Michael W. Streed

Many of you have seen the name, SketchCop® Solutions bouncing around the internet. This month, I thought I would share the meaning of the title, our logo and what it represents.

Brand establishment is important to companies and individuals. This includes my company – SketchCop® Solutions, Inc. We are a California-based corporation that provides forensic facial imaging products, services and training. SketchCop® is my trademarked, personal brand dedicated to becoming the Digital Difference in Facial Imaging and Identification. I’m also a published author.

I developed the name SketchCop® as a hybrid term used to explain what I did for a living. At the time, I was a police officer who sketched wanted criminals. I wanted something catchy, as I was already thinking about my personal brand. Combining, Sketch and Cop, seemed to me the easiest and most understandable way to create the new term.

Next, I designed a logo. The original SketchCop® logo has evolved over the years. What’s remained consistent was the background image. One of my career cases was the 1997, Beaumont, CA, kidnapping and murder of Anthony Martinez. It was a case that went cold for eight years until a suspected serial killer was arrested and charged in Anthony’s murder.

The suspect represents why I do this work. His intense gaze matched my determination to bring people like him to justice, so it was decided to use his eyes in my logo.

The puzzle piece was the result of a statement I have repeated many times that a composite sketch is but one piece of the investigative puzzle. I noticed that my peers often used the split image of a skull and a composite sketch to form their logo. I wanted mine to be distinctive and separate from the rest.

Now, with a catchy name and distinctive logo, I was off to establish my brand.

During my career, I was fortunate enough to study with the best and most experienced people in the business. After my training I got right to work and it wasn’t long before I was enjoying successes of my own.

I was also exposed to various facial composite software products that other companies marketed and sold to law enforcement. In some cases, the products weren’t very good and never enjoyed the support of the forensic art community. But, I was always a tech junkie and was fascinated by these products no matter how good or bad they were.

As technology became better and the demand increased for software-driven facial composites, I decided to create my own products, write my own books and synthesize my training into a method that I found successful. This helped give birth to SketchCop Solutions, Inc. and eventually SketchCop® Academy.

With all the elements in place, SketchCop® Solutions, Inc. and the SketchCop® Academy hopes to become an influencer in how law enforcement creates and distributes facial images in the future.

Considering the above, what is YOUR brand and how will you establish it? It’s surely something to consider. In the meantime, please join us. Sign up today at www.SketcCopAcademy.com and let’s catch some crooks!

Working with the media can be an exciting opportunity for forensic artists. It’s a great way to showcase your work and increase both your credibility and professional standing.

I recently appeared in HLN’s “Unmasking A Killer”, a frightening story of California’s Golden State Killer, a prolific serial rapist/killer who’s evaded capture for over 40 years.

During the series, I was asked my expert opinion on several composite sketches created during the investigation, including three the F.B.I. felt were most representative of the killer’s appearance. The series also featured interviews with other forensic experts, detectives who worked on the case and most important, surviving victims and their family members.

To provide context to the story, The Golden State Killer surfaced in 1976. He was a serial rapist terrorizing Sacramento-area communities. Over the next several years, he roamed California evolving from a serial rapist to a serial killer of men and women. By the time GSK stopped, he racked up 12 murders and 51 sexual assaults. Since 1986, there hasn’t been a crime attributed to him.

With the exception of a couple of taunting phone calls, he seems to have vanished into thin air. Since then, he’s become arguably the most prolific serial killer in the United States

If you’re a forensic artist who does significant work on a high-profile case, like The Golden State Killer, chances are, you’ll  be asked to appear in the media too.  When you do, it’s important that you present yourself in a professional manner. How you present yourself speaks to your personal brand.

I’ve been lucky enough to be on television and print media quite a bit during my career. I’ve made some mistakes, but I learned much along the way. Below I’ve listed some tips that I think you’ll find helpful when appearing on television.

• Pay attention to your physical appearance

• Speak clearly

• Look at the camera

• Stick to your area of expertise

• Stay positive, don’t be critical of other experts

Seeing yourself in print, or on TV is exciting. Extending your influence via social media is also becoming more common. Posting on the various social media platforms presents a different set of rules. Some of them, I’ve listed below.

