RIP Quick Death Pass
By Patrick Konopelski
So you would like to increase your income without doing anything extra. Well, have I got a deal for you. Welcome to the world of VIP services, the business of giving special treatment to people who are willing to spend a little extra money. More specifically, allowing people to go to the head of the line into your attraction, simply by paying extra. Sounds unfair you say? Well as my father used to say, “you get what you pay for!” Remember, people vary in how they value time vs. money. Your attraction inevitably attracts people from all walks of life. Some of these people are used to staying in the nicest hotels, driving the most expensive cars, flying in first class and eating at the finest restaurants. In all of these situations they are being treated special because they made a decision to pay more. Want to know a little secret? They love being treated special.
So, how can you make these people feel special when they come to your Haunted Attraction? As most of you know, the wait in lines at Halloween events can be from an hour to four hours long. Last year at Shocktoberfest, we allowed people to upgrade their ticket to the RIP Quick Death Pass. This is our version of a VIP line. Shocktoberfest features The Toxic Asylum Haunted Hospital and The Biohazard Haunted Hayride. The price of a combo pass is $18.00, but for an additional $10.00 or a total of $28.00, patrons can experience both attractions without waiting in either of the two lines. We even promoted this option in our advertising campaign: “No more waiting in long lines!”
Here’s how it works. We installed two lines at each attraction: the regular line and a VIP, or in our case, an RIP line. The lines are next to each other, and they are marked appropriately. When patrons purchase tickets they decide to either buy a regular ticket or an RIP ticket. The RIP ticket has a large “RIP” stamped across the front. The customers simply enter the RIP line, which will take them right to the entrance of the attraction. It is important to instruct your ticket takers to gradually filter the RIP guests into the attraction from the RIP line, so as to not upset the patrons in the regular line; but the whole idea is that these people get preferential treatment. For this reason, some amusement parks provide a separate non-visible entrance for their VIP ticket holders.
The added benefits to this program were unsuspected. Everyone at the event had the opportunity to purchase this upgraded option, and each had to make a conscious decision whether to wait in line or not. This does wonders for the mental state of your guests that choose to wait in line. The fact that they are waiting in line is no longer your fault. It was their decision to be there! Customers that may have had a bad experience at your attraction or a similar one as a result of having to wait in a long line may be hesitant to return. This option will ease their fear and entice them back.
Another benefit is the ability to give something away that has a high-perceived value, but no additional cost to you. For example, did you ever notice how many “friends” you have during the Halloween season? Rather than giving them free passes, you can give them a coupon for a free RIP Upgrade when they buy a regular ticket. Also, on those occasions when you see an acquaintance at your event after they have already bought a ticket you can invite them to enter the RIP line for no additional charge. Trust me, people will appreciate your generosity, and you did not have to give away the house. This Free RIP Upgrade Coupon is also an excellent marketing tool. Rather than “dollar off coupons,” worth one or two dollars off, send area schools and companies a coupon worth $10. This provides the same amount of exposure and awareness as giving free tickets, without the loss of income.
So just how much additional money can you expect to make with this program? This will depend greatly on the size of your attraction, the length of your lines, and the price of your RIP tickets. But don’t be surprised if you make an additional $5000 to $10,000 for doing nothing.
Patrick Konopelski is owner of Shocktoberfest, located in Reading, PA, and is a speaker at the Halloween seminar at this year’s National Halloween, Costume and Party Show in Chicago. He can be reached via email at shocker@shocktoberfest.com or check out the web site at www.shocktoberfest.com
Zombie Paintball And The Osama Range
Randy Bates
Always looking for a way to increase profits, we stumbled upon the idea of opening a paintball booth shooting range to operate as a concession during our Haunted Event, Bates Motel and Haunted Hayride. Currently experimenting with hosing paintball fields on our farm, and we hoped that the shooting range would bring in a few extra bucks in October and boost interest in paintball. Being only a few miles south of Philadelphia, the 9/11 tragedies gave us great concern about how it would affect our attendance only a few days latter, and the war that followed made us take a second look at the shooting range. We did not want to change our plans, but we were worried about our paint ball range being labeled a training camp for little terrorists. After some discussion, and President George W. Bush challenging the country to go on about our business, we decided not to let the terrorists win. Rather than scraping the shooting range, we simply adjusted. Dressing a mannequin up as Osama bin Laden, complete with turban and beard, we placed him in the paintball range and let the kids wail away at him, ten shoots at a time for $2.00. We had plenty of other targets for people to shoot at; pumpkins, hanging saw blades, bowling pins, pots and pans, but the favorite was bin Laden. It proved to be such a hit with adults as well as kids that we had to replace the original mannequin after the face had been destroyed.
