Card Magic As A Hobby

1. What To Expect: To the hobbyist magician. I put the Skillshare course together for everybody that wants to pick up magic as a hobby. So we're going to learn a lot of very cool stuff that you can pick up very fast. You don't need a lot of dexterity for this. Okay, maybe I'm lying. For some of these you really do need a little bit of practice. Nonetheless, you' gonna have a lot of fun. Learning a lot of these magic is an amazing hobby, amazing hobby, mainly because you can also share it with a lot of people and bring them wonder. Take any deck that you have lying around in your house. You're gonna a bunch of playing cards like this will do. And let's get it started. Welcome to the hobbyist magician Wi Bs. 2. Everything you need: This course, the only thing that you will need is a deck of playing cards, preferably poker size playing cards. They are going to help you perform all of the slides that I'm going to teach you in this skill share course and preferably a table at which you can stay. I use a mat. This is a magician's mat. It allows me to spread cards and to push down on the mat, which is soft in order to pick up the cards or perform certain slides. If you do not have a mat, it's completely fine. Just get it like a nice sheet or something that you can place on your table. Usually, you already have one probably on your table. But if not, place one so the cards can be spread much, much easier. One of the things that I dislike about having a sheet is that if it's too soft, when I spread the cards, it actually crumbles up the sheet. So what you can do, what I used to do in the beginning was put books on the corners of the table in order to have the material sit in one place. So that way, I can actually just mind my own magician business and the sheet will stay in the same place. That was about it. Just playing cards and a surface on which you can spread the cards. There's going to be a lot of slides that we're going to perform in the hands, you're not going to use the table, but there will also be things that will perform on the table, as well. Magicians perform in all sorts of different situations from stand up situations to very close up to parlor, where people are just sitting further away and they use a table, and you're going to find yourself in many situations. You know, when you're going at friends, you might stand up or you might be seated at a table. So we're going to learn all sorts of tools that you can apply to different situations. So that's why I advise you to just take a seat, enjoy the whole ride, learn for as many minutes as you want, or as few minutes as you want. The only thing is that you take something from this course. And that is the most important aspect of learning. It's not just, you know, just going through the whole thing and taking it off the list. It's actually getting something that you will be using in your hobby. And if this is a hobby, it should be completely enjoyable. You know, you shouldn't have to just, you know, muster through the whole just like power horse through the whole course so that you can say, I finished it. I would rather have to be, you know, take something from it, even if it's one thing, you know? You can go through all the titles and say, Hey, I want to learn a color change, or I want to learn a steal, and that's it. You just take that, practice that then we'll see each other at a different time. Just make sure that before you enter this course, you know exactly what you want from it. If you want to learn a couple of things, do exactly that. If you want to learn just do exactly that, make sure that you know what you want from yourself and what you want from this course and get exactly that. I've noticed about myself whenever I want to learn something, if I set my goals and my expectations and what I want very clear, then I will feel happy. Because I got exactly what I wanted from the thing. But if I don't set that for myself, I don't know how everybody is, but for myself, that's why I'm even giving this advice, is that anything that I might get from that doesn't really feel like it satisfies me because I didn't even know what I wanted from it in the first place. So I just wanted to set that clear before we start this journey together, since this is a four hour and a half course that I've been putting together for the past few months. For me, it's much more important that you are happy because I've already done the course. Like, for me, this is it, you know. But it was a lot of hard work and a lot of passion that I put in it, and I loved every bit of it. So I want to know that this is something that you will enjoy. Even if it's 5 minutes, even if it's 1 hour, however much time you invest in watching this course, you will enjoy it, and you will feel like you learned something. 3. Prepare your Hands: Slight of hand. Slight of the hand. It's in the title. Your hands need to feel rested. They need to feel good when you're practicing, which is exactly why you should massage them, which is exactly what I do every morning, every morning. I take my hands, I use my thumb. I press down on my hand. I take each finger like this one by one. I push down on the hand to get the blood running in it. You know, I am not kidding. Not even one bit. Since as magicians, we need our hands for however much time you plan on doing magic, but if you are planning on doing this for a long time, then massaging your hands is going to make everything just easier, obviously. And practicing slides will not be hard on your hands just because your hands are already, you know, trained. They're already stretched. The fingers, they're moved, you know, all these stretches, you know, you can look online. I don't have to, like, show you Look online for hand stretches. I even babbled a bit because I was thinking maybe I should show you a bit, but I did show you with pushing down on the hands and the fingers and this and that, I do this every morning because I want to wake up the hands because I'm going to be using the cards most of the day. So yeah, just a small chapter about hand massaging. Do it. 4. CHAPTER I: STEALS: No stealing is not necessarily something that magicians don't do on a daily basis. There's pick pocketing, legal pick pocketing that happens. You know, we steal people's hearts many times. And stealing is something that you will have to do as a magician. This sounds so out of context, if you think about it. But we steal coins, we steal playing cards, we steal selections, we steal information. It's something that we constantly do stealing dealing in different shapes and forms. But today, we're going to be focusing on stealing playing cards. Now, we're just going to be looking at how to steal playing cards from the deck that you are holding. But maybe in future episodes, we're going to be looking at how to steal playing cards from the deck that the spectator is holding in their own hands. So, yeah, that's about it, guys. Grab your favorite deck of playing cards, and let's get it started. Welcome to seven different ways to steal a playing card. Explain. 5. Kelly Bottom Steal: Thing. You have to know the Keli Bottom placement if you are performing card magic. Now, to get up with the Keli Bottom placement, you can actually use the same technique. Instead of controlling the card to the bottom, you can just use it to steal the bottom card. You have the deck in your right hand and then you're going to use your right fingers to just pull on the playing card, and that's it. You're just going to retain it over there. While you're passing the deck in your left hand, this card is just staying in the right hand like that. Let's get these nice plexi blocks over here so you can see what's happening and just pulling the card and gripping the cards, and there we go, just like that. That's it. That's it. You're just pulling on the card. This is a motion that definitely requires exercise. You're just going to put your index finger on the top, you're going to curl all your fingers and pull hardly on it. This is definitely something that requires muscle. You're going to pull the playing card over here. You're going to pass the deck. Meanwhile, this is just going to slide in your hand. You're just going to slide that in your hand, see? From this position, I'm usually just clipping it between my index and middle finger for no reason, probably just so that I have less cover over here so that I have more cover of the playing card and I can move it into a tk palm from that position. So place those over there, have it over here. So we have a card selected, let's say, for example, the six of diamonds. You control it to the bottom of the deck, and then you're going to tell the spectator that their playing card is lost somewhere in the pack over there, and you have retained the playing card just like that. The Kelly bottom steel, a beautiful, beautiful. 6. Fan Steal: Card magic is all about variation, and that's what I'm gonna be doing right now. I'm going to show you variations on the previous steel that we just learned. And one of the most used things in card magic is a thumb fan. A thumb fan and a riffle shuffle, right over here. So we're gonna be learning these two the following two. Perform a thumb fan, and then as you close the thumb fan, you're going to be stealing the bottom card using almost the same mechanics from the Kelly bottom placement. So we have the thumb fan, right? We come over here on the left side. Let me show you the blocks over here. I'm not going to fan them because the blocks, but just imagine they are fanned. Now I'm going to come over here with my right fingers. And as I am closing all of these, my thumb is applying pressure from the top while my fingers are pulling on towards the right side, that playing card. Over here. They're just pulling it towards the right side. And I'm allowing the card to escape with my left fingers. Because if I would be holding the fan very tightly, I wouldn't be able to steal that playing card because it's stuck over there. Oh, look at that. Now, what I have to do is grab that playing card, move it towards the right side. Let me show you. Over here, I grab the playing card. I already move it so that when I close the fan, I can actually do it very casually. I don't have to shift between different pressures from both hands. So I grab I move with my right fingers, the card towards the right side, and then I close the fan just like that. So let's see that in action one more time. Fan Broom I grab, I move the card already, and now I close the fan, and you're in this same position that we were last time, and you can stay like that. You can point with your finger, can tell the spectator shuffle this packet of cards while the card has been retained. Oh, Take a look at that. All the cards want to go lapped. I highly suggest you to practice this because it's such a good move, and a lot of people are definitely using it in their 7. Clip Steal: Mm hm. Another way to palm the top card of the deck is not using the thumb, but actually clipping the card in between your pinky and ring finger. This happens from the front. You are over here, notice that the card is completely clipped between my pinky and ring finger, and now it's even easier to drop the cards as that card is actually retained in a very natural manner inside of the palm. Notice that all I have to do is drop the deck. I don't have to do anything else because the action has already been completed. And the card just stays over there and it's being retained in the hand. Now we can actually just place the cards there. What's nice about this is that because the card goes from this position over there, it actually hides even better than the previous pawn that we learned, the previous steel actually now really a pam pam has to go fully in the hand. This is literally just a clip. It's just stealing the cards. Again, you can use it in any other motion that you would like. But I would definitely advise to play around with it as there's many ways in which you can transform this into a color change in which you can use this to steal the card in much more creative ways. It just depends on the motion of the ocean and how you want to apply it in the effect that you are performing. So yeah, that's about it. The clip goes like this. As I've said before, you might want to help yourself by pushing the card just a little bit towards the right side. A casual manner. See, don't do it like this. Just a casual manner so that when the hand comes towards the deck, it actually can contact this playing card over here with the pinky, but do it in a very stealthy way. Don't do it like this. Okay? Do it with the hands already closed over here, and then you come, you're contacting that corner over there. And then you are gripping the rest of the packet. Just make sure you don't stick out like that. It's just a very casual grip, and then you're dropping the cards, telling the spectator to shuffle, keeping your hand very natural, moving this into a tank eye palm, if you wish, and you're ready to go. The third technique to steal a playing card, ladies and gentlemen, 8. Top Card Steal: One of the most classic ways to steal a playing card is one developed by Vernon inside a control of his. As you can see, the card, that was the best scenario possible where we cut the deck we retain the top playing card and you see there was a card that side jogged, so it just looks like the spectators card is actually in the center. But that is what you're doing. You're retaining the top card using your right thumb. You're cutting the packet, you're pulling up on that card, and at the same time, you are neck tying your hand so that the spectator doesn't see that you are retaining the card and then you're placing everything back in the same place. Go, retain, pack again. Now, you can actually do this with the whole deck, as well as you tell somebody to just shuffle the cards, though. I don't necessarily do it ever like this, honestly. I have seen people do it as they're throwing the deck down and retaining the top card. Everything happening from the thumb, so you're pulling the thumb the card and then you're placing it down and you're retaining that one playing card. Obviously, it can be done as a color change can be done for many other things except for just stealing the playing card. One of the things that I used to do it is spread the playing cards like this and then retain that card in my right hand as I come back over here to hide it. This is one of the most classic ways, but the one that everybody I've seen use is just as a control over here, which I advise you to start using as well. It looks insane on social media with the right angle, and in real life, if you are talking and you know your angles and you are performing for most people in front of you or on the right then, it is a deadly weapon to master. 9. Gambler's Cop: And now, the grandfather of steels, the steel of the steel, the steel of the steel steel, the gamblers cup. This is the move that is like I can't even say, it's like a classic palm. You know, it's something that you need to learn in order to be initiated into the world of card magic. There's many ways in which you can do this. One of the worst ways I have seen people do it is when they bring the deck back and then they bring the deck forward just like that. In a very casual manner, the deck arrives backwards and then forwards for no apparent reason and everybody is aware that something has happened, maybe they don't see it, maybe they don't know what, but something has definitely happened, which is very, very weird. Now, if you can motivate this, for example, through character, if you're looking at the bottom card, saying something like, I'm just trying to get a little bit of information from the deck, or you're instructing somebody to take a peek at the bottom card of the deck after they shuffle and then give you back to the so if you can manage to place this inside of the pattern or the way that you are actually moving your hands and not just being in this position and talking with the spectator. So most of the cards nowadays, like, Oh, I'm very sensitive towards motions that make no sense, motions that their only purpose is to be able to do the slide. And Vernon hated them. You know, probably a lot of people used to do them in the past. Maybe not so many people do it nowadays. But I would regress a lot of people do it. I've seen so many people do this. So many it doesn't matter. Let me show you how it's done. Get a thumb. You don't necessarily need to get a thumb break. You can get a pinky break. Whatever it is you're getting, you need a break above the playing card, just like that. In this position, what needs to happen is the deck goes towards the center of the palm over here, and then your hands are just going to close in on the playing card. If you move the deck forward, you're basically retaining the card in the hand. Now, there's very many ways in which you can do a gamblerscop. It can be a more inside gamblerscop inside the hand or more laid down gamblerscop. So you're like, towards the fingers over here, you're just going over here and then like that, which is actually this is actually how most people do it, you know, from a very lower stand point, lower point of view, because you're getting much more cover from the fingers over here, you know, just like that. Definitely, don't do it like that. Please don't do it like that. I mean, I would rather see somebody do it like that than anything else. Oh Man, I hate people doing this move like this. So the gamblers cap, yes, get a pinky break, motivated, move forward, give the deck to the spectator, if you want, or place it down. It doesn't matter. Now, what I have seen Daniel Madison do is he might be coming with the hands like this as if you have just performed a ripple shuffle. And you are straightening the packet, and then you are retaining the card, which is also a motivated move. Again, Gambroscop super easy to do, find motivation so that it becomes a move that makes sense, and you're not just doing something fishy for no apparent reason. There we go. Gambroscop. 10. Bottom Card Steal: The first method we're going to look at in the seven ways to steal a card is the bottom side steel. Now, this is definitely based on the middle side steel. It's exactly the same technique just with a little bit of touch on it, but you're definitely contacting the card, pushing it to the right, and then from this point, you're going to be clipping it between your pinky and middle finger. At which point you're going to retract your right hand and you're going to keep the deck in your left hand. Now, maybe there's some of you that have never actually seen this move before. So let's get it done like this as well so we can see what's happening. Now, we have the card on the bottom. We're talking, and then as I am approaching the deck, the deck is contacting my left fingers. The left fingers are pushing the card towards the left side, and then my pinky and here where my left fingers are underneath the card. As I'm talking with the spectator, I'm actually just flexing my pinky finger just a little bit upwards so that next time when the hand comes, I can actually grab the whole deck and now the card is completely free of the packet. The same thing applies if you are performing this from the center of the deck. Somebody says, stop, they take a look at their playing card and then as you are coming back to place the packet, you are side jogging the playing card, you're clipping it over there. Then from this position, you can actually just come with the deck upwards and perform overhand shuffle. Let me show you what I mean. You are over here in this position, and then you are just grabbing the deck, performing an overhand shuffle like this, make sure that this is actually done while you are talking and it's not just you being very rigid with the deck in that situation, or you can just do something like this where you place the deck down and the cards move forward naturally, and the card goes backwards naturally at the same time. But that is one of the most classic ways to actually steal a playing card from the deck and you have to know it and now you know it, go out, practice it and make a lot of fun things with. 11. Bridge Shuffle Steal: Another motion that you're going to be performing a lot as a card magician is a riffle shuffle. You're going to be shuffling the deck and you're going to be arriving in this position quite a lot from which you can actually use the same motion. You're just going to apply pressure on the bottom of the deck. You're going to move the card inside by just flexing your fingers, just caressing the deck while at the same time, you shifting the deck into your left hand. Same motion as with the fan, as with the ky bottom placement. You're performing a regular shuffle, maintaining your card on the bottom of the deck. Let me show you. I keep forgetting to have these. You're contacting the card, you're moving the card towards the right side while using your index finger and your left thumb to spin the deck into your left hand like that. A move that I have seen performed very many times by magicians because it just works, works like that. It works. It's such a good move, such a good move. Not a lot of explaining to do, it's just do it. Yeah, that's it. Just 12. CHAPTER II : FORCES: Ing a playing card is one of the most elementary things that a magician needs to learn. The ability to make your spectator think that you're giving him a free choice when, in fact, you're actually forcing him to choose something has to be the most lethal weapon a magician can hold. 13. One Finger Force: Beautiful force that involves the spectator. The first thing that you're going to have to do is turn a card face up on the top of the deck, and you're going to be holding the pack in this direction. Place the packet on the table and bevel it towards yourself or towards the spectator. Then you're going to instruct the spectator to use only one finger, put it underneath the packet, and literally just go up with the finger. And if they do this fast enough, the cards are going to spread forward. Now, if you have a table or if you have a mat, they're going to spread in a different way. So once they're going to flip this packet, since you have a card that is face down over here, all you have to do is place this on top, spread the cards and say, you could have stopped at the six clubs. You could have stopped at the three spades. But you flicked exactly over here at the four of diamonds, which is the cards that you wanted to force. Now this is a beautiful force because it opens up so many things that you can do with just, you know, the involvement of the spectator. And it's actually the first effect that we teach in our top secret magic Academy. So if you would like to receive one effect every two weeks, make sure to use the link in the description and subscribe to our free top secret Magic Academy. Maybe it's not so secret that I told you now, but keep it only between us. 14. Swing Cut Force: Getting in the sleight of hand area of the forcing techniques. So we're going to have the three queens on top of the deck, just like this. And what's going to happen is we're going to individually take pinky bricks above each queen. So the first one, I'm just going to take a pinky brick, and then I'm going to swing cut the deck just pack a part of the deck, and I'm going to swing at it above that queen and then reverse the packet and place it down. Take another pinky break, swing cut half of the packet. Notice that I am. Basically, I'm just performing a slip cut from the bottom, just like that where I'm retaining the bottom card and I'm slip cutting the rest of the packet above. And then we're going to have three packets, and whichever the spectator chooses, we're going to have a queen. So there you go, guys. Just slip cut the bottom packet, the bottom card onto a packet, just like that. You're going to have to on the speed at which you do this. And you can do it with four packets with two packets with three packets, as many packets as you wish. But the idea is that whenever you are forcing a card, just make sure to use it while you are talking and devising a pattern because it's much more natural if you're just talking about something and then you're splitting the packet. Because if you are not doing that, if you're telling the spectator, so, look, we're just going to split the packet into four packets. They're going to have all of their attention towards your hands. But if you are talking about a story or just building a plot, then they're noticing that you're splitting the packet, but they're paying attention to what you're saying. Here is a similar version to the one that I just thought, but much easier. You know, we're going to end on an easy note this time. So let's say we want to force the seven of spades. We're going to be overhand shuffling the packet, just like this. And whenever the spectator says, stop, we're going to stop over there, and we're going to give them the packet to take a look at the card that they've stopped at. So it's going to be the seven of spades basically. Now, the way that we do this is by just slip cutting the top card of the deck while we are shuffling the packet. Now, I am using the word slip cut, but you're basically just retaining the card using your left fingers. So I am touching the top of the deck. I'm gripping the packet, and when I pull this up, it's just that card going to be retained over there. We're going to go like that, and then I'm going to use my thumb to just pull a couple of cards with hides that card, and then I'm going to shuffle the rest. And whenever the spectator says stop, that's going to be their card. Now, you can actually use this with one single card, or you can do this with multiple cards and have the spectator stop at different points, and then you can do a four ace production, or you can do a sandwich trick, wherever it is that you want to do, you can use it since this is now in your tens. 15. Turnover Force: I call this the quick turn force because you are delaying the point at which you're going to be looking at the card together with the spectator. So we're going to have a card face up on the bottom of the deck, and we're going to get a pink thumb brake above the card. Then the spectator calls out stop somewhere, let's say, over here, you cut the packet, and you're going to tell them, so we're going to turn over the card, but we're not going to look at it yet. So you're just turning it over, and you're basically placing the king above the card that they selected. So let's go once more. Somebody says, Stop. You're going to take the card. You're going to bring it over here, and then notice that I'm not doing the cut force over here. I don't want to do that. I want to actually take the card from the center of the deck. I bring it over here. I have the card with the thumbek above it, and then I'm just going to leave this there and notice that I'm closing in just like that because I don't want the spectator to see anything of the card. Because if they see that it's a red card and then, let's say, for example, this was a black card, then they would know something is off. So what I do is I drag the card, I let it start closing in and then I go in, and that happens very, very fast. We have it over here, bring it, and I just close it in. Then I keep a pinky break at that position. I talk with the spectator, include this idea of not looking at the card yet. That's your part. You have to devise the trick for this. And then I spread through the cards until I reach my selection. I mean, my four card. And it's great because now that I have a double, I can actually take it and continue with the trick and have the card on top of the deck. 16. Free Cut Force: Another force that is great to use on magicians because magicians think they know, which they do. They do. But you can use the knowledge against them. So let's get the two red queens on the top and the bottom, and then we're going to place the two black kings, the two queens in the center of the deck, and we're going to have a pinky break between them. Now we're going to cut the packet into three packets, right? So we're going to cut half of the top, which we have the queen on the top. Then we're going to cut the next packet in the center exactly at the break. So we have a queen over here. And then we're going to leave the rest down here. So what do we know about this panket? We know that there's a queen on top and there's a queen on the bottom, right? What do we know about this one? We know there's a queen on top. We don't know anything. Oh, no, we know there's a queen on the bottom. We don't know anything about the one on top. And here we know about the one on top, nothing about the one on the bottom. So top, bottom, top and bottom, easy to remember, but somehow