It is also known as facial reconstruction.

1. PRAGATI
MSC I
INSTITUTE OF FORENSIC SCIENCE
MUMBAI

2. Contents:
1. Facial reconstruction
2. Forensic significance
3. History
4. Human skull
5. Brief view of how it is done
6. Reconstruction techniques
7. References

3. FACIAL RECONSTRUCTION
Facial reconstruction is used
as an important forensic tool
which may help in facial
recognition of the skull and
ultimately lead to positive
identification of an individual.
Forensic facial reconstruction
is a combination of both
scientific methods and
artistic skill.

4. Forensic significance
 Face of an individual has several different types
of exclusive features and thus important in
identification and recognition of a person.
 Sometimes body cannot be identified as its face
is not recognised due to destruction by an
animal or decay caused by environment.
 Facial reconstruction allows visual identification
by individual family and associates to become
easy and defined.
 Recognition allows the involved government
agencies to make the list of suspected victims.
This list can be then narrowed down and
positive identification is given.

5. History of skull
reconstruction
 Hermann Welcker in 1883 and Wilhelm
His, Sr. in 1895, were the first to reproduce
three-dimensional facial approximations
from cranial remains.
 He also produced the first data on average
facial tissue thickness followed by
Kollmann and Buchly who later collected
additional data and compiled tables that
are still referenced in most laboratories
working on facial reproductions today.

6.  In 1964, Mikhail Gerasimov was probably
the first to attempt paleo-anthropological
facial reconstruction to estimate the
appearance of ancient people.
 In 2004 it was noted by Dr. Andrew Nelson
of the University of Western Ontario,
Department of Anthropology and Canadian
artist Christian Corbet created the first
forensic facial reconstruction of an
approximately 2,200-year-old mummy
based on CT and laser scans. This
reconstruction is known as the Sulman
Mummy.

7. HUMAN SKULL
The human skull provides clues to
personal appearance. The brow ridge,
the distance between the eye orbits, the
shape of the nasal chamber, the shape
and projection of the nasal bones, the
chins form, and the overall profile of the
facial bones all determine facial feature
in life.

8. The finished product only
approximates actual
appearance because the
cranium does not reflect
soft/tissue details(eye ,hair,
and skin color; facial hair; the
shape of the lips; or how
much fat tissue covers bone
). Yet a facial reconstruction
can put name on unidentified
body in a modern forensic
case _ or, in an
archaeological investigation,
a face on history.

9. This is a brief overview of how
forensic 3-D manual
craniofacial reproductions are
done.
 Step 1: About the Author
 Step 2: The Forensic Workup
 Step 3: Preparation of cast of skull
 Step 4: Setting the Eyeballs
 Step 5: Estimation of the Nose
 Step 6: Adding the Nasal Cartilage

10.  Step 7: Finishing the Nasal Cartilage
and Adding Depth Markers
 Step 8: Adding the Muscles of the Face
 Step 9: Muscles Continued
 Step 10: Muscles Finished and Neck
Added
 Step 11: Adding the Skin and Ears
 Step 12: Adding Hair

11. About the author:
 The author usually has an extensive
training in anatomy (both medical and
artistic), art and science. These facial
reproductions draw on the science
behind the morphology (shape) of the
face as well as the knowledge of
materials and skills developed from
working in the effects industry.

13. The forensic workshop:
 Forensic anthropologists use scientific
methods to determine the age, sex, stature,
ancestry and any abnormalities that are
detectable in the bones.
For example: The decedent was estimated to
be a white male, between the ages of 45-55
Height: around 5’6”
Died from strangulation
Edentulous (no teeth)
Skull was brought for facial reconstruction

14. Preparation of cast of skull
 For this case the skull had to
be copied by using slow set
alginate to make a mold and
cast in a gypsum (plaster-like)
material. The cast was not as
ideal as working on the actual
skull, but it was necessary for the
skull to remain in the lab for testing.
For this reproduction, the cast
worked fine. Due to the decedent
having no teeth, you can see the
lower jaw takes on a much more severe
angle than normal, and the tip of the
chin tilts up toward the nose.

15. Setting the eye balls
 Eyeballs are then created
and set into place in their
anatomically accurate
position (they are usually
positioned at an angle to
produce a lifelike effect).
Most adult human eyes are
about the same size (26mm).

16. Adding the nasal cartilage
 In this step a piece of
styrene is used to form the
"backbone" of the nasal
cartilage. The depth markers
are also in place but it will be
explained in the next step.

