Gallery
edwina scissorhands
Edward Scissorhands Genderbend
2014 - 2015
Made for Salt Lake FanX January 2015
Fan Favorite - Salt Lake Cosplay Contest Jan 2015
design
Edwina Scissorhands is based on a Carol Brady style leisure suit pattern printed in 1974. It had excellent lines and great tailoring points. This pattern was modified into three garments - a bolero style jacket, a soft body waist corset and a mini-skirt. Each garment was constructed out of soft vinyl printed faux suede and trimmed with strips of black fabrics. I got a great deal on a bulk lot of buckles on Ebay, nailheads were applied, and a new cast iron grommet setter got a workout.
Competition
Edwina Scissorhands was my first cosplay contest entry in 2015. Having attended my first convention six months previous, and relying on my long experience as a seamstress, I decided I needed to compete in short order. In looking for the right project, I was inspired by a black leather bolero jacket in a fashion magazine. It provided a new challenge in construction that would translate well to cosplay and this character.
reception
Edwina Scissorhands was entered into the Intermediate category at Salt Lake FanX 2015 Cosplay Contest and received a fan favorite honor. This contest was noted as a great time by those that attended. It served as motivation to push myself into bigger and more complex competition pieces.
construction
I got a great deal on a bulk lot of buckles on Ebay, nailheads were applied, and a new cast iron grommet setter got a workout. Leggings were sewn from a black knit. Pockets are included on the mini skirt. Edwina's scissor hands were designed to be easily removed from the vintage black gloves used for the base. The scissor blades are constructed from wood paint stirrers, painted and attached to wide rings that fit over each finger.
She Predator
Predator
2015
Made for Salt Lake FanX Fall 2015
Competed Masters - Salt Lake FanX Fall 2015 Cosplay Contest
Design
Having competed in my first cosplay contest in the spring of 2015, and being inspired by attending an armor construction panel at the same convention, I was in the search for an armor project for competition focused on learning new armor skills. I was attracted to the layered design of the pieces as well as armor that could be functionally worn.
competition and reception
I competed in the cosplay contest at Salt Lake Comic Con 2015 in the masters category.
Since that time I have worn this cosplay to several conventions and it remains a favorite of mine.
construction - helmet
The helmet was based from a pair of visor style sunglasses, patterned by "draping" paper pieces until shape was achieved. The "laser" is made from a dollar store flashlight covered in red film and a black screen. The headpiece is based on a plastic skull cap and dreads are made from foam backer rod, to which the helmet sits on top.
construction - Worbla
She-Predator was my first set of armor. I wanted to try my hand at constructing with Worbla and discovered that the material translated well to the fabric construction skills I already had.
construction - props
To practice I started with the prop knife placed on my thigh, moved onto the helmet, then thigh pieces, gauntlets, chest and back pieces, pauldrons, pelvic guards and then finally the shin guards.
construction - paint
Armor pieces are smoothed with layers of wood glue, primed with Valspar black paint with primer, painted with several layers of copper, silver and gold metallic acrylic craft paints, then sealed with satin finish Minwax Polycrylic clear topcoat.
construction - details
Feet finish the cosplay. They are constructed out of upholstery foam on top of canvas slip on shoes, covered with the white lycra and hand painted. Nails are made with Worbla scrap.
Reference Material
Despite not ever having seen the movie "Predator" I was immediately drawn to the design of a 12 inch female Predator model, "Sheela" painted by Joe Dunaway.
Marie Cheshirecat
Mashup - Marie Antoinette and The Cheshire Cat
2016
Made for Salt Lake FanX Spring 2016
1st Place Mashup - Salt Lake FanX Sprint 2016
Design
The idea for this cosplay literally came to me in a dream. I woke and thought it would be a fun challenge to mashup such a bright character with this historical silhouette. The imagery was so different from other costumes I had done that it felt fresh and interesting, so I drew the design and began.
