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Transwiki:Fishing for pike

The Pike is a popular freshwater 'sport' fish throughout the northern hemisphere. There are many different approaches to catching this lively fish. Usually a 10 kg pike is considered a target which to attain.

Tackle
Pike are hard fighting fish, so a strong line, 20 lb. test or more, such as braided dacron or strong nylon monofilament is required, as is a length of wire between the bait and the line (a leader), since a pike's sharp teeth can readily sever ordinary fishing line. A strong, stiff rod is also the typical choice of rod for the Pike angler, of which there are many versions and makes on the market. Generally, a strong spinning or baitcasting reel is used.

Pike are active year-round, and are thus a popular species among ice fisherman. In addition to conventional ice-fishing tackle, tip-up rigs are often used, since the sheer size and strength of large predatory fish such as pike will readily trigger them. Also, pike are among the most popular targets of spearfishing. In recent years fly-fishing for pike has become so popular that during June many northern Canadian lodges will be filled with only fly-fisherman.

Methods
There are several methods of catching Pike. Young Pike commonly are known as jack pike or "snakes". They are enthusiastic feeders and will readily take lures, dead and live baits. Larger Pike can be a lot more difficult to tempt. Consequently, while an angler may readily take smaller Pike with a lure, livebait or deadbait, the angler who fishes with a deadbait who typically captures the larger specimen fish.

Livebaiting
Pike feed on a great variety of small and large fishes, such as perch and whitefish, so choice of bait depends a lot on the water which the angler is fishing. If you are not familiar with the water you are fishing, the most successful live bait for pike is the 5" long minnow. An oily minnow such as a cisco or a sucker is preferred because it leaves a "scent trail" for the pike to follow*. Anglers can even catch small perch or sunfish (though sometimes not legal in certain parts of Canada or the U.S.) and use them to entice large pike. Based on this same concept, finding a school of crappie can also be an effective means of finding a pike.  Pike will also strike a jigged night crawlers or other earthworm species or one suspended from a bobber. Since Pike, like other esocids, are such voracious fish, they are not wary when it comes to taking live bait. Small pike will even take crickets and mealworms. Despite the pike's wide diet, the actual catching of the fish remains quite difficult and thus angler should have at least some knowledge of the waters he is fishing on or have the means to cover a large portion of the water.

 * In some states and areas, it is either illegal to use certain minnows, or minnows in general. Always check with local regulations.

Deadbaiting
The choice of bait for deadbaiting is a hard one for the angler to take. The best approach is perhaps to fish two or three separate rods and to try different bait on each. Again, an oiliy minnow such as a cisco or a sucker is preferred. Once again, however, local knowledge will come in useful. Giving the dead bait a lifelike presentation, like twitching the line or drifting the bait, will increase strike chances. Two treble hooks attached to a strong wire trace are generally used for deadbaiting, making sure the treble hooks are attached towards the rear of the deadbait. Doing this helps prevent pike being deep hooked when they try and eat the deadbait, providing that the angler strikes to set the hooks immediately a bite is detected. An effective way of catching pike is to attach a bobber about five feet above the steel leader with the deadbait attached. When the pike bites, it will take the bobber under and out. Let the fish take the bait for awhile, and then set the hook. Anglers when first trying deadbaiting for pike should first go fishing with an experienced pike angler. This will ensure the fish are correctly handeled and unhooked. This is very important so the fishes survival is guaranteed.

Note that fishing with more than one hook or rod is illegal in many states in the US.

Lure fishing
Lures come in all shapes and sizes. And they are an exciting and popular method of catching Pike. However, a word of caution, there are more lures for sale than there are fish in the sea! On a given day, a particular type of lure will work wonders and catch Pike. The next day, it may not work at all. There are some lures which stand the test of time more so than others and these are the best ones to begin fishing with. In North America most recreational fisherman take pike on in-line spinners, spinner baits, spoons (especially weedless ones), large rattling crankbaits, bucktails and generally anything that is shiny, large, loud, and attracts the pikes attention. Often bass and walleye fisherman will catch pike as a byproduct. Pike commonly eat fish weighing up to 20% of their own weight, so you can never have too big a lure. Often Pike hit baits out of anger, so red-and-white Daredevils and large, brightly colored spinnerbaits and buzzbaits are go-to baits for many accomplished pike fishermen. Pike are not shy when it comes to hitting crankbaits, jigs and just about any other lure intended for different species. An economically challenged angler may catch pike by using tabs from soft drink cans on a swivel with a hook with surprising efficiency. Also beware that brightly coloured plugs tend to catch more anglers than fish and you will soon find that you have more than you will be able to use, but you will quickly discover your favourites for a particular water.

Beginners can throw on almost any common lure to catch their first pike. As mentioned above, red and white Dardevles or red and white Mepps inline spinners are great choices for pike of any size. Any jerkbait will also entice strikes. Know what the pike in your area feed on to pick the color for your jerkbaits in clear water. For stained water jerk a more colorful pattern such as a clown. Spinner baits are also good choices for active northerns. Many anglers’ uses blades with more thump than flash like Colorados or Indianas. Many northern spinerbaits have tandem blades, although single blades are often effective when duel blades fail. In this case red and black or something Halloween colored is often a good choice. When a bite goes cold on any of the above baits sometimes small changes can mean the difference in a continuous bite and day of frustration on the water.

Handling
Pike can be unhooked and returned quickly and with minimal damage if you have the right tools and handle them correctly.

Pike may look mean and tough but they are as liable to be damaged as any other fish if handled carelessly. In countries where the fish is being taken to eat - as is the case in much of continental Europe, for example - it may not be so important that the fish is properly handled. However, in all cases it is probably best - and safest - if a few basic tips are followed.

 * 1) If inexperienced with Pike, go fishing with someone who is experienced.  A large Pike can easily weigh in excess of 15 kg and they all have very sharp teeth.
 * 2) In many parts of the angling world, the use of gaffs is no longer accepted.  Consequently a Pike should be netted or, if experienced enough to do so, handled out of the water.
 * 3) Take care in unhooking a Pike if you plan to return it to the water.  In particular, avoid damaging the gill rakers when unhooking.
 * 4) If you are planning to keep the fish, or if the fish is small, the gill covers can be firmly (but gently!) squeezed shut to stun the fish and keep it from flopping around. If done gently enough, this procedure will not hurt the fish. It also keeps the fish from becoming injured from flopping about in the boat or on shore.
 * 5) *ONLY TO BE USED IF THE FISH IS TO BE KEPT AND EATEN*  Despite being one of the least humane methods ever used, it is common practice among some fishermen to hold a large pike by inserting the thumb and forefinger into the fish's eyesockets, and holding firmly.  This practice almost always keeps the fish from flopping excessively, allowing easy removal of hooks.  Although this is a very effective means by which to control large pike, it is certain to harm the fish, and is often frowned upon.

Clubs and societies
There are clubs and societies dedicated to Pike and Pike angling throughout the world. It is always a good idea to take detailed advice on handling and tackle from a club in your area.

title: Transwiki:Fishing for pike


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Transwiki:Float (breakdancing move)

The float or glide is a balance-intensive breakdance move in which the body is held parallel to the floor while balancing on one or both hands. Breakers often "walk" with floats by shifting weight from one hand to the other and thus moving in a straight line or circle.

Step-by-step
For a standard two-handed stationary float, first kneel down on the floor. Bend both arms at a 90-degree angle, then bring the forearms in front of your body, parallel and slightly less than shoulder-width apart. Draw your elbows back toward your body and plant your elbows on the bony crest of your hips (you may have to hunch over to make them connect). This "stab" is the key to stable, unstressful floats. With your forearms thus sticking out at a 90-degree angle to your body, lean forward onto the palms of your hands. Keep leaning, then straighten your legs. Flex your lower back to straighten your body out. Your body should be perfectly horizontal with only the hands touching the ground.

Variants

 * Crab - The Crab is a specific term for a two-handed stabbed float that may walk in a line but does not entail any of the variations below.

