Card Magic Masterclass: Amaze People in Minutes

1. What to Expect: Do you want to perform miracles in the matter of minutes and astonish anyone you want from winners of the biggest talent shows in the world, to viral late night shows, to Beverly Hills, celebrity mentions, theaters, TV, card, magic is everywhere. My name is circuits Astra. And over the past six years, I've been impressing meeting. I'm performing for people all over the world with magic as my medium. I'm currently magic Champion over five states in the US. And in this course I'm going to take you to the fundamentals of card magic. After teaching hundreds of students, both in-person and online, as compiled that techniques, tricks, and concepts that you'll need in order to perform miracles in a matter of minutes. Don't let the simplicity fool you because with these lessons, you have at your fingertips the tools to create meaningful connections through beautiful, impossible moments, to genuinely people out, and to always be ready to amaze recorded with excellent video quality and multiple angles. This course is everything you need to go from a complete beginner to blowing people's minds in your sleep with over five hours of content, view about whatever pace you desire, you get detailed explanations of techniques, tricks, and theory concepts, as well as live performances. So you can see the effects in action. You learn everything from self working tricks to handling a deck with style, to the mechanisms behind the magic trick. And so much more, it's time for you to shock the world. So take action now and join the class. I'm so I'll see you inside. 2. Make a Spectator Impossibly Find Three Cards: Hello everyone. I'm so excited to start getting into the magic tricks, the effects through routines that techniques that you're going to employ in order to astonish anyone you want. In this module, we're going to learn two tricks that are quote unquote self working in that you're going to be able to perform them right after watching the video with no practice, with no dexterity required. And you're going to be able to astonish anyone. Again. Don't let the idea of these tricks being simple fool you because they are indeed an amazing part, the string that we're going to do right now. I actually perform in my repertoire many times because you can do with a borrowed deck, a complete deck and not complete day. It's amazing. So without further ado, let's get into the studio performance of the trick. So you have the deck over 2 spectator. They shuffle it and they handed back to you. Now you spread the deck out on the table just like that. Okay. And you ask someone to, without looking take out a card, without looking at the face, obviously, take out a card, put it in your, in your hand and face down, and that current has to be the ace of diamonds. So they take up any card they want to put it face down on your hand, has to be the ace of diamonds. Let me just check how you did. Not sure if you're going to like the result. Now, I can ask you again or I could ask the same person again. I can ask someone else to take up this time, the queen of hearts. So you go into the deck, they take out a card and it has to be the Queen of Hearts. Let me just check how you did a little better now. And I'm going to look at this person in the eyes and tell them to say stop whenever they want. And it has to be exactly on top. The two of clubs. So I'm going to pass my finger. This person called stop anywhere, say the coast up here. Stop. Goes straight down, straight down. Take out the card. So watch. Spectator. I could, I could have even borrowed the deck from someone. They shuffle the deck. We sped up the cards chaotically and then three cards, we took them out randomly. And it could have been any cards from the deck be stopped at, at this last coordinate, you took out the other two. And we said the ace of diamonds, the queen of hearts, and the two of clubs. And I don't know how we did it. We got exactly the ace of diamonds, the Queen of Hearts. And after all of this chaos, all this randomness. We got the two of clubs. Okay, so let's get into the explanation for this amazing trick. Again, you can perform it right after watching the video. You're going to have to go over it a few times just so you're certain that you know the concepts and how it works. But it's amazing and you're going to be able to perform it in just a few minutes. So how does it work? What's the secret? There's a concept in magic and I'm not going to get into too much theory because all of that will come down the road in future videos. But it's a concept called the one ahead principle. And essentially it that you are one head. So how does this apply to this trick? So you're going to know the bottom card of the deck just for future reference whenever the deck is face down. So this is, these are the back of the deck of cards. This is the top and this is the bottom. Just so we're getting into the hang of using the terminology and just to make it more comfortable to use these terms. So, you know, the card on the bottom of the deck, in this case it's the ten of diamonds. And then when you spread the cards, I'm going to go over it like broadly so quickly. And then I'll get into the specific details so you spread out the deck keeping track of the ten of diamonds. Let's just put it there. Obviously, you're not going to make it this evident when you're performing it, just so it's clear. So ten of diamonds is there. You ask someone to take the ten of diamonds. They take out any other card to T1 at times out of 52, they're going to take a car that is not the ten of diamonds. If by any chance, they were to take out the ten of diamonds, you simply say out of all of the cards, you took exactly the card that I named, the ten of diamonds and the attorney over, it's amazing because many times when I explain this, people are freaked out and they're like, But what are they taking the court? Then you just end the trick there and it's amazing. So let's look at what happens the other 51 types. So they take up any other card, the printer hand any chord that's not the one you're keeping track of. It, put it in your hand, you look at it and you do some form of reaction. Now, you need to look at it because this is a card that you're going to call out the next time. So the reaction is simply a way to justify the action of you looking at the card. So you look at the card like this, you go like that. Wherever your action suits you, just make it a fun, lighthearted and entertaining. We're going to get into tons of ways to present, to perform and all of that in the future. So you look at the card and now you call up this card. So you look into some form of reaction and you call out. The queen of clubs to, so again, that to take out a card, it has to be the queen of clubs. There obviously can't be because it's in your hand. But you get the idea. So they take out any card. And now you're going to do the same thing. You're going to look at the two cards just so to see what card they just took and do some form of reaction. The assignments, the nine of diamonds. And now you can do one of two things. The easy way is just to say, okay, and then the last one, I'm going to go and take the nine of diamonds. You can just do that and take out the card that you're keeping track of. You can do that. Or if you want to spice it up, you feel confident and you want to just up the ante. You can say that you're going to look at the person in the eyes and what you're maintaining eye contact, you're going to hover your finger over the deck and they just call up, stop wherever they want. Now the only thing you're doing here is timing it. So when you see that their face start to move, starts to move and they're going to say stop. You simply want to have your finger roughly or on top of the card. Now since you have a certain distance on top of the deck, you can have the freedom to slightly alter the direction of the finger when you go down. So say they say stop here, I can go straight down and touch the card. So that's the two options that you have for the last card. Now we've summarized how the trick works and let's get into the specific details of how to perform each part. After you handled it to a spectator to shuffle, you're going to pick it up. And as obvious as that, you're going to look at the bottom cord. Obviously you don't have to actually turn it over, but just pick it up and look at it. Well, you don't want to be doing is like Joey in that Friends episode where he has someone to take out a card and he says, okay, I'm going to guess the cart, not going to look at it. And he goes like that and looks at it real quick, right? You don't want to be doing that because that's very obvious or anything along those lines. You don't want to be doing anything that seems tricky, fishy, that demonstrates tension. You want to be lighthearted, relaxed, simply take the deck, look at the bottom card because no one knows how the trick's going to end. No one knows that you're trying to look at the bottom card. So it really, it doesn't matter, okay? So you look at the bottom card, and now you're going to spread the cards up and keep track of the bottom card. I'm not going to do as obvious as before when I had it like this. So let's put it out evenly. And you're keeping track of the bottom curve, which is the six of diamonds. Spread them out, spread them out. And now you ask anyone to take out the six of diamonds without looking at the face of the card and put it in your head, they take it out. You look at it. You say, Oh, I'm impressed, I'm impressed. Whatever. Just make it a bit traumatic, fun, lighthearted. It's just an excuse so that you can look at the face of the card. If you don't want them to do that, you can also point out someone and look at the index of the card. There's many ways to look at it. Just make it again. No one knows that you're trying to look at the face of the card so you can then name that so it doesn't matter. Okay, So this is the seven of hearts. And now I ask the same spectator or another spectator to take out the seven of hearts and put it in my hand. So they go in, they take the card again. If they took the six of diamonds, which we're keeping track of, all you do is okay, so we then the six of diamonds and the seven of hearts. And how did you know we have the two cards. Okay. So you just ended there. So I'm doing three cars. So they take another card that's not the six of diamonds, the seven of hearts, because the seven of hearts is in your hand. They take out one that's not the six of diamonds which you're keeping track of. In this case, it's the five of clubs. So you look at the cards, say, Oh, okay, well, whatever. And I say, okay, for the last time, I'm going to take out the five of clubs always naming the card that they just picked. You can do that, or you can do the other way, which we explained, which is looking at them in the eyes. You say Kremlin to hover my finger over the deck. You have to stop me at the five of clubs. So I hover my finger. You say stop. Whenever you see that they're going to say stop. You tried to get your finger closer to the six of diamonds. Again, they don't know that you're keeping track of the six of diamonds, right? They don't know what's going on. So you don't have to like with tension when you're hovering over. He can be hovering like all the constantly near the six of diamonds, right? It's not a big deal. So don't worry to you. Looking at them in the eyes, the hover and they say stop. And then you go straight down here. If I go straight down and still going to work, so I'm going to go straight down and just move it slightly. So I'm just enough, I'm touching the edge of the cart and I take that card there. Now, There's an important detail here. Because if I were to show them like this, what would happen is I would be showing the seven and for its first, which is the second card that I made. So here's the seven of hearts, which is the second one. Here's the third card that I named and cues the first card that I made. So what we're going to do is we're going to bring this card to the bottom. And just again, a lighthearted action. The key to this trick and to performance, performing tricks that are so forking is to be lighthearted. In fact, this is a key element of performing magic in general, just be lighthearted. Don't worry about the trig. Don't have tension in your body. Simply say, okay, so we picked out three cards. And in that action, you bring the top card to the bottom. The small packet of cards, right? So again, I'm going to explain this one more time. The first card that we call it wasn't six of diamonds because that's the one we're keeping track of. So it wouldn't make sense that we showed the cards in this order because the 600 damages at the top right. Because it would have worked, but just in a weird order. So just to make everything congruent and make sense and not have any doubt. And the spectator's mind, we're going to do is pass this card to the bottom and just lighthearted action. So once we do that, we, when we show, we turn over the packet and reveal, that's the six of diamonds, the seven of hearts, and the five of clubs in a dramatic and very artistic hallway. And then you receive your standing ovation. You receive your prize for the best performing the world after performing this amazing trick. And you can send me a message thanking you for teaching. Let's go over it one more time. Just said it's crystal clear and you can stop the video, go out and perform it to the person closest t. Okay? So as always, they shuffle the deck, as always for the strict Wii bowling, think going over the street yet they shuffle the deck. You look at the bottom card in the action of taking the deck, the five of diamonds, spread all of the cards on the table keeping track of the five of diamonds. Just like that. Make it seem random, make it seem chaotic. And now you ask someone to take up the five of diamonds placed face down on your hand without looking. So they take out a card. There. He looked, say, Hey, I'm impressed. Whatever you want to say. In this case, it's the eight of spades. And now I'm going to call for data space. So you say, Okay, now do the same, but with the aid of states, you take out a card, put it in your hand. Again, you look, you say a urine, the urine streak, whatever. This time it's the king of clubs. And you say, Okay, For the last time, I'm going to take king of clubs. Again, make it seem lighthearted, random, playful. Don't make it seem as though the cards are exactly. Don't say this time we're going to take out the king of clubs. Don't do that, right? So can I say something and then say this time, let's take the king of clubs. And you can either take it yourself or you can do the finger hovering over the deck. Just whatever you feel comfortable with if you're performing for the first time, perhaps this go ahead and do it yourself. But if you're, you've done it a few times, you're feeling comfortable just to the finger over the deck thing. Let's go over that real quick. I'm doing eye contact. I'm looking at you, passed my finger. You say stop. I go straight down again, straight downstroke going to cut it. So I'm just going to go slightly to the front. I'm going to go straight down just enough. So when I touch the card, my nails touching exactly the card. So here had the five of diamonds, which was the card that I was keeping track. Now if you remember, this is the second card, we call this as the third, and this is the first. So just to make everything fit, just to make it congruent, I'm going to say, Okay, I'm going to summarize everything or just make it a bit traumatic, I'm going to say. So you shuffle the deck and it can even be there borrowed x. So I can say this is your deck which you shuffled. I simply spread out on the table. We caught up through random cards. It took them out of the deck in a completely random manner. And we ended up with three cards. See what I did there in that action. I'm separating the two, the top card from these two. And when I come back, I actually put it underneath. So just a very lighthearted action in the context of recapping the events, right? I'm simply saying, okay, so we end up with three cards, right? They spread everything, you, you move everything, set the stage, then you turn over and we said you name the cars just to make it clear, you say we named the six of diamonds, not the six and the five of diamonds. I don't even remember. The five of diamonds, the eight of spades, and the king of clubs? I don't know how you did it. We have exactly five of diamonds, the eight of spades, and the king of clubs. So I really hope you enjoyed this trick as soon as you have it down just through it a few times in your hand just so that you know that you've got the concept down. If no, you can go back as many times as you want until you have it covered. And then really go out performing for someone and see what reaction you get. If it works, which it should, because it's very straight forward. Congratulations, you've performed your first magic trick. 3. Live Performance Spectator Finds Three Cards: Hello everyone. In this video, we're going to start off with the last performances. We're going to have two wonderful assistance to help us out. They're not here yet, they're coming in awhile. But in the meantime, this is Sophia, this is Meghan, and they're going to be helping us out for these live performances. So you can get a feel for how it looks like with real timing, real people, okay, So we have a deck of cards as always, and we're going to start off by shuffling them. So just shuffle, shuffle away. Always playing with it. Of course, this can be a borrowed deck as you've seen in the explanation. It can be a complete deck, not complete whatever. It's always of course, being shuffled it in place. Okay. Whenever you want. Hey, happy with that. Yeah. Now we're going to spread the cards like this, like a chaotic kind of thing. And now I want you to take out without looking. So you're gonna take a card, place it face down in my hand. That has to be, it has to be the ace of diamonds without looking at it. Okay? Okay. Go ahead and take a card up. Face down in my hand. I do. Okay. How are you with intuition or you write? Your very intuitive, okay, so you're gonna take out a card just like he did, that this m has to be the three of spades. Just reach and take a card. Okay, let's see how you did. Okay. Now, for the last one, we're going to spice it up a little. I went to I went to look at you in the eyes. I'm just going to pass my finger. And you didn't just going to call up stop without looking at it. And it has to be only three of hearts. And you're going to pass my finger like that to say stop whenever you want. Stop there. I'm just going to go straight down. And the first card that I touch in between two which when it's like touching this one. Yep. Yeah. Okay. So it's going to take it out. Oops. So right there we ended up with three cards right? Now what's what we did? We took out a deck of cards. You shuffle the deck and we spread them out on the table. We said three random cards. You said you were going to in intuition. And we said the ace of diamonds, spades, and the three of hearts. After all of this chaos, all of this randomness. I don't know how you did it. You must be good intuition because we got the ace of diamonds, spades, and the three of hearts. Wow. Good job. 4. Have Two Cards Impossibly Rise: I hope by this point you've already gone out, perform the trick that we just learned in the previous lesson. And already feel that tingling sensation in your stomach of fascinating Someone and seeing their face gasp with amazement. Anyway, in this lesson, we are going to be learning another trick that you can perform right after watching the video. And without further ado, let's come to the studio performance. Okay, so we're going to learn two ways to perform this effect. One of them, you can give the deck a way to shuffle it to a spectator. And in the other one, you don't learn both in a second. But anyway, you need two cards. And then to leave them here, it to black cards, spades, spades and clubs eight, right there. So two black cards, spades and clubs 89. So we're going to put them in the middle of the deck, just like that. We're going to put the nine of spades and the eight of clubs, right then the middle of the deck. Just like that square the min, push them in. On the way. Nothing in my hands to square the whole deck right there. And I just have to go like this. And the nine of spades comes to the top. I just have to do like this. She and the eight of clubs comes to the top and believe it or not, after clearly putting them in the center of the deck, nine of spades and clubs to the top. So the concept of this trick is very, very simple, and it might not work as well on camera, but it definitely works well in person if you did with the right timing and the right way to present it, which we'll get into in a second. So the concept is very simple. In each stack, or each card rather has a twin card, right? So the three of diamonds has the three of hearts, four of clubs have the four spades, and so on. So there's some cards is especially the ones with a lot of spots like the one we just used it of clubs, diamonds, spades, spades and clubs. Even the temps are very similar, right? So we can play with this idea. Here I have the nine of spades with the aid of clubs and the respite for the nine of clubs. So alternating suits. So essentially what we're going to do is we're going to have one of these sets at the top of the deck already. And then we're going to be showing these without giving them too much attention so that the spectator doesn't really remember which is the one with the spades and which is the one with the clubs until we start naming them, which in fact we are going to miss call, right? It can sound a bit confusing, but it'll all make sense in a second. So I have the nine states on the eight of clubs. What I'm going to do, and of course after I'm going to backtrack and show everything from the beginning. But you've taken out two cards and you say to black cards, spades and clubs 8 and 9. So you're not saying nine states and eight of clubs, you're just saying to black cards, spacing clubs eight to nine and you showed up and you show them without stopping there too much. Because again, we don't want them to remember that it's the nine of spades and the eight of clubs. Because of course here they're going to be alternated. So two black cards, spades and clubs 8 and 9. You can show them here. You can show them perhaps a bit more, but don't stop there for a minute or Donnelly them face up on the table and don't leave it for more than like three to five seconds. Just a little show, and then move on, right? So that's the concept of the trick. Essentially, there's twin cards and we're using alternating suits to, to as, as if they were duplicates. Okay, so now how do we get into the situation where we have the carts here that we lose them in the center and we already have these on top. Well, as I said at the beginning, there's two ways to do it. You can either have the deck shuffled by a spectator. In that case, we'll get into, in a second. And, or you can have you can have it set up from before. So in this case, I have the 80 space on the nine of clubs on the top. The other two, then I spit on the end of class will be in the center of the deck. And now all I have to do if I already have it prepared and I don't want to give the deck to shuffle or I don't want to borrow the deck is I take my cards out of the box, but I do it. I put them there in an offbeat moment after performing another trick or just a claim with the cards, I just put them on the top. So now what I do is I take out, of course without showing them individually. So I would be like this vertical. I'll just do like this. You can see I'm going to take out the eight of clubs, spades. And what I'm saying that when I'm doing that, I'm going to say two black cards, spades and clubs 89. And then I'm going to show them, right? I'm going to show them once or twice. And then I've spread the deck and I'll place them in the middle of the deck. Now, when I go to place the first one, I'm going to look at it as if reminding me of what card it is and I'm going to miss call the card. So in this case it's the 90 space. I'm going to look at it without showing. And I'll say the nine of clubs. And I miss called a suit, and then I place it there. And the eight of spades obviously miss calling once again because that's the eight of clubs. But of course I'm calling the ones that are already on the top. So once again, you've left these two cards out. Say two black cards, spades and clubs 8 and 9. You show them, show them, and you spread the deck. However you want to do it. We're going to learn how to spread it in a few lessons. And then you say the eight of spades and the nine of clubs in the middle of the deck. And you miss, call the cartoon called The ones that are already on the tough the square, everything up very clearly. And this is a beautiful moment of magic way you can build it up, milk it. Oh, you want, you can collect that maybe, or like that, whatever you wanna do, sort of magical industrial want this MOOC it as much as you want. And then the eight of spades and the nine of clubs come to the top. As I said, you can also perform this trick with a completely shuffled deck. And what I would recommend in that case is it if he can put one of the two sets of cards on the top of the deck on an offbeat moment just while playing with the cards. That probably works better than this. So what I mean with that is you're just speaking or you finish the trick, and then you put the eight of clubs and the nine of spades on the top or the other pair. And then you start with a trick, right? Just on the offbeats speaking or whatever. But if you don't want to do that, you can also do this in the action of taking two card data, two cards out and leaving them on the table. You can prepare the other two. Let's look at how that would look. Obviously, you're always not showing the cars individually, so you want to have the vertical. But just for demonstration purposes, I'm going to be showing you exactly what I did. So I see the eight of clubs here. I'm going to leave that one there. And I wanted to have the attitude of not being sure which cards I want to use, right? I don't wanna make it seem premeditated. I wanted to I wanted to seem random and then I'm just taking two random cards out. Okay, so that attitude is really going to help us just play and put the cars where we want it. So I see the eight of clubs. I can say this one, maybe this one, okay, I'll use this one, right? So I'm just starting to set the tone of taking the cards F. And again, as I've said in the previous trick, all of this has to be lighthearted on the outfit without tension, without the sense of trickery, right? So I take the eight of clubs. Now, if I take the eight of clubs out, that means that I want to have the eight of spades and the nine of clubs at the top of the deck. So let's look into that. When I see you the next card, I say this, maybe, maybe not an island, just put it on the top or I can cut the deck and leave it on the top. It doesn't matter as long as you do it on the offbeat and relaxed with this attitude of not being sure which cause you want to use. So you say maybe this one, No. Cuz I don't know we can write n as soon as you see one that you want to bring to the top, you just cut and bring it to the top. So I, I love theater. Theater. So you can say this one. Now. You can cut the deck or you can just bring it to the top. I'll cut so you can see it. So the interspace is now on the top and you keep spreading. And you say maybe this, this one, yeah, we can use this one. This is the 90 spades. So see other one that I need for the trick, you take up the space, let me say this, or we can use this one or actually. And the action of again, the doubt, you say, maybe not good enough, right? And now you leave the deck and it feels as though the trick is starting right now. But of course you've already prepared everything. And now you would follow along by saying to black cards, spades and clubs 8 and 9, you show them and you proceed with the trick. You spread the deck, you say, Okay, so the nine of clubs, of course, the miscalled the card you cut, the one that's already on the top, place it in the middle of the deck. And then you say, and the eight of spades square everything up. Square or the deck. You milk it. Oh, you want the two cards come to the top. And if you've done it right, you should be amazing. Absolutely everyone with this trick. 5. Hold the Deck Properly: Great, So now it's time for us to start learning the foundations, how to handle them, how to cut, spread, all that cool stuff. But before we can get into the fancier stuff, we need to learn the very foundations, how to hold the deck. So there are a variety of grips that we need to learn. And the very first one, DV, the mother of all the grips is the dealers or mechanics equip, which is this one right here. We have your thumb on the left side, the index when your three fingers like that. So to learn this group, we need to start with something very basic. You're going to be holding the deck in your non-dominant hand. So if you're left-handed, hold it in your right hand. If you're right-handed, hold it in your left hand. You're going to place it like that. And now you're going to have, as I said, your thumb along the left or if you're left-handed, there's going to be along the right side. You're going to have your thumb along one side, your index on the top of the deck or the, or the shorter side. And your other three fingers on the opposite side of the thumb. Okay. Now, how deep is the deck going to be? Well, so I'm going to be so deep that the fingers are coming like are kind of doing this cage action where they're hovering over the deck. And it's not going to be so high that the cards are going to almost be falling, right? There's a point in between where the cars are comfortably laying on your fingers and they're not they're not in a cage and they're not falling out of your fingers. Now, how's the placement going to be? Well, it's going to be kind of this, this line, right? So this part of the deck, it's going to be on top of here, kind of along this muscle on the thumb. Right. So along here. And you simply go into place it there. So where the muscle starts right around here, that's where the corners going to be. The bottom left corner on the bottom right, if you're left-handed, the bottom left corner is going to be there. And then you go in to position your other fingers like this. Now, how much space does it have to be between your hand and the deck? Roughly? About one finger and a 2.5 fingers, right. So nothing like this where you can fit your whole hand and not like this where you can fit barely one finger, right? So something like this where it just feels natural and you can fit about to 1.5 fingers. Okay, So one of the most important things perhaps for all of the grips, is the pressure. How much pressure strength we have to apply to the deck? Well, this is very similar to what people get taught in golf with a golf club. And it's, you want to have a strong enough so that, or rather imagine that the deck is a bird and you're holding a bird in your hand. You want to have it strong enough side. The bird doesn't fly away, but loosen up so you don't damage the bird. So it's somewhere in between. That was a strength from one to ten. It would be a three or four, maybe three or four of strength, right? So you can imagine very loose, you're not applying a lot of strength. You can see a lot of people that are not achieved to handling the bag that are holding it with like a death grip. And and yeah, that's cool. It's just relaxed so that you can spread it easily. You can cut with ease. You feel it right. Most of the things when you're, when you're doing something technical, they don't require a lot of pressure. One last summary of the dealer script. You're going to have the thumb on one side, three fingers on the other, and the index at the front, right there. So the corner, it's going to be roughly at the start of this muscle right here. So here, this big muscle, and it's right here at the bottom, it's going to be roughly around there. And then your other fingers are going to accommodate a round. You're going to have enough space in-between your deck and, and the hand so that you can poke around 1.52 fingers and near that should be, that should be cool. The next group we want to learn is a very slight variation of the dealer's grip is simply the elevated telescope, which looks something like this. So it's very slight modification. You simply going to move the thumb from the side to the bottom and push up the ductus sacra, pushing it to the edges of the fingers. So moving your thumb, pushing up just like that. So you have an elevated dealer's grip. So again, you're in dealer's grip, this position with the ASAM here, index and your other three fingers on the opposite side, simply bring your thumb down and push up. And that's the elevated dealer's grip. Ok, and I'm moving on. We have a very important grip, which is again very similar to the dealer's grip. And it's the Charlie, a strata whip. And that happens when you move your pinky to the opposite side of your index, just like that. Okay? So now you're basically holding the deck between your index and your pinky. In this form of like rail type thing, right? This is very important to then learn the spread, the one handed cut and all that stuff that we'll get to in the feature. So that the grip is simply from dealer's grip. You move your pinky to the bottom of the deck. And now you're basically holding it between your index and your pinkie. So from here, similar to the elevated dealer's grip, we have the elevated strata or Charlie a grip which will allow us, of course, to then perform the one handed cut. You can go ahead and try that V01, but we'll be learning that in the future, so don't worry. So the elevated strata grip is from struggle. We have your index, your pinky, you're holding the deck there. These other two fingers on the side of Thomas here, simply use your thumb to elevate the deck. As you can see, most of the pressure is being asserted by the index on the pinkie. So that's already elevating the deck as I opened my hand, you can use your thumb to elevated. So that's pretty much it for the non-dominant grips. We have the dealer's grip, the elevator dealer's grip, the struggle grip, and the elevated struggled with. Now let's get into the, one of the most important grips. So we have the dealer's grip is probably the one that you're going to spend the most time with. And then you have the Biddle grip with two or the end grip, which is this one in your dominant hand, right? So to get into the script, you're going to be in dealer's grip and you're going to bend your index finger underneath the deck, so curl it underneath the deck. And then you're going to come with your dominant hand, thumb at the back, three fingers up the front, and your index crowed on top. So it looks something like this. Now there's a variety of ways to have the grip that you can have a very close or very open and grip depending on the situation. Right. So let's go over the closed end grip for now. Your middle finger is going to be at the corner. So if the script is going to be pretty much touching my thumb right there, your thumb is going to be pretty much aligned with the middle finger. Your index is going to be current on the top. And the ring and pinky are simply going to go on the side of the deck or along with the middle finger. Okay. So once again, some at the back, middle finger in the corner in next curled up at the top. And then your other two fingers simply lie on that side of the deck. So it looks something like this from dealer's grip, your index finger and hold with your thumb at the back and your three fingers at the front. That's the closed end grip. Now, from our open-end grip, you simply slide your fingers along the deck. So this is closed and grip, this is a medium. This is a completely open. And now you want to practice going from dealer's grip to n grip to dealer's grip to n grip, dealer's grip to encrypt. A good drill that you can practice is imagine that your hands for in, immersed in a pot of honey. And then in slow motion you want to come here, Career Index. Grab with n grip and come back. And then it seems like something very, very useless. But you're going to be using these, you're going to be using these scripts all the time. So you really want to get them down as soon as he can. Just say you have the foundations and the basis right from the start. So you can really learn the new techniques. So once again, in thumb at the back, middle finger aligned with the thumb at the other side of the deck. Index card on the top. And your other two fingers right there, just aligned with the middle finger. And again, the pressure is very similar as with the other ribs. Imagine a bird strong enough sided doesn't fly away and loose enough so that you don't damage it. So about a three or four on a scale from one to ten. So pretty relaxed. And then this would allow you to send triple the cards as we're going until it in the future and a variety of things. So here's dealers. Tom at the side of the three fingers, on the opposite side, index card at the top, you're going to curl it under the deck, which will allow you to come with your thumb at the back, three fingers out the front index card on top. If you don't want to be covering today, you can hold it like this or like that, depending on the technique, the slide, or whatever you do it. So let's just quickly summarize all of the grips. We have. Dealer's grip on one side, three fingers on the other side. Index up the front enough space for about one or two fingers. Then we have an elevated dealer script, which is with our thumb curling over the deck and pushing it to the top. And then we have Strata group which is dealers, but you just put your pinky on the bottom and slightly adjust so that you're holding the deck mostly with the index and pinky. And we have elevated strata which is simply opening your hand. Your two fingers on the the deck is elevated. You can use your thumb to this would allow you to do the one hand it's cut that we'll learn in the future. And then we have the Biddle grip, which is from DDL script. We come with our thumb at the back. Are three fingers up the front index card out the top. This is a closed end grip. And then we can open the end group as much as we want. So I really hope you enjoyed this first lesson on the basic techniques of how to handle that sought to hold the deck. And it's very, very important. I really hope you go through the drill coming from dealer's grip to encrypt or decrypt to encrypt just a few times. So you get it down because we are going to be using the script, as I said all the time. So anyway, I hope you enjoyed this lesson and I'll see you in the next one. 6. Cut and Square the Deck With Style: Now that we know how to hold the deck at some to get into the more interesting stuff. In this lesson, we're going to learn how to cut and square the deck with styles. So to start off with, as you're practicing, as you're using the bag, as you're learning new slides. Many times, your back is not going to be square. It's going to be some situation where you have to square it from a messy scenario, right? So how do we go about that? Well, if it's very, very messy, like it's the situation, you're going to grab the deck and you're going to place it on the table. And then with one hand you're going to hold it. And with the other one is simply going to come from one side to the other, squaring all of the cards, putting them in the same direction, and then simply squaring as we're going to learn in a second. So once again, if your deck is chaotic and all over the place, we're going to do is you're going to bring all the cards together, put them against the table, just like that. And that was your hand. You're going to bring them from one side to the