The silicone reconstruction she produced was a strikingly human figure — not a forensic approximation but something that looked like a specific, individual person.

Someone with dark skin, dark eyes, dark hair — just as the genomic data indicated.

Someone with the particular skull geometry of this specific Upper Paleolithic woman from the Bohemian karst, translated through Daynès’s understanding of how that geometry would translate into the soft tissue landscape of a living face.

The result was one of the most visually compelling of the three reconstructions.

But the individuating details that make it so compelling were necessarily the product of artistic judgment, informed by deep scientific knowledge but not strictly determined by the skull data alone.