33_5_DeviantArtAnimals.7.Final.indd 46 T 46 ORNAMENT 33.5.2010 HE A F NIMAL URSUITING F URRY O C UTSIDE ULTURE

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THE Patrick R.Benesh-Liu U

S A LL 9/2/10 5:38 PM THE ANIMAL OUTSIDE US ALL

t is difficult to fathom today that only a few hundred years ago, the culture of North America was based not I around celebrities, reality TV shows, YouTube, and hip hop, but ceremonies, dances, the hunt, and the harvest. Prior to colonization, life centered around survival; there were few cities and roads, and certainly neither television nor computers to separate oneself from the environment. Housing was carved from a cliff, built of mud or stone, or formed from hides, with the trampled grass or dusty desert just a few feet outside the entrance. People dressed in the skins of animals, or from woven plant material, if that. They ornamented themselves in a wide variety of ways, utilizing bone, feathers, stones, and shells. They lived in such a fashion, although surely undergoing gradual changes, for millennia. Of course cultures were different in Europe and on the other populated continents of Africa, Asia, Australia, and HIGHLAND BULL by Deanna Larsson, of faux fur, upholstery foam, resin, 2009. South America. Each had their own traditions and rituals, which had up to some point in time worked for them. Then can their admirers, and detractors, but it is with the former the European settlers came to America, setting in motion a that emphasis should be placed. Between these admirers and radical series of changes that lead to the present day’s hip artists lies a mutual appreciation for the subject of the art, and hop and YouTube. it is here that new communities are not only being born, but Culture is continuously being made. As a resistant force, vigorously growing. One of the most striking examples is the cultures also age and fade away, slowly depleting the variety furry culture, and the interconnected web of offshoots in of the world. Some ancient cultures survive determinedly in which it resides. The first recorded expansion of the culture the world’s nooks and crannies. They are the color of ancient into the public eye came with the funny animal publication deep browns built upon for thousands of years in the dirt, forests Vootie in 1976. The transition from funny animals to furries is and plains of Mother Earth. Some cultures are just growing considered to have taken place in between the ending of the into adulthood ready to flourish; others are newborn pink, Vootie series in 1983 and a new publication, Rowrbrazzle, in possibly only a few hours or days old. 1984. After this point the furry culture would slowly grow It is in the Age of the Internet, not noteworthy for its glitz until increasing internet access allowed the fandom to connect, and sparkle but for the provision of near-instant international greatly expanding the community. communication, that new cultures are being born with It is not really possible to define exactly what is a “furry.” startling rapidity. If one looks deeper, there are vast hordes Like a spectrum, those who relate to the furry community cover of entities created or nurtured by the internet. Some will last as broad a range as people themselves. A wiki site created by for a relatively short time, but there will be those movements the furry community states at its most basic, “Someone who that sprout and take root in the medium that will be around says they are furry is generally expressing an interest in far longer. The thought that some of these upstarts may one day anthropomorphic animals and/or creatures” (http://en.wikifur. be as old as the ancient ceremonies and dances is more than com/wiki/Furry). It can be a lot more than that for many a little surreal, but also fascinating. The ceremonies and the people. It can also just be fun and games. dances were about food and rain and health. It was only after Whatever it may be for one furry or another, a common we established a buffer between ourselves and starvation that occurrence is the adoption of an anthropomorphic animal or we could entertain ourselves with new frivolities, like celebrities creature as an avatar or alter ego, called a fursona (yes, the and reality TV. combination of the words furry and persona). An artist might That is not all we have come up with though. The internet draw his or her own character, or be commissioned to draw is also home to a new generation of artists and craftspeople, someone else’s avatar. In this case, an avatar might be a who for the first time can view each other’s work, 24/7, proprietary character or an anthropomorphized version of sometimes just minutes after a piece is completed. So too one’s actual self. Since most internet forums and artist websites such as deviantart.com have a location for a profile picture,

THE GOLDEN BEAST by Shannon Heartwood, of faux fur, cast resin, 2010. people will post their avatar drawing to represent themselves All photographs courtesy of the artists. in the virtual world. 47 ORNAMENT 33.5.2010

