ARC Art Reacts with Chemistry

AP Chemistry Lab ReportsARC Art Reacts With Chemistry 2015-2016

The Fermentation Process Observed in Rhubarb Mead By Dan Gates Through the fermentation process, ethyl alcohol is produced with yeast and rhubarb contributing the enzymes andsugars necessary to complete the reaction.MATERIALS: 1 450g bag of chopped rhubarb 300g of granulated sugar 3.5L of water ¼ tsp yeast (Belgian Abbey style works best) A plastic bucket large enough to hold all ingredients 6 20 fl oz. bottles Thermometer Raisins

PROCEDURE: Place the rhubarb in the bucket, and sprinkle the sugar over the top Bring the 3.5L of water to the boil, and pour over the rhubarb and sugar Once the water has cooled to 70o F, mash the rhubarb with a potato masher, until it breaks apart Take a cupful of the now warm solution to dissolve the yeast Pitch the yeast into the cup, and stir until it has completely dissolved Mix the yeast solution with the rest of the liquid, and stir gently Cover the bucket with a lid and leave to ferment for a day, and leave in a warm, but dry, place Strain the liquid into a large pan, making sure to collect any debris and , and then pour into bottles Place a few raisins into the bottles, put on the caps, and leave in a cupboard The drink is ready when the raisins have risen to the top of the liquid, which should be three or four days Be aware that it should be drunk fairly quickly, as once the drink becomes fully alcoholic it turns very bitter. Onebatch should be drunk within a monthLAB SAFETY: If too much yeast is added to the solution, excess carbon dioxide can form during bottling. If very large amounts ofcarbon dioxide are formed, then bottles may break or even explode from the internal pressure. Take careful measurementsduring the whole experiment.DISPOSAL: The completed product is safe to consume, however there will be some yeast sediment at the bottom of each bottlethat should be left, and not consumed. All waste products of the experiment decompose naturally and can be poured away.

DISCUSSION: An alcohol is any organic compound in which the hydroxyl functional group is attached to a saturated carbon atom.Many alcohols in the world are used as antiseptic solutions, though other uses include perfume base, paint thinners andanesthetic. Ethanol, or ethyl alcohol, has a structural formula of CH3-CH2-OH, and is a flammable, colourless liquid atstandard temperature and pressure. Ethanol is a widely used chemical, ranging from alcoholic beverages, to a methanolpoisoning antidote, to rocket fuel additives. Ethanol has a relatively high toxicity, though other alcohols such as methanoland isopropyl alcohol are much more toxic and potentially fatal in small doses (10 mL of methanol causes blindness; morethan 30 mL is considered a fatal dose). The largest use for ethanol is in fuel; ethanol has a flashpoint, meaning the tempera-ture at which it gives off enough vapour to ignite in the air, of 14°C, making it a very volatile substance. The autoignitiontemperature of ethanol is 365°C, although this temperature will decrease as concentration of oxygen and/or pressure in-creases. As a result of these properties, ethanol is a useful addition to gasoline fuel, not only as an antiknocking agent, butalso to aid in the combustion of gasoline. Brazil, which is the world’s largest producer of ethanol, includes at least 25%anhydrous ethanol to its fuel, made from sugarcane. The United States includes maize based ethanol up to 10% to its fuel.While not the most common use, alcoholic beverages are certainly the most recognized use for ethanol. Sugars such as glu-cose and sucrose are converted into ethanol and carbon dioxide through the process of fermentation. Fermentation does notrequire oxygen to proceed, and so the yeast which initiates the reaction will thrive in an anaerobic environment. The over-all reaction for ethanol fermentation is C H O6 12 6 → 2 C2H5OH + 2 CO2. One glucose molecule is fermented into two ethanolmolecules, and two carbon dioxide molecules are a byproduct of the reaction. Often, additional sugars will be added duringbottling in order to produce more carbon dioxide and carbonate the beverage. The longer formula for fermentation involvesthe energy released from the breakdown of glucose, which binds phosphates to ATP, forming ADP. Both ATP and ADPassist with moving energy in cells for metabolization. The energy from glucose also converts NAD+ (Nicotinamide adeninedinucleotide) to NADH, which is NAD+ with a Hydrogen atom attached. One glucose molecule produces two pyruvatemolecules through the process glycolysis. Pyruvate (formula CH₃COCOO−) is an essential intermediate in many metabolicpathways, which allows energy release from glucose and the transition of glucose to other molecules, such as ethanol. Oneglucose molecule is transformed into two pyruvate molecules, which in turn become two acetaldehyde (CH₃CHO) and twocarbon dioxide molecules as waste. The energy released from the conversion of NAD+ to NADH, as well as the Hydrogenatom, reduce acetaldehyde into ethanol. The NAD+, without its Hydrogen atom, can now repeat the process.REFERENCES: 1. Wikipedia, Ethanol Fermentation, (2016) 2. Wikipedia, Alcohol, (2016) 3. National Center for Biotechnology Information. PubChem Compound Database; CID=702, (n.d) 4. Classroom Synonym, Which Burns Hotter: Ethanol or Methanol? (n.d) 5. EngineeringToolbox, Fuels and Chemicals- Autoignition Temperatures (n.d)

Synthesis of Chemistry Poems Caroline Riffle 7 free-form chemistry poems of varying lengths are composed, printed, and decorated for display. Two additionalpoems about chemistry from other authors are copied and decorated for display.MATERIALS other peoples’ already-written poetry about chemistry, online or in print or song 10+ pages of college-ruled lined paper, loose leaf or in a notebook 1 pen caffeinated tea, as needed appreciation for perceivable aesthetic value in physical things appreciation for contemplatable aesthetic value in concepts 1 Google Drive folder 3.5+ hours computer/internet access 1 printer 1 pair of scissors various colored writing utensils patience and persistence enough pretentiousness to choose poetry as a chemistry art project 1 strip of that tacky blue adhesive that people use instead of tape 1 fine-point Sharpie markerPROCEDURE PREPARATION In a comfortable seat, hold the pen in the dominant hand and stare blankly at the empty paper for 5-10 minutes.Take a drink of tea. Listen to other groups bicker about which beaker has the more concentrated stuff and hand me thatpipette please and no, don’t worry I already turned on the fume hood. Write what is audible in the room- glassware rustling,feet tapping, steady focus as solutions are transferred from beaker to beaker. Use metaphors to induce pseudo-synesthesia. Read some poetry. Read a book. Listen to a song. Decide which bits of which are best for this project, and copythem onto paper decorated with the colored writing utensils. Recall that there was a required history component to this project. Take a drink of tea. Think about how, in science,Truth is dependent on the times. Write a 2.5 page prose poem, and use Google to double-check the spelling of ‘Schröding-er’. Scribble down a list of things that could potentially become poems. Recall memorable happenings in class; recountthem. Try to personify elements; give up when the poem refuses to move. Consider coming back to that idea later. Take adrink of tea.

Make a lame joke into a short poem. Write about entropy, feeding off the fascinating mini-revelation that disorderpowers the universe. This is captivating on two levels: the groovy romantic one where life is chaos and people all have togo with the flow, and the concrete classical one where every life-sustaining spontaneous reaction is dependent on this mys-terious universal Second Law of Thermodynamics: the natural state of things is Messy. Get distracted by the way the colors sit on top of the little fragments of bismuth that someone else made. Write apoem about them to justify having been distracted. Take a drink of tea. Type up all that was written. With patience and persistence, edit and format and re-edit andreformat. Save the poems in the Google Drive folder. Print them, in size-14 sans-serif font for easy reading. Use the scis-sors to cut out each poem, and decorate the paper with the colored writing utensils. Realize there is no tea left in the mug;go make more. PRESENTATION Arrive half an hour early. Find the tacky blue adhesive and ask someone to run and grab a pen and accept the fine-point sharpie they bring back. Initial the foot of each original poem, so it is clear who the author is. Hang each poem, on afragment of a page or three, with the blue adhesive, on the sides of each of the library bookshelves. Awkwardly stand around, unsure of what to do, as there is no central focal point of the project to stand next to,fielding any questions passersby may have, like everyone else is doing. Enjoy the rest of the artwork. Eat some bread. Wishthey were serving tea. Sit down at a computer a day or two later to type up an overview of the project. Realize that the traditional, formalscience writing typically employed in lab reports has no narrator, no point of view and, does not include the person carry-ing out the experiment described. Frown because that makes it difficult to write about writing poetry, which is a process inwhich the writer is as wholly embedded as the pen and paper. Decide to end this procedural overview with a reminder that if someone else were to write chemistry poetry, theyprobably would not follow this procedure exactly - creative processes tend to be very individual. However, it is certainlystill valuable to describe the work that went into creating the poems displayed in this book, if only because it (hopefully)gives more depth and background to what was written.HAZARDS Paper cuts are always more painful than they look, and are a very real danger for anyone handling paper.Using writing materials with care should be enough to prevent paper cuts, but gloves can be worn by any writers looking toexercise extra caution.DISPOSAL Printed poems can be left on display in the library until it seems like everyone has sort of decided that they’re oldnews. When eventually it comes time for the poems to be discarded, they should be disposed of in a recycling bin. The copies of the poems saved online, however, will last forever, until they are forgotten, collecting dust in the cor-ners of an abandoned Google Drive folder.DISCUSSION As non-intuitive as it might seem, science and art are not nearly so separate and distinct as one might assume in to-day’s STEM-centered America. Floating in the wake of the Space-Race-emphasis on math and science fields at the expense

