Forensic art and illustration / Karen T. Tayor.

Format:

Book

Author/Creator:

Taylor, Karen T.

Language:

English

Subjects (All):

Facial reconstruction (Anthropology).

Forensic anthropology.

Physical Description:

580 pages : illustrations ; 26 cm

Place of Publication:

Boca Raton, Fla. : CRC Press, [2001]

Summary:

Forensic Art and Illustration is a comprehensive guide in the realm of police art. An expansive and practical guide to the various aspects of the field, it is an essential resource for the practicing police artist as well as others seeking information on the subject. The text reviews 100 years of forensic art as an aid to law enforcement, and lays a foundation of standardized terminology. More than 300 illustrations and photographs describe art methods used in identifying and locating both crime victims and criminal offenders.

Contents:

Part I Forensic Art: The Foundation

1 Introduction to Forensic Art and Illustration

What Is Forensic Art? 3

Four Categories of Forensic Art 4

Art or Science? 6

Who Is the Forensic Artist? 8

2 A History of Forensic Art

More Than 100 Years of Aid to Law Enforcement 11

2000 and Beyond 42

3 The Human Face

Facial Anatomy 49

Bones of the Skull 50

Muscles of the Face 52

Three Types of Heads 55

Anatomy of the Facial Features 56

Basic Orientation Terms 57

The Dentition 58

Racial/Ancestral Groups and Ethnicity 58

Caucasoid 61

Negroid 62

Mongoloid 63

Australian Aboriginals 64

Male and Female 64

Male 65

Female 66

Facial Expressions 67

4 Drawing the Human Face

Tools and Materials 75

Papers 75

Drawing and Blending Tools 77

Other Tools and Supplies 80

Tools for Enlargement, Reduction, and Projection 81

Enlargement and Reduction 81

Projectors 82

Tools for Copying with No Size Change 82

Light Boxes 82

Transfer Paper 83

"Style" in Forensic Art 83

Degree of Facial Detail 83

Scale of the Facial Drawing 83

How Long Should It Take? 84

Whether or Not to "Neck"! 85

The Ideal Face 85

Drawing Style 86

Color vs. Black-and-White Drawing 92

Lighting to Attain Perspective 92

Contrived Lighting 92

Light Basics 93

Facial Proportions 95

Proportion in Forensic Art 95

Canons of Proportion 95

Symmetry/Asymmetry 96

Use of Templates 97

Importance of the Midface Proportions 100

Younger and Older Proportions 100

Male and Female Proportions 102

Temporary Proportional Changes 103

Long-Term Proportional Changes 103

How to Capture Proportions in Your Drawings 103

Individual Facial Features 105

The Eyes 106

The Nose 110

The Mouth 112

The Ears 114

Scars, Marks, Tattoos, or Anomalies 116

The Profile 117

Hair and Other Textures 118

Hair 118

Facial Hair 122

Textures 123

Accessories 124

Hats and Headgear 124

Glasses 128

Other Details 130

Improving Your Drawing Skills 130

Gesture Drawing 132

Contour Drawing 133

Experiment with Styles and Materials 133

Part II Forensic Art: Finding and Identifying the Living

5 The Interview

Functions of Memory and Trauma 139

What Is Memory? 139

How Does Memory Work? 139

Stages of Memory 141

Memory and the Composite Artist 142

All Faces Are Not Created Equal 142

All Witnesses Are Not Created Equal 143

Holistic Encoding 143

Importance of Specific Features 145

Importance of the Upper Face 145

Recall vs. Recognition 146

What about Hypnosis? 149

Obstacles to Perception and Memory 150

The Victim/Witness 154

Involvement in the Crime 154

Stress, Arousal, and Violence 154

Personal Fluency of Description 157

Perceived Credibility of Members of Certain Professions 157

Individual Witness Factors 157

The Cognitive Interview vs. the Standard Police Interview 160

The Standard Police Interview: "Just the facts, ma'am" 160

The Cognitive Interview 160

Primary Techniques of the Cognitive Interview 161

Review of the Stages of the Cognitive Interview 164

The Composite-Specific Interview 164

Pre-Interview 165

Introduction/Rapport-Building Stage 165

Initial Drawing Stage 168

Fine-Tuning Drawing Stage 169

Finishing Touches 171

Multiple Witness Interviews 174

Pre-Interview Assessment 175

Procedural Considerations 175

Child Interviews 178

General Guidelines for Supportive Interviewing of Children 178

Developmental Stages as Related to Interviewing 179

Language Adaptation 180

Procedural Considerations 180

Hospital Interviews 182

Purpose before Emotion 182

Permission from the Physician 183

Victim's Attitude 183

Procedural Considerations 183

