Creating Digital Faces for Law Enforcement

By Michael W. Streed

Today, law enforcement requires actionable and real-time intelligence; 24 hours a day, seven days a week to help respond to cases efficiently. When evidence is lacking in a case, law enforcement officers are often times left to rely on eyewitness descriptions. In order to quickly disseminate facial composites to news outlets and social media, law enforcement needs to rely on every tool available; including traditional forensic artists and advanced facial composite software.

Creating Digital Faces for Law Enforcement provides the proper foundation for obtaining key information needed to create effective facial composites. There are two main methods to create a facial composite, first through traditional forensic art techniques and second by using commercially developed facial composite software. Traditional forensic art has advanced from pen and paper to more enhanced digital tools. This text reviews the development of digital tools used by the forensic artist describing each tool in detail. Creating Digital Faces for Law Enforcement is the first text of its kind to address the creation of digital sketches for forensic artists and software-driven sketches for non-artist/technicians.

• A step-by-step guide addressing the creation of digital, software-driven, sketches for non-artist technicians
• Includes descriptions supported by both photographs and video demonstrations to assist the reader in better understanding the process
• Written by an internationally-recognized police sketch artist with over 35 years of experience
• A companion website page will host author created / narrated videos for reader access

• Language: English
• Publisher: Academic Press
• Release date: Jan 25, 2017
• ISBN: 9780128052792

Michael W. Streed

Michael W. Streed is an internationally-recognized police sketch artist based in Southern California. For 35 years he has blended his rich law enforcement experience and artistic skills to provide forensic facial imaging services to some of the largest, most diverse, police agencies in the United States, including the Los Angeles and Baltimore City Police Departments. During his distinguished law enforcement career Michael investigated a variety of violent crimes, sexual assaults and juvenile-related crime. This helped him develop highly-specialized interview skills which he adapted for his role as a police sketch artist. Michael’s unique perspective on eyewitnesses, coupled with his superior communication skills made him one of Southern California’s most sought after police sketch artists. This led him to successfully develop police sketches for many high-profile cases such as: the Samantha Runnion murder, the Anthony Martinez murder, the Baton Rouge serial killer, and Orange County’s (CA) Fortune Teller murder. Michael has long been recognized for his contributions to law enforcement through his use of forensic art. He has received several prestigious awards, including: the Orange Police Department Award of Merit, United States Congressional Certificate of Recognition, The American Legion Award and a nomination for the Orange County Sheriff’s Department Medal of Valor. Many of his cases have been profiled on such shows as: ‘America’s Most Wanted’ and ‘Unsolved Mysteries’. He has also been profiled in several major newspapers and has been interviewed on: CNN with Connie Chung, Fox News Channel, ABC’s 20/20 with Barbara Walters and ID Discovery’s show “Wicked Attraction: Bad Fortune.” Michael is also a noted author and popular lecturer on the subject of facial imaging/identification and true crime. Michael recognized law enforcement’s need for a digital composite imaging solution. He created SketchCop FACETTE Face Design System, an innovative software program that helps law enforcement personnel create high-quality digital composite images. Michael also trains law enforcement personnel and forensic science students in the use of the software.

Book preview

Creating Digital Faces for Law Enforcement

Michael W. Streed

Table of Contents

Cover image

Title page

Copyright

Dedication

About the Author

Acknowledgments

Author's Note

Appendix Section

Introduction

Chapter 1. Pencils to Pixels

Identi-Kit

Early Police Sketch Artists

Federal Forensic Artists

Photo-Fit

FACES

SketchCop FACETTE Face Design System Software

Chapter 2. Getting Started

How to Position Yourself to Become a Forensic Artist

Budgetary Considerations

Marketing/Self-promotion

Tech Trends

Going Back to School

Negotiating Your Department's Support

Developing Mentors

Professional Organizations

Developing Your Own Style

Putting Your Skills to Work

The Business Side of Forensic Art

Equipment Considerations

Chapter 3. When, Where, Why, and How?

When?

Where?

Why?

How?

