Over the past 25 years, Ronn Lucas has entertained four U.S. presidents, Queen Elizabeth and the Crown Prince of Saudi Arabia. He has had three TV series and numerous TV specials, performed on Broadway and starred in his own Las Vegas show for nearly a decade.

The constant in all his acts: Boys’ Life magazine.

“My earliest shows were for my fellow Scouts,” Lucas says. “I often used jokes found in Boys’ Life. To this day, I’m pretty sure there is at least one joke floating around my act that was borrowed from Pedro.”

The son of a U.S. Army employee, Lucas’ family was constantly on the move, city to city and state to state.

The constant in his life: Scouting.

“Scouting kept me grounded. I started as an 8-year-old Cub Scout and finished as a 17-year-old Life Scout.”

Lucas never really finished, though. He continues to participate in Scouting and even performed his act at Philmont Scout Ranch last summer.

Lucas started with Boys’ Life. Now, you can, too, as this awesome ventriloquist shares the secrets of his art.

WHAT IS VENTRILOQUISM?

Ventriloquism (say ven-TRIL-o-kwism) is the art of talking with the tongue and not moving the mouth or face. When a skilled ventriloquist does this sitting beside a figure (or “dummy”) that has a moving mouth, it looks like the figure is talking. It works because humans use their eyes to find sound sources. When the ventriloquist is not moving his mouth but the puppet’s mouth is moving, people think they “see” the figure talking.

LEARN THE EASY ALPHABET

Sit in front of a mirror and make a slight smile with your lips parted. Make your teeth lightly touch. Your tongue should have room to move. If you see your tongue moving in the mirror, then change your smile until the tongue is hidden. Your goal is to breathe easily and read aloud these 19 letters without moving your lips:

A, C, D, E, G, H, I, J, K, L, N, O, Q, R, S, T, U, X, Z.

Practice the following sentences until they sound clear but your lips don’t move: “Hey, this rocks, dude! It is sooooo easy. Anything you can say, I can say, too!” If you sound muffled, try making your voice come from some higher place in your head as well as your mouth.

MOVE ON THE THE TRICKY LETTERS

There are seven trickier letters: B, F, M, P, V, W and Y.

These letters normally require you to move your lips. To say them without moving his face, the ventriloquist borrows from the easy alphabet, some other letters or combined sounds to “fake” the tricky letters. Use these substitutions:

B = D, F = “eth,” M = N, P = T, V = “thee,” W and Y = O+I

B = D

Instead of saying “The Bad Boy Buys a Basket” the ventriloquist says, “The Dad Doy Duys a Dasket.” Try this in the mirror. At first, this substitution won’t sound right; but with practice, D can be made to sound like B. [Hint: When your tongue rises to the top inside of your mouth to make D, let it stick to the roof of your mouth a little longer before releasing. Also, say D but think B.]

F = ETH

Instead of saying “Phil is a Frisky, Funny Fellow,” try saying, “Thil is a Thrisky, Thunny Thellow.” Say the “eth” sound but think F as you do it.

M = N

“Mary Mashes Many Mangos” becomes “Nary Nashes Nany Nangos.” Make the N vibrate against the roof of your mouth. Keep thinking M.

P = T

“Peter is a Practice Pilot” becomes “Teter is a Tractice Tilot.” Try holding the T a little longer, then release with a little puff of air behind it.

V = THEE

“Vinnie Very much Values Victory” becomes “Thinny Thery nuch Thalues Thictory.”

W AND Y = O+I

W and Y are treated alike. By quickly sliding the letters O and I together you can say “O-Aye” and it sounds like Why. Try putting a fast O to the front of the following: “Why Would Wally Walk?” You’ll be saying “O-Aye O-ould O-olly O-alk?” Now drop the O (or say it silently in your head), and you’ll be saying a clean W sound without using your lips.

In a short time, these substitutions become automatic. Practice for 15 to 20 minutes a day and in about a week you’ll see some serious results! Practice your ventriloquism with a relaxed puppet-like voice that is higher or lower than your own.

More pinewood derby fun:

• Complete pinewood derby guide
• 100 cool Pinewood Derby car photos of 2010
• Click here to see 900 more pinewood derby photos
• Click here to submit a picture of your car
• Read about secrets to make your car go faster
• Watch video of a super-fast pinewood derby track
• Play BL‘s new pinewood derby game

Here are some step-by-step instructions from Alex on how to do five yo-yo tricks. Take a look, and then check out the July 2011 issue of Boys’ Life magazine to find out more.

SLEEPER

1. Hold the yo-yo in your hand, palm up, with the string wrapping over the top of the yo-yo.

2. Bend your elbow with the yo-yo near your ear, elbow pointing forward.

3. Unbend your arm and roll the yo-yo off the tips of your fingers. Snapping your wrist creates more spin.

4. Let the yo-yo reach the end of the string and pause for a few seconds, then with a tug, return the yo-yo to your hand.

ROCK THE BABY

1. Throw a sleeper. With your opposite hand, pinch the string midway down the string and raise your opposite hand.

2. Pinch the string with your throw hand a few inches above the yo-yo.

3. Bring your throw hand back above your opposite hand, spreading the fingers of your opposite hand to form a triangle with the string.

4. Swing the yo-yo back and forth inside the triangle.

BREAKAWAY

1. Hold the yo-yo the same way you would to perform a sleeper, but point your elbow to the side of your body.

2. Throw the yo-yo straight out to the side.

3. Let the yo-yo swing down in front of your body and up to the opposite shoulder.

4. Return the yo-yo to your hand.

BRAIN TWISTER

1. Throw a sleeper.

2. Place your opposite index finger against the string between you and the string.

3. Push your index finger away from you while you move your throw hand between you and your other hand.

4. Bring your throw hand under and then in front of the yo-yo, threading the string into the gap of the yo-yo.

5. Perform a somersault with the yo-yo by pushing your throw hand into the strings and pulling down with your opposite hand. Repeat three or more times.

6. Return the yo-yo to a sleeper, then back to your hand.

Trapeze

1. Throw a breakaway.

2. As the yo-yo passes in front of your body, place your opposite index finger on top of the string as close to the yo-yo as possible.

3. Allow the yo-yo to loop around your finger and land on the string underneath it.

5. Pull your extended finger out of the string and return the yo-yo to your hand.

The first movie appeared just a few years before the first issue of Boys’ Life. Since then, there have been a lot of great ones. Here are 100 movies that every guy should see. (Some suggestions will require parental guidance.)

Boys’ Life has provided 100 years of great reading. Here are 100 other titles that every guy should read. Some suggestions will require parental guidance.

With a few ramps in his backyard, he has a great spot to practice right at home, which he does almost every day. Except that Keith doesn’t call it practicing.

“It’s just having a good time with my friends, being creative, doing whatever we want skating.”

Here are some skateboarding tips from Keith:

TIP 1: LEARN HOW TO FALL

It’s a fact, Keith says. “Be prepared for falls when you’re starting.” That’s why it’s important to learn the right way to take a tumble.

If the fall is too big for you to just land on your feet: Use your feet for a second as a stepping point. Tuck up into a ball (something like a skier’s tuck position), and then tumble and roll onto your shoulder.

And, Keith adds, always wear safety gear!

TIP 2: LEARN HOW TO DROP IN ON A RAMP

Start with the tail of your board on the edge of a ramp. Next, push down with the front foot and stay centered over the skateboard.

TIP 3: LEARN HOW TO OLLIE

You’ll be airborne for this trick, which can be done on either a flat surface or on a ramp.

Kick down on the tail of the skateboard and then level out the board by sliding your front foot forward. Think of it as sort of a jumping motion with the board “glued” to your feet.

This will take lots of practice. But once you master the ollie, you’ll have the foundation for many other tricks.

Find out more about skateboarding basics in the February 2011 issue of Boys’ Life magazine.

BIZARRE / GROSS

• Ripley’s Special Edition 2010 by Scholastic Inc.
• Tales of the Cryptids: Mysterious Creatures That May or May Not Exist by Kelly Milner Halls, Rick Spears, and Roxyanne Young
• Oh, Yuck! The Encyclopedia of Everything Nasty by Joy Masoff and Terry Sirrell
• Encyclopedia Horrifica: The Terrifying TRUTH! About Vampires, Ghosts, Monsters, and More by Joshua Gee
• Grossology by Sylvia Branzei and Jack Keely
• Totally Gross (Ripley’s Believe It or Not!) (series)

COMIC BOOKS

• The Essential Calvin and Hobbes by Bill Watterson
• The Simpsons by Matt Groening
• Star Trek by J. J. Abrams, Robert Orci, Alex Kurtzman, and Tim Jones
• The Amazing Spider-Man
• The Far Side Gallery by Gary Larson

NONFICTION (MISC)

• Guinness World Records Gamers Edition 2010 by BradyGames
• Star Wars: The Complete Visual Dictionary
• Dragonology: The Complete Book of Dragons by Ernest Drake and Dugald Steer
• The Dangerous Book for Boys by Conn Iggulden and Hal Iggulden
• MythBusters: Don’t Try This at Home by Discovery Channel and Mary Packard
• The New Way Things Work by David Macaulay and Neil Ardley
• Extreme Dinosaurs by Robert Mash
• Pirate (DK Eyewitness Books) (Series) by Richard Platt

HUMOR

• The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka
• Immature Pranks by editors of Klutz
• Jokelopedia: The Biggest, Best, Silliest, Dumbest Joke Book Ever
• Giant Children by Brod Bagert
• Encyclopedia of Immaturity by editors of Klutz

GRAPHIC NOVELS

• Diary of a Wimpy Kid (series) by Jeff Kinney
• Star Wars: Vector Volume 1 by John Jackson Miller
• Naruto by Masashi Kishimoto
• Shonen Jump (magazine)
• The Battle Brawlers (Bakugan, Book 1) by Tracey West
• Rave Master, Book 1 by Hiro Mashima and MashimaHiro
• Bone Volume (series) by Jeff Smith
• Alchemist (series) by Hiromu Arakawa
• Dragon Ball Z by Akira Toriyama