False Allegations 184

Reasons for False Allegations 185

Indicators 186

Procedural Considerations 187

Other Tools for Assessing Deception 188

The Artist's Role 189

Other Psychological Issues 189

Unconscious Transference 190

Multiple Retrieval Attempts 190

Better Visualizers May Make Better Witnesses 190

Post-Event Inputs 191

Training in Facial Recognition 192

Psychological Benefits of Composite Images 192

6 Composite Imagery

Overview of Composite Imagery 197

What Is a Composite? 197

Object or Evidence Images 198

Facial Composite Images in General 200

Hand-Assembled Composite Systems 202

Computer-Generated Composite Systems 203

Three-Dimensional Composites 206

Other Terminology 206

Circumstances for Doing Composite Images 207

Initial Contact and Request 207

Saying "No" 210

Practical Considerations 210

Physical Structure of the Interview 210

Time of the Interview 215

Victim Considerations 216

Put Yourself in the Interviewee's Situation 216

Physical Considerations 216

Emotional Considerations 218

Others Allowed into the Interview 219

Psychological Considerations 219

Physiological Indicators of Stress 219

Sociological Considerations 221

Individual Victim/Witness Variants 221

Reference Files 222

Why Use Reference Photographs? 222

Recall vs. Recognition 222

Correct Use of Photographic References 223

FBI Facial Identification Catalog 223

Mug Shots 225

Useful Objects to Have on Hand 226

Other Uses for the Photo Reference Files 227

The Composite Drawing 227

Time Frame for Drawing 227

Procedure for Composite Drawing 229

1. Initial Drawing Stage: Establishing the Face 230

2. Fine-Tuning Drawing Stage: Refinement of the Face 230

3. Finishing Touches 231

4. Alternate Looks 231

Use of a 1 to 10 Evaluation System 232

Distribution of Composite Images 232

7 Age Progression: Growth

Overview of Child Age Progression 235

Circumstances for Doing Child Age Progression 236

Parental Abduction 236

Stranger Abduction 236

Procedural Considerations 236

General Approach 236

Hand-Drawn or Computer-Generated Methods 237

A "Look" throughout Life 239

Information Gathering 240

Craniofacial Growth 241

General Trends 241

Denition 243

Photographic Series 244

Child Facial Update: Case Example 249

8 Age Progression: Aging

Overview of Adult Age Progression 251

Circumstances for Doing Adult Age Progression 251

Procedural Considerations 252

Hand-Drawn or Computer-Generated Methods 252

A "Look" throughout Life 253

Facial Angle 253

Color or Black and White 253

Information Gathering 254

Materials 258

Multiple Views 259

Facial Aging 262

Nomenclature for Facial Lines 264

Changes by Decade 264

General Facial Aging 266

Fugitives and Adult Facial Update Examples 274

Complications 277

9 Image Assessment and Modification

The Forensic Artist as a "Facial Identification Specialist" 283

What Approach Should Be Used? 284

Photo-to-Photo Comparisons 287

Photos 288

Considerations for Evaluation and Comparison 288

Special Techniques for Comparison 292

Scaling Techniques 294

Making Comparison Photographs 295

Facial Changes Other Than Age 295

Intentional Alteration of Appearance 296

Naturally Occurring Changes in Appearance 297

Part III Forensic Art: Identifying the Dead

10 Postmortem Drawing

Circumstances for Doing Postmortem Drawing 303

Cases in Which Postmortem Drawing Is Used 304

Cases in Which Postmortem Drawing Is Generally Not Used 304

When to Say "No" 305

Postmortem Changes 305

Basic Terminology 306

Postmortem Stages 307

Rigor Mortis 307

Livor Mortis 308

Algor Mortis 308

Decomposition 308

Insects and Animals 309

Effects on the Face 310

Reanimating the Face 310

Bloating 310

Slack Jaw 310

Palpebral Changes 311

Facial Trauma 312

Slight 312

Moderate 313

Extensive 314

Procedural Considerations 315

Quality of Photography 315

Facial Angle 317

The Dentition 319

Color or Black and

White 320

Using Other Available Details 320

Complications 321

11 Skull Protection and Preparation for Reconstruction

The Skull as Evidence 326

Skull Protection 327

Gluing the Mandible to the Cranium 328

General Dental Assessment 328

Correct Positioning 331

Incomplete Skulls 334

Anthropological and Other Scientific Evaluations 336

Anatomical Method or Tissue Depth Method 341

Anatomical Method 341

Tissue Depth Method 342

Combination Method 344

Discussion of Methods 345

Frankfort Horizontal Plane 347

Tissue Depths 348

Tissue Depth Tables 348

