Adventist Youth Honors Answer Book/Arts and Crafts/Print version/Part 3

Model Boats

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1991

Model Cars

Part 3
Arts and Crafts General Conference	Skill Level 1
	Year of Introduction: 1928

1. Build at least one plastic model car from the parts supplied in a kit. Car must be stock in every respect.

Plastic model kits can be bought at most hobby shops and craft stores. You can also find them on the Internet, consignment shops, yard sales, thrift stores, and at large retailers.

The requirement that the car be "stock" means that the car must be assembled as per the basic instructions that come with the kit. It does not mean that it must be a racing "stock" car.

Most kits require glue, a craft knife (or sprue cutter), tweezers, and a paint brush. Some kits are snap-together, but the better ones require glue. These items can be purchased in the same places that sell model cars.

Model Railroad

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1967

6. Identify and explain the use of:

a. Five types of freight cars

Covered Hopper

Structurally, a covered hopper is very similar to an open­top hopper car. What distinguishes this type of car from an open hopper is the car's roof, and also the car's overall size. Covered hoppers typically carry loads of less dense, and therefore lighter, materials, so they are built to a higher cubic capacity than open top hoppers.

More Info:

• http://www.uprr.com/customers/equip-resources/cartypes/covered.shtml
• Wikipedia article on Covered hopper

Box Cars

More Info:

• http://www.uprr.com/customers/equip-resources/cartypes/boxcars.shtml

Model Rocketry

Part 3
Arts and Crafts General Conference	Skill Level 1
	Year of Introduction: 1970

(Instructor Required)

1. Know and explain the Model Rocketry Safety Code.

1. Materials. I will use only lightweight, non-metal parts for the nose, body, and fins of my rocket.
2. Motors. I will use only certified, commercially-made model rocket motors, and will not tamper with these motors or use them for any purposes except those recommended by the manufacturer.
3. Ignition System. I will launch my rockets with an electrical launch system and electrical motor igniters. My launch system will have a safety interlock in series with the launch switch, and will use a launch switch that returns to the "off" position when released.
4. Misfires. If my rocket does not launch when I press the button of my electrical launch system, I will remove the launcher's safety interlock or disconnect its battery, and will wait 60 seconds after the last launch attempt before allowing anyone to approach the rocket.
5. Launch Safety. I will use a countdown before launch, and will ensure that everyone is paying attention and is a safe distance of at least 15 feet away when I launch rockets with D motors or smaller, and 30 feet when I launch larger rockets. If I am uncertain about the safety or stability of an untested rocket, I will check the stability before flight and will fly it only after warning spectators and clearing them away to a safe distance.
6. Launcher. I will launch my rocket from a launch rod, tower, or rail that is pointed to within 30 degrees of the vertical to ensure that the rocket flies nearly straight up, and I will use a blast deflector to prevent the motor's exhaust from hitting the ground. To prevent accidental eye injury, I will place launchers so that the end of the launch rod is above eye level or will cap the end of the rod when it is not in use.
7. Size. My model rocket will not weigh more than 1,500 grams (53 ounces) at liftoff and will not contain more than 125 grams (4.4 ounces) of propellant or 320 N-sec (71.9 pound-seconds) of total impulse. If my model rocket weighs more than one pound (453 grams) at liftoff or has more than four ounces (113 grams) of propellant, I will check and comply with Federal Aviation Administration regulations before flying.
8. Flight Safety. I will not launch my rocket at targets, into clouds, or near airplanes, and will not put any flammable or explosive payload in my rocket.
9. Launch Site. I will launch my rocket outdoors, in an open area at least as large as shown in the accompanying table, and in safe weather conditions with wind speeds no greater than 20 miles per hour. I will ensure that there is no dry grass close to the launch pad, and that the launch site does not present risk of grass fires.
10. Recovery System. I will use a recovery system such as a streamer or parachute in my rocket so that it returns safely and undamaged and can be flown again, and I will use only flame-resistant or fireproof recovery system wadding in my rocket.
11. Recovery Safety. I will not attempt to recover my rocket from power lines, tall trees, or other dangerous places.

• http://nar.org/NARmrsc.html

2. Know and explain the importance of the basic model rocket components.

The illustration above shows the parts of a single stage model rocket. We have laid the rocket on its side and cut a hole in the body tube so that we can see what is inside. Beginning at the far right, the body' of the rocket is a green cardboard tube with black fins attached at the rear. The fins can be made of either plastic or balsa wood and are used to provide stability during flight. Model rockets use small, pre-packaged, solid fuel engines. The engine is used only once, and then is replaced with a new engine for the next flight. Engines come in a variety of sizes and can be purchased at hobby stores and at some toy stores. The thrust of the engine is transmitted to the body of the rocket through the engine mount. This part is fixed to the rocket and can be made of heavy cardboard or wood. There is a hole through the engine mount to allow the ejection charge of the engine to pressurize the body tube at the end of the coasting phase and eject the nose cone and the recovery system. Recovery wadding is inserted between the engine mount and the recovery system to prevent the hot gas of the ejection charge from damaging the recovery system. The recovery wadding is sold with the engine. The recovery system consists of a parachute (or a streamer) and some lines to connect the parachute to the nose cone. Parachutes and streamers are made of thin sheets of plastic. The nose cone can be made of balsa wood, or plastic, and may be either solid or hollow. The nose cone is inserted into the body tube before flight. An elastic shock cord is connected to both the body tube and the nose cone and is used to keep all the parts of the rocket together during recovery. The launch lugs are small tubes (straws) which are attached to the body tube. The launch rail is inserted through these tubes to provide stability to the rocket during launch.

• Source: http://exploration.grc.nasa.gov/education/rocket/rktparts.html

3. Draw the following:

a. The steps in the flight of a model rocket

1. Launch: Launch begins as soon as the motor ignites and ends when the rocket clears the launch rail.
2. Powered ascent: After the motor ignites, it generates thrust which causes the rocket to leave the launch pad and ascend into the air. The engine will continue to provide thrust for as long as it burns, and it will continue to power the rocket into the sky.
3. Coasting flight: The motor will burn for a fixed amount of time and then stop. At this point, there is a delay and the rocket continues to glide upwards, riding the momentum gained during the thrust phase. As the engine burns through the delay charge, it leaves a trail of smoke as a visual aid to the rocketeer.
4. Ejection Charge: At the end of the delay, the motor ignites an ejection charge which blows the nose cone off the rocket and deploys the recovery system.
5. Slow descent: The rocket returns to the ground using one of the recovery techniques listed below.
6. Recovery: When the rocket reaches the ground, it can usually be recovered by its owner.

• Source: http://exploration.grc.nasa.gov/education/rocket/rktflight.html

b. A cut-a-way view of a model rocket engine, labeling each part

c. A schematic plan for a simple launch system using proper electrical symbols

In this launcher, power is supplied by a battery. When the safety switch is closed and the igniter is connected to the terminals (usually a pair of alligator clips), electricity flows from the battery, through the LED and resistor (lighting the LED), through the igniter, through the switch, and back into the battery completing the circuit. Because the current must flow through the LED and resistor, it is greatly reduced - not enough to sufficiently heat the igniter and start the rocket engine. The resistor in this circuit is 300 Ohms - high enough to keep the igniter from heating up, but low enough to light the LED.

As soon as the launch switch is closed, the electricity will flow through the switch instead of through the LED and resistor. Since the switch offers very low resistance to the current, the current is greatly increased. This increased current heats the igniter to a high enough temperature to start the rocket engine.

4. Define the following:

a. Wadding

Wadding is a fire-proof paper-like substance that is wadded up and place inside the body tube between the engine and the recovery system. Its purpose is to prevent the hot gases released by the engine from damaging the recovery system and payload. Wadding is sold as a package included with the engine.

b. Boost gliders

A boost glider is a model which is launched into the air via rocket power, and then all or part of it glides gently back to the earth using aerodynamic control surfaces. During the powered ascent, the glider portion acts as a stable, ballistic body attached to the rocket. It then transitions to a glider during the coasting flight phase. This transition presents the most challenging aspect of a boost glider design.

c. Stall

In aerodynamics, a stall is a sudden reduction in the lift forces generated by an airfoil. This most usually occurs when the critical angle of attack for the airfoil is exceeded.

d. Payload

The payload of a rocket is held in the nose cone. In model rocketry, there may or may not be a payload at all.

e. Apogee

A rocket's apogee is the highest point in its flight path.

f. Center of gravity

All matter, regardless of size, mass, or shape, has a point inside called the center of gravity, or more commonly, the center of mass (CM). The center of mass is the exact spot where all of the mass of that object is perfectly balanced. You can easily find the center of mass of an object such as a ruler by balancing the object on your finger. If the material used to make the ruler is of uniform thickness and density, the center of mass should be at the halfway point between one end of the stick and the other. If the ruler were made of wood, and a heavy nail were driven into one of its ends, the center of mass would no longer be in the middle. The balance point would then be nearer the end with the nail.

The center of mass is important in rocket flight because it is around this point that an unstable rocket tumbles. As a matter of fact, any object in flight tends to tumble. Throw a stick, and it tumbles end over end. Throw a ball, and it spins in flight. The act of spinning or tumbling is a way of becoming stabilized in flight. A Frisbee will go where you want it to only if you throw it with a deliberate spin. Try throwing a Frisbee without spinning it. If you succeed, you will see that the Frisbee flies in an erratic path and falls far short of its mark.

g. Center of pressure

In addition to center of mass, there is another important center inside the rocket that affects its flight. This is the center of pressure (CP). The center of pressure exists only when air is flowing past the moving rocket. This flowing air, rubbing and pushing against the outer surface of the rocket, can cause it to begin moving around one of its three axes. Think for a moment of a weather vane. A weather vane is an arrow-like stick that is mounted on a rooftop and used for telling wind direction. The arrow is attached to a vertical rod that acts as a pivot point. The arrow is balanced so that the center of mass is right at the pivot point. When the wind blows, the arrow turns, and the head of the arrow points into the on-coming wind. The tail of the arrow points in the downwind direction.

The reason that the weather vane arrow points into the wind is that the tail of the arrow has a much larger surface area than the arrowhead. The flowing air imparts a greater force to the tail than the head, and therefore the tail is pushed away. There is a point on the arrow where the surface area is the same on one side as the other. This spot is called the center of pressure. The center of pressure is not in the same place as the center of mass. If it were, then neither end of the arrow would be favored by the wind and the arrow would not point. The center of pressure is between the center of mass and the tail end of the arrow. This means that the tail end has more surface area than the head end.

It is extremely important that the center of pressure in a rocket be located toward the tail and the center of mass be located toward the nose. If they are in the same place or very near each other, then the rocket will be unstable in flight. The rocket will then try to rotate about the center of mass in the pitch and yaw axes, producing a dangerous situation. With the center of pressure located in the right place, the rocket will remain stable.

h. Impulse

An impulse may be regarded as the change in momentum of an object to which a force is applied.

i. Velocity

Velocity is a measurement of both speed and direction. If either speed or direction changes, the velocity changes.

j. Ejection

Ejection occurs at the end of the coasting phase of a model rocket's flight when the engine ignites the ejection charge. This charge blows the nose cone off and deploys a parachute or a streamer.

5. Name and describe at least four different recovery systems.

Tumble recovery

The simplest approach, and one only appropriate for small rockets or rockets with a large cross-sectional area, is to have the rocket tumble back to earth. Any rocket which will enter a stable, ballistic trajectory as it falls is not safe to use with tumble recovery.