of the humanities, it may even seem as if chemistry and poetry are entirely irreconcilable disciplines. However, at the endof the day, chemists (and other scientists) have to communicate the concepts they study to the larger world. When thoseconcepts are intricate and intangible, like entropy, equilibrium, or atomic structure, they cannot be communicated with pho-tographs or physical examples. Instead, people use diagrams, models, and metaphors to explain them. We rely on figurativelanguage, imagery, analogy - poetry, really - to explain concrete scientific truth. Aside from poetry’s practical use in science, the two subjects are similar in purpose: both seek to express truth.Good science uses logic and careful reason to back up theories to explain the world; good poetry uses intuition, language,and artistic expression to voice sentiments that feel true. The poetry written for this project - especially the prose poem about the history of atomic structure - was intended,in part, to show that science is not as concrete as it is often assumed to be. In much the same way, poetry is not nearly astouchy-feely and abstract as it is often assumed to be; one needs only to take an AP Language and Composition class tounderstand that. Poetry and chemistry require logic and instinct. It is essential that students of chemistry and poetry, science and art, develop an understanding of the interdisciplin-ary nature of the world outside of school. Though their days are blocked into subject areas now, when they leave school,they will need success in more than one subject area to succeed. Scientists need to know how to write; poets need to knowhow to reason through problems. Bridging the gap between art and science in ARC projects was an incredibly valuable(and fun) experience, for which the author would like to thank her teacher, Mrs. Milne.REFERENCES Firth, N. (2016, January 20). Verse in the universe: the scientific power of poetry. New Scientist (3057). Retrievedfrom https://www.newscientist.com/article/2073697-verse-in-the-universe-the-scientific-power-of-poetry/ Hans, M. (n.d.). Fueled Pirsig, R. (1974). Zen and the Art of Motorcycle Maintenance. New York, NY: Bantam Books. Soundgarden. (1994). Black Hole Sun. Wheelock, J. H. (n.d.). Earth

Bismuth Levitation and Bi Crystals (Nick Graves/Dante Vaidya)Materials ● 5lbs of bismuth (52.63 moles) ● A stainless steel pan ● Two hot-plates ● Two ceramic dishes ● 1, 1cm x 1cm neodymium magnet (however having a few spares is optimal) ● 1, strong 1 inch x 1 inch neodymium magnet ○ (KEEP YOUR ELECTRONICS AWAY FROM IT) ● Three or more blocks of wood ● Metal ring stand, or wooden dowel ● Hot mitts ● Cooling plates ● GogglesProcedure, geodes 1. Heat the hotplate 2. Use a metal pan to melt down the ingots 1.5lbs per geode a. Heat to approximately 300 °C 3. Prepare the ceramic dishes, by preheating them so they don’t explode when you pour the bismuth into it. 4. Once the bismuth is fully melted, use a fork to scrape off the slag off the top of the fluid.

5. Pour the bismuth into the ceramic bowl 6. Turn the heat down to low, and let the bismuth cool slowly, once a hard plate forms over the top, crack it off and pour the excess liquid out, and let it finish cooling. 7. Once the geodes have finished cooling examine them a. If the geode is solid, you left it too long and may wish to melt them down and retry the process. b. If the center is hollow with many distinct crystals, then the geode is perfectly done. c. If the Geode is hollow without any defined crystals or is just not satisfactory, melt them down again and retry the process.Procedure, ingots 1. Prepare 3lbs of bismuth in a pan, 2. Melt down the ingots 3. Pour the metal into two preheated ceramic dishes, let these cool very quickly, and take them off the heat. 4. Let them cool without disturbance, if you notice a bubble or rupture on the surface let it be, but you will need to file that down later if you want a smooth surface. 5. Once the ingots are fully cool pop them out of the dishes 6. Prepare 3lbs of bismuth in a pan, 7. Melt down the ingots 8. Pour the metal into two preheated ceramic dishes, let these cool very quickly, and take them off the heat. 9. Let them cool without disturbance, if you notice a bubble or rupture on the surface let it be, but you will need to file that down later if you want a smooth surface. 10. Once the ingots are fully cool pop them out of the dishesPresentation ● Bismuth is strongly diamagnetic ○ Resists magnetic fields put upon it ● The force of gravity pulling the magnet down is reflected by the magnetic force pushing up on the magnet ● The magnet levitates equidistance from both bismuth ingots. ● The strong magnet above exerts a magnetic force on the bismuth, which repels the magnet, keeping it in the air

HazardsBismuth is radioactive with extremely small amounts of gamma radiation, roughly no more than you wouldreceive if you were standing outside. Most of the radiation is harmless alpha and beta radiation but it is advis-able to wear a mask while melting down the bismuth, alongside using a fume hood. Another key provision isbeing aware that hot liquid bismuth that melts at 600*F will burn you very badly and in fact set you on fire uponcontact instantly igniting your skin. You must be very careful when melting down metals of any kind. Lastly thebismuth crystals that form can be sharp so don’t rub your fingers along the crystal edges, treat them like littlerazor blades.DisposalThe bismuth can be melted down an infinite number of times and retain its properties, however the pan and ce-ramic dishes you use in the experiment are contaminated and radioactive now, and must be disposed of. Do notcook with the pan you use, do not use the dishes for anything else, throw them away immediately afterwards.Other than that all other items are safe as long as they don’t have bismuth on them. The bismuth itself can besimply thrown away in the trash alongside any other items, however due to the cost of bismuth it is advisablenot to simply throw it away.Discussion ● Bismuth is element 83 ● Symbol Bi ● Average atomic mass 208.98 ● Bismuth has a melting point of 271.5 °C (544.7 K), with a boiling point of 1564°C (1837 K) ● Bismuth’s only primordial isotope, bismuth-209, and decays via alpha decay with a half-life more than a billion times the estimated age of the universe. ● Non-mutagenic (mutation causing) ● Non-carcinogenic (cancer causing) ● Non-teratogenic (fetus killing) ● Average density 9.78 g/cm^3, 86% that of lead ○ Often used as a non-toxic lead replacement ● Magnetic ○ Objects that can project magnetic fields due to the alignment of the poles in their atomic structure. These can be created through electricity or via permanent magnetism. Magnetic materials have a north and south pole that attracts the opposite pole of other magnetic materials.

● Diamagnetic ○ Objects that can create an induced magnetic field based upon a magnetic force already acting upon them, these induced fields are always in the opposite direction as the magnetic field put upon them. ● Bismuth is Radioactive ○ This table shows all 304 isotopes of bismuth ○ 99% of bismuth isotopes emit harmless alpha and beta radiation, of which the frequency is too low to cause any DNA changes. ○ Almost all of them are harmless and emit beta and alpha radiation ■ Alpha radiation is 2 protons and 2 neutrons (stopped by ordinary clothing) ■ Beta radiation is a high energy electron (stopped by dense material, for example your skin.) ■ Gamma radiation the harmful kind, however the isotopes of bismuth that emit this radiation have a half-life of less than a minute and would have entirely decayed very quickly after the ingots were set in the factory. (stopped only by lead, bismuth and other very dense materi- als)Resources Bismuth levitation demo. (n.d.). Retrieved from https://https://www.youtube.com/ watch?v=A5pZZJ23rDM Isotopes of bismuth. (n.d.). Retrieved May 31, 2016, from https://en.wikipedia.org/wiki/Isotopes_ of_bismuth

Art With Paper Chromatography Gracyn Mose and Sarah JohnsonMaterials ● Chromatography paper or filter paper ● Markers (or any water-soluble ink) ● Water ● Chromatography tank (or beaker) ● Oil and Q-tips are optional for experimentationProcedure Creating art with chromatography is rather easy. Take your chromatography paper and create the desired design andcolor scheme with marker or other water-soluble ink. Then, fill a chromatography tank (or beaker) with about a half inch toan inch of water, and dip the bottom of the chromatography paper in the water without the ink touching. If using a chroma-tography tank, the paper can be taped to the glass; if using a beaker, the paper can be taped to a pencil on top of the beakerto hold it in place. The process is more effective when sealed because it prevents the solvent from evaporating, so use aglass cover for the chromatography tank if available. Wait as the water travels up the paper and then take out to dry. Designs can also be created by dropping water onto the ink using a Q-tip to create a radial design instead of dippingthe bottom. Using a nonpolar substance like oil can help shape how the ink spreads over the paper because it repels water.To experiment with this method, dab the oil on the paper after coloring it in areas where you want to leave blank. After the paper has dried, it can be drawn on with marker or pencil to accentuate or add to the art piece. You canalso apply more ink and use a Q-tip to create more specific and controlled designs. Additionally, it should be noted thatcolors like black and brown will separate into multiple colors because they contain several different pigments.HazardsNo safety precautionsDisposalThe leftover water from the tank can be washed down the drain. The tank should be rinsed out and dried before beingstored again.