Spinning floats

 * Turtle - This is a standard spinning float. The breaker shifts weight from one hand to the next, moving one hand forward and the other backward to produce rotation or a circular "walk".
 * Pumping Turtle or Darkhammers - A Turtle in which the breaker actually hops/jumps with the hands instead of just shifting from hand to hand.
 * Cricket - Much like the Hand Glide, but the breaker hops on the central hand rather than merely spinning. The free hand pulls until the centered wrist becomes taut and can twist no further. The free hand pushes off from ground (and the legs may kick upward as well), allowing the centered hand to hop and turn itself to allow for the process to repeat. Bboy Pop of Gamblers crew is famous for his beautiful crickets as well as jackhammers (see below).
 * Jackhammer - A Cricket performed with one hand. Jackhammers are often faster, and the free hand is usually placed on the back or in some other position that clearly shows control with the centered hand.

Straight-arm floats
Floats may be performed with straight arms, meaning the elbows do not support the body. Rather, these floats involve strength and speed to keep the entire body up.
 * Air Turtle or UFO - The movement is like that of a Turtle, but the elbows are locked straight and therefore do NOT provide a point of support. To assist this extremely difficult athletic move, often the legs bend upwards, the body leans forward slightly, and/or the hands are turned in the direction of spin.
 * Buddha - Similar to Air Turtles except that the knees are kept locked together and behind the arms, shins parallel to the floor, back as parallel to the floor as possible. Bboy Crazy Geun of Extreme Crew is famous for using Buddhas in his sets.
 * Deadman - Similar to UFO's where the legs are held straight together. It is a commonly seen movement done in gymnastics floor routines. Bboy Junior is a famous bboy who is known to use Deadman floats in his sets.
 * Boomerang - While sitting with legs in front and in a V shape, the hands are placed in between the thighs. The legs are lifted and kept straight while the hands walk in a circle. This looks quite different from most other floats.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Transwiki:Float (breakdancing move)


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Adventist Youth Honors Answer Book/Arts and Crafts/Basketry

1. Know the names of two countries where Rattan (cane) is grown.
Most (70%) of the world's rattan grows in Indonesia, distributed among Borneo, Celebes, Sumbawa islands. The rest of the world's supply comes from the Philippines, Sri Lanka, Malaysia and Bangladesh.

2. Explain how to treat pithcane (reed) before weaving.
Soak the Round Reed and Flat Oval Reed for 5 to 10 minutes in warm water. If reed becomes dry while you are weaving, re-soak or spray until pliable. Do not over soak your reed; it will become mushy.

a. Cane basket making?
Sharp Knife Peg Pair of round-nosed pliers Awl Two Bodkins Rapping iron to tap down the wave on heavy cane work Cane seat weaver Note: A blunted chisel will do instead of the rapping iron, just wind a piece of tape around the end to protect the cane.

a. Weaver singeing
To singe baskets is a method of removing reed hairs from a basket after it is finished. Using a lighter or other small torch or flame, move the flame around the basket to singe or burn up hairs. Brush your hand over the sides of the basket to knock off the burnt hairs. Hold the flame above the basket so you do not blacken the basket. It is recommended that you wet or mist the basket prior to singeing, the hairs will dry first and this will lessen the chance of burning the basket itself.


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Adventist Youth Honors Answer Book/Arts and Crafts/Block Printing

1. List the tools and equipment necessary for block printing.

 * Block: The block is a piece of material into which the design to be printed is carved. Linoleum is a common block material, but people also use wood, or even potatoes.  Linoleum is inexpensive, easy to carve, and makes good prints.  Wood is more difficult to work with, and potatoes do not make the greatest prints.  Also, you can't really save a potato, as it will begin to decompose as soon as it is cut.  Linoleum can be put away for several years and then reused.
 * Sandpaper: If you are using linoleum or wood, you will need to sand the surface first to eliminate the texturing. Texturing will come through in your print, which may or may not be desired.
 * Ink: Many people prefer to use oil-based ink, but beware - oil-based inks will permanently stain clothing. If you are teaching this honor to a group of children, you would be well advised to stick with water soluble ink.
 * Brayer: A brayer is a hand roller used in printmaking techniques to spread ink or to offset an image from a plate to paper. They can be made of rubber, sponge, acrylic, or leather. Rubber brayers come in varieties of hardness and are primarily used for relief printing. Leather rollers are only used in lithography. Sponge rollers are used only for scrapbooking and other craft applications.
 * Piece of Glass: Ink is poured onto a piece of glass, and then the brayer is rolled over it. This transfers the ink to the brayer.  An old picture frame can work well for this.
 * Paper or fabric: Your design must be printed on something, no?
 * Baren: The baren is a disk like device with a flat bottom and on the reverse side, a knotted handle. The beren is used to burnish (firmly rub) the paper to pick up ink that has been rolled onto a wood or linoleum cut. You can also use a wooden spoon or even a rolling pin for this.
 * Paper towels: For cleaning up!

2. Write a paragraph on the principles of design and lettering as applied to block printing.
The most confusing aspect of block printing letters is that the letters must be carved into the block as a mirror-image. When the block is pressed to the paper, the image will be reversed, and the letter will look proper. The saying "watch your p's and q's" comes from the fact that a p looks like a q, and a q looks like a p when viewing the type (whether movable type, or letters carved into a block).

The design to be printed must be carved into the block, or more specifically, the negative part of the design must be carved out. In other words, every part of the design that you wish to appear in the final product must be left intact in the block. Everything that you wish to not appear in the final product must be carved out of the block.

For multi-color prints, you will need a block for each color. All the red parts of the design are left intact, and the non-red parts are carved away. Repeat for other colors. When printing, pay close attention to the block's registration - that is, that each color block is correctly lined up. Once an inked block touches the paper, it's too late to make an adjustment.

For your initial prints, it is best to avoid highly detailed designs. Start with one color, and use large shapes. As your skills improve, you may include greater and greater detail and incorporate multiple colors.

3. Using a potato, carve a design incorporating your initials into it, and use it to print your initials on paper.
Remember to reverse the letters and to put your first initial on the right side of the potato, and your last initial on the left.

First cut the potato in half. The cut must be straight, so use a large knife for this, and cut it with one smooth motion. Your initials will be carved into the freshly cut surface, so it needs to be as flat as possible.

Using a sharp knife (a paring knife, pocket knife, X-acto knife, etc...) mark out the letters. Make vertical incisions into the potato to mark out the boundaries of the letters. Once this is done, you can move in from the side and carve off the negative spaces. For spaces inside the letters (such as the middle portion of an A or an O you will need to angle the knife down and pop out a portion of the hole. Then try it again from the other side.

Once you have all of the negative space removed, roll some ink onto your potato and press it firmly to a sheet of paper. Do not move the potato once it touches the paper, except to press it more firmly into the paper, or to lift it straight off. Any side-to-side motion will smear the print.

4. Design and print at least one greeting card.
For this, we highly recommend that you use linoleum for the printing block. As you should well know from your experience with the previous requirement, potato printing leaves a lot to be desired.

Avoid the heavy use of lettering. Letters are hard, and you can write a note onto your greeting card once you have printed it. Images of trees, flowers, and animals on the other hand do not suffer from accidental image reversal as letters do. Long strings of text are also difficult to keep aligned.

Once you have chosen a design, follow these steps:
 * 1) Sand your piece of linoleum until it is smooth.  Start with coarse grade sand paper (80 grit), follow that with finer grade (100 grit), and finally, use an even finer grade paper (120 grit).
 * 2) Draw your design on a piece of paper, and then transfer it to the piece of linoleum.  If you draw the design in pencil, you may be able to transfer it by placing it face-down on the linoleum, and then tracing over the back, being sure to use plenty of pressure and covering every line, stroke, and dot.  You can also draw your design directly onto the linoleum, but you must remember to draw it in reverse!
 * 3) Now you are ready to begin carving.  Use a set of carving gouges for this, and always cut away from your hands and fingers.  Do not cut too deeply.  Remove all the negative space from the design, and be careful to leave the positive space intact.  Once you cut it - it is gone.
 * 4) Once the linoleum has been carved, pour a small amount of ink onto the piece of glass.  Then roll the brayer over the ink.  Be sure to roll it in only one direction, not back and forth.  If you roll it back and forth, you will not move the ink around.  Instead, roll it forward, pick it up, pull it back towards yourself, and roll it forward again.
 * 5) Coat the linoleum with a thin layer of ink.  Then coat it again.  Several thin coats are better than one thick, gloppy coat.
 * 6) Place your blank greeting card (don't fold it until after it has been printed!) face up on your work surface.  Then carefully place the inked surface of the block on it without moving it from side-to-side.  Apply even pressure using the brayer, rolling pin, or the back of a wooden spoon.  Be careful not to move the linoleum with respect to the paper at this point!
 * 7) Carefully lift the block from the paper and admire your results (or try again).

