Magical Experience Vol. 2: learn advanced card magic & my personal favorites | Tim Domsky | Skillshare

Magical Experience Vol. 2: learn advanced card magic & my personal favorites

Tim Domsky, Close Up Magician / Filmographer

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31 Lessons (2h 2m)
    • 1. The Magical Experience Vol.2 : advanced card magic & personal favorites

      2:29
    • 2. Necessary Tools

      2:27
    • 3. Card Principle: The Cull

      4:52
    • 4. Card Effect Nr. 1: Frixion Fire

      3:46
    • 5. Explanation: Frixion Fire

      8:24
    • 6. Card Principle: The Double Lift (1st Version)

      5:22
    • 7. Card Principle: The Double Lift (2nd Version)

      3:07
    • 8. Card Effect Nr. 2: The Ambitious Card

      2:46
    • 9. Explanation: The Ambitious Card

      10:52
    • 10. Card Effect Nr. 3: Spectator finds the aces

      2:14
    • 11. Explanation: Spectator finds the aces

      3:39
    • 12. Effect: Special Scent

      2:16
    • 13. Explanation: Special Scent

      6:20
    • 14. Card Effect Nr. 4: Travelling Ashes

      1:29
    • 15. Explanation: Travelling Ashes

      3:04
    • 16. Coin Effect Nr. 1: Imaginary Selection

      2:23
    • 17. Explanation: Imaginary Selection

      6:38
    • 18. Coin Principle: The Classic Palm

      3:31
    • 19. Coin Effect Nr 2: Pen and Coin

      1:15
    • 20. Explanation: Pen and Coin

      7:22
    • 21. Effect: Crazymans Handcuffs

      1:30
    • 22. Explanation: Crazymans Handcuffs

      2:29
    • 23. Flourish: Card Spring

      3:42
    • 24. Flourish: Card Dribble

      4:11
    • 25. Flourish: Card Throw

      3:16
    • 26. Flourish: Charlier Cut

      3:12
    • 27. Flourish: Swivel Cut

      1:27
    • 28. Flourish: Coin Roll

      3:49
    • 29. Performance Theory

      7:18
    • 30. Book Recommendations

      4:56
    • 31. Conclusion

      1:30

About This Class

Hello again! Welcome to my 2nd Skillshare Class on advanced card magic and some of my personal favorite effects. In this course I will teach you a lot of card sleights that you can use for a multitude of effects with just a deck of playing cards. You will also find magic effects with everyday objects that require a small amount of practice but are very practical an also inexpensive to buy. You will learn how to vanish ink from a card, let spectators find one of the best poker hands and predict a specific scent they are thinking of.

This Class is suited for everybody who is interested in more advanced card principles to achieve many different impossible card effects. It isn’t mandatory to have watched my first class on sleight of hand magic, but they are sleights that you will need to perform some effects and they are not taught in this class. This is why it’s best to study my first class.

The magical Experience is divided into 30 individual lessons that showcase the sleights, the performance of the effect in front of a spectator and the explanation of how the magic effect is achieved. Furthermore there are slow-motion clips for every effect, so that your learning experience is even better! They clarify the finger positions and showcase the workings of the effect from start to finish.

I have also included a section that discusses the performance in front of a spectator. What to look out for and important psychological aspects, when to direct the attention of the spectator to the effect. In addition to that you will find book recommendations that will help you even more in progressing in the art of magic. 

I hope you will take a look at it and start learning right away! If you have any questions or find anything that is not understandable to you, please do not hesitate and ask me. I will help you with any problems that can come up. Also please review and rate my class and tell me on what I can improve on. I've spend a lot of time and effort on it, so that you will have a completely new experience in learning magic tricks. It is very intuitive, easy to understand and has lots of content at over 1 hour running time! So sit back and enjoy the magical experience.

Affiliate links to the books:

Stars of Magic : https://amzn.to/2E5O1Lx    

Card Control : https://amzn.to/2SX2Bza

Stock footage by : cutestockfootage.com

I hope to hear from you !

