Category: Lesson 2

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As you teach, help people prepare for baptism and confirmation. Consider the qualifications for baptism taught in Doctrine and Covenants and in the related baptismal interview questions. Be mindful of the questions and level of understanding of those you teach. Are you willing to keep the Sabbath day holy, including partaking of the sacrament weekly and rendering service to others?

Will you ask God in prayer to know that what we have taught is true? Will you read the Book of Mormon and ask God in prayer to know that it is the word of God? Will you follow the example of the Savior and be baptized on date? Missionaries are to testify of Jesus Christ and invite all to come unto Him that they might be saved and receive increased happiness, comfort, joy, and peace in this life. Providing specific instruction about the Savior is important for those who know little or nothing about Him.

One of the most effective ways to teach and testify of the Savior is to read together from the Book of Mormon. Passages from other standard works can also be helpful. Consider the suggestions listed below. This activity may also be done as part of this or other lessons or as a lesson of its own. When helpful, repeat this activity several times before and after baptism and confirmation.

Title page and introduction. Mosiah 2—5. Mosiah 12— Alma 5, 7. Alma 17— Alma Alma experiences the power of the Atonement of Jesus Christ.

Alma 40— Alma testifies of the Resurrection and Atonement of Jesus Christ. Helaman 5. The Savior teaches the Nephites of the Father and of His doctrine. Ether 3. Ether Ether and Moroni testify of the Savior and the power of His Atonement. Moroni 7—8.If you haven't yet completed the box challenge, make sure you tackle that first. Not only will it help further develop your grasp of how to construct forms freely rotated in 3D space, it will also help you develop the kind of discipline and patience that will serve you throughout this entire course.

When we start out, we know exactly what we're doing when it comes to drawing. We're taking a pen, a pencil, a stylus or whatever else, and we're making marks on something very, very We're not fools - we know that's exactly what we're doing, and we're very much in on the great conspiracy. What conspiracy? The one where we fool our audience into thinking everything we draw is in fact 3D.

That's what perspective is all about, right? Tips and tricks to fool those idiots and rubes into believing in something that isn't real? Unfortunately, we tend to be too smart for our own good. The fact that we understand that what we're drawing is just a series of marks on a flat page is something we communicate to the viewer through subtle properties of the actual marks we put down.

To put it simply - we're subconsciously speaking to the viewer's subconscious that none of this is real. The trick is more about learning to lie effectively. That's what these drawings are - they're illusions created to trick the viewer into believing in something that isn't actually there. The best way to tell a lie isn't to be extra clever, but rather to be a fool. When we believe in the lie we're selling, everything we say and do will reinforce the lie, whether we're conscious of it or not.

It's this wealth of information all pointing to the impossible, and the fact that it all does it in a cohesive, consistent manner, that makes this impossible thing believable. Aside from the basic technical skills covered in lesson 1, that's ultimately what Drawabox is about. It's about taking students who are all too aware of what they're doing and gradually teaching them to believe in fairy tales. It's not something that just happens, it's not a truth that'll sink in the moment you're told - because there's no truth to it at all.

It's all a lie. So when you move through the exercises in this lesson and those moving forward especially those where we're drawing actual objects like plants, insects, animals, vehicles, etc.

We're using them as a theme for exercises targeted at making you understand how everything you draw is three dimensional, solid, tangible and real.

lesson 2

This is much more fundamental than learning how to draw a tiger or a porsche. The first thing we need to get used to is the idea that the space we're drawing in is no longer defined by the flat piece of paper.

This page is instead a windowone that looks out onto a vast three dimensional world that continues on even where you cannot see it.

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When you look out a window of a building, you know full well that what you're able to see is not the entirety of what exists out there. Think of the page as being the same. What we need to familiarize ourselves with is the concept of the third dimension - that of depth - and the idea that objects are not only going to be to the left and to the right, or above and below.

They will also be farther away from us, as well as closer. Perspective comes into play here, with the simplified rules such as objects that are closer appearing larger, and those farther away appearing smaller. There's also foreshortening - those that are very close will have more dramatic foreshortening, and those farther away will themselves flatten out with foreshortening that is shallower and more gradual.

Now that we've discussed exploring the entirety of the three dimensions available to us, let's look at the objects that can exist within space - more specifically, their surfaces. Contour lines are the marks that run along the surface of an object. In doing so, they provide our eyes and brain with valuable information describing just how those surfaces themselves flow through space.

For example, let's imagine that inside of our 3D world, there exists a piece of paper, and on that piece of paper, there has been made a single straight line down its length.Yogi Bhajan is an endless source of inspiration. Here are a few paraphrased quotes from one of his classes I attended: "We need mental security.

Our intuition is our security. If we seek the satisfaction of our ego, our third eye seat of our intuition will not open up. If we give up our ego, the vacuum is filled with our intuition and we are uplifted. It is easy to access our intuition when our chakras are open. We forget that God is with us. Watch God work. Understand the play of God. Give God a chance.

This life was given to you as a gift.

