08 August 2026

Building an A Level Platform Game Project — Part 6: Adding Enemies, Moving Hazards and Advanced Interaction

 


Building an A Level Platform Game Project — Part 6: Adding Enemies, Moving Hazards and Advanced Interactions

In Part 1, we planned the platform game and set realistic success criteria.

In Part 2, we created the game window and added basic player movement.

In Part 3, we added gravity and jumping.

In Part 4, we added platforms and collision detection.

In Part 5, we turned platforms into proper levels with routes, start points, finish points, collectables, hazards, score and lives.

Now the game is ready for the next step.

We need to make the level feel alive.

A static platform game can still be useful, but once we add enemies, moving hazards and more advanced interactions, the project becomes much more interesting. The player is no longer simply jumping from platform to platform. They now have to react, time their movements, avoid danger and make decisions.

For an A Level Computer Science project, this is an excellent stage. It introduces movement patterns, simple artificial intelligence, state changes, timing, object lists, collision detection, testing and balancing difficulty.

It is also the stage where students need to be careful.

Adding enemies and moving hazards can make the game better, but it can also make the project much harder to finish. The aim is not to add dozens of complicated features. The aim is to add a small number of well-planned interactions that can be tested and explained clearly.

Why Moving Objects Change the Game

So far, most of the game world has been static.

Platforms stay in one place.
Collectables wait to be collected.
Hazards sit in fixed positions.
The finish point waits for the player.

That is fine for an early level, but it can become predictable.

Moving hazards and enemies create challenge because the player must respond to change.

A moving enemy can patrol a platform.
A moving spike block can travel back and forth.
A falling object can appear at intervals.
A moving platform can carry the player across a gap.
A timed laser can switch on and off.

These features make the game feel more dynamic.

More importantly, they introduce useful programming problems.

The Aim for Part 6

The aim of this stage is:

Add enemies, moving hazards and more advanced interactions to make the level more challenging and engaging.

By the end of this stage, the game could include:

  • a simple patrolling enemy

  • a moving hazard

  • collision detection between the player and enemies

  • lives lost when touching danger

  • moving objects stored in lists

  • simple movement boundaries

  • testing evidence for enemy behaviour

  • improved level design using timing and risk

Not every student needs to add all of these features. It is better to add one or two well-tested features than six unfinished ones.

Start With One Enemy

The simplest enemy does not need complex artificial intelligence.

It can simply move left and right between two points.

For example, an enemy might patrol along a platform. When it reaches the left boundary, it turns right. When it reaches the right boundary, it turns left.

This is easy to understand, but still gives the player a real challenge.

A simple enemy could be represented as a rectangle:

enemy_rect = pygame.Rect(300, 540, 40, 40)
enemy_speed = 2
enemy_left_limit = 250
enemy_right_limit = 500

The enemy moves each frame:

enemy_rect.x += enemy_speed

Then the direction changes when the enemy reaches a boundary:

if enemy_rect.left <= enemy_left_limit:
    enemy_speed = 2

if enemy_rect.right >= enemy_right_limit:
    enemy_speed = -2

This creates a patrol movement.

It is not complicated, but it is enough to make the level more interesting.

Turning the Enemy Into Data

As the project grows, one enemy is not enough. The game may eventually need several enemies.

Instead of creating separate variables for every enemy, we can store enemies as data.

For example:

enemies = [
    {
        "rect": pygame.Rect(300, 540, 40, 40),
        "speed": 2,
        "left_limit": 250,
        "right_limit": 500
    },
    {
        "rect": pygame.Rect(500, 360, 40, 40),
        "speed": 1,
        "left_limit": 450,
        "right_limit": 650
    }
]

Then we can update all enemies using a loop:

for enemy in enemies:
    enemy["rect"].x += enemy["speed"]

    if enemy["rect"].left <= enemy["left_limit"]:
        enemy["speed"] = abs(enemy["speed"])

    if enemy["rect"].right >= enemy["right_limit"]:
        enemy["speed"] = -abs(enemy["speed"])

This is a very useful A Level project idea.

The student can explain that enemies are stored in a list of dictionaries so that multiple enemies can be processed using the same code.

This is much better than writing separate code for enemy one, enemy two and enemy three.

Drawing Enemies

Drawing enemies is straightforward once they are stored in a list.

For example:

for enemy in enemies:
    pygame.draw.rect(screen, (150, 0, 150), enemy["rect"])

At first, enemies can be simple purple rectangles.

Later, they could become sprites, robots, monsters, bugs, spikes or animated characters.

The important thing is not the artwork. The important thing is the behaviour.

A plain rectangle that moves correctly is better than a beautiful enemy that does not work.

Collision With Enemies

Once enemies exist, the player needs to interact with them.

The simplest rule is:

If the player touches an enemy, the player loses a life and returns to the start position.

Example code:

for enemy in enemies:
    if player_rect.colliderect(enemy["rect"]):
        lives -= 1
        player_rect.x, player_rect.y = current_level["player_start"]
        player_y_velocity = 0

If lives reach zero:

if lives <= 0:
    game_over = True

This creates a clear lose condition.

It also creates excellent testing opportunities:

  • Does the enemy move?

  • Does the enemy turn around at the boundary?

  • Does the player lose a life after touching the enemy?

  • Does the player return to the start?

  • Does the game end when lives reach zero?

These are specific and testable.

Should the Player Defeat Enemies?

Some platform games allow the player to defeat enemies by jumping on them.

This is a more advanced interaction.

The game has to decide whether the player touched the enemy from the top or from the side.

If the player lands on top of the enemy, the enemy is removed.

If the player touches the enemy from the side, the player loses a life.

A simple version might check whether the player is falling and whether the bottom of the player is near the top of the enemy:

if player_rect.colliderect(enemy["rect"]):
    if player_y_velocity > 0 and player_rect.bottom <= enemy["rect"].top + 15:
        enemies.remove(enemy)
        player_y_velocity = -8
        score += 20
    else:
        lives -= 1
        player_rect.x, player_rect.y = current_level["player_start"]

This is more complex and should be treated as an extension.

It is a good example of advanced collision response.