Chapter 4. The Eyewitness

Sexual Assault

Interviewing LGBT

Immigrants

Interviewing Children

Elderly Eyewitnesses

Chapter 5. The Interview

Preparing for the Interview

The Eyewitness

Interview Location

Meeting the Eyewitness

The Cognitive Interview

Key Review Points When Conducting the Eyewitness Interview

Remote Facial Composite Interviews

Chapter 6. The Human Face

Facial Proportion

Chapter 7. Courtroom Testimony

Subpoena

Subpoena Duces Tecum

Evidence

Pretrial meeting

Dress Code/Grooming

Testifying

Case Study: People Versus Michael Todd Lopez

Chapter 8. Lights, Camera…Facial Composites in the Media

Release of Composite Images Should Not Be Automatic

Play Fair

Be Complete

Size Matters

Cautionary Tales

The Forensic Artist in the News

Proper Attire

Demeanor

Interviews

Facial Composite Demo

Branding

Brand Logo

Social Media

Case Studies

Chapter 9. Digital Tools

Why Go Digital?

Pen Tablet and Pen

The Cintiq Companion

Chapter 10. Let's Make Faces

SketchCop FACETTE Face Design System

Program Features and Benefits

System Requirements

Other Considerations

Making Faces With SketchCop FACETTE Face Design System

Methods for Creating Composite Images

Edit Facial Components

Modification Tools

Grouping Components

Frontalis Facial Composite System

Program Features and Benefits

System Requirements

Other Considerations

Making Faces With Frontalis Facial Composite System

Creating Digital Composites for Traditional Forensic Artists

Chapter 11. Change-a-Face

Enhancing Your Facial Composite

Inside Adobe Photoshop

File

Adding Elements to Your Facial Composite

Subtracting Elements From Your Facial Composite

Creating Libraries

Chapter 12. Putting It All Together

Making the Appointment

Scheduling

Communications

Meeting the Eyewitness

Constructing the Facial Composite

Completing the Facial Composite Interview

Chapter 13. Facing the Future

Facial Composite Software

DNA Composites

Facial Recognition and Pose Correction Software

Forensic Artists of the Future

Academic Influence

Closing Thoughts

Appendix A. Forensic Facial Imaging Unit Technical Training Manual

Appendix B. Forensic Facial Imaging Unit Standard Operating Procedures

Appendix C. Forensic Facial Imaging Unit Services Request Form

Appendix D. Eyewitness Interview Worksheet

Appendix E. Facial Composite Report Form

Appendix F. Determining Spatial Relationships

Appendix G. Facial Composite Template Example: The Average Face

Appendix H. Facial Composite Template

Appendix I. Approximating Age in Facial Composites

Appendix J. Facial Muscles Versus Facial Lines/Wrinkles

Appendix K. Common Facial Bone Structure to Consider When Creating Facial Composites

Appendix L. Comparison of How Facial Features Line Up on the Skull

Forensic Art Terminology

Wacom Tablet Terminology

Corel Painter Terminology

Adobe Photoshop Terminology

Index

Copyright

Academic Press is an imprint of Elsevier

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The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, United Kingdom

Copyright © 2017 Michael W. Streed. Published by Elsevier Inc. All rights reserved.

Trademarks/Register Trademarks

Brand names mentioned in this book are protected by their respective trademarks and are acknowledged.

Note: Adobe Product Screen Shot(s), included throughout the book, reprinted with permission from Adobe Systems Incorporated.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions.

This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein).

Notices

Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.

To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein.

Library of Congress Cataloging-in-Publication Data

A catalog record for this book is available from the Library of Congress

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

ISBN: 978-0-12-805102-3

For information on all Academic Press publications visit our website at https://www.elsevier.com/books-and-journals

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Dedication

Dedicated to Libby Streed

About the Author

Sergeant (Ret.) Michael W. Streed is an internationally recognized, award-winning, forensic facial imaging expert based in Southern California.

For 36  years he has blended his rich law enforcement experience and artistic skills to provide forensic facial imaging services to some of the largest, most diverse, police agencies in the United States, including the Los Angeles and Baltimore City police departments.

Many of Michael's cases have been profiled on shows such as America's Most Wanted and Unsolved Mysteries. He has also been profiled in several major newspapers and has been interviewed on CNN with Connie Chung, Fox News Channel, ABC 20/20 with Barbara Walters, and ID Discovery's show Wicked Attraction: Bad Fortune.