Tim

Transcripts

1. The Magical Experience Vol.2 : advanced card magic & personal favorites: way, way. Welcome to my second school share class on my personal favorite effects and advanced card handing effects, one of my passions of minus card magic. That's why this course will focus on card slides, advanced card slides on principle you can use to make up your own effects. You will also get to learn different effects with other objects that I love to perform. For example, with rubber bands and with coins again, you will get to learn to very, very good and very practical coin effects and also one effect that's going to involve sense . I'm excited to be teaching you flourishes and fancy cuts and fancy things you could do with cards and coins so you can show off in front of your spectator if you want to. You might have seen them in my first class, but I didn't teach them, so I'm not going to miss it here again. It isn't mandatory to have watched my first class on sleight of hand card magic and sleight of hand magic, but there are a few principles that are not taught here, but that I used those effects that I will teach so you should be studying my first class and then come back to this one. And for my class project, I invite you to perform the effect in front of a webcam or for a friend and from yourself while doing it. You can then upload them and showcase your skills and your inventions with us. I can learn from them as well, and maybe can give you tips so we can performed the effect as best as possible. So I guess there's nothing left for me to say that to rep your cards. Rep your coins. Let's get started learning and performing these amazing magic effects again. There are my personal favorites, so I hope you will enjoy it. Oh! 2. Necessary Tools: I think so. This is what you need for the course. They are a few things that you already remember from the 1st 1 For example, the deck of playing cards, the bicycle brand or any brand, but you will use them heavily, so get a new one. You will learn three or four effects just with a deck of playing cards. We can put them in your pocket and be ready at any time, then business cards. I use my business cards, but you don't have to use business cards. You can also use blank pieces of paper just to write a predict prediction on for the friction for the fire effect. And then you will need a poster pet it Z note posted pad. You can get them from Amazon. They're very cheap. Just get a few of them so you can prepare three or four effects again. That's where you can make up your own effects. Are you spices and sense? You don't have to use spices. You can write down anything you convey down movies or superheroes. Whatever you want to. Then I have a Sharpie, a Sharpie marker for to write on the card on the blame playing cards because the spectator will sign playing cards and it's best to use like a Sharpie or ending marker so the writing will stick to the card than a pilot. Friction pen. That's, Ah, pen that reacts to heating and you can get them very cheap. Pilot friction pen. Very cheap in at an office supply store and again, just a regular lighter. And Lippo don't ask me why. I will explain later, but you will need lip balm. Any brand of lip balm is fine. It doesn't. Doesn't matter again. Some coins. Just use any coins Bitcoin small coins or your currency or foreign currency. I'm using foreign currency. I'm using half dollars and for the crazy man's handcuffs, affect two rubber bands. Two rubber bands like this. That's for my faith. One of my favorite effects. The crazy man's handcuffs. I think you can by more than one pair you can buy 10 or 20 of them. Maybe if they break you can. You can get to use them again or use other ones, but that's everything you need for this course. 3. Card Principle: The Cull: The first car principle that you will learn is the call. The color is a way off controlling your car to a specific location. We needed a to least two effects. So get your cards and the way it's going to work is the spectator will name a card out of the spread. You will spread the cards like this and the spectator will name a card. For example, the six of spades. He will sign the card and you will control to the top because you needed to be at the top for the car. Change that I will teach you later, After he signed the card, you will maybe blow on the cart and say, OK, the ink doesn't give off that it doesn't go off and then just spread through the cards. Show him that that is the only card now with his signature on. And now you've controlled the card to the top because in the action off, let me get the six of spades again to the middle of the deck in the action off, showing the six of spades and blowing on it. Going like this, saying okay, it doesn't get off eye contact with the spectator. The ink does get off. You do this, The thumb touched us. The six of spades, the selection from the spectator and the card next to it or right next to it to the left or to the right. Depending on when you're if you're left handed person or right handed person and you will touch with the right some, he will touch the cart next to left next to the selection and the selection so that you have them like this. This is the six of spades in the seven of hearts and underneath the spread. That's where the action ISS happening. You will use this some I know this is middle finger to push the selection. That's the selection of six of spades, six of spades to push the selection flush with the deck so that it's not in the spread anymore. It's not in the spread, its under the spit. So every card that you spread after that this going beneath the six of spades beneath the selection so that in the end the card will be at the top. I will show it to you again. You have the six of spades he signs it, you blow on it and show them the card. That's when you, when the some touches the car next to it and the selection. And then that's when the middle finger pushes the cart. The middle thing is just it's like it's pushing back. It's closing almost and touching nothing but the selection. So let the spectator saynt blow it and then say, OK, that's the only card with your name and then do the action. If you do it without moving the spread, it looks like the six of spades is just vanishing like this. That's not good. You don't want that. That is why you have the cars like this. And then you push the spread to the right like this and then pull the car to the bottom and then immediately spread its one action. And that's how the call and general works. You can also control the car to the bottom to the top, depending if the cards are face up or face down. So there's a lot of variations and a lot of variety. With the coal. You can also call multiple cards. You can call four cards. That's what you will learn a major way 4. Card Effect Nr. 1: Frixion Fire: the Let's take a look at the first effect. The business card fire effect. I have my partners, Justus. Last time. Beautiful human being un Castine with me. Of course. Of course. Have you been? Yeah. You want to shuffle cards? Of course. Who doesn't want to shuffle cards? Yeah. Nice. Good job you've learned from the last time. Have you seen my course? Of course. So you will make a prediction here. That's for later. It will make it conscious. And an unconscious decision. We're gonna explain later. So you've shuffled the cards pretty well. I mean, they're pretty mixed. Not the same cards. 52 different cards, every single cars there. Right. Okay. But I want you to do is Teoh. Take the card, But don't look at the other side. That's a prediction. Just push the cart anywhere you want to into the cards anywhere. Okay. Are you sure you want to put them there? You can also change your mind and put them anywhere else. You know I can't see it, but it doesn't matter. Yeah. You want to put in there. Okay. You have another decision. You can It's gone. You can You've put the card between two cars. You can have the card above or below the business card. Which one do you want? The 1st 1 The first decision was unconscious. That's a conscious decision above. So let me just get that you don't want this car. Do you want this card? Right. Okay. Can you please just I'm gonna help you Here, take a look at the card above the business card showed to the camera. I'm gonna look away and remember the card. Okay. And then just put the card back anywhere you want to, so I can't see any anywhere, anywhere. Okay, so now please take out the prediction. I don't want to touch the prediction. I haven't touched the prediction since, Right. Okay. Would you be impressed if your card is on that prediction? Yes. Okay. It is nice. Look at it. There's pretty much every card on there, so I have correctly predicted your card. What was the name of record the three of hearts? Three or parts? Let's take a look. I think it's somewhere somewhere here. Right. Well, it's It's It's hard to see. That's just Let's just do it for the camera or can you hold your hand like this. Okay? I'm just gonna No, that's fine. I'm just gonna go like this. 10 wind hurts and with a little bit of magic doesn't hurt. No, in front. You said the three of hearts, right? Oh, God. Three for its Everything else is gone. Just the three of hearts remaining. Amazing. Okay, that's the business fire. A card effect. 5. Explanation: Frixion Fire: way through this explanation for the business fire effect. I forgot to tell you that you will need another ballpoint pen to match the ink off the friction pen because that would react Street that one doesn't. So you need one friction pen and one simple normal ballpoint black in Japan, and you can also use flash paper for the reveal. I use it often, but flash paper you can't like by flash paper from anyway, you have to buy that a a magic store or online, but the effect is much better because get this So that's what I used to get the effect. But if you don't have it, just use the lighter and reveal like this. But if not, I will link the websites weakened by them and the preparation you have to do. You have to choose one card. I chose the three of hearts, I think, three of hearts. That's what I use to ride with the bowling pin. I ride with the ball ink pen, ballpoint pen, the three off hearts like this. So I have the business card with the normal ballpoint pen ink that doesn't go away. That doesn't react to heat so it will state because that's the card we need to. We need her to see in the end. And then I use the friction pen to write all kinds of other cards so that there are a bunch of symbols, a bunch off a bunch of names, no names on a bunch of a bunch off numbers so that she can't. She doesn't know which one is which. And that's your prediction that you have in the beginning, on the table or anywhere. And then you can let her shuffle the cards and then call the card out like you've learned before. Or if you don't want to toe let her shuffle and have the extra phase off the extra preparation off calling the car because that could be maybe two suspicious. You can already start with the card with. You can already start with the three of hearts in the fourth position from the top. So I'm gonna be, actually, if I do it, if I choose to call the card, I would tell her. Okay, every car is different. And there I called the card that easy. No, I have the card on top. Sometimes you're more lucky than other times, but you can just show her the