Construction
Marie CheshireCat is primarily constructed from bright pink and purple satins, trimmed liberally with black and white ribbon and eyelet laces.
Construction - Front panel and stomacher
The ruffled front panel buttons to the pannier and ties about the waist. The stomacher snaps to the soft body corset. Over both the gown ties into place leaving these pieces exposed. The best part of the panniers and skirt....access to a pocket over each hip through a zippered placket.
Construction - pannier hoop
The skirt is based on a pannier pattern from Corsets and Crinolines by Nora Waugh. Instead of modern boning, I used far less expensive polyethylene tubing which is readily available at any hardware store. It's machine washable and sturdy! Under the pannier is a bumroll constructed out of a pool noodle, because no one likes a droopy hoop.
Construction - Details
A pink and purple striped faux fur tail is attached to the back with a large ribbon bow. Each strip was cut and pieced by machine. The tail is stuffed with lightweight packing peanuts. The mask is constructed from Worbla and painted a glittery pink. The hat is a small covered straw cap, sewn into a tricorn shape, and trimmed in the same way as the dress, with feathers added. Purple bloomers with more trim are worn underneath, along with striped tights. An old pair of shoes were covered in foam, fabric and trim to complete the look.
Competition
Marie CheshireCat was entered into the Original Character and Mashup category at Salt Lake FanX Spring 2016 Cosplay Contest and received first place.
Magus of Tzeentch
Warhammer
2016
Made for Salt Lake FanX Fall 2016
1st Place Masters - Salt Lake FanX Fall 2016
Design
As is my habit, when looking for a new cosplay, I choose based in the challenge of the build rather than whether or not I enjoy the fandom. Magus of Tzeentch was chosen for the challenge despite not knowing a thing about Warhammer. I wanted an unusual female character that encompassed many skills. Tzeentch made the best use of my sewing skills, built on my armor skills, and challenged me with new electronics skills. The concept art didn't include wings but I figured that if the character was an evil wizard that could transform herself into a bird, why leave off the wings? Upon further research, I found that the wings were within canon and I was good to go.
competition and reception
I specifically built Tzeentch to compete in Salt Lake Comic Convention 2016 Cosplay Celebration where it placed first in the master's category.
Tzeentch was a great fun and for the amount of work and parts that went into it, one of the more problem free builds I have ever embarked
upon.
construction - helmet
The helmet is based on a Worbla pie skull cap with a welder's visor placed at the front. The bird's head and beak is constructed around this. Small holes were drilled in the visor and into the chin to facilitate breathing. The eyes were molded from milk jug plastic softened with heat, painted, and then LEDs were inserted with a switch located inside the helmet under the beak.
Construction - paint
Tzeentch's color palette is filled with blues, purples, grey and gold. Worbla pieces were coated in layers of wood glue, black Valspar paint with primer, layers of acrylics and finished with clear satin Minwax Polycrylic.
Construction - Armor
Several parts of the Worbla armor include details molded from scrap Worbla and Apoxie Sculpt epoxy 2 part clay.
Construction - Chest plate
The front armor plate, mantle and pauldrons are constructed from Worbla and simply hang around the neck with a strap. The wing frame is bolted directly to the Worbla mantle and back plate. The jacket is cut in such a way to allow the strapping for the wing harness to be threaded through and hidden.
Construction - Belt and Gown
The gown consists of five pieces, the skirt, the skirt front panel, a jacket, a collar and a back panel to hide wing mechanics. The A-line skirt is constructed from deep blue velvet and trimmed with layers of appliqued fabrics and decorative topstiching. The front panel features a spiky scalloped edge, applique, heat transfer foil, and decorative topstitching. The jacket is a grey suiting, featuring more applique and topstitching.