other, putting them all in the same direction, all of them in the same direction. And then bringing them to your hands and squaring it. We're going to learn just a second, one last time. Just so scared, very straightforward. But all of your cards are messy, they're in different directions. And then you bring them altogether like that. You grab them as you can, put them there on the table. And with your hand, you simply come across and put them all in the same direction, just like that. And then here there are pretty square but then he would just finish up squaring like that. So that's how you would square the deck from a very chaotic situation after you've been stuff on the table, maybe you gave them to shuffle and they chose to shuffle on the table. I don't know, there's countless scenarios where you may need this. So this is how the squared that come up very chaotic situation. Now, how do you square the deck from a just a casual shuffle, a drink or something like that where the carts are just that. They're not very messy but they're they're mildly mess if messy and they need a square. So what you do is you combine the two techniques, the two most important techniques we learned in the previous lessons. So that is the dealer's grip and the Biddle grip. When you combine those two and you repeat them, That's how you square the deck. So you use the elevated dealer's grip, which looks something like this, right With the time with the index code underneath because remember we learned it like this peak and also have the index card underneath. And then the Biddle grip repeated many times. So the bidder were repeated in elevated dealer script. So put that in perspective. You've dribbled a deck. You bring it together. Now. You square from top to bottom with your dominant hand in Biddle grip. So this action, and with your non-dominant hand, you do this action. So you combine them to do this. So you combine these actions and you have Biddle grip action and your non-dominant hand action, just like that, making sure that the bag is all squared. So now let's combine the two of these. Imagine someone's shuffled the deck very chaotically on the table or whatever, maybe the cards fell. Whatever as you're practicing, you're going to get into very messy situations with your cards. Maybe they've even fallen on the ground. You have to pick them up. Whatever it is. You pick them up, you put them like that on the table with one hand. You come from one side to the other. Just like that. All you want to do in this case is put all of the cards in the same direction. Now that pretty much all facing the same direction. And now you want to square, finished squaring them up. So you bring them in dealer's grip. You'd use your dominant hand, Biddle grip. And you just square everything with this action and this action, square everything. And the deck is completely square. Now slightly class here. Wait to square. The deck is this one. It looks something like that. Imagine you've tripled the cards. And instead of just going like that, you do this little twist. And you square the deck. This though, twist is something that we are going to be using in the future for a variety of things. So it's important that we learn them, even if you're not going to use it to square the deck. So how do we go about this? We grab the deck and Biddle grip. We simply rotate our dominant hand. And then our non-dominant hand comes in bit in DDL script and grabs it. So it'll rotate it either script, it'll rotate dealer squared. You can use this just as a little flourish. You can use it when the decks naught squared to square it up. If I got and you can use it as we'll see in the future to do some tricky stuff. One last time, BBDO, rotate, dealers, rotate titers. So, so far we have squaring on the table, just orientating all of the cards in the same direction. We have this way to square, which is with the bidder whip and the dealers combined. We repeat that. I can move the cards, can flush. And we also have this rotating action. So in a normal timing, it would be like this looks just like a classy little detail that you add to your, to your handling of Cartwright. Maybe you bring the cards into this little square and you square them, you know, this little square, there's little turn, and you square the cards. Okay, so now we know how to square the deck. So now we can deal with all the message situations that are going to come up as we practice. And now let's get into how to cut the deck. So the very first cut that we're going to learn is once again, combining the stuff that we just learned in a previous lesson, where in dealer's grip come with their dominant hand in Biddle. Of course, we had to retract or curl the index finger under the deck so we can access the deck with the right hand, the dominant hand. And instead of taking all of the deck, like in the drill that we already learned, we're going to take roughly half of the deck, just like that. Put that on the table. It takes the other half and put that on top. That's the very basic way to cut the deck, right? Well, it's doing it with the right techniques, with the rough right foundation. So once again, when dealer's grip, currIndex, dominant hand, Biddle grip would take about half of the deck, put it on the table, take the rest and you can drop it or you can put it, okay? And then of course, you can take the back and square it in your hand. Now onto my favorite slide of this lesson, it's the swing cut, which looks something like this. I think it's very classy and you can combine it in a sequence to make, to have more than one. And I just think it's enough. It's one of those structures that I think it's classy, but it's not crossing the line where it's just like too flashy, right? So this is a swing cut, it looks like this. Okay, looks like this. If you combine it and it's very simple to do, It's upping the ante slightly on what we've already learned. But it's something like this. You come with a pretty open and grip. So here in DDL script become with a pretty open-end grip. Are you holding it between your middle finger and your thumb? And you're going to extend your index finger. Remember, we usually have it corrode on top of the deck. But this time we're going to extend our index finger. And that's going to allow us to lift about half of the, half of the deck. So once again, we're going to extend and lift about half of the deck. And in this position we're going to pivot around the thumb. So move our index towards the side. So towards our dominant, non-dominant hand. We're going to pivot around the thumb. And our non-dominant hand is going to pinch right here between the thumb and the index, pinch right here. So once again, let's backtrack. When dealer's grip, we're going to come with our dominant hand, an open-end drip. So between the middle and the thumb, we went to extend the index, pull up about half of the deck, pivot around the thumb just enough so that we can pinch that corner with our non-dominant hand between the thumb and the index like that. And it goes directly into dealer script. And we can just square and finish the cup. Perhaps it's a little too much. Let's go over it once again. So we're in dealer's grip, open-end grip with your dominant hand. So between middle and thumb, your index as opposed to being code on top of the deck as it usually is. We're going to extend it, pull up about half of the deck, pivot around the thumb. So something like this. Take this action. And that's going to allow us to pinch this corner with our non-dominant hand between the index and the thumb. So this so this action. So we're here in open-end group, rotate and pinch. And then we simply take into the non-dominant hand dealer's grip. And it's just natural right from this position it goes directly into dealer's grip. So from here we pinch dealers and then you can square or you can do another one, or you can just drop from the top. So let's get into the last little flourish of this lesson, which is the swivel cut. And it looks something like this. So once again, it looks something like that. It's pretty flashy, little more than the last slide. Perhaps a little too flashy for my taste. I like this shrinking because of how classy, simple and elegant it is. But this can work depending on the situation, depending on your style. And once again, it looks something like this. So how do we go about it? A starting point is exactly the same plastic swing cut. I'm just going to go over it just in case either script, code, the index under the deck, we're going to come in open end grip, thumb, and middle finger at the very edge of the deck. Now our index finger is usually code, but this time we're going to extend it in order for us to pick up about half of the deck. So that's about half of it does have to be anywhere near exact. Pick up, pick up about half of the deck. Now our index is going to the back of our index. There are non-dominant hand is going to come here. And this time instead of pivoting around the thumb like we did in the last slide, we're going to pivot around the index, so something like that. Okay, so our dominant hand picks up about half of the deck just like that. And now with our non-dominant index and the back part around the nail, we're going to take the packet from where the thumb is. So we're going to take it from there. So the thumb is now only holding the bottom packet. And now we're going to rotate the packet around the two indexes to the coming. Doing some teamwork here. It's rotating around the, around both indexes actually. And it comes just perfectly and harmoniously into the left-hand or non-dominant hand dealer's grip. Once again, dominant hand post up about half of the deck. The non-dominant hand comes with the index in this position. So we pivot around the other index, around the two indexes just like that. And it rotates just perfectly in order for it to come into our dealer's grip. So the position of the non-dominant hand is this. And this part comes in contact with the packet and it swings just like that. So it's here. We come here with our other fingers under the deck. It's going to pivot just like that. So how does it look, whether two packets, it looks like this dealer's grip. We come in open end grip, pull up about half of the deck. Our index finger comes here to the back of the deck, or other three fingers are below. And we pivot around the two indexes. Now what's, how beautiful it is? It comes exactly into place and we just square and look classy, fancy and fantastic. So anyways, that's a few ways to square the deck and deal with a mess when we're rehearsing. And also a few ways to cut the deck in order to look elegant throughout all of our performances. 7. Spread the Deck Elegantly: In this lesson, we're going to learn to most colossal in Card Magic. One of them is probably my favorite move and you're going to be using it all the time. People select cards. So the first one is the hand spread, which looks something like this. And the second one is the ribbon spread, which is the typical crew PA or a casino move. Okay. So let's get into them. So the first one is the in the hands spread, which I absolutely love. And I practice so, so much to get down to how I want it to look. And it looks something like this, okay? You can do it just straight up and that's the spread. Or you can do with a little choreography, write this kind of harmonious movement rather there was an accordion. Write something like this. Or you can just do it as I said, straight up. So how does this work? Well, you're going to be in dealer's grip of course as always. And you're going to move into struggled with, okay. And so if you remember, strangled will be holding between your index and your pinky, you're holding the deck pretty much there at all times. Okay? So it's very important. We've already spoken about this, but it's very important. You apply the specific amount of pressure. Okay. If you remember, I mentioned that it has to be something between a 34 on a scale from one to ten. Okay, that's very important for this MOOC because if you're holding a death grip, it's going to be very hard to spread the cards. And if you're not holding them hard at all, then they're just going to fall and they're not going to be able to spread. It has to be the precise pressure. And you're obviously going to be playing with this as you practice and as you go along. So something between 34, shareholding the deck constructor grip, and I'm going to push with your thumb. Okay. We're going to let this loose. So again, no death grip. And now you're going to push with your thumb and simply allow the cars to go into your dominant hand. So notice how the dominant hand doesn't have a very specific requirement. I mean, then we're going to get into more detail. But notice how I can just spread. I can spread the deck like this on the back of my dominant hand, right? It doesn't matter how you're holding it really, as long as your pressures write with your non-dominant hand and you're pushing the cards with your thumb, okay, So that's the action. You push cartwheel your thumb, and if the pressures right, then it's fine. And we're obviously going to need a relatively new deck. The deck is sticky. Oh, the card art tearing apart, then it's not going to it's going to be really hard to spread them. But I haven't relatively new deck here. And then we're going to hold it in a very light grip like three. And then you're going to push with your thumb and relax and simply open the cards. Now, of course, there is some action I have to do with your dominant hand to make it prettier and more sceptical. And the action is something like this. You went to come with this part of your hand and you're going to pinch there. And you're going to spread the cards like that. So push, spread the cards like that. Your hand is going to do this kind of motion where you're kind of spreading them in your hand. But that's not the main action, right? That's just like a secondary, like it's almost a consequence of doing it using the script. So your instructor grip your pushed with your thumb and then your hand comes here, pinches like that, and then you spread. Okay, So from here you spread. So again, you pinch here, your fingers, you're touching with your in the back on the index. So the side of the index on the bottom of the deck like that. And then you're going to spread like that. Now, it's important that in this grip you have your pinky here so you can use them as rails for the cart. So as you can see after two Pinky's at the bottom of the spread. So from here you have this rail, which is the stratified drip rail, and then the other one here. But you don't have to have the indexes at the front. It's enough to just have the pinky toe at the back and the other fingers underneath the spread. So once again, we're in strata, we're going to push, we're going to come with this script and we're going to open from there. Okay? And then from here you could ask someone to take a card, pick a card, or you can maybe show the faces of the cards like that. And this is one of the versions of the spread, which is opening it up straight away, just opening everything. Okay. As you can see, when I do this grip, I'm kind of doing this action and opening the cards here little more. Okay, so it's combining the two actions. It's this push and light grip. So I'm pushing on the M holding a light grip and then I'm coming here and spreading them like that. And also pay attention to how I'm not doing it straight. Some of this smaller like this action, right? So it's almost circular or curved. Okay, it looks more static. But as I was saying, this is the first version where you do it straight away. This is the most common version that magicians or people that handle cards use. But I think it's better if we learn this harmonious kind of accordion movement, which looks something like this, this is better because as you'll see, first of all, I think it looks pretty aesthetical. And second of all, it's going to be really helpful for two very important techniques that we're going to be learning in the future. So let's get into how we do this. So we're going to start off by pushing about 10, 15 cars, maybe a little more. I don't know. It depends. It doesn't have to be exact, but we're going to put some cards. Same technique as we just learned. We're going to push some cards. Then we're going to come with dominant hand. In this script, we're going to open the spread. And now what we're going to do is close it about halfway. And then with our thumb, push twice again. All we're doing is we're going through all of the parts of the deck. So we're opening, closing, opening the next part, closing, opening and closing opening the next part, all of the other way till the end. So once again, we start with a few cards. Close, open, close, open, close open. So the action I'm doing is one open, won't close. Two pushes, close to, pushes, close to push it. This, this tempo is important that you get it down now and you'll see why in the feature There's two very important techniques that we're going to learn. They're, are going to require or maybe not required, but it's going to be much easier to perform them if you're doing this tempo with the spread. So open, close, open, close open. Okay? And again, I think it looks much more harmonious. I think it looks aesthetical and pretty elegant to, you can obviously just do this spread if you want. But I really like the idea of opening, closing, opening and just going through the deck. Also, this allows for the spectator to access all of the cards in the deck, right? It's not just, I like this. They can access every single card. I mean, I guess they could, but it's just more comfortable to go like this. And if you see where they want to head into the spread to take out a card, you can just help them by spreading through and just facilitating the car that they want if they're going for the bottom, you can just go like that and allow them to take the bottom card. So once again, we're in struggled with, with, with a very loose grip. We're going to push, the sun's going to come here like that. We're going to. So in this position with this part between the index and the thumb, when to grip there around the bottom third of the cards. Grip like that. Then we're simply going to open the spread doing this kind of opening action. So like that. Okay, and then if we want to do the accordion movement, we're going to open a few cards, close, open a few more, close, open a few more. And that is the, in the hands. Moving on to the ribbon spread. The first thing I want to mention is that surface is key in this spread, okay, and are in this MOOC because otherwise it's going to be very difficult to spread it if you're not in the right, in, with the right surface, or perhaps you're going to be able to spread it, but not to do the second part, which is this kind of flourish. So again, keep in mind that the surface is very important. We've already talked about getting a close-up Pat. So if you haven't gotten it or you're thinking about it, this might be a good incentive. But yes, the surface is important because otherwise you're either going to be able to spread the deck, you're not going to be able to flip it over like this, like we're going to learn in a second. So now that we've covered the surface, Let's get into the exact MOOC. Also. Again, as with the previous move, this, the state of the deck is going to be important. So if the cards are very, very old, they're getting stuck together and all that. It's not going to be simple to execute this MOOC. So we're going to be in Biddle grip. We're going to this time extend our index on the side of the deck, rent. An interesting something that might be helpful. You can try this out in your own hands, but something that might be helpful is to bevel the deck. So when you're in Biddle grip, bevel the deck slab, it's beveled. And then it might make it easier to just push cart formed by 108. You can try this out, but let's let's just go through the motions. You're in. N grip closed and whip. So of course you're not like this. You're something like this where your hand is rotated and closing. And so you have this, this action where from the right side or my right side you can see the side of my hand, right? So sorry, like this. It's rotated so that we can now extend the index finger and apply the right pressure on the side too, then open the tech. There's a few movies that you really have to get down in your hand to know exactly how it works. And this is one of them. But we're going to go over it a few times. I'm going to give you all the information that I can provide. But keep in mind that the pressure, the amount of pressure, something that you are going to have to play with. Especially because each surfaces is different, each hands are different, the decks are different, they're different states. So it's really something that, that depends a lot, right? So you an N grip. Once again, you're close to n grip. You're going to extend the index. And the index is going to be applying all of the pressure, okay, this is the most important part. And the pressure is something like this. It goes like up and down. You're doing like a constant death grip or you're starting with a lot of pressure and then releasing either. But that's the most similar pattern, right? The most similar, easiest way to describe is you're applying pressure and then you slowly releasing it. So in exactly like that again, it depends on you really have to try it out in your hands. But that's the most similar way or the most accurate way to describe it. It's you start here with your index there. On the side of the deck. You start with pressure and then you slowly release it. But then again, you don't just do that. Again. You have to play with the pressure because the spikes, right? I'm going to describe as I go along. So here I have quite a bit of pressure and releasing them, releasing. Now I'm applying a little more because they're kind of getting stuck. Now I'm applying quite a bit of pressure here and I'm releasing. So you can see how it's going up and down, right? It's not like it constant, start with a lot of pressure and then I release. It also depends on the speed that you're doing it to. Because if I do it faster than it's just like I'm just passing my finger and I'm like releasing all of the other pressure. Depends on how quickly you're doing it. If you're doing it slowly, then you're going to need more pressure. So again, it really depends on you need to try it out. But the technique is your n grip closed and whip. You extend the index finger. You bring the deck to the side of the table. You apply pressure with your index and then you slowly release it as you go along towards the table. So now that you have the deck spread, how are you going to do to do the fancy, typical, classy move? Well, believe it or not, this is very, very, very simple. In fact, at this point, you might have been surprised by how simple this move is spread because it looks very complicated and I don't know very technical, but it's actually quite, quite simple. More than one might think. But again, it requires a good surface, a good state, the cards and the cards to be in a good state and all of that. Okay? So once you're here and you have the right surface, as I've mentioned, then it's very simple to just come here with your non-dominant hand. So you come at the beginning of the spread, you simply pick up the bottom card. So you put your finger on a little card and then you simply push the cart. And this like butterfly effect happens where one pushes the next and so on. And then if it stopped in the middle, then you can just keep going with your other hand. But if you apply the right amount of pressure, they're just going to go till the end. So you can play along with that. But once again, he spread the deck. You come here with your non-dominant hand, or you can come with your dominant hand to where you can grab it like that. If you're going to come with your dominant hand, what people usually do is grab it by the two ends, like that. So with your thumb and your middle finger, whereby the two ends and use your index now to pivot that around and then keep going either with your index and your thumb. However you want to do it again, this is something you have to play along to see what suits you hire works with your table or whatever surface you have. But again, it's with my non-dominant hand. I go under that, can either push all the way or I can leave it here, come with my thumb. Perhaps stop in the middle of the deck. And if I do that, then what I can do now is put my other thumb here and open the two parts. Okay? And again, don't let this scare you because it's much more simple than it looks. And in fact, that's good for you because you can practice it just a little and start bragging because it is easier than it looks. So spread the deck. You push. You can either push like that and have this butterfly effect. Well, you can go with your thumb all the way through. So a company will your thumb or push however you want, or even we can do is spread the deck, grab a card and put it under the card. So instead of doing as we were doing now with our hand, we're going to put the card under the other card. So the car that we grabbed under the first card of the spread, pull like that and then use the card to go through it. You can even take two cards and put one under to the very same thing. And then when you get to the middle, split it just like that. And then maybe what you could do is take this card, flip it over, and then square everything. You see. There's so many things you can do. But the motion is this. You do the ribbon spread. And now you start at the beginning of the spread. So the card that's at the bottom of the deck, and then you can just pull it up and then push and do this butterfly effect. So I hope you enjoyed this lesson where we learn how to spread the deck and the hands to this accordion movement had to spread the deck on the table and how to do a variety of flourishes with the deck like that on the table. I hope you practice it and I hope you impress everyone with these amazing slides. 8. Fancy Shuffling: the Riffle Shuffle: In this lesson, we're going to once again learn one of the classic moves of card magic, court card handling in general. And it's of course the riffle shuffle, and it looks something like this. So the most important movie need to get down in order to have this technique. And in fact, a variety of techniques that we'll learn in the future is this. So you should practice this until you get it down with both hands, actually. So to practice this, you can hold the day came closed end grip on the top. Turn your hand over, put the back of your non-dominant hand here. I'm simply reflects this is the referral. And from there you get a name riffle shuffle, right? So this is the reform which we're going to use twice in this move. One to split about half of the deck, and twice to them, shuffle the deck. So it's key that you get this moved down. So once you have this down, you're going to put the back of your hand. So once I get close to n grip turns, put the back of your hand so the nails right here, you're going to refill about half of the deck. Then put your sum here on the top of the deck. So on the top of the half that you just referred, then you pull down to the point that it touches your fingers in your dominant hand. And then once it goes there, they touch, you, let them touch the, your fingers in the non-dominant hand. So let me backtrack. You reflow. You're holding with the back of your non-dominant hand and you pull down with the thumb to the point where you're holding this packet in-between four fingers, the two on your non-dominant hand, on your dominant hand. And then you push up with your dominant hand. Then you have the two packets held in this position. Okay, so once again, you riffle, stop, pull down with your thumb and push up with your hand. So it's a very simple motion is just pull down and up. Once again. You riffle, pull down and up. Just like that. Referral put down and up. So one, take it in slow motion. You riffle. Once you, once you have your satisfied with the size of the packet, you're going to pull down with your thumb and then up with your dominant hand and hold it there. Now when you're in this position, all you're going to do is have the two packets parallel to the table, and then you can go into shuffle them like that. So once again, you've split your packet and I have it here, and that both packets parallel to the table and you're going to refer both and just insert them just slightly, okay. Because that's going to facilitate the the cascade afterwards. Okay. So you're going to refer split the deck and then you can either have your fingers extended or corrode. The beginning is probably going to be easier to have your indexes crowed to push down. But in the future you might want to do it, which are indexes extended. We'll get into that in a future lesson where we also use the reform. Okay? So you riffle with your finger, your indexes. I think indexes code on the top of each packet and you shuffle them just enough. You can see I'm just, I'm just coming to this white and not even getting to the design of the cards. So I'm just coming around here, okay? So as you can see, not very much. That's going to facilitate this beautiful flourish after, okay? So once again, you riffle, pulled down with your thumb, pull up, and then career to indexes, shuffle or referral. And as you riffle, you try to alternate 11 the best you can. It doesn't have to be exact, Not even close into just a rough, roughly 111. And you can see once you have it there, then we're going to get into this. But as you get down the first part, so you in dealer's grip, you rotate. Remember, similar to this, to this little spin. And then to come in and grip, rotate. Just there, you put the back of your hand here, the back of your non-dominant hand, you ruffle about half of the deck, pulled down with your thumb and up with your dominant hand. Then you curl your indexes. And then you're going to ripple both packets at the same time, trying to shuffle them the best you can, okay, So for there and you don't go in very deep, so you don't go in like that because it's a bit harder and it's less aesthetical to do the cascade. So you refer them just at the very beginning of the deck or of the cards. And then once you're in this position, you've got what you're going to do. You're going to this motion, this motion can to bring your hands down and arc them in this sort of wave, maintaining your thumbs where they are. So you're here, been to push down with your hands, keep your thumbs where they are. This is going to generate a lot of tension. Then you're going to release it. And they're going to do this beautiful little flourish. So let's go over the bridge a few more times and then we can get into a whole thing a few times. So you're here, you've shuffled the cards together. And once you're here, you're going to put your two thumbs on top. Arc your hands so that it does this kind of bridge action. So you can see they're arguing the cards like this. The more you do it, the more tension you generate. And then when you release, they're going to shoot themselves more. So if you do it like this, so I'm going to have as much tension as you bend them like that. Then when you release the part that you're releasing as this thing, these fingers, you're going to be like this and then you release the fingers, you relax the cars, and then the bridge happens. So let's do that. One more time. You hear thumbs on top, you Arc your hands, then you release the fingers and the cards shoot out. So once again, let me just make the cards so better because I've bent them a lot. They're like that you shuffle them just at the beginning of the cards. And you keep your thumbs There. You are with your hands and then you release your fingers. So your middle and ring and pinky finger, you just release everything and then collected there and then just square the deck as we've already learned. Okay, so let's go over that a few more times. Here in n grip, you rotate. You put the back of your hand, you riffle about half of the deck. Then you pull down with your thumb and push up with your right hand or your dominant hand. Rq indexes. Cards parallel to the table. Refer both packets at the same time. And then leave your thumb to their ARC your hands and release your fingers. Okay. One last time just so it's absolutely clear. And dealers you take with n grip closed and grip. You rotate, push to riffle. You push with your index. C, push with your index, and then you release with the thumb. So push with your index, released for the thumb. So you're pushing here with the index and releasing with the thumb. Your hand is here. The back of your hand is here. To collect half of the deck. Once again, you're going to be ruffling. It's the same with both hands. You simply push with your index. It's, it's all about tension and release here. You're going to generate the tension and then release with your thumb. Like that, release with totems. And then ARQ your hands and release your fingers. Let's go in to do the beautiful bridge. Anyway. So that's the classic riffle shuffle. I hope you enjoyed this lesson and I'll see you in the next one. 9. Flashy Move: the Dribble: In this lesson, we're learning. Yet again, another classic move. I feel like I'm saying that for every lesson this module, but I mean, we are learning the basic moves of card hand link, so it makes sense, I guess. Anyways, the movie learning looks something like this. And it's the dribble. Okay? So the dribble is very similar to the referral that we learned in the riffle shuffle. So I remember it was this. Okay. So again, you're going to be in Biddle grip, closed, better grip. You have a, you're going to have your index corrode on the top. We're going to apply pressure with your index. Then you're going to release that with a thumb. Okay? So once again, going to apply pressure with your index and release that with your thumb, trying to get cards to release one by one, right? You can practice it on the table at the beginning. Simply push down with your index and relief with your thumbs. So again, similar to the referral, this time, sitting in language one-by-one and letting them fall. Okay? So you push down with your index creates in this sort of Bevel. And then like that. So pushing down on making the cards, creating tension and releasing the tension with your thumb. So once again, you're pushing, you're pressing down with your index so vertically, you're going to arc the cards in this way. And that tension you're going to release with your thumb similar to doing this referral. Okay. So pushing down and releasing? Pushing down and releasing. Okay. Now, something that's been more common over the years with this move is to, instead of having your index code extended, that way it allows you to dribble cards one-by-one. Easier. So let's try that. We extend our index and this time we apply pressure with this part of our index. So we push down with this index, still arguing the deck and then releasing that pressure from the thumbs on the table first. Just like that. And of course you can apply this to the referral to you can do the riffle shuffle with your index. Index is extended and it is easier to have them one by one to two before or dribble card one by one. So you're enclosed and grip. You extend your index and you dribble on the table. To add again. You extend your index and your applying pressure, vertical pressure downwards. Okay? And you're holding that pressure with your fingers at the front and at the back. Okay, so right now I'm applying a lot of force with my index and I'm holding that with these fingers here and the thumb here. So now what I do say release just from the thumb like that. And obviously you have to release slightly from this fingers. Otherwise, the court found fault. Or as you can see, we're sticking to those fingers. So basically you are releasing first from the thumb and slightly from the fingers. So the card will fall like this. Okay. So like this and then from there I went to fall vertically. I mean, like like this, whatever that is. Okay. So you can see that the cards fall slightly. Leg, this diagonal, okay? So just like when you apply pressure and you release from the thumb and obviously released slightly from the fingers because otherwise the card waterfall. So you can do that with your index curls on the top of the deck. Or you can do that with your index extended on the top of the deck. Like this or like this. Okay? And of course, another move that's very common is the Anaconda, which is doing the dribble very high. And they do that with the index extended. I haven't really practiced a bit. It looks something like that. Okay. And as you can see, the cards fall like this, right? Because you're releasing from a foam first. So once again, you really think you're applying pressure with the index, holding it with your fingers at the front and the back and then releasing with the thumb and obviously with the fingers. Now, what's the position that you have to adopt in your non-dominant hand in order for this technique to work and not be a complete mess. Because if I just do it anyway, like the cars will easily fall out. So we're going to do, is in your non-dominant hand, you're going to do this sort of cage. And you're going to have your hand as if you were in DDL script. But then you're going to move your pinky as if you were in a very exaggerated stria with something like this. Because that way I can dribble the cards and they're not going anywhere, they're not falling. So once again, I have this sort of cage physician and I can dribble them there because my pinky is going to hold them down like a cage. Okay. So I'm applying pressure with the index and I am releasing with the thumb. And I'm combining that with this cage position, my non-dominant hand like that. So again, this move is very similar to the referral, which you can do with your, you can also do with your finger extended or corrode. And you combine that with this action to have the bag like that. Okay? And this movie we're going to use in a variety of cases to have a card chosen to control a card. And we'll get to all of that in the future. But for now, you really need to get done this idea of pressure. And again, this is one of these moves that you have to try out in your hand that because otherwise it's really hard to explain. That's why I'm repeating it a lot of time. So you really get the idea. But essentially you're applying pressure with your index, releasing with the other fingers. So time pressure with your index and releasing your other fingers simultaneously. Okay. See you apply pressure vertically and then you release that pressure from the sides and that causes the cards to fall. Then you combine that with this position, your other hand. And the cars don't go anywhere and you've successfully drivel the deck, it you can do that. There's not much more to say. I wish there was, but this is really one of those feel moves. So I hope you practice it and I hope you really get it down because we're moving on to the next lesson. 