cards. Everything's every single car is different. And then when you see the three of hearts right there, you just make eye contact. Try to direct her attention to you and to what you're saying. And then you can call the cart and you need the card at the fourth position. So what you do is you take those three cards in the end and then you clamp down so that the few of hearts gets put under the three cards like this. So now the fourth card, Mr Three of Hearts. But like I said, that's more advanced. I'm going to show it to you again later. But you can also just start with the three of hearts in the fourth position and tell her to put the card, the business card, anywhere that she wants you. Then she does that anywhere. That was her unconscious decision because she just put it anywhere she wanted to. And now she can decide if she wants to put the card above or below the business card that's are out. That what? Which selections? Where she wants to have, she can choose the card above the business card or below the business card and she will say a buff. So I have to call start calling the card the fourth card while spreading because that's the fear farts the selection that needs to be placed above the business card. I look for the business card until I find the business card, and that is the card above with business card. But that's not her selection, but I need to make it the three of hearts this election that I want her to pick. That's why I have toe push or after push down on the business card and push down on the left side so that the three of hearts when I square is directly above the business card. So when she now spreads the cards because I'm going to give her the cars, then after that again if she if she spreads the cars again, three of hearts is above the business card, and if she says below, there will be the kind of the same thing. I would again call the fourth card like this, then spread until I see the business card and then spread more like spread the business card even more so. It's under the three of hearts there, and then all I have to do is close the spread and then everything's ready for her to check . She can then spread the cards, take a look at the card below a few of hearts, show it to everyone, and then I have her take the business card and reveal it, and it gets left because she thinks, OK, that's hey, stupid. You just wrote down every single card that's not magic on. That's when I show her. Okay, take the card. You can either reveal it with the business card face down. So she sees it after you done the light, the light of thing after you let the business card with lighter, or you can have her hold the business card. And then just I would like this so that she sees that everything disappears. It's your choice. You can do it visually or just have her hold the card face down. I also do it both ways, so it depends on what you want. What you feel like you think is a better way to reveal it visually or just wait for the moment happened. Wait for her until she turns the card over. But that's the effect. The business friction fire. And then you have a great suit. Of course. Yeah. I literally give the 10 things away at every gig, so way , - way , way. 6. Card Principle: The Double Lift (1st Version): way. Now I will teach you one of the most versatile cock principles in card magic. A double lift. I will teach you two ways how to perform double lift. The 1st 1 is the easy one and the secure one. The other one. You have to practice a little bit, but it's without preparation. You can say you do conduct on the fly. So for the 1st 1 you have your cart on second from top that you want to show. Basically, the double lift in general is that you show to cards for one like this. So you showed to one card. But it's actually actually two carts. That's the double lift in general. And the way we do it, we are going to learn. It is. You will start with the cards and mechanics trip, just like normal. You know the mechanics group, of course, from the first class, and you will push to cards over like this with your thumb. So you have two cards now pushed over. This means that your pinky is under the second card and the pinky now has to push up against the second card from top so that it touches the second card and then so that there's a little gap. Then you push the cards back with the thumb like this, but the pinky states in the same position. You can't see it from here, but from here I have a break between the two cards just like this. So now I have a break between two courts. Now comes the turnover that was to get ready for the double of. Now comes the turnover. How you turn the two cards over. There are millions of ways to do that. You can do it like by turning, but it's a little bit more difficult. You can just could use another finger to turn them over. We're going to do it in a simple way. We're just going to take those first finger and the thumb. Take the two cards under the break there, take the duke, are two cards and slight them like this on the side of the deck so that they would stay together. This will ensure that they won't split that the two cards won't show as to, but that would just be one card, and you can also tell the deck down a little bit so that you conscripted to cards on there . But it's like you're opening a book, like turning the page just like that. And then you can show the cars the four spades, and then you can do the same thing of turning them over. But you need toe. At first, you need to establish a break again after turning them over. What I do is I stepped them to the top a little bit like when I turned them over. I turned over like this so that there is a little bit of room there, and then when I push with the first finger, I push it like this. I pushed down on the two cards so that I have the break again, both the two carts. And then I can take them again with the two fingers and then turn it over again so I will show it to you. The first is to get ready. First, move you. The thumb pushes to cards. The pinky pushes against the second card so that there's a break created and then the thumb pushes back. Then you have the break between two cards and then you take the thumb and the first finger and turned over like this stepped to to to the front a little bit so that the first finger off the right hand can push and the pinky can get under the two cards so you can separate the two cards from the break from the deck. The two cuts from the deck again, and then you can take them again and turned them over the way, way. 7. Card Principle: The Double Lift (2nd Version): the way the second left. Did you learn? It's going to be the snap double lift. You have to do this action. You have to learn this. The thumb right? Some riffles down the end, the top end off the cards, and you have to riffle off two cards. That's the first action to cuts riffing off two cards. You have to practice that. Just do it and just try riffing off card singly. And when you riffle off two cards just like this, the thumb bends those two cards just like that, so that there's a bow between the cards dead. And then the first finger gets under the two cars under the boat and the some kind of it's It's hard to explain, but the some pushes down on the two cards. This thumb pushes down on the two cards and these three fingers they relaxed so that this happens. You see the cards. The double is perfect just for you to take turnover, and then you have the double, and you can also do this the same thing for turning it over again. Just riffle, too. The Spectators won't hear that because you're doing it while you having a conversation so that they won't you This clicking sound that you have two cards, but just do this. Two cards. I have two cards. I bend the cards. I put my first finger in there and then relax those fingers and pushed down with the thumb so that I have double again and turning it over. That's the more advanced way, but it's a very, very good double lift and actually my first double if that I learned. And it's very convenient because you don't need to get ready only toe move with. It's very, very, very quick. You can just while talking to this, that's it. And then just talk to them again and then again, so very, very convenient. Very simple, but not easy way way. 8. Card Effect Nr. 2: The Ambitious Card: we owe I ready for the next effect. Yes. Okay. There's next effect is called The ambitious card effect on. It's gonna take a while. So long. Affect three phases. Can you at first just name any card on any card that you see here, the two off space, the two of spades. So this cartoon, you please sign your name on the card so that we know there's only one card with her autograph with her signature. I'm going to sell it on eBay. And you know that that's only 12 of spades Now, there are no other cards. I can't duplicate it, right? I mean, I could try, but it's not gonna work. And you know what happens to this card now on this card is ambitious. I know it's not on the top yet because you didn't say its name. You can just take it, take it between your hands and say your name. My name? Yes. And why should that e can turn the card over? Yes, it's your card. So whenever she calls her a card, it's gonna appear it's it. Let's try this again. I'm going to take your two of Speight's like this, and I'm gonna leave it sticking out like that. Okay? I'm gonna make a fan. We're gonna push. Can you push the cart in all the way like this? Do that Perfect? No, that's what When you were there, when did this happen? I don't know. But let's Let's try one more thing. I mean, you call that you called your card. Let's do this. Let's bend your card. Yeah, like that. So it's really bent so you can see that. Sure. There's a pretty big bend in the card. Yeah, Everybody can see that. I'm going to take the cards and put them there. And now on the police. Call your card. Did you see that turnover? The tooth fits. That's the souvenir for you can keep that car. It's a very beautiful Yeah, sure. 9. Explanation: The Ambitious Card: Let's explain the ambitious card effects. Three phases. You learned the card call, and you learned the double lift that I used in this effect. There's one more thing that I will explain while during the whole effect. One move. The first thing is like I said, she names any card in the spread. I'm spreading through the cards and she names two of spades. I give her the card or letter, assign it here. And then I tell her that there's only one card with her signature and in that action and she says, Okay, yeah, that's only one card with its minutes. It's unique, so it can't be anything, and she wonders how that could be possible, and she thinks about it so she doesn't pay attention to the deck of cards. That's when I call the cart to the top. You want to call it to the top so that it is on the top now and then you will do the double lift. I did the snap double because I didn't have to get ready just on two cards. Snap turned over, I say. So that's not your card because it's it's now unique, but it answers to your called answers to your name. If I take the 10 off clubs, that's not one should happen. But let's do it again. 