Welcome to PKCPainting.com, the official website of Patrick K. Coppinger, Freelance Creative Consultant, Designer, Project Manager, Scenic Artist/Set painter, and Professional Artist.
Patrick K. Coppinger has worked in the entertainment industry for well over 30 years, demonstrating quality and versatility in many different styles of artwork. Patrick has been an benefit and an asset to many projects and companies over the years. His career began as a set painter and Scenic artist working under masters in the trade, who recognized his natural talent. Learning his trade through hands on work and being mentored. He found opportunities to grow and learn other aspects in the industry, while still remaining primarily in the set painting and scenic artist role. He has been placed in the position of Freelance Creative Consultant, Designer, Project manager. Due to his experience. Patrick is able to design, budget, schedule, and execute the design in a manner that is effective. This doesn’t mean problems don’t arise, because no project is without it’s problems, but problems can be solved or diverted to complete the project. That is were hands on experience comes in becoming a benefit and an asset to any company or project. He passes along his skills and knowledge in trade when ever possible. With an ability to recognize talent and potential, he will train/mentor in the trade from time to time, those he feels deserving of the help, Passing along the tradition. He has worked on many projects from around the world over the years: motion pictures, television, theme parks, museums, theaters, custom homes, themed retail outlets, resturants and much more.
Historically the entertainment industry has provided escapism, especially in economic recessional periods. In the past this has been proven to be true and investors have found entertainment to be profitable. In today’s market the entertainment bar has been set higher in all areas and investors need experienced and quality personnel to ensure the project can reach that goal. See Project bidding and budgeting 101 By Patrick K. Coppinger, below.
To Whom it May Concern:
I have had the privilege of working with Patrick on a few recent occasions and he was a great asset to my projects each time. I hired Patrick as an onsite scenic artist for a mirror maze project and again for a large haunted attraction project. On both projects, Patrick was always willing to listen and take artistic direction, as well as offer some great ideas himself which were very beneficial to the projects. On the most recent project, I allowed him to act as a lead for the other scenic painters in which he excelled in making sure daily tasks were done on time and to the utmost quality. I would recommend him highly on any project in which you need someone who is very hardworking, dedicated, and willing to do what it takes to get the job done right. I will definitely work with him again in the future.
n8 creative studios
He is a competent scenic artist, sculptor, designer and craftsman who is able to operate in a wide array of visual applications. He is not only a skilled artisan, but is also gifted conceptually and is able to run crews of artists unto tasks with firm deadlines. I would have no reservations in having him aboard on any project that I was personally responsible for the outcome of.
Scenic design, murals & visual displays
Co-owner/operator of Artistic Walls/LLC
“I've worked with Pat in a couple situations where he was showing how to faux finish everything from a wall to look like stone or a piece of pvc pipe to make it look like a rusty iron railing. I shot a how to do the basics of faux finishing years ago, recently shot a how to on basic painting tips & we've covered him instructing a workshop at HauntCon 2010. If you need kick ass scenic art, a mural or the Scenic lead for your next feature at a fair and honest price Patrick K Coppinger is your man.”
D.Thomas Laskowski, Owner / Operator, DigitalReel Productions LLC
To Whom it May Concern:
I have had the privilege of working with Patrick on Rock of Ages, the movie and he was a great asset to the project. I hired Patrick as a set painter/ scenic artist, His year of experience were beneficial to the crew. Patrick was willing to listen and take artistic direction. Patrick was given small projects with the other painters in which he made sure were done on time and to the quality expected. I would recommend him highly on any project in which you need someone who is very hardworking, dedicated, and willing to do what it takes to get the job done right. I will definitely work with him again in the future.
4430 Price ST #102
LA, CA 90027 323 646 8462
Rock of ages
Patrick K. Coppinger is always looking for new and interesting projects.
To Contact Patrick K. Coppinger about your project and rates, please proceed to the Contact information page.
Enjoy this site and visit often, information will be added and pictures will be changed and updated from time to time.
Below you will find informational videos, links to music videos, and a list of Credits of a few projects, still enjoyed by many people today. For a full resume / CV please send a email request.