SPORTS – NONFICTION

• On the Court with…LeBron James by Matt Christopher and Stephanie Peters
• Extreme Sports Stars (High Interest Books) by Philip Abraham
• A Little Giant Book: Football Facts (series) by Michael J. Pellowski
• Street Skateboarding: Endless Grinds and Slides by Evan Goodfellow and Doug Werner
• BMX (Extreme Sports) by Chris Job

MILITARY / WARS / WEAPONS

• World War II by Simon Adams
• B-2 Stealth Bombers by Jack David
• Frontline Marines: Fighting in the Marine Combat Arms Units by Simone Payment
• Weapons of World War II (Blazers) by Doeden and Matt
• Main Battle Tanks: The M1A1 Abrams (War Machines) by Michael Green and Gladys Green

VEHICLES

• Wild About Lowriders by J. Poolos
• Custom Cars by Matt Doeden and Chuck Vranas
• Choppers by Marx and Mandy R.
• Sport Bikes (Motorcycles) by Jack David
• Hot Rods (Motor Mania) by Eric Braun

SURVIVAL

• Man vs. Wild: Survival Techniques from the Most Dangerous Places on Earth by Bear Grylls
• Survive!: Essential Skills and Tactics to Get You Out of Anywhere – Alive by Les Stroud
• Amazing Stories of Survival by editors of People Magazine

OUTDOORS

• The Scout’s Outdoor Cookbook by Christine Conners, Tim Conners
• Camping Made Easy by Michael Rutter
• The American Boy’s Handy Book by Daniel Carter Beard

SCARY

• The Demonata (series) by Darren Shan
• The Graveyard Book by Neil Gaiman and Dave McKean
• Stormbreaker (Alex Rider Series #1) by Anthony Horowitz
• Cirque du Freak: A Living Nightmare by Darren Shan
• Scary Stories to Tell in the Dark (series) by Alvin Schwartz

SPORTS FICTION

• Travel Team (series) by Mike Lupica
• The Great Quarterback Switch by Matt Christopher
• Football Genius by Tim Green

MISC. FICTION

• 39 Clues (Series)
• The Lightning Thief (series) by Rick Riordan
• Spider Boy by Ralph Fletcher
• Hatchet (series) by Gary Paulsen
• Crossing the Wire by Will Hobbs
• Joey Pigza (Series) by Jack Gantos

BIOGRAPHIES / AUTOBIOGRAPHIES

• Knucklehead: Tall Tales and Almost True Stories of Growing up Scieszka by Jon Scieszka
• Marshfield Dreams: When I Was a Kid by Ralph Fletcher
• Escape!: The Story of the Great Houdini by Sid Fleischman
• Boy: Tales of Childhood by Roald Dahl

PICTURE BOOKS

• No, David! (series) by David Shannon
• Amazing Sharks! (I Can Read series) by Sarah L. Thomson
• Hi! Fly Guy by Tedd Arnold
• Parts (series) by Tedd Arnold
• Giant Children by Brod Bagert
• When I Was a Boy . . . I Dreamed by Justin Matott and Mark Ludy

“It’s the only way to get better,” McAlexander says.

McAlexander uses a casting technique called The Shooter that can break a light bulb from 30 feet away using a fishing pole, some line and a lure. (Check out cool video of his trick at boyslife.org/casting)

Start with these basics from McAlexander, and you could soon be casting like a pro.

THE SHOOTER

Great For: Fishing Boat Docks and Brush Piles

“Shooting is basically an old crappie fishing technique,” McAlexander says. “I just took it and went into the bass world with it.”

Step 1: Lower the lure about half the distance between the rod tip and reel.

Step 2: If you’re using a spinning reel, flip open the bail, which is the thin wire part of the reel that is flipped from one side to the other. Hold the line with your dominant hand, and grasp the lure with the opposite hand.

Step 3: Draw the rod tip down and pull the lure back to your chest. You can even shoulder the rod like a rifle.

Step 4: Aim straight down the rod, then release the lure with your fingers and point straight down the rod with the finger that was holding your line. The line will come off the spool and propel the lure forward.

OVERHEAD CAST

Great For: Distance

“You can really get a lot of power behind an overhead cast,” McAlexander says. “It’s very accurate too, because you’re looking where you’re casting.”

Step 1: With your thumb, hold down the button on your bait casting reel and bring the rod back.

Step 2: Bring the rod forward and release your thumb. The bait will drag your line out.

Step 3: Push the button back down with your thumb to slow your spool. “If you don’t do it efficiently, you can end up with a backlash (line tangle),” McAlexander says.

PITCHING

Great For: Casting 10 Yards or Closer

“I like to use pitching for up-close, finesse fishing,” says McAlexander.

Step 1: While holding the rod straight up, let out enough line so that the lure comes down to the reel.

Step 2: Hold down the button on your reel, holding the spool steady. Grab your lure with your opposite hand. (Watch out for the hook!)

Step 3: Drop the rod tip down, bringing back your lure while keeping the line taut.

Step 4: Raise the rod tip in one swooping motion, pulling the lure out of your other hand. “That will drop the lure wherever your rod tip is pointing.”

Step 5: Control the distance by slowing the line with your thumb.

FLIPPING

Great For: Casting Into Weed Mats

“Flipping is a little bit faster than pitching, but it’s even shorter range,” McAlexander says. “It’s extremely effective, especially around shallow docks with mixed timber and vegetation.”

Step 1: Pull out a lot of slack line, estimating the distance to your target. Keep your thumb on the spool or keep your reel engaged.

Step 2: Start the lure swinging, then let the lure go out with the slack line. Do not let your thumb off the spool.

Step 3: “You can sit there, jiggle it a couple seconds in that spot, then pull your slack line out and do the same thing for the next spot.”

SIDEARM CAST

Great For: Windy Conditions

“If it’s windy outside, you want to keep your lure low,” McAlexander says. “With a straight overhead cast, the wind will really throw your lure around and reduce your distance. With the sidearm cast, you can skip your lure across the water and under cover.”

Step 1: Bring your rod back at your side, holding the button and using a circular swooping motion.

Step 2: Snap your wrist forward, releasing the button, which releases the line.

THE REEL WORLD

Spincaster: This is the classic push-button reel most people start with. McAlexander says it lets “you get the casting motion down before you have to figure out the mechanics of the reel.”

Baitcaster: This push-button reel gives you more control. To cast, you push the button down with your thumb; it locks in place. Then you hold the spool steady with your thumb until you cast. After you cast, you gradually apply more pressure to the spool to slow the speed of the lure as it gets close to its target. McAlexander likes to use this reel to get fish out of thick cover. He says it’s also good for casting spinner bait, jigs, crankbaits and swimbait lures.

Spinning reel: This is an open-face reel that has a spool of line parallel to the rod. McAlexander likes to use this reel to cast light crankbaits, Texas rigs, drop-shot rigs, jerkbaits and weightless soft plastics.

LICENSE PLATE GAME

For long trips, the License Plate Game might be the thing. In this version, call out letters from the license plates you see, then make as many ridiculous phrases as possible. For example, AST = Aardvarks Singling Tenderly or After-School Trampolining. You get the idea.

ALPHABET GAME

The Alphabet Game is good along roads with a lot of signs. Find a word with an “A,” call it out, then look for a word with “B” and so on. First one to the end of the alphabet wins. You might want to skip trying to find “Q” and “Z.” Or not.

LINES AND DOTS

Use graph paper for a couple of travel games. With Lines and Dots, draw lines on the paper. Take turns drawing one side of a square at a time, trying to make boxes. When you complete a box, put your initials in it. Whoever makes the most boxes in 15 minutes or so wins.

INFINITE TIC-TAC-TOE

Another game with graph paper is Infinite Tic-Tac-Toe. In this game, the first person to get five in a row wins, and there are no borders except for the edge of the page.

I SPY

In I Spy, pick out something you see nearby (that other players can also see), but keep what it is to yourself. Say, “I spy with my little eye …” and then provide one description of the object. For instance, with the windshield wipers you might say, “I spy something long” or “something black.” After each hint, players take a turn guessing what the object is.

ROCK-PAPER-SCISSORS AND 20 QUESTIONS

Rock-Paper-Scissors and 20 Questions hardly need explaining. There are variations of these games, such as Foot-Cockroach-Nuclear Bomb, and 20 Questions about movies you’ve seen or books you’ve read, instead of some random object.

Justin qualified for his first Tour event by winning the 2009 American Junior Golf Association (AJGA) FootJoy Invitational. Since he’s still an amateur, Justin can’t keep prize money. But the experience left him richer in another way.

“It really gave me a lot of confidence that I could play with those guys,” he says. “It’s a matter of who putts and who chips the best.”

BL talked with Justin to get his tips on playing golf.

1. THE DRIVE. It’s cool to hit it far, but it’s better to hit it straight.

Start with your grip: Place all your fingers around the club with your thumbs staying on the top. Keep the club in your fingers, rather than in your palm, and grip lightly.

Then comes the stance: Place your feet shoulder-width apart, and line up the ball with the inside heel of your front foot. Swing back by turning your shoulders and hips away from the target, keeping your head still. Start the swing back to the ball by turning your hips toward the target as you swing through. Your hands should finish over your shoulder on the follow-through.

2. IRONS. Use a hybrid club instead of a 3-, 4- or 5-iron. Hybrids are much easier to hit. At your setup, place the ball halfway between the middle of your stance and the front foot. The shorter the club is (the higher its number), the farther back you want to place the ball. But don’t go farther back than halfway between your feet for full swings.