Discussion Chromatography works due to the intermolecular forces between the sample and the solvent. Nonpolar substancesdissolve in nonpolar solvents, and polar substances dissolve in polar solvents (like dissolves like). When using water asthe solvent, then the more polar a component of a substance is, the more attraction it has to the water, and the farther it willtravel up the paper. The distance a component travels is determined by the strength of its attractions to the paper and to thesolvent. This is measured by the Rf value. Chromatography typically starts at the stationary phase where a liquid is supported by a solid. In this case the inkwas supported by the filter or chromatography paper. Once the solvent, the water, reaches the ink through capillary action itflows through the stationary phase into the mobile phase, carrying the ink up the paper at different rates and lengths basedon its polarity. When using the oil, there were trials that were more effective than others. In some trials the water carried the inkthrough the oil samples while in others it drastically avoided it. The range in results could have varied based on the amountof oil used on the filter paper. The non polarity of the oil may not have been enough to repel the water molecules if theirweren’t enough oil molecules compared to the water.References“History of Chromatography.” History of Chromatography. N.p., n.d. Web. 23 May 2016.“History of Chromatography.” Wikipedia. Wikimedia Foundation, n.d. Web. 23 May 2016“Paper Chromatography.” ChemGuide. N.p., n.d. Web. 23 May 2016.

Copper Electroplating Silverware Noah Bell and Beecher Clifton-WaiteElectrolysis relies upon an external source of current to bring about a chemical reaction.  Electroplating precious metals,such as gold, silver, or platinum, onto base metals is an example of this type of process. In this experiment copper will beplated onto an electrode using a battery as the external source of energy.MaterialsAlligator Clips Leads (2)Dilute Isopropyl Alcohol solutionGraphite RodMasking TapePaper TowelsSilverwareSteel Wool0.5M Copper(II) Sulfate (Cu2SO4) solution500mL Beaker6V Battery

Procedure Preparation Collect a clean 500mL beaker and fill it with 0.5M Cu2SO4 solution so that the beaker is nearly full. Place a 6V bat-tery nearby and attach alligator clips to each end of the battery. In order to electroplate metal, it must be thoroughly clean.Thoroughly scrub the silverware with steel wool. Afterwards, rinse the silverware with isopropyl alcohol solution to com-plete the cleaning process. For best results, do not touch the silverware with bare hands after cleaned. Fingerprints will beevident otherwise. If specific designs are desired on the silverware, tape off any sections of the silverware that do not need to be plated.The copper ions will not attach to the silverware where it is tapped, thus those parts will not turn a brownish color. Makesure the tape is securely attached to the tape for best results. Only electroplate one silverware utensil at a time. Taking onepiece of clean silverware, attach the negative clip to it. Do not clip it on a part where there is masking tape. Attach the posi-tive clip to the graphite rod. Presentation To begin electroplating, submerge the graphite rod into the Cu2SO4 solution without the clip touching the liquid.Next, submerge the silverware piece into the solution without the clip touching the liquid. Make sure the alligator clips arestill attached to the battery to make a complete circuit, otherwise no electrolysis will occur. Let the process occur for sev-eral minutes, checking periodically for personal preference. Once the silverware is sufficiently coated with copper, removethe item from the solution. Remove the alligator clip and gently dry the piece with a paper towel. Repeat process with othersilverware utensils as desired.Hazards Copper (II) Sulfate is a mild eye and skin irritant. Be sure to wear eye protection and protective gloves when in use.Copper(II) Sulfate can be harmful if swallowed. Do not ingest.Disposal Copper II Sulfate needs to be disposed of considerably. Flush small quantities of the liquid down the drain usingplenty of water to wash it down. Since almost 500 mL of Copper II Sulfate is used in this experiment, disposal will take alittle bit of time. Consult your county environmental department for guidelines on how to dispose of this substance if verylarge amounts are used.

Discussion Electroplating was discovered by Luigi Brugnatelli in 1805 through using the electrodeposition process for electro-plating gold. Decades later, John Wright progressed the process discovering that potassium cyanide was an efficient elec-trolyte. Potassium cyanide was used as an electrolyte in 1840 by the Elkington cousins, which led to this process becominga patent for electroplating and popular throughout England. Since, electroplating has become more eco-friendly by ad-vancements in chemistry and power supplies. In electrolysis, the two electrodes (the graphite rod and silverware in this circumstance) experience movementof electrons. Thus, reduction and oxidation (redox) reactions occur. The negative charge on the cathode (the silverware)attracts the positive copper ions and becomes copper solid with the excess electrons mixing with the cations. Furthermore,the electrons from the anode travel to the cathode, making the cathode metal become plated. The following equation showsthe reduction at the cathode. Cu2+ (aq) + 2e- → Cu (s) On the anode (graphite rod), the negatively charged sulfate ions are attracted to the positive charge of the rod. Therod loses electrons, hence why the cathode gains electrons. The following equation shows the oxidation at the anode. 2H2O (l) → 4H+ (aq) + O2 (g) + 4e- **The sulfate ions from the solution are too stable, so they play no role in the reaction.ReferencesElectrolysis copper sulfate solution with copper carbon graphite electrodes electroplating half-equations products anode cathode apparatus electrolyte cell gcse chemistry KS4 science igcse O level revision notes. (n.d.). Retrieved from http://www.docbrown.info/page01/ExIndChem/electrochemistry04.htmElectroplating. (2013, October 01). Retrieved May 24, 2016, from http://chemwiki.ucdavis.edu/Core/Analytical_Chemis- try/Electrochemistry/Electrolytic_Cells/ElectroplatingPrinciple of Electrolysis of Copper Sulfate Electrolyte. (n.d.). Retrieved May 24, 2016, from http://www.electrical4u.com/ principle-of-electrolysis-of-copper-sulfate-electrolyte/Safety Data Sheet, Copper(II) Sulfate. (May 20, 2014). Retrieved June 5, 2016 from    http://www.fishersci.com/msds?productName=AC422870050

Copper Electroplating of Organics Ben Graves and Elijah Gard An organic material is electroplated in copper. This is difficult because the surface of an organic isn’t con-ductive enough to plate, so the organic must be plated in something conductive before electroplating can occur.Materials100mL Beaker250mL Beaker1000mL Beaker2x 20mL bottles of PELCO© Colloidal Graphite (Isopropanol Base)2L 250g CuSO4 x 5H2O in 500mL H2O + 50mL 3M H2SO4 solutionRing stand with ring6V BatteryTwo sets of leads10x Copper strips (4g each)Organic Materials (red oak leaf, leather, coastal redwood pine cone (2x), hemlock pine cone)Procedure Obtain organic objects to be plated. Coat the objects in PELCO© Colloidal Graphite (Isopropanol Base).Wait for the graphite paint to dry on the object. Mass the objects and record as initial mass. Obtain a beakerlarge enough to hold the object. Fill beaker up enough to completely submerge object with 250g CuSO4 x 5H2Oin 500mL H2O + 50mL 3M H2SO4 solution. Obtain a 6.0V battery with two leads. Attach the positive lead to a4g copper strip, and attach the negative lead to the object. Add the negative lead and the object to the beaker,making sure they do not touch. Start timer when the second electrode is added to the beaker. Wait until coppercoats the object, slight bubbles of O2 should be observed. When completely coated, take the object out of thesolution. Stop the timer and record the reading in seconds. Place object on tissue paper and wash with distilledH2O. Mass object and record this as final mass. Repeat the procedure for each other object.

Hazards PELCO© Colloidal Graphite (Isopropanol Base) is extremely flammable liquid and vapor due to theisopropanol, and is a skin and respiratory irritant. Causes serious eye damage, and may cause drowsiness ordizziness. Causes severe damage to organs with prolonged or repeated exposure. May be fatal if swallowedand enters airways.Disposal The plating solutions can be reused if filtered. After each plating, use a double coffee filter and funnel tofilter the solution back into the storage container. Wash any leftover copper out of the beaker and into the trash.Discussion To calculate the amount of energy required to drive this reaction (the non-spontaneous plating of copper),we take the oxidation/reduction half reactions. These are as follows for this reaction: 2H2O(l) → O (g) + 4H+(aq) + 24e-, which has value of +1.23V; and Cu2+(aq) + 2e- → Cu(s), which has a value of +0.34V. We can combine themby balancing charge, elements, and electrons. To do this we must double the Cu2+(aq) + 2e- →Cu(s) reaction, so 2Cuthe value becomes +0.64V. Then the equations combine as follows: Cu2+(aq) + 2H2O(l) → (s) + O2 (g) + H+(aq),which has an ending value of 1.90V. This shows that to drive this reaction, we must add at least 1.90V to thesystem for it to reach equilibrium, to plate something more, we need to add more volts. The battery that wasused in this experiment was 6.0V, and plating still took multiple hours.ReferencesStavish, Kyle & Barteaux, Craig. Electroplating Organic Materials, (2016)

Properties and Synthesis of Aluminum Potassium Sulfate Crystals Ashley Cheviot and Veronika RaczekA crystal is a solid material whose components (atoms, molecules, or ions) are arranged in a highly ordered mi-croscopic structure, forming a crystal lattice that extends in all directions. Crystallization is the process of form-ing a crystalline structure from a fluid or from dissolved materials in a fluid.Materials6 Beakers20g Alum powder (Aluminum Potassium Sulfate KAl(SO4)2)Weigh boatsScaleThermometerHot plateStir barsSpoons140 mL Distilled waterTub of cold water