Parachute/Streamer

The approach used most often in small model rockets. It uses the ejection charge of the motor (see below) to deploy, or push out, the parachute or streamer. Air resistance slows the rocket's fall, ending (hopefully) in a smooth, controlled and gentle landing.

Glide recovery

In glide recovery, the ejection charge either deploys an airfoil (wing) or separates a glider from the motor. If properly trimmed, the rocket/glider will enter a spiral glide and return safely. In some cases, radio-controlled rocket gliders are flown back to the earth by a pilot in much the way as R/C model airplanes are flown.

Some rockets (typically long thin rockets) are the proper proportions to safely glide to Earth tail-first. These are termed 'backsliders'.

Helicopter recovery

The ejection charge, through one of several methods, deploys helicopter-style blades and the rocket auto-rotates back to earth.

6. From a kit, build, finish, and paint a single-stage rocket that has a minimum length of six inches with a recovery system, such as a parachute or streamer. Successfully launch and recover the rocket with the recovery system deploying properly.

The National Association of Rocketry (NAR) has a wonderful guide for scouting and 4H organizations who wish to get into rocketry. You can get it here: http://www.nar.org/pdf/youthprogs.pdf

Model rockets are available at many hobby shops and toy stores.

References

• http://exploration.grc.nasa.gov/education/rocket/shortr.html

Model Rocketry - Advanced

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1970

(Instructor Required)

1. Have the Model Rocketry Honor.

Answers to the Model Rocketry honor can be found in the Arts and Crafts chapter of this wikibook.

Music - Beginners

Part 3
Arts and Crafts South Pacific Division	Skill Level 1
	Year of Introduction: Unknown

Music (General Conference)

Part 3
Arts and Crafts General Conference	Skill Level 1
	Year of Introduction: 1929

1. Play or sing a scale and know its composition.

Scales are an important building block of music. They are the basis of melodies and chords. Without knowing your scales, you are like a car mechanic without his tools.

What are scales? A good way to define a scale is to list the following characteristics:

• A scale is an organized series of pitches
• A scale utilizes sharps and flats, when necessary
• A scale consist of a series of notes that differ in sound
• A scale is linked to the concept of "Keys" in that a song which utilizes a given scale is said to be in that key (For example: "Mary had a little lamb in C major").

A major scale has 8 tones. The (C major scale) is: C-D-E-F-G-A-B-C.

These notes in the major scale form a pattern of steps between notes called whole tones, or semitones. On a piano keyboard semitones are from key to key with no keys in between, whole tones always skip a key with one key in between.

The major scale is made up of a pattern of two whole tones, followed by a semitone, followed by three whole tones, ending with one more semitone.

This illustration shows the difference between whole tones and semitones on a piano keyboard.

Notice how the whole tones skip a key on the keyboard, and semitones do not. Also you can see that two semitones makes up a whole tone. Whole tones and semitones are types of intervals.

The natural minor scale has a whole tone semitone pattern of whole tone, semitone, whole tone, whole tone, semitone, whole tone, whole tone.

Other scales such as melodic minor, harmonic minor, pentatonic, and whole tone have different patterns of whole tones and semitones.

2. Write a scale in both treble and bass clef.

Adventist Youth Honors Answer Book/Music/Clefs

3. Know a half-tone, a whole tone, a third, a fifth, and an octave.

Adventist Youth Honors Answer Book/Music/Intervals

4. Distinguish a march from a waltz and give the time of each.

Adventist Youth Honors Answer Book/Music/March waltz

5. What is a quarter note? A half note? A whole note? Draw the symbols of each.

The names of the types of notes come from the fraction of a measure that each note gets in bar of music in four four time. In the 4/4 time signature, the top 4 indicates how many beats are in each bar of music, and the lower 4 indicates that a quarter note gets one beat. Since four quarter notes would fill the entire bar, they are called quarter notes. A half note would get two beats, or ½ of the measure, and a whole note gets 4 beats or the whole measure.

Quarter notes have a solid note head with a stem attached.

Half notes have a hollow note head with a stem attached.

Whole notes have a hollow note head, but no stem at all.

6. Name five great composers and one composition of each, including an oratorio, a piano composition, and a song.

Bach, Johan Sebastian (1685-1750)

He was the youngest son of Johann Ambrosius Bach. When he was ten he was orphaned and went to live with his elder brother Johann Christoph. Bach was more well known when he was alive for being a great organ player than for being a composer.

Bach had three main jobs in his career. His first job was to be organist and composer in the court of the duke of Weimar. This job brought him fame as an organ virtuoso, and during his time in this job he composed much of his keyboard music.

Bach's second job was to provide music to the Prince of Anhalt-Cöthen. Since the prince liked a type of music called chamber music Bach was kept busy composing this type for the prince.

When he was 38, Bach became the cantor for the St. Thomas church in Leipzig. As cantor he got to compose all the music for four churches each week. He also composed music for special occasions such as weddings and funerals. He also picked, trained, and conducted the choirs for all four churches and later took on the job of directing a university musical group that gave regular concerts.

He is considered one of the greatest religious composers in history. He believed that music must serve the Glory of God. One of his most famous works is a prelude piece based on the well known hymn tune “A Mighty Fortress Is Our God”.

Another of Bach's best known works is a series of six concertos called the Brandenburg Concertos. These concertos are interesting in the fact that they feature the entire orchestra section by section instead of one or two solo players.

Bach once wrote - “The aim and final reason of all music should be nothing else but the Glory of God and the refreshment of the spirit”.

Handel, George Frederic (1685-1759)

Handel was born in Halle, Germany. His dad was reasonably well off, and did not think that music was a suitable profession for George. He wanted his son to be a lawyer.

After only one year in university, Handel moved to Hamburg, where he joined the opera orchestra playing violin. He composed his first opera at the age of twenty which was a big hit. He spent the next three years composing opera in Italy where Opera was really popular.

He moved to England after this and took a job as composer of opera music for a company trying to bring Italian opera to England. Even though Handel composed some very good opera music at this job, it never really got as popular in England as it was in Italy so the company failed.

Handel then started composing a type of music called Oratorio. Oratorios started out as sacred opera, but changed by dropping the acting parts, the stage scenery and backgrounds, and the costumes. Oratorios became a large piece of music that told a biblical story. Often these were grand works using an orchestra, large choir, organ, and soloist singers.

Handel's most famous oratorio is called “Messiah”, from which almost everyone can remember the “Hallelujah Chorus”. When Handel had finished that chorus, he tearfully told a servant “I did think I did see all Heaven before me and the Great God Himself!”

Beethoven, Ludwig van (1770-1827)

Beethoven was born in Bonn, Germany. His father and grandfather were both singers at the court of the prince of Cologne. By age eleven and a half he was the assistant organist at the court chapel and by twelve he had published some music.

Beethoven was then shattered to realize that he was loosing his hearing. By 1802 at the age of 32, he had decided to retire, but after a while the will to create music was so strong that Beethoven continued to compose without hearing. He envisioned the musical beauty all the more vividly in his mind since he could not hear it.

His two best know compositions are his Fifth and Ninth Symphonies. The entire fifth symphony is united as a musical idea by the four notes heard at the beginning of the piece. His ninth symphony is known for its ending piece which includes a choir singing “Ode to Joy”.

Chopin, Frédéric François (1810-1849)

Chopin is considered the national composer of Poland, even though he was only half polish. His father was French, but had emigrated to Poland and married Frédéric's mother.

He was taught music in Warsaw, Poland, but left for Paris at the age of 21 and spent the rest of his career there in France.

Chopin is best known as a composer of music for the piano. He is, in fact, called “the poet of the piano”. A piano in a home in Chopin's time was the entertainment center for the family.

His music is known for performing it with the characteristic of tempo-rubato - “borrowed time”. The accompaniment, usually in the left hand, was played in strict time, while above it, the right hand melody might fall behind or hurry ahead a little bit. In either case, the borrowing had to be paid back by the end of the phrase.

Chopin wrote a number of piano pieces called Nocturnes, meaning “Night Music”. He wrote his most well known Nocturne (in C minor) in 1841.

Schubert, Franz (1797 – 1828)

The son of a schoolmaster, he showed an extraordinary childhood aptitude for music, studying the piano, violin, organ, singing and harmony.

Schubert composed symphonies and chamber music, but is best known for composing over six hundred Lieder (German for “songs”). These songs were composed as a vocal solo with piano accompaniment.

Many were written using the words of existing poets and poems in this time period. The musics melody and accompaniment were written with an attempt to portray the themes and ideas of the poetry in music as well.

One of Schubert's famous songs is called Erlkonig, which is written to an eerie poem by Goethe, based on a legend in which anyone who is touched by the king of the elves will die.

The way that Schubert wrote the music to portray the poem is very interesting. The piano sounds the horses hooves at a gallop while the singer sings the voices of the characters in the poem. This song is often listed as an example of this type of music.

Mozart, Wolfgang Amadeus (1756 - 1791)

Haydn, Joseph (1732 - 1809)

Many more composers articles have been written for wikipedia.

The Composers category in Wikipedia lists composers grouped by musical era.

9. Do one of the following:

For instrumentalists, be able to sight-read and play a moderately difficult piece of music. Explain all signs and terms in it.

Adventist Youth Honors Answer Book/Music/Sight read

For singers, show with baton or arm how to lead a group in singing compositions written in 3/4 and 4/4 time.

Adventist Youth Honors Answer Book/Music/Baton

10. Define orchestra and name at least five instruments in an orchestra.

The modern definition of the word Orchestra tends to refer to the ensemble of mixed instrumentalists playing classical music. When you think of an orchestra, you imagine seventy or eighty or more musicians dressed in black on stage. This was not always the case.

In the musical time period known as Renaissance times (1450-1600) these musical groups not only accompanied vocal music, but played supporting music for drama. Ensembles playing this music were formed from instruments as varied as the harpsichord, viol, lute, recorder, cornett, sackbut, and organ.

The orchestras seen in the Baroque period (1600-1750) began to get bigger. Previous to this, vocal music was the most important music, and instrumental music was less so. The ability of the craftsmen to build instruments had improved to the point that the finest violins ever built were made around this time.

The orchestra of this time centered around the harpsichord. A harpsichord was like the piano of today, except a mechanical pick plucked the strings like a guitar, rather than a hammer hitting the strings like a piano. Violins, violas, cellos, and bass violins provided string sounds. Woodwind instruments like recorders, flutes, bassoons, and oboes, added color to the sound. Trumpets were used in orchestras as well, but were long natural trumpets without the more modern invention of valves. The timpani was the main percussion of the period.

Orchestras of the Baroque period were small by modern standards, numbering only about twenty to thirty players.

The next musical period is called the Classical period (1750-1825). During this period the orchestra grew to include 30-40 players. The brass section grew to include horns and trombones. Woodwinds included piccolos, clarinets, and contra bassoons (bass).

The Romantic musical period (1820-1900) brought new changes to the orchestra and it's instruments. The industrial revolution allowed for technical advances in the fabrication of instruments, especially the brass section with the invention of valved instruments. This allowed composers much more freedom in the parts they could write for all the instruments.