It also creates a useful design decision:

Should the game reward attacking enemies, or should the player simply avoid them?

Either answer is acceptable if the student can justify it.

Adding Moving Hazards

A moving hazard is similar to an enemy, but it does not need to look intelligent.

It might be:

  • a moving spike block

  • a swinging danger zone

  • a rising lava area

  • a moving electric barrier

  • a falling rock

  • a timed laser

A simple moving hazard could move vertically instead of horizontally.

Example:

moving_hazards = [
    {
        "rect": pygame.Rect(600, 400, 40, 40),
        "speed": 2,
        "top_limit": 300,
        "bottom_limit": 520
    }
]

Updating the hazard:

for hazard in moving_hazards:
    hazard["rect"].y += hazard["speed"]

    if hazard["rect"].top <= hazard["top_limit"]:
        hazard["speed"] = abs(hazard["speed"])

    if hazard["rect"].bottom >= hazard["bottom_limit"]:
        hazard["speed"] = -abs(hazard["speed"])

This creates a moving danger area that the player must avoid.

The player now has to time the jump, not just make the jump.

That makes the level feel more alive.

Timed Hazards

Another useful interaction is a timed hazard.

For example, a laser could switch on and off every few seconds.

This introduces the idea of time-based state.

A simple timer variable might be:

hazard_timer += 1

Then:

if hazard_timer < 120:
    laser_active = True
else:
    laser_active = False

if hazard_timer > 240:
    hazard_timer = 0

At 60 frames per second, this means:

  • laser active for about 2 seconds

  • laser inactive for about 2 seconds

  • cycle repeats

If the laser is active, it is drawn and collision is checked:

if laser_active:
    pygame.draw.rect(screen, (255, 0, 0), laser_rect)

    if player_rect.colliderect(laser_rect):
        lives -= 1
        player_rect.x, player_rect.y = current_level["player_start"]

This is a good extension feature because it introduces timing and changing states.

It also needs careful testing.

Moving Platforms

Moving platforms are especially interesting because they are both helpful and difficult.

A moving platform might carry the player across a gap.

That sounds simple, but it creates a tricky problem:

If the platform moves, should the player move with it?

If the player is standing on a platform moving right, the player should probably move right as well.

A simple moving platform could be stored like this:

moving_platforms = [
    {
        "rect": pygame.Rect(250, 420, 120, 20),
        "speed": 2,
        "left_limit": 200,
        "right_limit": 500
    }
]

Updating it:

for platform in moving_platforms:
    platform["rect"].x += platform["speed"]

    if platform["rect"].left <= platform["left_limit"]:
        platform["speed"] = abs(platform["speed"])

    if platform["rect"].right >= platform["right_limit"]:
        platform["speed"] = -abs(platform["speed"])

If the player is standing on the moving platform, we may need to move the player with it:

if player_rect.colliderect(platform["rect"]) and player_y_velocity >= 0:
    player_rect.bottom = platform["rect"].top
    player_y_velocity = 0
    on_ground = True
    player_rect.x += platform["speed"]

This is more advanced than a moving enemy because it affects the player’s position.

For some students, moving platforms may be an excellent extension. For others, they may be too much for the main project.

Again, the key is scope.

The Danger of Adding Too Much

This is the stage where many student projects can become messy.

Once enemies work, students want more.

They want:

  • different enemies

  • bosses

  • power-ups

  • moving platforms

  • falling platforms

  • switches

  • keys

  • locked doors

  • weapons

  • animations

  • sound effects

  • particle effects

  • multiple routes

Some of these ideas are excellent, but too many can destroy the project.

A strong A Level project is not judged by how many features were imagined. It is judged by how well the chosen features were planned, implemented, tested and evaluated.

A sensible feature plan might be:

Essential for Part 6

  • one moving enemy

  • collision with enemy

  • losing a life

  • testing enemy behaviour

Desirable

  • two enemies with different speeds

  • one moving hazard

  • improved level layout

Extension

  • jumping on enemies to defeat them

  • moving platforms

  • timed hazards

  • different enemy types

  • simple enemy animation

This keeps the project controlled.

Making Difficulty Fair

Enemies and moving hazards should make the game more interesting, not unfair.

A fair challenge gives the player time to understand what is happening.

Good design questions include:

  • Can the player see the enemy before reaching it?

  • Is there enough time to react?

  • Is the safe route clear?

  • Does the enemy movement pattern make sense?

  • Can the player learn from a mistake?

  • Is the first enemy easier than later enemies?

A moving enemy placed immediately at the start of the level may feel unfair.

A moving enemy introduced after a safe first jump may feel much better.

Good games teach the player gradually.

Good projects should show that thought process.

Testing Enemies and Moving Hazards

This stage needs careful testing because moving objects create more possible outcomes.

Example test table:

Test NumberTestExpected ResultActual ResultPass/Fail
1Start the levelEnemy appears in correct positionEnemy appears correctlyPass
2Observe enemy movementEnemy moves between two limitsEnemy patrols correctlyPass
3Enemy reaches left limitEnemy changes directionEnemy turns correctlyPass
4Enemy reaches right limitEnemy changes directionEnemy turns correctlyPass
5Player touches enemyPlayer loses one lifeLife decreases by onePass
6Player touches enemy with one life leftGame over occursGame over displaysPass
7Player avoids enemy and reaches finishLevel can still be completedLevel completePass
8Moving hazard reaches top limitHazard changes directionHazard turns correctlyPass
9Player touches moving hazardPlayer loses life and restartsPlayer restarts correctlyPass
10New user plays levelUser understands enemy dangerUser understood after first attemptPass

Testing should include observation over time.

A moving enemy might work for the first few seconds but fail later if the boundary checks are wrong.

User Feedback

At this stage, user feedback becomes especially useful.

The student could ask a tester:

  • Was the enemy easy to understand?

  • Did the movement pattern feel fair?

  • Was the level too easy or too hard?

  • Did you know what to avoid?

  • Did the hazard look dangerous?

  • Did the game give enough feedback when you lost a life?

  • What would improve the level?

Useful feedback might say:

The enemy was difficult to see because it was too similar in colour to the platform.

That could lead to a design change.

