Cosplay and the Maker Movement

Here at the Creativity Labs, we're deeply invested in the educational potential of hands-on making and makerspaces. Though, of course, people have made stuff for as long as we've existed, the recent maker movement has been re-valuing personal fabrication over mass production, and has popularized high-tech tools like 3D printers and laser cutters. At the same time, we're seeing the founding of more and more makerspaces, where people gather to use these tools and make/ repair stuff together, both in and out of schools, and for both adults and youth.

Though the maker movement is supposedly about all forms of making, both high- and low-tech, it's the high-tech stuff, like 3D printers, robots, and projects made with microcontrollers like Arduinos that get the most press. Things that light up really grab people's attention!

For a long time, it seemed as if the maker movement and the cosplay community were totally separate, even though cosplay is obviously all about making stuff--whether that's sewing costumes, sculpting props, or styling wigs. I've seen some recent trends, though, that are starting to bring these two communities together, in a way that, I think, is of great benefit to both.

First, cosplayers are gradually starting to open makerspaces of their own. A few weeks ago, I had the immense pleasure to visit Studio Cosplay in the DC area. Initially founded thanks to a successful Kickstarter campaign, this "cosmakerspace," as they call it, contains all the tools you might need in order to make costumes. It has sewing stations, a fabrication area for cutting and sculpting props, a photography corner so folks can get good pictures of their costumes, a well-ventilated room for spray-painting and sanding, and even a room with 3D printers! Studio Cosplay hosts many popular events, such as a pet cosplay contest, a cosplay swap/sell event, and panels and repair booths at conventions. In addition, it offers lessons to those wanting to learn how to improve their skills. Here are some pictures I took while at Studio Cosplay:

The 3D printing room

Fabrication station and the door to the ventilated painting/sanding room

Studio Cosplay is lucky to get a lot of donations, such as these old sewing machines, used cosplay parts and materials, and sewing patterns

Cosplay Kitchen in Pittsburgh, PA is also in the process of opening up its own studio space. The great thing about this trend toward communal spaces for cosplay is that, from the cosplayers I've talked to, cosplay creation tends to be a very solitary affair (though wearing them at conventions is of course very social). A centralized location allows cosplayers to get to know each other, help each other out, learn new skills they never would have attempted on their own, and share special tools that otherwise would be prohibitively expensive. At the same time, it's also beneficial for the maker movement to have new makerspaces where sewing machines play a prominent role, re-valuing the traditionally feminine and dismissed craft of sewing in a way that most consider "cool" and impressive. Cosplay is still a majority-female hobby, too, so this is also a way to acknowledge more women as makers.

A second trend I've noticed is an increasing use of "maker" tech in cosplay. More and more cosplayers are using 3D printers, laser cutters, and other digital fabrication devices to enhance their cosplays. Ohayocon, which I attended in January, had a 3D printing lab in progress throughout the con. A week ago at Colossalcon in Sandusky, OH, there was a 3D modeling class, I spoke with a few cosplayers who use a 3D printer and laser cutter, and I saw more examples of light-up cosplays than I've ever seen before! This burgeoning interest in lighting up costumes is reflected in the increasing number of instructional resources on the matter, such as Kamui Cosplay's Book of Cosplay Lights. Not only does this increase the cosplays' "wow" factor, but it is also sometimes more accurate to the character, and it gives cosplayers a chance to practice using electronics and circuitry skills.

Of course this Glow Cloud from the podcast Welcome to Night Vale should be glowing!

The above were examples of cosplayers taking up ideas from the maker movement. Is the reverse happening too? Is the maker movement starting to acknowledge cosplayers as makers? Fortunately, the answer is yes! A few months ago I saw that the Milwaukee Maker Faire was seeking cosplayers as exhibitors and workshop hosts. Maker tech retailer Adafruit regularly posts about cosplay on its blog. Cosplayers can make some really impressive stuff, so I think it's only fair that they're applauded as the makers they truly are. As for me, I couldn't be happier with this convergence of two of my research interests!

Introducing Fabric Manipulations!

Connected Learning while Re-Crafting Math

* Originally posted in Anna's Constructionism, February 22nd

After long days at the school, I like to browse Pinterest for fun craft projects and to get inspired about what I could make if only I had more time. Perhaps an indicator for having a healthy attitude towards the future, the many pins and re-pins on the pictures in the app tell me that there are probably many people like me out there. A resource to tap into were I to commit.