10 of clubs. If I take a 10 of clubs like this and you hold it and you say your name, say your name. He turned over and it's her card. So in that action, you just do a double lift. You countdown to cards you turned over. You say it's not your card, then turned over again. Give her not the 10 of clubs, put her card, and then you have to put in some time this direction like 10 15 seconds and save her. Okay, You have to say your name once, twice, three times. And then then she turns it over answering woo. Okay, Because if you if you would turn the card over and then immediately like if I do this for show her the 10 of clubs and then immediately turned that over, she can figure out how it works. You can figure out Oh, you must have turned to cards over as one because it was so close to the deck. You need to separate the card from the deck and separate the time from doing your move. So 10 15 seconds, three beats and then just review it. It's the perfect time. The second phase. I have the card here on top, and then I buckle one card. How do you do that? You do it with your first finger. And the thing is, you just push the first finger in so that this happens that the cards get bent at the bottom Here, I can see that. And I'm doing that with with with one. You can also use more than one. But I'm just bending one. And then I'm gonna put my pinky above that one card so I can have a break above that card. So now you have a break above the bottom card, and then you take the whole thing, the whole pinky break and the card face up with your, uh, thump and your second finger like this. So now you have everything. You have the pinky break. I don't know if you can see that. Probably not, but I have pinky break here. I have the card on top and then I do. A swing cut swing cut goes like this you take your first finger and just break off half of the cards just like that, and then take him into your right hand. Then I have the card here. I'm gonna turn it over. I'm gonna push the some would push the cart to the left with the some turn it over and then push it out. And while I'm doing this, I'm leaving the card there. I mean, the normal action would be this. You have the card here, you show it and then push it out like this and then show it again. But you are loading one card on top off the card. So she thinks she's going to put her card inside of the cards instead of the fat. But she's not. You're not turning the card over and then dropping it. It's one movement. You're you're turning it over and then pushing it to the front. And then you have to because I loaded the card on there. Then you have to immediately after, after pushing the car to the top, turn your wrist like this so they don't see that there's a card above there. Then you show them the card. Push it in and then she will think it's her card still, but it's not. It's a different card, and then you supposedly put that card in the middle. You say to her Push the card in. Meanwhile, you do that. There's some people that will notice instantly, and some people will be like, OK, I have to look at the cards now. I have to see it so you don't don't say anything just like my MIT and be like OK, Mm. And until they look up after, like, 30 seconds, I've had people that would be like, not noticing anything. And then after 30 seconds, it would be like, Oh, that's your card. OK, so that's a very, very good and very surprising effect. That's the second face and the third face. While she's laughing and doing anything on pushing the two cards over. That's her card and just any card below. I'm pushing the two cars over, and I'm taking the second card just like that and putting it on top so that her card is second from top. When you have that, you take a break like this, you push like you learned to cards over so that you have a break between those cards and then you take them with the second finger and with the thumb like this. And then I showed her and say, Okay, now we're going to something that we're going to bend the card like this so that she doesn't see that there's actually two cars. That's why I keep them moving and keep saying Okay, I'm gonna bend those two cards and then I'm going to put them on the deck like this. I'm gonna take half here and half you and push what she thinks is her card on the other part. But that's not her card. That's the other the second card that we also bent. But it looks like it's her car because it has the bend in it. And then I put the cards on top. I know that the her car this year, and I have to hold it between the thumb and the second finger so the bow and the car doesn't show, and when she says her name, I just let go. And then this. This visual effect starts to happen when it's it seems like it's jumping to the top, and then I can just let her take the card, turn it over and then she sees her card, and that's That's the effect. That's the ambitious card effect, the three face and business card effect. It's pretty long, pretty complicated. But when you get it down, yeah, it's everything. It's like the car jumps to the top than the car changes than the cars in my mouth. And then the card, like, visually, appears. So that's pretty much something for everybody. So you will enjoy way, way, way, way, way, way. 10. Card Effect Nr. 3: Spectator finds the aces: this is going to be a affected. You can perform for force for three Spectators for Spectators is fine. But since we don't have that many Spectators here, we need to do it with one. But it's a very good effect if you're in a group. Okay, do this. I'm going to You would ask the three or four Spectators to just say stop whenever they want as you deal down the cards. Okay, So I'm gonna deal those cards down, and you're just going to say stop at any point that you want to here. So you get the next card. Please don't look at it, but that's your card to put there. I'm gonna do it. And then you say, Stop again. Stub. Okay? She's going to get the next card. I'm going to keep on dealing, and she will say, Stop at any point that she wants to. Okay. She would get the next one and one last time. Can you do it? Okay, Last card. So And if you would say stop at another point, that point you would get this card or this card. Those cards are all different, right? So I didn't influence you in where you want to say, Stop. It was your decision, right? Good. So let's start taking a look at these cards that you picked. You picked the ace of hearts. It's just it's just one card. So let's take a look at the second car. Ace of diamonds. Pretty good. Pretty good. What about the next one? Ace of spades? And, of course, the last card. The ace of clubs. So four aces. That's a good poker head. So we could start playing right now. Here, right? Yeah. Let's go to it. I'm gonna fold. Oh! 11. Explanation: Spectator finds the aces: So that's explained the four aces effect. Yet, Like I said, do it with four Spectators. It's the best. You have the four aces prepared on the bottom of the deck. You can shuffle riffle shuffle like this, coming to keep the four cards at the bottom, or just come out like that with the cards. And you can also do, Ah, another shuffle that's called milk shuffle. Will you take the cars from the bottom and from the top? So the bottom cards stayed the same pretty much. But you don't have to do that. You can just come out with the cards and you bevel the dick like this to the rights of that . They're beveled, and that's why you take the cars to single cards from. But you need this bevel to hide the four aces because that's the bevel you need, and the bottom cards are. The ace is, and the first thing you do after building them. And after explaining to them what's going to happen, they will choose the car. They will say, Stop at any point. While you're explaining that your roughly estimating four cards can be five, it can't be three, but it has to be at least four, so four or more is perfect. And then you just say, OK, that's 45 You take those, separate them from the bevel Tech and then just push him under the dick. So now it looks like a bevel deck, just a normal better deck. But underneath are the four aces that you will grab whenever they say stop. So right now I'm taking from there. See, I'm taking the cards from the right and whenever she says, Stop, say stop, I take this one. I'm cheating. I'm sorry. Okay? Again, I'm taking from there and then and it looks the same from from the top, you can, you can tell, just say stop again. Stuff looks the same. It looks like it's coming from the same place, and that's the important thing. And the last time, stuff like that and then everybody has its is his card, and they are not supposed to look at it. But then everybody will turn the cards over and then they will see. Oh, so that's a very fun effected before I like way 12. Effect: Special Scent: way. Welcome to a special scent. That's a very, very nice effect that I enjoyed very much. I have a no pad here with me. I know if you can see them. Take a look. I wrote spices and sense on the A Spices and sense on the posted pad. Basil, I think. What do I have here? I have ginger, lavender, lemon, coconut, orange, coffee line, vanilla Mellon, tobacco, everything. And I want you to pick one randomly by just going like this, putting the finger anywhere and then just peaking. Just peek at the scent. Remember it. I'm gonna turn away and then we'll see what happens. I stick my finger. Yeah. Take a look. Do you see it? Do you know what it is? Yeah, You can show it. Show it to the camera. We're gonna look away. A promise. I didn't see anything. Okay, you have it. OK, now you could have chosen any one of those, right? But just imagine that you're close your eyes. No, no, nothing's gonna happen. Close your eyes. Keep them closed and just think off the scent. Just think of nothing but the scent. Just how would it smell? And How would it just do you? I know what you use it for. Like the Christmas time and some stuff. Just take a deep breath with your nose. Do you smell anything? Yeah. What do you smell? Cinnamon wasn't cinnamon job, so yeah, that was it. Just a magic trick in your mind. 13. Explanation: Special Scent: thesis special sent. One of my favorite effects, like every effect, is my favorite effect. So yeah, Like I said, you will need a post it note a Z pad posted. Note this thing and she's already seeing the secret. Oh, Theo. Good thing is, when you have ah z posted note pad you have you're using, like, a like a flip chart, like a foot book. You can just go through everything. But there are two sides and one side has I brought every single kind of spice that I know just rode them down. So there's a lot of variety, and she sees everything, and she knows them. And on the other side, I wrote cinnamon every single time Cinnamon, cinnamon, cinnamon, cinnamon. It's an easy secret, but it's such a great effect. So this is basically what you have. You have a double sided, double sided forcing pad. So there you have cinnamon and there you have the others. Okay, so get get one of those, get 10. Just do anything. You don't have to use spices you can use. Like I said, superheroes, movies, dishes, jewelry. I don't know anything. Numbers. You can do it, dude, with numbers with names, But I chose spices because I have the slip all and it's empty. I emptied it out and cleaned it, and then so I can transport it. I put cinnamon in sight. It's very simple. You can do anything. I mean, you can. That's like my kind of way to transport it to carry it. But you can see Smaltz. It's mounts like cinnamon and you have this there. You do the action. You start by showing her every single cent is