Dixon artist shares insight into her crime-solving career – Shaw Local

OREGON — Bethe Hughes used her artistic skills to solve crimes. On Saturday, Aug. 17, she shared those skills, mixed with some of her own memories, during a forensic art presentation at the Coliseum Museum of Art, Antiques and Americana.

“As a forensic artist, you want to get into a person's memory. You want to get them talking, get them to replay the events of the day and their daily routine,” said Hughes, a retired special agent with the Illinois State Police. “Then, when you get to the traumatic part, hopefully they can remember.”

Hughes, a Dixon resident, said the memories of victims or witnesses are crucial to creating an accurate drawing of the perpetrator, which police investigators can then use to solve a crime.

She began her 20-year career as an Internet service provider special agent, then as a crime scene investigator, and became a forensic artist after her talent for perspective was noticed when she was asked to take fingerprints on a window.

“The prints were on the windowsill and the window pane, so that's how I presented them in my report,” Hughes said. “When my supervisor saw what I had done, he said, 'It's a matter of perspective, have you ever thought about becoming a forensic artist?' and I said, 'OK.'”

She completed a year of training at the FBI Academy and then worked in forensics for five years before retiring.

“My mother was an artist and I grew up with art,” she said. “My mother only allowed us one box of eight crayons. She said we could mix colors with those eight. But I didn't discover my own artistic ability until I was in the FBI.”

Twenty-two people attended Saturday's workshop and were immediately tasked with creating a composite shot of a “suspect” from parts of photos Hughes had cut out of magazines. However, she cut the photos into pieces: upper third, eyebrow line, middle third, eyes and lower third, so that each participant received different pieces of each photo.

They were given a rectangular sheet of paper with the relevant areas marked on it, as well as pencils and a small eraser, and began to create their sketch while Hughes gave drawing tips and her experiences in between.

“I always start with the eyes and work outward,” she instructed. “Look at the shape of each eye, then the nose, is it wide or narrow or average. This will be a problem-solving project to see what the facial features look like.”

“What happens if it looks wrong? That's how it works in real life. You erase and try again,” she said. “When I worked with victims, they would often say 'no, that's not it,' and then I would start erasing. You want to try to get all the features first and then put them all together.”

A witness or victim with a detailed description can help the artist create an accurate drawing.

“You want someone who can describe everything in detail. If it was a very traumatic event, it may take some time,” she said of the length of an interview.

She recalled an incident in which a witness was on her way to work as a bank teller and suddenly walked into the bank where she was being robbed.

“She had the best view of the suspect, but another teller signaled her to leave and she ran into the alley. The suspect followed her, took off his mask and tried to attack her. She was scared to death and fought for her life because she thought he was going to come and get her,” Hughes said. “She knew he had seen her see him. She was too traumatized to help. I told the FBI she needed mental health help and they got her that.”

However, another witness to the same armed robbery had only seen part of the suspect's face and asked Hughes for an interview. “She only had a side view, but we made a drawing and the police were able to use it and eventually arrest the robber,” Hughes said.

In another case, an elderly, disabled woman had been the victim of a crime and had difficulty remembering details until Hughes helped her recall everyday events from the day before the crime.

Hughes said the woman remembered seeing someone at the laundromat washing a T-shirt with a logo similar to the suspects'.

“When one of the investigators heard that, he remembered a woman whose son had that T-shirt design. He jumped up and talked to them,” Hughes said. “I was still drawing when they arrested him. The witness must have been there. She guided me and that led to the solving of the crime.”

Hughes said forensic art is now being replaced by digital capabilities and fears the process of interviewing victims and witnesses could be lost. She said showing victims or witnesses photo arrays before they have a chance to work with a forensic artist often clouds memories.

“The investigators want to solve the case, but I always ask them not to take a series of photos before I can give my interview,” she said.

Forensic artists may also examine human remains and create sketches of what a victim might have looked like, sketch victims or suspects based on surveillance footage and photographs, create age gradients to aid in the identification of missing persons or suspects, and create two- and three-dimensional reconstructions of crime scenes or evidence, such as clay sculptures.

Ashlyn Foster, 17, of Savanna, was one of the participants in Saturday's workshop. “I want to be a forensic pathologist. That's my dream,” Foster said.

Foster's depiction of her pieced-together “suspect” closely resembled him, whereas some of the other participants' drawings did not.

Kent Lawrence's sketch looked like a werewolf. “I think he kind of looks like him,” said the Oregon resident.

Upcoming CMAAA Courses and Workshops

“Photography is Jazz with a Camera,” Saturday, September 14, 10:00 a.m.–11:30 a.m., presented by Rich Ankeney.

This presentation draws parallels between camera work and jazz improvisation. In addition, it suggests many ideas about composition and the creative process that are applicable to the work of any visual artist. It was enjoyed by college students at Knox College and several other groups in Peoria and Galesburg. Rich Ankeney has been taking photographs for over 50 years and recently began painting again. He has exhibited widely and his work has received several awards. Rich holds a BFA in Painting and Photography from Quincy University, a Masters in Art Education from Illinois State University, and a Masters in Instructional Technology from Western Illinois University. He has completed over 40 hours of coursework to earn Apple Teacher Institute certification. He has taught art and photography courses at Carl Sandburg College for over 25 years. In 2002, he received an Outstanding Alumni Award from the Quincy University Art Department. Attendance is free, but registration is required. Registration closes Wednesday, September 11 at 12:00 p.m.

Glass Workshop: Jewelry Tray, Saturday, October 12, 10:00 a.m. – 12:00 p.m. Members: $30, non-members: $35. Instructor: Valerie Butcher.

In this workshop, you will make a 4″ square tray. Projects will be available for pickup one week after the workshop. Fee includes all materials, safety glasses, and firing. Please wear long pants and closed-toe shoes. For ages 10 and up. Students under 13 must be accompanied by an adult. Registration closes Wednesday, October 9 at 12:00 p.m.

The museum is located at 124 N. Fourth St., Oregon. For more information, call or 815-595-5810.