I confuse them. So thing is magicians will not choose this one. They will choose this one or this one if they want to help you, right? But let's say, for example, they go with the middle one because they're like, that's the only one that you shouldn't know anything about. And if they choose this one, you just tell them to look at the bottom card, right? They look at the bottom card, it's a queen. If they choose this one, to throw them off, you're going to tell them to look at the top card because the bottom card is the bottom of the deck, right? So they look at the top card. I will throw them off because they're like, what? What do you mean? So that's a queen. And if they choose this tell them to choose another one. Or a thing that I like to do is, okay, if you're choosing this one, then you shouldn't select the top card because I might know that one, so let's cut that one in the center. And the thing that I'm doing is I'm just taking the top card and I'm blocking from the front the packet completely. And then I'm just cutting the rest of the packet like that. So now everything is lost. Just take a look at the bottom card of the new deck order and see what it is. And now it's gonna be a queen, right? So, I like to pull this force off just for the middle packet. I kid you not because the middle packet doesn't feel like you could know anything about it, but you do know something about it. And this packet. I just think in magic, magicians create a lot of magic for spectators, obviously. But I think the idea of creating magic purely for magicians and using the knowledge that they have against them is very unexplored. And it's one of the areas that Mark Coby has actually explored and included in his award winning Pism Act. 17. Cross Cut for Magicians: Version of the crosscut force, which I love using for magicians because it really throws them off. Now, what you're going to do is you're going to combine a rifle force with a crosscut force in one. So just for, like, explaining purposes, let's get the four Aces, right? And you're going to see just what I'm talking about. Okay, so, apparently, I do not have the four Aces, so we are going to get the four queens in this case. So, papa papa. I think it's funny how I always choose the ones that are so hard to find. Let's go. So we're going to have one red queen on the bottom, one red queen on top, and then we're going to take the two black queens and we're going to place them somewhere in the center, and I'm going to hold a pinky break between them. So the purpose isn't really to force any one particular card, it's to force any particular any card whatsoever, okay? So here's what I'm going to I'm going to have a magician or somebody just say stop. They say stop here. I put it down and I do this thing, you know, like the crosscut force. Everybody sees this. They instantly expect the crosscut force. So what throws them off is the ability to ask them, which card do you want? You want this one, you want this one, you want that one. You want this one? Which one do you want? And it doesn't matter which one they choose because they can only choose one of the queens. You're combining a riffle force with a crosscut force, and it gives a magician the impression that they have a complete free choice, which they do. They really do have a free choice, but you're forcing four cards on them. So next time when you're going to be jamming with magicians, just pull this baby out and have a little bit of fun. 18. Square Up Force: Second force that we're going to look at is one that involves the spectator. Again, it's the best forces involve the spectator because they take off the heat from the fact that you might be doing something sneaky. So the first thing they're going to do is you're going to get a pinky break above a card that you want to force. In this case, the ten of hearts. I'm going to spread the cards. I'm going to have a spectator touch any card they want. So let's say they touch this one, which is definitely not the ten of hearts. Now, from this position, since my pinky finger is right underneath the ten, did I say above, it has to be underneath. So let's go back from the beginning. We're going to be holding a pinky break underneath the ten of hearts. And then somebody touches a card, let's say, it's this card, which is the two of hearts. We're going to square up all of the spread. So they touch this one, and then I'm going to square up and I'm going to pick up everything above the pinky. And then I'm just going to hit it against the side of the deck. Give this packet to the spectator and tell them to look at the bottom card and then cut it in the middle. So they're going to look at the ten of hearts and then they're going to cut it in the middle. Now, the reason why you give them the packet is to tell them to keep the card a secret to themselves. So you tell them to take the packet and to stick it close to their heart so that only them can glance down and take a look at the bottom card. So notice that you are actually hiding the fact that you're forcing a card with a reason. So you're telling them, keep this a close secret to you, close to your heart, and take a look at the last card and take it and place it in the center or cut the packet. And there you go, guys. You have a very subtle and beautiful, quick and easy to perform force. 19. CHAPTER III: PEEKS: Secretly peeking at a playing card is such a deadly weapon. Of course, there's palming, switching, color changing. But the ability to secretly take information from the deck is just deadly. Now imagine that you're holding a card in front of you. Now, the spectator can see the card, but you can't see the card. Obviously, I can look in the camera and I know it's the Queen of diamonds, but that isn't really magical. So how do we make it so we can see the identity of the playing card? Now, one way that you can go about this is while the spectator is looking at the card, you punch them in the face. You take a look at the card very fast, and then you can continue with your. In this video, we're going to look at seven different non violent ways in which you can secretly take a look at your spectators playing cards, tough punching them in the face. 20. Break Peek: The selects a playing card. Let's say, for example, it's this one, they remember it, we leave it down in the center of the deck, and we instantly know that it's the five of diamonds. The first secret method to peek at a playing card looks like this. You're going to have somebody select a card. Let's say it's the five of clubs. You're going to leave it in the center, and then in the motion of tapping the deck, you instantly know that it's the five of clubs, and it's all based around a pinky break. And with this simple pinky break, you can do so many actions in which you can actually find out the identity of the card. For example, you can turn the deck like this. Notice that actually, I just realized they jumped directly into the method into the motions without actually explaining the method. Somebody selects a card, it has to be on this side of the deck. You're going to take a pinky break at that position. Now what you're going to do is using your left fingers, you're going to press down on the pack and side jog everything above the brake at that position. You're going to side jock it by pressing with these fingers towards the left. This happens naturally if you just turn the deck. Now, I used to do this when I give the deck to the spectator and tell them to shuffle the deck. In that motion, for a split second, I can see the card and then when they take the deck, I make sure to just square up all of the playing cards. We have the pinky brake and then I'm just going to turn the packet, watch Slow Queen of clubs over there. I can take it into this hand and then instantly from this position, I can just give the deck to the spectator or if I want, I can do a left handed overhand shuffle. At this point, I know the card, I can do whatever I want with this piece of information. No, let's go over it once more. We have a pinky brake. We can even tap the deck, C, Ace of Hearts, we tap the deck on the table, and we instantly know the identity of the card. It is very simple and that's exactly what you want from a peaking method. You just want it to work every time. This is a method that if you know the pinky brake, then you definitely know how to do this as well. 21. Bubble Peek: The spectators touch a playing card, they take a look at it and remember it. Then you tell them that they could have went with any other one from these cards, but they went with the nine of clubs. The following peak which you might have already seen or know of is called the bubble peak, and it just involves buckling the top card of the deck as your wrist is turned inwards. Just like that, you can see the top card of the deck over here, and you just do this by applying pressure with your thumb on the corner and pushing towards the right side, just like that. Now you can see the card. Now, one thing about this peak that I never liked is that most people would do it like this. They will just do the peak. That would be it. But like I previously said, the power of a peak is being able to do it while you're doing something else. Let's say, for example, somebody would select a card from the deck. Let's say, for example, this one, it's the T of hearts. We place it down and then we tell the spectator, you don't want any of these you don't want any of these other ones. I had to repeat myself over there for a second. And we show them and at the same time we're peeking at the card, but we're using all of these cards to block the fact that we're peeking, and then we can just continue with losing the card in the deck. That is just one way in which you can actually cover the bubble peak with emotion. But just think of any regular moment in a trick and try and see if you can stick a peak in there. For example, if we are to dribble, somebody takes a look at that card, and we say, you know, most magicians, they try and steal the identity of certain cards by taking a look at them or by doing something secret while you're taking a look at a card, and we're actually doing something secret while we're telling them that magicians do that, you know? So sometimes hiding in plain sight is even more dangerous than than doing something secret and even more useful at the same time. There's cutting, there's spreading, right? Try and see if you have a deck down on the table over here, you're talking about the spectator, you're grabbing the deck. Can you do a bubble pick as you come towards yourself? Yes, you can, but they might see that, how can you hide this at the same time? What if you have a cardcas over here, you take the deck and you take the cartcas at the same time and that's when you take a peek at the playing card. It's very important to camouflage your secret technique with another motion as it guarantees that the spectator is not able to see what you are doing. If you are performing a motion just to execute a peek, then Di Vernon would definitely not agree with that. 22. Fan Peek: This method of picking at a card, somebody selects a playing card and you find out the identity of the card as you are fanning the deck. Just like that, I know with the five of hearts. Now, using the pinky brake method, you can actually pick the card inside of a fan. Let me show you what I mean. Somebody takes a look at this card, let's say, for example, the five spades. We hold the pinky brake underneath and then we're just going to fan the deck like this. It doesn't matter. It doesn't have to be like a good fan. But notice that the only card that is sticking out is the five of spades in this situation. And all you have to do is just execute a fan with the step in the deck that you did previously, and you will be able to see the five of spades. And what's nice about this is that after you do the fan and you tell your card can be anywhere in the packet, right? I mean, just take a look. It definitely somewhere over there. The spectator will think that this is exactly what you saw. So there's no way for you to know what card it was. So they take a look at the card. They say stop, they take a look at the card. You turn the fan, using the same stepping motion. You fan the deck, you'll tell the spectator that they could have taken any card from the deck, but they definitely chose one. That is hard to remember because I can't see it anywhere here. And just like that, is the ten of clubs. Now, this is also a great method if you want to force somebody to select a playing card as a gag, trying to remember any card except for the bottom one, credits to Dan and Dave for this application. You can instantly stooge somebody with this as well by just winking at them and telling them to just remember any card from the deck. You don't just not the last one because it's too easy, and the 12 clubs. That's the only one they can actually remember. Very beautiful application of this forcing technique at the same time as a peeking technique, two and one with just the ability to do a thumb fan, just like that. So you guys have fun with the second secret method of peeking at a playing card. 23. Second Hand Dribble Peek: The spectator say stop and they take a look at their playing card. We leave it somewhere in the center, and then we use another card, let's say, for example, this one to find their selection. In the process of doing this, we know that their card is the king of clubs. The third method is the dribble peak. Now, this one is you're going to think it's maybe a little bit you're just going to see. So Somebody says stop, let's say, for example, the stop over here at the nine of hearts. We're going to have a pinky break underneath the nine of hearts. Now at this point, I'm going to transfer the pinky break at a thumb break just like this. And then I'm going to dribble all of the cards, stop exactly at the break and tell the spectator that I'm going to use one card to find their selection. In that motion, I've peeked at the nine of hearts and I've also hidden it underneath the action of choosing a card from the center. So we have a pinky break. We do a dribble, we just say we're going to use a card. We take a look at the card that is over here, and then we lose it back in the center because we already know the identity. We can now take this card and use it, which is actually the man of hearts Look at that. We can use it to find the selection. Now, we can do this in numerous ways. There's plenty of tricks that use a card to find another card. But what is important when you're doing a peak is that there's many different ways to do peaks, obviously, but one of the most hidden ones is when you conceal it in another action. For example, if somebody were to select the jack of clubs like this and I'll tell the spectator, let's just take a card from the deck. For example, this one, I'm just going to leave it over there. I control the card to the bottom of the deck. Now, what I can do is I just rotate the card. I can see it's the jack of clubs. Now I know the identity of the card. I've also controlled it, and I can do whatever I want with that piece of information. A peak can be used to read minds, but you can also use a peak for just another phase of the trick. So for example, what my teacher used to do is he would peek at a card, then he would mentally guess the spectators card. They would be impressed, but then he would actually build upon that with like a gigantic closer. You know, all of the cards are now in a triumph effect. They now turn and it's their selection. So he would use the peak to just create another phase in the card trick. But, yeah, that's it, guys. The dribble dribble, just like that. Sit it down, and now we know the identity of the card. The third method of secretly peeking at a playing card. You ask the spectator touch a playing card, they take a look at it and remember it. Then you tell them that they could have went with any other one from these cards, but they went with the nine of clubs. The following peak which you might have already seen or know of is called the bubble peak, and it just involves buckling the top card of the deck as your wrist is turned inwards. Just like that, you can see the top card of the deck over here and you just do this by applying pressure with your thumb on the corner and pushing towards the right side, just like that. Now you can see the card. Now, one thing about this peak that I never liked is that most people would do it like this. They will just do the pee. That would be it. But like I previously said, the power of a peak is being able to do it while you're doing something else. Let's say, for example, somebody would select a card from the deck. Let's say, for example, this one, it's the two of hearts. We place it down and then we tell the spectator, you don't want any of these you don't want any of these other ones. I had to repeat myself over there for a second. And we show them, and at the same time we're peeking at the card, but we're using all of these cards to block the fact that we're peeking, and then we can just continue with losing the card in the deck. That is just one way in which you can actually cover the bubble peak with emotion. But just think of any regular moment in a trick and try and see if you can stick a peak in there. For example, if we are to dribble, somebody takes a look at that card, and we say, you know, most magicians, they try and steal the identity of certain cards by taking a look at them or by doing something secret while you're taking a look at a card, and we're actually doing something secret while we're telling them that magicians do that, you know? So sometimes hiding in plain sight is even more dangerous than doing something secret and even more useful at the same time. So there's cutting, there's spreading, right? Try and see if you have a deck down on the table over here, right? You're talking about the spectator, you're grabbing the deck. Can you do a bubble pick as you come towards yourself? Yes, you can, but they might see that, right? So how can you hide this at the same time? What if you have a carcass over here, and you take the deck and you take the carcass at the same time, and that's when you take a peek at the playing card. It's very important to camouflage your secret technique with another motion as it guarantees that the spectator is not able to see what you are doing. And if you are performing a motion just to execute a peek, then Di Vernon would definitely not agree with that. 24. Marlo Peek: Method of picking a card, you turn your head and you ask somebody to just say, stop. They take a look at their playing card and then you can give them the deck because you instantly know it's the jack of hearts. The following peak was created by Ed Marlow, and it's the peak that I actually use the most to blow people's minds because it's just so bold and straightforward that people don't actually think that's exactly what you're doing. The entire thing is regarding body gestures. What I do is I hold the deck with my fingers exactly at the corner at the left corner. This is not a tight peak over here. It's more like you're moving towards the corner so that you can actually bend the card. You can see that that's a big bend in the deck. What happens is I turn my head and I tell people, look, I just want you to take a look at the card over here. The moment is they say stop and the moment that I stop is the moment that exactly they look at the playing card. That's the moment when I look at the playing card as well. I just look with my eyes. I'm just going to I don't turn my head at all. I just turn my head and I look at my eyes over there. So I don't look, I don't look. They say stop, I look instantly and then I look away. So they have no idea that I've actually looked and I kid you not. Maybe I fail once every 20 times because they looked earlier or I looked too slow, but this is it's too good not to use. It's just too good not to use, obvious, honestly. Just make sure that you do the pick like this so you can actually see the playing cards, down you're pulling the card back quite a lot. Then after you have gathered your information, turn your head even a little bit more and maybe even tilt the cards a little bit, but slightly, don't do anything exaggerated because that will attract the spectators attention. There you go, guys. Another beautiful and secret technique to pick at a play card One day, man, one day. 25. Bert Alerton Peek: It touches a card from the deck. Let's say, for example, this one, and they take a look at it and remember it, and we instantly know that it's the king of cloves. Here is a modified Arthur Buckley spread peak. I self discovered this back when I was 15, 14, and HrpanUg is the one that told me that Arthur Buckley has actually come up with something similar. What I did to improve this is when you are taking a look at the playing card, if you perform the original method, then you can see the magician doing something like from the front, you can see that the card is being bent. But as I'm telling you what I have done, I'm also explaining, by placing your index finger right here and blocking the upper half of the playing card, you can actually buckle this corner, and at the same time, the card appears to be sitting still from the front. See, nothing is happening with the top side of the card, but the bottom side is being buckled. So I can seize the line of diamonds, and then I can unbuckle the card, and everything is completely fine. So somebody touches a card, let's say, for example, is this one. We out jog it over here. We already place the finger in that position, we lift it, and at the same time as we are lifting, I'm going to do exactly that, and then unbend it and keep in this position. I know it's the ten of clubs, and from that point, I can give the dec to the spectator and they can shuffle it. It's a very fast peak. It takes a little bit to get used to the fact that you have to place your index finger over there. But if you do everything right, you're going to have a very invisible way of peeking at a playing card, you know, I hope you guys have seen that. I like that. Yep. So you might sometimes really bend the playing card. If this is something that you want because you want to be able to track it later, then good. But if this is something that you don't want, make sure to keep your thumb on the corner and just unbend it as you come down, you know? Or what you can do after you bend it over here, what I like to do is I just apply pressure on it, and I do something like that, and the deck will completely straighten it out. Obviously, if you're doing this with professional playing cards, they're much easier to bend and unbend back. So if you guys like that secret technique, and use it to secretly peek at a playing card. Let's have a card selected from the deck. For example, this one, please remember it, and we're going to place it back somewhere in the center of the deck. Now in the motion of squaring the packet, I instantly know that it's the jack of hearts. Here is a peak that happens from a side jog. You're going to have the aid of hearts, place it in the center, and then what I do is as I'm squaring it, I'm actually pushing it to the side instantly. Now you can get in this position in multiple ways, but this is the way that I got in the demonstration. I'm pushing it. It's now on the side and everything is covered by the right hand. In the motion of turning the deck and at the same time squaring the packet, you're going to take a look at the side card. Now this is very exaggerated. Obviously, something like this, as you are turning the deck, is very possible that the spectator can see that. But the more that you minimize this, because you only need to see the index. That's the only thing that you need to see. The smaller this is, the more improbable it is for the spectator to see anything. Now you can even get this from a pinky pull. You can pull the card, you turn around, wait, this is pulled on the wrong side. So from the pinky poll, it would be pulling from over here and then with your thumb, you're going to have to push the card so it side jogs instantly as you are turning the packet. All of this happens very fast. You take a card like the five diamonds, you square it towards the right side. You make sure that it's not sticking out a lot. Then as you're turning the hand, you take a look briefly at the corner and you instantly square the card in. So the whole motion covers what you're doing because you can lose the card and say, we're going to have your card lost somewhere in the packet like this. I don't want you to think that I'm doing anything fishy, please just shuffle the deck. We've taken our information, everything seems natural. You don't even have to do it instantly after squaring the card. You can stay for a second and talk to the spectator, and then in offbeat moment, just turn the packet, take a look at the card, and then square it up. This is the turnaround peak. It probably has no name. It's based on a side jog, anything that's based on a side jog, you credit it, you know, the person that has created the side jog, basically. 26. The Side Peek: A peak that happens from a side jog. You're going to have the aid of hearts, place it in the center, and then what I do is as I'm squaring it, I'm actually pushing it to the side instantly. Now you can get in this position in multiple ways, but this is the way that I got in the demonstration. I'm pushing it. It's now on the side and everything is covered by the right hand. In the motion of turning the deck and at the same time squaring the packet, you're going to take a look at the side card. Now this is very exaggerated. Obviously, something like this, as you are turning the deck, is very possible that the spectator can see that. But the more that you minimize this, because you only need to see the index. That's the only thing that you need to see. The smaller this is, the more improbable it is for the spectator to see anything. Now you can even get this from a pinky pull. You can pull the card, you turn around, wait, this is pulled on the wrong side. So from the pinky poll, it would be pulling from over here and then with your thumb, you're going to have to push the card so it side jogs instantly as you are turning the packet. All of this happens very fast. You take a card like the five diamonds, you square it towards the right side. You make sure that it's not sticking out a lot. Then as you're turning the hand, you take a look briefly at the corner and you instantly square the card in. So the whole motion covers what you're doing because you can lose the card and say, we're going to have your card lost somewhere in the packet like this. I don't want you to think that I'm doing anything fishy, please just shuffle the deck. We've taken our information, everything seems natural. You don't even have to do it instantly after squaring the card. You can stay for a second and talk to the spectator, and then in offbeat moment, just turn the packet, take a look at the card, and then square it up. This is the turnaround peak. It probably has no name. It's based on a side jog. So anything that's based on a side jog, you credit it, you know, the person that has created the side jog, basically. 27. CHAPTER IV: THE FARO SHUFFLE: Oh, zop. Hey, Soday we're gonna be learning seven different ways in which you can end a feral shuffle. So grab your favorite deck of playing cards, and let's get it started. Welcome to I Just Set the title. Am I gonna say it again. 