33_5_DeviantArtAnimals.7.Final.indd 47 9/2/10 5:38 PM but finally I discovered the keyword ‘fursuit’ and it was a real kick to realize that other people out there not only made animal costumes but did so professionally,” she relates. In 2005 she made her first fursuit head. Almost entirely self-taught, Larsson learned the art of costume-making through free internet tutorials, and much trial and error. An invaluable summer as a fire lookout observer in 2006 offered her some time to improve her techniques, where she made great strides in her work. “I made a great deal of mistakes and wasted a lot of time and effort along the way, but I’ve been told my style is very distinct to myself. Which I suppose is the payoff for not learning under anyone else. Every artist wants their art style to be distinct and memorable, and to reflect who they are.” Larsson’s interest in craft preceded her animal costuming. Coming from a family of handymen and women, Larsson’s mother sewed clothes and her father hammered together a dollhouse. As a whole, Larsson’s extended family shared this trait. “You’d have to make something with your hands or you’d go HYENA HEAD by Deanna Larsson, of faux fur, mad,” Larsson laughingly remarks. upholstery foam, resin, 2009. The problem was in finding a medium DEANNA LARSSON. that called to her. “I actually had my art RED XIII by Deanna Larsson, of faux fur, business before the costumes. I just was not upholstery foam, resin, 2007. very successful at finding the item I wanted

For some creative furries, the act of making physical costumes is a natural extension, or alternate expression, of drawing anthropomorphic animals. Not that the creation of animal costumes is restricted to the furry community; indeed, one can say it is an ancient practice. Animal dances, with their accompanying regalia, have been performed in North America for thousands of years. The eagle costume is probably the most ubiquitous archetype of Native American animal costume, along with the bison. Nor is the use of animal costumes for ritual confined to North America; it is a global phenomenon present in many indigenous cultures. Within the furry community, the common lexicon for this activity is fursuiting. This can refer variously to the making of costumes or the wearing of them. Regardless of the precedents for modern animal costumes, this newest reincarnation has stimulated a thriving business. Canadian artist Deanna Larsson of Beetlecat Originals has always been interested in costuming, but did not make them until relatively recently. In 2002 when the costume-making bug bit her, she searched online for tutorials on costuming. Doing so opened up a whole new world. “It took a fair bit of searching, 48 ORNAMENT 33.5.2010

33_5_DeviantArtAnimals.7.Final.indd 48 9/2/10 5:38 PM to make and that would sell well. I did a lot of papier-mâché. Before that was painting on rocks. I dabbled in polymer clay. Lots of things trying to find my niche. That’s why discovering that people made animal costumes professionally was such a happy shock. It was exactly what I’d been searching for.” Larsson’s costumes are characterful and colorful. Running the gamut of all sorts of animals, both real and exotic as well as the imaginary, her highland bulls and white wolves exude a friendliness that makes them seem almost human. With hyenas, red pandas and kudus represented among her many costumes, Larsson obviously has an extensive knowledge of the animal kingdom. “I’m an animal nut,” she proclaims. “Always have been. I love nature and wildlife. I went to college for biological sciences and my original idea coming out of high school was to be a person that looked at trees in the forest or went to a little island and counted bird eggs. I have a bookshelf full of animal science and nature world books.” Larsson’s zoological background extends to domestic animals as well. “I was raised on a farm and was in 4-H growing up where I raised and named and trained calves and lambs,” she adds. “Not quite ‘raised by wolves’, but I have great admiration and respect for animals. I’ve watched them play and seen how they move.” Some of her work

DREAM THE SHEEP by Karen Dawson, of faux fur, MANA BEAST from Super Nintendo game Secret upholstery foam, plastazote foam, resin, paint, of Mana by Karen Dawson; of faux fur, fleece, varnish, glue, modeling putty, latex, thread, upholstery foam, glue, polyfill, plastic, acrylic elastic, 2010. paint, mech fabric, varnish, super sculpey, 2006. Dawson originally became involved in fursuiting through anime cosplay. (For an introduction to anime cosplay, read Ornament 31 (1), 2007.) KAREN DAWSON.

is more cartoonish, reflecting the fact that likely customers have drawn their own anthropomorphic avatars in such a fashion. Other costumes, particularly those of real species, trend more towards a realistic portrayal. Larsson’s costumes take two or more weeks to make, although the artist has never timed herself. The process is part intuition and part engineering. When asked whether she focuses on certain parts, Larsson explains, “In my opinion it’s all vital. It all works together to make a harmonious whole that looks like ‘insert animal here.’ I can’t really make a fox by saying, ‘well it’s just like a wolf but these parts are different,’ I have to say, ‘It looks like a fox,’ and from the ground up build a picture of what a fox looks like. So whether it’s a cow or a quagga or a Sumatran tiger; it’s all started bottom up from a clear frame of reference.” Costume-making has provided Larsson with a singular opportunity, the ability to make a living doing something she loves. Having taken a government-sponsored business course, 49 ORNAMENT 33.5.2010