Or:

The moving hazard was too fast, and the player had no time to react.

That could lead to reducing the hazard speed.

This is exactly the type of evidence students should collect.

Recording Bugs and Fixes

Enemies and moving hazards are likely to produce bugs.

Examples include:

  • enemy moves off the platform

  • enemy gets stuck at the boundary

  • enemy speed becomes zero

  • player loses several lives instantly from one collision

  • moving hazard does not reverse direction

  • player respawns directly onto a hazard

  • moving platform pushes the player through a wall

  • enemies keep moving after game over

These are not disasters. They are opportunities.

A good development log should record:

  • what the bug was

  • how it was found

  • what caused it

  • how it was fixed

  • how the fix was tested

For example:

Problem: When the player touched an enemy, several lives were lost at once because the collision was detected repeatedly over several frames.
Solution: I reset the player position immediately after the collision and added a short invulnerability period after losing a life.
Test: I deliberately collided with the enemy several times and checked that only one life was lost each time.

This is strong evidence of debugging.

Adding a Short Invulnerability Period

One common issue is that the player may lose multiple lives very quickly if they remain in contact with an enemy for several frames.

A simple solution is to add a temporary invulnerability period after damage.

Example:

invulnerable_timer = 0

Each frame:

if invulnerable_timer > 0:
    invulnerable_timer -= 1

When the player touches an enemy:

if invulnerable_timer == 0:
    lives -= 1
    invulnerable_timer = 60
    player_rect.x, player_rect.y = current_level["player_start"]

At 60 frames per second, this gives about one second before the player can be damaged again.

This is an excellent feature for stronger students because it introduces timed state management.

Making the Level Feel Alive Without Overcomplicating It

A level does not need dozens of features to feel alive.

One patrolling enemy can change how the player approaches a jump.

One moving hazard can make timing important.

One moving platform can create a new route.

The best approach is to add one feature, test it, improve it and then decide whether another feature is needed.

A controlled level might include:

  • one easy enemy near the start

  • one moving hazard in the middle

  • one harder enemy near the finish

  • collectables placed near danger for optional challenge

This creates variety without overwhelming the project.

Linking Back to Success Criteria

This stage can support success criteria such as:

  • The game includes at least one moving enemy.

  • The enemy changes direction at set boundaries.

  • The player loses a life after touching an enemy.

  • The game includes at least one moving hazard.

  • The player can avoid enemies and complete the level.

  • The game gives clear feedback when the player loses a life.

  • User testing is used to adjust difficulty.

The student should update the success criteria if new features are added.

This is important because projects often evolve.

The final evaluation should compare the completed game with the final agreed success criteria, not just a vague original idea.

Practical Task for Students

Part 6 Student Task

Add one enemy or moving hazard to your platform game.

Your program should include:

  1. One moving enemy or hazard.

  2. Movement between two limits.

  3. Collision detection with the player.

  4. A consequence when the player touches it.

  5. A way for the player to avoid it.

  6. Testing of movement and collision.

  7. At least one adjustment after testing.

  8. Screenshots or video evidence.

  9. A development log entry explaining the feature.

  10. A clear link back to the success criteria.

Extension Task

Add one advanced interaction, such as:

  • a second enemy with a different speed

  • jumping on enemies to defeat them

  • moving platforms

  • timed hazards

  • temporary invulnerability after damage

  • enemies stored in external level data

  • different enemy types

  • sound effects for damage or enemy defeat

Students should only attempt extensions once the first enemy or moving hazard works reliably.

Development Log Example

A good development log entry might look like this:

Development Stage

Adding enemies and moving hazards.

Aim

To make the level more challenging by adding a moving enemy that patrols between two points and causes the player to lose a life on contact.

What Was Added

  • enemy rectangle

  • enemy speed

  • left and right movement limits

  • enemy movement loop

  • collision detection with the player

  • life loss after collision

  • player reset after damage

Problems Found

  • The enemy initially moved off the platform.

  • The player sometimes lost more than one life from a single collision.

  • The first enemy position made the level too difficult for a new user.

Changes Made

  • Added left and right movement boundaries.

  • Reset the player to the start after collision.

  • Moved the enemy further into the level.

  • Reduced the enemy speed after user testing.

Evidence Collected

  • screenshot of the enemy position

  • short video of enemy movement

  • code showing enemy data

  • test table for enemy collision

  • user feedback about difficulty

  • notes explaining changes made after testing

This gives the project a clear development trail.

Personal Reflection: This Is Where Students See the Difference Between Animation and Interaction

Students often enjoy this stage because it looks more exciting. Enemies move. Hazards travel. The player has to react.

But the most important lesson is not animation.

It is interaction.

A moving enemy is not just a picture sliding across the screen. It has rules. It has limits. It changes direction. It affects the player. It changes the difficulty of the level.

This is a powerful idea in Computer Science.

The game becomes a system of interacting objects.

The player, platforms, enemies, hazards, collectables and finish point all have relationships with each other.

That is why a simple 2D game can become such a useful programming project.

It gives students a practical way to explore logic, data, testing and design.

Final Thoughts: A Level That Feels Alive

By adding enemies, moving hazards and advanced interactions, the platform game begins to feel much more alive.

The player is no longer just travelling through a static route.

They must watch, time, avoid, decide and react.

That makes the game more engaging.

It also makes the project stronger because the student can show more advanced programming ideas: lists of enemies, movement limits, collision consequences, timers, state variables, user testing and difficulty balancing.

The key is control.

One well-designed enemy is better than five unfinished ones.
One moving hazard that works reliably is better than a whole level full of broken ideas.
One carefully tested interaction is better than a long list of features that cannot be explained.

A good A Level project is not about adding everything.

It is about choosing the right features, building them properly, testing them carefully and explaining the decisions clearly.

In the next article, we can look at menus, lives, scoring, high scores and the wider game structure that turns a playable level into a more complete game.

07 August 2026

The Air Freshener That Vanishes: Observing Sublimation and Deposition

 


The Air Freshener That Vanishes: Observing Sublimation and Deposition

Most students learn the familiar sequence of changes of state:

solid -> liquid -> gas

Ice melts into water. Water boils or evaporates into water vapour. Cool the vapour sufficiently and it condenses back into a liquid.