Motion Pictures T.V. Commercials
NightFlyers (on screen credit) BMW
Masters of the Universe Oldsmobile
Robo Cop Buffalo Sabres
Waxwork (on screen credit) Godfather’s Pizza
Waxwork 2 Beefeater’s Association
Freeway Tropicana Fruit Juice
The Blob (1988) Budweiser (Spanish Star Search)
Men at Work Dixieland
Matinee Br’er Rabbit (Disney World)
Walking Dead Tower of Terror
Rock of Ages
T.V. Movies (MOW’S) T.V. Specials
Curiosity Kills Bugs Bunny 50th Birthday
Conspiracy Trial of the Chicago 7 Easter Seals Telethon
Elvis & Me Lou Rawls Telethon
Motown Christmas Special
Soul Train Music Awards
Disney World 4th of July (’92)
T.V. Series Theme Parks
American Gladiators Ghostbusters (Universal Tours, Fl)
MacGyver Voyage to 1939 (Queen Mary, Long Beach
Everyday Splash Mountain (Disneyland)
This Evening 35 Years of Magic (Disneyland)
Sales Television Network (’86, ’89) Shamu and Baby (Sea World, Fl)
The West Batman Stunt Show (Six Flags, NJ)
The Apartment Fieval’s Playland (Universal Tours, Fl)
Financial News Network (FNN) Barney Live (Universal Tours, Fl)
Brother and Me (Nickelodeon) Port of Entry (Island of Adventure, Fl)
Allegro’s Windows (Nickelodeon) Lost Continent (Island of Adventure, Fl)
The Newz Wizarding World of Harry Potter (Universal,Fl)
TNA Wrestling Pirates Voyage (A Dolly Parton Company
Myrtle Beach, SC)
Member of the Wedding (GEVA) Fort Wilderness Lodge (WDW)
Molly and Maze (Gaslamp Theater) Boardwalk (WDW)
Ain’t Misbehavin’ (Orlando Civic Center) Typhoon Lagoon (WDW)
Sony (Cypress Gardens)
Miles Pharmaceutical (Florida)
Toy Boxes (Nickelodeon) Animal Kingdom (Disney World)
Mashantucket Pequot Indian Res. Elephant Fountain (New Orleans zoo)
Production Design And Art Direction
Home video Industrial
U.B.You Kodak Color System
BMX Juice Appeal
Swayze Dancing Market-Tote
West Side Story
Conventions Medical Conference
ElectroGIG Liftime Network
Album Covers Recital
Dream Machine (Belfast) Over the Rainbow
He has also Writen, Executive Produced, Produced, Directed, and Hosted How to DVD's , T.V. commercials and T.V. Show spots.
“Faux for Your Haunt” in association with Haunted Attraction Magazine.
“TransFlorida Corp. General Contractor“, Television Commercial.
" Ranger Bob, U B You Spot"
How- To Articles
Haunted Attraction Magazine
The Painter's Journal
HauntCon 2004 Guest speaker
HauntCon 2010 Guest Speaker
HauntCon 2010 Highlights
All videos through ehow. Patrick explains each subject. Film maker D. Thomas Loskowski. To view videos EHOW websites have changed the link so you may have to search the site.
Accent wall color for interior painting
Choose interior paint
Type of Paint on trim
Sand Walls before painting
Use Painting Tools
Mix Paint and Reducer
Easy interior Painting Techniques
Touch-up Paint interior walls
Clean Paint Roller
Reduce the Gloss of an interior wall
Remove wall paint
Scrape paint off interior walls
Freelance, during this time period I was able to accumulate time in an entry level design drafting, engineering and project manager. Main duties focused on Screen room enclosures (aluminum extrusion structures), pool enclosures, sunrooms, carports. Additional drafting and engineering focused on general architectural, single and multiple story structures. I currently integrate elements of Carbon fiber imbedded materials as well as using organic and water base formulate compounds and resins with mildew and Ultra violet protection, to create designs whenever possible that lower weight, increase longevity, decrease chemical erosion and maintenance cost.