• Refrain from political/religious commentary

• Don’t post offensive cartoons

• Do post photos of you at work

• Post photos of your work

Once you appear on television you’ve taken the first step to becoming a public figure. If you’re in the media enough, you may get recognized around town.

In retrospect, I think being on the front page of the newspaper or on TV, is better than being on a wanted poster, don’t you? Just remember, when all the attention dies down, you’ll still be where you’ve always wanted to be. Doing the work you love … in the service of others.

Not a bad way to make a living if you ask me.

To learn more, you can buy my book, Creating Digital Faces for Law Enforcement (Academic Press) where I dedicate a chapter to media issues.

Those of us employed as Forensic Artists, either by a law enforcement agency, or as a private business offering forensic services, work hard behind the scenes providing investigative support for detectives.
 
As a full-time forensic artist with the Baltimore City Police Department, most of my time is spent creating composite sketches for detectives. Every so often I receive a call for help with an unidentified body. But most of the time, I handled requests for assistance with street robberies, non-fatal shootings, sexual assaults or any other felony that typically lands on the desk of a big-city detective. Though it might sound routine and predictable, it’s anything but.
 
Those of you who are fans of television police procedural programs have probably watched their fictitious forensic artist, working quietly behind the scenes, helping a victim create the face of someone who just finished brutalizing them.
 
They always make the job look easy.  Unfortunately, it isn’t.
 
For those of you curious about how a real forensic artist spends their day; I thought this month would be the perfect time to invite you behind the scenes and share my typical day with you. Follow me into my ‘face factory’ and see what it’s like being a full-time forensic artist.

 
My day begins with a review of area newspapers and media reports of crimes that occurred overnight. Afterwards, I log into my computer and examine cases recently assigned to precinct detectives. If I don’t receive any requests on crimes I think might benefit from a composite sketch, I’ll send a reminder e-mail to the assigned detective letting them know of my availability.  If there isn’t an immediate response, I work on other projects.
 
For example, this month, I have a facial reconstruction that I am completing with the help of experts, using specialized 3d sculpting technology. After a couple of hours sculpting, I’ll stop to prepare material for upcoming training. When finished, I consult with my software programmers who are putting the final touches on a bilingual version of my company’s latest facial composite software program.
 
Just when I thought it was time to breathe, an e-mail arrives from the media, or a new client has called asking for an age progression. Outside of my work as a forensic artist, I am also an author, so there are contracts to review, marketing to take care of and new cases to consider writing about.
 
As my day draws to a close, I’m left putting the finishing touches on soon to be completed projects, while considering new requests for services from law enforcement agencies and private entities. After an evening break to eat dinner and spend time with family, I head back to the office to check e-mails and contact international clients one more time before heading off to bed.
 
Busy? Yes. But, I wouldn’t have it any other way.
 
As you can see, there is so much more going on behind the scenes in the life of a forensic artist than what’s depicted on TV. Each day is different. Some activity you have control over, some you don’t. But, if you ask anyone who works as a forensic artist, they would probably agree with me when I say that I wouldn’t have it any other way. For me it’s too rewarding a job to see any downside.
 
I hope after reading this month’s blog entry, each time you see a composite sketch in the media, you’ll know there’s someone else’s face behind it.

Who knows? Someday, it might be yours! I hope so.

Oh, one last thing before I sign off. I want to personally invite all of you to enroll in my first online course. I’m getting ready to launch it to the general public through our SketchCop® Online Academy! As a subscriber to our newsletter, you can download the course for a special introductory price–only $27. (Hint: Sign up for our newsletter at SketchCop Academy Online)

For a sneak peek, check out the FREE lecture preview. 

Last, but not least, those of you who are new to our newsletter, can catch up on those you misses by clicking here.

Thanks again for stopping by. I hope you enjoyed this month’s blog post. Please let me know if there are any special topics you’d like me to share.

In the meantime, that’s all for now. Be safe and keep on sketching!

 

I’m frequently asked which case was my most difficult and why?

My answer? Any case that involves children, both as a victim or eyewitness.