During his distinguished law enforcement career, Michael has received several awards for his innovative work in forensic art. He is the author of, SketchCop: Drawing A Line Against Crime, a nonfiction, true crime book detailing his most successful cases.

In 2012, Michael realized a longtime career goal when he became Baltimore Police Department's first ever, full-time Forensic Artist. Michael served in the position until 2015 when he converted their Forensic Facial Imaging Unit to a remote, virtual operation, the first major police agency in the country to do so.

As the owner of SketchCop Solutions, LLC, Michael continues to serve a variety of law enforcement and corporate clients from around the world.

Acknowledgments

Creating Digital Faces for Law Enforcement is a collection of tips, techniques, and true crime stories collected during my 36  years of law enforcement and forensic art experience. This book is the direct result of the many sacrifices made by my family and coworkers who have supported me along the way. Without them, this book would not have been possible.

I would like to give special thanks to my wife Elizabeth Libby Streed who provided the encouragement and unwavering support that was necessary to complete the project. My parents, Orange Police Chief (Ret.) Wayne and JoAnne Streed, instilled in me a strong commitment to public service and taught me how to treat others, while excelling in my chosen field.

From the beginning, I was mentored by a world-class group of forensic artists who helped get me started. Fernando G. Ponce, Los Angeles Police Department (Ret.), Horace Heafner, Federal Bureau of Investigation (Ret.-deceased), Frank Domingo, New York City Police Department (Ret.-deceased), and Tom Macris, San Jose Police Department (Ret.), all of whom provided me with strong guidance and influence.

Each took time to teach and encourage me, pushing me to become better. They were at the forefront of the field and helped elevate the discipline for those of us who followed.

I will be forever thankful to them for their tutelage and inspiration. Without them, I would not have achieved the successes that I have experienced throughout my career.

During my career I have had the privilege of serving several law enforcement agencies during some of their most difficult cases. I have always enjoyed the relationships with their officers and investigators and the trust they placed in me. The Los Angeles Police Department, the Long Beach Police Department, the Riverside Police Department, the Orange County Sheriff's Department, the Baltimore Police Department are but a handful of the many agencies I have assisted in over three decades of law enforcement.

Another great organization I would like to thank is the National Center for Missing & Exploited Children. Their forensic art staff is second to none. Besides Horace Heafner, I would like to also thank Glen Miller and Steve Loftin for their friendship and the training they provided me over the years. I would also like to recognize Joe Mullins, Colin McNally, and Christy Andrews for the great work they do pushing the digital realm of forensic facial imaging to even greater possibilities.

Others I would like to thank are Federal Bureau of Investigation Visual Information Specialists, Wesley Neville and Lisa Bailey. They are not only colleagues; they are friends who have worked hard to elevate the discipline, especially Lisa Bailey. She has worked tirelessly to help new forensic artists get started in the right direction. She also took the time to patiently listen to my ideas and support my work.

Another person I am thankful to is Walter Maschner. He developed Facette Face Design System. Walter trusted me to place my SketchCop brand on his software and introduce it to North American law enforcement. Without him, I would not be able to further my influence in the forensic facial imaging discipline in a way that benefits police and crime victims.

I would also like to thank Tamaal Roy and Mayur Patel of Gujarat Computer and Software Ltd. for their assistance in producing Frontalis Facial Composite System. They are true professionals who helped me introduce global law enforcement and the next generation of forensic specialists to a new way of creating faces.

Without the persons named above, and those who were not mentioned, but no less important, Creating Digital Faces for Law Enforcement would not be possible. It takes a lot of time to produce something of this magnitude. It is not just the writing, but the years of training, traveling, and actually experiencing the work. But, I love what I do, especially in the service of helping others.

It is my sincere hope that those of you who work as forensic artists enjoy catching crooks as much as I do. If you are able to use the material in this book and combine it with your experience to help catch more of them, then all of us will have done our job…until we are called upon again.

Michael W. Streed—The SketchCop

Author's Note

This book contains information based on actual criminal investigations in which I have taken part. The information has been drawn from my personal memory, recollections, and observations. It has been verified wherever possible against additional sources including police reports, news sources, and discussions with other people involved in these investigations.

Although personal recollections, especially years after the incidents, are rarely an exact reproduction of the facts and conversations, I have done whatever practical to verify each piece of information, including checking with a number of people named in this book.