on there. No. And she has to pick one with this finger thing. And she sticks it somewhere and then looks at it and then close it because she can't go through like this because you're not showing her the site with the every single spice because after showing it to her, I just casually turn it. She didn't notice the turn, so it's I mean, it's also it's natural. It's like you just have to turn it. You show it to her, then you just put down. I just talked to her for, like, 12 minutes and then do it again. And then she has to do this action. She has to put her finger somewhere here in the middle, then peek down on it and then she will course peak cinnamon. So then I tell her, I just think of cinnamon. Just think of the spice. Close your eyes so that she can remember the scent, How it smells. Because sometimes I mean, it makes sense. You just satar, when you're hearing stuff and you're seeing stuff, you get distracted. So if you just concentrate on one cent or in one sense, then it's easier to imagine everything. And when she's closing that I take out this. I just put this take this off and just keep it like this here. Then I said, OK, close your eyes and then just try to smell the scent to try to smell what it feels like. And then you can reveal something like, Oh, you use it in Christmas time, right? Get closer and closer to her nose, and then she will breathing. Can you smell it now so you don't have to get that close. But then you're like, OK, so what does it smell like? And then she says, Cinnamon. Then you ask. You can tell her What was it that the send that you picked up that you saw thought off and she says yes. And that's the effect. I mean, second effect that happens. That doesn't even happen. It happens in her mind like, you can't really put it into one category. Did you do something or didn't you? Because she closed her eyes. That helps you with the effect with the thing. But it also it also hides the fact that she did anything that you did anything to make the effect happen. But what do you do? What is there? No spices on them. But maybe movies you consummate. That's right. Uh, that's just like one way of doing it. That's what I thought of you can. Maybe when you're doing it with movies, you could, I don't know. You can play like the soundtrack of the movie. You can just have your like your iPod with ear buds. And if they choose, like Harry Potter, you can just turn on the sound track of Harry Potter and just put it in her here. So she hears it. It's like just that's on top of my head. Just think of anything, but that would be the first thing if I do it with movies just like the sound, track or pictures. If you have pictures from movies like you, write down the movies there, then print out pictures of the movies, then just show where the one picture she closes her eyes and put the one picture. Or she describes one situation, and then she opens her eyes and sees the picture in front of her. So she knows it's this morning, so you can really do anything you can think of anything and anything that comes comes to your mind. Use every sense you smell. Use touch if you do it with a fabric. If you do it with with stuff, you can also do it like this. So she touched it, touches something, and she knows that's like certainly, or send something, anything that's very good. And it goes beyond the principal off. Just Oh, she thinks of this and I know what you're thinking. It's with more than one sense, and it's very, very awesome. You can really do anything. Just come with anything. I'm really gonna enjoy what you came up with, so we're That's the special sent effect way 14. Card Effect Nr. 4: Travelling Ashes: traveling. And can you please Can you please touch any cart? I want the things card. Yeah. Okay. This one. Can you take a look at it? Remember it. Show it to the Children. We have to remember this. Okay, Okay. Put the card back. Anywhere. You maybe something. OK. And now I'm gonna just take I have Astra An ashtray. So that's No. No, I'm not. But it's true. Try and see that it's not working again. I don't know me to see that. Yes. See what? See what happens there. I know if you can see, but there's something Britain on my hand. Oops. Looks like the three. And in the diamond was your car that we have diamonds. Oh, there you can see it. Three of diamonds. I think it's mirroring. So I'm the devil. That's the effect called traveling ashes. 15. Explanation: Travelling Ashes: in what way? Perfect score traveling ashes, and you only need like a body lotion or lip balm. Lip balm is perfect because you can write with the lip on on your hand. That's how I got this. That's the preparation. I just drew a three and the diamond with the lip balm or just with a lotion or anything but Lipponen's best. And then you just let it dry. Maybe just for a couple of minutes. Then you couldn't walk around all day with it. And when you want to perform the effect, you can perform it. You just need to remember all which card they died right down there. You need to remember that I wrote down the three of diamonds, of course, and then I force the card on her. How do I do it? I do with the call force with the cold that you already learned. I have the card on the bottom of the deck, and when I asked her to select or touch any card, I'm doing this. I'm spreading. Then I'm coming back and slipping this card under the spirit. So now this is riding under the spread while I'm spreading the cards like this. The card is always at the bottom, and she can touch any cardinal touch, any card, this one. So she wants this one. This, of course, is not her card. That's not the card that I want her to take. But if I just square the deck now, see, that's like the card that you touched. If I just grab the deck, it becomes a card. So the only card she could look at now as my force, my selection, the three of diamonds Andi then the rest is just presentation. Just take ashes from anywhere. It's probably best if you do it at a bar where there are some ashes or someone who was smoking. Just take the ashes from the smoke and just rub it on your hand. And then this sign should appear, and that's pretty much everything. It's a simple, very, very simple effect, but the reaction that it gets it's so huge because it looks like the ink or the writing is just magically appearing on there. So maybe you should fill it because this looks like a doughnut. Maybe put some lotion here. That's good. Everybody likes don't way 16. Coin Effect Nr. 1: Imaginary Selection: through this effect is called the imaginary selection. Let's just imagine I have something in my hands. Can you hold in your hands, you both of your hands and put them on top of my hands like this? Okay. And now imagine that you're walking through a store through an antique store through a shopping mall, and you see an antique store and in the looking glass, like in the front, you see three different objects. You see a coin like an old antique silver corn with the guy just the silhouette of a guy. Then you see this ring, this golden ring engraved with initials and then you see, like a bracelet like very old wooden bracelets. Okay. I want you to just hold up or imagine that you take your right hand and just take one of the objects. Just try to take one of the one of the objects, but just in your mind. Which one did you take? I took the ring. Okay. Now you have one hand that's free. Take another object with the other hand. Which one did you have? The coin. Okay, so now look at both of those items. You have the what? The ring and the ring in the coin. Now you look to your right and I'm there, and I'm I'm, like, standing right beside you. And I'm like, give me one of those items. I want one of them for myself. You give me one. Give me the coin. You won't change your mind. No. No. So when you keep giving me the coin and keep the ring for yourself, Okay, so put the ring away. Just put them in your pocket so nobody sees. I have the coin left and I'm going, I'm telling you. Okay, so I have the coin, the antique silver coin. Give me your hands. And then the imagination turns into reality. And I have your chosen object in my hand. Yeah, that's imaginary selection. 17. Explanation: Imaginary Selection: way. So let's take a look at the explanation off the imaginary selection. You will need one object that you will predict you will force her to take that object. I will explain it. It's a basic principle called ECU a book, and there are a couple of ways that everything can turn out. But you have every single way in your mind. So you know what you have to say or have to ask her if she says this. So if she takes that object off, she takes the other object. Everything's planned. I chose the coin because I could hide it. That's this tank. I pinch you learned it in the first class and I'm going out like this and say, OK, just imagine that I have something here. I don't I do. But I say to her, I don't because she sees my both of my hands empty. But I say to her, Imagine I have something in my hands. Put your hands on top of my hands. Yeah, and then we'll do while she's doing it. I am like moving this hand to the other hand on top of the other hand and then just let go off the coin for the coin rests there, and I still hide it. And Saito, like in that action, she's doing this. Yep. Do it. And this is how it stays the whole time From there. I'm just gonna director with the words, and I go about telling her the story about She goes through a shopping mall and sees the antique store on through the looking glass. She has three objects. I chose a bracelet, a ring and a coin because they're similar in size, so you can also use a ring, maybe and tighten the ring if you want to reveal a ring after that. But if you want that and just use three similar objects but maybe different colors so that they fit into, like, an antique store, maybe use another store. I don't know. It's just in your imagination. So again you can think of anything. You don't have to use an antique store, and I say to her, it's a list would in real time again. You have for those three items. I try to explain every item how it looks, what's on the item so it could be everything. And then I say with your right hand. Take any item. So which items will take you chose Drink like let's do it again. If you can decide again just with your right hand. Take any item. Which one? The bracelet. Ok, I know it's not my item. I need her to take something with the other hand. So it makes sense like you would take something with this end and then with the other hand . So she isn't Maybe add suspicious or asking What's the next way? This could go. Which way could this election go? That's why. Immediately tell her. Okay. With the other hand to take another object. Which object did you take the ring? So now this is like different. What's what happened to the first time? So now the only object left is in the in the store. I would tell her now. Okay. So those are your objects that you wanted to take. Take them and put them in your pocket so nobody sees them. That's for you. That's yours. Now I tell her. Okay. I'm right next to her. You can say that from the beginning or say that just later. And I say OK, so the only object that's left for me is the coin. So you can spin it however you want to, you can make it about her or if she doesn't pick the coin for herself or the object that you forced. She doesn't pick it