Thread or fishing wireGlass stir rodTapeFood coloring (optional)ProcedurePreparation for seed crystal (part 1)First begin by weighing out 10 g of the Aluminum Potassium Sulfate and then place the alum in a clean 250 mlbeaker and pour in 70 ml of distilled water. Then, place beaker, with solution, onto stir plate and heat to approx-imately 60 C. Constantly stir solution until all of the alum has dissolved. Once all the alum has dissolved, placebeaker into cool, dark place and place filter paper over the top in order to keep the beaker covered and leave incabinet, or wherever is preferred, for a week. After the week, there should be small ‘seed’ crystals at the bot-tom of the beaker. Filter these out by placing filter paper into funnel and drain the solution. Take filter paper outand dry for about a day. Once dried, take a small seed crystal and tie a loop around it with either fishing wire orthread. Continue crystal synthesis with general procedure part two.Preparation of alum crystal (part 2)Begin by weighing out 10 g of the Aluminum Potassium Sulfate and place the alum in a clean 250 ml beakerand pour in 70 ml of distilled water. Then place beaker, with solution, onto stir plate and heat to approximately60 C. Make sure to constantly stir solution until all of the alum has dissolved. Once all of the alum has dis-solved, add about five to seven drops of food coloring to the beaker, mix in completely. Take beaker off of hotplate and place into tub with a layer of cold water in order to cool the solution. Make sure the temperature of thesolution in the beaker is below 40 C! Once the solution does reach a temperature below 40 C, place the seedcrystal made in part one into the solution. The crystal should be suspended on the thread which is attached to aglass rod and placed horizontally across the top of the beaker. Cover the beaker with filter paper and place backinto cool, dark place. Change solution of the crystal by repeating the procedure above. Always make sure thecrystal does not touch the side or bottom of the beaker so if need be, change the beaker size.Safety PrecautionsIrritating to body tissues. Avoid all body tissue contact.Nonflammable, noncombustible solid. When heated to decomposition, emits toxic sulfur trioxide fumes.Avoid contact with eyes, skin, and clothing. Wear chemical splash goggles, chemical-resistant gloves, andchemical-resistant apron. Use exhaust ventilation to keep airborne concentrations low.

DisposalSee teacher about proper disposal methods.DiscussionCharacterized as an imaginary box of one or more symmetric unit cells containing stacked atoms, in a 3-dimen-sional form and are often recognized for their shape, consisting of flat faces and sharp edges. Alum crystals arecreated by dissolving potassium aluminum sulfate (KAl(SO4)2) in distilled water. As an aqueous solution, the K+,Al3+, and SO2 2- are not in any order and each ion is surrounded by molecules of water, however using a nucleior starting point (in these experiments seed crystals) the ions will collide with the faces of the seed crystal andbecome ordered. This, along with evaporating the solvent makes the crystal grow.ReferencesScientific, Inc, F. (2011). Aluminum Potassium Sulfate. Retrieved May 27, 2016, from http://www.flinnsci.com/Documents/MSDS/A/AlumPotassiumSul.pdfCrystal. (2016, April 11). Retrieved May 27, 2016, from https://en.wikipedia.org/wiki/Crystal

Cyanoprinting Ursula KratzenbergPart I: Making the SolutionMaterials 25g ferric ammonium citrate 10g potassium ferricyanide 200mL distilled water 150mL beaker x3 Plastic spoons x3Procedure 1. Add 25g ferric ammonium citrate to 100mL water in a 150mL beaker and stir until dissolved. Add 10g potassium ferricyanide to 100mL water in a 150mL beaker and stir until dissolved.The separate solutions can be stored in brown bottles away from light 2. Mix equal amounts of each solution in the third beakerUse this solution as soon as possible as it will not last very long

Hazards 1. These chemicals will stain skin and clothing 2. If potassium ferricyanide is heated to decomposition or comes into contact with strong acids, toxic hydro- gen cyanide gas may evolve 3. Ferric ammonium citrate may cause skin, eye and respiratory irritation 4. Potassium ferricyanide may cause skin, eye and respiratory irritation. May be harmful if swallowedPart II: Coating the Paper and ExposingMaterials Art paper Cyanotype solution Large paint brushes Materials for printing (ex. Leaves, flowers, cutouts) Glass (same size as paper) Source of UV light (sunlight preferable) Hydrogen peroxideProcedureThis procedure should be performed in a dim workspace as UV light causes the reduction of ferric ammoniumcitrate and then the reaction with the ferricyanide salt 1. Coat paper with cyanotype solution using a paint brush 2. Allow paper to dry 3. Arrange desired design on paper, place glass over paper and expose to UV light (time depends on the strength of the light, strong sunlight may need only 3 minutes, a UV lamp may need 20 minutes) 4. Rinse paper under cold running water for at least 5 minutes or until the water runs clear 5. The print may now be hung to dry or can be treated with a hydrogen peroxide solution 6. Add a capful of hydrogen peroxide to a nine inch baking pan full of water and submerge print for no lon- ger than 1 minute 7. Rinse print under cold running water for 5 minutes 8. Hang to dry

DiscussionThe cyanotype solution or sensitizer consists of a soluble Fe(III) salt, in this case ferric ammonium citrate.When the sensitizer is exposed to light of suitable energy, the Fe(III) ions are reduced to Fe(II) ions:Fe3+(aq)+ e-+ light ----> Fe2+(aq)Any photochemically produced Fe2+ reacts with a ferricyanide salt, which is also present on the paper.This reaction:3 Fe2+(aq)+ 2 Fe(CN)63-(aq)-----> Fe3(Fe(CN)6)2(s)produces an insoluble, dark blue compound, ferric ferricyanide which is also known as Prussian blueSourcesFabbri, M., & Fabbri, G. (n.d.). Cyanotype- the classic process. In Alternative Photography. Retrieved June 7, 2016, from http://www.alternativephotography.com/wp/processes/cyanotype/cyanotype-classic-processWare, M. J. (n.d.). The new cyanotype – cyanotype II process. In Alternative Photography. Retrieved June 7, 2016, from http://www.alternativephotography.com/wp/processes/cyanotype/new-cyanotype-process

Preparation and Baking of Artisanal Bread Daniel FrehnerUsing yeast and mixture of protein heavy flours to make a nutty, airy breadMaterials:⅛ teaspoon active dry yeast117 grams (¾ cup plus 2 tablespoons) whole wheat flour75 grams (⅔ cup) rye flour42 grams (6 tablespoons) all-purpose flour, preferably high protein (around 11%; such as King Arthur)103 grams (¾ cup) whole wheat flour412 grams (3 cups plus 1 tablespoon) all-purpose flour, preferably high protein (around 11%; such as King Arthur), plusmore for dusting17 grams (2 tablespoons Diamond Crystal) kosher saltRice flour or a 50/50 mix of all-purpose flour and cornstarch (for dusting)ProcedurePoolishCombine yeast and 300 g (1¼ cups) room-temperature water in the bowl of a stand mixer. Take the temperature of yourkitchen—between 72° and 74° is ideal for fermentation. If your kitchen is running hot, use cool water. If it’s a bit colder,use warm water. Add all the flours and mix with a wooden spoon until no dry spots remain. Cover with plastic wrap and letsit at room temperature until poolish is mature (surface will be very bubbly), 14–18 hours.Drop a pinch of poolish into a small bowl of room-temperature water. If it floats, it’s mature, and you’re good to go. If itsinks, wait 30 minutes and test again.DoughCombine 300 g (1¼ cups) room-temperature water into poolish with a sturdy wooden spoon. Add whole wheat flour and412 g (3 cups plus 1 Tbsp.) all-purpose flour and mix until no dry spots remain. Cover dough with plastic wrap and let sit 2hours. (This p­ rocess, called autolysis, starts to develop the all-important gluten, giving the dough structure and chew.)Evenly sprinkle salt over dough, then add 65 g (¼ cup plus 1 tsp.) room-temperature water and mix with dough hook onmedium-low speed. The dough should start to develop a shape and cling to hook after a minute or two. Increase speed to

medium-high and mix until almost all the dough clings to hook and clears the sides of the bowl, 8–12 minutes. Cover withplastic wrap and let sit 15 minutes to let dough relax. 
Turn out dough on a clean surface. Holding a flexible bench scraper in one hand, quickly lift dough eye-level then slap itdown on surface in one swift, deliberate motion. As you propel dough downward, let it fall off the ends of your hands andfold over onto itself; the dough will be sticky, but it will want to stick to itself more than your hands. Start slowly to avoidflying dough bits, then increase the intensity of your motion as the dough starts to firm up. Slap and fold 10–12 m­ inutes,occasionally scraping bits of dough from surface with bench scraper. (If you’re not slightly winded by the time the doughis ready, you’re doing it wrong.) This important step builds gluten and strengthens the dough, which helps give the f­inishedloaf a nice open crumb.
Pinch off a small piece of dough and stretch it between your thumbs and index fingers on both hands. The dough should beable to stretch thin enough to let light through without breaking. If it splits or tears, the gluten is not yet developed enough.Continue slapping and folding another 2 minutes and test again. 
Place dough in a large clean bowl and cover with plastic wrap; let sit 30 minutes. Starting from one side, use a bench scrap-er to lift edge of dough, stretching it up and out of the bowl at least 12” and shaking back and forth to encourage length-ening, then fold back onto itself. Rotate the bowl 90°. Repeat stretching process 3 more times, rotating the bowl after eachturn. Cover and rest another 30 minutes. Repeat process 2 more times, resting dough 30 minutes in between each full turn.(This rebuilds gluten and feeds the yeast during fermentation.) Cover dough with plastic wrap and let sit in a warm spotuntil nearly doubled in size, 30–60 minutes. Dough should look puffed and bubbly on the surface. 
To test if your dough is fermented, poke it with an oiled finger. The dough should spring back slowly but still hold a slightindentation. 
Turn out dough onto a lightly floured (use all-purpose) surface and do a final series of 4 folds, bringing edges into the cen-ter. Turn dough over, using bench scraper to help you, so seam side is down. Lightly dust with more flour and cover with akitchen towel. Let rest until dough is puffed and surface is dotted with a few bubbles, 20–50 minutes. 
Line a 9” round colander with a clean kitchen towel and dust towel with an even layer of rice flour.
Uncover dough and dust with a bit more all-purpose flour. Use bench scraper to push edges of dough toward the centerto gather into a ball. Cup scraper and free hand around far side of dough and gently pull ball toward you, dragging doughseveral inches across work s­ urface and rotating slightly. Repeat dragging motion several times, occasionally moving doughback to center of surface. The friction against the surface will help tighten the gluten over the dough, creating a smoothdome. Lightly flour top of dough, turn over with bench scraper, and quickly transfer, seam side up, to prepared colander;cover with ­plastic. Chill 1–2 days. The l­onger the bread sits, the more complex the flavor will be, but don’t chill longer or