3. SHORT GAME. That’s chipping and putting. Practice it about 10 times more than you think you should. The stroke is similar for both. In putting, start with the ball just in front of mid-stance. Your backswing and follow-through should be equal distance. The longer the putt, the more backswing and follow-through.

4. BUNKERS. Stand with the ball near the front of your stance, lining it up with the inside heel of your front foot. A lot of people are afraid of hitting out of the sand. Just take a full swing, aim an inch behind the ball — this is one of the rare cases in golf where you do not hit the ball first — and follow through so the sand helps lift the ball out of the bunker.

5. PITCH. This is when you’re off the green about 40 to 100 yards and want to loft the ball high without too much roll. Stand with your feet closer than shoulder-width and so the ball is at the mid-stance. When you swing, think of a light karate chop down on the ball. Keep your hands ahead of the ball. Follow through with your arms, but not as far as a full swing with irons or woods. The ball should fly up, then almost stick on the green because of the backspin.

6. ROUTINE. Having a pre-shot routine is important. With tee shots, chips, irons, I:

1. Take two or three practice swings;
2. Get 10 feet behind the ball and face the target;
3. Visualize the shot I want to hit;
4. Set up to the ball and hit it.

On putts, after I read the green, I go 10 feet behind the ball facing the target and try to visualize the ball going in, take two practice swings next to it, then hit.

7. GENERAL THOUGHTS. Try not to think too much. The more things you think about, the worse you’re probably going to hit. Aim for the fairway. When I’m on the practice tee, I try to invent competition scenarios so I’m not just hitting as hard as I can. If there are flags or trees, I use them as targets. I say to myself: “This is the right side of the fairway. This is the left.” You practice how you play. Commit to the shot you want to hit. Don’t second-guess yourself.

8. ATTITUDE. Everyone struggles at some point with something. Earlier in high school, if I had a bad hole, I’d think negatively and it would keep getting worse and worse. You have to realize that the best players in the world have bad days. You want those bad days to be as good as possible. Sometimes the weather makes it hard to play. You can’t let the conditions get to your head. Understand that sometimes, par is a good score. Sometimes bogey is too. If you want to be the best, learn to accept those kinds of things. Be patient. Be confident. Practice as much as you can.

Ken Burns knows a little something about making movies. His famous documentaries, including “The Civil War” and “Baseball,” have won many awards over the years. “The National Parks: America’s Best Idea” is his latest film.

BL sat down with Burns, a former Scout, and asked for his best advice on making movies.

“Filmmaking is difficult but unbelievably rewarding,” he says. “It involves a lot of details that require a lot of patience. If you remember some of these basic tips, you can’t go wrong.”

TELL A STORY. The most important thing is to know what you want to do in your video. What’s the story you want to tell? You’re going to be leaving something that is going to last a long time. Take advantage of this opportunity. Say you have a grandfather who was in World War II. Talk to him and get his story. You can record any great experiences like this. Long after the subjects are gone, you have a record — and this becomes our new family albums.

LIGHTING. Today’s video cameras respond in very low lighting situations, which is good, but this can lull a filmmaker to “sleep.” And quite often it’s important to have better lighting on your subject.

Shoot practice footage first and see what it looks like. You might be shooting somebody in a living room and it’s a little murky, but it looks O.K. in the viewfinder. Then when you review the video, it doesn’t look good. Consider positioning your subject next to a window where there’s more light, turn on a light in the room or in a particularly dark situation, add your own light to make it more beautiful.

THE LOOK. Do you want a handheld or steady look to your video? The handheld approach gives you some intimacy, but it also has problems: The audience can get a little dizzy. If you choose to go this way, concentrate on being as steady as possible.

For a steadier look, put the camera on a tripod and don’t move it around too much or too quickly. Constantly moving the tripod doesn’t work very well unless you have a fluid head — an expensive piece of equipment that attaches to the top of the tripod and lets the camera move in a fluid motion while panning or tilting.

You can always change the shot and move to a different angle. Follow the action but don’t do wild, unnecessary movements. That’s what makes a video look like just home-movie stuff.

SOUND. Always be aware of the sound around you. Our ears tend to filter out that noisy refrigerator, the traffic outside, the TV or radio in the next room, other chatter. With film, these sounds get in the way. Remember that the microphone on the camera doesn’t filter out sound as our ears do.

FRAMING. Figure out how to frame things well in each shot so that they’re pleasing to the eye and also help tell your story. Once again, take advantage of the instantaneous feedback of video to see if your techniques are working.

EDIT. Whether you use a PC or Mac, there is a lot of easy-to-understand home video-editing software to help you shape your film into a coherent story. You don’t have to assume that whatever you shot is whatever you get. You have the ability to edit.

NO RULES. There really are no rules in filmmaking. Even the jerkiest, murkiest, loud and noisy films can sometimes be unbelievably effective. But that’s because the filmmaker wanted them that way. If you don’t want them that way, do everything you can to prevent it.

It’s important in any art form for people to experiment. There’s going to be that one person who figures out how to break all the rules and make a masterpiece. At the same time, you have to know what you want to do and how you’re going to do it. And if you can get there by breaking some of the rules, that’s great.

Don’t be afraid to make mistakes, and good luck.

To begin your quest for stone skipping success, follow these steps:

1. Select a skipping stone. The stone should be mostly flat, about the size of the palm of your hand and about the weight of a tennis ball. Triangular stones tend to skip best. Avoid circular stones. They’re less stable.

2. Grip the stone. Hold it with your thumb and middle finger, then firmly hook your index finger along the edge. Your thumb goes on the top of the stone, not around the edge.

3. Throw the stone. Stand up straight, facing at a slight angle to the water. Try to maintain this position during your entire windup and release. The lower your hand is at the release, the better.

Throw out and down at the same time. A skipping stone is bouncing off the water, so give it plenty of downward force. Try throwing faster instead of harder — strength is not the key, quickness is.

4. Release the stone. The faster the stone is spinning, the better it will skip. Spin it as hard as you can with a quick snap of your wrist. The stone should hit the water parallel to the surface.

Jerdone McGhee is founder of the North American Stone Skipping Association.

With the following tips, you can, too. So sharpen that pencil, get out some paper and let’s get started.

DRAWING THE HEAD

All dogs share the same basic head and body construction. By practicing these steps, you’ll soon be able to draw any dog. (Don’t trace. You’ll learn much more if you freehand.)

Let’s start with a dalmation.

1. Begin with a circle. Drawing the guidelines on the circle will help you see it as a three-dimensional globe. The horizontal line hangs low on the globe — that’s where the eyes will go. The vertical line is the center line — it divides the face in half.

2. The head has three components: the skull, the cheeks and the jaw.

3. Place the eyes on the horizontal “eye line.”

4. The bridge of the nose begins high on the face — between the dog’s eyes — and thrusts forward. Notice how it gets larger as it comes toward you.

5. Now add a smiling mouth, which pushes up into the cheeks and causes creases. The jaw, off to one side, creates a lively smile.

6. Big, floppy ears and a thick neck bring this guy to life. A few small teeth on the lower jaw add a professional touch.

7. Add spots, and erase your guide lines for a clean finished drawing.

THE EARS

Floppy ears add charm and personality to a dog. Most dog ears fold over, with the exception of short, triangular ears — the kind found on terriers, chow chows, German shepherds and a few other breeds. The most important thing to remember about drawing the folded ear is that the line from the base of the ear should point to the outermost corner of the fold.

Right: The base of the ear points to the outermost corner of the fold. (The dashes are not part of your drawing.)

Wrong: The base of the ear doesn’t connect to anything; it just shoots out into space.

DRAWING THE BODY-SIDE VIEW

There are three main parts to a dog’s body: the head, the rib cage and the hindquarters. Everything connects to those three areas. Notice how the back crests at the base of the neck. The large rib cage gives the dog a powerful chest. The hindquarters rise, although slightly less than the shoulders, and then slope down sharply toward the tail. The tail is an extension of the spine and must flow seamlessly from the spinal cord.

CLASSIC TERRIER

The tiny terrier’s neck is surprisingly thick and muscular. The compact body shows very little in the way of a waistline, and the short legs allow the body to hover just above the ground. Note the distinctive triangular ears. He’s also got bushy eyebrows, a bushy mouth, bushy forelegs and hind legs, and small paws.

COLLIE

This breed has a slender, almost pointed face and an appealing two-toned coat of fur. It always maintains an alert expression and gives the impression of being a large dog. However, under that huge layer of hair is a rather trim animal with an unimpressive build. The small paws are the giveaway.

But, because our view of the collie as a full-bodied dog is so ingrained in us, it’s better to start with an overall large shape than to draw a thin body and fill it out with hair. The collie is always well-groomed, so don’t let the hair appear ragged.

SAINT BERNARD

The Saint Bernard is instantly recognizable for its long, flapping jowls. It’s not a graceful dog; in fact, its movements are kind of, well, sloppy. It should always appear to be well fed, and it has a sort of dopey personality. Give your Saint Bernard a big nose. The ears are actually shorter than shown here, but cartoons typically depict this dog with long ears.

CREATING EXPRESSIONS

Most people only think to use the mouth and the eyebrows to create facial expressions, but there’s more to it than that. The shape of the eyes changes, depending on whether the eyebrows crush down on the eyes or lift them up.

Most importantly, though, is the length of the upper lip, which changes according to the expression. Notice how short the upper lip is in the happy expressions here and how long it becomes in surprised or unhappy expressions. The mouth can be “tugged” to one side, which provides an extra accent.

You can add teeth or forget about them, depending on the emotion being expressed, and you can even change the shape of the teeth. Spiked teeth work well in angry expressions but not on worried ones — they look too aggressive.