The tuba, bass clarinet, and many percussion instruments were added. This required additional string players to make the orchestra sound balanced. In his Symphony of a Thousand, Mahler had wrote for an orchestra containing one hundred and thirty musicians so it is clear to see with what enthusiasm composers explored the limits of possibility.

A current, professional symphony orchestra usually contains about seventy or eighty instrumentalists selected to fill the four sections of a modern orchestra; Brass, Woodwind, String, and Percussion. This will vary depending on the music being performed.

Brass Instruments

• Horn
• Trumpet
• Trombone
• Bass Trombone
• Tuba

Woodwinds

• Flute
• Piccolo
• Oboe
• Cor anglais
• Clarinet
• Bass Clarinet
• Bassoon
• Contrabassoon

Strings

• Harp
• Violin
• Viola
• Cello
• Double Bass
• Piano

Percussion

• Timpani
• Snare Drum
• Bass Drum
• Celesta

11. Do a biographical sketch on a famous hymn writer and orally present it to a group.

Biographies of some hymn writers can be found at the following links.

Wikipedia Christian Hymnwriters

Cyber Hymnal

Christian Biography Resources

Music (South Pacific Division)

Part 3
Arts and Crafts South Pacific Division	Skill Level 2
	Year of Introduction: 1929

1. Complete the Beginners Music Honour.

2. a. Pass in Grade 5 Practical AMEB, or Trinity College, or Royal School of Music, or Suzuki Graduation Level 3.

b. Pass in Grade 3 Musicianship or Theory.

3. Submit a list of thirty hymns and/or choruses you can play or sing and be tested on these at random.

OR

1. Play or sing a scale, and know its composition.

Scales are an important building block of music. They are the basis of melodies and chords. Without knowing your scales, you are like a car mechanic without his tools.

What are scales? A good way to define a scale is to list the following characteristics:

• A scale is an organized series of pitches
• A scale utilizes sharps and flats, when necessary
• A scale consist of a series of notes that differ in sound
• A scale is linked to the concept of "Keys" in that a song which utilizes a given scale is said to be in that key (For example: "Mary had a little lamb in C major").

A major scale has 8 tones. The (C major scale) is: C-D-E-F-G-A-B-C.

These notes in the major scale form a pattern of steps between notes called whole tones, or semitones. On a piano keyboard semitones are from key to key with no keys in between, whole tones always skip a key with one key in between.

The major scale is made up of a pattern of two whole tones, followed by a semitone, followed by three whole tones, ending with one more semitone.

This illustration shows the difference between whole tones and semitones on a piano keyboard.

Notice how the whole tones skip a key on the keyboard, and semitones do not. Also you can see that two semitones makes up a whole tone. Whole tones and semitones are types of intervals.

The natural minor scale has a whole tone semitone pattern of whole tone, semitone, whole tone, whole tone, semitone, whole tone, whole tone.

Other scales such as melodic minor, harmonic minor, pentatonic, and whole tone have different patterns of whole tones and semitones.

2. Write a scale in both treble and bass clefs.

Adventist Youth Honors Answer Book/Music/Clefs

3. Know a half tone, a whole tone, a third, a fifth, and an octave.

Adventist Youth Honors Answer Book/Music/Intervals

4. Be able to distinguish a march from a waltz, and give the time of each.

Adventist Youth Honors Answer Book/Music/March waltz

5. What is a quarter note? a half note? a whole note? Draw the symbols.

The names of the types of notes come from the fraction of a measure that each note gets in bar of music in four four time. In the 4/4 time signature, the top 4 indicates how many beats are in each bar of music, and the lower 4 indicates that a quarter note gets one beat. Since four quarter notes would fill the entire bar, they are called quarter notes. A half note would get two beats, or ½ of the measure, and a whole note gets 4 beats or the whole measure.

Quarter notes have a solid note head with a stem attached.

Half notes have a hollow note head with a stem attached.

Whole notes have a hollow note head, but no stem at all.

6. Name five great composers and one composition of each, including an oratorio, a piano composition, a song.

Bach, Johan Sebastian (1685-1750)

He was the youngest son of Johann Ambrosius Bach. When he was ten he was orphaned and went to live with his elder brother Johann Christoph. Bach was more well known when he was alive for being a great organ player than for being a composer.

Bach had three main jobs in his career. His first job was to be organist and composer in the court of the duke of Weimar. This job brought him fame as an organ virtuoso, and during his time in this job he composed much of his keyboard music.

Bach's second job was to provide music to the Prince of Anhalt-Cöthen. Since the prince liked a type of music called chamber music Bach was kept busy composing this type for the prince.

When he was 38, Bach became the cantor for the St. Thomas church in Leipzig. As cantor he got to compose all the music for four churches each week. He also composed music for special occasions such as weddings and funerals. He also picked, trained, and conducted the choirs for all four churches and later took on the job of directing a university musical group that gave regular concerts.

He is considered one of the greatest religious composers in history. He believed that music must serve the Glory of God. One of his most famous works is a prelude piece based on the well known hymn tune “A Mighty Fortress Is Our God”.

Another of Bach's best known works is a series of six concertos called the Brandenburg Concertos. These concertos are interesting in the fact that they feature the entire orchestra section by section instead of one or two solo players.

Bach once wrote - “The aim and final reason of all music should be nothing else but the Glory of God and the refreshment of the spirit”.

Handel, George Frederic (1685-1759)

Handel was born in Halle, Germany. His dad was reasonably well off, and did not think that music was a suitable profession for George. He wanted his son to be a lawyer.

After only one year in university, Handel moved to Hamburg, where he joined the opera orchestra playing violin. He composed his first opera at the age of twenty which was a big hit. He spent the next three years composing opera in Italy where Opera was really popular.

He moved to England after this and took a job as composer of opera music for a company trying to bring Italian opera to England. Even though Handel composed some very good opera music at this job, it never really got as popular in England as it was in Italy so the company failed.

Handel then started composing a type of music called Oratorio. Oratorios started out as sacred opera, but changed by dropping the acting parts, the stage scenery and backgrounds, and the costumes. Oratorios became a large piece of music that told a biblical story. Often these were grand works using an orchestra, large choir, organ, and soloist singers.

Handel's most famous oratorio is called “Messiah”, from which almost everyone can remember the “Hallelujah Chorus”. When Handel had finished that chorus, he tearfully told a servant “I did think I did see all Heaven before me and the Great God Himself!”

Beethoven, Ludwig van (1770-1827)

Beethoven was born in Bonn, Germany. His father and grandfather were both singers at the court of the prince of Cologne. By age eleven and a half he was the assistant organist at the court chapel and by twelve he had published some music.

Beethoven was then shattered to realize that he was loosing his hearing. By 1802 at the age of 32, he had decided to retire, but after a while the will to create music was so strong that Beethoven continued to compose without hearing. He envisioned the musical beauty all the more vividly in his mind since he could not hear it.

His two best know compositions are his Fifth and Ninth Symphonies. The entire fifth symphony is united as a musical idea by the four notes heard at the beginning of the piece. His ninth symphony is known for its ending piece which includes a choir singing “Ode to Joy”.

Chopin, Frédéric François (1810-1849)

Chopin is considered the national composer of Poland, even though he was only half polish. His father was French, but had emigrated to Poland and married Frédéric's mother.

He was taught music in Warsaw, Poland, but left for Paris at the age of 21 and spent the rest of his career there in France.

Chopin is best known as a composer of music for the piano. He is, in fact, called “the poet of the piano”. A piano in a home in Chopin's time was the entertainment center for the family.

His music is known for performing it with the characteristic of tempo-rubato - “borrowed time”. The accompaniment, usually in the left hand, was played in strict time, while above it, the right hand melody might fall behind or hurry ahead a little bit. In either case, the borrowing had to be paid back by the end of the phrase.

Chopin wrote a number of piano pieces called Nocturnes, meaning “Night Music”. He wrote his most well known Nocturne (in C minor) in 1841.

Schubert, Franz (1797 – 1828)

The son of a schoolmaster, he showed an extraordinary childhood aptitude for music, studying the piano, violin, organ, singing and harmony.

Schubert composed symphonies and chamber music, but is best known for composing over six hundred Lieder (German for “songs”). These songs were composed as a vocal solo with piano accompaniment.

Many were written using the words of existing poets and poems in this time period. The musics melody and accompaniment were written with an attempt to portray the themes and ideas of the poetry in music as well.

One of Schubert's famous songs is called Erlkonig, which is written to an eerie poem by Goethe, based on a legend in which anyone who is touched by the king of the elves will die.

The way that Schubert wrote the music to portray the poem is very interesting. The piano sounds the horses hooves at a gallop while the singer sings the voices of the characters in the poem. This song is often listed as an example of this type of music.

Mozart, Wolfgang Amadeus (1756 - 1791)

Haydn, Joseph (1732 - 1809)

Many more composers articles have been written for wikipedia.

The Composers category in Wikipedia lists composers grouped by musical era.

9. For instrumentalists: play at sight a moderately difficult piece and explain all signs and terms in it.

Adventist Youth Honors Answer Book/Music/Sight read

10. For singers: Show with a baton how to lead a group in singing compositions written in 3/4 and 4/4 time.

Adventist Youth Honors Answer Book/Music/Baton

11. Define orchestra, and name at least five instruments in an orchestra.

The modern definition of the word Orchestra tends to refer to the ensemble of mixed instrumentalists playing classical music. When you think of an orchestra, you imagine seventy or eighty or more musicians dressed in black on stage. This was not always the case.

In the musical time period known as Renaissance times (1450-1600) these musical groups not only accompanied vocal music, but played supporting music for drama. Ensembles playing this music were formed from instruments as varied as the harpsichord, viol, lute, recorder, cornett, sackbut, and organ.

The orchestras seen in the Baroque period (1600-1750) began to get bigger. Previous to this, vocal music was the most important music, and instrumental music was less so. The ability of the craftsmen to build instruments had improved to the point that the finest violins ever built were made around this time.

The orchestra of this time centered around the harpsichord. A harpsichord was like the piano of today, except a mechanical pick plucked the strings like a guitar, rather than a hammer hitting the strings like a piano. Violins, violas, cellos, and bass violins provided string sounds. Woodwind instruments like recorders, flutes, bassoons, and oboes, added color to the sound. Trumpets were used in orchestras as well, but were long natural trumpets without the more modern invention of valves. The timpani was the main percussion of the period.

Orchestras of the Baroque period were small by modern standards, numbering only about twenty to thirty players.

The next musical period is called the Classical period (1750-1825). During this period the orchestra grew to include 30-40 players. The brass section grew to include horns and trombones. Woodwinds included piccolos, clarinets, and contra bassoons (bass).

The Romantic musical period (1820-1900) brought new changes to the orchestra and it's instruments. The industrial revolution allowed for technical advances in the fabrication of instruments, especially the brass section with the invention of valved instruments. This allowed composers much more freedom in the parts they could write for all the instruments.

The tuba, bass clarinet, and many percussion instruments were added. This required additional string players to make the orchestra sound balanced. In his Symphony of a Thousand, Mahler had wrote for an orchestra containing one hundred and thirty musicians so it is clear to see with what enthusiasm composers explored the limits of possibility.

A current, professional symphony orchestra usually contains about seventy or eighty instrumentalists selected to fill the four sections of a modern orchestra; Brass, Woodwind, String, and Percussion. This will vary depending on the music being performed.

