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Oscar Nilsson working on reconstructing a face (Source: Nilsson, 2025) |
Recreating the faces and bodies of the dead is no easy task, but it is one that forensic artists must do when a positive identification of a victim cannot be otherwise made. These forensic reconstructions, which often focus on individual’s faces, are based on over a century’s worth of data and information about facial attributes. The location and placement of the facial muscles, skin depths based on an individual’s weight, and more must be understood in order to construct an accurate recreation. Using this knowledge, along with pegs and clay, a forensic artist can masterfully bring the deceased individual back to life, or at least reconstruct what they may have looked like in life.
These very methods have been employed outside of forensic contexts and criminal investigations to create life like restorations of what historical figures and people of the past may have looked like. This work has been undertaken by the Kennis Brothers, but they are not the only individuals working within this area. Today’s blog post will discuss another archaeologist, sculptor, and forensic artist, Oscar Nilsson.
Oscar Nilsson has been reconstructing ancient and historical figures’ faces for almost 30 years. He opened his studio, O.D. Nilsson, in Stockholm, Sweden, in 1996. Since then he has been responsible for over 80 creations of men, women, and children from throughout human history that are on display in museums across Europe and the United States. His most notable creations include those of Peruvian and European royalty, a woman accused of being a vampire in Poland, ancient Vikings, Ice Mummies of South America, and more.
While much of Nilsson’s work is based on forensic sculpting techniques he acknowledges that there is a bit of creative license required of his work. While there are precise methods for understanding how to recreate the form of a human face there is no specific rules on knowing what someone’s skin, hair, or eye color was, the texture of their hair, what facial hair would have been present, etc. This is where his bioarchaeological knowledge comes into play. He used to rely on ancient demographic data to make educated guesses on these specific features, as well as cultural ones concerning hair styles. Today, when and where available, he instead turns to paleogenetic data to better inform him on what these features were to create a more accurate visage.
He also relies on various other newer technologies to more accurately create his works. If and when the skull is too fragile to handle or is fragmentary and/or missing portions he relies on CT scans to help recreate the skull. Again, he relies on paleodemographic data to estimate what the missing cranial features may have looked like. Nilsson has also ventured into using Artificial Intelligence (A.I.) to scan and review skulls to identify any features that the naked eye may have missed.
Ultimately, he is concerned with accuracy in his work and wants to bring to life the ancient individuals he is tasks with working on as realistically as possible. This attention to detail has made him a highly sought after artist, as well as given him a reputation of excellence.
References
Archaeology Magazine. (2024, November 1). 400-Year-Old Face of “Zosia” Reconstructed. Archaeology Magazine.
Cottier, C. (2025, February 7). Art and Science Combine to Reconstruct the Faces of Our Ancestors. Discover.
Fox, A. (2020, June 3). See the Face of a Man Whose Skull Was Mounted on a Stake 8,000 Years Ago. Smithsonian Magazine.
Katz, B. (2018, February 2). Experts Reconstruct the Face of a Mesolithic-Era Teenager. Smithsonian Magazine.
Nilsson, O. (2025). OD Nilsson - Contact & Requests. Retrieved from Art & Science by O.D. Nilsson: https://www.odnilsson.com/about-me/