• Work Experience
• Simi Valley Career Education Center, Simi Valley, California. Completed AutoCAD course in Architectural, mechanical, two and three dimensional design.
• One year Micro Computer Specialist course included; word perfect, lotus, dBase, desktop publishing, office automation, telecommunications, business communications, windows, and basic accounting.
• Site measurements, including elevation (with the use of a transom).
• Rough drawing.
• Final drawing.
• Engineering (pre-stamped or prepared for engineer stamp).
• Engineering research, and coordinating with other engineering disciplines.
• Site visits.
• Coordinate with Contractors and sub-contractors.
• Pre-pare, submit and post permits
Project bidding and budgeting 101 By Patrick K. Coppinger
As a scenic artist I spend a great deal of my time looking for new projects, as do most of you. With that comes most of the time bidding for those projects, especially the larger projects. Rather it be giving a price or giving a bid. Some of you may not be familiar with bidding and that is what I am going to cover in this article.
Like myself at first this process is a little intimidating, the big questions pop up like. Were to begin? How do I ensure that I will get the job? How do they determine who is going to get the job and are they fair in the process?
To answer the question, where to begin? Don’t panic the bidding process is not much different from pricing a job for a client. To price a job for a client you need to know certain details of the job to be able to properly arrive at the price, right. So let’s take a look at those details. First what is the project? Is it a set? Is a project for a theme park, a theme restaurant, a retail store, or a private home? What does the client have in mind? Once you know this you can decide if it is a project you want to spend your time on bidding. If so, then inquire to the client that you are interested in becoming a Vendor, so that you can become eligible for bidding. Generally this entails that you provide documents to the client as proof of your legitimacy as a contractor to do the project. Such documents include Business license or incorporation, proof of liability insurance, proof of workers compensation insurance, and bonding. The documentation that you have to provide can vary from client to client. That is why it is good to check with them on the Vendor qualifications each time.
Once you have qualified with the client request the project’s package for bid or Bid Package. Once they send it to you study it closely, look over the blueprint, and other documentation (Construction Documents) that comes with it ( This will define your “Scope of work” Scope of work is basically the work you are bidding on and will be responsible for completing, so make sure you understand what you are bidding on). Generally the package will have a set of blue prints and Specification documents or a book. If the package arrives and does not have a specifications document or a book with it, submit what is known as a RFI (Request for Information). The clients name address etc. and your information, then your question. They in turn will answer you in certain amount of time (usually days) with the answer. You may ask, why this process? There are many terms in the construction industry, and the entertainment industry. These are mainly processes that have come about for legal reasons, I am not a lawyer, but I have a basic understanding of them and it makes sense to me. (There are many Construction dictionaries online that explain the terms). When you are an artist you have the freedom to create what you want. When you are an artisan you are following the direction of your employer. When you are bidding on a project you are an artisan. Art by law is considered “Subjective”, this relates back to what does the client have in mind. The biding process is determining exactly what the client has in mind before you can begin to determine a price.
You’re basically taking away as much subjectivity as you possibly can. Blue prints will give you technical details of the project such as square footage, elevation, conditions and obstacles that maybe a consideration to which equipment you should use. NOTE; You should also consider and it is wise to do so, a site visit as construction progresses to observe working condition and have a clearer tactical plan in the consideration of obstacles, this of course is after you have been awarded the bid. Concept drawings (Illustrations of the designers final outcome of the project overall look and finish.) can give you an idea of the finished project, Shapes, placement of color. Keep in mind that most of the time the concept drawings that you will receive are copies, which means that the colors are not true or correct. With this in mind, make sure that you have in your specifications (Construction Documents) for the project that you have received a listing and or chart of the color chips (Swatches of color samples) with their manufacturer, color name, and number. Also have a corresponding color placement chart, so that you know exactly where they are going. It is a good practice to place the true color chips on a chart that corresponds with the non-true color chart you received, so that you can become familiar with the true colors you are going to work with. This will save you later on if there is a dispute during or at the end of the project.