33_5_DeviantArtAnimals.7.Final.indd 49 9/2/10 5:38 PM 33_5_DeviantArtAnimals.7.Final.indd 50 9/2/10 5:38 PM Larsson had a good grounding for starting her own. Because of the nature of her unique market, she has no trouble finding customers. “My customers are on the internet. There are several places where the ‘fursuit-interested’ congregate and most advertising is done by word-of-mouth. Another oddity in the art and craft world. Usually sellers have to build plans and maps and try to hone in on their target market which is scattered throughout other uninterested markets. But here, our market finds us. I think fursuit-makers who have never done any other sort of art business don’t realize just how good they have it.” Karen Dawson is an animal costumer from the United Kingdom who is now making her step from fursuiting as a hobby to a business. Like Larsson, her interest in the medium started early. Her first effort was a werewolf mask made in primary school. Dawson mentions that, “Even then, I wanted to go one step further, so it was made with purple cellophane (scrounged from sweet wrappers) in the eyes.” While she would continue to dabble in costume-making throughout her youth, it was not until 1999 or 2000 when she would create her first costume for an anime convention, a jacket and skirt ensemble. Shortly thereafter, she would

Opposite page: TIAMAT THE DRAGON by TITANIS by Shannon Heartwood; of faux Deanna Larsson, of faux fur, upholstery foam, fur, cast resin, 2010. resin, 2006. MATTHEW AND SHANNON HEARTWOOD. AURORA by Shannon Heartwood; of faux fur, cast resin, 2009.

begin making animal costumes. Much of her education came from the internet, where tutorials by other fursuiters were immensely helpful. Now that she is more entrenched in the fursuit community, her group of friends give her plenty of advice. Dawson provides an extensive step-by-step explanation of how a fursuit is made. “A fursuit consists of several different pieces,” she begins. “The main one is the head, of course, both in terms of impact and time. A head probably takes as long as the rest of the costume put together.” The body, hands, feet, and tail make up the remaining parts. “All these pieces are made separately; starting with the simplest, tails are usually just sewn from faux fur and stuffed with regular polyfill, like a stuffed animal. Hands, unless the customer has asked for something complex, are simple fur gloves, often with pawpads made from latex, which is cast in a plaster mold.” The main body itself can be simple or complex. A “duct tape dummy” is used to configure the wearer’s proportions, and literally involves mummifying the customer in duct tape. “Feet I tend to carve from foam, which is attached to simple slippers and

covered in faux fur,” Dawson continues. “The pattern is made 51 ORNAMENT 33.5.2010

33_5_DeviantArtAnimals.7.Final.indd 51 9/2/10 5:38 PM Another entrepreneur in the animal costume field is American Shannon Heartwood, the co-owner of Clockwork Creature Studio, who with her husband Matthew create wondrous, otherworldly animal people. In contrast to Larsson’s furry costumes, Heartwood’s creations have a distinctly feral feel. Despite being bipedal and wearing a sweater, these cats, wolves and foxes seem to remain untamed. Heartwood also produces many hybridized and mythological animals. These Qi-Lin, horned wolves and dragons seem to belong to the mystical realm of the faerie rather than this reality, giving them a slightly unnerving appearance. One can only wonder what it is like walking among several of these costumes at a furry convention. Many of these anthropomorphic animals are seen dressed in rich velveteen vests and suave black leather jackets. Perhaps the fact that a white tiger is wearing the leather jacket mitigates the seeming incongruity of an animal wearing another animal’s skin. This is where we get to the crux of the matter; here, a human is dressing in a skin that is mimicking an animal. Some of these costumes are very realistic. It is said in Native American mythology that animals could look like humans, and donned their skins to regain their animal form. How humorous indeed, thousands of years after that mythology first began, that people would turn out

RONIN’S FOX by Shannon Heartwood, of faux fur, cast resin, 2009. to don the skins of animals.