My paintball partner, Joe Meyers and his wife, Dana Meyers, operated the booth. We had four paintball markers (guns) that were cabled to the shooting bench rest so that they could not be turned away from the range, and eye protection was in use at all times. We used a ten-foot wide by twenty-foot deep tent to cover the range. We draped a protective mesh netting to cover the entire inside of the tent to protect the canvas from being ripped by the paintballs. The paintballs we used were UV reactive white and under black lights they looked like tracers. The shooters were under constant supervision by the people manning the booth, and we did not have a single problems or safety issue.
Like most people on the east coast, our community was stunned with the loss of life in the World Trade Center attacks. Most of us had friends or neighbors who lost loved ones. One such neighbor was the co-pilot on the flight that struck the Pentagon. To help raise money for his family, we printed several thousand targets with the image of Osama in crosshairs, and sold them for a $1.00 donation over and above the $2.00 for the paint balls. People would buy the target and then shoot it on the paintball range. They could take the riddled target home if they wanted to. Soon it became apparent that many teens were just buying the target, taking to one of our bonfires, and burning it. (Where is CNN when you need them?)
On Halloween night, Joe decided to dress up in the Osama get up and taunt people at the range into shooting at him for $5.00. He wore a Kevlar vest, full-face mask, leather padded pants and a cup (never forget the cup!). Joe swooped and dodged but he still ended up stung and bruised. That night he raised over $500.00, and all combined our fundraisers raise almost $8,000.00 for victims of 9/11.
A paintball shooting range can be a huge moneymaker for an outdoor attraction, with the right setting and the right people to run it. If you decide to try this at your attraction make sure that the shooting range is protected and enclosed. Paintballs travel at around 250 feet per second and can really hurt someone. Use good quality markers such as Tipman, and good quality paint that will not break in the barrel. Make sure that the shooters are supervised at all times, and read them the safety precautions before you hand them the gun. Check the velocity of the gun before starting each night, and wear eye and face protection when on the range. Insurance is available through the American Paintball League at 800-541-9169, or check out their web site at www.paintball-apl.com
Randy Bates is the owner of the Bates Motel and Haunted Hayride on the Arasapha Farm in Gradyville, PA. He can be reached at rbateshh@erols.com
Shutter to Think: A Low Tech Automated Effect
Joe Meils
Materials
6” Square Steel Rod Stock
Rotisserie Motor With Some Kind Of Mount
Old Shutter
1/8 Inch Masonite Or Luan, The Same Size As The Shutter
2 Strap Hinges (About 6”)
2 Small Elastic (Bungee) cords
Heavy-Duty Electric Terminal Lug
Duct Tape
Wood Glue
Tools
Standard Screw Driver
Drill With Drill And Screwdriver Bits
Think about it; how many illustrations of a Haunted Houses have you seen, that feature a manse with old style window shutters banging slowly in the October wind? How often have you heard the squeaking slap on a sound effect CD’s or seen in a scary movie, the shutter of the crumbling building, that would suddenly stop banging or more startlingly mysteriously start slamming right when the hero is about to reach for the door knob? The look of dilapidated window shutters is as much an Americana as apple pie.
Rigging a shutter to sway mysteriously in unseen winds, or to slam suddenly as our brave patrons pass by, is a great way to set the mood of a scene or to get a good startle. The following is a simple method for creating just that effect, and depending on just how fancy you wish to get, it will not cost you more than a few bucks. The basis for our spooky animation is a rotisserie motor with rubber band returns. This contraption is so simple, that it has very few bugs to work out, and with proper adjustment, the strain on the components is minimal, so it should give you a season or two of service before the for any major repairs on it.