However, not every substance follows that familiar route under ordinary laboratory conditions. Some solids can change directly into a gas without first becoming a visible liquid.

This process is called sublimation.

The reverse process, in which a gas changes directly into a solid, is called deposition:

solid -> gas = sublimation

gas -> solid = deposition

A coloured block of solid air freshener provides a particularly memorable demonstration because it does more than show a change of state. It also reveals how sublimation can separate one substance from another.

The coloured block gradually disappears, yet the material that collects on the cold surface above it is white.

Where has the colour gone?

That simple observation opens the door to discussions about particles, intermolecular forces, mixtures, purification and industrial chemistry.

An Important Safety Warning

This is not an experiment to attempt at home.

Heating solid air freshener considerably increases the amount of vapour released. Some solid products contain harmful substances, and suitable demonstrations must therefore be performed in a functioning fume cupboard or with another properly assessed method of containing the vapour.

The demonstration should be carried out by a trained teacher or technician using an identified product, its current safety data sheet and an appropriate institutional risk assessment. Eye protection should be worn, and the solid should be handled with suitable tools rather than directly by hand.

Gel air fresheners are not suitable because they do not behave in the same way as the solid blocks used for this demonstration. The Royal Society of Chemistry recommends this as a teacher demonstration and specifies a fume cupboard because heating can cause potentially harmful concentrations of vapour to build up.

The Basic Demonstration

The apparatus is conceptually simple.

A few small pieces of a suitable coloured solid air freshener are placed in the bottom of a glass container. The container stands in a warm water bath at a temperature above approximately 45 C.

A second glass container containing ice is securely supported above the air freshener. The cold container must not touch the solid sample, and the entire arrangement must be stable.

The warm water gently heats the solid air freshener. The ice provides a cold surface on which the vapour can deposit.

The Royal Society of Chemistry uses this arrangement specifically to show a solid changing directly into a vapour and then returning directly to the solid state on a cold surface.

What Should Students Observe?

The experiment requires patience. It is not necessarily an immediate, spectacular reaction involving flames, flashes or sudden colour changes.

Instead, students should watch for several gradual but scientifically important observations.

1. The coloured block becomes smaller

As the air freshener is warmed, material leaves its surface. The block slowly shrinks.

It may look as though it is simply “vanishing”, but matter is not being destroyed. Its particles are escaping from the solid and entering the gas phase.

2. No pool of liquid appears

This is the essential observation.

If the air freshener were melting, students would expect to see liquid collecting around the remaining solid. Instead, the solid becomes smaller without producing an obvious liquid phase.

The change is:

solid -> gas

not:

solid -> liquid -> gas

3. A solid deposit appears on the cold surface

The vapour rises through the container and reaches the ice-cooled glass above it.

The colder surface removes energy from the vapour particles. They can no longer remain in the gas phase and form a solid deposit.

The change is:

gas -> solid

This is deposition.

4. The new deposit is white

This is often the most surprising part of the entire demonstration.

The original air freshener may be blue, green, pink or another strong colour, yet the solid deposited on the cold glass is usually white.

The coloured dye has not travelled with the main subliming substance. It remains behind because it is a separate component of the mixture and is not sufficiently volatile under the conditions used.

The experiment therefore demonstrates both a change of state and a simple method of separation.

Why Does the Solid Sublime?

The particles in a solid are not completely motionless. They vibrate around relatively fixed positions.

When the solid is warmed, its particles gain energy. Some particles at the surface eventually have sufficient energy to overcome the attractive forces holding them within the solid.

They escape directly into the gas phase.

The energy change can be represented simply as:

solid + energy -> gas

Sublimation is therefore an endothermic process because the substance absorbs energy from its surroundings.

The water bath is important because it supplies heat gently and evenly. It avoids the intense local heating that could occur if the glass container were placed directly over a flame.

Increasing the temperature also increases the rate at which particles escape from the solid. This is why a warmed block disappears more rapidly than a block left at room temperature.

The RSC suggests that, where safely possible within the fume cupboard, a separate sample can be left at room temperature so that students can compare the rates of sublimation.

Why Does Deposition Occur Beneath the Ice?

After leaving the warm solid, the vapour particles move through the space inside the apparatus.

When they strike the cold glass, energy is transferred from the particles to the cooler surface and its surroundings. As their kinetic energy decreases, attractive forces can hold them together again.

A new solid forms directly from the gas:

gas -> solid + energy transferred to surroundings

The ice-filled container is sometimes described as a simple cold finger. In more advanced laboratory equipment, a cold finger is a cooled surface designed to collect vapour as a solid or liquid.

The position of the deposit matters. Students should notice that most of the solid forms on or close to the coldest region rather than being distributed evenly throughout the apparatus.

This provides evidence that temperature influences where deposition takes place.

Where Has the Colour Gone?

The colour has not been destroyed.

A coloured air freshener block is a mixture. It contains the substance responsible for the main solid block together with relatively small amounts of dyes, fragrances and possibly other ingredients.

The dye gives the original block its appearance, but it is not necessarily chemically bonded to the substance that sublimes.

When the block is warmed:

  • the more volatile solid enters the gas phase;

  • the less volatile dye remains behind;

  • the vapour reaches the cold surface;

  • the purified substance deposits as a white solid.

The experiment is therefore similar in principle to separating a solvent from a dissolved solid by distillation. The difference is that this separation involves a direct solid-to-gas change rather than boiling a liquid.

The white deposit is powerful evidence that the colour was produced by a separate component of the mixture.

A Physical Change, Not a Chemical Reaction

Students sometimes assume that heating automatically means that a chemical reaction has occurred.

That is not necessarily true.

In this demonstration, the substance that leaves the original block forms the same substance again on the cold surface. Its state and physical location have changed, but its chemical identity has not intentionally been changed.

This is a physical change:

solid substance -> gaseous substance -> solid substance

There is no requirement for new chemical bonds to form between different elements, and no new compound needs to be produced.

The apparent disappearance of the block should not be confused with burning. Nothing is being deliberately combusted, and no flame should be involved.

