15 Secrets of Courtroom Sketch Artists

Kim Ludbrook, AFP/Getty Images
Kim Ludbrook, AFP/Getty Images

After aviator Charles Lindbergh’s infant son was kidnapped and found dead in 1932, perpetrator Bruno Hauptmann was brought to justice—and cameras followed. So many lit up the courtroom during Hauptmann's trial and eventual conviction that the American Bar Association successfully lobbied to ban photographers from proceedings due to the distraction. Some 30 years later, during the trial of Lee Harvey Oswald’s killer, Jack Ruby, CBS found a solution. They hired illustrator Howard Brodie to capture Ruby’s expressions.

The rest is history, most of it rendered in charcoal and watercolor. Courtroom sketch artists go where cameras cannot, recording the often-tense atmospheres of high-profile judicial cases featuring the likes of Charles Manson, Bernie Madoff, and Michael Jackson. On tight deadlines, these artists use their craft to communicate the emotions of a courtroom.

But being talented isn’t enough. Speed is essential, and so is finding just the right scene to encapsulate an entire day or trial. “It’s difficult to do,” says Mona Shafer Edwards, a courtroom illustrator in California. “It’s not a cartoon, it’s not caricature, it’s not a portrait. It’s capturing a moment in time.”

To get a better sense of what goes into their work, Mental Floss spoke with three of the most celebrated artists working today. Here’s what they had to say about drawing conclusions to some of history’s biggest stories.

1. THEY HAVE TO DRAW AROUND OBSTACLES.

Courtesy of Elizabeth Williams

Imagine sitting down to sketch a friend and finding that someone has placed a column, screen, or body directly in your field of vision. Now imagine that if you can’t capture this person’s likeness, you don’t get paid. That’s the most common problem faced by courtroom sketch artists, who frequently have to navigate around obstacles in order to get a glimpse of their subject—often the defendant, attorney, or judge. “You generally have to wait for someone to lean over,” says Elizabeth Williams, an artist based in New York who works for CNBC and the Associated Press, among others. (Most artists are hired by the larger news outlets.) “Fortunately, people aren’t potted plants, and they do move.” If they don’t, Williams will move around the courtroom herself, trying to secure a better vantage point. During pleas and sentencing—and depending on the judge—she might be allowed to sit with other reporters in the jury box.

If visual obstacles remain a problem, some artists might turn to family members. Vicki Ellen Behringer, who works out of California for clients including CBS and Fox, says she once used the father of a defendant as a reference when she couldn’t see his son. “I had studied his son’s face and the father reminded me of what he looks like,” she says. “They looked so much alike.”

2. YOUNGER PEOPLE ARE HARDER TO DRAW.

Courtesy of Vicki Ellen Behringer

For Behringer, faces with plenty of distinguishing features are a gift. “I love glasses, I love facial hair, lots of wrinkles, anything that shows character,” she says. “The most difficult thing is doing someone fairly young and good-looking. They don’t have lines on their face.” Behringer cites the sketch of Unabomber Ted Kaczynski (above), seated with his attorney. While Kaczynski's weathered look was easy to render, his lawyer—younger and relatively unlined—was much harder to capture.

3. MORNINGS ARE BETTER FOR THEM.

Courtesy of Elizabeth Williams

Sketch artists work in a pressure cooker environment. They’re often called to court by news agencies on a day’s notice or less and need to render their drawings quickly. If a crucial moment in a trial happens in the late afternoon, artists may have as little as an hour to finish coloring their piece before scanning and sending it to the news outlets that have contracted the work. “There’s a lot of pressure to turn it around quickly” in time for the evening newscasts, Williams says. If something transpires in the morning, she has more time to refine the work. “Nobody’s really breathing down your back then.”