28. How to do a Faro Shuffle: Before we get into the different ways in which you can use a far shuffle, let's make sure that you know how to execute a farrow shuffle. And this is the way that I've been doing it. I probably learned it long time ago, and since then, I have been doing it in the same way. I probably do it in the same way that many other people here on YouTube and any other magician is doing it, but I will explain it to you in the way that I have understood that it functions. So the first thing that you need to do is separate the deck into two halves and notice that I'm holding the deck in my left hand. I call this the stationary hand. This is the hand that doesn't do almost anything. You know. So it just sits there, and my right hand does all of the action. I come, I separate with my thumb. And this action over here is actually happening by pressing with my index finger on the back of the deck, and the deck is being held very nicely with my left hand so I can press on it. Then because of this, my thumb can actually lift the cards because I am pressing. If my thumb wouldn't be pressing, I could still lift, but I just feel I have much more control over, you know, the gradual and here riffle that I have over here if I press with my index finger on the back. And this way, I don't need to put so much pressure with my thumb. So my middle finger is on the other side, I get about a half of the deck. I separate it completely and I move it towards the back. At this point, I leave it as is. So usually I go into two steps. I separate, I come back, and then I take the decks and I hit them back to back, and then I execute the farrow shuffle. So separate, come back. If you want, you can regrip or you can go from the same position. But from here, you still have to regrip. You can't hold a deck like this. And in the beginning, you're over here, and then you need to be over here in the middle. So I usually always regrip. And the way that I regrip is by holding the entire packet now with my ring finger and middle finger on the right side, and then my thumb here. And my index finger is going to act as the guide. So I make sure that both packets are actually side to side perfectly. So they're not this one isn't too much above or underneath the other one. So first, what I do is I knock them head to head so that they're completely straight. My pinky finger over here on my right hand is sitting at the back of the deck so that both of these are sitting straight. If my pinky finger wouldn't be there, I could actually bevel the cards without even knowing. So my pinky finger one, holds the deck in place and make sure that the deck is completely straight. So at this point, what you want to do is not have the cards facing one against each other, but have the left hand just sitting there stationary, and then with your right hand, you're going to angle it right over here. Notice that I'm starting to weave the cards up and down at an angle. And here's what happens. The cards start going in, but it can't go on in any further because the deck is still at an angle, if you notice. So what I need to do is keep pressing forward and at the same time, do this weaving action while I come with the deck fully in the initial position. So I'm over here, and when you do it fast, it will usually happen much, much faster than this. Let's go again over here. The deck is misbehaving, how I like to call it. There we go. You know, it happens much faster once you get the grip over the farrow. I might have to switch sides of the packet. There we go. See? So I like when I go very fast, I don't even notice how I do it. So I separate, I move back. I instantly go into grip. I hit two times, and then I do the farrow. So notice that I am here, this is called an out farrow when one card from your right packet will go over the other one. So you start, you start weaving, and this just happens by pushing the packets one into the other. But if they're face to face like this, they're not going to go. They're just not going to go. So you go from the side with the right one. Just a little bit. And then once you're in a little bit, you're going to start coming towards the center and doing this weaving motion, just so you can get the hang of it. Now, notice that when I'm doing it artificially like this, the packets aren't really going nicely, but when I do it the way that I am accustomed to doing it, all of the cards go perfectly one into each other. The question is, why is that? Because in the way that I do it, I am holding the packet much more relaxed. So the cards are actually going very fast one into the other. Whereas in the beginning where you need to understand how the ferro shuffle works, you first need to understand just how much pressure you need to put on the cards. I'm not even applying a lot of pressure over here because you don't need to. But what I see people do in the beginning is that they're really trying to press those cards inside, and that just backfires. But in the beginning, you will need to understand just how much pressure you need to apply. And for that, yes, you need to apply much more pressure. So you start doing a little bit. My left hand is stationary and really having a nice grip over the cards, and my right hand is actually allowing the cards to breathe. So even though I'm holding onto it over here, I'm not keeping the packet completely still. See, am I can do it with it completely still, you know? So it's not a mandatory thing, see? But what I have noticed is that if you want to do it slow and you let it breathe by breathing means that I relax the cards a little bit, then the cards are going to go into each other much, much easier. I feel like that was such a long explanation for the fallow shuffle. But what you need to achieve is this weaving, this very, very short and slow weaving. Notice that I don't go up and down a lot, but I can start somewhere over here. And then I go up. Even though you can't really see it because I'm not physically going up a lot, I am actually pushing the cards and going upwards with the packet at the same time. I'm starting over here, and then as I am going, I am straightening the packet. And the more that you practice this, the more that you don't have to start at such a wide angle, you can start much closer to the edge and then make it so that you arrange the two packets completely in the same direction much sooner. So I hope you guys hope that was a thorough explanation. I feel like whenever I wanted to learn the farrow, they didn't really explain why everything was happening or how much pressure each finger needs to apply. So I wanted to make sure to make a thorough explanation of the entire thing. If I over explained, you can definitely skip this entire thing. And if I if I did underreplain, let me know in the comment section below. And yeah, that was it, guys. And now let me show you seven different ways in which you can end the farrow shuffle. 29. Faro Closer I: The first one is going to be the quickest one. Let me have it over here. We're going to do the faro, and then we're going to just push the cards one into the other. Yes, that is it. This is the classic. It needs to be mentioned. In case an alien watches this and doesn't know how it happens, once the cards are in, you're going to grip them from the top and the bottom with your thumb and the rest of your fingers, and you're going to slowly let them go into each other. It's funny for people watching this because it feels so easy to do. But I have seen people botch this by applying pressure on both sides so much that they can't actually make the cards go in, which can be a magic move, but not what we want to accomplish. So make sure that you have a very soothing grip over the cards. You allow them to breathe. And all of this, the basic movement that you see me doing over here is actually at the base at the foundation of everything that we're going to be learning. So you separate the cards, you weave them in, and notice what I'm doing. I reposition, I come with my finger over here in case this is the last card so that it doesn't fall down. Then with my thumb and the rest of my fingers going in the middle, and I allow the cards to breathe, so I push a bit and then a bit more, and then a bit more so that it can relax every time. 30. Faro Closer II: The second way you can end the farrow shuffle is by doing this, once you're over here, you reposition in the center, and by holding the packet quite stiffly in the center, you're going to come with the C over here, and you're going to bend the entire packet. See? I come with my finger curled. You don't need to. You can go like this. I just feel like it doesn't look that pretty when you engulf the entire thing. If you have your finger over here, it just somehow looks much more skillful. But you don't need to use your finger. Maybe it's something that I've been doing for a while. Maybe it doesn't make any sense. So if you want, you can go with the entire hand or you can do this weird thing that I'm grip the entire packet from both sides, hold with your index finger of your left hand over here, and then squeeze the entire packet, let go with your left hand, and the cards should actually shuffle one by one. If the cards are now shuffling, it means you are definitely holding them way too tight. You need to relax them by opening your C, and then it's going to happen at some point. And that is the second method. 31. Faro Closer III: Okay. For the third method, you're gonna laugh at me, but I don't see people using it. So it's actually the opposite of what we just learned. So instead of doing this, you're going to grip the packet and you're going to pull the cards towards you just like that. See? So I grip it here. This time, you really do you need your index because if not, this is going to happen. So you need the index to bend that first card. You get all of those cards, and then you're going to need to let go from your thumb and the rest of your left fingers while still holding on the packet with your index over here. See? And the cards are going to shuffle in the opposite direction. So you're over here, reposition, reposition, push with your index slightly, bend inwards, and then from over here, just let go with all of your fingers except for the index. Oh, there you go. You have a pop out as well. So that might be a slight of hand move that I didn't think about. 32. Faro Closer IV: The fourth way to end a ferro shuffle is one that you might have seen around the Internet after you get into this position. You are going to reposition all of these top cards towards the front at an angle, at a 90 degrees angle. And from this position, you are going to put your s that we just learned, see how everything is connected. In the same way, you're going to put it on the back this time, so you're not going to grip all of the cards. You're going to put it so that you can hold both of these packets. And notice that my left finger is holding that first card because this left finger is actually the one that decides when the cards will start falling. Because if I let go, the cards are just going to fall by themselves. See? So I taught this to my girlfriend, and she had difficulty holding the packet in the hand. So the way that she was holding it here, when she would let go, all of the cards would come inside in a way like this. That's because she was closing her fingers. So she was moving her fingers on her right hand. So what you need to do is not do anything with your right hand at all. You come in this position. You're just going to hold the cards, and then your left finger is going to drop and let go, see? And all of those cards are going to fall. As long as in the back, you're holding with your index finger and you're holding in position your hand, the cards are just going to fall by themselves. And the last piece of the puzzle will be your left hand just waiting for the cards to fall. So the way that I do this is by holding the cards with my thumb and then notice that I am extending as far as possible so that those cards can actually fall in my hand. And this is a very pretty picture to paint for people when you're shuffling a deck of cards. So I hope you guys have fun with that. If you haven't seen it before, then this is a grandiose moment for you. 33. Faro Closer V: Thank you. The fifth method to far shuffle is one from the Danish cardist Oliver Sogard. So you're in this position where the cards are in the exterior, and you're going to grip the packet from the bottom like this. So your middle finger is on the right side, your index finger is over here curled, and then your thumb is it is not sitting on the cards. So you're not sitting on the cards over here. That's what's going to happen. You need the cards sitting outside so that your thumb can actually rifle these cards, all of them up to the last. See? This is kind of a complex motion if you've never done this. And I want you to just try and mimic the position of my right hand. See how the fingers are sitting over here so that I can bend the entire packet using my index and thumb. And this corner is going in the base of my thumb over there. So everything is being controlled by my right hand. And over here, we're just going to start bristling, and the cards are going to fall because of the angle that we have on the cards. So let me show you again. We have them over here. And then because we're holding the cards like this, whenever we do the move due to gravity, they're going to fall down. And one word of advice is to not hold the deck very, very tightly. So when you are letting go of the cards, if you keep holding very tightly on the deck, notice that the cards will not really fall. So what you need to do is let go of the cards, but at the same time, hold a very smooth grip on the bottom packet. So don't really tense it up. Hold it so that the cards are sitting there. Let's grab these cards as well for a second over here. So hold the packet in your hand, but do not really apply pressure. Just hold it and start rifling your thumb, and all of the cards will just bristle down in such a beautiful manner. And from that point on, you can go into your ending that we just previously learned. And shuffle the cards, or you can do something else. But I think this move that is called freefle by Oliver Sogard is such a beautiful move to do. Riffle Farrow put in position, and then start rifling one by one, the ends of the cards. And then from this point on, you can come here and you can do a shuffle in any way that you want. 34. Faro Closer VI: The sixth way to end the ferro shuffle is one that Cordis have been doing ever since deck unique days when you shuffle the deck once like this, and then you shuffle the deck again over here. So it's called the double shuffle. And this happens by shuffling the cards, when you're shuffling them initially, instead of placing your hands on the middle of the packets, you're going to place them off to the side, on the top side, off to the right and on the bottom side off to the left. See how my thumb is here next to the corner and how these fingers are next to the corner. So in this position, once I riffle the cards, notice how each one of them will go in an opposite direction to the side. So instead of being a complete shuffle, we have a packet on the left and a packet on the right. So now if I just squeeze all of those cards, I can make another shuffle. So it's kind of like a kinder egg shuffle where you have one in the other. So we are over here. Hold the deck from underneath, go on the corners, squeeze, hold your hand. Notice in the same way that we are doing when we're letting the cards fall, my index finger from my left hand is stopping those cards for a second, so I can bend the cards. Then I let go. The cards are going to separate into two packets, and then I can shuffle them. Let's do it once more together over here. Boom. One thing that can happen is that those cards will go out completely. Like, these cards can go out of the day completely, and that usually happens. Wait, I'll tell you why it happens in a second. I'm going ahead of myself. So once you're over here, you're going to hold with your index finger from your right hand, and you're going to squeeze the sides, and then you're going to relax the sides so that they can start mixing the cards. Now, the reason that you have those cards going out of the deck is that in the beginning, the cards aren't really pushed into each other enough. So you need to push them a little bit more, you see, about 2 " so that when the cards are shuffled, they don't really come out of the deck. I actually made them come out completely at this time for some reason. There we go. I think I know why. This is I've mixed it. Actually, it's not just the fact that you need to put them in more. You don't put your fingers on the complete corners. Like, don't do it on the corners completely because the more that you do it on the corners, notice the cards just come out. But if you move your fingers slightly towards the inside of the deck, so more towards here, more towards there, then the cards are not going to come out completely. And there you go, guys. You have a double farrow shuffle. 35. Faro Closer VII: For the last way to end a farrow shuffle, I'm going to show you guys a gag that I've been doing since 2015. So you have a farrow, and then you're going to hold the cards in the hand that has a grip over the last card. So let's say, for example, that the last card of the packet will be right here on my left hand. So then I will regrip so that I can actually hold the packet from over there. Because right now I don't want anything to happen. But if I re grip with my right hand, one card will fall. Then if I re grip with my left hand, another card will fall. And this move is just a gag where the cards keep falling. If you want, you can leave cards from the top of the deck as well while you're talking with a spectator like that, don't That's not supposed to happen where the cards go from the center, just from the top and the bottom. This is a great move if you don't have a perfect farro shuffle, so you have like blocks of cards inside when you drop, you're going to have more cards drop at the same time. So you can talk with the spectator and try and make it look as if you're not even paying attention to the cards just falling from both sides. So you can have a nice shuffle that you see over here, one card from the top, one card from the bottom, just like that. And I'm not going to say a lot, but you can use this for different effects, where you can have somebody say stop and they stop at their selection, or you can stop at a certain selection. Or another thing that I did was have a four card production. So I would go from here, and then I would have certain cards at a certain moment, and then I could just separate them, or I would let cards drop, and at the last moment, I would let the top card drop, which would be an ace or a force card. So you can definitely play with this because it's such a silly thing to do that spectators are going to leave their guard down. So I just wanted to pass this one, as well. It is an idea I've had a lot of fun with, and I think you guys are going to have a lot of fun with it as well. 36. CHAPTER V: FALSE SHUFFLES: [No Speech] 37. Method I: The first falls shuffle from the seven basic false shuffles looks like this. It looks like you're actually cutting the deck not once, not twice, but three times. When in reality, you are cutting the deck from underneath, you're keeping a thumb break exactly at the position where you're cutting, and then you're going to be undercutting the rest of the deck to the top. It's basically a table version of the double undercut, where you go like this, you hold a break and then you cut that back to the top. Only in this situation, you're going to be doing it on the table. This one is really nice for combining it with other false shuffles that we're going to be learning. Like, for example, doing a nice push through like this, then coming over here and doing one of these, or you can even combine the two like this. You can cut that one over there, keep a break and then double undercut that to the top. So it's very nice because you can play around with it. So that's why I included it as the first fall shuffle that you have to practice. You keep the deck in your left hand, you cut half of the deck, and the rest you take with your right hand to the top. You're going to hold a thumb break, and then your left hand is going to cut half of the cards from the bottom of that thumb break, bring those to the top, relax your hand because your thumb, the meat of your thumb is just placed in between those packets, and then you're going to take the rest and cut it to the top just like that. 38. Method II: Here's another version of the same cut that we just learned, but this one is a little bit more flashy. It looks as if you are cutting the cards very fast in succession, you're cutting it once, and then you're cutting it again from both sides. It's something that is considered a classic and false cuts. And some of you might already know this. The way that we do it is following the same instructions as before. We're going to cut the bottom portion to the top and hold a thumb break. And then we're going to split this back. Let me show you what's happening by using one of these nifty nice blocks. So goes like this. We're cutting to the top. We're holding a thumb break exactly at that position. And then I'm going to break those two packets and notice what's happening. That top portion is falling to the bottom while we're putting the left and then the right back on top. Let's get a few more of these so I have something to grip on. So we have those. I'm going to split with my left hand, see, from the bottom, and this one is going to go to the left, while at the same time, I'm going to throw these cards from the top and move my right hand to the right. So I can actually split the cards and lift that top portion falling down on the table. So we cut those. I'm going to separate the cards, go up and then down so I can separate them and put them one on top of each other. And there you have it, guys, the second false shuffle and the seven basic false shuffles. 39. Method III: A So here is one that you're going to be really doing because it really looks like you're shuffling continuously because you can take breaks, you can do it on an offbeat. You can just cut the deck once. You can talk with your spectator, and then you can cut the deck again in the same motion that you cut it before and take another break and then cut the rest of the cards back on top to reverse the full order. Not only that, but you can do it successively, just like this. So you don't need to take those breaks, or you can do it so you only retain the top stock. But in this situation, because I don't want to arrange the cards back in this position, I'm going to do a full falls shuffle. It's basically a full falls up the ladder cut where you keep taking the cards from the table and you place them on the bottom of the deck. So what's happening is this one goes over there, and we're having a thumb break, and then I cut the cards. I put this one on the bottom, and then I cut the rest, and you can see how the entire deck has actually cycled through. So we cut about a third of the deck and I keep a thumb break. Then I cut from the top again, about a third of the deck, and I grip it with the rest of the cards from underneath. So when I take the top portion, I'm actually taking both of those. I cut this one to the bottom, and I put the rest on top. What I like to do here in order to have a better grip on the cards, instead of starting with the fingers right over here and cutting and having a very few space here to grip the bottom cards, what I do actually is I felt like that explanation was you could really see my Eastern European side in this section. So what I like to do is I like to lift the packet up by sticking my ring finger underneath the packet and just literally poking it up from the table so that when those cards are gripped, I actually have a lot of room to grip them. So I grip those. I cut the next portion, and now I have enough room to pick those up and drop the next ones on the bottom. So instead of going here, I actually lift the packet up. Did you see that? So instead of being here, I actually go up. And now I have all this room over here. So I go once, I pick that up, I go twice, I pick that up, and then I put put everything back on top. In the beginning, just go very slow, put the cards down, and then keep doing it like that. Pick them up, cut the next portion, put it on the bottom, cut the next portion and like that. Now, the idea is that you don't want the spectator to notice that you don't have any more cards. Well, that was pretty nice. I could consider that a new pop. So you don't want the spectator to see that you're taking the cards from the bottom and you're putting new ones. So this is when you're doing it fast, it will just look like you are shuffling the cards. It will look as if you are literally cutting the cards like this down on the table when you're not, obviously. So make sure you pay attention to that aspect as well when you're cutting the cards. And like I said in the beginning of this video, you can take breaks, so you can go once, twice, stop, hold your thumb break at that position, talk with the spectator, even go with both hands and motion as you're talking, so it feels much more natural while retaining that break and then cut the rest back on top for a full and nice cycle of the cards. What's nice about this one, just like with the previous one is that you can actually combine it with different types of shuffles. So you can actually combine this with the up the ladder one. Actually lost the card over here left on the bottom. And you can combine it with many others, but we're actually going to make a section on combining at the end of this video. But I hope you guys enjoyed this false shuffle. So let's move on. 40. Method IV: So we're going to be doing the classic slip cut at this point, where you're just cutting the top card of the deck into the deck and retaining the rest of the cards just like this. This is very deceiving when you're doing it with the cards face down. And obviously, as you can tell, one of the cards is going to be displaced in the center of the deck. If you have the cards like this, you can actually manage it, so it looks as if you're not actually shuffling the cards. But just know that that card is actually being lost in the deck. It's even more Beautiful. When you do it with one card face up and you go, we're actually going to be cutting the cards in the center of the deck, and in reality, you've just cut that one single card. So is this really a false shuffle? Maybe not, but it is a false cut. So I thought it was very fitting to include in the seven basic false shuffles right here in this video, since everybody does it. So let's learn. I'm going to have a card on top of the deck like this so you guys can actually follow what's happening. I'm going to grip the cards from the right and left. My left hand is going to cut about half of the cards using my thumb over here, and my right index is going to retain the top card by just placing the finger on top of the cards. Now, I'm going to move my right hand towards the front while my left hand is retaining the packet that it was previously cut over here. You do need a little bit of friction between your finger and the card. So if you're really slippery, spit on your fingers and you're going to be fine. You don't need to spit. You can just how is it called when you breathe hot air? You can just go on the finger and then you're going to have a little bit of moisture on the fingers. And when the spectator sees you doing it, they're going to have a nice laugh. See how that can happen, or that can happen. That's because I applied way too much pressure on the playing card. So you go over here, apply pressure in the beginning so that you can slip the card. But then relax your finger and just use it as a means for transporting the card from one part to the other. Over here, go over there, cut down, and then over here. So the thing with the slip cut is that you don't want it to look like you're bringing the cards from the bottom, obviously, right? So what we have to mimic is this motion of coming from the top down, and then with the rest of the cards on top. And you just need to practice that. See how I'm just going up, down. I'm instantly dropping this packet to the table so that it looks as if this one was on the bottom all along. Right there, and then like that. See? So there you have it, guys. That is the top card slip cut. It's a beautiful false cut, and I thought it was just fitting to boot here, and I hope you guys enjoy and learn. 