10. Fan the Deck: In this lesson, we're going to learn a very skeptical, beautiful move that I run to use less over the years because I really loved the spread. But it's the, it's the fan. It does look beautiful and very fancy. Pun intended. And then we're also going to learn a fun, fun, fun, fun, fun way to close it. And I'm going to stop with the fan ponds for now. But anyway, let's get into this. So again, this is one of these techniques that you really need to feel in your hands to see how the pressure applies to your deck, to your hands depending on how worn out the decades, on how new it is. It's also one of those moves that requires the deck to be in a relatively good state. And it goes something like this. Okay? You're going to do, adopt this position in your non-dominant hand, okay? So your, your fingers and then your thumb like this, then the deck is going to go like that. So at the bottom side, your thumbs going to align with the bottom quarter of the deck. And that's going to align pretty much for the your middle finger. And then you're simply going to apply the right pressure and spread it like that. So again, this is the position and this is the hand that uses all the pressure, that applies all the pressure. And then, okay, dominant hand, you can either use your index. You can use your thumb in this triadic position with your middle finger in your index. It doesn't really matter because the hand that's doing all of the work is this one. Okay, I can't stress that enough. We have to get the pressure down with this hand. That's the important part. So you're going to, once again, this is the position you are going to align your thumb with the bottom quarter of the deck, with the middle finger, the index there. And then this is the pressure I have to work on, the pressure on the thumb. Okay. So I'm going to try to walk you through it as I do it and pretty much apply more and more pressure as I go along. So like with the ribbons for that, I'm kinda releasing the pressure here. I am kind of applying more as I go along. But it is similar in a sense because you're trying to get cars to go one-by-one and spread. So the concept is very similar. Okay? So yeah, again, this is one of these moves that you really have to try in your hand. But let's try, let's try to talk through it. Okay. So your hands are in this position, then you're going to go with your index. This is a very important detail. You're going to want to bevel the deck. This time you are going to want to bevel the deck a 100 percent because that way it's going to be much, much easier to spread the cards one by one in the fan action, okay? So you're going to bevel the deck, put it in that position and then spread it. Okay. And now I'm flying a lot of pressure here because as I said it, the pressure goes in crescendo. Okay. So you're here, you apply more and more pressure and Bevel the deck. You put it in your hand, your time more and more pressure. And you open it just like that. Okay. And then to close it, you can either come from the bottom to the top like this or you can do the one-handed close, which looks like that. Okay. So let's look at it one more time. The thumb and middle finger here, bottom quarter of the deck, you bevel the deck. Then with your index, I'll add activity with the index, but you can also do with a thumb. With the index. You rotate all the way around applying more and more pressure, okay? Again, you really have to practice it to feel it, but you're going to do this action. This action as you apply more and more pressure to you here. And you go like that. As you apply more and more pressure not to close a fan. As I said, you can close it from bottom to top just like that and I think it looks just fine. But there is another fancy I promised I wouldn't say there's another fancy way to do it, which is the one hand it close, which is, it looks something like this, or rather like this. It's hard to do in slow motion. And from behind it looks like this. With one finger, you pull everything and you close it. So you're not going to want to practice this close until you have the fan down, which I will say it's going to take awhile. It's definitely going to take longer than the ribbon spread, which you can get down in a few minutes. It is going to take a while to get the pressure right. So you can always do it consistently, okay? But once you have that down, you can work. You can maybe get it down and come back to this video in months, weeks, whatever days. Then when you do have a down, hello, welcome back. You're going to learn this one handed or one finger close 100. And it looks something like this. When you have the fan from underneath, it looks like this with your index, you're going to apply all of the pressure on your index and you're going to pivot it around the middle finger and it's going to close. It's really hard to do it in slow motion. We went to apply the pressure and pivot along the middle finger. Okay. So something like this. It's going to spin around the middle finger and you're going to do this action with your index. So it's, you extend the index and it pivots around your middle finger. Once again, your fingers are like this. Your indexes code and then you push it and it closes the fan. Then you can do a lot of funny stuff. Maybe you can snap in a closest. I've seen people act as though they're pulling a hair out of their head and then pulling it down as if it were a curtain like this. And then it closest, obviously, you should see it from this angle. So like that, right closest. Again, it's hard to do with the hand like that, but you get the idea right? It closes as you, as you snap or as you do a gesture, right? It's not magic, but it looks pretty cool and it's fun to do with the fan. I should stop with the puns. Anyway, quick review of everything we just saw. This is the hand placement for the fan, bottom CTO, the deck aligned with the thumb. Then you're going to owe you going to bevel the deck. Then you're going to place it there. And then you're going to apply more pressure as your index or your thumb, whatever finger you using rotates around your hand just like that. Okay. Just like that. Then two closer you have two options. And obviously you can do a smaller fan of you want. If you want a smaller fine, you can just hold it from there and do a smaller fan, right? Depending on where you hold the deck from, the fan will be smaller. You can even do a tiny fun. I like to hold it at the edges to make it bigger. But yeah, it depends where you hold it from. So the further in you put your thumb, the smaller the fan will be. Okay. So once you have your your friend down, you can close it either coming from the bottom to the top and just undoing the action. Or you can do the 100 close with your index, just like that, pivoting around the middle finger. And it was, I hope you enjoyed this technique. It is a lot of fun and it stopped becoming inevitable. It is really in, it's enjoyable. It's an enjoyable technique and people enjoyed its aesthetic. And it's, yeah, it's fantastic. 11. What is a Magic Trick?: At this point, I think it's interesting for us to start discussing the theoretical components of magic. We're going to talk about many things throughout all of our lessons, misdirection, mechanisms of perception, structure, and so on and so on. But in this lesson I want to talk about the most foundational aspect of, of, of theory and medic. So the first thing we need to know is what is an effect? So what is a magical effect? Well, a magic effect is essentially the contrast between an initial situation and the final situation with seeming continuity. So the contrast between an initial situation, situation a and final situation, situation B, with a seeming continuously, right? So without an apparent break in the continuity of that initial situation. So let's give an example. I put a coin in my hand. I blow the coin vanishes. Initial situation. Situation a. There's nothing in my hand. Sorry, there's a coin in my hand. Final situation, situation B. Now, there's nothing in my head. So the contrast between the two situations going on in my hand and an apparent continuity. So nothing apparent has been so apparently nothing has changed in the state of my hand. All I've done is put the coin and we've gone from situation a where the coin was there, to situation B can also happen in the opposite direction. So nothing in my hand glow and it appears according appear so seemingly nothing has changed, right? So seemingly continuous. Yet there's contrast between situation a and situation B. Okay, Now, obviously, the bigger the contrast in general, the bigger or stronger, more impactful the effect will be. So if I close my hand in and instead of having a coin when I open eye open and there's an elephant, have him, that's probably going to be much more impact for them than the coin, right, because of the contrast. Now let's talk about the structure of an effect. So every fact, memory effect, it goes through four phases. The initial situation, which we've just seen, the magical moment, the magical effect, and the confirmation collaboration, I really want to call it. So the initial situation, the magical moment, magical effect and confirmation or collaboration or proof, if you will. So of course, when we get to the final stage, that's the final situation. That's not necessarily a face in the effect. So let's go through each phase. So the initial situation is clear, is how everything is before starting the effect. So that should be absolutely clear and we should stress, and this scan, all of these concepts that I'm discussing in the theory sections are usually going to be some form of attitude or less cameos. Spanish musician that was very philosophical and conceptual about his magic. He analyzed every aspect of it. I'm essentially building on everything that he said throat or three videos. Not necessarily in all of our videos, but in the vast majority of them were not speaking about specific concepts and ideas. I'm building on what he, what he wrote said, discussed, lectured on et cetera. So the initial situation should be absolutely clear in the spectator's mind. Because as I said, the effect is a contrast between the initial and final situation. So in order for this contrast to really come across and be delivered effectively, that has to be a clear, conspicuous initial situation where everything, It's clear and visible and evident to the spectator. So it should be obvious that the coin is going into the hand. In the initial situation, where it should be obvious that there's nothing in my hand. Many magicians focus on emphasizing the effect the coin has appeared. It's amazing. Wow, how great. Now you can't really, that's, that's really a conceptual fallacy and it's kind of biting your own tail because you can't really emphasize the effect without having a clear initial situation. So as kindness point is that the initial situation must be absolutely clear for there to be contrast. And, and all of that. Obviously every phase is important and it has to be seeming continuity because if you stress the initial situation, my hand is completely empty. I close my hand. Now wait a second and you take it out. Then there there's no steaming continuity. So there can't be a medic effect, right? So that's the first pixel initial situation. The second phase is the magical moment. And this is, this is the iconic moment where the magician snaps, blows. Whatever the magical gesture is, the magical moment usually is associated with a magic gesture. Sometimes the effect will happen at the same time. Magical effect will happen at the same time as the magical gesture or the magical moment. So you won't really feel as though there's one, but there usually is. I mean, you can do some effects which are very visual that just happen. And that's fine, right? But the magical moment there is hap, takes place at the same time as a magical effect, but it's still a phase in there. So again, the magical moment is that moment where we snap, we do a medical gesture and the spectator starts to get the idea, usually what the effect is going to be. So again, in our example from my coin in my hand, snap. And now the coin disappear. So the moment I snap, the tension starts being built and that tension is going to be released through the effects. So I snap. A magical gesture can also be put the coin in my hand, and now I say the coin is going to disappear. The coin has disappeared. That can be the magical moment. That's really where the spectator feels, the impossible in their skin, right? That's, that's really where the magic starts to take place. And then of course, the natural consequence of this is the magical moment, right? So when the medic has actually taken place on the spectators, not only imagine in it, but feeling it, seeing it perceiving. So again, in our example, initial situation, coin in my hand. Then I blow up some magical moment. And then I opened my hand. There's no coin. That's a magical effect. And now, well, I think the magical effect is pretty clear. It's one of the CCS face to understand. The effect of magic takes place as simple as that. And then the conformation or the corporation is that the proof that there is no other direct logical configuration or direct logical response to how the trick was done, right? So, so essentially, if the spectators feels like magic, but then can say, oh, it's on the other hand, then you haven't really experienced a whole process of magic trick because it should be calling goes in the hand, disappears. And now there's no logical way to justify the fact that the coin is no longer in the head, right? So that's the confirmation corporation. So that put it in my hand, disappears. So put it in my hand. Initial situation, blow magical moment, open my hand. Magical effect. The con is no longer there. And now the corporation comes when I show my hand here, right to that, to be directly, a corporation doesn't have to be in a specific moment. If I do this and my hand is already open, then the corporation is happening during the medical moment or the medical effect rather, because I'm not showing that the hand is empty, you're just seeing that it is empty. So you corroborating, you're confirming or proving that the effect has taken place while it is taken place. So another example is when a card travels from one place to the other and the card is signed. So the moment you take up the card from wherever it's traveled to, you, take it out or it comes to the tub or whatever you're done with the signed card, right? So whatever you're doing where you can have the natural consequence of thinking, oh, that's a duplicate card. The moment you see that the cart is signed by the person, you know, that has to be their coach. So that's the confirmation, the proof, the corporation that the fate has in fact taken place. Not really right. It's just, it's an artificial proof, if you will. But it confirms any doubt in the spectator's mind. So to put it in other terms, quantum or is talked about two courses in the spectator's mind. One is the logical horse, one is the host of the imagination. So what each one of them wants to win the race. But if the, if the logical horse doesn't crash, as long as a logical horse doesn't, it doesn't crush. The host of imagination can't frame and you can't really feel the magic in your own hands or in your own skin. So we have to crash the logical horse. It's a bit tragic end to the other. We have to crash the logical horse in order for the horse of creativity and imagination to rain and for the magic to take place. So with back to our scanning and scanning in terms for the coin of our hand, initial situation corners and blow. Magical moment. Open. Calling is no longer there. Magical effect. And now the spectator starting to look for possibilities. And the direct possibility is that it's going to be in, in my hand. So the moment I gesture a show, whatever that's the corporation where my hand is open the moment the spectator sees that it can be there, that's the confirmation. Or if they're looking around, they're looking for something, they can't find anything. That's the confirmation, right? There's not the confirmation is not necessarily a moment. So I want to give you one more example just so these concepts are absolutely clear because it's important that you have the foundations, right? So the example is the linking rings affect the very classic linking rings effect. So you have two metal rings, solid metal rings, you give them out, examine, you show that they're separate. It's stressed the initial situation. Now, you bring them together, you rub. That's the magical moment right before the effect happens when the magical gesture takes place. In this case, it's the rubbing of the two rings together. Now you show that the inside magical effect. Now you drop one of the rings, you spin it in the ring at that confirmation, right? Where you prove that it's the effect has actually taken place. And it's, and it's such, seemingly, such, seemingly inside it's on some optical illusion. The effect has actually taken place. Of course it hasn't because magic, at least this kind of magic is not real, that there is a method to it. And so the corporation conformation, you spin the ring showing that the effect has taken place. You show the, the other hand showing that the coin is no concealed there, so the effect has taken place. So I hope that these concepts are clear. We are going to be discussing them throughout the lessons, and I'll see you in the next lesson. 12. Magic Lingo: External and Internal Life: This is just going to be a very brief lesson to address some link. Theory, magic lingo, if you will. So these two concepts are internal life and external life. It's a dichotomy that we're going to be referring to back AAA again and again and again. And the idea is that the internal life is everything method wise, everything that is secret, and that is not sing by the spectator. So it's everything the magician is aware of, what the spectator isn't, right? It's beautiful because this double reality exists in magic. That doesn't happen in any other art form. There is some instances that I have felt that way. The dichotomy is present in other forms of expression or art forms, such as a plot twist and cinema, it's not exactly the same because in the end, the spectators are aware that there was this double reality. And in magic, that's not necessarily the case. There are performances or effects routines where in the end of their routine you explain what just happened. But that's not the usual procedure. So the idea is internal and external life. So just like in a plot twist of a movie, you think you're seeing a certain movie. But at the end of the movie, you realize that everything was, was something completely different, was there was an eternal life that you weren't aware of. That was the setting of the plotters, right? That everything was coherent and all of that. You saw it, but you were oblivious to the fact that I was setting up something else, right? So it's the exact same thing with magic because you're seeing the thing, you're physically there. So you've seen what's going on. We're oblivious to the fact that that's actually secret moves. And then the little TV tricky things that are necessary in order for a trick to take place. So the eternal life, that's everything that has to do with a method that is secret, that the magician is aware of. The spectator. It's, an action can have both. And obviously then the natural consequence set the external life is everything that the spectator is aware of. Randomization is aware of. It's just there. It's, it's, it's obvious, right. So one of them is the surface level. From the surface above. The other one, The Eternal Life is everything below the surface. The security kind of dodgy, if you will, actions right in this metaphor, it kind of feels like so internal, external life. So my kids have an internal and external life. So I'm putting the coin, putting the coin in my hand. The external life is that the coin is going in my hand. This hand is moving, bringing it to my hand. So the external life is that the coin goes in my hand. The internal life is that I'm stealing the coin and putting consolidate in this, go like that. I can see it on this end and I seemingly put it there, the external life. And I put it there, right? And the eternal life is at, it's here. So also the, everything that is seen as the external life. So moving my hand all of that gesture so many times. What I propose I'm and I'm going to talk about this in many times when I wanted to cover a move. What I like to do when the magicians like to, like to try to conceal it. So you can look at the deck, but you can see all of the tension. And even if you can't, like a very classic movie, is the past. And the past looks something like this. So as you can see, it's not invisible, but many medicines are obsessed with keeping their hands still. And you being able to have a burning stare on their hands and not seeing the MOOC. I think there's really no point to that. First of all, because you're telegraphing many things by being still and tense and all of that. And even if you aren't, tends to be completely relaxed, I don't see the point. I think it's just much better to give the movement external life. So 0.4 or show the deck in some way. So give them move and external life. And instead of just trying to have the richest internal life possible, because really the magical experience happens here in the external world. And the internal world is something of the spectator shouldn't be aware of. And this kind of obsession with making the technique invisible almost feels as though you're bragging about your technique that shouldn't even exist in the first flip. Anyway, we're getting into other theoretical concept at this point and we're going to talk about all of that in the future. So in this lesson, I just want to get to stress the idea that there's an internal and an external internal. Everything that is hidden, secret, and known to the magician. And external is what the spectator is actively seeing and perceiving. 13. Learn the Most Important Technique: the Break: We're finally getting into the real stuff. In this lesson, we're going to learn one of the most important techniques in card magic. And it's the break, okay, so the break is a way to secretly have control of where card is, a group of cards are. And it looks something like this. This is one of the breaks we're going to be learning. It's the pinky break. And as you can see from the front, it's invisible. But from behind that my cheek, keeping control of perhaps this card or a group of cards. You get the idea. Okay, So that's one of the ways we're going to learn. This is the other one, right? So we're going to learn one in dealer's grip and we're going to learn one in N group. Okay? We're also going to learn how to acquire these breaks. So without further ado, let's get into it. So for the pinky break, which happens in dealer's grip, we're going to start off with one card, only the tocar, just so you get the idea. Okay? So we're going to be in dealer's grip as we know, if we're going to have the thumb on one side, the other three fingers here, the index at the front. And we're going to have about one to two fingers will space in between the deck and the hand. Okay? So from here, you can just lift up the top card and insert only your pinky underneath it, only that between the deck and the card. Okay. So you're going to have this separation, this break, and you're going to try to get only the flesh of the pinky. Many people insert the hole pinky and some people even like, put the pinky inside of the break, which is not ideal. What we want is not this much. It's just a little bit of the flesh so we can minimize how much is seen of the brain, right? So from the front as you can see, it's completely flushed. But of course, if I insert this much, then you can see how you get a separation from the front. So we don't want that. We want this very small break where we just insert a small part of the Pinky's flesh. So let's do that again. We lift up the card just so we can get the break there. And we cover from the front. Very important with one card that is similar to camouflage the separation. But with us as we progress and we get more cards and we have a separation in the middle of the deck, it's going to be very hard to avoid some level of separation. So to cover that, we're going to put our index finger just on the natural dealer's grip position but covering this separation, okay, or the possible separation. So again, we have the pinky break here. I left the card, I get the break. This is not how you acquire the Break. By the way, we're going to get that in a while. Yeah. So you insert your flesh of your pinky mare. She can see from the front you don't see anything. You cover with the index and you insert as little as you can. Now let's progress to a small packet of cards about 10, 15, I don't know, somewhere in that area. And as you can see here, it's very hard to not have any separation at the front. So again, we're going to cover with the index. Now another thing we want to do here is pushed down with our thumb right there. So there what we're going to do is we're going to push down and then we're going to maintain that kind of pressure just with the hand. It's hard to describe, but with the whole of the hand, we're going to keep it there. Okay, so imagine we have the break here and I'm simply going to adjust. It can be with a summary, can be with the dominant hand. I'm going to adjust to the point where I only have a very small portion of the flesh. So that way it's going to be completely flushed with the deck. Okay, and this is obviously going to come with a lot of practice. But I wanted to have as little of the Fetch as I can without losing control, right? Doesn't have to be absolutely tiny, nothing ridiculous. Just insert the flesh and then to the point where you're confident that it's not going to sleep or anything. And then you push down with your other hand, just squaring it so that you have a flesh. It's squeezing the flesh with a ticket site. It's flushed from the front. And of course, you come with your index here. And if you still have some separation, you can press down with the thumb. Okay. So let's move to maybe about half of the day. So again, it's going to be very similar. We're going to insert the pinkie there. And now we're going to, as you can see, there's a separation, so we're going to adjust with the two hands. We need just enough so that I have the right amount of flesh for an uncomfortable and the break is not visible from the front. There is this line which is pretty much unavoidable in all situations with the break. But of course we have our index to cover that line. And we can still press down with the thumb if we're not comfortable with the result. Okay. So we have the pinkie, they're only a little amount of the flesh, the indexes on the front and we're covering it. Of course, when you're using this technique, you don't want to be showing this side. You want to be showing this side as much as you can, okay? So in the pinky is their literal amount of the flesh indexes covering. If we need to, we can press down with the thumb. If we need to, we can adjust with our dominant hand to press down. Okay. And of course I'm showing this side of my hand. So at this point you want to practice in front of a mirror to make sure that you're keeping the break as minimal as possible without losing control of it. This is going to come with a lot of practice and time and repetition. But you'll eventually get down to a very small break that you can keep naturally move while moving your hands, gesturing, etc. But do remember that you go into cover with your index and your hand should be, you should be facing this way or at least downwards whatever, right? If you're standing up, you can be like this with your index. Of course, our AV sitting down. You can be like this or even like this. Even holding the deck right. But just make sure that you can keep the smallest break, but you can without losing control of the deck. Because now we're going to get into the thumb break. Okay, So this is a pinky break which happens in dealer's grip. And now we're going to get into the thumb break, which happens in n. Okay? So it looks something like this. Of course I'm showing you the side where you can see it, but from the other side or from the fund, it's invisible. Okay? So it's something like this. So if I'm in dealer's grip with my pinky break, I'm going to come from behind. Same action as just transferring the deck to D2 and grip. But this time I'm going to maintain the break as I go there. Okay. My thumb my other fingers are going to stay the same but my thumb is going to insert a part of its fresh, just like we did with the pinky. It's going to insert a part of its flesh in-between that separation. I'm going to be able to press down with my index to keep it smaller. So I mean, dealer's grip, pinky break. I come here. I insert some of my flesh of my thumb into there to the separation. And then I adjust with my two hands so I can keep it to minimum size just like that. Perfect. So I insert my somewhere in between the gap separation. And then of course I would have my hand rotate it like this so you can't see from that side. Okay. So just so you can see, I'm rotating the hand and pivoting the handbag with, but of course our N group, we always want to have it this way, right? So the fingers are horizontal, lines are parallel to the table. Not completely parallel, but like I don't know how many degrees, maybe 60, not 45-year. It's about like 60, 70, 90 degrees completely. Well, you get you get my point. Okay. So you're in dealer's grip, pinky break, you come here, you insert the thumb in the separation and then you of course, keep the same position with the hand grip. Here you can see why you might want to have different groups depending on the situation. Of course, when you're having the thumb break, it's a good idea to have a complete, pretty much closed and grip where you have your middle finger completely aligned with the deck because that way you can really cover the break from all of this side. Now, as we learned with the pinky break, you don't want to be showing this side. And in the summer you don't want to be showing this side, right? So you can see how one compliments the other. Because the pinky red you can hold here and the thumb break you can hold here. Right? Now, similar to the pinky break. Once again, where either scrip become here, grab N grip, inserting my thumb in-between. And that's similar to the pinky break. I can press down. If I've inserted the flesh correctly, I can press down on the break to minimize the gap. Okay. So to minimize the separation, you can see all of that separation. I can press down to minimize it. So if I've inserted the flesh, I can press down with my index finger. And that pretty much covers it covers pretty much all of the separation, right? So one last time. We're in, we're in DDR Script. Have my pinky break that I've already been practicing. And insert my flesh of my pinky. I can press down with my family, my one with the rest of my hand, the dominant hand, if I want, I call my index finger to grab the deck in n grip. I insert my thumb between the separation and I maintain the separation. Okay. So as you can see now, none of my flesh is inserted. That was only happens if I want to press down and then when I press down, I maintain that separation with that little bit of the flesh similar to the pinky break. But if not, I'm just maintaining the break with my thumb naturally. Right. So I'm just holding just as you would with two cards. I'm holding the cards like this, right? With my thumb. I'm simply maintaining the separation. Obviously not this not this pronounced. It would be rather obvious. But yeah, I'm holding this operation. Again, the smallest you can without losing control. You don't want to stress too much about the size of the separation because we're going to have mechanisms to cover these, right? We're not, we don't want it to be completely invisible. And stress too much about it because it's not necessary. Okay, so little summary. Once again, last last time we're going over pinky break. Dealer's grip. I come over in n grip. I maintain the separation with my thumb. I want to have a closed end website can cover most of it. My fingers are going to be almost parallel to the table, but not quite so. Not, not, not perpendicular, which would be like this, and not completely parallel, which would be like this. More parallel and perpendicular, something around this angle. Okay. My index is code on top. My thumb maintains the separation and with my index I can press down to make the break or the separation smaller. Okay, so that's how you hold the breakup and now how do you acquire these breaks? Well, there's a variety of ways to acquire them. Let's first look at how to get them from the top of the deck, right? Because I'd see simpler way of handling the break. So perhaps it's interesting to start practicing it that way. There's a very pretty technique. I really like it as the pinky count that we're not going to be learning in this lesson. But it's very useful to get a break. Look at how, how solo and seamless it is. I simply press down on the deck and now I have a separation. Simply press down and I have a separation of two cards. I can have enough three, like I do now. But we're going to be learning this in the future because it's a more advanced technique. But for now, we have this way of acquiring a break on 12 cards or three cards from the top of the deck. And it's, the push of the push-up is very simple. You simply from dealer's grip, you press down on the deck and you slide one car to the side, then bring it back. And as you bring it back, flush on the deck, you maintain a separation under the card, okay. With the pinkie. So you push to the side, you bring back and as you do so, you insert your pinky under the card. Once again, you push to the side, come back and insert your pinky one card. It's very simple. I don't think it's going to require much practice. And of course, after you get the separation, you can adjust so you have it smaller, right? So of course, this will come with practice as always. But now to get it with two cards, It's very similar. You're going to press down and then with this part of the thumb. So you're pressing the first car with this, the beginning of the thumb, you're going to press the second card with this one. So it looks something like this. I press down and then with the next part of the thumb here, press. So now I'm sliding two cards to the side. And as I come back, I'm going to insert my pinky under the two cards. Then I'm going to have a break under cards. Okay? So once again, I push with the tip of my thumb the first card, and then with the middle, roughly the middle of my thumb, I pushed the second card, which allows me to insert my pinky under the two cards and retract and maintain this operation. Again, you can adjust with your dominant hand if necessary. So one last time, I push with a tip, push with the middle. And if I want to get a third card, I can even push with the remaining of my thumb and then slide back, insert the pinky, adjust and have a break under three cards. Now how do you acquire the break from the middle of the deck? Well, there's a variety of ways, once again, but the most interesting one, and I think it's the one that you're going to find yourself using the most. It's this, um, I didn't even ask someone to take out a card from the spread. You take out a card. Now you ask them to return the card. You cut out at a point in the deck. They return the card. The jack of clubs doesn't really matter. And then you square the deck. And as you do so you acquire the break. Now I have a break on top of the deck of clubs. Okay? So, and this looks like this. You take, they take out a card to return it anywhere you want. And now as you square the deck, you're going to, your fingers are going to come in contact with the bottom card of the spread. So with this card right here, we're going to come in contact. Ms. you square the deck. You're going to simply square everything on top. And what's going to happen is that since your fingers are in contact with this card, they're going to slide it to the side. So it's going to stay like something like this. And you're going to have a natural separation. So once again, have the separation on top of the three are spades. So your fingers are in contact with the bottom card of a spread. He's square everything up. What's, what happened? The bottom card is now the most, the furthest out jokes card. So what this allows me to do is I can show the deck freely. And then when I come to square the deck, as we've already learned square that, that combining dealers and grip, when it come to square, I can insert my pinky under the card and get that beautiful break. So I insert my pinky, I square the deck. And now I adjust as much as I need to have my break on top of the sea of space. So once again, someone picks a card from the sprint. You ask them to return it. It's the jack of clubs. Once again, I am a musician even when I don't try to. So now, you sorry, I got distracted by the moment anyway. So these three fingers are going to come in contact with the bottom card of the spread. And I see close it, it's going to be out joked, just enough. So you can really show the deck. You don't have to be, you can, you can say so your card is lost somewhere in the deck, then you come here, you square, you even start your pinky under the card. So your pinky is in contact with the card and it keeps that contact the hallway through us, you square the deck, acquiring that beautiful pinky break and having a completely flush with the deck. So one last time, just so it's completely clear, it choose a card, not the jack of clubs assignments the first bit, put it in the middle. Your three fingers are going to be in contact with the bottom card with a three of clubs. And as you close, it's going to be our job that you're going to have a separation. And the beauty is that this court is not going to be like this, right? It's going to be pretty much flushed with the other card. So it's something like this, which makes it look natural. And now of course you have the justification to square the deck and acquire that break. Okay? So now you're going to come in contact with the bottom of the card with your pinky like that. And that's u square. You're going to acquire that separation. And you're going to adjust it all that you need under the disguise of squaring the deck. So as I say, this is perhaps the most, the one that you're going to be using the most because it's just so natural, right, with the spread, you're asking people to take a card, put it back, and then it just seemed so fair and so natural. And in the next lesson we are going to be learning how to bring that card to the top or the bottom or any position we need to. Now let me show you two more ways in which you can acquire break on top of a card that someone just chose, they returned to the deck or a packet that you need to have a break on top of. It depends on the situation. So another way in which you can acquire break is if someone's return the card to the deck or if you're cutting the deck, just imagining you're cutting the back, you drop this packet like this. You square it flush with the deck and you have a break separation. So this looks something like this. The queen of hearts is cut in the middle of the deck. And what you do is instead of dropping it flush with the day, you drop it slightly behind. And then you angle your hand so that the deck, the top portion of the deck will be flushed. But if you do it right, the back part of the deck is going to be slightly out jumped as you can see right there. So let me do it again. The queen of hearts, you cut it in the middle of the deck. You square. And then as you can see, as US, as, sorry, you drop it and then I xi square. You're going to get this in joke, right? Because you're going to be inject towards you. Now, I think that is very commonly done to acquire the break is you come with your end grip, which is fine. But I think it just looks a bit it doesn't look as clean of you did with the thumb as it looks if you do it with, uh, with your index, right? So as opposed to doing it with your thumb, which can look slightly fishy, I don't know. I don't like it as much as coming with your with your index flipped back of it and just squaring up, I'm pulling up the card. It just looks really fair like you have no control whatsoever. It's just squaring the deck with the back of your index like this. And then pulling up, squaring and getting that separation. So once again cut, you drop, you drop them behind, and then as you square, you're going to get the engine LG. And then you're going to put up with the back of your index or your thumb depending on how you want to do it. You're going to pull up, insert your pinky right there, and then square the deck and get that separation. At the beginning. You might want to do it