for herself making about you because you have it in your hands. But in the end, it all makes sense, even if it's her object, because it's her effect and she's the star off the performance. So that's why then I said, OK, so you left me with the coin. I'm gonna take the coin into my hand and I'm gonna make the imagination and reality. And then I just open my hands. She's gonna take her hands off mine. And then that's the reveal. If she it's do it another way, you will take another object like you have the coin in your hand and the ring, right? Was it? And you give me one object. Which object? Would you give me the ring? So you give me the ring and you're left with the coin, so I can say, OK, I can take the court. I can take the ring into my pocket. I'm gonna keep it from me as my secret does my little secret. And she has the coin. And now I will say to her, Okay, I'm gonna put my hands on top of your hands and I'm gonna make the imagination of reality, Then reveal the coin again. So it's either way. Either She has the coin and we're both going to put their hands together and then reveal the coin. Or she gives them the coin to me, which also makes perfect sense, right? And then I reveal, because she gave it to me. And the best scenario, of course, is if she's standing in front of the store and just three object objects. And I say to take one of the objects and she takes the ring, that's perfect, because it's like, the perfect choice. I don't have to say anything. I just have so Okay, take the ring put in my hands, Then the eminent imagination becomes reality. And that's a yet okay, doesn't matter. But the car the force object that you have, why did you talk German? And then you just revealed the fact that you have it. That's the perfect ending for that. But even if it doesn't work out that way, every ending makes sense. And that's what ECU a book is about. You have an out for every way. If she takes this one, you know. Okay, I have to ask her that if she takes, gives me this one. I have to say to her, Okay, put that in your pocket and those other three ways everything could work out. So review the video again and let's let let's go through the ways it could go out. Or it could It could end again. And then you know what you have to say what you have to do, what you have to tell her, depending on what she's choosing, and that's everything way. 18. Coin Principle: The Classic Palm: now I will teach you the classic poem technique. It's a technique to hold out a coin so that the hand looks anti, but you have a coin hidden, and it's a very free poem, so you can have a lot of control of the other fingers. But you still have a coin hidden here, and it's health by the some. The muscle off the thumb and pinky they squeeze together so that the corn doesn't fall. It's a very light grip. It's not a strong group, so that it looks cramped, just normal grip. And that looks like it's an empty hands and the way to get into the classic promise to just put the coin in the head. But maybe if you would just want to perform and you just take it out of your pocket, you need to put it into the classic poem, and that's the way to do it. You have the coin between or on the second and third finger. Yeah, third and fourth finger, right set forth the middle in the ring finger, and you turn your hand like this and push the coin into the palm. Push it in with those two fingers. And then, absolutely, you've pushed the push, the coin in this muscle and the on, uh, pinky. It takes over so that it's helped by those two. At first it was just the two fingers that press against the palm. But then, as soon as the some on the pinky coming, they take over, and now it's held by those but the muscle. That's pretty much it. You just practice it every day you need toe. Have at least are. It's best to have two coins and both poems and this poem ended the other palm and then just walk around the whole day. Just walk around with the coin and classic poem. That's the best practice, and just try to do anything. Try to pick up stuff. Try to pick up anything your phone or something while you're having the coin in your hand. Then you start forgetting that you have according your hand, and it looks more natural, and it always looks natural when you haven't been. Having something in your hand always looks like it's empty, but the corners their hidden that it's the classic form. That's what you will use for the next effect way 19. Coin Effect Nr 2: Pen and Coin: This next effect is called pen into coin. Of course, I have a pen here, but where did the coin and no, maybe you Okay, Strange, right? You know what? You can just I mean, this coin doesn't fit into the pen care, right? It doesn't, but things you can just take it and just make it disappear like this. Do you hear it? You just Do you hear that? There's something inside, if you actually look to hear it. Look, that was coin. Amazing. Okay, let's do to get on three. Okay? You come with me. 123 What was the pen? Uh, okay. But now let's make the coin vanish. It's not there. It's going. Let's just get rid of the corner pen. That's the effect 10 and the coin. 20. Explanation: Pen and Coin : I think this is the explanation for the pen and cooling effect. You start with one coin in classic poem position and of course, it's holding a pen. So it looks like you have nothing in your hands, just a pen and another hand. But you have it in your poem, and then you say, Okay, this effect is called the pen and the coin. I don't know, just make up anything and then just make the coin appear. You can do it like this like I did. This is pretty much the action, just producing it. And the way you do it is you have. It's kind of the reverse action off getting the coin into the poem. You have it in classic poem. You have those two fingers that take the coin gets dropped. So it's on there. Just just relax the muscle. Just relax the muscle of your thumb so that the coin can drop. Yeah, like this. And just relax the muscles. So it's on those two fingers. And then after you did this, you could just open your hand in any way. I just I mean, when stare, just make it appear somehow and then you have the coin appear and then you do the striking bench. That's what it's called. You used to pen to tap the coin a couple of times, and then the coin vanishes like this. It's in your other hand, and it's a very Naqi move. You have to practice it. A lot of times you're basically throwing the coin into your hand and you can't do it slow. You have to do it fast and it's in the section off. You can't do it slow. It's just happens quick. Um, again. It had once, twice, three times, and on the 3rd 1 kind of grabbing it out of the area. Just you like scooping it from there. This hand does like a jerk motion to the back so that it jumps into the other hand, and the other hand is trying to catch it. And together it's not working together. It's this, so just practice it hundreds of times, and eventually you will get it to work like this. Then you show the hand and the other hand puts the coin to classic poem. Then you sell. The coin is gone. Where is it? You showed this hand free say, Oh, here it, maybe it's in there. Then you take off the pen cap and when you take off the pen, cap the hand with the coin, opens the pick pen cap and drops the coin onto this hand. But in the action, you don't see it because you're like doing this. And then the spectator sees this hand free so they don't know where the corner start on this end, on the other hand, and then you can reveal it. Look OK, so now let's repeat everything again. I have the striking vanish. I've made the coin disappear. I have it in my classic Paul. I say it was there something inside? Can you hear something? I come with the hand with the coin hidden. I drop the coin in this hand coverage like this so that the spectator can't see. Then I opened the pen cap and say, Oh, maybe it's inside of there. Meanwhile, it iss in finger palm, in the other hand, holding the pen. And then I say, Hold out both of your hands like this, and then I just make it a few. It's just simply opening those two fingers like this. So that the coin falls doing this striking vanish, I show I say, OK, I admitted. I opened the pen cap. Can you pull up both of your hands? And then it's just This looks like it comes from the pen cap. It doesn't really. But the Illusionist, quite good. And then the last faces this. Everybody is now looking for the coin to disappear. And now we're doing the the disappearing coin again. Or were saying that we will do it again. And I'm I'm saying, Okay, on three. Will you count with me? And on three, I will put it into there so that it's there. And then I come down with my hand like this, like, OK, where's the pen? Then? I say, there is the pen. That's the misdirection to ditch this coin. I go like this. I turn my body so that they only see the pen. Meanwhile, I just put the coin in my pocket. Just put it in my pocket. Then I come out with the pen and the sends empty, but it's like it looks like there's something in it. That's why I'm and then I go like this. Uh, now the coin is gone and it's like the ending, so they don't really know what's happening, like the one moment the corner school. And then they think the corn will vanish. But the pen vanishes and the coin manages and everything's crazy so that they can't really following this just magic, magic, magic. That's why I like this effect way, - way . 21. Effect: Crazymans Handcuffs: the way things crazy man's handcuffs effect. I have two rubber bands. Can you take a look at the two rubber bands? Their normal right? Pretty much. There's no holds or anything. No, not the big one there. Okay, I had to say that I had to say that No, but eso if I take these two rubber bands and put them into each other just like that, they won't come out right. I mean, there's no way for me. If I just twisted, there's nowhere to go. But if I find the sweet spot in the middle, it separates. She's seen the this effect for 1000 1000 times. That's why she's not impressed anymore. But can you put your hands like this like this, like this? Let's do it again. I will try to do this like that. I don't know if I could do it. So now I'm inside, right? I can't go out. Doesn't even matter how much I do this or this. I find I just have to find the spot in the middle. Then Oh my God, it's just a fun that effect. It's very, very impressive. You do it like for one person, and it's very hard to do it in front of the camera, but if you do it for one person, it's a very, very good effect. 