Abstract: Unidentified human remains present a multitude of difficulties to investigators. Positive identification is often chief among these. When law enforcement personnel and the Medical Examiner - Coroner have exhausted traditional means, such as fingerprints or dental comparisons, a forensic artist may be called upon to render a likeness from skeletal, badly decomposed, or disfigured remains. Usually, the forensic artist has not been to the scene or autopsy and must rely solely on photographs, physical evidence, and information provided by other personnel. Often, a significant amount of time elapses between the initial investigation and the decision to use a forensic artist. How successful the finished likeness is depends on the condition of the remains and the quality of physical evidence or photographs provided to the artist.

Introduction

In any death investigation, particularly homicide, the timely identification of the decedent is crucial to a successful conclusion of the case. In most instances, an identification is made through the conventional means of fingerprint, dental, or DNA comparisons. When an identification does not occur, a forensic artist may be called upon to produce a likeness that is suitable for a media release to the public. Any leads thus generated may then be compared to the deceased by using the conventional means.

A significant amount of time can elapse between when a body is discovered and when an artist is called in. How exact the likeness is can depend on the materials provided to the artist. Crime scene investigators should always remember that the deceased may not be readily identified and that the quality of the investigator’s photographs and collected evidence will become very important. Particularly in cases of near or complete skeletonization, developing a mind-set to find evidence is crucial, and evidence that is found can be invaluable to a forensic artist. In cases where a body has been found after a lengthy period of time, hairs and clothing fibers of the decendant can often be found in birds’ nests adjacent to the site. Even one hair can indicate the length and color. If the remains are scattered, an attempt should be made to find the “soak area” (i.e., where the body was initially located and the f luids from decomposition permeated the soil). Other areas to search for trace evidence would include windbreaks (i.e., areas where loose evidence may be blown by the wind, such as brush, vegetation, spider webs, or fence lines) and water breaks (i.e., areas where water tends to pool).

Some items can assist in determining the look and cultural lifestyle of the victim. Pieces of fabric and shiny objects, such as jewelry, buttons, or even eyeglasses, can be found in the middens of pack rats. Note: Care should be taken by anyone digging into a rodent area. Hantavirus, a potentially fatal disease, is spread through contact with rodent feces, urine, and saliva.

Methodology

Forensic facial images of deceased persons generally fall into two categories: postmortem renderings or full facial reconstructions. The deciding factor for which method the artist chooses to use is the amount of trauma or decomposition to the decedent’s face. If the face is recognizable, but sufficient trauma or decomposition precludes posting the image to the public, a postmortem drawing or photographic enhancement can be used. If the remains are skeletal or badly decomposed, the preferred method is a full facial reconstruction upon the skull. In both postmortem and full reconstruction cases, specific photographs of the remaining eyes, nose, ears, facial or head hair, or anything unique about the decedent can be most valuable.

Of equal importance is the artist’s close collaboration with the forensic anthropologist. In most cases, but particularly those involving bare skeletal remains, it falls to the expertise of the forensic anthropologist to be able to determine the race, sex, and age. In more subtle findings, such as the area of attachments to the bone, the experienced forensic anthropologist can offer insights into the victim’s stature and, possibly, lifestyle.

In cases of severe decomposition, it is necessary for the forensic anthropologist to clean the skull of all tissue prior to the reconstruction. If the artist has not been to the scene or has not seen the remains prior to the cleaning, it is important to consult with the forensic anthropologist to gather impressions, notes, photographs, and perhaps skull x-rays.

Postmortem Renderings

The artist completing a postmortem rendering has two options. One is a likeness completed in graphite or another art material of the artist’s choosing. The second is an enhancement of the actual photograph, using a computer photo software program. In either case, the artist will be working directly from a photograph of the face; the better the photograph, the more likely the chance of a successful image.

If possible, oblique lighting should be used to enhance the shadows of the facial features. Direct f lash will cause a washed-out effect. Because the artist will be working from a two-dimensional reference (the photograph), it is important that the photograph be taken without distortion. The lighting and lens angle should be similar to that used when one is photographing shoe or tire impressions (e.g., oblique lighting and perpendicular camera angles).

