 Sil was designed by Swiss artist H. R. Giger , who also created the creatures in the Alien films . Donaldson thought Giger was the best man for the film after reading his compendium Necronomicon , and eventually he and Mancuso flew to Switzerland to meet the artist . What attracted Giger was the opportunity to design " a monster in another way — an aesthetic warrior , also sensual and deadly , like the women look in [ his ] paintings . " While Giger opted to stay in Switzerland to take care of his dying mother instead of flying to Los Angeles to accompany production , he built some puppets in his own studio , and later faxed sketches and airbrush paintings as production went through . The practical models were made by Steve Johnson and his company XFX , which had already worked with Giger 's designs in Poltergeist II . Giger had envisioned more stages of Sil 's transformation , but the film only employed the last one , where she is " transparent outside and black inside — like a glass body but with carbon inside , " with XFX doing the translucent skin based on what they had done for the aliens of The Abyss . Sil 's alien form had both full @-@ body animatronics with replaceable arms , heads and torsos , and a body suit . Richard Edlund 's Boss Film Studios was hired for over 50 shots of computer @-@ generated imagery , which included one of the earliest forms of motion capture effects . Using a two @-@ foot @-@ high ( 60 cm ) electric puppet that had sensors translating its movements to a digital Sil , Boss Films managed to achieve in one day what would have once taken as much as three weeks with practical effects . 
 Sil was designed by Swiss artist H. R. Giger , <a href='null_relcl' title='1'><mark>who</mark></a>also created the creatures in the Alien films . Donaldson thought Giger was the best man for the film after reading his compendium Necronomicon , and eventually he and Mancuso flew to Switzerland to meet the artist . What attracted Giger was the opportunity to design " a monster in another way — an aesthetic warrior , also sensual and deadly , like the women look in [ his ] paintings . " While Giger opted to stay in Switzerland to take care of his dying mother instead of flying to Los Angeles to accompany production , he built some puppets in his own studio , and later faxed sketches and airbrush paintings as production went through . The practical models <a href='uninflect' title='2'><mark>were</mark></a> made by Steve Johnson and his company XFX , which <a href='been_done' title='3'><mark>had</mark></a> already worked with Giger <a href='null_genetive' title='4'><mark>'s</mark></a>designs in Poltergeist II . Giger <a href='been_done' title='5'><mark>had</mark></a> envisioned more stages of Sil <a href='null_genetive' title='6'><mark>'s</mark></a>transformation , but the film only employed the last one , where she <a href='drop_aux' title='7'><mark>is</mark></a>" transparent outside and black inside — like a glass body but with carbon inside , " with XFX doing the translucent skin based on what they had done for the aliens of The Abyss . Sil <a href='null_genetive' title='8'><mark>'s</mark></a>alien form had both full @-@ body animatronics with replaceable arms , heads and torsos , and a body suit . Richard Edlund <a href='null_genetive' title='9'><mark>'s</mark></a>Boss Film Studios was hired for over 50 shots of computer @-@ generated imagery , which included one of the earliest forms of motion capture effects . Using a two @-@ foot @-@ high ( 60 cm ) electric puppet <a href='null_relcl' title='10'><mark>that</mark></a>had sensors translating its movements to a digital Sil , Boss Films managed to achieve in one day what would <a href='been_done' title='11'><mark>have</mark></a> once taken as much as three weeks with practical effects . 
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