Forensic Artist
May, 2004
By: Charlaine Michaelis
CrimeWatch Canada
Three dimensional facial reconstruction for the purpose of identification is a reconstructive technique utilized by the forensic artist when victim's remains are recovered and identity remains a mystery.
This technique is executed by an artist or forensic anthropologist who has in-depth knowledge of the anatomy of the skull, tissue thickness and dentition. A solid knowledge of age peculiarities is critical when reconstructing a child or senior.
The process begins with first positioning the skull securely on a rotating stand and ensuring that it is placed in the Frankfort Horizontal Position. The approximate age, race and sex of the remains are provided to the artist by the Medical Examiner, Forensic Anthropologist or Law Enforcement.
The skull must now be carefully prepared, protecting the back of the delicate eye sockets with a wad of cotton batting and masking tape, repeating the process for the nasal aperture.
Tissue depth markers are then placed on the cleaned skull surface using acetone soluble glue that will not leave any trace on the skull when removed. Prosthetic eyes, generally brown because that is the dominant eye colour in North America, can now be placed and centred in the eye socket, anchored in place by clay.
Depending on the Artist's training and skill, there are several techniques, which could now be used.
The first is the anatomical method, preferred by some, whereby each facial muscle is individually constructed using oil based clay and placed accordingly on the skull. After each muscle has been properly placed, a small amount of fat is then represented in areas most likely to carry these deposits. A very thin layer of clay is then applied over the entire skull and smoothed over the muscle and fatty tissue. This is called "skinning".
The second method, uses tissue depth data markers to determine how thick to make the muscle. This is the only distinction that I have found between the first and second applications.
The third technique or the American Method requires the same anatomical knowledge but is achieved by simply filling in the areas between the depth markers with clay to the appropriate thickness. No skinning is required in this procedure.
In all cases, soft tissue information for the nose and teeth is obtained from data provided by the skull. In some instances, where the nasal spine is missing from the nasal aperture, length and projection of the nose is the artist's best guess, guided only by the width of the aperture. The ears most often are the least accurate feature of the reconstruction. Very little data, except for the type of lobe the victim may have had, is available.
Three dimensional facial reconstruction is often a method of identification of last resort but which has had widespread success in aiding law enforcement in the identification of remains. When dental records, DNA or other conventional means have failed, Law Enforcement will sometimes turn to the forensic artist.
Two-dimensional facial reconstruction, developed by Karen T. Taylor is sometimes preferred by law enforcement and the forensic artist, firstly, because the integrity of the remains is un-compromised by the use of clay and glue and, secondly, the artist will generally work from X-rays, rather than the skull, while still utilizing the correct tissue depth data depending on race, age and gender.
X-rays of the skull, both profile and frontal are placed on a light box. The X-rays should be in the Frankfurt Horizontal position, as with 3 dimensional reconstruction. Tissue data is then recorded onto the X-ray by the artist. Vellum paper is placed over the X-ray and, according to the information provided, the drawings are executed simultaneously.
Two-dimensional facial reconstruction for the purpose of identification can also be done using morgue photos of the victim if there's enough soft tissue information for the artist to interpret. The purpose of this type of reconstruction is to generate a living portrait of the victim for publication, where morgue or crime scene photos would be inappropriate.
All of the above methods have shown a high success rate in identifying persons who have lain unnamed and unclaimed for years, bringing them home and finally, giving closure to family members.
The Doe Network (www.doenetwork.org) has been instrumental in assisting Law Enforcement in matching at least 18 missing persons to drawings or three dimensional reconstructions provided by volunteer artists over the last two years through Project EDAN.
As a volunteer artist with the EDAN (Everyone deserves a name) Project, I have found this to be a most rewarding and worth while endeavor.
For information on training opportunities in this fascinating field or for more information on the EDAN Project, please visit my web-site at www.forensicartist.ca.