What we are building is essentially a crank arm holding an elastic strap, In turn, (no pun intended) this crank is attached to the shutter of your haunt via a low strength bungee cord. A second, mostly slack, bungee cord pulls the shutter back open again as the crank moves back toward the shutter. The shutter is alternately pulled shut, and flung open by these two rubber cords, as they are alternately being pulled or released by the motor.
The Motor
Although various speed motors can be used, I prefer one that is 30revolutions per minute (RPM). This motor turns at one rotation every two seconds, and seems to give the best effect of a shutter being randomly blown around by the wind, or a restless ghost. This is really a matter of taste, so I encourage you to experiment to find the speed you feel is right. My first experiment in this used an old Bevel BBQ motor. It was a little slower than the optimum RPM, but I got it for free, so the price was right. Mounting the motor will depend on the style of motor. I fashioned a mounting bracket for mine out of some scrap aluminum plate so that the motor could be held horizontally, and the shaft (in my case a 3/8 inch square chunk of metal called “key stock”) would be pointing upward.
Garage sales are a great place to pick up these motors, and I use them for many things. Unless the motor is visibly burned, chances are its still operational. With a little time and a little oil, but you can usually get any BBQ grill motor to start running again by rotating the gearing through a few revolutions by hand.
The Crank
In order for this effect to work properly, you need to decide how far you want the shutter to move. For engineering reasons, it is best not to have the shutter pull back more than 45 degrees (1/4 of the way open). If you go back farther than that, the conflicting stresses on the cords will end up compressing against the hinges of the shutter, and the shutter will eventually self-destruct, like so many machines on Junkyard Wars do. This banging shutter will open about six inches. So, the crank needs to have a radius of about half that. Cut the key stock to about six inches, and bent the last two inches over into an “L” shape. Drill a 1/8 inch hole in the long end of the “L” (a drill press would come in handy here). This is where I would mount a screw to hold the bungee cord.
The Shutter
The shutter can be either something that you find at a scrap yard, or something you buy for the occasion. I like the look and style of the scrap yard variety, myself, as they do not need to be painted to look weathered. Before mounting the shutter, go over the entire framework with a generous amount of carpenters glue. Make sure the joints are sound or the shutter will just bang itself to pieces. If this shutter will be banging closed, you will want to reinforce it buy backing the whole frame with a piece of 1/8 inch masonite or Luan, cut to the same size as the shutter. The hinges, too, must be of a heavy-duty variety. This effect will be torturing itself throughout the run, so make sure all the places where it could crack, chip or otherwise fly apart are well built.
The Bungee Cords
The size of the bungee cord needed to move the shutter will depend on how big and how heavy your shutter is. In most cases, the pencil thick bungee cords used for strapping down cargo will be sufficient. For a light shutter, you may be able to get by with a couple of lengths of dress making elastic. (My prototype used a fairly lightweight shutter 30 inches tall and 10 inches wide and used the elastic from an old set of briefs) If you intend to be banging something larger, say, like a cemetery iron fence gate, you will have to scale up the components accordingly.
Assembly
Mount the motor on the inside of the window, slightly back, so that the crank does not hit the window.Depending on they type of motor you have, you can mount it so the shaft is either in the horizontal, or vertical position. I mounted mine vertically, simply becasue it allowed gravity to help keep the shaft in place. Attach a length of bungee to the crank using a heavy-duty electric terminal lug. Just roll up the cord, shove it into the lug, and crimp it down. Mount the lug to the crank by the screw on the end of the lug. Make sure that as the crank turns, it will not catch on the bungee.
Mount the shutter to the outside of the window. I attached mine at an odd angle, so that gravity was also helping it to open it in operation. Mount the shutter about one half-inch lower than the window, to make sure that there is plenty of room for the bungee cords to move back and forth without rubbing the frame opening.