4. THEY CATCH HEAT FOR CELEBRITY RENDERINGS.

Courtesy of Mona Shafer Edwards

Because celebrities are familiar to people, seeing a court sketch that doesn’t seem to line up can be disconcerting. But according to Edwards, that’s because celebrities aren’t necessarily putting their best face forward. “I was pilloried for making Gwyneth Paltrow look unattractive,” she says, referring to the actress’s appearance (above) during a 2016 trial to testify against Dante Michael Soiu, a man accused of stalking her. (He was acquitted.) “She had no make-up on, wore a beige turtleneck, and her nose was red from crying.” Paltrow’s fans criticized Edwards for the unflattering likeness.

5. THEY SOMETIMES REARRANGE THE COURTROOM ON PAPER.

Courtesy of Vicki Ellen Behringer

According to Williams, some news outlets have strict guidelines about how sketch artists interpret a court scene. The Associated Press, for example, doesn’t allow artists to mess with the proximity of one person to another. If a defendant is four feet from his or her attorney, Williams can’t have their shoulders touching. But other outlets allow for artistic license. “Sometimes you can’t get everything you want and be accurate, so you squish it together,” Behringer says. “You sometimes want the defendant in the same sketch as a judge, or to move the defense and prosecution tables closer together.”

6. THEY SELL THEIR WORK TO ATTORNEYS.

Courtesy of Elizabeth Williams

Like big game hunters, lawyers enjoy a trophy. Some attorneys in high-profile case will approach Williams asking to purchase a sketch that she rendered. “I’ve sold my work to a number of attorneys,” she says. “Generally speaking, they only want it when they win.” Behringer says that some attorneys fresh out of law school will specifically request she come into court to sketch them. “I guess it might be to show parents you’ve finished law school.”

The Library of Congress even has a collection of 96 courtroom drawings from famous trials, with illustrations by Williams among them. They were purchased with funds from the noted L.A. laywer Thomas V. Girardi, best known for working on the California environmental contamination case involving Erin Brockovich.

7. SOMETIMES SUBJECTS ASK FOR A MAKEOVER.

Courtesy of Mona Shafer Edwards

Edwards is sometimes approached by defense attorneys or other jurists and asked if her work could be a little more flattering. “Men will come up to me and ask me to give them more hair or make them look thinner or better-looking,” she says. “It’s never women asking for me to take weight off or whatever. It’s always men.”

8. POLKA DOTS AND BARS ARE BAD NEWS.

Courtesy of Vicki Ellen Behringer

Sketch artists need to spend their time capturing and refining emotions and moods. If defendants are wearing prints, it can be exasperating. “White polka dots on dark clothing can be hard to do in watercolor,” Behringer says. “Stripes, too. You don’t want to waste energy into making the clothing accurate. I’d rather put that time into the face. It can be frustrating.” Another Behringer pet peeve: bars. In California, some defendants are arraigned in a mini-jail cell in court, leaving artists to try and sketch them while they’re behind the railing. Behringer illustrated suspected Golden State Killer Joseph James DeAngelo while DeAngelo was in his mini-prison (above), carefully drawing each bar separating him from civilized society. “That was very time-consuming.”

9. THEY SOMETIMES PRACTICE BEFOREHAND.

iStock.com/cherrybeans

When artists book a trial, they know they might only have a millisecond to glimpse a defendant’s face before he or she is either ushered out of the courtroom or takes a seat out of view. To help get a better look, artists will sometimes do some drafts at home using existing photographs as reference before heading to trial. “Occasionally I’ll do that [practice] with someone famous because everyone knows what they look like,” Behringer says. “Even if they’re not a celebrity, looking for certain features in photos helps because you might not be able to see it in court.”

10. THEIR SUBJECTS RARELY COOPERATE.

Courtesy of Elizabeth Williams

Unlike normal portrait subjects, defendants and other court personalities don’t usually have a big incentive to cooperate with a sketch artist. They’ll express a variety of emotions, changing expressions so quickly that it can be difficult to nail one down. Covering former Donald Trump attorney Michael Cohen (seen above) and his federal hearing for tax evasion in August 2018, Williams was taken aback by his elastic face. “If someone is just sitting there, it’s like, ‘OK, got it,’” she says. “But during his allocution, he was so overwrought, his range of emotions went from fear to depression to practically being in tears. When people are making a lot of expressions, it’s challenging to make it look like them.” She drew 17 Cohen heads before settling on one she liked.

