Peopling the (Common) Past Through Agricultural Practice Near Pachacamac

Figure 1. Andean tools: Rawkana (left), chakitaqlla (center), and waqtana (right) (Erickson 2000:322-323).

Figure 2. Farmers working the soil with a chakitaqlla and a rawkana. Photograph courtesy of Clark Erickson.

Figure 3. Farmers working with chakitaqllas. Photograph courtesy of Clark Erickson.

Figure 4. Farmers harvesting potatoes on experimental waru waru. Photograph courtesy of Clark Erickson.

Figure 5. A traditional rawkana from Huatta, Peru. Photograph courtesy of Dan Brinkmeier.

Figure 6. A traditional rawkana from Huatta, Peru. Photograph courtesy of Dan Brinkmeier.

Figure 7. A traditional rawkana from Huatta, Peru. Photograph courtesy of Dan Brinkmeier.

Figure 8. Elongated cube forming the base of the rawkana model.

Figure 9. Edge loops added and initial extrusions to the handle.

Figure 10. The rough outline of the handle after extruding out from the top of the model.

Figure 11. Mimicking the curvature of the handle by creating edge loops and translating faces.

Figure 12. Adjusting the tip of the handle to reflect the curvature of the rawkana.

Figure 13. The basic model of the blade positioned atop the handle as depicted in the reference.

Figure 14. Translating vertices on the handle to produce the tapered edge.

Figure 15. Using the Smooth tool to round the handle.

Figure 16. Creating edge loops on the blade to simulate curvature by pulling vertices.

Figure 17. Curving the tip of the blade through additional edge loops and vertex transformations.

Figure 18. Texture test for the blade.

Figure 19. Texture test for the wooden handle.

Figure 20. Final grey stone texture for the blade with bump mapping.

Figure 21. Final “light pine” texture for the wood handle, with faint bump mapping.

Figure 22. Distorted UV map when applying original textures for the wooden handle.

Figure 23. Creating a cylinder to serve as the leather hafting.

Figure 24. The positioned cylinder mimicking the bands of the hafting.

Figure 25. The textured band of the leather hafting.

Figure 26. Shifting the UV maps of duplicated bands to produce a “unique” texture.

Figure 27. The set of duplicated bands affixing the blade to the handle.

Figure 28. First attempts at modeling the bands connecting the two sections of the handle.

Figure 29. The finished version of the leather hafting (and the rawkana model).

Figure 30. First attempts at positioning a male model to grip the rawkana model.

Figure 31. The adjusted positions of the human model and the rawkana.

Figure 32. Clipping of the hand through the rawkana handle.

Figure 33. Adjusted hand grip on the rawkana.

Figure 34. Further adjustments of the hands on the rawkana, in their finished positions.

Figure 35. Applying a skin tone texture to the human model using a reference image.

Figure 36. The failed import of the textured human model with indistinguishable features.

Figure 37. Finished pose of human model with rawkana.

Figure 38. Rendered image of rawkana model.

Figure 39. Rendered image of rawkana model.

Figure 40. Peruvian skyline used for renders. Source: Monica Neumann 2010.

Figure 41. Render of human model using rawkana in a field.

Figure 42. Closeup of human model using rawkana.