Welcome to PoliceCompositeArtist.com
Meet Robert Exter, an artist whose work transcends traditional portraiture, stepping into the realm of forensic art with remarkable results. Since 1987, when he was commissioned by the UNABOM Task Force to produce the first nationally recognized composite sketch of the Unabomber, Exter has carved a niche for himself in law enforcement.
 
The Unabomber Case:
In a critical moment in 1987, two women witnessed Ted Kaczynski, later known as the Unabomber, placing a bomb under a car at a computer store in Salt Lake City. One of these women caught a glimpse of him through the blinds. Exter's composite, focusing on what's known as the 'Facial Recognition Area,' was strikingly accurate despite the witnesses' uncertainty about the chin and hair. This sketch was so lifelike that it might have contributed to Kaczynski's six-year hiatus from direct bomb placements, choosing instead to mail his subsequent devices.
 

 
The 1987 composite sketch of the Unabomber, crafted by Robert Exter, captured key features like the nose shape, smile lines, and mouth, which bore a resemblance to Ted Kaczynski. This likeness was significant enough that Kaczynski himself recognized elements of his own face in the sketch, leading to a notable pause in his bombing activities. This six-year hiatus from 1987 to 1993 might have saved lives, as during this period, there were no further bombings linked to him.
 
Kaczynski's awareness of the composite's accuracy is reflected in his later precautions; he noted in his diary that for his next act to personally plant a bomb, he would distort his facial features by stuffing his mouth with cotton wads to evade recognition. This adjustment shows the psychological impact the composite had on him, influencing his methods to avoid identification.
 
Furthermore, the challenge faced by witnesses in recalling details from a fleeting encounter years later underscores the difficulty of forensic art. A witness trying to remember a 15-second sighting from over five years ago faces significant hurdles in memory accuracy, which the second artist had to navigate to produce a usable image. Unfortunately the witness morphed the memory of the 1987 artist in with the sighting.
 

  
 
Forensic Accuracy:
Exter's talent lies not just in his ability to draw but in capturing a visual memory from a witness's description, a skill that has led to the resolution of numerous high-profile cases. His approach involves a detailed online interview process, making it possible for witnesses from anywhere in the world to contribute to identifying suspects, potentially reducing the need for their physical presence.

 
 

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Cold Red Interview  - Behind the Canvas: Forensic Art and Crime

In this episode of Cold Red, hosts Ray Carr and Fitz interview Robert Exter, a professional artist and police sketch artist with over 30 years of experience. Robert shares his journey from a young artist to becoming a key figure in criminal investigations, particularly in creating composite sketches that aid law enforcement. The conversation delves into the intricacies of translating witness descriptions into visual representations, the challenges faced in sketching, and the impact of technology on forensic art. Robert also discusses his notable cases, including his connection to the Unabomber, and reflects on the evolution of his craft over the years.
Further Contributions:
  • Skeletal Identity Process: Working with pathologist Dr. Papworth on the Green River murder case, Exter developed a method using multiple sketches to suggest different appearances based on skin thickness, hairstyles, and facial hair, enhancing the chances of identifying remains.  example
  • Courtroom Media Artist: Exter has also served as a courtroom sketch artist for NHK and NBC, showcasing his versatility in capturing likenesses under pressure.

 
 
 
Media and Publicity:
Exter's work was thrust into the spotlight again during the "Manhunt Unabomber" documentary series, where his composite played a pivotal role in rekindling the investigation. Although some scenes were dramatized for entertainment, the essence of the events was true. A notable correction was made regarding Agent Fitzgerald's book, where he incorrectly attributed the 1987 composite to another artist; Fitzgerald has since committed to rectifying this in future publications.
 
Professional Recognition and Challenge
Despite his significant contributions, Exter has often worked as an independent contractor rather than a full-time law enforcement employee. This has led to instances where his contributions were not publicly acknowledged due to political reasons or inter-agency dynamics. His work, however, speaks volumes, having been utilized by various agencies including Sacramento PD, the FBI, and the RCMP, albeit with varying degrees of acknowledgment.
 
Contact Information:
 
 
Conclusion:
Robert Exter's career illustrates the profound impact an artist can have on criminal investigations, blending art with forensic science to bring justice where traditional methods might falter. His resume, filled with successful composites that have led to arrests, showcases a unique blend of artistic talent and investigative skill, making him an invaluable asset in the field of forensic art.

 

 

 

1994 report on 'The American Journal'.

 
 

A clip from the Manhunt Unabomb series.
 