Brass Instruments

• Horn
• Trumpet
• Trombone
• Bass Trombone
• Tuba

Woodwinds

• Flute
• Piccolo
• Oboe
• Cor anglais
• Clarinet
• Bass Clarinet
• Bassoon
• Contrabassoon

Strings

• Harp
• Violin
• Viola
• Cello
• Double Bass
• Piano

Percussion

• Timpani
• Snare Drum
• Bass Drum
• Celesta

Music - Advanced

Part 3
Arts and Crafts South Pacific Division	Skill Level Unknown
	Year of Introduction: Unknown

1. Complete the Music Honour.

Answers to the Music honor can be found in the Division chapter of this wikibook.

Needlecraft

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1928

Origami

Part 3
Arts and Crafts General Conference	Skill Level 1
	Year of Introduction: 1997

1. What is Origami? Where did it come from? How was it used and developed?

What is Origami?

Origami (derived from "ori" meaning "to fold", and "kami", meaning paper, and changed to voiced sound "gami" is the ancient Japanese art of paper folding. The goal of this art is to create a given result using geometric folds and crease patterns preferably without the use of gluing or cutting the paper medium. "Origami" refers to all types of paper folding, even those of non-Asian origin.

2. Identify the symbols for the following terms:

Note: Almost every origami book has basic instructions and a set of folding symbols.

a. Valley fold

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  a. Valley fold

b. Mountain fold

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  b. Mountain fold

c. Cut

Hmmm - ... preferably without the use of gluing or cutting the paper medium.

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  c. Cut

g. In front

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  Example use of symbol

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  Example use of symbol

h. Behind

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  Example use of symbol

k. Turn model over

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  k. Turn model over

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  Example use of symbol

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  Example use of symbol

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  Example use of symbol

3. Demonstrate folding the following folds:

a. Reverse fold

• An outside reverse fold consists of two radial valley folds extending from a single point on a central fold and a reversal of the center fold on the affected end, all done simultaneously.
• An inside reverse fold consists of two radial mountain folds extending from a single point on a central fold, and a reversal of the central fold on the affected end, all done simultaneously.

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  Inside reverse fold

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  Outside reverse fold

b. Squash fold

• A squash fold starts with a flap with at least two layers (for example, one flap of a waterbomb base). Make a radial fold from the closed point down the center of this flap. Open the flap and refold downward to make two adjacent flaps.

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  Squash fold applied to one flap of a waterbomb base

c. Petal fold

• A petal fold starts with two connected flaps, each of which has at least two layers. (For example, two flaps of a preliminary base). The two flaps are attached to each other along a reference crease. Make two radial folds from the open point, so that the open edges lie along the reference crease. Unfold these two radial folds. Make another fold across the top connecting the ends of the creases to create a triangle of creases. Unfold this fold as well. Fold one layer of the open point upward and flatten it using the existing creases. A petal fold is equivalent to two side-by-side rabbit ears, which are connected along the reference crease.

• 

  Petal fold on one half of a preliminary fold

e. Preliminary fold

• The preliminary fold consists of two perpendicular diagonal mountain folds that bisect the corners of the square and two perpendicular valley folds that bisect the edges of the square. The paper is then collapsed to form a square shape with four isosceles-right triangular flaps.

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  Preliminary fold

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  Petal fold on one half of a preliminary fold

f. Blintz fold

• A blintz fold is made by folding the corners of a square into the center. This can be achieved with higher accuracy by folding and unfolding two reference creases through the center.

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4. Demonstrate folding the following bases:

In origami, there is a series of several bases that many models are created with. In general, "base" refers to any folded paper that immediately precedes final folding and shaping of the model-to-be.

a. Bird base

• The bird base, or crane base, consists of a preliminary fold with both the front and the back sides petal folded upward.

b. Waterbomb base

• The waterbomb base consists of two perpendicular valley folds down the diagonals of the square and two perpendicular mountain folds down the center of the square. This crease pattern is then compressed to form the waterbomb base, which is an isosceles-right triangle with four isosceles-right triangular flaps. The waterbomb base is an inside-out preliminary fold.

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c. Frog base

• The frog base starts with a waterbomb base or preliminary fold. All four flaps are squash-folded (the result is the same in either case), and then the corners are petal folded upward.

Other Bases

• The kite base is merely two valley folds that bring two adjacent edges of the square together to lie on the square's diagonal.
• The fish base consists of two radial folds against a diagonal reference crease on each of two opposite corners. The flaps that result on the other two corners are carefully folded downwards in the same direction. In other words, it consists of two side-by-side rabbit ears.

If a square is blintz folded, then a kite/fish/bird/frog base is folded, and the blintzed edges teased out and collapsed n a certain fashion, this is called a blintzed kite/fish/bird/frog/base, which doubles the complexity and adds more points and edges to the original kite/fish/bird/frog base, for a more complex model that requires more points. It's possible to double blintz for a double blintzed kite/fish/bird/frog base if needed. Theoretically an infinite number of blintzes could be performed to yield an infinitely complex multipointed base, but paper thickness restricts this to generally two blintzes.

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  Fish base

8. Illustrate a Bible story using several Origami models.

• Noah: ark (house on boat?) & bird

Other

Found these images, but they are not #5 or #6 above

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Paper Maché

Part 3
Arts and Crafts East African Division	Skill Level Unknown
	Year of Introduction: Unknown

1. Name at least three kinds of bases upon which paper models may be shaped.

Papier-mâché around a form such as a balloon to create a pig. The balloon is popped when the glue hardens.

When wet, paper maché has very little form and will not hold its shape. So the first step in making a paper maché project is to make a base onto which the paper maché is applied. Bases can be made from many different items, including:

1. Balloons: Inflate a balloon and tape other items onto it, such as paper cups, toilet paper rolls, or other items.
2. Plastic bottles: Attach golf tees for legs to turn a plastic bottle into an animal (such as a pig).
3. Aluminum Foil: Press the foil around a person's face to get an image of it. If the subject wears glasses, leave them on. Carefully remove the foil and place crumpled newspaper into it to help hold the shape.
4. Paper Plates: These make an excellent base for constructing a mask.
5. Cardboard Boxes: Use small cardboard boxes such as those in which many food items are packaged.
6. Wire and Wire Mesh: Form wire into the desired shape. Especially useful for this is fencing wire (such as chicken wire) and gutter guard mesh. Hardware cloth is a little too stiff to work with.

2. There are two main types of paper maché:

a. Know how to prepare successful pulp

Pulp is paper which has been shredded into tiny pieces. First tear the paper (newsprint works well) into small pieces. In some instances, this will be good enough, but if you need finer pulp, throw the paper into a blender with some water. You can also get good raw material from an office paper shredder. When the pulp is as fine as you desire, add white glue and wallpaper paste. Amounts are not given here - you need to experiment to find a consistency that works well for what you are tring to do. Once it's mixed with glue, the pulp can be shaped like clay, or you can layer it onto a base.

b. Know how to prepare the glue

• 6 cups water
• 1 cup flour

Mix the flour into the water thoroughly with your hands, being sure to break up all the lumps. You might try heating the mixture too, but do not let it come to a boil. You can vary the amount of flour or water to make the glue thicker or thinner. Experiment to find what works best for you.

You can also add a few tablespoons of bleach to retard the growth of mold, but make sure everyone who is going to use the paste knows that you did this - after all, flour and water are the same ingredients that you use to make bread, and you don't want your Pathfinders performing any taste-tests on a bleach-laden batch of glue!

Glue is used with strips of paper which are layered onto the base. When the glue dries, the paper stays in place and binds together forming a (hopefully) beautiful sculpture.

3. Be familiar with all ingredients and know why they are used.

Here are some thoughts on the paste from Wikipedia: http://en.wikipedia.org/wiki/Paper_mach%C3%A9

Papier-mâché paste is the substance that holds the paper together. The traditional method of making papier-mâché paste is to add one part water to one part flour. Some artists prefer to boil the paste, saying that it makes the consistency smoother. Water to flour ratio is changed to five parts water to one part flour in this case. Other artists use a three to one or a one to one ratio of water and Polyvinyl acetate (PVA glue). Still others say that starch makes a fine paste. Adding a dash of cinnamon to the mixture gives the paste a pleasant smell; adding a dash of salt reduces the chances of the product developing mold.

6. Submit articles to examiner and have workmanship approved.

Building of a papier maché mask in the Carnival of Massafra

References

• Kate Hodgson's Paper Maché Website

Paper Quilling

Part 3
Arts and Crafts North American Division	Skill Level 2
	Year of Introduction: 2006

	This honor was introduced in 2006, but the patch for it is not yet available. Please do not request it from AdventSource until after May 2007.

1. What was paper quilling called when the craft first began?

Paper quilling was originally called paper rolling.

Paper Quilling - Advanced

Part 3
Arts and Crafts North American Division	Skill Level 2
	Year of Introduction: 2006

	This honor was introduced in 2006, but the patch for it is not yet available. Please do not request it from AdventSource until after May 2007.

References

• The Book of Paper Quilling: Techniques & Projects for Paper, 1995 Melinda Johnston,

Sterling Publishing Company, Inc

Photography

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1928

1. Explain the principles of camera construction, what the camera lens does, the effect of light on light-sensitive film, and the action of developers.

Camera Construction

Principle of a pinhole camera. Light rays from an object pass through a small hole to form an image.

A pinhole camera is a camera without a conventional glass lens. An extremely small hole in a very thin material can focus light by limiting all rays from a scene through a single point. To produce a reasonably clear image, the aperture has to be a small pinhole on the order of 0.5 mm (0.02 inches) or less. The shutter of a pinhole camera usually consists of a hand operated flap of some light-proof material to cover and uncover the pinhole. Pinhole cameras require much longer exposure times than conventional cameras because of the small aperture; typical exposure times can range from 5 seconds to hours or days.

Surprise! A camera is nothing more than:

• an optical element, usually the lens, but here, the pinhole.
• a chemical element, or, the film.
• a mechanical element, usually the camera body.

In our pinhole camera, light from various points of the tree travels through the tiny pinhole and reaches the back of our pinhole camera where the image of the tree is upside down. The trick is to correctly expose the film which is at the back of the camera.

Camera Lens

Camera Lens

A camera lens usually has an aperture adjustment mechanism to control the amount of light that may pass. It also has a shutter, to control the length of time during which light may pass through the lens.

Light on Film

Effect of more light (read: longer exposure) on film

Photographic film is a sheet of plastic which is coated with an emulsion containing light-sensitive silver halide salts with variable crystal sizes that determine the sensitivity and resolution of the film. When the emulsion (in this film) is subjected to sufficient exposure to light it forms an invisible image.

In black-and-white photographic film there is usually one layer of silver salts. When the exposed grains are developed, the silver salts are converted to metallic silver, which block light and appear as the black part of the film negative.

Color film uses at least three layers. Dyes added to the silver salts make the crystals sensitive to different colors. Typically the blue-sensitive layer is on top, followed by the green and red layers. During development, the silver salts are converted to metallic silver, as with black and white film. The by-products of this reaction form colored dyes. The silver is converted back to silver salts in the bleach step of development. It is removed from the film in the fix step. Some films, like Kodacolor II, have as many as 12 emulsion layers, with upwards of 20 different chemicals in each layer.

Developers

In film developing, photographic developer (or just developer) is a chemical that makes the latent image on the film (or print) visible. It does this by reducing the silver halides that have been exposed to light to metals of elemental silver in the gelatine matrix. As a generalisation, the longer a developer is allowed to work, the greater the degree of reduction of the silver halide crystals to silver and therefore the darker the image.