In some cases, the names and other identifying information were changed to protect the anonymity of victims and witnesses. I have divulged no classified or protected materials in presenting my stories or other information as detailed. Each case is as I remember it. The facts as I present them are true to the best of my recollection and written with the hope that they will inspire those who follow me to serve in the field of law enforcement and/or forensic science.

Appendix Section

The items contained on the Appendix pages are available for you to use as a resource.

Manuals and forms may be used by those who are starting up forensic facial imaging units.

Charts and graphs contained in this section are enlarged versions of book illustrations to be used as a guide when creating facial composites.

For further information, please contact the author via email: [e-mail]

Introduction

Abstract

For over three decades, Michael W. Streed has pointed his pencil in the direction of the worst crooks imaginable. Early in his career he mentored under legendary forensic artists to learn their methods for success. With a strong desire to become one of the best forensic artists in the country, he pursued the most advanced training possible, balancing his burgeoning career as a forensic artist with his primary role as a street cop.

After ending a long and distinguished police career, he developed SketchCop FACETTE, his signature facial composite software program that helps law enforcement agencies produce their own high-quality facial composites without a forensic artist. Later, he became Baltimore Police Department's first ever, full-time, forensic artist, eventually taking the unit online to provide remote facial imaging services.

Now, he is sharing his insights on the business by offering tips and techniques for forensic artists who want to enjoy similar success by going digital, or those who want to learn how to better use facial composite software programs.

Keywords

Artist; Facial; Identification; LAPD Mentor; Police; Sketch; SketchCop; Training.

On July 15, 2002, 5-year-old Samantha Runnion was kidnapped by a stranger. The abduction took place near Samantha's residence and was witnessed by her 5-year-old playmate. The events that led to the suspect's arrest and conviction defined my forensic art career in a way that no sketch of mine had done before. From that day forward, I became the forensic artist who created the facial composite that broke the case.

In the midst of the commotion surrounding this case, I was quietly enduring my own personal challenges. My wife was fighting a terminal illness, my oldest son was fighting in the Iraq war, and my youngest son became a deputy sheriff for the Orange County Sheriff's Department, the law enforcement agency that led the investigation into Samantha's abduction.

By the time the case finally went to trial and the suspect had been convicted, my life had come full circle. My wife succumbed to cancer and had passed away, my adult sons moved forward with their lives, and I was left with bittersweet memories and a law enforcement career to finish.

When I returned to work after an extended period of personal leave, there were five requests for facial composites waiting. Energized, I dove into my work with gusto. I truly believe that being a forensic artist provided me with a renewed sense of purpose and a reason to continue moving forward with my life.

Reflecting back on the day of the abduction, I remember working uniform patrol. I spent the early afternoon driving around enjoying the warm, sunny, summer afternoon with my partner, a recent police academy graduate. The radio was quiet, allowing me to focus on his training.

Having a partner in my car was nothing new for me. For years I juggled my duties as a police training officer and forensic artist. I had trained dozens of new police officers, many of whom went on to write their own success stories in law enforcement.

Over time, what I came to enjoy even more was lending my forensic art skills to detectives throughout Southern California. I also began working part-time in the private sector as a consultant/trainer for a couple of high-tech companies that produced facial composite software.

Two hours into our shift, all hell broke loose when a stranger approached two 5-year-old girls playing in a carport area, near their home, in the west side of Orange County. The suspect grabbed one of them and fled before deputies arrived. Repeated information about the abduction was broadcast throughout the evening over the countrywide police emergency radio channel. After the broadcast, it became hard to focus on any kind of police work as I waited for the phone call that was sure to come.

Later that evening, I found myself sitting at a table, across from my witness, the victim's 5-year-old playmate. She told me the story about the stranger who grabbed her best friend and drove off with her. With pencil and paper in hand, we worked together into the early morning hours to create the face of evil that led to the identification and arrest of the suspect (Fig. 1).

Figure 1  Facial composite of Samantha Runnion's killer on the right, suspect photo on the left. Courtesy of Michael W. Streed.

The case made headlines and was seen around the world. It led to the suspect being identified and arrested a couple of days after the abduction. Unfortunately, it did not result in saving Samantha's life. A day after her kidnapping, she was found murdered in a neighboring county. The success of the sketch led to several media interviews about how I was able to obtain enough information from a child to produce such an accurate facial composite.