Landmarks for Location of Tissue Depth Markers 354

Cutting and Placement of Tissue Depth Markers 356

12 Two-Dimensional Facial Reconstruction from the Skull

Background of the Method 361

The Skull 361

Historical Review of Two-Dimensional Facial Reconstruction 364

Circumstances for Doing Two-Dimensional Facial Reconstruction 370

Tools and Materials 373

Technical Phase 374

Tissue Depth Markers 374

The Frankfort Horizontal Plane for Skull Photography 375

Drawing Board Setup 376

Artistic Phase 378

Drawing the Facial Contours 379

Drawing the Eyes 380

Drawing the Eyebrows 384

Drawing the Nose 387

Drawing the Mouth 395

Drawing the Ears 403

Drawing the Hair 404

Drawing the Neck 406

Other Details 406

Copying for Distribution 407

13 Three-Dimensional Facial Reconstruction on the Skull

Background of the Method (by BPG) 419

Circumstances for Doing Three-Dimensional Facial Reconstruction 421

Tools and Materials 423

Technical Phase 424

Adjustable Skull Stand 424

The Frankfort Horizontal Plane 425

Tissue Depth Markers 425

Setting the Prosthetic Eye 427

Connecting Tissue Depth Markers 430

Artistic Phase 433

Development of the Mouth 434

Development of the Eyes 441

Development of the Nose 443

Development of the Cheeks 445

Development of the Ears 446

The Neck 451

Texturing and Finishing Details 452

Method of Photographing the Sculpture 456

Early Cases 456

Museum and Other Applications 465

Mummies 466

King Tutankhamen 466

Anniston, Alabama Museum Project 466

Early Americans 466

Galveston Island Aboriginal Female 466

Leanderthal Lady 468

Soldiers from the Custer Battlefield 468

Miles O'Hara

Little Big Horn 469

Sgt. Edward Batzer

Other Projects 470

Pizarro Project 470

Colonial Williamsburg Project 470

President Kennedy Assassination Project 471

Special Project for the FBI 471

14 Methods of Superimposition

Background of Superimposition Comparisons 477

Procedural Considerations 479

Orientation 480

Scale 480

A Model of Video Superimposition 480

Protocol for Developing Superimposition Videotapes 480

Methodology for Analysis of Superimposition Videotapes 487

Additional Issues 488

Difficult Orientations 488

Incomplete Skulls 489

Ambiguous Indicators of Ancestry or Sex 491

Multiple Views 492

Exclusionary Case Study 492

Matching Case Study 493

Part IV Forensic Art: Additional Responsibilities

15 Professional Ethics and Conduct

Codes of Ethics and Conduct 501

Representation of Credentials and Capabilities 503

Professional Organizations 503

Certification 503

Education and Experience 504

Statement of Capabilities 505

Dealings with Other Artists 505

Redoing Composite Drawings 505

Redoing Other Types of Forensic Art 507

Conduct with Victims and Witnesses 509

Witnesses 509

Victims 509

Family Members 510

Questionable Witnesses 510

Conduct with Police 511

Release of Information 511

Questionable Methods 512

Insufficient Information 512

Frontal View vs. Profile 515

Inappropriate Requests 515

Forensic Art Language 517

16 Printing and Graphics Reproduction

General Information 519

History of Printing 519

Typography 520

Images 521

Photography 521

Digital Imaging 523

Acquiring and Printing Images 524

Evidentiary Documentation 525

Methods of Distribution 526

Print Media 526

Billboards 527

Television 528

Electronic 531

Primary Considerations for the Artist 531

Contrast 531

Definition of Form 533

17 Dealing with the News Media

General Information 536

The Role of the News Media 537

The Role of Law Enforcement 537

The Artist's Role 538

Releasing Forensic Art to the News Media 538

Making Comments to the News Media 538

Personal Stories 539

Practical Matters 540

18 The Forensic Artist in Court

Record Keeping 543

Case Records 544

Evidence Handling 547

The Composite Drawing as Evidence 547

Other Types of Evidence 548

Expert Testimony 549

Preparation for Testimony 550

Courtroom Demeanor 552

Primary Issues for the Forensic Artist 553

Court Presentation Artwork 554

Forensic Art Case Law 555

Hearsay Rule Exceptions 555

Standards for Admitting a Composite 555

Quality and Availability of the Original Composite 556

Multiple Witnesses 557

Other Related Case Law 557

Probable Cause to Stop and Identify 557

To Aid the Defendant 557

Right of the Accused to the Production of a Composite Drawing 558

Hypnosis 558.

Notes:

Includes bibliographical references and index.

ISBN:

0849381185

OCLC:

45002200