LINE OF ACTION

When I look at the sketchbooks of aspiring cartoonists and artists, most illustrations don’t convey a sense of thrust. The artists have worked hard on the eyes, the head, the muscles and so on, but there is no flow to the drawings. They have no direction. The characters are just jumbles of parts, which makes them look stiff. It’s certainly important to master drawing those individual parts. No doubt about it. But the parts need an overall framework in which to exist. That’s where the line of action — shown in red — comes into play.

LEARN MORE

For more information about drawing dogs and other animals, visit Christopher Hart’s website at www.kidsdraw.com

Animal track illustrations are courtesy of Lynn Levine and Martha Mitchell. For more information see Mammal Tracks and Scat: Life-Size Tracking Guide or click on Heartwoodpress.com.

More pinewood derby fun:

• Complete pinewood derby guide
• Click here to see 100 amazing pinewood derby car photos of 2011
• Click here to see 900 more pinewood derby photos
• Click here to submit a picture of your car
• Read about secrets to make your car go faster
• Watch video of a super-fast pinewood derby track
• Play BL‘s new pinewood derby game

MAKE A TOOL CHESS SET Find out how to use nuts and bolts from your tool chest to make a cool chess set.

1. LEARN THE MOVES. Each chess piece can move only a certain way. For instance, a pawn moves straight ahead but can only attack on an angle, one square at a time. A knight’s move is L-shaped. The bishop moves at an angle but can move more than one square at a time. The rook (castle) can move only in a straight line but can go forward, back or to the side. The queen, the most powerful piece, can move in any direction for any number of squares, but not two directions in one move. And the king moves at a stately pace — as a king should — one square at a time in any direction.

2. OPEN WITH A PAWN. Move the pawn in front of either the king or queen two squares forward. (Only on its opening move can a pawn move two squares.) This opens pathways for your bishops and queen to enter the game. They move on an angle and can’t get out onto the field of battle if pawns are in the way.

3. GET THE KNIGHTS AND BISHOPS OUT. Before you move your queen, rooks or king, move your knights and bishops toward the center of the board. You want to get these pieces out from behind the pawns so they can attack.

ROBOTS VS. ALIENS CHESS Can you beat the computer? It’s a battle for checkmate in this online chess game. Click here to play it now!

4. WATCH YOUR BACK! And front! When it’s your turn, always think to yourself, “What did my opponent’s last move do? What is he up to?” Is he laying traps to capture your pieces? Then decide on your own plan. Always look at all your possibilities. Look at moves that would capture your opponent’s men or threaten his king first. But always double-check your moves before you play them. Ask yourself, “Does my move leave something unprotected?”

5. DON’T WASTE TIME. Don’t make too many moves with your pawns or try to pick off your opponent’s pawns.

6. “CASTLE” EARLY. Castling is a move that allows you to move your king to safety and bring your rook into play. Once all the squares between your rook and the king are unoccupied you can move the king two squares toward the rook while the rook moves to the square on the the king’s other side. If your opponent neglects to castle, you might be able to launch an attack on his king. This is the only move in which more than one piece may be moved in a turn.

7. ATTACK IN THE “MIDDLEGAME.” After you’ve brought all your knights and bishops into the game and castled (these moves are your “opening”), the middlegame begins. In the middlegame, always be on the lookout for ways to capture your opponent’s men. Take any piece that your opponent doesn’t protect. But look at what will happen to your piece if you take his — will you get picked off? Always be looking for ways to move lots of your men into position to attack the enemy king.

8. LOSE PIECES WISELY. You’ll take some of your opponent’s pieces. Some of your pieces will be taken. You must figure out what is and isn’t a good swap. Use these points to figure out whether you’re making a good move if you’re going to lose one of them:

• Queen: 9 points
• Rook: 5 points
• Bishop: 3 points
• Knight: 3 points
• Pawn: 1 point

So is it a good idea to lose a bishop to save a pawn? No!

9. DON’T PLAY TOO FAST. If you see a good move, sit on your hands and look for a better one. Patient thinking is the key to chess success.

10. WIN THE ENDGAME. After you and your opponent swap pieces and you’re down to just a few men, the endgame begins. Now the pawns become more important. If you can advance a pawn to the farthest row away from you, that pawn becomes a queen. A big success! Let your king attack, too, as long as he stays out of reach of your opponent’s remaining pieces — especially the queen — and does not let himself to be checked.

Your king is said to be in check when your opponent threatens to use one of his pieces to capture the king on his next move. If your king is checked and you have no way to remove the threat — it can’t run away, you can’t capture the opposing piece that has him in check and you can’t block the check by moving one of your own pieces — the game is lost. Checkmate! If you checkmate your opponent before he checkmates you, then you win!

Living on Mars is still science fiction, but growing plants without soil is science fact. The technique is called hydroponics. It’s simply growing plants in water, something you can do today.

Researchers say hydroponics will someday be used not only for feeding space dwellers but also us earthlings.

Raising plants without soil allows farmers to grow more food in less space. That’s especially important in poorer countries, where many people go hungry.

The term hydroponics was coined in 1936 by a scientist in California who planted a tomato in a tub of water. The plant grew more than 25 feet tall!

Once word got around, people were growing plants in baskets, on patios and on rooftops using only water and a little plant food.

Disney Does Science

People who have eaten at EPCOT Center in Walt Disney World have experienced hydroponics. Researchers there produce fresh tomatoes, lettuce and cucumbers from hydroponic gardens.

The National Aeronautics and Space Administration (NASA) is using hydroponics to provide fresh food for astronauts. On the frozen continent of Antarctica, scientists are testing hydroponic techniques that may be used on missions to Mars.

Many commercial growers around the world are turning to hydroponics as an alternative to traditional farming. More food can be produced, and weed problems are eliminated.

Strawberries are a popular hydroponics crop in Australia. Tomatoes, lettuce and a variety of herbs lead the way in Ontario, Canada. In the United States, cucumbers and tomatoes are grown in water.

A Year-Round Garden

Hydroponics is not only useful. It can be fun. Clear a place on your window sill, and you too can grow vegetables, flowers and fruits–and dream about feeding fresh veggies to colonists on Mars.

START A HYDROPONIC GARDEN

Plants don’t need soil as long as they have five things: food, water, light, air and support. You can provide all five in a hydroponic garden.

What You Need:

• A small, single-stemmed houseplant. Most common houseplants will work well. Or try a vegetable plant.
• A clear glass jar or bottle.
• A cork stopper with a large hole in the middle.
• Cotton waddling.
• Plant food.

What You Do:

This will get messy, so go outside or spread newspapers over your work area. Carefully remove the small houseplant from its pot. Place one hand over the soil surface, with the stem between two fingers, and turn the pot upside-down. Tap the bottom of the pot while gently easing the plant out.

Gently brush all the soil from the roots.

Carefully thread the plant stem through the cork stopper and place the roots into the glass container filled with lukewarm tap water.

Use the cotton wadding to fill any gaps between the plant stem and cork stopper. Be careful not to squeeze the stem.

Move your plant to a sunny location and watch it grow!

After about a week, pour out the water and refill.

Your plant will be hungry by now, so add a general-purpose plant food according to label directions. Look for a food labeled “water soluble.” You can find it at garden centers, hardware stores or grocery stores.

Change the water and the plant food solution about once a month.

• Make a compost tumbler
• Build a rain barrel
• Six projects to do with plastic bottles and jugs

What makes this compact garden so productive is that you will be placing plants close together in squares instead of traditional rows. You can continue to plant as you harvest.

WHAT YOU’LL NEED

• Hammer
• Saw
• Shovel
• Wire cutters
• Tape measure
• 4 4-foot 2-by-10′s
• 16d galvanized nails
• 2 6-foot 2-by-4′s
• 4-foot 2-by-4
• 49 feet of 12-gauge galvanized wire, cut into 7 7-foot lengths
• 8d galvanized nails
• About 1/2 cubic yard or 14 cubic feet of good garden soil
• A sunny spot for your garden

WHAT YOU’LL DO

Frame

1. Using the 2-by-10′s and 16d nails, hammer together a 4-foot square.

Trellis

2. Nail the 6-foot 2-by-4′s to the back of the frame.

3. Nail the 4-foot 2-by-4 across the back of the uprights.

4. Attach the 7 wires on the back of the trellis by wrapping wires around nails.

Planting

Fill the frame with good garden soil. Divide it into 16 squares. The smaller the mature plant, the more you can plant in each square.

A Helpful Garden

Nail 5/8-inch or heavier exterior plywood to the bottom of the frame and lift the frame to table height by placing it on sturdy saw horses or legs. Once filled with soil, it will be easily accessible to a person in a wheelchair or someone who is more comfortable sitting than kneeling.

Collect magazine covers. The photos are great, the magazines are fun to read and finding them can sometimes be like a treasure hunt.

Before you start to build your collection, decide what to collect. There are hundreds of magazines published every year, and many thousands more exist from years gone by. (Guess how many issues of Boys’ Life — more than 1,100 and counting!) But that’s one of the best things about this collection: You choose what to collect, and you’ve got lots to choose from. We’ll use sports stars as an example, but you could choose anything. Canoeing, hiking, national parks, cars — anything goes.

WHAT’S YOUR FANCY?

For most, it’s the cover of the magazine that makes it collectible. Most people collect their favorite player. But there are many other themes for collections, such as:

• Team: Collect magazines with players from your favorite team on the cover.

• Sport: If your favorite sport is one of the “Big Four” — baseball, football, basketball or hockey — this might become just too big. But if you really like skateboarding or surfing or golf or the Olympics, some terrific magazines are just waiting to become part of your collection.

• Title: Some magazines continue for decades. Others are around for only a few issues. It can be a real challenge to put together complete runs of a particular magazine.

• First issue: The premiere issue of any magazine is usually more difficult to find and therefore more desirable for collectors. However, it can also be much more expensive.

• Birthday: Here’s a really personalized theme for a collection. Collect magazines that were “born” the same day, month or year as you.