22. Explanation: Crazymans Handcuffs: Okay, now let's take a look at the explanation is very simple. You have the rubber bands between the first finger and thumb like this. Then you put the one rubber band on the other side. You really are doing it. So it's not an illusion. It really is on the other side and you can't get out. You show them it's not on it. It doesn't work in this direction, this direction or in this direction. And while you're pulling it back into this direction, this is what's happening. You're pulling it back until the rubber band from the first finger switches onto this finger. Now it's on this finger, and now the first finger goes into the band again, and then you're free. But you're not doing that because that's not a magic effect. You do it in one movement. Through this, it's on there. And then why getting back? You go in and then do this again, because then it still looks like it still looks like it's on there, right? Still looks like it's threaded on there, but it's not, and then you do the same thing in her hands. Put your hands out like this part. Oh, perfect. I don't even have to do anything. And then you do the same thing. Put it into their to this and this. Then push back. It's on this finger, and then the first finger goes through and immediately goes back and then does this again. Then you can reveal way. 23. Flourish: Card Spring: uh, now, as promised, I will teach you some fancy things with cards and with coins you can do to show off your skills a little bit. And I'm going to start with one of the most difficult things the card spring this. You have to learn to develop a lot of strength with your hands to do that, because you need to bend. Whoops because you need to bend the whole dick like this. And the action is that you start bending the deck and the cards fall off your left thumb. This thumb into your other hand like this. That would be like one or two cards, but you're not doing it with a single cart. You're doing it in one motion with a lot of cards, and that's why you need to practice like bending the whole decade first and then releasing carts singly from the film. And when you can do that, then you can do with the whole action. But first practice doing just a few cards and holding the tension, and then you can do the whole deck. This pinky is important because this pinky holds the cards in place so that they don't fall off into your lap. But did you practice that in your bed or something? But you can just take every every single card and go again, not drop them on the floor, because they will drop on the floor. They dropped on the floor with me. I It took me like a few months to do that. So But this pinky is important so that nothing happens because that they stayed roughly in there. Same in the same space. And then you can start doing it's faster and you can fester, and then you have a leg float like a fluid motion off doing it like once. Then the thumb just has to go in one motion, and then you can start going higher or get more distance between the hands. Maybe you start like this, and then you get higher, more distance, been more distance and even more. But then, at some point the cards were full. But yeah, that's the card spring. A very, very beautiful technique. And the very, very skillful looks just like a like You're some car charco, some card player, way, way 24. Flourish: Card Dribble: my weight. Let's get into the car dribble. It looks almost like the card spring, but it's softer. It's easier to learn, and it doesn't make that much noise. It often looks beautiful. This so with the car trouble, you have the cards in this grip just like that. You have the ring finger on the top, left corner on the thumb and, uh, bottom right corner, and the other fingers are also resting on the deck, the first fingers resting on the top card and this finger. The middle finger can either be free or also next to the ring finger. And what you do then is you apply pressure like this again, just like in the car spring, but in a different direction. Applied pressure so that it bows the devils like this, and then what happens is again just is in the cards spring. The cards will singly fall off that, and it's important to know that the cards are not just falling off the thumb in the back, but also from the from the ring finger, because otherwise it doesn't really work. Otherwise, they will, like, follow up to the top to the front, so it's best to let them for from both fingers and then just again start with with just single cards just like that. And then you get faster and it gets more. It becomes a food motion, and then you can also start getting the distance doing this with separating the two hands from each other on. Then you can get very, very high. But again, it's more difficult to keep the cards in place. But that's pretty much the same learning curve as in the car spring. But you're doing it in the other direction this short again and again. It's those two fingers. Yeah, that's the card of dribble way, way, way. 25. Flourish: Card Throw: So, uh, now I'm gonna show you a simple technique on how to throw the cards in the air and catch them like this. It's very fancy. I'm gonna teach it to you like a real world example, because everyone can do it at the first time. It's very also mean, not catching it. But that's a very nice technique to to throw a card into the air. And I'm going to show it to you now. So you have the card between the first finger and thumb. The first finger has to go like this below the thumb. Like this. Yeah. So yeah, so that it's and you have to apply pressure. And in between those two fingers, you put the cart so that the card is that the first fingers on top off the card and the thumb is below there and the some kind off? No. Like this? Yeah, Perfect. The thumb kind of pushes the top third of the card up a little bit. Just a little bit. Yeah, perfect. And try to separate the other fingers for to do them to do it like this. And now the actual that you do with the other hand is just simply flicking. Try try to practice it with the other hand. Just this, like with force you have to put have pressure there. You put pressure on there. Yeah. Okay, So OK, so now let's see if it works. The only thing that you do is just see, see, It spins. Yeah. Then then you have to catch a But it spins. And that's like yet I took. I mean, with most people, that works the first time. So that's it. And then you just have to practice catching the card. And that's pretty much it. That stuff that's the so cool I'm gonna dio way . 26. Flourish: Charlier Cut: now I will teach you the Charlie Cut. It's a 100. Carter looks pretty fancy like this, and it's pretty practical because you can do it with one hand and the other hand could do anything else. Or you can do this with two ends, but you hold the deck when you want to do their Charlie cut in a different group. It's not the mechanics group. It's a straddle grip. Looks like this. You have the front end just with the first finger, the bottom and just with the pinky and the left side. Just with the second finger and the third finger. And the thumb can pretty much do anything. He has to move freely because he's separating the two packets. He's doing this action. He's separating the two packets from each other, and then the pinky just relaxes so that a pack it can drop into the poem. And when that happens, this pinky goes into the left side of just the top portion, and now this packet of sits freely here and it's not really touched by anything. And now this first finger also goes to the top, and now the first finger moves here so you can push the first packet until it's free. Now this packet is on the first finger, and the other packet that used to be the top packet is held by this by the thumb. And now the first finger that's holding it can relax. Then that's finished. Let me do it again. You start breaking off the haves, then the pinky relaxes so that it can fall. Then the first finger goes there than the first finger pushes so that it looks like a house . And then the other packet can fall on the finger. And then you just close it like this, and that's the fast motion doing it. And that's a pretty pretty good, pretty good standard cut with one hand. Very, very impressive, I think way. 27. Flourish: Swivel Cut: the swivel cut. You take your first finger of the right hand and it touches the bottom right corner off the deck, and it just swirls around this second finger and then into your hand. You start with the hand facing with the palm facing the spectator, and then you start rotating like this, this and then arise directly in mechanics script. And then you can just put the other half on top, and that's pretty much it. And and fast movement looks kind of fancy, and again, it's this finger that swivels way. 28. Flourish: Coin Roll: now that's learned the corn grow. One of my favorite moves very, very nice, very relaxing. I'm doing it constantly every day, and it's very Naqi, very hard to do it. But you just need to practice a lot. It's with everything. You just need to practice a lot of times, and at some point you will get it. You will start with the corn between those two fingers and start like this so that the Cohen pretty much sits on your some like that. And then you start bringing the coin to the first finger here, and then you push it until it falls by gravity onto this finger. Then the second finger moves up and takes a little bit just the edge of the coin, so that he also can move it. And then the first and the second finger are doing like the same motion to make it fall into the next finger. And then the same thing happens again. You take the third finger. That third finger grabs a little bit off the coin and again turns it so that it's false. And this last finger, the pinky takes more off the coin so that it can push. It's below the hand so that the sum can take it again into this position. And now everything is repeated, and that's how it pretty much works in slow motion. That's a little bit faster. And like I said, you start in this position and then bring to the first finger and make it fall. Then the second finger. It takes a little bit off the Consider. You can fall again, the third finger as well and the last finger. It takes a lot of it that will offer happen. A lot of the times takes more and then you can start again. You have to be careful not to, like, cramp up your hands and do it like this. Everyone in the beginning does this because I don't know. It's just hard. It's a different, difficult move. But it does look so good and it doesn't work as well. I think it's way better if you do it with relaxed fingers and just try toe. Just move the this part. It's just this basically, So try to relax and just practice a couple of times every day and at some point you were get the coin to fall, and then you will get faster and then we'll be faster. And at some point it would look like a few of fluid motion like it's walking down your fingers. That's the going way. 29. Performance Theory: Okay, now let's talk about Syria. Let's talk about audience management, how to direct the spectator's attention and how to manage your audience. The first thing that is important is that when you're talking to the audience, of course, look them in the eye when you're performing your effect and doing this all the time off course, the spectator will also look at the cards. That's why you have to mix the your gaze. You have to look at the spectator and then the right moments when they can look at the deck when it's actually important for them to notice how Frieder selection is when I'm saying take card, they know. Okay, it's a free selection because they can take any card. But then I also have to be OK. Take the card. Okay, take a look. Remember it? I'm looking away. That's what I always do. So I can't see anything. And when they put it back like this, I said you've picked any card, but you could have picked any single card out off the whole deck. And when I do the move when I control the card, I do anything because I have the card on the bottom, now is it? Of course, when I do this, you have to get into a conversation. You have to ask him in an important question so that he has to think. Or