Whenever I stop to think about it, I do not have a definite answer. It was just something I did. I had always been a skilled communicator and an above average artist. Being a good listener and making people comfortable was something I was really good at. Regardless, a forensic artist can never take full credit. Most of it should be reserved for the eyewitness, especially in Samantha's case.

Later, I could not help but wonder about what would happened if me, or any other forensic artist was unavailable?

What police would do? Would there be a way for law enforcement to create their own facial composites? Or, would these faceless criminals remain free to roam and continue to victimize others?

This case, more than any other that I had previously lent my skills to, rekindled my interest in computerized facial composites. For years, I had worked with other companies to produce better products and training for law enforcement using facial composite software to create their own images. Each time, I came away dissatisfied.

I knew that I could do a better job producing my own product that law enforcement would have confidence in and want to use. I also had to think about the traditional forensic artists who wanted to continue using their skills to create facial composites. How could I help them too?

My solution was writing, Creating Digital Faces for Law Enforcement, a text that would assist facial composite software users in making better faces while introducing traditional forensic artists to a set of digital tools that would help elevate their work while taking less time to produce facial composites.

Conceptually it sounds good, right? But, why would you or anyone else want to read this book? What makes me different from the rest of the forensic art community? Or, a better question would be, what qualifies me to write this book? And, why should other forensic artists and those entering the field listen to me?

Those are all great questions.

I think I can best sum up the answers to all those questions in one word…experience.

With 36  years of experience as a forensic artist, I have been in this business longer than most. I have attended courses taught by other experienced artists, and I have ‘on-the-ground’ experience in some of America's most diverse locations with some of the best police departments in the country.

I have also trained with many great people throughout my career, and I continue to educate myself so I can pass on the knowledge to my students.

When it comes to practical experience, for a period of three years I was one of the busiest forensic artists in the country. There were weeks I completed more facial composites than some will draw in a year.

Surely, that should count for something.

I think what makes me most qualified to write Creating Digital Faces for Law Enforcement is my willingness to adapt new ideas and share them with others. My goal as a forensic artist is to help cops capture more crooks and to help victims of violent crime on their road to healing.

It has become a passion of mine, and I hope you share the same level of enthusiasm. In the following pages, I will share with you how I got my start as a forensic artist. Some of it may sound familiar to you, because it is your story too. Others may seek motivation from my stories and try to adopt a similar path.

Whatever the reason, you are embarking on a noble path and I hope that I can somehow make a positive contribution to your mission.

Discovering Forensic Art

One of the activities I loved most while growing up was drawing. With my head in the clouds and a pencil in my hand, I spent hours sketching. I took in everything around me and put it down on paper. I especially loved cartooning and thought that maybe someday I could become a Disney artist. Creating art that makes people smile is a great feeling. I thought that if I could do nothing but draw all day and get paid for it, that itself would be a dream come true!

But, I knew that it would be difficult, if not impossible, to carve out a living as an artist. Later, when it came time to consider a real career, I turned to something familiar…I became a police officer.

You should have seen the look on my father's face when I broke the news to him. He was a career police officer and did not want me anywhere near the business. But, who listens to their parents? Less than a year after my high school graduation, I joined the force.

From the first day I stepped through the front doors of the police station to my first day in the police academy, art was never far away. I was constantly searching for ways to combine my enjoyment of sketching and my dedication to public service. But, the questions was always…how?

Soon, I would have my answer.

After graduating the police academy, I was hired as a deputy sheriff with the Santa Barbara County Sheriff's Department. With my shiny six-point star in hand, I loaded all my belongings into the back of a pickup truck and headed north to start my new career (Fig. 2).

For the first few months, I was assigned to the overnight shift. It was grueling work. Mostly because the body is not designed to stay up all night. Not to mention, working overnight turns your whole life upside down.

Besides having to do everything in the dark, I was awake when all my family and friends were asleep and I was asleep when they were awake. It did not do much for my social life either, and my feeding schedule was all over the page.

Normally, I returned home from work in the early morning hours and slept well into the afternoon. To help me wake up in the afternoon, I began watching television newscasts. Before long, it became a daily ritual.