2. What is meant by the "speed" of the film? What does ASA/ISO mean?

Film speed is the measure of a photographic film's sensitivity to light. Stock with lower sensitivity (lower ISO speed rating) requires a longer exposure and is thus called a slow film, while stock with higher sensitivity (higher ISO speed rating) can shoot the same scene with a shorter exposure and is called a fast film.

ISO film speed scales

The standard known as ISO 5800:1987 from the International Organization for Standardization (ISO) defines both a linear scale and a logarithmic scale for measuring film speed.

In the ISO linear scale, which corresponds to the older ASA scale, doubling the speed of a film (that is, halving the amount of light that is necessary to expose the film) implies doubling the numeric value that designates the film speed. In the ISO logarithmic scale, which corresponds to the older DIN scale, doubling the speed of a film implies adding 3° to the numeric value that designates the film speed. For example, a film rated ISO 200/24° is twice as sensitive as a film rated ISO 100/21°.

3. How are shutter speed, lens aperture, and film speed related?

Example of photos taken at different shutter speeds

Shutter speed is the time for which the shutter is held open during the taking of a photograph to allow light to reach the film or image sensor (in a digital camera).

Combined with adjusting of the lens aperture, the shutter speed regulates how much light the camera will record. For a given exposure, a fast shutter speed demands a larger aperture to avoid under-exposure, just as a slow shutter speed is offset by a very small aperture to avoid over-exposure. Long shutter speeds are often used in low light conditions, such as at night.

Shutter speed is measured in seconds. A typical shutter speed for photographs taken in sunlight is 1/125th of a second. In addition to its effect on exposure, shutter speed changes the way movement appears in the picture. Very short shutter speeds are used to freeze fast-moving subjects, for example at sporting events. Very long shutter speeds are used to intentionally blur a moving subject for artistic effect.

Film speed is the measure of a photographic film's sensitivity to light. Stock with lower sensitivity (lower ISO speed rating) requires a longer exposure and is thus called a slow film, while stock with higher sensitivity (higher ISO speed rating) can shoot the same scene with a shorter exposure and is called a fast film.

4. Give the principal uses of photography.

Photography [fә'tɑgrәfi:],[foʊ'tɑgrәfi:] is the process of recording pictures by means of capturing light on a light-sensitive medium, such as a film or sensor. Light patterns reflected or emitted from objects expose a sensitive chemical or electronic medium during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically.

The word comes from the Greek words φως phos ("light"), and γραφίς graphis ("stylus", "paintbrush") or γραφή graphê ("representation by means of lines" or "drawing"), together meaning "drawing with light." Traditionally, the product of photography has been called a photograph, commonly shortened to photo.

Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge's study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police and security forces use photography for surveillance, recognition and data storage. Photography is used to preserve memories of favorites and as a source of entertainment.

5. Take print or slide pictures illustrating at least eight of the following techniques. Use comparison pictures for illustration:

a. Framing

Framing & Direction of Lighting

When we use our eyes, we see the world in three dimensions. The biggest reason for this is because we have two eyes about 1 1/2" apart that give us "two photos" that our brain then interprets as being three-dimensional--big objects are closer than small objects.

However, cameras only have one "eye" the lens, so we have to intentionally take pictures that are "extra" 3-dimensional. One way we can do this by Framing.

Framing uses some element in the photograph to act as a foreground or middle-distance frame which overlaps or highlights the main subject of your photo.

For example, if you're taking a picture of rolling hills, give your picture "depth" by putting a tree or fence post that is closer to you on the right or left hand side of the photograph.

Other examples of Frames include: a tree branch, rocks on a seashore, a friend or an archway.

b. Camera steadiness

Have you ever gotten pictures developed and all you see is a "blur" that was supposed to be a family member? Maybe you've taken a picture through the window of a car while its been moving. This is called camera blur and is most often caused when you're using a "fancy" SLR camera where the exposure setting is 1/125th of a second or slower. However, it can also happen when you don't practice good "camera posture" when composing your photograph.

When you're taking pictures, is very important that the camera doesn't wiggle as you take the picture! Some helpful hints for keeping this from happening are:

• Use both hands to steady the camera. One-handed picture taking is hazardous to your photographic health!
• If you're using a fancy SLR camera, be sure your exposure time is set equal to or greater than your film speed (ex. If you're using 200 speed film, have it set to 1/250, 1/500, or 1/1000). Otherwise use a table, wall or something else steady to steady yourself as you take the photo.
• Most point-and-shoot cameras have this film/exposure time ratio "built-in" to their cameras.**
• The best way to hold a camera in a comfortable position but rigidly is to form an imaginary tripod with the camera pressed against your forehead and your elbows against your body. Take a breath, partially exhale, and gently press the shutter button.
• Be careful not to get any of your fingers or the camera chord in front of the flash or the lens!!

c. Direction of lighting - front, backlighting, side

Direction of lighting, Quality of Lighting, & Rule of Thirds Quiz question (not really. . .) Should the sun be behind the subject you're photographing, beside the subject, or shining on the subject?

People used to think that you could only take good pictures if the sun was behind the photographer (YOU!) shining on the subject they were taking a picture. But that's not true.

For instance, if you want to take a sunset picture and want your framing subject (such as a person walking down the beach) to be a silhouette, the sun should be behind him, shining toward you (back lighting).

Lighting:

Front lighting is best when you want to see the details, like if you're taking a close-up of someone's face. A downfall is, that if the lights too bright, such as in the middle of the day, there might be "glare" in your subject.

Side lighting is great for bringing out shapes and textures, such as a rocky mountain cliff or tree bark. These two photos are from Mono Lake In California. Notice how different the same rocks look depending on where the light is coming from?

Back lighting is lighting from behind the subject, tends to hide the subject, forming a silhouette. Some good places to use back lighting are a camporee flagpole at sunset, a cow/horse grazing at sunset, or a playground after everyone has gone home for the evening.

Quality of Lighting - Time of Day, shading, etc.

• The best light conditions are 1 1/2 hours before sunset or the first hour after sunrise. The reason is that the light isn't SO BRIGHT that it washes out the colors in your picture, but at the same time the shadows are long (which makes side lighting pictures look extra special). Also, the sunset or sunrise gives off a kind of "pink" or "orange" light, which makes many nature pictures look very friendly & special. If you want to know when sunrise and sunset are going to be, check out www.adventist.org's sunset calendar!
• Be careful of evening shadows when photographing people. long shadows on faces hide features and expressions!
• Pictures taken during the middle of the day will be "stark" with hard lines and minimal shadows. Buildings & some landscapes such as mountains look especially regal or majestic during the middle of the day. Just remember that if you take a picture during the middle of the day, shade the top of the lens of your camera by placing one of your hands or a piece of paper horizontal about 2" above the lens to form a "shade for the lens. This will keep pink & blue "sparks" from showing up on your photos.
• When there is no sunshine (on a rainy day) don't give up on taking pictures! Zoom in close on flowers and other colorful objects. The color will be extra deep since its not being "washed out" by the sun. Fog which often accompanies soft rain also makes a very nice soft hazy look. Just be sure to protect you lens from specks of rain!

d. Panning - background blurred with subject in focus

Blurred background with the subject in focus

This technique moves the camera at the same speed of your subject while the picture is being taken. For example, if you are taking a picture of a runner going from your left to your right, you would 'pan' or move your camera with the runner (subject) in your viewfinder and take the picture. This causes the background of your picture to blur because of the camera movement, however, since your subject is moving at the same speed as your camera, your subject will be in focus.

e. Rule of thirds

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  A photo divided into thirds

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  Sky taking top two-thirds

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  Sky taking top one-third

A Picture looks best when you imagine a tic-tac-toe board on top of your picture you're going to take. Remember that we're wanting a photo to look 3 dimensional! Part of that is arranging it in combination with "Framing" and "Leading Lines" techniques, but putting objects in "3rds" on the photo.

For example: In a mountain scene the landscape in the bottom screen--maybe even a tree or rock to help it look "more 3-D"-- the mountains in the middle 3rd, and the sky in the top third.

Another Illustration: If you're taking a picture of a landscape with puffy clouds, take one picture where 2/3 of the picture is composed of the clouds and the landscape fills the bottom 1/3. Then try with 1/3 clouds and 2/3 landscape. Notice how different this same landscape looks with the "3rds" changed from top to bottom!

f. Angle - eye level, high and low angle

Subjects look different depending on where you are in relation to them when you take the picture.

You'll need three photos for this requirement, though they don't have to be of the same object. A High-angle, Mid-angle, and Low-angle photograph.

High angle means: looking down on your subject

Mid-angle means: looking at your subject straight on.

Low-angle means: looking up at your subject

For this requirement, take a subject, such as some tall straight trees, and take a picture looking straight at them, then another one by laying on the ground looking up through the trees. Did the angle make a difference?

g. Level horizon

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  Example of not level horizon

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  Example of level horizon

h. Distance from subject - fill the frame

Have you ever taken a picture of a beautiful flower or some animals but when the photo came back, you had to explain to friends "that dot is a pretty rose," and "that dot over there is a buffalo."?

Filling the frame is all about making your subject (what you're taking a picture of) fill up most of the picture frame. This means standing closer to the subject than you're ordinarily used to doing and making sure there's not a lot of "green space" around your subject.

Some ideas for Pathfinders:

• Take a picture of your whole youth group. Be sure there are some standing and some standing/sitting in front of them. Then, get close enough so that there is almost NO "background green space" around them. You'll be impressed with how nice it is to have a photo that shows the expressions on everybody's face.

• Take a picture of your best friend while they're eating at a campout or lockin. Don't try to take a picture of the whole room, but zoom in on their upper body and the top of the table with the plate of food. You'll both laugh when you see the photo that shows how shocked your friend was at your "surprise" picture.

i. Use of leading lines

Leading lines are anything in a photograph that will help lead your eyes towards the main subject. For example, do you want people eyes to travel "down the road into the sunset, just like the bus is doing? Or, do you want people to see the big cafeteria on the hill where you and your fellow pathfinders ate all weekend?

Leading Lines also help your photograph's "depth." If your eyes are able to wander into the picture, then your brain will think the picture looks more real, like the real 3-D world we live in.