THE THRILL OF THE HUNT

Bookstores will carry current magazines, but you’ll have to pay full cover price. In a year or so, you might find those same magazines much cheaper at a used-book store. You can also subscribe to many magazines for less than half the cover price.

Older, out-of-print magazines are harder to find. (But maybe not too hard: Ask your parents if there are any old magazines squirreled away in the garage or attic.) Yard sales and flea markets are excellent sources. And don’t forget to check out Internet auction sites like eBay, or do a search on the term “collectible magazines.”

Mail-order dealers are another place to findcopies. You’ll probably have to pay more, especially for older, hard-to-find magazines. But it’s definitely more fun to search through a dusty box under a table at a flea market or in an attic and find that copy of a magazine you’ve been wanting for a while.

What You’ll Need:

• Two sheets of clear acetate (available in single sheets or in packages) for each person
• “Crystal Clear” acrylic coating (a spray-on plastic artists use to protect illustrations)
• Pieces of cardboard large enough to cover each acetate sheet
• Two clothespins per person
• Enough cardboard boxes or empty coolers to cover all the cardboard sheets

What You’ll Do:

Step 1: Stash the acetate and cardboard sheets in the freezer. Turn the box or cooler upside down outdoors. Place can of acrylic outside to cool.

Step 2: Once it starts to snow, take the acetate and cardboard from the freezer and head outside. Duck under a porch or overhang to protect everything from falling snow. With clothespins, fasten a single sheet of acetate to a piece of cardboard. Spray the acetate sheet with a thin coat of acrylic from the air-chilled can. (If you use too much, the snow will melt in the liquid.)

Step 3: Hold up the contraption by the clothespins and step out in the falling snow so that individual flakes collect on the acetate sheet. You’ll want a lot, but not so many that they begin to fall on top of one another.

Step 4: Once you have enough, carefully tuck the sheet under the cardboard box or cooler.

Step 5: After an hour, the snowflakes that stuck to the acetate will have evaporated, leaving behind perfect acrylic replicas. Hold the acetate up to a light and scan the sheet with a magnifying glass or an 8X slide viewer. You may also project the crystalline images onto a screen with an overhead projector.

FROZEN FACTS

• Snowflakes form when water vapor freezes around tiny bits of dust in the air. No dust, no snowflakes.
• Scientists have identified 10 types, including graupel (granular) flakes, as well as sleet and hail. The other seven varieties are the more familiar crystal shapes.
• No two snowflakes are alike? In the mid-1980’s, a scientist found snowflakes that were extremely similar 20,000 feet in the air above Wisconsin.
• Snow crystals are always six-sided, because the atoms in water molecules are arranged in triangles.
• The exact size and shape of a snowflake depend on the temperature, moisture content in the air and how much time it has to grow before hitting the ground—or your acetate sheet.

CREATE A TORNADO

Materials:

• Tall drinking glass
• Bottle of clear soda or carbonated water
• Table salt
• Long stirrer

Steps:

1. Pour the soda or water into the glass until it is 2/3 full.
2. Use the stirrer to stir the liquid as fast as it can go without spilling over the top, then pour some salt in it.
3. Watch the resulting carbon dioxide bubbles form a tornado.

Conclusion:

Tornadoes are formed when warm, moist air swirls together with cool, dry air. They are most often associated with storm clouds that contain vortexes — spirals of rising air. As the vortex sucks in the surrounding air, more air moves in at a high speed to fill the space.

CREATE A BREEZE

Materials:

• Two metal baking pans
• Two heatproof pads or boards
• Oven mitt
• Large cardboard box
• Dry sand
• Ice
• Incense stick
• Scissors
• Matches

Steps:

1. Fill the first pan with sand and place in an oven on the lowest heat setting.
2. Use the scissors to cut off the front of the cardboard box. Place the heatproof pads or boards nextto each other inside the box.
3. Fill the second pan with ice and place it on one of the pads. Wait several minutes for the first pan to “cook,” then use the oven mitt to remove it from the oven and place it on the pad next to the pan of ice so that the two pans are practically touching.
4. Light an incense stick and hold it horizontally, with the burning tip right between the two pans. Smoke from the stick will always drift toward the warm pan full of sand.

Conclusion:

The pan full of ice cools the air above it, causing the air to sink. The pan full of warm sand warms the air above it, causing the air to rise. This creates a low-pressure zone just above the sand, and the air above the ice will rush in to equalize the pressure. This is how a breeze works. For example, on warm summer days, land heats up faster than water, so the cooler air above lakes and seas often rushes toward land to create a breeze.

MEASURE WIND SPEED

Materials:

• Paper plate
• Four paper cups
• Colored tape
• Thumbtack with plastic end
• Pencil with an eraser
• Double-sided tape
• Stopwatch

Steps:

1. Mark one paper cup by wrapping the colored tape around the outside.
2. Use the pencil to draw an “x” on the plate, with the middle of the “x” as close to the middle of the plate as possible.
3. Attach a short length of double-sided tape to the side of each cup. Attach one cup to the edge of the plate with the opening facing left. Rotate the plate and attach the rest of the cups the same way.
4. Punch the thumbtack through the middle of the plate on the “x.” Pin the plate to the eraser and hold up the plate and cups so they may spin in the breeze.
5. Find a Web site that gives you the wind speed in your area. Count how many times the marked cup goes around in 30 seconds and write it down. Repeat the process at different times over several days, and you’ll be able to translate your numbers into wind speeds. Soon, you won’t need to check with the Internet anymore.

Conclusion:

An anemometer is an instrument that measures the speed of the wind. A professional anemometer uses spinning discs linked to an electronic device that counts the turns and converts them into wind speeds.

THE GREENHOUSE EFFECT

Materials:

• Tall plastic soda bottle
• Glass jar small enough to fit inside the bottle
• Scissors
• Thermometer

Steps:

1. Use the scissors to cut the bottom off the plastic bottle. Remove the label, but leave the top on.
2. Stand the thermometer inside a jar, place it in a sunny spot, and check the temperature in an hour.
3. Put the bottle over the jar and leave it for another hour. Check its temperature, and compare with the earlier temperature.

Conclusion:

The second temperature is considerably warmer than the first. That’s because the solar energy passing into the bottle has been turned into heat that can’t escape. The earth’s atmosphere serves a similar function as the bottle — it allows the sun’s energy to pass through, then keeps it from escaping into space.

Find these experiments, and more like them, in “Weather Watcher,” a DK Nature Activities book, DK Publishing, $9.99, (BSA Supply No. 32488, 1-800-323-0736, www.boyslife.org/links/scoutstuff).

Gary always seems to have everything going in his direction. In all his classes, Gary is the first to raise his hand when the teacher asks a question, the one who always gets the highest grades. He’s a straight-A student.

He’s also active in his Scout troop and in school activities and plays baseball in the spring, tennis in the summer, football in the fall and basketball in the winter. How does Gary do it all and stay so relaxed and happy?

Here’s the secret to his success: Gary believes in himself, takes things seriously, works hard and knows what he is doing.

We can learn a lot from Gary. Here’s a 10-step program to get in on Gary’s secret so you, too, can become a straight-A student.

STEP 1: Take the right subjects (…and school will be a lot easier!)

You’re probably not ready to decide on a career. Even if you are, you’re probably not certain exactly where that career will take you. So take courses in school that give you the most possible choices later on. The three key courses: English, math and computer science.

Take as many courses in English and math as you can, even if you find them to be difficult. The more courses you take in these subjects, the easier they become—and the easier every other subject becomes, too. Computer courses, too, are important. Computer skills are required just to be considered for many jobs.

STEP 2: Work with your teacher (…because your teacher is your coach!)

Every teacher is looking for students who are serious about the subject at hand, who work hard in the classroom and who show progress and ability.

Consider your teacher a friend in learning, someone there to help you. Too many students think of their teacher as an enemy, someone who forces them to sit and be quiet then gives them assignments. Guess what? Your baseball coach tells you what to do and gives you assignments on the field. Is he an enemy? No, he’s a friend in winning. Your teacher wants to reward you, too.

Here’s how to work better with your teachers:

• Show respect and interest. Participate in class.

• Learn their style in the classroom.

• Get to know your teachers as people. Know their likes and dislikes.

• Think of them as coaches in the classroom.

STEP 3: Never miss a class (…it will always catch up with you!)

Most test questions come from material your teacher presents in class. Every day, your teachers cover the subjects they think are important for you to understand—some even tell students the specific questions that will be on an exam. Reading assignments alone can’t tell you that.

STEP 4: Always sit up front (…because that’s where the action is!)

You can use your brain more effectively if you are in a good environment. The best place to use more of your brain is in the front row, because this is not only where you will learn more, but also remember more.

STEP 5: Complete your homework before class (…so you will be prepared in class!)

Homework is not punishment. It is assigned to help you learn more about a subject.

Your first job is to find out what the teacher expects from you in the way of homework assignments. Make sure you understand exactly what to do. If you don’t, ask.

As soon as you get home from school, think about the homework assignments you need to complete before the next class. Then think about the order in which you will do them, and how much time you’ll spend on each one. The sooner you start, the quicker everything will be done. Then you will:

• Be prepared for the next class.

• Understand more of the teacher’s lecture.

• Turn in assignments on time.

• Ask—and answer—good questions in class.

STEP 6: Take notes during class (…so you will become an active listener!)

When you are trying to learn something complicated, it is much easier to learn and remember if you take notes. If you go into just about any college class, you will find that most if not all the students are taking notes. They know that taking good notes is one of the keys to making good grades.

Listen carefully, write down everything of importance (not everything the teacher says) and look for potential exam questions.

STEP 7: Review your notes before the next class (…it’s never too soon to start studying!)

If you are going to understand everything that your teacher says in class, not only do you have to take good notes, you also have to review and correct them before the next class. There is no other way to learn at the same rate that the teacher presents new information. And you have already started studying for the test!

