Forensic Art Essentials teaches artists to extract information from a witness or victim about a face they have seen, and produce an image good enough to lead detectives to the criminal being described.
After reading this book, anyone with adequate drawing skills will be able to learn the tools necessary to develop his or her skills as a forensic artist. Instruction focuses on an explanation of techniques for various scenarios and includes the use of case studies of special situations and how they should be handled. The book covers skull reconstructions of unidentified murder victims and age progressions to aid in the apprehension of known fugitives. It also provides step-by-step illustrations of how to reconstruct a face from a skull, and offers solutions to a multitude of common problems that occur in the field.
With 500 full-color illustrations, this book is an essential tool for any forensic artist.
- Provides insight as to the best way to responsibly interview and extract information from eye-witnesses and victims to develop accurate composite sketches
- 500 illustrations, many full color, show examples of various challenges in developing sketches and reconstructing from skulls
- Serves as a guide for forensic art professionals as well as a call to law enforcement agencies to expand the use of this valuable forensic tool
Inhaltsverzeichnis
1;Front Cover;1 2;Forensic Art Essentials: A Manual For Law Enforcement Artists;4 3;Copyright Page;5 4;Contents;6 5;Acknowledgments;8 6;Chapter 1: The Most Unique Art Discipline;10 6.1;Getting Relaxed;13 6.2;The Most Basic Rules of Composite Sketch Creation;19 6.3;Position the Witness and Artist to Maximize Privacy;20 6.4;The FBI Facial Identification Catalog;24 6.5;Other Visual Aids Facial Features;25 6.6;Getting Started-Materials and Supplies;30 6.7;References;43 7;Chapter 2: Drawing in Forensic Art;46 7.1;Light Source;47 7.2;Guidelines for Sketching Composites;47 7.3;Educational Activities Conducive to Forensic Art;77 7.4;Work Experiences Conducive to Forensic Art;80 7.5;Step-by-Step Drawing for a Real Case;83 7.6;Conclusion;89 7.7;References;89 8;Chapter 3: Pulling Faces from Witness Memory;91 8.1;Attitude is Everything;91 8.2;The Worst Still Works;101 8.3;The Artist's Handicap, or What the Witness Experienced;101 8.4;Focusing on Witness Needs;103 8.5;How long After the Crime Should the Sketch be Done?;125 8.6;References;129 9;Chapter 4: Special Refinements to the Interview;133 9.1;A Technique for the Desperate Interview;133 9.2;Another Effective Phrase;136 9.3;When the Witness is "Just Guessing";137 9.4;When Witnesses Insist they Saw the Perpetrator Only in Profile;139 9.5;When Profiles are a Must;143 9.6;Praise the Detective Working the Case;144 9.7;Close your Eyes and Understand What the Witness Sees;146 9.8;Maximize Comfort for Non-English Speakers;147 9.9;Fear of Retaliation: Enemy to Witness Concentration;151 9.10;How to Know When You are Done;152 9.11;Evaluating the Sketch;153 9.12;Working with a Child Witness;156 9.13;Crying can Help;162 9.14;The Myth of the Disinterested Witness;164 9.15;Sketching with Multiple Witnesses;166 9.16;When the Witness is Under the Influence;171 9.17;Determining Deception;173 9.18;Final Comments Concerning the Interview;179 9.19;References;182 10;Chapter 5: Races, Expressions, Teeth, Women, Vehicles, Tattoos, and Jewelry;187
10.1;Drawing Racial Differences;187 10.2;Sketching Facial Types in Your Area;193 10.3;Expression;196 10.4;Sketching Female Suspects;206 10.5;Vehicles Used in the Commission of Crime;211 10.6;Tattoos Made Fast and Easy;213 10.7;Scars and Other Anomalies;216 10.8;Jewelry;217 10.9;References;219 11;Chapter 6: Age Progression and Postmortem: Portraits of Unidentified Homicide Complainants;222 11.1;The Shapes and Positions of the Facial Orifices;222 11.2;Adult Wrinkles and Placement are Present on a Child's Face;223 11.3;Visual Aids for the Successful Age-Progression Drawing;226 11.4;How to become Proficient at Age Progression;226 11.5;Age Progression of Children: Facial Bone Growth;231 11.6;Coping with the Drastic Changes;233 11.7;The Eye Opening;240 11.8;Changing Dentition from Child to Adult;243 11.9;How to become Proficient at Child Age Progression;245 11.10;Postmortem Portraits;246 11.11;Victims Found Soon After Death;246 11.12;References;260 12;Chapter 7: Facial Reconstruction from Skeletal Remains;261 12.1;Gerasimov;261 12.2;Preference for the Drawing Method;264 12.3;Getting Started;266 12.4;Mechanics of the Drawing Method;275 12.5;Case Study: Two-Dimensional or Drawing Method;283 12.6;Feature Placement;285 12.7;Tissue-Depth Demarcation;312 12.8;Child Facial Reconstruction;331 12.9;References;337 13;Chapter 8: Three-Dimensional Facial Reconstruction of Skeletal Remains;339 13.1;The Anatomical or Manchester Method;340 13.2;Constructing a Working Copy of the Skull;350 13.3;Gloria Nusse: An Introduction to Mold Making of a Skull for Purposes of Reconstructing the Face in Three Dimensions;351 13.4;The American Method of Three-Dimensional Facial Recostruction;365 13.5;Meaningful Practice;380 13.6;A Case Study: The Castro Valley Jane Doe;382 13.7;References;396 14;Chapter 9: Implementations and Conclusions;397 14.1;Forensic Art: Untapped Potential;398 14.2;Reasons for the Scarcity of Forensic Art;399 14.3;Basic Human Nature is the Enemy;399 14.4;Tools to Propel the Prof
ession;400 14.5;The Not-So-Extra Extra Job;401 14.6;Hints for Quantifying Results;402 14.7;The Forensic Artist in Court;405 14.8;Understanding the Nuances;409 14.9;Directing Your Answers;409 14.10;Real Court Scenario;410 14.11;References;416 15;Index;418 16;Color Plates;432