with your thumb and do it in angry because it's going to be easier. But then as you get more comfortable, experiment with doing it with the back of your index. So you have your engine, you come with your thumb. You pull up. So you can show your pinky can go under the the inject card. So something like this. Then you square everything up as you adjust and acquire your break. So one last time, queen of hearts, she cut. You drop the cards unless you drop, you, angle them so that they fall down, creating, creating this in jug. And then as you come to square, either with the back of the index or with your thumb, you pull up the card, insert your pinky underneath, and then square everything up. One last way to acquire break on top of a card you want look something like this. Someone says stop on a card. In this case at C2 of space, you dribble all of the cards to square the deck. And just like that, you acquire a break on top of the two of spades. So this is very similar to the one we just learned in the previous one. We drop the cards and we got the joke. Here. We get the joke by dribbling with cards behind. Okay? And this is obviously a more obvious one, but it's also a more justified one because if you're cutting that x square, you shouldn't be creating a lot of chaos. But if you're dribbling, it makes sense. I card, you're going to go in and out and you're going to have to arrange them in. You end up square them and make them neat. Okay. So dribble. Someone stops out a card red. Again, this depends on the situation. And now we're going to do is you're going to start dribbling behind them then progressively move towards so fun to make it flush with the deck. So you draw well behind to get that in Job drew behind. And then to the front, you get that in jug. And again, you have the option to choose between squaring with the end grip, which might make sense, might make might be more congruent with how we usually square the deck. But I just really like the sense of fairness. The back of the index has when you just square the deck like this and you've got the brain. So once again, someone says Stop it, see five of spades with dribble the cards behind, and then move towards the front. So like that, we get an injunction. We square the cards. That can be when the back of the index or the thumb. We try to feel for that furthest to the car, that's the furthest underneath because it might not be the one that's most in jumped. So you want to feel for the card furthest underneath, right, so right there, pull up and then get that separation. So once again, dribble the cards like that. You feel for the card, you pull up your pinky and then square and acquire that beautiful braid that we're going to be using so much in the future. I hope you enjoyed this lesson on the pinky break, the thumb break, and how to acquire it in a variety of voice. I'll see you in the next one. 14. Controlling Cards: the Double Undercut: So in this lesson we're going to learn our very first card control can very excited because we're going to be using card controls all the time. And in fact, we're going to be using this one quite a lot in the future, going to get to choose which one you use. But for now, we're going to learn this one. It's the most classic version. It's the double undercut. Again, it looks something like this. Someone chooses a card. In this case it's the ten of diamonds. I put it back in the deck. And then you square the deck. And you can cut once and twice. And the card is on the top. So once again, it with a different card. Say they choose the seven of diamonds, you square the deck, you show that you have no control over the carts whatsoever. And then on the offbeat, you cut and cut again and the card is on the top. So how do we go about this? Well, we already have all of the skill set required to do this technique. So let's start off with the easiest version, which would be by having a pinky break underneath the top card of the deck. So you have a pinky break under the top card of the deck. Now we're going to do is you're going to transfer this break to a thumb break in n grip as we already know how to do it transfer to the thumb break. And we're going to do is you're going to take with your non-dominant hand, you're going to take about half of the part of the deck. So half of, about half of the cards underneath the break. So from these cards in this case we only have one card on top of the break, but about half of the cards underneath the break. You had to take them in dealer's grip with your index underneath because otherwise you're not going to be able to access. So your index is going to be code. You're going to come here, take about half of the cards underneath the break in dealer's grip. Now you're going to transfer it to this little pinch that we're going to do. So if you remember from the string cut, we do this pinch where we pinch the corner in between the thumb and the index. And that allows us to go into script. Well, it's the opposite. Instead of going from pinching to dealers, we go from dealers to pinching grip. That's how are we going to call it the pinching grip? So we have our break. There are thumb break and we're going to cut about half of the cards underneath the break. And maybe a bit more like there. It doesn't really matter. Then you're going to pinch and that's going to free these fingers so that they can go underneath and square this nice cards with the top of the deck. So they come from the bottom, pinch to the top. And you still maintain the separation. Because now you want to take everything that remains under the separation, dealer's grip, pinch and bring it to the top. So what we've done is we've brought the ace of diamonds from the top to the bottom. I'm going to leave it face up just so we can see. Eight of clubs have a pinky break underneath the eight of clubs. I transfer that break to the thumb break. I take about half of the cards underneath the break into dealer's grip. I transferred to the pinching break. I bring this packet on top. And then I repeat this process with all the cars. I remained under the break, just like that. So one last time with the separation under the top card, you pinky is another top card. Transfer that separation to your thumb break in the dominant hand. You take about half of the cards underneath the break in your non-dominant hand dealer's grip. You transfer that to pinching grip. You put those cards on top of the deck. Maintaining the thumb separation from dealers, pinching, put those on top. Square that maintaining the separation. And then you can take all of the cards underneath the separation and then repeat the process. So with the card face up, it looks like this. We're going to bring it from the top to the bottom. Three of clubs. We have our thumb break there. Take about half of the cards, pinch, bring to the top. Take the remaining cards underneath the break. Pinch, bring to the top, and that brings the three of clubs from the top to the bottom. Now let's try this with the chosen card from the middle of the deck. So someone chooses a card to sleep and face up at C7 of clubs, we acquire break as we just learned by keeping contact with this and we get the separation now we square everything, acquiring the break ME don't know how to do this. Go back to the previous lesson. We have the pinky break now and it's going to be the exact same process. We're going to transfer the pinky break to the thumb break in our dominant hand. So you can see I have the brake on top of the seven of clubs right there. Now I press down with my index to keep it very small. And now what I'm going to do is again, take about half of the cards underneath the break. So about half of the cards from this bottom packet. So about half of the cards there to dealer's grip, pinch. Bring to the top, square flush, maintaining the separation. That's probably the hardest part to square the deck while maintaining the separation. Then what I'm going to do is I'm going to take the remaining cards. And bring them to the same process. So once again, I'm here, I can acquire the break like this if I need to. I almost lost it. I think I have it. Okay. So again, you're in some break. You have the brake on top of the seven of clubs. You take about half of the cards underneath the separation, you pinch, and you bring that to the top, you square, and then you maintain the separation. And now here what you can also do is take the packet. So take everything on top of the break and put it on the table and do the basic that we learned a few lessons ago. Okay, so that's also something you can do. Instead of doing the two cuts into your interior hand, you can do one. You can do the two cuts into your hand like I just did. Or you can do one cut to your hand and then the other one on the table. Okay, so you get to choose, let's look at a few more times just so it's crystal clear how to go about it. You acquire break under a on top of a chosen card. In this case it's the 1004. It, it can also be under chosen card. And then you can bring my car to the bottom. So ten of hearts list to that just so we get the idea, we have the brake on top. So underneath the ten of hearts, we're going to do the same thing. Square all of the cards on top, maintaining the separation. Now we're going to transfer this separation into the thumb break and our dominant hand and grip. Now we're going to take about half of the cards underneath the break. So this is a packet underneath the break. I'm going to take about half of the cards. In non-dominant hand dealers. I'm going to transfer to the pinching break, which is a regular we just invented and not break, sorry, grip, the name, we just amend it for the grip. So when dealers and we're going to pinch between our thumb and the index pin cigarette and bring from the bottom to the top and square. Now it's key that we practise maintaining the break as we square because as I said, that might be the hardest part. And now you take the remaining cards underneath the break and pinch and bring to the top, or take the dominant hand, put on the table and put these cards on top depending on the context of view or have a table, then obviously you can't do this, but depending on how you're feeling, you can do one or the other. Okay. For this one is. And of course the cart is now on the bottom, right. So let's do this again just so it's clear because it might be confusing. The principle is just the basic code that we already learned, right? So if you were to do without the first-cut, it will look like this. You would take all of the cards on top of the brake, put them on the table, and then do the basic cut. If you want to combine it with the double undercut, it looks like this. You cut some cards to the top and then the remaining cards on the table. You can also do it three times if you're feeling like it, right? It all depends on how you want to do it. You can cut once, twice, three times, dependent on what you want to do. But the concept is the same, right? The important part is that you understand the technique we are doing is you're having a separation. We're essentially controlling this packet. And what you're doing is you're cutting these cards to the top and then these cards to the top, right. So you're cutting like this. And then all of the cards be doing that with a packet of cards that's already there. Are you cutting some cards and then the remaining cards underneath the break to the top. And then of course, once you understand that you can experiment with it as you want, you can cut a few, then cut the rest of the table, are then cut some more, and then cut those to the table or then cut some more and then cut them to the top. Again, you can experiment as long as you understand the technique. That's the important part. So one last time, just so it's crystal clear how to go about it. So with the break under one card, that would look like this, I have the brake on the wrong card. I transfer to the thumb break. I cut about half of the cards underneath the break. I pinch bring to the top. And now I keep them to separation. Okay. I can even insert my pinky. I need to. Now I take all of the cards underneath the break, and now I have the choice to go to the table or to finish in my hands. Okay, so in this case I'm going to go to table square there. Now, from the middle of the deck, if someone chooses a card, said C O king of hearts, we square everything. We can show. We've already learned this in the previous lesson. And then we square everything up. And now we cut once and twice, bringing the king of hearts to the top of the deck. I really hope you guys enjoyed this lesson. This is something we're going to be using a lot in the near future. It's really important that you practice this so that you start getting the hang of the pinky on some breaks is a great way to practice a 2-breaks. And again, we're going to be using them a lot even if it's for the double undercut. So this is a great drill to practice that because you get to practice the pinky break, the break and the card control, which is very useful. So I hope you enjoyed this lesson and I'll see you in the next one. 15. Overhand Shuffle: Controls and Techniques: In this lesson, we're going to learn the overhand shuffle. This is a very simple, straightforward shuffle that many people use, even in their homes. So it's something that is mainstream. And there's so many techniques that we can use in our advantage with the overhand shuffle. So first of all, let's learn the very basic shuffle, how you should actually do it. Because many people think they do it or do it however, they may intuitively know how to. But let's do it the actual accurate way. So let's learn that you're in dealer's grip. You're going to, for a second grab the deck in a very open and grip simply to change the position of the deck. So you're going to move the deck at all. First of all, let me show you the overhand shuffle looks like this. You probably already know that just in case. So you're in dealers, come with an open end grip. You move it to the tips of your four fingers just like that. So the deck is, is beveled and it's very easy to access to them. Po cards. Okay, So you're in a DDL script, moved to the tips of your fingers. Now you're going to come with your dominant hand with your thumb at the back, the index on top, and the rest of your fingers on the opposite side. Now in this position, It's very simple to, from the, from the same position that we just had in the non-dominant hand, which is this kind of action going on. And what the four fingers like that you're going to PO cards with the thumb. Your non-dominant, some from your dominant hand, your non-dominant hand. So once again, from DDL script to end grip to sorry, from theater script become with n whip, you adjust to the overhand shuffle triplets kilogram, which is four fingers. And the deck is leaning loosely there. It's kinda beveled. So then you can come with your thumb from your dominant hand here, index how the top of the three fingers at the front and Peele with the thumb. You can peel groups of cards. You can feel cards one-by-one, whatever you want. Okay? Once again, you're in dealers, adjust to this position and come with your thumb at the back, three fingers on the front, index on top, and you can peel cars one-by-one groups, okay? Whatever you want, okay, unless you practice, you're going to get more fluent with it, if you will. So then you can drop groups of cards and you can just have this shelf off flow, right? So once again, you're in dealer's grip, you adjust. Come with your thumb. So it's important that the deck is beveled because that will allow you to take cards easier. So you adjust. And the position is important. It's something like this because this is the same position we're going to use to them peel the cart. I noticed that my index, I don't know if everyone does it like this for my index is at the corner of the cards when I pick them. So it's kind of on top of the card. That's not necessary. But if you want to try it out, you may pay attention. My indexes like on the corner, kind of squaring the cards because otherwise they might. I don't know. I've just developed that intuitively. It's not in the literature of card magic, but if you want to try it out, go for it. Okay, So this is the position. This is a position in the dominant hand, thumb behind three fingers out the front index on top. Bevel deck. And then we simply P0 cards from dominant to non-dominant hand. So once we have that shuffled down, we can start to learn the techniques that go with it. The first one we can use is this one. We can take a card, you can seemingly have the deck shuffled. So we can take a card from the top to the bottom. So let me do that with the cards face up, the associates from the top to the bottom as I shuffle the deck. Just like that. Okay, so this is very, very, very simple. You're going to again, start in the overhand shuffle, position. You into PAO1 card, which is the top one, and then shuffle all of the other cards on top. Okay, Very, very simple. Up a one card and shuffle all of the other cards on top. Once again, PAO1 card for all of the other cards on top. Now similarly, to take it from the bottom to the top, you're going to do the opposite. I'm going to shuffle all of the cards. So you want to shove all of the cards. Then when you're coming to the end, you're going to shuffle them one by one to make sure that you're leaving the bottom card. Last, okay? So from top to bottom it looks like this. You shuffle 1 and all of the other ones on top. And from bottom to top you shuffle all of the other ones. And when you get to the NZ, you go one-by-one to make sure you're leaving the bottom card last, okay, once again, a subspace, you shuffled UP a one card and P of groups of cards. You can peel on and a few then groups and a few, it doesn't matter, okay, just make it seem random, chaotic, as always lighthearted and on the off period of Pete without making it seem tricky or fishing. So then when you if you want to bring it from the bottom to the top, then you can shuffle the cards. And at the end, simply P a one-by-one, leaving that card last. Okay, So imagine you may have controlled the ace of spades to the top. Imagine this is the chosen card. You do a double undercut to bring it to the top. And then you wanna make it seem more random. You can shuffle the deck and control the card so you can bring it to the bottom and then, oops, and then wait a second, and then back to the top. Just like that. Another thing you can do is if you have the card in the bottom of the deck, you can seemingly shuffle all of the deck, making it seem random when in fact you're maintaining that cards in the bottom of the deck. So how do we do that? Well, when, when we're in this position, all we do is instead of taking the whole deck, we're going to take packets of cards. So we're going to take a packet, right? So we're going to seemingly P0 of packet of cards, but from the top. But instead of doing that, we're going to peel the bottom card to so something like this. So like this, and then shuffled the rest of the cards on top. Once again, we're in this position. We peel the top packet, sliding one card underneath, just like that. Then it will shuffle the rest of the cards on top. Once again, peel the top packet, peeling the bottom cartoon, and shuffling all the cards on top. So at this point we have the standard overhand shuffle, which is from dealers. You pick with the N group for a second just to adjust. Come with your hand in this position, thumb at the back, fingers on the front, index on top. Deck is beveled. We're going to peel card from dominant and non-dominant hand. That's the standard overhand shuffle. Then we have one card from the top to the bottom, we peel one, then shuffled the rest on top. Then when it's on the bottom, we can maintain it on the bottom by peeling a group of cards with the bottom parts of air. And then shuffle all of the cards on top. And then we want to bring it from the bottom to the top. We can shuffle all of the cards. And then when we get to the last few cards, which are for one-by-one to make sure that the bottom card comes to the top. Now another thing we can do is instead of controlling individual cards, we can control groups of cards, okay? So the first group we can control is the top packet of the deck. So that would look something like this. I shuffle the deck just like that. And what I'm shuffling, I'm keeping the top packet of the deck completely normal, right? I'm not shuffling it whatsoever. I'm going to showcase this. I'm going to turn a pew cards face up and you'll see that they arrive at the very same position. And none of them are mixed. When two seemingly mixed all of the deck. Then fact, I'm only going to mix the bottom portions of the deck. So just like that, and of course, all of the cards remain here face up. So how do we go about this? Well, we're going to use a very similar idea that we use with the brake and the double undergrad and a C in joked card. So again, we start in overhand position. Then when I peel peel a packet, obviously this appeal roughly the amount of cars that I want to keep without shuffling. Obviously, if you want to be safe, then peel more than the cards out. You need courses. Again, depends on what situation you're using it, how much preparation you need. Perhaps you just have five or six cards prepared at the top and you don't want to shuffle them again, I don't know. It depends on the trick. We're going to get into tons of scenarios down the road. So that will deck overhand shuffle. You peel group of cards. Now you peel one card individually and with the thumb you slide it backwards. You in jug the card. Okay? So you peel the card and you slide it backwards. Now you shuffle all of the cards on top, maintaining that in joked card. And now we're going to do is when you come to shuffle the deck, again, your thumb comes behind and you pull up, or you push up the card, you push the cart up. And as each square to grab the whole deck, you getting a thumb break under the car that you want. Okay. So that allows you so this is a packet we don't want mixed. So that allows you to shuffle all of the cards on top of the break. Just as we've done with other bitrate is this is similar to the double undercut where you cut all of the card Beneath the break. So once again, you peel a packet, PL1 card pulled pulled back. Well, you don't want to do is peel up packet then move your hand, shuffle 1 and then shuffled the rest on top. You don't want to be doing that. A lot of people do. We do wanna do, is so many deuce. Okay? You do want to do is feel the first packet, then the first card's flush with the packet. And then as you're going to get the next card, you're going to push back and then you shuffle the cards, okay? Because that way it just feels seamless. It's a small detail and nuance, but it's really helpful. So then you come here with your thumb, you push up the card that's in jumped. Leaves you with a separation on top or a break on top of all of the cards that you don't want to shuffle, then you shuffle all of the remaining cards to the break. You shuffle those on top. Obviously it's easy when you're getting to the end of the break to shuffle them one by one, just like we did with the other shuffled one last time, just so it's clear as always, we went to peel a packet, PL1 card. Go for the next card, we're going to push, slide back black card and shuffle the rest on top. Now when we go to shuffle again, we're going to get a break on top of the card. So very clearly I'm going to push up with the thumb. So this is a position my hand's going to be in. As I do that, I acquire that position. Push up with my thumb so that I can get that break. It's not important that the breaks, especially smoke is we're going to be moving the hand and we're going to be shuffling. So it doesn't really matter, but tried to keep it relatively small. Don't have something like this. Okay. So you're here and it's kind of covered, right? With you, with your hand and none of it. So now you're going to shuffle all of the cards on top of the break. Of course, the deck is beveled as always. You should follow the cars on top of the break. When you come to the end, you do them one by one because it's easier. Square the deck and you've successfully shuffled all of the cards, but the ones at the top. Now similarly, you can control the bottom portion of the deck. So how do we go about this? Well, similar to before when we were doing a one card, it's the exact opposite. Okay? So we're going to do is we're going to shuffle all of the cards. When we get to roughly the point where we don't want to shuffle, we're going to in PL1 card in job it and then square all of the cards on top. Now what's going to change this time is that instead of pulling up the card, I'm going to push down the cart. Because if we pull up, we're adding a card to the bottom of the deck and we don't want to be doing that. We want to push down just like that. Oops, I lost it. Let's go. Let's do that again. I'm going to turn the cards face up at the bottom so it's easy to follow. So I'm going to shuffle the cards on top. And whenever I want to stop, I'm simply going to pull a card and enjoy it and then square all of those on top. I like to do this little action of pulling the cards up because I'm not shuffling. But it gives this image of, of chaos and mix, mixture. So now I come with my dominant hand. Push down the card, push down as opposed to up like before we push down on the card, we get the break. And now instead of shuffling the cards on top of the brick, I'm now going to shuffle these. I'm going to peel them as one packet. And then I'm going to shuffle all of the other cards on top. And that of course, maintains this bottom packet right here on the cards face up. Let's do it once again. So I'm going, I mean, overhand shuffle position. I'm going to shuffle the cards at the top. And then whenever I want to stop, I'm going to be a one card. And then slide that color card backwards. I'm going to square all of the cards on top of that, maintaining the joked card. And then instead of pushing up, I'm going to pull down as I, as I acquire the lead position for the overhand shuffle, I get that position, maintaining the break. Appeal this as a whole packet, and then shuffle the cards on top of maintaining that bottom packet without mixing anyway. So that's the overhand shuffle. And that's also how to control the car from the top to the bottom. Maintain a current in the bottom while seemingly shuffling the whole deck. Bringing a card from the bottom to the top, controlling a contact that occurs at the top of the deck was seemingly shuffling the whole day and controlling a packet at the bottom of the deck was human leech off in the whole deck. So that's a lot of stuff. Hope you practice it and you start using it. Because again, this overhand shuffle is really useful. And we'll get into more ways to control cards in the next lesson, I'll see you there. 16. Peeks: the Sneaky but Effective Techniques: In this lesson, we're going to get into some techniques that are very, very useful. They're kind of sneaky, if you will, but they are very useful. So these techniques are peaks and there are ways to secretly peek out a card without anyone knowing. And the first peak we're going to learn is very simple. It's just this rotation that we've already learned, this little twist. And that allows you to peek at the bottom card. So imagine the deck is on the table, someone's already shuffled. You can do this with the very first trick we learned. For instance, imagine someone shuffles a deck, then you pick it up from the table and as you do so you twist. So you twist your head so you grab the deck and end grip. You twist your hand. You'd look at the card and then you come here and you finished a twist. The twist is very simple. You've already learned it's an N grip, a twist, twist like a million times. But then with your non-dominant hand in dealer's grip, you finished a twist. So rotate your hand and rotate your other hand. So you might then it's on the table. You pick it up and you look at the bottom cards in very simple action and even a classy action that gives your, your magic a bit of style. So that's the very first technique. It's very simple. I'm not going to go on around both of how to do this because it's just you grab the deck, you rotate your hand, and you finish rotating and you do this light heartedly as always, that's going to be the motto of my classes, I think, lighthearted. So anyway, you grab the rotate and you rotate again. So rotate, rotate, you look at the bottom card. It's as simple as that. Now, last lesson we learned that peak, which was this. Remember, you pass cards and then someone says stop and you get a break there. And then you can peek at the current that someone chooses using this idea. So how do we do this? So if you haven't learned that yet, go back to that lesson and look at it. But essentially someone says stop, they look at the card. You acquire a small break there. And now what you're going to do is you're going to push with all your fingers, going to push down on that on that break again to get this little step. Okay, So with this step allows you, this is not going to work if you're left-handed by the way. But this step allows you to then rotate and see the index of the card. So again, you have a break, you into Push and rotate and see the index of the card. This doesn't have to be done necessarily when performing the peak. It does work well with that. But anytime that you have a separation under cardi can just push, get that step. And then as you rotate, you see the suit or sorry, the index, and then you finish the rotation and square root back. So once again, someone says stop, They look up the card, you keep going, you get that break as we learned in the previous lesson. You push with all of your fingers and create that step. And then as you come here with your hands, rotate, you look at the index and then you rotate 1 second, squaring the back. So that's how to peak at the bottom card with this and how to pick out a card from the middle of the deck, obviously after you have the separation under the card that you want to peak. So under the ace of spades, push, rotate, peak, and that's it. Now another peak that I love that I use all of the time is the triple peak. You can use the dual peak to look at a card that's on the top of the deck, or you have to do is, again, peaks are Arabic error technique that isn't really designed for left-handed. It's not designed for left-handed magicians. There are other peaks that don't work for right-handed musicians. I worked for left-handed. I don't really know that literature, but if you are left-handed and you really desperately want to learn peaks and go ahead and look through an impure, you'll find stuff. But anyways, I mean, this one does work for you. You are going to have to modify. These are left-handed, but I'm not gonna go on around them because most of you aren't going to be left. And so for the journal peak or you're going to do is you're going to drip off. And when you come to the last card, you simply go into, look at the corner. It's as simple as that because as you're dribbling, you're going to be able to see this bottom left corner, okay? She dribble and you simply bend the card or archetype so you can see just enough that you can see that the index, and you can pick out the top five. Okay? This is how fully managed situations if maybe you've controlled heart to the top. And now you want to know creditors. And then he leads a deck on the table. And then before you go on with the tricky dividend the card, perhaps, or maybe you need to know the top card for a trick. So you don't have maybe someone a shuffled deck. And all you do is obviously where you could do is pick out the von card and then shuffle it to the top with the techniques that we've already learned. Or what you could do is use this peak two. So I might have someone shuffle the deck, take it. You simply drove off and you look at the top card. So the dribble and you are to the cart and you look at the bottom left corner. And you can also do this peak with a card from the middle of the deck. So I might have someone, you'd live apart. Someone says Stop. And you've argued just enough so you can see that bottom left coordinate. Then you look away and show the card. As I said, it's pretty sneaky. Credit is very effective. So someone's had stopped, you, bend it just enough. So I am seeing that it's the two of clubs there. And then look away and I show the card. Okay, once again, stop and look away. I think it's the Jack of hearts and bring it to see it. Yeah, Jack part. Once again, peak. You arc the card so that you can see the bottom left corner as the two of hearts again. And you show the card actually looking away. That's a very important subtlety that really helps milk that technique if you're going to use it like that in, you can also use it. Depends on the situation, but it doesn't have to be a chosen card. Maybe you want to pick the card and then get a break under it and then maybe controller, I don't know, it depends on the situation. As we learn more techniques, all of this is going to come in handy when we're doing right now is we were building a toolbox and arsenal. And I'm going to show you some ways in which you can apply these tools in order to create effects and routines. But then of course, you're going to have the ability to create your own effects, tricks, routines, whatever. So again, you have this turbo peak that is helpful to you. Look at the top card, or helpful to look at the card in the middle five of diamonds. Just think as you redacted. So anyways, that's this lesson on peaks. I'm sorry, of your lifetime it, and I'll see you in the next one. 17. False Cuts: Make it Seem Random: In this lesson, we're going to be learning three very useful techniques have come in very handy throughout card magic. And they are false cuts. Okay? So it's a way to cut, seemingly cut the deck and actually maintain complete euler of each state of the cards. Okay? The first one we're going to be learning looks something like this. You cut the deck like that, and then you square it up and nothing has changed. Okay. When I teach us, people don't believe in sometimes it even forced myself because when I haven't done it in awhile. So I'm going to leave the top card face up just so that you see that it is actually a false cut, as you can see, and then square it and you haven't changed anything. Once again, there, there, there and there. It's very simple. All you're going to do, you're going to be an elevated D-dimer script. We've already learned this. And where you're going to do is you're going to come in with your right hand in this position. This is the position to perform the Hindu shuffle, which is taking cards like this from the top to your dealer's grip. Then putting all of the cards on top. We don't, we're not really going to be using that, but there it is, if you want to practice it or we're going to be doing is one of those Hindu shuffle, some like a Hindu cut if you will. And so you're going to, you're going to be an elevated D-dimer script. You're going to come here with your thumb on one side, the middle finger on the other. You're going to take about half of the deck into your dealer's grip. And the bottom height you're going to put on the table. And then put this on top. And really feels as though you're cutting with that. So again, elevated dealer's grip, middle finger and thumb. You take the top packet into your DDL script. Boom, and boom, there's really not much more to it. I know. It feels like this can fool been. I mean, we're going to learn a ton of mechanism to 0. We're going to learn a ton of mechanisms to make it a, to make it morphs or echo distracted with that, to make it. What's the word to two to four more, right? We're going to learn more mechanisms of deception to make this more deceptive. That's the word guys, to make it more deceptive. But for now, this right, you're in dealer's grip, elevated. Your thumb, middle finger, you're going to take about half of the deck into dealer script and the bottom, when you put there, you pause for a second. That's the only detail give you for now. You can pause and then put the rest of the day. Second cut is with the string card, which we've already learned. If you haven't, then, you know, you have to go ahead and learn it. It's this one, if you remember. And all we're going to do is cut the deck like this. And like that. Okay? And that of course, is a completely false cut. So it's ace of diamonds on the top. And as you can see, ace of diamonds remains on the top. Okay? So what we do is we grab the deck in Widerberg. We perform the string cut, we pinch. And now instead of completing the cut, I'm going to square this tactic to my non-dominant hand packet. Like that, put down a table and perform a basic cut. So really the basic cut, because if you remember, the basic idea is this. Here we're doing it with cards already cut. So it feels as though we're cutting. But of course we are. And as I say, there's a lot of subtleties that we'll learn in the future to make this more deceptive. And for now, stick to this timing. Okay, So you cut tap, Place, I pile on the table and the other one on top. And then square if you will. If you want. Once again, string cut. So you pivot, pinch, slag this, this is the top packet. And I only going to tap it. And then put that card on the table, that those cards and these cards on top. So now we have the Hindu foscarnet, which is something like this. Be half. So once again, in elevated dealers thumb and index, you take about half of the deck, put the bottom half on the table and the top half on top. Now we have the spring force cut, which is E, string cut, pinch, cap, put on the table. From the table. Those are the first two cuts. And now we're going to get into the my favorite of the three, which is this one leak triple cut. It looks something like this. And it is indeed completely false. So once again, you cut like this three packets and is completely lost. And you can even guided spectator through this cut, right? There's routines that are designed for the spectator to do this, this guy. And then it's even more dissented, right? Because if your size of their shuffling the deck, when in fact you just guiding them through a false cut. It's, I love this concept, okay? And look at how the real cut looks. It looks, the real cut looks as follows, and the false color looks like this is a real time, sorry, I used a mechanism of deception bags and I don't want I put a parenthesis of forgetfulness, something we'll learn in the future, but I wasn't, don't intend to. So you can like that. This is the actual current, right? It looks for us and it looks as though you're inverting when you just did. And this is the fascia feels very natural, right? I mean, if you're paying close attention, then obviously follow the top packet, which is this one. This is the middle packet. That's the bottom. So top, on top. And obviously you're not changing anything. But the real confused, so weird, right? Because as though you're reversing the actions and that looks false. So it's just a very weird concept that the force action looks more real than the re-election. Weird. Anyway. So how do we go about this cut dealer script with simply three basic cuts without actually finishing them. So you do, you take about 1 third, put it on your left side of your left if you're right-handed. So in front of your non-dominant hand, if you're left-handed, you would start on the right side. You put one packet, the second one in the middle, the third one on the right or your left if you're left-handed. And then you simply complete from the first one you started with two, The last. So like that. Once again, you pick up a third, place it down, third, place it down, third pixel dot and go from more. You started progressively towards the end. One last time. Here in dealer's grip, you pick up small portion, but it down and other small portion for it down, another phone portion. And surprisingly, this is a first got you go like this and you haven't cut absolutely anything. I'll demonstrate just so you believe me, ten of hearts is on the top, ace of diamonds is on the bottom, so that you can follow it once. And then for instance, there is a DMZ is here. I simply complete the cut. Okay, one last time. And of hearts, middle packet, bottom packet, and just go like that. And again, these, these folks cuts are really going to benefit from you learning the mechanism, the theory concept, eat theoretical concepts rather that we're going to learn in the future. These cuts are really going to benefit from them. You're going to make them much more deceptive, right? But for now we have the Hindu false, which looks like this. We have these shrimp caught folks which looks like this. And the triple fault code, which looks amazing in my opinion. And they lobbied the concept. And this, okay, I hope you enjoyed this lesson on the three little fossa you can have in your toolbox, your arsenal, and I'll see you in the next lesson. 