With the shutter held in the closed position (with the help of a piece of Duct Tape) move the crank to the position farthest away from the window. Screw the lose end of the elastic cord to the shutter itself. There should not be slack in the cord, but the Bungee should not be stretched either. Removed the Duct Tape and move the crank into the position closest to the window, where the elastic was at its most slack. Attach a second length of elastic to the shutter frame and then pulled the shutter open until the cords are just slightly taught. Secure the loose end of the elastic cord to the wall about eight inches away from the window frame.
Testing And Adjustments
Turn on the motor and check for tension of the cords and the action of the shutter. On my first try, the shutter was not being pulled quite hard enough to make it slam. By increasing the tension on each of the cords, I got the effect I wanted. A little trial and error is needed to finesse all the parts into working properly. The shutter should now ease open, and then slam shut with a loud bang! With the addition of “wind” sound effect, the action of the shutter was very believable.
Extras And Alternatives
Depending on what you have available, and how fancy you want to get, this basic rig can be made to turn on and off randomly, using timer relays, a mat switch, motion detector or a photo cell. I had a simple timer rig from a surplus store to turn on the effect every three minutes, and stay on for about a minute before repeating the cycle. I used my shutter on the façade of our attraction, and placed a set of glowing red eyes inside the darkened window looking out.
Some of the other possible uses for this rig might be to open and close a cemetery gate, or make a porch swing thump back and forth (a la Evil Dead). With the proper motor, this same rig could be adapted to move dummies, or any other prop that needs a slightly erratic, repetitive motion, and is much cheaper than getting into pneumatics, of other kinds of higher tech articulation. And now when patrons see your Haunted House, it will remind them of something they have seen before, perhaps in a movie, or illustration; an old a manse with dilapidated window shutters banging slowly randomly blown around by the October wind, or toyed with by a restless ghost.
Joe Meils is a lifestyle haunter, having worked various haunts in Illinois and Colorado since 1980. Currently he is living in Conway, Arkansas, where by day he's the technical director for the Snow Theater at UCA. At night he becomes the evil genius of "Goblin Grove" a five acre haunted trail, located on his own land. Currently, he's preparing to start a small latex prop and decoration business, called "Boojum Studios, LLC."Contact Joe at BoojumStudio@aol.com
Haunted Books
Christopher Silva
Materials
Extra shelf board (or similar)
Old hardcover books
1"x1/2" pine stock
low rpm motor
Aluminum rod
Pieces of insulation foam
Scrap of 1/2" plywood 4" X 3"
1/4" plywood about 2'X4"
bungee cord
plastic yard sign
hot glue and gun
1.5" wire brads
old shelf or similar piece to mount the project to
Plastic sheeting
Tools
router with 1/4" straight bit
Glue
hammer
saw
A House just is not Haunted without ghosts, and unless you are lucky enough to find a truly Haunted place to operate your attraction then you will have to do the “Haunting” yourself! I was looking for an inexpensive way to create the illusion of poltergeist activity in a library setting, with dusty volumes on a bookshelf moving by unseen hands, and came up with a motor and cam shaft arrangement that worked really well. As described herein, this project is self-contained and built directly onto a shelf to fit into an existing bookcase. As presented, it could even be used in a nice bookshelf in your home without any damage to the furniture. You can use an extra shelf piece that you do not mind damaging or find a similar piece of wood, cut to size.
The Books
Even though only 5 books move, you need enough books to fill the shelf. These extra books help hide the motor and mechanism. I used and an old set of encyclopedias, but this would work just as well with different types and sizes of books. To prepare them for mounting on the shelf, remove the inside pages from each book leaving just the hardbound jacket in tact. Use pieces of insulation foam cut to the thickness of the books to replace the pages and help the cover hold its shape. Using an extra shelf from the bookcase (or a board of the same size), arrange the books on the shelf in the order that you want them. Make sure that the backs of the books are about 4" away from the back of the shelf, to leave room for the mechanism and return cords. Determine which books will be moving and which will be stationary, and mark the location of each. For this example, 5 books will move, but you could have more or less.