The Experiment as a Purification Technique

This demonstration is more than an unusual example of the particle model. It also shows how chemists can purify substances.

Suppose a solid contains:

  • a substance that sublimes readily;

  • a second substance that does not sublime at the same temperature.

Heating the mixture allows the first substance to enter the gas phase. The non-subliming impurity remains in the original container.

The vapour can then be collected on a cold surface as a cleaner solid.

In simplified form:

impure coloured solid -> vapour + coloured residue

vapour -> purified white solid

The Open University’s practical material similarly describes coloured air freshener producing a white crystalline collection because the dye does not sublime with the main substance.

This is a useful bridge between school-level changes of state and more advanced ideas about separation and purification.

What Is Actually in the Air Freshener?

The composition of commercial products varies, which is one reason teachers must identify the product and check its safety information before using it.

Some solid products historically used for this demonstration contain 1,4-dichlorobenzene, also known as para-dichlorobenzene. Its formula, 

C6H4Cl2

However, it would be unsafe to assume that every solid air freshener contains the same substance. Product formulations can differ, and suitability must be established from the label and safety data rather than appearance alone.

The RSC identifies some products containing 1,4-dichlorobenzene as suitable while also classifying the material as harmful and dangerous to the environment, requiring handling in a fume cupboard.

Questions to Ask During the Demonstration

A strong practical lesson should do more than show students something unusual. It should encourage them to explain what they are seeing.

Useful questions include:

Before heating

  • What do you predict will happen to the block?

  • Will it melt, burn, dissolve or disappear?

  • Where might any escaping material go?

  • Why has ice been placed above the sample?

During the demonstration

  • Is there any evidence that a liquid has formed?

  • Where does the first visible deposit appear?

  • Why is the deposit forming on the cold surface?

  • What is happening to the particles in the warm solid?

  • Why is the original block becoming smaller?

After the demonstration

  • Why is the collected solid white?

  • What evidence suggests that the original block was a mixture?

  • Is this a physical change or a chemical change?

  • How could the demonstration be used as a purification method?

  • What variables could affect the rate of sublimation?

Turning the Observation into an Investigation

Because of the hazards involved, students should not independently alter the apparatus or repeat the procedure themselves. However, they can still analyse teacher-collected data or observations.

Possible variables for discussion include:

Temperature of the water bath

A warmer bath would generally increase the rate of sublimation because more particles would have enough energy to escape from the solid.

Surface area of the air freshener

Small pieces have a greater total surface area than one large block of the same mass. More particles are exposed at the surface, potentially increasing the rate of sublimation.

Distance to the cold surface

Changing the distance could affect how much vapour reaches the cooled region and where the solid is deposited.

Temperature of the collecting surface

A colder surface may collect vapour more effectively because particles lose energy more rapidly when they collide with it.

Time

Students could examine how the amount of deposited material changes over a fixed period.

These extensions allow the demonstration to support discussions about variables, fair testing, evidence and experimental design without encouraging unsafe unsupervised work.

Common Misconceptions

“The solid has evaporated”

Evaporation normally describes particles escaping from the surface of a liquid. The starting material here is a solid, so the appropriate term is sublimation.

“The white material is frozen air freshener”

The phrase is misleading because the substance has not necessarily passed through a liquid state and frozen. It has deposited directly from vapour to solid.

“The ice has turned the vapour white”

The cold surface has not bleached the dye. The main subliming substance and the dye have been separated because they have different volatilities.

“The missing colour has been chemically destroyed”

The dye largely remains with the original material. Its failure to appear in the deposit is evidence of separation, not necessarily decomposition.

“No liquid means nothing has happened”

A gas can be difficult to see. The solid deposit above the sample provides evidence that material travelled through the apparatus even though the vapour itself may not have been visible.

Wider Examples of Sublimation

Sublimation is not limited to laboratory air fresheners.

Dry ice

Solid carbon dioxide changes directly into carbon dioxide gas at normal atmospheric pressure. It does not form a pool of liquid carbon dioxide under ordinary classroom conditions.

Snow and ice

Snow can gradually disappear on a cold, dry day even when the temperature remains below its melting point. Some water molecules escape directly from the ice into the atmosphere.

Freeze-drying

Food and biological materials can be frozen and placed under reduced pressure. Water is removed by sublimation, helping preserve the material without conventional heating.

Purification of solids

Chemists can use controlled sublimation to separate a volatile solid from less volatile impurities.

Vapour deposition in industry

Related deposition processes are used to create thin coatings and specialised materials in electronics, optics and manufacturing. The classroom apparatus is extremely simple, but the underlying principle has significant industrial importance.

Why This Demonstration Is So Memorable

I particularly value experiments in which a small visual detail forces students to rethink what they thought they understood.

At first, the shrinking block is interesting. The absence of a liquid is puzzling. The appearance of a solid above the sample provides an explanation.

Then students notice the colour.

That white deposit turns a straightforward change-of-state demonstration into something much richer. It shows that the original block was a mixture and that physical properties can be used to separate its components.

It also reminds us why practical science matters.

A diagram can show an arrow from solid to gas. A textbook can define sublimation in one sentence. Neither has quite the same impact as watching a brightly coloured solid slowly disappear and reappear somewhere else as a white crystalline deposit.

The experiment gives the particles a story:

  • they gain energy;

  • they escape from the solid;

  • they move through the apparatus;

  • they lose energy at the cold surface;

  • they assemble into a new solid;

  • they leave the dye behind.

Conclusion: Matter Has Not Vanished

The sublimation of solid air freshener is an excellent example of how a modest-looking demonstration can reveal several important scientific ideas at once.

It shows that:

  • some solids change directly into gases;

  • gases can change directly back into solids;

  • heating increases particle energy;

  • cooling encourages deposition;

  • commercial products may be mixtures;

  • substances can be separated because they have different physical properties;

  • sublimation can be used as a method of purification.

Most importantly, it challenges the idea that every solid must melt before becoming a gas.

The air freshener has not vanished. Its particles have moved, changed state and collected in a different place.

And the missing colour provides the final clue: sometimes the most interesting result is not simply where a substance goes, but what it leaves behind.