41. Method V: Now we're going to be learning the cream of the crop, the false shuffle of the false shuffles, the one and only the god, the push through shuffle. Now, I'm going to be showing you a very easy way to do a push through shuffle, one that you'll just automatically be able to do, and it looks like that. Notice just how few cards I've actually shuffled. I swear to God, that could be a production. I think there's five cards in this. But it doesn't matter because the spectator will think that you're actually shuffling the cards as long as you're doing this, you know? So it's kind of a messy shuffle, and this allows you to push through the cards very easily. So instead of doing this, and then having a difficult time pushing the cards through and cutting them over there, what I advise you to do is just start rifling the cards and then go riffle very fast on the right, while also riffling a bit over here, and then you're going to have blocks of cards or very few cards actually shuffled in. And you'll notice that the cards are very easily pushed through. In this position, the way that I like to hold the cards is with my pinkies at each corner over here, providing a lot of cover with my two fingers from the front. And then I'm going to actually push them like this with the pinky fingers and those fingers and those two fingers. And then I'm going to pull this one from over here to the front and make a nice cut. So I am over here, try not to do a long pause. So if you're over here and you're pushing you're doing the paws only after you've made the push through completely, and then you cut them to the bottom. So once more, I start over here, I split, and then I move my fingers pinkies at the corners. I do a very, very brief shuffle. I start pushing the cards. Somewhere around at this position, I just kick the cards like this with my pinky. See? Just like that, I kick them, and then I instantly come with this one in the front. Play around with which packet you're actually going to be shuffling on top. See what I do? I cut the top portion to the right because I know the left one is going to be shuffled on top, and why am I saying this? Because when you're doing the push through, that's going to be the packet that's going to go on the bottom. And in this situation, it's going to be a good cut, like a full fall shuffle. But if we cut the top portion to the right, and then we're going to have that one end back on top, it's not going to make a lot of sense when you're gonna come from the bottom of the deck. Notice that this one comes from the bottom, come from the bottom and place this one on top. It's just gonna look like you did nothing. So if you want to do something with the top pack and being burried or not being buried, but actually ending up underneath. So we're going to go like this. See, this one is actually on top. I know I said a lot of ji purge before. I am a little bit excited over here. So we're going to do it like this, and then we're going to push through. Now, we're going to actually cut this one to the bottom, and we don't want that. So what we're going to do is we're going to hold a thumb break at that position and then cut the cards back to the top. Or I know I'm a little bit derailing over here because this is part of the combination process. If we have the ace on the bottom of the deck, and we do the push through, instead of bringing the ace and cutting it to the bottom over here, what we're going to do is we're going to bring the whole packet to the top, take a top portion, put it on the right side, bring this one, flush with the rest of the deck, and then take this one and place it on top. And in full speed, it will look as if you're actually cutting the cards, you know? Another one another classic classic of fall shuffles, this one. But in this situation, I actually cut a portion from the bottom of the deck to the top of the deck. So if I don't want to do that, I go like, here, I stop, I come here, and I go one, two, three. Yeah, I just branched from one false shuffle into another falls shuffle, which we're actually not going to go into because I don't like the don't I don't like this falls shuffle, where magicians place the cards to the right and then they bring it back on top. I think it's very obvious, and I don't like doing obvious things because I'm not enjoying what I'm doing. So in contrast, I'm doing this one, it really looks like you're shuffling the cards, you know? This turned into a longer video that I wanted to. But I think you guys I think you guys got my little rant on the fall shuffle over here. One last time, pay attention to where the cards are ending up. So if you're burying them on the bottom, over here, that's okay because you're going to cut this one to the bottom. If the packet that's on top is going to end up on top, that's okay as well, but you're going to have to separate the cards and then perform another one where the cards actually end up underneath over here. Because then you're gonna want to bring them back on top of the deck. And that was almost a false cat. So, you know, once this one can go over there, that was a card, a rogue card. Twice, I can separate. If this one ends on the top, what I can do is I bring it over here. I keep a break and I cut it to the top, or if this one is on top, I separate. Again, I do, again, the fall shuffle so that I can actually make the cards end up on top of the deck. I place them. I keep a pinky break and then I bring the cards on top. Just always remember where I can see I did a little bit of shuffles over here. Just make sure that you Remember where the top card is. That's the most important. So always in the beginning, shuffle with the cards face up so you can look at that at your selection and always bring it back to the top. So there you go, guys. That is the easy push through shuffle, you know? And from the easy push through shuffle, you can actually evolve into really doing it very, very neatly like this. But in the beginning, I really advise you just focus on blocks of cards like that. There you go. The longest explanation for the push through shuffle. 42. Method VI: Ten. After such a long explanation on the previous cut, the next one is going to be super fast, and it looks like this. Yes, this is actually considered a false cut because nothing is happening, as you can see. I thought it was going to be super fitting to include here in the seven basic false shuffles. You're going to cut the top portion of the deck to the right, and you're going to bring the left to the left. This one, you're going to let go and hold your ring finger underneath and flip it like that. And then this one with your ring finger, you're going to flip it on top of that one as well. Separate, flip flip. Separate, flip flip, just like that. And there you go, guys. That is the flip falls shuffle. Yes, that fast. 43. Method VII: The last false shuffle from the seven basic false shuffles is one that is performed on the table, but happens in the hands. So it looks like this. We're going to cut the cards from left to right and then complete the cut. You must be familiar with this one if you've been in magic for a while. If not, welcome to the Holy Grail false cuts, one which the spectator can do themselves, and they will actually not realize that it's completely false. I'm going to show you one that is not false and you're going to find it awkward. So we cut the cards over here. That felt didn't that feel weird when I went from the left and then back like that? It felt weird, right? That's because this feels much more natural. We're completing from the left to the right because if we would do like this, see, if I'm cutting from the bottom and then completing the cuts, those are actual fall. Those are actual cuts, you know? But when we're cutting from the top and we're doing the same thing, then those are false. Yes, it's the beauty of visual psychology. So we're cutting from the top, one here, then the next one, then and we go from left to right. There you go, guys. Isn't that It's wonderful when you can pick up something in such a short amount of time, that will be the last one from the false shuffles. In this last section, we're going to talk about combinations. So let's see how the deck is sitting after cutting in the previous false shuffle. So we have the cards over here. What I would like to do is just cycle through them. So we're going to begin with the first one. We go, cut, and then we cut from the bottom to the top. I separate the cards. I go into a nice push through shuffle. I cut this one over here. I bring the cards, and I want to flip them over, so I do our flipping false cut over there. If I want, I bring the cards and to finish it off, I go like this. And those were three or four of the false shuffles that we just learned and I put them together. If you want, you can even start the demonstration by turning a card face up and cutting that one in the centers that spectat can see that you've cut the cards, and you also did a nice pop just like that. And then we can go into our false shuffles. We go once like that. We separate, make sure you remember where the top card is. I go again. I separate over here. I do another cut to reverse the cards. Now, when you're in this position, you actually don't want to do any false shuffles because they're going to be seeing the card. But what you can do is move one card from the top from the bottom to the top like this, and it will look as if you actually cut the cards, and you can actually cut this one later on in the deck when you're having them face down. So let me show you again. So we have the eight on the bottom, face up just for demonstration purposes. I'm going to take a thumb break over there. I cut this, and now that thumb break actually move the card on the top of that packet, and I can bring these cards to the top. So now I can actually do a slip cut over here, but with the cards face down, you know, I can do a slip cut and we look as if I actually cut the cards, and I lost the card that I don't need. So, see, combinations can also lead to new ideas. When we go over here, we can separate again. And if we want after the separation, we can just place the cards. I think I placed them the other way around because I wasn't paying attention. I was thinking about my love coin magic. No, actually, no. So there you go, guys. Combinations are very nice, especially when you're doing a demonstration or you're just talking to the spectator. Meanwhile, you don't want to be doing just the same old thing, shuffling the cards like this. You know, you want to be squaring them up, cutting them, talking with the spectator, making a small pause, cutting from now and then, making a small pause. You can go like this, as well, turning around, making a small pause and talking, separating, making a small pause, you know? And then you can go and Did you see how I just kept on doing that and that and that, and then you can go into your card trick. I wasn't paying attention really well to everything. I was well, just two cards, lost. That was not so bad. So there you go, guys. Combinations lead to perspirations and other fancy words. Hope you guys enjoyed that. 44. CHAPTER VI: DOUBLE LIFTS: One of the biggest secrets of card magic is the ability to turn over one single playing card and make the magician vanish. What? The ability to turn over two playing cards as one. The double lift is the most essential slide in card magic. I learned all the basic slight of hands, and you combine them to do an actual card trick, and the most basic one is the double lift. Okay. So this is how you perform a double. You show somebody a card. It's on top. You take that card and you put it in the middle of the ****. You tap the deck and it's back on top. The double lift is so powerful. Here's the reaction Mar Coby got when he used it during the World Championship of magic in his winning act. So it's just a magic moment because this is a cow, so. I so you like that, so I do it again for you. Yes, sir. Everything. Like everything that is essential, the doublelt is also versatile. You can use it to control a playing card, change it, or convince your spectator that their card isn't on top, while it secretly is. The double It is awesome. But truth be told, you probably only need one. Though it's cool to know more. You know, it just makes magic more awesome. Why am I sitting next to these? Like, like I'm some sort of librarian? These are my cards and books. In this release, we will look at seven unique double lifts that you can't learn anywhere else. So grab your favorite deck of playing cards and let's get it started. 45. The Push DL: But I lift my favorite double lift at the end because this is a double lift that I literally just came up with for this video, and I like it because it's fresh, it's new, and it makes me excited at the prospect that, you know, this is a new double lift. You can also use it as a color change, as you can see. You can get a playing card from this position. You turn it over here, and then as you lift the card up, it instantly changes. So double lift, whatever you want, you can even it doesn't work like that, as I can see cause if you come forward, you can't really square it up as nicely. But if I come in the back, then it's much easier from that position. So we are over here, and then you turn it around. I think I practiced it a couple of times in front of you guys so you can see what's happening. I use my pinky to count one playing card and then I'm just going to stick those two together. And it happens by going forward with the thumb, and at the same time, I might actually pull the card backwards as well. But very slightly, it usually just involves pushing this card forward as I turn it around. And it happens so fast that a spectator isn't really able to see this. So you're pushing one card and then you're turning it around. Notice? So if you want to use it as a color change, you get that pinky brake. It's very important for the entire card to be lifted, both on the base of your thumb and on the pinky. Then you get that playing card. You're putting it in front like this. You're snapping your fingers, and then I was actually trying to do something else here or was trying to do this. I think I've seen somebody do this, so it might not be completely original from this position, and then the card changes. I definitely have seen somebody do that. But I love this as a double lift. We come over here and then you have a double. So the way that I perform it is by pushing one single playing card forward. At the same time, my right fingers will block my pinky finger counting one playing card. When you say, we're going to use just one playing card for this. Let's check it out the ten of spades. I want you to check it out yourself, snap your fingers. You see it changes into the three of hearts. A very subtle and nice, simple, easy to execute. You can give it a lot of objectives. Double lift, and I really wanted to leave it at the end for everybody looking for something that not everybody is going to watch this video at the end, so this is just for those people that have. 46. The Dribble DL: The first double lift that we're going to be looking at is one that I've seen a lot of magicians do, but not a lot of people explain. It's this dribble double lift, where you are dribbling the playing cards, and then you are retaining the last two playing cards. Now, you don't necessarily need to do a flourish at the end, like I just did here. You can just turn the cards like that, or after dribbling, you can just show the playing card like this and then put it back. This is a very old idea. While learning about the top change and going through the books, I've actually found a resource from quite a lot of years ago, I didn't really remember it, so I can't credit the person, but this is definitely not something modern. So magicians in the past definitely were playing around with this. Now, I've seen people do it on the corners as well. They dribble over here. They retain the card. It's much easier to spin around. It's just I'm not necessarily a fan of dribbling cards by the corner. It feels a bit too unnatural for me. Now, if you don't know how to retain two playing cards just like this, the first thing that you need to do is dribble the cards and just retain the last card. That's it. Just get used to being able to retain one playing card in the hand. Then try and retain more than one card. You might stop at three playing cards. You might stop at more playing cards. And the idea is to try and leave as much as possible until the very end and you can go much slower and slower until you arrive at the last two playing cards. And by practicing this, you'll be able to dribble much faster and stop exactly at the last two playing cards. There really isn't necessarily something else to it. It's just dribbling and stopping at the last two. But if you're able to use this in your routine, they will literally look as if you're just stopping at the last playing card and then using it for whatever trick you want to use. A very beautiful double lift that I don't see a lot of people use, and I really think you guys should start using. 47. Swing Cut DL: So this is kind of a funny double lift because it happens as you are swing cutting the playing cards and then you're retaining a double in your right hand. And this double actually comes from the bottom of the deck. So we have the fiber spades on the bottom. I'm actually taking a break using my thumb on the last two playing cards, and I'm transferring this break to my middle finger. And then as I'm swing cutting the deck, at one point, I'm going to swing cut everything except those two playing cards, and I'm going to turn those around. Now, this motion of turning the playing card happens by twisting your wrist towards the exterior and then moving your thumb down. At the same time, it gives this very nice, as you can see, turn around. It looks a little bit flourishy but in a very nice way, not in a gimmicky way, when you do it like this. So you take that break using your thumb. Now, when you're doing it to somebody, you don't want to expose this break to them. So what I like to do is tilt the deck like this. So when I'm swing cutting, they're unable to sit this portion of the deck. Then at the end, I just swing cut everything and I show the last two playing cards. 48. Table Spread DL: Here is a double if that is similar to the very first double if that we learned from the dribble. But this time you're actually doing it from a spread. I like it from a spread because it feels much more impossible to be able to pick up two playing cards while you're doing a spread. And there are two ways in which I perform this. Usually, I might get a get ready, as you can see, as I am spreading the cards, and then it's much easier to just pick two playing cards. Or I am getting this get ready right here while I'm spreading the cards because I have enough time with my thumb to start counting two playing cards and then at the end, take them up. So it doesn't matter at which point you do it. I actually prefer the one at the end because it just feels natural for me to be able to riffle. You see, I'm slowly riffling as I'm spreading the cards on the table over here. And then as I arrive at my destin, like this time is a triple, then I pick those two or three up, right? O here, I dropped it for a second. Let's get a new card. Dribble and then spin around just like that, as you can see. Or you can do it as you are coming over here. So as you're going towards the table, you're going to pull back two playing cards. If you're not able to pull back two playing cards yet, just get used to doing this and then slowly try and instantly break exactly at two playing cards. For me, it's much easier to pick up three, four playing cards and then drop those than try and do this motion twice because it's just weird. Whereas if I pick up four or five playing cards, I can dribble them. And from the point of view of the spectator, it just looks like you're dribbling playing cards, like you're just rifling playing cards instead of this motion of picking you see a very fine but very important difference. So we come over here, we pick it up and it's the two. Notice that when I apply a bit too much pressure, this actually causes the deck to at this point, it didn't because I didn't apply so much pressure. But if you apply too much pressure, it spreads them too much too soon, you know, like something like this. So just do it slowly so you can spread it nice and equal and at the same time count those two playing cards. And you're going to have a marvelous table spread double. 49. Hand Spread DL: Somebody touches a card. Let's say they touch this one, you stop. You take a break underneath the second card, you pull back those, and then you turn it around. From my point of view, there's just too much pause in this motion. Usually, if you were to just turn a card over, it would happen like this, you know? So this is exactly the motion that we want to try and mimic as much as possible when we're doing a double lift. Because it just feels much more natural. From the point of view of a spectator, he's not going to notice. I'll be completely honest with you. Spectators don't overthink so much, but if you want your act to look as close as possible to something that you would actually do in reality, you know, you see, turn the card over. It looks like that. So what we want to do is make a double lift, look exactly like we're turning one card over. And then you come over here and you can go into your trick. Now the way that I do this is I stop at a point, I get those two playing cards, then I bring them as much as possible, one close to each other so I can turn both at the same time. From this position, it's a bit hard to push those as one and then turn them around. So what I like to do is just take the entire sprit, put it underneath, and then start using those playing cards. So we're here, I get those two cards. I turn them around, and we have a double. Let me try and get it over there. We get another card. I put those two, and I turn it around, and we get the cover. You see, it feels much more fluid, whereas if somebody touches a card, and we get it right over there and we turn it over, it just feels much more mechanical and robust. So by making it much more fluid like this, it feels as if that is actually one single playing card. 50. One Handed DL: So let's shift the gear and talk about the one handed double lift. This is when you use just one single hand to turn a double. Now, this is possible to be done from the middle of the deck, from the top of the deck, and from the bottom of the deck, as well. I drop the card over there. It's the same mechanic by gripping two cards between your thumb and pinky finger and spinning it around the deck, you are able to have a double. So let's see the mechanics behind this. We're going to use our thumb and our index finger curled underneath the deck, which pushes upward and the thumb pushes downwards to create this nice bend in the deck. We're going to thumb count two playing cards, and then we're going to have the corner contact the pulp of our thumb. From this point, we're going to bend our pinky. This might be a little bit difficult in the beginning, but then you get used to it. Notice that the way that I'm pulling my pinky back also involves extending my other fingers in the front. This is actually what moves the deck in position for my pinky to be able to contact those two playing cards. Now that the playing card is between these two fingers, you will understand if your hands are too small for this or just big enough in order to spin the card because you're going to have to be able to have all of the space in which the card revolves around. So you're going to use your ring finger to push the playing card as further away as possible. This might happen if you're staying so long as I was. We're pushing the card. And notice that it's not just the ring finger pushing because if it would be, then that would be the extent of it. But by pushing and then coming down with the thumb, I am actually able to revolve the playing card completely. At this point, it's in great position for my middle finger to grab this other corner. And then my ring finger from underneath will extend, and this will tilt the card the other way around. Now my thumb will go to my pinky finger, and this will cause the playing cards to just fall flat with their face. So at this point, we spin, we contact. We spin again and we go down. Riffle, contact, contact here, lift, spin with your ring finger as much as possible, then come down for a full revolution. Switch to the middle finger, extend with your ring finger over here, and then I come with my thumb. I drop the card because it just naturally drops since it's not on the corner anymore. And at this point, I use my wrist to make sure that the two playing cards fall and the spectator doesn't see that there were two playing cards. Now, if you want to do the same thing, when you come in the middle, you're going to use your index finger to stop and retain half of the packet. Use your thumb to count those two playing cards. Look how I'm pushing inside of this gap, and then I'm moving my thumb so that I can grab those exactly at that point. I pull the two playing cards outside at this angle, and then I just repeat the same process. Grab come outside until the card will revolve naturally around the corner of the deck, and at this point, we end it like we just practiced. And the last one will be from the bottom of the deck where we do same thing as the one in the middle. We're going to use the deck to revolve the playing card and then end like we learned in the beginning. I left this towards the end because it is a flourishing move. But if you can get it done, I am going to try it for the first time in my both hands over here. There we go. If you can get it done, then you can have a cartridge using just one single hand. I've seen magicians do this kind of like a personal challenge, but it's also very impressive when they show it to a lay audience. So now you have the tool, practice it, and you can insert it in your repertoire. 51. Middo DL: What about a double lift from the center of the deck? You just show a playing card and then you can have a double lift from that position. This is a double lift I created back when I was 14, and literally just involves counting two playing cards with your thumb in that position. So you dribble the playing cards, you're revolving your wrist, and then from this position, I'm actually trapping the deck right here between pulp, the base of my thumb, my index finger and my fingers, and I'm counting two playing cards with my thumb. So if I go one, then I go two using two different sides of my thumb, as you can see. Most of the time, I can just pick up two as I'm going upwards like this. If that doesn't work, what I might do is I count one playing card so the spectator can see that. And then this happens by reflex. As I'm going towards that card, one single playing card will stick to my thumb, so I can actually take that and bring it upwards. I have actually seen a variation on this where you take one card from the center, but then you're also taking the top card as well in the process. I feel this one is just much more revealing and just not really to my liking. And over here, you can count to playing cards in a very fast manner. You bring it around and you have a double lift. Definitely one day you'll have to practice a little bit. It doesn't come instantly, as you might pick up one card at the beginning, you might pick up an entire packet. This is why I told you you can riffle one card or you can even riffle two playing cards, and then you can get those. But what happens to me when I riffle two playing cards is I still get that one card latching onto my thumb, so I might get three cards in the end. So one card is enough, see, just happens instantly. I get another card, and then that is it. Boom. 52. CHAPTER VII: MARKING CARDS: Ernes, Richard Turner, Alan Kennedy, and Steve 40. These are all giants, card mechanics, card sharks, legends. Call them as you wish. They are masters of stacking, false shuffling, dealing, any card from any position in the deck. And what can I can't do any of those things. I can't actually do any of those things. But in this video, I'm going to show you guys seven different ways in which you can mark playing cards. And then you can do whatever you want with them because there's so many things that you can do by marking playing cards. And I'm not talking about, you know, marking them with a nail or something on the corner so that you can actually read them in a poker game. This is strictly for magic purposes. So if you are here as a card shark, I'm I'm very sorry. Probably you might be disappointed about what you're going to find here. But honestly, I think there's a lot of good ideas here. So grab your favorite deck of playing cards, guys, let's get it started. 