After you have determined the number of books that will move, make the cams or “fingers” (as I like to call them) that will push the books out from behind. Cut 5 finger shapes (see diagram b) from 1/4 inch plywood and round over all edges with sandpaper or a grinder. You will need to drill a hole in the finger the same diameter of the rod. The fingers need to fit snuggly onto the rod. Use an aluminum or graphite rod that fits over the drive shaft of the motor. I used a 5/8" piece of spun graphite rod about 3/4 of the length of the shelf, that fit perfectly over the motor shaft. Drill a small hole through both the rod and motor shaft and secure the connection with a cotter pin or small nail. I used a small nail and just bent it over to keep it in place.
The size books you use will determine the height location of the rod. It should be approximately at mid height of the books. By this I mean measuring half way from the shelf to the top of the book. (See diagram a). Your cam rod needs to be mounted at this height behind the books. Block the motor with scrap wood or whatever you have handy and mount it to one end of the shelf at the correct height. The shaft should be about 2” from the back of the shelf. At the other end of the shelf, use a piece of wood for a bracket to hold up that end of the cam rod at the same height. The rod needs to be as level as level as possible from the motor to the bracket. Before you secure everything slide all the fingers onto the rod.
Cut scrap pieces of wood stock (one for each stationary book) to 1 inch tall, by thick the original thickness of the book, and the approximate depth of the book. Starting on the end with the motor, (See diagram c.), secure the first piece by gluing and screwing it to the shelf. Then take one of the book jackets and glue it onto the wood stock. You may have to cut away portions of the books on this end to fit over the motor. Make sure to give the motor enough breathing room because it will get hot. Continue with this process until you reach the first book you wish to animate.
The Tracks
The next step is to make tracks (like drawer slides) for each of the books that move. Take a 45 inches long piece of 1 inch by 1 1/2 inch thick long wood stock and router a 1/4 inch grove down the center of the wider side. This will be enough track for at least 5 books. You will also need to rip another piece of stock to 1/4 wide and 45 inches long that will fit inside the routered grove to act like a rail. Starting with the last book you secured in place, mounted measure a piece of the track about 1inch shorter that the length of the book. Using a sharp utility knife cut a slot in the side of the book to recess the track into. The track needs to be the same height as the cam rod and mounted flush to the side of the book. (See diagram d.) Take the book that will be mounted on the other side of the moving book, and using the first book as a guide mount another piece of track into this book. Cut two rails pieces the same length as the tracks and mount them onto each side of the book you want to move. Placing the rail in the track, run some glue along the edge of the rail and press the moving book into place slightly off the shelf, and against secured book. Then take the un-mounted book containing the track, and do the same for the other side. Holding the un-mounted book in place, test to see if the moving book slides in and out properly. A little sanding and some wax will help it to slide more smoothly. Now you can mount the other book containing the track with the wood stock as before. Be sure to leave enough room on each side of the moving book for it to slide freely. Continue this process until all of the books are mounted.
Cut a strip of the plastic sheeting (I used an old sign I had) about the same size as the spine of the book. Attach this “strike” to the foam insulation inside the moving books (See picture a). This will give the fingers a nice smooth surface to push against. Starting with the first moving book, slide a finger down and align it exactly in the center of the plastic strike. Drill a small hole into the finger and through the rod. Then insert a small nail or cotter pin to keep the finger from spinning. Continue to secure the fingers along the rod at different positions until all 5 are attached. This will make the books move in and out in a random fashion.
In order for the books to snap back into place you need a return mechanism. Cut a bungee cord open and separate about four or five strands of the elastic. Secure two sections of the elastic to each side of each animated book, near the back of the shelf. Using a hole punch or a nail make a hole through book jacket and tie the elastic through them. Place a screw or brad nail into the shelf (about 1/2 way) directly behind each moving book near the edge of the shelf (See diagram a.). With the book set in the start position (with the front of the book flush to the rest of the books) tie the elastic to each of the nails. You will have to experiment with the strength of the bungee in comparison to the torque of your motor. It may need more or less resistance to draw the book back. Rubbing a little wax on top of the shelf may also aid in movement.
Now time to replace that old boring shelf of books with your new Haunted set. Make sure that there is enough clearance behind the shelf so that the fingers can make a full rotation without hitting the back of the bookcase. Run the power cord out of site and down behind the bookcase. Plug it in and turn the motor on. The books should randomly slide out and snap back into place. You will want to use an electric timer, motion detector, pressure mat or remote switch to activate the Haunted books.