he or she has to think So. Did I have a free selection? She's asking herself that. So could I have picked another card? Didn't make a different. Was there anything funny about it? That's the moment where she looks into herself and doesn't notice what's happening here. And you have to encouraged that by not looking but not even noticing, just not even doing anything, just also trying to do the move, not by looking at her just doing it with no importance. There should be no importance at this moment when putting the card back. There should be no importance on the on the deck, but on her selection that she has to remember it that she must not forget it because that could screw the trick up. So that's the important thing. And you have to know when to direct the spectator's attention to the deck of playing cards , or what's what's important then and what's important for themselves. What's important for the effect of work because the effect happens in the mind of the spectator on Lee. If he knows that she could have put the card back anywhere or she could have taken any card , that's what makes the effect impossible. So that's one very important part and Theo. Others are also that you move when I'm doing the double lift and then turning it over. It's again when I turn it over. I try to look at her so that she doesn't see anything because you could see maybe two cards that are not aligned. Really. So I look at her and then I give her the card. And of course, some Spectators maybe look, want to look at it in an instant like right now. But that's why I try to. That's why I try to make eye contact with the Person Seok, Take it between your fingers, Okay? Do you know your name? And then I ask you a question. A question is always something that keeps them occupied. And if I do it in the right moment, if I'm scared that she might be like a spectator who wants to look at everything, they keep a hold of it myself, because I'm not sure, and that's also fine. But I always tried to be free and just give her every freedom that she that she has and just ask her a question. Make eye contact. What's your name? Just say your name three times, I think is very important to have eye contact so that you're attached to the person who is doing the magic for you and that you're not looking at the car or something. In the end, the most important thing is the spectator. You're doing it for the Spectator. You're not doing it for yourself. That's why you should try to involve the spectator or your friend anything as much as you can. So questions always also a good starting point. It's not very difficult to just start asking questions. Important questions are the right questions. It could can also be stupid questions where they just go like OK, what was that? But it's still, it makes them think, and as long as they think they're archaea occupied with something else, because you can't do two things at once, you can't you can't put the brain can't process that like thinking about something and then still looking at the cards and trying to work, trying to work out the trick. It's it's not possible, he thinks not for me, and I've never found someone who is like You can do those things at once, and that's a very, very important thing in the very basic general principle that you can apply. Like I said, asking questions, eye contact and also moving with your hands. It's always the general brew is when you point at something. I mean, when you look at something, the spectator looks there, or if you pointed something, if there's something that is important here, they will follow your finger. And that's also that's also very of a tool that you can use to direct attention. Use your eyes, use your body. You can also shift your body. You can. If you want them to look at this, you can shift your whole body into another direction and because they want to know what's there, maybe because we're broken something they want to look. And so don't just don't just think that you can director, that you condone follower that you can point with your finger. You can point with everything with your whole body with your eyes, and that's a very, very important thing. Also, pause is also very important if you pause before the effect happens. When I do this on, when I turn over the card and give her the card, that's okay. So your name turned over. It's like, OK, it's good, but I think it's better when you show the card and then give her the card in Sochi. Necessary name, surname and turnover. It's like this, you know what I mean? I mean, she it was awkward for her because there was this awkward pause, but that could always be what's happening there. What is happening in that moment? That could be the magic moment, because you don't have anything else. You don't have a magic want that sparkles or does anything. You just have that moment that says Okay, now wait. It's happening. It's happening now, and that's important because you have to. If you want to be like a magician or if you want to do that, you have to have this this magical moment where they know you know that it's not possible. I mean, you know that how the trick works. Maybe they do as well, but it's still good for the theater theatric performance to have this magic of this pause, pause, pause a very strong thing. So before the effect happens, everything's done. Just act, start acting and just pause and concentrating, then reveal everything that you want. So these are a couple of tips that are very helpful. That helped me lots and performing fathers and really getting the Spectators to appreciate the magic more and even notice, notice them more. 30. Book Recommendations: I have two books that I could recommend for you. If you want to dive deeper into advanced card handling and another book, that's kind of more for the classics of magic. The Old Masters, you could say that perform their classic effects. That's not just cars, but very, very good card effects and very good coin effects and effects with other objects. The first book, This Card Control, by Arthur Buckley. That's a very good good book with 40 effects and very, very a lot off approaches to poems and controls very different moves, so you can pretty much you have everything in there, but that's just related to card magic. Nothing else, and it's a little bit more difficult. So it's a good start to at first learned the or go through the Royal Road to Card Magic, the book that I recommend it first, but you don't really needed You can also just take the the effects or the approaches, the moves, the slights that I told in my last class and in this class, and then go to this book and just go through it and just see what you can find. There are a lot off hidden things that are very, very good that you could use for your effects. Anything pretty much. And the other book is a very, very good and a very old book. It's called Stars of Magic. It's pretty, pretty big. It also has very it's I think it's a very old addition, not that old. I don't have the oldest edition. It's quite new, actually, but it also has very good pictures on their all black and white. But there are a lot of things explained in a very, very good way. So I would recommend that you get this book if you want to have, like, a general general knowledge off every aspect of magic, not just card magic, not just coin magic, but everything does also theory and misdirection and direction audience management from the masters of magic. So if you go through this book and if you learn everything and master everything, which I even haven't done, so then you're one of the best magicians. You could say that if you really perfect or if you if you're very good at performing every single effect of this book, you couldn't perform for hours for anyone so That's pretty much it's a very, very good book. The stars off magic I can. I will try to get the links again For those for those books. I know that stars of Magic isn't in print anymore. And it's not like the Dover book. The author Buckley. That's again very, very cheap. Just $10. Maybe on Amazon. Andi stars off. Magic is a little bit harder to get, so I will try to find something for you. Andi. Hopefully, you will try it out because it's a very, very good book. But the two books are very, very good recommendations for Mawr. Experienced magicians or more experienced people, or people that go that want to learn more, more different aspect off magic. So that's very important because it's like art or anything else. Movies you started with one or two movies, and then you get the passion for it, and then you want to learn more. You want to learn what's what's behind this? What does this one this magician do, and how does he approach this one? So everybody has their their different the different slights because everybody has different hands. I have small hands, but I still need to make it work, and they're just different things that you have to area that you have to look out for. And that is why they're so many variations on one effect or so many different slights, because everybody tries to make it their own. Everybody tries to make it to that so that it works for his hands. And that's why they're so many books, so many good books about those topics. And I really enjoyed reading. Reading is also very good way to learn. It's better sometimes than watching a video because sometimes you could copy me and copy my style how I approach magic effects. And if you read a book, then it's just you have to think of everything you have toe. They have to make it up, how it could look and then your imagination starts working, and then you come up with your own away off handing it because you're not looking at something. I mean, you could look at the pictures, but I don't see the moving pictures of how they're doing it. And that's the upside off. Practicing and or learning magic effects from books. That's why I encourage you to please look at these books and please learn from them so much as you can. Because I flood a lot from them. Yeah, that's it. Two books again on. And I hope you have fun with those experiments with those effects. 31. Conclusion: So that's it. Thanks, guys, For watching my second class. If you've watched my first class, thank you very much for sticking with me for enjoying this this course, this class, the idea off, bringing magic to people who want to learn it. I've had a lot of fun. I've learned a lot from teaching things to you from experiencing new effects from looking at effects in a different way from rediscovering new effects that I didn't even perform in a few years that I said that would be perfect for this class. That's an amazing experience for me. And I hope that she will upload your videos again, make up your own things, come up with everything that you want to come with your own presentation with your own moves. Show everything off everything that you want to. It's been a blast. I've had a lot of fun and I can't say it again. I'm gonna maybe focus on coin magic in my next course, like advanced coin handling and stuff and general magic and mind magic, mind reading effects that I also really, really enjoy and that I've started after a few years off performing card magic and Co magic . I wanted to to progress into the next stage off mind reading. And I enjoyed that a lot. And I also have a lot to teach about that as well. So stay tuned for the next course, I guess I see you.