53. Mark I: Greater Magic Method: Method for marking playing cards that are learned from greater magic. You have your back turned the whole time. So the spectator can shuffle the cards, they place them down. You feel where the cards cards are. You ask them to cut the deck. They cut the deck. They take a look at their playing card. And while they're taking a look at their playing card, you're just going to come over here and ask them to place the cards down. They place the cards down. It was like, what, ten of diamonds, I think, or something. And at this point, you can instantly just cut at their playing card. Now, from this position, might be a bit harder, but I can still do it. There we go. Ten of diamonds right over there. I think it's nice because all of this happens with your back turn, so it's a great magician fuller. Let's learn it. The first marking technique that we're going to be looking at is one that I learned from a book called Greater Magic. And it's a technique I still use to surprise magicians, basically because they don't expect you to mark a card in this way and actually, you know, perform an effect with it. So I'm just going to show you guys how to mark the card. And then at the end of the video, after we've learned all of the different ways to mark cards, we're going to be looking at two different applications that you guys can use these, you know, to actually have an effect going on. Now, the way from the deck. So what you're going to do is you're going to find the packet because you're basically turned with your back towards the spectator, and you're going to tell them, please just place the card over here. So what happens is when you're trying to find for the deck, you're going to use your fingers to block the top card and then use the nail of your thumb to come over here on the side and just go down once. You know, just go down with the whole nail on the card. And you'll notice you actually probably notice this on the playing card, since it's like crazy crazy. Let me try and get it. You see that? Over there. That marking over there on the card. So at this point, when the spectator will return the card, you're going to have a clipping, a dent. It's not a bent. It's like the card has been carved into with your nail. It's like a hole, a small hole in the playing card. You're going to be able to just see it. So at this point, you can instantly just set the cards aside, spread them towards the spectator. So now you can see the marking on the card, so you can just go cut exactly at it. Now, you're going to be able to either cut like this or drop the card, leave it down, and then cut exactly at the card that they peaked at. Sorry about that. That was my mom calling. I had to take a short break, which was a nice break, to be honest. I love talking with my mom. But now you have the card signed. You know, basically it's marked. You have it. You can return the deck. You can cut at it. And yeah, you can pretty much do whatever you want from this point of view. We're going to see what I like doing with this marking at the end of this video. But until then, let's move on to the second way to mark a playing card. 54. Mark II: The Flick: It takes a card from the deck. Let's say, for example, this one, they remember it. Let's take a look at it. It's the four of hearts, just like that. Place it somewhere in the center. What's nice about it. I can just find it with one single finger. The second method of marking a play card, I think I've used so many times when I was in my teens. And the way that you do it is you have somebody select a playing card like this. You grab the playing card by the middle, and then you're just going to place your nail on the back of the playing card, and then at the same time, you're going to flick with your index finger as you're coming up and telling the spectator, please remember this playing card. Now, if you're going to get a card like the Ace, the marking is going to appear on the front if the spectator is looking a lot at the playing card. So what you can do is after you flick, just place your index finger back in position over there so that it doesn't look, you know, doesn't the spectator can't see that there is a marking on it. But usually this happened when the lights are shining directly upon the playing card. But when you're in a casual situation, you're just showing the card at different people, you can do it like this. Mark the playing card on the back, and then you are good to go. You can place the card somewhere in the center. I marked it many times, so it bent quite a bit more. But you can see that right now the card is right there. Everybody can see it, most likely. You're not going to get such a powerful bend when you do it just once. You're probably going to get something like this, you know, a slight bend on the side, and this one is actually going to vanish if you're using a bicycle deck of playing cards. And now from this point, again, you can just casual lift up the playing card. And hopefully, yeah, there we go. We have the Ace over here. That was the card, right? It wasn't the Ace of clubs, I get always this impression that I'm, it was actually the Ace of clubs, and I've cut to the Ace of Hearts. And now we're gonna get a nice trick where I keep cutting to the Aces without wanting to. Was that even close? No, it wasn't. No. It was the ASO clubs over here. You place it inside. You have it over there. And what's nice about having a card that is bent is that you can instantly cut to it. So you can do a lot of different effects with this idea. And if you want to get rid of it, rifle on the side, nice spring, you know, and yeah, make the sponge balls run away, basically. That's what happens. And then slowly, the crimp is going to go away and you have nothing to worry about. Now, the only downside to this entire thing is that if you keep doing this, you're going to have a lot of bent cards on the side. So when you want to actually cut to the playing card, wait, I actually didn't cut exactly at it. When you want to cut at it, the thing is that you're going to have multiple cards that are bent. I should probably turn this phone around so that, you know, you don't get any nice notifications happening over here. Let's get this deck in view as well, now we have a full image of my entire desk. So I advise you to do this in the beginning when you're opening a deck of cards or you don't have a lot of cards that are bent because it's going to make it much, much easier to find the card that you are looking for. So there you go, guys. That's the second way that I like marking my playing cards and finding them afterwards. Let's go to the next method. 55. Mark III: The Scratch: Very peculiar way of actually, you know, marking a playing card. Somebody just touches a card. Let's say, for example, is this one. They take a look at it, the Jack of diamonds, right? We're just going to leave it right over there. And you have actually marked it in the moment that I've just done this. So now you fin I just got to take a look and instantly I had more cards that are actually marked, so I hope I'm cutting at the right one, yeah. Jack of diamonds. So what happens right when you get the deck or when you get the playing card, just for a second, you mark it. It's got no visual thing. Like the deck can look completely normal, and then you cut the card and you can instantly see it in the pack, just over there. Here is a method that is quite unusual, but that works very, very well. Now, you're going to have somebody select a playing card, obviously, they're going to take a look at it. You place it back on the deck, and what's going to happen is you're going to come with your nail right here on the side, you're just going to drag a line along it. Notice how I just placed my finger just went like that. And now, if we cut the card, you're going to notice this white White. Let's see if we can get a nice. You can see that white line just over there is very obvious. So probably your spectator will be able to spot it as well if they were looking at it. But I did it very, very big so that you guys can actually see what's happening. But you can do it just a little bit. What's nice about this is that you can mark multiple playing cards, and because they are so white on the side of the deck, you can easily just cut directly at it, just like that, you know? So you can have all of the Aces marked, have somebody shuffle the cards. You can show that there are no crimps on the sides, and then you can just find the playing cards. You know? It's an unusual way to mark a playing card, but definitely one that is very visible. And I can say that using it, you can make your own custom butterfly deck of playing cards if you just start drawing on each playing card, basically. So there you have it, guys. The third way to mark a card. 56. Mark IV: The Deal: Somebody to just call out stop as you're dealing cards. So let's say you stop over there. They take a look at their playing card. I can actually take a look at it, as well. It's the six of spades. You place it in the center, and then you can instantly just have access at it whenever you want. What better way to mark a playing card than do it while you're dealing cards down on the table? So you can have somebody just scull out, stop, and then you can deal them the card over there. And in that process, you're going to be able to bend it right here at the corner. So now you can leave the card somewhere in the center, and you can see that there's a nice dent in the playing card that will allow you to just cut directly at it. Let's leave it somewhere in the center as well, so you can test this out. You can see that the queen has been marked. And it's a nice casual deal. It doesn't feel like you're really forcing the card down on the table. You just come over here, you deal it down. And in that process, you're basically bending. It's not really bend. Is it like a crimp. It's more like a crimp, I think, right here at the corner. And it happens from a very natural position in which you are when you're dealing. You're grabbing the card by the corner with the middle finger underneath and the thumb on top, and you're bringing the lower left corner down on the table first. You're already almost bending right over heresy. And then what's happening is you're applying pressure with your thumb on the corner and with your middle finger, you're applying pressure the other way around, and then you're releasing with your finger. And in that process, because of those two forces that collide, you're going to get a nice crimp right there at the corner. And then you're going to be able the spectator can take the card, take a look at it, place it down in the center. And then when you cut, you can instantly cut at it. So I would advise you to just deal cards. And then when somebody says, stop, you just deal the card, and in that process, you bend it. This was a very big bend, you know, I really wanted to bend it. And then the spectator takes a look at it, and then they lose it back in the center or you lose it back in the center, you can use it in any different way. But I really liked this idea of being able to deal and bend at the same time because the bending happens in a moment in which, you know, people are actually more interested in seeing the card or seeing what's happening instead of just, you know, being suspicious of a deal. They're just like that, you know, Deal it down, bend it, have fun with it. 57. Mark V: One Handed: Say you would like to bend the card with just one single hand. So you would have somebody I mean, you cut the deck. Expected takes a look at their playing card. So it's the nine of diamonds in this case, and we place it back right over there in the deck. So at this point, I can actually just come over here and cut instantly at the nine of diamonds using one single hand. So I've been thinking about a method in which you could cut the playing cards like this, show the spectator the card. And in the process of doing this, you're actually bending the card that they're looking at, you know? And the method that I found looks like this. You know, you cut the cards. And the first thing that you do is after cutting the cards, you're going to use your thumb, so let me just lift this up. And the rest of the pack. But because the spectator is taking a look at it from the front, they're not going to be able to see this. It's like you're taking a look at it right now. You know, you don't see a certain difference between the card and the rest of the deck. Hopefully. Hopefully, you don't. So what's going to happen from this position is I'm going to place my index finger on the side of the deck over here and basically block the playing card. And from this position with my pinky on the side as well, sort of like in a fan position that you are over here. So let's go again from the beginning. I cut the cards, I take a card, and I reposition my fingers on the side, like in a fan position. I show the card to the spectator. As I come back with the cards in order to place them down, I'm literally just going to use my thumb to crimp the playing card right over here on the side. I just go inside. And you see, the card tends to go the other way around because of the pressure. So what I do is I use my index finger over here to block it, and now I can press down on it and crimp it and go and have the card just spent over here. Now, obviously, you don't want a very big bend, but you do want to be able to spot it. And what I love about this, like I said, is that it doesn't use two hands. So you are over here, you get your nice break in between. You show to the spectator, you're gripping with your index finger on the side. And as you're coming back, you're basically just going to push down on the side and leave it down on the deck, just like that. So if you're doing this in a situation where you're surrounded, you can pick up the playing cards. You can show the card to everybody so that they can take a look at it. And then as you're coming down, you're going to apply pressure on the side of the card with your thumb. See how it just bends it over there in a very conic fashion because it doesn't have anywhere to go, you're basically just continuing the bend. So if I would exaggerate this and keep on going, it would crimp it like this. So that's basically the crimp that we're going for. Just wanted you guys to, like, have a visual representation of this. So basically, that's what's happening at a very smaller scale, you know? Now, we have it over here, right? We're showing it to everybody. It doesn't matter that you can see that there's a break, you can have this even smaller. But if you're doing it fast and everybody can see it, then when you come back and you bend the card, you can drop it down and you can instantly have access at it whenever you want. I love this bend because it's just one handed, so it feels hands off. It doesn't feel like you can do anything with just one hand as you're showing to the people. And I think it's fun to do. So there you go, guys. The fifth method, fifth method? Yeah, I think the fifth method to mark a playing card. 58. Mark VI: From A Spread: A very useful way to mark a playing card. Somebody chooses a card from the deck. Let's say, for example, it's this one, like the three of hearts. We get it, we place it somewhere in the center. Maybe that was a bit too theatrical, you know, when you instantly get it. You can actually do it less theatrical than I did. You know, somebody points at a card, let's say, it's this one. You're just going to take it from the deck, have them remember it, place it somewhere in the deck. I didn't actually look at it. It's the four hearts. There we go, I want to make sure that I'm cutting exactly the right card. There we go. Sometimes things happen, right? For a hearts. There we go. I've also been practicing with this deck a lot, and there's a lot of bend cards. So yeah, this is basically bending while taking a card from the spread. You can also do it like this, but that is a bit maybe too flashy for everybody. And then like the nina spades, we have it in the center over there. You're basically throwing the card towards the spectator, and then you're going to be able to just cut at it at the nina spade. There now, how many times do you perform on the table and you spread the cards like this very many times, right? So you have somebody just point at a card. Let's say it's this card, you're going to take it out and in that process, give it to them. So the way that I would usually do this is either by flicking the card towards them. Wait, let me show you. See? Just like that, I hit one of the sponge balls, so plus ten points. So either by flicking the cards towards them, which marks makes the bend even much more motivated because I'm like, Hey, look at this cool thing that I'm doing. But at the same time, I'm actually bending the corner of the playing card by doing this. So I grip the corner of the card, the outer left corner of the card with my thumb right here and with my middle finger underneath. I'm pulling the corner, and this is where the bending happens. And from here, I'm basically doing this motion, and I'm spinning the card out of the deck, just like that. So in the process of showing off, you're actually bending the card as well. So the spectator will take the card, they will look at it, and then we'll give you back the card, and all of you have the card bent. So let me just grab all of these cards from over here so we can use them. But let's say it isn't necessarily your persona to do something like that. So what you can do is just take the card out, bend it as you're taking it out, and then show it to the spectator in that motion. So you're grabbing it, you're bending it, you're spinning it, and then you're showing it to them. The bend is now hidden right here underneath your fingers. So you can take the card, place it anywhere, and it will look completely normal. And now you're going to be able to just have access to it because of the bend over there. And because it's such a light bend, it will go away by shuffling the cards and springing them or just handling them for, like, a day, so you don't have to worry about, you know, the spectator seeing it or your deck being damaged in the long run. I think it's a very nice and very accessible mark that you can start using right away if you enjoy doing these sort of things. And yeah, that was the sixth way to mark a playing card. Now let's move on to the last before we go into the applications. 59. Marking VII: In A Dribble: About a dribble? What if you would like to dribble the playing cards, like this, have somebody call out, stop, they take a look at their playing card, and in that motion, you're actually making a mark so they can instantly have access to their playing card. Right now, I can just cut, and I can have access to your playing card, not because I marked your playing card, but because I marked another card next to it. How do you mark a playing card while you're dribbling the cards, right? So you're over here, the spectator is taking a look at their playing card and you would like to mark a card. So one thing that you can do is you can mark the ten of diamonds. And the way that you can do this is by dribbling the cards, and you can see this position in which I am dribbling, my fingers over here, my index fingers stretching out that can actually curl underneath the packet. And if I bring the rest of my packet right over here against the base of my thumb, what I can do with my thumb is just instantly bend that corner a little bit. So I can dribble the cards I have the same because it's bend. So the spectator is taking a look at it. I'm bending the corner, and then I can dribble the rest of the playing cards on top. So now I have no idea what card is selected, but I can cut directly at the ten of diamonds and basically have access to their playing card. So let's go over that once more. Somebody says, Stop. I instantly grip with my index finger. I bring the deck closer to the base of my thumb. As somebody is taking a look at their playing card, my thumb is going to riffle one single playing card from over here, bend it, just slightly bend it, and then come back in position. And everything happens very, very quick. So now you can instantly just have access to that playing card. I think it's a fun and very nifty way to mark a playing card that happens on the offbeat because everybody's taking a look at their playing card. And if you enjoy it, yeah, use it. That was basically the ending of seven ways to mark a playing card. But now we're going to look at two different applications that I like to do. When I mark playing cards. So the first thing that I like to do is using the nail marking technique that I showed you before. And the way that I do this is I have the spectator shuffle their deck, and I turn my back completely. And then I ask them Okay, I want you to just take the cards and cut them somewhere. So they cut the pack. And meanwhile, keep fumbling with the deck. And I come over here, I do the nail marking on the side and ask them, can you take a look at the playing card and place it back over here, okay? And I'm going to drip over the card. So at this point, I know nothing about your card. I can't know any key cards. I can't know anything. I don't know how many cards you cut because I wasn't looking. I could feel them with my fingers, right? But I didn't I can't actually know the number. So what I will try to do, you see the deck is actually a computer. And if you do the same things, it's going to give the same output so you basically cut directly at a certain point. And this is basically just a presentation of me cutting exactly at that point. And now, all I have to do is just search for my crimp over there. This is the card that I nailed in, and which means that their card is actually underneath this playing card. So if I pick up exactly here, what I can do is come back and just dribble one card and place it down and say, I think I'm correct when I'm saying that this is exactly where you cut off. So through the presentation, I'm actually doing an estimation trick, but because you're never actually looking at the deck, it always throws magicians off. I showed this at Blackpool this year, and people are like, What? And also, nobody expects you to mark a card with your nail. Like, it's such an old technique. I just nobody would expect you to do it. So it's great as a magician fuller. I like the presentation because it masks, the fact that you have to take a look at the playing card, you know, just to get into the motion of cutting exactly where they cut, you know? And you can motivate this by saying that it takes a little bit to compute. You know, I just I got to do this very slow because I'm on Windows 98. Windows from 98, like how is it called Pentium one. I don't know if you guys know what that is, but I got those when I was small. I was thinking I could instantly cut a DACs. For some reason, I always try this when I get one AS. So there you go, guys. First presentation right over there, which I like to do. You can actually do it with any marking. It doesn't have to be this one. But what's nice about this one is that you don't have to look at the deck. You know, it's just basically touching and then you're doing the marking. Now, what I would advise you to do is, like, really do a serious marking. If you do with just the nail sometimes, you can actually not spot it because it's way too thin. So what you can do is place your whole nail. I mean, your whole nail. Just go down like that. You notice how that is way, much bigger than the other one. So now I can actually spot it when I'm spreading the playing cards over here, I can instantly go at it right there because there's much more white on it. Now, obviously, we did learn another one. So what you can do is you can place your fingers over here, scratch and say, place it over here. So now when they put it down, I can see it from a mile away, not even just that. So you can choose between the two methods that have been taught in this video. I think both of them are very good. But in the end, make sure that you give your spectators a nice magical experience. The second effect that I love performing, and I've been doing this ever since I've been a kid is using the nail marking that you do over here when you show everybody. You're basically bending the card on the side, so let's see, we have the 12 clubs. Now, I have been bending cards quite a lot, so I don't know if this is going to work, but see, there you go. The cards split exactly at that point because of the bend. There we go. Just flick it exactly at the bend and it's going to reveal itself. I published I published this. I performed this back in 2010, I think, or 11 or even nine. I don't know. But I found out it was actually published in a book, so I can't take credit for it. Now, you're basically using your marking card, you're placing it on the side. Make sure that it's somewhere in the center, spread the cards, and then use your finger to cut exactly at that card. If you're feeling very brave, you can actually ask the spectator to place their finger and then just go up, and it will work. There's many times when this actually works, but you need to have of steel. You got to have them of steel, made of steel, you know? And then you're going to be able to pull it off. Obviously, you can do this with any bend. Even with the dribble bend, you can have it from over here. You can bend the card. You have the corner over there. You can spread the cards and then hit the cards exactly at the corner if you want. So you can definitely adapt this. I think you can use your foot. You can use the breathing I've used sometimes, you know, I just spread the cards, and then I blow. And because the cards are bent over there, it's going to a lot more air is going to enter in that position and it's going to flick and separate the cards much more in one single point. So just think about the last air bender. Earth is like action. Fire is I don't know, is air blowing and water, I don't know what water would be, but definitely you can get creative because once you have a bent card, you can do so much more with it. You can cut at it, like for estimations, you can control them, and then do any trick possible and existable in life. But these are the two things that I've always done. Magician Fuller and one is engaging the spectator and finding a card with one single finger, which I love because it's so, so hands off, so hands off. So I hope you like those two applications and that you enjoy them and start doing them as well. 60. BREAK: What Makes You, You: Is it? How's the course? How are you feeling? How are the slides? I would say take a minute to just sit down and see what you've learned, go through it, think about it, see how you can learn it, see how you can adapt it to your personality. Magic most of the time is about the story. It's about what you say with what you do rather than what you do, you know? And even if you're not saying anything like Teller from Penn and Teller, he does say a lot by not saying anything, using his face, his body language, and everything, you know, and there's usually music in the background or whatever it is that fits your character, think about it. If one of the things that we do when we're learning magic, we're learning quite a lot of slides and a lot of tricks. And we're not thinking about how to put these together in order to create magic from our point of view, like what is magic for you? How would you like to create this feeling of awe in someone? Some people have a personality that is much more outgoing, you know, and they're very talkative and they include a lot of jokes. Other people want to create mystery or they want to talk slower and make it a bit more eerie. It all depends. Think about the best advice that I've ever gotten was, think about what you like outside of magic and put those in your magic. Like, if you're passionate about sociology, there you go. Psychology, use that. If you're passionate about Taro, use that. Anything that interests you, not use it, but include it because it's part of you already, include it in your magic routine, because it's what makes you you and is going to set you apart from everybody else. The difference between a cart trick and a magic trick is that a cart trick is performed by millions of people. They follow steps from A to B in order to create the cart trick, a magic trick. Includes the word magic. And what is magic is you. What makes you you. Each one of us is completely unique, and that is exactly what creates magic. It's when you take that thing from inside you and you put it in the card trick, becomes magic trick. So yeah, there you go. I don't know how to end this, but there you go. 61. CHAPTER VIII: COLOR CHANGES: [No Speech] 62. Hover Change: This is one of the simplest color changes that I know, but also I really like just the visual aspect of it. You're going to be using two playing cards just like this, and you're going to have a pinky break underneath the top card. The whole thing that's going to happen is you're going to be palming the top card underneath your right hand, and you're going to be gliding it on the nail of your left pinky, just like this. This is everything that's actually happening. And this is happening by sticking your pinky finger underneath and then covering the whole card and moving the card on the nail just like this, as you can see. There are two ways in which I like to do this. First, I completely cover the playing card, and then I drop it back on top, or the other way in which you can do it is by covering the card just with the base of your palm. So you come over the card just like this. And as you can see, you can have your fingers spread out so that people can actually see the card, and then you can drop it back on top. Just be careful so you don't expose it on other side of your palm. Make sure that your palm covers the card completely, and then you can just drop it back on top. Very simple, straightforward. I love the visual aspect, and I think you guys are really going to enjoy performing this one. 63. Marlo Snap Change Variation: Everybody. Everybody. So the difference between this one and the snap change is that instead of holding the playing card at the lower right corner of the cards over here, we're actually holding it at the upper right corner over there, because what we want to do is tilt both cards in ten ki position at this point. And then at the same time, we're going to use our left hand to just pick up that first card. Now, the way that I make sure that this card doesn't fall, meanwhile, is I use my right fingers to just hold the card from underneath. Now in one swoop, it will look like this. I show the cards. I bend both of them, and the way that I do this is by using my fingers as well. So I'm not holding it like in the snap change with just these three fingers over here. I'm actually using my whole hand and holding the card because I don't want the cards to separate when I'm putting them in the hand over here, see? So I'm over here. And then I come inside. I could do it with three fingers from this position. I just come here and I go like this. But if you're not feeling comfortable at the beginning or you just want to be safe, just hold the entire card with all of your fingers like this, and then it's much easier to use your thumb and the fingers to just put the card in ten kai. Now, I'll go back here. So we have all of the cards. We are tilting the cards in ten ki, and this is done by just using all of the fingers. I'm pressing with the thumb on the corner here, and then my fingers are curling inside. Now, in order for the card to start swerving, I need my index finger to push to the left. And because of the tension between these two fingers, the card is going to revolve in tanki. It's at this point before even placing my thumb over the playing cards that my left hand grabs the top card. And as you can see, it's now that my thumb goes over this card, and I can place this one over here, instantly turning it around or I can just place it face down, hit it, and then show to the spectator. And as you can see, you can even do it running. So you can do it one after the other. You blow on it, and the card comes back. And when you want to finish, you just place all of the two together and you're done. So we are over here. Boom. Show and then you can instantly go back into it, turn down, grab the top card, and then show. Just make sure that you time these two, so it looks as if you're just turning the playing card. And there you have it, guys. A Snap change variation that I really love and I've been doing it since I was 14. And it's by Marlow. This is a Marlow variation. 