One afternoon, I was still half asleep when a reporter appeared on television talking about an armed robbery. Suddenly, a composite sketch flashed upon the screen. That brought me straight up out of the wrinkled, faux leather, beanbag chair I used to sleep in. After that, I did not hear a single word the reporter said. I was so focused on the sketch, the words no longer mattered.

Figure 2  Photo of the author as a Santa Barbara County Sheriff's Deputy. Photo courtesy of Michael W. Streed.

All I remember is how excited I was about discovering the missing piece of my puzzle. After that day, I knew what to do with my art.

Next Steps

Now that I had my answer, I picked up the phone and began calling around to find courses on how to sketch bad guys. After a couple of phone calls, I learned about a weeklong, police composite artist workshop taught by Los Angeles Police Department's (LAPD) famed sketch artist, Fernando G. Ponce. During Ponce's LAPD career, he created thousands of facial composites depicting Los Angeles' most famous criminals, including The Nightstalker, Richard Ramirez.

Before Ponce would approve my enrollment, he provided me with a sketch of an elderly man (Fig. 3). I was required to copy Ponce's sketch and return it to him for evaluation.

If Ponce thought I had the necessary skills, he would approve my enrollment. A short time later, I learned he admitted me into his class. Soon I was on my way to Los Angeles to participate in his workshop (Fig. 4).

Ponce's course was a great primer for newcomers to the field. It was a well-taught class with lots of information. Much of his course focused on drawing topics as they applied to, what was then called, the police composite artist.

Figure 3  Author's test drawing prior to enrolling into his first police sketch artist training course. Photo courtesy of Michael W. Streed.

Figure 4  Author's acceptance letter into his first police sketch artist training course. Photo courtesy of Michael W. Streed.

Figure 5  Sketches depicting the development of the author's police sketch artist skills. Photo courtesy of Michael W. Streed.

Until Ponce's workshop, I had little formal art training. Not to mention the fact that I had no portrait drawing experience either.

Looking back at my drawing samples, my deficiencies were easy to see. But, these same drawings also gave me great hope that if I worked hard, I could create effective facial composites.

By the end of Ponce's workshop, the fire was lit.

After returning to work, I began my search for more facial composite training. Ponce's workshop made me more determined than ever to succeed. Look at the improvement in my sketches. In them, you will see the progress I have made over the years by combining hard work with the right tools (Fig. 5).

Ponce's help provided my art with new meaning and gave me a sense of purpose. If nothing else, I found a new way to put more crooks in jail. I have no doubt if you work hard too, you will make amazing progress yourself!

What Now?

After completing Ponce's workshop, I was determined to find the best forensic artists in the country. I wanted to train with them too. Even if that meant spending my own time and money traveling across the country to meet them and attend their courses.

Back then, there were only a handful of well-respected forensic artists. I soon learned that most of them were scattered across the country. After conducting further research, I learned that there were less training opportunities than there were experienced forensic artists.

In 1983, I had been promoted to the rank of detective. I was still determined to find a training solution. One day, I was sitting at my desk reviewing a copy of the Federal Bureau of Investigation Bulletin (FBI), a monthly magazine published by the F.B.I. detailing the latest advancements in law enforcement.

On the back page of the magazine, I saw an advertisement about an upcoming meeting they were hosting. The FBI was seeking law enforcement professionals who were interested in attending a steering committee meeting. Participants chosen would help plan an upcoming composite art and photo retouching course taught by FBI personnel.

I could not believe it! What were the odds of me seeing such an obscure ad or being selected? But, I decided to apply anyway and submit my name for consideration.

Several weeks later, I received notice that I had been selected and that the federal government would pay my travel and lodging expenses. Soon, I was holding a plane ticket and headed east!

The meeting was conducted at the FBI Academy in Quantico, Virginia. There were about a dozen law enforcement professionals from police departments across the country. The group included males and females, each having varied experience as police composite artists.

The purpose of the meeting was to make suggestions on course curriculum for students who would later attend the course.

The meeting was chaired by Horace Heafner, then the FBI's Visual Information Section Unit Chief. Heafner was a professionally-trained artist whose resume included creating the facial composite of James Earl Ray, the man responsible for the assassination of Dr. Martin Luther King Jr. (Fig. 6).