5. Design and print one bookplate or book cover.
Follow the procedure outlined in the previous requirement. A bookplate is a small piece of paper that is glued to the inside cover of a book to identify the owner. This obviously will require you to print some text, as that's the only way most of us write our names. A book cover should have the book's title as well as the author's name. It should be large enough to cover the outside of the book.

6. Going through the steps of designing, carving, and printing, create another original piece of work of your choice.
This could be a poster, another greeting card, another bookplate, another book cover, or whatever you would like to make. This requirement should be saved for last - it's your masterpiece!


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Adventist Youth Honors Answer Book/Arts and Crafts/Braiding

1. Make a three-strand braid, using hair, rope, or cord.
To make a three strand braid we start with the picture on the upper left, and proceed clockwise.

 * Move the blue strand from the right to the center, bringing us to the second picture.
 * Move the black strand from the left to the center, bringing us to the third picture.
 * Move the red strand from the right to the center, bringing us to the fourth picture.
 * Move the blue strand from the left to the center, bringing us to the fifth picture.
 * Move the black strand from the right to the center, bringing us to the sixth picture.
 * Move the red strand from the left to the center, bringing us to the seventh picture which has the strands in the same order as the first.

The sequence of left-to-center, right-to-center, left-to-center, right-to-center repeats until the braider reaches the end of the strands or decides to quit.

2. Make a zipper pull or a key chain using the four-strand round or square braid.

This is an easy project that does not take very much time. To start, you will need: a keyring or other ring/fastener, and two strands of gimp (flat, plastic string), each strand about 3–4 feet long.

Fold each strand in half and thread through the ring/fastener. Then begin braiding.

 * Step 1: Cross over two strands that are opposite each other (see illustration).
 * Step 2: Thread the cross-strands through: "over 1, under one".
 * Step 3: Pull tight

Repeat until the zipper pull or key chain reaches the desired length (4-5 inches).

3. Make a four-strand hanger cover.
First, you must learn to do the four strand braid (not the round or square braid). The way to remember this is "under 2, over 1." Follow the illustration.

To make a hanger cover, just do this braid around the hanger.

4. Make a four-strand round braid lanyard.
Follow the instructions for a four-strand braid from requirement 3 above, starting with two 8–9 foot strands folded in half. At the end, start doing a square braid around the first part, forming a loop. This can be adjusted when you are done.

5. Know how to start and end all projects.
How to start or end depends on the material being braided.

Starting

 * Rope, string, or lace: Lay the ropes (or strings or laces) parallel to one another with the ends even and tie an overhand knot in the entire bundle.
 * Hair: Bind the hair you wish to braid using an elastic band near the head. Divide into the desired number of equal-diameter strands.
 * Leather: A wide leather strap can be cut into strips, but left intact near one end.

Ending

 * Rope, string, or lace: Tie the bundle into an overhand knot.
 * Hair: Bind the braid with a rubber band or a decorative hair elastic.
 * Leather: Glue the strands in place, rivet them to another piece, or firmly sandwich them between two other pieces of leather.


text: Adventist Youth Honors Answer Book/Arts and Crafts/Braiding - Advanced


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Adventist Youth Honors Answer Book/Arts and Crafts/Cake Decorating

1. List equipment necessary for cake decorating.

 * Decorating bags: Small triangular shaped bags made from cloth, plastic or parchment paper which are fitted with decorating tips and filled with icing and used to pipe decorative items such as icing flowers, borders, scrollwork and lacework designs.
 * Decorating tips and collars: Sometimes called nozzles. These tips are used to create decorative items such as icing roses, shell borders, basketweave patterns and more. These come in various shapes and are used with an icing or pastry bag so that when the bag is squeezed the icing or cream is piped out in the shape of the tip, which may or may not be the final shape desired. For example, drop flowers are created with a single squeeze, while rose petals are created with skilled maneuvering. The collars are optional equipment that allow the tip to be changed without removing frosting from the bag.
 * Frosting spatula: Similar to a butter knife, but with smooth edges on the unsharpened blade. This is used to apply a smooth layer of frosting to a cake.
 * Flower nail: Shaped like a nail with an oversized head, this is used for piping royal icing and buttercream flowers onto before transferring to the cake.
 * Cake platter: A platter on which the cake sits as it is decorated and served. It can be as simple as a piece of corrugated cardboard covered with aluminum foil.

2. Learn from memory the two cake icings-butter cream and royal-and their proper uses. Name one other icing used for frosting.
Buttercream Icing recipe is perfect for spreading or decorating.

Royal Icing
This smooth, hard-drying icing is perfect for making decorations that last. It is also useful as a "cement" to fasten decorations together. Royal icing is edible, but not recommended for icing cakes.

Stabilized Whipped Cream Icing
==3. Learn and demonstrate proper construction of the decorating tube using parchment, wax papers, or a disposable bag. Show proper method of inserting tip, brushing with color, filling with icing, and folding of top.The name of the top fold is the Diaper fold.

4. Name three essential steps to good cake decorating.

 * Icing Consistency: If the consistency of your decorating icing is not just right, your decorations won't be right either.  Just a few drops of liquid  will make a great deal of difference in your results.
 * Correct Bag Position: The way your decorations curl, point, and lie depends not only on the icing consistency but also on the way you hold the bag and the way you move  it.  Bag positions are described in terms of both angle and direction.
 * Angle: Angle refers to  the position of the bag relative to the work surface.  There are two basic angle positions.
 * 90° angle, or straight up, perpendicular to the surface. Used when making stars or flat petal flowers.
 * 45° angle, or half way between vertical and horizontal. Used for writing and borders.
 * Direction: The angle of the bag to the work surface is only half the story of the bag position. The other half is the direction in which the back of the bag is pointed.  Correct  bag direction is easiest to learn when you think of the back of the bag as the hour hand of a clock.  When  you hold the bag with the tip in the center of the clock, you can sweep out a circle with the back end of the bag.  Pretend the circle you formed in the air is the clock face.  The hours on the clock face correspond to the direction you point the back end of the bag.

 * Pressure Control: The size and uniformity of your icing designs are affected by the amount of pressure you apply to the bag and the steadiness of the pressure : how you squeeze and relax your grip on the decorating bag.  Your goal is to learn to apply pressure so consistently that you can move the bag in a free and easy glide while just the right amount of icing flows through the tip.  Practice will help you achieve this control.

a. Star, fill-in and border
Use the star tube. Hold the bag in an upright position, and lightly touch the tip of the tube on the cake. Apply pressure to the bag until the dab of icing is the required size. Cease the pressure, and lift the tube quickly from the cake.

b. Rosette
Use a rose nail. Add a small piece of waxed paper to the flat pedestal of the rose nail with a dot of frosting. Position the petal tube vertically in the center of the rose nail and begin lightly squeezing out frosting while twirling the rose nail with your fingers to make a small frosting cone. Once the cone is slightly taller than the width of the base of the cone, stop squeezing the bag and pull it away. Turn the bag at a 45-degree angle and position the petal tube about 1/3 of the way down from the top of the cone. Pipe a petal all the way around the cone at this angle for just one full turn of the rose nail so that the ends of the petal are touching. Remove pressure and pull the bag away. Angle the piping bag at a 45-degree angle or slightly more and position the petal tube on one side of the cone. Squeeze the bag gently and pipe a ribbon of frosting about 1/3 of the way around the cone while spinning the rose nail to create a petal. Continue doing this until the rose is the size desired. Let the rose dry until it is slightly firm, and then transfer it onto your cake.

