Table Of ContentCRANIOFACIAL
ANATOMY AND
FORENSIC
IDENTIFICATION
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CRANIOFACIAL
ANATOMY AND
FORENSIC
IDENTIFICATION
GLORIANUSSE
AcademicPressisanimprintofElsevier
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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
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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
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