Ideas for pathfinders:

• Roads: take a picture of a windy road that leads to nowwhere; The road that leads to camporee or the road into the campsite you're staying at this weekend may also be a good leading line.
• Trails
• Fence Posts / Fence lines
• Tall buildings or tall trees. Take pictures straight up, and use those tall lines to guide your eyes to a Mountain peak, or to the sun / moon shining overhead.

j. Quality of light - shade, sunlight, and time of day

• The best light conditions are 1 1/2 hours before sunset or the first hour after sunrise. The reason is that the light isn't SO BRIGHT that it washes out the colors in your picture, but at the same time the shadows are long (which makes side lighting pictures look extra special). Also, the sunset or sunrise gives off a kind of "pink" or "orange" light, which makes many nature pictures look very friendly & special. If you want to know when sunrise and sunset are going to be, check out www.adventist.org's sunset calendar!
• Be careful of evening shadows when photographing people. long shadows on faces hide features and expressions!
• Pictures taken during the middle of the day will be "stark" with hard lines and minimal shadows. Buildings & some landscapes such as mountains look especially regal or majestic during the middle of the day. Just remember that if you take a picture during the middle of the day, shade the top of the lens of your camera by placing one of your hands or a piece of paper horizontal about 2" above the lens to form a "shade for the lens. This will keep pink & blue "sparks" from showing up on your photos.
• When there is no sunshine (on a rainy day) don't give up on taking pictures! Zoom in close on flowers and other colorful objects. The color will be extra deep since its not being "washed out" by the sun. Fog which often accompanies soft rain also makes a very nice soft hazy look. Just be sure to protect you lens from specks of rain!

k. Correct exposure - underexposed, overexposed, and correctly exposed

• 

  Example of Underexposed photo

• 

  Example of Overexposed photo

• 

  Autofixed photo

l. Use of flash - distance and reflective objects

Most flashes should be used no closer to a subject than 6 feet. and more than 20 feet away. Any closer and it will "wash out" your subject, (depending on flash), and any farther away, the light won't even reach. For example: Have you ever seen people use a flash at a football game, or in a large stadium in hopes of getting photos of the people on the field? The flash won't help because its too far away!

Don't try to use a flash when there is a reflective object directly in front of the lens. For example, a mirror or window behind your friends, or the fishtank glass between you and that shark at SeaWorld. Move off to the side diagonally a little, so that the light, when it flashes off the reflective object, won't bounce directly back to your lens, but instead will bounce into empty space beside you!

Use the flash to fill in shadows. If your subject has side-lighting erasing the features on its face that you want to capture on film, use the flash to erase the shadows. BE SURE you're far enough away, or the whol picture will be blotted out!

Some ideas for Pathfinders:

• Try using a flash when your friends are in a dark cave or room. Arrange them 6 feet away from your camera, then take 2 pictures. One with a flash and one without. Notice the difference. Now take one with your friend(s) only 3 feet away. What happened?

• At your next campout, just before sunset grab some friends and have them stand in front of camp, with the sunlight coming from one side, casting shadows on their faces. Take 2 pictures. One with fill-in flash, and one without. What was the difference?

6. Do one of the following:

a. Tell how black and white film is developed into negatives and print eight of your own pictures.

Undeveloped black & white film

Photographic film is a sheet of plastic (polyester, nitrocellulose or cellulose acetate) which is coated with an emulsion containing light-sensitive silver halide salts (bonded by gelatin) with different crystal sizes that determine the sensitivity and resolution of the film. When this emulsion is subjected to sufficient exposure to light, it forms a latent (invisible) image. Chemical processes are then applied to the film to create a visible image, in a process called film developing.

In black-and-white photographic film there is usually one layer of silver salts. When the exposed areas are developed, the silver salts are changed to metallic silver, which block light and appear as the black part of the film negative.

---

Here is additional information on negatives for a more complete perspective on film & negatives

Color, positive picture (A) and negative (B), monochrome positive picture (C) and negative (D)

In photography, a negative may refer to 3 different things, although they are all related.

A negative
Film for common 35mm cameras comes in long narrow strips of chemical coated plastic. As each image is captured by the camera onto the film strip, the film strip advances so that the next image is projected onto unexposed film. When the film is developed it is a long strip of small negative images. This strip is often cut into sections for easier handling. In larger cameras this piece of film may be as large as a full sheet of paper, or even larger, with a single image captured onto one piece. Each of these negative images may be referred to as a negative and the entire strip or set of images may be collectively referred to as negatives. These negative images are the master images, from which all other copies will be made, and they are treated with care and handled with caution.

Negative image
A positive image is a normal image. A negative image is a tonal inversion of a positive image, in which light areas appear dark and vice versa. A negative color image is additionally color reversed, with red areas appearing cyan, greens appearing magenta and blues appearing yellow.

Negative film
Due to happenstance, many photographic processes create negative images: the chemicals involved react when exposed to light, and during developing these exposed chemicals are retained and become opaque while the unexposed chemicals are washed away. However, when a negative image is created from a negative image (just like multiplying two negative numbers in mathematics) a positive image results (see Color print film, C-41 process). This makes most chemical based photography a two step process. These are called negative, films and processes. Special films and development processes have been devised such that positive images can be created directly from film, these are called positive, or slide, or (perhaps confusingly) reversal film (see Transparency, Black and white reversal film, E-6 process).

b. Tell how slides are made and develop one roll of film.

Slides (otherwise called transparency) is a still, positive image created on a transparent base using photochemical means. This is opposite of negatives.

The earliest color photography was the Autochrome process. This used an additive 'screen-plate' method which produced a color slide, but was fairly dim and the color resolution was limited by the fineness of the screen-plate.

When developing a slide, the film is first developed to a negative image and then reversed to a positive image.

Eventually, a practical method using a 'subtractive' method was the Kodachrome process, the first commercially successful amateur color film, introduced in 1935. It produced much brighter color transparencies. The Kodachrome K-14 developing process is very complicated and requires technicians with extensive chemistry training, as well as large machinery which is extremely difficult to operate. This complexity discourages use by home amateurs or small laboratories. In the early 1990s Kodak offered the "K-Lab" process to small labs in an attempt to increase the availability of the K-14 process, but ultimately this was not successful; with the final two K-Lab -equipped labs (Horiuchi Color in Tokyo and Kodak's own plant in Lausanne) shutting down and Kodak discontinuing the "B-I-B" (bag-in-box) K-14 chemistry required for the K-Lab.

After K14 processing was discontinued, Ektachrome and Fujichrome slide films are the only remaining color reversal films that can be readily processed in many cities and larger professional photo studios.

The E-6 process is used for developing Ektachrome, Fujichrome, and other color reversal (slide) photographic film.

Here's the three step processing:

1. Pre-warm
2. First developer and reversal
3. First wash
4. Color developer
5. Second wash
6. Bleach-Fix
7. Wash
8. Stabilizer (final rinse)

Here's the more technical conventional six step processing.

Pinewood Derby

Part 3
Arts and Crafts North American Division	Skill Level 1
	Year of Introduction: 1999

1. Name the four basic components of a Pinewood Derby car.

Body, Wheels, Axle, & Weights

2. Cars must meet the basic following requirements:

1. Must be made during the current calendar year or Pathfinder club year
2. Width of car shall not exceed 2 3/4” (70 mm)
3. Length of car shall not exceed 7”. (178 mm)
4. Weight of car shall not exceed 5 oz. (142 grams)
5. Width between wheels shall be 1-3/4” (44 mm)
6. Height from bottom of car to bottom of tires shall be 3/8” (10 mm)
7. Use only axles, wheels, and wood provided in the kit you purchase
8. Wheel bearings, washers, and bushings are prohibited

3. Know how to use safely the following while building your project:

1. Saw
2. Wood rasp
3. Course sandpaper
4. Fine sandpaper
5. Wood plane
6. Hammer
7. Shaping stick

Principles of safety:

• Wear protective goggles, gloves and a dust mask to protect your eyes, hands and lungs.
• Don’t melt lead to add for weight. It is not only a very dangerous operation, it is toxic.
• Children should not use power tools without adult supervision.
• If power tools are used, ensure that all safety devices associated with the tools are used. Use this opportunity to instruct the Pathfinder on the safe operation of power tools.

4. Know the basic steps in designing a car:

a. Design

Draw a design on paper then cut it out and use it as a template. Use the paper with the little squares on it. Draw a side and top view on the paper by tracing around the block of wood.

Keep the car a full seven inches. It has to do with the physics of velocity and length of travel of the weights. The longer your car, the farther back you can put the center of gravity.

Use the full 2 ¾ inches (outside wheel to outside wheel) that the rules give you. This will allow the wheels to travel farther before hitting the center strip.

Do not make the front of the car pointed. It is hard to set up against the starting dowels.

Use your imagination. Be creative. Shape has the least to do with winning. A beaver driving a log or even a pickup truck is more interesting than a wedge and will be just as fast. The aerodynamics of a small block of wood doesn’t mean much in thirty feet.

Creative Types of Cars:

• Banana
• Shark
• Watermelon Wedge
• Dragster Rocket Car
• Swiss cheese Wedge with a Mouse Driver
• Ice Cream Bar
• Carrot Ridden by a Rabbit
• Police Car
• Pencil
• Tow Truck
• Giant Lego Car
• Fire Truck
• Train Engine
• Ambulance with Lights
  

b. Transfer of design

With a pencil, lightly draw your design on your block of wood. Draw the design on the top, both sides, and both ends. It will be easier to cut out your car with lines on all surfaces.

c. Building the car

Cutting out your car: Use a 6” coping saw, and a 4” C-clamp. Use a small piece of scrap wood to protect your car from being dented by the C-clamp. Clamp your block to the table, and SLOWLY start your first cut. Hold the saw with both hands, carefully follow the lines you drew on the block of wood. Watch the lines on both sides of the block.

Saw any straight line cuts.

Shape concave surfaces with shaping sticks.

Filing and Shaping: You can shape your car even more with different files and “shaping sticks” (wood with sandpaper glued to it.)

Sanding: Sand your car so it is reasonably smooth and ready for painting. Sanding the wood smooth can take quite a lot of time.

Painting: A great way to paint is to first make the car one solid color using 1” foam brushes. Then use small brushes for fancy details. Always apply thin coats of paint. Thin coats will dry faster. (Optional - Before painting, pound 4 nails into the bottom of your car to make “legs” for the car to stand on. Do not pound the nails too deep. They will be removed when the paint is dry.)

Wheels, Screws, Axles: Screw the wheels to the wood dowel axle. Not too tight and not too loose.

Final Assembly: After the paint has dried, and the wheels are assembled. Put two (2) small drops of glue in the groove for the wood dowel axle. Press the wheel assembly into place.

d. Axles and wheels

Wheels

Debur the wheels. Take off the flashing and seam that was produced when the wheel was molded with a 600 grit or better sandpaper. Inside as well as out. Sand any bumps off the wheel with sandpaper. Metal polish will restore the gloss. Be careful not to break any rules your race has regarding wheel modification. (Narrower wheels have less friction and are better, but often disallowed). Don’t sand too much or you’ll create a flat spot. Sand by hand not in the drill. Heat from the high speed of a drill will damage the plastic wheel.

Polish the axles. First with a 400 grit if you have a really bad spot. Then a 600 grit, and then a jewelers rouge. Finish off with a chrome/metal polish.

(Optional) Have only three wheels touching the track. Raise a front one slightly. There is less friction with 3 wheels rolling than 4.

The head of the axle should be tapered about 15 degrees so it rubs against the wheel less.

Wax the wheels with furniture polish. Make sure the polish does not contain a solvent of any sort. Axles

Put the axle in at a downward (5-10 degrees) angle. This provides two benefits. The first is that only the inside edge of the wheel is in contact with the track. This seems to make the car go straighter with less wobble. The second benefit is that the wheel rides to the outside of the axle and doesn’t come in contact with the body. This tip is for experts only. First timers have trouble getting this right.

Axles must be in straight front to back. That is square to the body. True the axles, don’t trust the pre-cut grooves in the block! If you have one, use a drill press to ensure all axles are straight. One of the front and two of the back should be measured to be the same height.

After pressing in the axles, test the car for crooked wheels…roll it on the floor. If the wheels are on straight, the car should roll -10 feet in a fairly straight line. Should the car turn left or right, you need to tinker with the axle placement without removing them from the car body, until it rolls straight.