Figure 6  Historical facial composite of Dr. Martin Luther King, Jr's., killer in the middle, photos of James Earl Ray on the left and right. Photo courtesy of Shelby County, TN.

The meeting lasted one week and like Ponce's workshop touched on several different areas. Once the course began, we were invited to apply and attend. I attended the course many years later, but most important was the lasting relationship I developed with Heafner.

My Mentor

After returning from Quantico, I continued searching for more police composite art training. At that time, none were available. I also learned that LAPD forced Ponce to shut down his workshop. I was disappointed because that eliminated any future opportunities for advanced training.

My solution to the lack of formal training was to contact Ponce directly and seek his permission for an occasional visit. Ponce's office was about an hour drive from my home, making it easy to visit him as often as he would allow. If I could interest him in mentoring me, then I would return the favor by becoming his best student.

Ponce agreed to see me. As one visit led to many, we soon developed a friendship that lasted many years.

During the early years of my career, Ponce was the forensic artist I spent the most time with. Having him in close proximity allowed me the opportunity to spend as much time with him as my schedule would allow.

Some of my best memories about those years were the many afternoons spent hanging out in Ponce's office. During the time I spent with him, I tried to absorb as much knowledge as I could. There was so much to learn. Sometimes, he would allow me to assist him with projects that reinforced the techniques he was teaching me.

During his informal tutorials, Ponce demonstrated different drawing techniques that he used to create his signature style.

Before long I came to admire the painterly style of his facial composites. Ponce was one of the first forensic artists in the country to create facial composites in color. In many ways, he was well-ahead of his peers.

Watching him interact with coworkers as he made his way around the office made it easy for me to see why he was so successful. Ponce had a special way of treating people. This translated to the way he communicated with his eyewitnesses. Ponce quickly connected to everyone he spoke to by addressing them as, my friend. It was easy to see why investigators always asked for his help.

Ponce's successes fueled his desire to elevate the profession. He had a strong desire to merge his artistic ability with computer technology. One afternoon, we were having a conversation when Ponce shared his idea for using computer technology to create facial composites. This was the first time I had ever heard of such a concept. I was immediately intrigued.

Even though I understood little about computers, I knew it would be a difficult feat to accomplish. Ponce had high standards. In those days, computer graphics were not developed to a level that could duplicate his ideas about color schemes, or his style and technique.

After exhaustive research, Ponce was forced to abandon his project. Unfortunately, the technology was just not there yet.

Ponce's inability to make his dream come true did not dampen his enthusiasm. He continued his significant work with great energy.

During the time I worked with him, I was hired as a Technical Reserve Officer by the LAPD. This was an unpaid, volunteer position for citizens with specialized skills that the department could use for the community's benefit.

Being a Technical Reserve Officer allowed me to fill-in for Ponce when he was away on vacation, or out sick. The position provided me with valuable experience. When Ponce retired, I was honored that he personally invited me to his retirement luncheon.

Ponce encouraged me to continue developing my art skills. He used to tease me about taking police composite art courses. Ponce felt that there was no reason for me to attend so many. His recommendation was that I just draw…draw…draw.

Ponce once asked me if I knew the secret to success. Before I could answer, he scribbled a note onto his official LAPD stationary. He slid the note across his desk, and I read it. The note simply said, Hard Work. (Fig. 7).

Ponce believed if I continued to work hard and draw, then I would become a successful police composite artist. He was correct. So right in fact, that I still have the note. For years, I have kept it as a reminder of his wisdom and his value as a mentor.

Tech Artist

Farther north, San Jose, California Police Department sketch artist Tom Macris shared Ponce's idea of a computerized police composite software program. The difference was, Macris was able to execute his vision with the help of a local technology company. Together, they created CompuSketch, a facial composite software program for law enforcement.

Macris' software program created an end product that looked similar to an authentic police sketch. The facial composite interview was on screen, so all the operator had to do was follow along and select the eyewitness response. Afterward, it built an image that the operator could easily edit with the help of the same eyewitness. Though CompuSketch images lacked the high quality and detail that Ponce was hoping for, Macris' product created an image that was remarkably good.

Macris was such a skilled artist, the high-quality of his base drawings were easy to see. Even though they displayed as stippled, dot-matrix style images, at the time, it was as close to an authentic police artist sketch as