Other times, defendants can be chillingly emotionless. Chronicling the 2016 case of “Grim Sleeper” Lonnie David Franklin Jr., who killed between 10 and 25 people, Edwards was struck by the fact that he seemed unmoved by the trial. “I kept staring at this guy waiting for him to have some reaction,” she says. “He didn’t even lift his head.” Sketching James “Whitey” Bulger in 2013, the notorious Boston mobster who had finally been brought to justice after years on the run, Bulger looked directly at her and shook his finger “no" before trying to cover his face.

11. THEY BOND WITH JUDGES OVER ART.

Courtesy of Mona Shafer Edwards

Most artists have good relationships with judges, who appreciate their work in chronicling important civil and criminal cases. Sometimes, a judge may even decide to talk shop. “I’ve had judges buy my drawings and take me into their chambers to show me what they’ve done themselves or show their collection of art,” Edwards says. “A lot of them have good taste and a good eye.”

12. DEFENDANTS CAN CHANGE THEIR APPEARANCE.

Courtesy of Vicki Ellen Behringer

Some trials can mean day after day of sketching the same faces. Other times, defendants will experience some fairly radical physical transformations that keep sketch artists on their toes. “Barry Bonds, from the day he was indicted [in 2007, for perjury] to the day the trial was over, lost a significant amount of weight,” Behringer says. “There was another trial in Stockton where the defendant gained a significant amount of weight. People said it was the carbs in the jail food.”

The most dramatic alterations in appearance are usually attributed to the late singer Michael Jackson (above, seen with Jay Leno), who was frequently sketched during his participation in a 2005 trial to refute charges of child molestation. (A jury found him not guilty.) “Every day, he wore a completely different outfit, different armbands, and his hair would change from Monday to Friday. One time, it was longer on a Monday. It’s like, how did you do that?”

13. THEY TRY TO DRAW QUIETLY.

Courtesy of Mona Shafer Edwards

When cameras are in a courtroom, everyone knows it. When Edwards is around, subjects might not even know they’re being rendered. The artist carries a small 9-inch by 12-inch pad with her along with a small number of tools. “Defendants never know I’m drawing them,” she says. “You might act differently if you’re aware someone is staring. I try to blend in.”

14. O.J. SIMPSON MAY HAVE KEPT THEM IN BUSINESS.

Courtesy of Mona Shafer Edwards

The decision in 1995 to allow television cameras to depict the O.J. Simpson trial—Simpson was accused of killing ex-wife Nicole Brown Simpson and her friend, Ron Goldman—seemed to signal a new and relaxed policy about media coverage in courtrooms. “I thought that was it, the swan song of sketching,” Edwards says. “Then it turned out to be a joke.” Judges, fearing they’d be criticized as much as Simpson’s presiding judge Lance Ito, shied away from that kind of scrutiny. “Judges realized they didn’t want to be on camera. So every time I think it’s over, it keeps going.”

15. THEY DO WEDDINGS.

Courtesy of Elizabeth Williams

The nature of the court sketch business has changed over the years as some federal courts are becoming more lenient with the presence of cameras. (While cameras are typically not allowed in federal trial courts, there have been certain exceptions, experiments, and pilot projects to allow cameras; state rules vary.) Experienced artists still find work, but it’s a good idea to have some alternative methods of income. Williams books her services as a sketch artist for weddings on weekends, when court isn’t in session. “People are always getting married, but you can’t always count on ‘El Chapo’ getting arrested,” she says. “You have to do other things.” Williams approaches nuptials in much the same way as a trial. “I’ll meet with a client and go over the key moments.” Instead of closing arguments, it might be the first dance as a married couple.

The biggest difference? “It’s so nice to be around people who are so happy and just beginning their lives, as opposed to people going to, you know, prison.”

All sketches are copyright their respective artists and used with permission.