Now it is time to invite your non-paranormal believing friends over for a social. Build them up with a story about how you think that your house is really Haunted, and make an excuse to leave them alone in your Haunted Library. You may never be able to get them to visit you again!
Christopher Silvia is the owner of Banners for Dark Attraction, Portsmouth, RI, which makes quality custom-made nylon banners for any venue. Every October he turns his home into Lamar Manor and terrifies his neighborhood. Contact Christopher at cslivia9@idt.net or visit his award winning web site www.christophersilvia.com.
The Reality of Mimicking Reality
By Rob Corsino
As an artist I tend to be very observant and curious about the look, shape, color, patterns, and textures of many everyday things around us; but when it came to recreating these things as sets, there always seemed to be a bit of realistic quality missing. Whether it was the crackled paint on a door or the green patina covering a bronze tank, it always looked like a cartoon of reality, rather than reality itself.
I came to the conclusion that my mistake was that all the faux finishes I had learned were from books and TV programs by people like Martha Stewart and Christopher Lowel. No one would want to live with the mess from walls with actual cracking and chipping paint or the crusty texture of flaking patina and rusty metal…well maybe us Halloween freaks would put up with it, but only if it was really creepy.
These techniques were designed to create the perfect look for a wall in a trendy home, not for the suspension of disbelief in a theatrical setting. For one thing, they were too uniform: everything blended together without highlights or focal points.
To overcome this flaw in my technique, I went in search of these textures in real settings; historic sites, Kevin McCurdy’s 100-year-old home, county fairs, grandma’s house, and even the buildings that house other Haunts! I started taking pictures and notes about materials, specifically the textures and how they decay over time, but also the placement of shades of colors and how they are layered. I studied the physical characteristics of the textures and how they felt, just as a Fine Arts Major must study the masters before being able to paint like them. The masters of this particular “art” are time and the elements of nature. To achieve the most realistically creepy faux effect, you must first study reality. I looked at everything from old glass windowpanes in factories to the rusted crusty frames that hold the glass in place to cracked concrete walls with chipping paint that have wet stains from the leaky pipes that run along them.
The scene: a dark, damp, musty basement with crusty walls and some rusty pipes. Now we need to paint it!
Old Concrete Walls
First we will attack those new walls and turn them into old cracked cement/concrete! The surface can be made of drywall, plywood or Luan; the process is the same. The tools and materials are simple and most are easy to find in hardware stores. As with any do-it-yourself project, make sure you wear protective gloves, a respirator, and safety eyewear.
Materials
Joint Compound
Black, Brown, Orange and Yellow Latex Paint
Bondo Automotive Filler
Paint Primer
Tools
Protective Gloves, Respirator, and Eyewear
Paint Sprayer or a Quart Size Automotive Touch Up Gun
Hopper Sprayer and Air Compressor
Metal Paint Mixer and a Drill
Large Masonry Trowel (or Homemade Equivalent)
2" Chip Brushes
Pump Sprayers
Heavy Duty Sandpaper
Step 1:
Mix the Joint Compound and black latex paint to the desired shade of gray. Do not mix in too much paint or it will become too thin to use. It must still be of a thick and pasty consistency. A metal paint mixer that attaches to a drill is worth the investment if you are going to be making more than 3 gallons.
With a large masonry trowel, or a scrap of Luan or 1/4" plywood (about 8"x12") with a small block of wood screwed on as a handle, spread a 1/8" - 1/4" layer of compound onto the surface. It does not have to be even. As you drag the compound over itself, leave irregular and rough patches. These will look like empty holes and occur most easily between layers when dragging wet over dry compound as the dry immediately starts to absorb the moisture of the layer above.
Step 2:
When the area is covered and completely dry, use a Hopper Sprayer to coat the entire area with a textured spray of tinted joint compound. Hopper sprayers are normally used in home construction to put a texture on ceilings. You will need a decent air compressor for this tool, not a tiny one from an airbrushing kit. If you cannot find the sprayer in your local hardware store you can use a sea sponge and stipple on a thinned mix of joint compound in small sections at a time.