the yeast may die.
Place an oven rack in lower third of oven and set a 3½–5½-qt. Dutch oven in center of rack. Set your oven as high as it willgo (you want it between 450° and 500°). Let pot preheat at least 40 minutes. (If the handle on the lid is made of p­ lastic,unscrew, remove, and plug hole with a small piece of foil.)
Uncover dough and dust surface with rice flour. Cut a round of parchment paper so it’s slightly larger than dough; placeover top. Remove pot from oven and set on stovetop. 
Working on stove next to Dutch oven, invert dough onto a plate (parchment side will be down). Use a lame or a razor bladetaped to an ice-pop stick to slash dough in desired pattern, using swift and deliberate strokes to cut at least ½” deep intodough. Working quickly and wearing mitts on both hands, slide dough and parchment into center of pot. Cover pot andbake bread 15 minutes. Remove lid and c­ ontinue to bake, rotating pot halfway through, until crust is very well done—ap-proaching the edge of burnt—30–40 minutes. Carefully t­ransfer bread to a wire rack. When it’s cool enough to handle,remove parchment. 
Resist the temptation to cut into that just-out-of-the-oven loaf. Trust us. You want to wait at least a couple of hours so thestarches in the bread have time to set. This gives the bread a better texture. If you’re dead set on eating it warm, reheat partof the loaf in a 300° oven (which will also revive the crust), then slice.Hazards:Don’t burn yourself!Disposal:None?Discussion ● First emerged about 30,000 years ago ● Was originally likely a simple gruel-like cereal grain based porridge ● Over time baking and the use of yeast allowed major improvements ● Eventually became the staple food of most Afro-eurasian nations excluding East Asia ● Yeast is a simple, single celled organism that was first used in Ancient Egypt around 5,000 years ago ● Originally it was used not just for leavened bread, but also for fermentation

● There are about 15,000 species of yeast ● Essentially, yeast transforms sugars into CO2 and alcohol, allowing light airy bread and beer to be madeReferences:http://www.bonappetit.com/recipe/bas-best-breadhttp://www.compoundchem.com/2016/01/13/bread/http://science.howstuffworks.com/innovation/edible-innovations/sourdough.htmhttp://img.sndimg.com/food/image/upload/w_555,h_416,c_fit,fl_progressive,q_95/v1/img/recipes/30/60/2/pic4FMh9B.jpg

Electrical Treeing Emma Canty-Carrel & Maclane StevensFractals are burnt into wood by reaction of NaCl and NaHCO₃ with electricity.MATERIALS 11g NaCl 11g NaHCO₃ 20mL Distilled water Particle board Pine wood 15,000V, 30mA neon generator Hot plate Stir bar Water spritzer Wire conduit PROCEDURE PREPARATION Mix solution of 11 grams NaCl, 11 agrbarmusshN. LaHetCsOit₃f,oarnadf2ew0 mL distilled water on a hot plate on low heat. Coat particle board wooden board evenly with solution with hours or overnight to let the solution absorb.or PRESENTATION

Place board and generator (not plugged in) in fume hood. Attach or rest the electrodes of the generator on opposite ends of thenow dry board. Plug in the generator. Evenly spritz board with water or salt solution. Guide current using spray bottle until it spreadsand connects. Allow the current to continue branching out until the desired effect is reached. Unplug generator and remove electrodesfrom board. To remove the leftover salt solution, submerge the board in warm water for twenty minutes. Remove board from waterand pat dry; do not rub.HAZARDS Exercise caution when handling neon generator. 30mA when exposed to the skin will cause minor internal damage. Hold-ing an electrode in each hand will cause the current to travel through the heart and result in severe or fatal injury. Unplug generatorprior to handling. Sodium chloride (NaCl) is slightly hazardous in case of skin contact as an irritant, of eye contact as an irritant, and of inges-tion and inhalation Sodium bicarbonate (NaHCO₃) is slightly hazardous in case of skin contact as an irritant, of eye contact as an irritant, and ofingestion and inhalationDISPOSAL The beakers should be filled with water and rinsed. The resulting solution can be flushed down the drain.DISCUSSION When dissolved in water, NaCl, as an electrolyte, becomes Na+ ions and Cl- ions, which are conducive to electricity. The Na++ Cl- + H20 solution provides a medium for the current of electricity to travel. NaHCO3 provides fuel for flame in the form of carbon,allowing the wood to burn. The electrical current exits the electrode, travels through the medium, and reacts with the carbon to createelectrical trees on the surface of the wood. Lichtenberg figures are a form of electrical treeing and are created by the passage of high voltage electrical discharges alongthe surface, or through, electrically insulating materials (dielectrics). The first Lichtenberg figures were “dust figures” discovered bya German physicist, Georg Christoph Lichtenberg in the late 1700s whose papers were later translated at McGill University by Dr. J.Blain.Lichtenberg’s discovery was the forerunner of the modern day science of plasma physics and his discovery entailed the discovery ofthe basic principle of modern xerography. Electrical treeing is an aspect of electrical engineering which became an occupation in the late 19th century. This is consideredan electrical pre-breakdown phenomenon in solid insulation, and is a common breakdown mechanism and source of faults in under-ground power cablesREFERENCES1. c3r3al. (2015). Wood Lichtenberg Figures. Retrieved from Instructables: http://www.instructables.com/id/Wood-Lichtenberg-Figures/2. Carboni, A. (2014, 02 12). Making Fractal Patterns with Electricity. Retrieved from Seeker: http://www.seeker.com/making-fractal-patterns-with-electricity-1792417703.html3. Schmidt, W. (n.d.). Fractal Lichtenberg Figure Wood Burning With Electricity. Retrieved from Wayne’s This and That: http://waynesthisandthat.com/Fractal%20Lictenberg%20Figure%20Wood%20Burning%20with% 20Electricity.html4. What are Lichtenberg figures, and how do we make them? (n.d.). Retrieved from Captured Lightning: http://www.capturedlightning.com/frames/lichtenbergs.html

Synthesis of Fluorescein Michael PenningtonFluorescein is a fluorescent dye which is dark red when concentrated, but fluoresces bright green under ultraviolet light.Materials 50 mL round bottom flask 250 mL beaker Temperature probe/labquest Hot/stir plate, capable of reaching 200°C Balance, accurate to +-0.01 g Spatula Funnel Ring stand and clamps Pipet Peanut oil 6 drops 6M H2SO4 0.9 g resorcinol 0.6 g phthalic anhydride Blacklight

ProcedureTo a 50 mL round bottom flask, add 0.9 g resorcinol and 0.6 g phthalic anhydride, giving them a quick stir together with aspatula. Now place a 250 mL beaker onto a hot plate, and suspend the round bottom flask within this beaker using a ringstand. Carefully fill the beaker (not the flask) to about halfway up the flask using peanut oil, and affix a temperature probeto a clamp so it is level to the bottom of the flask within the oil. To the flask add a medium-sized stir bar, and the add 6drops of 6M H2SO4. Now heat the oil to within 180 and 200°C. It is extremely important to monitor the temperature andkeep it within this range. Overheating will cause the product to decompose. Allow the reaction to run for 30 minutes, andthen remove heat and allow it to cool. Dissolve the contents in a 1M sodium hydroxide solution, and now your stock (andsomewhat crude) product is finished.PresentationFill a large, clear container with tap water and bring it close to a blacklight. Turn off all the lights in the room and turn onthe blacklight. Now, using a pipet, suck up some of the fluorescein solution and squirt it into the water. Note how the solu-tion looks deep red, but as soon as it is shot into water it glows bright green.Hazards6M Sulfuric acid is extremely toxic and any contact or inhalation of fumes will be extremely harmful. If the acid must bediluted for any reason add the acid to water, not water to acid. Eye protection should be worn at all times. If it comes intocontact with skin, immediately wash away any acid with water.When working with hot oil it is necessary to make sure no spills happen. The oil would be hard to remove from clothing orother items, and would cause severe burns almost instantly.Phthalic anhydride is an irritant and should not make contact with bare skin or eyes. In addition, breathing it in can causesevere inflammation of the lungs.Resorcinol is slightly toxic upon contact. Care should be taken to avoid ingesting or tasting it.NaOH is a strong base, and very harmful to human skin. As with the H2SO4, eye protection should be worn at all times andthe NaOH solution should be washed away immediately if it comes into contact with skin.Disposal