Looking to Downsize? You Can Buy a 5-Room DIY Cabin on Amazon for Less Than $33,000

Five rooms of one's own.
Five rooms of one's own.
Allwood/Amazon

If you’ve already mastered DIY houses for birds and dogs, maybe it’s time you built one for yourself.

As Simplemost reports, there are a number of house kits that you can order on Amazon, and the Allwood Avalon Cabin Kit is one of the quaintest—and, at $32,990, most affordable—options. The 540-square-foot structure has enough space for a kitchen, a bathroom, a bedroom, and a sitting room—and there’s an additional 218-square-foot loft with the potential to be the coziest reading nook of all time.

You can opt for three larger rooms if you're willing to skip the kitchen and bathroom.Allwood/Amazon

The construction process might not be a great idea for someone who’s never picked up a hammer, but you don’t need an architectural degree to tackle it. Step-by-step instructions and all materials are included, so it’s a little like a high-level IKEA project. According to the Amazon listing, it takes two adults about a week to complete. Since the Nordic wood walls are reinforced with steel rods, the house can withstand winds up to 120 mph, and you can pay an extra $1000 to upgrade from double-glass windows and doors to triple-glass for added fortification.

Sadly, the cool ceiling lamp is not included.Allwood/Amazon

Though everything you need for the shell of the house comes in the kit, you will need to purchase whatever goes inside it: toilet, shower, sink, stove, insulation, and all other furnishings. You can also customize the blueprint to fit your own plans for the space; maybe, for example, you’re going to use the house as a small event venue, and you’d rather have two or three large, airy rooms and no kitchen or bedroom.

Intrigued? Find out more here.

[h/t Simplemost]

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

10 Secrets of Epidemiologists

Epidemiologists are fans of charts.
Epidemiologists are fans of charts.
metamorworks/iStock via Getty Images

Unless you know an epidemiologist or are one yourself, those “disease detectives” might not have occupied a very large portion of your brain. Last year, that is. Now, with the coronavirus pandemic at the top of mind—and at the top of so many headlines—there’s a good chance you’re at least aware that epidemiologists study diseases.

To be more specific, the Centers for Disease Control and Prevention (CDC) defines epidemiology as “the study of the distribution and determinants of health-related states or events in specified populations, and the application of this study to the control of health problems.” So what exactly does this mean? Mental Floss spoke with a few epidemiologists to shed light on what they do, how they do it, and which germ-friendly foods they avoid at the buffet.

1. People often mistake epidemiologists for skin doctors.

Since the word epidemiologist sounds like it might have something to do with epidermis (the outer layer of skin), people often think epidemiology is some offshoot of dermatology. At least, until the coronavirus pandemic.

“Prior to that, no one knew what I did. Everyone was like ‘Oh you’re an epidemiologist—do you work with skin?’” Sarah Perramant, an epidemiologist at the Passaic County Department of Health Services in New Jersey, tells Mental Floss. “I would be rich if I had a dollar for every time I got asked if I work with dermatologists.”

2. Epidemiologists don’t discover a new disease every day.

Though some epidemiologists do look for unknown diseases—certain zoonotic epidemiologists, for example, surveil wildlife for animal pathogens that might jump to humans—most are dealing with diseases that we’re already familiar with. So what do they do every day? It varies … a lot.

Epidemiologists who work at academic or research institutions undertake research projects that help determine how a disease spreads, which behaviors put you at risk for it, and other unknowns about anything from common colds to cancer. But it’s not just about devising experiments and studying patient data.

“I like to tell my friends and family that my job is about four different jobs in one,” Dr. Lauren McCullough, an assistant professor in the department of epidemiology at Emory University’s Rollins School of Public Health, tells Mental Floss.

Writing, she says, is “the most important part.” It includes requesting grants, devising lectures and assignments, grading her students’ work, writing about her research, and more. She also sits on admissions committees, reviews other epidemiologists’ studies, and oversees the many people—project managers, data analysts, technicians, trainees, etc.—working on her own research projects.