c. Shell border
Use a rose nail. Add a small piece of waxed paper to the flat pedestal of the rose nail with a dot of frosting. Position the petal tube vertically in the center of the rose nail and begin lightly squeezing out frosting while twirling the rose nail with your fingers to make a small frosting cone. Once the cone is slightly taller than the width of the base of the cone, stop squeezing the bag and pull it away. Turn the bag at a 45-degree angle and position the petal tube about 1/3 of the way down from the top of the cone. Pipe a petal all the way around the cone at this angle for just one full turn of the rose nail so that the ends of the petal are touching. Remove pressure and pull the bag away. Angle the piping bag at a 45-degree angle or slightly more and position the petal tube on one side of the cone. Squeeze the bag gently and pipe a ribbon of frosting about 1/3 of the way around the cone while spinning the rose nail to create a petal. Continue doing this until the rose is the size desired. Let the rose dry until it is slightly firm, and then transfer it onto your cake.

d. "S" design
Use a round tip. Slide a plastic coupler base into the bottom of an icing bag. Place a round tip over the coupler base and the bag. Screw a coupler ring over the tip, bag and base to secure. Fold the top half of the bag down to form a cuff. Unfold the cuff and twist the top half of the bag to secure the icing. Hold the bag at a 90 degree angle at the top perimeter of an iced cake. Gently squeeze the bag, directing the flow of icing to create a horizontal "S" shape near the edge of the cake's surface. Stop squeezing, and lift straight up to stop the flow of icing. Create another "S" shape next to the previous one, creating scrolls all the way around the perimeter of the cake. Let the icing harden for 15 minutes before moving the cake.

e. Ribbon
Use a rosepetal tip.

f. Zigzag border
Use a star or round tip.

g. Leaves
Use a leaf tip.

a. Sweet pea
sweet pea video tutorial

Helpful websites

 * http://www.baking911.com/decorating/cakes101.htm
 * http://recipes.howstuffworks.com/food-facts/cake-decorating.htm
 * http://www.wilton.com/decorating
 * http://www.cake-decorating.us/index.html


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Adventist Youth Honors Answer Book/Arts and Crafts/Candlemaking

a. Free-form sand candle
Break wax up in chunks and place in a cheese tin. Then place cheese tin a in pot with several inches of water. Heating wax up in pot will just cause you more work scrubbing the hardened wax from the inside of the pot. While the wax is melting get some wet sand and just make a free form hole in whatever shape you like, by using a jar, glass or others.

Heat the wax to your desired temperature. You can use your finger to make a hole in the bottom of the sand stick the wick in and cover it or you can stick the wick in after the first pour. Use an ice pick or stick to make a small indentation in the bottom of the poured candle and fit the wick into that hole. If you need to, stabilize the wick with a wick bar, straw, stick. Using the tablespoon to deflect the wax, slowly pour the wax into the hole. The spoon helps the hot wax disperse better without causing the hole to cave in. Depending on how wet your sand is you will likely hear a sizzling! This is just the water being evaporated out by the wax. You will notice that the wax begins to seep into the side of the hole. Fill the hole and let it seep. We'll come back and do a second pour when the wax cools down in a bit. After the second pouring and the free form is filled your sand candle is now ready.

b. Layered colored candle
A layered colored candle can be made by pouring multiple colors of hot wax (one color at a time) into a mold. You can color the wax yourself by using an uncolored wax and adding candle dye to it, or you can recycle old candles. If recycling, avoid mixing colors (if you mix several colors, the result is generally an unpleasant brownish-gray). Instead, separate out the colors, melt them individually, and use them as artistically as you can.

Start by melting at least two colors of wax in a double boiler. While it is melting, prepare the wick by cutting it to the desired length and attaching it to a sustainer base (or wick tab). The sustainer base will prevent the wick from floating in the liquid wax and anchor it to the bottom of the mold. Attaching the wick to the sustainer base is as easy as tying an overhand knot in the end of the wick and threading the other end through a hole in the base. Then pull the wick through until the knot stops the wick from pulling through the hole.

Attach the upper end of the wick to a wick bar. If you do not have a wick bar, you can use a pencil. The wick can be attached to the pencil using a clove hitch - this knot will allow you to pull on the wick the lengthen it, or pull on the other end to shorten it. Make adjustments until the wick tab touch the bottom of the mold when the pencil is laid across the top of the mold.

Once the wax is melted and the wick is in place, pour some wax into the mold. Let it cool briefly to minimize mixing and then pour in the second color. Repeat for additional colors.

c. Candle made in a mold
This is perhaps the easiest way to make a candle. You can buy reusable molds, or you can use paper cups and discard them when finished.

 * Tools:
 * Double boiler (see requirement 5)
 * Wooden skewer or paint stirrer
 * Candle mold (or paper cup)
 * Pencil (or another wooden skewer)
 * Materials:
 * Wax or paraffin
 * Wick
 * Wick anchor
 * Procedure:
 * 1) Melt the wax in a double boiler.
 * 2) Attach the wick anchor to the wick
 * 3) Tie the other end of the wick to a pencil or skewer
 * 4) Place the anchor-end of the wick in the mold laying the pencil/skewer on the rim.
 * 5) Adjust the knot until the anchor just rest on the bottom of the mold.  You may turn the pencil to take up extra wick and not have to get a knot tied in exactly the right place.
 * 6) Pour melted wax into the mold
 * 7) Allow the wax to settle.  It will normally form a depression in the top of the candle after a few minutes.  Pour more wax into this depression to fill it up.
 * 8) All the wax to set for an hour or so.
 * 9) Once the wax has set, pop it out of the mold.

d. Ice candle
Ice candles combine ice and hot wax to form a cool, lacy-looking candle. This procedure will take two to three hours to complete.
 * Tools:
 * Scissors
 * Knife
 * Large saucepan and a large tin can (or a double boiler)
 * Wooden skewer or paint stirrer
 * Bowl, plastic tub, or sink
 * Materials:
 * Cylindrical cardboard container (such as a salt or oatmeal box)
 * Paper towel
 * Cooking oil
 * White tapered candle
 * 1 pound of paraffin wax
 * Crayon pieces
 * Crushed ice
 * Procedure
 * 1) Cut off the top of the cylindrical container to make the mold.
 * 2) Use a paper towel to coat the inside of the mold with cooking oil.
 * 3) Use a knife to cut off the bottom of the taper candle, making it the same height as the mold.
 * 4) Melt the wax in a double boiler - which can be improvised using a tin can placed in a pot of water.  (See requirement 5.)
 * 5) Stir the melting wax with the skewer.
 * 6) Mix in the crayon pieces as desired to get different color effects.
 * 7) When the wax is completely melted, pour some into the mold so that it is about a half inch deep.  Immediately place the tapered candle into the center of the mold (wick end up, cut end down) and hold it there until the wax hardens enough to hold it in place.  This might take a minute or so.
 * 8) Fill the mold with crushed ice, then add wax on top of it, filling the mold almost all the way to the top.
 * 9) As the ice melts, add more, and cover with more wax.  Repeat until the mold is filled.
 * 10) Place the mold in a bowl, plastic tub, or sink, as it will leak water. Leave it for about an hour.
 * 11) When the wax has set, peel the cardboard off the candle.

e. Dipped candle
A dipped candle is made by dipping a wick into melted wax, removing it, allowing it to cool, and repeating until the candle has the desired diameter. Usually two candles are made at once by using a length of wick a bit more than twice as long as the desired length of candle. This wick is folded in half, and both ends are dipped.

Hand dipping is a little bit difficult at first because the wicks will tend to float on the surface of the liquid wax. But after a couple of dips, the weight of the wax will cause them to straighten out and stiffen so that they can be easily dipped.

When the candles are finished, they are hung over a rod and allowed to cool completely. The wick shared by the two candles is cut once they cool (or just prior to use).

g. Perfumed candle
Any of the other candle described here can be perfumed by adding scented oils to the liquid wax. These scents are available in any craft store that carries candle-making supplies.

h. Pair of beeswax candles
Use beeswax instead of paraffin and follow the procedure outlined in section e for making dipped candles.