The fluorescein can simply be poured down the drain, and the oil put back into the bottle for reuse.DiscussionFluorescein, due to its strong fluorescence and low toxicity, is used to examine wells, trace stream flow, to label biologicalcompounds, to detect corneal abrasions, and as to dye drugs, cosmetics, and markers. Fluorescein exhibits the phenom-enon known as fluorescence. Fluorescence occurs a molecule re-emits a portion of absorbed energy as light. The emittedlight is always of lower energy than the light that was absorbed. For many fluorescent compounds, the absorbed light isin the ultraviolet region and the emitted light is in the visible region. Since we can only see the emitted light, these com-pounds glow when exposed to a UV light source. If the solution also absorbs light in the visible region of the light spec-trum, then some interesting phenomena can be observed when examining these compounds. Solutions of these com-pounds can look as if part of the solution is one color while the rest of the solution is a different color. This is particularlynoticeable if we examine dilute solutions of fluorescein. These solutions can look entirely orange, a mixture of orange andglowing green, or all glowing green depending upon the angle between a viewer’s line of sight and the beam of the lightsource illuminating the sample.Referenceshttp://sites.uci.edu/chem52labs/files/2014/03/M52LC_Experiment1S13.pdfhttps://www.youtube.com/watch?v=xXZcRwh28TE

Luminol Ammonia Fountain and Blood Lamp Sawyer Cawthern and Marley SorbelloA fountain is prepared by the reaction of a luminol solution with a bleach solution and the reaction of ammonia gas withwater.A lamp is prepared by the reaction of a luminol solution with bleach and the option of reacting the luminol with blood and/or hydrogen peroxide to incite a brighter blue glow.Materials Fountain Acetone (C3H6O) Ammonia (NH3) Liquid Distilled Water (H2O) 2 Erlenmeyer flasks (250 mL) 1 Glass elbow 2 Glass stir rods 3 Glass tubes Graduated Cylinder (250mL) Graduated Cylinder (25mL) Luminol (C8H7N3O2) Number 4 2 holed cork Number 4 cork Petri dish pH paper Pipets Plastic syringe (that fits into the tubing) Ring Stand Small beaker #1(to hold at least 20 mL of water) 2 Small Beaker #2(short enough that test tube stands above the edge Small cork that fits to test tube Sodium Hydroxide (NaOH) pellets Sodium Hypochlorite (NaClO) (Bleach 5% NaClO) Tape

Test tube (top of the test tube must fit inside the neck of the round bottom flask) T-Shaped Glass tube connector Tubing (To cut as needed) Round Bottom Flask (0.5 Liter) Optional - Blood (could be meat juice) and/or hydrogen peroxide (H2O2) Blood Lamp Distilled Water (H2O) 2 erlenmeyer flask (250mL) or round bottom flask (250mL) Glass stir rods Graduated Cylinder (250mL) Graduated Cylinder (25mL) Pipets Luminol (C8H7N3O2) Sodium Hydroxide (NaOH) pellets Sodium Hypochlorite (NaClO) (Bleach 5% NaClO) Optional - Blood (could be meat juice) and/or hydrogen peroxide (H2O2)ProcedureFountain 1. In a 2 holed cork put one long glass tube (long enough to fit into the bulb in the round bottom flask) and one elbow shaped glass tube connector. Make sure the long end of the glass rod comes from the smaller end of the cork so as to fit up into the round bottom flask. 2. On the end of the glass elbow that will not be in the round bottom flask connect a short tube that the syringe will fit snuggly inside of 3. Make sure the round bottom flask is completely dry. If it is not dry rinse with acetone and let dry overnight. 4. In a 250 mL Erlenmeyer flask, dilute 25 mL of household bleach with 225 mL of distilled water. 5. In another 250 mL flask, dissolve 1 g of NaOH and 0.1 g of luminol in 250 mL of distilled water. 6. Stir both solutions until everything is dissolved. 7. On a t-shaped glass tube connector connect two equal medium length tubes to the ends of the top of the t. Connect a shorter tube to the branch of the t. 8. Connect a glass tube to each medium length tube and place one glass tube in each erlenmeyer flask that contains solution 9. Connect the short tube to the end of the long glass tube that comes out of the two holed cork 10. Measure 20mL of water into small beaker#1 and place nearby with the plastic syringe

11. Place the round bottom flask in the ring stand and make sure the round bottom flask will be stable 12. Dispense a small amount of water into a petri dish 13. Boil water and pour the boiling water into the small beaker #2 14. In a test tube dispense 2.5mL of ammonia and place the test tube in the beaker of boiling water 15. Quickly place the beaker under the round bottom flask on the ring stand and move the flask down until the neck is around the top of the test tube 16. Moisten pH strip with the water in the petri dish 17. Move the pH strip into the neck of the round bottom flask. If it immediately turns blue then the flask if full of gas. 18. Move the round bottom flask up and put the cork in. 19. Move the test tube of ammonia out of the hot water and place in a dry beaker so to stop generating gas. Cork the test tube. 20. Move the round bottom flask and the ring stand to where you have the erlenmeyer flasks set up 21. Carefully remove the cork in the round bottom flask and replace with the two holed cork. 22. Syringe up the 20 mL of water in the small beaker #1 23. Place the syringe into the tubing connected to the glass elbow 24. Turn off the lights 25. Inject water into the round bottom flask with the syringeDiagrams Diagram 1 Diagram 2Setup for Luminol Fountain Setup to fill round bottom flask with ammonia

Blood Lamp1. In a 250 mL Erlenmeyer flask, dilute 25 mL of household bleach with 225 mL of distilled water.2. In another 250 mL flask, dissolve 1 g of NaOH and 0.1 g of luminol in 250 mL of distilled water.3. Stir both solutions.4. Refrigerate the luminol solution.5. In a dark room, using a pipet, put one milliliter of the bleach solution into the flask containing the luminol solution.6. Optional: Using a pipet, put one milliliter of blood and/or H2O2 into the flask containing the luminol solution and bleach.Safety Wear goggles.as it canLcuamuisneorle(sCpi8rHa7toNr3yOt2r)accat nirrciatautsieons.kin and serious eye damage, corrosion or irritation. Avoid breathing dust or fumes, Sodium hydroxide (NaOH) can cause skin corrosion or irritation. It also causes severe skin burns and eye damage.Do not breathe mist, vapors or spray. Sodium hypochlorite (NaClO) is a strong oxidizer and moderately toxic by ingestion and inhalation, as well as cor-rosive to body tissue. Avoid all body tissue contact. Ammonia is a lachrymator, and mildly toxic by ingestion and inhalation. It is irritating to body tissues; avoid allbody tissue contact. Ammonia gas is mildly toxic by inhalation and ingestion. It is a severe irritant of eyes, respiratory tract, and skin,and corrosive to eyes. Ammonia gas can cause breathing problems, chest pain, coughing, and even suffocation.It also cancause severe skin burns, and is a moderate fire risk.Disposal Flush down the drain with running water.

DiscussiondroxideLaunmd ilnuoml i(nCo8lHre7Nac3Ot t2o) is a substance that emits blue light when in contact with basic solutions. When sodium hy- form a luminol solution, hydrogen reacts with the hydroxide forming water and a dianion isformed with the negative charges on the nitrogen or oxygen atoms in the once luminol structure. When the luminol solutionis reacted with an oxidizing agent the luminol loses the two negative charges gained with the sodium hydroxide. Energycreated by this reaction excites electrons, which release a photon of light when they returns to their ground state. Bleach,as a basic solution, will cause the luminol to glow when they react. In the luminol ammonia fountain, ammonia gas createsa vacuum within the round bottom flask. The pressure decreases inside the flask when ammonia reacts with water to formammonium, pulling the solutions from both flasks attached into the flask to create the fountain. Errors that we found whileconducting these experiments include the inability to fill the flask completely with ammonia gas for the fountain, air leaksin the tubing of the fountain, not completely drying the round-bottom flask, and the inability to react the luminol with theoxidizing agent. To correct these errors, we boiled more ammonia than necessary to obtain enough ammonia gas, switchedand tightened the tubing using rubber bands around areas where they connected to glassware, heated the flask in a dryingoven, and experimented using different oxidizing agents and increasing the concentrations.References 1. Shakhashiri, B. Z. In Chemical Demonstrations: A Handbook for Teachers of Chemistry; The University of Wiscon- sin Press: 1985; Vol. 2, p 205-210. 2. Summerlin, L. R.; Ealy, J. L. In Chemical Demonstrations: A Sourcebook for Teachers; American Chemical Soci- ety: 1985; Vol. 1, p 10-11. 3. Steadman, N. J. Chem. Educ. 1992, 69, 764. (improvements) 4. Thomas, N. C. J. Chem. Educ. 1990, 67, 339. (chemiluminescent) 5. Thomas, N. C.; Faulk, S.; Sullivan, R. J. Chem. Educ. 2008, 85, 1063. (handheld) 6. Smith, E. T. J. Chem. Educ. 1995, 72, 828. (syringe NH3 fountain) 7. Lister, T. Classic chemistry demonstrations; Cambridge, UK: Royal Society of Chemistry, 1996; p215.