STEP 8: Prepare for tests ahead of time (…by studying a week in advance!)

By doing your reading assignments and taking careful notes and reviewing them, you have mastered information as your teacher presented it to you. This does not, however, mean that you are ready to take a test without doing anything else.

Here’s how to prepare for an exam:

• Start studying a week in advance.

• Review your notes three times, leaving two or three days between reviews.

• Think about potential exam questions.

• Conduct your review in an organized manner.

• Never study up to the last minute. (This creates pressure in the final hours before a test.)

STEP 9: Be testwise and confident (…because confidence breeds success!)

Don’t be afraid of tests. Be confident. If you have followed the first eight steps of this plan, you should be confident that you will test well.

It sounds simple, but it works: Believe in yourself, keep an open mind about tests, know your teacher’s style and apply what you know. That’s confidence. That’s success.

STEP 10: Show what you know on the final exam (…because it’s a big part of your final grade!)

You have been working hard to prepare for the test, and everything is on the line. Don’t worry about all the effort you have put in, or how the teacher will grade your exam. Your goal should be to show the teacher how much you’ve learned.

How? Know what material will be covered. Start studying well ahead of time. Look for major themes that develop in your class notes. Review previous exams to learn your teacher’s style.

Then comes the final step: Ace your exam!

From HOW TO GET STRAIGHT A’s by Gordon W. Green. Reprinted by arrangement with Tom Doherty Associates LLC and available wherever books are sold.

Note: Be sure to ask for a parent’s help and permission before starting any experiment.

SWIMMING SPAGHETTI

Make spaghetti do tricks with this fun and fizzy experiment.

What You Need:

• uncooked spaghetti
• 1 cup of water
• 2 teaspoons of baking soda
• 5 teaspoons of vinegar
• tall clear glass

What You Do:

Put water and baking soda in the glass. Stir until the baking soda is dissolved. Break spaghetti into 1-inch pieces. Put about 6 pieces in the glass. They will sink to the bottom. Add vinegar to the mixture in the glass. Observe what happens to the pieces of spaghetti. Add more vinegar as the action starts to slow down.

What’s Going On:

When baking soda and vinegar are mixed together, a chemical reaction occurs. It produces a gas called carbon dioxide, which forms lots of bubbles on top of the mixture and smaller bubbles at the bottom of the glass. These little bubbles stick to the spaghetti and make it float to the surface, just as you do when you sit on a swimming pool noodle! When the spaghetti reaches the surface, the bubbles pop and the spaghetti sinks to the bottom.

WRITE A SECRET MESSAGE

Write an invisible message on a mirror using a soapy solution and a cotton swab. The secret message will appear only in a foggy room.

What You Need:

• liquid dishwashing detergent
• cup of water
• a few cotton swabs
• hand mirror or bathroom mirror

What You Do:

Place a few drops of dishwashing detergent into the cup of water. stir to mix well. This is your secret message “ink”.

Dip a cotton swab into the soapy solution. Write a short message on the mirror. When the liquid dries, the message will be invisible. (If not, use a little less of the solution.)

When you take a hot shower or bath, do not get the mirror wet, but get the mirror close enough to the steam from the water so that it gets fogged up. Close the door so the steam stays in the bathroom.

Observe what happens. Can you read the message?

More fun: Write a message and wait until someone else takes a shower or bath. See how quickly they discover your secret.

What’s Going On :

The steam on the mirror is made up of water molecules. These tiny drops of water stick together on the mirror because of a force called surface tension. The liquid dishwashing detergent breaks the surface tension of the water. Wherever there is detergent, the water molecules are unable to form into droplets. The words written with the soapy solution stand out clearly against the foggy background of the mirror.

THE POWER OF ICE

Why do people put covers on their outside faucets in the winter? Why isn’t it a good idea to leave water in a garden hose during freezing temperatures? It’s the power of ice.

What You Need:

• three small plastic drinking cups, one with a lid dish or pan big enough to hold all three
• cups
• water
• freezer

What You’ll Do:

Fill all three cups with as much water as possible without overflowing. Put the lid on one.

Set all three cups on the dish and place in the freezer overnight.

Check to see what happened the next morning. Did the water stay the same size after it became ice?

Leave the frozen items in the freezer for a few days. Did you notice any changes?

What’s Going On:

When water freezes, it expands. When water is left in a garden hose during freezing temperatures, the force of the ice expanding can cause the hose to break open. The same thing can happen with the water pipes in your house. If the water freezes in the pipe, it can break the pipe open.

FISH IN A BOWL: MAKE A MOVIE

Fool your eyes with this experiment. Using a homemade thaumatrope (THAW-muh-troap), you can combine two pictures into a single image by quickly flipping the pictures back and forth.

 What You Need:

• small piece of cardboard, about 2 inches by 3 inches
• sharpened pencil or pen to make holes in cardboard
• two pieces of string tape
• two small pieces of paper

What You Do:

Cut out a small piece of cardboard and punch holes in each corner. On both sides, write a small “X” in the center of the cardboard.

Cut out two pieces of white paper that are a little smaller than the cardboard piece. Make sure the holes will not be covered up when the paper is placed over the cardboard.

On one piece of paper, draw a fish. On the other, draw a fishbowl. Be sure to draw the fishbowl larger than the fish.

Tape the picture of the fish on one side of the cardboard, so that the fish is directly over the “X”.

Tape the fishbowl on the other making sure the bowl is centered on the “X”.

Thread one piece of string through the two holes on one side. Thread the other piece of string through the two holes on the other side.

Twist the strings together on each side. Pull the strings as though you are trying to stretch a rubber band. This will make the cardboard twirl. Watch the pictures. Does it look like your fish is in the fishbowl?

More fun: Draw a picture of a bird and a birdcage or anything else you can imagine!

What’s Going On:

Your eye sees the image of the fish for a short time after it is gone. By that time, the picture of the fishbowl is in sight, and you seem to see both pictures at once. The same thing happens at the movies. If you look at a piece of movie film, you’ll see that it is a series of pictures separated by black spaces. These pictures with black spaces in between are flashed on the screen so fast that your eye cannot see the individual pictures or the black spaces.

MAKE A LAVA LAMP

Here’s an easy yet amazing way to make your own “lava lamp’.

What You Need:

• cooking oil, such as vegetable oil
• cold water (no ice)
• salt water glass
• food coloring

What You Do:

Fill the glass about three-quarters full of cold water. Stir in a few drops of food coloring. Can you guess what will happen when you add oil to the water? Will they mix together or separate? Which will be on top?

Add some cooking oil until you have about a half-inch layer of oil on top of the water. Wait until the oil and water have separated into two layers before the next step.

Sprinkle salt on top of the oil. Keep adding salt to see what happens.

What’s Going On:

The oil is lighter than water, so it floats. The salt is heavier than both the oil and the water, so it sinks. As the salt passes through the oil layer, it picks up blobs of oil, which cling to the grains of salt temporarily and sink to the bottom of the glass. Then the oil breaks free from the salt and floats to the top.

FUN WITH PAPER CLIPS

See how many paper clips it takes to make a full glass of water overflow.

What You Need:

• clear plastic cup
• 100 small metal paper clips

What You Do:

Fill the cup to the top with water.

Guess how many paper clips it will take to make the water overflow. Write down your guess.

Carefully drop one paper clip at a time into the cup. Count how many it takes to make the water overflow. Was your guess close?

Look at the cup from the side. The water is bulging upward like a balloon!

More fun: Fill the sink or a dish with water. Carefully lay a small piece of paper on top of the water. See how many paper clips you can put on top of the paper before it sinks. Try using different sizes of paper.

What’s Going On:

Drops of water stick to each other. That is why the surface of the water bulged when you added the paper clips. Scientists call this surface tension. The surface tension of the water is what held up the floating paper until the weight of the paper clips became too heavy.

But a little felt will produce grass that appears to grow out of the soil.

You can buy felt at a fabric store in 9-by-12-inch squares or by the yard in 6-foot widths. Use dark green, or buy beige felt and paint it with green ink (from an art supply store). The beige felt can also be used to simulate dried grass for winter scenes.

Use scissors to cut the felt to fit your project. Use plaster, papier-mâché or insulation board (like Styrofoam) to create the shapes for the hills you will cover with grass. Apply a thick coat of water-based contact cement and press the felt into the still-wet cement. Let it dry. Wash your hands and the brush.

Now the fun part: Get dirty! Sift some real soil through a door screen to remove debris and larger stones, then pour it through a fine-mesh tea strainer. Shake the strainer to distribute the soil onto the felt. Try to cover about three-fourths of the felt.

Use a wire bristle brush such as a pet brush to stroke the felt so loose strands fluff up.

Sift on more soil as needed. You want the individual fibers of teased-up felt protruding through the soil, just like real grass. Trim excess with scissors.

When you’re satisfied with the scene, spray the area with a mixture of five parts water to one part Artist’s Matte Medium (available at art supply stores). Add a drop of detergent to the mixture to help soften the fluid so it doesn’t puddle as easily.

You’ll need to spray on enough of the mixture so the entire area has a white cast. It will turn the soil and felt a darker shade. Let it dry for about a week, and the original colors will return.

WHICH OBJECT IS TALLER?

None: They’re all the same size.

WHICH LINE IS LONGER?

Neither: They’re both the same.

IS THIS GRAY HAZE SHRINKING?

Stare at the black dot. After a while the gray haze will appear to shrink.

DO THESE COLORED LINES BEND?

No, they’re perfectly straight—but try telling your eyes that!

ARE THESE WHEELS SPINNING?

Stare at the center. Now move your head back and forth toward and away from the page. The circles will appear to spin.

HOW MANY BLACK DOTS CAN YOU COUNT?

Look closely and you will see them.

DO YOU SEE TWO FACES OR A VASE?

If you see one, close your eyes for a moment, then look for the other.