18. Forcing Cards: Make Anyone Choose the Card You Want: In this lesson, we're going to learn several versions or a technique that's going to come in very handy in the near future. This technique is called a card force, and it allows us to have anyone seemingly select a random card. But in fact, we are picking the card that we want them to choose. Okay? So as you can imagine, this is going to be pretty helpful for us. So the first force we're going to get into is this one. You ask someone to pick up a small packet of cards, turned them face up, and leave them on the back, right? So they could have come anywhere they wanted. And you want to emphasize this, okay? And then you ask them to turn a bigger packet and turn it face up again in the middle of the deck. On top of the deck, sorry. And then you said you could have cut anywhere you wanted and you didn't know any cut once, you cut twice. And now what we're gonna do is the first card that's faced down in the deck. We're going to take out, that's going to be your card. And this could have been a shuffled deck of borrowing, doesn't matter. So we can say borrowed a shuffled deck that I borrowed from you. You cut your toes on cars, which I'll be cut again, could have got anywhere you want it, but you decided to cut right here, the three of diamonds. So this is a Forest invented by a magician named Henry crust, and the concept is very simple. The card is on top and it remains well. So this is a, this is a force invented by a magician named Henry crisp. And the concept is very simple. The car that you want to force is on top. And as you'd flip the first packet over this card becomes the last card face up. And then when you flip another bigger packet over, were you doing is you flipping this? So this card is now going to become the first card face down. So you're going to flip that over. So we have the six of clubs were going to flip that over. And the six of clubs is now going to be the first card face down. It's as simple as that. Okay? So you're going to have the the Carnegie wanted force on the top and you ask someone to go in and cut a small packet of cards, turned them over, and put them face up on the deck. And you ask them, Are you sure you want to cut their blah, blah, blah, blah, all the theatrical drama. It makes sure that they feel the freedom, right? You can go anywhere you want, you can change your mind, blah, blah, blah. Then you ask someone else or at least 10 percent to cut a bigger packet, turn and face, turning the other way round and put that on top of the deck. Again, you say, you emphasized freedom. They had, they could cut anywhere one kind of small packet. What could a bigger packet? And the face, the first face down card you're going to take out, it's going to be Queen of Spain. So anyway, this is not exactly how we're going to use the force. Now I'm just teaching you several ways to force cards. And then in the future, we will learn tricks with forces and you're going to be able to apply them however you wish, right? But for now, this is the Henry cruise ports. The car they wanna force is on top. Take it back and turn it face up. You take a bigger packet, turn it face up, but you don't want to take a less cards that the ones that are already faced everyone take more. Flip those over. The first card that space down, it's going to be the card that was initially on top. Okay. I hope that's clear. It's very simple, very straightforward. You can try it yourself in your hand and you see that it's very straightforward. And let's get into the next course is the crossed force and it's looks something like this. You ask someone to cut the deck anywhere they want and you ask them, Are you sure you're going to cut there? You can look up any way you wanted to. You decided to cut there. You're sure? Because tonight you're going to go to sleep. When you're about to fall asleep, you're going to think what would have happened if I would've got one more card. And then fealty, you laugh it off. They either decide to cut One more, one last. It doesn't matter. The important thing that we're going to mark where you cut it. Okay? And now one last time, this is the moment of truth, T1 change the Cauchy-Riemann atom one card wherever. Say yes, now what are, anyway, we mark the card, we cut out and it was exactly the eight of hearts. I don't know he did it, but it's the eight of hearts that are. So again, this is not how we're going to apply forces in a real context of a routine or a trick. I mean, you can, and people are going to be impressed. But it's not necessarily the most efficient or the most pressing, the most amazing way to do so. How does this work? Well, it's very, very simple. Are you going to do is, you know, the top card. You cut the DAG and you mark the cut, right? That makes no sense, but that's what effect. And then you simply giving them that the car that was on the top. Obviously, if you do it like that. And so I'm going to be very, very inefficient and they're probably going to catch, catch on. So when you wanna do is you want to cut and before you market, you're gonna do a parenthesis of forgetfulness. We're going to get into that, into this, these theoretical concepts in the future. But for now, just keep in mind that you want to have a little pause so that the Dunbar and rake exactly with packet was which I decided to go for longer. A comedic pause because that way, on the offbeat, I can then mark the cut and then give the card to the spectate. So I said when you go to sleep, we're going to think, well, of course, you have your fun. It's lighthearted on the offbeat as always, right? And then you mark the cut. Then you say, I'm sure you went, don't want to change global now. And then you can give, give the card at the spectator, right? You want to have that parenthesis of forgetfulness in order to foster that deception that we're looking for and that kind of a kind of loss of, of, of actions, right? Or what exactly happened. So you can just guide them through and they're not touting what's going on. Again, this force in and of itself might not be the most ideal force. But if it's constructed and it's employed in a routine that's constructed thoughtfully in might, might just work fine, right? If you have the right mechanisms of deception in place, it can work like a charm, right? If you just say, okay, cut, cool, take the card. Madison, I'm going to work right? You want to have that parenthesis of forgetfulness and all of those devices that you're going to be learning as we go on and as we progress. To throw our lesson. Next voice is the golden force, and it looks something like this. You pass cards. Someone says stop anywhere they want, maybe there and you'd give them the card of the stop time right there. And you so you could have stopped anywhere. You wanted a scientist stop at the, I think it was the seven of spades, clubs maybe space yet. I'm, I, right? Yes. Again, this is not how we're going to perform the force. And then I want to keep emphasizing that they're always going to be in the context of a broader routine that's more thought out. But just for now so that we have an idea of what we're doing of 0. The first looks like I'm performing them like this, right? I'm giving the card and the same with the cart is you can, as I said, performance like that, but it's not the most ideal version. Anyone asks for the so similar to the, to the forces that we already learned. The car that you're gonna force is on the top of the deck. Now you're going to pass cards with your thumb. We've already learned this IV push up with your index. Generating this sort of pressure, this sort of arc. Push up with your index and dealer's grip. Push down with your thumb and middle finger and release the pressure from your thumb. There's really doesn't have to be much pressure. You can just do a very suddenly. And then as you rifting that with your thumb, someone says stop. And then you insert your thumb there in that break. Then you're going to rotate and gives the car that was on top. Now, I think that a good detail in this course is to move your body. So body rock, because that way you riffle and as you moving, they kind of lose track of where which, which packet was which, right? So what I'd like to do is I riffle, I move my body, and then I leave this packet on top, right? Because this creates the idea that this is the top packet and then this card is coming from the middle. And then only you can do is complete the cut to make it feel as though that card just came from the middle of the day. It didn't. But if you can create that sensation. So you refer cars, they say stop. You, insert your thumb and you're going to pivot the packet like that. So similar to the riffle shuffle where you've pivot like lab, you refer you to your thumb and your fingers to pivot. And I, you use your body, the whole action like that. You leave this packet on top. You believe the card and square everything competing the cut. Because now what I'm doing here is this is the top packet for when I'm leaving it on the table. This fear Sassanian completed putting the deck back together. I've actually cut the deck, right? So it seems as though this card came from the packet that is now in the middle. Because it did some packet that's now in the middle, but it was the top packet, right? So I am combining little subtleties to make it, to make it all builds up to a convincing force, right? To make it seem as though they had freedom and that they really did pick a random card. So once again, tail clubs is on the top. They stopped and searched my phone. I pivot as I move my body and I give the car that was on top, and then I complete the cut, right? And of course I will see we've already looked at three different forces. Let's get into the fourth one. It's very similar to the one we learn. Just a little different. Again, someone close up, stop as I referred to with my thumb. Someone cause I've stopped. I say you can cut anywhere. You wanted to be sure you want to stop there. Is there any way of knowing where you are going to stop? No. I'm just going to push the card out and you can take it out. See Jack of hearts. Okay? So again, the card that you'd want to force is on the top of the deck, as with all the forces in this lesson. And what you're gonna do is you're gonna riffle down with your thumb as we've already seen. And then as they stop you, you're going to do a swing cut. And asks you string as you do the cut, you say, is there any way that I could have known where you were going to stop me. So again, this parenthesis of forgetfulness, just to kind of lose track of which packet was which. And now the beautiful, the beauty of this, of this force is this final image. I'm going to push this cart, which was a car that was on the top and I'm going to say, Okay, I don't want to look, just take it out. And this beautiful image of me spring through the deck. And the card being in the middle really milks the idea that the current is coming from the middle and it's a free card. The sensation, if done right, should be of someone just going into a spread and taking out a card. When in fact, they just took out the card that was on the top because we wanted them to. We sum. So sneaky when you put it like that. Okay. Anyway, seven of diamonds on the top, you refer down someone says Stop. Are you sure? No, sorry. You for that. Someone says stop. You said it's our anyway could have known where you were going to stop me. I just light heartedly from my heads. Again, I'm always relaxed. I don't have a lot of tension in my body. They say no, there's no way. Maybe they say yes if there had been really impressed with your mighty villa yet, you obviously knew, or whatever, you push the cart. This is the car that was on the top and I say, okay, I don't want to look, just take it out or you don't you can be looking and say, I don't want to touch, just take it out. Take it out. And it's the seven of diamonds that we had on the top. Once again, seven of diamonds on the top. You refer down the deck. They say stop, you perform the string cut. If you don't know how to do the swing, can go back to the lesson where we alerted you to the stream cut. You pinch, it tastes there any way I could have known we were going to stopping. Know, you put the card is spread. And this beautiful image for card coming out of the spread is what really makes this idea. You take it out. And then C7. So the final force that we're going to be learning in this lesson is by far the most deceptive and by far the one that generates the biggest sense of freedom. So I'm going to ask someone to name any number. Say they say seven. I say OK, I'm going to hand you the deck and you're going to count 1, 2, 3, 4, 5, 6, the seventh card. You're going to turn our looking at it, That's going to be your card. You have to memorize it red. So you put all the cards there. You haven't the deck. And then they count 1, 2, 3, 4, 5, 6, and 7. That's going to be their card. And that is going to be Undoubtedly and unequivocally be jack of clubs. So the concept of district is very simple, but I've encountered that people have a hard time grasping the idea. So I'm going to do it in very slow motion in very clear terms so that it's easy to understand. I don't know why why this is confusing, but, but i've, I've just seen people get very confused with this in the past. So how does this trick work? This trick works in the following way. The, I mean, this force, right? It's not a trick men of itself. It can be, again, some of the best way to use it. But yep, so queen of hearts is on the top as the card I want to force, I say name any number and they can name literally any number. Say it's the number four. I'm going to explain what they're going to be doing in a second. As I explain it, I'm going to be setting up the force, okay, so queen of hearts is on the top. They named the number 4. I say, okay, I'm going to hand you the day and you're going to count 1, 2, 3. And the fourth card you're going to look at, remember that'll be your card. Okay, so what have I done here? The queen of hearts was on the top, and it's now on the bottom under the other three cards that I've counted on top of it. By explaining the trick first, I've placed the queen of hearts in the fourth position already. So I made it seem as though I was only explaining the trick which I was. But I place the queen of hearts and the fourth position already. So now when I place these cards from the deck, had the takeout for someone to count, low, count 1, 2, 3, and 4. Look at the cart, and that'll be the queen of hearts. Okay, so once again, we know four inches on the top in him, the number four you say, okay, I'm going to hand you the day. The key to this is that you're going to count twice. One of them has an explanation, and one of them as the actual count. That, but that counts no pun intended. Anyway. So queen of hearts is on top. You're going to say, Okay, I'm going to hand you that. You're going to count 1, 2, 3, and 4, and this court you're going to look at, remember, that'll be your card. Okay? So what, as I've done that, I've placed the queen of hearts in the fourth position. Okay? Look how beautiful it is. And I put the cards back on the deck, hand them the deck. And of course here you can chat a little so you don't really remember about this part of the explanation. Again, a parenthesis of forgetfulness. And you haven't done the back half of them, the deck, and they count 1, 2, 3, and obviously look fourth current is going to be the queen of hearts. 19. Key Card: Communicating With Cards: In this lesson, we're going to learn about a very helpful concept, and it's the concept of the key card. It's essentially a card that gives us information about another one or helps us locate another card. And the concept is very simple and we've already seen something similar to this in one of our lessons. And is that for example, if I know the bottom card and I were to have someone select a card, place it there in the middle, tunnel parts in the middle. Now when I go to place the rest of the cards on top, what I'm going to do. So I'm going to be placing the card that I know on top of the ten of hearts. So now without knowing the cartilage someone has, has chosen, I know exactly where it is if I looked through the cards, right? So then of course, the tricks are, are thought out in a way where it's justified to look up the key card. I'm be looking at the beck. And of course there's tons of ways in which you can apply this, right? This is just one specific scenario. What I'm going to teach you throughout this lesson, there's several ways to get a key card on top of a chosen card or similar ideas, okay, but the concept is this, a chosen card is there. And now as I place the card on top, I'm going to know the card that's right after the ten of hearts and I'm looking at the carts to the faces or right before if I'm looking at the cards through the M from the back. So also it doesn't have to be the first card on the bottom and you can, your key card can be 1234 cards. It doesn't matter, right? It's just a car that gives us information because of its, of its location, right? We're going to learn a trick where the card can be three cards away for five depending on, on what you want to do. So that's essentially the key card, right? Once again, if I have a chosen card, I know the bottom card and see four of spades, that's going to be my key card. I pass cards. Someone says stop. I place the card there. And then when I click to place all of the other ones on top, what I'm going to do. So I'm going to place, well, it's just going to happen naturally. The Force Base is going to be in contact with the Jack of hearts. And since I know the card business, and we're going to have information about the Jack of hearts. Now let's look at some ways of getting set key card. For instance, we can do something like this and we know the top card, seven of clubs. Someone chooses a card. And as they choose it, we said that we're going to shuffle the deck. We shuffle it. And now we ask them to return the card there. Now the card is in contact with the seven of clubs or clay that we know, okay, So we can use it as a key card. Again, the key card can be before or after the card doesn't have to be directly in contact. Again, what we're building here is a toolbox and then you're going to decide how to apply these ideas, right? I'm going to give you some applications for this in the future. But for now, understand that the concept of a key card, it doesn't have to be directly in contact, does not have to be on top or the bottom. Like it can be either one and it can be several cards away, right? This is the idea. So how do we go about this one specifically? Well, someone selects the card and we need to know the top card, okay? And we're going to be performing the job that we learned with the overhand shuffle, right? So similar to what we would do if we wanted to control the top packet. We're going to peel off a packet, peel off one card individually, slide back as we go to get the rest and shuffle them on top. If you don't know how to do this, go back to that lesson and learn it. Well, this allows us is to have a card in jumped right here. I did very few cards, but what's ideal is to peel around half of the deck first, then one card, slide it back as you shuffle the rest. You in jug that one card, which allows you to get a break on top of your key card. And now this is a very, this is a very important technique, gets it is complicated, but you're going to have to get it done at some point. It's extending. Performing in the hand spreads the extension with a break or a separation. Okay. So it looks something like this. I'm going to explain that in much detail in the future of you. If you're not comfortable with it now, you can do this. You can just cut and ask them to return it, right? And you still have a break at your key card. But if you can practice the spread with the break, it is very helpful because we're going to be using a lot in the future. So it is helpful that you get it down. Essentially, what it is is just you hold the break and you extend without being in stretto grip. So usually we do the spread with the straddle grip here we're going to do it with the dealer's grip. And again, I'll get into much detail, much more detail in the future. But we're going to be in Dealers Group with our pinky break. We're simply going to extend the cars with that, trying not to have a step. That's the key detail, right? We don't want to have a step here, because otherwise it'll be very obvious that we're holding a separation, right? What many people do when they first start learning this is they, they spread and they have this going on, right? Which there's, there's a clear step from where they're holding the break. So we don't wanna do that. We want to have our minute break and simply spread like that till we get to the point where our key card is and then return the card to the deck. Okay, So once again, someone selects a card. So I'm going spades. We know the card on the top, it's the jack of diamonds. Now we're going to peel off about half of the deck. Pao1, slide it back as we shuffle the rests on top. Now acquire a break under this inject cards. So again, remember you can do it with your thumb grip or you can do it. The more the more subtle way which is with your index, the back of the index, right? Like this. So we acquire the break and now we pass cards. We can either cut or we can just pass cards till the point of the key card and then return the card to the deck. And now the sound of space is in contact with our key card. So that's one way that allows us to get the key card in contact with the chosen card. But let's look at a few other. One that I like a lot is this one. He spread the deck, you do a ribbon spread. Someone takes out a card. Okay, in this case it's the ten of hearts. You square everything up. You ask them to return it there. It put it back. And you say, okay, you could have taken any card or whatever you chose to take this one from where you chosen. The idea with this one is that the image that predominates is the ribbon spread, right? So the moment of returning the card is not as fair as a moment of selection because there were just doing a simple cut and we're asking them to return it there. But then we spread again. So this image remains right, this, this, this image of ribbon spread freedom, fairness. Okay, so let's get into the details. You know, the top card you can also do with a bottom card. In this case. The dup CT is the ten of hearts. That's going to be my key card. Learned to spread. Someone's going to take out a card. Now what I'm going to do is when I ask them to return, I'm going to square everything up, perform a swing cut. Can remember the shrink that looks like this. If you don't know how to do it, go back to that lesson and learn it. And so we do a string copy, we pinch, we ask them to return it there. They do. Now we throw everything on top. And of course now when they've returned it, the card is going to be in contact with the ten of hearts with a ton of marches on the top. And now cut. So the chosen card is going to be in contact with the ten of hearts. Night, put everything on top and instantly I perform the ribbon spread once again. Okay, so I'm in ribbon spread. It, choose a card. I close everything to a shrink, they return it to the deck. I throw everything on top and another ribbon spread. And again, the idea with this, with this method is that the image of the ribbon spread is what, what really characterizes that the move, right? So people should remember, the O should feel like they have freedom, like there's a lot of choice and there was fair because they took the card from the ribbon spread and ideally they will kind of remember the feeding off of just taking it out and returning it, right? Because when they took it out, the image was the ribbon spread. And when they look back after they've returned that the image is still the ribbon spread. And then we're going to play with a routine in a few lessons where in we also use the ribbon spread in the following part so that, that actually helps, it, helps milk it even more, right? This image of the ribbon spread of fairness, I mean, don't stress too much about it. It's still a fair still fair to return the car like that. Because I mean, it's it's lost in the DAG right there. They're just putting it there. You're squaring that that can then you're spreading. Right. So it's not that they have to remember that they returned it like that. It's just that a gift, this holistic sense of fairness and freedom. So another method to get the key card and contact with the chosen card, and it's one that we've already looked at him in a control that we just learned. It's this one, you know, the bottom card, okay? And someone chooses a card. You pass cards from the top to the table in groups and ask someone to come up stop. I pass cards. I say as I flashcards, just call it stop whenever you want. It can really be whatever they want. They say stop. You return that the card off right there. Then you spread all of the cards just to show, to give this sense of chaos, right? And not like this is a block of cars that you're keeping square. It just helps this because this image is, is of care. So I just want to accompany that image. I want to soccer the idea of chaos by spreading and not even a classy or elegance. But I went and I want to have a chaotic like this and then throw it, throw all of the cards on top, right? So what I'm doing here is this is the chosen card that they just returned. And the bottom card has always been the editor of pages, right? That hasn't changed. But the spectator feels as though they've had freedom and it's being chaotic. The, returning the card to the deck because they've said stop wherever they wanted. Now I'm showing you the card. I'm going to just throw them there. I'm not keeping, I'm not putting my finger. They can even square the deck. It doesn't matter. So we really have this sense of freedom and chaos and randomness. So once again, I know the bottom card, the queen of spades. Someone chooses a card. I say, I ask them to tell me stop. If they stop, return it there. And they can even do it. If if if when they're going to return it, you see that they don't want to put it on the top. Just grab the card, swipe nano, do it. And you put it there. Then you say, you could have stopped anywhere, whatever you're stumped, anywhere in the deck, some there. Now your card is lost in the middle of the deck. And of course now it's in contact with our key card. So now if you remember correctly, I showed you a control which is very similar to this idea, and it's with this card turned over the bottom card. No one knows. Someone selects a card. You pass cards, basically stop obviously without without doing that, but I just did. Right. You don't want to be showing the card, but kind of stuck to my hand. So let's do that again. Someone selects a card, you pass cards, ask someone to say stop, of course, without showing that card there, they say stop, you return the card so you can stop anywhere you wanted. You stop there. Now what's your card is lost in the middle of the deck. No snow breaks, no separations. And now so, so you've shuffled the deck, we returned the card that you chose to 0. Way that must have been from when you shuffled. Remember this control, and I'm going to flip your hand and bring all of these cards to the bottom, bringing the chosen card to the top. Okay. I just wanted to clarify this because we're going over this, this method. This is the one we were using in the control, that is accidental control. So let's end with two very simple methods of getting a key card on the go, as I've decided to call it. So in this one, for example, someone, maybe you pass dribble cards. Someone says stop. You give them the card. And then you ask them to say stop again, and you return the card. And now the cart is in contact with the jack of spades. So if you remember the section on peaks, it, this is exactly what we're doing. We're doing a dribble peak from the middle. And instead of doing it with the chosen card, we're doing it with the card after. So someone says Stop the selected card. You say stop again. And now I'm peeking at the two of clubs. Remember we art and we'll look at the bottom left index. So I'm parking with that. I can see it's the two of clubs that they return it. And look at the sense of fairness, right? It's just a picture card and they return it and you leave you can even leave the deck on the table and is completely fair. And at no point have you been looking at the cards you've just dribbled and of course the images that you're looking away. So say stop, you look away. We pick a card and I say, okay, stop again. Now you look, so say stop again. You look at the card, you pick at it. And, and now after you've picked you look away, they return it. And you say, Okay, it's lost somewhere in the deck. And the images that they just said Stop took a card, put it back and you were looking away and the deck is now squared. So there's no way that you can know anything about the card. Um, I didn't. Let's do it like this. So you, someone shuffles a deck. I'm sorry, I get excited because this is such a cool method that you're learning so early on. So someone shuffles a deck and I didn't this sensation for spectator, someone shuffles a deck. You say, okay, I'm going to pass cards, just say stop. They say stop. Right there. They look at it. Can now say stop again, right there. Oops. They return it. And look at what's happened. You've given away the deck to shuffle. You've been looking away, said Stop, they've chosen a card, put it back in the deck and other deck is completely square without you looking, putting your fingers and nothing, none of that. It's just this little this little peak and it's just a site seconds. So they say stop and you're looking away just just right after you've seen the card. So once again, someone says stop. Now you dribble, they say stop again. You look away. It's the Jack of diamonds. They return the card doable, all of the cards on top. And you can leave the deck there and so that they can square the deck. Okay? So it's a really cool, very fair method. And it really gives a sense that there's no way that you can know anything about the cart. But in fact, you know exactly where it is. And don't worry, we'll learn how to apply this, how to use this knowledge, right, like now that you know where the card is and what card it's next to. What do we do about that? Well, we'll get into that in the future. Don't worry. But yeah, that's one over F. One more method. So the last method is the simplest one, and I don't want to go over it too much, but just if none of these if you don't feel comfortable with any of these, there's a very, very simple one that you can use. It. Someone takes out a card. Okay. And you just say okay, put it back there. And as she point, you're looking at the car, so just put it back there. And you obviously not making a big, big fuss about you just pointing lighthearted way as we've spoken about many times. So they pick a card, you can put it there. And as she point, you see the card. So I see point, you're rotating the back. You don't even have to look at the card, right? You can just be digraph. Put it there. And it can feel as though you're looking at the spectator. Yep. But obviously you're seeing the card because you're pointing like that. And obviously if someone's waiting for you to look at your key card, then obviously this is very obvious. But if no one knows, which is the actual case, when no one knows that you're looking for a key card, then this is completely deceptive. Imagine someone selects a card, you say, okay, just put it back there. And it just seemed so casual. You're just pointing out the deck. Put it back and the knees through all of the cards on top and you don't have to keep a break or anything like that. So this is the most streamlined version in case you don't feel comfortable with the other ones, you just have to pick up a packet point and you see the card. It's as simple as that you point and then you rotating in your head. Don't make it super obvious. Don't go like this. Okay, put it back, put it back there. Just points suddenly and say I can put it right there. And they return the card, square everything. And you have your chosen card in contact with your key card. So I really hope you enjoyed this lesson. We're going to get into ways to apply the idea of the key card in the future. Anyway, I'll see you in the next lesson. 20. The Glide: Transform Cards!: This is probably the most powerful and magical technique we're going to learn in this section and in the glider. The glider looks something like this. Have of spades. I leave it here on the table. Okay. And I just have to snap and it changes into the theatre or whatever. Obviously, that's not how we're going to use it. That's not the context or the routine, but just so you get an idea, perhaps because of the because of the angle of the camera you can't see underneath. But trust me, if you do it with a right angle in person, It's it's completely deceptive. So let's look at the details of the technique. Essentially we are going to be doing is you're going to, in the action of believing the first spades on the table, you're going to, or the first page or any card that's at the bottom, you're going to push just slightly so you can access the second card and take out the second cut. So what you're going to do is you're going to push the forest page and access the second card. All of that in the action of taking out the first space. So you push and you slide the second card. Okay, It's very simple. You just have to get the timing right. So imagine you show here, and then as you go to leave the card, you push and then you take out the second card. It doesn't matter. If you do it like this. You don't have to be specially small. The separation, you can just push and leave the card there. And then make sure to square the deck so that it doesn't look like this one. You leave it on the table. I can look slightly suspicious so far, spades and the action of leaving it there. And obviously in the routines that we're going to learn, the spectator has already become accustomed to the idea of seeing you take heart from the bottom like this, right? So if someone has seen, imagine this right? So six of spades, I'm going to leave it there. Now they're already used to the idea of taking a card with this action, right? So the next time you do this, they won't feel as though some strange thing to do, right? It's just whenever you leave that, it's the six of spades. So as simple as that. So again, six of spades, you're going to push the cart and then take the second card, and then of course, square the deck or whatever with your hand. However, you can obviously don't make it super big like this. It's not necessary. Just enough so that your fingers can comfortably access the card and leave it there. Okay? So once again, six of spades, you rotate your hand, he push the six of spades with your fingers. The grip that we're using here as simply an elevated dealer's grip. By the way, I haven't mentioned that. Elevated dealer's grip with your, with the cards face up. So like this, you elevate the dealer's grip, you rotate your hand so the cards are facing down. With your dominant hand, you simply use these two fingers, the middle and ring finger to push and take out the card below, right. So instead of placing the card that they see on the face, you're placing the second card. So of course then would transform the card like that and it changes into a so forth. So as I say, this is the most magical thing we've, we've learned yet in the sense that a card is, it's transforming. It appears as though we're putting the ESA Space and it's simply transforming into another car. So once again, a few more times this so it's crystal clear. The timing looks something like this. A two spades. I'm going to put it right here and I'm going to stop or whatever. Of course are nice when I demonstrate the moves in an isolated fashion like this. It's simply so you get the idea right. And in the future we're going to learn the routines, the contexts, how to contextualize this technique and have it all makes sense because you're never going to go K4 of hearts. Let's very polar, right? Because you just did the technique and it's very simple to just link the two together. And then it's just, there's, there's nothing more than the method in that case, right? And we always want to be constructing the magical atmosphere as we are going to be discussing in the future. So one last time or a few more just so you get the idea. Dealer's grip elevated, you turn over. So you show this card, you turn over your hand, push the card, slided back with the middle and ring finger just enough so that you can access the second card. She pushed back just enough so you can access the second card. Push back just enough. So you can access the second card and leave it there. So that's the glide. I hope you have fun with it and I'll see you in the next lesson 4, we're going to learn an amazing effect that you can use with this technique. And it's finally time to get into the trial of the effects and routines that we are going to be applying the all of these techniques to. So I'll see you there. 