Also if there are not samples (relatively small generally 1’x1’ sections of finished product, giving texture and color examples of what the designer is wanting), of the areas in which you are to work, then include samples in your pricing for the project. I usually only include two per treatment, after that if they can’t make up their mind then I charge extra. “It can be a very expensive process to arrive at what someone wants, when they don’t know.” Generally the sample process, if you are going to do it, is after you have been awarded the bid. Although in some cases, I have found that the Sample process is bid out separately from the final bid, this done sometimes on large projects when they produce models and samples for elaborate presentations. This can bid on separately (you should inquire if there is a “Sample Program”). Now here is a tip, most companies, especially theme parks; do not want something so elaborate that there maintenance department can not duplicate it. Although, I have the skills to produce a high quality product, does not mean that someone else has the skills and can duplicate it. Theme parks don’t always hire specialist to work maintenance. This is not a put down to the workers, it is cost effective way of the companies to keep cost down. High traffic areas are a lot of work to maintain, no matter what you put on them.
If you are sure you have the information you need, here comes the work! Now that you have all the construction documents that give you the information details to the project, you can begin to break them down for pricing. Don’t be afraid to submit an RFI if you need too, TIP; just don’t ask how much there looking to spend, they won’t tell you.
This part should not be unfamiliar to you, because you have had to budget for other jobs, if not, don’t worry we are going over the steps. TIP; I would like to add at this point, that this is the part of the bid that is going to determine whether you will get the project or not. The way that works is, as you budget the job the final total is called the bottom – line. The bottom – line is what the company will look at when they decide who will be awarded the project contract. Do not; discuss your bid with no one, other contractors, friends, and especially the company you are providing the bid to. The bids are sealed bids, meaning no one sees them prior to the companies determination panel sees them. This keeps others from knowing what you bid, so they can’t try to beat your bid, and not discussing it with the company doesn’t jeopardize, as far as inside information. Furthermore, the process is generally based on the lowest bid. This does not mean for you to cut your own throat in a term, to win the job. Bid the job as fare as you can with quality materials, quality labor, and equipment, to be able to deliver a final product that the information provided to you calls for. The person or persons reviewing the bids have different methods of deciding how they will choose which bid is expectable, one is they take all the bids throughout the lowest or sometimes the lowest and the highest bids automatically. Then they look at the next lowest and or lowest and highest bids, until they come to a low medium that appears to be the lowest bid that will still get the job done, without compromising the quality of the project. To answer the question, how do I ensure that I will get the job? There is none. Legally and fairly, in which the process is based, following all the procedures, it is totally up to the company that is reviewing the bid entries. With this being said, lets look at the breakdown.
To break down the project, first open up the blue prints, concept drawings, and the specification book. Study them closely for all the details pertaining to what you are bidding on. In this case painting, find the areas that you are going to paint. TIP; I like to highlight them for quick reference.
Find your square footage of your paintable surface, (Paintable surface is the total square footage of the area that receives paint) linier measurement x elevation measurement or height x length, (this will give you your square footage for each section; add each section together for total over all square footage. Example; 10’x 10’ = 100 sq.ft. This is the square footage of the section. Note; do not exclude windows, doors or trim. Reason why is that you must take time to mask or cut around them and that takes time. So the time you would add in for the labor factor of masking or cutting around the object would be approximately the same as the square footage. Of course you will add in a separate price for prep, and paint of those areas.
Now let’s say you have three sections 100 +100+100 = 300 this is your overall total square footage. Easy right? Nope we are not done yet, we are artist, and we do not paint one color, usually. Although with one color you would take this formula and divide it by 200 square feet to find how many gallons it would take to cover the paintable surface, per coat. Example; 300 divided by 200 = 1.5 this would be the total square footage of paintable surface divided by the total surface area ratio that a gallon of paint would cover, this will equal the number of gallons needed to cover the paintable surface you are working with. Note; I use this formula and found that it has generally given me the correct amount of material each time, results may vary on types of material and product manufactures recommendations. But generally even if the manufacture suggests that the material coverage is three hundred square feet, this still works. This formula works well for basecoats, Priming and keep in mind that you should look at the specifications to see required number of coats required. Some codes (you can look up online state and local building codes, they usually available these days) call for one coat of primer and two coats of base color. This when calculating the amount of gallons of paint needed to cover the base surface with, will dictate the number you need to multiply the total numbers of gallons by. Example; we arrived at 1.5 as the total number of gallons need to cover the surface. If the specification calls for one primer coat and two coats of base color, we would take the 1.5 x 3 = 4.5 gallons need to complete the primer and base color as well as comply with the specifications. TIP; now keep track of all your calculations, there is further breakdown.