Those who work in the public health sphere are often monitoring local outbreaks of diseases like the flu, Lyme disease, salmonellosis, measles, and more. If you test positive for a nationally notifiable disease (any of about 120 diseases that could cause a public health issue), the CDC or your state health department sends your electronic lab report to the epidemiologist in your area, who’s responsible for contacting you, finding out how you got sick, and telling local officials what steps to take in order to prevent it from causing an outbreak.

3. Epidemiologists have to make some uncomfortable phone calls.

At least the person on the other end can't see your expression of consternation.Andrea Piacquadio, Pexels

Epidemiologists sometimes have to ask pretty personal questions about drug use and sexual activity when trying to figure out how someone got infected, and not everyone is happy to answer them. “I’ve gotten hung up on many a time,” Dr. Krys Johnson, an assistant professor in Temple University’s department of epidemiology and biostatistics, tells Mental Floss.

Some simply aren’t willing to accept that they might have been exposed to a disease without knowing it. After several employees at a certain company tested positive for COVID-19, for example, Perramant started calling the rest of the workers to tell them to go into quarantine; this way, she could prevent sick people who weren't yet showing symptoms from spreading the disease without knowing it. But not everybody was open to her advice. “They would just swear up and down, ‘I haven’t been in touch with anybody who’s positive, please don’t call me again,’” Perramant says.

But there are plenty of cooperative people, too, especially victims of foodborne or diarrheal illnesses. “They really want to know where they got sick because they’re so miserable that they never, ever want to deal with that again,” Johnson explains. Parents of sick kids are also generally forthcoming, since they want to keep their kids healthy in the future. And then there are those who don’t have any problem spilling their secrets to a stranger.

“There was one woman who was very memorable,” Johnson says. “I called her about her Hepatitis C, and she was like, ‘Oh, honey, I did drugs back in the ’80s. That’s where I got my Hepatitis C. I pop positive every time!’”

4. Epidemiologists deal with a lot of rejection.

Public health epidemiologists have to learn to just shrug off all the rude tones and dial tones, and epidemiologists in academic settings need thick skin for different reasons.

“There’s just a lot of rejection,” McCullough says. “‘That idea isn’t good enough; this paper isn’t good enough; you’re not good enough.’ That is just a resounding thing. There’s a high bar for science; there’s a high bar for federal funding; and it takes a lot to cross that bar. So in the academic setting at these top-tier institutions, you really just have to have a thick skin.”

5. Just because epidemiologists' guidelines change doesn't mean they're wrong.

Sometimes, McCullough explains, the story of a disease can change over the course of one study. When you look at the first 100 people in a 10,000-person study, you’ll see one story emerge. By the time you’ve seen 1000 people, that story looks different. And after you’ve seen the data from all 10,000 people, the original story might not be accurate at all.

Usually, epidemiologists can complete the whole study of a disease and draw conclusions without the world clamoring for half-baked answers. But with a brand-new, highly infectious disease like COVID-19, epidemiologists don’t have that luxury. As they’ve learned more about how the pathogens spread, how long they can survive on surfaces, and other factors, they’ve changed their recommendations for safety precautions. Everyone else in the world of epidemiology expected this to happen, but the general public did not.

“If we say something this week that contradicts what we said last week, it’s not that we were wrong,” Johnson says. “It’s that we learned something between those two time points.”

6. Being an epidemiologist would be easier if people kept better track of their behavior.

Often, people omit vital information about how they got exposed to an illness because they just don’t remember all the details. You could easily recall devouring a few slices of the decadent chocolate cake your mom baked for your birthday last Friday, but you might not be able to name every bite of food you ate on a random Thursday three weeks ago.

“People aren’t telling us the whole truth, but it’s not that they’re being intentionally obtuse,” Johnson explains. “With recall bias, unless there’s a reason for us to really remember, we’re not going to remember everything we actually ate.”

This has made it especially difficult to trace an aerosolized disease like COVID-19.

“All my friends going into the Fourth of July were like, ‘Should we have a get-together?’” Perramant says. “And I said, ‘You can have people over, but you better take an attendance list. You better have a little spreadsheet on Google Drive that has every person’s name and their phone number, so that when one person tests positive and gets sick this week, when I call you, you will be able to give me that information like that.’”