Indigo Tie Dye Sam Worobey and Jordan KaniaA dye is synthesized using ortho-nitrobenzaldehyde, acetone, indigo, and acetic acid, which is then reduced bysodium dithionite forming a solution in which cloth is dyed. The cloth is then exposed to the air and oxidized,making it indigo colored.Materials 5 mL acetone 0.5 g ortho-nitrobenzaldehyde 1 M NaOH (32 drops) 10 pellets NaOH 100 mL beakers (2) Ethanol 10% sodium dithionite 100 mL beakers (2) 250 mL beaker Erlenmeyer flask Stirring rod Rubber bands Hot plate Gloves Filter paper Funnel Distilled water

Procedure Preparation Dissolve 0.50 g of o-nitrobenzaldehyde in 5 mL of acetone in a 100 mL beaker. Then add 5 mL of dis-tilled water and stir. After it is mixed, add 1 M of NaOh dropwise for a total of 32 Drops. Let the substance sitfor 5 minutes. Prepare the filter over the erlenmeyer flask by folding the filter paper to fit into the funnel andthen wetting it so it is sealed to the funnel. Place the funnel in the erlenmeyer flask. Pour the solution into thefilter. After rinse the filter twice with 10 mL of water and then three rinses with ethanol. Let what is remainingon the filter paper dry and then scrape into a beaker. Then add 10 mL of distilled water and 10 pellets of NaOH.Swirl until the pellets are dissolved. Once dissolved, heat the beaker to a boil on a hot plate. When boiling re-move the beaker from the head and add 4 mL of 10% sodium dithionite. Keep adding dropwise until the indigodissolves and a clear, yellow solution forms, (leucoindigo). Finally pour this solution into a 250 mL beaker thatcontains 100 mL of distilled water Presentation After folding the desired cloth into the chosen pattern, using rubber gloves lower the cloth into the solu-tion while squeezing it so no air bubbles enter the solution. Manipulate the cloth with your hand keeping it justbelow the surface. The manipulation allows for the dye to penetrate the fabric allowing it to stain. Keep thecloth in the solution for 1-5 minutes. Remove the cloth from the solution and cut the rubber bands to reveal thefinal product. As the cloth is removed watch as it turns from a green yellow to blue. Allow the cloth to dry com-pletely, and finally rinse in in cold water.History Indigo comes from plants of the genus Indigofera. Its uses date back to the 3rd millennium B.C. Somehistoric uses include: decorating mummy cloth; dye in the Bronze Age; a luxury ingredient in Greek and Romancosmetics, paints, and medicine; a currency, “blue gold,” in the Renaissance period. It was brought to the NewWorld where was a major cash crop, especially in South Carolina where it was a major contributor to their econ-omy. Natural indigo could not be cultivated in large enough quantities or efficient enough means so in 1897Adam von Baeyer, a german chemist, developed a way to synthesize indigo. Today, indigo is largely used todye blue jeans.Hazards Sodium hydroxide solution (NaOH) is corrosive to the eyes and skin therefore skin burns are possibleand NaOH should be kept away from eyes at all costs. Indigo dye, especially the leuco base, are very perma-nent dyes that stain clothes, wood, paper, and hands. Sodium dithionite is a very strong reducing agent and iscorrosive. Finally, o-nitrobenzaldehyde is a mutagen, this means that it can alter and mutate the structure ofDNA. Due to all of the hazards, when doing the procedure make sure to always wear chemical splash goggles,chemical-resistant gloves, and a chemical-resistant apron.Disposal

When done dyeing the cloths, remove the flower from the top of the solution and rinse down the sink withrunning water. Dispose of the solution by pouring down the drain with running water as well. Rinse all materialswith water and throw the remaining solids and filter paper in the waste bin.Discussion In its natural state, indigo is insoluble. It must be reduced and the oxygen must be removed in order todye cloth. Once reduced, the indigo solution becomes Leucoindigo, a yellow/green solution. The fabric is thensaturated with the solution and the now soluble dye penetrates the fibers, dyeing the fabric yellow. When thecloth is exposed to oxygen, it is oxidized and the leucoindigo returns to indigo. The indigo is now trapped in thefibers of the fabric and it is blue. References 1. Chem Fax! Flinn Scientific Inc. Dyeing with Indigo Student Laboratory Kit. Batana, IL, 2001. Catalog no. AP 6166. Publication No. 6166. PP.1-8. 2. Synthesis of Indigo and Vat Dyeing. James R. McKee and Murray Zanger. Exp. 863, 1991. Catalog No. A242-A244. PP. 1-3. 3. Roberts, M. (n.d.). History of Indigo & Indigo Dyeing. In Wildcolours. Retrieved June 6, 2016, from http:// www.wildcolours.co.uk/html/indigo_history.html

Creation and Usage of Invisible Ink Michelle and MadelineInvisible ink is prepared by the combination of lemon juice and water, cobalt chloride and water, or phenolphthalein indicator andethanol.MATERIALSLemon Juice Ink Distilled water 2 lemons Electric IronCobalt Chloride Ink ½ tsp solid cobalt chloride chunks Distilled water Electric Iron Blue construction paperPhenolphthalein Indicator Ink 0.5g Phenolphthalein Indicator 20 mL 95% ethanol 0.1M NaOHPROCEDURELemon Juice Ink Squeeze lemons to get as much juice out as possible. Mix collected lemon juice with water. Use approximately half as muchwater as lemon juice. Paint the solution onto a piece of paper with a paintbrush and let dry. Once the paper is dry, iron the paper toreveal the secret message.Cobalt Chloride Ink Mix ½ teaspoon cobalt chloride chunks into water until dissolved. Paint the message onto a piece of blue construction paperand let dry. Once the paper is dry, iron the paper to reveal the secret message.Phenolphthalein Indicator Ink Measure out 0.5g Phenolphthalein Indicator. Mix with 20g 95% ethanol. Paint the solution onto a piece of paper with a paint-brush and let dry. Once the paper is dry, use a spray bottle to spray the paper lightly with 0.1M NaOH to reveal the secret message.DISPOSALLemon Juice Ink Can be disposed in the sink.Cobalt Chloride Ink & Phenolphthalein Indicator Ink To dispose these two solutions, consult with a science instructor.

DISCUSSIONLemon juiceWhen lemon juice is painted onto the paper, the carbon-based compounds are absorbed into the fibers of the paper. When the paperis heated, the heat causes some chemical bonds to break down, freeing the carbon. Once the carbon comes into contact with the air, itgoes through a process called oxidation, the process of gaining oxygen. One effect of oxidation is causing the lemon juice, in this caseto become darker in color.Cobalt Chloride[Co(H2O)6]2+(aq) + 4 Cl- [CoCl4]2-(aq) + 6H2O Pink BlueA change in temperature or concentration of the ions will shift the equilibrium. If heat is added, the equilibrium will shift towards thecobalt chloride complex, which is blue.Phenolphthalein IndicatorpOH = -log[H3O+] = pOH = -log[0.01M] = 2.At room temperature (25oC) pKw = 14.To find the pH using the pOH, subtract the pOH from the pKw (14-2) = pH 12.Anything with a pH under 7 is considered acidic. Anything with a pH over 7 is considered basic. The indicator is used to determine thepH of a solution. The color of the indicator changes as the pH of the solution changes. In a natural state, phenolphthalein solution isclear, but when mixed with a basic solution such as NaOH, the color of the indicator changes to pink.REFERENCESA. (February 26). [Digital image]. Retrieved May 22, 2016, from https://bcachemistry.wordpress.com /tag/lemon-juice/Equilibria 15.1-Lecture Demonstrations-Department of Chemistry-University of Massachusetts Amherst. (2011). Retrieved May 22, 2016, from http://lecturedemos.chem.umass.edu/equilibria15_1.htmlEveryday Chemistry - Now you see it, now you don’t! (n.d.). Retrieved May 22, 2016, from http://human touchofchemistry.com/now- you-see-it-now-you-dont.htmMcKay, B. (2011). History Of Invisible Ink | The Art Of Manliness. Retrieved May 22, 2016, from http://www.artofmanliness. com/2011/09/09/man-knowledge-the-history-of-invisible-ink/Murphy, L. E. (2011, November 3). Invisible Ink Reveals Cool Chemistry. Retrieved May 22, 2016, from http://www.scientificameri- can.com/article/bring-science-home-invisible-ink/

Chemical Etching of Copper Plates Jackson CunninghamA design is created on sheets of copper by dissolving the copper sheets using a ferric chloride solution.MATERIALSCopper plate(s)Plastic Soaking Tub(s)Ferric Chloride (in excess)500 mL WaterMasking TapeResist (pen or printer ink)Metal SnipsSandpaper and/or Steel Wool30mL Acetone (for printer ink) and Isopropyl Alcohol (for pen ink)An iron (optional)PROCEDURE Clean the plate thoroughly by sanding the surface until it is slightly abrasive. If using a pen draw your design ontothe plate. If using the printer ink, first laser print out your design in black and white and as posterized as possible. Then us-ing an iron with high heat and using lots of pressure transfer your design onto the metal plate. Dunk in water and carefullyremove the paper. Prepare your solution by adding chunks of ferric chloride to the water until the solution is saturated. Dothis in your plastic tub but be careful as toxic fumes are released. Create little balls of making tape and place them on eachcorner of your plate with the design facing up. Place the plate design side down in the solution for 30 to 45 minutes. Washthe plate of acid in the sink. Clean off the resist with the appropriate solvent. Wipe the plate clean and display your design.Dispose of the acid solution safely by neutralizing it with a base before dumping it down the sink. You are then free to dis-play your design(s) as you see fit. If your plate was thick enough you may even be able to print a design onto paper. This isdone by applying ink to the plate then wiping it off leaving ink only in the recesses. You then must put the plate design sidedown on paper and using a large amount of force put pressure on the plate. Peel back your paper and hopefully the designshould be transferred.HAZARDSWhen making making your ferric chloride solution it you must be in a well ventilated area as it releases dangerous hydro-gen chloride fumes. When ferric chloride is added to water hydrochloric acid is created. Hydrochloric acid and its vaporsare extreme eye, skin, and respiratory irritants.  DISPOSAL