How do I a Feel about Air Fresheners.

After doing this experiment in the lab -I don't use air fresheners at home - I wonder why?

06 August 2026

From Teacups to Tornadoes: The Science of Vortices and Turbulence

 


From Teacups to Tornadoes: The Science of Vortices and Turbulence

Stir a cup of tea and the liquid does not simply travel around the spoon. It curves, spirals, climbs slightly at the edges and forms a small depression near the centre.

Watch water flowing around a bridge support and you may see swirling eddies forming downstream. Look behind a moving boat and its wake becomes a complicated mixture of waves, bubbles and rotating water. On a much larger scale, clouds spiral around powerful weather systems.

These examples are enormously different in size, speed and energy, but they are all connected by the same broad area of science: fluid dynamics.

The mathematics of fluid dynamics can become extremely complicated. However, the basic behaviour of fluids is highly visual and can be investigated using bottles, water, food colouring, cardboard, ribbons and a fan.

The central question is:

Why do smoke, water and air form vortices instead of simply travelling in straight lines?

The answer reveals why aircraft leave dangerous wakes, why racing cyclists follow closely behind one another, why ships and cars are carefully streamlined and why a small change in the flow of water can eventually reshape a riverbank.


What Counts as a Fluid?

When we hear the word fluid, we often think only of liquids. In physics, however, both liquids and gases are fluids.

Water is a fluid.

Air is also a fluid.

So are oil, blood, steam, petrol and the gases moving through an aircraft engine.

A fluid is a substance that continually changes shape when a force is applied. Unlike a solid, it does not retain one fixed shape. It flows around obstacles, fills containers and responds to differences in pressure.

This means that the air moving around a car and the water moving around a boat can be studied using many of the same physical principles.


Fluids Can Move in Straight Lines — But Usually Something Disturbs Them

A fluid can move smoothly in a nearly straight path. In carefully controlled conditions, neighbouring layers may slide past one another with very little mixing.

This is called laminar flow.

Real fluids, however, encounter walls, corners, rough surfaces, changes in temperature and objects placed in their path. Different parts of the fluid begin moving at different speeds or in different directions.

A layer of water touching the wall of a pipe is slowed by friction. Water closer to the centre may continue moving more quickly. Air flowing over the surface of a car is slowed near the body while the air farther away moves more freely.

The thin region in which the speed changes from almost zero at the surface to the speed of the surrounding flow is called the boundary layer. Depending on the conditions, this layer may remain relatively smooth or become unsteady and turbulent. It may also separate from the surface, producing a larger wake and increased drag.

Once different regions of a fluid begin moving at different speeds, the flow can curl, stretch and rotate. Small disturbances may fade away, but under other conditions they grow.

That growth is the beginning of a fluid instability.


What Is a Vortex?

A vortex is a region of rotating fluid.

It does not have to be a dramatic tornado-shaped funnel. A small rotating eddy behind a stone in a stream is also a vortex. So is a smoke ring, although in that case the vortex is shaped like a three-dimensional ring rather than a vertical spiral.

Vortices frequently form because one part of a fluid is moving faster than another. The faster layer pulls on the slower layer, while the slower layer resists. This difference in speed is known as shear.

The boundary between the two regions can begin to roll up, producing rotation.

Once formed, a vortex can:

  • travel through a fluid;

  • stretch into a longer, thinner structure;

  • combine with other vortices;

  • break into smaller vortices;

  • transfer energy from one part of the fluid to another;

  • gradually disappear as its organised motion is converted into heat.

This is why turbulence often looks like a complicated collection of spirals within spirals.


Laminar Flow and Turbulent Flow

Laminar flow is smooth and organised. Fluid particles follow relatively predictable paths, with neighbouring layers moving alongside one another.

Turbulent flow is irregular and constantly changing. It contains eddies and vortices of many different sizes.

It is tempting to describe laminar flow as “orderly” and turbulent flow as “random”, but turbulence is not completely without structure. A turbulent wake may contain repeating patterns, spinning regions and recognisable instabilities.

The difficulty is that these patterns interact with one another. A large vortex may stretch and break into smaller vortices. Those smaller vortices may divide again, transferring energy to progressively smaller scales.

Eventually, viscosity converts much of that organised motion into thermal energy.


The Reynolds Number: Predicting the Type of Flow

Scientists and engineers use a quantity called the Reynolds number to compare the effects of inertia and viscosity.

It can be written using standard text characters as:

Re = (rho x v x L) / mu

where:

  • Re is the Reynolds number;

  • rho is the density of the fluid;

  • v is the speed of the fluid;

  • L is a characteristic length, such as the diameter of a pipe;

  • mu is the dynamic viscosity.

A low Reynolds number generally indicates that viscosity has a strong stabilising effect. Disturbances tend to be smoothed out and laminar flow is more likely.

A high Reynolds number indicates that inertia is more important. Disturbances are more likely to grow, and separation, vortices and turbulence become more likely.

The Reynolds number is dimensionless, meaning that it has no unit. It allows engineers to compare flows involving different sizes, speeds and fluids. However, there is no single Reynolds number at which every flow suddenly becomes turbulent. The transition depends on the shape of the object, the roughness of its surface and the disturbances already present in the fluid.

This is extremely useful when testing models. Engineers can use water tunnels or wind tunnels to investigate a smaller version of a much larger object, provided that the important flow conditions are properly matched.


Practical Investigations

Experiment 1: Create a Vortex in a Bottle

You will need

  • Two clear plastic drinks bottles

  • Water

  • Food colouring

  • A bottle-vortex connector, or strong waterproof tape

  • A tray or towel

Method

Fill one bottle approximately three-quarters full of water.

Add a small amount of food colouring so that the movement is easier to see.

Connect the empty bottle securely above the filled bottle. A purpose-made connector is best, although the bottle necks can be taped together very carefully.

Turn the apparatus over so that the water-filled bottle is on top.

First, allow the water to drain without deliberately spinning it. Air attempting to enter the upper bottle will interrupt the falling water, often producing a slow, uneven “glugging” flow.

Repeat the experiment, but this time move the bottles in a circular motion before holding them still.

