A forensic artist performs a facial reconstruction by applying clay directly to a human skull. The process draws from scientific studies of facial tissue thickness for men and women of different races, notes the Georgia Bureau of Investigation website. Based on the race and gender of a skull, a forensic artist cuts tissue depth markers to glue onto the skull. These markers guide the artist in fleshing out facial features.
In addition, forensic artists insert artificial eyes, attach ears and add finishing details such as eyebrows. While some forensic sculptors use paint to convey skin tone, most who work with law enforcement rely on the color of the clay to convey skin color, notes Karen T. Taylor in "Forensic Art and Illustration." In addition, Taylor states that cosmetics can add color to cheeks and lips. Police circulate photographs of the completed sculpture to net an identification.
In addition to using the skull, forensic artists rely on evidence such as clothing or possessions found with the skeletal remains. For example, if police find eyeglasses with the skeleton or skull, a forensic artist will place eyeglasses on the sculpture. Likewise, the skull yields clues about age that forensic sculptors use to make the face match the victim's approximate age, notes the Georgia Bureau of Investigation website. Finally, Taylor advises that artists consult with dentists because teeth can reveal socioeconomic status and other details.
Besides the tissue-depth method, forensic artists may also use the anatomical method, which sculpts the face muscle-by-muscle without tissue depth markers, according to Taylor. However, Taylor notes that forensic artists usually use the anatomical method for reconstructing ancient faces, in part because scientists lack data about tissue depths for ancient peoples.
In contrast, most forensic sculptors working with law enforcement agencies rely on the tissue-depth method. Because this method relies on tissue-depth studies conducted by anthropologists and forensic pathologists, it conveys a sound scientific basis when testifying in court, notes Taylor. In addition, Taylor notes that most forensic artists lack extensive anatomical training, so having tissue-depth markers expedites the process.
Taylor advises that forensic artists need not choose between the two methods of forensic sculpture. They can combine techniques of both methods by applying tissue depth markers, studying the asymmetries of the face and examining points where muscles attach. This allows subtle individual characteristics to emerge and helps artists understand the process.
Although forensic sculptors always create facial reconstructions using evidence from the skull and with the skeleton, they may need to make educated guesses about certain traits. For example, with no available hair sample, forensic artists have no way to know the deceased's hair color or length. In these cases, Taylor advises to use a style consistent with fashions at the estimated time of death and to downplay the hair by cropping the police photo of the sculpture tightly to the face. For female skulls, the sculptor has no way to know if the woman wore makeup in real life. Taylor advises that clothing and accessories found with the body may provide a contextual basis, and a light touch with any cosmetics used often works best.