Facial reconstruction is a technique that aims to reproduce the individual facial characteristics based on interpretation of the skull, with the objective of recognition leading to identification. The aim of this paper was to evaluate the accuracy and recognition level of three-dimensional (3D) computerized forensic craniofacial reconstruction (CCFR) performed in a blind test on open-source software using computed tomography (CT) data from live subjects. Four CCFRs were produced by one of the researchers, who was provided with information concerning the age, sex, and ethnic group of each subject. The CCFRs were produced using Blender® with 3D models obtained from the CT data and templates from the MakeHuman® program. The evaluation of accuracy was carried out in CloudCompare, by geometric comparison of the CCFR to the subject 3D face model (obtained from the CT data). A recognition level was performed using the Picasa® recognition tool with a frontal standardized photography, images of the subject CT face model and the CCFR. Soft-tissue depth and nose, ears and mouth were based on published data, observing Brazilian facial parameters. The results were presented from all the points that form the CCFR model, with an average for each comparison between 63% and 74% with a distance -2.5 ≤ x ≤ 2.5 mm from the skin surface. The average distances were 1.66 to 0.33 mm and greater distances were observed around the eyes, cheeks, mental and zygomatic regions. Two of the four CCFRs were correctly matched by the Picasa® tool. Free software programs are capable of producing 3D CCFRs with plausible levels of accuracy and recognition and therefore indicate their value for use in forensic applications.

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3D digital technologies have advanced rapidly over recent decades and they can now afford new ways of interacting with anatomical and cultural artefacts. Such technologies allow for interactive investigation of visible or non-observable surfaces, haptic generation of content and tactile experiences with digital and physical representations. These interactions and technical advances often facilitate the generation of new knowledge through interdisciplinary and sympathetic approaches. Scientific and public understanding of anatomy are often enhanced by clinical imaging technologies, 3D surface scanning techniques, 3D haptic modelling methods and 3D fabrication systems. These digital and haptic technologies are seen as non-invasive and allow scientists, artists and the public to become active investigators in the visualisation of, and interaction with, human anatomy, remains and histories. Face Lab is a Liverpool John Moores University research group that focuses on creative digital face research; specifically the further development of a 3D computerized craniofacial depiction system, utilizing 3D digital technologies in facial analysis and identification of human remains for forensic investigation, or historical figures for archaeological interpretation.This chapter explores the affordances of such interactions for the non-destructive production of craniofacial depiction, through a case-study based exploration of Face Lab workflow.

Conversations surrounding end of life and death can be difficult or taboo for some, meaning that matters of organ and body donation are not widely discussed. To Donate or Not to Donate? That is the Question! is a comic developed to raise awareness and challenge common misconceptions about donation by encouraging the publics to engage in informed discussions about the different options available. This case study proposes graphic medicine as an alternative method of presenting donation information to a public audience, and illustrates how the comic medium can communicate body donation information in an accessible and engaging way.

Collaborations between artists and scientists are increasingly a feature of the cultural landscape. Traditionally this relationship is seen as art in the service of science whereby artists use their skills to visually communicate complex scientific ideas. However, a hybrid form of collaborative, experimentally-driven practice has emerged over the last 30 years where artists and scientists work together to explore the creative possibilities and speculative futures represented by the intersection of these two 'cultures.' The MA Art in Science programme at Liverpool School of Art and Design facilitates discussions and interactions between subjects that have traditionally been studied in isolation within Higher Education. This paper details and discusses the theoretical foundations that have informed the curriculum design and its pedagogical ethos, describes the collaborative learning experiences at the heart of the programme, and offers an insight on how the programme's approach to transdisciplinary art-science collaborative practice could be utilised across disciplines.