2. Know the two kinds of wax used for candle making and their uses.

 * Paraffin: Nowadays, fuel is nearly always some form of wax, with paraffin wax being the most common. Paraffin is a byproduct of petroleum distillation, and as such is cheaply available in great quantities.
 * Beeswax: Beeswax candles burn cleanly, with little or no wax dripping down the sides and little visible smoke. A beeswax candle flame has a "warmer," more yellow color than that of paraffin, and the color of the flame may vary depending on the season in which the wax was harvested.

3. Know sizes of wicking and which one will burn properly in each particular candle.
While there is no exact formulation to figure what size wick to use there are some general guidelines that will help. The size of the wick depends upon a few factors. These factors are additives in the candle, size of the candle and the type of wick. The kinds and amounts of additives will vary widely from candlemaker to candlemaker, as will the size and wick type so this is what makes an exact formula for choosing a wick size next to impossible to create. The best method for choosing the correct wick size is through testing. Try different size wicks for different candle recipes and see what size wick works best. There are, however, some general guidelines that can help the candlemaker decide what size of wick to use.

There are some tips that have been handed down by veteran candlemakers that can help the novice in the quest to find the correct wick size. The following tips are just generalizations, but are still a good place to start.

 * 1) Wick size should general match the candle size. For example, small candles use small diameter wicks.
 * 2) Wicks that are too small for the candle will leave a lot of unburned wax around the outside of the candle or just drown in the pool of wax that gathers at its base.
 * 3) Wicks that are too large for the candle will cause excessive smoke, burn too fast, or even cause the wax to overflow down the sides of the candle or container.

The best guideline to use when choosing a wick size is to first decide the type of wick to use. The different materials that wicks are made of also effect how it burns. The following list includes common wick types and the types of candles they work the best in.

4. When should a metal core wick be used?
A metal core wick should be used on any candle with a large diameter. The purpose of the metal core is to hold the wick upright, keeping it from falling over and drowning the flame in liquid wax.

Some birthday candles use a type of metal (magnesium) to relight the candle. These types of candles are used best to trick the birthday person and to add life to a already jamming party. Theses candles relight themselves, using a fuse similar to those in fireworks, the principle being that by igniting magnesium inserted into the wick of the candle, the paraffin vapor given off when a candle is blown out can be set alight, and through this, the candle can reignite.

5. Know the safety techniques of candle making.

 * When heating wax, it should be tended at all times.
 * Have a fire extinguisher handy when heating wax in case it flares up.
 * In the event of a flare-up, you may be able to extinguish the flame by covering the pot with a lid, cutting off the oxygen. If this fails, you will need a fire extinguisher.
 * Wax should be melted in a double boiler rather than with direct heat. A double boiler can be improvised by placing the wax in a large tin can and then placing the can in a pot of water.  The water is then boiled and the heat is transferred to the wax, causing it to melt.  An added advantage to using a tin can for this purpose is that it can be discarded when finished.


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Ceramics (North American Division)

1. Tell briefly the history of early ceramics.
It is believed that the earliest pottery wares were hand-built and fired in bonfires. Firing times were short but the peak-temperatures achieved in the fire could be high, perhaps in the region of 900 degrees Celsius, and were reached very quickly. Early bonfire-fired wares were made with rounded bottoms, to avoid sharp angles that might be susceptible to cracking. The earliest intentionally constructed kilns were pit-kilns or trench-kilns; holes dug in the ground and covered with fuel. Holes in the ground provided insulation and resulted in better control over firing.

The earliest pottery ware found to date was excavated from a cave in southern China.

The invention of the potter's wheel in Mesopotamia revolutionized pottery production. Potters were able to work quickly and produce pottery to meet the expanding needs of the world's first cities.

The quality of pottery has varied historically, depending on the reputation the potter made for himself in his community.

2. Know what is meant by the following terms

 * a. Greenware: Unfired clay items that have been made.

 * b. Bisque: Fired unglazed objects of clay. Clay that has been fired in a kiln.

 * c. Decal: A design printed with ceramic colors on special paper, which can be applied to the surface of ware and fired for permanency.

 * d. Kiln: A heating chamber used for hardening and maturing clay and glazes.

 * e. Glaze: A fired finish consisting of a prepared mixture of frit that produces a glass-like surface when fired. Frit is glass that has been melted, cooled and ground to a fine powder.

 * f. Slip: Clay in liquid form.

 * g. Mender: A product used to repair broken greenware, or attach stick-ons. (Stick-ons: handles, knobs or any attachments to greenware)

 * h. Stain: Acrylic type of non-fired paint used to decorate bisque.

3. Explain the use of cones in kilns.
Cones are a necessary, vital tool in ceramics, signalling the user that the correct firing time and temperature have been reached.

There are two types of cones:
 * a) Small cones that are used in manual kilns. They are placed between a device called a kiln sitter, when they have melted or deformed the kiln shuts off.
 * b) Large cones also known as witness cones are used in automatic computerized kilns. As the kiln is automatic they are used to check how the kiln has fired once opened, signalling any problems.

4. Know how and when to use underglaze, glaze and stain.
Underglaze can be used on greenware or bisque and is applied with a brush or sponge.

Glaze is used after you have decorated your bisque. Can be applied using a brush or dipping decorated bisque in a container of glaze. This glaze gives your bisque a glass finish once fired in a kiln.

Stain is used for decorating bisque. It can be applied using a brush or sponges. The stain goes on the bisque before the glaze.

5. Know what tools are used in completing your projects in ceramics.
There are endless tools used in completing you ceramic project, including:
 * Brushes
 * sponge
 * decals
 * stamps
 * stencils
 * etc.

6. Know the difference between glaze and food-safe glaze.
The difference between glaze and food-safe glaze, is that glaze is used on any thing other than surfaces that come in contact with food or drink and Food-safe glaze can be used on any dinnerware, like mugs, bowls, plates, serving dishes, etc.

Regular glaze contains lead and some toxins. Food-safe glaze is completely lead free and non-toxic.

g. Item of your choice
Note: Candidate need not do the firing.


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Copper Enameling

e. Scraffito
NOTE: The high-fire firing for this honor need not be done by the candidate. This honor may be earned using either the high-fire or the low-fire enameling.


text:
Klingon/Sounds of Klingon

Most of the sounds of Klingon show similarities to those of English; but notable exceptions do exist. In many cases, the speaker raises the tongue higher or further back; to produce a Klingon Q, for example, the speaker must pull the tongue as far into the back of the mouth as possible. New speakers may find some of these sounds difficult to produce, especially complex sounds like tlh and especially in context. The next section introduces these sounds in context with some tricky Klingon words; you should master these words before continuing on further with the Klingon language.

Consonants
For most consonants, the speaker holds the tongue slightly farther back than in English. As such, the 'd' sounds somewhat heavier, and the 'S' becomes a cross between an English 's' and 'sh'.

The 'H' in Klingon is a raspy English 'h', or like the end sound of the composer Bach, or the Hebrew word l'chaim.

The 'q' sounds similar to a 'k' in English, but with the tongue positioned farther back in the throat.

A 'Q' is a very overdone 'q'. Like a combination of Klingon 'q' and 'H'.

Vowels
Be mindful of the difference between the letters I and l. Klingon is case-sensitive and does not use a lower-case i; as these letters appear similar on many sans-serif fonts, the use of a serif font may make reading a little easier.

title: Klingon/Sounds of Klingon


text:
User talk:147.9.165.202

Thanks for experimenting with Wikibooks. Your test worked, and has now been removed. Please use Sandbox for any other tests you want to do, since testing material in modules will normally be removed quickly. Please see the welcome page if you would like to learn more about contributing to our project. Thanks. Xania 17:33, 3 December 2006 (UTC)

title: User talk:147.9.165.202


text: Adventist Youth Honors Answer Book/Arts and Crafts/Copper Enameling - Advanced


text: Adventist Youth Honors Answer Book/Arts and Crafts/Counted Cross Stitch


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Crocheting

2. Make squares of at least 20 stitches of the following: SC, DC, HDC, TR, and DTR.

 * sc: means single crochet.
 * dc: means double crochet.
 * hdc: means half-double crochet.
 * tc: means triple crochet.
 * dtr: means double triple crochet.