Figures 1 through 4 are simple line illustrations. All are drawings of the same face, but made from various angles. Figure 1 is drawn from the ideal angle. Taking photographs from odd angles, such as above or below the face, should be avoided (Figures 2 and 3). The best frame of reference to use is the Frankfurt horizontal plane (Figure 4) which is accomplished by imagining a horizontal line extending along a plane from the top of the exterior auditory meatus (i.e., bony ear opening) through the lower edge of the orbit of the eye. The camera lens should be perpendicular to the plane of that line. Ideally, there should be at least one quality frontal, lateral, and three-quarter shot of the face and head, enabling the forensic artist to choose the best photograph to use.

Figure 1
Photograph of the face taken from an ideal angle
without distortion.

Figure 2
Photograph taken at an odd angle from above
shows distortion to upper face.

Figure 3
Photograph taken at an odd angle from below
shows distortion to lower face.

Figure 4
Illustration of the Frankfort horizontal plane.

The “slack jaw” effect should be avoided. When the deceased is in a supine position, the mandible will often recline from its natural position, causing the false impression of a severe overbite. This can be avoid by having a medical examiner or assistant hold the jaw in its natural position prior to taking the photographs.

Full Facial Reconstruction

A full facial reconstruction is completed using the skull for reference. The two-dimensional technique incorporates drawings done over life-size frontal and lateral photographs of the skull. In the three-dimensional technique, clay is applied directly on a cast of the skull or on the skull itself. In both techniques, although the skull is the basic reference, good photography and evidence collection at the scene and autopsy are important.

In cases with partial or extreme decomposition, photographs should be taken of the decedent’s head and face as well as the area immediately surrounding the body prior to any movement of the body. Even in cases of extreme decomposition, facial proportions and details of unique features can often be seen by a practiced eye. Several photos taken with a scale of the areas of the face give a feeling of actual size. Specific photographs of any remaining features or anything unique should be taken.

Case Examples

Following are examples of the author’s cases showing how evidence and photography will augment the forensic artist’s efforts.

Case #1: Cold Case

Nearly twenty years after the discovery of the skeletal remains of a murder victim, the author was asked to complete a two-dimensional facial reconstruction (Figure 5) using the cranium and a few short black hairs that had been collected by the original investigators in 1985. The day following the publication of the facial reconstruction in the newspaper, the victim’s sister recognized the drawing and contacted the investigating agency. The victim was ultimately identified through DNA. Figure 6 is a photograph of the victim in life.

Case #2: Postmortem Illustration

Figure 7 is a morgue photo that was not suitable for media release, although the photograph was suitable for enhancement. Figure 8 is the postmortem rendering, enhanced from the original morgue photo using Photoshop 8.0. Figure 9 is a photograph of the victim in life.

Case #3: Buried Body

Figure 10 is the lateral view of the facial reconstruction of a homicide victim whose skeletal remains were found buried. Among the evidence located at the scene by the investigators were short brown head hairs and fragments of clothing items, including a size XXXL shirt label, indicating a person of large size. The facial reconstruction was posted on the Doe Network site. A volunteer from that organization noticed the similarity between this case and a missing person from another state. A DNA analysis confirmed the identity. Figure 11 is a photograph of the victim in life.

Conclusion

In any death investigation, investigators, keeping in mind the fact that the individual may not be easily identified, should apply a commonsense approach to each case. A few extra minutes spent properly photographing the face, body, and scene and looking for any trace evidence can facilitate the work of the forensic artist.

Acknowledgment

The author wishes to acknowledge Laura Fulginiti, Forensic Anthropologist at the Maricopa County Medical Examiner’s Office, for her input and support.

For further information, please contact:


Robert Powers, Certified Forensic Artist
Maricopa County Sheriff’s Office
102 West Madison Street
Phoenix, AZ 85003
b_ powers@mcso.maricopa.gov

Figure 5 Two-dimensional facial reconstruction.		Figure 6 Photograph of victim.
Figure 7 Morgue photo.		Figure 8 Postmortem rendering.		Figure 9 Photograph of victim.
Figure 10 Lateral view of facial reconstruction.		Figure 11 Photograph of victim.