 
 

 

In late 2002, Robert Exter, the renowned forensic artist, was featured on the TV show "Worst Case Scenario" in an episode titled "Eye Witness." This segment was designed to test the limits of human memory by having four individuals try to recall details from a brief, ten-second encounter. Unlike real-life scenarios where creating a composite can take hours, Exter was tasked with interviewing two witnesses in just three hours for the show.
To enhance the memorability of the event for the witnesses, Exter suggested to the director that the subject should perform an unusual action. This wasn't part of the original plan, but Exter knew from his experience that a startling or unusual occurrence could significantly improve memory retention. Consequently, the subject was directed to drop his sunglasses and use a forceful voice, making the moment more memorable.
 
Video Details:
  • In the aired segment, though not explicitly named through on-screen text, Exter, dressed in black, is clearly the artist creating the composite sketch.
  • It's important to clarify that in actual police work, witnesses do not participate in group identification sessions where they might guess or influence each other. Instead, individual assessments are conducted to maintain the integrity of the identification process.
Key Points from the Segment:
  • Exter identified one female witness as particularly observant, suggesting her memories would be crucial for identifying the suspect.
  • He noted that another male witness's attention was primarily on the suspect's backpack, indicating he might be more useful for describing clothing rather than facial features.
  • Exter's insight into human memory and his technique of using voice as an additional identification tool during the composite process were highlighted.
Forensic Art in Legal Context:
  • Forensic composites like those Exter creates are not treated as direct evidence in court but serve as supportive material to bolster the credibility of eyewitness accounts.
Outcome:
  •  The test of memory and identification took three hours. to resolve, Exter's work contributed to successfully identifying the correct subject, demonstrating his skill to aid law enforcement through art.
Art Instruction:
I am an accomplished police sketch artist with an impressive track record. While there are other police artists who are trained in interviewing witnesses, many of them struggle with drawing accurately and efficiently. With my experience, I can assist them in developing a better understanding of the art of sketching.
 
The key isn't about mastering a particular style of drawing; it's about understanding how to capture what makes an object or a person appear lifelike. Through my experience, I can demonstrate how to use logic to determine what to include and what to omit, which in turn makes the interview process shorter and more productive.
 
There are artists who would like to take up positions teaching police art students at the FBI Academy in Quantico, Virginia. However, I am concerned that these instructors might focus on teaching a set procedure rather than fostering the unique perspective each student brings to life drawing.
 
I believe that advancing an artist's skills requires one-on-one tutoring because every artist has their own distinctive style. My approach involves understanding how each artist engages with their work and identifying any roadblocks they might be encountering.
 
In today's world, individuals seeking art instruction can leverage social media and video networks to enhance their artistic skills. I have pioneered a method for interviewing witnesses remotely, provided there is reliable internet access. Similarly, I am available to assist anyone aspiring to become a proficient sketch artist. If you would like my help, please contact me at: robertexter@protonmail.com  (mailto:robertexter@protonmail.com ).
 
Why I'm Involved:
I have written this page in the third person to help guide how visitors might perceive my achievements. To be direct, I am an artist with a meticulous approach to realism, predominantly using pencil for my sketches, though I also work with pastels and watercolors on occasion. Primarily, I specialize in family portraiture. However, my work in forensic art for various police agencies has been quite fruitful. It's important to note that witness conditions vary—factors like lighting, distance, and viewpoint all play critical roles in creating effective composites.

I offer my services to law enforcement only when there is an explicit request. My success rate, which is in the double digits, has shown me that I significantly contribute to many cases. Feeling a responsibility, I often reach out to law enforcement to make them aware of my availability. However, I am not, nor have I ever been, a full-time employee of any police department; my primary identity remains that of a portrait artist.
 
Art Instruction:
I am an accomplished police sketch artist with an impressive track record. While there are other police artists who are trained in interviewing witnesses, many of them struggle with drawing accurately and efficiently. With my experience, I can assist them in developing a better understanding of the art of sketching.
 
The key isn't about mastering a particular style of drawing; it's about understanding how to capture what makes an object or a person appear lifelike. Through my experience, I can demonstrate how to use logic to determine what to include and what to omit, which in turn makes the interview process shorter and more productive.
 
There are artists who would like to take up positions teaching police art students at the FBI Academy in Quantico, Virginia. However, I am concerned that these instructors might focus on teaching a set procedure rather than fostering the unique perspective each student brings to life drawing.
 
I believe that advancing an artist's skills requires one-on-one tutoring because every artist has their own distinctive style. My approach involves understanding how each artist engages with their work and identifying any roadblocks they might be encountering.
 
In today's world, individuals seeking art instruction can leverage social media and video networks to enhance their artistic skills. I have pioneered a method for interviewing witnesses remotely, provided there is reliable internet access. Similarly, I am available to assist anyone aspiring to become a proficient sketch artist. If you would like my help, please contact me at: robertexter@protonmail.com  (mailto:robertexter@protonmail.com ).