3. Show how to measure stitch gauge or row gauge on sample squares.
Checking your gauge is very important because if the gauge is off, you may run out of yarn before the project is complete or the item may not be the proper size. If you are making an afghan, this is not so important, but if you are making items of clothing it is. On most patterns, it will give you the gauge for the project. It will read something like "GAUGE: 7 rows = 1 1/4"; 8 st = 1 1/4". CHECK YOUR GAUGE. Use any size hook to obtain the gauge." To check your gauge, crochet a swatch approximately 4 inches by 4 inches in the stitch pattern used in the crochet instructions. Lay a ruler beside the swatch and count the number of rows. Then lay the rule underneath the swatch and count the number of stitches across. Those numbers are your gauge. There should be, according to the sample shown above, 7 rows in the space of 1 1/4" and 8 stitches in the space of 1 1/4". If your gauge is larger than the gauge indicated in the pattern, try a smaller hook. If your gauge is smaller, try a larger hook.

When you are making the swatches, it is important to make it larger than simply the 1 1/4" by 1 1/4" called for in the gauge directions. That is because there will always be some variance in the size and tightness of the stitches, and having a larger swatch allows for that to be accounted for.

4. Know how to care for items made out of wool, orlon, nylon, and cotton.
You can either wash your crochet work in the machine or by hand, but only if you know what the content of the yarn is. If you choose to wash in by machine it is preferable to use a front-loading machine. If you wash items by hand you should use a mild detergent. Wool items should be washed with a detergent developed especially for wool or with baby shampoo.

If you choose to hand wash your item, fill a sink or tub with cold water. Add the detergent and swish it around a bit to mix it in. Dunk the item in the water and gently swish it around with your hands. Never wring or scrub the item. Drain the sink and add fresh, cold water and swish the item around to rinse it. Repeat the rinsing until the water is clear and suds-free.

Once your item is washed (whether by hand or in the machine), you will need to dry it properly. Lay it flat on a dry towel and roll the towel up, pressing firmly as you roll. Do not wring the towel! Unroll the towel, remove the item, and lay it out flat on a dry towel on a surface that is large enough to hold the item. Be sure that, if you are using something with a wood surface, you protect the wood with a vinyl tablecloth or shower curtain. Gently re-shape the item, avoiding pulling or tugging. Ribbing should be gently pushed together at the neckline, wrists, and waist. Fasten any buttons and fold the collar. Allow it to dry for 24 hours. If it is not dry after a day, flip the item onto another dry towel and allow it to dry for another 24 hours.

Never hang a crocheted garment as the weight of the fibers will stretch out the shoulders very quickly.


text: Adventist Youth Honors Answer Book/Arts and Crafts/Crocheting - Advanced


text:
Horticulture/Raised Beds

Raised beds are garden beds which are raised above the level of the surrounding soil. They are used both in gardens and on small farms as a way of making gardens easy to work on, and as a way of preserving soil structure, since raised beds aren't meant to be walked on.

Raised beds are usually contained with a hard border such as logs, timber, cinder blocks, or even concrete. They are usually designed to be from 3 to 5 feet wide, which allows every part of the bed to be within arms reach for planting, maintenance, and harvesting.

Raised beds are particularly useful when there are drainage issues, stumps, or other problems with the soil.

Raised beds can be created at any time of year, including winter.

Designing beds
Beds should not be too wide to reach across from either side

Inter-rows will need to be maintained. For small interrows mulches or gravel can be used. If interrows are to be maintained as turf, leave plenty of room for the mower, accounting for subsidence.

Logs should be as long as possible, at least 6 inches diameter.

While dumping compost, buttress the siding logs with short logs or stone. Eventually use wedges.

When possible, build the beds when the soil is frozen or very dry to avoid rutting.

Add enough soil to leave a fairly high mound, as the compost will settle over time.

When the logs rot away, either replace them or return the area to tilled soil for a time.

title: Horticulture/Raised Beds


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Currency (Template)

1. Relate briefly the story of barter, showing three reasons why money came into being and naming at least ten strange forms of money used in place of coins or currency.
Barter: as a dictionary puts it, barter is the exchange of something you own for something else that someone else owned. For example, if I raised chickens, and you grew apples, and I wanted some apples and you wanted a chicken, we would come to an agreement to exchange my chicken(s) for your apple(s).

After a while, I had enough of apples, and wanted something else. My other neighbor was vegetarian, and grew corn, but he did not want chickens. I found out that he also liked apples, so I bartered my chickens for your apples, and then traded the apples I got for my neighbor's corn. In a clumsy way, the apples were a medium of exchange, because they allowed me to trade for what I wanted. Unfortunately, you did not always want chickens, and apples were not always in season, so there were times in the year that I could not trade.

Simply put, a medium of exchange is a substitute used in trade to avoid the inconvenience of the barter system. This allowed the value of your apples, the corn, and my chickens to be valued differently. For example, I did not believe that I should only get one apple for one chicken. The chicken is bigger than an apple. Perhaps the first medium of exchange were stones. I would trade my chicken for four stones, and you would trade your apples for one stone, and the corn would be traded for two stones.

Very soon, we decided stones would not be a good medium of exchange, because:
 * 1) it was not very portable
 * 2) it could not be easily divided
 * 3) it was heavier than it was worth
 * 4) sometimes we could not recognize it
 * 5) and the neighbor's kid found a rockpile on the other side of the stream

Fast forward a few years, and currency has now been developed. Currency is a unit of exchange, which allows goods and services to be exchanged. It is one form of money (where money is anything that serves as a medium of exchange, a store of value, and a standard of value).

Unique forms of money

http://en.wikipedia.org/wiki/History_of_money

==2. Relate briefly the history of coinage and paper currency in your country, making sure to mention the dates of the establishment of any mints or engraving plants. Also discover some change in the metal composition of a coin, giving any interesting highlights concerning such a change. ==

In 1652 the ﬁrst European settlers arrived on South Africa's shores and brought along their countries' coins. A Dutch explorer, Jan van Riebeeck, created a trading station on behalf of the Dutch East India Company. This trading station later become known as Cape Town. Netherlands' ofﬁcial currency, the Dutch guilder, became the ofﬁcial currency used among other currencies brought by different traders and mariners passing through Cape Town.

In 1782 the ﬁrst paper money was brought to Cape Town. The Rix dollar and the stiver denominations were the issued paper currency of Cape Town. The ﬁrst notes were handwritten. These notes included a government ﬁscal handstamp indicating the date of its issue and the note value.

The Dutch East India Company went bankrupt in the late eighteenth century. Great Britain took control of the region, declaring it a British colony in 1806. They introduced their currency, which lasted until 1826. At that time, sterling coinage became the sole legal tender and various foreign currencies were not allowed to co-circulate.

The “Burgers Pond” was issued during 1874 bearing, the portrait of Thomas Francois Burger, South Africa’s ﬁrst president. After the discovery of gold, South Africa built a mint in Pretoria and began issuing coins depicting Paul Kruger. These coins, issued between 1892 and 1902, were based on the British pound sterling. The minting of South African coins was halted in 1902 as the second Anglo-Boer War had begun. The production of South African coins by Pretoria's Royal Mint began again in 1923 and continued until 1931.

South Africa continued to use the British coin system until 1961 when South Africa gained independence and became a republic. This was the beginning of the South African rand, which takes its name from the Witwatersrand where gold was discovered. On 14 February 1961, the rand, replaced the pound. Rand denominations issued were the R1, R2, R10 and R20. They were signed by Governor Rissik and remained active until 1967.

The SARB does not demonetise its currency.

3. Explain how money is distributed in your country.

Global financial group South African Reserve Bank (Pretoria) Suisse has published its latest Global Wealth Report for 2021, showing that wealth in the country is becoming increasingly more concentrated at the top – with the country’s richest 1% holding more of the money than before.

According to the group’s Wealth Databook, South Africa’s richest 1% currently hold about 41% of the country’s total wealth – estimated in 2021 at $763 billion. This is up significantly from the 35% recorded in 2019.

This elite group of around 376,000 people – based on the adult population of 37.6 million – control around $311 billion of South Africa’s total wealth. Averaged out, this is $828,000 per person (R11.8 million).