64. Rotator Change by Biz: So let me show you what is happening with the rotator change from an exposed point of view. We're going to clip Pam, the top card of the two cards. And then as we come back and we stroke the top of the card, we're basically just clipping the card in between our pinky and ring finger exactly underneath this card. It is a change that is very angle sensitive. It's very angle sensitive. It's definitely for the camera or for one person in front of you. And from this point of view, I'm just going to let me show you from here. I'm just going to stick the two playing cards together. And with my right hand, by helping this, I can turn both at the same time and use my pinky and index finger that go on top and on the bottom to square the cards together as I turn them around. So let's go over them again. We grip the two cards from the left side with our thumb and our left fingers, and then over here, the outer right corner, I'm going to clip it in between my pinky and ring finger over there. And then I'm going to come with my middle finger on the corner of the playing card. And you can see that right now we are in this position where the card can just be hidden. And from this point, I'm going to use my left fingers to just rotate the card around. And this is done by moving the card with the help of our right middle finger. I'm pressing with my left fingers on the card, and just with my index finger. I'm allowing the card to be rotated forward. Now, obviously, all of this is happening over here under the disguise of our hands, see? This is completely hidden. And from this point, we're just going to come underneath, but our pinky finger is extended so that we can insert that playing card over there. So we're inserting the card over there. Just underneath between our pinky and middle finger. Let me show you once more. But the way that we're inserting it is the pinky finger has to go upwards. So it goes upwards, not underneath. That was my mistake. So it goes upwards, and we're inserting the playing card. I'll just show you like this. We're inserting the playing card over there underneath my pinky, and then my pinky is grabbing it, and this will make the card flip downwards. So we can from this position just hide the playing card like that. See? So let me show you we are over here, just like that. And then we're going to go underneath. I'm inserting the playing card over there, and then I'm stroking the playing card a little bit as I come towards the right side because if I sit like this, they're going to see the card. So I come forward, just like that. The card is now hidden. I can just display my hands, and now I'm going to grab the card from underneath over here and push it forward. So this one goes forward a little bit, while this card comes downward a little bit. I use my right index finger here at the corner so that I match these two playing cards. Square it up. Now, that is it, guys. If you have any questions, let me know in the comment section below. It is a beautiful move if you do it fast because from a magician's point of view, you have no idea where the card just vanishes like that, you know? So it definitely is a magician move more than it is something that will impress the spectator. I would rather do shapeshifter for a spectator than do this. But this, if you're at a convention with magicians and you pull it off, they'll be like, Wait, what? Where's the card, you know? So practice it, have fun with it, and I hope you guys enjoy it. It's a move that I created when I was, I think, 13, and I'm still very happy with it, I'll be honest. 65. Daryl Color Change: Oh. Here is a color change that I learned from Darryl when I was 13. I forgot who created it and I cannot find the source anymore, but I will credit Daryl for teaching me this. Now, the way this is done is by having two cards back to back in your right hand. You're going to have the top part of these two cards deep into the palm so that you have much more of the fingers exposed over here. And in the front, you're just going to need a little bit of space on the tip of your thumb right over there. What's going to happen is the cards are going to close. Your fingers are going to reach underneath the playing card, allowing the card to turn around. If you have the card deep in the palm and you do this fast, the cards should instantly just reverse. Now, I have not asked somebody with smaller hands if they can do this, but it should be possible because the physics behind it would allow it. But this is just an assumption. So let me know in the common section below, if you are able to do this, if you have smaller hands. So you close it in you come in the fingers underneath, and then explosively, you just come upwards. And from here, what I do with my index and ring finger and pinky finger, I grab the cards from the left and right, and I bring them forward just a bit so that it looks a little bit better instead of just sitting inside. I bring them to the front. Now just use this a little bit with some shaking. And you will get this very nice visual. The way that Daryl will teach it is by just sitting completely stationary and then open and close at the same time. But I just think that that is a little bit maybe maybe a little bit too obvious. I don't know. I have done this in public and people haven't been able to realize how it's done. So both work. You see which one you like more, which cover you like more, shaking a little bit, or just keeping it stationary. And I hope you guys have a lot of fun with this. I love this color change when I was small, and it blew my mind, honestly. And I hope you liked it, as well, and that you learn it and you practice it and perform it. 66. Dribble Change: Now, for the dribble change, you're doing exactly what the title is saying. You are dribbling cards on top of your left hand. But you're not dribbling a lot of cards and you're not doing it like this. You're doing this motion. But instead of doing it from this distance, you are coming very close to the deck. You're dropping the cards and you're doing this wiping motion just like that, making it look as if the deck just changes. If you want, you can even do something like this. So you have a lot of cards, and then boom. We dribble and then boom. So you can play around with the motions that you can use just like that. See? I think it's just such a silly change because now I have very few cards here, and I started with a whole deck. But the visual aspect of the change is so nice, say drops and cards. The visual aspect of the change is so nice that people don't actually pay attention to the right packet, only if they see the color change many more times. So start off with a big bunch of cards. You drop the cards on top, just like a couple, one, two or three. Sometimes you can't really control, maybe it'll drop more. And I suggest you don't really do the change until you are left with no cards in the right hand. So maybe just a couple of times. And I was weight many times. Very simple, very straightforward. It is such a funny color change, honestly, and it really works. It looks amazing. It really does. It looks amazing. It works. The method doesn't matter as long as the visual aspect is there and people are amazed, you know? So yeah, have fun with it. Teach it forward. Teach it to your friends. They're probably going to enjoy it just as much as you have. And I hope you guys have a lot of fun with it. 67. Angel Change by Biz: Everybody. If you are familiar with angeling a playing card on your thumb just like this, then doing this color change is going to come very easy because that's exactly what we are doing. Now, in order to do this much easier, we're going to bend the playing card inwards, just like this because we want air to go underneath the card, and we're going to grip the entire pack with our thumb on top and our fingers from underneath. So we hold the deck like this. We press down with our thumb on the face of the playing card. And then as we drop the deck, we're going to lift first our fingers, so first the fingers, not the thumb. We're going to lift our fingers, and then as we lift our thumb, the card is going to stick to our thumb and it's going to be hidden behind the palm of our hand. Let's get a different card over here. So we show, we lift our fingers first because if we don't lift our fingers first, the thing that's going to happen is the card is just going to stick to the thumb, and by the time that we lift our fingers, they saw that the card has actually lifted because we stuck it to our thumb. So we lift our fingers, and then we're going to lift the whole hand, just like that. Now, my hands are getting a little bit unsticky and the card you'll find sometimes just sticks to the deck. So what I advise you is just to bend the deck inwards, and this card is outwards. Bend. So we have this separation over there. Now, it should be much easier to just lift and put down. So see always, you show, you lift the fingers you show you lift the fingers, and then you come down. Okay? From an exposed point of view, we show we lift the fingers. Let me show you again. We show, we lift the fingers, and then we go down. Very easy. Fun to do. Hope you guys enjoy it. It is, okay, the queen has gone down on the floor. It is a very short and nice idea. It works life. It works on camera. Definitely, I think, can be explored and be done in many different ways. It could work as a palm as well. You know, I think it would be interesting to just give somebody the deck. And then drop the cards in your hand. So just see something like, Yeah, you can have it, and then you're angeling the card and keeping it in the hand, maybe not the best idea that I've had today. But definitely something to explore and play around with. So I hope you guys enjoy that. This is the angel color change. And now let's move on. 68. Mouth Change by Biz: So since giving a close up of the method behind this would mean getting a close up on my lips. Which might not be the most comfortable thing for everybody. I'm just going to show you and explain at the same time what is basically happening. You're going to get a double, yeah. So in this case, an ace and a jack, right, in my case. And I'm going to stick the card on my lip on the interior of my lip. So it's not sitting on my dry lip over here, but rather a little bit on the meat inside. That's because I want that card to stay in the mouth, while the one that is facing the spatior is going to be held with my tooth. So when I'm putting in the mouth, when I cover the card with the upper part of my lip, I'm not actually touching the face of the card with my lip because then it would stick. And if I would open my mouth, I would probably look like a duck. No, because they're too heavy, you know, so probably no. But if you stick it on the lip inside, and then you place your tooth on the one in the front, if you just open your mouth a little bit, the one in the front is going to fall while the one in the back is going to stay. Right, You see what I mean? You see what I mean? So here. And then she, it just falls. That's because the tooth can't actually hold it. You know, it doesn't make sense. So what I do is I place that in my mouth, and then with the fan, I fan the deck of cards. I'm actually going to catch the card right here in my right hand. So when the card falls, I'm just letting it fall instantly in my hand over here. Let me show you. Probably wasn't the best example since I dropped the card, but I will show you another one. Here, and then I come, I drop it, I cover. It's much easier to catch the card because you actually have to cover both cards with the fan so that the spiaor doesn't see they're dropping the card. So technically, what you're doing is over here, you're covering the card with the fan over there, and then you're letting the top card fall right here in the palm of your right hand. And then you're going to take this fan and just place the whole thing on top of the deck. Yes, you're going to have a face up card, but you're good of a magician to just know what to do with it afterwards. I don't have to tell you, like, ideas. So again, placing the mouth over here, Hurn. C, drop, color change. T. You can place it down, and the fan with a card goes in the deck. I know sorry about the whole explanation being a little bit more convoluted, but I hope you guys got the idea, and let me know if there's any questions down in the comment section below. So there we have it. This is the mouth, color change. Now let's move on to the next transformation. 69. SECTION 2: TRICKS | SANDWICHES: Magic, a sandwich trick is when two mats find a selected card. This is usually done by having a card selected lost back in the pack, and then the mats find the selected card in a magical way. In this video, we're going to look at seven different ways in which we can perform a sandwich trick. 70. What You Need: Following tricks, you're going to need a deck of cards with two aces in it, a banana and your phone. We're going to use the playing cards in order to learn the following tricks. The banana you'll have to eat before you start learning is very good for memory, and the phone you're going to use to leave a comment on this video. Once you have all of these ready, we can start the video. 71. Method I: The first thing that we're going to learn is how we can use a selection to produce the two Aces. This is great because we can actually go into a sandwich trick from this trick. So let's say somebody selects a playing card, we're going to have the two aces on top of the deck face down. And then we're going to take their playing card. We're going to place it on top of the deck, and at the same time, we're going to get a pinky break beneath the top card. You can do this in any means possible that you want. At this point, we're going to have an ace on the back of the three of spades. We're going to grab it using our three fingers by the corner, and two things are going to happen at once. We're going to use our pinky to cardini the top card, and you do this by pulling down on the corner of the card while at the same time your thumb and middle finger are holding the rest of the cards. If you're not holding onto the sides, then you might get multiple cards when you're doing the cardini. So when you're doing this, you're just going to pop that card down like this. You're just going to pull it down, and the card is gonna fall flat on his face. And at the same time, we're going to flip this so that we reveal the ace from the side. And if you do these two at the same time, you're probably going to get something that I just did right now. So you got to get used to popping this card. Just like that. I'll be honest with you, don't really use this as much, but I really wanted to show it to you guys. For anybody that likes it and wants to perform it, they take the idea and they can practice it more than I. You can see I'm practicing with you guys right now at the same time. Boom, the question is, why is the card not flying? I think I'm holding way too much on it. So this is the first trick from the video, and we're starting off on the same foot. We're both students of this trick. It's probably from that banana that connected us. So the more that I've done it, the more I realize the secret is in holding a very light grip on the playing card. See if I'm holding a very light grip and the deck is at an angle, then the card will just fall down on the deck. So by testing this, I should be able to do this three times without failing, and then the method is right. Just like that. There we go. And one more time we go, go to use the three and the two aces. Now, all I need to do is to get these three aligned at the same time. See, I was holding way too tight on the cards. Now, I was holding way too little. This is what I call a true teacher student experience. Look at that. We fail together, we learn together. This is how we bond as a family. Last one, just gonna drop it. If you get something like this, you can still scoop it up and continue. There we go. Look at that. Looks like they all popped out of the deck. So now that you know how to produce the Toss probably better than me, let's go into more sandwich tricks. 72. Method II: Uh, Since we're learning methods how to use a selection to find the two Aces, here's another one from Vernon that is purely amazing. You're going to have a pinky break in between those two Aces, which are somewhere in the center of the deck. So we're gonna have a pinky break over there. Somebody selects a playing card from above the Aces. So let's say they go with this card, and then you're going to ask them to stick it anywhere, but you got to make sure that they stick it somewhere above the Aces. So let's say they stick it somewhere over here, it doesn't matter where they do it because we're going to lift everything at that break, so I'm just going to lift off that entire thing where the aces are. And using my left thumb, I'm going to place it on the nine, and I'm going to drag the nine while at the same time I move the packet to the right. And then I push this over here, and then I drag that card over there, and I show that the spectator has found the two Aces. This is using a Vernon force, and he used to do it with a knife while at a dinner table while doing dinner table magic, and it's just an amazing force that you can use standalone or you can use it to find the two Aces. So once more, we have the Aces somewhere in the center. We get a pinky break in between them. Then we're going to have a card. Let's say, for example, the nine. Somebody sticks it somewhere, and then you cut exactly at the break and you pull that card who reveal that they have found the ACs. Now, if you're worried about people, you know, sticking it way too late, then you can have the ACs somewhere near the bottom of the packet, see? But then you got to make sure that they don't stick it somewhere over here because it's going to be a bit weird that you instantly have fewer cards. So just play around with it and definitely mix it depending on the person that you know you have in front of you. 73. Method III: Ast method before we actually go into sandwich tricks. So we're going to start off with the ACS on top of the deck. If you're ever curious about how you can actually get into that position, you can cull the cards from the deck while the spectator selects a playing card. And then you're going to have two cards on top of the deck that are matching or there are pairs, you know? We start off by somebody selecting a playing card. Let's say, for example, the three of parts. And then while they're looking at the playing card, we're going to get a thumb break right beneath the top card like this, and then we're going to undercut about half of the deck to the top. And right now we have a break in the center of the deck using the thumb. What I like to do from here is move it to a pinky position and take the spectators card so that I can actually talk a little bit and tell them about what I'm going to do, have the card placed down on the table, and then transfer it again to the thumb. But this time, I'm going to make sure that I use my fingers to cover the entire front side because many times you're going to get a separation right over there, and spectators are going to be able to notice it. But by having the fingers, it's completely blocked. Now I'm going to take the three. I'm going to start dribbling. And because we have a break over there, you're going to instantly feel exactly where to put the card. Do it slow at first, and then the more you practice, the faster you can actually stick the three in between the ACs. I think this is a very beautiful and stunty way to produce the ACs great for social media, and just overall great as a visual thing, you know, can be used in many more applications rather than just this one. But, you know, rather give you a small nugget, and then you take this and you try and find out what other ways you can actually play around with. 74. Method IV: I've always liked these Dan and Dave infused stylish sandwich drinks, where you're basically just bluffing your way to the end, and I love it. I love it. Let me show you just how this is accomplished. Well, basically, the best way to get a pinky brake beneath this top card that is an indifferent card is by pushing the top two cards, and then you're going to get a pinky brake beneath that, and you reveal that you have the two Aces. Now, what's nice about having a pinky brake beneath that card is that you can stick this Ace right over there, and then at the same time, you can get a thumb break right beneath those two cards. So now you're ready to just show this six of hearts like this. And the way that we do this is by having a pinky brake beneath those two cards. We riffle the corner. Somebody says, stop we're going to pretend to cut exactly at that point. We're going to flash the card, just like that, see how I lifted those two playing cards. But I made sure to put my finger over there, cover up, and then show the playing card. And what's going to happen is I'm going to turn my hand around, and using my thumb, I'm just going to break it anywhere in the deck. And I'm going to stick those two together. See how it happens? We go from here. I'm already using my thumb to prepare right before I do the wrist turning motion, and from this point, I stick the two and I instantly dribble the cards. So it looks as if that card really came from the center. From this point, what I advise you to do is to show the cards again and then make the card appear in any way you want. 75. Method V: For this sandwich trick, we're gonna have to prepare the *** in advance. We're going to take one and place it face up on the bottom of the desk. And we're going to take the other one and place it second from the top just like that. And now we're gonna have somebody select a card, make sure that you spread more cards from the top so that they don't see and don't get to the bottom so that they don't see that card. Let's say this. This one, the jack of cards. At this point, I'm going to get a pinky break beneath the top card and stick the jack right in the second position from the deck. So we're performing a Marlo tilt. At this point, I want to get rid of this playing card. And the way that I'll get rid of it is by gripping half of the deck pulling the top part to the left and then just cutting the packet. Now, I know it feels funky and you might think the spectator is thinking that you haven't actually cut the deck, but it doesn't actually matter because you have actually achieved what you wanted. You got rid of that playing card from in between the Aces and you got the card in between the ACs, basically. And for the spectator, it's much more powerful to be revealed that A. There's two ACs in the center of the deck, and B, the ACs are containing their playing card, just like that. So if you're thinking about how to get the ACs into this position, like over here, you can have the ACs face up like this. And then tell the spectator, I'm gonna lose the ACs somewhere in the center to form a Marlo field, and then the other one push somewhere in the center so that specators think that you're placing the card over there, and then just place it on the bottom like that. And now you're in perfect position to start exiting the trick. If you want, you can give a nice pulse shuffle. So now, when you're spreading, specator doesn't need to see the ACs because they're probably somewhere else in that. You can instantly go into your trick. Go again, place it over here, then cut just like that, and reveal. 