This is the point where your vast experience and expertise as a seasoned professional comes in. We know as artist that after the surface has been prepped, primed and base coated, there will be some sort of treatment applied to it. So look at your concept drawing and your color chips, study the placement of the colors.
You need to determine how much of each color you will need, this will vary from project to project and treatment to treatment, you will need to make as much of an educated guess as you possibly can. This is where samples come in handy, but they are not always available or you can’t get approval until you have been awarded the bid, either way, once you have them you can zero in on the amount you will need to order. At this point you are estimating, so just try to be as close as you can, you can adjust later when making your full order. TIP; a little over estimation in this area is not a bad thing, if you think you need a quart, get a gallon. It all depends on the project and treatment, having a little left over is not a bad thing either, because you have touch up and sometimes a do over (Do over is a mistake on your part and you will pay to repaint. This is different from a “Change Order” a change order is when the client wants to change something from the original Scope of work, which they pay for, make sure you get it in writing a Change Order form). Allow for the unforeseeable.
Once you have calculated all the paint you think you will need, break it down, by material. We know that primer is different than paint, that paint in different colors is different prices (depending on supplier, Most of the time tinting is free, except specialty paints). So we will break it down and then research pricing. Choose materials that are compatible with each other, water base, oil base, or unless specified you get the idea. Choose the best quality product that is available to you. You do not want product failure. Then you will have to go back and do it all over again. TIP; most projects you bid on have you guarantee or warranty the workmanship, for at least a year.
Let’s move on to equipment and sundries. This is the point in which you want to consider the type of treatment you are going to apply and determine the process you are going to use to apply it, brush, roll, spray or even a combination. I like to take my time and really think about this part of the project, this is your creative process communicates with your practical and logical process. Your artist side communicates with your business side; brings you the artisan into production, time is money to say.
First think of the quality of the project you are to deliver, always want to deliver the best quality even with the simplest treatment. Then think of the time line in which you are expected to deliver it in , there is always a time line, and you can usually expect it to be cut short due to the fact that you are the finish and that the other contractors usually take longer then expected. (I could never figure out why Companies could never get that one right, escapes me). Anyway, now you need to figure in that you have this area that needs to be done and you need to figure the best, and the fastest way possible to deliver the quality.
First consider your environment can you spray, even if it is the primer and the base coat to be able to gain you some time? When considering your environment you should consider if the over spray is going to affect others around you, is it going to affect damage to others work or property? Once you have considered your environment and you feel that you can spray, ask yourself this. If so how long will I need the equipment for, is it better to rent or buy? If, I spray will I need gas or electric, is there electric on site? Do you need to prep the area, more than likely the answer is yes, what type of material are you going to use to prep the area and how much do you need? How many man hours will it take and do you have qualified personnel to perform the work?
Once you have considered all of this and you decide that you cannot spray and you need to brush and roll. Figure in how many brushes and roller set ups you will need to do the work. Always choose quality products and make sure they are cleaned and maintained properly, this will make them last longer and save you money in the long run. TIP; depending on the size of the project, it is always better to buy by the case.
Once the surface preparation, priming and base coating is considered, it is time to consider the tools and equipment to apply the treatment. Think about how you are going to apply the treatment, consider the tools and equipment such as, Hudson pumps, rags, sponges, specialty brushes, and so on. Again once you figured out what you need to apply the treatment, figure in the amount you will need. Furthermore as to equipment and applying the material, ask yourself, would I save time and make the project a safer, easier, and faster on myself and my crew to use ladders or lifts to reach higher places, then research the feasibility of using which type of equipment you can use and the cost.