I am a graduate research assistant at the Creativity Labs, where we strive to design for powerful ideas keeping in mind tools and materials for more equitable learning environments. One of the projects I had the chance to work on is the Re-Crafting Math project, which explores the implicit and explicit mathematics and STEM related concepts tangled into traditional female fiber arts practices. We are exploring this through embedded ethnography, e.g., joining a crafting group and learning along with its members, and interviews of experienced crafters. In the office, there is usually someone talking about the complexities of knitting, sewing, crocheting, or weaving at some point every day. Fiber, threads, fabric, needles, and pins have become an important part of our academic and professional culture. 

To really get going on the Re-Crafting project, I had to find my own fiber craft. Initially stretching it towards the harvesting of fiber for basket making, a craft in which I experienced a strong pushback between crafter and material, I settled on fabric manipulation. Fabric manipulation is the craft of folding, sewing, assembling, and pulling fabric into three dimensional and layered shapes (see pictures above). A sub-category of fabric manipulation is origami quilting, in which the crafter folds fabric similarly to paper origami and sews the folds on to batting, the insulating material, and backing material. 

By diving into this craft, I could combine my interests in lines, folds, and clear cuts with my interest to start a particular craft that could contribute to the project. It is at the intersection of these three areas, (1) the interests, (2) academic, and (3) peer culture, where Connected Learning is theorized to happen. Addressing divides between in-school and out-of-school learning, income equity, and generation, Connected Learning is ties together production-centered, openly networked, purposeful creativity with interest and peer driven learning. Sharing productions and insights with local communities as well as with the broader public is an important locus of Connected Learning. Learning outcomes relate to individuals as well as to the collective or society. (Ito et al., 2013)

While personal interests, academic/professional culture, and peer learning seem come together in my fabric manipulation journey, I wondered what, if not all, could be considered Connected Learning?

When I found the Fabric Manipulation pictures on Pinterest, I was surprised by the versatility of fabric and the beauty of the shapes people had created. At first glance, one can imagine how the techniques could be embedded in fashion or quilting projects. Undecided how to move forward in relation to a larger contextual frame, I decided to explore some of the techniques by following tutorials that Pinterest linked to.

The windy, rainy days of winter break 2015/2016 were my chance to get started. Having had dreadful memories of breaking the machine in the past, I was lucky to get started at home in Germany where my mother, once again, could teach me to use the sewing machine. Together, we converted the inches into centimeters and got set up after ironing a pillow cover that used to belong to my grandmother and cutting it into pieces. With the smell of steamed old linen in the air we got started sewing. It felt great to engage in this intergenerational experience through a tangible and production-centered project that could be useful for my academic work as well.

Most of the complex mathematical thinking happened during preparation and sewing the projects. For example, we discovered that many of the techniques were not straight forward and problems needed to be recognized and set up first. This was especially true for the projects that involved tucks, because the overall fabric size needed to be calculated in relation to tuck size and final project size. Implicitly understanding those mathematics concepts that could be written into equations, we often moved forward by inventing short-cuts. For example, to center the tucks we folded the fabric rather than calculating and measuring distances.

Smocking mathematics in Puerto Rico

After leaving Germany, I continued my crafting during a pit-stop at the San Juan beach and later at home in Bloomington. When I paused to actively think about the mathematics concepts involved in the different fabric manipulation projects involved, the list kept growing, including basics, such as addition, multiplication, and measuring to more challenging mathematics, such as coordinate geometry, trigonometry, and quadratic functions. I noticed that when showing my projects to people, I traced lines, folds, and curves at specific parts of the project to point out mathematical concepts and mistakes I made when calculating or short-cutting the projects. I started calling my fabric manipulations mathematical proofs, and started to explore the tactile and auditory interactions of the spatial manipulations.

Thinking about how to bring Fabric Manipulation to the classrooms, many ideas came to mine, mostly cycling around a gallery walk that displayed my mathematical proofs, unicolored as they are, as suggestions to move forward. It was only after I met with the former president of the local Quilters' Guild that the idea of an instructional book was tossed around. We imagined the actual fabric projects being pasted on one side with the mathematics concepts listed on the other – the viewer could to literally grasp the mathematics. We also came up with a few  example projects that could be illustrated to present the versatility of individual techniques. These examples could reach from using different colored fabrics to useful projects such as ornamented pillows or bags. 

The connected journey, stretching across international waters, generations, and academic, professional, and peer cultures is a continuously growing learning experience. With each step new possibilities emerge with decisions awaiting to be made. Following my interests in the production of projects and the types of connections I make is my campus along the way. As I continue to explore these project examples, I am excited to discover new pathways into STEM learning together with other crafters. Next stop, the Indiana Heritage Quilt Show!

References
Ito, M., Gutiérrez, K., Livingstone, S., Penuel, B., Rhodes, J., Salen, K., Schor, J., Sefton-Green, J., & Watkins, S. C. (2013). Connected learning: An agenda for research and design. Digital Media and Learning Research Hub.