4. Define the following terms

 * a. Alloy: An alloy is a combination of two or more elements, at least one of which is a metal, and where the resulting material has metallic properties. The resulting metallic substance usually has different properties (sometimes significantly different) from those of its components. Nearly all coins are made of alloys.
 * b. Altered Date: A coin that has had its date altered in an attempt to deceive someone into thinking it is more valuable than it really is.
 * c. Buffed Coins: A buffed coin is one that's been polished to make it look like an uncirculated or proof coin. Buffing a coin wears down its original surface, reducing its value.
 * d. Cast Coins: Coins which are made by pouring a molten alloy into a mold.
 * e. Clad Coinage: Coins made of layers, like a metal sandwich.
 * f. Commemorative: Commemorative coins are legally issued coins with a design intended to commemorate or draw attention to some event or person. They are so called to distinguish them from regular issue coinage.
 * g. Die: An engraved tool used for stamping a design onto a coin.
 * h. Field: The field is the background—the part of the coin that shows no picture or words.
 * i. Inscription: An inscription is any letter, word, or phrase pressed into the surface of a coin.
 * j. Lettered Edge: A coins having letters written on its edge.
 * k. Mint Mark: The mint mark is a small letter that tells which mint branch struck the coin.
 * l. Obverse: The front side of currency or a coin (often called "heads" on a coin).
 * m. Planchet: A blank disc of metal from which a coin is made.
 * n. Proof: Proof coins use a special process that gives them a shiny, mirror-like background and a "frosted" relief. Proof sets are made every year for all of our circulating coins.  Like uncirculated coins, proof coins are not meant to be spent.
 * o. Reeded Edge: The reeded edges still found on many coins (always those that were once made of gold or silver, even if not so now) were originally designed to show that none of the valuable metal had been shaved off the coin. These show up as ridges along the edge of the coin.
 * p. Reverse: The back side of currency or a coin (often called "tails" on a coin).
 * q. Series: A set of coins of the same denomination but with different designs introduced on a regular basis. The series will have a unifying theme.
 * r. Type: A coin design that does not change from year to year (except for the date and mint marks).
 * s. Whizzed Coins: A whizzed coin has been wire brushed or burnished, often on a wheel, for the same reason. Whizzing a coin wears down its original surface, reducing its value.
 * t. Wire Edge: When a coin is made, the blank is placed inside a collar and the coin is struck with a die. Sometimes a very thin piece of metal from the blank will flow out between the collar and the die.  This is called the wire edge.

5. Describe the obverse and reverse for paper money of the six lowest denominations currently in use in your country.
<! fill in these templates as appropriate for your country>

6. Know how coins are graded in quality by collectors.

 * Uncirculated (abbreviated "unc"). Such a coin looks as new as the day it was minted—"minty fresh," if you will.  This one shows not even the slightest sign of wear or contact.
 * Extremely Fine (EF) or About Uncirculated. This coin is almost perfect except for slight wear or flaws.
 * Very Fine (VF). It's easy to see that this coin has been used because the highest points are slightly flattened...but the rest of the details are fine and there are no nicks or scratches.
 * Fine (F). A coin in Fine condition is pretty worn and flattened.  But even though there may be minor nicks and blemishes, the details are still clear and its general look is pleasing.
 * Very Good (VG). This coin is quite worn and the rim is flat, although the words are still readable.
 * Good (G). You can make out the main design and lettering on this one, but it's so worn and scratched that it's not very collectible—unless you can't find anything better.
 * Uncurrent. This is not a grading term, but it describes a coin that's so badly worn that it weighs less than it should.  You can tell what it is and it still works in machines, but merchants and banks may not take it.
 * Mutilated. These coins are not just worn out but are bent, broken, stuck together, or incomplete.

==7. Collect and mount a type set of coins from your country of any date currently being minted or in circulation. Proof, commemorative, rare, silver, or expensive coins are not needed. In your collection ==

c. Collect and mount a type set of coins from your country minted during the 20th Century.
All the coins in a type set have the same design—for instance, Lincoln cents. What's different about each coin is its date and mint mark. Find a coin you love and collect one from every year it was made and from each mint branch that made it. If the coin is still being made, add new ones to your collection every year.

d. Collect and mount a date set of series of coins for your country beginning with your birth year. (Commemorative, gold, proof, expensive, or rare coins need not be included.)
Note: Facts About United States Money (free), Office of the Secretary of the Treasury, U.S. Treasury Department, Washington, D.C. 20025. Facts about your country's currency may be obtained from the government treasury department.


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Currency - Advanced (United States)

2. Select a coin or note from your collection and present an oral or written report on the historical or other significance of the person(s), place(s), item(s) or symbol(s) found on both sides.
Suggestions:
 * Golden Dollar
 * John F. Kennedy
 * Washington Quarter
 * Roosevelt dime
 * Lincoln cent
 * Susan B. Anthony dollar
 * US Bicentennial Coins
 * Presidential Coin Act and First Spouse Program
 * Modern US Commemorative Coins

United States of America (Law)

 * Manufacturing counterfeit United States currency or altering genuine currency to increase its value is a violation of Title 18, Section 471 of the United States Code and is punishable by a fine or imprisonment for up to 15 years, or both.
 * Possession of counterfeit United States obligations with fraudulent intent is a violation of Title 18, Section 472 of the United States Code and is punishable by a fine or imprisonment for up to 15 years, or both.
 * Anyone who manufactures a counterfeit U.S. coin in any denomination above five cents is subject to the same penalties as all other counterfeiters. Anyone who alters a genuine coin to increase its numismatic value is in violation of Title 18, Section 331 of the United States Code, which is punishable by a fine or imprisonment for up to five years, or both.
 * Forging, altering, or trafficking in United States Government checks, bonds or other obligations is a violation of Title 18, Section 510 of the United States Code and is punishable by a fine or imprisonment for up to 10 years, or both.
 * Printed reproductions, including photographs of paper currency, checks, bonds, postage stamps, revenue stamps, and securities of the United States and foreign governments (except under the conditions previously listed) are violations of Title 18, Section 474 of the United States Code. Violations are punishable by a fine or imprisonment for up to 15 years, or both.

Anti-counterfeiting measures
Selection from Wikipedia

Traditionally, anti-counterfeiting measures involved including fine detail with raised intaglio printing on bills which would allow non-experts to easily spot forgeries. On coins, milled or reeded (marked with parallel grooves) edges are used to show that none of the valuable metal has been scraped off. This detects the shaving or clipping (paring off) of the rim of the coin. However, it does not detect sweating, or shaking coins in a bag and collecting the resulting dust. Since this technique removes a smaller amount, it is primarily used on the most valuable coins, such as gold. In early paper money in Colonial North America, one creative means of deterring counterfeiters was to print the impression of a leaf in the bill. Since the patterns found in a leaf were unique and complex, they were nearly impossible to reproduce.

In the late twentieth century advances in computer and photocopy technology made it possible for people without sophisticated training to easily copy currency. In response, national engraving bureaus began to include new more sophisticated anti-counterfeiting systems such as holograms, multi-colored bills, embedded devices such as strips, microprinting and inks whose colors changed depending on the angle of the light, and the use of design features such as the "EURion constellation" which disables modern photocopiers. Software programs such as Adobe Photoshop have been modified by their manufacturers to obstruct manipulation of scanned images of banknotes. There also exist patches to counteract these measures.

For U.S. currency, anti-counterfeiting milestones are as follows:

 * 1996 $100 bill gets a new design with a larger portrait
 * 1997 $50 bill copies the design used above
 * 1998 $20 bill copies the design used above
 * 2000 $10 bill and $5 bill copies the design used above
 * 2003 $20 bill gets a new design with no oval around Andrew Jackson's portrait and more colors
 * 2004 $50 bill copies the design used above
 * 2006 $10 bill copies the design used above

The Treasury had made no plans to redesign the $5 bill using colors, but recently reversed its decision, after learning some counterfeiters were bleaching the ink off the bills and printing them as $100 bills. It is not known when the $100 bill will be redesigned in this format, but the new $10 bill (the design of which was revealed in late 2005) entered circulation on March 2, 2006. The $1 bill and $2 bill are seen by most counterfeiters as having too low of a value to counterfeit, and so they have not been redesigned as frequently as higher denominations.