Now let’s take a look at labor. This can vary do to the size and complexity of the project also do you need a large crew or just yourself. On a project that is only say 1000 square feet it may only be you or maybe you and an assistant, depending on your time line. If the project is much larger you will need to add more crew. I always prefer when adding crew to use the best and seasoned professionals I can obtain. I try to figure out how many I will need total to do the job properly, calculate there day rates (Day Rate, aka flat rate by the day, aka per diem (not to be confused with per diem as an allowance for food…so on) basically is the hourly rate multiplied usually by eight hours and two hours at time and one half or just a straight ten which is because industries standard days are ten hours. Giving a flat rate (per day), (Note; Many companies factor in employee expenses into their labor rates, such as workers compensation cost, insurance, taxes and etc. which when calculating the labor rate may seem higher then what the employee is receiving, Example you are paying someone $25.00 an hour, but you calculate at $50.00 per hour. I have seen companies (not to date this article) charge $75.00 or more. Of course this puts your bid way up.) How ever you figure the labor cost, I multiply that by the number of days I will need them, to arrive at my labor total. NOTE; Even though I figure I will need them through the project, I add them on the crew as the project progresses. There is no sense in having people standing around if you haven’t reached the point of needing them yet. The same goes for the end of the project, let them go as you wined down.
Now, I always allow on bigger projects to have labor helpers to assist the professionals. This frees the professionals up to concentrate on the specialty work, so they do not have to be distracted by tasks that will slow things up, not to say they don’t know how to do it or that they should not be doing from time to time, but if I can keep them on the money then that is better. The assistants take care of moving equipment, clean up, moving material, inventory, and so on. TIP; I try not to stress the crew, this makes their productivity go down, this in turn makes work slower or quality suffer and you lose money, after all time is money.
Once you have considered all the time, material, and labor. Now sit down and put your bid together. You have your calculation totals, find or make a template for your budget, Time, materials, equipment, and labor (there are many programs available on line and at the stores to for estimating and bidding jobs, or you can use excel or similar program to create the format).
Time to put your numbers in itemize each thing and total each category. NOTE; as they say for a business plan, include everything, try not to forget anything, right down to the paper clip. Forgetting something means you will still have to go out and spend money on it. If it is not in your budget it, then you are loosing money.
Once you have put together your budget, which is your bid, along with an out line of your understanding of the scope of work that the bid includes. Add 30% for profit, overhead, and contingency. This is standard business practice. You need to make sure that you make a profit, you will need to look out for your overhead, and you will always have some sort of delay.
Now that you have an understanding of bidding a project, I would like to add a few things. Bidding projects takes time to learn, this article is an overview, it will point you in the right direction, but it will take you a couple of bids to actually get the hang of it. If you do your best and don’t get the job, don’t stress. Move on to the next one. Although, the system of bidding a project is set up to make things fare to companies and contractors alike, to keep from having legal issues. That does not mean corruption does not exist, not saying it does either. One of the best pieces of advice I had received when first starting as a scenic artist was, this is a business, always treat it as a business, therefore it is 90% business and 10% talent, but you better be 110% when it comes time to perform. You are in this to make money; you will spend most of your time marketing yourself, making deals, performing work, and collecting money.
My approach and philosophy to all projects, is to spend time on research and design conception, consulting with the client to arrive at a proper and satisfying design concept for there project. Once the concept has reached a stage that is satisfactory to the client, then design and budgeting is the next step. This step allows for the client to know if the final concept is affordable to the client’s financial limitation.
Nothing kills a project more then to over design for the client’s financial limitations. During the budgeting process, pricing of materials, labor and scheduling are strong considerations in arriving at the bottom-line, for quality, durability, and low maintenance reasons proper quality materials must be chosen. This may raise the cost and on a fixed budget may affect other portions of the project, such as man hours. Rushed workmanship will affect a projects final outcome of quality, durability and low maintenance as much as low grade materials, inexperienced labor and / or poor design.