Problem: Article: This puts an exclamation point (!) on your impressive needle, and energizes your body for the release and dismount. There is no need to make this more forceful than it will already be. Remember, you have tension and gravity to help you, so try to make your dismount elegant. Stand up tall, bring your hands down to your side, and extend and straighten leg as it descends. Remember how gymnasts who vault always have trouble sticking the landing? Take your performance to the next level by releasing the needle with control and certainty, bringing both feet together and stand tall, with a smile - of course!
Summary: Point toe and smile. Release your leg from your hands. Let go. Bring both feet together, standing tall.

Problem: Article: Before you paint the glaze on the wood itself, it can be a wise idea to test it on a piece of wood that you have lying around, especially if it's similar to the wood you're using for your project. Glazes (like almost all pigments) can look a little different in liquid form than they do when painted onto a surface, so taking the time to test it can save you the headache of cleaning it off of your project later if it's not quite right. In a pinch, you can always test the glaze on part of the project that's not easily-visible (like a small area on a rear corner.) When you're ready, dip your applicator brush in the glaze and spread it over the finished surface of the wood. Be sure to get plenty of glaze in any corners or cracks in the wood. You don't have to worry about applying to thickly (unless this causes it to drip or run) — you'll be removing most of it soon anyway. Most glazes take a reasonably long time to start drying compared to other wood finishes — usually, you will have about 10 to 20 minutes, which is plenty of time to glaze and work reasonable-sized sections of wood. Still, you'll want to keep this rough time limit in mind. If the glaze dries before you can work with it, you'll need to use a little paint thinner to get it liquid again. Glaze is applied in a very thin, translucent layer — it's not meant to act like an opaque paint. To get this effect, use paper towels or rags to wipe off most of the glaze after you've applied a generous layer over the wood surface. As long as you get the majority of the glaze off, you don't have to be perfect — in the next step you'll work with the glaze remaining on the wood to get the effect you want.  Leave a little extra glaze around any corners, cracks, embellishments, or "tight spaces" on your wood. Most glazing styles deliberately keep these areas darker to highlight the features of the wood. Be sure to place the dirty paper towels or rags someplace they won't drip or get your surroundings dirty. Having a plastic garbage bag handy is a good idea. Now's your chance to leave your own personal mark on the wood. Use your second brush (which should ideally be soft-bristled, clean, and dry) to push the remaining glaze around, distributing the areas of dark (more glaze) and light (less glaze) as you wish. Use the towels or rags to dry the blending brush when it gets too wet. There's no "right" way to do this and different woodworkers will often prefer using different techniques to get different final products. Below are a few suggestions that should leave you with a rich, distinguished-looking piece of wood:  Leave the glaze the thinnest at the center of flat surfaces. Leave slightly more around the edges. This gives a subtle "cameo" or "sunburst" effect. Let the glaze accumulate thickest around sharp corners, edges, cracks, and embellishments. This highlights these features by bringing out their contrast. Push the glaze away from the "high points" on emblems, embellishments, carvings, and so on to give them a warm "shine." Though it's certainly not required, you can custom-modify the texture of your wood with mild abrasives during the glazing process. Use steel wool for oil-based glazes and nylon abrasive pads for water-based glazes. Wipe gently with the abrasive to remove the glaze more gradually than you would with a paper towel or rag. This will also produce a slightly rough, "grainy" effect in the glaze which can enhance the character of the wood once it dries. Whether or not to use this "grain" effect depends on the project you're working on and the impression you want to create with the finished product. For example, while a rough grain can look great on a rich wooden desk, you'll probably want to keep your glaze smooth if you're working over a white-painted chest of drawers. If you don't like the way your glazing job is turning out, don't worry, as it's fairly easy to "undo" your work. Wet a clean paper towel or rag with mineral spirits (for oil-based glazes) or water (for water-based glazes) and rub gently to remove the glaze. Dry off the fresh spot and start again at your leisure, being sure to use the same glaze mix so that your colors match. As noted above, while individual glazes vary in their drying time, you'll usually have about 10-20 minutes before the glaze starts to dry. Try to remove the glaze before it dries — it's a lot harder to get off afterward. When you're finally happy with the way your glaze job looks, set your wood in a place where drips and spills are unlikely and allow it to dry. Give it a generous time window for drying — you want it to be completely dry before you start working on it again. Waiting overnight is long enough for most glazes. If you notice small drips or mistakes after your glaze dries, it's usually possible to carefully scrape them off with a razor or craft knife. Glaze isn't meant to be the top coat on a piece of wood — it's too thin and vulnerable to wear and tear to offer much protection. Once you're sure that the glaze is 100% dry, seal the glaze with at least one coat of a stronger, more protective finish. Multiple sealant layers are generally recommended. The vast majority of finishes should work well with nearly all glazes. However, you'll want to be extra-sure that you've given you glaze plenty of sealant if you intend to use a topcoat with a different base than your glaze (e.g., if you're using a water-based topcoat and you previously used an oil-based glaze.)
Summary: Optionally, test the glaze on a piece of scrap wood. Paint the glaze generously over the wood. Wipe most of the glaze off. Blend with the dry brush for the desired visual effect. Use abrasives to produce a grain. Remove any work you're not happy with before it dries. When you're satisfied, let your glaze dry. Seal the glaze. Finished.

Problem: Article: Do so after meeting the Man in Black at the summit at the Land of the Dragons. This will be after you battle the Man in Black and head back to the Imperial City. When you climb up the throne room, you will see two large, highly conspicuous chests. Climb toward the one on the left, and open it to obtain the fourth torn page.
Summary:
Head to the Emperor's throne room. Receive the fourth torn page.