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CRANIOFACIAL ANATOMY AND FORENSIC IDENTIFICATION This page intentionally left blank CRANIOFACIAL ANATOMY AND FORENSIC IDENTIFICATION GLORIANUSSE AcademicPressisanimprintofElsevier 125LondonWall,LondonEC2Y5AS,UnitedKingdom 525BStreet,Suite1650,SanDiego,CA92101,UnitedStates 50HampshireStreet,5thFloor,Cambridge,MA02139,UnitedStates TheBoulevard,LangfordLane,Kidlington,OxfordOX51GB,UnitedKingdom Copyright©2023ElsevierInc.Allrightsreserved. Nopartofthispublicationmaybereproducedortransmittedinanyformorbyanymeans,electronic ormechanical,includingphotocopying,recording,oranyinformationstorageandretrievalsystem, withoutpermissioninwritingfromthepublisher.Detailsonhowtoseekpermission,further informationaboutthePublisher’spermissionspoliciesandourarrangementswithorganizationssuch astheCopyrightClearanceCenterandtheCopyrightLicensingAgency,canbefoundatourwebsite: www.elsevier.com/permissions. Thisbookandtheindividualcontributionscontainedinitareprotectedundercopyrightbythe Publisher(otherthanasmaybenotedherein). Notices Knowledgeandbestpracticeinthisfieldareconstantlychanging.Asnewresearchandexperience broadenourunderstanding,changesinresearchmethods,professionalpractices,ormedical treatmentmaybecomenecessary. Practitionersandresearchersmustalwaysrelyontheirownexperienceandknowledgeinevaluating andusinganyinformation,methods,compounds,orexperimentsdescribedherein.Inusingsuch informationormethodstheyshouldbemindfuloftheirownsafetyandthesafetyofothers,including partiesforwhomtheyhaveaprofessionalresponsibility. Tothefullestextentofthelaw,neitherthePublishernortheauthors,contributors,oreditors,assume anyliabilityforanyinjuryand/ordamagetopersonsorpropertyasamatterofproductsliability, negligenceorotherwise,orfromanyuseoroperationofanymethods,products,instructions,orideas containedinthematerialherein. ISBN:978-0-12-809288-0 ForinformationonallAcademicPresspublicationsvisitour websiteathttps://www.elsevier.com/books-and-journals Publisher:StacyMasucci AcquisitionsEditor:ElizabethBrown EditorialProjectManager:TimothyBennett ProductionProjectManager:SelvarajRaviraj CoverDesigner:MatthewLimbert TypesetbyTNQTechnologies Contents Preface ix Acknowledgments xiii 1. Introduction andidentity from the skull’sperspective 1 Chapter1Citations 7 2. Historyand researchof facial identification 9 Americancontribution 25 Casestudyhistory 29 Chapter2CitationseHistoryofFacialReconstructionandIdentification 33 3. Bones, muscles, and tissues 35 Introduction 35 Theskullasawhole 36 Anatomicaldirectionalterms 37 Bonesurfacemarkings 38 Individualbonesoftheskull 46 Zygomaticbone 54 Muscles 68 Othertissues 80 Chapter3Citations 81 4. Facial features 83 Introduction 83 Theear 84 Theorbitalunitandtheeye 90 Retina 101 Iris 102 Chapter4.Referencescited 139 Furtherreading 140 v vi Contents 5. Analysis andinterpretation 141 TheBody'sStory-One,acadaverinthelab 142 Storytwodcoronercaseofunidentifiedremains 143 Analysis 143 Anatomicalobservation 144 Bonebiology 145 Culturalaspects 158 Chapter5citations 167 6. Age, archetype,and expression 169 Ageandarchetype 175 Howthefaceages 175 Zonesoffacialaging 176 Wrinkles 179 Juvenileskulls 180 CasestudyofMarinCountyjuvenileskulldisitagirl...oraboy?! 189 CasestudydoldmanofBahrain 191 References 192 7. Grave goods andartifacts 193 Canyouseethestoryemerging? 194 Coupledforeternity,anartist’sreconstructionofanOhlonedoubleburial 195 Thedig 196 Ohlonelifepre-Europeancontact 197 Dressandadornment 198 Burialcustoms 199 Uniqueburials 201 Shamanism 202 Conclusion 203 References 204 8. Mold making and reproduction 207 Introduction 207 Skullpreparation 207 Workingwithabadlydamagedskull 208 Normalskullpreparation 208 Moldpreparation 214 Flexiblemold 217 Mothermolds 220 Contents vii Openingthemolds 224 Cleaninguptheskull 226 Assembleandcasttheskull 227 9. Claywork andfinishing 231 ThetechnicalphaseseMoldingandcasting 233 Mountingtheskull 233 Tissuedepthplacement 233 Eyes 244 Nose 244 Ears 246 Artisticphase 248 Managingtraumainfacialreconstructions 253 Case1 254 Case2 255 Case3 257 Case4 258 Fragmentation,missingpieces,andreconstruction 259 Summary 262 References 263 10. Lefty, Anexemplar 265 ForensicAnthropologyReport 266 Individual1 268 Individual2 271 Individual3 272 Individual4 273 Summary 281 FacialReconstructionofLefty 281 References 281 Index 283 This page intentionally left blank Preface Ihavespentmywholelifemakingtheartofscienceunderstandabletothepublic.In college, one of the most moving experiences of my academic career was a course in comparative anatomy. There, I realized the form of continuum inherent in all of life. This connection between art and science became the direction of my work. Tradition- ally, the artist has been the interpreter of science and anatomy, whether from Vesalius during the Renaissance or with drawings and photographs one can find in modern textbooks today. In my career as a scientific artist, I have used my artistic skills to illustrate, through drawings and sculptures, the body structures of insects, animals, and sea creatures of many kinds, and ultimately, the ethnographic sculptures of peoples. These applied art forms have been my lifelong love and quest. I have spent countless hours and years in this study and pursuit. MyartandsciencejourneyledmetomeetandstudywithBettyPatGatliffandmany other well-respected scientists and artists. The world of forensic art, in my estimation, requires one of two thingsdlaw enforcement training or an academic degree. So to thatend,Ireturnedtoschoolattheageof52toearnamaster’sdegreeinanthropology. Duringmystudies,Iwasdrawntospend12yearsteachingdissectionofthehumanbody to students in the San Francisco State University Anatomy Lab who planned to enter healthcare fields. It was there that my passions for structure, art, and science came together. In that world of academia and medicine, I found a sanctuary. IwasaskedtowritethisbookbyElizabethBrownoftheElsevierpublishingcompany severalyearsago.AtfirstIsaid,“No,Icouldn’tpossiblywriteabook.”Thatwasbecause myjobentailedlecturingaswellasmanagingandcoordinatingthehumancadaverlabfor more than 300 students each year. Our lab had a staff of 12 assistants and graduate students. It was a pleasure but quite overwhelming. Elizabeth asked if she could call me again in 6 months. When I learned that John Thornton had recommended me, I knew then that I had to say yes. This book is dedicated to John, a sincere and respected forensic scientist and colleague, as well as his equine rescue friend, Brio. It has been a long journey not only for the book but for me as well. My work as a scientific artist started with scientific illustration in college and moved on to include scientific sculpture for many well-known museums and cultural centers. My extensive career has taken me to the bottom of the ocean in Maine with Smithsonian scientists, to dances and celebrations of the White Mountain Apaches, to powwows with Plains Indian tribes, and to a native Northwest Suquamish potlatch. I was privileged to be at ix