ARE THESE LINES STRAIGHT OR CROOKED?

Yep, you guessed it. The horizontal lines look crooked, but they are perfectly straight.

ARE YOU SEEING RED, WHITE & BLUE?

Stare at the center of this flag for one minute. Then look at an empty white sheet and you’ll see a red, white and blue flag.

HOW THIS FLAG WORKS

Your eyes see color as measures of red or green, blue or yellow and bright or dark. When you look at a green object for a long time, your eyes get tired and start seeing red. When you look at yellow, after a while you’ll start to see blue. And darkness turns into brightness. The result: Even this wacky flag can be good, old red, white and blue—after a while!

Using common objects around the house, you can demonstrate cool scientific laws. Here’s how:

Keeping Water Separate

Fill two identical glasses with water. Add two tablespoons of salt to the water in one glass and stir well. Add a few drops of food coloring to the water in the other glass.

Cover the glass containing the colored water with a sheet of paper, turn it upside down and place it on top of the glass containing salt water. (Be sure to do this trick over a saucer or bowl.)

Gently pull the paper out from between the glasses. The colored water and the salt water will remain separate.

How Does It Work?

Salt water is heavier than colored water, so the two stay separate as long as the boundary between them isn’t disturbed. Try turning the two glasses over, though. The heavier salt water will now be on top, so it will flow down and mix with the colored water.

A Can That Can “Walk”

Place an empty aluminum can on its side on the floor. Blow up a balloon and tie a knot in the end. Rub a tissue back and forth on the balloon.

When you put the balloon near the can, the can will start rolling toward the balloon.

How Does It Work?

When you rub the balloon with a tissue, the balloon gets a negative electric charge of several thousand volts. When you put the balloon near the can, electrostatic induction affects the molecules in the metal. The outside of the can gets a positive charge, so it is drawn toward the balloon and starts rolling in that direction.

A Candle That Sucks Water

Place a candle upright in the middle of a saucer. Fill the saucer with water. Light the candle. Place a glass over the candle. When the flame goes out, the water in the saucer will get sucked into the glass.

How Does It Work?

When the candle is burning inside the glass, the heat makes the air expand, so some of the air escapes outside the glass. The candle goes out after it uses up all the oxygen, so the air inside the glass cools. As it cools, the pressure inside the glass drops. Some of the carbon dioxide formed by the flame dissolves in the water as well, decreasing the pressure even more. The water outside the glass on the saucer is forced into the glass by the higher aire pressure outside.

A Flying Trash Bag

Hold the mouth of a black trash bag in one hand. Use a hair dryer to blow hot air into the bag.

Seal the mouth of the bag with tape. Tie a long piece of string around the tape so you can hold it. Take the bag out into the sun. The bag will rise slowly into the air. (It’s best to do this trick in an open area on a windless day.)

How Does It Work?

Since the bag is black, it absorbs heat from the sun. That heat makes the air inside the bag expand and become lighter. When the bag and the air inside are lighter than the surrounding air, the bag starts to rise.

Bending Light Through Water

Punch a hole in a clear plastic bottle two inches from the bottom. Put your finger over the hole, fill the bottle with water and cap it to keep it from draining out.

Darken the room and cover part of a flashlight with your fingers to make the beam narrower. When you take the cap off the bottle, the water will flow out in an arc. Shine the flashlight at the stream from the side of the bottle opposite the hole. The light will bend with the arc and create a bright glow where the water hits the sink.

How Does It Work?

When the light in the stream strikes the boundary between the water and air, much of the light is reflected back into the stream. The light continues this internal reflection all along the arc formed by the falling water. The same principle is used to transmit light signals through flexible optical fibers.

Reading Through an Envelope

With a black felt-tip pen, write a three-letter word in large letters on a white piece of paper. Place the paper in a brown envelope, and insert that envelope into a white envelope. The writing on the paper should now be impossible to read.

Get a piece of dark construction paper or tear out a page from a magazine that is printed on both sides. Roll up the paper into a four-inch-long tube. When you hold the tube against the envelope, you’ll be able to read the writing inside.

How Does It Work?

Usually you can’t read the writing inside an envelope because of the light reflected off the envelope’s white surface. But the tube blocks that reflected light, so you see only the light coming through the envelope.

Egg Into Bottle

Find a glass bottle that has a mouth slightly smaller in diameter than an egg. Pour some hot water into the bottle (be careful!), shake it vigorously and empty the water.

Peel a soft-boiled egg and place it on the mouth of the bottle. Leave it there for a while and it will get sucked inside.

How Does It Work?

The vapor from the hot water drives the air out of the bottle. Once the egg seals the top of the bottle, the air can’t get back in. As the water vapor cools, it turns back into water, causing the pressure inside the bottle to drop. The higher pressure of the outside air pushes the egg into the bottle.

Toothpick Torpedo

Dab a little shampoo on the blunt end of a wooden toothpick.

Drop the toothpick in a pan of water. The toothpick will start moving in the direction of the sharp end.

How Does It Work?

Shampoo contains agents that reduce the surface tension of liquids. As the shampoo on the end of the toothpick dissolves, it reduces the water’s surface tension around it, thus releasing the water’s hold on that end of the toothpick. The water around the other end of the toothpick still has surface tension, so it pulls the toothpick in that direction.

To learn more amazing science tricks, check out the book “Amazing Science Tricks” by Michio Goto

• See photos of an expert’s seven favorite spiders

Spiders can make fascinating pets. Here are a few steps to get you started keeping spiders.

Step 1: Catching

Spiders are all around us, indoors and out, so they’re not hard to find. Some species can bite and a few are venomous. Learn about dangerous spiders in your area before heading out. It’s easy to safely catch a spider by using a small jar. Gently coax it into the jar using the lid. Spiders will eat each other, so keep only one per jar.

Step 2: Preparing a cage

Large spiders do well in the inexpensive plastic terrariums available from pet stores. Smaller ones can be kept in jars or plastic containers if air holes are drilled into the lid or sides. Be sure the holes are small enough to prevent escape.

Potting soil makes good cover for the cage bottom. Sticks, dead leaves or artificial plants provide structure for hiding, climbing and webbing.

Step 3: Water

Depending on the size of the spider, anything from a plastic bottle cap to a small bowl can serve as a water dish. Spiders also drink water sprayed on webbing, but you should never allow the cage to become damp.

Step 4: Feeding

Offer insect prey once or twice a week. Crickets are available from pet shops, or you can collect insects outdoors if no insecticides have been sprayed in the area.

Step 5: Observing

Watch your spider and take notes on its behavior. You won’t believe what happens in the spider’s web until you’ve visited it yourself!

PREFERRED PETS

Not all spiders do well in captivity. Active hunters are usually easier to keep than web builders. Here are a few that make good pets.

Tarantulas: Some species exceed 10 inches in legspan. They’re by far the most popular pet spiders and can be bought in pet stores.

Wolf Spiders: Some can be more than three inches in legspan. Large specimens do best in terrariums with lots of floor space.

Jumping Spiders: Although small and rarely exceeding half an inch, their jumping ability is amazing. Many species are brightly colored and can easily be kept in jars.

Fishing Spiders: In captivity, these large spiders appreciate vertically arranged pieces of bark for climbing. They’re very fast, so use caution when capturing them.

Grass Spiders: These spiders build funnel-shaped webs in grass, bushes and on buildings. In captivity, they will build extensive webs inside their cage.

Author Cy Tymony was a Boy Scout in Chicago, Ill., and he says he never forgot his Scout training in resourcefulness. Now, you can put his training to use. Just remember: Sometimes you have to be sneaky.

SLUSHY FUN: CHEAP GEL PACKS FOR SWOLLEN MUSCLES

After a long hike, a hard workout or a long game, your muscles might ache. When they do, an icy gel pack can relieve the pain and swelling. Gel packs work to reduce swelling because they can be fitted around joints to cool them thoroughly. Save money by making your own version—a slushy pack.

What You’ll Need:

• Water
• Rubbing alcohol
• Watertight freezer bag, typically 6-1⁄2 inches x 5-7⁄8 inches

What You’ll Do:

Add 1-1⁄2 cups water and 1⁄2 cup rubbing alcohol to the plastic bag and seal it. Be sure the bag is not overfilled. Place the bag in the freezer for three hours. The fluid inside will not freeze solid. Instead, the alcohol keeps the water flexible and slushy. When needed, remove the bag from the freezer and apply it to the swollen area. To prevent frostbite or cold burns, place a towel or cloth between the plastic and the skin. Once you’re done, place the slushy pack back in the freezer for future use.

GOT A TOY CAR? MAKE A POWER DOOR OPENER

How cool would it be to have a power door opener as seen in science-fiction and spy movies? This project will show you how to use a toy car to do the trick. A small wire-controlled car has enough power to push and pull a typical room door back and forth if you know the super-sneaky way to install it.

What You’ll Need:

• Wire-controlled toy car (not radio controlled, for better battery life)
• Velcro fastening tape, adhesive backed
• Screwdriver
• Pliers

What You’ll Do:

First, remove the body shell from the toy car with a screwdriver. Then remove the front wheel and axle.

Now, using the fastening tape, attach the car near the bottom end of the door. Using the remote control, see if it can push the door open or closed. If not, reposition the car for more traction. When you find the proper position, you will be able either to move the door with your hand or let the car do it.

Optionally, you can break off the entire front part of the chassis so that it takes up less space and cover it with materials for a more appealing look. Mount the remote control as desired.

GAIN SNEAKY SEE-BEHIND VISION

Forget X-ray vision, heat vision and microscopic vision. In the real world, what counts is “see-behind” vision.