Lesson 2: Contour Lines, Texture and Construction

Let God take you on this journey. Until then, do your best, enjoy your life, have faith and let God take care of your life. How do I do that?! Kundalini Yoga is one of the spiritual disciplines developed by saints and sages to accomplish these goals. Defined as our conscious awareness, an ego is necessary to think, operate, make decisions and take action in this world.

The problem is that we usually operate from a "limited ego" and narrow view of ourselves and the world. It is this "false ego" that we are trying to give up or transcend. An important task of our "aware ego" is to train ourselves to listen to our intuition, instead of reacting to random thoughts that are set off by our wounded emotions and inappropriate training.

We need our "aware ego" to tune into God universal energy and join forces. As we do so, we experience "My will is God's will. A spiritual path is about experiencing the reality of this concept. Yogi Bhajan always told us that our biggest problem is that we think God is outside ourselves.Up until this point, we've largely explored matters relating to solid, three dimensional forms.

Things with volume to them that occupy space and relate to one another in that space. This last point is something we'll focus on a great deal in the next section. Texture - that is, what people tend to think of as detail - isn't actually all that different. While we treat it a little differently, texture is also made up of three dimensional forms.

The only difference is that these forms adhere to the surface of some other object - and this difference fundamentally changes how we approach drawing it. An example I like to use is fish. If you've got a fish swimming in the ocean, then we draw it similarly to how we draw the boxes and sausage forms we've tackled thus far.

We apply constructional means - drawing through our forms, defining their silhouettes with outlines, describing how their surfaces move through space with contour lines, etc. If, however, you take a bunch of fish and use it to wallpaper your bedroom, it becomes a texture - and the way we draw it changes.

The fish is now a part of the wall itself. If the wall turns, the fish will follow. If you were to strip down this fishy wallpaper and wrap it around a box instead, the fish would come along with it.

They cease to be an independent object, but rather become a part of this texture that can be applied to any other surface. Before we even think about how to go about adding texture and detail to a drawing, we must first learn to slow down and observe. Your brain doesn't simply start off with any real knowledge of all the kinds of textures that exist in the world, so you don't really have much to pull from when you're looking to add detail to a drawing.

Sure, you've seen all kinds of textures in your daily life, but have you really taken any time to really look at them? In all likelihood, you saw them at a glance, your brain tucked the smallest bit of that information away while throwing away that which it deemed unimportant, and you went on with your life. That's normal, and it's how human brains - and specifically human memory - works.

Okay, let's say you did for whatever reason really look closely and carefully at an object. That's fantastic, and you should absolutely keep that up. In all likelihood however, you're probably still not in a position to use that texture, because even if you looked at it a minute ago, your memory's still done its job and thrown away all of the superfluous details it didn't deem worthy of recording.

Unfortunately most of the information you need to draw a texture is going to be considered unimportant. What does that mean?

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It means you're going to have to spend most of your time looking at and studying an object, or some reference imagery of that object. You're going to put a lot of time into really identifying the visual elements that exist on it, whatever makes it look wet, dry, sticky, smooth, rough, etc.

Once you've done that, you'll go ahead and make a mark or two on your page to represent a specific feature you identified that you want to transfer over, and then you're going to go back to studying it - because your memory has already started throwing everything out the window.

Ultimately this process of observing and studying and then transferring that information into your drawing bit by bit is something that is gradually going to rewire your brain to better retain the information that will be critical to our purposes. Over time you'll develop what many artists refer to as a visual library - a part of your memory where you hold bits and pieces of information that can be applied to details and textures, as well as to generally understanding how certain kinds of things are put together or constructed.

None of it will be complete, but sometimes that's where the best designs come in - from misremembering a tiny piece of information here and there, and then taking it wherever it leads. But that's a discussion for a much, much later lesson. When thinking about detail, a lot of students end up trying to add shading to their drawings, relating detail to the act of simply making their drawing look pretty. Shading making a surface lighter if it turns towards the light source, darker if it turns away is actually a very common concept covered in most drawing courses, specifically as a means to convey how a form is 3D.

Drawabox takes a different path.In this lesson, you're going to define a data sourceconnection information the report uses to access data from a relational database or other sources. For this report, you're going to add the AdventureWorks sample database as your data source.

This tutorial assumes that the database is located in the default instance of SQL Server Database Engine and installed on your local computer.

The Data Source Properties dialog box opens with the General section displayed. For example:. For more information about connection strings, you can refer to the See also section below.

Select the Credentials tab, and under the section Change the credentials used to connect to the data sourceselect the Use Windows Authentication integrated security radio button.

In this lesson, you've successfully defined a connection to the AdventureWorks sample database. Skip to main content.

lesson 2

Contents Exit focus mode. In the Name text box, type "AdventureWorks". Select the Embedded connection radio button.

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Is this page helpful? Yes No. Any additional feedback? Skip Submit.To help class members understand that they must be worthy to enter the temple. Well in advance of this lesson, invite the bishop or branch president to present information about the process of obtaining a temple recommend.