in a rather clever way (not of my own devising) by covering the foam foot in brown packing tape. When the tape is cut off IXIS by Karen Dawson, of faux fur, foam, fiberglass, resin, polymorph in sections, and flattened out, it can be used to pattern the plastic, lights, 2010. Ixis is a chimaera creature, who resembles a blue cat-dragon. She has stripey teeth and horns, big ears, opaque, fur and the pieces will of course fit perfectly over the original glowing eyes, and a large glowing gem on her forehead. foam. I sew these together and attach the fur with hot glue.” Concerning the most complex and central part of the costume, Dawson states, “I have two main methods of building heads. Either I carve them out of pieces of soft upholstery foam, attached to a foam “helmet” I build based on a lifecast, or I cast the faces out of resin. A clay or plasticine original is cast in silicone and plaster, which makes a mold for the resin.” Further elaborating, Dawson says, “Which method I use depends on the character design. Big cute cartoony designs favor the bold soft shapes of foam. Small more realistic heads are better served by the more form-fitting resin.” Regarding her introduction to the furry community, Dawson explains that it was the internet and her attendance of anime conventions which put her in touch with the culture. Dawson mainly involves herself in the costuming side of the fandom. She has two personal costumes, a red lion and a purple boar. When asked about whether it is more common for people to represent themselves with an alter ego or to create an independent fictional character, Dawson says that it is probably a mix. In her case, Dawson made her characters

52 ORNAMENT 33.5.2010 mainly as a chance to create another interesting costume.

33_5_DeviantArtAnimals.7.Final.indd 52 9/2/10 5:38 PM Heartwood’s interest in costumes started early. She made her first werewolf mask when she was twelve. Her mother supported these efforts. “My mom has always liked crafts and costumes as well, and would usually do things like make my Halloween costume or help me make one,” Heartwood explains. “Many members of my extended family are creative in some way, but the only other person who was involved in textiles was my great grandfather, who was a tailor.” This interest would become a serious pursuit in high school. Despite the disapproval of her art teachers, Heartwood started producing masks, eventually creating a full body-suit in 2005 for her senior art show. She would go back to mask- making in college, since dorm rooms did not offer the space needed to produce full-body work. Heartwood officially began taking commissions in 2007. By 2008, with the assistance of her husband, she became self-supporting. Heartwood remarks that her husband’s efforts streamlined the production process, and that Matthew now does most of the sewing, casting and moldmaking, as well as a fair quantity of the costume assembly. Heartwood herself handles the sculpting, patternmaking and mask-making. Much trial and error has been involved in the Heartwood enterprise. Making suits that are not just beautiful but also durable has been a difficult task. “The learning process has been BEETLECAT by Deanna Larsson, of faux fur, upholstery foam, resin, stressful,” Shannon acknowledges. “In the past, we have really glass eyes, 2009. Beetlecat is Larsson’s personal creation and avatar. only had the ability to do limited field tests, so our customers ended up being the ones to do the full on testing for us. It was always hard to hear that something had broken, or something poorly but the Euro was still in good shape, I noticed that a was uncomfortable, and early on we did a lot of reworking majority of our customers were from Europe. I still do a lot of or even replacing parts for people. We’ve been quick to make business overseas.” improvements, though, so many problems that we had even How much of this re-envisioning of old myths would last year no longer happen. Unfortunate things still occur, but have been possible without a modern invention, the internet, that’s what the warranty is for.” is up for conjecture, but the instant connections that the Heartwood does not consider herself a member of the World Wide Web allows have certainly produced both a thriving furry community, although she certainly is involved in it. “I’m business model and allowed an international community to not a member of any community per se; I’m just an artist come together in pursuit of a not-so-common interest. It has who like costumes and creatures,” she says. “And I think that’s also permitted us to glimpse this other world, and in doing so where a lot of people stand—they like anthropomorphics, or expand our horizons of what is possible for humanity. maybe they like animals and monsters, but it’s just an aesthetic. Every moment new things become possible, while others Others may consider it a spirituality. Some get really into the become impossible. There is both loss and gain, but there is ‘fursona’ aspect, but not all of them are into costuming, just more gain than loss. How else can we explain that it took this out of personal preference. Really, it all boils down to the passage of time for the Native Americans to see the animals common aesthetic.” don their skins once again—but this time, wearing clothes, For both Deanna Larsson and Shannon Heartwood, the drinking a coke, and looking at some YouTube. Although only unique nature of their business has ensured them a thriving made possible by the technology and environment of the first market. “I have more business than ever—the bad economy world, perhaps this new cultural arrival to the global scene is doesn’t seem to be affecting demand at all,” Heartwood simply the spunky reincarnation of an age-old kinship to the marvels. She knows of at least five costume studios which make animal inside us all. much of their income from their work. “It would really not SUGGESTED READING surprise me to find that a lot of these costume studios are WikiFur, The Furry Encyclopedia. en.wikifur.com. Larsson, Deanna. beetlecat.deviantart.com.

costuming full-time. It may help that this business tends to 53 ORNAMENT 33.5.2010 Dawson, Karen. fatkraken.deviantart.com. operate almost completely online—when the dollar was doing Heartwood, Shannon. qarrezel.deviantart.com.

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