This solution may still be slightly acidic when you are finished with you reaction, you may want to neutralize it with a basebefore pouring it down the drain.  DISCUSSION The practice of etching in order to decorate fine metal work in Europe goes as far back as antiquity. It has beenused in printmaking since the late 1400s and was invented by Daniel Hopfer, an armor craftsman in Germany. He usedplates made in his prints and some still survive to this day. The oldest dated plate known to exist was made by a swiss artistnamed Urs Graf from 1513. Copper became the material of choice and was pioneered in Italy. Its main advantage was thatcompared to engraving which needed much more practice, an artist who already knew how to draw with pen and papercould pick up a begin etching with relative ease. Arguably the first great master of etching was Rembrandt (1606-1669) , hewas one of the first artist to truly abandon etching’s roots in engraving (a process where the artist removes the metal witha tool rather than with acid) and truly pushed the medium into its own. Etching allows the artist to create smoother moreflowing lines much easier as all they are doing is removing a wax coating instead of metal itself. The eighteenth century saw more evolution of the medium lead by the artists Giovanni Battista Tiepolo and Cana-letto using etching to capture atmospheric effects in print form. In the late 18th and early 19th the process of soft-groundetching became popular. This new technique allowed artists to replicate the soft lines of pencil or chalk work. It involveddrawing with a pencil on paper placed on top of a copper plate coated with a resist that was soft and sticky in nature. Whenthe pencil would press on the paper the resist is transferred to the paper leaving soft lines in the the resist that when placedin acid remove metal in a way that resembles pencil strokes. Etching was used by artists in printmaking in both the 19th and 20th centuries. The 20th century saw its popularityrise again with several great artists of the time. A notable example is that of Pablo Picasso who used it in some of his cubistwork and made the medium an integral part of his “classical” period.    REFERENCES  “The Chemistry of Ferric Chloride.” The Chemistry of Ferric Chloride. N.p., n.d. Web.“Etching.” Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web.

Bread Making Kai CooperMaterials1 cup of “fed” sourdough starter 1 1⁄2 cups of lukewarm water2 teaspoons of instant yeast21⁄2 teaspoons of salt5 cups of King Arthur’s Unbleached AllP­ urpose flour Measuring cupsOvenBread machineMixing bowlOven mittsCovered container (can be a mixing bowl with a cloth over it)ProcedureOnce a sourdough starter is acquired, “feed” it by mixing a cup of starter with a cup of flourand a cup of lukewarm water. The “fed” starter should then be left in a covered containerfor 1­2 hours. Meanwhile, the remaining unfed starter should be returned to its container andplaced in a refrigerator to be “fed” on a weekly basis in order to keep the yeast and bacteriaalive.After the “fed” starter has sat for 12­ hours, remove the cover and place the starter in themixing bowl, if it is not already in there. Measure 1 1⁄2 cups of lukewarm water and add itto the mixing bowl. Add 2 teaspoons of instant yeast, followed by 2 1⁄2 teaspoons of salt.Finally, add five cups of flour. The mixture should then be placed in a bread machine, on thesetting: dough, or kneaded by hand until a smooth ball of dough is formed.The dough should then be placed in a covered container, and placed in a warm location,such as an slightly heated oven. The dough should be left to rise for 90 minutes, or until ithas doubled in size. Once the dough has risen, divide it in half. Mold each half into loavesand place them on a lightly greased baking sheet and covered for an hour or until puffy.Then preheat the oven to 425 degrees Fahrenheit. Uncover the loaves, spray them with luke-warm water, and cut two diagonal slashes in each loaf. Place the loaves in the oven to bakefor 253­ 0 minutes or until golden brown. Lastly, remove the loaves and allow them to coolon a rack.Safety ConcernsAn oven is being used at extremely high temperatures. In order to prevent the possibility ofbeing burned, oven mitts should be worn when interacting with the oven. While the dough isbaking, the oven should be monitored to prevent the bread from burning and/or prevent anyfires from starting.DisposalAll unused ingredients should be returned to their containers, or sent down the drain.

DiscussionWhen water is added to flour, the gluten in the flour begins to form a series of bonds,holding the molecules together. Kneading allows for more of these bonds to be formedamongthe gluten and strengthens the dough.Once yeast is added to the dough, the organism consume some of the sugars in the doughandconvert them into CO 2 and Ethanol. The CO 2 gets trapped within the dough, forming the airpockets that give the bread is light appearance and also help the bread rise. This can be ex-plainedin the following reaction: C H O (s) + Yeast → 2 CO (g) + 2 C H O(aq). 6 12 6 2 2 6Unlike normal bread or dough, sourdough is made using a sourdough starter, which is acombination of water and flour. By feeding the starter, the natural yeast begins to accumu-late, and bacteria begin to form. The bacteria break down the molecules that natural yeastcannot and convert them into molecules that the yeast can use. The bacteria also form lacticand acetic acids, which give sourdough its sour taste.References● http://www.compoundchem.com/2016/01/13/bread/● http://science.howstuffworks.com/innovation/ediblei­ nnovations/sourdough.htm

Silver Mirroring Kyler HanleyIonic silver is reduced to elemental silver and deposited on a surface, creating a reflective coating.Materials30 mL 0.10 M silver nitrate, AgNO3 (To prepare 100 mL of solution, dissolve 1.7 g of AgNO3 in 60 mL of distilled water anddilute the resulting solution to 100 mL.)ca. 3 mL concentrated (15 M) aqueous ammonia solution, NH315 mL 0.80 M sodium hydroxide, NaOH (To prepare 100 mL of solution, dissolve 3.2 g of NaOH in 60 mL of distilled waterand dilute the resulting solution to 100 mL.ca. 3 mL concentrated (16 M) nitric acid, HNO310 mL 0.5 M dextrose, C6H12O6 (To prepare 100 mL of solution, dissolve 9 g of dextrose in 60 mL of distilled water, anddilute the resulting solution to 100 mL.Hot water to fill glasswareStirrer hot plate250 mL beakerStirring rodPiece of glassware you wish to silver mirror

ProcedureAdd 18.75 mL of Silver Npriteracitpeit(aAtegNitOfo3)rmtosais2n5e0umtraLliszteirdrinagndbethaekesro. lAufttioenr this, add concentrated ammonia dropwise to thesolution until the brown become clear again. Add 9.4 mL of potassiumhydroxide (KOH) solution to the beaker (this will form a dark brown precipitate). Add ammonia dropwise until the solutionin the flask becomes clear again. Once this is done, transfer the solution from the beaker to a round bottom flask. Add 1.5mL of glucose solution to the round bottom flask. Stopper the flask and swirl until the entire inner surface is wetted andcontinue swirling until the round bottom flask has been mirrored.Note: This procedure should be performed under a fume hood.SafetyConcentrated ammonia is toxic and is a severe irritant when inhaled or contacted. Ammonia can also cause skin burnsand potential eye damage. Nitric acid is strong acid and is highly corrosive and causes severe burns if it come into contactwith the skin and eyes. If inhaled it can irritate throat and lung and cause burns. KOH is a strong base that is corrosive totissue and causes severe burns when inhaled, ingested, and when it comes into contact with skin or eyes. Any remain-ing solution must be disposed of immediately as highly explosive precipitates may form if left out too long.DisposalThe remaining solution can be rinsed down the sink with plenty of water.Discussion→CH2OH(CHOH)4CHO + 2 [Ag(NH3)2]+ + 3 OH- 2 Ag + CH2OH(CHOH)4COO- + 4 NH3 + 2 H2OAldehyde (-CHO) functional group of dextrose (C6H12O6) is oxidized to a carboxylic acid (-COO-)Silver Ions are reduced toelemental silverReferencesFormation of a Silver Mirror on a Glass Surface. (n.d.). Retrieved from http://cldfacility.rutgers.edu/content/formation-sil-ver-mirror-glass-surfaceGunawardea, G. (2014, June 30). Tollens’ Test. Retrieved from http://chemwiki.ucdavis.edu/?title=Core%2FOrganic_ Chemistry%2FAldehydes_and_Ketones%2FReactivity_of_Aldehydes_%26_Ketones%2FTollens%E2%80%99_TestMirror. (n.d.). Retrieved from https://en.wikipedia.org/wiki/Mirror

Molding Styrofoam Turtles Lucy Freeman    A sample of polystyrene is softened with the addition of acetone and molded into an animal.   MATERIALS   ­ 200 mL acetone   ­ 1 Styrofoam tray  ­ 1 pair gloves  ­ 1 250 mL beaker  ­ 1 10 mL serological pipet or a 50 mL graduated cylinder  ­ 1 glass stir rod  ­ 1 pair lab goggles  ­ 1 pair of forceps  ­ 1 milk bottle cap  PROCEDURE    Before beginning, put on safety goggles, gloves, and turn on the fume hood.   Under the fume hood, break the Styrofoam tray into the small pieces, approximately the size of a quarter, and put it into the 250 mL beaker. Next, add 50 mL of acetone to the beaker using the serological pipet. Stir the solution with the glass stir rod, while making sure to submerge all of the Styrofoam sample.   After about 30 seconds of mixing, the Styrofoam should have softened significantly. At this point, remove the Styrofoam sample from the acetone in the beaker, using the forceps.   Place the milk bottle cap so that it is facing upwards, as shown; this will become the shell of the turtle.                                                          Ideal milk cap position