Table Of Content

Digital Forensic Art Techniques Digital Forensic Art Techniques • A Professional’s Guide to Corel Painter Natalie Murry CRC Press Taylor & Francis Group 6000 Broken Sound Parkway NW, Suite 300 Boca Raton, FL 33487-2742 © 2018 by Taylor & Francis Group, LLC CRC Press is an imprint of Taylor & Francis Group, an Informa business No claim to original U.S. Government works Printed on acid-free paper International Standard Book Number-13: 978-1-138-48601-0 (Hardback) International Standard Book Number-13: 978-1-138-48602-7 (Paperback) International Standard Book Number-13: 978-1-351-04716-6 (eBook) This book contains information obtained from authentic and highly regarded sources. Reasonable efforts have been made to publish reliable data and information, but the author and publisher cannot assume responsibility for the validity of all materials or the consequences of their use. 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CCC is a not-for-profit organization that provides licenses and registration for a variety of users. For organizations that have been granted a photocopy license by the CCC, a separate system of payment has been arranged. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Murry, Natalie, author. Title: Digital forensic art techniques : a professional’s guide to Corel Painter / Natalie Murry. Description: Boca Raton, FL : CRC Press, [2018] | Includes bibliographical references and index. Identifiers: LCCN 2017058836| ISBN 9781138486010 (hardback : alk. paper) | ISBN 9781138486027 (pbk. : alk. paper) | ISBN 9781351047166 (ebook) Subjects: LCSH: Police artists. | Composite drawing. | Corel Painter. | Computer art. | Forensic sciences. Classification: LCC HV8073.4 .M87 2018 | DDC 363.250285/668--dc23 LC record available at https://lccn.loc.gov/2017058836 Visit the Taylor & Francis Web site at http://www.taylorandfrancis.com and the CRC Press Web site at http://www.crcpress.com Contents Preface vii Acknowledgments ix Author xi Introduction xiii Chapter 1: The Workspace 3 Chapter 2: Setting Up Your Workspace for a Composite 27 Chapter 3: Composite Drawing 47 Drawing the Face 50 Chapter 4: Step-by-Step Composite Case 1 69 Chapter 5: Step-by-Step Composite Case 2 87 Chapter 6: Filing System, Case Log, and Court 101 Chapter 7: Skull and Muscle Anatomy 109 Chapter 8: Light on the Face 125 Chapter 9: Adding Tone 139 vi C O N T E N T S Chapter 10: Adding Photographic Elements to a Composite 167 Chapter 11: Postmortem Drawing 189 Chapter 12: 2-D Reconstruction 211 Chapter 13: Customizing Painter 235 Chapter 14: Conclusion 265 Index 271 Preface American artists in law enforcement have been drawing composites since the days of Wanted posters in the Old West. Most of them learn to complete the drawings in pencil. In the past few years, they’ve begun taking up the stylus and doing the work digitally. I’ve been doing forensic art since 2000, when I was trained while working as a police ofcer in Kent, Washington. In my frst training class, the ofcer who sat next to me was Greg Bean from the Bellevue Police Department. We kept in touch as our departments were fairly close to each other and there weren’t many artists in the Seattle area at that time. In 2010, we had both been experimenting with graphic art software and thought it could have applications to our forensic artwork. We started sketching together on our Wacom tablets. In 2011, Greg founded ID Forensic Art (IDFA), naming me as vice president and lead artist. He ended up partnering with LeadsOnline, a company who provides online services to police agencies all over the United States. The concept for IDFA was to provide police agencies around the country with access to a forensic artist. We conduct our interviews with victims and witnesses online. They can see us via webcam, and we can share our Wacom monitors with them in real time for them to direct the drawing process. Many police agencies we have worked with have never had a local artist before, so the process has been rewarding for us. We’re able to do the drawing within hours of the crime and email the sketch to the detectives for release to the media on the same day. viii P R E F A C E After months of drawing digitally full time to get ready to go live with the business, Greg and I were very comfortable with working on the tablets. When I met other forensic artists at conferences and training, many expressed an interest in learning how to draw digitally as well. I put together a few weeklong workshops and started teaching other forensic artists in police agencies around the country. When I taught digital composites, I included a handout of 28 pages for the artists to take home and refer to later, to remind them of what they’d learned in class. For the past few years— since I’ve stopped teaching regularly—I’ve had artists contact me through my website—www.nataliemurry.com—to ask where they can learn to draw composites digitally. I looked online and was surprised to see that I couldn’t fnd anyone else teaching the subject and that there didn’t appear to be any books available on it. I revisited my handout and decided it needed a lot more detail to be stand-alone instructions without an in-person workshop. This book is the result of my intention to provide instruction to law enforcement artists who are interested in trying digital methods and fne artists interested in how forensic artists work and how to draw faces digitally. Drawing digitally is like using any tool in art: a pencil, a charcoal stick, a Conté crayon. A stylus is just another tool to master. Digital work is easier for artists to send to the case detective, and the work always reproduces exactly as it was completed. It’s also fun. Corel Painter is a huge graphic art software program, and you’ll fnd the brushes that mimic natural media enjoyable for your fne artwork. There are many brushes that look like watercolors, oil colors, thick paints, charcoals, pencils, airbrushes, and several more. If you love drawing and painting, it’s like a whole new world of toys to play with. I hope learning to use this software is helpful for your forensic artwork, but is also fun and inspiring for your fne artwork. Acknowledgments Thank you to Dr. Daniel Westcott and the Forensic Anthropology Center at Texas State University (FACTS) for the use of the images in Chapter 11. Additionally, thank you to the individuals and families who donate their bodies and photographs to FACTS for research. The opportunities for learning supported with your donations extend beyond the anthropology feld. The ability for forensic artists to also learn from this collection is appreciated. The forensic art feld is heavily experience based, and working with these images furthers our knowledge to better assist law enforcement and medical examiners in attempting to portray persons in unidentifed remains cases. What we learn from this collection can help ease the grief of family members who had been unaware of the fate of their loved one. Thank you to Small Town Noir for use of the historical booking photos in Chapters 4 and 5. Thank you to Wixphoto at Freerange Stock for the use of the photo, “A Casual Man,” in Chapter 12. Although reasonable efort has been made to ensure the accuracy of information provided in this publication, the author makes no representations regarding such accuracy. All opinions expressed are those of the author; readers should use their own judgment regarding their use of the content. The author is not liable for readers’ reliance on any content.