Construction - wings
I spent a lot of time with articulated wing research, weighing manual mechanisms, pneumatic mechanisms and electric motor mechanisms. I decided on using a four inch electric linear actuator to power the wings and learned how to wire the motor to a three way rocker switch and a battery pack. Inexpensive wooden yardsticks became the struts and it was a bonus that the measurements were already marked. Feathers are made from 2mm craft foam, reinforced with dowels, and covered in a fabric ruffle on top.
reference
The Tzeentch imagery was found through the Pinterest rabbit hole. Citation needed.
Orc
Dungeons and Dragons
2017
Made for Salt Lake FanX Spring 2017
Design
My Orc started as a practice build, my first steps into the wide world of EVA foam. I wanted simple shapes to start with. Not just to learn the properties of foam but also how to use my new scroll saw to cut it. This costume took approximately two months.
Family
My youngest son wore the Orc, better than I did, for Halloween.
Construction - fabric aspects
The pants were made from second hand green velvet drapes. The shirt from green broadcloth with a khaki broadcloth vest. These are trimmed with laced faux leather cording. The gloves are flat patterned, made from stretch velvet.
Construction - fur cape
The cape sits on a foam mantle which fits on top of the shoulders, with the lining blanket stitched into place before any cutting. This creates the ragged look.
Construction - Wolf Headdress
The wolf's head is a foam "skull" covered in a gorgeous clearance priced faux fur. This fur was trimmed with an electric shaver until the desired appearance was achieved and then painted in parts to create a natural animal color pattern. The nose is molded from Worbla.
Construction - armor
Armor is constructed from EVA foam, heat curved and glued in layers. A Dremel drill bit was used to create evenly spaced holes to lace faux leather cording through after painting.
Armor includes gauntlets, a
codpiece, thigh guards, and shin guards. Weapons are similarly
constructed and include a bow, quiver with non-functioning
permanently attached arrows, a knife and an axe.
Construction - paint
The foam is heat sealed, coated in Plastidip, primed with black Valspart paint with primer, painted with acrylics and clear coated with Minwax Polycrylic.
Construction - PVC and Dremelling
The axe was the first piece to be constructed, learning how to heat form PVC pipe and Dremel in motifs and "battle damage".
reception
This cosplay is a great deal of fun to wear, one of the few that shows my full face, though I'm still hidden beneath a headdress and makeup. When pictures are taken with kids at conventions, I allow them to take my axe and take action poses!
As this was a practice piece, it was not intended for competition.
Reference
This Orc was found in several Dungeons and Dragons websites. Citation needed.
Revenant
Doom Eternal
2016 - 2017
Made for TwitchCon 2017.
Design
When the new Doom game was unveiled in 2016, my oldest son was excited to show me all the new characters. I hadn't played Doom since the 90's so the redesign was interesting to me, especially how the monsters were sure to be scarier. The new Revenant was just awesome. Even though you can knock one off with two shotgun blasts, the whole design presented a unique and compelling challenge as a builder. I wanted a project to construct entirely in EVA foam as a way to bring those skills to a higher level. It was also a delight to me that I was a mom in her 40s wearing such a thing.
reception
The Revenant was built for Twitchcon 2017 and as of yet has not been entered into competition. It is the build that brought me a following on Twitch.
When I wear my Revenant, people are surprised to hear a female voice coming out of it. This makes me happy in every way. The costume also fits my tall and thin middle son who does the character justice. I need to buy a trumpet.
construction - paint
All armor pieces were heat sealed and coated in Plastidip, then primed with black Valspar paint with primer, a coating of an understated olive green enamel paint, then a silver dry brushing. Rust effects were achieved with an orange and brown paint applied with a stipple sponge.