21. Indicator Card: A Plot Twist For the Spectator: So welcome to lesson 4. We're going to be learning some amazing tricks that you should be able to do in little time if you've practices slides that I've already taught you. So the first one we're going to learn is very simple, very, very simple. You're going to be able to do after watching the video. If you've just as long as you've just held the deck for a while in your hand and you can spread and cut comfortably. Then this trick is going to be very simple. It's one of the very first ones I learned, so I hold it dear to my heart and it looks something like this. You asked someone to take a hard they take this one out. For instance, you pass cards in groups and you ask someone to say stop. And obviously you return the chosen card to the deck and it goes right there in the middle of the deck. And I'll have to touch anything they can even squared. And now all I do is this little action and the card turns over what? The card turns over what card in the middle of the deck turns over? Oh, no, you're thinking, no, no. I know this isn't all your card. I said that the card is going to turn over and this is the indicator card. It's a three. Because it tells me that if I count 123, the third card should be, what was your card? The ace of diamonds. So if you've watched the lesson on the key card, then this is going to come to you as no surprise how it's done. And the method is the following. The third card from the face is going to be turned over and it's going to be the three. Of course, you can do with a fourth, fifth, sixth card as long as the car that you're using is congruent with that, right? If you want to paste it the fourth card, then you would have a four. If you want to place it the fifth card, you would have a fight. So all that you're going to do is have this setup from the beginning. The third card from the face is turned over and it's a three. And now you're going to ask someone to take a card without showing the face up card. So spread the deck without showing they take out a card. And now you're going to perform the, the way to achieve the key card that we learned previously. So it looks something like this. You pass cards from the top of the deck as someone to call stop, they stop. They return the card there. Then you show that because it stopped anywhere, you so all of the cards on top, and obviously now, but three is going to be three cards away from the chosen card, or two. And the third one's going to be the chosen card. So you could have stopped anywhere. And now you're going to be storing all the cards on top. And the three is going to be, as I say, two cards away from the chosen card. So again, you put the card there, you show the curve stopped anywhere you throw all of the cards on top. They square that they can square the deck. And now you do your little gesture. And now the beautiful thing about these kind of tricks that you can do early on is that the expectation of everyone is very low. And when they see that you've gone wrong, it comes even lower. And then when you actually show them that you've gone right, you destroy the shatter their expectations and they're completely amazed. So in this situation, what I like to do is say that I'm going to pass my hand and the cards is going to turn up. I'm not saying your card, I'm saying the card. So as when I show reveal that a card is turned over and it's another card. They're very they're not surprised or impressed because it's another card. We actually no, no, no, no. I know it's not your cart. This is my indicator card. And now they realize that everything, It's a plot twist, right? They realize that everything's planned from the beginning. And then you count 1, 2, and the third card, you ask them to name the card first. This is important. We'll get into all the theory in the future. But we asked them to name the card first, you name it, and then you show it. We do this because that way the tension and release is all happening according to our plan, right? So if you say, imagine you've done the trick and you say exactly one card, the 50 states is that your card? What happens here is that the tension is built here and the release happens there. So instead of framing it, right, if this was a stage, the framing snot start ideal for the sensation to be maximized. When I want to achieve is all of the tension and release in the same area. And have it be a congruent and and seamless timing. Okay. So you ask the court may say five of spades. And now all of the tension is here and you're releasing it as you wish. You can look, maybe stop for a second, and then show, right, it depends on the trach context. Just a little Rambo on why it's important to ask for the card first because you see a lot of people will talk about this in the future, yeah, but the effect is here. So you say five of spades, say your card. All right, So the collaboration is happening in their distance to all of the framing and all of the scenario of the trick. You're saying cyberspace, set your card and it's concluding there. The release happens in the spectator, which it's just off, right? When it's much more ideal to say what was your card? All of the focus is here. And now slowly turn it over. And now they have the image here. And not only is the release happening here, and they're seeing you and just 0 congruent. Now, in the case of this trick, for instance, are going to have the image of the three and the card separated. So essentially they have a summary of the whole trick here at the very end in the photo finish, right. So that's around bone on Y2 to ask the card before revealing. But let's go back to our trick. Let's do it with a five this time, just to change it up. So I wanted to put it 1234 and the fifth card from the bottom, face face down. Okay. Now I ask someone to take a card. They take it out. I say OCaml into postcards. Just call out, stop whenever you want. Creating this feeling of randomness, chaos and freedom, they return it. You could have stop wherever you want it be stopped there. I'm just going to throw all of the cards and you can even square it up. I don't want to touch. So what's this, this feeling is of randomness and fairness right there. Stopping wherever they want, they're putting in their squaring the deck. A nice added have to pass my hand and the cart is going to turn over. So obviously the stakes are pretty high because you haven't touched the deck and the car is going to turn over the card that they just returned face down. So it's pretty amazing, but obviously that's not going to happen. So it's kind of this emotional curve that the spectator is experiencing. It's not just, I'm going to do this and I do it. So I'm going to do this. Oh, no. Well, but then you break it right. So the car turns over. It doesn't so you spread some other card and you hear you can, you can play a little, right? That's obviously depends on on the persona you want to portray. Again, we'll get to that in the future. But if you want to be fun, playful, you can say card, you can wait as long as you want until they're like no, no, no, no. And this is your first time doing a trick. We'll probably want to lie to you and say, Yeah, you did it great. And you say, no, no, I noticed on your card, right? So it's like at the end of a movie where you're like what's going on and then you realize that everything was done from the beginning. So plot twist. So they said No, no, no, I know it's not your card. This is especially effective when you're starting off. That's why I decided to put it here. Because then you're playing with this with the expectations of people. Because people don't know you as a magician, then they're going to be like, Oh, it's going to be very silly cartridge and they're like code. It didn't even work out. And he said No, no, no and no. So your card because it's my indicator card, it tells me that if I count 1, 2, 3, 4, the fifth card, what was your card? The name and the ace of spades to say exactly ace of spades. So if you, if you pay attention here, we have the summary of the whole trick in just a few cards, right? So everything makes sense in a, in a theatrical sense, right? The indicator card is here, the cars that we counted are here, and the two piles of that that you can even square this up to make, just to make it a bit more minimalistic. So everything is summarized here. And that would be, it would just feel different if instead, I said ace of spades was at your card. Now all of the attention is there. Yes and yes, it's something it's not a very dramatic moment, right? Someone saying yes. Once more dramatic if they say what the court is, the tension is being built. Now I look, is it really going to be the card? And it is. And then you can see the five cards that we content. And it's a little summary of the trick. It's just reminds you of what just happened and the experience. So it's a very simple trick. So I don't want to go on a ramble. I really hope that you enjoy and you go out and perform it right away. If you can really go into see that this is a very effective trick in, at the beginning of your magical career. Because again, it plays with this idea of expectation and it's like a little roller coaster that your spectators go through. And it's especially effective if they have very low expectations. Because you say, you really going to turn over the card that I just placed down in the deck. And then they're like, Oh, no candidate wrong. And then you're like, Oh no, no. Okay. I got this right. And it's a very fun experience. 22. Soulmates: An Impossible Coincidence: So in this lesson, we're going to learn once again, another amazing trick that you can perform right after watching the video. It requires very little practice just for you to know the concept of how it works and what to do, and then you can perform it. But after watching this, so it's, it's quote unquote, so forth. Okay? So it looks something like this. You ask someone to shuffle the deck, shuffle away. You take their backpack and you say that you're going to take out two cards, the three of diamonds and the Jack of hearts. So you look through and you take the three of diamonds and the jack heart. Where are you Low Jack. Jack of hearts and three of diamonds. Now, you ask someone else or the same person to take the deck in their hands. And postcards deal cards one by one on the table. Or actually they can deal groups of cards, whatever it, but they had to stop at some point. Wherever they want. Say they stop there. And you say, Are you sure you want to stop there? You can have one card more, wildcard, less whatever you want. Imagine they stop where you place the card, put a little cards on top and then square that deck. Now, you ask the same person or another person to repeat the process. Again, they pass card stop wherever they want to stop there. You say Are you sure? They usually say yes. You say at some point tonight you're gonna go to sleep. I already said this joke in another lesson, but it's very, it's very fun to some point tonight you're going to go to sleep. And when you're about to fall asleep, you're going to think what would have happened if I put one card, one, they either put more cards take or are just stick with that. They stick with you. Put the card, they're probably the cards on top, square everything up. And now say, every card has a twin carton. So the ace of spades has the two encourages the ace of clubs, seven hundred, seven hundred diamonds, et cetera. Now you shuffle the deck, and it could even be a borrowed deck. So you shuffle the deck. Postcards, stop wherever you want it did that twice and I look nothing in my hands. I'm just going to extend the deck as clearly as I can and look for the face up cards that we placed on the deck. See, there, there's a deck of cards. The jack of art. I'm just going to take out the Jack of hearts and the card that's on top. Okay, clearly, once again, I'm going to extend to look for the three. Where is it? Where is it? Where is it? There it is. There's the three. And the car that's on top is this one right here. Just let me take everything away. So once again, you shuffle the deck. We took out two cards. You stop the past card stock wherever you wanted, did that twice, and we manage to get exactly the Jack of hearts with its twin, the jack of diamonds and the three of diamonds with his twin, the three of hearts. So this trick is very simple and the concept is something we've been discussing in the last lesson and in the key card lesson and so on. And it's essentially that when you have a card at the bottom and you have a chosen card here, when you put that on top, then the card on the bottom and the chosen card are in contact. So the idea of the key card essentially, but applied in a different way. So what we're going to do is we're going to know the top and bottom card. And we're going to take the D2 twin cards. So in this case it would be the ace of hearts, only two of hearts placed on the side. Then what we're going to do is we're going to ask them to pass cards one by one. And once they've already dealt the first one, because we need them to deal the first one so that, that card will then be on the bottom, right. So we're going to deal cards, stop. And then the car that was on the top would now be on the bottom. So that's why we need them to deal with the first card individually. So they're going to deal individually. And once a delta, the first one in the video that you can tell them to pass cards in groups or whatever. It just make it feel casual. Say, okay, pass cards one by one key. You can pass groups of cards and stop wherever you want. Then they stop. Ie, put one card face up. Now where you're going to do is you're going to put the rest of the cards on top or ask them to do that if they're doing it in their hand. So this will allow us to, now, one card will be in contact with its string card already, and then the other card would now be on the bottom, right. So ready to do the same process, put the card and then the car will be in contact. So now that we know the ideal is covered with the actual card. So someone shuffles. And we take the deck and we can even call it before we take them out. So it doesn't look like we're looking for something as specific as we take that back, we can say, okay, I'm going to look for the ten of diamonds and the six of hearts, Ten of diamonds. And they happen to be very close-by tunnel diamond and 6 apart. Now you ask someone to take the Vec a ticket and they tell them to deal cards one by one. So that's there as they're dealing. You say yes, you act as though you changed your mind and say, actually you can patch cords in groups and stop wherever you want. And of course you want them to feel the freedom they have because it can really stop wherever they want. So when they stop, you say something along the lines of we showed you want to add one, take one. You can do whatever you want. If they do add, then, then, then you can ask again or not, whatever. Just make them feel the freedom that they have to just stop wherever they want. Because it's important to emphasize this freedom because at the end we're going to. Backtrack everything. We want it to feel as though they could have done anything they wanted. So they pass card, you say, Are you sure? Now you're going to take the twin card or the one that's on the bottom here. So you take the twin card of the one that was at the very beginning was on the bottom. Because remember this a second ago, this was like this. This was the top card. This was the bottom card, and this was like this. And now what's happened is they've dealt cards. And now this is a situation. You, the six of diamonds, the twin card of the second card is at the bottom of this packet. So you put the ten of diamonds. And then everything. Ask them to put everything on top of the ten of diamonds. And that will have the ten of hearts in contact with this card. Square everything up and ask them to repeat the process. Do cards from the top on the table stop wherever they want. Six of hearts. Now the six of diamonds is on the bottom square, everything up. Now, of course, you're coming to the point where everything's done. You can just milk it. You can explain the idea of the twin cards and start saying you did whatever you wanted. You shuffle the deck, you stop wherever you want it. He didn't want to change. That told you you should have changed whatever. And then you spread through the bag, take out the ten of diamonds on the card that's on top, the six of hearts and the current dots on top. And then you can very slowly, dramatically say, I don't know how he did it, but after all of that process where you did whatever you want, if you stopped six of hearts with the six of diamonds, the ten of diamonds with the 10 parts. Let's go over this effect one last time, just so it's absolutely clear and you can go ahead and perform it for anyone that's nearby. So someone shuffles a deck. It can even be a biotech. And if you look at the cards and you say you're going to take out the eight of hearts and the six of spades. So you look at the twin cards or the card on the bottom, on the bottom and the top, okay, So a departs and six of spades. Obviously try not to go through it like this because otherwise they can see the diamonds at the bottom and maybe they, they can relate the two parts to the end of diamonds just in case, just to vertically. So they can't see. You take the eight of hearts and the six of spades. Where are these cards? Here's the parts. And the six of spades theories, sorry, the parts 6-bit. You handed back over to someone and ask them to deal cards one by one on the table. As they're doing that, you act as though you change your mind and you say, Actually you can deal groups of cards, just stop whenever they stop wherever they want. You place the eight of hearts right there. Of course, emphasizing the freedom that they have. Now you tell them to put all of the cards on top of the eight of hearts, square everything up, and repeat the process. Parts, postcards, one-by-one, sorry, in groups or one by one, it doesn't matter. You stop wherever they want. Plays the six of spades place everything on top. And I explained the ADF twin card cards. We cut the events that you shuffled pass cards whenever you wanted, stop whenever you wanted. You didn't change your mind or you did change your mind, then you just spread through clear. Always emphasize the clarity. Nothing in my hands. I'm just going to spread maybe even with one finger or maybe even use their hand to spread. I like to do that. I'd like to put I do this a lot actually. I tell them to put their finger like this. And I grab their hand and I put it like so I go through the motion of going through the cards with their finger. And it's just a fun moment. And it also emphasizes that I'm not touching anything. So the trick up feels absolutely impossible. They shuffle the deck, they pass cards. And obviously when I'm recapping the events, and we'll get to this in the theory lessons when I'm recapping the events, I'm not saying. So you shuffle the deck and then I held the deck for a second and took out two cards. No, I'm just saying you shuffle the deck, you pass card, stop wherever you want it. And just emphasizing the parts where they had a freedom and where they had the main road, right? So then building on top of that, I use their finger to pass cards, write postcards very clearly so that it's clear that I couldn't do any tricky action, right? Because the trick has already taken place. So you extend, go through, take the six of spades with a card on top, theater parts with the card on top. At this point, you've already explained that each Harding each card has a twin card. It's important because sometimes people aren't as familiar with a deck of cards as we are. So it's important just to have absolute clarity. Divert on a magician that we call the professor said that confusion is no magic. So we want to emphasize everything so it's clear. Explain everything and the rules of the game. And once you're here, you just have to milk it and be ready to impress anyone. Because six of spades has become, has come exactly with the six of clubs and the eight of hearts with the eight of diamonds. 23. Live Performance: Soulmates: So in this video, we're going to have once again, another live performance of one of the effects that you just learned. So let's get into, as always, you can shuffle the deck, of course, has been in use, it can be borrowed that complete deck, now complete the start. Okay? Now we're going to be using two cards, the nine of clubs and spades for this. So the nine of clubs and the seven of spades. Okay? And now, let's leave them here. And I take the deck and pass cards one-by-one on the table. Or you can do groups of 234, whatever you want. Just the important thing is that whenever you want, you stop. Pressures on, okay. Where are you sure? You can put one more, one less, you can stop there whatever you want. Yes. Are you sure? Okay. So there we are going to place one of our cards just as a marker so we know where we stopped now please, all of the cards on top. Now take out the whole deck and repeat the process, postcards. And whenever you want you to stop cards on the table. Whenever you are you sure? Right there? Positive has 10. I'm asking because tonight you're gonna go to sleep, hopefully as people do. And when you're about to fall asleep, that, that last second of wakefulness, you're going to think what would have happened if I were to put one more card or were taken one, I transfer out of three. Okay. Place all of the cards on top with one finger, scoots the deck over to here so I can say it's in frame. Okay, perfect. Now look at what we did. A deck of cards that can be a borrowed deck. Complete, not complete. You shuffle the deck. I just forgot to cars that we were going to use the past cards. Stop wherever you want it twice even took took back a card. Yeah. Now let's do this. Put your finger like that. I'm just going to press it back here so we can okay. I'm just going to use your fingers so you can see I don't touch anything. I'm just going to spread the cards. And what was the nine of clubs? We're going to take the nine of clubs and the card that's on top. Can you do that? So I'm not touching anything, just leave them right there. Keep going. Now. Going to take out the next seven space. And the card that's on top, make sure there's not like another one stuck, okay, leave them aside. Okay. So in every deck of cards, There's twin cards. So it's like the ace of diamonds with the ace of hearts as a twin card. The three of clubs with the three are spades, a twin card. After all of this, after shuffling the deck, passing, heart-stopping wherever you wanted. I don't know how he did it, but you got the nine of clubs with the nine of spades and the seven of spades. But the seven of clubs. Thank you. Thank you. Oh my God. 24. Memory Demonstration: Memorize a Shuffled Deck in Seconds: In this lesson, we're going to learn a very fun trick that again, it's very simple to do and it's not the most impossible trick necessarily, but it's, it's very fun and it gets a mix of emotion, trying, I'm trying to build you a repertoire. We have a variety of different tricks that generate different feelings and emotions on the spectator. It's like that emotional roller coaster we've been talking about. And it's something that a performance artist in general wants to achieve different sensations among the spectators without further ado, let's get into the trick. Someone shuffles a deck and you say, every morning I wake up with a superpower, a different superpower, each one. Just to be your wonder. Care to ask what that is. Oh, wonderful question. Thanks for asking. This morning I woke up with super memory and I'll prove it to you. So you shuffle the deck, someone shuffles a deck. And then you say, okay, I'm going to spread the deck and you just take out any card you want. Really any, any hard, this all make sense in a second. So you take out any card and you ask them to put it back into the deck right there. He could have taken any card in the whole deck, right. So how long do you give me to memorize? To memorize the deck? One minute has way too much. Let's do 30 seconds, 20 seconds, 10 seconds, 10. So I think I can do nothing. I can do it in 55. Sounds good. How about like 32 seconds, something like that. Okay. Are you ready? Ready. Okay. So okay. I got it. I got it. So to prove it, you're going to ask someone to go into the deck. I don't even know if I showed the cards to the camera, but it doesn't matter. So I'm going to ask them to go into the deck, take out the card that the chosen card and change the position of the cut. Okay? It doesn't matter if they do it or not. And then they square the deck. And I say, in fact, since the superpower, not just to power, I don't even have to look through the deck, can just collect this and tell you that the card was the queen of diamonds. So as I said, this is a very fun trick and you can play along with it depending on your style and personality, you can do different things with it. So the trick, the method is very simple and if you've watched the previous lessons, you know how to perform it. It's going to use the key card. It's as simple as that, but we're going to justify the use of the key card. So what are we going to do? Well, and again, this is a trick that I explained that the ribbon spread will have a major role. And that's because someone's going to take out a card from the ribbon spread. And then you're going to know the top card of course. And you go into Cut, do a swing cut, put the card there, and then Ruben spreading. Now from here you want to say that you're going to memorize a deck. So then you're going to turn over the deck, cut all of the cards, collect this, and memorize a deck. But the only thing you're going to do is look for the card before your key card, so memorize that card. Okay. That makes sense. Let's go over that in slow motion. So someone shuffles a deck, you peek at the top card. You can either do with a dribble peak or you can pick out the bottom card, then shuffle that one to the top, either way you want, but you need to know the top card. And now you're going to extend ribbon, spread the cards. Someone takes out a card, in this case it's the ace of spades. My key card is a king of clubs, by the way. Now you square everything up, ask them to return the card. And the instant they return it. Now on top of the king of clubs and unknown to spread the deck. And now you do a bit of drama, of course, all of this presentation can, you can do it however you want. And you say, okay, so I'm going to memorize a deck in one minute, maybe 30 seconds at the level of Alibaba and you're upping the ante all the time. So stakes are higher and higher. So what you do now is to square the deck. And now here's what, how you justified. So you're going to justify looking through the deck with the contexts that, of memorizing it, right? You're not actually memorizing it, but that, that allows you to go look through the deck, right? Since you're memorizing that, that you, you have the freedom to go through the deck and, and really, and just pick up the card, right? So look for your key card, king of clubs and look card before, which is the ace of spades. So you've got your act as though you're memorizing it. You're just looking for your key card, which will be somewhere in the middle. So you don't even look at these cards, you just look for your key card. There it is, and I think it's a spade. Okay? Now look away nicely. Okay, you're going to take, to prove that you've memorized the deck. Someone's going to alter the order of the cards. So you're going to take the color that you chose and move it around. Now, if you want to actually do this as a, as a, as a memory demonstration, you can tell them to square the spread and then look through the spread again and then name the card. That's a way to do it, right? That's some magic that, but I would come across as, as actual memory. So imagine they move the ace of spades, you're not looking. And now they make, they make the spread even just to make sure that you can't see it because of the movement. Or you can even square it and then spread it again just so that they don't think that it's because, right? Because otherwise they might think that if I move the jack of diamonds, It's really hard to get it square. So they might think that you are looking at some place where the movement, where there's been movement, right? So you don't want to have them think that's why we need to square it and then spread it again. Do so. Then you look back and you say, Oh, it's a space, right? That's one way to do it. And that's some magic. That's again a memory demonstration. I don't like to do that because I'm not really memorizing the deck. And I just like to be congruent with my skills and, and what I'm doing. So what I do is I say, okay, so square everything up. And actually what I did with the, with the presentation is actually to prove that it's a superpower and not just the power, just going to go like that and tell you that it's TAs, spades. So again, you can play with this in different ways depending on your style and personality. You can either act as though it is a memory demonstration and actually take your time. You can even go through the deck and be like, right. And I had done that in the past and it works and people actually believe that you memorize the deck. And you can even say, since you know the key core, you can even say, okay, there was another card next to the king of clubs, and it was the ace of spades. So you can play with this idea and that's even more effective as a, notice that the ace of spades for spec, so the king of clubs, It's a congruent with the theme of memorization. Again, I prefer to do it more magical and fun. And I close the deck and I say it. See, I can tell you is exactly the space. Okay, so let's go over that one more time just so it's clear. So you shuffle the deck, dribble peak and the peak at the top card, or you grab the deck in a little twist that we learned, peak the bottom card and then shuffle it to the top. Or you can also use the, the key card at the bottom. You can use the bottom card as your key card because when you cut, you're also going to have that in contact. Just remember if you're using the bottom card, then when you, when you look at the spread is going to be. So imagine my key card is the two of clubs. If the chosen card is going to be the one after the two of clubs. But if you're using the one, if you're using the two of clubs as your key card on the top, then the chosen card is going to be the one before the two of clubs. Hopefully that makes it. So you can eat. Someone shuffles a deck, and you can either choose to use the bottom card as your key card or the top card as your key card. Either way works. So I'm going to use the top card and I'm going to spread the deck. Someone takes out a card, you ask them to return it. My key card is the seven of spades, doesn't matter what color it is, but just so we know it's the nine of times. So nine of diamonds is on top of the seven of spades. I quickly spread again. So okay, so you shuffle the deck and you took out a card. We're going to use these two bits of information, example-and to memorize a deck. How much time do you give me one minute, 30 seconds over. You increase the stakes, and then you extend the deck and go over the nine of diamonds because it's a card before my key card. So I'm looking for that. Remember if you're using your key card as the bottom card, it will be the card after the key card. So 70 spaces, my key card, I look nano diamonds. And then I stop and look when you move, square the deck. And if you're doing a memory demonstration, you actually doing it like that, then you spread again. You look next to the sun monospace close to that and name the nine of diamonds. Or you can take it out depending on how you want to do it. And if you're not doing a memory demonstration, just say okay, square the deck, you just grab it, do something like that as a magical gesture. At C 90 diamonds. 25. Live Performance: Memory Demonstration: So onto another live performance of one of the effects that we just learned in, I'm not going to say the name of it because I don't want to spoil anything for you. Yes. But anyway, for every morning, I wake up with a superpower. Exciting, right? Asked me what superpower will come. Once you find that you went over the Great question. This morning, I wake up with super memory. Thanks for asking though. And I'm going to prove it to you. So as always, a deck that can be powered complete and incomplete, shuffle the deck. And I'm going to prove, to prove it. So just shuffle, shuffle away, stop whenever you want. And now we're going to do this. So to prove it, let's, let's try this. I'm going to spread the deck and just take out any card from the middle of the day Iike to kinda any card. All of this will make sense in a second. So look at it. Um, I won't look obviously show it here. Sure. It to the camera. Okay. And just put it back like where in the middle of the deck and then sloshed somewhere there. Okay. Now, how much time do you give me to memorize a deck? Like roughly how much time that be generous. To memorize the data. I'm going to memorize the order of the deck and I need like a time frame like two minutes, one minute and a 3.5. You got a minute and half a minute and a half ago did in a minute and a half not do it in a minute because we had to make a quit for now, make it 40, 30 seconds as 237. Zhao. 10 seconds are the tensor. Nice. Nice. Yeah, I'm gonna do it in 1 second, okay. Okay. Okay. Okay. I got it. Just real quick. Okay. But every single card members now to prove it, I want you to take out the card that you chose and put it in some other location. So take other steps. Obviously I won't look, I've covered my my take it and put it in another location. And just so you don't think that I'm looking at how you move the deck or wherever you square the whole deck up. Yeah. Okay. I can let map. Okay. So now obviously, as I have the back memorize, I just have to go through the cards, look at them, see which which were moved and tell you which card it goes right? If that wouldn't be really magical, magical would be to go like this and feel like that card was the Three of families. 26. Instant Sandwich: Again, in this lesson we're going to be learning a very fun trick that you can perform pretty much after watching the video. If you've gone through the previous lessons, really know much, much to it and let's get into it. Someone shuffles a deck as always, and then you take it back and you ask someone to take any card they want. Take any card, you pass cards and tell them to return it to the deck. This is a cartoon, by the way. We return to the deck and we throw all of the cards on top so it's completely lost. Now I need to assistance for this trick, and it's none of you guys. Thank you for volunteering. It's the two black twos. Okay. So I'm going to take out the two black 2s. Here's 12 a spades. I need the two of clubs as well. Where's the clubs? Thirds. Now with a DAG that's been shuffled by you. And there's a card that we've chosen and was chosen and it's in the middle of the deck. I'm going to ask you, do you think I can get your card in-between the two black twos in less than three seconds, someone says yes, some say no. And I say, let's see, 1, 2, and 3, and Year card is in-between the black twos. Thank you very much. You're not impressed. Okay. I get that. I get that, but what if we try it again? Flip 3, 2, 1, one card appears in-between the two black twos, and it's exactly the eight of hearts your card. So the method for this, it's very simple, okay, and we're going to be using the idea of the key card once again and its works in the following way. There's several ways to do this trick, because you can control it either using the key card or using a double undercut or whatever. But I'm going to show you exactly how I did it in the performance. So what I did is someone shuffle the deck. I took it back at it, the twist peaked at the bottom card. In this case it's the jack of spades. Now ask someone to take a card. I'm going to use the method of key card that we learned. You want them one of the previous lessons where I pass cards in groups and they say stop and they stop, will return the card and with all of the cards on top. So now I'm placing my key card on top of the chosen card. Now what I'm going to do is I wanted to, I wanted to say that I need to assistance, which are the two Black Jacks. One of them is to Deco space, which is currently on top of the card. And one of them is the jack of clubs. So as I go through the deck looking for the jacks, when I go to get the jack of spades, I cut the deck, leaving the jack on the face of the deck. So I leave the card on the face of the deck. And this justifies the use of a key card because I'm bringing the jack to the top to leave it to the face, to leave it on the table. Then I look for the, so what happens in that action obviously, is that now the king of spades, that children card will be on the top because I'm cutting the deck right there. So I'm separating my key card and the chosen card, separating them and bringing the key card to the top, which consequentially prints the chosen card to the pump. So once again, I look for the deck of spades. It's there. I cut the deck like that, bringing the king of spades to the top of the deck, which is the chosen card. So I take out the jack of spades and I look for the other jack, the jack of clubs. There it is. Now what I do here is I want to bring this card, the king of spades to the bottom. So I do a shuffle that we already learned, which is peeling one card and shuffling all of the other ones on top just like that. Now, what I'm doing now is a little gag which is, do you think I can get the card to appear in between the decks in three seconds, 1, 2, 3, and all of the cards are between the deck. So obviously, you wouldn't the bar bet, since that's what you're doing. Now, what we're going to do is from here, so the chosen card is on the bottom at this point. And you can even, you can bring it using a double undercut or you can bring it using any of the controls that we learned. But I think the use of a key card is a very justified in this, in this version. And it also allows you to have the deck shuffled. You just pick out the bottom card and go from there. So one jackets on the bottom, one jackets on the top, on the top. And now what you're going to do is you're going to hold the deck in your dominant hand. And on the bottom of the deck and him have your middle finger in contact with the chosen card on your other fingers in contact with the check or whatever card you using in your situation. So middle finger in contact with the king of spades and thumb in contact with the top Jack and the other fingers are maintaining contact with the other tag. So essentially, I want to do this and take out the two jacks. But when I'm going to do is since I have my middle finger in contact with the card. So I'm going to retain the king of spades as I let the rest of the deck go. So if I were to do that without having contact on the king of space, it would look like this. Whoops, not like that at this. And just take out two cards. But since I'm touching the king of spades right there, and then to retain it, and the rest of the deck drops. And it seems as though one card appears in between the jacks and it's exactly chosen plan. So once again, king of spades is on the bottom, one jack on the top, one deck on the bottom. With my dominant hand, I'm touching 11 Jack put my thumb here, the one with the rest of my fingers. So I'm doing this position of my hand. Someone top other fingers on the bottom and middle finger, or maybe even the ring finger contacting the chosen card. So it's important not to have the jack flush, but rather pulled to the side so I can have my fingers in contact there. Simply going to drop all of the cards. The rapid action maintaining these three cards, so like that. Okay? And then the king of spades appears in between. So let's go over that one more time. So it's crystal clear. As always, someone shuffles a deck, you take it back e to this little rotation so you can see the bottom card. And you ask someone to take out the card, they look at it, remember it? In this case? In this case it's not great because it's it's the it's actually the card that's, that's the twin card from the one we chose, right? So if you see that happening, right, you're going to notice that when when you're going to get the cart right. So if that happens, Let's see what you can do, right? You can go into a different trick of course. But imagine this happens. So they take out the ace of diamonds and the postcards. They say stop, you put it there. Now the rest of the cards on top, right. And you sang going to need the two Aces, Aces as my systems. And when you're going to take out the first ace, you notice that the other ace is on top, right, so that they chose, so they chose the ace of hearts. So then you can just say, I don't know, you can improvise anything really. You can say, there are many systems because they tell me that one of these is your card, whatever, right? Or are they sit there? They do the debate, do a good job in finding your card. Did my systems do a good job in finding your card? Whatever you can just improvise. Everyone will be impressed. I mean, the sum, the trick you intended to do. But everyone will be impressed because it's your assistance. Are there cry that they, that they chose so you can improvise anything really. Or you can change your mind as you're going to take out the ACE and you see that it's i 1, you can say actually, let's not do it the h because you decided to try to, try to trick me by beginning one of my assistants, whatever, right. Just improvise. No one knows how does the trick is going to end, so you can just party. So anyway, someone shuffles a deck, you rotate. That's only going to happen one out of 52 times when you perform this trick. By the way, just in case you were worried. He wrote rotate, you, peek at the bottom card. And now someone takes out a card. This one, for instance, eight of clubs, you pass cards in groups. They stop wherever they want. Place the card. You thought of the cards on top. Remember your key card, six of diamonds. And I see that you're going to use your systems, the two red sixes. So as you're going to take out the six of diamonds, you cut the deck separating the chosen card, which is this one from the key card. I'm bringing it to the top. And you leave the six of diamonds suicide. And then you take the six apart and put it aside to now you shuffle the deck. And in the action of shuffling the deck, you bring the top card to the bottom. Remember you peel one card in the overhand shuffle, write, adjust, coming overhand shuffle position P1 card and shuffle the rest on top. Now you say, Do you think I can make your card appear in between success in less than three seconds. They say yes or no, whatever you go, 123. They're obviously not very impressed with then you've taken on that. Let's try it again. 