76. Method VI: Here is another way you can actually force the spectator to select a playing card that is already in between two aces. We start off with the two aces on top of the deck, and we get a pinky break right beneath the bottom card. We transfer this to the thumb over here. And we're going to swing at the top portion of the deck. Push two playing cards just like this, and then turn both of them face up so that the spicator can see that it's the Aces. In this position, we can actually stick the first Ace right over there on top of this card. And then, while still maintaining our thumb on the playing card, we're just going to close the entire thing. Now, in this point, you're going to get something like this. You're going to get your break, the packet, and something that's underneath. What you need to do is just pull on this break so that those two packets from above are one. And now you're going to get a pinky break right beneath that force card. So what's going to happen is you're going to see stop, and you can turn around and you can show the spectator this playing card. And then you go back in, you riffle, and then you reveal the card that has been in between. Now, let's say, for example, that you would like to, like I did in the performance, let's get that break again. To show the card that is on the left side, not on the right side. So we're going to stick this over here. We're going to close right over there. And now from this position, what I'm going to do is I'm just going to rifle that card instantly onto the other card. That's I don't know why it's not coming off. Let's go let's go and do it again. We're gonna show the s. I'm gonna stick it just like that in that position. And then instantly I have that brake. Okay, I'll be honest with you, I'm using a different method. I'm not ifling. I thought it might work better, but it doesn't work. So let me show you what I'm doing. I have the two cards. I stick the ace right here beneath, and then I'm going to instantly grip it in this position with my thumb. So right now when I'm closing, the Ace is going on the bottom of this packet while the indifferent card is going on the top of this packet. Let's go again. This might be a little bit trickier to understand. So I have my thumb somewhere at the center. I have these two cards. I stick this right above, but I don't leave it down. I'm actually just sticking it to the bottom of the packet, and I'm pushing as I am coming closer with the packet, I'm pushing and holding it right over there, see? And then I'm just squaring the entire thing, and I'm in perfect position to start doing the force. Somebody says, stop right over here, and I cut at that position. Then I'm going to show the card to them, but make sure that you don't do it like this. You're lifting up your hand. Then when I come down, I'm just going to dribble the rest of the cards and then reveal that their card is somewhere lost in between those two aces that we had in the day. 77. Method VII: And now for the grand finale, the magic trick that I have been performing for at least 14 years, a technique that I learned from the flicking fingers magician group from one of their DVDs. I think it was from 2009 or 2007, go something like this. We have the two aces and we're going to get an indifferent card in between them. The way that we do this by having a pinky break underneath it, and then we're going to take the two cards, go like this, you know, and stick the card in between them. Now, if you don't like this method, what you can do is show the cards, place it over here, and then just come over there. So now we have a different card in between two ways. Somebody selects a playing card, the easiest way to do this is by performing a double lift. They take a look at the playing card and you take it in the center, and it's still on top. The idea is that their selection needs to come on top. If you want, there's multiple methods in which you can do this. I actually did seven ways to control a playing card. And over here on YouTube, you can search for that. If not, I'm sure that you know plenty of methods to have a card on top of the deck. I'm going to riffle and show that one card is now in between the Aces. While all the attention is over here, I'm going to get a pinky bray right underneath the top card of the deck. I'm going to place these three playing cards on top of that one, and then I'm going to grab all four playing cards. So we have all four over here in Bittle grip. I pull the top card. Now, the spectator is going to see a facedown card, and I'm just going to show it to them like this. It doesn't make any sense at all. But it doesn't need to make sense because you're showing it, and then you're pulling it down, right? Doesn't It doesn't make sense. I know. I have been performing it and never, never anyone has ever been able to cash this. So we show the five, we drag the card. We have a beautiful switch. And what I like to do, I take the card, I place it in the center, and I place the ACS back down, and this is a different card. Now we can go again, and at this point, you can have the spectator himself actually take the card. Now, the switch over here, I love so much because you can actually do it the other way around as well. We have the fiber spades in between the two aces, just like that. And now we're actually getting another card in between them. Over here, you can lose the playing card and then get it back on top. I do it in a bad way. And then voila. Take a look at that. We have the card back on top. We do the switch again, using it twice. Boom. And there we go. Beautiful switch, beautiful sandwich trick. I love it. Thank you to flicking fingers for this idea. I think it's flickering fingers, but I'll have to look into it. 78. II: CARD AT ANY NUMBER: Card is selected and then lost back in the deck. A number is named, and then the spectator selection arrives exactly at that number. That's what we're going to learn today. Yeah, guys. So basically, we're going to be learning how to make people's playing cards arrive at a number that they call out. Usually, it's somewhere 1-10. If not, it's somewhere 10-20. That's about it. If you're a more experienced magician, you can definitely take these ideas and explode them into bigger effects. But if not, take them as they are because these are amazing card tricks. So grab your favorite deck of playing cards, and let's get it started. 79. Method I: In Their Hands: Body selects a card from the deck. Let's say, for example, the A hearts, which stays in the center. And then we shuffle the card, and we ask the spectator to just name out loud the number 1-10. Let's say, for example, the name five. So we deal down five cards, and the fifth it was the king. Oh, wait. Actually, you have to do this, not me. So you give the spectator the deck. They count down five cards, and the fifth card will be their selection, any card, whichever that is. If you don't already know this card trick, then you're in for a treat. It's one of those tricks that once you learn, you'll definitely going to do it at least once every day. Okay, maybe not once every day, but it's one of those tricks that you'll do anytime, you know, because it's so amazing. Somebody selects a card, let's say, for example, the nine of clubs, which we live in the center, and just called it to the top. You can control it in any way that you want. As long as it's on top of the deck, you're completely ready to go. Somebody names a number. Let's say, for example, it's seven. Ask them to name small number, so you don't count, like so many cards, but they can name any number. They could name 17, right? So you count seven cards, and what happens is by counting seven cards, one, two, three, four, five, six, seven, you're placing their selection seventh from the top. Now, you're going to show this card, which is not their card, and you're going to go, Oh, wait. No, no, no, no, no, wait, wait, wait. I I'm not supposed to be doing this trick. You're supposed to be doing this trick, 'cause it's your card. It's You know, you give up all of those, um all of those excuses, basically, it's very important because you're distancing yourself from the moment of counting seven cards up to the moment when they count seven cards. So they forget that it was actually the first card which moved the seventh in the deck, one, two, three, four, five, six, seven, just like that. I have done this so many times. It never fails. It never fails because you're a magician and you have a story together with your card tricks, then when you tell them that the magic happens in their hands and not in your hands, they wholeheartedly believe it, and when they do it themselves, it will blow their mind. And this is something that you can do over Zoom as well. Somebody shuffles a deck of cards, right? They show to everybody, and by showing to everybody to the camera that all the cards are shuffled. You know, let's say, for example, you go like this, show show up to the last card. You're peeking at the top card, and then you can have somebody name number and so on and so forth, and you adapt from there. If you want, you can perform it over the phone. And you tell the spectators to shuffle the cards and just name the name a few cards from the top, starting from the top, just name cards one by one, one by one, slowly and let them name like nine, ten. You say, Okay, I got it. I got it. I memorized the whole deck. Believe me, I memorize the whole deck. You know, you can adapt it from there and they name a number, they deal down. It's not the card that you named, you know. But then when they deal again, it happens. So you can adapt it to any situation. The holy grail is now in your hands. Use it wisely. 80. Method II: By Biddle Count: Somebody looks at a playing card, let's say, for example, this one, and then we're going to have somebody else name a number 1-10. Let's say, for example, they name five. So we're going to take the cards, one, two, three, four, five, and by counting five cards, you'll arrive exactly at their playing card. If you are familiar with a pinky break from the bottom of the deck and a thumb break over here, then you're definitely going to be able to do this trick. Now, the way that I do this trick is by having somebody select a card from the center. Let's say, for example, it's the Joker. I get a pinky break above the card, and then I'm going to use my thumb to just get a thumb break over that card and then start dealing cards from the top of the deck. Now, again, you don't have to do it like this. There's many ways in which you can do it. Like, for example, like I said, you control the card to the bottom. Let's say, for example, the five hearts, and then somebody names a number and you take those cards from the top into the other hand, and then you show them that it is their selection at that number. So adapt it in the way that you want. But let me explain to you what I did. So somebody selects a card from the deck. Now usually I make them take look like this. But for us, let's go like here, eight of diamonds, right? I take a pinky break above. I do one of these Ben Earl's Ben Earl motivations that the deck is completely square. So I have a pinky break above the card. Then I take my thumb and I just have a thumb break by just rifling one card upwards by just doing this, you know, I take that one card. And then I go like this, and I either tell the spectator to call out, stop. And when they say stop, I just take the next card, then I drop the card that I was holding and leave it over there, you know, I just leave it over there like that while I take the next card, or I asked them to name a number. Let's say, for example, they name four, one, two, three, and on the fourth one, I drop the card, but I keep a pinky break right beneath it while I take the next card, so I can instantly go into a double lift. It looks much more natural if we have that pinky break underneath because we can instantly go into it. Now, let's say, for example, we have a card like the Ad of clubs, right? We leave it in the center. We control it to the bottom of the deck. This was the blind square that I performed right here. And we have it on the bottom of the deck. We get a pinky break right above it, and we ask somebody to either call out stop or tell us a number. Let's say they tell us a number, it's much easier. Let's say, seven, one, two, three, four, five, six. On the sixth card, I put my pinky over here. I drop that card from the bottom right above the pinky and I pull one more card. So now I can instantly do this and drop all the cards on top. And because I have a double, I can go into another effect where I put the card in the center, or I can even go into the effect that I just taught you right now. We shuffle the cards. The card is on top, and we ask them Watch. It's going to happen again. But this time, we're going to do it a bit more different. Give me another number. And then we tell them, right? We prepare the cards, we deal three cards, and then we say, it's now here. Wait. It's got to happen in your hands, and they deal the cards, and it happens in their hands. So it's a nice leeway into the one that we learned before. So you can perform this one, and then you perform the other one, and then you just blow their minds. Boom, just like that. 81. Method III: Using A Second Deal: Card from the center of the deck, for example, this one, the ace of clubs, and we're going to leave it back there in the deck, give the deck a couple of shuffles. Now, the idea is that somebody else names a number 1-10. Let's say, for example, they name five, and we're going to deal five cards down on the table like this, four and the fifth card is going to be their selection. In for a treat because now not only are you going to learn a new card trick, but you're also going to learn a second deal. Now, the way that I do this second deal because the whole trick revolves around the second deal is I push two cards with my left thumb, just like that, push two cards. I'm going to come in a bittle grip with my hand over this card as I leave them like this. I'm going to grip the two cards, and I'm going to retain the top card towards the left. So I push two, I retain the top card. Now, if you can perform a push double lift, you know, when you're pushing two cards as one single one, that's exactly what you need to do in this situation, as well. You are pushing two cards as one, I push three over there. But even if they're slightly ajar like this, it doesn't matter because once you do it at motion, it's not going to be visible, you know? So you're basically pushing two cards, you're gripping both, but then you're retaining the top one at the same time. And make sure that when you grab the card and you take it away, don't leave this card over here, but pull it back. So you control the spectators card to the top. Let's say, for example, the six of diamonds, and they name a number 1-10. Let's say, for example, they name six. Okay, I didn't do it on purpose. So you go one, two, three, four, right? So they name six, five, and then the six card will be their card. I know. I compared to the other ones that we just learned, this one is definitely one that will require a lot of practice to get down. But hey, I really wanted to throw in one for the slight monkeys over here that want to put in some practice, learn a new way of dealing a card on on the bottom on the pad like this. You know, I really like this second deal. It's the only one that I've ever practiced. I'll be honest with you. Sorry about that. And this is why you're seeing it over here. As you can see, I've not completely mastered it. As you cannot completely master a move at my age, still need like ten years more. But this is beautiful. Actually, I'll take that back because I have seen people at my age do second deals like no tomorrow. You know, for example, Jack Tie, man, that is insane. Shut up to Jack Tie. So I hope you guys enjoy that, have fun with it, practice. And if you don't enjoy it, no matter, skip to the next one, and I hope you enjoy that one. 82. Method IV: John Carey Idea: Slowly spread through the playing cards, we're going to ask our spectator to just reach in and grab one for themselves. So let's say, for example, they take this one, the Ace of diamonds, very easy to remember. We're going to take the As, we're going to place it somewhere in the deck just like that. We're going to ask somebody else to name a number 10-20. So let's say, for example, they name 60, right? We're going to ask them to just deal down cards one by one like this, but deal them face up so that we can see them. So they deal 16 playing cards, one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 13, 14, 15, and the 16th card will be their selection. In this case, the ace of diamonds. Here is an effect inspired by a John Kerry idea. Shout out to John Kerry for being such a legend. If you don't know any of his magic, definitely check it out on big bblindmdia.com. So you're going to spread through the cards, and you're basically going to count 19 playing cards. The way that you can easily do this is by spreading five cards like this, and then you tell the spectator, at any point, see, that was five again. Sorry about that. So at any point during the deck, while I'm spreading like this, please just touch one single card. So I have 15 over here, and once I get to 18, I'm just going stop at that point, have this block of cards, and then continue spreading while holding a visible break over here. So let's say the spectator chooses the eight of diamonds. I'm going to take this block, and I'm going to hold a pinky break right underneath it. Now I'm going to place the card face up so you can see it at all times. We place it in the break, so now it's the 19th card, and we leave it just like this. At this point, I can cut half of the cards in my hand over here, and then I can cut these shuffling them because it doesn't really matter. You can even shuffle this packet completely. As long as at the end, you're cutting the other part back to the top and maintaining those 19 cards, you can do whatever you want. So again, you can cut half of the deck and in your left hand. This will stay as is and you can shuffle this one by keeping a break over here. So I'm swing cutting the deck, but I'm always keeping a break at that point. And when I'm doing a overhand shuffle, I'm gripping all of that packet and I'm shuffling only that packet on top of my pinky brake. So then I can cut that and get those 19 cards back on top of the deck. So at this point, you're gonna ask the spectator for a number 10-20 so that it's a little bit more difficult, you know? When you say it's make it a little bit more difficult, you're basically asking them to give you a higher number. But I've had people say 13, you know, it doesn't matter. So whatever number they say, you're going to have to deal cards from the top of the deck down on the table so that you can get their selection to that number. So let's say they say 15, right? You're going to have to deal face down four cards. So you're going to ask the spectator, do you know how to deal cards like this down on the table? So if they say 19, I deal four, and that's it. If they say 13, I will deal six, right? 13 plus six. That's 19. So I go, Do you know how to deal cards like this, down on the table? Okay, perfect. Can you please deal for me 16 playing cards? You see what I did? I just timed the question to the number of cards that I was dealing down. So now when they deal 16, two, four, six, eight, ten, 213. Now when they deal 13 because they named 13, they're going to arrive directly at their playing card. A beautiful, beautiful effect that you can play around with. And I think, honestly, it will just blow people's minds away because they name a number, and their selection is exactly at that number 10-20, right? But if you want, you can do this with any number, right? If you're feeling really, really ambitious and you know how to estimate packets, then you can have the card somewhere in the middle of the deck. And you can have people just, you know, you can start from here. Maybe I'm just giving out random ideas. But, you know, for people that are more experienced, if you want, you can have the card somewhere 26th. And if they name 33, you turn the deck and you go Perfect. Do you know how to deal cards down on the table like this? Okay, perfect. Can you please deal for me 33 playing cards? You know, so by having the card in the center of the deck, you can deal cards from the bottom or from the top. And depending on the number they have, you can go like this, you know? Can you for me, like, go through the cards and count them and then just just deal them right here? You know, so you can definitely adapt it to the situation if you want to have more impressive trick. But I honestly think this effect, as is, is already mind blowing. So I hope you guys enjoy it, let's move on. 83. Method V: Using a Side Steal: Get a card from the center, like, for example, the four hearts, which we live over there, then somebody else names a number. So let's not count a lot of cards. Let's say, for example, they name five. So we're just going to drop five cards, one, two, three, four, and then five cards, and the fifth card is going to be their selection. The following effect, you're going to need your audience to be either in front of you or on the right side because anything on the left side, people are going to be able to see that you have side palm a card in this position later palm. Sorry about that side palm, you know? And this is exactly what we're going to be doing. We're going to later palm a card from the bottom of the deck, just like this in this ring finger palm over here and right in between our pinky and ring finger, we're going to be holding the card. And meanwhile, we're going to be dealing cards down on the table over here, and then when we get to our number, we're just going to bring this card up and drop it down as if it was a card coming from the top of the deck. So we control the card to the bottom, the fiber hearts. We're going to use our index finger to push the card towards the right side, just like this. And then in this position, we're going to clip the card between our pinky and ring finger and just going to use our ring finger to contact the outer left corner of the card. And by sitting in this position, it's going to look natural anyway, because we're gripping the card like this from the top, there is no suspicion regarding the playing card just sitting over there. Now obviously, you got to be careful with your hands so how you hold your fingers because you want your fingers to be close so that you're not flashing the playing card. You're going to do this. Then as you're coming up with the playing card, you're going to grab it over here, and then you're going to grip it as if you gripped a playing card that you grip before just like that, but instead you're bringing it from the hand. Instead of doing this, you're doing this. Yes, this is one for people that like sleight of hand and want to do Slider fan. If you're not a fan of Slider fan, definitely use any of the other tricks that I've taught you on this video. And if you do like Sliderfan then I hope you guys are going to enjoy this version of card at any number, because it is definitely one that requires some practice and some courage to pull off in front of people. 84. Method VI & VII: Using A Classic Palm: Card selected from the deck, like, for example, the queen of diamonds, which we're going to leave somewhere in the center like that. And then somebody names a number between, let's say, five and 15. Let's say they name nine, one, two, three, four, five, six, seven, eight, nine, and the ninth card is going to be their selection, the Queen of diamonds. Let's get a card from the deck, like, for example, the four of spades, which we're going to leave somewhere in the deck like this. Now, the idea is that somebody else names a number between, let's say, five and 50. We give them the deck. They count those cards over here, and when you get to their number, let's say, it's nine, you put your hand on the packet go nine, right? What was the card that you named? They name the card out loud, and then when you turn it, it's exactly the card that they had. Here's another one that is based on palming a playing card, but this time, we're going to be palming a card in your right hand in this classic palm. And it's basically the same position as before. We're going to be dealing cards from the top of the deck. Spectator says, stop, we're going to drop. And then as we're coming down with the hand, our middle finger is going to curl like this, and we're going to push just the top card like that. So basically, what's happening is we're going to release the card from the hand. It's going to drop down on the table, but at the same time, we're going to use our middle finger to make it look as if we are pushing just the top card of the deck to the right side. The way that you can palm a card, actually, there is a video that we've done seven ways of palming a playing card right here, and you can learn it from over there. You can do it like a one handed top palm or you can do DiernonTpPom, just like this. Whatever it is, you have the card palm in your right hand. You're dealing cards, and then you're stopping. But don't stop and then push the card. What I like to do is ideal, let's say, for example, their card is the next one, I go down, and then I just push the card towards the right side. Now, I highly suggest keeping the cards in one single pile over here because if they're in a pile, it won't look suspicious when you're just taking the card towards the right side. But let's say, for example, you're dealing and they're going all over the place. If you're going to come down and just take a card from over here, it's going to be way too obvious that you didn't take the card that was from the top, just sitting over there. So make sure that they're all in a pretty pile like this, you know, and then you can come down and just take the card and press it towards the right side. Again, one for the slight monkeys. I wouldn't even say this because this is a move that I've seen even older magicians use because it's just so nice. You can pawn the card. You can have somebody else deal the playing cards like this. You're sitting there. And then as they deal the playing card, you say, stop right over there, okay? And you're placing your full hand over the entire packet, say, What was the card that you named? Name it out loud. Turn the card. Turn the top card over, right? So just like that, by having the card in your hand, you have somebody else deal the playing cards, and then you tell them to stop. You place the hand down on the table just like that, and then you show them that their card is the one that they stopped at or the one that they dealt to. So there you guys, two different ways of using this punk card, either somebody else deals it or you deal it and you push either versions work, you know, depending on how comfortable you are with using a classic poem. But I think in both versions, depending on the pattern that you use and the story that comes together with the trick, you're going to have a very different effect, but both or any effect that you perform is going to be amazing. Just make sure that you practice it and have fun. 85. III: SNAP CHANGE APPLICATIONS: Chris Ramsey, Shan does magic, 52 cards. Everybody. Everybody has done a tutorial on the Snap change. The Snap change is like the universal entry into card magic. It's like double lift. Pass even though nobody can do it in the beginning and then snap change. You want to learn a color change, Ernese or snap change. You know, it's like, you want to do this boring change or this super visual color change with just two playing cards. Well, there's not a lot of applications on YouTube or, you know, available online for people to do with the Snap change. So, what can you do with the snap change, you know, like a card trick with it. So today, I've actually compiled seven different applications with the snap change that you can do right now. So grab your favorite deck of playing cards, and let's get it started. Welcome to seven ideas, seven ways in which you can use the Snap change. Explained, with your boy Biz right here in the business. 86. Idea I: Classic Split: The most direct application of the snap change is for a twin split. The twin split effect is when you take one card and you split it in half. In this case, a ten and two fives. The most obvious application of the snap change is instead of doing it with one card, you do it with three cards. Instead of doing it with two cards, you do it with three cards and you create this beautiful and visual effect. Honestly, you're just performing a snap change and doing it with three cards. But something that can happen when you're doing this is one of the cards may actually slip out. And my advice for doing this is instead of doing it fast like this, in the beginning, try and get accustomed to the fact that you're going to be pushing two cards from the back. So this is one of the things that unconsciously, I believe it happens, and you're able to do this is when you're pushing, instead of pushing one single playing card, you're actually pushing two playing cards as one, which keeps them together over here and then allows us to move that card in the back as those two cards are separated naturally when you're performing the change. See, over here. So I believe this happens unconsciously, even when you're doing the snap change because if we are doing it over here with just one single playing card with actually two playing cards, the same thing applies when we put one more playing card. Our thumb naturally pushes those two playing cards to the left so that we can take that card in the back. But as you just saw happening right now, what can happen is if we take those two cards too much further in the front, the card can actually fall down from the recoil of the playing card moving backwards. This is a lot of thought in just the fact that you're doing this with three cards. Honestly, you probably have already tried this before, and most of the time, it actually happens unconsciously perfect. You know, no practice. You can instantly do it. So there you go, guys, the first and the most obvious, but also very beautiful, the twin split with the snap change. 