7. Epidemiologists have reason to be wary of buffets, cruise ships, mayonnaise, and cubed ham.

It's all fun and games until someone eats warm egg salad.Tim Meyer, Unsplash

Infectious disease epidemiologists may have accepted that germs are a part of life, but they also know where those germs like to congregate.

“I don’t go to buffets, I have never been on a cruise ship and I don’t intend to, I’m super conscientious when I fly,” Johnson says. “And I’m really aware of whenever mayonnaise-based things are put out at family functions. If you’re ever at a potluck and people come down sick, the first thing people say [they ate] is potato salad or egg salad, because mayonnaise can spoil so quickly.”

“[Cubed ham] is one particular microbe’s very favorite thing to multiply on, so if you’re gonna have ham, make it a whole ham,” she says.

8. Teaching people is a really rewarding part of being an epidemiologist.

In addition to actually leading lectures in the classroom, academic epidemiologists also work extremely closely with their students on research projects; McCullough estimates that she’s in contact with hers at least once a day when they’re collaborating on a study.

“To work with someone so closely, and to watch them progress as a scientist and as a person, and then to have to let them go and send them out into the world, I find that very rewarding,” McCullough says of her trainees. “As a scientist in an academic institution, there’s not a whole lot of immediate gratification. Our papers get rejected, our grants don’t get funded, but the trainees are always a source of immediate gratification for me, so I hold them close to my heart.”

Epidemiologists in other spheres have teaching opportunities, too. When a community experiences a disease outbreak, public health epidemiologists like Perramant are responsible for helping the general public understand what they can do to prevent the spread.

“I like to teach kids about infectious disease and infection prevention for what’s relevant to them. We’ve had a couple of large outbreaks at summer camps, and last summer I put together a training for camp counselors,” Perramant says. “That’s always a part of my job that I really love.”

9. Epidemiologists have a unique understanding of racial disparities.

At this point, it's exceptionally clear that COVID-19 is disproportionately affecting people of color in the U.S. They're more likely to be exposed to it, they have less access to testing, and the preexisting conditions that place them at a higher risk can be the result of systemic racism. When these trends started to become apparent, McCullough got flooded with phone calls asking why. Her answer? This isn’t new. As she’s seen in her work as a breast cancer researcher, Black women are more likely to die of that disease than their white counterparts, and similar health disparities exist across the board.

McCullough explains that the general public is finally realizing what epidemiologists already knew: That poor disease outcomes in minority, low-income, and rural populations aren’t because of anything those people are doing on an individual level. Instead, it’s a result of systemic issues that keep them from leading financially comfortable, healthy lifestyles with access to healthcare and other resources.

“It’s not just COVID—it’s almost every single chronic and infection ailment that’s out there,” McCullough explains. “So this is a real opportunity for people to step back and take an assessment of where we are in terms of our healthcare system, and what we’re doing so that everybody has equitable outcomes. Because people shouldn’t die just because they live in a rural area, or just because they’re poor, or just because they’re Black or Hispanic.”

10. They've had to deal with a lot of “armchair epidemiologists” lately.

Until this year, epidemiologists had to suffer through people mistaking them for dermatologists. Now, during the coronavirus pandemic, people finally know at least a little about their jobs. In fact, people are so confident in their newfound epidemiological knowledge that many are fancying themselves experts on the subject.

“At the beginning of 2020, there were like 500 epidemiologists, and now there are about 5 million. Everybody thinks they’re an epidemiologist,” McCullough says. “There’s a science to it, and it’s a science that requires training. We went to school for a really long time to be doctorally trained epidemiologists.”

It’s not just about advanced degrees, either. Beyond that, you need years of firsthand experience to grasp all the nuances of understanding methods, interpreting data, translating your findings into recommendations for the general public, and so much more. In short, you can’t just decide you’re an epidemiologist.

Perramant has her own analogy for the recent influx of self-proclaimed epidemiologists: “It’s like armchair psychology. Poolside epidemiology now is a thing.”