As the release date of The Shape of Water creeps ever closer and closer, director and ultimate monster maven Guillermo del Toro has been tweeting out bits and pieces detailing the design of the Asset, the amphibious creature played by Doug Jones.

Early "breakdown" maquette by Legacy FX (many years before production) to break down different materials for suit. pic.twitter.com/u1lLFmBwVn

— Guillermo del Toro (@RealGDT) November 11, 2017

The film’s story–that of a blossoming romance between a woman (Sally Hawkins as Elisa Esposito) and a fish-man–is one that’s been on del Toro’s mind since he was seven and first saw Creature from the Black Lagoon. As he told the Hollywood Reporter, when he saw the creature swimming under actress Julie Adams, “I loved that the creature was in love with her, and I felt an almost existential desire for them to end up together.”

Then you add detailing, pores, veins, bumps, scars- all very subtle and seldom NOT to be highlighted by paint. You are "painting" with volume (your light will show these details. pic.twitter.com/TMFmXc2hhg

— Guillermo del Toro (@RealGDT) November 12, 2017

The production notes and images he’s been sharing online emphasize that sense of tenderness and care. On Tuesday, he shared images of the tests done to finalize the Asset’s shape and color, and even all of the creature’s “pores, veins, bumps, [and] scars.”

3 Tweets on creature detailing: I have said this before, but… Painting is underpainting and overpainting. Transparencies of color, no solids, mottling, and stenciling and detailing and NOT following form but "crossing" over it… pic.twitter.com/ccyDeQCVGL

— Guillermo del Toro (@RealGDT) November 12, 2017

In the same manner, the best is to layer the sculpting, so you start with the basic shape and volume (lines that flow, echo each other, give a sense of weight, etc) and remove what doesn't work (we removed the shoulder fins, too busy) pic.twitter.com/uEGLG098Ls

— Guillermo del Toro (@RealGDT) November 12, 2017

Despite the inspiration for the film, del Toro noted the differences between The Shape of Water’s creature and the Gill-man. “I don’t think [the Gill-man] is designed in a way that he can be a romantic lead,” he said. “It’s beautiful, but it’s not a romantic lead.” So, with the help of sculptor Mike Hill, he got to work on designing a creature with a soul–and a mouth that could be kissed.

We first tested the intricate paint job in "cool colors" (too 'garage kit' contouring) but the light muddled them. Mike Hill changed to a "nicotine-base" palette. used light to "cool it" and stopped contouring the sculpt. pic.twitter.com/KvTsCiydyV

— Guillermo del Toro (@RealGDT) November 14, 2017

Eye paint test (physical sculpt and paint). Pupil too wide. We changed it. pic.twitter.com/qrbkJxRCgv

— Guillermo del Toro (@RealGDT) November 14, 2017

Its soul is most evident in its eyes, which changed throughout production. On Twitter, del Toro wrote that, after changing the pupil, which was deemed to be too wide, “We also reduced the perimeter of the eye to make the creature look more intelligent, less animalistic.”

While Strickland, the military man played by Michael Shannon, has no sympathy for the creature, it’s not hard to see why Elisa falls in love with it. It’s beautiful, and born out of such care, that it’s difficult not to reciprocate that care in turn.

Then, of course, there’s the fact that it’s just an extremely handsome creature–just wait until you see it in motion.

Featured Image: Fox Searchlight

Read more about Guillermo del Toro’s stories!

• Guillermo del Toro’s tequila collaboration with Patrón.
• The trailer for Trollhunters Part 2.
• del Toro’s character bios for Crimson Peak and Pacific Rim characters.