In the 1980s counterfeiting in the Republic of Ireland twice resulted in sudden changes in official documents: in November 1984 the £1 postage stamp, also used on savings cards for paying television licences and telephone bills, was invalidated and replaced by another design at a few days' notice, because of widespread counterfeiting. Later, the £20 Central Bank of Ireland Series B banknote was rapidly replaced because of what the Finance Minister described as "the involuntary privatisation of banknote printing".

In the 1990s, the portrait of Chairman Mao Zedong was placed on the banknotes of the People's Republic of China to combat counterfeiting, as he was recognised better than the generic designs on the renminbi notes.

In Australia, the original paper decimal currency banknotes introduced in 1966 were eventually replaced with new designs printed on clear polyester film which allowed them to have "see through" sections that are almost impossible to duplicate with a photocopier.

==4. Attend a meeting of a local coin club and report on your experience. Possible items to consider: a. Level of expertise of members as demonstrated by presentations and dialogues.b. Average general age of attendees. c. Ideas which might help the club extend its collector interest to a wider audience. d. How newcomer friendly is the organization. e. Suggestions on how these people might be reached with the gospel through a manner which they would find attractive. ==

Search Suggestions
 * Coin Collecting at Meetup.com
 * Coin Collecting groups on Yahoo! Groups

5. Select one of the three categories of your collection as required under the Currency Honor requirements 7 and 8, and increase your collection to include twice the total number of specimens.
Requirements 7 & 8 reproduced below for simplicity

Requirement 7. Collect and mount a type set of coins from your country of                any date currently being minted or in circulation. Proof, commemorative, rare, silver, or expensive coins are not needed. In your collection: a. Possess at least one coin from each mint in the type set. b. Locate and identify the mint mark (if any) on each coin. c. Locate and identify the initials (if any) of each coin's                   designer(s).

Requirement 8. Do two of the following: a. Make enlarged drawings of both sides of ten different denominations or forms of coins for your country no                   longer in circulation. b. Collect, identify, and mount 25 different foreign coins. No two coins alike. c. Collect and mount a type set of coins from your country minted during the 20th Century. d. Collect and mount a date set of series of coins for your country beginning with your birth year. (Commemorative,                   gold, proof, expensive, or rare coins need not be included.)

==6. Add to your collection at least one of the unusual (odd and curious) forms learned about in requirement 1 of the Currency Honor requirements and have in your Currency Honor files, at least a paragraph summarizing how, when and where this item was used as currency.==

Requirement 1 reproduced below for simplicity

Requirement 1. Relate briefly the story of barter, showing three reasons why money came into being and naming at least ten strange forms of money used in place of coins or currency.


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Adventist Youth Honors Answer Book/Arts and Crafts/Drawing & Painting

1. Make a freehand sketch of an animal, showing in values the distribution of color.
In order to complete this requirement, you must have a good understanding of the term "value" as used in drawing and painting. Value is what you see when you convert a colour photo (or scene) to a black and white image, or as some would say, remove the colours. It is the dark shades and light shades that indicate that there were many colours in the scene that the artist is creating. Usually this is used in reference to art mediums that do not include colour such as pencil drawings, charcoal sketches, or pen and ink work.

Here is shown a chart where pencils have been used to match the shades of grey from black to white. A computer was used to generate the grey shades on the left, and various drawing pencils created the "values", numbered 0 to 9 on the right. It is a good exercise to make a number of these charts to get a feel for which pencils to use, and how much graphite to apply to achieve the value you want to apply to the paper.

In this drawing of the cube puzzles, you can see how the top cube is of uniform colour (white). Since the light is coming mostly from the front of the cube, the front is left with a very high value, but the darkest shadows are drawn with a low value (dark pencil).

When the cube is drawn with various coloured sides, you can see that even though the top side (blue) has more light than the red side, it is drawn with a lower value than the shaded red side, because converting the blue colour requires a low value.

The mixed up version really shows how the colours are converted to “values” in the drawing.

To further illustrate, a computer was used to convert this colour photo of a turkey to a grey scale photo. You can see the value numbers as illustrated in the various areas of the photo. When the turkey is drawn with pencils, the values are matched to the values in the grey scale photo.

This is what is meant by “Showing in values, the distribution of colour”.

2. Draw a cylindrical object and a rectangular object grouped together a little below the eye, showing proper perspective, light, and shade.
To do this you have to make something like a can of tomatoes or a soda bottle. Also do a rectangular type of thing.


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User talk:Seraphimblade

This account is inactive.

Guess I missed you - sorry
Hi - apologies for the delay in the reply - I've been away for a few days. However reading around you seem to have had far more "reply" that you may have wanted! I confess I tend to "avoid" policy as I live in a real world  so I may not be able to help but let me know if you feel I can (tho I'll have little time for a while). Cheers -- Herby talk thyme 12:08, 13 March 2007 (UTC)

title: User talk:Seraphimblade


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User talk:Bumpu

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
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You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! -- Herby talk thyme 18:10, 3 December 2006 (UTC)

title: User talk:Bumpu


text:
User talk:Skidmore1981

Hello and welcome to Wikibooks!

Here are some tips to help you get started:
 * You should sign your name on Talk and vote pages using four tildes, like this: ~~~~.
 * Remember to conduct any editing experiments in the sandbox.
 * If you're a Wikipedian, see Wikibooks for Wikipedians for a primer on how things work here (it's a little different).
 * If you want to base your work here on materials from Wikipedia, please use WB:RFI to bring the material over in compliance with the GFDL.
 * If you're an instructor and plan on using wikibooks for a class project, see Guidelines for class projects
 * Please say hello at the Staff Lounge with any questions or ideas.
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Please take a look at Naming policy before starting a new book.
 * Remember to maintain a Neutral point of view.
 * Explore, be bold in editing pages, and have fun!

You will find more resources in Community Portal. If you want to ask a question, visit the Study help desk, the Staff lounge, IRC channel or ask me personally on my talk page.

Good luck! -- Herby talk thyme 18:12, 3 December 2006 (UTC)

title: User talk:Skidmore1981


text:
Adventist Youth Honors Answer Book/Arts and Crafts/Flower Arrangement

2. Name at least three flowers that bloom in the spring or early summer suitable for indoor flower arrangement.
Rose, Daffodil, Statice, Calla Lily, Snapdragon

3. Name at least three flowers that do not keep well when cut, and three that do.
Don't keep well: Poppy, Petunia, Morning Glory. Keep well: Rose, Statice, Calla Lily.

4. Give six suggestions regarding the cutting of flowers and their aftercare, such as when to cut, how to cut, and how to keep.
1. Cut flower stems with sharp scissors or cutters. 2. Cut stems at 45 degree angle. 3. Cut in morning before sun is hot. 4. Cut in evening before sundown. 5. Place cut flower stems in water as soon as possible. 6. Change the water in the vase daily.

5. At what stage of development should roses, gladioluses, and dahlias be cut?
Roses - Cut bud when sepals are opened half way. Gladioluses - Cut when 3/4 of the flowers have opened. Dahlias - Cut when the flower is 3/4 open.

6. Give three suggestions on the relation of containers to the flowers used, and three on the relation of arrangement to the room and furnishings.
Containers - Use bowls for short flowers. Use baskets for silk flowers. Use tall vases for tall flowers. Room furnishings - Use large arrangements for table center pieces. Use small arrangements for side or end tables. Flower colors should contrast with the wall colors.

7. In flower arrangement, what should be the relation of dark and light shades, large and small flowers, open and partly open flowers?
Use dark flowers in front of light backgrounds. Use light flowers in front of dark backgrounds. Use large flowers as the center focus flowers in an arrangement. Use small flowers as filler flowers in an arrangement near the vase's edges. Use open flowers as the center focus flowers in an arrangement. Use partly open flowers as filler flowers in an arrangement near the vase's edges.

9. What are some wild flowers that could be used in arrangements for the home? What combinations of these flowers can be used?
Wildflowers that can be used include wild rose, daisy, blanket flowers, sunflowers and wild sweet peas. Use wildflowers whose sizes and colors complement each other.