Step 3:
Before step 2 dries completely, use your (now cleaned off) trowel from step 1 to lightly “knock down” the wet compound. Apply medium pressure and drag across the covered area until the whole wall is fairly level with a pitted texture. The depth in the pitted areas will be crucial in the later painting steps! At this point, you can also use the corner of the trowel to etch in “veiny” cracks, if desired.
Step 4:
After sitting impatiently until the surface is at least dry to the touch and crusty, we can finally start to paint! Use the paint sprayer or touch up gun to mist and highlight the wall with a lighter shade of gray. Spray the whole area from one direction so that the over-spray does not hit the “shadows” left in the holes and crevices. Once that dries, fill your pump sprayer (usually used for spraying deck sealant and varnishes) with a mix of 1/3 black latex paint and 2/3 water, mixed thoroughly. Pump up the sprayer and from a distance spray the entire wall thoroughly, allowing the paint to settle into all the nooks and crannies of the wall. Immediately use a second pump sprayer filled with water and mist the wall so that the first layer of black bleeds and runs down the wall. Continue this process until you have the desired look. Then replace the black paint mixture with a white paint mixture of the same proportions and repeat the process one more time, to provide highlights.
Now for the Rusty Pipes
Using various sizes of PVC piping and connectors and flanges, lay out your plumbing nightmare on the floor. (It is easier to paint before it is attached to the wall but you can do either). You may want to do some research about how real pipes work first. Be sure to use a good PVC glue and primer when assembling your pipes.
Step 1
Rough up all of the PVC pipes with heavy-duty sandpaper, so that the rust treatment will stick.
Step 2
Smear Bondo Automotive filler onto the new pipes to simulate rust and corrosion. Follow the mixing instructions on the can and use small batches no larger than a golf ball. Be sure to wear protective gloves, a respirator, and eyewear for this step! This stuff adheres to everything and has horrible fumes, so be careful! Apply the Bondo with a stippling technique. When the Bondo is dry, go over it with heavy-duty sandpaper to knock off any nasty little sharp points left behind.
Step 4
Using the automotive sprayer or a brush if the pipe is already on the wall, paint the pipe assembly with a good paint primer. When the primer is dry, spray or hand paint the pipes with black paint. This provides a good dark base to start the scenic treatment on.
Step 5
Using several sea sponges, stipple the pipes with layers of different shades of brown, orange and yellow paint, in that order, with the browns covering most of the pipe, and covering less and less area with the following layers.
Step 7
Now you are ready to attach the painted piping assembly securely to the walls. For the final finishing touches, mix some brownish orange paint and water into the pump sprayer. Simulate rust stains on the walls by dribbling the mixture onto your concrete wall where the pipes are attached. Help the mixture run down the wall by misting it with clear water from another sprayer. Then stand back and take a look at your masterpiece.
Mimicking reality is not that hard once you know what reality really looks like. If you want to drastically enhance the look and reality of your Haunted Attraction, so that people honestly believe that that plywood box and plastic pipe are really a concrete slab with a rusty old pipe, you have to get out of your coffin and study what an aged concrete slab and an old pipe actually look like. Study the natural decay of each material. Tour as many old historic sites as you can, and document your observations with photographs and notes. But get permission from the owner. Claiming that you were trespassing “In the name of creativity,” does not work (unless you have a dog named Scooby and ride around in the Mystery Machine).
Rob Corsino, of Banned From The Graveyard Designs, graduated with honors from The Art Institute of Philadelphia with a degree in Industrial Design with an award for “Most Outstanding Achievement.” His studies included toy, furniture, and automobile design, but he focused on special effects make-up, tradeshow exhibits, and set design, and the skills needed to complete these projects such as sculpting, mold making, airbrushing, and conceptual rendering. He has worked as Co-Designer and Key Artist for the scenic company Imaginart Studio since 1997, and as a make-up artist for Kevin McCurdy’s Haunted Mansion since 1994. Rob can be reached at (845) 485-8237 or Scaryfxman@aol.com, or check out his web sites at
www.thehauntedattic.com.
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