What You’ll Need:

• Small mirror or reflective material, about 1-1⁄2-inch square
• Duct tape
• Large paper clip

What You’ll Do:

Bend the large paper clip into the shape shown above and tape it tightly to the small mirror. If the edges of the mirror are sharp, tape them carefully. Then attach the mirror to a cap or eyeglasses with the other end of the clip. Note: To improve clarity, adjust the position of the mirror by bending the paper clip. You can use this sneaky vision device three ways: carry it in your hand, attach it to a cap or clip it to eyeglasses. Now you’re ready to use your see-behind vision for safety and fun.

SCIENCE FRICTION: FIVE FIRE-MAKING METHODS

Most experienced Scouts know how to start a fire without a lighter or matches. Do you? When lost in the wilderness, being able to make a fire can be a lifesaver, both to signal your location and to use for warmth and cooking. Here are five ways to start a small fire in an emergency.

Before you attempt to start a fire, you must have tinder and kindling materials available and understand how to use them. Many people fail to start fires even when they have good matches! A fire is built in stages. You first need to cause a small spark to ignite your tinder, small dry items like tissue paper, dead grass, twigs, leaves, lint or even paper money. Blow on the tinder carefully, so it stays lit and grows into a larger fire. Then carefully add kindling—sticks, branches or thick paper—to keep the fire going. Once the kindling is burning, you can add larger logs or other fuel.

METHOD 1: MAKE A FIRE PLOW

What You’ll Need:

• Hard stick with a blunted tip
• Flat piece of wood
• Tinder
• Kindling
• Knife or sharp-edged rock

What You’ll Do:

Using the knife or sharp rock, scratch a straight indentation in the center of the flat piece of wood about the same width as the blunt stick. Arrange the tinder so air can easily circulate, and set it at the foot of the piece of wood. Then, in a kneeling position, hold the flat piece of wood between your knees at an angle and move the stick rapidly back and forth in the indentation until friction ignites the fibers of tinder at the base. Mix in more tinder material and fan the smoke until a small fire starts. To keep the fire going, carefully add kindling material.

METHOD 2: SPARK GENERATION

What You’ll Need:

• Knife or steel
• Sharp-edged rocks
• Tinder
• Kindling

What You’ll Do:

Use this method with very dry tinder material in a secluded, non-windy environment. Depending on what items are available, strike two rocks together to create a small spark close to tinder material. If a spark catches the tinder, you will see a glow. Carefully blow on it so it turns into a small flame. Fan the material until it starts to smoke and burn. If you have an item made of steel, like a knife, scrape it against various rocks until a spark appears.

METHOD 3: MAKE FIRE WITH A LENS

If it’s bright and sunny, it’s possible to use a lens to focus the heat of the sun on tinder material and start a fire.

What You’ll Need:

• Lens (from eyeglasses—reading glasses only, a magnifying glass, binoculars or telescope)
• Tinder
• Kindling

What You’ll Do:

With plenty of dry tinder available, aim the lens at it until it starts to smoke. Have other tinder material available to keep the fire going. When the tinder begins to burn, add kindling material.

METHOD 4: MAKE FIRE WITH A REFLECTOR

What You’ll Need:

• A reflector from a flashlight or headlight
• Tinder
• Kindling

What You’ll Do:

Position the tinder material in or in front of the reflector for maximum absorption of the sun’s rays. With plenty of sunshine available overhead, and a little luck, the tinder material will get hot enough to catch fire.

METHOD 5: MAKE FIRE WITH WATER

When positioned properly, water can act as a lens and focus enough of the sun’s heat to ignite tinder.

What You’ll Need:

• Water
• Jar or bottle
• Tinder
• Kindling

What You’ll Do:

Pour about two teaspoons of water into a clear jar or bottle. Tilt the jar so the water rests in a corner at the bottom and position it so the sun’s rays shine through the water onto the tinder and ignite it.

LOST? CRAFT A COMPASS

If you’re ever lost, you’ll find a compass is a crucial tool. When markers or trails are nonexistent, a compass can keep you pointed in the right direction to get you back to a line of reference. A compass indicates Earth’s magnetic north and south poles. This project describes three ways of making one with things around you. For each method, you will need:

• Needle (or twist-tie, staple, steel baling wire or paper clip)
• Small bowl, cup or other non-magnetic container
• Water
• Leaf or blade of grass

METHOD 1: MAGNET MAN

What You’ll Need:

• Small magnet from a radio or car stereo speaker

What You’ll Do:

Take the needle and stroke it in one direction with the small magnet, at least 50 times. This will magnetize the needle so it will be attracted to Earth’s north and south magnetic poles. Fill a bowl or cup with water. Place a small blade of grass or any small article that floats on the surface of the water. Place the needle on the blade of grass and watch it eventually turn in one direction. Mark one end of the needle so that magnetic north is determined.

METHOD 2: SILKY SMOOTH

What Else You’ll Need:

• Silk or synthetic fabric from a neckerchief, tie, scarf or other garment

What You’ll Do:

Stroke the needle in one direction with the silk material. This will create a static charge in the metal, but it will take many more strokes to magnetize it. Stroke at least 300 times. Once floated on a leaf in the bowl as in Method 1, the needle should be magnetized enough to be attracted to Earth’s north and south magnetic poles. You may have to remagnetize the sneaky compass needle occasionally.

METHOD 3: BATTERY POWER

What You’ll Need:

• Battery

What You’ll Do:

When electricity flows through a wire, it creates a magnetic field. If a small piece of metal, like a staple, is placed in a coil of wire, it will become magnetized. Wrap a small length of wire around a staple or paper clip and connect its ends to a flashlight battery. If the wire is not insulated, wrap the staple with paper or a leaf and then wrap the wire around it. When you connect the wire to the battery in this manner, you are creating a short circuit — an electrical circuit with no current—draining load on it. This will cause the wire to heat quickly, so connect the wire ends to the battery only for short four-second intervals. Do this 15 times.

Place the staple on a floating item in a bowl of water, and it will eventually turn in one direction. Mark one end of the staple to determine magnetic north.

ROAD SCHOLAR: DOWN-TO-EARTH DIRECTION FINDING

If you’re stranded without a magnetic compass or the means to make one, all is not lost. Even without a compass, there are several ways to find directions in desolate areas. Here are two.

METHOD 1: USE A WATCH

The sun always rises in the east and sets in the west. Use this fact to find north and south with a watch.

What You’ll Need:

• Standard analog watch (with hands, not a digital watch)
• Clear day in which you can see the sun

What You’ll Do:

If you are in the Northern Hemisphere (north of the equator), point the hour hand of the watch in the direction of the sun. Midway between the hour hand and 12 o’clock will be south.

METHOD 2: USE THE STARS

What You’ll Need:

• A clear evening in which stars can be viewed

What You’ll Do:

In the Northern Hemisphere, locate the Big Dipper constellation. Follow the direction of the two stars that make up the front of the dipper to the North Star. (It is about four times the distance between the two stars that make up the front of the dipper.) Then follow the path of the North Star down to the ground. This direction is north.

In the Southern Hemisphere, locate the Southern Cross constellation (see Figure 3). Notice the two stars below the cross. Imagine two lines extending at right angles, one from a point midway between the two stars and the other from the cross, to see where they intersect. Follow this path down to the ground. This direction is due south.

Hample has snagged almost 3,000 baseballs at 40 different Major League stadiums across North America. Here are his top five tips for getting one:

Arrive early

Teams warm up one to two hours before the game, so be the first person in the gate. You’ll have fewer people to compete with for foul or home-run balls, and you’ll occasionally find balls already lying in the seats when you arrive.

Sit on the aisle

You’ll need to move around to increase your chances. “Don’t get trapped in the middle of a long row. You need to be able to jump up and move,” Hample says.

Play the percentages

Check out the rosters ahead of time, so you know how many right- and left-handed batters there will be. Most right-handed batters will hit foul balls to the first-base side; left-handed batters, to the third-base side. Pick a seat in the stadium accordingly.

Ask politely

When teams are warming up, they’ll often throw balls to their fans in the stands. “And players love to throw balls to kids,” Hample says.

Buy a hat for each team that’s playing

Players on the road love to spot their fans, and will often reward them by throwing them a ball. Change your hat according to who’s in the field.

WHERE TO SNAG A BASEBALL

Best: Turner Field in Atlanta, Ga. “There’s a gap between the outfield wall and the outfield stands,” Hample says. “You can snag a lot of balls that fall in the gap. Since they’re out of reach, you’ll need a special ball-snagging device tied to a string.

Worst: Yankee Stadium in New York City. “It’s the most crowded stadium in baseball, and security is strict — you can’t get down to the dugouts before the game like you can in most ballparks.”

For more tips, check out Hample’s Web site at www.zackhample.com.

Professional athletes today tend to keep their distance, and some will sign autographs only for money. Still, there is a way to get autographs both from current players and from players who have been retired for years: the U.S. mail.

HERE’S HOW:

• Go through your sports trading cards and identify a player you would like to ask for an autograph. It’s probably best to start with less well-known players, because they’re less likely to receive as many requests.

• Write a polite, friendly letter asking the player to autograph your card. Remember that athletes, like all celebrities, receive many requests from fans. Writing a thoughtful letter is key.

• If the player is still active, simply mail him your request in care of his team. Addresses for all Major League teams can be found at www.mlb.com. For retired players, most libraries will have a book or two containing player addresses. Try Jack Smalling’s “The Baseball Autograph Collector’s Handbook,” available in some libraries or at www.baseballaddresses.com. This book, updated periodically, contains more than 11,000 addresses of players, coaches and umpires.

• Once you have a player’s address, mail the letter and the card with a self-addressed stamped envelope, and be patient. It can sometimes take months to receive a reply. Good idea: Send only cards of which you have duplicates. Some players won’t respond, and you’ll never see the card again.

• When you do get a signed card back, be sure to send a thank you note.

WHAT AUTOGRAPHS DO YOU HAVE?

Tell us which autographs you’ve collected and how you got them in the comments field below.