The skull and guts are coated with glossy Mod Podge, also applied with a stipple sponge, as it leaves snotty looking bubbles to dry in the glue.
construction - skull
The skull is constructed in two parts from Worbla, Apoxie Sculpt and fleece. The jaw is permanently attached to a fabric skullcap. The front of the skull can be removed, adhering to the crown with industrial velcro. Eyes are lenses from a pair of dollar store sunglasses.
construction - chest piece
I started by patterning the chest piece because that is where the size and scale would expand from. I'm not skeleton thin so making sure the chest, back and canons were sized properly would lend to the illusion.
design - canon size
The canons are sized larger than the reference material to provide a smaller scale to the real flesh covered human body under the suit. Screen shots from the game were taken, photoshopped and resized, then printed for reference. I could continually pattern to scale.
construction - back piece
The back piece was built in layers upon a coffin shape in the center. Every major part of the costume anchors upon the two upright PVC struts at the back of each shoulder. This simple bit of engineering creates spaces where LED lighting can be installed in the future.
construction - PVC Brace
The canons are anchored to the body by a framework of PVC pipe heat curved over the shoulders. There is a length of PVC inside the canon that friction fits to the shoulder frame and is hidden with small decorative PVC covers and corrugated conduit tubing.
construction - canons
The canons are based on a long tube of EVA foam, building in segments and layers on top. The end caps can be removed to allow LEDs and foggers to be installed in the future. Many parts in the canons are modeled from toilet and plumbing hardware.
Reference
The Doom Revenant from Doom Eternal, 2016.
The naga queen
Concept art from Heroes of Might and Magic
2017 - 2019
Made for TwitchCon 2019
Larger than Life Winner - TwitchCon Cosplay Contest 2019
Design
In the summer of 2017, I was specifically looking for a project to enter into the TwitchCon 2018 Cosplay Contest. The concept art for the Naga Queen, by Olivier LeDroit, for Heroes of Might and Magic jumped to the forefront of my cosplay idea library. It had many qualities which I thought would be a challenge and would also be visually appealing in cosplay form. I will choose a project based on challenge alone and The Naga Queen proved to be so, to the point that I found myself requiring an extra year to work on the project. Naga required foam-smithing for the headdress, tail and weapons. Sculpting for the mask, textile creation for the gown, engineering for the obi, and exacting detail across all of it.
competition
With an extra year of work being well worth it, I was delighted to have been accepted into the Larger than Life category at TwitchCon 2019. This competition was by far the best competitive cosplay experience in my career. The Naga Queen was awarded the first place prize in the Larger than Life category.
Construction - Headdress
The headdress is based on a second hand child sized bike helmet and extends my height to slightly under 7 feet. It's created out of panels of EVA foam, covered in 2mm foam strips for hair, painted.
Construction - and deconstruction
Hair ornaments are based on wooden dowels with the bells taken from a windchime added to the tips. Each of these can be removed, held in place with friction fittings and hidden hooks.
Construction - headdress details
The flowers were deconstructed and reassembled, each petal creased with an iron, then painted and beaded.
Construction - mask
The mask is constructed from layers of EVA foam and sculpted with a Dremel. The lips were sculpted from EVA foam clay. The eyes are foam with the bowl from plastic pic-nic spoon placed over the top for a glassy effect. I am able to see through hidden cuts placed in the forehead wrinkles and breathe through cuts placed in the chin.
Construction - fitting the mask
Beads along the tiara are attached with actual hairpins pushed into the foam. The tassels are placed on eye hooks and pushed into the foam on dowels. The entire mask, including the bangs, are placed to a panel on the front of the helmet with rare earth magnets. A fabric balaclava is worn underneath which hides the chin strap.
construction - creating textiles
Every fabric in the Naga Queen was created and heavily embellished using several different techniques.
Construction - creating kimono
The bodice of the gown is based on large foam shoulders and snapped into place. The foam shoulder structure is covered in fabric, painted, and a great deal of pearl cabochons glued to the underside. The fabric portion is lined white twill decorated with machine embroidered leaves I digitized myself. The A line wrap skirt is similarly constructed, lined with a heavy black fabric, but ombre dyed white to black to the bottom. Each piece is trimmed with a yellow bias edge, a silver strip and a red length of ribbon between. Between the leaves, pearl beads are hand sewn in a sprinkled pattern throughout. The removable sleeves are likewise ombre dyed, embroidered, beaded and trimmed.