Anytime a child is the victim of a crime, the pressure to solve the case can be tremendous. As adults, especially parents, we are given the awesome responsibility of protecting children, even those who are not ours. Children are the future. They should be nurtured and protected. Often defenseless, they can be easy prey for those who wish to commit predatory acts. As a society, we have an obligation to see them safely to adulthood.

Now, let me jump off my soapbox and tell you how this applies to my work as a police sketch artist. Listening to stories about child victims can be horrific. To successfully interview a child eyewitness, or someone who witnessed a crime against them, I must always find a way to detach.

Sometimes the pressure can be suffocating, especially when the sketch I’m being asked to produce is the only lead in the case. But, when you’re a professional, you step up. Any emotion I might feel is saved for when the sketch is completed. Later, when the day is over and I’m away from the scene, I can find a quiet place to re-energize.

As eyewitnesses, children feel similar pressure. They may not verbalize their feelings, but they can feel when all eyes are upon them.

In cases where I’ve had to rely on child eyewitnesses, I’m thankful they rose to the occasion. Many times, they helped make the case.

My most successful sketch, using a child eyewitness, occurred in 2002, when 5-year old Samantha Runnion was abducted by a stranger. The only witness to the crime was her best friend, also 5-years old. We worked together to produce a composite sketch that helped solve the case.

If you would like to read more about the case and the effectiveness of child eyewitnesses, click on the link.

So, whether the time is ticking for a kidnapped child whose life is in the balance, or you’re sitting in front of a doe-eyed child who experienced an event no one should have to endure, the police sketch artist must remain the consummate professional. These cases can be high-energy and emotionally taxing. All your energy should be directed to supporting the victim. My advice is to check your emotion at the door. That will help keep your stylus, or pencil, steady so you can do the best job possible. The rest, you can deal with later.

Reflecting on my career, I’ve been fortunate to establish great relationships with the people I’m asked to help. I especially enjoy working with my law enforcement partners.

To learn more about the special relationship I share with the Baltimore, MD Police Department, please watch the video.

 

Hello everyone, it’s Michael W. Streed—The SketchCop®. I’m excited to announce the launch of our first monthly newsletter bringing you tips, case reviews, news, and other information related to forensic art.

Starting this year, I decided to expand my training events by offering online distance learning opportunities. Providing this opportunity will allow all of you that are interested in forensic art to take specialized training classes at your own convenience and not miss a chance at taking an on-site training class. You can sign up for the classes AND the newsletter at: https://sketchcop-online-academy.teachable.com/

If that sounds good to you, then let’s get to it…

Did you know that there are very few full-time forensic artists? Today, most forensic artists have primary jobs within a police department, such as: police officer, police service officer, detective, investigative assistant, crime scene investigator, crime analyst and secretary, just to name a few. For most, their assignment as a forensic artist is a collateral duty that they integrate into their everyday assignments.

Many of them already have an educational background in art, or they just enjoy drawing. But, because their role as a forensic artist is ‘part-time’, they must always be ready to use their skills any time they are called upon by detectives. This is where high-quality, relevant training comes in.

There are so many facets when developing a sketch, it’s important that you understand your role in the process. Developing a composite sketch is a collaborative effort between the forensic artist and anyone who is the victim, or an eyewitness to a crime. In some cases, this witness may be a friend yours, or family member. Whoever they may be, our goal is to gently coax them into providing vital information critical to creating a usable sketch.

Over the years I have been involved in many heartbreaking, high-profile cases. Someone asked me the other day how I deal with the weight that comes with them. My answer is simply this – “although I CAN’T help what HAPPENED to the victims and their families, I CAN help with what HAPPENS to them afterwards as they begin the healing process. To play a role in something so positive makes sharing their burden a much lighter load.”

Some say because of new technology, the skills and experience of traditional forensic artists will no longer be needed. I disagree. Instead, I think with new technologies that push digital drawing and software-driven sketches into the mainstream, the skills of forensic artists are needed more than ever. Take for instance the following case I worked on. It involves using a traditional facial reconstruction technique that police hoped would identify a 2001 homicide victim.
I can’t help but think that if I was using technology available today, the victim might be identified and a suspect would be in-custody. But, I might still have a chance to revisit the case.

To learn more, read the article and I’ll keep you posted about what happens.