16 is flushed with the deck. The other one is our job to the side. So side jogged. Your thumb is in contact with one of the sixes. Your fingers are in contact with T8 as well as the other six. And then you go 321. You slide your hand in this action and the deck would drop and you keep the three cards in your hand. So as slow as I can do it. This is how it looks. Okay? And normal motion. So six out joked. The other six on top and you simply pull and more card appears in between the 60s. And it's exactly the eight of clubs. 27. Triumph: My Favorite Plot in Card Magic!: This lesson, we're going to learn a version of one of my favorite premises in magic. And it's the triumph. I'll get into what this premise is all about in a second. First, the performance. So someone shuffles a deck, as always, it can be a borrowed that they select a card. Look at it, the return it to the deck. And then cut, complete that cut. And then you can even shuffle the deck later. Now, there's several ways to shuffle, right? You can shuffle like I just did. You can cut the day, you can do a riffle shuffle. But the shuffle I want to, I want to do to make this trick one possible is this shuffle. Let's call it the, the, the chaotic or the tipsy shuffle. It looks something like this. With some cards face up, some cards face down, some cards back to back, some cards are face to face, right? Complete chaos. Now, all I need to do this very simple action. This is the state of the college right now, right? I just need to go like this. And that should be enough for all of the cards to turn face down every single card, except the one you selected. When you love the premise of this trick where some card deck shuffled face up, some curves are shuffled face down, then all of them turn magically in the same direction except for the chosen card. So what's the method of this trick? The method is very simple. It's, the shuffle looks very chaotic, right? If I do this, it looks I'm shuffling cards face up, some cards face down. But in fact, the state of the cards is actually this. About half of the deck is face down, about half his face up, and then one card is face down at the end, which is the selected card. So let's get into how they shuffled. Looks like. It's like this. You spread some cards. Your hand comes in this, in this way. So fingers on top, thumb on the bottom, picks a group of cards, turns it over. Picks, put you push some more. You turn that over, turn some more to not over, some more, turn that over, cetera. So what are you doing with this shuffle? All you're doing is you're turning some cards face up here and you're adding in a group underneath. And those cards are going to be like this in this state, some face up, some things down. But now all you're doing is you're turning your hand is adding more to the other group in the same direction that they already are. So you're not really mixing them whatsoever. You only have you have this state. Now what you're going to do with the chosen card is the secret. To do that, we're going to have the chosen card on the bottom. Then you're going to shuffle the cards in this way that we just learned all the way till the end. And then at the end you're going to take all of the cards except one turnover and leave that card like that. So this is really going to help us show that the deck is shuffled face up and face down, and face up and face down. And then all you have to do is turn this packet over in a secret way that we're going to learn in a second. And that will have all of the cards face down except for one, and that's the chosen card. So now that we know the main idea, Let's get into the details. So someone shoots or the cart and Lincoln, of course, shuffle beforehand. Someone chooses a card, the place it back, and now we're going to control it to the bottom of the deck. We already know here variety of controls. For instance, we can do the diagonal insertion or we can put it here and then square the spread and then get a break under the card. Remember if you want to control it to the bottom, we have to do is you have to get a break under the card. So when you want to control it to the top, you will have to get a break on top of the card. You'll want to bring it to the bottom. We have to get a break under the card. You can also use the accidental control that we learned, that you could even control it to the top and then shuffle it to the bottom right, there's also an option you can perhaps double undercut like this. And here I have it on the top obviously, and I could shuffle it to the bottom. That's an option. Another option would be the diagonal insertion that I mentioned. We could use the overhand control. So the card would be here. I slide one card shuffle the rest on top, shuffling to the top of the deck, and I've shuffled it to the bottom. You have a variety of different ways or you can even bring it to the top and then double undercut only. So you get a break under the top card and double undercut the cartoon the bottom. Again, now that you're starting to build a toolbox, you have a variety of ways to get a card from one place to the other. And essentially, you have a lot of techniques that suit your specific needs, right? So depending on where you are right now with your technique are and what you have down and covered, you can do one thing or the other. You can also use the key card. You can use the accidental control. Again, the sky's the limit, right? You have your snow, your toolbox, and you decide how you control it. And essentially add to control it to the bottom of the deck. And once you have it on the bottom, you can say something along the lines of, there's many ways to shuffle a deck. You can shuffle it like this. You can cut, you can do a riffle shuffle. But one time I was doing a trick and someone took the deck and shuffle the deck like this, right? You can say whatever you want or say, or you can shuffle them to make it harder because, or you can say something along the lines of if you're Cauchy or you like to play it as low your Cauchy can say, but that's way too easy because I can find the card easily. What I like to do is step it up a little, step it up a notch and turn some cards face up and some cards face down. But anyway, we'll get into presentation down the line. But the point is you have a card on the bottom of the deck, and that's the chosen card, right? We've controller there. Now you're going to take some cards, turned them over, push some cards, turn those over, and so on, all the way till the end. And then at the end, you're going to, once you're here. So you're here, right? You have, so you start like this. And then once you're here again, you're going to push all of the cards except for the last one. Turn over and put this one here. Okay? So let's backtrack a little. This is the chosen card, the nine of hearts. It's at the bottom. You start like this. Take some cards like this. So your fingers are on top, your thumb on the bottom. Flip. Take some more flip, take some more flip, take some more flip, take some more flip, take some more flip. And then once you're back with this position with fingers on top and thumb on the bottom. And there's only a few cards remaining, you're going to push all of them except for the last one, and then flip your hand, put this card right there. So now the situation, if you followed along correctly, should be this group of cards facedown, a group of cards face up and the selected card. So now what you're going to do is you're going to cup of packet below the half where the facedown group starts. So pick up a small packet and then you're going to show some face. So some cards are face, back-to-back. Some face to face. So you showing that it's a complete chaos. Some are back-to-back from our face to face. Then you want to, you want to. This is the cool part of that. I should explain it. So as you use cards, right, they're going to start developing a natural bend, right? So since you always, usually have them in the same direction and you don't usually have them face up into face down. We're going to start developing a little bend, a curvature. So what's that, what that's going to allow us to have a natural break. So since some cards, so you're going to have a natural break between here and here because the two backs are going to be in contact. And as you can see, and the more worn out the decades, the better for this specific thing that you can see. Can I show it? The Qajar slightly bent T can see it from here. Here. You can see how there's a little gap in between them. There's a natural separation and natural break. So what this is going to allow us is to cut without having to look for it. This cut to that face, the face up card, right. So look, I can just without even trying, I can just cut. And I have all of the cards face up here with the children cart and all of good faith down cards here because of this natural break, right? So you're gonna go kind of in the middle of the deck without trying too hard, just pick it up there. I didn't get it right because I did tried too hard. You just want to feel for it and grab it. You can also do it with your thumb and dealer's grip. You can kind of get it there. And you can see if you've got an IP. But the point is, you pick a small packet, you turn over, show some cards face up, some cards face down, some cards back to back. And as you say that you pick from the natural break, you won't really feel that there's a break, but you just know if you've gotten it right. It's, it's, it's weird. It's a field moves that you have to feel in your hands. So you pick up the natural break, you turn over, you show some. So some back-to-back, some face-to-face, some are back-to-back. And what you do is you kind of the natural break, you leave it just as it is. But our joked, so like this out joked. And now you turn over your hand and now you should grab like this with your thumb on top. And you're going to turn, turn over your hands. So you're going to show this packet like this. So you've OUT job, you turn over, turn over, and you do this kind of action. And then you return the packet like this. So what you've done in that action is flip the packet. Because well, we need to do is we need to get this into this situation without making it too obvious, right? To flip this packet. And then all of the cards will be faced down except for the chosen card. So what do we do is do some face up, some face down, some in the middle are back-to-back. You cut to a natural break, you leave it there. You turn your hand over, show you here. You show. And then you bring this back and on top. And then you have all of the cards face down, except for the nine of hearts, which is the chosen one. Let's backtrack once again and we'll get into a few details and nuances. So the car that they've chosen this on the bottom, if you don't know how to control it, go back into the lessons where we talked about that. And you have a myriad of ways in which you can control the car to the bottom. And we'll also discuss them in the lesson in just few minutes ago. So you have the on the bottom and there you're going to start like this. Well, it doesn't matter how you start really can start with a thumb on top and then turn them over. You can start like this. It doesn't matter. Start flipping some like this, add some more flip at some more flip, flip, flip, flip. So then when you get, when you get to here to here, you're going to add the remaining all of them except for one tilt. So flip your hand and add this one to the mix. So now the state of the cards will be some facedown, some face up. And the total from here, you're going to be in dealer's grip. You're going to grab a small packet of cards, turn it, show some cards are face down, some cards are face up. Now you're going to cut to the natural break. Show it our job good, like that. And then flip your hand, grab the packet, and flip both hands a few times, just like showing that it's chaotic, right? So this should all be done with an equid, a good timing. So then when you put that back, you should be imposition. Now you'll leave the deck. Because now the sensation is that the cards are shuffled face up and face down and the trick is already done. So now you want to milk it. You wanna do your magical gesture. I really like this one for this trick because if you really feel It's here that if they believe it's kind of an idea of frame, right? I'm setting the frame that this is the state right now. So if they buy the frame, then this is very magical, right? If I just flip. So if I melted right, if I presented a right, It should feel as though the deck is now face up and face down cards in the mail. So now I do this, which essentially makes mix the spectator go into the frame that the cards are face up and face down, which say should easily because you just demonstrated it. And then, and then obviously, the good detail is that here you have one phase, one phase I won't face up or face down. And that's much more impossible than having a group of cards face up and a group of Karski staff. That's why this image is so strong. So then you go like this, reverse, boom, and that's the magical gesture. Then you go here very slowly. You say, all of the cards are face down here. The important thing is that the miracle of the miraculous event that just took place is that from a, from a mixed bag but had to face up cards into face down cards. We did a medical gesture and they all reverse back into the same order. The miraculous event is not that you found the spectators card. That's something that everyone does. Is this your card? Is this your card? And you know, that's very typical. So what we want to emphasize is the, the, the triumph effect, the effect of going from face up and face down cards into all of them in the same order with just a little gesture of the fingers. So that's what we want to emphasize. That's why we're not going to go. That's why we're not going to reveal them face up. Because first of all, there's too much information you are looking at all of the faces. And also that emphasizes too much the cart, right? If I, if I say all of the cards are face up except for one. And what was your card then? All of the attention, one of the tension and the tension is on the cart and the chosen card, that's not what we want. There's some effects, as we'll see in the future, which are exactly what we're looking for, that tension at the end. But this one is not one of those who want to get all the attention to the effect of the ordering of the jobs are reversing. And that magical thing that happens when you turn your fingers, something's going on there, right? It's like Toy Story when you're looking at the toys, same thing. The cards are reversing themselves without you seeing it, right? So that's the magical thing that we want to emphasize. So then you turn, you say, do your gesture, grab the deck to all of the cards are face down and you let this moment sinking. And the cars have reversed. All of the cards, every single card, except for one. And then you can show the card and extend and have this final beautiful image. 28. Spectator Cuts to the Aces: In this lesson, we're going to learn a trick. I got a lot of mileage from the beginning of my medical career. And it looks something like this. You're going to ask someone to cut the deck in four piles so it has a specific procedure. They should have got one pile and then another then another. Okay. So you asked him to do that and they do so. And perhaps at the beginning you might want to ask if they have a good intuition, okay? And if they do, then you're probably in for a treat because someone cuts out for different parts of the deck. And they could have cut anywhere they wanted anyway. But they decided to cut to the list 1, 2, 3, and these four exact cards. And you may ask, did you cut for a particular reason? And they probably said, we'll say No. I said, Well that's interesting because you cut to exactly 123 and the four. So this triggers a very impossible effect that you can do as an opener. It's a good idea to use it as an opener because it's one of the few ones that we've learned so far that require preparation. It's very powerful because they cut at four different parts and they cut to the ACS or maybe it before doing magic, you've asked them what their favorite number is or something like that. You can do with that number instead of doing it with the ACS. And it can really come, of course, has a very powerful moment. So you can open your routine with district and their preparation is the following. You have the three axis on the bottom of the deck and one on the top. And what's going to happen to the overall view? The deck start here with the ACS at the bottom and the top, the top, and they're going to cut 123 piles. So here you're going to have one ACE and here you're going to have three at the bottom. We're going to do you're going to get a break on top of these three cases. They're on top of the three. Take the four cards on the top. The only one that's an H here is this one. And then what you're going to do is in the action of leaving the packet, you're going to peel the top card and the three aces. So you're going to do this, right? And then you're going to have the four aces left in your head. And that's the trick. Now let's get into the details. So traces on the bottom, one on the top. And now you ask someone if you have a good intuition, whatever you want to do less presentation again. Whatever suits you and your personality, your style, whatever. Of course, you'll get. You'll get ideas as you, as you start doing magic. One that you come up with a presentation, you start using that exciting. So anyway, you leave the deck where you explain that they should cut a bigger packet and cut more consecutive packets from that threshold. So they do that, they cut. And now here, obviously we always do this. We emphasize the freedom. Every time a spectator has a choice, you emphasize that by chose was Shri, you want to emphasize the parts that make the trick impossible and not the parts that have the trickery. You don't want to emphasize 0. And remember how I grab the deck and extended it for no reason. You don't want to emphasize that you want and for that, you cut, you cut to four different places in the deck with no sense of where any card washed in the deck, right? So, so now you say you could have got any way you wanted. And the action of showing, obviously, all of this is justified, right? Every time I do a tricky move or something that has to do with the method and justifying my actions for I'm not just saying okay, Cool. You got to four places. Give me a second. I'm not saying Okay. Give me a second so I can get the regular. I'm not doing that. I'm saying you could have cut to anywhere you want it. I'm showing the cards as if that was like showing the different places where they could have cut too. I'm saying you could cut too anyway you wanted and I extend all the way till the final three. And then I get a break on top of these three cards and I close the spread to have the break. You could have got to anywhere you wanted. I get the brake. Be cut to one to this, to this or to these. When we wanna say it, you got to 1234 cards and there you have the four cards. These three are indifferent cartel since one, and this one is a maze. So now in the action of leaving the packet, you're going to peel this card and peel the bottom three. Now if I were to just do this, it would be rather obvious. So maybe, now maybe a good idea is to insert an omnibus 18 question. This is a concept that we're going to touch on in the theory section. But it's essentially a question that, that directs the attention to something else, right? So they can keep looking at here that they're not going to see exactly what you're doing. So a good, good question here would be, do you know what the most important cards in the deck are? And as they answer that, yeah, the Acis and you cut to 1234 aces, right? So that's a good idea. So let's backtrack. You get a break on the QC to anywhere in the deck, get a break on top of these three aces. Square the deck, say, but you got to 1234 cards. Now, again, my, my actions are relaxed, they're lighthearted. I'm not showing tension, I'm not. Okay. So now I'm just these four cars and do you have any now I square the car. Do you know what the most important cards in the deck car and the action of leaving the packet, I peel the top and the bottom three cards. So I peel the top and the bottom three. So I'm here. I isolate them, so they're clearly isolated here. But then in the action of gesturing and say, Do you have any idea what? And then I square the cards, right? So you have any idea what the most important cards in the deck car that's I'm doing that I square the four cards so they're no longer isolated and they disappear. The top and the bottom three are from the beginning, you have 33 aces on the bottom, one on the top, you ask a spectator to cut a pile and then from that another one and another one that could have got to anywhere they wanted or you ask, can I influence you in any sort of way? No. So we agree that you could have gotten anywhere you wanted, but you decided to cut to this 2, 1, 2, 3, and 4 Cartwright? Yeah. And do you have any idea what the four most important cards in the deck car? And now when you've asked the question, That's the moment to do the TT move because their attention is exactly how it works, but we'll get into the details in the future. But their attention is essentially split between the question and what you're doing. So you're here, you have the four isolated. Do you have any idea what the foremost important cards in the deck are? And then again, the action is this. You have the brake on top of the three aces and you're going to peel the top card and the bottom chord. And you have the aces left. And then what's interesting here is to say, but you got to 123 and the four aces. And obviously what I'm doing here is I'm leaving an ace on top of each packet. So the photo finish feels as though I really just turned over the cards on each packet when in fact, that's nothing further from the truth, right? I actually pick the background then I did a suite and then I revealed them. But it feels as though the sensation is closer to the fact that the ideal I turn the top card from each packet. So really feels as though they cut to four packets and it turned them already. They were the four aces. But it's, it's all, there's so many psychological and theoretical aspects to delivering a magical effect as you can see, it's not just the method, there's much more to it. And here it's interesting to insert that new relating question that gesturing the timing and the final image of the voices, one on top of each packet. Just to add the image is just the final idea of the magical atmosphere. Again, a concept we'll talk about. The magical atmosphere is constructed and it really feels as though they cut to four places, you turn the card and they were like completely impossible. And then of course you want to show that there are no more aces in the deck. And then you can give the breakout to examine, and then they can shelf on. You can get into your next trip out of the, out of all of the ones that we've learned. So I hope you enjoyed this trick. Again. It's one that I really appreciated early on when I started to learn techniques and breaks and all of that. Because you just needed a break for this. And it's very rewarding. It's the cut to four packets and they happen to be the four aces. And again, you can do this with a number that they like. Maybe you ask, Do you have a favorite number? And maybe at some point you go to the bathroom, you prepare it, you come back, you wait. Obviously be patient whenever you're doing something like this. And then you do the trick and you say, What was your favorite number? And that's the question. Instead of saying, what are the four most important cart, you say, what's your favorite number? And they say it, and then it actually, it's actually more impossible because everyone else, if there's more people. So it's a larger, elegant though. Think how the heck did he know favorite number? And then you are just starting to play with, with major psychological elements. But anyway, I'm getting on a tangent here. This triggered very powerful go out, perform it, hope you enjoyed it, and I'll see you in the next lesson. 29. Dr. Coué Test: Solve a Mistake With Magic: In this lesson, we're going to be learning my favorite trick out of all of the ones that I've taught you so far. I'm super excited. So let's get into you handed out to Skype data to shuffle as always. And I tell them to pick a card, any card. The classical, classical tradition sentence. They look at it, remember it, they put it back in the deck and you can give the deck a few cuts, perhaps a little shuffle, just to make sure the card is lost in the deck. Now, you ask the spectator to cut three piles, so they do so I've got three piles. Now you see that each one is going to reveal some important, some crucial information about the card. The first packet is going to tell me, or the first card which is on the bottom of the pile is going to tell me the color of the card. So the first card is going to tell me the color. So red card. Is that correct? Yes. Okay. The second pile is going to tell me the suit of the card. In this case, it's a it's a diamond. Yep. And the last card is going to tell me the position of the cart. In this case, it's the seventh position in the deck. So if I listened to the cards, we have a red card, it's a diamond and we just need to count to find out where it is. Just need to count. It was a seven, right? So 123456 and the seventh chord. Now, before I show you the card, I need to ask you. Do you believe that this is your card? No. Why not? That's one. Okay. Well, if you don't believe then obviously it's not going to be your card. Is that your card? Now? Obviously, I told you now, I need you to ask before we can we can try this again and we can try this again. I need to ask you come on. Please. Just just at least just for a second belief that your card can be in that position. Are you believing? Yep. Okay. So what was the what was the number? Seven. So seven. So let's count C. We get it. 1234567. And this time, since you believe that it can be the card, it is indeed the 7 o the six of hearts. I think this effect is absolutely beautiful and poetic and it's constructed. Well, the plot is a classical plot in card magic. And see Dr. QA test. I don't know how you pronounce the name. I think it's French, but the specific version was constructed. In addition, that passed away not long ago. His name is Gabby palmetto, spanish musician. I in my opinion, one of the greatest thinkers in magic. And he constructed this beautiful version of the effect. And my favorite part, we're really holds the beauty, in my opinion, is the moment where you ask them to believe that it can really be there. And the moment they believe the card is no longer in the pile of t. Cartwright. So if you think about it, we've talked about is right in what, when there's a magic effect, right? Let's, let's do this. For example, you have ten of hearts, even on the table, you snap and the cart changes until the seven of clubs right there, the seemingly a continuity apps we talked about. But the moment that changes this, this paradigm shift takes place when I start my fingers. That's a magical gesture that causes the magic to happen, right? There's always a magical gesture pretty much. And in this effect, the medical gesture is the believing. It doesn't even happen in the magician's hands. It's in The Spectator. The woman, the spectator says that they believes, that they believe or they start believing. Then the card is no longer in this packet of three cards, and then the effect accurate takes place and it's successful. I just think that's absolutely poetic and I really love this effect. And it's also very powerful, right? The chosen card that was here appears at a number that was randomly chosen, so it's 3. Cool. But anyway, let's get into it. So someone selects a card. We put it back in the deck. So queen of clubs in this case, put it back in the deck. And now you're going to bring that car to the top. You want it in the bottom, but you can bring it to the bottom in a variety of ways. I choose to do it this way. Double undercoat, bring it to the top. Then you shuffle, bringing it to the bottom. And then you can do one of those, retaining one of those cards to retain the cards. One of those shuffles to retain the card on the bottom. So another card is on the bottom. And you ask someone, there it is, You have someone to cut three packets. Now, where you went to do is each packet was going to tell us information about the card. It's not really the only two packets that are, are these two? And this one can create some really comedic moments. So the first card is going to tell us the color. It's a black card. Yep. And now what we're going to do is in the action of placing the card here, we're going to perform the collide. We're going to slide the card and then push, pull out the second card. So leaving another indifferent card there. So queen of clubs, this tells us the suit. It's a black card, is it? You can even ask, you can even ask them to answer. So you have that moment of split attention with the new balloting question. So it's a black card. I'm I right? Yeah. And that's the answer. You perform the trickery. You swipe the card back and he pushed the second card and leave it there. So now you leave this packet aside without showing the face, obviously. Now you take the second packet. I say this card is going to tell us the suit of your card. In this case, it's diamond. So, and this is one of the comedic moments that can take place, right? Because it's black and a diamond, the software counted off. So it's really fun when this happens. Sometimes you get the right suits, sometimes you get another suit but from the same color. And so really that's good. But when you have a black card and then it says diamonds, It's just such a fun moment with the, with the owner had Diamond. Not so sure about that. And then you actually take it this time, leave it there. Obviously here you have an indifferent card and the chosen card is still here. So you actually leave the card this time. So you can do the same thing but without doing the glide EDs takeout, leave it there. And look at this card. This one tells us the position of the card. It's a two. So it's going to be the second card. You leave it there. You put you mount each pile on top of the other ones. So the cart is still on the bottom. And now before you can count, you need to bring, bring the card to the top. How do we do this with the shuffle that we already learned? Shuffling all the cards, maintaining each card and retaining the last one to come from the bottom to the top. And now you're going to count 1 and 2 cart. Before revealing it, you say, be honest, beef, frankly D belief that this card can be your cart. And obviously they saw the card here. So they're going to say no. You say, well, obviously if you don't believe that it's not going to be the current card? No. Yeah, I told you. And now you say you ask something from the spectator which is come on. Can you, can you please just for a second, just for for an ephemeral instance, believe that your card can be in that position. Can you do that for me? Yes. Okay. So here it's important to say show look now. You don't want to say, look now it's not here. No, you don't want to say that. What you wanna do is turn this packet in an action of trying to remember what number it was to say. Okay, so what was the number? You go like that, you push up the other two cards that are not the number. And here the first effect happens, which is that the card, the chosen card is no longer there. I think it's absolutely marvelous. I think you can probably tell by my reaction, sis, sensation of the idea of that. So they think that this is their chosen card. And the moment you say Okay, Do you believe yes, he turned the card and you say, okay, what was the number? You don't even pay attention to that. You say, okay, what was the number? Push those and look at this one and they're like All right, that's the moment that I pull my God. So yeah. So when you look at the number and you say, okay, it's a two. And the, it's, it's just cool that there's a double reality between what the magician is experiencing, which is like a feels as though nothing has happened for him. He's like, Okay, Right. And the spectators, i ae, my card was there. It's such a beautiful effect and I'm going to stop. I'm going to stop saying good things about the effect anyways. So you look at the number, it's, uh, to put it aside and now you count and you say 12. And of course now what happens here is that the card was on the top and what you did is you inverted the card. She's like in the counting for us that we learned. And now the cart is going to be in the second position or whatever precision that is, that that the number is, that the cart is number of the cart for bad English, but you get my idea. So you counted the number of cards first, it didn't work out. That that's what's also genius about this, that you are getting the, the inversion of the cards. You're doing it at the beginning and then you have all of this effect going on, and then you come to again, right? So you have this parenthesis of forgetfulness that separates the method from the second type. So the first time you count, which is the method from the second time you count. And it's so justified if it's just it all make sense, it's coherent and it's congruent. So the first time you count, it doesn't work. When you go on this little adventure believing that the mighty can happen. Then you count for the second time and you say, And now since you believe your card, and it's completely magical. 30. Live Performance: Dr. Coué Test: So onto another live performance. This is one of my favorite effects of the whole course and I'm really excited to show it to you guys. So as always, shuffle the deck. Shuffled deck complete, not complete. You know the deal. I knew that means that we need the data. We can use anyone's anyone's deck at anytime it doesn't have to be prepared, trach done anyway. So let's do this. So take out any card you want. Okay, it's a skeptic here, taking the bottom card, so shoutout to the camera, show it to Sophia. Hello, Look, obviously. Yep. Okay. And now we're going to just give it a few cuts. So maybe yeah, I got right here. Let's give it a quick shuffled just chosen card lost in the deck. And we're going to learn information about the card progressively, because the cards, as you treat them a lot, they, you start developing a certain affinity for them. Very convinced that I can communicate with cars per year. So it, so that's what we're gonna do it, you're going to cut a packet. So cut and cut another one from that. And each card is going to reveal some information about your card. Okay, So let's see, we have 123. So the first one is going to tell me the color of your cart. So in this case, it's red. So red card. Okay. Are we going well so far? Yes. Second card is going to tell me the suit of your card. If it's a red card, hard for diamond, right? So in this case we have a spade. Okay? So red and speeds up, okay, It doesn't matter. Let's just keep going. So the first card totals that color. The second card didn't really help us much, but the last card will tell us the position of a card. Okay? So the last card says your card is in the second position. Okay? So before that, let's just play a little bit with chaos and listen to the deck, right? So it says that it's the second position means that we have to count one and the second part, right? So we count 1 and 2. And that completely genuinely, do you believe that this is your cart or it can be your card campaign just pre-generated. Do you believe that this is now? Well, obviously, if you don't believe that it's obviously not going to be effective as a worker, obviously because you didn't believe in it. But let's try this just for a second. Let's play with this fantasy of childlike imagination and belief. Just, you have to believe just for a second that it can be your card or you believing now, I'm great. How exciting. So what was the number n was two. So let's count 1 and 2. And since now you're believing what was the current king? The king of hearts. How do you make it me? Power of believing. 