The Economics of Everyday Things - Episode 98: Police Sketches

Release Date: July 7, 2025
Host: Zachary Crockett
Produced by Freakonomics Network & Zachary Crockett

Introduction to Police Sketches

In this episode of The Economics of Everyday Things, host Zachary Crockett delves into the intriguing world of police sketches—hand-drawn portraits used to identify suspects based on eyewitness accounts. Despite the advent of advanced technologies like high-definition cameras and facial recognition software, traditional sketch artistry remains a crucial tool in criminal investigations.

The Role and Process of Forensic Artists

Lois Gibson, a veteran forensic artist with nearly 40 years at the Houston Police Department, provides an insider’s perspective on the painstaking process of creating accurate sketches from witness memories.

[02:10] Lois Gibson: "You're drawing somebody you can't see and you gotta be real strong. If you go in with somebody that's had loved ones killed in front of them, you, you gotta be able to take it."

Gibson explains that the process begins with meeting the witness in various settings—police stations, hospitals, or homes—and establishing rapport to ease the witness's distress. Utilizing the Samantha Steinberg Facial Identification Catalog, which contains over 1,200 facial features, the witness selects attributes that resemble the suspect, allowing Gibson to craft a composite image.

[07:35] Lois Gibson: "There's a book called the Samantha Steinberg Facial Identification Catalog. Everybody in the world uses that. There's like about 200 eyes, lips, noses of each feature. Then you draw the features they choose and say, I'll change anything you want."

Challenges and Reliability of Sketches

Despite their utility, sketches are inherently reliant on the accuracy of human memory, which research shows is often flawed, especially concerning facial features.

David Sarni, an adjunct professor at John Jay College of Criminal Justice and former NYPD detective, highlights these limitations:

[17:07] Zachary Crockett: "Research has shown that we're pretty bad at remembering faces. Our brains struggle to identify individual features like a nose or mouth."

Sarni recounts a case where inconsistent witness descriptions led to an ineffective sketch, emphasizing that while sketches can initiate investigations, they are not definitive evidence for arrests.

Technology vs. Traditional Sketching

With the rise of software like EvoFit, which generates composites from randomly selected facial features, some police departments are shifting away from hand-drawn sketches. However, Sarni points out that these programs can be cost-prohibitive and may produce overly precise images that lack the nuanced, non-exact resemblance necessary for effective identification.

[10:43] Lois Gibson: "The thing about computers, they come out with a picture that looks like a photograph. Big mistake. People think it needs to look exactly like the person, and then they never call in a tip because you're not going to have anybody that looks exactly. But a drawing screams not exact approximation."

Ultimately, many departments find it more economical and practical to employ traditional forensic artists despite the availability of digital alternatives.

Impact on Investigations and Legal Proceedings

Police sketches serve as pivotal tools in both investigations and legal cases. Once completed, sketches are cross-referenced with internal databases and disseminated to the public through media channels to garner tips and leads.

[15:01] David Sarni: "Detectives solve cases, but the public is involved, too. You know, I've seen this happen more often than not that we get calls, yeah, I saw this person in the street. This is the guy you're looking for."

However, the reliance on sketches introduces risks, particularly when subsequent evidence like video footage contradicts the initial depiction. In New York, prosecution must disclose all prior statements and sketches to the defense, potentially undermining the case if discrepancies arise.

[16:09] David Sarni: "We don't want to have a video conflict with a sketch."

Success Rates and Risks of Error

The effectiveness of police sketches varies. Gibson cites a success rate of approximately 30%, aligning with a 2021 study that found sketches aided in suspect identification in 31% of cases. Nevertheless, the potential for wrongful convictions due to mistaken identifications remains significant.

[18:20] Zachary Crockett: "A 2021 study reviewed 508 sketches by seven forensic artists and found that overall, sketches helped identify a suspect in 31% of cases."

One poignant example involves a man wrongfully convicted of rape based solely on a sketch resemblance, underscoring the high stakes of this method.

[19:48] Lois Gibson: "Many times somebody called in the wrong person that looked just like the sketch. So wrongful convictions? I wish there were none, but that's nothing to do with a forensic artist."

Personal Stories and Cases

Gibson shares personal anecdotes illustrating both the triumphs and challenges of forensic sketch artistry. From high-profile cases like the immediate identification of a suspect post-September 11, 2001, to the emotional toll of interacting with victims who depend on her work for closure, Gibson’s experiences highlight the human element behind the sketches.

[20:21] David Sarni: "The prosecutor's the one that has to weigh out the evidence and determine, yes."

Conclusion

Police sketches remain a blend of art and science, offering critical assistance in criminal investigations when used judiciously. While technology provides new avenues for suspect identification, the nuanced skill of forensic artists like Lois Gibson continues to play an indispensable role in the criminal justice system. As Sarni emphasizes, sketches are merely starting points that require thorough investigation to ensure justice is accurately served.

[20:34] Lois Gibson: "It looked like he posed for it. I got a letter from him. He was sweet. He says, that's no fair that you draw pictures of people. You should not do that. Can't make this stuff up. Can't."

This episode was produced by Zachary Crockett and Sarah Lilly, mixed by Jeremy Johnston, with assistance from Daniel Moritz Rabison.