17. Finishing the Nasal Cartilage and
Adding Depth Markers
 Here the nasal cartilage (the stiff portion
of the tip of the nose) is sculpted in and
the depth markers are placed at
osteometric (specific, measurable
points) on the skull. Here again there is
extensive literature on the depth of the
soft facial tissue at these points; it is
based on the age, ancestry and health
of the individual.

19. Adding the Muscles of the
Face
 Here the individual facial
muscles are sculpted in.
The placement and
thickness of the muscles
are determined by the
skull morphology (shape)
and the tissue depth markers.

20. Muscles Continued
 Here the muscles
of the upper face are
almost complete.

21. Muscles Finished and Neck
Added
 Here the muscles of
the face and the neck
are pretty much done.
Also, glandular and
fatty tissue is added.

22. Adding the Skin and Ears
 In this step the skin layer is added. All
the wrinkles and pores are added
according to anatomical studies and the
estimated age, health and habits of the
decedent (such as smoking, alcohol and
drug abuse, and sun exposure).

24. Adding Hair
 this final step any hair, accessories or
clothing that were found with the body
are added.
 Then photos are taken, often in Black
and White so that no information that we
do not know for certain is conveyed to
the public (such as eye, hair or skin
color). And hopefully someone
recognizes the individual so that an
identification can be made.

26. FACIAL RECONSTRUCTION
TECHNIQUES
 Two-dimensional reconstruction
 Three-dimensional reconstructions
 Superimposition
 Video superimposition

27. TWO DIMENSIONAL
RECONSTRUCTION
 This is used to recreate a face from the skull with the use of
soft tissue depth estimates.
 This method was first developed by Karen Taylor during the
1980’s.
 This method requires both an artist and a forensic
anthropologist to work together.
 This method is also used in identification of the deceased
from skeletal remains.
 Now a days, various computer software programs like
CARES (Computer Assisted Recovery Enhancement
System) and FACES (Forensic Anthropology Computer
Enhancement System) quickly produce 2D reconstruction
which can be edited and manipulated.
 They work by capturing and digitalizing radiographs,
photographs and images of skulls and producing an
electronically altered version of the image.

28. 3D RECONSTRUCTION
Three-dimensional facial reconstructions are either:
1) sculptures (made from casts of cranial remains)
created with modeling clay and other materials or
2) high-resolution, three-dimensional computer images.
Like two-dimensional reconstructions, three-
dimensional reconstructions usually require both an
artist and a forensic anthropologist.
Computer programs create three-dimensional
reconstructions by manipulating
scanned photographs of the unidentified cranial
remains, stock photographs of facial features, and
other available reconstructions. These computer
approximations are usually most effective in victim
identification because they do not appear too
artificial.

29. This method has been adapted by the National Center for
Missing & Exploited Children, which uses this method often
to show approximations of an unidentified decedent to
release to the public in hopes to identify the subject

30. SUPERIMPOSITION
 Superimposition is a technique that is sometimes
included among the methods of forensic facial
reconstruction. It is not always included as a
technique because investigators must already have
some kind of knowledge about the identity of the
skeletal remains with which they are dealing (s
opposed to 2D and 3D reconstructions, when the
identity of the skeletal remains are generally
completely unknown). Forensic superimpositions are
created by superimposing a photograph of an
individual suspected of belonging to the unidentified
skeletal remains over an X-ray of the
unidentified skull. If the skull and the photograph are
of the same individual, then the anatomical features
of the face should align accurately.

31. VIDEO
SUPERIMPOSITION
 Video superimposition, in that comparisons
can be made rapidly and in greater detail
than is possible with static photographs. In
general, the video superimposition system
consists of a skull-positioning rest, two
video cameras (1 and 2), a video image
mixing device, a TV monitor and a
videotape recorder. The skull is first filmed
with video camera 1 and reproduced on the
TV monitor through the video image mixing
device.

32. References:
 "Do You Know Who Murdered These Women?".
National Institute of the Study of Violence.
Retrieved 24 January 2015.
 Moore, Evan (21 March 2004). "Prostitutes' grim
lives end violently on highway". Houston Chronicle.
Retrieved 24 January 2015.
 "Unsolved Child Murder: April Dawn Lacy". 27 April
1999. Retrieved 24 January 2015.
 Owen, Penny (27 April 1999). "Parents Awaiting
DNA Tests Before Believing Body Is
Daughter's". NewsOK. Retrieved 24 January 2015.
 Riggs, Robert (2004). "Forensic Artist Reconstructs
Victim's Faces".


33. THANK YOU !