Forensic Artist Q&A: Lisa Bailey

How did you get started in forensic art?

I’ve been a forensic artist for close to 10 years, and like most artists doing this work, I sort of fell into it. I had been working as a graphic artist at Johns Hopkins, doing different types of conceptual illustrations, graphics, and photo retouching. I liked it, but I was looking for a new challenge. One weekend I saw a posting for an illustrator at a law enforcement agency. I applied, and after a pretty intense interview process, was accepted. But all told, it took me three years from the time I applied until the day I walked in the door. That was a long three years!

What type of forensic art do you do?

All of it, actually. I spend the majority of time doing 3d clay facial reconstructions, post mortem imaging, and fugitive age progressions. When I first started I did a lot of demonstrative evidence work, but that has dropped off considerably.

Do you prefer one type of forensic art over the other?

I have a definite soft spot for the unidentified reconstructions, especially sculpting in clay. I have discovered I love to sculpt, and I feel much more comfortable with the resulting reconstruction because I have more of a “feel” for the face. And I think the 3D sculptures get more attention in the media, which is a factor in getting an identification. You can’t get an ID if nobody ever sees the reconstruction.

Describe the amount of forensic art you do: are you full-time, or as-needed?

Full-time. But I have to make this point on this: being labeled “full-time” doesn’t automatically make someone any better at this work than an artist doing it on an “as-needed” basis.

The difference is not whether someone is part-time or full-time, it is the dedication and skill of the artist. I know some part-time artists that can run circles around the full-time ones, because they constantly practice, they keep their skills honed, and are ready to go out and do the job at a moment’s notice. They might do a handful of drawings a year, but they are no less qualified to do the job than someone that produces 300 drawings a year.

What qualities do you think are important to have as a forensic artist?

Confidence, but a lack of ego. Solid art skills, but the knowledge that there is always room for improvement.  Nothing is more obnoxious than someone that thinks they know it all, or worse, snipes at another artist’s work. Patience…it can take a while to break into this field. Empathy…this is not a 9-5 job that you leave at the office. You have to care. Most forensic artists would do this work for free simply because they care about it so much.

Do you think it is important for a forensic artist to be employed by a law enforcement agency?

I think it’s just a reality of the field. This is especially true if someone is interested in doing composites. Agencies need someone they can count on, that they can trust with a witness and evidence, and who will be prepared to do a drawing at a moment’s notice in all types of conditions, day or night. Having an officer or employee that is well-trained is ideal. There is also the reality that the work is done on salary; law enforcement agencies don’t normally have the budgets to pay for outside contract artists.

Have you ever testified regarding your forensic art casework?

No, but I believe I would be prepared to. I’ve learned from some very experienced artists that you can never tell when you’re going to end up in court, so don’t ever get sloppy with your paperwork, or rely just on your memory. Be ready to testify.

What is the biggest misconception that people have about your work?

I think the public’s biggest misconception is that we don’t follow a process, that science plays no part in what we do. It especially makes me crazy when I see representations that we use use psychic ability to create facial reconstructions. Of course that’s just ridiculous…. it’s teamwork between an artist and an anthropologist, using the most updated tools and scientific research at our disposal that gets IDs. Besides, if we were psychic, why do a reconstruction at all?  Just use that ability to name the victim, and the perpetrator! Nobody ever seems to point that out ;^)

What advice would you give for someone trying to enter the field?

Listen to the advice that other forensic artists are giving you! One of the reasons I started this website was to give real, working forensic artists a place where they could show their work, talk about it, and pass on their knowledge and experience to newcomers.

When a forensic artist tells you that being in law enforcement is pretty much a prerequisite to a job, believe them. They aren’t trying to keep you out or discourage you; they are telling you the truth. The jobs are in law enforcement. Just go back and read what they said. I know all of these artists; they are telling it like it is.

What is the most satisfying aspect to your job?

Being part of a team that is working to help victims, and using my art skills and training in the process. When I send out a drawing or facial reconstruction, and the detective is appreciative and motivated that it may help the case, I get a rush. Once I got to go to a sentencing hearing for a case where I did some work, and the prosecutors shook my hand and thanked me. I was only a tiny cog in that machine, but I was so proud to be considered part of the team. I was on the good guy’s side.

What is the least satisfying?

Frustration… knowing no matter how hard I work, or how hard the detectives work, some people just won’t be identified. They will end up in a Potter’s Field, no name, no identity. And even worse, knowing that some people out there just don’t care about that.

Do you remember your first composite drawing? How’d it go?

Ugh. I think I got my worst one out of the way first. At least I hope I did! It was the Perfect Storm: uncooperative witness, husband and children waiting in the other room (past the kids’ bedtime), working through an interpreter, with an investigator that was told another artist he knew well would be doing the job so he didn’t have much confidence in me. In the end, the witness said she thought the drawing was a good likeness, but the stress of getting there was awful.

Is there any case that stands out in your memory, and why?

It was a composite drawing for a sexual assault victim. Her family was unsupportive of her; they thought she had brought the attack on herself, and should just “get over it.” She did get an immense amount support from the police officers though, they were wonderful with her. And I believe seeing the drawing take shape helped her too. She got so much stronger as we worked on it. I wish I knew how she was doing. I hope she’s ok.

Were you always artistic, or did you discover the ability later?

I was always drawing as a kid, always took lots of art classes, got straight “A’s” in it,  but never thought I could make a career out of it. So, I joined the Navy and worked as a Russian Linguist, of all things!  Basically, I gave up on art for a while…a good 15 years. But there was always that pull, like I was missing something, that I wasn’t doing what I wanted. Now I am, and that’s all that matters.

Do you do any other type of artwork outside of your job?

It’s been a struggle, both with time, and that part of my workaholic brain that says I must always be doing something “productive” in art. My husband told me, “no more drawing skulls at home!”  I also love cartooning, and am working on doing more of that, as well as general illustration work.

Do you watch any of the crime shows, like CSI, Bones, etc?

My husband and I will occasionally watch CSI Miami because we get a kick out of how many times that guy can take his sunglasses on and off!  But generally, no, when I come home I want to turn my brain off, and watch something completely unrelated to work.  ”Silly” humor is big in our house!

What other job would you be interested in trying, if any?

I honestly can’t think of anything else I’d rather be doing. It took me a while to get here, and now I think I have the best, most interesting job in the world.

What job would you absolutely hate?

Anything that involved math, or anything on an assembly line. If it involved both, I’d probably shoot myself.

Is there anything else you want to say, or anything else about you or your job that you would like people to know?

If you want to be a forensic artist, get it in your head that although you may not be able to do it full-time (at least not starting out) you can still be a vital part of the field.  To me, you would be the most vital. The vast majority of the forensic artwork done out there is done by the “dual-duty” artists, not the full-timers. There are probably less than 30-40 full-time forensic artists in the US, but there are hundreds of others doing the work in their agency as it is needed. Get out there and do the work!