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Visual Storytelling in Archaeology: Designing a Cover to Connect Women in the Field Across Time

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This blog post explores the design of a magazine cover that honours the evolving roles of women in archaeology, drawing inspiration from pioneers like Ann Axtell Morris. It discusses the use of visual storytelling and conceptual illustration to create a narrative that bridges past, present, and future contributions. The design choices aim to engage viewers and reflect the dynamic nature of the field.
7 min read

Visual storytelling has long been a crucial yet often underappreciated aspect of science communication. In archaeology, a discipline that thrives on the nuanced interpretation of material culture, the capacity to tell stories through images is invaluable. It is a powerful method to draw connections between the past, present, and future and to make research accessible to both academic audiences and the broader public. In designing the cover for Adventuress Magazine, themed "Women in Archaeology: Past, Present, and Future," I explored the possibilities of using visual elements to communicate a layered narrative.

Figure 1: Overview of the evolving roles of female archaeologists across time by Jona Schlegel.

Figure 1: Overview of the evolving roles of female archaeologists across time. Illustration by Jona Schlegel.

Creating a cover that represents the evolving roles of women in archaeology presented a unique challenge. Each figure depicted in the design was more than just a placeholder; they were characters steeped in their respective historical and cultural contexts. The design aimed to transcend stereotypes, capturing the essence of women’s contributions to the field across different time periods. Visual storytelling, as highlighted in research such as Lashley (2023), enhances communication by leveraging the brain’s rapid processing of visual cues, making complex information more digestible. Thus, the project became an exercise in crafting a story through visual details that archaeologists and laypeople alike could appreciate.

Figure 2: Illustration of the past archaeologist, inspired by Ann Axtell Morris by Jona Schlegel.

Figure 2: Illustration of the past archaeologist, inspired by Ann Axtell Morris by Jona Schlegel

The historical representation drew significant inspiration from Ann Axtell Morris, a pioneering figure in early 20th-century American archaeology. Morris's work, though under-recognised during her time, remains pivotal today. At sites like Chichén Itzá, she meticulously sketched murals, blending her artistic skills with archaeological documentation. Her experiences reflect a broader reality faced by many early women in archaeology: they were often seen merely as assistants or artists, despite their substantial contributions. In designing the "past" archaeologist figure, I used earthy tones to symbolise the physically demanding, hands-on nature of early archaeological fieldwork. The seated figure sketching a mural serves as a tribute to Morris and her contemporaries, encapsulating the dual roles these women played in scientific research and artistic documentation.

Figure 3: Present-day archaeologist depicted with modern tools by Jona Schlegel.

Figure 3: Present-day archaeologist depicted with modern tools. Illustration by Jona Schlegel.

From this historical foundation, I transitioned to the present-day archaeologist. This character stands tall and visible, dressed in high-visibility clothing, and equipped with contemporary tools like terrestrial laser scanners. The colour choices were deliberate: vibrant hues and reflective materials signify the progress made in technological and societal terms, reflecting the increased recognition of women in archaeology today. However, the dedication and passion for the field remain unchanged. This visual juxtaposition between traditional and modern roles exemplifies how the profession has evolved while holding onto its core values. The focus was on illustrating how women have moved from the margins of the discipline to its forefront, occupying leadership roles and driving forward technological innovation.

Figure 4: Potential future female archaeologist, with imagined advanced technology by Jona Schlegel.

Figure 4: Potential future female archaeologist, with imagined advanced technology. Illustration by Jona Schlegel.

Imagining the future archaeologist offered the most freedom, both artistically and conceptually. Drawing on science fiction tropes, I introduced a tricorder-like device reminiscent of Star Trek, blending current archaeological methods with speculative future technologies. This representation raises questions about how far technological advancements could go, envisioning a future where fieldwork might be conducted with seamless efficiency, where data analysis and collection are instant and integrated. The future archaeologist’s attire, sleek and minimalistic, suggests a departure from the heavy, cumbersome gear of today, embodying a future where tools are compact, efficient, and elegant. The design invites viewers to dream of what archaeological fieldwork might look like in decades to come, emphasising a sense of optimism and curiosity.

Figure 5: Colour palette used for the cover design by Jona Schlegel.

Figure 5: Colour palette used for the cover design by Jona Schlegel.

A crucial aspect of the cover’s design was the colour palette, which provided continuity across the three figures. Muted, natural hues for the historical figure transitioned into vivid and dynamic shades for the present, finally softening into cool, futuristic tones for the figure yet to come. This progression not only unites the figures visually but also marks the evolution of the discipline itself. It symbolises how archaeology has developed from manual, labour-intensive work to a high-tech, data-driven practice, and possibly into an even more integrated, technology-enhanced field. By thinking carefully about colour and composition, the design conveys the ongoing journey of women in archaeology in a visually compelling way.

Another notable design choice was to leave the characters’ faces undefined. While partly a practical decision, it also carried deeper meaning. Faceless figures invite viewers to see themselves in these roles, transcending individuality to embrace a more universal representation. This aligns with the principles of conceptual illustration, where the absence of overly detailed features can create a stronger connection between the image and the viewer. The Smithsonian Magazine’s article on Ann Axtell Morris aptly captures this idea, presenting her as not just an individual but a symbol of many women whose contributions have been historically overlooked (Smithsonian Magazine; Wikipedia). By using these visual elements, the cover design pays homage to the past while pointing toward the future, allowing for inclusivity and personal connection.

Overall, designing the cover for Adventuress Magazine underscored the significant role of visual storytelling in archaeology. By integrating historical references, modern technology, and speculative future scenarios, I aimed to create a narrative that honours women’s contributions across time. This exercise is a reminder of how vital it is to communicate archaeological research in a way that is both accurate and engaging. The discipline, often seen as a series of static discoveries, is in reality dynamic, with stories unfolding across generations. Visual art becomes a means to illustrate this fluidity, making archaeology more approachable and meaningful to diverse audiences.

In our field, we often discuss the importance of disseminating research to the public. Visual storytelling offers one avenue to do so, breaking down barriers between the academic and non-academic worlds. It reminds us that while our tools and methods may change, the essence of archaeology—understanding human history and preserving it for future generations—remains the same. By crafting compelling visual narratives, we can highlight these enduring values while inviting others to join the conversation.

If you wish to see the cover and learn more about my design process, feel free to visit my portfolio. Collaboration remains at the heart of effective communication, and I am always open to partnering on new visual storytelling projects to further enhance how we share and interpret the stories of the past.

References

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