Hunter, in Conference Report, Oct. Ask class members if they have any questions. Remember that some aspects of temple work must not be discussed outside the temple. Explain that those who enter the temple must show their faith in Heavenly Father and Jesus Christ by living the gospel and keeping the commandments.

They must be morally clean, pay a full tithing, obey the Word of Wisdom, keep the Sabbath day holy, and strive to live righteously in all other ways. They must also be interviewed by the bishop or branch president and the stake or mission president and be found worthy to receive a temple recommend.

This lesson will review some of the gospel principles and commandments that the class members must be living in order to worthily attend the temple. Explain that the Lord and His prophets have repeatedly taught the great importance of being morally clean. That sums it up. That is the way to happiness in living. That is the way to satisfaction. Doctrine and Covenants —24 The Lord has commanded us to love our spouse and not to seek after anyone else; He has commanded us not to commit adultery.

Articles of Faith We believe in being chaste and virtuous. What are some of the results of immorality that we can see in the world around us? What are some of the blessings of living a morally clean life? How can this counsel help us and our children to resist worldly temptations and live morally clean lives?

Ask the class members to read Doctrine and Covenants Tithing funds are used to build meetinghouses and temples, to sustain missionary work, and to build the kingdom of God on earth.

Tithing is a principle of sacrifice and a key to the opening of the windows of heaven. Malachi —11 We rob God when we withhold our tithes; God will abundantly bless those who pay tithing. Why are we robbing God when we withhold our tithing?

lesson 2

Explain that each year members are asked to meet with their bishop or branch president in tithing settlement and declare to him whether they pay a full tithing. This meeting is an opportunity for members to evaluate how well they are fulfilling this important commandment.

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Explain that before we may enter the temple, the Lord expects us to be free of practices that make our lives unclean and unhealthy, both spiritually and physically. Doctrine and Covenants 89 This revelation is known as the Word of Wisdom. What things in the world today influence us to break the commandments given to us in the Word of Wisdom? In what ways do you think obedience to the Word of Wisdom can bless us spiritually as well as physically?

That is why the Word of Wisdom is so important. Read together Exodus — The Lord has promised great blessings to those who do so. Ask the class members to read Doctrine and Covenants — What are the central reasons given by the Lord for keeping the Sabbath day holy?

In what ways can Doctrine and Covenants —13 guide our observance of the Sabbath day? What are some of the blessings promised to those who properly observe the Sabbath? The reasons I think are at least threefold. The first has to do with the physical need for rest and renewing.

It has to do with the need for regeneration and the strengthening of our spiritual being.If you are accessing this course on the desktop or a laptop, Google Chrome currently the most popular browser in the world is the recommended browser for this site, and switching to it will likely solve any issues you may be experiencing.

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It is a free downloadeasy to install, and available for all platforms. Other major browsers, such as Apple SafariMozilla Firefox and Microsoft Internet Explorer should generally be ok, however please make sure you are using a current version. Older versions or other browsers may give inconsistent results. Javascript is required for the typing functionality, so please ensure it is turned on in your browser preferences.

Some third-party extensions for web browsers, such as ad blockers, might interefere with the typing functionality. If you are using such an extension, turn it off temporarily and see if that is the cause. If so, it should be possible to whitelist this site so that the extension is turned off for this site only.

Lesson 2: Home Row, Right Hand

This course is not designed to be used with a soft keyboard on a tablet, although it has been successfully tested to work with iOS devices iPad and iPhone. If you are on Android or a Windows Mobile device it is hit or miss, however it should work absolutely fine with an external keyboard. It is highly recommended to learn touch typing on a physical keyboard for the tactile feedback, and bluetooth keyboards can be obtained very inexpensively these days i. This is a VERY worthwhile investment to learn touch typing, a skill which will last you a lifetime.

If you're still having problems, you can still access the old, Flash-based version of the course here.

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Presuming you've now mastered the left-hand keys of the home row, it's now time to have a look at the right hand. I'm not going to let you get away with typing and not reading the Learning Principles again, so here they are:. Because you're still new around here, you may want to read the Instructions for Use again.

Take a deep breath, and when you feel ready, click the button, put your fingers on the home row and go to it! The interactive typing functionality requires JavaScript. Please enable JavaScript in your browser's preferences, and reload this page.

All rights reserved. No mistakes. Always be sure and in control. Slower is faster. Speed comes from certainty. The more you type things correctly, no matter how slow it has to be, the more certain you will be, and the faster you will become a proficient typist. Increase speed only when you feel sure enough to do so. Don't look at the keyboard! If you don't know where a key is, look at the keyboard to find it, then look away and type the key.

Do not guess; always be sure. Type to a steady rhythm. Generally, the time between keystrokes should be the same, giving you a sense of flow and the ability to scan ahead at a constant speed. No unnecessary or dysfunctional tension. Enjoy the rhythm of your own typing!

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Hit the keys squarely in the center. It should feel good to type! Press the "Click here to start" button, then type what you see on the screen. If you type correctly, the letter will turn to grey. If you err, it won't, and you will hear an error sound.