A vortex should form.

What is happening?

The spinning water moves around the outside of the bottle neck while air travels upwards through the centre.

The funnel is not empty. Its central region contains air and lower-pressure rotating fluid.

The vortex creates a more organised route through which water can move down and air can move up. This often allows the bottle to empty more smoothly.

Turn it into an investigation

Measure the time taken for the same volume of water to drain:

  • without spinning;

  • after one circular movement;

  • after several circular movements;

  • with different bottle openings;

  • with different quantities of water;

  • with water thickened slightly using glycerine.

Keep everything except the variable being tested as constant as possible.


Experiment 2: Build a Vortex Cannon

A vortex cannon creates a pulse of air that rolls into a travelling ring.

You will need

  • A sturdy cardboard box or large plastic container

  • Strong tape

  • A circular hole cut into one side

  • Lightweight paper cups, ribbons or hanging tissue

  • Optional cool theatrical fog or humidifier mist

An adult should cut the opening and check that all edges are safe.

Method

Seal the box so that air can leave mainly through the circular opening.

Point the opening towards a lightweight target, such as a stack of paper cups.

Strike the flexible sides of the box sharply with both hands.

A pulse of air will travel across the room and may move or knock over the cups, even though there is no obvious continuous wind.

To make the ring visible, a small amount of cool fog or humidifier mist can be placed inside the box.

Do not use burning materials, direct the cannon at anyone’s face or deliberately inhale fog or smoke.

What is happening?

When the box is struck, air is forced rapidly through the circular opening.

The air near the centre of the opening moves forwards quickly. At the edge, it rubs against the surrounding stationary air. This shear causes the edge of the air pulse to roll backwards and curl into a ring.

The result is a toroidal vortex — a rotating doughnut-shaped structure.

The air inside the ring is continually circulating, allowing the vortex to remain organised as it moves across the room.

Questions to investigate

Does changing the following affect the range?

  • The diameter of the opening

  • The size of the box

  • The strength of the strike

  • The distance from the target

  • A circular opening compared with a square opening

A smartphone recording in slow motion may reveal the ring stretching, wobbling and eventually breaking apart.


Experiment 3: Watch Laminar Flow Become Turbulent

A simplified version of Osborne Reynolds’ famous flow experiment can be constructed using transparent tubing.

You will need

  • A clear plastic tube

  • A water container or reservoir

  • A funnel

  • A clip or tap to control the flow

  • Food colouring

  • A syringe or dropper

  • A collecting container

Method

Arrange the tube so that water can flow steadily from the reservoir into the collecting container.

Begin with a very slow flow.

Introduce a thin stream of food colouring close to the entrance of the tube.

At low speeds, the colouring may remain as a narrow line for some distance. This indicates that there is little mixing between neighbouring layers.

Gradually increase the flow rate.

The coloured line should begin to wobble, spread and eventually break into irregular patterns.

What is happening?

At low speeds, viscosity can suppress many small disturbances. The flow remains comparatively stable.

As the speed increases, the inertial effects become more important. Small disturbances grow and the dye becomes mixed through the water.

This experiment also demonstrates why “turbulent” does not simply mean “fast”. Speed matters, but so do the tube diameter, fluid density and viscosity.


Experiment 4: Investigate Vortices Behind Objects

When a fluid passes around an object, the flow may separate from its surface. Rotating regions can then form in the wake.

You will need

  • A long transparent tray

  • Water

  • Food colouring

  • A dropper

  • A cylindrical dowel

  • A flat strip of plastic or card

  • A spoon or streamlined object

  • A smartphone capable of slow-motion recording

Method

Fill the tray with a shallow layer of water.

Place a small drop of colouring near the object being tested.

Move the object steadily through the water, keeping its speed as constant as possible.

Record the wake from above.

Repeat with objects of different shapes.

What should you look for?

Behind a blunt object, the flow may separate and form alternating rotating regions.

Under suitable conditions, vortices are shed first from one side and then the other. This repeating pattern is called a Kármán vortex street.

Theodore von Kármán analysed the alternating rows of vortices that form behind broad-fronted objects in a fluid stream.

NASA flow studies around cylinders also show periodic vortex pairs being shed downstream under particular flow conditions.

Compare:

  • a cylindrical object;

  • a flat object facing the flow;

  • the same flat object turned edge-on;

  • a rounded or streamlined object.

The size of the wake provides a useful indication of the amount of energy being left behind in the fluid.


Experiment 5: Make Airflow Visible with Ribbons

Smoke is not essential for investigating airflow. Lightweight threads can provide a safer and simpler visual indicator.

You will need

  • A desk fan

  • Short pieces of wool, ribbon or lightweight thread

  • Cardboard shapes

  • A plastic bottle

  • Tape

Method

Tape rows of short threads to the surface of the object being tested.

Place the object in front of the fan.

Observe the movement of the threads.

When airflow remains attached and reasonably smooth, the threads should point steadily downstream.

Where the flow separates, the threads may flap, reverse direction or move irregularly.

Try comparing

  • a curved surface and a flat surface;

  • a smooth surface and a rough surface;

  • different angles to the airflow;

  • a blunt leading edge and a rounded leading edge.

This is similar to the use of tell-tales on sails. A sailor does not see the airflow directly, but the behaviour of the threads reveals whether the flow is attached or separating from the sail.


Experiment 6: Observe Convection Patterns in Water

Not all fluid movement is produced by stirring, pumps or fans. Temperature differences can also create motion.

You will need

  • A clear heat-resistant dish

  • Water

  • Food colouring

  • A dropper

  • A mug containing hot water, or a low-temperature warming pad

  • An ice cube in a sealed small bag

  • A tray to catch spills

Method

Fill the transparent dish with room-temperature water.

Warm one end gently by placing a mug of hot water beneath it or by using a suitable low-temperature warming pad.

Place the sealed ice cube at the opposite end.

Add a small drop of colouring near the bottom of the warmed region.

Watch the coloured water rise, spread across the surface and eventually descend as it cools.

A second colour can be added carefully near the cold end.

Do not use an open flame, and avoid boiling water.

What is happening?

