Over the muscles, the subcutaneous fat and connective tissue layers are approximated, smoothing out the surface and adding the characteristic roundness and softness of living facial tissue.

The tissue depths used in this stage can be derived from published data similar to those used in the Manchester method, though Daynès integrates them with her own artistic understanding of how tissue distributes itself over different anatomical configurations.

The silicone skin layer comes next.

Daynès mixes her own silicone formulations, tinted to the pigmentation indicated by the genomic data — in Zlatý kůň’s case, dark.

The silicone is applied in multiple layers, each one refined, each one contributing to the final surface texture and optical properties.