Forensic art and illustration:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Boca Raton [u.a.]
CRC Press
2001
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 580 S. zahlr. Ill. |
| ISBN: | 0849381185 |
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| 650 | 4 | |a Facial reconstruction (Anthropology) | |
| 650 | 4 | |a Forensic Anthropology | |
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| 650 | 4 | |a Forensic anthropology | |
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Datensatz im Suchindex
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| adam_text | 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
References 9
2 A History of Forensic Art
More Than 100 Years of Aid to Law Enforcement 11
The 1800s 12
The Early 1900s 15
The 1930s 17
The 1940s 19
The 1950s 20
The 1960s 22
The 1970s 26
The 1980s 30
The 1990s 37
2000 and Beyond 42
References 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
Forensic Art and Illustration
Racial/Ancestral Groups and Ethnicity 58
Caucasoid 6l
Negroid 62
Mongoloid 63
Australian Aboriginals 64
Male and Female 64
Male 65
Female 66
Facial Expressions 67
References 72
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
Contents
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
References 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
i
Forensic Art and Illustration
Concluding the Interview 174
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
References 194
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
i Contents
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
Other Reference Sources 226
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
References 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
Dentition 243
Photographic Series 244
Child Facial Update: Case Example 249
References 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
Forensic Art and Illustration
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
Case Studies 274
Complications 277
References 281
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
References 300
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
Contents
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
References 323
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
References 359
12 Two Dimensional Facial Reconstruction from the Skull
Background of the Method 361
The Skull 36l
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
i Drawing the Ears 403
Drawing the Hair 404
Forensic Art and Illustration
Drawing the Neck 406
Other Details 406
Copying for Distribution 407
Case Examples 407
References 417
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
Case Examples 456
Early Cases 456
Other Case Examples 458
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 Little Big Horn Battlefield 468
Miles O Hara — Little Big Horn 469
Sgt. Edward Batzer — Little Big Horn 469
Other Projects 470
Pizarro Project 470
Colonial Williamsburg Project 470
President Kennedy Assassination Project 471
Special Project for the FBI 471
References 475
14 Methods of Superimposition
Background of Superimposition Comparisons 477
Procedural Considerations 479
Orientation 480
Contents
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
Case Studies 492
Exclusionary Case Study 492
Matching Case Study 493
Discussion 496
References 497
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
References 518
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
Forensic Art and Illustration
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
References 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
References 542
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
Definitions 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
References 559
Summary 561
Index ., 563
|
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| spelling | Taylor, Karen T. Verfasser aut Forensic art and illustration Karen T. Taylor Boca Raton [u.a.] CRC Press 2001 580 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Gerechtelijke geneeskunde gtt Face anatomy & histology Facial reconstruction (Anthropology) Forensic Anthropology Forensic Medicine Forensic anthropology Medical Illustration Models, Anatomic Gesichtsplastik (DE-588)4020695-6 gnd rswk-swf Kriminalanthropologie (DE-588)4165722-6 gnd rswk-swf Gesichtsplastik (DE-588)4020695-6 s Kriminalanthropologie (DE-588)4165722-6 s DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009320052&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Taylor, Karen T. Forensic art and illustration Gerechtelijke geneeskunde gtt Face anatomy & histology Facial reconstruction (Anthropology) Forensic Anthropology Forensic Medicine Forensic anthropology Medical Illustration Models, Anatomic Gesichtsplastik (DE-588)4020695-6 gnd Kriminalanthropologie (DE-588)4165722-6 gnd |
| subject_GND | (DE-588)4020695-6 (DE-588)4165722-6 |
| title | Forensic art and illustration |
| title_auth | Forensic art and illustration |
| title_exact_search | Forensic art and illustration |
| title_full | Forensic art and illustration Karen T. Taylor |
| title_fullStr | Forensic art and illustration Karen T. Taylor |
| title_full_unstemmed | Forensic art and illustration Karen T. Taylor |
| title_short | Forensic art and illustration |
| title_sort | forensic art and illustration |
| topic | Gerechtelijke geneeskunde gtt Face anatomy & histology Facial reconstruction (Anthropology) Forensic Anthropology Forensic Medicine Forensic anthropology Medical Illustration Models, Anatomic Gesichtsplastik (DE-588)4020695-6 gnd Kriminalanthropologie (DE-588)4165722-6 gnd |
| topic_facet | Gerechtelijke geneeskunde Face anatomy & histology Facial reconstruction (Anthropology) Forensic Anthropology Forensic Medicine Forensic anthropology Medical Illustration Models, Anatomic Gesichtsplastik Kriminalanthropologie |
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