31. Color Changing Deck: Transform the Deck You've Been Using: In this lesson, we are going to be learning in effect that is absolutely fascinating. I think it's probably the strongest effect that we've learned so far. It's killer. It gets amazing reactions. People love it, I love it. So let's get into it. Anyway. You have your deck and you're going to be passing cards just like that and someone's going to cut up stuff. They can stop here, they can stop here anywhere they want. You just pass card. And they stop wherever they want. Here. Here. Yep. Okay. Do you want DA's T12 seven. Which one do you want? The ACE? Okay, cool. So when to leave the AC side, and we're also going to select another card. So to select that card, we're going to use perhaps the seven, maybe yet Let's use this one, the eight of diamonds. So I'm going to ask you to take the card and put it face down in the middle of the deck wherever you want there. And I say, Okay, so that's going to be in-between two cards. We have the jack and the king of spades. Which one do you want? The Jack? Okay, so we take the deck, use them here. Which one do you want to start with? The ACE. Okay, So look very slow. This effect very slowly. Just rub it on the back. Robot, rub it and rub it. And something amazing happened. The back of the changes. Amazing. And I can change it back. No, I'm kidding. It really does change into a blue card. Not only the ace, I can take the jack. Rubber like that, tap the blue card and it also changes. Now, you might be thinking, and you probably could be on the, on the proper train of thought of you're thinking this, what's the use of having two blue cards on the restaurant? Well, there's no use. So what I can do is rub back, rub the bat here. And now every single card, every single card changes into a blue card. Every single card, except of course, for the native dance, for every other cartoon isn't too blue card. Now what I can do to make the sauce team, right? It's rubbed the fact of the eight of diamonds and that card changes as well. Now every single card split. As I said, this effect is amazing. I love the construction out of the idea of the effect, a color changing deck that, that's progressive. And I also love the construction because there's no, there's no gimmicks. There's no tricked cards, but it still gives us, It's probably the best version I know of this effect because it's just so well thought. And we're going to get into all the details. So you're going to need a completely a deck of one color and you're going to need the box of another deck and one card from another tag. So that card from another deck is going to be on top. And D, the same card from this deck is going to be the second card from the bottom, and it's going to be the other way round. So facedown. Now this is all going to be in your card books. And the deception starts right from the moment of having the cards in the box. So just from here, the assumption is that you have a normal red deck. So then I opened the deck, you see a red card. And everything seems right. And now we're going to do is you're going to start a Hindu shuffle. We've already, we've already gone over this. You're going to hold the deck and elevate the dealer's grip, thumb and middle finger here. And you're going to peel a little packet of cart and try not to, to flash the blue card. So you peel a small packet of cards. As you go through the day, you're going to casually gesture with your dominant hand, showing the back, the red back card, which we're going to pass card so you can stop here, here. And a fierce out though they're seeing a lot of bread fixing the bugs. I've seen the first card that you're seeing red. And now they say, they stop wherever, say we stop there. And you say the three or the queen. And you're showing where you see the three, okay? Now you square everything up. And in a casual action you can go then you're going to take out the eight of diamonds to select for the car that you're using, in your case, the current whatever card it is to select the next card to passing cards and you say this one. Now maybe this, or let's use, let's use this one. Who cares, right? Just make a casual a bit of acting, a bit of drama. And you turn it over and you say, okay, place it face down in the middle of the deck wherever you want. Now it's very important and i'm, I'm exaggerating this because of the angle of the camera. But it's very important to constantly have the deck like this so they can't see the backside any moment. I hope that it didn't come across like that and the performance that you didn't flash any backs. But it's really hard because of the angle. But then again, in real life is much easier. But you do want to be constantly focusing on, on not showing the backs. So they poke this card in the middle of the deck anywhere they want. And then you, you spread on, you say Do you want the 10 or the three? It doesn't matter, right? They do have a lot of choice, but it doesn't matter. So they say the three. You maintain this card out, jump. And now you start with one, whichever one they say, you rub it. Of course here you build, you milk it. The trick is pretty much done at this point. You milk it. All. The deception has already taken place. They think it's a red deck. See, collect that. Because obviously the detail that just happened is that you took a random card and that card was also read, right? So they're constantly seeing red, red, red. Now you rub it, it changes into a blue card. The other one to do, and it also turns it into blue card. Now, in an offbeat action, you're going to square the deck and you're going to cut this card to the second one from the face. So you're going to break on top of that, on top of the one that's after it and simply cut it to the face. So this is going to be the situation where you're going to do there is if you remember, you have the face down card here, that's the actual color. So what's going to happen is this one is going to come to the face of the deck. And that's one is going to come to the middle of the day because it's here. So that's going to be in the middle and this one's going to be in the face. So then when I spread the cards here, the eight of diamonds is going to be visible, but it's already going to be. I've switched it out for the other one. So let's backtrack a little into here. So now you spread through and you want to cut this one to the face of the deck, leaving one card on the face. So the second one from the face. So just like that, you cut in an upbeat, lighthearted I can, while you're speaking, you say B, you might be wondering how it was. So you might be wondering what's the use of having two blue cards on the rest read and you just cut. And I said, well, you are in turn the right path thinking that because what I should do this for up like that and change all of the cards into blue cards. Every single card is now blue. Every single card a nice, except of course for the eight of diamonds spreading. And then you say, but maybe, just maybe if I tap like this, boom. Dimens can also change into a blue card. So let's go over the whole thing once again, just so that's crystal clear as always, you have the, you have a complete deck that's, that's normal. A one-color, a bulks with a from a, from a deck with the opposite, with another color and one card with the same color as the box. Don't have a green box and a red card that would make no sense and a blue deck. So a Redbox, red card on the rest of the day it's blue. Now, the second card from the face is going to be the same card as your red card or whatever card you have from another deck. And it's going to be faced down. Second card from the bottom. And now you're going to put the cards in the box and your offset tick the box out and you start the trick. Okay, so I'm going to pass cards and, you know, making any references to the color. Obviously, if you wanted to make it obvious, type, cute, doing a trick about the color, you would say, OK, I have a red deck. The first card in the deck is red, then you don't say that, right? You just say, okay. Oh, yes, good detail. So imagine you've been doing magic with a red deck. It's probably ideally if you're going to be performing this, then you should have this deck in your pocket from the beginning of the performance. And then when you're finished, when you finish, you put the cards back in the box, put it in your program, and you say, actually, in an offbeat, always on the offbeats in a light hearted manner. You say actually let's do one last one. So you put the card and the card bucks in your pocket. But instead of taking up the card books he were using, you take up this card box. And that really milks the effect because you've been playing with a red deck the whole time. They don't even know a second deck exist. But now you have this deck in action. So that's really when you get the real magic, right? If you start off with this deck, it's strong effect, but if you've been playing with a red segments, it's amazing. But anyway, so you have this deck in your pocket and you have another deck. So you should have been playing with a red deck, put it in the card walk, you say, okay, we're done here. It's actually, let's do one more and just a second, right? It almost feels as though your cards, you even go in the pocket because it's a switch, so you don't wanna make it feel like a switch. You don't want to say, okay, Just a second. Let me take out this other deck now. So you put them in your pocket. Take out this one, say okay, Maybe one last trick. You say, look, I'm going to pass cart. And you just speaking about something else that has nothing to do with the color. And then to pass cards like this. And you're just going to stop. So again, we're in elevated dealer's grip. You just POP cards like this with your thumb and middle finger. Postcards pass a very small group at the beginning. And then you pass cars and you gesture with this hand showing red. You can talk about hard clubs, whatever you want. Just say stop whenever you want there. Do you want the king or the other? They say the king of hearts, maybe square everything up and you say, okay, actually let's do it with more cards. So you want to have this casual attitude that almost as if you didn't even know where the trick was going to end, right? So that allows you to have this moment where you can say that. Let's take out this one or this one. Now, I don't know. And then you're looking for the card which you know that it's the only one with the other back. Say, Okay, yeah, Let's use this one, right? It's just a bit of acting and a bit of theatre. So you take this one, you say face down, and obviously here you're showing red. And this is a very powerful thing, deception wise, right? Because you're taking out a random card and that card is red. So it really rebuilding the idea that it's a red deck. So you put it face down in the middle of the deck and you say, Okay, Do you want the eight or the 78? And then here you're pretty much done. And so it can be abrupt changes, rub, changes a square, and then in a casual way, you just cut the deck to the face. So you cut this card, you get a break on top of the card. That's after the card. You get a break on the car that's after the card that has the different back. And you simply get a break on top of that. Cut it to the face of the deck. And then you say, Of course, what, what's the use of a deck in this situation? And you say, well, maybe very well, but this, yep, every single card changes. Every single card. Except of course, for the, every single card, except of course for the eight of diamonds. Maybe just, maybe by a rabid, just right and tap it like that. You can get the eighth to change as well. Now, every single card is blue. So I hope you enjoyed this lesson and I really think it's an amazing effect, might require a little practice. But once you get it down, you're going to shock everyone. Do remember to have your hands like this to show the back of the cards because then you're going to spoil everything. It's very important to only show the faces, okay? So I hope you practice it. Go out performance. And I'll see you in the next section. 32. Magical Atmosphere: How to Elevate Your Performances: In this lesson, we're going to talk about scanners, concept of the magical atmosphere. This is a beautiful idea that really helps me in my, in my conception of magic, how I perceive it, how I think about magic and how I really go about performing, right? So the concept of the magical atmosphere, the idea that during a magical performance, it should really feel as so. Things are happening in a magical way, right? And I think this sounds like something very obvious. But the step here that differs this philosophy from the conventional medical philosophy or the standard magical philosophy, is that many people obsessed with referencing the method and having a very sly, ingenious method. The medical atmosphere, on the other hand, is the idea that the method is, can't even be perceived as the idea that there's no notion of method. It's completely oblivious to the fact that they can even be a method for dramatic. And there's so many mechanisms of perceptions and ideas that we're going to discuss that soccer, the creation of this magical atmosphere are there to aid us in the creation of this atmosphere. And when I'm, when I'm getting to it essentially is that It's essentially the transcendence of the method of you will in a sense that sounds very pedantic, but it isn't. It's the idea that throughout the performance, everything is seeming magic coin. And you look at it and you can even perceive how there can be a method to, to everything that's going on. Everything seems so fair, so casual, you don't even touch so that gray, the image that the spectator gets as that magic. The only possible explanation is magic. And I know that this seems pretty intuitive that a, an effect you'd be like this. But there's so much stuff nowadays that if fears, this is the, this is a qi sensation that I don't want to generate in my spectators. And we want to avoid. So through the creation of the magical atmosphere, we want to avoid. The sensation is we don't want to have the spectator feel as though have this thought right? I don't know what he did, but he did something that's not a fall. We want someone having data. That's, that's really telegraphing the method and it's moving away from really the art form and experiencing the impossible. There. You're not really experiencing the impossible. And that happens a lot with mathematical cartridge, right? Okay, now count seven cards. Now put this cup packet on top. Now look at the bottom card now. Add the difference between, right, whenever you're doing a very mathematical, very procedure heavy card trick and will diffuse. So the method is there. I just don't know it, right? It's just like you've seen a nice little mathematical concept that you have no idea what it, what it's about. So that's not what we want. We want to actually feel respected, to feel that there's no method even perceived in the atmosphere. That's the kind of idea that everything in the atmosphere is magical. And we don't want to be thinking. We want the spectator to be thinking, okay, I'm not really sure what he did, but he definitely did something when he had his body tense or when he was like, he had his hands here. But wanted to be clear the spectator's mind. And of course we want to stress the initial situation. Have it be clear and then to have the biggest contrast. And of course, clarify all of the faces and everything should be conspicuous. I mean, it's obviously easy to talk about this in the theory, but we'll look at how to create this in the practical sense to all of our lessons. At the next concepts I'm going to discuss. So the first concept I want to talk about is justifying choices. You want to have all of our choices justified. So there's no doubt in the spectator's mind that exert an action make sense in the context of the trick, the routine, the effect, whatever. A very evident. And I think it's a pretty good example of this idea is the memory demonstration that we learned in one of our lessons. So let's, let's think about the effect for a second. And someone shuffles a deck, you have someone to take out a card, they put it back. Now you memorize that actually look through the deck, you memorize it. And then someone moves the chosen card, you look back and since you've memorized the deck, you know which card has been moved as the effect summarized, okay? And you don't even have to look back through the deck. We know that you can make an imine square root of that. Can, you can go like that and, and know what the current is. So that's the effect. Now, what point is, is C justification, which I want to talk about? Well, that effect, we're using a key card. And as we know, a key card is a card that's next to or near another card. A card that's telling us information about another card, usually a chosen card. So in that effect, and I'm not going to get too technical or into too much detail. But say that my key card is the ace of diamonds and the chosen card is the five diamonds. So it put it on top and I cut the deck. This is not how we do it. And if you want to learn the effect, go back to that lesson and look at the detail. But now the cart is in contact with my key card, the chosen card. Try now my key card. And in order to know the selected card, I need to see where my key card is and what card is is next to my key card. So to do that. I could extend the deck. Just look at the deck and say, Okay, now I'm going to try to find your card. Try to know what your card, this card is this, but this would be V. And then someone could say, okay, I don't know how he did it, but he obviously did something when he looks through the spread, right? So that's what you want if you want to justify the use of every item. So why is spreading through that? Why are you looking through the day? Well, our presentation, we're going to talk about presentation in a second. But our presentation justifies the use of the spread. So then this doubt, this idea, this thought doesn't even arise in the spectator's mind. No point is the spectators thinking, well, why CSP right into the deck YC looking oh, he he did when he was like, No. You spread through that because you're memorizing the DQ. And that of course, can also make it entertaining and fun, but that's another discussion. So instead of just spreading through the deck because I have to write, that would be the eternal life. And internal life requires me to look through the deck. I give it an external justified life, right? So the external life presentation is that I'm memorizing the back and that allows me to look for the deck and see what card is next to my key card. And so that is very important to talk about, especially now is we're going to progress in our technical level of card magic and handling is publishing our technique. This is a very, very crucial point and it's no different than any other rpa is not different from playing an instrument, from dancing, from whatever right now, even different from any other discipline, right, from a sport, whatever, whatever it is that requires practice and the mastery of technique. So we want to have our technique come to the level that we can just perform it without even thinking about it. We can do it just becomes second nature muscle memory and all of that. That can seem daunting at this point because you might just be starting out. But eventually you want to get it, especially with the more advanced techniques. You want to get it to a point where you just and, and if it's not, you don't have to get to that level for you to perform. But eventually that's what we're striving towards, right? We want to get our technique to the point where we're not even thinking about it and we're doing it. This is going to allow us to portray no sense of tension. No, no stopping our. There's a lot of other concepts that arise from this idea of polishing technique. And people try to hack most concert right leg, like timing or tension. People tried to think about these concepts. I think that the shortcut, what we're really solves this from the start is polishing the technique. We're obviously going to talk about tension a lot throughout the lessons and, and also about timing and all of that. But if you get your technique down from the beginning to a point where it's muscle memory. You don't have to think about it, you just do it. And all of that will come much, much easier. So again, that's any other discipline. You have to have your technique completely polished and refined so that you can just be thinking about the presentation, about what you're doing. You can read the room, so know when to do a certain technique. If you're all in your, in your, in your hands and your body in your method, then you're going to be telegraphing that something's going on, even if they don't know exactly what. And again, that's not what we want. We want this feeling of magical atmosphere where everything is just magical. There's no sense of the method. There's no perception whatsoever of any trickiness, any, any any tricky or methodological stuff, anything that's behind the effects. So the metal concept that I want to talk about that may sound a little more nuance. And it probably is, is terminology. Terminology is very important because it really helps portray what we're saying. For instance, if I take out a deck and I say, okay, this is a very normal deck. And the first thing you think is, okay, that's not a normal deck, right? I wasn't even doubting that it was a normal deck until you said it. Another thing in the Vernon color changing deck, for instance, I take out the cards and I say that here I have a blue deck. Well, obviously it's blue or why are you telling me is true? Is it not? Right? That's kinda thought process, right? The, the logical process and the spectator's mind. So you don't want to say, you want to show everything that's related with the method. You don't want to say you want to shop. You don't want to say, okay, look, my, so say that you're going to produce a coin that my hand is empty when, especially if it's not empty, like I have an empty hand. You don't say you show he just with your actions, you've showing that your hand is empty and then you can go and produce a coin, right? If your hand is completely empty when there's no, I guess to this always very situational and depends on the context. But there's nothing, there's no harm in saying, look, I have an empty hand and the right, but it depends on the situation. Again, what I'm getting to is that the terminology, most cases shouldn't directly refer to the method, right? Unless you're doing unless you're doing it purposefully. And especially if it's alive, right in like in this case here and the color changing back, I have a blue deck. Don't say that. Or I know at some point you're playing with, with five cards. And this is more advanced so that we learn in the future. And you say, Look, I have have four card tray here. It's like, okay, why are you telling me I can see that they're not folk art. You're generating a doubt in the spectator's mind that's completely not necessary, right? So in my dick, you come back to this idea of showing and not telling. And I think it's a very powerful idea to keep in mind, especially or generate the magical atmosphere. 33. Artistic Persona: Who Are You When Performing Magic?: In this lesson, we're going to be talking about something pretty exciting. It's kind of more related to performance arts in general as opposed to just magic. So we're kind of moving away from magic theory and more into performance and performance art theory. And in this lesson we're going to talk about style, personality, artistic persona, presentation, all of that. Okay? So the first thing I want to talk about is we're going to be constructing our artistic persona, right? This may some, may, this may sound a bit daunting at the beginning when you're, when you don't even know if you want to do another card trick in your life. But it's something that has to be in the back of your mind right from the beginning because you have to be thinking that I want to have, what style do you want to have? Don't want to be profound, funny. Don't want to just have amazing reactions. First of all, you want to find your goal. And you want to find what style suits you, how you are in, in your personal life. Like you can have a different character from your normal life and you're, when you're performing. Those can be two different characters, styles, and personalities. I wouldn't recommend that right off the bat unless you have a background in acting or stand-up comedy or something like that. But, or you want to think about is what you want your spectator, when you want to experience what you want to deliver. And how is that going to be congruent with you? So essentially you want to start thinking about your style and personality. Are you going to have a more comical magic? Aren't going to have a more impactful deep magic. You can combine those. I'm not saying you can't. She had to start thinking about your goals, your objectives, and how that suits you and your artistic persona. So is it something that's going to come with experience and performing a lot, thinking about your tricks a lot. As you, there'll be tricks that stick with you more than others because of your style happens constantly, right? At this point, I read a magic book and there's rarely more than one effect that I say all this, this fits my style and personality, great island to include it in my repertoire. So over time you're going to be like doing a sculpture, right? You have your block and then you're going to be taking everything that doesn't fit your image. You have artistic persona or the sculpture itself, either sculpting a person and you're going to take everything that doesn't fit the person until you have the beautiful sculpture. So it's the same thing. You have your artistic persona and mind. And slowly you're going to be removing stuff, right? Maybe the first trick that you learned, that was pretty cool but doesn't really make sense for the rest of your magic, you will remove and something else. Then the joke that gets a laugh but doesn't really contribute to your degeneration of the experience that, to generate the experience that you want, right? Maybe you move that and so on and so on. So keep in mind what's congruent with your style? What artistic persona do you want to have? And then just start playing with it and don't be scared to experiment, especially depending on the stage you're at. This sounds, this all sounds so serious and then so, so kind of pedantic. And I know it's not that by any means, we're just here to have fun. And the artistic persona is kind of a cool thing. I guess it's, it's like having a character that you're developing, right? It's like a video game. You're developing this aspect and this one, then another one you may have to sacrifice if you want to be a very serious impactful serine. So Lamb magician, then you probably don't want to crack jokes because that will probably break your character. So, so probably want to have a very deep voice. And of course your 10 everything will match that. But hopefully you get a, you get the idea. Then discussing that, you have to start thinking about what kind of style you want to have. Because all of that is going to then help us construct the presentation of our effect, right? That's the second aspect of this, of this lesson. And this is more obviously related to magic. Um, I mean, this also applies to comedy, and I have a full courts on that. And you want to take it out at some point when you can trust the construct, your artistic persona that allows you to start building and writing your own jokes and comedy. But in magic, it starts to allow you to create your own presentations that are congruent with yourself. So if you're someone that likes to tell stories about traveling, then you can tell story about traveling and your magic. You can see how that applies. Try not to make it too quirky because I've seen a lot of performances are tried to fit around tag and two square whole, yet know the, try not to do that if it fits the effect and you find a way to introduce a story, great. If it doesn't, you'll find it somewhere else. Don't try to force it there. So what I'm getting to is that you can play with, with the effects as much as you want. The effect is there and then how you present it. It's completely up to you. It's a blank canvas and you can play with it as you wish. Again, we're here to have fun. This is a fun thing to do. You're, you're doing impossible things with a deck of cards. Like it's something fun people are going to laugh, meant to be impressed. Something they don't see every day, especially if you're good and they, and you construct the magical atmosphere, they're really going to be off struggle and fascinating and they have no idea what's going on. And that's something, that's something, it's something it's pretty, and it's a beautiful moment. And we can really have fun with this because what other thing are we going to write like? We were here with playing cards, you're not going to stress about whether someone sees you doing the move trick. Who cares about that, Right? We're here to have fun and eventually you won't even be thinking about the method or just come so naturally that, that, that won't be a worry if you're thinking about that. Worried about performing or something like that. Don't like who cares, right? That's essentially what I'm gate. So once you have your artistic persona, at least thought out the just vaguely, at least you can start incorporating presentations that are congruent with this persona. So for example, in the memory demonstration, you saw how versatile presentation is. You can use the idea of memory, of a memory demonstration to justify the looking for the spread. And then you can either choose to demonstrate your memory, right? If that suits your personality and style, you can actually presented as a demonstration of memory and it will be very impressive. Or if it doesn't fit your sound like in my case, I just close the deck and say, you know what your card is. Boom. My style is more playful, more like a breaking any expectations kind of thing. Its size, its profound aspects, especially when I'm performing in a theatre and when I'm doing my, my full-on one man show, then I go into more profound stuff. But in general, I like to have this kind of idea, right? So in the memory demonstration, I'd like this where memorizing, actually, you know what, Just close the deck. I think your card is a club. Seven, sorry, it's a black card. Club. The seven of clubs, right? Chai, create the expectations and then I shatter them completely and I do something else that it's probably more impossible, right? Because the memory demonstration is impressive but not impossible. And I'm here, I'm going on a tangent of myth just so that you can see how versatile presentation can be a completely blank canvas. It's also important to be curious. Look at what other magicians do, how they present the same tricks that I'm teaching you. Because that way you see different styles, you'll find stuff that sticks with you that matches your, what do you like about performing or magic or what your personality. Essentially styles that resonate with you. And you start getting your own little ideas from a bunch of places and constructing this artistic persona. Again, it's a concept that I am fascinated by the artistic persona because it can be completely different to you. It can be analogous to you. A can be an elevation of your persona. My personal style is me on stage, so the only difference is that i'm, I magnify my personality. I multiply some parts of my personality, I just make them more grant. But that's pretty much my artistic persona with obviously more nuances here and there. But anyway, enough rambling, enough going on a tangent, I think the message is clear is that presentation. It's versatile. You have this idea of artistic persona that's always going to be overarching every performance that you do. And you have to have at least in the back of your mind and construct that as you go and as you experienced magic. And most importantly, don't be scared of people catching onto your slide. Trick, your move. Just go out, perform and have fun. 34. Performance Theory: Make Your Performances More Impossible!: In this lesson, we're going to talk about performance theory. And I'm going to talk about three things I think are crucial in the, in the kind of level of the tricks that we're learning so far. So the first thing I want to talk about is something we'll come back to again and again and again. And it's the idea of tension and release. Something. It's a very important concept and it's something that we have to keep in mind whenever we're doing an effect, we have to know where the tension is, how we're going to release it, et cetera. So for instance, let's, let's think about, about this example. You come to the end. Some, so someone chose a card, they put it back in the deck. Something very cool happened. And now you're at this stage where you have a cart. And the expectations are that will be the card. So you essentially pick a card, find a card trick, the most common cartridge in history. So you hear, how are you going to deal with the tension of the card? So we've already briefly touched on this in the tricks when I was explaining them. But the idea is that the way to deal with this tension, ideally is not to say we have space was at your card and the answer yes, the more ideal, the optimal way to deal with this is, so what was your card? And they named the card. So now all the information we need is right here on the stage, right? So or on the stage or on the frame, in-frame, whatever you wanna call it. But all of the tension is here. So it's much more ideal to do this and then release tension as we wish and we have complete control of the timing. We can read the room, we can see what kind of timing is ideal for the situation. Very similar to comedy. Again, a very common expression in colonies. They had to read the room. So it's the same idea. You want to have all the tension here, so you have control. It's a controlled environment, if you will. So you ask the card first, they name it, and then here you can look at it. That and write that. This is where you play with a 1010. So about timing. And again, another concept we'll discuss that here you have all of the tension is here. Say okay, three are spades. Or you can, you can do any phase you want depending on the reaction you want to get. But essentially, I want you to get the idea that you can play with the tension as you want. So you can generate more tension. Waiting more, the more you wait, the more tension there'll be. Right? That's one way to turn a card in other ways through space. Exactly. The series page. Now it's not, that's not generating a lot of pressure. That's just sorry, pressure tension. That's just releasing it instantly. So depending on where you are at, if you're in a routine that you've already had, a lot of tension builds and then released perhaps then the last card that you reveal is just exactly boom, right? If you have, for example, four cards, imagine the, I don't know, just you have four cards that you're revealing, right? So it's the same thing as finding one card, but with, for perhaps the first one, you're going to be pretty dramatic. Play with attention you're going to be, was your card seven of clubs. Seven. You can stop for a B. You can also use pauses for important. Look, stop. Maybe do a face. All of this is contributing to the generation of tension. If I do a pause or touch, pose, what was your card? Seven of clubs. So see how even without the stakes be in high, the tension is being built like I can even feel it and I know what I'm going to do. So I'm, I'm imagining that you're probably feeling it too. And there's no, there's not even an effect going on is just the turning of a card. So what's, how attention works? So if I turn it here very slowly and the tension is peaking, speak. If a now relax the card and turn it back towards me, that tension relaxes as I go. He's not going to turn it. You know, it's that kind of kind of emotional roller coaster with the tension. Let's say you're playing with temperature. So watch how it works. I'm about to turn it about to turn it. Tension is speaking. Speaking. Speaking. Oh my God. Oh my God. Oh my God. Oh my God. And now if I leave the cart, all of the tension is released. We don't necessarily want that, but just see how the tension is work. From here. Turn seven of clubs, that's another thing you can do. Ps here it seems as though I'm now going to turn it, but then I turned it from them just in one go. So from here very slowly, but to turn it then I don't consume released and then boom, right? So you're playing with this idea of tension. Now what I was getting to is that you can turn the first card varied dramatically, releasing tension. Now progressively you're gonna wanna do them faster because there's less suspense. There's less stakes are lower. And this is more perhaps of a timing idea. But if you review all of them very slowly and dramatically, each time you're, you're losing timing and you're getting diminishing returns on each card, right? So you have to match your review of the card to how much pressure or tension there is in that moment. So here there's maximum tension with this card. Now since this card is already the Carter, then there's progressively less tension. So you want to do it less. Maybe you reveal that to add at last time. So you do the first one, then you will be able to at the same time, maybe then with the last one, someone calls out their card, you say, what? Six of spades? 6. So there you're generating tension. So, so what happened here is the tension when it was peaking and then went lower, lower, lower. And then by act, by doing that little acting thing, it goes up again. And that allows you to end on a very high note, right? So notice how this idea of playing with tension is really powerful if you play it right. So once again, the first one, I do it dramatically. Seven of clubs, more, Jaccard and the thiosulfate. I'm always joke right before. It's exactly 30 states and the four of hearts and the last one, what was your card? 0, 0, 0, well that's the six of spades right here. So you see how you're going to get this with, with a level of performing and breeding people and seeing what works and what not. And if you do it right, most of the time you'll get a onomatopoeic reactions or you get gasps, sounds, noises, people will laugh. And you know that you've gotten the right timing and the right use of tension. The next idea I want to talk about is recapping the event. So this is a very powerful idea that you can use and I recommend you use it at the end of an effect or during an effect. Just so everything is clear. Again, as I said, The, the, the more clear the initial situation is that the more contrast there'll be and the more powerful the effect would be. So here, for example, say that someone chosen card, they put it back in the deck. I found this card. Now we're going to see if it's a card. So here before revealing, you can say, look, I gave you the deck. You shuffle the deck. You took out a card, looked at it, put it back, shuffle the deck again. They gave me the deck and all I did is with one finger, I cut and I have one card. Might be inventing making up the effect. So where did there is I recapped everything that was crucial for the initial situation. So everything that was crucial leading up to the effect. That way, it seems much more impossible when, when I reveal. So a great example of this is in the effect of the twin cards, where they have a lot of free choice. This recapping of events is especially useful when people have had a lot of choice, they have a lot of participation. And it's especially effective, for example, in the one with a twin, what we find that trimmed cards. You say, Look, you shuffle the deck and all of this is true at no point are you lying, okay? But it's important how you frame it. And that also has to do with the next point I'm going to talk about. So they shuffle the deck and you shuffle the deck, the passcode stop wherever you want. And then we ended up with two cars. I'm just going to take them here. So you shuffle the deck, Pascals whenever you want you start, you actually added a card. Remember, so I'm recapping every event that is crucial for the effect. And then I could get here into the tension and release and all of that, right? But what's important here is that you recap the events. And now my second is that you emphasize the critical elements. So as I'm recapping the event, I'm going to emphasize the crucial aspects of the effect. So in the twin cards effect, I'm not going to say you shuffle the deck, you gave it back to me. I looked I looked at the bottom and top card and then I decided which cards to take up. I don't say that right, Because that's not emphasizing anything critical. I want to emphasize everything that contributes to the clarity of the initial situation pretty much. It can also be other stuff involved, but that's the gist of it. So I want to clarify. You shuffle the deck. I just took two cards, I left them aside. And then he told me that you pass card shop wherever you want it very clearly we put the card face up, you put it on the other, they just spread spread with your finger. We took it out, right? So I'm emphasizing everything that has to do with the freedom, the impossibility, and the clarity of the initial situation. So the contrast will then be bigger between the initial and the final situation, right? As long as the more freedom they had an SPM up this effect specifically, the more freedom they had in the shuffling, the passing of scars, stopping wherever they want. Then obviously the more impossible it will be when I turn their cards and they are the twin card, right? They haven't done any of that, then it wouldn't be impossible. Because I could have just imagine the effect of starts like this. I take out the deck, I spread. There's the ace of hearts. I take the ace of hearts and the top card. And the three of them in an auto card and they're together with the touring card. There's no effect there because there's no contrast between initial and final situation. So that's why you want to make sure to emphasize the initial situation so it's clear. And you can see the contrast between that and the final situation, which I hope you enjoyed this lesson on a little Performance Theory, and I'll see you in the next one.