Construction - foil
The sleeves, skirt and bodice are highlighted with strips of seafoam green fabric with a heat transfer foil geometric pattern applied. The gold is tripled stitched on the edges with red thread and then each gold corner dry brushed with subtle red paint. The sleeves also feature a dark yellow chiffon streamer with burgundy red rings and dots glued along burgundy fabric marker lines. Each ring and dot were hand cut.
construction - machine embroidery
There are over 160 machine embroidered leaves, digitized with care so each leaf stitched out in under a half hour. The leaf had to have enough stitch density to evenly cover the white twill but not be so thick that the flow of the twill was lost.
I frankenstein-ed a feed system allowing me to use large cones from the front of my machine.
Construction - the obi
The obi is a based on a wide belt of EVA foam which zips in the center front. The fabric stretches along the front of the foam, velcro-ed into place on either side, with a red nylon rope placed at the front and held at the back with large pearl buttons. The back tabs of the obi feature a gold foil leaf design and trim matching the headdress and the gown.
Construction - obi fabric
The tessellating design on the obi fabric was designed on Photoshop and printed at Spoonflower. Each motif was highlighted with dots of light blue and turquoise craft paints, triple topstitched with gold thread, then additionally stitched in black thread with a herring bone pattern.
Construction - tassels
The tassels were constructed out of different lengths of rayon fringe, with the trim coiled and then sewn onto a small circle of foam. Beads and trim were added. Tassels appear on the headdress and the ko-naginata.
Construction - katana and kodachi
The weapons, kodachi, katana and ko-naginata, are based on PVC pipes and covered in sculpted foam. The handles on the swords are
wrapped in nylon strapping with a gold tag on the hilt which reads, "Going Ape Costume".
Construction - kodachi and katana
A curved foam structure in the back of the obi was engineered to hold the katana and kodachi at the proper angles as well as provide the curve for the tabs of the obi to lay on.
Construction - fan
The fan staves were an Asian market purchase. The fabric body was dyed, and painted with a cherry blossom pattern free hand. Tassels were made from rayon fringe yardage, trimmed with braid and pearls.
construction - patterning the tail
I attempted to pattern the Naga tail using four different methods, finally arriving at a workable method by placing a series of foam circles in graduating sizes around a cardboard structure. This allowed me the complex curves and wave of the tail going around my body.
construction - the tail
The top half of the tail is covered in strips of hand cut and Dremel beveled scales, also graduating in size until you reach the tip.
Construction - the tail
The underside of the tail, which is constructed out of foam glued to heavy spandex, can be removed, held in place by hook and loop tape. This allowed me to divide the tail into manageable segments which screw together.
Construction - Paint
All the foam pieces are painted to suit. Black for the hair. Gold for the crown. Red for the weapons. Black, white and silver for the tail. These are painted in layers for depth, with dry brushed black, gold, silver, turquoise or red in appropriate spots. The finishing touch is the clear acrylic top coat which includes a small amount of white pearl pigment powder to provide a soft luster.
Construction - the gloves
Gloves, balaclava and mask all had to be painted to resemble snake skin. The gloves and balaclava were sewn from a white spandex and hand painted with silver, black and turquoise acrylic craft paints. Fake nails were painted black and glued to the gloves. More cabochon pearls glued to the fingers.
Cyberpunk Lolth Spider Queen
Original Character
Based in Dungeons and Dragons
2023
Photo by Mark Loertscher.
Full cosplay
Cosplay is engineered in a such a way as to be easily broken down for travel. Legs detach from the brace, brace can be unscrewed into smaller pieces. The abdomen comes apart into three pieces. Skirt panels fold.
Photo by Mark Loertscher.
Lolth - Back view
It was important to me that there be layers and mechanics to the biological parts of the spider. She had to look "right" from the sides and back.
