Cite this as: Unger, J., Dzurilla, D., Košťál, M. and Košta, J. 2026 'Breathing Life into Archaeological Archives: Crafting Compelling Narratives with 3D Digital Storytelling', Internet Archaeology 72. https://doi.org/10.11141/ia.72.13
The integration of three-dimensional (3D) digital reconstructions has become a fundamental instrument for the effective communication of archaeological heritage. This article examines the development of digital visualisation technologies and their impact on cultural heritage interpretation, highlighting the necessity for developing presentation strategies. Beginning with an exploration of the shift towards clear communication in archaeology facilitated by advances in digital technologies, the article discusses the complexities involved in creating digital reconstruction visualisations. Drawing on interdisciplinary perspectives, including archaeology, architecture and computer modelling, the authors propose a systematic framework for creating 3D reconstruction visualisations of archaeological contexts. The proposed methodology is presented through a case study involving the creation of videos for the permanent exhibitions of the National Museum in Prague, featuring 3D reconstructions of the most important archaeological sites in the Czech Republic.
The recognition of data uncertainty and the importance of its transparent representation in reconstruction visualisations is at the heart of this endeavour. By adopting a flexible approach that recognises multiple perspectives, the article attempts to address the challenges of presenting cultural heritage in virtual space and highlights the need for a structured yet sufficiently versatile framework for digital imaging technologies. It also explores the relationship between scientific data and artistic representation in 3D archaeological reconstructions, highlighting the tension between expert and public perceptions. The article recommends the development of standardised visual languages adapted to different societal perspectives and proposes a balanced approach that integrates technical, diagrammatic and didactic principles of visualisation in order to construct the most reliable reconstructions of our past.
Corresponding author: Jiří Unger
[email protected]
Institute of Archaeology of the Czech Academy of Sciences in Prague
Dalibor Dzurilla
[email protected]
Visuin
Martin Košťál
[email protected]
Masaryk University
Jiří Košta
[email protected]
National Museum in Prague
Figure 1: The selected archaeological sites covered a wide range of time periods and archaeological contexts.
Figure 2: A start screen of videos for the marked archaeological sites. The use of pictograms allows unambiguous identification of every site.
Figure 3: The proportions and position of the videos in the overall exhibition.
Figure 4: A sample of the master idea plan for each video. The key is not to get confused about the core concept and communication.
Figure 5: It is appropriate to start with specific details before moving on to the broader context. For each video, a specific artefact or context was chosen, which serves as the emotional core of the narrative and to which the story consistently returns.
Figure 6: Sample, framework or storyboards for the videos.
Figure 7: The filled-in framework in the process of transforming an idea into a concept.
Figure 8: Refining the concept into a design form used to describe the visual form of the videos.
Figure 9: A sample of the visual styles considered for the videos and their possible combinations.
Figure 10: The final design of the 3D computer reconstruction models of the archaeological sites (clay render, NPR, transparency).
Figure 11: A photo-realistic render was used in the videos only for completely credible data/contexts.
Figure 12: Entire landscapes or small artefacts could be inserted into the displayed scenes thanks to 3D digital scanning technologies.
Figure 13: The step-by-step animation of the genesis of a 3D computer reconstruction of a specific object immediately communicates its credibility.
Figure 14: Graphical projections and their use in digital animation.
Figure 15: Three- vs. two- vs. single-point perspective applied to the same scene.
Figure 16: A bird’s eye view compared to a pedestrian perspective.
Figure 17: Different FOV styles. Left: 20.4° FOV = 100mm focal length. Middle: 40° FOV = 50mm focal length. Right: 84°FOV = 20 mm FOV.
Figure 18: Perspective projection vs. axonometric projection of the isometric type.
Figure 19: Comparison of two approaches to representing human presence in the reconstructed environment: hand-drawn figures are typically used in introductory scenes to quickly draw the viewer into the narrative, while simplified 3D figures are integrated directly into the reconstructed environment.
Figure 20: Element composition in the video.
Figure 21: Comparison of the same moment without background.
Figure 22: Additional pictograms describe where the find is located and what features surround it.
Figure 23: Highlighting key elements by colouring.
Figure 24: Diagrams used in videos.
Figure 25: Timelines and scales embedded directly in the video.
Figure 26: Diagrams, maps and schematics embedded directly in the video.
Figure 27: Example of a colour scale to display uncertainty based on the credibility of the input data (Demetrescu 2015).
Figure 28: Different forms of photorealistic reconstruction of sacral architecture (Crîngaci Tiplic et al. 2014; Trebeleva et al. 2021; Hrubý et al. 2019).
Figures 1–26 were created by the authors as part of the joint research presented in this article. Unless otherwise stated, all images © Jiří Unger, Dalibor Dzurilla, Martin Košťál and Jiří Košta (2025). Licensed under CC BY 4.0.
Table 1: Stages of the visualisation workflow used in the project, including their purpose, applied techniques and strategies for representing uncertainty.
Table 2: Key visual elements used in archaeological visualisations and their effect on viewer perception and interpretation.
Table 3: Graphic and compositional elements used to structure visual information and guide interpretation in archaeological visual narratives.
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