87. Idea II: DnD Split: Uh, For this snap change application, we're going to have the cards arranged in this manner. And the way that we make the visual split happen is by gripping all three cards with our right hand in the snap change position. And then with our left hand, we're going to come here in the back and using our thumb and index finger, we're going to peel forward the last card. And notice that the two is still in position with the other card, the other ace behind it. So what we can do is instantly do a snap change as we move this one forward like this. Now I'm going to do this slow so you can follow along you peel back, see that I'm touching the corner right here on the left side, and I'm moving the moment I'm actually moving forward is the moment when you should start doing the snap change, just like that. So we grip, I grip the corner, I start moving forward, and I instantly will do the snap change. And if you do that to speed, it will look as if the two splits instantly into the two ACs, a very visual and beautiful application of the snap change. We go from here just like that. There you go. Now, sometimes if you're sitting over here, you might notice this card that is behind. So if you move the ACs closer to the hand, you can cover that card completely. And over here, if you want, you can clean up with your left hand and then show the ACS if you're performing on camera, and if you're performing in real life, then you can dump this one on top of the deck. 88. Idea III: Jumping Joker: Effect, I like to call the jumping joker. It uses a blank card and a joker, obviously. Take a look at a joker. You can see that as soon as it jumps, it instantly teleports to the blank card. This effect, we're going to need a dupe and a blank card. That's a lot of different cards for just this silly effect. But I really like it. I don't know why. I don't know why. I just like it a lot. So the way that we do this is by having the blank card on top of the joker, and then we're going to have the joker first turned, and then the blank card, and then another joker. So sandwich the blank card in between two cards of the same value. I like the jokers because jumping jokers is actually a theme, so it makes sense somehow. Going to execute a double lift to show the blank card, and then we're going to angle it in this way, as we've done through all of the applications. If you're left with something at the end of this video is definitely how to angle any amount of playing cards with your thumb and middle finger, just like that. Then we're going to grab this with our index and middle finger, and then we're going to use these two cards to turn the joker face up. Now we're in perfect position to show the joker, show the blank card, and we're going to do this pop that we've done previously to execute the twin spit. But in this case, we're going to vanish the joker. And because we called it the jumping joker, somehow makes sense to see the joker jump. So we're going to make the joker jump and at the same time execute a snap change over here to show as if Jack the Joker has actually jumped. Not only has it jumped physically here, like this. But it's also jumped, teleported right here to the blank card. Somehow, the whole effect makes me giggle because I just feel it's an intellectual effect. You know, it's not for intellectual people, and it's not made by an intellectual person. I'm quite dumb myself. But it's just something about the fact that there's jumping jokers everywhere that just makes me giggle. So there you go, guys. Another way in which you can use the snap change. 89. Idea IV: Jumping Split: This one is very similar to the jumping jokers. We're basically using the same method to accomplish a different effect, one that doesn't use any white cards or any dupes and we're just going to be using a two and the two red Aces. So place an Ace, the two, and then another Ace and do as follows. We're going to execute a double lift. We're going to pinch the card from the left and right and angle it so that we can grab it with our right hand, perform a snap change over here, and at the same time, we're going to pop this card up just like this. Now, the way that we pop it is as previously explained in the jumping jacks, we're going to push the card with our left thumb towards the right so that it buckles the top card. And from this position, we're going to insert our index finger in this hole and then push upwards with our index, and then release from the left and right at the same time so that the card can pop in the air. And if you do this at the same time as you execute the snap change, you're going to get this very nice twin split effect. From this position, in order to clean up, we're going to insert discard underneath the Ace as we place the other Ace on top, just like that. Let me show you how it looks from the front, we end up in this position. We're going to place it underneath as we place the Ace on top in order to show both in order to show both Aces. Let me show you again. We execute. We're going to push this and then insert underneath and at the same time place it on top in order to clean up. And there we go, guys. Another way in which you can execute a twin split using the snap change. 90. Idea V: Tap Split: Version, we're going to take the six of clubs and we can instantly split it into the two threes with just the tap. For this version, what you're going to do is you're going to have the two threes face to face like this on top of the deck, and then the six of clubs or the six of spades third from the top, just like that. Now, we're going to do a triple lift in this position to show the six, and then I'm going to use my thumb and my middle finger to just push all of these three cards to the front so that I can instantly grab it with my index finger in the snap position that we usually do. The way that I do this small flourish is by having a pinky break underneath the three cards, gripping the three cards with the two fingers that I showed you before. And then I'm just going to move my middle finger forward like this, and it's going to cause all three cards to move as a block. Afterwards, if I move my middle finger downwards on this corner of the deck, it's actually going to cause the cards to angle towards the spectator like this, and then we can grab all of them in the snap position. From this point, we're actually not going to be doing a snap change. What we're going to do is we're going to push the top two cards with our index and middle finger, and this is done easily by just keeping the bottom card with your thumb and pushing the other two with the fingers like this. You can see these two are actually a block. So we're pushing these two forward. And then as we come down, we're going to release those on top of the deck and then keep back the last card, which is actually a three. So we're in this position. We're over here. We're pushing those two. We're going to release these two on the top of the deck like that and then come back to show that the cards have actually split. Now, I actually discovered this idea by doing a snap change and dropping those on top of the deck. But I realized there's no point in making this more difficult than it should be. So you can just grab the cards, split them, tap them on the deck, and you have this beautiful visual split with the threes. 91. Idea VI: Production: For this production using the Snap change, we're going to need two playing cards that are mates and place them face to face. I'm going to be using the queens because I just like the queens. And I'm going to have these on top of the deck. Then we're going to have a pinky break underneath the top two playing cards just like this. And we're going to do this move that I've been doing on constantly, as you can see, where I just angle the two playing cards in perfect position to execute the snap change. Execute the snap change, and now you have a card just lying over there, which you can place on top of the deck and make appear instantly, which is exactly what we're doing in this. Angle, come over here, we separate so that the spectator sees there's nothing over here. We do the snap change, and then we drop that card and make it instantly appear on top of the deck. And there you go, guys. A simple, beautiful and direct production using the snap change. 92. Idea VII: A 3 Card Mystery: I know it doesn't make sense, but the two is going to be found by the red ACs. Watch. We just a wave. You can see the ACs have actually found one single playing card. If we take a look at it, it's the two of hearts. We can do it again. We take the card from over here, we deal it down, and you can see it instantly vanishes, only to be picked up right over here by the ACs, the two of hearts. For this application, we're going to need four playing cards, the two Aces, the two of hearts and a random playing card. We're going to take the random card and place it face down in between the ACs, and then take the two of hearts and place it on top. Now we're going to perform a snap change with the whole block of four playing cards. We're going to grip this at the corner, and using our thumb, we're going to push all of the playing cards except for the top playing card. So we're pushing those three as one, and this will allow us to perform a snap change from this position. Now, this actually happens much quicker like this, as you can see, we push the block, and as it instantly separates from the first card, we're going to execute the snap change. And what's nice about this version is that it reveals the X card instantly right over there. So the spectator sees the apparition of the two Aces and then the card that is face down in between them, plus the fact that the two vanishes. So it looks as if it instantly shows up in between the ACs. Once we're over here, we're going to place the card that we are hiding in our left hand. And because we have all of this cover from these three cards, we can place this on top without worrying that the spectator will see something. So now we are in this position. We're going to do a beautiful retention show, I don't know how to say it. We thumb the top card, and then we're going to instantly turn this entire block as one and show the too of hearts. Now, it doesn't make sense, but the spectator will never guess it. They're so surprised by the fact that the two of hearts is actually there that they won't realize that it's impossible for them to see through, you know, you know, it doesn't make sense, but it works all the time. And now we're going to place them back right over here. We're going to take that X card. And what I do, I pretend to place it down and it instantly vanishes. So it's like a mini act happening constantly, just small moments of magic. If you want, you can lap this or you can keep it over here because I'm going to show you how you can clean up in just a second. We're going to push the top two cards as one and then come over here and just scoop the invisible playing card just like that. So thumb, and then I'm going to push the ace as I come forward. And then we can take this card because that's actually the two, show it to the spectator completely clean, and from this position, we're going to use our fingers to bring the card in ten ki and then bring the whole two cards as one in front. So now we can actually end clean and show the three cards. So once more, from the top let's go. We have the To of hearts. This is the setup. To of hearts, we're going to do a nice that can actually happen if you hurry, which I did. So we're going to do the snap change. We place the card, put the card over here, show the bottom one, take this one, make it look invisible, take the two cards, scoop this one up, show the two of hearts, bring it forward right over here, and then we have the Aces. There you go, guys, a beautiful mini act with the snap change. 93. IV: THE AMBITIOUS CARD: Take a card, place it in the center, and Va. It's back on top. This is the trick that Di Vernon used to fool Houdini. The great escape artist was so astonished, he had Vernon do it three times in a row. But Vernon was a devious one. The version he did used the secret thing that allowed him to fool any knowledgeable magician. The ambitious card routine is so famous because you only really need one single slide to be able to do it a double lift. If you want to know seven new ways to perform a double lift, make sure to watch our previous video on the channel. In this video, we're going to look at seven ideas that you can learn to incorporate into your ambitious card routine. Grab your favorite deck of playing cards. Where's mine. Okay, there we go. Grab your favorite deck of playing cards, and let's get it started. Welcome to seven New Ideas for your ambitious card routine. Explained. I'm gonna get the card understand. The card vanished, which is a pretty close thing to Imagine tr. 94. Top Card Visual Reveal: A the first idea from the seven new ideas for your ambitious card routine is something that you can already do, but something that maybe you're already doing, but just with a little tweak. So you start off by executing a double lift. You do any double if you wish. And then you take the card and you insert it somewhere lower into the deck. This will allow you enough time to dribble the cards and arrive at the last card at which you're going to flip this and at the same time, insert that playing card in the center of the deck. It's just a small little tweak, but the surprise of seeing your playing card arrive on the deck just like that, it's very nice, you know, just makes people go, What? But I was looking at that in the deck. Nobody's expecting you to just turn a card. Now, how do you actually turn the card over? There are multiple ways in which you can do this. You can do it on the right side or you can do it on the left side. I've just done it twice on the right side, and you can do it on the left side as well. Credits to Alan Royson for this idea. So both of these rely on the fact that you're going to be using the side and using your index finger or in this case, your ring finger to just flip that card over. If you're doing it on the right side, you're going to be dribbling like this. You arrive at the last card at which you're just going to place your ring finger underneath the card and drop it from the thumb and middle finger. You have to do this by raising your hand just a little bit so the card has enough space to just flip around. Go like that. Wait. Sorry about that. And then you drop it. And when you're doing it on the left side, you're going to be reversing it with your index finger as you arrive at the card. Obviously, not two cards at the same time like this. All of this takes a little bit of practice, and I'm sure that you're going to be able to just execute it pretty fast, as it's not something that we haven't really played with beforehand. So you go over here, and then you instantly turn it. And it can have such a really nice and explosive effect on it. Boom, and then just like that. There you go. I think that was a perfect double. I mean, you could do that, as well, execute a triple. You know, execute a triple, put that card over there, dribble, flip a double, which I didn't do, and then do it again. Place it over there, dribble, and then reveal. Simple, nice, neat, visual has to be done. 95. Cut It DEEPER: The second thing we're going to look at in the seven new ideas for your ambitious card routine is one that you might be familiar with if you read magic books. If not, this is completely new territory for you. What you do is Oh, wow, look at that. You insert the double in the center of the deck. What I like to do here to make it much easier for me to pull this card down because that's what you're going to be doing. You turn around, and then you pull the card down just like that. So you're going to be using the tip of your index finger to pull the card as you turn around, you can help yourself with the right hand, place your hand on the card and pull it forward as from underneath, you're going to be pushing this like that. Now, you're not going to stop at this point. You're going to continue pressing on that packet so that it kicks back. And at this point, you're going to grip half of that packet. And bury the card even deeper in the deck. So at this point, you've actually controlled the playing card to the top of the deck while maintaining that indifferent card right over there. So once again, we have the card over here. We point at it. We tell the spectator to keep their eyes on the playing card. And actually, we're going to bury it even deeper this time. So we go over there, and then we've instantly controlled it to the top. Simple, elegant, and a very nifty idea, indeed. You can use this for any control whatsoever. That's the basis of ambitious card routines. It is controls. So you don't have to use just for this. You can use it for any trick that you want. 96. Instant Reveal: The third thing we're going to learn in this video is one that is relying on an old principle, and if it's this old that you have to find it in a book, many of you might not have actually accustomed yourself with it. So the idea is that you used to playing cards that have the same number of PIPs on the top side. So you can do like twos and threes. You can go fives and fours, sevens and eights. And the idea is that you do a double lift. So in this case, we have the ad of hearts and once you place this inside, when you turn your hand around, it looks as if the eight is inside as long as I cover the pip with my index finger over here. Now, I took this idea, and I wanted to make it so that when you insert the playing card in the deck, it instantly appears on top of the deck as well. Like a very visual ambitious card routine. So the idea is the trickiest part is actually getting into it, but the slight itself is basically this. You're going to have the seven inside. People are going to think this is the eight. And when you insert it in the deck, so you're going to do this in one single motion, hitting the card inside, you're going to cardini the top card of the deck and then move it to the bottom. So the move itself is super simple, but the way that you get in position for that is a bit trickier than you'd expect. So here's how you go into it. What you're going to do is you're going to be in this position. So the seven is going to be the third. So this is going to be the spectators card. You force the playing card. I'm going to give you the whole gist of it. You force the playing card. Then what you're going to do is get a pinky break beneath the second card. You're going to insert the seven in this break. So basically, you're going to do a Marlow tilt with two playing cards. Then you're going to do a triple lift and show the seven has appeared on top. At this position, you're going to grip all of these three cards. And as you're moving your hands away, you're going to peel the top card over here and tell the spectator that's not as convincing as long as you hold the card face down like this. So you're going to place the card face up in the center of the deck. So notice that while I'm talking, I'm doing the whole motion. So let's go again. We have the seven. We turn around, we show the back. We place the card. The way that I do this is by just using my index finger to rotate the card around. I place it on top of the deck I lift the card up so that I can move my thumb while I'm talking at the index, place it inside, and then I'm in perfect position to instantly do the move. And there you go guy is a hyper visual and very slight infused, especially in the beginning way of performing the ambitious card routine. But I think it's very nice for social media, so that's why I wanted to include it over here. 97. Using a OH Top Palm: Here's another way you can actually make a playing card visually appear on top of the deck. Get a pinky break beneath the top card, take the spectator selection and insert it face up in the deck. You're actually just inserting it second from the top. At this point, what most people do is execute a cardini and the card is over there. But what we're going to do is we're going to top on the card as we're throwing it into our other hand or we're throwing it on top of the deck. Just like that. You see? Notice that I actually did fail twice. So yes, teachers are also human as well. So you're going to top on the card using just one single hand. If you want to learn how to do this, make sure to check our seven ways of performing of different poems or, you know, I forgot the title of my own video, yes, I know. You go over here, you're using your pinky, you're top palming the card, and the card is appearing. Now, at this point, if you want to clean up, what I like to do is just insert the card in the deck. That's because I am a sleight of hand god, and this is something that you can just do when you're a god. I'm kidding. So the way that you do it is you go from this position, you allow yourself a little bit of space here, and you're just going to insert it in the deck as you come from above and just riffle the ends of the cards. Now, if you don't like that, you don't fancy something like that, what you can do is make the card disappear. So you can use it as a joke. You can say, Your card will appear as if it's coming to the top, but just for a single second, you know, cause in reality, it's probably still somewhere in the deck, as you can see. So let's just keep it over there, you know, and definitely not make it come to the top. So you can use it in different ways. You don't necessarily have to do cleanup. If you want you can pawn the card and then drop this in your lap if you're sitting down. If not, you can just drop this card on top of a deck and then ditch the card on the packet as you are turning it around. So there's multitudes of ways in which you can actually clean up from this position. But the whole idea of making a card instantly appear as you're throwing the deck is definitely something to play around with. 98. Teleportation: Here is a simple yet devious idea for your ambitious card routine. You're going to execute a double lift, let's say, the ten of hearts. You go to place this in the center, and you're going to rotate it once, twice, and then on the third one, you're going to use your thumb to contact the outer left corner of the card, bring it forward, insert this in the center with your left index, and then use your thumb and middle finger rotate this playing card. So visually, it looks as if that playing card has melted and appeared on top of the deck. So you go once, twice, and then, oh, sorry about that. And then on the third one, you're going to make the card appear just like that. Now, if you want to make this visual, you can just sit there and then do this because they're actually going to see you pull this card over here. You need to just neck tie. This is how this action is called. You have to neck tie the deck a little bit as you are doing this. So over here, you neck tie the cards so that the spectator doesn't see you pushing this card forward, and then when you want to do the reveal, you're just going to come back with the hands in the original position. Very simple yet very beautiful. 99. Tele+ Convincer: Okay. But what if you would like to use this idea for your ambitious card routine and actually place the card in the center. So you execute a double lift, and you're actually going to place the whole double in the center. So you can show the ten of clubs in the center. And at this point, what I do is I grip the corner of these two cards, and with my thumb, I'm going to rotate the top card while at the same time using the fingers like my pinky, ring, and middle finger. I'm actually using my index finger, sorry. So with my index finger, I contact the corner of the card and my thumb over here, and I'm going to use these two fingers to rotate the top card, while the other fingers are actually retaining the card in my right hand. So you spin it once, and then on the second one, you can make the card instantly appear. So we show the ten of clouds. We place it in the center over here. We take the card, fingers underneath. As this one is rotating, this one is sitting in the palm. I'm using my left index finger as well. After I've stolen the card, I want to continue rotating this card, and it's so much easier if I contact the middle of this card with my index finger and I just rotate this. And from this position, you're just left with coming over here and making the card appear on top in a very visual and stunning manner. So once again, you execute a double lift. Nine hearts, goes in the center, you show it, you rotate over here, and then you make it instantly melt to the top. 100. On The Table Visual Reveal: So here's an idea for people that would like to do something on the table. We take a playing card like the King clubs, and you're going to start from somewhere over here in the deck, insert the card, and then if you move it in the center, what's basically happening is that playing card is sitting underneath the spread. So it's not actually sitting in the spread. If I push this inside, all I have to do is let me show you somehow with these playing cards because I just realize it's so much more difficult to explain. So, watch this. The playing card is going if it goes inside of the deck, it's blocked by the four transparent blocks, right? But if I go from over here and I go in the center, you can see that it has actually escaped the spread. And now if I grip from over here on the spread and I close, that card is going to end up on the bottom of the deck. So that's basically what's happening over here with the playing cards. We're going to spread the cards come from over here on the left, go to the middle, push this inside. Now, I see a lot of magicians, they don't push the card all the way through. What they're actually doing is just pushing it a bit, and everybody can actually see the playing card in the front that is not actually going in the deck. So push it, hold onto the spread with your left fingers and push it a little bit further. From this point, I grip over here, and then I can actually see the card over here on the lower side of the playing cards. This is possible because I've actually pushed the card a little bit more. So when I come to the playing card, I can just raise the spread so that it arrives on top of the card. Let's go again. We go over here, we place it inside, we go in like that. You can even push these cards a little bit forward so that you can see the card over here. Then I can just raise all of these a little bit above. If you feel like one of the cards has actually caught onto the playing card, you see like it might have happened here a second ago, I press my thumb on the card and I just push it I pull it towards the left so that the card escapes. But all of this is happening underneath the spread. Don't do it so that the spectator can see what's happening. Now, once you're in this position, what we're going to do is a side pum. So we're going to hold, again, we're going to be using this so you can see what's happening. We're going to hold the block the deck. We're going to push the card to the right side, and we're going to grip it between the pinky and ring finger over here, just like that. Then from this position, we're going to separate the whole of the deck in our left hand, and our right hand is going to come above. And as we're spreading, the card is going to appear on top of the deck. So let's go again. We push the card. All of this is happening in one motion. We go over there, and then the card appears on top. If we do these things separated, you got to have good enough reason while you're talking to come with the hands together and then leave. You can't just do that for no reason. I come here, you talk, you might talk a little bit more and then go into the reveal. But notice that I did use a separate technique over here because as I am talking, it's a little bit weird if my hand is sitting like this. It's much more natural if my fingers are sitting like that. So I was modifying to a tanki grip. So instead of doing all of this, what you do, you come slowly towards the left. You grip the packet, you separate it. The card is still going towards the packet. It's going on top, and then as we're spreading, the spectator will see that a playing card has appeared on top of the deck just like that. Just a nice and neat idea for all of you guys, all of you ambitious card routine lovers. I hope you guys enjoy that. 101. CONGRATS <3 : Congratulations. Oh, my God. Take a look at that. The end of the course. What are we doing? Well, in case you didn't just, like, skip to the end and you're watching the end, maybe not. But if you just finish the whole course, Man, why are we doing? Why are we doing? Now, it's very important that you didn't just powerhouse to the whole thing and you didn't learn anything. But at the same time, that brought you pleasure, who am I to stand in front of you pleasure? That's what I'm saying, you know? But congratulations. It's been an honor to be with you this whole trip. What a trip. 4 hours and a half. Man, 4 hours and a half. This is what an honor. What an honor. A small part of me thinks nobody is going to watch 4 hours and a half. But hey, in case somebody does even one person, I love you. And I hope magic is something that brings you pleasure and happiness. Probably it does if you would not have watched 4 hours and a half with this face, if you want to have love magic, you're definitely not here for the face. No what I'm saying? So I'll see you around. I have other skill share courses here. If you know, you can check them out. And I will definitely put out more courses, probably shorter than this because 4 hours and a half is quite a bit, right. It's quite a bit. So, this has been nice, and I'm going to I'm gonna go on now. Yep, that was Whoa. Gonna go play civilization.