Do not put the axles in at the top of the groove. Put them in at the middle. This lifts the car off the track a bit more and reduces the chance of rubbing on the center strip.

Glue the axles in place. Nothing is worse than having the wheel fall off as you cross the finish line.

Once you match a wheel and axle together with graphite, keep them together. They wear into each other as a matched set.

e. Adding weight

Leave a lot of wood in the back to put in the weights

Get the weight as close to the 5 ounce limit as possible. Add the last little bit of weight with lead tape from the golf shop. This can be trimmed with scissors at the last minute. Remember, the official scale may not weight the same as yours.

Everyone has an opinion on where to put the weight. One opinion is that the weight needs to be predominantly in the rear so that so that gravity can act upon the weight further up the incline and for a longer period of time. A car with more weight to the rear generally grabs more speed down the slope. Some suggest having the center of gravity at 1 to 1 ½ inches in front of the rear wheels. But be careful not to put too much in the rear or you’ll pop a wheelie.

What kind of weight? Melted lead is dangerous and unnecessary. Tubular weights can be sunk in the sides; flat weights, like those sold in hobby and scout stores can be attached to the car bottom if it is carved in a bit. Incremental weights (with pre-marked grooves) are easier to snap off into the size you need. Some folks just use BBs, nuts & bolts, etc., but these must be glued so that they can not move. No movable weights or mercury allowed.

You can also use the round weights found at the hobby shops and craft stores. This allows you to stick the weights out the back of the car. You can paint them and tell everyone that they are jet engines or tail pipes. That allows you to get the weights as far back as possible.

Keep the weight low on the car and in the center (Left/Right of the car). Put the weight just in front or behind the rear wheels for less wheel chatter.

f. Lubrication

Use graphite only. Oil damages the paint and collects dust. Some people think that graphite works better than the new white Teflon. Many races DO NOT ALLOW anything except graphite!

Break in the wheels by spinning them with lots of graphite.

Right before check-in, fill the wheel wells with and cover with stickers like a hub cap. You can paint the 1 inch stickers in a contrasting color.

Put a small drop of white glue where the axle goes into the car body and put powdered graphite on it there. That causes friction if the wheel should rub against the car body.

Other than the good polishing of the axles, dump the axles and wheels in a Ziploc bag with some graphite and shake them for a few days prior to the race. That way the wheel and the axles are as slick as can be.

Just a note - graphite is very messy!

6. Participate in a sponsored Pinewood Derby event using the car you built in #5.

Here’s some tips for when you come to the race.

Have extra axles and wheels on hand. You never know when your car may be the one dropped right before a race.

Have a derby tool kit handy. It should include superglue, sandpaper, a drill, extra screws for your weights, extra weights, a small screwdriver. You many not use it, but it will make you the most popular person at the event.

Transport your car in a shoebox. Dropped cars are unfortunately a too common experience.

Add LOTS of graphite right before check in.

Don’t play with your car. Treat your car with care, at least until Race Day. The more you play with it, the more likely you are to cause it to run more slowly. Running the car along the floor prior to the race will cause it to lose.

Your first goal is to make sure your car can make it all the way down the track.

• Build your car within the rules. If you can’t pass inspection, you can’t race.
• Assure ground clearance. If you add weight to the underside of your car, you should chisel or drill out areas in which to put the weight, so that the weight is “inlaid”. Failure to do this usually results in the car underside scraping the center guide rail.
• Assure vertical clearance. The lane judge should provide plenty of clearance for most any car. However some lane judges/timers have only about 3” clearance, so be sure that your car will fit under that. Crashing your car into the finish line at 120 scale miles per hour is exciting, but not your objective.

7. Define and practice good sportsmanship as it relates to your Christian walk.

While building and racing a pinewood derby car your Christian walk may be tested. If someone needed help on their design, did you help? If you are having trouble cutting your own car, did you accept help? Did you clean up your work area so the next person had a clean place to work, or so the staff didn’t have to clean up after you? Did you have to wait a while to use some of the tools? Being patient isn’t always easy.

Jesus was a Carpenter…………Jesus may have spent many hours in a wood shop……I wonder if He helped Joseph,…..design, transfer the design, clamp the wood, cut the wood with a saw, file, sand smooth, paint, assemble. I wonder,…..how many tools did Jesus know how to use, that you just used yourself? I wonder………………..

Note: If you are planning to participate in a conference Pinewood Derby event be sure you use the correct specifications from your conference because some use different specifications than listed above.

About the Author

Mark O'Ffill is a member of the NAD Honors Committee and submitted the 2006 requirements for the Computer and Advanced Computer Honors. He also is the author of the Internet and Internet Advanced NAD AY Honors.

Mark was the webmaster for the 1999 and 2004 NAD International Pathfinder Camporees, serving for over seven years in that capacity, providing the Camporee community with an online informational resource.

At the writing of this biography, Mark is the Religion and Computer Teacher at Pacific Union College Preparatory School in Angwin, CA. He also serves as Registrar and Information Technology Services guy for this institution. He has been a staff member at PUC Prep since 2003.

"Pastor Mark" is an ordained minister, and served for almost five years as a youth pastor in Florida. He is a 6th generation Seventh-day Adventist pastor, and loves studying Adventist history.

Mark is an avid Pathfinder, serving as a Pathfinder staff member since the age of fifteen, when he was the youngest Director in the North America Division. Since 2004, he has been the Area 9 Area Coordinator for the Northern California Conference of Seventh-day Adventists. He loves earning Pathfinder honors and mentoring staff members in creative teaching methods they can use in teaching Pathfinders.

Resources:

S&W Crafts Manufacturing

P.O. box 5501

Pasadena, CA 91117

626-793-2443

http://www.pinewoodderbycars.com

Pine Car

P.O. Box 98

Linn Creek, MO 65052

Note: Pinewood Derby cars are usually available through the Boy Scout organization.

Pinewood Derby - Advanced

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1999

1. Have the Pinewood Derby Honor.

Answers to the Pinewood Derby honor can be found in the Arts and Crafts chapter of this wikibook.

12. Define and practice good sportsmanship as it relates to your Christian walk.

While building and racing a pinewood derby car your Christian walk may be tested. If someone needed help on their design, did you help? If you are having trouble cutting your own car, did you accept help? Did you clean up your work area so the next person had a clean place to work, or so the staff didn’t have to clean up after you? Did you have to wait a while to use some of the tools? Being patient isn’t always easy.

Jesus was a Carpenter…………Jesus may have spent many hours in a wood shop……I wonder if He helped Joseph,…..design, transfer the design, clamp the wood, cut the wood with a saw, file, sand smooth, paint, assemble. I wonder,…..how many tools did Jesus know how to use, that you just used yourself? I wonder………………..

Note: If you are planning to participate in a conference Pinewood Derby event be sure you use the correct specifications from your conference because some use different specifications than listed above.

Plaster Craft

Part 3
Arts and Crafts General Conference	Skill Level 1
	Year of Introduction: 1967

1. What is the principal ingredient of plaster of Paris?

Plaster of Paris is based on calcium sulfate which is derived from gypsum.

3. Know how to remove air bubbles from a poured item.

stir

Plastic Canvas

Part 3
Arts and Crafts North American Division	Skill Level 1
	Year of Introduction: 2006

1. What is plastic canvas?

Train made in Plastic Canvas

Wikipedia on Plastic canvas.

• Plastic canvas is a lightweight plastic material with regularly spaced holes in imitation of embroidery canvas. It is also commonly known as vinyl weave.

Plastic Canvas close-up

• Plastic canvas is as the base/foundation for needlepoint or other canvas work embroidery, usually in acrylic or wool knitting yarn. Because the plastic is rigid, it can be used in creating 3-dimensional projects like tissue box covers, small jewelry boxes, handbags, and other decorative items.

• Plastic canvas comes in many colors and various size holes for different thicknesses of yarn. As with textile canvas, these are described in count – 10-count plastic canvas has 10 holes per linear inch. Typical sizes are 7-, 10-, and 14 count. It also comes in pre-made shapes such as circles, triangles, as well as novelty shapes (e.g. dinosaurs, birds, etc).

• Plastic canvas is also used to teach needlepoint and cross stitch to children, because it is rigid and does not need the use of a hoop or frame.

4. Describe the following types of yarn and say on which type of canvas they work best:

a. Worsted Weight Yarn

• http://en.wikipedia.org/wiki/Worsted

c. Tapestry Yarn

• http://en.wikipedia.org/wiki/Tapestry

7. Name at least ten (10) stitches and make a one-inch sample of each.

Tent Stitch

• 

  Basketweave tent stitch

• 

  Continental tent stitch

• 

  Half cross tent stitch

Tent stitch is a small, diagonal embroidery stitch that crosses over the intersection of one horizontal and one vertical thread of needlepoint canvas forming a slanted stitch at a 45 degree angle. It is also known as Petit point and Needlepoint stitch and is one of the most basic and versatile stitches used in Needlepoint and other Canvas work embroidery.

Tent stitch variants

There are three types of tent stitch, all producing the same appearance on the front of the canvas but each worked in a slightly different way and having particular characteristics, uses, benefits and drawbacks. These variants of tent stitch are known as basketweave, continental and half cross tent stitches:

• Basketweave tent stitch
  The basketweave form of tent stitch is worked in diagonal rows up and down the canvas. The yarn on the back of the canvas has a typical basketweave appearance, with alternating horizontal and vertical stitches. Basketweave is the best stitch to use for covering large areas of canvas as it does not distort the canvas as the other two forms of tent stitch do.

• Continental tent stitch
  Continental stitch is worked from right to left across the canvas. It's primary use is for working a single row of stitching but may be worked in multiple rows if necessary. It can also be used for stitching vertical lines. It is normally used for working a single line or for filling very small areas because of the tendency of the stitch tension to pull and distort the canvas ground fabric out of shape. This method uses more yarn than half cross stitch tent stitch but is more hardwearing.

• Half cross tent stitch
  Half cross stitch is worked from left to right across the canvas. As with Continental tent stitch it's primary use is for working a single row of stitching but may be worked in multiple rows if necessary. It can also be used for stitching vertical lines. It is normally used for working a single line or for filling very small areas because of the tendency of the stitch tension to pull and distort the canvas ground fabric out of shape. This method uses less yarn than other stitches but is not very durable as coverage on the back of the canvas is a little thin.

Bargello Technique

Bargello refers not just a stitching technique, but motifs created by the change of colors in the stitches. This section describes the vertical stitch and how it is combined with color and ‘stepping’ to create different motifs.

Examples

Image(s) created and licensed by Elizabeth Pyatt.

• 

  Flame stitch motif.
  Stitches step sharply across the design.

• 

  Diamond motif.
  Stitches step sharply across the designs and color changes cause diamonds to appear.

• Ribbons.png

  Ribbon design.
  Stitches are gradually stepped in different colors.

• 

  Medallion design.
  Stitches are gradually stepped and color changes causes spheres or medallions to appear.

Vertical Stitches

Most agree that traditional Bargello pieces incorporate a series of all vertical stitches (vs. diagonal stitches). The basic unit is usually a vertical stitch of four threads, but other heights are possible.

Some Bargello pieces use only one height of stitch, but even the earliest pieces (such as chairs in the Bargello museum) combined different heights of stitches.