Heating causes a region of water to expand slightly and become less dense. It rises.

Cooler, denser water sinks and moves in to replace it.

This produces a circulating convection current. The same basic process occurs in the atmosphere when the Sun warms the ground and the air above it begins to rise.

The resulting pattern may initially appear smooth. If the temperature difference becomes greater, the movement can develop plumes, waves and irregular instabilities.


Why Vortices Form Behind Objects

Imagine water approaching a cylinder.

The fluid must divide and travel around both sides. Near the surface, viscosity slows it down. Farther away, the water continues moving more quickly.

After passing the widest part of the cylinder, the fluid attempts to follow the surface around the back. It may not have enough momentum to do so.

The boundary layer then separates.

A low-pressure wake forms behind the object, and the separated layers begin to roll into vortices.

Frequently, one side becomes slightly stronger than the other. The first vortex is shed downstream, changing the pressure around the object. A vortex then forms on the opposite side.

The cycle repeats, producing an alternating wake.

These repeating pressure changes can push the object from side to side. At certain frequencies they may cause cables, chimneys, bridge components or other structures to vibrate.


A Personal View from Sailing

One reason I find fluid dynamics so fascinating is that it turns ordinary observation into practical science.

When sailing, the air around the sails cannot be seen directly. Instead, we watch the tell-tales. When they stream smoothly, the airflow is behaving as intended. When they flutter, lift or reverse, the flow may be separating.

The water around the hull, centreboard and rudder is equally important. Every unnecessary splash, large wake or swirling trail represents energy that has been transferred from the boat into the surrounding water.

Even the river itself is full of fluid-dynamic clues. Water accelerates through narrower sections, curls around moored boats, forms eddies behind pontoons and becomes disturbed where different currents meet.

A sailor may not solve the full mathematical equations while on the water, but sailing constantly teaches the practical consequences of pressure, drag, lift, separation and turbulence.

In that sense, every sailor becomes a working fluid dynamicist.


From Small Eddies to Hurricanes

The vortex in a cup of tea and the circulation of a hurricane are not identical. Their scales, energy sources and controlling forces are very different.

However, both involve fluids moving around a centre.

Hurricanes are rotating weather systems driven by interactions between warm ocean water, moisture, convection, pressure differences and the rotation of the Earth. Their circular structure is associated with air moving around a low-pressure centre.

This demonstrates one of the most powerful ideas in physics: the same broad principles can appear at many different scales.

A small tank experiment cannot reproduce every feature of a storm, but it can make particular processes — such as rotation, convection or mixing — visible and understandable.


Why Vortices and Turbulence Matter

Weather and climate

Atmospheric circulation transfers energy and moisture from one region to another. Convection produces rising air, clouds and storms, while rotating systems can grow into large weather patterns.

Forecasting these systems requires extremely powerful computer models because small changes in atmospheric conditions can grow and interact.

Aircraft

Aircraft wings produce lift by changing the motion and pressure of the surrounding air. At the wingtips, pressure differences contribute to powerful counter-rotating vortices.

These vortices contribute to induced drag and can remain in the air behind a large aircraft, creating a potential hazard for aircraft following too closely.

Sailing

Sails and keels work as fluid-dynamic surfaces. Their performance depends on maintaining useful flow while controlling separation, wake formation and drag.

The disturbed air behind another boat can reduce the quality of the wind reaching a following competitor, while disturbed water can affect control and speed.

Blood flow

Blood normally flows through much of the circulatory system in a predominantly laminar or pulsatile pattern. At branch points, narrowed arteries, damaged valves and aneurysms, the flow may become disturbed or transitionally turbulent.

These patterns matter because blood flow produces forces on the cells lining the blood vessels, and medical imaging can be used to investigate unusual circulation.

Rivers and erosion

Vortices can lift and transport sediment. Around bridge supports and other obstacles, local acceleration and rotating flow can remove material from the riverbed.

This process, known as scour, is an important consideration in bridge design and river management.

Industrial mixing

Factories need to mix liquids, gases, powders and chemicals efficiently.

Turbulence can improve mixing by bringing different regions of a fluid into contact. However, creating turbulence requires energy. Engineers therefore have to balance rapid mixing against electricity use, heat production and possible damage to delicate materials.

Cars, cycling and swimming

A large turbulent wake usually represents lost energy.

Car designers aim to control separation and reduce the size of the wake. Cyclists reduce air resistance by riding behind one another, while swimmers adopt streamlined positions to minimise the energy transferred into turbulent water.

Energy efficiency

Fans, pumps, pipes, turbines, heat exchangers, aircraft and boats all move fluids.

Poorly controlled turbulence increases noise, vibration and energy loss. In other situations, deliberate vortices can improve mixing, heat transfer or combustion.

The goal is not always to eliminate vortices. It is to understand when they are useful and when they are wasteful.


Turbulence Is Not Just Disorder

Turbulence is sometimes described as chaos, but it is more useful to think of it as structured complexity.

There are patterns, but they continually change.

There are rules, but the outcome is highly sensitive to the starting conditions.

There are large vortices containing smaller vortices, which may themselves contain even smaller ones.

This combination of recognisable structure and unpredictable detail is what makes fluid dynamics so challenging — and so visually compelling.


Conclusion: The Hidden Spirals Around Us

Fluids rarely move through the real world without encountering obstacles, temperature differences, friction or changes in pressure.

These influences produce differences in speed. Different speeds create shear. Shear can produce rotation, and small disturbances can grow into waves, eddies, vortices and turbulent wakes.

The same broad physics helps us understand:

  • the spiral in a bottle;

  • the ring from a vortex cannon;

  • the wake behind a bridge support;

  • the fluttering tell-tales on a sail;

  • the airflow behind an aircraft;

  • the movement of blood;

  • the erosion of a riverbed;

  • the circulation of the atmosphere.

Fluid dynamics reminds us that some of the most advanced scientific ideas are already visible in ordinary life.

The next time you stir a cup of tea, watch a stream passing around a stone or see clouds curling across the sky, look carefully.

You are not simply watching water or air move.

You are watching energy being transferred, instabilities growing and some of nature’s most important patterns taking shape.


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