A "motor" was made to increase visual interest and theme, placed in the empty space between abdomen ribs. It contains lights.
Photo by Mark Loertscher.
Design Inspiration
Lolth DnD Art by Justin Sweet.
Armor inspiration by Filippo Ubertino.
Motor inspiration by Tor Frick.
Skirt inspiration from Doom Eternal, Khan Maykr.
Paint inspiration from a cute orb weaver spider.
Pvc pipe brace
The PVC brace started with heat curling PVC pipe over the shoulders. When these fit over a foam cushion, the back piece was heat formed, then the armature for the abdomen curved and bolted into place.
The half round PVC pipe armature holding the eight legs was courtesy of workshopping the form with my audience in my Twitch stream.
Construction - Spider abdomen
The center section was constructed first. From there, rib sections were fitted, held in place with hooks and eyes.
I wanted to use plastic tubing in this section, to denote some kind of fuel source. Plastic tubes for candy hold colored salt with a bit of glitter.
Notice the "bottle opener" on the posterior!
Revising the abdomen
The ribbed spider abdomen was not my first design. I wanted a large smooth almond shape. In fitting those pieces, it was evident that that the size and smoothness did not fit in with the theme.
Never be afraid to re-design when it's not working.
Leg design and placement
I wanted the legs to come off my back in an array of angles. Placing hind legs onto a cylinder and then threading the PVC brace piece through accomplished this task.
Forelegs were constructed to anchor onto a dowel in the hindleg and then velcro strapping around the knee joint keeping them secure. Legs at the ends are held in place with cotter pins.
Construction - Eight legs
The Each spider foot his glued on at a different angle for visual interest.
Forelegs include a yellow tube which holds flashing fairy lights. Each knee joint is numbered, those numbers cut out of 2mm foam.
Construction - skirt panels
The front and back skirt panels are the pieces I referred back to when staying in my design themes. Each has several "hinged" panels which allow me to move easily.
Panels are back in vinyl and attached to a vinyl belt with swivel hooks.
Construction - Helmet
The helmet is the first piece I constructed, being excited to cut the center vent in the visor, obtained from ChutingStar.
It is constructed in two pieces, with the front piece being held by magnets, and removable, so the face is visible. This two piece design is practical, allowing me to eat and talk without removing a major portion of costume.
Construction - Chest armor
and pauldrons
The chest piece attaches to the underlying foam cushion, for brace comfort, with clips and magnets at the shoulder.
It was important to me that the shape of the chest piece, and pauldrons, mirror the boxiness of the center abdomen and helmet. Layers of foam create the "carbon" look.
construction - thorax
The back armor basically served to hide the brace. Constructed in small scrap foam layers and ultimately connected into one large piece.
I continued the center back abdomen theme up to matching the helmet. Another "Easter egg" can be seen here....a compass in the stock!
construction - Chainswords
Wanting weapons that would also fill a blank spot over the skirt, over the hip, between back and front skirt panels, the length and theme in chainswords were a perfect choice.
Swords are constructed in EVA foam over half inch PVC pipe and a thin wood insert in the blade.
These are attached to the vinyl belt with retractable zip lines, so wielding of the swords is easy.
armor fit and primer paint
EVA foam is heat sealed, coated in Creature Cast liquid neoprene, prime coated with Valspar paint with primer in black.
These undercoats were all sprayed on with compressed air and a critter gun.
Paint and painting theme
To match the colors of a natural orb weaver spider, coats of silver, gold, yellow and white paint were dry brushed in large swaths.
Gold ink was used to highlight certain greeblies, switches and other hardware.
Armor pieces were clear coated with Minwax Polycrylic in clear satin.
COmpetition
I entered my Cyberpunk Lolth SpiderQueen into the FanX 2023 Cosplay Competition, the convention's 10th anniversary. I was honored to be awarded the Best Armor trophy and cash prize.
Photo by Mark Loertscher.
Going Ape Costume
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89883
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