Stepping

Bargello patterns are formed when vertical stitches are stepped or offset vertically, usually by two threads (i.e. halfway down a unit of four threads). The patterns in the steps combined with color changes determines how the overall pattern will emerge.

Flame (Sharp) vs. Curved Motifs

If vertical stitches are stepped down quickly, the design forms sharp points or zig-zags. This type of Bargello motif is often known as "flame stitch." Flame stitch can be found on the Bargello Museum chairs.

If steps are gradual, then the design will appear to be curved. Traditional curved bargello motifs include medallions and ribbons.

9. Make one of the following using four different stitches:

c. Floppy Disk Holder

Yikes! This is a floppy disk.

References

• Requirements from efiles at Advent Source
• http://en.wikipedia.org/wiki/Plastic_canvas
• http://en.wikipedia.org/wiki/Bargello_%28needlework%29

Plastic Canvas - Advanced

Adventist Youth Honors Answer Book/Arts and Crafts/Plastic Canvas - Advanced

Plastics

Part 3
Arts and Crafts General Conference	Skill Level 2
	Year of Introduction: 1961

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A "Modified Version" of the Document means any work containing the Document or a portion of it, either copied verbatim, or with modifications and/or translated into another language.

A "Secondary Section" is a named appendix or a front-matter section of the Document that deals exclusively with the relationship of the publishers or authors of the Document to the Document's overall subject (or to related matters) and contains nothing that could fall directly within that overall subject. (Thus, if the Document is in part a textbook of mathematics, a Secondary Section may not explain any mathematics.) The relationship could be a matter of historical connection with the subject or with related matters, or of legal, commercial, philosophical, ethical or political position regarding them.

The "Invariant Sections" are certain Secondary Sections whose titles are designated, as being those of Invariant Sections, in the notice that says that the Document is released under this License. If a section does not fit the above definition of Secondary then it is not allowed to be designated as Invariant. The Document may contain zero Invariant Sections. If the Document does not identify any Invariant Sections then there are none.

The "Cover Texts" are certain short passages of text that are listed, as Front-Cover Texts or Back-Cover Texts, in the notice that says that the Document is released under this License. A Front-Cover Text may be at most 5 words, and a Back-Cover Text may be at most 25 words.

A "Transparent" copy of the Document means a machine-readable copy, represented in a format whose specification is available to the general public, that is suitable for revising the document straightforwardly with generic text editors or (for images composed of pixels) generic paint programs or (for drawings) some widely available drawing editor, and that is suitable for input to text formatters or for automatic translation to a variety of formats suitable for input to text formatters. A copy made in an otherwise Transparent file format whose markup, or absence of markup, has been arranged to thwart or discourage subsequent modification by readers is not Transparent. An image format is not Transparent if used for any substantial amount of text. A copy that is not "Transparent" is called "Opaque".

Examples of suitable formats for Transparent copies include plain ASCII without markup, Texinfo input format, LaTeX input format, SGML or XML using a publicly available DTD, and standard-conforming simple HTML, PostScript or PDF designed for human modification. Examples of transparent image formats include PNG, XCF and JPG. Opaque formats include proprietary formats that can be read and edited only by proprietary word processors, SGML or XML for which the DTD and/or processing tools are not generally available, and the machine-generated HTML, PostScript or PDF produced by some word processors for output purposes only.

The "Title Page" means, for a printed book, the title page itself, plus such following pages as are needed to hold, legibly, the material this License requires to appear in the title page. For works in formats which do not have any title page as such, "Title Page" means the text near the most prominent appearance of the work's title, preceding the beginning of the body of the text.

A section "Entitled XYZ" means a named subunit of the Document whose title either is precisely XYZ or contains XYZ in parentheses following text that translates XYZ in another language. (Here XYZ stands for a specific section name mentioned below, such as "Acknowledgements", "Dedications", "Endorsements", or "History".) To "Preserve the Title" of such a section when you modify the Document means that it remains a section "Entitled XYZ" according to this definition.

The Document may include Warranty Disclaimers next to the notice which states that this License applies to the Document. These Warranty Disclaimers are considered to be included by reference in this License, but only as regards disclaiming warranties: any other implication that these Warranty Disclaimers may have is void and has no effect on the meaning of this License.

2. VERBATIM COPYING

You may copy and distribute the Document in any medium, either commercially or noncommercially, provided that this License, the copyright notices, and the license notice saying this License applies to the Document are reproduced in all copies, and that you add no other conditions whatsoever to those of this License. You may not use technical measures to obstruct or control the reading or further copying of the copies you make or distribute. However, you may accept compensation in exchange for copies. If you distribute a large enough number of copies you must also follow the conditions in section 3.

You may also lend copies, under the same conditions stated above, and you may publicly display copies.

3. COPYING IN QUANTITY

If you publish printed copies (or copies in media that commonly have printed covers) of the Document, numbering more than 100, and the Document's license notice requires Cover Texts, you must enclose the copies in covers that carry, clearly and legibly, all these Cover Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on the back cover. Both covers must also clearly and legibly identify you as the publisher of these copies. The front cover must present the full title with all words of the title equally prominent and visible. You may add other material on the covers in addition. Copying with changes limited to the covers, as long as they preserve the title of the Document and satisfy these conditions, can be treated as verbatim copying in other respects.

If the required texts for either cover are too voluminous to fit legibly, you should put the first ones listed (as many as fit reasonably) on the actual cover, and continue the rest onto adjacent pages.

If you publish or distribute Opaque copies of the Document numbering more than 100, you must either include a machine-readable Transparent copy along with each Opaque copy, or state in or with each Opaque copy a computer-network location from which the general network-using public has access to download using public-standard network protocols a complete Transparent copy of the Document, free of added material. If you use the latter option, you must take reasonably prudent steps, when you begin distribution of Opaque copies in quantity, to ensure that this Transparent copy will remain thus accessible at the stated location until at least one year after the last time you distribute an Opaque copy (directly or through your agents or retailers) of that edition to the public.

It is requested, but not required, that you contact the authors of the Document well before redistributing any large number of copies, to give them a chance to provide you with an updated version of the Document.

4. MODIFICATIONS

You may copy and distribute a Modified Version of the Document under the conditions of sections 2 and 3 above, provided that you release the Modified Version under precisely this License, with the Modified Version filling the role of the Document, thus licensing distribution and modification of the Modified Version to whoever possesses a copy of it. In addition, you must do these things in the Modified Version:

A. Use in the Title Page (and on the covers, if any) a title distinct from that of the Document, and from those of previous versions (which should, if there were any, be listed in the History section of the Document). You may use the same title as a previous version if the original publisher of that version gives permission.

B. List on the Title Page, as authors, one or more persons or entities responsible for authorship of the modifications in the Modified Version, together with at least five of the principal authors of the Document (all of its principal authors, if it has fewer than five), unless they release you from this requirement.

C. State on the Title page the name of the publisher of the Modified Version, as the publisher.

D. Preserve all the copyright notices of the Document.

E. Add an appropriate copyright notice for your modifications adjacent to the other copyright notices.

F. Include, immediately after the copyright notices, a license notice giving the public permission to use the Modified Version under the terms of this License, in the form shown in the Addendum below.

G. Preserve in that license notice the full lists of Invariant Sections and required Cover Texts given in the Document's license notice.

H. Include an unaltered copy of this License.

I. Preserve the section Entitled "History", Preserve its Title, and add to it an item stating at least the title, year, new authors, and publisher of the Modified Version as given on the Title Page. If there is no section Entitled "History" in the Document, create one stating the title, year, authors, and publisher of the Document as given on its Title Page, then add an item describing the Modified Version as stated in the previous sentence.

J. Preserve the network location, if any, given in the Document for public access to a Transparent copy of the Document, and likewise the network locations given in the Document for previous versions it was based on. These may be placed in the "History" section. You may omit a network location for a work that was published at least four years before the Document itself, or if the original publisher of the version it refers to gives permission.

K. For any section Entitled "Acknowledgements" or "Dedications", Preserve the Title of the section, and preserve in the section all the substance and tone of each of the contributor acknowledgements and/or dedications given therein.

L. Preserve all the Invariant Sections of the Document, unaltered in their text and in their titles. Section numbers or the equivalent are not considered part of the section titles.

M. Delete any section Entitled "Endorsements". Such a section may not be included in the Modified Version.

N. Do not retitle any existing section to be Entitled "Endorsements" or to conflict in title with any Invariant Section.

O. Preserve any Warranty Disclaimers.

If the Modified Version includes new front-matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document, you may at your option designate some or all of these sections as invariant. To do this, add their titles to the list of Invariant Sections in the Modified Version's license notice. These titles must be distinct from any other section titles.

You may add a section Entitled "Endorsements", provided it contains nothing but endorsements of your Modified Version by various parties--for example, statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard.

You may add a passage of up to five words as a Front-Cover Text, and a passage of up to 25 words as a Back-Cover Text, to the end of the list of Cover Texts in the Modified Version. Only one passage of Front-Cover Text and one of Back-Cover Text may be added by (or through arrangements made by) any one entity. If the Document already includes a cover text for the same cover, previously added by you or by arrangement made by the same entity you are acting on behalf of, you may not add another; but you may replace the old one, on explicit permission from the previous publisher that added the old one.

The author(s) and publisher(s) of the Document do not by this License give permission to use their names for publicity for or to assert or imply endorsement of any Modified Version.

5. COMBINING DOCUMENTS

You may combine the Document with other documents released under this License, under the terms defined in section 4 above for modified versions, provided that you include in the combination all of the Invariant Sections of all of the original documents, unmodified, and list them all as Invariant Sections of your combined work in its license notice, and that you preserve all their Warranty Disclaimers.

The combined work need only contain one copy of this License, and multiple identical Invariant Sections may be replaced with a single copy. If there are multiple Invariant Sections with the same name but different contents, make the title of each such section unique by adding at the end of it, in parentheses, the name of the original author or publisher of that section if known, or else a unique number. Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work.

In the combination, you must combine any sections Entitled "History" in the various original documents, forming one section Entitled "History"; likewise combine any sections Entitled "Acknowledgements", and any sections Entitled "Dedications". You must delete all sections Entitled "Endorsements."

6. COLLECTIONS OF DOCUMENTS

You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects.

You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document.

7. AGGREGATION WITH INDEPENDENT WORKS

A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, is called an "aggregate" if the copyright resulting from the compilation is not used to limit the legal rights of the compilation's users beyond what the individual works permit. When the Document is included in an aggregate, this License does not apply to the other works in the aggregate which are not themselves derivative works of the Document.

If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one half of the entire aggregate, the Document's Cover Texts may be placed on covers that bracket the Document within the aggregate, or the electronic equivalent of covers if the Document is in electronic form. Otherwise they must appear on printed covers that bracket the whole aggregate.

8. TRANSLATION

Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the original English version of this License and the original versions of those notices and disclaimers. In case of a disagreement between the translation and the original version of this License or a notice or disclaimer, the original version will prevail.

If a section in the Document is Entitled "Acknowledgements", "Dedications", or "History", the requirement (section 4) to Preserve its Title (section 1) will typically require changing the actual title.

9. TERMINATION

You may not copy, modify, sublicense, or distribute the Document except as expressly provided for under this License. Any other attempt to copy, modify, sublicense or distribute the Document is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance.

10. FUTURE REVISIONS OF THIS LICENSE

The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http://www.gnu.org/copyleft/.

Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License "or any later version" applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation.