Happy Holidays from Sustainable Archaeology

noreply@blogger.com (Sustainable Archaeology at Western University) — Tue, 17 Dec 2013 16:14:00 +0000

Happy holidays to all of our blog readers! Another busy and productive year is drawing to a close, and we would like to take the opportunity to thank everyone who has expressed interest in and support for Sustainable Archaeology throughout the year. We look forward to sharing more stories and events with you through the blog in 2014. Highlights that we are already looking forward to include the delivery of our 3D printer sometime early in the new year, as well as events hosted at the facility during the 2014 Canadian Archaeological Association conference, to be held in London, Ontario this coming May.

From all of us at Sustainable Archaeology, best wishes for the new year!

Artifact Photography Stations

noreply@blogger.com (Sustainable Archaeology at Western University) — Thu, 21 Nov 2013 15:17:00 +0000

Our artifact photography stations are taking shape. Purchased from Vistek, we have two stationary work spaces and one flexible kit for large-scale or on-site photography. Each stationary station consists of a Nikon D5200 DSLR camera with 18-50mm lens, a Manfrotto tripod, a Lastolite Cubelite, Lastolite lamps, and Westcott Apollo reflectors with Nikon SB700 speedlights.

Our floating camera station is outfitted with both an 18-200mm telephoto and 60mm macro lens and a 6' Cubelite for optimal versatility in field and lab, with large artifacts and small. Nikon Camera Capture Pro2 software will be used to take the photographs directly from the tethered laptop at each station.

In addition to the Cubelites, which serve to diffuse light from every direction, we have several different sized reflectors and diffusers, which can be used to manage glare, reflection, and shadow when photographing and 3D scanning artifacts. Every artifact record in the database will include a photo to aid in identification, and to provide remote users with the means to view an artifact online without traveling to the facility.

Sustainable Archaeology at the OAS Symposium

noreply@blogger.com (Sustainable Archaeology at Western University) — Thu, 31 Oct 2013 16:57:00 +0000

This past weekend staff from both Sustainable Archaeology Western and McMaster attended the annual Ontario Archaeology Society Symposium in Niagara Falls.

View of both the American and Canadian falls from the conference venue

In addition to our workshop at the end of the day, we were in the book room for the day Saturday, and were able to have some great conversations with a number of professional archaeologists, students, and representatives of other organizations such as the Canadian Conservation Institute and the Canadian Museum of Civilization.

Book room table setup

We received some great feedback on our use of digital tools and inventory management logic for labeling and cataloguing of artifacts at Sustainable Archaeology, and enjoyed introducing people to the "immersive archaeological experience" using the Oculus Rift - a virtual reality headset that is designed for the gaming industry. The Oculus at SA is used to immerse users in a reconstruction of the Lawson village site (located next door to SA: Western at the Museum of Ontario Archaeology) created in summer 2012 by the Sustainable Archaeology Animation Unit internship, using the Unreal game engine.

Trying out the Oculus

We look forward to continuing conversations from the weekend, and continue to welcome feedback on our draft Procedures and Practices document, available on our website. Thanks to the OAS for a great weekend!

"As it Happens": database development using Neo4J

noreply@blogger.com (Sustainable Archaeology at Western University) — Fri, 18 Oct 2013 16:26:00 +0000

Database development at Sustainable Archaeology "as it happens": the database team works with Neo4J .

Neo4j is used to power metadata queries, such as searches across attributes recorded for each artifact entered into the database.


Screenshot of Neo4J

This visualization of related nodes will be integrated into each element's record in the database, allowing a user to explore connections between different elements. For example, if the element of interest is an artifact, the user is able to explore the connections between that artifact and other related elements, such as the artifact's unit, and site of origin.